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Penguin Paperback Books, to include Graham Greene, Georges Simenon, Nicolas Freeling, Penguin hansard reprints, The Buildings of England, a few hardbacks:- Three Boxes.

GRAHAM, Clive & CURLING, Bill - The Grand National An Illustrated History of the Greatest Steeplechase in the World : sumptuously bound in full tan morocco raised bands on the spine, silk endpapers, well illustrated, 4to, Limited edition of 105 copies, The Arcadia Press, 1973. * signed by both authors on the title-page

ARDIZZONE, Edward : (illustrator) - The Little Steamroller, by Graham Greene, org. pictorial boards in matching d/w, oblong 4to, Bodley Head, first thus, 1974. With five others in this format except The Lion That Flew which was issued without a dust wrapper. * mostly VG,(6)

ROBERTSON, W. Graham - A Masque of May Morning : with twelve designs in colour by the author, org. pictorial cloth in edge worn d/w, 4to, inscription on half-title, Bodley Head, first ed. 1904. With - Gold, Frankincense, and Myrrh and other pageants for a baby girl. With twelve designs in colour by the author, org. pictorial cloth rubbed at the tips, with former owners inscription on the f.e.p. 4to, Bodley Head, first ed. 1907. With one other. * bright copies(3)

Cricket Graeme Hick signed 12x8 colour magazine photo. Graeme Ashley Hick MBE (born 23 May 1966) is a Zimbabwean-born former England cricketer who played 65 Test matches and 120 One Day Internationals for England. He was born in Rhodesia, and as a young man played international cricket for Zimbabwe. He played English county cricket for Worcestershire for his entire English domestic career, a period of well over twenty years, and in 2008 surpassed Graham Gooch's record for the most matches in all forms of the game combined. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Cricket Graeme Hick signed 12x8 colour magazine photo. Graeme Ashley Hick MBE (born 23 May 1966) is a Zimbabwean-born former England cricketer who played 65 Test matches and 120 One Day Internationals for England. He was born in Rhodesia, and as a young man played international cricket for Zimbabwe. He played English county cricket for Worcestershire for his entire English domestic career, a period of well over twenty years, and in 2008 surpassed Graham Gooch's record for the most matches in all forms of the game combined. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Cricket Graham Gooch and Merv Hughes signed 6x4 colour photo. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Cricket multi signed miniature bat signed by 11 ex England players such as Roger Tolchard, Graham Roope, Peter Such, John Childs, Jim Parks, Derek Randall, John Lever, Alan Wells, Monte Lynch, Neal Radford and Angus Fraser. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Cricket England multi signed 1997 Ashes team photo 11 signatures include Mark Ealham, Robert Croft, Andy Caddick, John Crawley, Mark Butcher, Darren Gough, Devon Malcom, Nasser Hussain, Mike Atherton, Alec Stewart and Graham Thorpe. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Golf multi signed Score Canadas Golf magazine August 1983 signatures on the cover Fuzzy Zoeller, Andy Bean, David Graham, Tom Weiskopf and inside by Jack Nicklaus. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Cricket collection 41 fantastic unsigned 10x8 colour photos featuring legends of English cricket includes Michael Vaughan, Steve Harmison, Kevin Pietersen, Andrew Flintoff, Nasser Hussain, Marcus Trescothick, Darren Gough, James Anderson and Graham Thorpe. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Rebecca Fortnum Prosopopoeia (Dalou, Fitzwilliam), 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Rebecca Fortnum   Education   Camberwell College of Art (Foundation), Corpus Christi College, Oxford (BA Hons English), University of Newcastle-upon-Tyne (Master or Fine Art) Kingston University (PhD)   Exhibitions/Awards   Natalie Barney Gallery (2020), Semmer, Berlin (2015, two person), Freud Museum (2013) V&A's Museum of Childhood (2012),   Recent group shows: 'Motherline', Flowers East (London), 'Sleepy Heads', Blyth Gallery (London), '49.5', 601 Art Space (New York), 'Phantom Limn', Dovecot Studios (Edinburgh) Royal Academy Summer Exhibition (London).   A monograph, Self Contained, with essays by Maria Walsh, Graham Music and Louisa Minkin was published by RGAP in 2013. In 2019, she was elected Visiting Research Fellow in Creative Arts at Merton College, Oxford, where she developed her project, A Mind Weighted with Unpublished Matter, published by Slimvolume in 2020 with contributions from Professor Gemma Blackshaw and artist Melissa Gordon.   Fortnum has held an Abbey Award at the British School in Rome, individual awards from the Arts Council of England, the British Council and the Pollock-Krasner Foundation amongst others, and has received research funding from the UK's Arts and Humanities Research Council, KU Leuven the Association of Flemish Universities as well as a Space for 10 award for mid-career artists. Her book of interviews, Contemporary British Women Artists: In Their Own Words, was published by Bloomsbury in 2007 and On Not Knowing: How Artists Think, a book of essays that examines contemporary artists' processes, which she co-edited with Lizzie Fisher, was published by Black Dog in 2013.   She is the Founding Editor of the Journal of Contemporary Painting. Her most recent book, A Companion to Contemporary Drawing (2020), co-edited with Kelly Chorpening, includes her chapter, 'A Dirty Double Mirror: Drawing, Autobiography and Feminism', which explores the feminist potential of the 'autographical' in work. Education Fine Art at University of the Arts London, Professor of Fine Art at Middlesex University, where she led Masters programmes and is currently Professor of Fine Art at the Royal College of Art, where she is Research Lead for the School of Arts and Humanities.   Gallery Representation   The Drawing Gallery   About the postcard artworks   Works from the series, A Mind Weighted with Unpublished Matter, emerges from Fortnum's ongoing drawing and painting practice which explore the politics of the gaze. In a series called Prosopopoeia-a rhetorical term describing a communication via another person or thing, sometimes seen as a way of animating the dead-Fortnum paints from historical sculptural portraiture, particularly of 19th Century France, drawing on notions of 'absorption' in the representation of women.  

Rebecca Fortnum Prosopopoeia (Dalou, V&A), 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Rebecca Fortnum   Education   Camberwell College of Art (Foundation), Corpus Christi College, Oxford (BA Hons English), University of Newcastle-upon-Tyne (Master or Fine Art) Kingston University (PhD)   Exhibitions/Awards   Natalie Barney Gallery (2020), Semmer, Berlin (2015, two person), Freud Museum (2013) V&A's Museum of Childhood (2012),   Recent group shows: 'Motherline', Flowers East (London), 'Sleepy Heads', Blyth Gallery (London), '49.5', 601 Art Space (New York), 'Phantom Limn', Dovecot Studios (Edinburgh) Royal Academy Summer Exhibition (London).   A monograph, Self Contained, with essays by Maria Walsh, Graham Music and Louisa Minkin was published by RGAP in 2013. In 2019, she was elected Visiting Research Fellow in Creative Arts at Merton College, Oxford, where she developed her project, A Mind Weighted with Unpublished Matter, published by Slimvolume in 2020 with contributions from Professor Gemma Blackshaw and artist Melissa Gordon.   Fortnum has held an Abbey Award at the British School in Rome, individual awards from the Arts Council of England, the British Council and the Pollock-Krasner Foundation amongst others, and has received research funding from the UK's Arts and Humanities Research Council, KU Leuven the Association of Flemish Universities as well as a Space for 10 award for mid-career artists. Her book of interviews, Contemporary British Women Artists: In Their Own Words, was published by Bloomsbury in 2007 and On Not Knowing: How Artists Think, a book of essays that examines contemporary artists' processes, which she co-edited with Lizzie Fisher, was published by Black Dog in 2013.   She is the Founding Editor of the Journal of Contemporary Painting. Her most recent book, A Companion to Contemporary Drawing (2020), co-edited with Kelly Chorpening, includes her chapter, 'A Dirty Double Mirror: Drawing, Autobiography and Feminism', which explores the feminist potential of the 'autographical' in work. Education Fine Art at University of the Arts London, Professor of Fine Art at Middlesex University, where she led Masters programmes and is currently Professor of Fine Art at the Royal College of Art, where she is Research Lead for the School of Arts and Humanities.   Gallery Representation   The Drawing Gallery   About the postcard artworks   Works from the series, A Mind Weighted with Unpublished Matter, emerges from Fortnum's ongoing drawing and painting practice which explore the politics of the gaze. In a series called Prosopopoeia-a rhetorical term describing a communication via another person or thing, sometimes seen as a way of animating the dead-Fortnum paints from historical sculptural portraiture, particularly of 19th Century France, drawing on notions of 'absorption' in the representation of women.

Sarah Jeffries Morph One, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Painter, Collagist and Image Activist Painter, Collagist and Image Activist Education 2002-04 Royal College of Art, MA Painting 1999-02 Bucks University, BA Fine Art 1996-99 Canterbury College, GNVQ Art & Design   Solo Shows 2013 Female, Pili Pili Gallery, Knokke, Belgium 2011 Once Upon a Time..., Pili Pili Art Gallery, Knokke, Belgium 2008 Within These Walls, Waterhouse & Dodd, Mayfair, London 2004 Persona, Putignano Arte, Putignano, Italy Two Person Shows 2019 Picture Interrupted, Mike Bartlett & Sarah Jeffries, Transition Gallery London 2005 We've Been Here Before, Laura Green & Sarah Jeffries, Blyth Gallery, Imperial College London Selected Group Shows 2019 People Pictures, Jack House Gallery, Portsmouth, Hampshire 2019 Indoor Voices, Curated by Graham Crowley, Greystone Industries, Suffolk 2018 LANDSCAPE, The Lone Wolf Projects, Sluice Exchange, Berlin 2018 Transcendence, The Cello Factory, Waterloo, London 2017 Connect/Disconnect, Watch This Space Gallery, Eastleigh, Hampshire 2016 The Cat Show, PAPER Gallery, Manchester 2016 Let's Make a Better World, The Cello Factory, Waterloo, London 2015 Existence, Zoe Hawkins Gallery, Winchester, Hampshire 2012 The Zeitgeist Open 2012, ZAP, London 2011 Help a Capital Child Fundraising Art Event, Chelsea Football Club, London 2009 Lineart Fair, Pili Pili Art Gallery, Knokke, Belgium 2009 Impossible Exchange, Frieze, London 2009 Summer Exhibition, Pili Pili Art Gallery, Knokke, Belgium 2008 The Chef, The Artist, The Architect & His Curator, Full Moon At The Fortezza, Italy 2008 Art Hamptons, Waterhouse & Dodd Stand, New York 2008 The Painting Room, Transition Gallery, London   Awards 2010 Commendations, Aesthetica Creative Works Annual 2004 Fine Art Pyramid Award, Deutsche Bank, London 1999 Painting Skills of The Year, Canterbury College, Kent, Waterhouse & Dodd   It's great to hear about Art on a Postcard and very happy to be involved.

Sarah Jeffries Morph Two, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Painter, Collagist and Image Activist Education 2002-04 Royal College of Art, MA Painting 1999-02 Bucks University, BA Fine Art 1996-99 Canterbury College, GNVQ Art & Design   Solo Shows 2013 Female, Pili Pili Gallery, Knokke, Belgium 2011 Once Upon a Time..., Pili Pili Art Gallery, Knokke, Belgium 2008 Within These Walls, Waterhouse & Dodd, Mayfair, London 2004 Persona, Putignano Arte, Putignano, Italy Two Person Shows 2019 Picture Interrupted, Mike Bartlett & Sarah Jeffries, Transition Gallery London 2005 We've Been Here Before, Laura Green & Sarah Jeffries, Blyth Gallery, Imperial College London Selected Group Shows 2019 People Pictures, Jack House Gallery, Portsmouth, Hampshire 2019 Indoor Voices, Curated by Graham Crowley, Greystone Industries, Suffolk 2018 LANDSCAPE, The Lone Wolf Projects, Sluice Exchange, Berlin 2018 Transcendence, The Cello Factory, Waterloo, London 2017 Connect/Disconnect, Watch This Space Gallery, Eastleigh, Hampshire 2016 The Cat Show, PAPER Gallery, Manchester 2016 Let's Make a Better World, The Cello Factory, Waterloo, London 2015 Existence, Zoe Hawkins Gallery, Winchester, Hampshire 2012 The Zeitgeist Open 2012, ZAP, London 2011 Help a Capital Child Fundraising Art Event, Chelsea Football Club, London 2009 Lineart Fair, Pili Pili Art Gallery, Knokke, Belgium 2009 Impossible Exchange, Frieze, London 2009 Summer Exhibition, Pili Pili Art Gallery, Knokke, Belgium 2008 The Chef, The Artist, The Architect & His Curator, Full Moon At The Fortezza, Italy 2008 Art Hamptons, Waterhouse & Dodd Stand, New York 2008 The Painting Room, Transition Gallery, London   Awards 2010 Commendations, Aesthetica Creative Works Annual 2004 Fine Art Pyramid Award, Deutsche Bank, London 1999 Painting Skills of The Year, Canterbury College, Kent, Waterhouse & Dodd   It's great to hear about Art on a Postcard and very happy to be involved. Condition Report:   Condition Report Disclaimer

Six 'N' Gauge Four Wheel Wagons, by Graham Farish, all boxed.

Graham Farish 'N' Gauge Class 47 - 'County of Hertfordshire'. Plus two MKIII BR Coaches, all boxed.

RUTH MOORWOOD (exh 1927-1937) Portrait of the artist Marion Aitken, 'May Howden', inscribed with title verso, oil on canvas, 89 x 69cm Ruth Moorwood, artist, studied art in Edinburgh at the RSA life school alongside Walter Graham Grieve and Alexander Graham Munro who she married in 1932. Although perhaps not as well known as her husband she was a prolific artist and painted many portraits of the landed gentry in Scotland.

Engravings and Prints - Manchester; Stockport Viaduct; Great Cornard, Suffolk; monochrome images, Graham Greene, Evelyn WaughE M Forster; J B Priestly; others; etc

A Franklin Mint 1937 Cord Phaeton Coupe, blue, removable cream hood, whitewall tyres, limited edition no. 88/1000 boxed; an IXO Altaya 1939 Graham Paige Roadster 'Sharknose' plinth mounted; another Lincoln Continental; a Dinky DY-14 Delahaye 145, blue, red interior, window box; a Models of Yesteryear Y-14 1931 Stutz Bearcat, blue & cream body, red interior, outer box; Brumm including 1928 Bentley Six Speed, Blitzen Mercedes, 1921 Bugatti Bresica No.31, 922 Sanford Sport Cyclecar, 1923 Morgan Cyclecar all boxed etc. (13)

Hanley (James) The German Prisoner, private printing, [1930], numbered limited edition of 500, signed by the author, original cloth [with] Single page TLS from the author to a bookseller, May 24th, 1948, giving publication date of the book as October 1930 and ordering playing cards and a Graham Greene book.

Gascoyne (David) Poems. 1987-1942, Nicholson and Watson, 1943, first edition, title and five plates by Graham Sutherland, dust wrapper; idem, Journal,1936-1937, Enitharmon Press, 1980, numbered limited edition of 85 [?95], signed by the author, quarter cloth and marbled boards, dust wrapper; idem, Early Poems, Warwick: Greville Press, numbered limited edition of 400, signed by the author, original cloth; with two others (5)

A Philip Treacy velour light tan hat with feather band, a black natural fibre formal hat designed by Graham Gwyther for Headworks, a vintage Graham Smith hat in orange with pink flower detail and nine other hats together with four hat boxes

§ ALEXANDER GRAHAM MUNRO R.S.W. (SCOTTISH 1903-1985) BOATS IN HARBOUR Oil on canvasboard(61cm x 74.5cm (24in x 29.25in))

Graham (Maria). Journal of a Residence in Chile, during the Year 1822. And a Voyage from Chile to Brazil in 1823, 1st edition, London: Longman, Hurst, Rees, Orme, Brown, and Green, and John Murray, 1824, iv [2] 512 pp., 14 aquatint plates, occasional unobtrusive blind stamps of the Royal Museum and Library, Salford, to plates and text, plates variably spotted, final plate ('Cacique meeting Carrera's Troops') damp-stained, shallow tide-marks to upper fore corners of other plates, bookplate of Kenn Back to front pastedown, 20th-century tan half calf, 4to (26.8 x 20.9 cm)Qty: (1)NOTESTHE POLAR AND SOUTH AMERICAN LIBRARY OF BRITISH ANTARCTIC SURVEY METEOROLOGIST KENN BACK Abbey Travel 714; Sabin 28234.

* Burroughs (William Seward, 1914-1997). American Writer and Visual Artist. Signed Greetings Card, 'William S. Burroughs', circa 1995, a single sheet printed in green and white on thin card, signed presentation inscription above and below printed message thanking the recipient 'for real chocolates and the slang dictionary', with additional message of instruction below signature, 'Place face close to painting on reverse side. Cross eyes. Now move slowly back from face for 3 dimensional effect', the reverse referred to being a reproduction of '3D cybernetic cut up', 17 x 22.5 cm, together with the original postmarked envelope, the name of the recipient Graham White in Burroughs' hand, together with a signed notecard to Grahame White from Burroughs, 'Yes my meeting with Ralph Stedman was indeed portentious. Many thanks for the coins and the tea', written and signed on the inside of a folded notecard with a digital scan reproduction from a photograph of Burroughs on the front and 'Lawrence, Kansas' motif on the back, plus original envelope (postmarked Kansas 6/10 1996), addressed in Burroughs' hand, plus a group of 12 newspapers and cuttings with articles about BurroughsQty: (16)

Church of England. Certaine Sermons or Homilies, appointed to be read in Churches. In the time of the late Queene Elizabeth of famous memory. And now thought fit to be reprinted by authority from the Kings most Excellent Majesty, two parts in one, London: printed by R. H[orton] and J. N. for Richard Whitaker 1640 [i.e. 1650], title within decorative woodcut border, letterpress title to second part, decorative woodcut initials, black letter text, final leaf with early inscription at head and lower blank quarter of leaf torn away, bound with at front, Book of Common Prayer, The Book of Common-Prayer and Administration of the Sacraments, and other Rites & Ceremonies of the Church, according to the use of the Church of England; together with the Psalter or Psalmes of David, Pointed as they are to be Sung or Said in Churches and the Form and Manner of Making, Ordaining, and Consecrating, of Bishops, Priests and Deacons, 2 parts in one, London: printed by John Bill and Christopher Barker, printers to the Kings most excellent Majesty, 1662, ink marks to general title, upper margin of a2 with ownership inscription Ambrose Moreton Aug. 8 1705, woodcut floral device to Psalms title, black letter text, initial leaves frayed to edges, occasional light damp staining to some margins, few leaves in Common Prayer with worming to lower outer blank corners and worm holes to lower outer blank corners in Common Prayer & Certaine Sermons or Homilies, light dust-soiling mostly at front & rear of volume, armorial bookplate of Thomas Graham, contemporary calf, gilt royal armorial to centre of each board, neatly rebacked preserving original spine, corners repaired, folioQty: (1)NOTESCertaine Sermons or Homilies - Wing C4091DA; ESTC R173967. Book of Common Prayer - Wing B3622A; ESTC R211954.

Bagshawe (Thomas Wyatt). Two Men in the Antarctic. An Expedition to Graham Land 1920-1922. With a Foreword by Frank Debenham, 1st edition, Cambridge: at the University Press, 1939, 20 halftone photographic plates, folding photographic panorama, toning, faint spotting to half-title and occasionally elsewhere, collector's plate mounted to initial blank (R. W. Gray, Warradale), short closed tear to fore edges of half-title and frontispiece, spotting to edges, original blue cloth, dust jacket (price-clipped, spine-panel with manuscript private-library markings and self-adhesive labels, chipped at head, a few nicks elsewhere), 8voQty: (1)NOTESTHE POLAR AND SOUTH AMERICAN LIBRARY OF BRITISH ANTARCTIC SURVEY METEOROLOGIST KENN BACK Acquisition: Kenneth Hince, Prahran, Australia, 1989.

Folio Society. Pepys's Diary, 3 volumes, edited by Robert Latham, 1996, History of Western Science 1543-2001, by John Grubbin, 2006, top edge gilt, quarter gilt decorated blue morocco, Life On The Mississippi, by Mark Twain, 2006, The Human Factor, by Graham Greene, 2008, The Seige of Krishnapur, by J. G. Farrell, 2008, The Ten Most Beautiful Experiments, by George Johnson, 2011, together with 128 further volumes of Folio Society publications, all original cloth in slipcases except 3 volumes without slipcases, G/VG, 8voQty: (136)

Greene (Graham). May We Borrow Your Husband? And Other Comedies of the Sexual Life, London: The Bodley Head, 1st edition, 1967, some light spotting, original cloth in dust jacket rear cover marked & toned, spine slightly faded with minor tears to head & foot, 8vo, plus 34 further works by Graham Greene, mixed editions, together with; Golding (William), The Spire, 1st edition, 1964, The Pyramid, 1st edition, 1967, London: Faber & Faber, both volumes with damp damage to upper spine corners from the front endpapers through to approximately pp.50-60, previous owner inscription to the front endpaper of The Pyramid, both original cloth in dust jackets, some damp marks to the front & rear covers, spines slightly rubbed to head & foot, 8vo, and other mid-20th century fiction & 1st editions, including H. E. Bates, Edith Sitwell, Anthony Burgess, Sylvia Townsend Warner, Aldous Huxley, Thomas Hardy, all original cloth, mostly in dust jackets, G/VG, 8voQty: (3 shelves)

Fehsenfeld (Martha Dow, & Lois More Overbeck [editors]). The Letters Of Samuel Beckett 1929-1940, 1st edition, New York: Cambridge University Press, 2009, original cloth in dust jacket, 8vo, together with; Bloch (Michael), James Lees-Milne Diaries 1942-1997, 3 volumes, 1st edition, London: John Murry, 2006, original cloth in dust jackets, spines minor rubbing to head & foot of spines, 8vo, and Greene (Graham), The Pleasure Dome The Collected Film Criticism 1935-40, 1st edition, London: Secker & Warburg,1972, numerous black & white illustrations, Ex Libris bookplate to half-title, light marginal toning throughout, original cloth in dust jacket, chip to top of rear cover, jacket rubbed to head & foot, 8vo, plus other bibliography & author reference including Peter Fleming, Bill Bryson and Oliver Sacks, mostly original cloth in dust jackets, G/VG, 8voQty: (3 shelves )

A box of mixed LPs and 12" singles including Hawkwind, Black Sabbath, The Stills-Young Band, Television, Ted Nugent, Ten Years After, Mountain, The Beatles, John Lennon, Stevie Wonder, Joe Walsh, Depeche Mode, Bruce Springsteen, Ten Years After, The Sensational Alex Harvey Band, Status Quo, George Harrison, Uriah Heep, The Rolling Stones, Elvis Presley, Graham Parker, Blod Sweat & Tears, Blue Oyster Cult, Jethro Tull, Deep Purple, Canned Heat, Humble Pie, Rod Stewart, Led Zeppelin, Jimi Hendrix etc (approx. 75- media mostly VG+, sleeves mostly VG/VG+)

A collection of retro vintage late 20th century studio art pottery to include an Aylesford Pottery tea set, Briglin candlestick, a vase by Graham Fern of Porthleven pottery and more. 29cm high

GRAHAM SUTHERLAND - Apollinaire Le Bestiaire 1979; FUTURISMO 1909 - 1919, 1972, other art books

RCA 7" COLLECTION - ORANGE LABEL CLASSIC ROCK. Expert collection of 20 x classic (largely)UK RCA Victor 'orange label' sevens. Artists/titles/cat. numbers are Garden Odyssey - The Joker (Graham Gouldman penned, RCA 2159 - Ex+), Mogul Thrash - Sleeping In The Kitchen (RCA 2030 - Ex), Peter Wyngarde - La Ronde De L'amour (RCA 1967 - Ex), David Bowie (x5) - Golden Years (RCA 2640), Drive-In Saturday (RCA 2352), Sorrow (RCA 2424), Starman c/w Suffragette City (RCA 2199) and Diamond Dogs (Canada APBO-0293), Lou Reed (RCA 2303, x2), Jimi Hendrix - No Such Animal (RCA 2033), Nilsson (RCA 2165, 1876), The Sweet (RCA 2305, LPBO-5037), Wilson Pickett (RCA 2338), Odyssey (PB 1129, PB 9252), Cleon Laine/John Williams (PB 9054)) and Zager & Evans. Condition is chiefly very clean Ex to Ex+/archive.

GRAHAM GOULDMAN - UPSTAIRS, DOWNSTAIRS C/W CHESTNUT 7" (ORIGINAL UK RCA VICTOR RELEASE - RCA 1667). A wonderful double header from prolific Salfordian Graham Gouldman with Upstairs, Downstairs (Pop/Psych) c/w Chestnut (a wicked Funky/Mod winner with breaks!). The record is in fantastic Ex+ condition showing only a couple of extremely faint wispy and slight paper marks, a top copy. With lovely clean labels, the four prong centre fully intact and housed with original company sleeve.

PHILIPS 7" COLLECTION - 1962 TO 1964. 39 x more fantastic original UK Philips 7" releases, these taking us from 1962 to 1964. Artists/titles/cat. numbers include Jackie And The Raindrops - COme On Dream, Come On (BF 1328) and Down Our Stret (BF 1283), The Secrets - Hey, Big Boy (BF 1318) and The Boy Next Door (BF 1298), The Falcons - Stampede (BF 1297), Doug Salma (BF 1279), The Hustlers - Gimme What I Want (BF 1275), Eileen Duffy (BF 1284), Darrell McCall, Dilys Watling (BF 1305), Lynda Graham, The Angels (BF 1312), The 4 Seasons, Jerry Lee Lewis - I'm On Fire (BF 1324), The Clevelands, Dusty Springfield (x3), Mike Hurst, Sally Green and Susan Maughan. Condition is often smart Ex to Ex+/archive, some occasionally with some easily cleaned light storage marks. Almost all with original company sleeves.

Postcards, an RP Aviation selection of 10 cards inc. Commander Sampson's hydroplane at Shotley, B C Hucks about to take off, Dual control at Bratty School of Flying Hendon, Pilot W R Raynham, Mr Brock aerial race winner, Bournemouth Aviation Meeting Morane in the air, and Graham White starting a flight etc (mainly gd, a few slightly faded )

Football autographs, 2 small album pages containing 22 original ink signatures from the 1920's inc. players from Aston Villa, Millwall, Tottenham, Arsenal etc possibly teams from a representative or benefit match, noted Pym, Bullock, Graham, Elkes, Thompson etc (gd)

1970s Corgi Toy Racing Cars, 156 Graham Hill's Embassy Shadow, 152 Ferrari 312 B2, 155 UOP Shadow, 158 Elf Tyrrell-Ford F1, 161 Elf Tyrrell Project 34, 151 Yardley McLaren M19A, 160 Hesketh 308 F1, in original boxes, VG-E, boxes F-G (7)

Betal Diecast Clockwork 1947 Jowett Javelin, green body, bare metal wheels, clockwork motor, pre-war Tootsietoy No.615 Graham Convertible Sedan, dark blue body and chassis, tan roof, Dinky Toys 35a Saloon Car, 35b Midget Racer (2), one silver, one red, 35c MG, Britains Lilliput Series Saloon and Open Sports Car, F-VG, Graham with fatigue blister to roof (8)

12 bottles Graham 1975 Douro Corroded capsules. Very bin-soiled and damaged labels, some remains only. Levels base of neck

12 bottles Graham 1975 Douro Slightly corroded capsules. Bin-soiled and damaged labels, one missing part of label. Level base of necks or better

12 bottles Graham 1975 Douro Slightly corroded capsules. Very bin-soiled and damaged labels. Levels base of neck or better

12 bottles Graham 1977 Douro In original wooden case, damaged lid. Good appearance. Levels: ten base of neck or better and two very top-shoulder

2 x 'N' gauge Graham Farish locomotives boxed.

Lewellyn Petley-Jones (1908-1986) Canadianunframed oil on canvas,'Mrs Graham Eyre',signed and dated '69,55 x 46cm, unframed

SARAH GRAHAM 'Sheer Blonde', 2008, giclée on canvas, edition of 95, signed and numbered accompanied by C.O.A., 80cm x 120cm. (Subject to ARR - see Buyers Conditions)

Alexander Graham Munro R.S.W. (Scottish, 1903-85), The Seine, Paris, oil on canvas, framed. 45cm by 54cm. Provenance: St. Andrews Gallery and Christie's Artist's Studio Sale, Glasgow 1987. Note: this lot may be subject to Artist's Resale Right

•Graham H.D. McKean (Scottish, b. 1962), Blue Iris with Yellow Background, signed lower right, acrylic on canvas, framed. 22cm by 17cm Note: this lot may be subject to Artist's Resale Right

Three Beswick white matt glazed horses by Graham Tongue, Spirit of Fire, Freedom and Youth. Each on black wood plinth, together with three smaller, Springtime, Young Spirit and Adventure (Break to leg of Spirit of Youth)

A large Bentley flag bearing hand-written text for 'Le Mans 2002 Mike & Graham 4th', 44 x 77 1/2".

Frederick (Fred) Lawson (1888-1968) ''Drinkings'' Inscribed and dated June 3rd 1947, together with a further signed pencil sketch by the same hand depicting a shepherd with his flock, 20cm by 26.5cm and 17.5cm by 22.5cm respectively (2) (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Fred Lawson was born in 1888 to a loom-weaving and mill owning family in Yeadon to the north of Leeds, one of five siblings. Lawson's father, George, worked in the family woollen mill, and his mother, Emma, hailed from Lincoln. Plagued by ill-health throughout his childhood, Lawson was not strong enough to enter the mill, but was supported through six years of art school by his father. After first studying at Dewsbury Technical College, he attended Leeds School of Art until he was 20, during which time he spent a year at South Kensington School of Art (later the Royal College of Art) where he earned his teaching diploma. In 1910 Lawson first ventured into Wensleydale, arriving in Castle Bolton with friend and fellow artist George Graham. During their month's stay, they were visited by fellow Leeds students Jacob Kramer (see lots 46-57) and Philip Naviasky (see lots 58-62) who were to become regular visitors to the Dale. The month spent in the Dales left a lasting impression, and after returning to Leeds to take up a teaching position, he handed in his notice after two terms and returned to Wensleydale. After initially taking temporary lodgings, he and George Graham settled in Castle Bolton, sharing a cottage and studio. Lawson began his life as an artist, living simply like those around him, painting and exploring his new home. During those early years Lawson and Graham made several painting trips to Europe, visiting France, Belgium and Holland to expand their artistic horizons. During his first trip to France in 1911, he came under the influence of the Barbizon School of Artists, who worked en plein air in the countryside around Fontainebleau, just outside Paris. Back in Castle Bolton Lawson settled into the Dales, embedding himself into rural life and the local community. He painted every day, exhibited, and supplemented his income teaching art locally as his reputation grew. It was through his informal roles as an art tutor that Lawson first met Muriel Metcalfe (see lots 43-45), whose talent as an artist he recognised at an early age. Leyburn-born Muriel went on to study at Art College in Newcastle, and on her return to Wensleydale she often joined Lawson to paint. Like-minded souls, the pair married in 1933 and settled in a cottage in Castle Bolton. Money may have been tight, but they lived simply and happily. They were joined in 1934 by their beloved daughter Sonia, herself now a renowned artist and Royal Academician (see lot 64). For 58 years Lawson's fascination with capturing Wensleydale and its people never waned. He continued to walk the hills and dales in all weathers, armed with paint box and paper, just as much a local landmark as the rocks and trees he so clearly loved. ''The man, we can say, loved the countryside'' - J. B. Priestley

GRAHAM WALLACE, AUTUMN GOLD (CLAN STEWART) print on paper, signed in pencil, limited edition 2/4 Mounted 40cm x 70cm overall, along with nine others, including Island Sanctuary, print on paper, signed in pencil, limited edition 4/4, First Snow, print on paper, signed in pencil, limited edition 2/4, Brothers In Arms, print on paper, signed in pencil, limited edition 3/4, Impending Storm, print on paper, signed in pencil, limited edition 1/4, Vantage Point, print on paper, signed in pencil, limited edition 4/4, Tranquility, print on paper, signed in pencil, limited edition 3/4, Brothers In Arms, print on paper, signed in pencil, limited edition 1/4, First Snow, print on paper, signed in pencil, limited edition 3/4 and Brothers In Arms, print on paper, signed in pencil, limited edition 2/4 (10)

GRAEME WALLACE, AUTUMN GOLD (CLAN GRAHAM BY LOCH LOMOND) print on paper, signed in pencil, limited edition 4/4 Mounted 40cm x 70cm overall, along with nine others by Graeme Wallace, including First Snow, print on paper, signed in pencil, limited edition 2/4, Tranquility, print on paper, signed in pencil on the mount and numbered 3/4, Last Night 2, print on paper, signed in pencil on the mount and numbered 1/4, Last Night 3, print on paper, signed in pencil on the mount and numbered 1/4, Vantage Point, print on paper, signed in pencil on the mount and numbered 4/4, Autumn Gold, print on paper, signed in pencil on the mount and numbered 3/4, Brothers In Arms, print on paper, signed in pencil on the mount and numbered 4/4, Vantage Point, print on paper, signed in pencil on the mount and numbered 2/4, Autumn Gold, print on paper, signed in pencil on the mount and numbered 1/4 (10)

AN INSCRIBED WHITE, GRAY AND RUSSET JADEITE ‘TIGER’ SNUFF BOTTLE, SIGNATURE OF WANG HENG (1817-1882)China. Reasonably well-hollowed, finely carved in relief to one side with a tiger next to a large boulder and to the other with two lotus flowers on leafy stems growing from a craggy rock, the stone of a white tone with grayish-black and russet shadings skillfully incorporated into the depiction.Inscriptions: To the rock, Shishou ShanrenProvenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong. Old collector’s label ‘105’ to base.Condition: Excellent condition with minor wear, microscopic nibbling to mouth, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Pink glass, Beijing style, with green collar and carved spoonWeight: 121.0 gDimensions: Height including stopper 73 mm. Diameter neck 22 mm and mouth 7 mmOf flattened heart-shaped form with a broad oval foot and a waisted neck with an everted and slanted lip.The present bottle shows the signature Shishou Shanren, the hao of Wang Heng (also known as Wang Rong, 1817-1882). He is listed in Zhongguo meishu jiaren mincidian, page 462. His other signed bottles include one in the J & J Collection, illustrated by Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle, number 292, and a pebble-shaped bottle in the Bloch Collection which bears a date corresponding to 1816, and a signed, but undated, root-amber example in the Denis Low Collection.Auction result comparison: Compare with an amber snuff bottle by the same artist at Christies New York, in Important Chinese Snuff Bottles from the J&J Collection, Part IV, 22 March 2007, lot 16, sold for USD 24,000.灰白玉留皮虎紋鼻烟壺，汪鑅（1817-1882) 中國。掏膛良好，一側浮雕老虎，旁邊是一塊大巨石，另一側刻有兩朵蓮花，白色玉石帶有灰黑色和赤褐色的紋理被巧妙利用並納入雕刻中。 款識： 石壽山人 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta and Omar Kilborn的兒子，出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。 圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況極佳，略有磨損，嘴部有輕微磕損，玉石有天然裂紋，隨著時間的流逝，其中一些可能已發展成細小的裂縫。 壺蓋：粉紅色玻璃，京派風格，綠色蓋托，小壺匙 重量：121.0 g 尺寸：含蓋總高73 毫米，頸部直徑22 毫米，嘴部直徑7 毫米呈扁平的心形，橢圓形底足，嘴唇外翻並傾斜。拍賣結果比較：一件同是汪鑅雕刻的琥珀鼻烟壺，見紐約佳士得 Important Chinese Snuff Bottles from the J&J Collection, Part IV拍場，2007年3月22日 lot 16, 售價USD 24,000.

A BLACK AND WHITE JADE ‘SEEKING SHELTER’ SNUFF BOTTLE, ‘MASTER OF THE ROCKS’ SCHOOL, QING DYNASTYChina, 18th century. Extremely well-hollowed through a small mouth, the mostly opaque stone is of a deep black tone with white shadings to one side, skillfully utilized by the lapidary in the carved relief depiction of a man holding an umbrella in the black night, desperately trying to find shelter before a perfect storm.Provenance: From an old private collection in Ohio, USA.Condition: Excellent condition with minor wear, microscopic nibbling here and there.Stopper: White jadeite cabochon with shades of apple green, finely carved spoonWeight: 81.3 gDimensions: Height including stopper 69 mm. Diameter neck 20 mm and mouth 7 mmThe flattened and rounded rectangular body rises from a thick oval foot to a short cylindrical neck with a concave top. Thin and translucent white veins on a plain black ground to the backside. The surface with a fine patina and a smooth and unctuous manual polish.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Literature comparison: For other examples of snuff bottles from the Master of the Rocks School, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, the Mary and George Bloch Collection, Vol. 1, pp. 332-369, nos. 128-141. The bottle, no. 128, pp. 322-323 exhibits a very similar material and style to the presently offered bottle.Auction result comparison: Compare with a related snuff bottle from the same school at Christie’s New York in The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V on 13 September 2017, lot 217, sold for USD 47,500. Compare also with a related snuff bottle at Sotheby’s New York in The Joe Grimberg Collection of Chinese Snuff Bottles on 14 September 2010, lot 70, sold for USD 23,750.清代蘇作墨玉巧雕人物場景鼻烟壺 中國，十八世紀。幾乎不透明的石料，小口，掏膛完整。深黑色玉帶有白色紋理，巧雕刻一個人在黑夜裡拿著一把雨傘，試圖在一場完美的暴風雨之前找到住所。 來源：美國俄亥俄州私人老收藏 品相：狀況極佳，輕微磨損，局部有細的磨損 壺蓋：白色翡翠飄綠，小壺匙 重量：81.3 克 尺寸：含蓋總高69 毫米，頸部直徑20 毫米，嘴部直徑7 毫米 扁平式，溜肩，橢圓形足内凹，短圓柱頸。 背面通透的純黑色面上有細而透明的白色紋理。 表面包漿細膩，光滑無瑕。 拍賣結果比較：一件相近蘇作鼻烟壺，見紐約佳士得 The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V 拍場，2017年9月13日 lot 217, 售價USD 47,500.；另一件相近鼻烟壺見紐約蘇富比The Joe Grimberg Collection of Chinese Snuff Bottles 拍場，2010年9月14日 lot 70, 售價USD 23,750.

A CARNELIAN SNUFF BOTTLE, QING DYNASTYChina, 1750-1880. Of compressed ovoid form with a convex top and a flat foot, the semi-translucent mottled and finely polished stone shading from creamy-beige to a soft vermilion-red.Provenance: From the collection of Dr. Erika Pohl-Ströher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Ströher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world’s most valuable collections of gems and minerals.Condition: Good condition with some minor nibbling around the mouth and some natural inclusions and fissures, some of which may have developed into hairlines.Stopper: Gilt silver with many hallmarks surmounted by an apple-green jade cabochon, and with the matching gilt silver spoonWeight: 40.3 g Dimensions: Height including stopper 53 mm. Diameter neck 13 mm and mouth 5 mmRed or orange chalcedony is referred to as carnelian, the warm tones resulting from the inclusion of iron (in the form of hematite in the redder material, and limonite in the orangey-yellow variety). Carnelian is often found in pebble form at ground level or in gravel deposits in the Arabian and Egyptian deserts, India, Japan and China. In China, these deposits are found in the mineral-rich Xinjiang province, which provided red chalcedony in a number of varieties.This material was commonly used to produce a range of small, compressed ovoid bottles of a form favored at Court during the Qing dynasty. For a smaller version of darker red color, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, Vol. 2, Quartz, no. 202.Auction comparison: Compare with a related carnelian bottle at Christie’s New York, The Meriem Collection of Important Snuff Bottles, 19 September 2007, lot 659, sold for USD 2,375.清代紅玉髓鼻烟壺 中國，1750-1880年。扁平式，削肩，扁平足，半透明的石料，從奶油色的米色到柔和的朱紅色，美麗的紋理。 來源：Erika Pohl-Ströher（1919-2016）博士收藏，保存於同一家族至今。 Erika Pohl-Ströher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。 她是一位忠誠的收藏家，一生中積累了許多重要的藝術收藏以及世界上最有價值的寶石和礦石收藏之一。 圖片：Dr. Erika Pohl-Ströher 品相：狀況良好，嘴部周圍有一些小小的磕損，還有一些天然的內含物和裂紋，其中一些可能已發展成髮絲細線裂紋。 壺蓋：鎏金鑲玉壺蓋，匹配的鎏銀小壺匙 重量：40.3 克 尺寸：總高53 毫米，頸部直徑13 毫米，嘴部直徑5 毫米 拍賣結果比較：一件相近紅玉髓鼻烟壺見紐約佳士得 The Meriem Collection of Important Snuff Bottles拍場，2007年9月19日 lot 659, 售價USD 2,375.

A SAPPHIRE SNUFF BOTTLE, POSSIBLY IMPERIAL, QING DYNASTYChina, 1750-1850. Well hollowed with a small mouth, finely carved in relief to one side with a monkey seated next to a craggy rock, pointing with one raised hand towards a butterfly flying above, and to the other with a grazing horse.Provenance: From the private collection of Dr. Mary Kaufman, New York, USA. Thence by descent within the same family. Dr. Kaufman (1927-2013) was a well known NYC snuff bottle collector.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Coral stopper carved as a clambering chilong, gilt metal collar.Weight: 102.0 gDimensions: Height including stopper 63 mm. Diameter neck 19 mm and mouth 6 mmMonkeys are a popular subject partly because of their meaning in various rebuses, but also because of their longevity symbolism. The depiction of a monkey on a horse’s back for example represents the rebus ‘Ma shang feng hou’, which may be translated as ‘May you receive a swift promotion to a high rank of office’. The butterfly is likewise a symbol of longevity and appears in rebuses because the character ‘die’ is homophonous to another character meaning ’70 to 80 years of age’.This is one of the best from a group of early sapphire snuff bottles, several of which are of related form (see literature comparison). The color of the stone is extraordinary for so large a piece, deep, dense and vibrant, all equally spread throughout the bottle. Even the pattern of matrix and paler clouds, which inevitably run through a sapphire pebble of this size, are attractive and fascinating as texture.Harder than jadeite to work, and being a precious material and translucent, sapphire is almost never extensively hollowed, although this particular bottle is reasonably well hollowed, even by jadeite standards for the range of bottles of this general shape. A test reveals a Mohs hardness of 7-8 for the matrix areas and clearly above 8 (and some even above 9) for the purer areas. The hollowing is also achieved through a relatively small mouth, a common feature of the oval bottles in sapphire, ruby or jadeite which may offer a further clue to dating. In 1888, Zhang Yishu wrote some supplementary remarks to Zhao Zhiqian's Yonglu xianjie (see Richard John Lynn's translation, JICSBS Summer, 1995, p. 18). He comments that originally the size of a snuff bottle mouth might exceed 12 mm, but that later this changed so they would not exceed 6 mm. He puts no date on this change, but if we look to hardstone bottles with mouths of 6 mm or less for further information, it would seem that by the Qianlong period, and particularly the second half, the smaller mouth was already well established.Sapphire and ruby were among the stones classified by the court as 'precious' along with pearls, jadeite, cat's eye and diamonds, while the 'semi-precious' materials were tourmaline, nephrite, amethyst, amber, turquoise, lapis lazuli, coral, quartz, agate, seashells, and others (according to Guoli Gugong bowuyuan 1986, p. 30). The same source informs us that on court belts, the use of ruby and sapphire was reserved for the emperor (p. 31). However, this does not mean that the materials were generally restricted to the emperor, since the hat-finial of the first rank of civil or military officials was also of ruby.Both sapphire and ruby are of the corundum family and consist of crystals of aluminum oxide. If chromium ions replace the original crystal's aluminum, the result is ruby. The Chinese might have had supplies from Kashmir, famous for its deep cornflower-blue sapphires, but the most likely source on a regular basis would have been Magok in Burma, where mining for both sapphire and ruby had been carried out since the late sixteenth century. This source would certainly have supplied the court after the normalization of relations in 1784 ended a protracted period of hostilities between the two countries, although illicit trade would have been sporadic before that date. This event played a large role in the subsequent massive popularity of jadeite, which became well established as a precious stone only in the last decades of the eighteenth century (see Moss, Graham, and Tsang 1993, no. 60) and it seems likely that this group of early sapphire and ruby bottles, which so resemble their many jadeite counterparts, date from the same mid-Qing period and were probably made for the court. Burmese sapphire is characteristically quite heavily flawed, as is the ruby, but this is of little help in a snuff-bottle context where all material large enough to form a snuff bottle is going to be flawed. Another possible source was Thailand, where darker blue sapphires were found in quantity.There is, of course, no such thing as a gem-quality sapphire snuff bottle. Any stone imported to the Qing court that was of sufficient size for a snuff bottle would never have been hollowed out if it was flawless enough to be valuable as a gemstone, for hollowing would have recklessly destroyed its depth of color. The ruby or sapphire material used for larger-scale carvings in China – and snuff bottles were 'larger scale' for gem materials – was always heavily flawed. What is unusual here is that the flaws are pleasingly even and consist mostly of a fabric of thin grayish-white and distinct iron-red lines. Additionally, the inclusions and shadings to the stone have been skillfully incorporated into the depiction of the craggy rockwork and surely also played a role in determining the horse’s pose.Literature comparison: For the Count Blucher ruby, see Moss, 1971a, no. 103, and for the Beatty example, Chapman 1988 p. 61, fig. 9, where fig. 10 is a related plain sapphire. Another plain, early sapphire bottle similar to this is illustrated in Hamilton 1977, p. 55 no. S–58, and one of a different shape in Ford 1982, no. 58. Another, with mask handles and a band of lappets around the base, was offered by Sotheby's, Hong Kong, 28 October 1992, lot 422, while an old, fruit-form sapphire bottle is illustrated by Stevens 1976, no. 632, where a range of green jadeite bottles of an ovoid form similar to that of the majority of sapphire and ruby examples is also shown (nos. 438–441 and 449).Auction result comparison: Compare with a related but smaller sapphire snuff bottle with a gold collar, dated to 1700-1820, at Bonhams Hong Kong, in Fine Chinese Art, on 28 November 2011, lot 48, sold for HKD 524,000, and a closely related sapphire snuff bottle, dated 1770-1850, at Bonhams Hong Kong, in Snuff Bottles from the Mary and George Bloch Collection Part I, on 28 May 2010, lot 13, sold for HKD 780,000.清代藍寶石鼻烟壺, 或爲御制中國，1750-1850年。掏膛良好，小嘴，一面雕刻一隻猴子站在岩石上手指蝴蝶，另一面雕刻著一匹馬。來源：美國紐約Mary Kaufman博士私人收藏，之後傳承於同一家族。Kaufman博士(1927-2013)是一位紐約知名鼻烟壺收藏家。品相：狀況極好，輕微磨損。藍寶石内天然裂紋，一些可能會隨著時間的流逝發展成細髮絲綫裂紋壺蓋：螭龍紋珊瑚蓋，鎏金金屬蓋托 重量：102.0 克尺寸：總高63 毫米；頸部直徑19 毫米；嘴部直徑6 毫米

A ‘REALGAR’ GLASS SNUFF BOTTLE, QING DYNASTYChina, 18th to early 19th century. Of high-shouldered tapering form, the body with horizontal striations of brilliant orange and pale olive-green with mottled splashes of red imitating the mineral realgar, carved on the narrow sides with a pair of lion mask and ring handles.Provenance: From an old private collection in New York, USA, and thence by descent within the family to the present owner.Condition: Very good condition with minor wear and minuscule nibbles, the neck possibly minimally smoothened.Stopper: Quartz cabochon with a carved and stained spoonWeight: 48.3 gDimensions: Height including stopper 70 mm. Diameter neck 16 mm and mouth 9 mmThere is a wide range of glass, particularly popular with the snuff-bottle maker, which imitated realgar. Realgar is the least toxic of all arsenic compounds, but it tends to break down on long exposure to sunlight and eventually disintegrates into a fine powder. It is the fifth basic element to the Chinese and played an important role for the alchemist, for whom it symbolized longevity and immortality.The present bottle is superbly made, with excellent carving and integrity of form. The abstract markings suggest the heart of a blazing fire in which everything is transformed. This is particularly appropriate for the Daoist alchemist attempting to transform base metal into gold and limited existence into immortality as metaphors for the transformation of human consciousness.Literature comparison: For a realgar glass bottle still in the Imperial Collection, see Masterpieces of Snuff Bottles in the Palace Museum, Beijing, 1995, p. 82, no. 58. For a series of five realgar glass bottles of various types, in The Victoria and Albert Museum, in bequests from 1901-1936, see H. White, Snuff Bottles from China, London, 1992, pl. 63. For a discussion of bottles based on the substance realgar, see H. Moss, V. Graham and K. B. Tsang, The Art of the Chinese Snuff Bottle: The J & J Collection, New York, 1993, pp. 578-579, nos. 345-346.Auction result comparison: Compare with a related bottle carved with chilong at Christie’s New York in The Blanche B. Exstein Collection of Chinese Snuff Bottles on 21 March 2002, lot 1, sold for USD 7,638. Compare also with a closely related but marked bottle at Christie’s Hong Kong in Important Chinese Snuff Bottles from the J & J Collection on 25 April 2004, lot 804, sold for HKD 191,200, and another at Bonhams Hong Kong in Snuff Bottles from the Mary and George Bloch Collection Part I on 28 May 2010, lot 72, sold for HKD 216,000.清代仿雄黃料鼻烟壺 中國，十八至十九世紀初。削肩，扁平，呈亮橙色和泛着淡淡的橄欖綠色，並帶有红色斑纹，仿雄黃。两肩獅面衔耳環。 來源：紐約私人老收藏, 在同一家族保存直至現任藏家 品相：狀況極佳，略有磨損，磕损很小，頸部可能略微打磨过。 壺蓋：石英，染色雕刻小壺匙 重量：48.3 克 尺寸：總高70 毫米，頸部直徑16 毫米，嘴部直徑9 毫米 拍賣結果比較：一件相近螭龍纹鼻烟壺見紐約佳士得The Blanche B. Exstein Collection of Chinese Snuff Bottles拍場，2002年3月21日 lot 1, 售價USD 7,638. ；一件相近但有款的鼻烟壶見香港佳士得Important Chinese Snuff Bottles from the J & J Collection 拍場，2004年4月25日 lot 804, 售價HKD 191,200, ；以及香港邦翰斯Snuff Bottles from the Mary and George Bloch Collection Part I 拍場，2010年5月28日 lot 72, 售價HKD 216,000.