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§ WILLIAM GEAR R.A., R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED - 1975Signed and dated, acrylic on paper (Dimensions: 46cm x 58cm (18in x 22.75in))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.

Sun Jusheng (Chinese, 1913 - 2018) "Cats #2" Original Watercolor painting on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Domestic cats have been a part of civilization for nearly five thousand years. In the days of Ancient Egypt, as slaves toiled about the pyramids, cats held a place of honor. The Greeks used cats to combat rodents and began to steal them from the Egyptians, and it soon became a capital crime to steal a cat. As Romans overran the Kingdom of Egypt, the cats of a dying civilization became the spoils of war. By ships, by land, carried by wagon or cart, the cat made its way into the heart of nearly every civilization on earth. In America, cats made their appearance in the 1700s, wending their way into the hearts and homes of our founding fathers. Today, cats are among America's favorite pets and are lavished with affection in many an American home. Image Diameter: 13.75 in. Overall Size: 20 x 20 in. Unframed. (B08234)

Paul Calle (American, 1928 - 2010) and Chris Calle (American, B. 1961) "1920's - World Suffers Economic Depression" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared on the Republic of the Marshall Islands The 20th Century series 60c World Suffers Economic Depression stamp issued March 16, 1998. In the 1920s, the United States experienced spectacular economic growth stemming from new technology developments and government policies that aided big business. Investments in stocks and corporations increased dramatically, providing new capital for corporate expansion both in America and globally. Beginning in September 1929, the stock market began to decline and falling prices prompted investors to sell. By October 29, "Black Tuesday," panic-stricken investors had sold so much stock that the resulting low stock values caused the market to collapse. This catastrophic event precipitated a worldwide economic slump that affected all Western industrialized countries. The crash, combined with other economic factors, led to the Great Depression and the most difficult decade of the 20th century. Image Size: 9.25 x 13.75 in. Overall Size: 14.25 x 20 in. Unframed. (B15873 / B15874)

Sun Jusheng (Chinese, 1913 - 2018) "Cats #4" Original Watercolor painting on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Domestic cats have been a part of civilization for nearly five thousand years. In the days of Ancient Egypt, as slaves toiled about the pyramids, cats held a place of honor. The Greeks used cats to combat rodents and began to steal them from the Egyptians, and it soon became a capital crime to steal a cat. As Romans overran the Kingdom of Egypt, the cats of a dying civilization became the spoils of war. By ships, by land, carried by wagon or cart, the cat made its way into the heart of nearly every civilization on earth. In America, cats made their appearance in the 1700s, wending their way into the hearts and homes of our founding fathers. Today, cats are among America's favorite pets and are lavished with affection in many an American home. Image Diameter: 13.75 in. Overall Size: 20 x 20 in. Unframed. (B08236)

Sun Jusheng (Chinese, 1913 - 2018) "Cats #3" Original Watercolor painting on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Domestic cats have been a part of civilization for nearly five thousand years. In the days of Ancient Egypt, as slaves toiled about the pyramids, cats held a place of honor. The Greeks used cats to combat rodents and began to steal them from the Egyptians, and it soon became a capital crime to steal a cat. As Romans overran the Kingdom of Egypt, the cats of a dying civilization became the spoils of war. By ships, by land, carried by wagon or cart, the cat made its way into the heart of nearly every civilization on earth. In America, cats made their appearance in the 1700s, wending their way into the hearts and homes of our founding fathers. Today, cats are among America's favorite pets and are lavished with affection in many an American home. Image Diameter: 13.75 in. Overall Size: 20 x 20 in. Unframed. (B08235)

Charles J. Berger (American, 1922 - 2012) "Blacksmith" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 13c Blacksmith stamp issued July 4, 1977. Like other American civilians with valuable skills, the Blacksmith made important contributions in support of troops in the field during the Revolution. America's War for Independence was fought with handmade tools and weapons. Chances are, if it was made from iron, the Blacksmith made it. In the artwork, the Blacksmith is working a tomahawk -- a small ax used for chopping wood for fires or building barricades; it was also a weapon. He also supplied troops with iron work for cannon, carriages, horseshoes, chains, pikes, and literally hundreds of other items. Before the Revolution, the Blacksmith forged wherever iron work was necessary to any settlement. He made everyday things such as nails and was called upon to repair iron tools of all sorts. If a Blacksmith was inclined to produce something decorative, he might try his hand at a scroll hinge, modeling it after some European design he admired. The Blacksmith was above all a versatile fellow. In a capital such as Williamsburg, Virginia, he might have to repair surgical instruments. With fire and anvil the Blacksmith forged the implements of peace and war and perhaps if he read his Bible, he looked forward to forging farm implements in abundance. As with the other civilian craftsmen, freedom was worth any sacrifice. Image Size: 12 x 13.5 in. Overall Size: 17.5 x 20 in. Unframed. (B05215)

Lettering.- Hollins (William) The British Standard of the Capital Letters contained in the Roman Alphabet, first edition, 52 engraved plates, most of large single letters each in bold and in outline with dimensions (I & J together on one sheet), light spotting, staining to final leaf, title and final two leaves defective at lower margin (repaired, one just touching last line), old cloth-backed boards, roan label, rubbed and soiled, upper cover slightly warped, 4to, Birmingham, for the author, 1813.⁂ Scarce; Library Hub lists only 4 copies (Oxford, Cambridge, Glasgow and Aberdeen).

Calligraphy.- Watson (Thomas) Copy Book Enriched with Great Variety of the most Usefull & Modish Hands....fitted for the profit and delight of Ingenious Youth, engraved throughout with decorative title and 26 plates (numbered 1-17), the last signed by Elder, some light spotting and soiling, mostly marginal, later half morocco, [cf. Berlin Kat. 5046, 1683 edition], small oblong folio, H. Overton and I. Hoole, [c.1726].⁂ Rare work by the teacher of a writing school at Newport Pagnell, originally published in 1683 and distinguished by the large capital letters on each page. This edition is not listed by ESTC.

GARRETT PAT: (1850-1908) American Lawman, Bartender and Customs Agent of America's Old West, famous for his pursuit and shooting of Billy the Kid. D.S., P. F. Garrett, two pages, oblong 4to, Jarilla, New Mexico, 12th December 1899. The attractive partially printed document is a share certificate for one hundred shares of $10 each of the capital stock of The Alabama Gold and Copper Mining Company, numbered 50 and issued to W. H. H. Llewellyn. Signed by Garrett at the foot in his capacity as Secretary of the company and countersigned by J. M. Llewellyn (most likely a relative of the shareholder) in his capacity as President. With the gold foil blind embossed seal affixed to the lower left corner. Scarce. VG  £1200-1800    

HICKS JOHN: (1904-1989) British Economist. Nobel Memorial Prize in Economic Sciences in 1972. Widely considered one of the most influential economists of the 20th century. Among his major contributions his “Consumer Demand Theory” in microeconomics and his book Value and Capital (1939). Signed printed 6 x 9 paperback copy of Hicks´ article The Quest for Monetary Stability, eighteen pages, being a reprinted from The South African Journal of Economics, 1975. Signed in blue ink `John Hicks´, to the upper right corner. VG  £250-350      

GARROS, VEDRINES & KIMMERLING: Rare multiple signed page by three legendary Pioneer Aviators. Although for different reasons, all died in air crashes. Comprising Roland Garros (1888-1918) French Aviation Pioneer and Fighter Pilot of World War I. Garros died at the very early age of 29 when he was shot down by a German fighter pilot only a month before the end of the war; Jules Védrines (1881-1919)French Pioneer Aviator, the first to fly at more than 100 mph. Winner of the Gordon Bennett Trophy race, 1912. Autographs of Védrines are rare as a result of his untimely death at the age of 37 in an air crash, & Albert Kimmerling (1882-1912) French Pioneer Aviator who died at the very early age of 29 in a crash while test flying. One page, 8vo, removed from an autograph album, individually signed by the three pilots, with written text in the hand of Védrines, stating `Souvenir of a superb travel over-flying the English capital, on 3 / 7 / 1911´. Also signed by René Vidart (1890-1928) French Pionner Aviator, who died at the early age of 38, adding alongside `Souvenir of a bird of France´. Bearing to the verso four signatures by British famous men, including the actors Henry Ainley and Norman Forbes Robertson. Small overall age tone with small foxing to borders, otherwise G  £200-300    Védrines refers to the European circuit flight Calais - London. Védrines won the race, Vidart was second, Kimmering fourth and Garros fifth.

‘Rest assured that the struggle will continue to be waged’ HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. T.L.S., A Hitler, one page, 8vo, Berlin, 13th February 1933, to Oberst von Baligand, on personal printed stationery, in German. Hitler writes, in full, 'Congratulations coming from the revered commander of my old Regiment afforded me particular pleasure. Rest assured that the struggle will continue to be waged in the spirit of our List Regiment'. With blank integral leaf. One very small, neat split to the right edge of a central fold, and a couple of extremely light creases, not affecting the text or signature, VG  £600-900      Maximilian von Baligand (1869-1945) German Oberleutnant whom Hitler served under in the Bavarian Reserve Infantry Regiment 16 (1st Company of the List Regiment) during World War I. Adolf Hitler's service during World War I with the List Regiment, which he described as 'the greatest of all experiences' and resulted in him being present at the First Battle of Ypres and the Battle of the Somme, changed the directionless youth into a fanatical German nationalist. Before the outbreak of war, Hitler had failed in his attempt to study art in Vienna and was reduced to begging in the streets of the Austrian capital. He managed to support himself by selling painted postcards, but his life was purposeless until he moved to Munich and petitioned King Ludwig III of Bavaria to allow him to join the Bavarian Army. Hitler's almost suicidal daring during the war won him many decorations for valour, but his spirits sank as Germany's fortunes waned. He had, however, already begun to formulate his ideas for a Germany of the future, ideas which he eventually expressed in Mein Kampf. The present letter was signed by Hitler just two weeks after having assumed power as Chancellor of Germany on 30th January 1933.

HUSSEIN OF JORDAN: (1935-1999) King of Jordan 1952-99 & ALIA AL-HUSSEIN (1948-1977) Queen Consort of Jordan 1972-77. Signed greetings card by Hussein and Alia, December 1973. To the inside of the folding oblong 4to white stiff card, featuring a paper photograph of King Hussein and Queen Alia in a half length pose. Signed in bold blue and black inks by the King and Queen respectively beneath a printed greeting. To the front card bearing a gilt embossed Crown above the joint capital initial letters of their names “A” & “H”, also bearing a green, black and red ribbon. Accompanied by the original envelope, postmarked at the Royal Palace of Jordan. Queen Alia Al-Hussein died at the very early age of 28 when the helicopter she was travelling in crashed. VG  £150-200     

FEODOROVNA ALEXANDRA: (1872-1918) Alix of Hesse. Empress Consort of Russia 1894-1917, wife of Tsar Nicholas II. The last Tsarina of Russia, known for her notorious friendship with the Russian mystic Rasputin. An excellent A.N.S., `Alexandra´, to her personal 3.5 x 2.5 card, in French, bearing to the left border a Royal gilt crown embossed, above her gilt embossed name, Alexandra, in capital Cyrillic letters. The Empress sends a warm message `Avec mes felicitations de coeur, Alexandra´ in French, (“With my heart congratulations”), also dated 7th March 1913, in her hand. EX  £1000-1500    

[STALIN MILITARY AWARD]: An attractive and colourful Russian military award, one page, folio, n.p., 2nd May 1945, to "Tovarish Red Army Soldier Pidkopalo Grigory Ivanovich", in Cyrillic. The partially printed award is entitled "Great Patriotic War" and bears an image of Stalin in a head and shoulders pose, wearing his uniform and medals, and stating `By order of the Supreme Commander-in-chief, Marshal of the Soviet Union tovarish Stalin, For excellent military actions during the defeat of the Berlin group of German troops and for taking the capital of Germany, the city of Berlin - the centre of German imperialism and the seat ground of German aggression, we award a recommendation… including you who took part in the battle.´ Signed at the base by Commander of the Guard Military Unit Lieutenant-General of Aviation Nestertsev. The title award shows a large printed drawing, being airplanes bombing the city of Berlin. VG  £200-300

DIETRICH MARLENE: (1901-1992) German-born American Actress & Singer. A.L.S., Marlene, in red ink and capital letters, one page, n.p., n.d., stating `Thank you so much for the beautiful pictures you sent me. Much love and kisses.´ Together with a signed drawing of her left hand, in blue ink, Marlene having outlined her hand and fingers on a white 4to sheet. Signed to the inside of her drawn hand. Very small creasing to the edges, otherwise VG, 2  £100-150   

A calligraphic drawing by Matisse  MATISSE HENRI: (1869-1954) French Artist. Unusual and very attractive autograph short poem-canticle, with drawing, one page, oblong folio, n.p., n.d., in French. Matisse has drawn a first and large capital letter, coloured to the inside, stating `Loué, sois-tu, Monseigneur, Pour Soeur Onde, Laquelle est bien utile et humble et précieuse et chaste.´ Beneath the large letters written text, Matisse has drawn six waving lines. Two small stains to the left border. The page bears an “Imperial Japan paper” watermark. VG  £2000-3000   The written text corresponds, with few small changes, to a canticle, the “Letter to the faithful” by Saint Francis of Assis.

REMIZOV ALEKSEY: (1877-1957) Russian Modernist Writer and expert Calligrapher. An excellent and lengthy rare autograph manuscript by Remizov, signed twice, at the heading and conclusion, in red attractive capital letters, in Cyrillic, eight pages, grid paper, 4to, written only to front pages, [c.1928], in Cyrillic. The untranslated document text refers to various guises in which St. Nicholas appeared in Russia and to the beliefs associated with them. A very desirable manuscript tied with the original thin red string. Small overall minor age wear, and very small staining to edges, otherwise G to VG  £10000-15000   

CLEMENT XII: (1652-1740) Pope of the Roman Catholic Church 1730-40. Clement XII started the construction of the Trevi Fountain. Rare L.S., `L.[orenzo] Arc[ivescovo] Nicome[dia]´, in his capacity as Archbishop of Nicomedia 1690-1706, one page, vellum, oblong 4to, Rome, 1693, to `Famiglia nobilis Justiniana´, in Latin. The document bears to the heading the large and bold capital letters “Laurentius”. Untranslated letter. With addressee to the verso. Small overall minor age wear and toning, with edges very slightly irregular, otherwise about G to VG  £300-400     

AN 18TH CENTURY CARVED GILT GESSO CAPITAL with scrolled corners and shell carved centres 52cm square 40cm high.

Radio DJ Tony Blackburn Original Cartoon Sketch, titled “Tony Blackburn The Man in the Capital Gold Mask”, ink and watercolour on cut out paper mounted onto backing paper. Framed and glazed. Measures 50cm x 63cm, and a framed TV Comic Character Alf Garnett Caricature with Dedication and Signature of Till Death Do Us Part Script Writer Johnny Speight, the ink hand drawn sketch shows the famous British TV character Alf Garnet signed Cole 77. Artwork has signed dedication to the bottom “It looks more like Enoch (Blood Brothers)”. Housed in a glazed frame. Measures 54cm x 72cm.

A French Green Onyx and Marble Revolving Pedestal, late 19th century, the square pivoting top above a column support with leaf cast and scroll capital above a moulded base decorated with leaves, mounted on a stepped square form base with brass feet, 26cm by 26cm by 105cm

Baltic Amber Antique Art Nouveau Silver Bracelet with sinuous entwining leaves, surmounted with a large cabochon oval shaped amber centre with lichen inclusions. Stamped 925 with a capital G, and two Roman style heads impressed. Probably French, circa 1880/90s. Please see images.

Karen Knorr (American, b. 1954), 'Principles of Political Economy'. Cibachrome, from her Capital series, 90cm x 113cm. PROVENANCE: Bought from the Salama-Caro Gallery in Cork Street in May 1991. .

Armand Boua (Ivorian, born 1978)Untitled, 2013 signed 'BOUA' (lower right)tar and acrylic on cardboard 95 x 82cm (37 3/8 x 32 5/16in).Footnotes:  Provenance Acquired from the Jack Bell Gallery, London in 2014.Saatchi Collection.ExhibitedLondon, Saatchi Gallery, Pangea II: New Art from Africa and Latin America, 2015LiteratureSaatchi Gallery, Pangea II: New Art from Africa and Latin America, 2015, p.46Armand Boua lives and works in the Ivory Coast capital of Abidjan. A bustling, urban and industrial West African city, its children are at the heart of Boua's work. Street children are vulnerable to abduction, slave labour and sex trafficking. The dark undertones are nonetheless evident with materials such as torn card, scraped paint and tar. However once all these textures are merged together, they show children smiling and often playing sport. Creating a tension between their innocence and the danger that they face.For further information on this lot please visit Bonhams.com

Vincent Michea (French, born 1963)Nº16, 2006 acrylic on canvas130 x 130cm (51 3/16 x 51 3/16in).Footnotes:ProvenanceAcquired from the Jack Bell Gallery, London in 2013.Saatchi Collection. ExhibitedLondon, Saatchi Gallery, Pangaea: New Art from Africa and Latin America, 2014LiteratureSaatchi Gallery, Pangaea: New Art from Africa and Latin America, p.109Vincent Michea's graphic style is heavily influenced by the Pop Art movement, particularly artists such as Roy Lichtenstein and Andy Warhol. He moved to the Senegalese capital Dakar from Paris in 1986 as a graphic designer focusing on cinema and music. In the middle of such a vibrant city, Michea became obsessed with West African music, and specifically a collector of African vinyl. The present lot not only shows his love of Senegalese popular culture, but highlights the growing widespread popularity that African music has today.For further information on this lot please visit Bonhams.com

Ephrem Solomon (Ethiopian, born 1983)Untitled 2013 (three women with red/white background) woodcut and mixed media90 x 95cm (35 7/16 x 37 3/8in).Footnotes:ProvenanceAcquired from Tiwani Contemporary Gallery, London in 2014.Saatchi Collection.ExhibitedLondon, Tiwani Contemporary, Ephrem Solomon: Untitled Life, 2014London, Saatchi Gallery, Pangaea II: New Art from Africa and Latin America, 2015LiteratureSaatchi Gallery, Pangaea II: New Art from Africa and Latin America, 2015, p.144Part of his 'Untitled' series, Ephrem Solomon depicts the everyday life and tension of the Ethiopian capital, Addis Ababa, a city undergoing incredible change with a rapid rise in construction. The present lot depicts three solemn looking characters, all awkwardly looking in different directions. Their bodies and outfits morph into one solid black block, devoid of colour. The contrasting and almost hypnotic backdrop of red and white squares are reminiscent of staged studio photography common across the African continent. Normally these photographic scenes are much more playful, however here they are muted and avoiding eye contact with the viewer.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Victorian carved oak stick barometer, inscribed E. Cetti, 36 Brooke St, Holborn, London, with ivory scale, foliate carved capital and silvered thermometer, 97 cm high

A Victorian brass lamp standard, with adjustable mechanism, Corinthian capital and square stepped base raised on paw feet.

AN EARLY VICTORIAN BRONZE  HORIZONTAL  SUNDIAL AND SANDSTONE PEDESTAL, DATED 1837  the square capital with latin inscription and date, on chamfered pedestal, the initials EC and DT in high relief, on stepped base and separate plinth, 120cm h overall Good condition with a few minor chips. Dial engraving obscured by natural verdigris patina over many years of exposure

An early 20th century silver plated candlestick, designed as a Corinthian capital, atop a stop-fluted column, to a stepped base, 45.5cm high

Poster BR(SC) INVERNESS THE CAPITAL OF THE SCOTTISH HIGHLANDS THE QUEENS OWN CAMERON HIGHLANDERS MARCHING ALONG NESS WALK by Lance Cattermole. Quad Royal 40in x 50in. Professionally mounted on thick archival paper, in good condition with a small area of restoration to the British Railways totem.

Pair of Elizabeth II silver candlesticks, urn shaped capital, removable sconces, tapered knopped stem raised on stepped marquise shaped weighted base, makers Da-Mar Silverware, London 1977, height approximately 20cm (2)

Pair of silver candlesticks, urn shaped capital with removable sconce, tapered knopped and reeded stem, raised on stepped marquise shaped weighted base, monogram to base, makers Crichton Brothers, London 1919, height approximately 29.5cm (silver base of foot)

Christo (American, born 1935)The Pont Neuf Wrapped (Project For Paris), in two parts 1979 signed, titled and dated 1979 on the upper panel; variously inscribed on the reverse of each panelpastel, wax crayon, charcoal, graphite and printed paper on card laid on board, in a Perspex frameUpper Panel: 38 by 244 cm.14 15/16 by 96 1/16 in.Lower Panel: 107 by 244 cm.42 1/8 by 96 1/16 in.Footnotes:ProvenanceCarl Flach, SwedenSale: Sotheby's, London, Post-War and Contemporary Art, 3 December 1992, Lot 68Galerie Bernard Cats, BrusselsAcquired directly from the above by the present owner in 1994Over the course of one of the most enchanting and beloved artistic careers – famed for producing some of the greatest monumental and dramatic works of public sculpture to ever be realised – American artist Christo and his wife Jeanne-Claude have redefined the notion of public sculpture, bringing their 'wrapped' projects to cities including Berlin, Chicago, Milan, and Paris. Presented here are two sterling examples of Christo's preparatory artworks for The Pont Neuf Wrapped and The Umbrellas, each project realised in 1985 and 1991 respectively. Internationally lauded and collected by museums that include the Art Institute of Chicago, the Cleveland Museum of Art, USA, and the Tate collection, London, the Centre Pompidou in Paris will play host to a major retrospective of Christo and Jeanne-Claude, opening in March 2020, before presenting one of their most significant and highly anticipated wrapped monuments in September; covering the Arc de Triomphe in Paris with 25,000 square meters of fabric for a period of 16 days. Contemplative and beautiful, Christo's practice emerged from the Nouveau Réalisme movement in Paris in the early 1960s alongside artists including Yves Klein and Jean Tinguely. Having fled the Eastern Bloc, escaping from Czechoslovakia to Vienna in 1957 before making his way to the French capital, the artist found his quintessential style early on, wrapping cans, bottles, shoes, and chairs in his Paris attic studio, before meeting his lifelong collaborator and wife Jeanne-Claude in 1958. Offered for sale are two preparatory renderings of a pair of enormously complex projects Christo and Jeanne-Claude would undertake years after their conception. The Pont Neuf Wrapped (Project For Paris) (1979) – one if the largest Christo works to ever come to market – and The Umbrellas (Joint project for Japan and USA) (1990) illustrate the extravagant conceptual mind that made Christo and Jeanne-Claude two of the most celebrated and admired creative visionaries of the last half century. The Pont-Neuf bridge was first completed in July 1606 and is the oldest bridge crossing the river Seine in the French capital. An icon of Paris, joining the left and right banks and the Île de la Cité for over 400 years, it has been immortalised in paint by J.M.W. Turner, Pierre-Auguste Renoir, and Camille Pissarro alike. Joining such a canon of artists to tackle this historical site, the present work by the artist is a rare, large-scale, two-part study for the proposed project that took ten years of negotiations and two rejections before it was finally executed in 1985. Turning one of the most important pieces of architecture in Paris into a uniform façade of folds and bindings, Christo and Jeanne-Claude drew attention to the history, the design, and the mythology of the 'City of Light', highlighting the building blocks of a culture and a nation; appreciating them by veiling them. Documenting the ephemeral, 14-day event, the energetic diptych, The Pont Neuf Wrapped (Project For Paris), depicts a charming blend of studied, expressive and technical marks, combined with notes and comments by the artist's hand, capturing the committed and all-encompassing approach to what would become one of the duo's most iconic wrapped monuments. A thought-provoking and more politically weighted piece, The Umbrellas (Joint project for Japan and USA) depicts one of Christo and Jeanne-Claude's most elaborate and poignant works of public sculpture, ambitiously constructed between two continents either side of the Pacific Ocean in 1991. From 9th October that year for 18 days, 3100 oversized umbrellas standing at little over 6 meters high, divided between two valleys in Japan and California, USA, were opened and stood silently and proudly as objects that sheltered and mirrored one another across nations that had previously known intolerable war against one another. Often rebutting the political or historical reading of their work, the couple's temporary monuments nonetheless consistently nudge a reading of them as being bound to their sites and their shapes, drawing attention to their location and social currency. In the present work, Christo's Japanese umbrellas dance through the valley of the Sato River, wonderfully depicted in vivid hues of green and blue, inscribed exuberantly in pencil on paper, alongside a technical map of the lowland in the Prefecture of Ibaraki. As much technical drawings as they are visions of a project to-be, the two diptychs by Christo offered here are superlative examples of the artists' fleeting monumental projects and their lasting preparatory studies. Works of art in their own right, they stand as exquisite landscapes that chart the magnificent and provocative impact Christo and Jeanne-Claude have had, not just as great sculptors, but as an artist-duo who have made history and culture their very medium.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Elton Ware tyg, each loop handle with a mask head capital, decorated with flowers on a green/red ground, base with painted mark, 21cm high Condition: Some glaze loss to the high spots of the relief decoration as is typical - **General condition consistent with age

A pair of silver Ionic capital candlesticks, with fluted columns, raised on embossed stepped square bases, London circa 1765, height 12ins

ILLUMINATED MANUSCRIPT - KATE EADIEElegy Written in a Country Churchyard by Thomas Gray, illuminated manuscript on vellum, 20 pages, frontispiece with a full-page miniature of woodcutters felling trees with an elaborate border of hawthorn foliage and berries in gold, brown and blue, title-page with raised gold lettering, second frontispiece incorporating large round miniature of the Church at Stoke Poges and smaller one of the Gray memorial, within a border of oak leaves and branches with acorns, subtitle-page lettered in blue and turquoise, the poem mostly written in black ink on 16 pages (including the Epitaph), each with a different decorative border in gold and colours of foliage reflecting the text of the poem, capital letters in various colours on a gold ground throughout, the first page with elaborate heading and historiated letter T incorporating figure of the ploughman, the following 14 pages each with one historiated and one decorative initial, original limp vellum, titled in gilt on upper cover, remnants of green silk ties, preserved in green cloth solander box, 4to (317 x 240mm.), [c.1900-1910]Footnotes:A fine and very rare example of an illuminated manuscript by the Birmingham enameller, jeweller, illuminator and Arts & Crafts designer Kate Eadie. Kate Muriel Mason Eadie (1880-1945) trained at the Birmingham school of Art, where she is believed to have been taught by Arthur Joseph Gaskin. In 1902 she won the national Owen Jones prize, awarded to 'Students at the Schools of Art who, in annual competition, produce the best designs for Household Furniture, Carpets, Wall-papers and Hangings, Damask, Chintzes etc.' In 1915, she became the first woman to be elected Associate of the Royal Birmingham Society of Artists, exhibiting jewellery, metalware, stained glass design, illuminated manuscripts and Limoges enamels - her gouache on vellum The Defence of Guenevere won the Harry Lucas Award for the finest example of decorative artwork in the RBSA's Spring Exhibition of 1916. At Birmingham she had also met the Pre-Raphaelite artist Sidney Harold Meteyard. She posed as a model in many of his most famous paintings, and having worked together for twenty years, they eventually married in 1940. Provenance: Kate Eadie; thence by descent to her great nephew in Cookshill nr. Alcester (where Kate Eadie and Sydney Metyard lived), from whom it was acquired.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

of swollen circular form with remains of silver inlay, decorated with panels containing Arabic blessings and Astronomical figures, a later engraved cartouche, probably 17th century, with the then owner's name, the interior decorated with fish, 12 x 27cmFootnote: Other notes: Fars Province is in the south of Iran, one of the 31 provinces in the country, with Shiraz as its capital.Condition report: Bowl with dent and rubbing

Rare American Publication 1798: [O'Connor (A.) & Finnerty (P.)] Extracts from The Press: A newspaper Published in the Capital of Ireland, During the Years 1797 and 1798. Including numbers sixty-eight and sixty-nine which were suppressed by The Irish Government, before the usual time of Publication. 8vo Philadelphia (Wm. Duane) 1802. First American Printing, cont. hf. calf, tooled gilt spine. V. good. Ex. Rare. (1) * First No. issued Thursday Sept. 28th, 1797. The virtual owner of the paper was Arthur O'Connor, and the printer was Peter Finnerty of Loughrea, Co. Galway. Contributors included Thos. Addis Emmett, Rob. Emmett, Wm. Drennan, etc.

A Napoleon III ormolu mounted rouge griotte, Breccia and vert maurin columnar pedestal by Maison Millet, third quarter 19th century, the Corinthian order capital above a tapered stem and descending to a stepped square section base, the capital and fitments stamped MILLET, 115cm high overall Founded in 1853 by Theodore Millet, Maison Millet was a highly regarded company of cabinetmakers producing fine furniture with ormolu mounts both in historic and contemporary tastes. The company was enlisted by Versailles in 1902 to reproduce Marie Antoinette's Armoire à Bijoux, and produced designs for master ébeniste François Linke. See Christie's 19 March 2009, lot 10, for a larger pair of rouge marble columnar pedestals by the firm

A Florentine carved, green painted and parcel-gilt overmantel, 16th century and later, the dentil-moulded cornice above three panels, each flanked by flower and leaf decorated pilasters incorporating mask ornament each headed by a capital, the cushion moulded apron with scrolling leaf decoration, 108cm high, 163cm wide, 16cm deep

A pair of Continental gilt metal andirons in Neoclassical taste, circa 1900, each with a flambeau finial above an Ionic order columnar capital and fluted shaft, descending to twin scrolled legs, with wrought iron billet bars to rear, 86cm high, 28cm wide, 53cm deep This lot is to be sold without reserve

An Italian Siena and white marble mounted columnar pedestal, 19th century, the Doric order capital above a tapered shaft descending to a moulded socle and further veined marble veneered plinth, 123cm high; and an Italian marmo cippolino plinth, of cylindrical form This lot is to be sold without reserve

A late Victorian gilt metal standard oil lamp base in Neoclassical style, late 19th century and later, the urn reservoir above a Corinthian order capital and reeded columnar stem descending to a stepped square plinth on paw feet, 159cm high overall including fitment; and another, similar, circa 1900, 151cm high overall including electrical fitment For a similar model, please see Christie's, South Kensington, 27 January 2009, lot 270 This lot is to be sold without reserve

A pair of silver plated and green marble mounted columnar table lamps, second half 20th century, each with Corinthian order capital and stepped, beaded base, stamped AW EP to the bases, 52cm high overall including fitments This lot is to be sold without reserve

A pair of Continental, probably French, rouge royale and noir Belge marble columnar pedestals, late 19th century, each with a Corinthian order capital above a tapered shaft and moulded circular socle, 113cm high overall This lot is to be sold without reserve

An American Jerome & Co. drop dial wall clock with panel depicting Capital at Washington.

Erard inlaid giltwood and bird's eye maple framed forty-six string Gothic concert harp inscribed 'Sebastian Erard Patent no. 6294, 18, Great Marlborough Street, London', hexagonal column carved with figures to the capital and with overlaid gilded stylised flowers to the stepped base, seven pedals, W93cm, H177cm Condition Report Click here for further images, condition, auction times & delivery costs

A 22ct gold wedding band, approx. 6.0 gGood condition.Size - MWidth - 3 mmAppears to be London 1941 (capital F)

* Oak panel. A 17th century oak panel, carved as as a robed man seen standing above a shaped capital bearing a head, 34cm long (Qty: 1)

A George III oak and mahogany crossbanded longcase clock, the 12 inch white enamelled dial with Roman numerals, under a swan neck pediment supported on brass capital Corinthian columns, the body with quarter column pilasters, on bracket feet, pendulum and weights, 229cm high

A VICTORIAN SILVER PLAIN ROUND CHAMBER CANDLESTICK with a central spool-shaped capital on a short knopped stem, mark of Robert Harper, London 1882, 14cm diameter (5 ½ in), 175g (a little over 5 ½ oz)

A VICTORIAN SILVER ROUND NIGHT-LIGHT OR CHAMBER CANDLESTICK with a central capital within a pierced and moulded surround holding a clear glass globular shade, and with a crested ring handle and conforming crested conical extinguisher, both with the mark of Robert Dicker, London 1880, 12.5cm diameter (5 in), 297g (a little over 9 ½ oz)

A RARE SET OF FOUR WILLIAM IV SILVER SHAPED-ROUND AND CRESTED CHAMBER CANDLE STICKS each with a central leaf chased capital with a crested crimped-round nozzle, and a leaf-chased flying scroll handle, mark of John Wrangham & William Moulson, London 1835, 13cm diameter (5 ¼ in), the four 1001g (a little under 32 ¼ oz)

A GEORGE II CAST SILVER TAPER STICK with a spool-shaped capital, a knopped and facetted stem on a slightly-domed shaped-square base, the maker's mark IG or IS/SI, London 1738, 10cm high (4 in), 108g (a little under 3 ½ oz)

A PAIR OF GEORGE I CAST SILVER SHAPED SQUARE CANDLESTICKS each with a spool-shaped capital, knopped facetted stem on shallow sunk-centre shaped-square bases engraved with armorials, mark of Samuel Bates, London 1728, 16cm high (6 ¼ in), 691g (a little under 22 ¼ oz)

A LATE GEORGE II CAST SILVER TAPER STICK the spool-shaped capital with a shaped-square and part-fluted nozzle, on a knopped baluster stem on a sunk-centre shaped-square base with anthemion corners, the maker's mark a little weakly struck, possibly that of John Orme I, London 1752, 13cm high overall (5 in), 150g (a little over 4 ¾ oz)

AN EARLY GEORGE III CAST SILVER TAPER STICK the round capital with a shaped-square nozzle with fluted corners, on a knopped baluster stem to a shaped-square base with anthemion corners, mark of Thomas Whipham, London 1769, 13.75cm high overall (5 3/8th in), 172g (a little over 5 ½ oz)

A LATE GEORGE II CAST SILVER-GILT TAPER STICK with a spool-shaped capital, a knopped and fluted baluster stem on a petal-shaped hexafoil base with anthemion corners, the maker's mark stuck over an edge but probably that of William Grundy, London 1757, 12.5cm high overall (5 in), 124g (a little under 4 oz)