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A George V heavy silver wine taster quaich by Robert Stewart of Glasgow, London 1915, diameter 13cm, weight 7.5 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: There is tarnishing throughout. There are some dark spots in the interior which we think is pitted marks the metal and with light polishing they can't be removed. Light scratches throughout. Please see images.

A George V silver cigarette box, engraved monogram to the hinged lid, London 1913, width 14.5cm, gross weight 470g.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George V silver mounted glass claret jug by John Grinsell & Sons, Birmingham 1913, height 19.5cm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George V silver batchelor teapot, maker DH & S, Birmingham 1930, height 14cm, weight 9.30 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

Two silver hallmarked four section toast racks, Sheffield 1945 & 1965, weight 3.5 toz (2)Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George III silver milk jug with ribbed banding raised on ball feet by George Ferris of Exeter, no assay or date mark, height 9cm, weight 3.19 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

Evald NIELSEN (1879-1958) a stylish Danish silver cased set of dessert knives and forks for twelve, the handles decorated with a stylised flower and with a hammered finish, the knives with weighted handles and silver blades, hallmark for 1927, assay mark for Christian F. Heise, within original fitted case, the lid gilt tooled with monogram and dated 14 -10 - 27, weight of forks 447.4g, weight of knives 554g.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

Large hand carved tribal art bust, on contemporary stand

A Maori anthropomorphic hei-tiki pendant, green nephrite jade, the head tilted left, suspension hole through the top of the head, height 78mm, width 41mm, depth 7mm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: Generally good condition.

David Bowie (British, 1947-2016)DHEAD XLV, 1997acrylic and computer collage on canvas, signed in black on the verso by Bowie, also titled DHEAD XLV on label, 26 x 20.5cm (10.2 x 8.1in)Footnotes:Inspired by the styles of German expressionists, Francis Bacon, Frank Auerbach, and the London School of painters, Bowie was an avid artist during his lifetime. His series of paintings entitled DHeads were created between 1995-1997, with each painting in the series being distinguishable by specific Roman numerals. Only a few were self-portraits of Bowie. Examples of his Berlin-era portraiture were featured in the 2013 blockbuster exhibition DAVID BOWIE IS at the Victoria and Albert Museum in London and then at major museums around the world, where they received critical acclaim in their own right. This year marks the 50th anniversary of the release of Bowie's ground-breaking album The Rise & Fall of Ziggy Stardust & The Spiders From Mars. Though painting and art was a huge part of Bowie's life, his work is extremely scarce to market.ProvenanceSale; Lyon & Turnbull, Edinburgh, Contemporary Art, 16 March 2016, lot 65The artwork was originally philanthropically donated by Bowie to the 'ARTAID '98' fund-raising exhibition in Edinburgh that year.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

David Hockney R.A. (born 1937)The Blue Guitar (Title Page), from 'The Blue Guitar', 1976-77 signed and numbered 147/200 in penciletching and aquatint printed in colours52.2 x 45.1cm (20 9/16 x 17 3/4in).printed by Petersburg Studios and published by Petersburg Press, London and New YorkFootnotes:LiteratureD. Hockney, David Hockney Prints 1954-1995, Museum of Contemporary Art, Tokyo and Tankosha Publishing Co, Tokyo, 1996, no. 178D. Hockney, Midland Group (Nottingham, England) and Scottish Arts Council, David Hockney prints, 1954-77, Petersburg Press for the Midland Group and the Scottish Arts Council, London, 1979, no. 199This 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

Richard Ansett (British, born 1966)BIRTH, 2018 lightbox128 x 102.5cm (50 3/8 x 40 3/8in).UniqueFootnotes:ExhibitedLondon, Fitzrovia Chapel, 25-30 January 2019London, Somerset House, Sony World Photography Awards Exhibition, 2019Richard Ansett is a renowned photographer and long-time collaborator of Grayson Perry. BIRTH depicts Grayson Perry dressed as his alter ego, Claire, posed in a contemporary reworking of the mother and child motif. Both iconic and iconoclastic, Claire holds an infant in her arms, lit softly from behind and surrounded by flowers and pale pink drapery. Posed as a traditional icon might, with gaze averted into the distance, we are invited to compare this image with one of the most universally recognisable subjects in art and religious history. Originally unveiled by Grayson Perry himself at the Fitzrovia Chapel in London in January 2019, the lightbox was displayed on an altar, illuminating the secular, baroque chapel. Richard Ansett commented on this work: 'Claire is not a natural mother. This is a trans-immaculate conception', going on to comment that: 'The work balances centuries of art history and religious symbolism with a high-camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.'Ansett met Perry for the first time in 2013 at the Tate Modern, Starr Auditorium, while photographing him for the BBC Reith lectures. He has since worked with Perry every year following this for Channel 4, photographing him to promote Perry's documentaries of contemporary British life.BIRTH was awarded First Prize for a Single Portrait in the Sony World Photography Awards in 2019.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

Japan - Gardening, Glimpses of the Historic Gardens in Kyoto and its outskirts, Kyoto: Yamada Uns?-Do, [n.d., c. 1910], 59 b/w photographic plates with accompanying letterpress leaves printed with calligraphic script, contemporary green cloth gilt, oblong folio (27cm x 37.5cm), (1); Richie (Donald), Introduction to Japan, three-volume set, Tokyo: Kodansha International, 1989, d/j, h/b, slipcase en suite, 4to, (1); Sadler (A.L.), The Art of Flower Arrangement in Japan, London: Country Life Ltd, 1933, illustrated, black cloth, 8vo, (1); ABC Japanese Art, 1929, cloth, 8vo, (1); Ukiyo-e to Shin hanga: The Art of Japanese Woodblock Prints, 1990, d/j, h/b, folio, (1); etc., [7]

Miscellaneous, including Art and Illustration - Gibson (Charles Dana), Eighty Drawings, Including The Weaker Sex [...], first edition, London: John Lane, 1903, illustrated, contemporary cloth over pictorial boards, oblong folio, (1); Alghieri (Dante), Cary (The Rev. Henry Francis, translator), & Doré (Gustave, illustrator), The Vision of Dante [...], London: Cassell, 1903, monochrome off-set plates, cloth over papered boards, 4to, (1); The Phil May Folio [...], portrait frontispiece signed by the artist-author, London: W. Thacker & Co., [n.d.], cloth, folio, (1); Die Königin Luise [...], Berlin: 1896, pictorial boards, oblong 4to, (1); The Pilgrimage of Truth, London: 1895, folio, (1); Leech (John, illustrator), Pictures of Life and Character: Fourth Series, London: 1864, roan over pictorial boards, oblong folio, (1); Sparrow (Walter Shaw): Henry Alken, With Eight Plates in Colour and Sixty-four Subjects in Half-tone, number 246 from a limited edition of 250, London: Williams and Norgate, Ltd., 1927, ochre buckram gilt, top-edge gilt, 4to, (1); A Book of Sporting Painters, With One Hundred and Thirty-Six Illustrations, London: John Lane, The Bodley Head Ltd., 1931, green cloth, 4to, (1), [8]

Art - Edwards (Edward, Associate and Teacher of Perspective in the Royal Academy), A Practical Treatise of Perspective, on the Principles of Dr. Brook Taylor, second edition, London: Printed for Sherwood Neely, and Jones, [n.d., ? c .1805], pp: xii, 313, [i] (colophon), illustrated with an allegorical frontispiece, 40 full-page plates, and some in-text illustrations as called for, contemporary marbled boards only, speckled edges, 4to, [1] Provenance: 1) W. James George Hobbe/Rev:d T.H. Tucker's/Keynsham [Somerset]/1833, ink MS inscription to endpaper; 2) H.B.M. Gapper/1867, ditto.

Art History and Illustrated Books - Blackburn's [Royal] Academy Notes, six years' worth bound as one, mixed editions, London: Chatto and Windus, 1875-1880, in-text illustrations, contemporary citron morocco gilt, 8vo, (1); another, 1890, contemporary red half-calf over marbled boards, 8vo, (1); Cassell's Art Treasures Exhibition [...], London: W. Kent and Co., 1858, illustrated, contemporary quarter-morocco over marbled boards, 4to, (1); International Exhibition 1862/Official Catalogue of the Industrial Department, second edition, London: Truscott, Son, & Simmons, 1862, contemporary quarter-calf, 8vo, (1); Printing, The Penrose Annual: a review of the graphic arts, 44th volume (1950), illustrated, contemporary red cloth, 4to, (1); 19th century leather bindings, including art history guides, National Magazine, Quiver, others, various sizes; Leech's Pictures of Life and Character, original boards, folios, (4); cartography; printing; Andersen's Fairy Tales, two-volume set, London: Heinemann, 1900, original pictorial cloth, 4to, (2); etc., [2 boxes]

Rouit (H., Art Editor of Art-Goût-Beauté), Feminine Fashions Past and Present: All about women's wear, from the earliest times to our days/Dresses and Patterns, Materials, Hats, Headdresses, Jewellery, Shoes, Combs, etc., copy number 87, signed and numbered by the author in ink MS (tipped-in plate to pastedown as issued), Paris: Edition d'Art [n.d., c. 1900], copperplate-printed, pp: [2] leaves, 54 plates of hand-coloured lithographs as called for, contemporary half-cloth over marbled boards folio, upper and lower ties only, enclosing loose sheets as issued, crown folio (39.5cm x 28cm), [1]

A late 19th century morocco drawing-room album, compiled from 1880 into the first-half of the 20th century by various individuals, some leaves hand-scrivened and illuminated, inscribed with verse and illustrated with 18th century and later pictures and prints, including botanical, architectural, topographical, travel, fashion, Arthur Rackham, and other subjects, some of which have been later hand-coloured, contemporary green morocco, outlined and panelled in gilt, all-edges gilt, gilt turn-ins, decorative endpapers, folio (34cm x 26.5cm), (1); a Regency artist's sketchbook, illustrated in pencil with 29 scenes, titled and dated 1817 in ink MS, disbound, oblong 4to, (1); Modern British, an early 20th century art student's anatomical sketchbook, executed in pencil by Petherick, Slade, University College, and enclosing drawings and preparatory studies of the male and female form, some nudes, cloth over board sketchbook, supplied by Newman of Soho Square, 8vo, (1); Leaves from T.L. Rowbotham's Sketch Book, Part 1, London: Printed and Published by George Rowney & Com:py, [n.d., c. 1870], original printed title-label and chromolithographs laid onto later leaves, institutional quarter-morocco over cloth, gilt-lettered and blocked in blind, folio (39cm x 29cm), [4]

Railwayana, Americana - Riddles (Colonel Robert Arthur "Robin" Riddles, CBE, MIMechE, MinstLE), Tour of "Coronation Scot" in U.S.A., 1939, a unique illustrated narrative compiled while Chief Mechanical & Electrical Engineer to the London, Midland, Scotland & Scottish Railway (LMS), illustrated with b/w professional and snapshot photographs of the train, its carriages, and their interiors (principally first class), both posed and in-action, and both stationery and moving (sometimes in transit), some of the professional photographs taken for advertising purposes and are modelled with 'passengers'; while the carriages sailed over the Atlantic on the ship Belpamela, the railway officials travelled on R.M.S. "Queen Mary" and docked at New York, and there are some sepia photographs of New York in its Art Deco glory; the journey is further illustrated with newspaper clippings, a map of the train's route across America, and further ephemera as well as more photographs, including other locomotives, and the engine's terminus and display at the World Fair etc., contemporary gilt-lettered black cloth album, large 4to (34.5cm x 37.5cm), [1]

Europe - Low Countries, a post-Second World War RAF serviceman's album of snapshots, illustrated with b/w photographs of service, topography, and informal larks with comrades and lady friends in Antwerp, Belgium, Eindhoven, Holland, RAF Melle, Germany, dated from July 1946 to November 1947, oblong 4to, (1); an early 20th century album of German named-view postcard and topographical photographic prints, Art Deco boards, oblong 4to, (1); a 19th century Italian Grand Tour folio, illustrated with tipped-in photographic prints of Classical, Renaissance and Baroque Old Master pictures and sculpture, Italian architecture, named-view topography, etc., contemporary half-morocco gilt over cloth, all-edges gilt, marbled albums, folio (37.5cm x 29.5cm), (1), [3]

Bredow (Gottfried Gabriel), Van Brée (Sir Mattew), & Bell (Major James, translator), Compendious View of Universal History and Literature, In A Series of Twenty Tables [...], fourth edition, London: T.C. Hansard, 1833, pp: xxi, 21 two-page tables with contemporary hand-colouring, fold-out explanation leaf, 19th century green cloth, folio (49.5cm x 34cm), (1); Genealogy of the Royal Family of France, 1816, London: Printed by William Nicol, Shakespeare Press, 1825, genealogical table of descent over 8 sheets, laid on linen, 76.5cm x 132cm, 20th century gilt-lettered cloth sleeve, neat institutional stamps and/or markings, (1); Rimer (William, illustrator), Illustrations of Thomson's Castle of Indolence, London: Art Union of London, 1845, loose in sheets, 29cm x 42.5cm, cloth portfolio, (1), [3]

China - Giles (Herbert A.), An Introduction to the History of Chinese Pictorial Art, With Illustrations, second edition, London: Bernard Quaritch, Ltd., 1918, contemporary black-quarter calf over textured boards, red-speckled edges, 8vo, (1); Duthuit (Georges), Chinese Mysticism and Modern Painting, Paris: Chroniques du Jour, London: S. Zwemmer, 1936, illustrated, original red cloth over printed boards, oblong 8vo, (1); White (William Charles), An Album of Chinese Bamboos: A Study of a Set of Ink-Bamboo Drawings A.D. 1785, first edition, The University of Toronto Press, 1939, original pictorial green cloth gilt, 4to, (1); Waley (Arthur), An Introduction to the Study of Chinese Painting, first edition, London: Ernest Benn, Limited, 1923, colour plates, cloth, 4to, (1); etc., [13]

China - Sun Tzu & Giles (Lionel, M.A., translator), Sun Tzu on the Art of War/The Oldest Military Treatise in the World/Translated from the Chinese with Introduction and Critical Notes, first English edition of the full translation, London: Luzac & Co., 1910, pp: liii, [1] (blank), 204, [1] (corrigenda), annotated in maunscript with scholarly notes in English (ink) and Chinese Mandarin (pencil), 'half-title' endpaper later titled in Chinese, recto and verso pastedowns with tipped-in clippings from The Japan Times and The Sunday Times newspapers, and annotated with a verse from Virgil's Aeneid (II: 709.10), original papered contemporary brown cloth boards, 8vo, [1] Provenance: A. Neville John Whymant, Lecturer in Chinese & Japanese, School of Oriental Studies [SOAS], University of London, 1920; his ink MS ownership inscriptions to front board and title.

China, Chinese Children's Didactic Picture Book - Picture Story of Silkworm and Raw Silk, [n.d., c. 1950], text in Chinese and English, 10 tipped-in colour plates, contemporary wooden boards (18.5cm x 12cm, (1); an Oriental woodblock-printed book, illustrated with Chinese and Japanese works of art, [n.d., 19th century], original stitched green paper wrappers (27cm x 19.5cm), (1), [2]

Classical and Medieval Art - Stuart (James, F.R.S.) & Revett (Nicholas), The Antiquities of Athens, Measured and Delineated, volume I only, second edition, London: Priestley and Weale, 1825, disbound and in places loose engraved plates, 19th century calf over cloth (faults, disbound), ex-lib markings to endpapers, folio (45cm x 30cm), (1); Kirk [(Thomas, illustrator)], Outlines from the Figures and Composition upon the Greek, Roman, and Etruscan Vases of the Late Sir William Hamilton; with Engraved Borders [...], London: William Miller, 1804, monochrome plates of antiquities, later 19th century quarter-calf over cloth (faults), later ex-lib markings to endpapers and half-title, contemporary ink MS ownership inscription: Robert Gregory, an annotation or two in his hand, 4to, (1); Waring (J.B., editor), Franks (A.W.), Dudley (R.C.), & Bedford (F., chromolithographer), Examples of Ornamental Art in Glass & Enamel, Selected from the Collections of His Grave the Duke of Buccleuch, &c., London: Day & Son, [n.d., c. 1860], chromolithographic additional title-page and 15 plates only (of 17), 20th century quarter-morocco over buckram, ex-lib: markings to spine and endpapers, folio (39cm x 28.5cm), (1); etc., (1), [4]

FERGUSSON (JAMES)Tree and Serpent Worship: or Illustrations of Mythology and Art in India in the First and Fourth Centuries after Christ. From the Sculptures of the Buddhist Topes at Sanchi and Amravati, second edition 'revised, corrected, and in part re-written', lithographed frontispiece, 101 plates (nos. 1-100 and 10A, of which 51 mounted albumen prints, 49 lithographs by W.H. Griggs, 2 lithographed plans of which 1 double-page), postscript slip inserted, contemporary red half morocco over cloth sides, the upper cover with large central gilt-stamped illustration, t.e.g., joints repaired, rubbed, folio (332 x 240mm.), W.H. Allen, for India Museum, 1873Footnotes:The second edition, expanded with a lengthy new introduction, of Tree and Serpent Worship, illustrated with fine albumen photographs and lithographs depicting the great Buddhist monuments at Sanchi and Amravati.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

Ruskin (John). Pre-Raphaelitism. By the Author 'Modern painters.', 1st edition, London: Smith, Elder, and Co., 1851, 68 pp., bound with 6 other pamphlets by John Ruskin: The opening of the Crystal Palace 1854, Notes on some of the principal pictures exhibited in the rooms of the Royal Academy: 3rd edition,1855, II 1856, 2nd edition 1856, III, 1857, 1st edition 1857, IV 1857, 1858, 1st edition 1858, V, 1859, 1st edition, 1859, 1st edition 1859, Notes on the Turner Gallery at Marlborough House, 1st edition, 1857, marbled edges and endpapers, contemporary half-calf, rubbed and scuffed and spine faded, together withThe Two Paths: being lectures on art, and its application to decoration and manufactures, delivered in 1858-9, 1st edition, London: Smith, Elder and Co., 1859, two monochrome plates, some spotting to preliminary leaves, publishers catalogue at rear, dated December 1859, booksellers ticket of David Bryce, Glasgow to front pastedown, original blind-patterned plum cloth, a little frayed to extremities, and spine somewhat faded, 8vo, plus other Ruskin interest including Modern Painters, five volumes, New York, John W. Lovell, circa 1880, bound in contemporary uniform half-calf gilt, Paul H. Walton, The Drawings of John Ruskin, Oxford University Press, 1972, etc.Qty: (36)

Shakespeare (William). The Bijou Shakespeare. The Complete Works of William Shakespeare Illustrated. With Biographical Introduction and an Essay on Shakespeare and Bacon by Sir Henry Irving, 6 volumes, London and Glasgow: William Collins, Sons & Co. Ltd, circa 1900, half-tone illustrations after photographs, all edges gilt, contemporary gilt-decorated maroon full morocco, spines with art nouveau floral gilt decoration, minimally rubbed to extreme head and foot of spines (generally in very good condition), contained in original maroon leather book box with title label pasted inside lid, rubbed and marked,12moQty: (6)

Da Vinci (Leonardo). The Madrid Codices (Tratado de Estatica y Mechanica en Italiano), 5 volumes, facsimile edition, McGraw-Hill Book Company, 1974, numerous colour facsimiles, some light spotting to the text block, publishers uniform original gilt decorated red full morocco in slipcase, 8vo, together with;Müntz (Eugène), Leonardo Da Vinci, Artist, Thinker, and Man of Science, 2 volumes, London: William Heinemann, 1898, numerous monochrome plates & illustrations, some light spotting & toning, publishers original uniform blue cloth, boards & spines slightly rubbed, folio, Raphael, his Life Works, and Times, 2 volumes, mixed editions, London: Chapman and Hall, 1882-88, monochrome illustrations, some light spotting throughout, bookplate to the front pastedown of volume 2, hinges also cracked, top edges gilt, volume 1 in original green cloth, volume 2 in original gilt decorated quarter morocco, damp damage to the cloth boards, 8vo, plusD'Ancona (Paolo), La Miniature Italienne du Xe au XVIe Siècle, limited de luxe edition, Paris: Librairie Nationale D'Art et D'Histoire, 1925, colour & monochrome plates, some toning & light spotting, contemporary gilt decorated half morocco, folio, un-numbered copy of 25, and other 19th & 20th-century Renaissance art reference & related, some foreign language, some leather bindings, many original cloth, G/VG, 8vo/folioQty: (3 shelves )

Marryat (Thomas). Sentimental Fables Designed chiefly for the use of the Ladies, London: printed for the author, 1772, black & white engraved frontispiece plus vignettes, later inscription to the front pastedown, frontispiece trimmed to the head, slight loss to title page, some toning & spotting, contemporary full calf, front board detached, boards spine rubbed with some loss, 8vo, together with;Smilewell (Samuel), The Art of Joking; or, an essay on Witticism;..., London: printed for Joseph Deveulle, circa 1774, 63 pages, some light toning, bound in original paper wrapper, front cover torn & repaired, both covers slightly marked, 8vo, plusJenyns (Soame), Free Inquiry into the Nature of Evil, in six letters to..., 5th edition, London: printed for J. Dodsley, 1773, period inscriptions to the title page, some toning throughout, front & rear gutters cracked, contemporary full calf, boards & spine slightly rubbed & marked, hinges cracked, 8vo, and other 18th & 19th-century literature, including Rural Oeconomy: or, essays on the Practical Parts of Husbandry, by Arthur Young, London: printed for T. Becket, 1770, 8vo, Luxurious Bathing, 6th edition, London: Field & Tuer, 1880, 8 etchings by Tristram Ellis, oblong 4to, mostly leather bindings, overall condition is generally good, 8vo/4toApproximately 145 volumesQty: (6 shelves )

Stukeley (William). Itinerarium Curiosum: or, an account of the antiquities, and remarkable curiosities in nature or art, observed in travels through Great Britain, 2 volumes in one (Centuria I & II), London: Messrs. Baker & Leigh, 1776, engraved frontispiece, 179 engraved plates, maps and plans only (of 205, including 3 folding), ownership inscription "Reeve, Richmond, Surrey" at head of first title (ink library stamp at foot of titles and classification numbers and cancelled ink stamp to verso of each), small library ink stamp to lower margin of title and plate margins (mostly to margins, within platemark & occasionally touching image), marbled endpapers with armorial bookplate of William Stukeley to upper pastedown and two early 20th century library labels attached, contemporary diced calf, elaborate gilt decorated spine with contrasting morocco labels, old paper label at foot of spine, joints slightly cracked at head & foot of spine, extremities slightly rubbed, folioQty: (1)Footnote: Upcott xxx. The work contains a mezzotint plate of the appearance of the total solar eclipse from Haradon Hill on May 11, 1724.This volume includes a 2-page letter tipped onto the front free endpaper from Anna M. Reeve of 2 Pembroke Villa[s], Richmond Green, dated March 12th 1920, "Dear Mr Barkas, In my possession I have seven volumes of Doctor Stukeley's works. They are large & in excellent preservation and I shall be very pleased to present them to the Richmond Free if acceptable. Dr Stukeley was my Great Great Grandfather. Next week you may like to come in & see them late in the afternoon. With kind regards, yrs. sincerely, Anna M. Reeve."

[Barker, Thomas]. The Art of Angling, Wherein are Discovered Many Rare Secrets, Very Necessary to be Knowne by All That Delight in That Recreation, 1653 [but Leeds, Inchbold & Gawtress, 1817], 16 pages, light toning, small closed tear repair to title with serif to top of final stroke of the second 'N' in 'ANGLING' neatly inked over, contemporary ownership initials for J[ohn] D[eakin] H[eaton, MD, 1817-1880] to title and his armorial bookplate to front pastedown, contemporary half calf over marbled boards, a little rubbed, slim 4to (263 x 207 mm), preserved in a bespoke cloth book box with printed paper label to spineQty: (1)Footnote: One of 12 copies in royal quarto. Westwood & Satchell, page 21, note that 'the reprinted copies, we find from an advertisement, were 12 in royal 4to, 6 in royal 8vo, and 100 in demy 8vo. They were published by Robinson & Co., Leeds, and Longman and Co., London.'At the sale of the Angling Library of John Simpson: Part I, Bonhams, London, 15 February 2005, were sold, as lots 74-76, a royal quarto and a royal octavo copy, plus the only copy known to have been printed on vellum (8vo). Since then only one other copy (royal octavo) has been identified as sold at auction: Bloomsbury Auctions, 5 July 2007, lot 212.

Various mixed collectibles to include commemorative coins, a wooden cased set of pocket scales, a pair of Art Deco hallmarked silver napkin rings with engine turned pattern, St John's Ambulance silver badges, a The Abbey fountain pen, various coin packs to include the 'Heinz 1983 Uncirculated Coin Collection', various vintage and contemporary postcards, British and world banknotes, etc.

Isidro Ancheta (Philippines, 1882 - 1946) Oil on Canvasboard. Signed lower right. Ancheta was born on 15 October 1882 in San Miguel, Manila. He was an alumnus of Ateneo de Manila, having studied there from elementary until he obtained his bachelor of arts in 1904. He was reared in the academic tradition. In the early 1900s, he studied art in Escula de Pintura, Escultura y Grabado, and the Acadamia de Dibujo y Pintura run by Teodoro P. Buenaventura. He was a professor at the Philippine Normal School from 1918 to 1926. He died in 1946." (WikiPilipinas)Ancheta was a contemporary and friend of famed Philippine artist Fernando Amorsolo and painted similar rural scenes as Amorsolo. Ancheta, Amorsolo and their artist friends Irineo Miranda, Jose Pereira, Dominador Castaneda all went on sketching trips together to rural farmlands around Teresa, Montalban, and Marikina. Ancheta is included in the exhibition titled Confrontations at the Metropolitan Museum of Manila through February 2009.Sight Size: 10 x 14 in. Overall Framed Size: 11.5 x 15.5 in.

Carlos Nadal (1917-1998) Spanish"Vacances en France"Signed, inscribed verso and dated (19)84 with atelier stamp, oil on board, 44.5cm by 54cmProvenance: Solomon Gallery, LondonThis work has been authenticated by Le Comite NadalFootnote: Born in Paris to Catalan parents, the family moved back to Barcelona in 1921. Nadal was exposed to contemporary art at a young age in his father’s commercial design studio, where he met the likes of Raoul Dufy, Maurice Utrillo and Henri Matisse, the latter of whom would inform his style for the rest of his life. In 1930 Nadal enrolled at the School of Arts and Crafts in Barcelona and in 1932 moved to the Senior School for the Fine Arts of St George Barcelona. During the Spanish Civil War Nadal fought with the Republican Forces on the Aragonese Front, crossed the French Frontier and was interned in the Concentration Camp St Cyprien for five months, from which he escaped. In 1946 Nadal was granted a scholarship by the French Government to study in Paris where he became a painter in the Fauvist manner. Painting in Spain and France he was captivated by the light and colour of the Mediterranean. He married the Belgian painter Floris Joris (see lot 2112) in 1949 and settled in Brussels. Nadal exhibited throughout the world, holding major exhibitions in Barcelona, France, Germany and Switzerland as well as being invited to exhibit at the Royal Academy in London. Nadal won several awards throughout his lifetime, and one art critic described his paintings as a ‘flamboyant place’.Condition report: Covered in a thin layer of surface dirt and discoloured varnish. Slight rubbing to the board to the left outer edge with slight losses to the green and blue in this area (see images). Two circular shaped marks to the board (by design) one to the upper left edge to the right of the church and one to the upper right to the right of the white and blue flag. (see images). Proablaly oil on paper laid onto board - hence the two punch holes in the paper. Otherwise in good overall condition.

Susan Brown (Contemporary)"Stream of Consciousness"Signed, watercolour, 33.5cm by 49.5cmProvenance: Harrogate Borough Council, 29/01/1995The Laing Art Competition, Mercer Gallery, Harrogate, 21st January 1999

Arik Levy (Israeli b. 1963) Love me tender Brass barbed wire, plated 24 carat gold Signed and dated 2014 (to backboard verso) Overall 77.5 x 77.5cm (30½ x 30½ in.) From an edition of 5. Designer and multi-disciplinary artist Arik Levy was born in Israel in 1963. His most notable works include his public sculptures including his series 'Rock'. In 1988, he participated in his first group sculpture exhibition in Tel-Aviv. Following this exhibition he moved to Europe and gained an distinction in Industrial Design at the Art Center Europe in Switzerland in 1991. Throughout his career Levy has explored new mediums and avenues of design and culture. After time spent in Japan, Levy returned to Europe where he worked with contemporary dance and opera companies designing set displays for production. Levy's studied is based in Paris and his love of art and industrial design prevails. Last year Levy exhibited 'Stick&Structures' at the Venice Design Biennial and in 2020 he was included in Sotheby's, The Blazing World group exhibition in London. Levy is currently working on an installation of 'RockGrowthHermitage' in Moscow, Russia which is due to be installed this year outside the future Hermitage Modern Contemporary Museum. "Creation is an uncontrolled muscle" ARIK LEVY Condition Report: In good original condition. Condition Report Disclaimer

A contemporary Art Deco style Ralph Lauren lamp table (H103cm Dia61cm)

A contemporary Art Deco style Ralph Lauren lamp table (H103cm Dia61cm)

A contemporary Art Deco style Ralph Lauren lamp table (H103cm Dia61cm)

A contemporary Art Deco style Ralph Lauren lamp table (H103cm Dia61cm)

A contemporary Art Deco style Ralph Lauren lamp table (H103cm Dia61cm)

A contemporary Art Deco style Ralph Lauren lamp table (H102cm Dia61cm)

Collection of books on Contemporary Art

HMS Henrietta (Charles II's Yacht) Racing to Windward under a Foresail in a Strong to Gale Force Wind (the ship belonging to Charles II). Attributed to William van de Velde The Younger (1633 - 1707). Oil on canvas. Willem van de Velde (1633-1707) was the leading Dutch marine painter of the later 17th Century. Son of Willem van de Velde the Elder, also a painter of sea-pieces, the younger was instructed by his father and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. By 1673 Van de Velde the Younger had moved to England, where he was engaged by Charles II at a salary of £100, to aid his father in "taking and making draughts of sea-fights", his part of the work being to reproduce in colour the drawings of the elder Van de Velde. Willem the younger was also patronised by the Duke of York and various other members of nobility. He died in London on 6th April 1707 and was buried at St James' Church, Piccadilly where a memorial to him and his father lies. Many of Van de Velde's works represent views off the coast. His paintings are notable by the delicate, spirited and finished hand. They are also correct in the drawing of the vessels and their rigging, a rare attribute of marine paintings at the time. Van de Velde is successful in his renderings of the sea, whether in calm or storm. His ships are portrayed with almost photographic accuracy and are the most precise guides available to the appearance of 17th Century ships. His later paintings shaped the development of seascape painting in England in the 18th Century. The ship depicted in our painting is believed to be HMS Henrietta, one of Charles II's pleasure yachts used for racing but with the capability of being used as a war ship if necessary. HMS Henrietta 1679: In J David Davies, 'Kings of the Sea: Charles II, James II and the Royal Navy', Seaforth Publishing, Pen & Sword Books, 2017, p.84, Davies reports: "The yachts' exteriors were also elaborately decorated, with a profusion of sculptures and gilding." Contemporary models, such as that of the Henrietta Yacht of 1679, on display in the Portland Collection at Welbeck Abbey, reveal beautiful, sleek craft, gloriously gilded; on the Henrietta, a small 'well deck' of sorts divided the great cabin into two, providing a semi-enclosed space in which the monarch could take the air upon a damask-clad throne. Unsurprisingly, none of this came cheap. Provenance:Collection of Sir Richard Cotterell Bt, Garnons, Hereford Sotheby's, London, 27 November 1957, lot 47 (as Van der Velde) Collection William Drown, London Spink & Son, London Alfred Brod Gallery, London Collection R.P. Schweder, London Chaucer and Van Dam Galleries, London Collection of a prominent family, the Netherlands Dimensions: (Framed) 65 in (H) x 56 in (W) inches (in the period carved and gilded frame) (Canvas) 59.4 in (H) x 49.5 in (W)  

Anatoly Zverev (Russian 1931-1986) Portrait of a Womansigned and dated 'AZ / 19 / 67' (upper left, right and lower left)gouache and charcoal38 x 31cmProvenance:With Zverev Centre for Contemporary Art, and with stamped and signed certificate of authenticity

§ Mike Healey (Scottish 1951-) Still life with a bowl of fuit and flowers on a table oil on board 69 x 90cmFootnote: One of Scotland’s leading contemporary colourists, Mike Healey has gained significant international recognition for his vibrant, painterly compositions and has been exhibited worldwide, including shows in London, New York, Philadelphia, Bermuda, Japan and in his native Scotland. Born in the Amazon region of Brazil in 1951, Healey received his early education in London before training under John Cunningham at the Glasgow School of Art (GSA) between 1970 and 1974. Healey’s talents were recognised at the GSA, where he was awarded both the Haldane Drawing Prize and the Leverhulme Travelling Scholarship. Following his graduation, Healey joined the academic staff at the GSA where, in 1983, he was appointed as the head of Graphics, Illustration and Photography and later as the head of the Design and Applied Arts Department. Rendered in a luminous mosaic of candescent reds and electrifying blues, the present lot pays homage to Healey’s predecessors, whilst also situating his work firmly within the lineage of the Scottish colourists.

The complete set of seven prints for the Institute of Contemporary Art Exhibition Cybernetic Serendi The Computer and the Arts, 2 August – 20 October 1968published by Motif Editions, to include: Maughan S. Mason ‘Asymmetry’, 51 x 76cm, ‘Human Figure’ (Boeing Computer Graphics), 51 x 76cm, Donald K. Robbins ‘3D Checkerboard’, 76 x 51cm, ‘Return to Square’ by the Computer Technique Group, Japan, 76 x 51cm, Charles Csuri & James Schaffer ‘Random War’ (Ohio State University), 51 x 76cm, Kerry Strand ‘The Snail’ (Californian Computer Products, Anaheim), 76 x 51cm, ‘Running Cola is Africa', 51 x 76cmCondition report: All stuck down to the backboard at the corners, with light handling creases, and all with slight, but uniform, toning.

§ Sir Richard Long (British, born 1945), Untitled, 2002, white china clay and River Avon mud on Cornish driftwood with rusted nails, signed and dated on the reverse13 x 71 x 2.5cm Provenance:Purchased directly from the artist by the vendor's late father Footnote: Undoubtedly one of the most influential and internationally acclaimed British artists of the 21st century, Richard Long remains at the vanguard of contemporary conceptual sculpture, expanding the possibilities of the discipline beyond conventional materials, concepts and methods. Perhaps best known for his text works and monumental sculptural installations, Sir Richard Long has made walking central to his artistic practice, commenting, ‘I like the idea that art can be made anywhere'. Meditating upon his personal experiences walking throughout landscapes, both domestic and international, Long’s work utilises natural, found materials, such as earth, rock, and, on occasion, even just his own body weight to create a temporary intervention in the landscape. Whilst documented through word and photography, Long’s performative and conceptual works are typically not designed to remain intact, reflecting the transience of time, experience, memory and nature. The present lot, composed of driftwood and adorned with the artist’s fingerprints in natural clay, is one of a number of similar sculptural works created by Long between 2000 and 2010. Condition report: In original condition - the nature of the materials used means that wood is rough around the edges and the nails are rusty, this is an intentional effect of the artwork.

Pair: Major-General E. L. Hawkins, Bengal Artillery Indian Mutiny 1857-59, 2 clasps, Central India, Lucknow, clasps mounted in this order (Lieut. E. L. Hawkins, 1st. Bn. Bengal Art.); Turkish Crimea 1855, Sardinian issue, a contemporary tailor’s copy by ‘J.B.’, light contact marks, very fine (2) £600-£800 --- Provenance: George McIlroy Collection. Edward Lindsay Hawkins was born in Calcutta on 29 May 1832 and was educated at Heavitree Grammar School. Commissioned Second Lieutenant, he served with the Bengal Artillery as part of the Turkish Contingent under General Vivian from 20 March 1855 to 2 June 1856, one of 202 Officers of the Honourable East India Company’s Army that volunteered for service during the Crimean War (only entitled to the Turkish Crimea Medal). Promoted Lieutenant on 27 March 1855, Hawkins served with the 3rd company, 1st Battalion Bengal Artillery in India during the Great Sepoy Mutiny, and was present at Cawnpore on 6 December 1857; at the Alum Bagh at Lucknow on 11 March 1858; at Shamshahbad on 27 June 1858, and at Calpee. Promoted Captain on 18 February 1861, and Major on 5 July 1872, he was advanced Lieutenant-Colonel on 31 December 1878, and Colonel on 31 December 1882; and retired with the honorary rank of Major-General on 1 June 1886. Sold with copied research.

Interior Design - contemporary art, a set of four acrylic painted panels, decorated with Mexican inspired motifs and landscapes, the largest 91cm x 61cm (4)

Vanderheijden van Tinteren, Michelgeboren 196537 x 17,5 x 4,5 cm, R."Le thérapeute", 1996. Wandrelief mit Knopfleiste und Damenkorsett, in Pappschachtel. In Faserstift und Gouache rückseitig monogrammiert, datiert und betitelt.Galerie Philipp March Contemporary Art, Stuttgart. - Privatsammlung Professor Dr. Karin von Maur, Stuttgart, ehemals stellvertretende Direktorin der Staatsgalerie Stuttgart. Dort 1997 erworben.Ausstellung: "Michel Vanderheijden - Relikte des Schattens", Galerie Philipp March Kunstobjekte, Stuttgart 1997.

1985 AD. A framed watercolour and ink on paper, attributed to the Indian artist Ganesh Pyne on the bottom left. 940 grams, 37.6 x 33.7cm (14 3/4 x 13 1/4"). Private collection of a North West England collector. Property of a collector known by the artist. Accompanied by a certificate of authenticity as authenticated and signed by the artist in 2005. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11058-183802. Ganesh Pyne (1937-2013) was an Indian painter and draughtsman and one of the most notable contemporary artists of the Bengal School of Art. He was born in Kolkata, West Bengal and was proclaimed the best painter in India by M.F. Husain in the late 1970s. [No Reserve] Fine condition.

13th-14th century AD. An unusual single-edged iron sabre with curved blade, the blade with a wide additional band beneath the quillon and a tongue running along the blade, a gold inlaid inscription which is possibly of eastern Greek-Latin, or of late Byzantine origin, and mixed with local dialect of the area where it was originally made, probably bearing the owner's name; the gilt guard with distinctly downturned finials, decorated with foliage ornament within a rhomboid pattern to one side, the medium tang with two fastening rivets for organic hilt. Cf. Nicolle, D., Arms and Armour of the Crusading Era, 1050-1350 AD, volume II, London, 1999; cf. Gorelik, M., Mongol-Tatar Armies, X-XIV cent., Moscow, 2002 (in Russian); cf. Bashir, M., The Arts of the Muslim Knight, The Furusiyya Art Foundation Collection, Milano, 2008, sword no.35; cf. Lebedinsky, I., De l’epee scythe au sabre mongol, Paris, 2008, pp.191-193. 625 grams, 96cm (38"). Private collection of Mr M.B., Mainz, Germany, 1990s. Property of a London businessman. Accompanied by an archaeological report by military specialist Dr. Raffaele D’Amato. Accompanied by a positive metal test number 182086/HM1466 from an Oxford specialist. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11080-182086. This blade is similar to the sabre of the Kurgan 20 from Kabardinka (territory of Krasnodar"). However, the asymmetrical curvature of the guard could also suggest an origin in the Pre-Mongol era, when - around the 12th century - a new type of sabre was introduced. However, the asymmetrical guard is more common in the period of the Golden Horde, as evidenced by the types of sabres (very similar to our artefact) from the aforementioned Kurgan 20 of Kabardinka and from tomb 35 of Tsemdolina (Russia, Krasnodar, see Lebedinsky, 2006, p.193"). Two Mongol swords (13th -14th century AD) published by Gorelik (2002, pls.10-11) from the territories of the Ukraine and Kuban, also exhibit key similarities. If the inscription on the sabre is interpreted as contemporary to the blade, the weapon could also belong to a member of the military elite unit of the Islamic Caucasus or Western Iran, fighting for and against the Mongols during the 13th-15th century of Golden Horde domination. Two fragmentary swords preserved in the Hermitage (Nicolle, 1999, p.232, nos.580-581) could also support this hypothesis. Fair condition.

c.15th century AD. A complete copper-alloy vesica-shaped seal matrix, the centre depicting the Trinity under a canopy in the form of a robed and enthroned figure of God with a halo, shown holding up a shroud as background to the crucified Christ, who in turn has the dove of the Holy Spirit present above the left shoulder; beneath the Trinity and separated from the upper portion by a stone arch, a demi-figure of a praying cleric, probably representing the Prior or Abbot; the incuse legend, in black letter, reads 'sigillu officii prioris (p'or - etas?) Cce trinitat' de moteCfont' with contraction marks over the -u and the -ce and the 'C' is an orthographic variant of 's' with 'Cce' being an abbreviation for Sancte for 'seal of the [...] prior of (the priory) of the Holy Trinity of Mottisfont'; the reverse flat with a projecting vertical flange pierced for suspension; held in a hinged display box. See Tonnochy, A. B., Catalogue of Seal Dies in the British Museum, BM, 1952, for examples of similar monastic seals, with nos.805 and 877, depicting a very similar representation of the Trinity, therein dated to 15th century AD. See Portable Antiquities Scheme, reference HAMP-CE0EE2 (this seal"). 50.56 grams (180 grams with box), 62mm (2 1/2"). Found whilst searching with a metal detector near Lockerley, Hampshire, UK. Accompanied by a copy of the Portable Antiquities Scheme report (PAS) number HAMP-CE0EE2. Designated of county importance by the Portable Antiquities Scheme. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11127-185016. An Augustinian priory (the Priory of the Holy Trinity) was founded at Mottisfont, Hampshire in 1201 by William Briwere; it allegedly held as a relic a finger of John the Baptist and was an important Medieval pilgrimage destination; the priory was dissolved in 1536, under Henry VIII and the estate was passed to his Lord Chamberlain, Lord Sandys; the remains are preserved to the present day by the National Trust. The black letter style of the legend on this matrix dates it to the latter part of the history of the priory, c.15th to early 16th century and this form of composition of the Trinity is directly paralleled iconographically in the contemporary 15th century Throne of Mercy type Nottingham alabaster Trinity panels and figurines; see examples in the Victoria & Albert Museum (reference 53-1946"). Very fine condition. Unique.

South Netherlandish or South German, late 16th century AD. A limestone statuette of a soldier seated on a bench supporting his head on his right hand; a close-fitting morion helmet on the head with notched crest and flared neck-guard covering a full head of flowing locks which extend to the shoulders and merge with a long beard; the body enclosed in a tight-fitting muscle-cuirass with pteruges and short puffed sleeves; the bare legs extending to calf-length boots; the left arm cradling the octagonal-section shaft of a spontoon or pike, with socket to the upper end to accept the blade (absent) and horse-hair plume resting on the shoulder; probably one of the figures from a scene of Christ's Resurrection. See Levin, S., Pedemonti, N., Bruno, L., ‘Resurrecting della Robbia’s Resurrection: Challenges in the Conservation of a Monumental Renaissance Relief’ in Hamilton, E., Dodson, K., Objects Specialty Group Postprints, Volume Twenty-Four, 2017, pp. 388–412. 11.5 kg total, 41.5cm including stand (16 1/2"). Art market, France, 2012. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11116-184115. The Resurrection was one of the more powerful images used to promote the Christian message during the Middle Ages. It usually takes the form of a triumphant Christ stepping out of the tomb in which he had been placed after the Crucifixion while a number of Roman soldiers slumber peacefully around it. The present figure is dressed in a Renaissance interpretation of Roman military clothing, but equipped with a contemporary staff weapon. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.] Fine condition.

SEVEN BOXES OF RECORDS, BOOKS, CDS, DVDS AND SOFT TOYS, to include approximately sixty CDs, forty vinyl lps and nine sets of records by mainly easy listening artists, seventeen books mainly trains and model railway titles also cars, art and history, forty DVDs to include musicals, Disney, feature films and documentaries, twenty four contemporary/late twentieth century teddy bears and other soft toys (7 BOXES)

THREE BOXES AND LOOSE CERAMICS AND GLASS WARES, to include a Royal Doulton Sweet and Twenty HN1298 figurine (extensive cracks), a Royal Doulton Chow Chow RDA6 figure, an art glass clown decanter, a Coalport Rosalinda figurine (repaired), an art pottery amber, blue and black double bud vase height 15.5cm, contemporary ceramic and art glass vases tallest 60.5cm, a pair of Crown Staffordshire Chelsea Manor bud vases, a large Nativity group height 46cm, glass humming birds and flowers, etc (sd) (3 BOXES + LOOSE)

Bruce Onobrakpeya,, geb. 1932, zeitgenössischer nigerianischer Künstler, europäisch-britisch geprägtes Studium am Nigerian College of Arts, zahlreiche internationale Sammlungsvertretungen u. Ausstellungen, u.a. Tate Modern (2001); Vertreter einer dekolonisierten u. unabhängigen afrikanischen Kunst, verhandelt in westlicher Prägung traditionell westafrikanische Themen, hier: 'Erhu Ivie', Darstellung verschiedener Yoruba-Könige und deren Herrscher-Insignien v.a. deren reicher Kopfschmuck, aus einer Phase der Verarbeitung v.a. historischer Persönlichkeiten, Metal FoilDeep Etching: durch den Künstler entwickeltes plastographisches Verfahren gravierter u. bronzierter Metallfolie, Ed. 11/30, betitelt, signiert u. datiert 1981, ca. 69x50 cm, aus Privatbesitz nach Ankauf vom KünstlerBruce Onobrakpeya, born 1932, contemporary Nigerian artist, studied at the Nigerian College of Arts with a European-British influence, numerous international collections and exhibitions, including Tate Modern (2001);Representative of a decolonized and independent African art, negotiates traditional West African themes in a western style, here: # 'Erhu Ivie #', representation of various Yoruba kings and their rulers' insignia, especially their rich headdresses, from a phase of processing especially historical personalities, Metal Foil Deep Etching: a plastographic process of engraved and bronzed metal foil developed by the artist, Ed. 11/30, titled, signed and dated 1981, approx. 69x50 cm, from private ownershipafter purchase from the artist

Bruce Onobrakpeya,, geb. 1932, zeitgenössischer nigerianischer Künstler, europäisch-britisch geprägtes Studium am Nigerian College of Arts; zahlreiche internationale Sammlungsvertretungen u. Ausstellungen, u.a. Tate Modern (2001); Vertreter einer dekolonisierten u. unabhängigen afrikanischen Kunst, verhandelt in westlicher Prägung traditionell westafrikanische Themen, hier: 'Oba Akai' Darstellung des Yoruba-Königs Aka, Metal Foil Deep Etching: durch den Künstler entwickeltes plastographisches Verfahren gravierter u. bronzierter Metallfolie, Ed. 9/30, betitelt, signiert u. datiert 1980, ca. 69x50 cm, aus Privatbesitz nach Ankauf vom KünstlerBruce Onobrakpeya, born 1932, contemporary Nigerian artist, studied at the Nigerian College of Arts with a European-British influence; numerous international collections and exhibitions, including Tate Modern (2001);Representative of a decolonized and independent African art, negotiates traditional West African themes in a western style, here: # 'Oba Akai #' Representation of the Yoruba king Aka, Metal Foil Deep Etching: the artist developed a plastographic process of engraved and bronzed metal foil, Ed . 9/30,titled, signed and dated 1980, approx. 69x50 cm, from private ownership after purchase fromthe artist