UNITED KINGDOM. Victoria, 1837-1901. Gold sovereign, 1846. London. Roman I. First young head of Victoria facing left, hair tied in fillet; date below truncation, with Roman I for 1; VICTORIA DEI GRATIA. / Crowned shield within wreath; thistle, rose and shamrock below; BRITANNIARUM REGINA FID: DEF:.In secure plastic holder, graded PCGS AU50 , certification number 49295269. PCGS population in this grade: 1.PCGS population in higher grade: 3.Reference: Marsh-29C; S-3852Diameter: 22.05 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
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UNITED KINGDOM. Victoria, 1837-1901. Gold half-sovereign, 1862. London. First small young head of Victoria facing left, hair tied in fillet; date below truncation; VICTORIA DEI GRATIA. / Crowned embellished shield-of-arms; BRITANNIARUM REGINA FID: DEF:.In secure plastic holder, graded NGC AU Details, certification number 4861437-008. NGC Census in this grade: 3.Reference: Fr-389b; KM-735.1; Marsh-436; S-3859ADiameter: 19.3 mm.Weight: 3.99 g. (AGW=0.1176 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
ENGLAND. Edward VI, 1547-53. Gold half-sovereign, ND (1547-1551). NULL. mm. grapple 122. First Period. Posthumous issue in the name of Henry VIII, struck 1547-1549. A youthful King Edward VI seated on throne, holding sceptre and orb, Tudor rose below. Legend reads HENRIC’ · 8’ : D’ · G’ · AGL’ · FRAN’ · Z HIB’ · REX : Translation: Henry the Eighth by the Grace of God King of England France and Ireland. / Crowned shield of arms with lion and griffin as supporters, crown below. Legend reads IHS’ · AVTE’ · TRANSIE’ · PER · MEDI’ · ILLOR’ · IBAT Translation: But Jesus passing through their midst went His way. Rare Mintmark.In secure plastic holder, graded NGC AU Details, certification number 6266701-002. NGC Census in this grade: 1, single finest graded.Reference: S-2393Diameter: 31 mm.Weight: 6 g.Composition: Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
UNITED KINGDOM. Victoria, 1837-1901. Gold sovereign, 1861. London. Roman I. Second young head of Victoria facing left, hair tied in fillet; date below truncation, with first 1 a letter I; VICTORIA DEI GRATIA. / Crowned shield within wreath; thistle, rose and shamrock below; BRITANNIARUM REGINA FID: DEF:.In secure plastic holder, graded PCGS AU53, certification number 48704621. PCGS population in this grade: 1.PCGS population in higher grade: 8.Reference: Marsh-44A; S-3852DDiameter: 22.05 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Victoria, 1837-1901. Copper 1/3 farthing, 1844. Royal Mint (Tower Hill). First uncrowned portrait ('Young Head') of Queen Victoria facing left, legend around and date below, VICTORIA DEI GRATIA 1844. / Seated figure of Britannia right, holding trident in left hand and shield bearing the Union flag in left, legend around and national flower emblems in exergue, BRITANNIAR: REG: FID: DEF:. Edge plain. In secure plastic holder, graded PCGS MS64 BN, certification number 49294958. PCGS population in this grade: 4, equal-finest graded.Reference: KM-743; Sp-3952.Mintage: 1,301,040.Diameter: 16 mm.Thickness: 0.9 mm.Weight: 1.57 g.Composition: Copper.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
UNITED KINGDOM. The Platinum Jubilee HM The Queen UK Gold Proof Celebration Coin Set. Together with fitted Royal Mint presentation case. Limited to 37 sets. Coin 1: Elizabeth II, 1952-2022, 50 Pence 2022. Royal Mint. Proof. Platinum Jubilee Commemoration. Mintage: 100. 27.3 mm. 15.5 g. 917/1000 Gold. (AGW=0.4570 oz.)Commemorative fifty pence coin celebrating the Platinum Jubilee (70th anniversary) of Queen Elizabeth II's reign. It is the first coin issued in the 50p denomination to mark a royal event.Coin 2: Elizabeth II, 1952-2022, 50 Pence 2022. Royal Mint. Proof. Mintage: 37. 27.3 mm. 15.5 g. 917/1000 Gold. (AGW=0.4569 oz.)Coin 3: Elizabeth II, 1952-2022, Twenty Pence 2022. Royal Mint. Proof. Fourth Portrait. Mintage: 37. 21.4 mm. 9.74 g. 917/1000 Gold. (AGW=0.2871 oz.)Coin 4: Elizabeth II, 1952-2022, Five Pence 2022. Royal Mint. Proof. Fifth Portrait. Mintage: 37. 18 mm. 6.32 g. 917/1000 Gold. (AGW=0.1863 oz.)Coin 5: Elizabeth II, 1952-2022, 10 Pence 2022. Royal Mint. Proof. Fifth Portrait. Mintage: 37. 24.5 mm. 12.65 g. 917/1000 Gold. (AGW=0.3729 oz.)Coin 6: Elizabeth II, 1952-2022, Two Pence 2022. Royal Mint. Proof. Fifth Portrait. Mintage: 37. 25.9 mm. 13.96 g. 917/1000 Gold. (AGW=0.4115 oz.)Coin 7: Elizabeth II, 1952-2022, 2 Pounds 2022. Royal Mint. Proof. Britannia (mint sets only). Mintage: 37. 28.4 mm. 15.9761 g. 917/1000 Gold. (AGW=0.4711 oz.)Since 2015 the definitive type two pound coin, this issue was released for mint sets only.Coin 8: Elizabeth II, 1952-2022, One Pound 2022. Royal Mint. Proof. Nations of the Crown. Mintage: 37. 23.4 mm. 17.72 g. 917/1000 Gold. (AGW=0.5223 oz.)Coin 9: Elizabeth II, 1952-2022, 5 Pounds (Crown) 2022. Royal Mint. Proof. Platinum Jubilee. 38.61 mm. 39.94 g. 917/1000 Gold. (AGW=1.1777 oz.)A commemorative crown celebrating the Platinum Jubilee (70th anniversary of the accession) of HM Queen Elizabeth II.Total gross weight: 147.31 g. (AGW = 4.3425 oz.)Composition: 916.8/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Victoria, 1837-1901. Bronze medal, 1842. Issued to commemorate the laying of the foundation stone for the third Royal Exchange building on 17th January 1842.Victoria bust facing left left; VICTORIA D:G: BRITANNIARUM REGINA F:D:. Design by W. Wyon. / Ten lines of text; IN COMMEMORATION OF LAYING THE FIRST STONE OF THE NEW ROYAL EXHANGE BY H:R:H: PRINCE ALBERT CONSORT OF H:M: QUEEN VICTORIA 17 JANUARY 1842 IN THE FIFTH YEAR OF HER REIGN. Edge plain.In secure plastic holder, graded PCGS SP63 , certification number 48580878. PCGS population in this grade: 5, equal-finest graded.Reference: BHM-2078Diameter: 45 mm.Weight: 44.4 g.Composition: Bronze.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
ENGLAND. Henry VI, 1422-61, 1470-71. Gold quarter-noble, ND (1422-1461). Tower (London) mint. Annulet issue, Obv: HENRIC DI GRA REX ANGL, quartered shield of arms of England and France with lis above all within tressure of eight arches; Trefoil stops. Rev: EXALTABITVR IN GLORIA, ornate cross with lis to angles, lions between, and central lis, all within treasure of eight arches; mullet and annulet stops.Good very fine. The noble was the first English gold coin produced in major quantity, introduced during the second coinage of King Edward III. Before the noble, the gold penny and the florin were minted during the reign of King Henry III and the beginning of Edward III's. While these predecessors saw little circulation, the derivatives of the noble--the half noble and quarter noble here--were produced in quantity and were very popular. Nobles and their derivatives were struck throughout Henry VI's first reign (1422–61), but a shortage of gold resulted in fewer coins being struck. Reference: S-1810Weight: 1.71 g.Composition: Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1889 M. Melbourne. First Legend. Jubilee bust left, J.E.B. with angled J fully on truncation; first legend position; VICTORIA D: G: BRITT: REGINA F: D:. / St George on horseback slaying the dragon right, horse with short tail; mintmark M in groundline; date and B.P. in exergue. Edge milled.Bentley Collection. In secure plastic holder, graded PCGS MS61 , certification number 38348918. PCGS population in this grade: 5.PCGS population in higher grade: 1.Reference: S-3867A; Marsh-133; DISH-M11; McD-179Mintage: 54,652.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Victoria, 1837-1901. Gold sovereign, 1845. London. Roman I. First young head of Victoria facing left, hair tied in fillet; date below truncation, with Roman I for 1; VICTORIA DEI GRATIA. / Crowned shield within wreath; thistle, rose and shamrock below; BRITANNIARUM REGINA FID: DEF:.In secure plastic holder, graded PCGS AU55, certification number 48704622. PCGS population in this grade: 2, equal-finest graded.Reference: Marsh-28C; S-3852Diameter: 22.05 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
ENGLAND. William III, 1694-1702. Silver shilling, 1696. London. First laureate and draped bust of William III right, legend around GVLIELMUS · III · DEI · GRA ·. / Crowned cruciform shields, central lion of Nassau rampant, divided date above, MAG·BR·FR·ET·HIB·REX· around. Edge milled.Rev. Countermarked; M(?) . R. Very good. Reference: S-3497; KM-485.1Diameter: 25 mm.Weight: 6 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
UNITED KINGDOM. Victoria, 1837-1901. Silver shilling, 1838. Royal Mint. First, young head of Victoria facing left, WW on truncation, in relief; VICTORIA DEI GRATIA BRITANNIAR: REG: F: D:. Design by William Wyon. / Crowned denomination within oak and olive wreath; date below. Design by Jean Baptiste Merlen. Edge milled.In secure plastic holder, graded PCGS MS64+ , certification number 44025374. PCGS population in this grade: 3.PCGS population in higher grade: 10.Reference: S-3902; KM-734.1Mintage: 1,956,240.Weight: 5.6552 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
UNITED KINGDOM. Victoria, 1837-1901. Silver sixpence, 1848. Royal Mint. Overdate 1848/6. First young head of Queen Victoria facing left; VICTORIA DEI GRATIA BRITANNIAR: REG: F:D:. Design by William Wyon. / Crowned denomination within a oak and olive wreath; date below. Design by Jean Baptiste Merlen. Edge milled.In secure plastic holder, graded PCGS AU58 , certification number 46420496. PCGS population in this grade: 1.PCGS population in higher grade: 8.Reference: S-3908; KM-733.1Mintage: 586,080.Weight: 2.8276 g.Composition: 925.0/1000 Silver.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
A SAPPHIRE AND DIAMOND RINGWith textured surface mounted with three round brilliant diamonds and three round cut sapphires, in unmarked gold, size O, gross weight 16.4 gramsCONDITION REPORTEvidence of resizingThe ring is paired with a note stating that the ring was bought from Grima and says 'in 1985 after my first son was born I had this ring enlarged as my hands had thickened due to Dupytron's disease so that I could no longer wear this on my little finger. This jewellery work was carried out by Bourne End jewellers at Bourne End Berkshire and the "G" stamp of Grima is now covered by the extra gold"
A BENTIMA STAR 21 9CT GOLD CASED GENTLEMAN'S WRISTWATCH AND EIGHT FURTHER WRISTWATCHES (9)The first with a signed jewelled lever movement, the signed silvered dial with subsidiary seconds and gilt hands, import mark Edinburgh 1964, also a silver circular cased lady's wristwatch, the movement detailed Visible, import mark Birmingham 1924, five further gentleman's wristwatches and two ladies wristwatches, also a wristwatch movement and various fittings
TWO PHILIP STEIN WRISTWATCHES (2)Comprising; the first steel and diamond set curved shaped rectangular wristwatch, the two dials with silvered Roman numerals, detailed Philip Stein Teslar and with a surround of circular cut diamonds, the caseback detailed Teslar Quantum Technology, chip made in U.S.A, Serial No 1TF001821, the second watch steel cased of curved shaped rectangular design, the two grey dials with arrow and baton form numerals, the caseback detailed Natural Frequency Technology, Sapphire Crystal, Serial No 200TF002553
A TISSOT GOLD LADY'S BRACELET WRISTWATCH AND ANOTHER WRISTWATCH (2)The first with a jewelled lever movement, detailed within the caseback 18 K 0750 4044288, the bracelet with a foldover clasp, detailed 750, length 16.5cm, gross weight excluding movement, including dial cover 23 grams, the second an Eszaha gold rectangular cased wristwatch, the jewelled lever movement detailed Swiss Made, detailed within the caseback 14 K 0,585 4389, weight of caseback 5.3 grams
Pokemon TCG. Base Set Complete Set - This lot includes a full set of the English release of the Base Set, the first ever Pokemon set in English! Highlights are the Charizard, Blastoise and Venusaur and this set comes in a Original Pokemon binder. There are a few 4th print non holo cards in the set and duplicate non holos included. This item is from the collection of the former Managing Director of Wizards of the Coast in the UK, Stephen Wilks. Condition Report: Conditions range from light play to near mint.
Pokemon TCG. Japanese Town On No Map (Aquapolis), 2002 first edition e-series sealed booster box of 40 booster packs. Provenance: The vendor used to have a unit in an antiques and collectables centre where they brought and sold Pokemon cards in the late 90's to early 2000's. Condition Report: Sealed, overall in fantastic condition with vibrant colours. Does have a dent on front top edge.
HATTORI TADASABURO OF NAGOYA (DIED 1939)A Fine and Large Moriage Cloisonné-Enamel vase Meiji (1868-1912) or Taisho era (1912-1926), early 20th centuryThe large squat vase with a thick cylindrical neck flaring out to the mouth, worked in standard and musen ('wireless) cloisonné techniques with an overall design of trailing morning glory, the silver wires of varying thickness delineating the stems and veins of the leaves, the enamels in contrasting shades of aubergine and white imitating the natural tones of the wild plant, all against a dull olive-green ground, applied with a silver rim and foot, the base with an incised signature Hattori in a leaf-shaped reserve, with a wooden stand pierced with a basketwork design and a wood storage box inscribed Do shippo asagao moriage kabin (Copper cloisonné moriage vase with morning glory design) and Meiji yonjunen Chokokai goyohin (Commissioned by the Carvers' Association, 1907). The vase: 27cm x 27cm (10 5/8in x 10 5/8in); the stand: 13cm x 22cm (5 1/8in x 8 5/8in). (3).Footnotes:Published and Illustrated:Gregory Irvine, Japanese Cloisonné Enamels: The Seven Treasures, London, Victoria and Albert Museum, 2006, p.127.Hattori Tadasaburo of Nagoya was among the finest cloisonné-enameling masters of his day, excelling in a wide range of innovative techniques and styles. He opened his own studio in 1888 and won international honours at the 1893 Chicago World's Columbia Exposition; at the Louisiana Purchase Exposition, held at St. Louis in 1904, his enamels were, most unusually, shown in the Art Palace rather than the larger but less prestigious Palace of Varied Industries. It is not certain whether or not he invented the demanding moriage ('piled-up') technique seen here, but he was certainly among the first to exhibit it, starting at St. Louis, and is admired for the way that he succeeded in raising moriage designs to an unusually high level above the ground enamel; see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists: 1600 to the Present, Jefferson NC, McFarland & Company, Inc., 2010, p. 202. For a pair of vases by Hattori Tadasaburo, see lot 113.For further information on this lot please visit Bonhams.com
A MATCHING SET OF SILVER-INLAID AND GOLD-LACQUERED SUZURIBAKO (BOX FOR WRITING UTENSILS) AND RYOSHIBAKO (DOCUMENT BOX)Meiji (1868-1912), Taisho (1912-1926) or Showa (1926-1989) era, early 20th centuryEach of standard rectangular form with rounded chiri-i (edges), entirely covered with a gold, rich o-birame ground, decorated mainly in gold and slight coloured hiramaki-e, togidashi maki-e and takamaki-e with gold hirame, kinpun and kirikane details, the exterior of both the ryoshibako and suzuribako embellished with superimposed ogi (folding fans), the majority opened to reveal differently decorated leaves of famous landmarks, places including Sanjo Bridge and cherry blossoms at Mount Yoshino and buildings in landscape, geese and chidori in flight and windswept autumnal plants, the design continuing over the lid and sides of the base, the imitation ribs and guards of the fans inlaid in silver, the inside of the inrobuta (flush-fitting lid) of the ryoshibako lacquered in the same technique, with motifs from Hatsune (The First Warbler), Chapter 23 of the tenth-century novel Genji Monogatari (The Tale of Genji) showing a gilt-metal uguisu (bush warbler) perched on the balustrade of the veranda of the Rokujo Mansion surrounded by a lush garden and pond, reserved on a rich nashiji ground; the inside of the kabusebuta (overhanging lid) of the suzuribako bearing another motif from Genji Monogatari depicting a goshoguruma (courtier's ox drawn carriage) sheltered beneath a pine tree resting on its shafts on the banks of a meandering stream flanked by pine saplings and young plum, the design continuing to the inside of the box, fitted with a removable and sectioned ita (baseboard) with a central frame for the suzuri (ink-grinding stone) and a recess for the silver suiteki (water dropper) in the form of two plum blossoms, the implements comprising two fude (writing brushes) with covers, a kiri (awl for piercing sheets of paper), a tosu (paper knife) and a sumitori (ink-stick holder), the rims of both boxes edged in silver, both unsigned; the suzuribako with a black-lacquered tomobako storage box inscribed outside the lid Ogichirashi maki-e onsuzuribako (writing box with scattered fan design), the ryoshibako with a black-lacquered tomobako storage box similarly inscribed. The suzuribako: 4cm x 25cm x 22cm (1 9/16in x 9 13/16in x 8 9/16in); the ryoshikibako: 14.5cm x 40.5cm x 32.5cm (5¾in x 15 15/16in x 12 13/16in). (14).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
NAMIKAWA YASUYUKI (1845-1927) OF KYOTOA Cloisonné-Enamel Slender Baluster Vase Meiji era (1868-1912), late 19th/early 20th centuryDelicately worked in tapering gold wire and red, yellow, blue and green enamels with a solitary bird perched among flowering maple branches reserved on a lustrous black ground, applied with a shakudo rim and foot, signed directly on the base silver base with engraved characters Kyoto Namikawa; with a small wood stand. 23cm (9 1/16in) high. (2).Footnotes:Published and Illustrated:Gregory Irvine, Japanese Cloisonné Enamels: The Seven Treasures, London, Victoria and Albert Museum, 2006, p.76 (right image).Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his cloisonné business in Kyoto in 1873 and by the 1880s was successful enough to build, and then extend and upgrade, a large compound that eventually included workshops housing 20 or more employees, a showroom, a family residence and a garden with a fishpond. He used these facilities to create a carefully orchestrated private retail experience that was described in admiring detail by American and European travel writers, selling many of his finest wares directly to private clients, as well as carrying out imperial commissions and participating in international expositions. Between 1876 and 1904 he won 11 overseas awards and in 1896, along with his unrelated namesake the Tokyo enameler Namikawa Sosuke (the two family names are written with different characters), was among the first individuals to be appointed to the ranks of Teishitsu Gigeiin (Artist-Craftsmen to the Imperial Household). Such was his reputation that at the 1900 Paris Exposition Universelle his wares were snapped up the moment they were unpacked and sold for up to ten times the amount anticipated. For a detailed biography of Namikawa Yasuyuki, see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists, 1600 to the Present, Jefferson, N.C., McFarland, 2010, pp.86–87.For further information on this lot please visit Bonhams.com
ONE BY SHINSAI (DATES UNKNOWN) AND ONE BY UCHIDA SOKAN (1883-1984)Two Lacquer Natsume (Tea Caddies) Taisho (1912-1926) or Showa (1926-1989) era, 20th centuryThe first decorated in gold and shell hiramaki-e and gold togidashi maki-e with a suzumushi (bell cricket) and a korogi (cricket) among a mass of dense fern, one insect crawling on the curving strands of susuki (plume grass), the fern embellished here and there with shell dewdrops, the interior red-lacquered, unsigned, 7cm x 7cm (2¾in x 2¾in), with a wood tomobako storage box, inscribed and signed on the side Onatsume (Large tea caddy) and Shinsai saku with a seal Shinsai; the second decorated in gold takamaki-e, with a sparse design of abstract pine trees on a lustrous black-lacquered ground, the interior of gold lacquer, signed on the base Sokan, 6.5cm x 7cm (2 9/16inx 2¾in); with a wood tomobako storage box, inscribed outside the lid Natsume in hiragana script, signed inside the lid Nushi Sokan hachijugo so (lacquer artist: Sokan, old man of 85 years) with a seal and a further signature and seal probably of the retailer. (6).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
TWO 19TH CENTURY INDIAN MINIATURES. Gouache, heightened with gilding on paper, the first depicting a standing nobleman in landscape, the second with a seated Mughal Emperor below a verse in script, within terraced landscape, each approx. 13cm x 22cm exc. frame (2)Neither have been inspected out of their frames, both are finely painted. The example with the Emperor, the glass is cracked. There are some very minor areas of discolouration and wear to each painting.Provenance: Property of a local lady. Inherited from her grandparents whose families were part of the British Indian Army in the 1920s. The items were bought back to the UK one their return.
TWO CHINESE EMBROIDERED BLUE-GROUND SILK ROBES, CIRCA 1900 AND LATER. The first, earlier example, of pale blue silk, embroidered with butterflies, flowers and fruit, with salmon-coloured silk lining, the sleeves with gilt thread edging, 113cm long, the second, dark-blue, with phoenix above waves, butterflies, flowering prunus and rockwork, 110 cm long (2) The first with some tearing, slight loose threads, some water staining to blue silk, loose toggles. The dark blue robe with some tearing and threadbare sections around neck and to sleeves, further wear, some pulled threads and losses.Provenance: Property of a local lady, thence by descent.
A CHINESE LONG EMBROIDERED GILT THREAD RED-GROUND WOOL HANGING AND ANOTHER, SMALLER CIRCA 1930. The first embroidered with figures amongst clouds, scrolls, leaves, flowers, with large characters of a poem on the Spring season and applied with small gilt-metal mirrors, with tasselled fringing to borders, 45cm x 335cm inc. fringing, the second, embroidered in coloured and gilt threads with lion dogs, flowers and fruit, on a red-ground, 118cm x 44cm The larger example: with some small moth holes, further small holes and tearing at edges, some pulled threads, minor losses.Provenance: Property of a local lady, thence by descent.
TWO PAIRS OF 19TH CENTURY JAPANESE IMARI VASES. The first of reeded double gourd-shape, moulded with ribbon-tied tassels and painted with floral mons, 17.,5cm high, together with a smaller baluster pair painted with flowerheads and mons, 13.5cm high (4) The double gourd shaped vases: one drilled at side above footrim, the other with a short hairline crack to upper rim. The smaller baluster pair - one with glaze crack to edge of footrim, otherwise ok.
TWO PAIRS OF CHINESE FAMILLE ROSE PORCELAIN DISHES, 18TH CENTURY. The first decorated with a central bouquet of flowers surrounded by peony sprays; Together with a pair of smaller dishes, each with deep rounded sides decorated with lady and boys in a landscape scene. Qianlong export ware (1736-95). 22.5cm and 12.2cm diam. (4)Larger dishes with slight coloured in chips around the rims with no cracks or signs of repair. The smaller dishes, one with minute chip leading into a faint 1.5cm hairline. The other with a faint 1.5cm hairline. Both with minor fritting.
TWO CHINESE COURT NECKLACES, CHAO ZHU, EARLY 20TH CENTURY. The first comprised of black glass beads with larger green glass connecting beads, jiezhu, with hanging faux coral beads and further green stone pendants on silk; The second comprised of yellow glass beads with three larger green glass beads and a matching hanging pendant with silk. (2) The first complete in good overall condition. The second incomplete.Provenance: Property of a local lady, thence by descent.
A Chinese wood carving of a seated Daoist deity, and a Himalayan lacquered wood stele of a seated AmitayusMing dynasty, 17th centuryThe first well carved, wearing flowing robes and an elaborate headdress, with traces of gilt lacquer, wood stand, 14.5cm high; the second simply carved in padmasana, holding the elixir of long life in his lap, surrounded by a flaming mandorla and mounted to a wood stand, 16cm high (2).明十七世紀 木雕道教人像及阿彌陀佛坐像Condition Report: Chinese Daoist figure: general loss to gilt lacquered surface; several areas of worm holes, nibbling and small losses to edges; loss to implement in righthand.Tibetan figure: general expected surface wear and loss to lacquered patina. Some chipping and rough caring to edges. At least one long age crack.
AN AUBERGINE-GLAZED 'EIGHT BUDDHIST EMBLEMS' SAUCER DISHYongzheng six-character mark and of the periodCrisply and delicately incised around the exterior with the Eight Buddhist Emblems, covered with a rich lustrous purple-blue glaze. 11.2cm (4 1/2in) diam. Footnotes:清雍正 茄皮紫釉暗刻八吉祥紋盤青花「大清雍正年製」楷書款Provenance: Cartwright CollectionBluett & Sons, London (label), 11 June 1975John E. Bodie OBE (1930-2023), London, collection no.48來源： Cartwright舊藏倫敦古董商Bluett & Sons（據標籤），1975年6月11日大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號48The Cartwright Collection, comprising monochrome Chinese porcelain and glass, is a testament to the discerning tastes of three generations of the Cartwright family from Aynhoe Park, Northamptonshire. Initiated by William Cornwallis Cartwright, M. P. (1825-1915), who acquired select ceramics and glass primarily from Bluett's between 1910 and 1913, the collection expanded under the stewardship of his son, Sir Fairfax Leighton Cartwright, GCMG, GCVO (1857-1928). Concurrently, Richard Fairfax William Cartwright (1903-1954), grandson of William, embarked on his own acquisitions starting in 1933, amassing a collection of around 400 monochrome porcelains by his untimely death in 1954. These treasures adorned a specially curated room at Aynhoe Park, hailed in the post-World War II guidebook as 'one of the glories of Aynhoe.'Following the sale of Aynhoe Park circa 1960, Roger Bluett facilitated the relocation of the collection to the Cartwright family's manor house near Bath in the mid-1970s, which belonged to R.F.W. Cartwright's daughter. This transition likely prompted the sale of a select few duplicates through Bluetts, initially showcased at the Antique Dealers' Fair held at the Grosvenor House Hotel in June 1975.Compare with two related aubergine-glazed incised dishes but with dragons, Kangxi marks and of the period, the first illustrated in Chinese Porcelain: The S.C.Ko Tianminlou Collection, Part I, Hong Kong, 1987, pl.144; the other illustrated by J.Ayers in Chinese Ceramics: The Koger Collection, London, 1985, pl.144.For further information on this lot please visit Bonhams.com
A RARE OFFICIAL'S SILVER SEALDated 1772 and of the periodOf rectangular form surmounted by a cylindrical handle, the top incised with Manchurian and Chinese, the Chinese inscription reading Henan Shandong hedao zong guanfang which means 'The Seal of the Director-general of the Grand Canal of Henan and Shandong Provinces', and libu zao which means 'made by the Ministry of Rite'; the seal face cast in Manchurian and Chinese seal script with characters reading Henan Shandong hedao zong guanfang (The Seal of the Director-general of the Grand Canal of Henan and Shandong Provinces) and a character jiao (dispose) atop. 12.5cm (5in) high, 1.885kg weightFootnotes:清乾隆三十七年（1772）銀柱鈕「河南山東河道總督關防」印「叁拾柒年拾貳月」「禮部造」「河南山東河道總督關防」「繳」款Provenance: George Stanley Knowles who travelled to China in the mid 19th century and set up an Import and Export business in Harbin來源： George Stanley Knowles於19世紀中葉前往中國，在中國哈爾濱創建進出口業務生意The present lot has 98.9% content of silver (Ag).該拍品銀純度為98.9% (Ag)Although partially effaced, the inscription to a side of the seal reveals the date 'the twelfth month of the thirty-seventh year' (叁拾柒年拾貳月). During the Qing dynasty, only the reigns of Emperor Kangxi (1662-1722) and Emperor Qianlong (1736-1795) lasted longer than thirty-seven years. The format of the seal further confirms a date of the thirty-seventh year of the Qianlong period (1772), because the Manchurian and Chinese inscriptions cast on the seal face are both in seal script, the practice had not been regulated until the thirteenth year of the Qianlong period (1748). According to Qingchao wenxian tongkao (清朝文獻通考), vol.143, 6095, in 1748, the Qing government 'standardized the Manchurian seal script, and recast the seals of all officials. The Manchurian inscription in seal script is written on the left side, while the Chinese in seal script is written on the right side.' (制清篆，改鑄百官印信。清篆左，漢篆右)There seals, as the present lot, known as guanfang (關防), were granted to temporarily appointed officials by the Qing emperors and were made of silver and copper according to the ranks of the officials. Hedao zongdu (河道總督) (The Director-general of the Grand Canal of Henan and Shandong Provinces), the first rank, controlled maintenance and operation of the Grand Canal and shipping on relevant sections of the Yellow River. In the thirty-seventh year of the Qianlong period when the present lot was cast, Yao Lide 姚立德 (?-1783) was the Director-general of the Grand Canal of Henan and Shandong Provinces.Another feature that makes the present lot extremely rare is the character jiao 繳 (dispose) engraved atop the Chinese and Manchurian inscriptions. According to Qinding daqing huidian shili (欽定大清會典事例), vol.321, in cases where old seals had blurred inscriptions and other issues, each department or provincial governor shall request permission to cast and issue new seals. The old seals to cancel must then be 'engraved with the character jiao (繳) in the centre of the Chinese and Manchurian seal script on the seal face' (于印面滿漢印文正中，鐫一'繳'字), as seen in the present lot. It is very rare to see seals with the character jiao (繳) survive to the present day, as they were usually melted down after been confirmed as the correct seals and delivered to the Ministry of Rite (由部驗明封儲存司，匯齊銷毀).See a related but later silver official's seal, dated the 4th year of Guangxu (1878), in the Qing court collection, in the Palace Museum Beijing (accession no. 故00231195). See also a related bronze seal, dated 15th year of Qianlong (1750), which was sold at Sotheby's New York, 19 September 2015, lot 944.For further information on this lot please visit Bonhams.com
A PAIR OF VERY LARGE EMBROIDERED SILK 'HUNDRED BIRDS' PANELS SET INTO HONGMU SCREENS19th centuryThe panels finely embroidered with a multitudinous variety of birds fluttering in luxuriant, flowering gardens, all on cream silk grounds, the reticulated frames and stands skillfully carved with lotus blooms and entwined scrolling foliage, set on recumbent Buddhist lion feet. Overall 190cm (74 7/8in) high x 117.5cm (46in) wide x 47.5cm (18 5/8in) deep. (2).Footnotes:十九世紀 紅木邊框鑲緞地粵繡「百鳥朝鳳」圖座屏一對Provenance: Parry Collection, London, and thence by descent來源： 倫敦Parry家族舊藏，並由後人保存迄今The scene depicts numerous birds, in tribute to the popular and auspicious design of the 'Hundred Birds Paying Tribute to the Phoenix'. According to Chinese legend, the phoenix is the Queen of all feathered creatures, appearing only in times of prosperity and peace. Birds also played a prominent part in the visual culture of rank and hierarchy, as the various ranks of the civil bureaucracy were represented on official robes with badges depicting a bird. Thus, the first rank badge was a Manchurian crane; the second rank, a golden pheasant; the third, a peacock, etc., down to the eighth and ninth ranks represented by quails and sparrows. Screen depicting the multitudes of birds, in an Imperial context, would suggest the harmonious gathering of officials at court: the bird kingdom mirroring the Son of Heaven's human realm.A similar single 'hundred-birds' silk embroidered wood framed panel, 19th century, is in Greenway House, Devon, but without the lower wood section (acc.no.NT118793). A single similar large blue-ground embroidered 'hundred-birds' panel inset within a wooden screen, 19th century, was sold at Christie's London, 6 November 2018, lot 319.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A FINE PAIR OF FAMILLE VERTE SAUCER-DISHESChenghua six-character marks, KangxiEach finely potted with rounded sides supported on a short foot, the first dish with a fruiting branch of ripe peaches amidst verdant foliage in the well within a double red circle, the exterior with further branches of peaches and pomegranates, the second dish with a flowering branch of peonies in the well, the exterior with further peonies and branches of blossoming prunus, the bases of both vessels with underglaze-blue six-character marks within a double circle. The largest 17.7cm (6 7/8in) diam. (2).Footnotes:清康熙 五彩花果紋盤一對青花「大明成化年製」楷書款Provenance: H.M. Knight (the dish with fruiting peach)W.R.BindleyRoger Keverne Ltd., London, December 2004 (letter)Harry Hyams, acquired from the above and gifted to John E. Bodie, Christmas 2004John E. Bodie OBE (1930-2023), London, collection no.17Exhibited: Oosterse Schatten, Rijksmuseum, Amsterdam, 1954, no.347 (fruiting peach dish)Published, Illustrated and Exhibited: The Oriental Ceramic Society, Arts of the Ch'ing Dynasty, London, 1964, no.183 (the fruiting peach dish)The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, pp.312-313, no.185 (both dishes; labels). John E. Bodie loaned 7 pieces to the exhibition.來源：H.M. Knight（桃紋盤）W.R.Bindley倫敦古董商Roger Keverne Ltd.，2004年12月（據信）Harry Hyams，從上處獲得並在2004年聖誕節贈予John E. Bodie大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號17展覽：Oosterse Schatten，阿姆斯特丹國家博物館，阿姆斯特丹，1954年，編號347（桃紋盤）展覽著錄：東方陶瓷學會，《Arts of the Ch'ing Dynasty》，倫敦，1964年，編號183（桃紋盤）東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第312-313頁，編號185（兩隻盤；據標籤）。John E. Bodie 曾借展7件藏品給該展覽Several dishes of similar style have been documented, featuring various combinations of fruiting and flowering branches in a distinctive colour scheme. These dishes typically lack underglaze-blue decoration and are characterised by double red lines encircling the designs and rims, often bearing spurious Chenghua marks. One dish in this group showcases a fruiting peach branch on the interior and branches of cherry and loquat on the exterior, while another features a flowering pomegranate on the interior and begonia and a flowering fruit tree on the exterior. Utilising polychrome washes, the motifs are rendered in a naturalistic manner, with particular attention to detail evident in the depiction of leaves, some of which show signs of aging such as insect bites and yellowing.Such attention to detail as the yellowing leaves reflect that the mark of a person of feeling in the late Ming and Qing dynasties was a poignant awareness of the transience of the phenomenal world, embodied alike in the changing seasons and in the shifting fortunes of human life. This sentiment was rooted in a profound awareness of the transient nature of the world, evident in the changing seasons and the unpredictable twists of human existence. At the heart of this awareness lies a significant concept—the solemn Buddhist principle of impermanence, which intersected with the aesthetic inclination towards profound engagement with the world. Poetry, painting (including on ceramics), traditionally revered as hallmarks of cultured refinement, drew strength from this awareness. Both the artist and the observer could sense a profound connection to essential Buddhist truths through artworks depicting flowers and decaying leaves, evoking a sense of melancholy over the fleeting beauty of existence. Similar depiction of flowers and fruits, often with yellowing leaves, are seen on famille verte 'birthday plates', Kangxi. See one example illustrated in the Loan Exhibition: Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October - 2 November 2021, nos.12 and 19. The fruits depicted on the present lot are also replete with auspicious symbolism. Peaches are often associated with longevity, immortality, and vitality. In Chinese mythology, the peach tree is believed to be the tree of immortality, and peaches are considered the fruit of the gods, bestowing longevity and eternal youth upon those who consume them. Pomegranates, on the other hand, symbolise fertility, abundance, and prosperity. With their numerous seeds, pomegranates represent the promise of abundance and the continuity of generations. Together, peaches and pomegranates embody auspicious wishes for longevity, prosperity, and happiness, making them popular motifs in Chinese porcelain art throughout history.See a related group of three famille verte dishes, Kangxi, from the collections of Sir Harry Garner and Sir Alfred Aykroyd, illustrated by R.Krahl and C. von Spee, Chinese Ceramics from the Gulexuan Collection, London, 2003, pls.103-104. See also one related famille verte dish, Kangxi, illustrated by M.Beurdeley and G.Raindre, Qing Porcelain: Famille Verte, Famille Rose, London, 1987, pl.94.For further information on this lot please visit Bonhams.com
AN IMPERIAL PAINTED ALBUM OF THE DAHARANI SUTRAAnonymous, 19th centuryThe fourth volume of the sutra, elaborately embroidered silk covers with illuminated title pages showing five-clawed dragons and twenty meticulously executed paintings on silk mounted on Imperial yellow silk, and seven pages of calligraphy in gold on blue paper. 32cm (12 1/2in) wide x 43cm (17in) long; each painting 27cm (10 1/2in) wide x 36cm (14in)Footnotes:十九世紀 御製寫繪《大悲心陀羅尼經》册Provenance: Edward Newinson, Cobham, SurreyPresented by the above to Mrs Joan Tovey, 30 September 1954來源： Edward Newinson, 科巴姆，薩里由前者贈予Joan Tovey夫人，1954年9月30日The exceptional quality of the calligraphy and painting, the use of yellow silk borders, and the depiction of five-clawed dragons on the illustrated title page all suggest that the present lot originated from one of the Imperial palaces or libraries of the Qing dynasty. During the Qing dynasty, the Manchu emperors exhibited a profound reverence for Buddhism. Beginning with the reign of Emperor Kangxi, it became customary for Qing emperors to personally transcribe Buddhist sutras on special occasions, such as the first and fifteenth day of each lunar month, as well as the birthdays of the Empress Dowager and the Emperors. Alternatively, the emperors might have commissioned Imperial court officials to undertake this task on their behalf. Among the sutras transcribed at the Qing court, those deemed most valuable, such as the present lot, are accompanied by illustrations. For more discussion on sutra transcription at the Qing court, see Zhongguo gongting shanben 中國宮廷善本, Beijing, 2003, p.172 and p.189. The main text of the album written in guange ti (館閣體), a script used for Imperial examination and documents, is a section from The Great Compassionate Heart Dharani Sutra (大悲心陀羅尼經) which is a Mahayana sutra from India, first translated into Chinese during the Tang dynasty. It is believed that each word or phrase of this sutra carries vast meaning. Transcribing and reciting them could help people to eliminate all obstacles, bring immense benefits, and embark on the path of enlightenment.The famous Great Compassion Mantra (大悲咒) exactly originates from this sutra and has a tradition of being visualised. The Great Compassion Mantra consists of eighty-four sentences. In the album of the present lot, each of the paintings which follow the main text provides a visual image of a sentence from The Great Compassion Mantra, with a sentence of The Great Compassion Mantra transcribed in the right-hand part of each painting and a corresponding description to the left-hand corner. For example, the two sentences of 'suo luo suo luo' (娑囉娑囉) meaning 'the Five Turbidities' (五濁世界) and 'su xu su xu' (蘇噓蘇噓) meaning 'the Sound of the Falling of the Buddhas' Leaves' (諸佛樹葉落聲) have been presented as an image in the present album. Apart from these two, each of the remaining paintings represents either a Bodhisattva or a Buddha, including the King of the Eight Classes of Demons (八部鬼神王) and the Precious Pennant Bodhisattva (寶幢菩薩) etc. They embody the compassionate actions of saving and protecting beings in the world. In accordance with traditional norms of sutra transcription, the image of Skanda (韋陀), revered as the guardian and protector of the Buddhist teachings, is found in the end of this sutra album.Compare with a related Imperial album from The Great Compassion Mantra by Zou Yigui (1686-1772), in the Qing Court Collection, illustrated in Qinggong shanben xiejing 清宮善本寫經, Beijing, 2009, pp.116-117. Compare with a related album of Buddhist sutras, ink and colour on paper, which was sold at Sotheby's Hong Kong, 30 November 2017, lot 570.For further information on this lot please visit Bonhams.com
A ROCK CRYSTAL 'MYTHICAL BIRD' VASE AND COVER18th/19th century Well carved as a bird supporting a vase with a cover surmounted by a ruyi-shaped knop, the bird standing in profile with head raised, ornamented with swirling feathers extending across the chest, wings and tail of the bird to the side walls of the vase, achieved through a high relief technique. 11.2cm (4 3/8in) long. (2).Footnotes:十八/十九世紀 水晶雕天雞尊The shape of this rock crystal vase refers to the mythical bird, known as 'heavenly cockerel' tianji (天雞) in ancient legends. According to Tales of Strange Matters (述異記) compiled during the Southern dynasties (420-589), there was a colossal tree of which the branches spanned three thousand miles. Perched upon it, the heavenly cockerel's crows were synchronised with the first rays of the sun, casting a radiant illumination, symbolising the potent force committed to ensuring tranquillity and harmony. In the Qing dynasty, the 'heavenly cockerel' design became widely popular, with an abundance of variations crafted from various materials. See a similar rock crystal 'heavenly cockerel' vase and cover, Qing dynasty, in the Qing Court Collection, in the Palace Museum Beijing, (acc no. 故00102477). Another crystal 'duck' vase, Qing dynasty, in the Qing Court Collection, is also illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shenzhen, 2009, p.194, no.181. See also a related green jade vase seated on the back of a heaven cockerel, late Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade, vol.10, Beijing, 2011, p.84, pl.55.Compare with a related carved rock crystal vase and cover, which was sold at Christie's Hong Kong, 9 October 2019, lot 112.For further information on this lot please visit Bonhams.com
A VERY RARE PEACHBLOOM GLAZED 'BEEHIVE' WATERPOT, TAIBOZUNKangxi six-character mark and of the periodFinely potted of classic domed taibo zun form, the slightly tapering sides rising to a rounded shoulder and short waisted neck below a lipped mouth-rim, the exterior evenly applied overall save for the rim and base with a sumptuous crushed-raspberry-red glaze suffused with darker sprinkles imitating the skin of a ripening peach, the body further faintly incised with three roundels enclosing archaistic dragons, the recessed white base inscribed in underglaze blue with a six-character reign mark in three columns. 12.5cm (4 1/8in) diam.Footnotes:清康熙 豇豆紅釉團龍紋太白尊青花「大清康熙年製」楷書款Provenance: John Sparks Ltd., London (label)Herschel V. Johnson (1894-1966), Charlotte, North CarolinaSotheby's London, The Herschel V. Johnson Collection, 21 February 1967, lot 86, acquired through William Clayton Ltd., London, 21 February 1967 (invoice)John E. Bodie OBE (1930-2023), London, collection no.7Published, Illustrated and Exhibited: The Oriental Ceramic Society, The World in Monochromes, London, 16 April - 20 June 2009, no.174 (label). John E. Bodie loaned 8 pieces to this exhibition.來源：倫敦古董商John Sparks Ltd.(據標籤)Herschel V. Johnson (1894-1966)，夏洛特，北卡羅來納州倫敦蘇富比，'The Herschel V. Johnson Collection'，1967年2月21日，拍品編號86，通過倫敦古董商William Clayton Ltd.獲得，1967年2月21（據收據）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號7展覽：東方陶瓷學會，2009年，《The World in Monochromes》，倫敦，2009年4月16至6月20日，編號174（據標籤）。 John E. Bodie曾借展8件藏品給該展覽Herschel Vespasian Johnson served in the First World War as an officer in the US Fifty-fourth Infantry, with the Sixth Division in the Vosges Mountains and in the Meuse-Argonne offensive. Further to graduating from the University of North Carolina (1916) and Harvard Law School (1919-1920), he joined the US diplomatic service in 1920. Amongst his many appointments, he served 1934-1941 in London as First Secretary and as Counselor and then Minister. In April 1945 it was Johnson who handled the delicate communications in connection with Heinrich Himmler's unacceptable separate peace proposal, which had come via Count Folke Bernadotte of the Swedish Red Cross. In May 1946 Johnson entered a new arena as deputy U.S. representative to the United Nations Security Council. Johnson held the rank of ambassador from 9 July 1946. Under the rotation system he was president of the Security Council from 17 November to 17 December. In 1947 he served in the Spring as alternate representative to the special session of the United Nations General Assembly on the Palestine question, and, in the fall, as representative to the second session of the General Assembly. He was deputy chief of the U.S. Mission to the United Nations from July 1947 to May 1948. His last diplomatic post prior to retiring was as US Ambassador to Brazil 1948-1953.Evenly coated with a lustrous glaze of crushed raspberry tone, ending evenly beneath the lipped rim and thickening around the base, the present waterpot is one of the finest examples of its type.Waterpots shaped as beehives are known as taibo zun after poet Li Taibai of the Tang dynasty, who is often depicted leaning against a large wine jar of a similar form. The shape was also referred to as jizhao zun as it resembled a chicken coop.The attractive peachbloom glaze was notoriously difficult to achieve due to the temperamental nature of the copper pigment and appears to have been only employed on a small number of shapes reserved for use on the scholar's table and created during the reign of the Kangxi Emperor.Copper-red glazes were produced since at least the Ming dynasty, however, they were greatly improved during the Kangxi reign, most probably under the supervision of Zang Yingxuan, the Imperial supervisor who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns. The fugitive copper-lime pigment, rather difficult to manage, would have been sprayed onto a layer of transparent glaze via a long bamboo tube and then stabilised with another coat of clear glaze.A similar peachbloom-glazed waterpot, Kangxi mark and period, in the Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.142, pl.125; three further 'peachbloom'-glazed beehive waterpots, Kangxi marks and period, are illustrated by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl.206, and M.Medley, Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl.580, and S.G.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 234.Compare with a similar peachbloom-glazed beehive waterpot, Kangxi mark and period, which was sold at Bonhams, London, 2 November 2023, lot 114. Two further peachbloom-glazed beehive waterpots, Kangxi marks and period, were sold at Christie's Hong Kong, 29 November 2013, lot 1904 and 31 May 2017, lot 3012.For further information on this lot please visit Bonhams.com
AN IMPERIAL EDICTQianlong, dated 1786Horizontal hand scroll, ink on woven brocade, with parallel text in Chinese and Manchurian, dated 'the first day of the first lunar month of the fiftieth year of the Qianlong reign' corresponding to 1786. 243cm (95 5/8in) long x 33cm (13in) wide.Footnotes:清乾隆封雍恰佈及其妻咎嘉氏滿漢文誥命 水墨織錦 手卷 1786年引首：奉天誥命款識：奉天承運，皇帝制曰：師旅輯和，特重干城之寄。封疆寧謐，必資彈壓之威。嘉績丕彰，殊恩斯沛。爾駐防乍浦協領兼佐領雍恰佈職居參，身捍牧園。刁斗素嚴，路絕烽煙之警。干戈永戟，野無炮鼓之鳴。能協力於軍，行又殫心於武備。式逢慶典用錫，綸音茲以覃思，特授爾階武翼大夫，錫之誥命於戲，嘉保障之成，勞榮敷闓澤。荷寵光之休命，益展宏猷，勉奏膚功，武承崇奖。制曰：臣忠報國，戎旃著揚武之功。婦順宜家，譽令表同心之助。爾駐防乍浦，協領兼佐領雍恰佈之妻咎嘉氏終溫且惠，己貴而勤。順以相夫，克佐賢勞於夙夜。敬能聚德，益彰靜好於閨幃。慶典式逢，朝章宣賁，玆以覃思，贈爾為淑人於戲，揚令范於於紫兆。禮宗擅譽，播芳甤於彤管，幽懷承休。乾隆五十年正月初一日 雍恰佈The imperial edict was a gaoming (Honorary certificates or appointments bestowed by the emperors upon the officials and their families), issued by the Qianlong Emperor on the first day of the first lunar month of the fiftieth year(1786). It conferred onto Yongqiabu (雍恰佈), who held the position of Assistant Commandant Concurrent Company Commander Stationed in Zhapu (present Jiaxing, Zhejiang Province) (駐防乍浦協領兼佐領) at the third rank, the prestige title of Grand Master for Military Merit (武翼大夫). Meanwhile, the edict also conferred onto Ms Jiujia Shi (咎嘉氏) who was the wife of Yongqiabu the prestige title of Lady of Virtue (淑人).Compare with a related Imperial edict, Qianlong period, dated 1757, which was sold at Bonhams New York, 19 September 2023, lot 355.For further information on this lot please visit Bonhams.com
A PAIR OF EXTREMELY RARE LIME-GREEN-ENAMELLED BOWLSYongzheng six-character marks and of the period Each bowl with delicately potted rounded sides supported on a short foot, the exterior superbly covered in a lime-green enamel, the interior and base left white, the latter inscribed in underglaze blue with a six-character reign mark within a circle. 9.8cm (3 7/8in) diam. (2).Footnotes:清雍正 秋葵綠釉碗一對青花「大清雍正年製」楷書款Provenance: Cartwright CollectionBluett & Sons Ltd., London (labels), 11 June 1975John E. Bodie OBE (1930-2023), London, collection no.8Published, Illustrated and Exhibited: The Oriental Ceramic Society, The World in Monochromes, London, 16 April - 20 June 2009, nos.241a+b (labels). John E. Bodie loaned 8 pieces to this exhibition.來源： Cartwright舊藏倫敦古董商Bluett & Sons Ltd.（據標籤），1975年6月11日大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號8展覽： 東方陶瓷學會，《The World in Monochromes》，倫敦，2009年4月16日-6月20日，編號241a+b (據標籤)。John E. Bodie曾借展8件藏品給該展覽The Cartwright Collection, comprising monochrome Chinese porcelain and glass, is a testament to the discerning tastes of three generations of the Cartwright family from Aynhoe Park, Northamptonshire. Initiated by William Cornwallis Cartwright, M. P. (1825-1915), who acquired select ceramics and glass primarily from Bluetts between 1910 and 1913, the collection expanded under the stewardship of his son, Sir Fairfax Leighton Cartwright, GCMG, GCVO (1857-1928). Concurrently, Richard Fairfax William Cartwright (1903-1954), grandson of William, embarked on his own acquisitions starting in 1933, amassing a collection of around 400 monochrome porcelains by his untimely death in 1954. These treasures adorned a specially curated room at Aynhoe Park, hailed in the post-World War II guidebook as 'one of the glories of Aynhoe.' Following the sale of Aynhoe Park circa 1960, Roger Bluett facilitated the relocation of the collection to the Cartwright family's manor house near Bath in the mid-1970s, which belonged to R.F.W. Cartwright's daughter. This transition likely prompted the sale of a select few duplicates through Bluetts, initially showcased at the Antique Dealers' Fair held at the Grosvenor House Hotel in June 1975.Superbly potted and enamelled, the present bowls exemplify the Yongzheng Emperor's appreciation for understated yet superbly executed pieces of the highest calibre. Bowls displaying hemispherical shapes and decorated with monochrome enamels appear to be innovations of the Yongzheng period, likely influenced by the visionary work of Tang Ying (1682-1756). In his tenure as superintendent of the Imperial kilns, Ying was renowned for creating tactically engaging and pioneering porcelain wares. Achieving perfection in every stage of production was imperative due to the exacting precision required.Lime-green enamel was a rarity during the Yongzheng period and monochrome vessels decorated in this colour, with their seemingly straightforward design and single palette, actually represent some of the most technically demanding porcelains that were ever created. Despite the abundant availability of lead-antimonate in China, the addition of copper to lead-antimonate to create the lime-green enamel, as seen on the present bowls, was not used until Jesuit missionaries directly influenced the production of arts and crafts. The attractive green colour was notable not only for its scarcity but also for the remarkable evenness of its application. Achieving a good level of consistency would have necessitated a second firing at a lower temperature, a challenging process to execute satisfactorily, as demonstrated by the current bowls. Compare with three similar green-enamelled bowls, Yongzheng marks and period, in the British Museum, London, the first illustrated by M.Medley, Illustrated Catalogue of Ming and Ch'ing Monochrome in the Percival David Foundation of Chinese Art, London, 1973, cat.no.B526; the other two bowls illustrated by R.Scott, Percival David Foundation of Chinese Art, London, 1989, pl.97. A further pair is illustrated in Shimmering Colours. Monochromes of the Yuan to Qing Period: The Zhuyuetang Collection, Hong Kong, 2005, cat.no.113. Compare with a nearly-identical lime-green-enamelled bowl, Yongzheng mark and period, which was sold at Sotheby's Hong Kong, 7 October 2019, lot 3116. Another related lime-green-enamelled bowl, Yongzheng mark and period, was also sold at Sotheby's Hong Kong, 7 October 2019, lot 3105.For further information on this lot please visit Bonhams.com
A RARE PAINTED POTTERY MODEL OF A FOREIGN WINE MERCHANTTang DynastyThe bearded Central Asian figure with bushy eyebrows and broad nose wearing a conical hat and kneeling on one knee, holding a large vessel in the form of a goose with flaring spout, painted in red, black and white pigments, all raised on a lotus petal pedestal. 33.5cm (13 2/8in) high.Footnotes:唐 彩繪胡人陶佣Provenance: William Clayton Ltd., London, 19 January 1967 (valuation for insurance)John E. Bodie OBE (1930-2023), London, collection no.12來源：倫敦古董商William Clayton Ltd.，1967年1月19日（保險評估）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號12Artefacts like this piece, despite being crafted for burial purposes, offer a vivid glimpse into life during the prosperous Tang dynasty, reflecting the interconnected trade routes of the era. The depiction of a wine merchant clutching a leather wine container in the form of a goose is particularly evocative. Jan Chapman in her paper, 'A New Look at 'Wine Carriers' Among Tang Dynasty Figures', Transactions of the Oriental Ceramic Society., vol.52, 1987-88, pp.11-20, illustrates two similar figures, p.12, pls.1 and 2, the first in the Rietberg Museum, Zurich, the second in The Burrell Collection, Glasgow Museums and Art Gallery, and argues that they are not holding a real goose, but an earthenware vessel of goose shape, in which a rhinoceros horn has been inserted as a stopper, which could also be used as a cup. Grape wine was enjoyed in the Tang dynasty, although it was not as prevalent as other types of alcoholic beverages, such as rice wine and fermented fruit wines. Grape wine, often imported from Central Asia along the Silk Road, was a luxury enjoyed by the elite and played a role in diplomatic exchanges and cultural interactions with foreign traders and envoys. This merchant is adorned in attire distinct from traditional Chinese garments, sporting a conical cap, sleeveless tunic, and boots indicative of foreign influence.Compare with a related sancai glazed figure of a wine seller, Tang dynasty, in the Asian Art Museum, San Francisco (acc.no. B60P521). See also another figure of a wine merchant, Tang dynasty, illustrated by M.Prodan, The Tang Potter, London, 1960, p.96. Perhaps the best-known sancai-glazed figure of a wine merchant is in the Seattle Art Museum, illustrated in Ibid., p.135.See also a sancai-glazed pottery figure of a merchant holding a goose-shaped wine vessel, Tang dynasty, which was sold at Christie's New York, 18 September 2015, lot 2299.For further information on this lot please visit Bonhams.com
A VERY RARE SMALL GUAN-TYPE PEAR-SHAPED VASE, HUYongzheng six-character seal mark and of the periodThe vase heavily potted with the ribbed body rising to a plain cylindrical neck flanked by a pair of tubular lug handles, covered overall with a pale blue glaze suffused with dark crackles, ending in a neat line on the brown-dressed, unglazed foot ring, the base with the six-character mark. 9.5cm 3 6/8in) high.Footnotes:清雍正 仿官釉貫耳壺青花「大清雍正年製」篆書款Provenance: Herschel V. Johnson (1894-1966), Charlotte, North CarolinaSotheby's London, The Herschel V. Johnson Collection, 21 February 1967, lot 60, acquired through William Clayton Ltd., London, 21 February 1967 (invoice)John E. Bodie OBE (1930-2023), London, collection no.24來源： Herschel V. Johnson (1894-1966)，夏洛特，北卡羅萊納州倫敦蘇富比，《The Herschel V. Johnson Collection》，1967年2月21日，拍品編號60，通過William Clayton Ltd.獲得，倫敦，1967年2月21日（據收據）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號24Herschel Vespasian Johnson served in the First World War as an officer in the US Fifty-fourth Infantry, with the Sixth Division in the Vosges Mountains and in the Meuse-Argonne offensive. Further to graduating from the University of North Carolina (1916) and Harvard Law School (1919-1920), he joined the US diplomatic service in 1920. Amongst his many appointments, he served 1934-1941 in London as First Secretary and as Counselor and then Minister. In April 1945 it was Johnson who handled the delicate communications in connection with Heinrich Himmler's unacceptable separate peace proposal, which had come via Count Folke Bernadotte of the Swedish Red Cross. In May 1946 Johnson entered a new arena as deputy U.S. representative to the United Nations Security Council. Johnson held the rank of ambassador from 9 July 1946. Under the rotation system he was president of the Security Council from 17 November to 17 December. In 1947 he served in the spring as alternate representative to the special session of the United Nations General Assembly on the Palestine question, and, in the fall, as representative to the second session of the General Assembly. He was deputy chief of the U.S. Mission to the United Nations from July 1947 to May 1948. His last diplomatic post prior to retiring was as US Ambassador to Brazil 1948-1953.Renowned as one of the 'official' wares of the Southern Song court, Guan stands as one of the most revered and sought-after categories of Chinese ceramics. The Yongzheng Emperor held a profound admiration for this type of wares. He was known to have dispatched original pieces from his collection to the Imperial kilns at Jingdezhen as prototypes for replication. Notable for the intricacy of its deceptively simple form, the exquisite beauty of its glaze colour and the captivating pattern of its crackle, the present vase exemplifies an 18th century reinterpretation of a the classic hu form which was known in China since the Neolithic period. Compare with a related guan-type ribbed vase, Yongzheng seal mark and of the period, displaying a similar ribbed body as the present example, which was sold at Christie's New york, 21 March 2014, lot 2197.For further information on this lot please visit Bonhams.com
A LONGQUAN CELADON MINIATURE 'TWIN FISH' BRUSHWASHER AND A LONGQUAN 'INSECT' BRUSHWASHERYuan DynastyThe first with deep rounded sides, waisted neck and slightly everted rim, carved with a pair of unglazed carp to the well, the vessel covered in a pale sea-green glaze. 7.5cm (2 7/8in) diam.; the second with deep rounded sides, applied to the well with an insect, covered in a faintly crackled pale olive-green glaze. 7.4cm (2 7/8in) diam. (2).Footnotes:元 龍泉窯青釉貼塑雙魚紋洗 及龍泉窯青釉貼塑蟲紋洗Provenance: Professor Cheng Te-K'un (1908-2001) (The twin fish washer)Roger Keverne Ltd., London, 28 March 2006 (invoice) (The twin fish washer)來源： 鄭德坤教授（1908-2001）（雙魚洗）倫敦古董商Roger Keverne Ltd.，2006年3月28日 （發票）（雙魚洗）Professor Cheng, a Chinese archaeologist, was Curator of the West China University Museum at Chengdu in Sichuan. He left China and formed the Mu-fei Library at the University of Cambridge, where he was Lecturer in Far Eastern Art and Archaeology, 1951-1966; Reader in Chinese Archaeology, 1966-1974. He served as Visiting Professor of Fine Arts at the Chinese University of Hong Kong in 1974, and later became Dean of Arts, and Pro-Vice Chancellor. In 1978 he founded, and was Director of, the Centre for Chinese Archaeology and Art, CUHK. He retired in 1979 and was made Honorary Director of the Institute of Chinese Studies, 1981-1986. CUHK awarded him the Honorary Degree of Doctor of Literature in 1981, and Emeritus Professor of Fine Arts in 1982. His publications on Chinese archaeology include: Archaeology in China (3 volumes and supplement), Cambridge, 1966; The world of the Chinese, Hong Kong, 1981; and Studies in Chinese archaeology, Hong Kong, 1982.The twin fish motif symbolises harmony, abundance, and prosperity. Compare with a related but slightly larger Longquan celadon dish with twin-fish design, 13th century, in The Metropolitan Museum of Art, New York, (acc.no.65.82.4).For further information on this lot please visit Bonhams.com
A FAMILLE ROSE 'HUNDRED BOYS' BOWLJiaqing iron-red seal mark and of the periodFinely enamelled around the exterior of the deep U-shaped bowl with a continuous scene of boys at play, dressed in brightly coloured clothes and variously singing, dancing and lighting fire-crackers, all within a rocky garden landscape with pavilion, stream and bridge. 11.6cm (4 1/2in) diam. Footnotes:清嘉慶 粉彩百子圖碗礬紅「大清嘉慶年製」篆書款Provenance: a Japanese private collectionSotheby's London, 9 November 2016, lot 171John E. Bodie OBE (1930-2023), London, collection no.114來源： 日本私人收藏倫敦蘇富比，2016年11月9日，拍品編號171大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，收藏編號114The present lot is remarkable for its vibrant and intricate portrayal of boys immersed in various games. The theme of 'hundred boys at play' was widely embraced in the decorative arts of the Ming and Qing dynasties. It originates from King Wen of the Zhou dynasty, who according to legend had ninety-nine sons and adopted one more to reach one hundred. The boys depicted engage in activities rich with symbolism: for instance, the first character of 'lantern' is a homophone for 'bumper harvest' (fengdeng), symbolising peace, while boys carrying peaches and playing with bats represent longevity.A related famille rose bowl, Jiaqing mark and period is illustrated in Ch'ing Dynasty Porcelain in the National Palace Museum, vol.II, Tokyo, 1981, pl.101.See a very similar famille rose 'hundred boys' bowl, Jiaqing seal mark and of the period, which was sold at Sotheby's New York, 21 September 2022, lot 389.For further information on this lot please visit Bonhams.com
A VERY RARE CLOISONNÉ ENAMEL AND GILT-BRONZE FLOWER BASKET17th centuryThe baluster square body with a constricted waist, rising from a spreading foot to a waisted neck, surmounted by a wide galleried rim forming a basket, set with a pair of archaistic gilt-bronze kui dragon loop handles, the body brightly decorated with flowering branches issuing from jagged rocks between horizontal bands of floral scrolls and lingzhi sprays, the basket, the bulbous section of the body and the stepped foot decorated with gilt-bronze archaistic phoenix, kui dragons and mythical beasts in openwork, the rim bordered with a keyfret band, the openwork liner possibly European and later. 34cm (13 3/8in) high. (3).Footnotes:十七世紀 銅胎掐絲琺瑯花石圖花籃Provenance: a French private collection, acquired in the first part of the 20th century.來源：法國私人收藏，獲得於二十世紀前半期The present lot is extremely rare. Cloisonné enamel baskets represent a remarkable fusion of artistic techniques and cultural influences. These baskets are characterized by intricate sections of openwork, together with enamelled surfaces creating intricate designs and patterns. The subject of a basket of flowers was a popular design during the 18th century and can be seen in many of the decorative arts of China; it may be related to the Daoist Immortal Lan Caihe whose attribute is a basket of flowers. The flower basket, serves as a poignant symbol of the Immortal's spiritual journey and connection to the natural world. As an enigmatic figure embodying transcendence and enlightenment, Lan Caihe's ragged attire and playful demeanour are complemented by the graceful presence of the flower basket. This iconic attribute represents more than mere adornment; it encapsulates profound themes of purity, renewal, and the ephemeral beauty of life. The flower basket, brimming with blossoms of vibrant hues, embodies the essence of vitality and the eternal cycle of growth and decay. See a related hanging cloisonné enamel flower basket but with broader flat top, second half 17th century, but with similar decoration, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.161. Compare with a very similar cloisonné enamel and gilt-bronze basket, 17th century, which was sold at Sotheby's London, 13 May 2015, lot 308.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
SIX POLYCHROME PORCELAIN PLAQUESQianlong/JiaqingThe six plaques all together depicting an expansive mountainous landscape each with mist-enveloped blue peaks, pavilions, huts, and bridges amidst rocky shores and verdant trees, with boats gracefully floating on the lake, wood frame. The largest panel: 60cm (23 1/2in) × 23.5cm (9 2/8in); the group with frame: 147cm (57 7/8in) × 85cm (33 1/2in).Footnotes:清乾隆/嘉慶 粉彩山水行舟圖六聯瓷板掛屏Provenance: Cambi Milan, 15 December 2017, lot 43來源：米蘭康維拍賣行，2017年12月15日，拍品編號43The present lot depicting a mountainous river landscape from the Qianlong/Jiaqing period exemplifies the conservative approach to landscape painting prevalent during that era, and is reminiscent of the esteemed Four Wangs' orthodox style. Reflecting the artistic tastes of the Qing court, these plaques showcase meticulous attention to detail, harmonious compositions, and a restrained colour palette, all hallmarks of the classical landscape tradition. Evoking a sense of serenity and timeless elegance, the scenes depicted on the plaques pay homage to nature's grandeur, with towering mountains, meandering rivers, and tranquil villages meticulously rendered in delicate brushwork. Through their adherence to traditional techniques and aesthetics, these porcelain plaques not only serve as exquisite examples of Qing Dynasty artistry but also offer a window into the enduring legacy of classical landscape painting in Chinese culture.The plaques also follow in the footsteps of classical Chinese paintings that depict multiple perspectives of monumental landscapes, such as the renowned Forty Scenes of the Yuanmingyuan commissioned by Emperor Qianlong in 1744 and the timeless Ten Scenes of the West Lake by Wang Yuanqi (1642-1715).Notably, due to the proximity to Jingdezhen, the vistas of Jiangxi Province have frequently been immortalized in porcelain display pieces, further enhancing the cultural significance and artistic resonance of these exquisite plaques. Indeed, one pavilion in one plaque resembles The Pavilion of Prince Teng, first built in 653 AD by Li Yuanying, younger brother of Emperor Taizong of the Tang dynasty, a pavilion in Nanchang, Jiangxi Province, on the east bank of the Gan river. It is considered one of the three great towers of southern China, along with Yueyang tower and Yellow Crane pavilion. Teng tower is frequently depicted in Chinese art, most famously by the Yuan dynasty painter Xia Yong (active 1340s-1360s); see a painting in the Museum of Fine Arts, Boston (acc.no.29.964). Another plaque depicts an island with a tall pagoda with some other pavilions. This is reminiscent of Jinshan temple, depicted in a painting album Dong Zhelin Jiangnan shiliu jing tuce (董蔗林江南十六景圖冊) by Dong Gao (1740-1818) in Tsinghua University Art Museum. See a set of ten famille rose bowls with related landscapes, Jiaqing period, illustrated by R. Krahl, Chinese Ceramics from the Meiyintang Collection, Vol IV, London, 2010, pp.296-305, no.s 1762-71.Compare with a related pair of famille rose landscape panels, signed and with the date of 1787, which was sold at Christie's Hong Kong, 29 November 2022, lot 3008.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Ireland, pair of covers relating to Daniel O’Connell (1775-1847) to include cover dated 1839 with postal mark signed Daniel O'Connell with black TP / Pall Mall and hs 2, plus further front signed by John O’Connell (1810-1858), dated 1838, third son of Daniel O’Connell. Daniel O’Connell, hailed in his time as The Liberator, was the acknowledged political leader of Ireland's Roman Catholic majority in the first half of the 19th Century. Very interesting pair. (2)
Trade stickers - Panini Women's Football stickers with Fifa Women's World Cup 2023 premium album with 50 sticker packs etc sealed in original cellophane, unopened trade box of 50 sticker packs with factory seal, unused album and unopened trade box of 8, also Women's Super League 2024 unopened trade box of 50 packets with factory seal, unopened trade box of 18 packets, 8 unopened loose packets and additional box containing empty packets. Also 7x6 World Cup sealed multipacks. Hardback album and packs of stickers. Two copies of first ever WSL sticker books, one still sealed with packs of stickers.
Great Britain, 1928-46 Internal Flight Covers, interesting selection of fifteen 1928-46 Covers to include; G.W.R. and Railway Air Services, 1934 Highland Airways to and from Kirkwall, 1935 Blackpool & West Coast Air Services to and from the Isle of Man, 1939 Scottish Airways First Flights in both directions between Kirkwall and North Ronaldsay, 1937 Jersey Airways first flight to Southampton, 1939 Guernsey Airways first flight from Guernsey to Southampton (pilot signed) or Southampton to Guernsey, 1945 first post-war and first regular Air Mail both from Guernsey to England. (15)
1960s Annuals and book collection, generally excellent to good plus, with 1965 Danger Man, 1966 James Bond 007, 1966 Batman 1968 Joe 90, 1978 The Trigan Empire, Football books (3), plus 1970 Soccer Stars Mexico World Cup and England First Division. Contents unchecked for completeness or correctness and viewing recommended. Qty 10
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