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A Victorian mahogany pedestal, the square top over tapering carved column, with floral scroll capital, on a shaped square base, 34cm wide x 127cm high.

Ɵ Yemen in 1937 and 1938, documented by Italian traveler B.V. Clementi, two albums of black & white photography with manuscript annotations and captions [Yemen, 1937-38] two photograph albums comprising of over 300 original black and white photographs mounted on 36 leaves, with 12 duplicate photographs in envelopes pasted onto rear pastedowns, individual captions in blue ink for most of the images, images numbered (sometimes on photograph) in blue, manuscript map of routes taken around Yemen tipped onto first leaf of each album, newspaper cuttings from 1968 pasted onto front pastdown, original tissue-guards protecting the pages, typed letters from the owner B.V. Clementi about the collection mounted to the first page of each volume, albums each c. 245 by 315mm.These photographs are an extraordinary record of the history and society of Yemen in the early twentieth century taken by an Italian enthusiast on his travels in the region from 1936 to 1938. However the majority of the photographs in these two albums were taken in and around Sanaa, the capital of Yemen at the time. The subjects of the photos are diverse and wide ranging, from local people shopping and working in markets, farming animals and working the land, historical landmarks including an abandoned eighteenth-century fortress, religious festivals, and a range of nationalities and religions including German, Polish, Jewish, Somalian, English, Arab, and sheikhs.The albums are also highly personal, with photos featuring Clementi himself in his home in Sanaa welcoming guests, taking part in leisurely activities such as golf and tennis, and even celebrating Christmas. It is clear that Clementi was interested and invested in his surroundings and the people he met on his travels, as many of the captions identify people by their names and occupations, and range from his staff, to local people, as well as political and military officials.In his typed letter tipped onto the beginning of each volume, Clementi explains in Italian that although he took the photographs between the years 1936-38, he decided to arrange them in these albums in late 1967-early 1968 "respecting their chronology and place names". The letter is rather poignant, with Clementi reflecting on happier days in Yemen preceding the days of war, when 'frontiers were open' and people were content and without oppression.  

Ɵ Prayerbook of Du'a, with a dedication to Amir Shahrukh Sultan bin Timur Lang, in Arabic and Farsi, illuminated manuscript on paper [Timurid Persia (possibly Herat), c. 1430] single volume, 120 leaves plus an additional later endleaf at each end, single column, 9 lines of black naskh with eastern influences, some phrases at the front of the volume in red, 31 du'a headings in gilt banners opening different du'a throughout, these often decorated in red and blue, fol. 1r with an inscription dedicating the work to Shahrukh Sultan, apparently copied in a different hand, some of the leaves in the first section of the codex ruled in red, a few margins with annotations in a later hand, first and final few endleaves with eighteenth- century ownership inscriptions and annotations, a few leaves with repairs to small tears (rarely affecting text), some very faint water-staining, else bright and attractive overall, 100 by 110 mm.; early eighteenth-century leather over pasteboards, a little rubbed, outer edges a little wornA charming travel-sized book containing a collection of prayers, known as Du'a, beginning with the Du'a of Adam Ali al-Salam. Copied by a professional hand in an angular naskh with notable Central Asian influence, on thick buff paper, seemingly produced in a formal Timurid workshop.The first leaf includes a dedication to Amir Shahrukh Sultan bin Timur Lang, second ruler of the Timurid Empire from 1405 to 1447 and youngest son of Timur the Great, who founded the dynasty in 1370. Shahrukh Sultan strengthened trading routes between Europe and Asia, along the silk road, during his reign and notably relocated the capital of the Timurid Empire from Samarqand to Herat. This manuscript was illuminated and copied on fine thick paper, and likely produced in Herat either for Shahrukh himself or a member of his court as a personal gift.

Sumerian Cuneiform Clay Tablet.- Revenue tablet, list of sheep, beams of timber, garden material etc., as rental, drawn up for incorporating in the Cadastral survey made by officers of the Temple of the Sun-God at Lagash [Telloh], "Based as genuine by Dr. Budge, Brit: Museum 1904 A.D."; Account or revenue Table drawn up in connection with the administration of revenue under the direction of the priests of the Temple of Lagash, clay tablets, incised with lines of Sumerian cuneiform on the obverse and reverse, some slight surface wear affecting some text, a few cracks, 30 x 34mm., Lagash, [c. 2300BCE]; and another similar cuneiform tablet, v.s., v.d. (3 pieces).⁂ Lagash, now Telloh in southern Iraq, one of the most important capital cities in the ancient lands of Sumer, located halfway between the Tigris and Euphrates rivers. There were numerous temples in Lagash and such documents were used as accounting tools for their dues.Provenance: ALs from the wife of Rev Leonard Harding Squire (1854-1918), to her parents enclosing a description of the second mentioned tablet by Sir Ernest Wallis Budge (1857-1934), orientalist, 14th April 1900.

Africa.- Lyon (Capt. George Francis) A Narrative of Travels in Northern Africa, first edition, large folding engraved map hand-coloured in outline and 17 hand-coloured lithographed plates by M. Gauci, after drawings by the author, tissue-guards, attractive modern antique-style brown half morocco, spine gilt with red morocco label, [Abbey, Travel 304; Blackmer 1044], 4to, 1821.⁂ Accompanied by Joseph Ritchie, Lyon left Tripoli to discover the source of the Niger river. They travelled disguised as Muslims but at Murzuq, the capital of Fezzan, Ritchie fell ill and died.

Binding.- Goethe (Johann Wolfgang von) Auswahl von Goethes Lyrischen Gedichten, signed presentation copy from Robert S.Turner to Mrs. [Elizabeth Jenny] Ashbee "...as a souvenir of her first visit to the library in Park Sq..." inscribed on front free endpaper, book-label of Janet and C.R.Ashbee, with mounted photograph of R.S.Turner and manuscript note on Turner by the latter on rear endpaper, handsomely bound in brown morocco elaborately ruled and stamped in gilt, by Bedford, spine gilt in compartments, gilt decorated edges, preserved in cloth drop-back box, 8vo, G.Schulze, 1833.Saleroom notice: This should read “Lyrischen” not “Inrischen” Gedichten.⁂ Interesting association copy belonging to both the bibliophile R.S.Turner (1818-87) and the Arts and Crafts designer C.R.Ashbee (1863-42) who writes, "This is one of the books of that strange and loveable bibliophile R.S.Turner, who gave it to my mother. He lived for his library, & ruined himself for it. When one day he found that he had been living on his capital as the result of too great expenditure on his books, and that the only way to save himself was to sell his library, he couldn't face it; so he killed himself to save his books. After his death his heirs sold the library...C.R.Ashbee 1924". Note at end."Robert Samuel Turner was an extremely refined collector of the Beckford type, a great connoisseur of French, Italian and Spanish books...Sales on 18 June 1888 (over £13,000) and 23 November 1888 (about £4000), to which should be added the £12,000 obtained in Paris (12 March 1878) for his rarer French books." De Ricci p.164 note.

An Art Deco cushion styled purse watch or small travelling clock, silver case with 925 import assay marks for London and capital A (1876), containing a silvered 22mm dial movement marked Mappin with Arabic numerals, the watch ticks when wound and set function works though this does not constitute any warranty of working order.

18th-early 19th century AD. A carved limestone corbel with D-section moulded capital, scrolled acanthus-leaf decoration. 8 kg, 18cm high (7"). Property of an English gentleman; formerly in a collection formed in the 2000s. [No Reserve] Fine condition.

18th-early 19th century AD. A matched pair of carved limestone pillar elements (base and capital), each square in plan with fleshy scrolls and central tondo; pierced to accept a support. 13.1 kg total, 18cm each (7"). Property of an English gentleman; formerly in a collection formed in the 2000s. [2, No Reserve] Fine condition.

Wei Dynasty, 534-550 AD. A tall stone statue of Buddha standing on a disc base, with hair in tight curls and ushnisha, left hand in protective stance; slot for a separate right hand; mounted on a custom-made stand. See The Royal Academy of Arts, Return of the Buddha: The Qingzhou Discoveries, London, 2002, for discussion and close parallels.100 kg, 1.37m including stand (54"). Property of a central London gallery; acquired from a Somerset, UK, estate collection; formerly acquired on the UK art market in the 1990s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.157167-10041. The Northern Wei was the most powerful family to rule the northern dynasties prior to the reunification of China under the Sui and Tang dynasties, boasting impressive military prowess. The Tuoba tribesmen who founded the Wei dynasty after their takeover of the Shanxi province, adopted the ancient name Wei for their kingdom, establishing a capital at Pingcheng (present-day Datong.) Beguiled by the appeal of Chinese culture and society, the tribesmen eventually developed a taste for the luxuries characteristic of the Chinese upper classes. The most notable cultural contribution of the Wei dynasty was in Buddhist art. Fine condition.

1st century BC-1st century AD. An elongated ellipsoid cameo of a profile female bust, set in a gold finger ring hallmarked '9','.375', an anchor for Birmingham, and capital 'I' (1857), second stamp '9.375'. 2.14 grams, 21.61mm overall, 16.92mm internal diameter (approximate size British L 1/2, USA 6, Europe 11.87, Japan 11) (3/4"). Property of a London lady; part of an English collection formed in early 2000s. Very fine condition.

An Imperial Typewriter, with wide carriage and full capital keys. (2)

A COLLECTION OF DUTCH WHITE METAL MINIATURES, to include; furniture, Sedan chair, peacock, the rectangular table cast with a Rococo design of figures in a landscape, raised on cabriole supports, 7cm x 5cm x 3cm (10) Condition report – rectangular table; marked with a capital “R” under a crown, Tall boy chest; marked .800 and other indecipherable, small cupboard; continental and UK hallmarks, sedan chair; continental marks to base, round table; various marks including .930, crib; various marks to include an “N”, English hallmarks on one chair, other items, no marks.

Georgios Bouzianis (Greek, 1885-1959)Portrait of young man (self-portrait) signed, inscribed and dated 'Jo Busianis/Paris/931/' (lower right); signed and inscribed 'Manes Bild' on the pass-par-toutwatercolour and pencil on paper63 x 48 cm.Footnotes:ProvenanceHeinrich Barchfeld collection, Leipzig.Alexander Fischer collection, Munich. Private collection.ExhibitedAthens, National Gallery - Alexandros Soutzos Museum, Athens Cultural Capital of Europe, Yorgos Bousianis, October 21 - December 8, 1985, no. 34 (discussed, p. 47, and illustrated in the exhibition catalogue).Athens, Municipal Gallery, Hommage Bouzianis, 1990 (illustrated in the exhibition catalogue, p. 38).LiteratureBouzianis Watercolours, Agra editions - The Friends of Bouzianis', Athens 1982, p. 86 (listed), p. 42 (illustrated).D. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 314, p. 296 (catalogued), p. 97 (illustrated).This stunning portrait from the artist's Paris output (1929-1932)1 formerly in the collection of German sculptor Alexander Fischer,2 with whom Bouzianis co-exhibited at the Chemnitz Kunsthütte in May 1927, demonstrates some of the key signature traits—swift rendering of the subject, fluidity of line and pulsating spread of colour—that bestowed Bouzianis's noteworthy reputation among the European avant-garde in the 1920s. Reviewing the artist's 1928 exhibition at Barchfeld's in Leipzig, Dr. H. Hofmann argued that Bouzianis's watercolours confirm his status as one of the greatest artists of his time.3 1 Professor D. Deliyannis, who prepared the artist's monograph, uses this portrait to illustrate his point that 'during his Paris years, Bouzianis focused on diligently rendering the world of appearances—landscapes and faces—and on adapting to the requirements of the watercolour medium without lessening its dynamic quality.' D. Deliyannis, preface to Yorgos Bousianis, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 1985, pp. 47, 57. 2 Alexander Fischer (1903-1981), who held Bouzianis in great admiration and respect, had in his possession a significant number of his works, of which he owned one or two and the rest (7 oils, 32 watercolours and 30 drawings) he held in trust, since WWII, on behalf of gallery owner in Leipzig and Bouzianis's lifetime supporter and soul mate Heinrich Barchfeld. After Fischer's passing in 1981, his inheritors sold almost all works to Greek collectors who brought most of them to Greece. Part of the Fischer collection was shown in the Bouzianis 1985 retrospective at the National Gallery in Athens. See George Bouzianis, Letters to H. Barchfeld [in Greek], National Bank of Greece Cultural Foundation, Athens 1989, pp. 44, 305.3 H. Hofmann, Leipziger Abendost daily, 6.9.1928.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

Alexis Akrithakis (Greek, 1939-1994)L' Alphabet Grec signed and dated 'Akrithakis 70' (lower right); signed in Greek, titled and inscribed 'Berlin / L'ALPHABET GREC/ Berlin Januar 1970' (on the reverse)tempera and ink on card50 x 65 cm.Painted in 1970.Footnotes:ProvenanceSotheby's, London, Greek Sale, 16 November 2005, lot 32.Private collection, UK. Acquired from the above by Epsilon Art collection. ExhibitedThessaloniki, Macedonian Museum of Contemporary Art - Thessaloniki Cultural Capital of Europe, Akrithakis, retrospective exhibition, December 19, 1997 - February 15, 1998 (illustrated in the exhibition catalogue, p. 70).Athens, National Gallery - Alexandros Soutzos Museum, Akrithakis, retrospective exhibition, May 4 - June 29, 1998 (illustrated in the exhibition catalogue, p. 70). LiteratureArti magazine, vol. 4, March-April 1991, p. 61 (illustrated).D. Zacharopoulos, Alexis Akrithakis, K. Adam editions, Athens 2005, p. 35 (illustrated).D. Zacharopoulos, Alexis Akrithakis, Contemporary Greek Artists series, Ta Nea editions, Athens 2007, p. 20 (illustrated).Contemporary Greek Art Institute, http://dp.iset.gr, Alexis Akrithakis / Artworks, Athens 2012-2016, p. 2 (illustrated).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

Lawson (Sir John). Two Letters from Vice-Admiral John Lawson, the one to the Right Honourable, the Lord Mayor of the City of London, The other, to the Honourable the Commissioners for the Militia of the City of London. Dated December the 28, 1659, London: James off Gravesend, 1659, single sheet broadside, previously folded, edges toned, a few light spots, sheet size 36.8 x 27.3 cm (14.5 x 11 in), together with: ibid., A Declaration of Vice-Admiral John Lawson; Commander in Chief of the Fleet in the narrow Seas, by Authority of Parliament; With the Commanders of the several ships now with him in the Downes, in order to the Removal of the Interruption that is put upon the Parliament, the 13th of October last, London: Signed on board the James in the Downes, the 13th of December, 1659, single sheet broadside, previously folded, somewhat toned and spotted, sheet size 36.3 x 26.4 cm (14.25 x 10.5 in) (Qty: 2)NOTESProvenance: Estate of John Lawson (1932-2019), bookseller. ESTC R211413 (four copies) & R219239 (ten copies); Wing L721 & L718. Two rare broadsides illuminating a key episode in the chaotic events leading up the Restoration following Richard Cromwell's forced recall of the Rump Parliament. 'After the military junta of Lambert and Fleetwood had seized power, with the full support of all his captains, Lawson brought the fleet of twenty-two warships up to Gravesend to blockade the capital. In mid-winter he had the means to starve and freeze London into submission. On Christmas day 1659 Fleetwood abdicated and thereby opened the way not only to the return of the Rump but eventually to the restoration of the monarchy ... By April Lawson at last realized that the republic was bankrupt and that of the choices facing the country—anarchy, military dictatorship, or monarchy—the last was the least worst. Still, his reluctant acceptance of the Restoration was a necessary condition of its smooth achievement; he alone commanded the loyalty of the Channel Fleet' (ODNB).

Swedish West India Company. His Majesties of Sweden Ordinance and Edict about fees for Awards, Decrees and other Writtings, Contracts and Attestations relating to the Office of Justice in the Island of S:t Bartholomew in the West Indies (Forordning och Taxa pa Losen for Domar, Resolutioner och ofrige til Justitiarie-Embetet pa On S:t Barthelemy i Vest-Indien...), Given at the Palace of Stockholm the 2 of May 1797, Stockholm, 1797,1 printed broadside on laid paper (watermarked HARG), with text in three columns in Swedish, French and English, with the name of the King of Sweden, Gustaf Adolph in large letters at foot, and the name of the author of the text, M. Rosenblad to lower right corner, creased where previously folded, in fine condition, untrimmed, sheet size 54 x 42 cm (21.25 x 16.5 ins) (Qty: 1)NOTESRare. An edict providing information on prices for various legal and notarial tasks available on the Swedish-owned island in the West Indies, St. Bartholomew (St. Bart's), a free port which attracted trade from other European countries. It was the only Swedish colony, the capital of which was named Gustavia. The island was ceded to Sweden by France in 1784 in exchange for trading rights, and was administered by the Swedish West India Company (Svenska Vastindiska Kompaniet) between 1786 and 1805.

William Lionel Wyllie, R.A. (British, 1851-1931)The Dardanelles Campaignsigned and dated 'W.L.Wyllie/1917' (lower left)  oil on canvas 29.5 x 88cm (11 5/8 x 34 5/8in).Footnotes:A letter from the artist describes this scene as follows:'On the left is the old battleship Albion then comes Cape Helles and next V Beach where the collier River Clyde is run ashore close to Seddel Bakr. In the middle Queen Elizabeth with shells from the Turkish batteries falling all round her is firing towards the narrows. On the right is Murto Bay.'ProvenanceCommissioned from the artist by Mr Chadwick Kershaw in 1917.Private collection, UK.In the months preceding the outbreak of the First World War, the United Kingdom, France and Russia were keen to ensure the neutrality of the Ottoman Empire. The Central Powers - Germany and the Austro-Hungarian Empire - were keen to bring in the Turks, in the event of war, as a threat to Russia's southern flank. Britain and France were also concerned for their naval domination of the Mediterranean and any threat to the Suez Canal. From 1860, Turkey had been regarded as 'the sick man of Europe' and had been little regarded by the more highly-developed nations, but its strategic position remained important because it controlled the only ice-free supply route to Russia. In July 1914 the Ottoman Empire allied itself with Germany against Russia in return for military and naval assistance and formally joined the Central Powers against all of the Allies on 31st October. German successes during the first months of the war in France, Belgium and Russia prompted an Allied strategy aimed at eliminating the Ottomans, who were seen as a weak link in the Central Alliance, and this was to be achieved by the capture of Constantinople, the Ottoman capital, by means of a naval expedition through the Dardanelles Straits.British and French naval assets attempted to force the waterway in March 1915 but were repelled, principally by skilfully laid mine fields and well-served, although obsolete, artillery. Some of which was manned by German gunners, who were part of a military mission intended to modernise and up-skill the Ottoman Army. The combined fleet lost three battleships sunk and three others were severely damaged. This rebuff led to a change of strategy that required the Army to land and advance parallel to the Straits thereby taking the coastal defences in the rear and eliminating them so as to allow the ships undisputed passage along the waterway. Planning and assembling the force for the landings took about a month, which the Turks used to reinforce their positions. The main landings were made on 25th April 1915 on the tip of the Gallipoli Peninsula at Cape Helles, where a substantial beach-head was formed but held in check by Turkish forces occupying the higher ground inland. A flanking force made up of the Australian and New Zealand Army Corps (ANZAC) landed at Gaba Tepe, subsequently named ANZAC Cove, on the western shore of the peninsula. Its penetration inland was equally problematic. As land artillery was in short supply, the naval escorting force provided as much support as possible with its own guns, but target identification and accurate shooting were difficult. British and Commonwealth troops remained in position despite unbreakable Turkish resistance and mounting casualties from appalling weather, until the turn of the year. The ANZAC positions were evacuated on 20th December and Cape Helles on 9th January 1916. Both departures were achieved, against expectations, with minimal casualties.We are grateful to Dr Andrew Cormack for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

A GOOD LARGE PLATED NEO CLASSICAL STYLE LAMP BASE, with a Corinthian capital, acorn and oak leaf decorated column, on a square base embossed with urns. 18ins high.

An Elizabethan salt-glazed stoneware capital, in the from of a dragon-like beast with a heraldic shield collar, mounted on a plaster bracket, height 38cm

An Elizabethan small oak capital, carved in high relief with a stylised figure resembling Queen Elizabeth I giving birth, height 22cm 

Travel / Topography. Collection of three books: Paris in Pen and Picture, by John N. Raphael, Paris: Brentano's, no date, oblong folio, publisher's gilt cloth, marbled endpapers; Barcelona a la Vista, Fotografias de la Capital, Barcelona: Antonio Lopez, no date, oblong folio, publisher's gilt pictorial cloth; Lake Scenery of England, by J. B. Pyne, London: Day & Son, no date, illustrated with lithographic plates, publisher's gilt cloth (3)

Gould, Robert. Poems, Chiefly Consisting of Satyrs and Satyrical Epistles, London: 'Printed, and are to be sold by most Booksellers in London and Westminster', 1689. Red & black title page, woodcut header and capital, full contemporary calf (worn, upper board detached), as found. Scarce

A pair of George IV mahogany side cabinets, circa 1825, each rectangular top above a panelled door opening to a shelved interior, flanked on each side by a plain pilaster surmounted by a lappet and stylised flowerhead carved capital, on a plinth base, each 85cm high, 64cm wide, 36cm deep

A French 'plum pudding' mahogany and gilt metal mounted pedestal desk, in Empire style, 19th century, the mounts incorporating neoclassical motifs throughout including anthemion and capital terminals, the gilt tooled leather inset writing surface above an arrangement of nine drawers, the side panels surmounted by slides, the opposite side with nine false drawers, on turned feet, 77.5cm high, 161cm wide, 90cm deep

BURDON, ERIC. Collection of Eric Burdon solo LPs with an interesting test pressing included. Test pressing comprises two single sided white labels for 'Love Is' as per handwritten titles, first matrix 2XMG 285 1 G, second disc stamped 'STEREO'. Very clean Ex condition in plain paper sleeves. Also to include: Eric Burdon & The Animals ?– Love Is (UK, later press, gatefold, Madman/Gemini in wrong order on sleeve, 2619 002 stereo), Stop (Factory Sample, US, E-ST 11426), Declares War (uk stereo, 2310 041), Guilty! (UK gatefold, UAG 29251), Eric Burdon And War ?– The Black-Man's Burdon (German, Liberty ?– LBS 83 475/76 X), Love Is (US, stereo, SE 4591-2), Eric Burdon And War ?– The Black-Man's Burdon (US, stereo, SE-4710-2), Sun Secret (radio play copy, Ex Capital Radio, ST 11359). Condition varies but many from VG+ to Ex.

For the Sake of Example, Capital Courts Martial 1914-18, the truth - Anthony Babington, excellent condition with dust cover and outer protective transparent cover h/b

Pair of Neoclassical Corinthian columnar form marble overlay and carved gilt wood pedestals. Early 20th C. The circular marble column rising to a carved gilt wood capital surmounted by a square form marble top and descending to a gilt wood embellished square form base. Height: 51.5 in. Surface Top Width: 14 x 14 in. Weight: 150+ lbs (each).

Yan Bingwu (Chinese, B. 1954) "The Louvre" Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The Louvre is located in Paris, the capital of France. The Louvre Palace, now the Louvre Museum, is one of the largest and most grandiose imperial buildings in the world. First built during the reign of Philip II, it has been expanded in the past centuries to a magnificent palace complex. It is now the National Art Gallery of France, and a precious treasure for all mankind. Image Size: 12 x 11 in. Overall Size: 15.5 x 14.5 in. Unframed. (B16139)

Chinese Gov. - Reorganization Gold Loan of 1913 Coupons. Brown 20 5, German Bank Issue or French Indochina Issue. 42-43 Coupons. The following is courtesy of John M. Thomson in the Historic Foreign Bonds of China book. 1913 - 5 Reorganisation Gold Loan The Reorganisation Gold Loan of 1913 was for the capital sum of 25,000,000. The Loan was, "..authorized by Presidential Order of 22nd April 1913 officially communicated by the Wai Chiao Pu to the Ministers in Peking of Great Britain, Germany, France, Russia and Japan." The newly appointed President of the Republic of China, Yuan Shih Kai, initially approached Britain, France, Germany and United States of America seeking a substantial loan to assist the fledgling government of the Republic of China. Later this group was expanded to include Japan and Russia, but eventually the United States of America withdrew from participation, leaving five countries which agreed to assist the Chinese Government with financial aid. The principal financial institutions which participated in the loan arrangements were the Hongkong & Shanghai Banking Corporation, Deutsch-Asiatiche Bank, Banque de I'Indo-Chine and Russian Asiatic Bank. The Yokohama Specie Bank participated on behalf of Japan, but did not issue separate bonds, countersigned by the bank. Arrangements were made as to convertibility into Japanese Yen of the bearer bonds issued by the other four issuing banks. The banks all received 6% commission allocated to each bank together with bonds issued are detailed in the data tables below: Hongkong & Shanghai Banking Corporation 7,416,680 Deutsch-Asiatiche Bank 6,000,000 Banque de I'Indo-Chine 7,416,660 Russian Asiatic Bank 2,777,780 Russian Asiatic Bank (Belgium) 1,388,880 It should be noted that the original Russian issue bonds which were brown coloured, were subsequently withdrawn and exchanged for a series of green coloured bonds. The original brown coloured bonds, sometimes referred to as "Yellow Bonds" were annulled. Overall Size: 32.5 x 22 in. Framed behind glass.

Japan.- Flags of the Different Daimios of Japan, large panoramic roll with the names of 29 Japanese Daimyos (Landlords) and their respective province, capital and the annual revenue in kokus of rice, alongside 88 associated flags, text in English and Japanese, colour woodblock, in part heightened with gold, total size approx. 180 x 4000 mm. (7 1/4 x 157 1/2 in), carefully laid onto very fine tissue support, some minor splitting, handling creases, some surface dirt and light browning, the outer edge with tears and finger-soiling, wooden roller, without case, [circa 1860s]

Co. Dublin: Electricity Works Skerries - Consumer Rental Log Book, Proprietor: W.H. Flanagan dating Dec. 1923 - March 19347, manuscript accounts, outlining light, power, meter rent, repairs, total, for various residential areas, commercial and other buildings (including Grand Hotel, Methodist Church, Carnegie Library, Public Houses and Schools,) approx. 205 manuscript pages, oblong folio, hf. calf, gilt lettering on front cover. (1) *An invaluable manuscript document of economic and social importance relating to the early stages of the Free State in its capital city.

Australian issued solid silver 1916 dated bugle. Solid silver (tested). Inscribed Henry Keat & Sons 105 & 103 Matthias Road London N 1916. With war department broad arrow inside capital D over makers details, denoting issue within the Australian Army. Serial #C1973. Numerous small dents and scratches. Some weld separation to mouth piece pipe & bell. Good overall & scarce.

A quality Chinese Song dynasty (960-1280 AD) Jianyao Hare's Fur pottery tea bowl. Possibly of the period. 12.5cm diameter. Provenance: Purchased in 1991 from Capital Gallery, Hong Kong. With original purchase receipt.

A 19TH CENTURY CARVED GILTWOOD SIX BRANCH CANDLE STAND CAPITAL, holders lacking spikes, the central shelf with freestanding carved fruitwood twin handled vase decoration, later brass sphere finial, on a later square plinth base, combined height approximately 64cm x width 72cm (2) (condition: gilding is heavily worn to the candle holder, some chips down to gesso, old repairs on reverse to strengthen splits to candle arms, both pieces have woodworm damage, various splits in the wood to both pieces)

Original vintage advertising poster for tourism in Munich. It features the Odenplatz in the distance, a large square in central Munich which was developed in the 19th century by Leo von Klenze and is at the Southern end of Ludwigstrasse. Two important buildings, the Feldherrnhalle and the Theatinerkirche can be seen. Munich is the capital and most populous city of Bavaria, the second most populous German federal state. With a population of around 1.5 million, it is the third-largest city in Germany, after Berlin and Hamburg, and thus the largest which does not constitute its own state, as well as the 11th-largest city in the European Union. The city's metropolitan region is home to 6 million people. Straddling the banks of the River Isar (a tributary of the Danube) north of the Bavarian Alps, it is the seat of the Bavarian administrative region of Upper Bavaria, while being the most densely populated municipality in Germany (4,500 people per km²). Munich is the second-largest city in the Bavarian dialect area, after the Austrian capital of Vienna, Munich was one of the host cities of the official tournament of the 2006 FIFA World Cup. Condition: Acceptable condition, staining on left edge. Country of printing: Germany, designer: Seelig & Co , size (cm): 71x50, year of printing: 1950s.

Original vintage travel advertising poster for Lindau island in Bavaria, Germany. Lindau is a major town and island on the eastern side of Lake Constance (Bodensee in German). It is the capital of the county (Landkreis) of Lindau, Bavaria and is near the borders of the Austrian state of Vorarlberg and the Swiss cantons of St. Gallen and Thurgau. The coat of arms of Lindau town is a linden tree, referring to the supposed origin of the town's name (Linde means linden tree in German). The slogan below reads "Die Ferieninsel Im Bodensee", translated as "The Holiday Island in Lake Constance". The poster features two anthropomorphic birds, one of which is wearing a bow tie and tuxedo, holding a cane, and both wearing hats. They are perched on a branch of a cherry tree, on which also a suitcase is hung from. The birds look downwards at Lindau island, against a blue backdrop. Condition: Acceptable condition, minor paper loss at lower left corner and bottom tear, taped at the back. Country of printing: Germany, designer: Lohrer, size (cm): 59x42, year of printing: 1950s.

Original vintage travel advertising poster for Nova Scotia, Canada, and published by the Nova Scotia Travel Bureau. Nova Scotia is a province in Eastern Canada, with Halifax being its capital and largest city. The tourism industry is important for Nova Scotia's economy, and is frequented by cruise ships and seaside lovers. The colour photograph features a coastline scene of Novia Scotia, with two women relaxing and conversing, arch, cars and a headland in the distant shore. Condition: Very good condition, creases. Country of printing: Canada, designer: Unknown, size (cm): 87x57, year of printing: 1960s.

Original vintage travel advertising poster for Lahti, a city and municipality situated on a bay at the southern end of lake Vesijärvi about 100 kilometres (60 mi) north-east of the capital Helsinki, and considered the 'sports capital' of Finland. The name Lahti translates to 'bay' in English. The poster was designed by Finnish graphic designer Martti Mykkänen (1926-2008) and printed by Suomalaisen Kirjallisuuden Kirjapaino Oy. Maykkanen won the first prize in the competition “Best Book Cover of the Year” for the Finnish cover of Leonid Andrejev’s book The Tale of Seven Hanged Men. Roughly estimated Mykkänen has created 450 book covers for almost all the publishing houses in Finland. He also created corporate logos, for example the T-logo for the publishing house Tammi and the three flashes of lightning still used today by Helsinki Energy. He was also the art director for the magazine Look at Finland, published by the Finnish Tourist Board. The poster features a drawing of balloons, singing bird, boy with a red cap, modern architecture and busy street, against a cerulean blue background. The Finnish flag can be seen on a pole atop a building Condition: Excellent condition. Country of printing: Finland, designer: Martti Mykkänen, size (cm): 100x62, year of printing: 1960s.

Original vintage travel advertising poster for Cologne, Germany, designed by German painter, graphic designer and painter Werner Labbe (1909-1989). The artwork features the spires of the iconic Cologne Cathedral, against a stained glass graphic and navy blue background. Printed by Kolnische Verlagsdruckerei G.M.B.H. Cologne is the largest city of Germany's most populous federal state of North Rhine-Westphalia and the fourth-most populous city in Germany. With slightly over a million inhabitants (1.08 million) within its city boundaries, Cologne is the largest city on the Rhine and also the most populous city both of the Rhine-Ruhr Metropolitan Region, which is Germany's largest and one of Europe's major metropolitan areas, and of the Rhineland. Centered on the left bank of the Rhine, Cologne is about 45 kilometres (28 mi) southeast of North Rhine-Westphalia's capital of Düsseldorf and 25 kilometres (16 mi) northwest of Bonn. It is the largest city in the Central Franconian and Ripuarian dialect areas. The city's Cologne Cathedral (Kölner Dom) is the seat of the Catholic Archbishop of Cologne. Condition: Good condition, small tears at the top, taped at the back. Country of printing: Germany, designer: Werner Labbe, size (cm): 84x59, year of printing: 1950s.

Original vintage travel advertising poster Albania - Part of the Albanian Rich Folklore / Albanie, Pièce du Folkor riche Albanais - Featuring a great illustration by Dh Mbarja of a woman in traditional Albanian clothing and a head scarf stood in front of a map of Albania - The capital city Tiranavis marked on it under an illustration of a castle. Albania, on Southeastern Europe’s Balkan Peninsula, is a small country with Adriatic and Ionian coastlines and an interior crossed by the Albanian Alps. Condition: Good condition, creasing and tears on margins.. Country of printing: Albania, designer: Dh Mbarja, size (cm): 104x71, year of printing: 1956.

Original vintage travel poster published by the Swedish Tourist Traffic Association to promote the Swedish capital city of Stockholm as a tourist destination with a fantastic photograph showing a view of the Town Hall at night with its famous tower reflecting into one of Stockholm's numerous waterways. The city stretches across fourteen islands where Lake Mälaren flows into the Baltic Sea. Printed in Sweden by Esselte AB, Stockholm. Condition: Very good condition, minor tears taped at the back. Country of printing: Sweden, designer: S. Svantesson, size (cm): 100x61.5, year of printing: 1950s.

Original vintage travel poster: Vacation in Beautiful Ohio. Colourful and fun artwork by Kocab showing some of the scenes and outdoor activites that one could encounters when visiting Ohio including Louisville Old Pump Station white Water Tower in the centre, old wooden fort and wooden cabins, a man fishing in a pond while camping, people playing on the beach and travelling on a steam boat on the Ohio River. The vignettes are set against a yellow background and the title is printed across the top in stylised letters. Published by the Division of Travel and Recreation of the Ohio Department of Industrial and Economic Development. Ohio is a state in the East North Central region of the Midwestern United States. Of the fifty states, it is the 34th largest by area, the seventh most populous, and the tenth most densely populated. The state's capital and largest city is Columbus. Ohio is bordered by Lake Erie to the north, Pennsylvania to the east, West Virginia to the southeast, Kentucky to the southwest, Indiana to the west, and Michigan to the northwest. Condition: Acceptable condition, staining to left margin, creasing. Country of printing: USA, designer: Kocab, size (cm): 63x51, year of printing: 1950s.

Original vintage WWII propaganda poster: Assault on Kohima. This poster features black and white vignettes photographs showing the Assault on Kohima and its aftermath. The Battle of Kohima was the turning point of the Japanese U Go offensive into India in 1944 during the Second World War. The battle was fought in three stages from 4 April to 22 June 1944 around the town of Kohima, the capital of Nagaland in northeast India, and saw the British and Indian troops stop the Japanese invasion of India and Burma and force them into retreat. The battle is often referred to as the "Stalingrad of the East". In 2013, the British National Army Museum voted the Battle of Imphal and Kohima to be "Britain's Greatest Battle". The Burma Campaign, which took place towards the end of WWII in 1944 and 1945, resulted in the defeat of the Japanese Army and the liberation of Burma after it had been invaded by the Empire of Japan in 1942. Condition: Good condition, creasing, staining, tears.. Country of printing: Burma, designer: Unknown, size (cm): 41.5x52.5, year of printing: 1940s.

Original vintage WWII propaganda poster: Clouds Over Assam. This poster features black and white vignettes photographs showing various views of typical scenery around Maram at milestone 81 on the road to Imphal. The Battle of Imphal took place in the region around the city of Imphal, the capital of the state of Manipur in northeast India from March until July 1944. Japanese armies attempted to destroy the Allied forces at Imphal and invade India, but were driven back into Burma with heavy losses. Together with the simultaneous Battle of Kohima on the road by which the encircled Allied forces at Imphal were relieved, the battle was the turning point of the Burma campaign. The Burma Campaign, which took place towards the end of WWII in 1944 and 1945, resulted in the defeat of the Japanese Army and the liberation of Burma after it had been invaded by the Empire of Japan in 1942. Condition: Good condition, creasing.. Country of printing: Burma, designer: Unknown, size (cm): 41.5x52.5, year of printing: 1940s.

Original vintage WWII propaganda poster: Entry Into Kohima. This poster features black and white vignettes photographs illustrating the entry into Kohima on 15 May 1944 of the British and Indian Troops during the Battle of Kohima. The Battle of Kohima was the turning point of the Japanese U Go offensive into India in 1944 during the Second World War. The battle was fought in three stages from 4 April to 22 June 1944 around the town of Kohima, the capital of Nagaland in northeast India, and saw the British and Indian troops stop the Japanese invasion of India and Burma and force them into retreat. The battle is often referred to as the "Stalingrad of the East". In 2013, the British National Army Museum voted the Battle of Imphal and Kohima to be "Britain's Greatest Battle". The Burma campaign in the South-East Asian Theatre of World War II was fought primarily by British Commonwealth, Chinese and United States forces[5] against the forces of Imperial Japan, who were assisted to some degree by Thailand, the Burmese National Army and the Indian National Army. The British Commonwealth land forces were drawn primarily from the United Kingdom, British India and Africa. Condition: Fair condition, creasing, tears, staining.. Country of printing: Burma, designer: Unknown, size (cm): 41.5x52.5, year of printing: 1940s.

Original vintage travel poster: Capital Cities of Australia. This poster advertise the seven state capital cities of Australia: Sydney, Melbourne, Perth, Hobart, Adelaide, Brisbane and Canberra, with each city illustrated by small photographic vignettes showing various landmarks and street scenes, including the famous Sydney Bridge. The images are set against a bright red background with the text printed in white letters. Issued in Great Britain by the Australian News and Informations Bureau at the Australian House in London. Condition: Good condition, folds, tear, small paper loss, tape mark, pinholes.. Country of printing: UK, designer: Unknown, size (cm): 84x56, year of printing: 1950s.

Original vintage WWII propaganda poster: Kohima Aftermath. This poster features black and white vignettes photographs showing the devastated aftermath of the Battle of Kohima. The Battle of Kohima was the turning point of the Japanese U Go offensive into India in 1944 during the Second World War. The battle was fought in three stages from 4 April to 22 June 1944 around the town of Kohima, the capital of Nagaland in northeast India, and saw the British and Indian troops stop the Japanese invasion of India and Burma and force them into retreat. The battle is often referred to as the "Stalingrad of the East". In 2013, the British National Army Museum voted the Battle of Imphal and Kohima to be "Britain's Greatest Battle". The Burma Campaign, which took place towards the end of WWII in 1944 and 1945, resulted in the defeat of the Japanese Army and the liberation of Burma after it had been invaded by the Empire of Japan in 1942. Condition: Very good condition, creasing.. Country of printing: Burma, designer: Unknown, size (cm): 41.5x52.5, year of printing: 1940s.

Original vintage travel advertising poster: Save Time and Money Traveling in London. Poster issued by Network SouthEast to promote its various tickets and travel options available to its customers to save time and money traveling in London, including One Day Capitalcard tickets, Journeys across the capital and Through tickets to the Underground, with the tickets displayed on the left side of the poster. The title is printed across the top of the poster in bold red letters against a bright yellow background with the informative text displayed on the right side of the poster in red and black. Network SouthEast (NSE) was one of the three passenger sectors of British Rail formed in 1982. NSE principally operated commuter trains in the London area and inter-urban services in densely populated South East England, although the network reached as far west as Exeter. During the privatisation of British Rail it was gradually broken into a number of franchises. Published by Central Advertising Services for Network SouthEast. Printed by Cancol Ltd. Condition: Good condition, folds, creasing, small tear in margin.. Country of printing: UK, designer: Unknown, size (cm): 101x63.5, year of printing: 1987.

Original vintage travel advertising poster for Pennsylvania tourism. The poster was issued by the Pennsylvania Department of Commerce and the Bureau of Travel Department to promote tourism in the state. The posters features a colourful graphic work of a Pennsylvanian Dutch family, by Bart Philips Sloane. The Pennsylvania Dutch are formed by early German-speaking immigrants to Pennsylvania and their descendents. One of the thirteen original colonies, Pennsylvania housed the nation's capital in its largest city, Philadelphia from 1790 until 1800. Condition: Very good condition, minor creasing.. Country of printing: USA, designer: Bart Sloane, size (cm): 74x54, year of printing: 1960s.

Original vintage advertising poster for an exhibition of paintings and sculptures in the West Flanders region in 1950. West Flanders is the westernmost province of the Flemish Region, in Belgium. It is the only coastal Belgian province, facing the North Sea to the northwest. It has land borders with the Dutch province of Zeeland to the northeast, the Flemish province of East Flanders to the east, the Walloon province of Hainaut in the southeast and the French department of Nord to the west. Its capital is Bruges (Brugge). Other important cities are Kortrijk in the south and Ostend (Oostende) on the coast, Roeselare and Ypres (Ieper). The province has an area of 3,197 km2 (1,234 sq mi) which is divided into eight administrative districts (arrondissementen) containing 64 municipalities. As of January 2019, West Flanders has a population of 1,195,796. Condition: Good condition, folds, small tear along folds. Marked on the top left corner with crayon/ colour. . Country of printing: Belgium, designer: Setola/ La Lithographie Artistique, Brugge, size (cm): 105x66, year of printing: 1950.

Original vintage WWII propaganda poster: Fort Dufferin. This poster features a series of black and white vignettes photographs showing solid construction, thickness of walls, and snipers posts that withstood all the modern weapons of war during a siege lasting 10 days before falling to the 19th Division. Most of Fort Dufferin compound, also known as Mandalay Palace, was destroyed by allied bombing during the Burma Campaign; only the royal mint and the watch tower survived. The Burma Campaign, which took place towards the end of WWII in 1944 and 1945, resulted in the defeat of the Japanese Army and the liberation of Burma after it had been invaded by the Empire of Japan in 1942. The Mandalay Palace, located in Mandalay, Myanmar, is the last royal palace of the last Burmese monarchy. The palace was constructed between 1857 and 1859 as part of King Mindon's founding of the new royal capital city of Mandalay. The plan of Mandalay Palace largely follows the traditional Burmese palace design, inside a walled fort surrounded by a moat. The palace itself is at the centre of the citadel and faces east. All buildings of the palace are of one storey in height. The number of spires above a building indicated the importance of the area below. Condition: Good condition, creasing.. Country of printing: Burma, designer: Unknown, size (cm): 41.5x52.5, year of printing: 1940s.

Darwin (Charles) The Formation of Vegetable Mould through the action of Worms, with observations on their habits, third thousand, wood-engraved illustrations, errata slip, advertisement f. at end, original blind-stamped and gilt green cloth, rubbed at extremities, a very good copy, 8vo, 1881.⁂ Provenance: 'To the model maiden of the 19th century Jessie Beck from Theodore Beck, Dec 13, 1881', with 3 capital letters depicted as worms (inscription to front endpaper). Theodore Beck was the Principal of the Mahommedan Anglo-Oriental College, Aligarh, in the years 1884-99. A card bearing a contemporary verse on the death of Darwin, signed with initials R.F.F, is mounted on front free endpaper.

London.- Lysons (Rev. Daniel) The Environs of London, being an Historical Account of the Towns, Villages, and Hamlets, within Twelve Miles of that Capital, 6 vol., including supplement, some vol. with engraved frontispiece maps and vignette titles, dedication f., numerous engraved plates and maps, folding tables, some browning, spotting and offsetting, occasional staining, contemporary mottled or tree calf (supplement), spine gilt and with leather labels (some chipping), some joints starting, but holding firm, corners worn, rubbed, 4to, A. Strahan for T. Cadell, 1796-1811.

Tony Blackburn, David Hamilton, Kenny Everett and other DJs Capital Gold promotional and complete board game manufactured for the promotion of the radio station for London, Capital Gold 1548AM. The board game is for 2 - 8 players and the DJs have separate programmes ie: Tony Blackburn - Female Vocalists, David Hamilton - groups, Steve Wells - Films,  Dave Cash - Albums and there are two packs of cards with questions for the players to answer as they move round the board. Obtained direct from the DJ who has one spare board game.

A PAIR OF LATE VICTORIAN SILVER CORINTHIAN COLUMN CANDLESTICKS, ELKINGTON & CO LTD, LONDON 1900, each with beaded detachable drip-pan over a Corinthian capital raised on a stop-fluted column, issuing from a stepped square base, weighted. 16.2cm

§ WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) COMPOSITION WITH YELLOW - NOVEMBERSigned and dated, gouache on paper (Dimensions: 54cm x 78cm (21.25in x 30.75in))Biography: A key figure in Post-War British art, William Gear was one of the few British artists in this period to make a strong impression overseas, through his commitment to developments in abstraction and involvement with avant-garde groups in Europe. Throughout his life and career he remained a dedicated artist and passionate champion of art and other artists. Gear headed for Paris in 1947, maintaining a long-established tradition of Scottish artists working and studying in the French capital. It was during this time that he established his more progressive credentials, when he became involved with CoBrA, a European avant-garde art movement made up of artists united in their pursuit of complete freedom of form, as they searched for new modes of expression to fit with their expectations of life post-war. In 1950, Gear decided to return to England but seemed to fall out of critical favour at this time, and was exhibiting less regularly. Yet he continued to paint and support the arts in other ways; acting as Curator of the Towner Art Gallery, where he influenced the purchasing committee to establish a collection of post-war British Art, and working as Head of the Faculty of Fine Art at the College of Art in Birmingham, while continuing to support local artists through acquisitions made by the Friends of Birmingham Museums and Art Galleries. In later years his collecting has been celebrated, but his vision was ahead of the curve in Britain, where at the time it was ridiculed and criticised. Towards the end of his life, Gear's critical reputation was reinvigorated when an exhibition of CoBrA work revived interest in the movement, offering a variety of exhibition opportunities for Gear, one of only two British artists' featured in the retrospective. Gear was also recognised institutionally, with an election to the Royal Academy in 1995. A controversial figure in his lifetime, Gear's importance as both an artist and passionate champion of the arts has been increasingly recognised in recent years. An artistic visionary, Gear stayed true to his principles and perspectives despite unpopularity and criticism and it is only now that the true extent of his vision and its contemporary relevance are finally becoming clear.

JOHN WALTER WOLSELEY (AUSTRALIAN B.1938) UNTITLED C.1965Etching and aquatint (Dimensions: 29cm x 39.5cm (11.5in x 15.5in))Provenance: The vendor was a friend of the artist, and acquired it directly. Biography: John Wolseley is a painter, printmaker and installation artist, whose work is inspired by the natural splendour of Australia. Wolseley was born in Somerset, England and studied at St Martins School of Art for a year in 1957, before attending the Byam Shaw School of Art, London, in printmaking from 1958-63 and later in Paris between 1961-63. In 1976, he travelled to Australia where he travelled extensively through the outback, and ultimately settled. He has made countless journeys around Australia trying to understand 'how the geology contributes to the spirit of the place'. This question, along with the Australian terrain and native flora and fauna, continues to inspire Wolseley and his art. In 1991, he received an Australia Council Fellowship which enabled him to spend eight months in the Simpson Desert, acting as a cartographer of sand dune- an experience which also had a great impact on his artwork. He has been the artist in residence at Deakin University, Bendigo, the Joye Art Foundation, the Art Gallery of Western Australia and George Cottage Launceston and has taught painting in Northern Territory Communities since 1978. Wolseley has also been involved in both solo and group exhibitions across Australia. He has won many awards for his work, including the Geelong Gallery Capital Permanent Acquisition Award, the Art Gallery of New South Wales Trustees watercolour prize, and the Alice Prize. He received a bicentennial commission from the Art Gallery of New South Wales in 1988, the Australia Council Grant in 1998 and an Honorary PhD in Science from Macquarie University in 2005. His work can be found in public and private Australian collections, as well as in collections in England and Yugoslavia.

§ WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLEDSigned and dated '64, mixed media (Dimensions: 73cm x 55cm (28.75in x 21.5in))Biography: A key figure in Post-War British art, William Gear was one of the few British artists in this period to make a strong impression overseas, through his commitment to developments in abstraction and involvement with avant-garde groups in Europe. Throughout his life and career he remained a dedicated artist and passionate champion of art and other artists. Gear headed for Paris in 1947, maintaining a long-established tradition of Scottish artists working and studying in the French capital. It was during this time that he established his more progressive credentials, when he became involved with CoBrA, a European avant-garde art movement made up of artists united in their pursuit of complete freedom of form, as they searched for new modes of expression to fit with their expectations of life post-war. In 1950, Gear decided to return to England but seemed to fall out of critical favour at this time, and was exhibiting less regularly. Yet he continued to paint and support the arts in other ways; acting as Curator of the Towner Art Gallery, where he influenced the purchasing committee to establish a collection of post-war British Art, and working as Head of the Faculty of Fine Art at the College of Art in Birmingham, while continuing to support local artists through acquisitions made by the Friends of Birmingham Museums and Art Galleries. In later years his collecting has been celebrated, but his vision was ahead of the curve in Britain, where at the time it was ridiculed and criticised. Towards the end of his life, Gear's critical reputation was reinvigorated when an exhibition of CoBrA work revived interest in the movement, offering a variety of exhibition opportunities for Gear, one of only two British artists' featured in the retrospective. Gear was also recognised institutionally, with an election to the Royal Academy in 1995. A controversial figure in his lifetime, Gear's importance as both an artist and passionate champion of the arts has been increasingly recognised in recent years. An artistic visionary, Gear stayed true to his principles and perspectives despite unpopularity and criticism and it is only now that the true extent of his vision and its contemporary relevance are finally becoming clear.

§ WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED - RED, ORANGE, BLUEMixed media on paper (Dimensions: 38.5cm x 24cm (15.25in x 9.5in))Biography: A key figure in Post-War British art, William Gear was one of the few British artists in this period to make a strong impression overseas, through his commitment to developments in abstraction and involvement with avant-garde groups in Europe. Throughout his life and career he remained a dedicated artist and passionate champion of art and other artists. Gear headed for Paris in 1947, maintaining a long-established tradition of Scottish artists working and studying in the French capital. It was during this time that he established his more progressive credentials, when he became involved with CoBrA, a European avant-garde art movement made up of artists united in their pursuit of complete freedom of form, as they searched for new modes of expression to fit with their expectations of life post-war. In 1950, Gear decided to return to England but seemed to fall out of critical favour at this time, and was exhibiting less regularly. Yet he continued to paint and support the arts in other ways; acting as Curator of the Towner Art Gallery, where he influenced the purchasing committee to establish a collection of post-war British Art, and working as Head of the Faculty of Fine Art at the College of Art in Birmingham, while continuing to support local artists through acquisitions made by the Friends of Birmingham Museums and Art Galleries. In later years his collecting has been celebrated, but his vision was ahead of the curve in Britain, where at the time it was ridiculed and criticised. Towards the end of his life, Gear's critical reputation was reinvigorated when an exhibition of CoBrA work revived interest in the movement, offering a variety of exhibition opportunities for Gear, one of only two British artists' featured in the retrospective. Gear was also recognised institutionally, with an election to the Royal Academy in 1995. A controversial figure in his lifetime, Gear's importance as both an artist and passionate champion of the arts has been increasingly recognised in recent years. An artistic visionary, Gear stayed true to his principles and perspectives despite unpopularity and criticism and it is only now that the true extent of his vision and its contemporary relevance are finally becoming clear.