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[Martyn (Thomas)] The English Connoisseur: containing an Account of whatever is curious in Painting, Sculpture, &c. in the Palaces and Seats of the Nobility...of England..., 2 vol., first edition, one or two small marginal stains, modern half calf over marbled boards, spines gilt with red labels, uncut, L.Davis & C.Reymers, 1766 § Waagen (Dr.Gustav F.) Treasures of Art in Great Britain, 3 vol. (without the supplement), contemporary tan calf gilt, spines gilt with red & green roan labels, very slightly rubbed at edges, a handsome set, 1854-57; and 2 others, 8vo et infra (7)⁂ The first item is "the first general review in book form of collections of pictures in England" (Frank Herrmann. The English as Collectors, p.422) although much of the material was taken from earlier publications. The work covers Blenheim, Chatsworth, Devonshire House, Hampton Court, Kensington Palace, Stowe, Wilton and Windsor amongst others.The second is a pioneering and invaluable record of the wealth and provenance of art treasures in public and private collections in England in the early nineteenth century. Waagen (1794-1868) was the Director of the Berlin Royal Museum and a respected art historian and connoisseur. "Dr Waagen's encyclopaedic survey of art in England is the most important single work available to us in the history of collecting". (Herrmann, p.425).

[Maurice (Thomas)] Grove-Hill, a Descriptive Poem, with an Ode to Mithra, first edition, signed and inscribed "For His Royal Highness the Duke of Sussex from his most faithful & devoted servant T.J.Pettigrew Jan. 27th 1821" on front free endpaper, half-title, title with fine wood-engraved vignette and 15 wood-engraved plates by G.Anderson after G.Samuel, with hand-coloured engraved plan and 7 additional plates of Grove Hill mounted on blank leaves at beginning and end (most a little soiled, one ink-stained), modern half green morocco, spine gilt, t.e.g., T.Bensley for J. & A.Arch and J.Wright, 1799 § Fosbrooke (T.D.) The Economy of Monastic Life, first edition, lacking half-title, with errata and list of subscribers at end, title with contemporary ink signature and lightly soiled, also final leaf, modern half red morocco, spine gilt, Gloucester, by R. Raikes, [c.1795], 4to (2)⁂ Grove Hill was a villa built by the physician John Coakley Lettsom in Camberwell. In the early 1800s it was demolished and the area developed as Camberwell Grove. T.J.Pettigrew, a surgeon and expert on Egyptian mummies, was an associate of Lettsom's and later edited his correspondence. The plates include scenes of the garden, Lettsom in his study, a telegraph station, an observatory, and bee skeps.The second item is dedicated to Edward Jenner (who also appears in the list of subscribers).

Lincolnshire.- Howlett (Bartholomew) A Selection of Views in the County of Lincoln, half-title, hand-coloured engraved map, title with engraved vignette, engraved dedication, 54 plates (including 3 divisional titles) and 22 vignettes in text, some foxing, water- & damp-staining to lower outer corner of plates but not affecting images, contemporary half russia, rebacked with calf gilt spine, printed by W.Bulmer, 1805 § Illingworth (Rev. Cayley) A Topographical Account of the Parish of Scampton, in the county of Lincoln, and of the the Roman Antiquities lately discovered there, engraved additional vignette title, folding hand-coloured map, 10 plates, one hand-coloured and folding, and 3 illustrations in text, appears to lack another map, folding letterpress pedigree and list of plates, some spotting, bookplate of Charles W.G.Howard, contemporary diced calf, gilt, rebacked preserving most of old gilt spine, 1810 § [Tennyson d'Eyncourt (Charles)] Eustace; an Elegy, first edition, ?second issue, half-title, 4 lithographed plates on india paper and mounted, title almost detached, light spotting, bound with 2 tinted lithographs and pp. 235-242 on Bayons Manor from Burke's 'Visitation of Seats and Arms' vol.1 of 1852 at end, original cloth, upper cover with title and elaborate decorative gilt border, g.e., rubbed and faded, small stains to lower cover, rebacked in morocco, gilt, William Davy & Son, 1851, all rubbed; and 11 others on Lincolnshire, including 5 vol. 'Lost Lincolnshire Country Houses', v.s. (14)⁂ The last item was written in memory of Capt. Eustace Tennyson d'Eyncourt of Bayons Manor, by his father (Alfred Tennyson's uncle), following Eustace's death due to yellow fever a few days after arriving in Barbados to join his regiment. The first edition was published in 44pp. by Davy & Son in 1850 (one copy in BL) and a second edition in 48pp. by Saunders & Otley in 1851. Our copy has 48pp. but the title is imprinted Davy & Son 1851. Library Hub lists 2 other copies like this (Cambridge, V & A).

A THANGKA OF RED AMITAYUS, TIBET, 18TH CENTURY 西藏十八世紀無量壽佛唐卡Distemper and gold on cloth, with a silk brocade mounting. The red-skinned deity seated in dhyanasana on a lotus throne with his hands lowered in dhyanamudra holding a long life vessel, backed by a halo and surrounded by a flaming mandorla, flanked to his right by White Tara and to his left by the six-armed Ushnishavijaya holding a jewel, vajra, an arrow, and an inscribed plaque. The bodhisattvas backed by red halos and deep blue mandorlas, all above three sets of three flaming pearls and within a verdant landscape with leafy lotus, rolling hills, and swirling clouds below the sun and moon.Provenance: From a German private collection.Condition: The upper area of the painting with minor old touchups, otherwise in good condition with some old wear, soiling, few small losses, and minor creasing.Dimensions: Image size 24.8 x 19.4 cm, Size incl. mounting 54.5 x 34 cm Literature comparison:Compare a related thangka depicting red Amitayus, dated to the 18th century, in the Ferenc Hopp Museum of Eastern Asiatic Arts, illustrated in Bela Kelenyi and Judit Vinkovics, Tibetan and Mongolian Buddhist Painted Scrolls, Budapest, 1995, cat. no. 46, and illustrated on Himalayan Art Resources, item no. 99154.Auction result comparison: Type: Related Auction: Christie's New York, 20 September 2006, lot 100 Price: USD 10,200 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A thangka of red Amitayus, Tibeto-Chinese, 18th century Expert remark: Note the size (40 x 76 cm). 西藏十八世紀無量壽佛唐卡布面膠彩描金，絲緞裝幀。無量壽佛紅色身，戴五葉冠，上身袒露，披帛帶，飾瓔珞，下著薄裙，衣紋靈動多姿。雙手疊交於腹前，結禪定印，上置寶瓶，結跏趺坐於蓮台上，儀態端莊。身後有光背。身後荷葉茂盛、群山連綿、日月、云彩繚繞的山水景觀，美崙美奐。身前右側為白度母，左側為手持珠寶、金剛杵、箭等法器的六臂尊勝佛母。 來源：德國私人收藏。 品相：畫面上部區域有輕微小修，其他狀況良好，有一些磨損、污垢、少量小缺損和輕微摺痕。 尺寸：畫面24.8 x 19.4 厘米, 總54.5 x 34 厘米 文獻比較： 比較一件相近的十八世紀阿彌陀佛唐卡，收藏於Ferenc Hopp東亞藝術博物館，見Bela Kelenyi 和Judit Vinkovics， 《Tibetan and Mongolian Buddhist Painted Scrolls》，布達佩斯，1995年，圖錄編號46，以及見Himalayan Art Resources，館藏編號99154。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年9月20日，lot 100 價格：USD 10,200（相當於今日EUR 14,000） 描述：十八世紀漢藏紅地阿彌陀佛唐卡 專家評論：請注意尺寸(40 x 76 厘米)。

A THANKGA OF GREEN TARA OF THE SANDALWOOD FOREST, YURLOD KURPA, TIBET, 18TH - 19TH CENTURY 十八至十九世紀西藏綠度母淨土 Gold and distemper on canvas. Depicting the Green Tara in her Pure Land, seated on a white and green cushion at the center of her palace in the Sandalwood Forest, bestowing the gestures of teaching and wish-granting, holding in her left hand a lotus flower, flanked by the blue-black Ekajati and the yellow Marichi, with celestial musicians and dancers performing in the foreground, and other deities and mythical creatures in the sky.Inscriptions: To reverse, several verses of 'Om ma hum'Provenance: British trade. Condition: Very good condition with minor wear to the pigments and little creasing and flaking. The mount with some tears, loose threads, and minor soiling. The scroll handles lost. Dimensions: Size incl. mounting 126.5 x 79 cm, image size 61 x 42.5 cmThe pure land of Green Tara, also known as Yurlod Kurpa, is part of Amothaba's Sukhavati or Western Pure Land.The silk brocade mounting is of Chinese origin, 19th century, and depicts an Imperial confronting dragon with five claws, amid flames and scrolling clouds, chasing the flaming pearl.Literature comparison:Compare a related thangka of White Tara, 19th century, in the Rubin Museum of Art, object number F1996.32.5. Compare a related thangka of Green Tara in the Pure Land, 19th century, in the Rubin Museum of Art, object number P1996.8.1, illustrated on Himalayan Art Resources, item no. 239.Auction result comparison:Type: RelatedAuction: Bonhams New York, 12 March 2021, lot 376Price: USD 8,925 or approx. EUR 9,300 converted and adjusted for inflation at the time of writingDescription: A thangka of Green Tara of the sandalwood forest, Tibet, 18th/19th centuryExpert remark: Compare the related motif and colors. Note the slightly smaller size (120 x 72.7 cm, the mount).十八至十九世紀西藏綠度母淨土布面膠彩描金。綠度母於檀香林宮中，坐姿，左手執蓮花，兩側為藍黑色的一髻佛母和黃色的 摩利支，前景是天上的樂者和舞者，天空中還有其他神靈和神話生物。 款識：背面可見“唵嘛呢叭咪吽” 來源：英國古玩交易。 品相：狀況極好，輕微顏料磨損、摺痕和剝落。裝裱有一些撕裂、鬆動的螺紋和輕微的污漬。手柄丟失。 尺寸：總126.5 x 79 厘米，畫面 61 x 42.5 厘米 綠度母的淨土，也被稱為 Yurlod Kurpa，是阿彌陀佛極樂世界的一部分。 絲綢錦緞裝裱源自中國，十九世紀，五爪龍雲中戲珠紋。 文獻比較： 比較一件相近的十九世紀白度母唐卡，收藏於Rubin Museum of Art，館藏編號 F1996.32.5。比較一件相近的十九世紀綠度母淨土，收藏於Rubin Museum of Art，館藏編號 P1996.8.1，見《Himalayan Art Resources》，編號239。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2021年3月12日，lot 376 價格：USD 8,925（相當於今日EUR 9,300） 描述：西藏十八/十九世紀綠度母唐卡 專家評論：比較相近的主題和顏色。請注意尺寸稍小 (總120 x 72.7 厘米)。

A ZITAN FIGURE OF A DEER HOLDING LINGZHI, 18TH CENTURY 十八世紀紫檀雕鹿銜靈芝China. Superbly carved in a recumbent posture with the hind legs drawn in and the front legs bent with the hooves placed together, the muscular body of the stag is well detailed and further accentuated by the characteristic natural 'crabs claw' marks of the wood, the face with neatly incised round eyes and funnel-shaped ears, the animal grasping a large, naturally carved lingzhi sprig in its mouth.Provenance: English trade.Condition: Fair condition with old wear, expected age cracks to the wood, some with associated losses and old fills, minute losses to the antler tips, all more or less as expected from a zitan figure with an age of 300 years or more. Elegant, naturally grown patina with a decent, lustrous shine overall.Weight: 255.9 gDimensions: Length 12 cmExpert's note: In ancient Chinese mythology, deer were considered to live a thousand years and believed to be the only animals capable of finding lingzhi, and so as in the present lot, are often portrayed holding the sacred fungus in their mouth. The deer is also a foremost Daoist emblem of longevity and the inclusion of lingzhi in the depiction is generally regarded as adding further to the symbolism. Thus, Shoulao and Magu, the God and Goddess of Longevity, are often accompanied by deer. Finally, deer are also a symbol of wealth since the Chinese word for deer, lu, is a homonym for the salary of an official.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2017, lot 3047 Price: HKD 875,000 or approx. EUR 113,000 converted and adjusted for inflation at the time of writingDescription: An extremely rare imperial zitan figure of a bear, Qing dynasty, Qianlong periodExpert remark: Note the larger size (33.9 cm) and the superb condition. Compare the manifold similarities exhibited by the carving style and technique.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.十八世紀紫檀雕鹿銜靈芝中國。圓雕而成一隻祥鹿，前腿彎曲，後腿收緊，口銜靈芝，昂首回眸做觀望狀，雙角飛揚，呈跪臥之姿。木料天然“蟹爪”紋進一步突出鹿的身形健壯。靈芝回曲起伏、圓潤飽滿。 來源：英國古玩交易。 品相：磨損，預期的木材老化裂縫，一些相應的缺損和舊的修補，鹿角尖端的輕缺損，與300年或以上的紫檀雕像預期的一樣。自然包漿，光滑瑩潤。 重量：255.9克 尺寸：長12厘米 專家注釋：在中國古代神話中，鹿象徵著長壽，經常被描繪成嘴裡叼著靈芝，表達了仙風道骨，且長命百歲，萬壽無疆之祝福。而此鹿俯臥於地，又取“福祿“之意。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年4月3日，lot 3047 價格：HKD 875,000（相當於今日EUR 113,000） 描述：清乾隆罕見御製紫檀雕熊 專家評論：請注意較大的尺寸 (33.9厘米) 和極佳的品相。比較雕刻風格和技術等多方面的相似性。

A RARE THANGKA DEPICTING THE BUDDHA'S PARINIRVANA, TIBET, 18TH - 19TH CENTURY 十八至十九世紀西藏釋迦牟尼涅槃圖唐卡At the center, Buddha reclines on a bed surrounded by a crowd of mourners lamenting his death. The Buddha's expression is peaceful and serene, lying on his right side with his hand propping up his head, exposing the wheel of dharma engraved on his palm. Below the Buddha are two scenes depicting the arrival of the aged Buddha in Kushinagara, where he died. The upper right corner depicts the cremation of the deceased Buddha, and the upper left scene depicts the veneration of his ashes.Provenance: From an old private collection in Germany, where it was displayed as the centerpiece of the collection.Condition: Very good condition with little wear, light creasing, and minor soiling. The brocade mounting with minor discoloration and small tears.Dimensions: Image size 70 x 44 cm, Size incl. brocade mounting 134.5 x 73.5 cm Distemper and gold on cloth, with a silk brocade frame and mounted as a hanging scroll with metal openwork fittings.The death of the Buddha, also known as the Buddha's Parinirvana referring to the Buddha's enlightenment after death, has been depicted widely in Buddhist iconography and is accounted in the Mahaparinirvana sutra. According to Buddhist tradition, the Buddha died in Kushinagara, Northern India, with the traditional dates of Buddha's life from 566-486 BC. After his death, the Buddha's body was cremated and distributed among his followers. The stupas that guarded his remains became important pilgrimage sites for Buddhists.The Mahaparinirvaṇa sutra is one of the most important Buddhist scriptures in China and Tibet, and it relates the events surrounding the Buddha's death. The precise date of origin of this text is uncertain, but its early form may have developed in or by the second century CE. The original Sanskrit text is not extant except for a small number of fragments, but it survives in Chinese and Tibetan translation. Literature comparison:Compare a related Tibetan thangka depicting the death of Buddha, 67 x 49 cm, dated to the late 18th century, in the Museum of Fine Arts, Boston, accession number 48.274. Compare a related thangka depicting the death of Buddha, in the Santa Barbara Museum of Art, illustrated on Himalayan Art Resources, item no. 88902. Compare a related Tibetan thangka depicting the death of the Buddha, dated 19th-20th century, in the Oriental Museum, Durham University. 十八至十九世紀西藏釋迦牟尼涅槃圖唐卡布面膠畫描金，錦緞裝幀，掛軸。釋迦牟尼八十歲時，自知陽壽將盡，便離開說法的王舍城，來到拘尸那城娑羅雙樹間，頭部向北，佛陀躺下，向右側偃臥，弟子們都守候在身邊，聆聽佛陀的最後教誨。世尊如是慈悲咐囑，而後寂然於娑羅雙樹下涅槃入滅。畫面中心，佛陀斜躺在床上，周圍是一群哀悼他去世的哀悼者。 佛陀面色平和安詳，右側臥，手托頭，露出掌心刻的法輪。 佛陀下方有兩幅場景，右上角描繪了佛陀火化的場景，左上角描繪了佛陀骨灰的供奉場景。 來源：德國私人舊藏，是收藏中的重要藏品。品相：狀況極好，輕微磨損、摺痕和污垢。錦緞鑲邊有輕微變色和小撕裂。 尺寸：畫面70 x 44 厘米，總134.5 x 73.5 厘米 文獻比較: 比較一件相近的十八世紀末西藏佛陀涅槃圖唐卡，67 x 49 厘米，波士頓藝術博物館，館藏編號48.274。比較一件相近的西藏佛陀涅槃圖唐卡，收藏於聖塔芭芭拉藝術博物館，見Himalayan Art Resources，編號88902。比較一件相近的西藏十九至二十世紀西藏佛陀涅槃圖唐卡，收藏於杜倫大學東方博物館。

A HUANGHUALI KANG TABLE, CHINA, LAST QUARTER OF THE 18TH CENTURY 十八世紀後半葉黃花梨炕桌 Standing on four convex legs terminating gracefully into boldly carved scroll feet. The central floating panel is slightly recessed and has a stepped frame. The elegant, raised-edge apron terminates on both sides into small ruyi heads. The sides each show a curved openwork board, neatly set within a raised rectangular frame.Provenance: Charles Lumb & Son, Harrogate, United Kingdom. Collection of Mr. & Mrs. D.L. Clarke, Huddersfield, United Kingdom, acquired from the above. A copy of the original signed and stamped invoice from Charles Lumb & Son, dated 9 September 2000, confirming the dating above, and listing a purchase price of GBP 2,000 or approx. EUR 5,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Charles Lumb & Son Ltd. was established in 1907 in Harrogate by Charles Lumb (1887-1963), who was originally a cabinetmaker and, with his sons Frank and Reginald, and later his grandson Tony, developed into one of the most important antique furniture dealers of the United Kingdom. Condition: Good condition, commensurate with age, showing expected old wear, stains, scratches and other traces of use. Some age cracks, splits, losses and old replacements. Fine, entirely natural patina overall. Presenting remarkably well.Dimensions: Size approx. 33 x 96 x 43 cm Auction result comparison: Type: Related Auction: Bonhams Edinburgh, 23 March 2016, lot 229 Price: GBP 4,375 or approx. EUR 7,400 converted and adjusted for inflation at the time of writing Description: A fine huanghuali and burl-wood low table, kang, Qing dynasty Expert remark: Compare the related form with convex legs and panel ends. Note the different feet with peach-form ends. Note the closely related size (33 x 94 x 40.5 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 十八世紀後半葉黃花梨炕桌長方形炕桌，獨面心板。冰盤沿，素紋牙條，陽線飾邊。鼓腿彭牙，足為內翻。桌子線條利落圓潤，秀美俏麗。炕桌是北方地區常見的承具，多為置於炕上或休塌上使用，多作放置物品，也可當憑几，功能多樣，擺放靈活，為常用家具。 來源：英國哈羅蓋特Charles Lumb & Son藝廊；英國哈德斯菲爾德D.L. Clarke先生及夫人收藏，購自上述藝廊。隨附Charles Lumb & Son 於 2000 年 9 月 9 日簽署並蓋章的原始發票副本，確認了上述日期，並列出了 2,000 英鎊或大約 5,300 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）的購買價格。Charles Lumb & Son Ltd. 於1907 年由Charles Lumb（1887-1963）在哈羅蓋特成立，他最初是一名細木工，與他的兒子Frank 和Reginald，以及後來的孫子Tony，一成為英國最重要的古董家具之一經銷商。 品相：狀況良好，有磨損、污漬、劃痕和其他使用痕跡。有些因老化而出現裂縫、裂口和缺損，局部材料有替換。整體上自然包漿。 尺寸：33 x 96 x 43 厘米 拍賣比較： 形制：相近 拍賣：愛丁堡邦翰斯，2016年3月23日，lot 229 價錢：GBP 4,375（相當今日EUR 7,400） 描述：清代黃花梨炕桌 專家註釋：比較相近的外形、內翻足。請注意不同的足形有桃形裝飾。請注意非常相近的尺寸 (33 x 94 x 40.5 厘米)。

A THANGKA OF CHATURBHUJA AVALOKITESHVARA, TIBET, 18TH-19TH CENTURY 西藏十八至十九世紀四臂觀音Distemper on cloth. Seated on a lotus pedestal in dhyanasana with his primary hands holding a jewel at his chest while his secondary hands hold a lotus blossom and mala beads. Clothed in a blue and red dhoti and wearing a billowing green scarf. His serene face with sinuously lidded eyes below elegantly arched brows, a broad nose, and full lips forming a calm smile. His hair arranged in a high chignon topped by the red-skinned head of the Buddha Amitabha behind the five-leaf tiara, backed by a radiating mandorla and green halo.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.46. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition with minor wear, minimal soiling, creasing, few small losses.Dimensions: Image size 44 x 29.5 cm, Size incl. frame 65.9 x 51.9 cm The lower register with Manjusri seated in dhyanasana on a lotus throne, wielding his sword with his right hand and holding a lotus in his left coming to full bloom at the shoulder supporting a book, and Mahakala striding in alidhasana, wearing a tiger skin, engulfed in flames. All within a verdant landscape with fruiting leafy peach branches below the sun and moon.Literature comparison:Compare a related thangka of Chaturbhuja Avalokiteshvara, dated to the 19th century, in the Tibet House Museum in New Delhi, illustrated on Himalayan Art Resources, item no. 72057.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2010, lot 154 Price: USD 6,250 or approx. EUR 8,000 converted and adjusted for inflation at the time of writing Description: A thangka of Chaturbhuja Avalokiteshvara, central Tibet, Menri style, 19th century Expert remark: Compare the closely related subject and manner of painting. Note the size (65.5 x 44.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 18 September 2013, lot 277 Price: USD 11,875 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A painting of Chaturbhuja Avalokiteshvara, Tibet, 18th century Expert remark: Compare the closely related subject and manner of painting. Note the different mandorla and the size (64.1 x 43.2 cm). 西藏十八至十九世紀四臂觀音布面膠畫。本唐卡中的主尊為四臂觀音，雙跏趺坐於蓮花月輪上，身色潔白如月。黑髮結頂髻，頭戴花蔓寶冠，佩戴珠寶，面相豐滿，柳葉細眉微微彎曲，雙目微閉，自然下視，小口緊閉，表情呈慈悲像。一頭四臂，其中兩手持摩尼寶珠於胸前結合掌印，另外兩手之右手持水晶念珠。左手拈白蓮花。觀音下方有文殊菩薩與大黑天。文殊菩薩坐蓮花座，右手執劍，左手持蓮花莖，在肩部盛開，托著書；大黑天身披虎皮，邁開大步，火焰光背。周圍祥花環繞，背後福山壽海，祥雲環繞，佛光照耀。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 P.46。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況良好，有輕微磨損、少量污染、摺痕和缺損。 尺寸：畫面 44 x 29.5 厘米，總65.9 x 51.9 厘米文獻比較： 比較一件相近的十九世紀四臂觀音唐卡，收藏於新德里Tibet House博物館，見Himalayan Art Resources，編號72057。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2010年9月14日，lot 154 價格：USD 6,250（相當於今日EUR 8,000） 描述：十九世紀西藏中期四臂觀音唐卡 專家評論：比較非常相近的主題和繪畫風格。請注意尺寸(65.5 x 44.5厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年9月18日，lot 277 價格：USD 11,875（相當於今日EUR 14,500） 描述：十八世纪西藏四臂觀音唐卡 專家評論：比較非常相近的主題和繪畫風格。請注意不同的光背和尺寸(64.1 x 43.2厘米)。

A MEDICAL THANGKA WITH THE TREE OF DIAGNOSISTibet, 19th to early 20th century. Distemper and gold on cloth. Well painted in bright polychrome pigments, the central register with a large medical tree with four main stalks representing the four roots of treatment (diet, behavior, medication, and external therapy), with the blue-skinned Bhaisajyaguru (Medicine Buddha) seated in dhyanasana on a lotus pillow surrounded by a double aureole and peony blossoms to the right of the tree.Provenance: From an Austrian private collection.Condition: Very good condition with minor wear, minimal fading, light soiling, some staining, and minor fraying to edges.Dimensions: Size 70 x 88.9 cmThe upper register is painted with twelve figures, consisting of both monks and deities, each flanked by a bright nimbus and halo. The lower register contains three lines of medical text.This painting depicts the methods of treatment used in the Tibetan system of medicine. The first stem stands for diet treatment, which has six branches. The first two branches with ten and four blue leaves, respectively, show the diet and the drink best suited to treat lung disorders. The third and fourth branches with seven and five yellow leaves, respectively, stand for the diet and drink suitable for mkhris-pa disorders and the fifth and sixth branches with six and three white leaves, respectively, stand for the diet and drink recommended for bad-kan disorders.The second stem illustrates behavioral treatment. It has three branches with two leaves each representing the behaviors beneficial for the three humors.The third stem depicts the different medications. It has a total of 15 branches and 50 leaves. The first six branches each bear three leaves. These refer to the tastes and medicinal qualities favorable for treating rlung, mkhris-pa and bad-kan disorders, which are shown as blue, yellow, and white leaves. The seventh to the twelfth branches bear a total of 23 leaves representing different medicinal preparations: broth and medicinal butter, decoctions and powders, pills and specific medicinal powders.The fourth stem stands for external therapies, which are generally used as a last resort after all other treatments fail. It consists of three branches. The two blue leaves on the first branch portray the external therapy used to treat rlung disorders. The three yellow leaves on the second branch stand for external therapies used to fight mkhris-pa disorders and the two white leaves on the third branch signify external therapies used on bad-kan disorders.Literature comparison:Compare a related 'Tree of Diagnosis' thangka in the American Museum of Natural History, New York, included in the exhibition Body and Spirit: Tibetan Medical Paintings, 25 January-17 July 2011. Compare three further related thangkas in the Rubin Museum of Art, illustrated on Himalayan Art Resources, item nos. 1131-1133.

A LARGE THANGKA DEPICTING DORJE DROLO, TIBET, 19TH-20TH CENTURYDistemper and gold on cloth. The fierce deity engulfed in flames and riding a large tiger, holding a vajra-handled phurbu in his right hand, wearing voluminous robes, a figure of Buddha Shakyamuni placed at the center of his chest, and a garland of severed heads slung around his neck. The upper register centered by Garuda flanked by Mahakala Kartaridhara and Yellow Kambhala, the lower register with Tsongkhapa and a Mahasiddha.Inscriptions: To the back, 'Om Ah Hum'. Provenance: Acquired by the father of the present owner in Tibet around 1970 and thence by descent. Dr. David Templeman, a scholar of Tibetan Buddhism and Adjunct Research Fellow at Monash Asia Institute, Monash University in Melbourne, Australia, has previously appraised the present lot.Condition: Wear, light fading, creases, folds, fraying to edges, minor losses to pigments, soiling, and stains, presenting well.Dimensions: 118 x 152 cmDorje Drolo is a wrathful emanation of Padmasambhava, most often associated with the set of eight main manifestations and the life story of Guru Rinpoche. He also functions as a guruyoga meditational deity with at least fourteen different 'terma' traditions.Literature comparison: Compare a related thangka depicting Dorje Drolo atop his tiger, 54.6 x 78.7 cm, dated to the early 20th century, at the Rubin Museum of Art, accession number P1998.22.4, illustrated on Himalayan Art Resources, item no. 731.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A THANGKA OF A BUDDHIST STUPA, TIBET, 18th-19th CENTURY 十八至十九世紀西藏佛塔唐卡Gold and distemper on cloth with a silk brocade mounting. Finely painted with Buddha Shakyamuni inside a stupa seated in dhyanasana on a lotus base with his right hand lowered in bhumisparsha mudra, flanked by two Buddhas at the top and two bodhisattvas below, with offerings on the ground before the stupa, all within a verdant landscape.Provenance: From a German private collection.Condition: Some soiling, stains, creasing, minor tears and losses, wear to gold and pigments. The mounting with some wear, soiling, stains and a few minor tears. The gilt still well-preserved overall.Dimensions: Size incl. mounting 52 x 34.5 cm, image size 23.5 x 20 cm Literature comparison:Compare a related thangka of Ushnishavijaya and celebration of old age (Jyatha Janko), dated 19th century, in the Rubin Museum of Art, object number F1997.17.24. Compare a related thangka of a stupa, dated 19th century, in the Garuda Virtual Museum, illustrated on Himalayan Art Resources, item number 81474.Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2019, lot 899 Estimate: USD 30,000 or approx. EUR 33,500 converted and adjusted for inflation at the time of writing Description: A thangka of Ushnishavijaya, Tibet, 19th century Expert remark: Compare the related depiction of the stupa. Note the larger size (77.5 x 58 cm). 十八至十九世紀西藏佛塔唐卡布面膠畫描金，絲綢錦緞裝裱。此唐卡以佛塔為中心，佛塔中釋迦牟尼佛結跏趺坐蓮像，右手觸地印。佛塔兩側上有二佛，下有二菩薩，塔前地面放著供養物，四周景色翠綠。 來源：德國私人收藏。 品相：一些汙漬、摺痕、輕微撕裂和缺損，金色和顏料有磨損。鑲座有一些磨損、汙漬和一些輕微的撕裂。總體而言，鎏金仍保存完好。 尺寸：總52 x 34.5 釐米，畫面23.5 x 20 釐米 文獻比較： 比較一件相近的十九世紀的尊勝佛母，收藏於Rubin Museum of Art，館藏編號F1997.17.24。比較一件相近的十九世紀佛塔唐卡，收藏於Garuda Virtual Museum，見Himalayan Art Resources，館藏編號81474。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2019年3月19日，lot 899 估價：USD 30,000（相當於今日EUR 33,500） 描述：十九世紀西藏尊勝佛母唐卡 專家評論：比較相近的佛塔唐卡。請注意尺寸較大 (77.5 x 58 釐米)。

GEMSTONE DRESS RING, ALONG WITH A PAIR OF EARRINGS each set with a blue stone, the ring with an eighteen carat gold shank, the earrings set in nine carat gold Qty: 2The ring stone heavily abraded. Each item well worn.

TANZANITE AND DIAMOND SUITE OF JEWELLERY, comprising necklace, earrings and ring, in nine carat white goldEach item has been generally worn. Chain is heavily snapped. Ring size O 1/2.4.1g gross.

A vintage painted cast metal money box/bank in the form of an outdated depiction of an African GentlemanLocation: 6.1These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history

A Merrythought stuffed golly, stripped trousers, 25cm high; others Posh Golly, Embrace etc (4) These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

This is believed to be a botanist’s stick /cane. A rare item. It is fully ebonized with an antler handle that unscrews. This reveals a brass screw topped vial/container and a slim brass microscope. An additional feature is the 2.5'' steel and brass ferrule. This can be removed to further reveal a steel 2'' steel trowel/scoop. The end of the microscope is angled, thus allowing light in when the tip of the instrument is close to the item being examined. Magnification is excellent. The band on the stick, together with its contents, would have been plated at one time. Alas now almost gone. No damage other than that consummate with age - dates from around 1890's - early 1900's. The length of the stick is 35 ¼”/950mm.

Otis King’s Calculator StickAn unusually heavy stick which was originally used as a measure. Below the handle are stick markings at one inch intervals up to 6”. Markings continue down the shaft at 12” intervals The interesting feature is the handle. This can be extended to reveal a spiral calculator. It is an Otis King’s Pocket Calculator, often called a cylindrical slide rule manufactured by Carbic Ltd. of London, England. They produced five types of calculator. This particular item is a Model L ,Type B. Overall length with calculator closed --39 ½”/100cm. Overall length with calculation fully extended—43 ½”/110.5cm. In addition to the scales being identified as No 429 and No 430,.the calculator carries the following details--K 0512 , Made in England, Manufactures details (Otis King’s Calculator- Patents and Sole Manufactures Carbic Ltd. of London, England.)Patent number 183723. This patent was registered in 1921. This was updated the following year hence dating this item to 1921. For details of patent, purpose and use of the calculator see attachments The photos show the manner the brass curser may move along the central cylindrical “spiral slide rule” for different types of calculations.

Antique harmonica stick with a 12 note range. The stick of bamboo is in very good condition with an excellent patina. Set in the cap of the cane is a small circular insert of mother of pearl?Ten of the reeds function well. Unfortunately two reeds are missing or broken. However a good harmonica player would probably be able to knock out a tune! An unusual item dating from circa 1900. Overall length 33”/84cm.

A bamboo walking stick/cane with a spherical hardwood handle 1 ½”/ 38 mm diameter. This is set on a brass collar 1 ¼” / 36 mm wide. A further brass collar is set at 11 ¾” / 980 mm from the top of the cane handle. The brass ferrule appears to be the original.The handle unscrews to show a brass threaded section that sets into the top collar of the stick. When the handle is removed a cavity is revealed which holds two tiny bottles 1 ¾”/ 47 mm high. As can be seen from the photographs these are marked with various colored paint. Their use unknown.The lower brass collar also unscrews dividing the stick into two sections. The lower section is hollow.The upper section has a smaller diameter shaft 6 ½”/165 mm long attached to it which is a slide fit into the hollow lower section. This shaft has been carved to form five rectangular recesses each containing different colour water paints---white, yellow green, red, and blue. An old artist’s paint brush also nestles in the hollow section of the cane. (Care must be taken in opening this stick as the paint is old, solidified and shrunken and may fall from their recesses. The close fit between the stick sections prevents this when engaged)A most unusual item---hardly practical yet the water paints certainly appear to have been used and somebody obviously went to a great deal of trouble to make it.

Measuring Stick. At first this cane appears just that—a 43”long dark wood cane with a small circular cap. Possibly a measuring stick of some sort. However close inspection show scales marked down either length of the stick .Fairly difficult to read due to age (no nicks or knocks) but still decipherable. These are two scales read 0—42 at 1”intervals 0—160 at ever decreasing intervals. It also carries the following markings-- “ J LONG MAKER 43 EASTCHEAP LONDON. (Joseph Long was a very well known active mathematical, optical, slide rules & hydrometer instrument maker who traded at 20 Little Tower St. (1821-84) & 43 East Cheap (1885-1936) London, England,). The relationship between the stick’s two scales is not obvious. However plotting a graph of one scale against the other ( 0-42 vertical and 1-160 horizontally) results in a what appears to be a quarter ellipse. Thus the stick can be used to plot out ellipses of any size required. Possibly use would range from assisting architectural/engineering drawings to setting out arches in buildings to ornamental elliptical shaped flower beds! Thus a very clever item whose use could easily be overlooked. (However any other possible relationship between the two scales is unknown).

An attractive gadget cane featuring a handle fashioned from a coquilla nut. The shaft, which is unusually heavy,is of exotic red hardwood with a ½” / 12.5mm wide silver collar set below the handle. This band is silver fully hallmarked London 1957.The top half of the handle can be unscrewed revealing within the nut a finely detailed compass framed within a mother of pearl setting.The ½” ferrule is of hard black wood is original Overall length 37”/940mm. Overall this item is in excellent condition. (The coquilla nut is the fruit of the Brazilian Palm, which is closely related to the coconut palm. The nut is 3-4 inches long, and has a very hard, richly streaked brown shell that is capable of taking a fine polish.It is well suited to the wood turner's lathe. It was often used for small carvings, including cane handles. The close, hard grain and dense structure, similar to that of ivory, gave it the name vegetable ivory).

A lovely late Victorian dated silver handled walking cane The handle, which has a hinged covered snuff box inset, is hallmarked 1896, London and the initials of the maker JH. (for Jonathan Howell, Old Street London, EC. Registered Nov 1895).This item is in reasonably good condition considering it is nearly 120 years old.The lid to the snuff compartment is slightly dented .However this does not affect its operation which opens and closes crisply on a small catch. The internal is gilded and also carries the above hallmarks..There are initials and an address inscribed on the lid which read “ P W D Wantage House Ladbroke Road W11”. The house carrying this name at this address is still there in an upmarket area of London, The cane is 37"/940mm long overall.

A most unusual “Stanhope Stick”. This is a simple modern stick made in 1980.The handle is a bronze casting of a Labrador’s head. Overall length 37”/940mm. What makes this special is just below the handle are five holes small holes at regular intervals. Close inspection reveals each are fitted with a Stanhope Lens, each showing a view of London. A Stanhope Lens is a high powered magnifier that contains a microscopic photograph or drawing, that when viewed closely reveals a picture with amazing detail. These lenses are tiny! They measure 3.0 mm x 6.8 mm. and were fitted in a standard drilled 3 mm or 1/8" hole. Typical photographs from an advertising feature are shown here. The actual images mounted in the Stanhope Lenses in this stick, from top to bottom, are- 1)The Steam Ship Queen Elizabeth2)A Jaguar racing car 3) St Paul’s Cathedral 4) Views of London:- (Five images in one lens.) The Strand London Bridge Tower Bridge St Paul’s’ Cathedral The Law Courts London5) West Minister Abby. Background to Stanhope LensesThese novelty souvenirs that became popular during the 19th century, these objects (ranging from pens to sewing accessories to jewelry) are unique because of the tiny hidden image placed somewhere inside the object. The image can be found by holding the item up to the light and looking into a tiny hole where the magnified image becomes visible. These images range from landscapes to portraits and are about 1/10th an inch in diameter and 1/4 an inch long. The term “Stanhope” comes from the inventor of the Stanhope Lens, Lord Charles Stanhope (1753-1816) (Note: Lord Charles died before photography had been invented). In 1839, John Benjamin Dancer (1812-1887) attached a microscope lens to a daguerreotype camera and produced microphotographs. This new technology influenced Rene Dagron (1819-1900), a portrait maker in Paris, to invent the Stanhope by affixing a micro-image to a lens. After these new developments, Dagron manufactured novelties with tiny photographs in them beginning in the early 1860’s. Eventually Stanhope novelties began to lose their popularity as souvenirs and the last true Stanhopes were made in 1972 by Roger Reymond.The Stanhopes mounted in this stick originated from a house clearance in 2010. These are genuine antique glass lenses and the label on the box indicated them made in France in the 1960's. (The Stanhopes in this stick were mounted by collector B. J. Morrice in 2012. The stick,including the bronze handle, was made by a friend of Julia, his daughter, around 1980 and given to him by her as a present in 1981).

Otis King’s Calculator Stick. The nickel plated handle can be extended to reveal a spiral calculator. It is an Otis King’s Pocket Calculator, often called a cylindrical slide rule manufactured by Carbic Ltd. of London, England. They produced five types of calculator. This particular item is a Model K,Type B/C hybrid. Overall length with calculator closed –34 ¼” 670cm. Overall length with calculation fully extended—38 ½”/980mm The scales are identified as No 414 and No 423,. The patent number is 183723 and was registered in 1921. For details of patent, purpose and use of the calculator see details on item G 21. The photos show the manner the brass curser may move along the central cylindrical “spiral slide rule” for different types of calculations.

This French horn handled Malacca walking stick (33”/840mm long) is a rare item as it houses a four barrel pepperbox percussion pistol complete with a 6”/150mm square sectioned dagger. There are two silver bands just below the handle. The lower is marked ‘PARIS BREVETTE’ as is the dagger.Single percussion cap fires four shots,The pistol is cocked by pulling the barrel away from the handle and fired by pressing the small button under the handle on the lower silver band. Mid 19th century.

This type of cane is often described as a defence item. The handle is a natural material with an inset of silver plated copper. The collar is silver plate. The handle unscrews to reveal 5 heavy brass ball chain flail.The shaft is black lacquered bamboo. The tip is the same natural material as the handle.The insert in the handle shows a shield with a rampant lion either side. The shield is divided into four quarters, each with a different design. Below the shield is a scroll bearing the name BAYREN. This appears to represent the coat of arms of Bavaria.(The coat of arms for Bavaria first appeared in the 1600s and changed constantly being “updated” over the years to represent the rise and fall in power of the various districts.)The overall length 36" /914mm and is 1 3/4”/44mm in diameter. The chain balls measure just under 1/4"/6mm.diameter.Dates from 1850s . The first patent for a flail stick filed in France in 1885/ See Dike’s Cane Curiosa, Page281

Poacher’s Gun Stick with StockThis is a similar item to Appendix E1, a mid 19th century underhammer percussion metal gun cane John Day patented this mechanism in 1823 (John Day's British Patent No. 4861 of 1823 ). Day was famous for his cane guns with his design unchanged for many years. It is a simple and effective weapon, which was popular in England and on The Continent. The gun is cocked and locked by pulling down the recessed hammer lever adjacent to the handle on underside of the stick revealing the trigger. The barrel is 28 ¼ “long and fires packed shot or a .32 caliber slugHowever this is more sophisticated version than that shown in Apendix E2. It has a recess in the ‘handle’ to allow a stock to be fitted (see illustration’). This allows the gun to be used as a shoulder mounted piece. Also the metal work at the trigger and handle has fine scrollwork.Rare to find stick gun complete with stock. These were called poacher’s guns as they allowed poachers to enter woods apparently only carrying walking sticks. These could then be rapidly converted to guns.

A painted metal American Starkie's money box 16cms high, These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history

A mid 20th century Ercol two seat sofa, with stick back, and mid green upholstered cushions, applied light blue sticker (This item may not comply with the Furniture & Furnishings (Fire) Safety Regulations 1988 and for this reason, should not be used in a private dwelling)

A pair of mid 20th century Ercol open armchairs, with stick backs, with mid green upholstered cushions, applied light blue stickers (This item may not comply with the Furniture & Furnishings (Fire) Safety Regulations 1988 and for this reason, should not be used in a private dwelling)

A Babycham advertising figure, Robertson figures and a large quantity of other assorted items, These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history

A mid 20th century beech and elm Ercol style day bed, with green upholstered cushions, solid back, 209.5cm long (max) (This item may not comply with the Furniture & Furnishings (Fire) Safety Regulations 1988 and for this reason, should not be used in a private dwelling)

BACHMANN; big haulers, to include 'L' Hoppers Peabody, item no. 98229, Flat Cars, item no. 98916 and box car, item no.98911.

BACHMANN; two big haulers, to include 'L' Hoppers Southern, item no.98204, also a 'L' Bobba Caboose, Rio Grande Southern, item no.93142.

Art Deco gilt spelter table lamp, modelled as a kneeling dancer with one arm upstretched, holding an opaque ice glass shade believed modelled on similar lights on the Queen Mary liner, on an alabaster base.  50cm high x33cm length approx.  (B.P. 21% + VAT)  Failed PAT test. Globe has no obvious damage and sits over a collar. Minor nibbles to alabaster base. Item is rather grubby, minor wear to the figure.

Jacobean oak straight front chest of drawers, the moulded and dental top above a bank of three drawers, the top with pull-down mechanism, standing on stile feet. 106x61x97cm approx. (B.P. 21% + VAT) The item comes in two parts as the top half lifts off, splits, ware and losses commensurate with age as expected. Structurally appearing sound.

Grotrian Steinweg Baby Grand piano Great condition, kept regularly tuned and serviced, felts are all in good condition this item is at the vendors property where it will need to be collected from, pe38 area, viewing can be arranged by appointment

A 19TH CENTURY MAHOGANY CASED WM COOPER, OF HAMILTON LONGCASE CLOCK  with floral painted face, 51cm high x 36cm wide with white dial bearing Arabic and Roman numerals, 34cm diameter with two subsidiary dials bearing Arabic numerals, case with scroll dentil cornice over glazed door over pendulum door on plinth base, 214cm high x 53cm wide x 24cm deep Condition Report:Clock case is in fair condition with wear relative to age inclusive of splits to veneers on hoodClock movement appear complete with pair of weights and pendulum Great Western Auctions cannot guarantee any item electrical of mechanical

* English playing cards. Iranian Popular Playing Cards, Thomas De La Rue, for the Iranian Monopoly, circa 1937, a complete deck of 52 offset playing cards (French suits), plus joker and title card, designed by V. Romanowski de Boncza, double-ended courts representing different Persian dynasties, aces with Persian smybols, lightly dusty, joker with tiny pale brown stain centrally, versos green with black double-ended design of warriors fighting, each card 90 x 62 mm, with original box bearing Iranian tax seal, together with: Optik pack, Thomas De La Rue & Co, circa 1905, a complete deck of 52 offset playing cards (French suits), plus joker, double-ended courts, spade and diamond suit signs adapted for players with defective sight, standard 1862 ace of spades, lightly dusty, few minor marks, versos red/pink ornamental pattern, each card 90 x 62 mm, with original 2-part box, plus: Q Playing Cards, De La Rue, for W. & G. Baird, 1936, a complete deck of 52 offset playing cards (French suits), plus joker and score card, double-ended courts showing only the heads, plain aces, indices with values as words rather than numbers, 10 of diamonds with tiny mark centrally, versos blue with central white letter Q, each card 88 x 58 mm, with original box, with 19 other De La Rue 20th century packs, including: Lyons Corner House pack, circa 1935; Film Star pack, 1933; Culbertson's Own Self-Teaching Playing Cards, circa 1935; Onoto pack, with verso design of parrot on trellis with berried tree by Sir Edward J. Poynter; Baron's Filter Tipped pack; and others, many with original box, including one 1932 Centenary facsimile of the second De La Rue deck in unopened tax wrapper with original box, a quantity of cards from each deck mounted with photo corners onto 15 display boards, most encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40.5 cm and similarQTY: (22)NOTE:Provenance: Collection of Dudley Ollis.First item: Cary collection, ENG 132 (de luxe edition); Fournier, British 420.Third item: Berry, The Waddington Playing-Card Collection, [W293]; EPCS newsletter no.18 (Nov. 1987) pp.2-3; Fournier, British 440.

* English playing cards. Standard pattern type HB1, Hunt & Sons, circa 1825, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figured courts, GIV Garter ace of spades (die no.93, not re-cut), somewhat toned and soiled, some minor marks or spots, few pip cards lightly rubbed, jack of hearts with very slight surface wear, versos plain white, each card 94 x 65 mm, together with: Standard pattern Type 1, Hunt & Son, Sucessors to Gibson, circa 1808, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figured courts, type A4 Garter ace of spades, die no. 136, 3rd re-cut, ace of clubs with Superfine stamp, lightly dusty, few (generally minor) marks, king and jack of clubs with some staining to upper left corner (also lightly affecting queens of clubs and diamonds), versos plain white, each card 94 x 64 mm, with (contemporary?) red leather box, plus: Standard pattern type HB1, Hunt & Sons, circa 1822, 52 complete (French suits), type A5 Garter ace of spades, die no.73, 3rd re-cut, soiled and marked, queen of spades with small surface damage (insect?) centrally, versos plain white, each card 93 x 64 mm, with two other Hunt & Sons decks: the first type 1, circa 1811, 52 complete, faint Superfine stamp; the 2nd slightly smaller format, type HB3, circa 1840, 41 of 52 (without 11 pip cards), 16 cards from each deck mounted with photo corners onto 5 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, each board 54.5 x 42 cm and similarQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry, Playing-Cards of the World, [512] & [668] (p.IV 9). A deck with the uncommon George IV Garter ace of spades.

* English playing cards. Piquet pack, Thomas Creswick, circa 1830, a complete Piquet deck of 32 stencil coloured woodcut smaller playing cards (French suits), single figure courts, Old Frizzle ace of spades, all cards with wide borders, scarce minor spots, few pip cards with some very faint/pale staining, 10 of clubs with tiny surface damage near bottom edge, versos black stars pattern on terracotta, each card 83 x 56 mm, together with: Standard pattern deck, Thomas Creswick, circa 1826, a complete deck of 52 stencil coloured woodcut playing cards (French suits), single figure type CR1 courts, with type II red jacks, GIV Garter ace of spades, die no.17, 2nd recut, soiled and browned, some stains and marks (mainly to pip cards), 5 of clubs with horizontal crease, 7 of spades with slight damage to one edge, versos plain white, each card 93 x 63 mm, plus: Standard pattern deck, Thomas Creswick, circa 1830, a complete deck of 52 stencil coloured woodcut playing cards (French suits), single figure type CR1 courts, with type III red jacks, Old Frizzle ace of spades, browned, soiled and marked (less so to courts), 5 of clubs with old (repaired) short surface tear to top edge, 10 of hearts with surface loss to one corner (one pip sign lost), versos red & dark blue plaid, each card 92 x 63 mm, 16 cards from each pack mounted with photo corners onto 3 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry, Playing-Cards of the World, [638]; British Museum 1896,0501.965 (Schreiber, Eng 86).Second item: Berry, Playing-Cards of the World, [202]; Berry, The Waddington Playing-Card Collection, [W213]; British Museum 1896,0501.962 (Schreiber, Eng 1).Third item: World of Playing Cards website, Ken Lodge's Creswick page, #320 & 981 & 1432.

* Paper Doll Game. La Toilette The Toilet, Psyche, Paris: Narcon, circa 1850s, hand-coloured lithographs, comprising of a figure of a young girl dressed in a corseted undergarment and petticoat, 'Psyche' printed to lower margin beneath her shoes, 8 hand-coloured lithograph gowns (including a wedding dress), and 6 head-pieces (two lacking front part), each item of clothing composed of a front and a back glued at the edges to allow template figures to be inserted between, height of template figure 18.9 cm, together with original? wooden plinth (slot tight), contained in original cardboard box, large section of box with lace paper curtains attached to top and bottom (some closed tears), lid with hand-coloured lithograph illustrations signed 'Faisandier' to lower left, some minor soiling to lid mainly to edges, 22.4 x 28.4 cm QTY: (1)NOTE:Extremely rare paper doll game; we have been unable to trace another.

* Board game. L'Ange Gabriel, jeu de bonne aventure, Paris: L.S., illustrated by Ludovic, circa 1891, chromolithograph, 8 small boxes with gold lids and individual pictorial illustration to each, 6 game cards on paper in each box, laid onto floral decoration on paper, a circular glass plate with further chromolithograph decoration to centre, angel with wings with pointer visible under glass, one paper magnetic spinner sits atop central decoration, pointer guiding players to one of eight boxes, instructions pasted onto inside of lid, box decorated in floral paper (some minor loss), hand coloured illustration pasted to lid, minor soiling, 22 x 27 x 5.5 cmQTY: (1)NOTE:This item is a question and response game for children, created approximately in 1891 by Léon Saussine. The pointer is designed to direct the player to one of eight matchbox size containers along the perimeter of the board, within which are small printed slips of paper with generic answers that can be linked to any of the questions printed on two circular cards. The questions concern the personal qualities and the future lives of the players, hence the connection with the Archangel Gabriel who, as the bringer of good news and hope, features in the illustration on the box lid.

* Swiss playing cards. Swiss Canton Costumes, Diessenhofen: J. Müller, circa 1850, a complete deck of 52 stencil coloured engraved playing cards (French suits), each double-ended court depicting 2 different characters in traditional Swiss costumes, at the corners the arms of Swiss cantons, each ace with a single large Swiss view (with hand-colouring?), some spotting or browning to edges, pip cards lightly bowed, versos red dotted honeycomb, each card 87 x 57 mm, together with: Swiss Canton Costumes, Diessenhofen: J. Müller, circa 1850, a complete deck of 52 stencil coloured engraved playing cards (French suits), double-ended Swiss costume courts as above, each ace with two Swiss views (hand-coloured?), somewhat toned and soiled, lightly rubbed in places, some marks, jack of spades with closed edge tear, jack of diamonds with some surface abrasion, versos red dotted honeycomb, each card 87 x 57 mm, plus: Swiss Views, unknown maker (possibly German?), circa 1850, a complete piquet deck of 32 stencil coloured lithographed playing cards (French suits), double-ended courts in Germanic style, kings with sceptres, jacks with halberds or pikes, queens in possibly early 19th century style, aces with two Swiss views, dusty, some light toning or minor marks, lightly rubbed in places, versos pale red flowers and dotted weaving lines, gilt edges, each card 84 x 59 mm, with unrelated (defective) box for a Lenormand type pack, and two other Swiss decks, both Canton Costumes: J. Müller of Diessenhofen, circa 1850, almost identical to the 2nd pack listed above, 50 of 52 (without 2 of diamonds & 5 of spades); J. Müller & Cie of Schaffhouse & Hasle, circa 1890, rounded gilt corners, versos with different Swiss scenes, in addition to scenic aces, 51 of 52 (without queen of diamonds), with partial original box, titled Costumes & Vues suisses, a quantity of cards from each deck mounted with photo corners onto 5 display boards, encapsulated in clear plastic (none examined out of boards), the remainder contained in clear plastic bags, the boards 55 x 40.5 cm & similarQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.First item: courts identical to Schweizer Spielkarten 167 but without backgrounds which were added later, with aces showing different aspects of the same views.Second item: Courts as above, scenic aces as Schweizer Spielkarten 136.Third item: the British Museum has two partial decks (Schreiber, German 279 & 280) with the same courts but differing views on the aces.

* English playing cards. Standard pattern, Joseph Reynolds, circa 1810, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure Type I courts, Garter ace of spades type A5 (die no.19) with maker's name, generally soiled and toned, jack of spades with black mark (printing ink?) at foot, 8 of clubs and 7 of spades with crease, versos plain white, each card 94 x 64 mm, together with: Standard pattern, Reynolds & Sons, circa 1858, a complete deck of 52 stencil coloured lithographed playing cards (French suits), single figure Type R1 courts, Exportation ace of spades for the Isle of Man type A11 (unnamed), scarce minor marks or spots (apparently unused), pip cards very lightly bowed, 10 of clubs lightly creased, square corners, versos blue with pattern of small blue wavy stems and leaves, each card 93 x 65 mm, plus: Standard pattern, Reynolds & Sons, circa 1855, a complete deck of 52 stencil coloured lithographed playing cards (French suits), early double-ended Type R4 courts (based on Type III), Old Frizzle ace of spades, lightly toned and dusty, few minor marks, square corners, versos pink floral design within ornamental foliate border, on white, each card 94 x 65 mm, with two other Reynolds & Sons decks: the first circa 1865, post-Old Frizzle ace, type R1 courts, 52 complete, versos small repeating pattern on green; the 2nd circa 1855, Old Frizzle ace, type R1 courts, 50 of 52 (without 3 & 6 of spades), versos diagonal pattern of blue flowers and wavy stems on pale pinkQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.First item: John Berry (2001) does not list a Garter ace of spades (apart from an Exportation one) for Joseph Reynolds.

* English playing cards. Standard pattern HB1, Hunt & Sons, circa 1835, a complete deck of 52 stencil coloured woodblock playing cards (French suits), Old Frizzle ace of spades, single figured courts, lightly toned, scarce light spotting, few minor marks, versos pink with blue dotted wiggly lines, each card 93 x 64 mm, together with: Standard pattern, Belgium?, circa 1820, a complete deck of stencil coloured woodblock playing cards (French suits), imitating Type I design (see Lodge: The Standard English Pattern), forged GIII ace of spades with no maker's name, and with wrongly inscribed 'Six pence addl duty', soiled, some staining and light cockling(mainly affecting hearts, a couple more severely so), slight wear to corners, versos plain white, each card 95 x 65 mm, plus: Standard English pattern, Belgium?, circa 1825, a complete deck of 52 stencil coloured woodblock playing cards (French suits), corresponding to Hunt Fake 1 (see World of Playing Cards website p.73: Fakes, Forgeries and Tax Evasion), single figured courts roughly imitating Type II, forged Hunt & Sons ace of spades, with GIIII instead of GIV, generally toned and soiled, some marks, few pip cards with small areas of abrasion, versos plain white, each card 92 x 63 mm, with 5 other English packs: two by Bancks Brothers Successors to Hunt & Sons, one circa 1849, Old Frizzle AS, HB1 courts, the other circa 1860, Old Frizzle AS, unusual Germanic double-ended courts with ornate borders; two by Joseph Hunt & Sons, circa 1865-70, Joseph Hunt type 1 AS, double-ended courts of H1 & H2 designs (the latter with pattern 24: Oxford University Arms on versos, the former with an extra 8 of spades); and one deck by Hunt's Playing Card Manufacturing Co Ltd, circa 1880, H3 design double-ended courts, rounded corners, 16 cards from each deck mounted with photo corners onto 8 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, each board 54.5 x 41.5 cm and similarQTY: (8)NOTE:Provenance: Collection of Dudley Ollis.First item: Lodge, The Standard English Pattern, pp.18-19; Mann, All Cards on the Table #189 a).

* English playing cards. Standard pattern type I, James Hardy, circa 1819, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Garter type A4 ace of spades (die no.8, 2nd recut, with QVI), ace of clubs with Superfine stamp, very scarce minor spots, versos plain white, each card 93 x 65 mm, together with: Standard pattern type III, Hardy & Sons, circa 1828, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Old Frizzle ace of spades, dusty and somewhat soiled, some marks, KC with two horizontal partial width creases, 9D slightly scratched, 9C with very small loss to top right corner (excised), versos pink with blue dotted wiggly lines, each card 93 x 64 mm, plus: Standard pattern type IIIa/HD1, Hardy & Sons, circa 1830, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Old Frizzle ace of spades, some slight toning, very scarce minor marks, 5D with corner crease, versos plain pink, each card 94 x 64 mm, 16 cards from each deck mounted with photo corners onto 3 display boards, encapsulated in clear plastic (not examined out of board), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry, Playing-Cards of the World, [431]; Berry, The Waddington Playing-Card Collection, [W211]; Fournier, British 55 (incorrectly dated).Second item: Berry, The Waddington Playing-Card Collection, [W212]; British Museum 1896,0501.961 (Schreiber, English 25).Third item: Berry, Playing-Cards of the World, [539].Here are examples of Hardy's early type I courts, the later type III courts, and Hardy's type III courts redrawn in his own style with staring eyes.

London. Homann (Johann Baptist, Heirs of), Regionis quae est circa Londinum specialis repraesentatio Geographica..., Ausfuhrliche Geographische Vorstellung der Gegend um London...., published Nuremberg, 1742, engraved map of the environs of London with contemporary hand-colouring, below the map is an uncoloured engraved panorama of the city, old adhesion scaring to the verso, left-hand vertical margin strengthened on verso, 510 x 575 mm, together with Russell (J.). London Extending from the Head of the Paddington Canal West to the West India Docks East..., J. Stratford, October 6th 1806, engraved map with contemporary outline colouring, table of reference below the map, old folds, some creasing and dust soiling, slight staining, long repaired closed tears, laid on later cotton, 320 x 555 mm, with Wallis (J.). Wallis's Plan of the Cities of London and Westminster, Jany. 16th. 1797, engraved map with contemporary outline colouring, sectionalised and laid on linen, dust-soiled and a little toned overall, small holes where old folds cross, short splits along old folds, 425 x 865 mm, plus Mogg (Edward). London in Miniature with the Surrounding Villages. Entire New Plan..., January 1st. 1827, engraved map with contemporary outline colouring, sectionalised and laid on linen, some staining, re-backed with later cotton, folds strengthened on verso, slight wear and loss to the printed image where old folds cross, later endpapers with facsimile title page and advertisement, 520 x 930 mm. and Bacon (G. W. publisher). Bacon's Map of Central London, circa 1900, folding colour lithographic map, laid on linen, 730 x 980 mm, bound with a 24-page index, publisher's decorative cloth boards, spine and part of upper cover faded QTY: (5)NOTE:The first described item. James Howgego. The Printed Maps of London, number 88. The second, number 240, is the first and only state. The third map, number 214, first state, and the fourth, number 237, state 16.

* English playing cards. International Playing Cards, Thomas De La Rue, 1874, the complete deck of letterpress playing cards (French suits) published to commemorate the marriage of Albert Ernest Albert, Duke of Edinburgh, to Princess Alexandra, Daughter of the Emperor Alexander II of Russia, designed by Reuben Townroe, double-ended courts depicting contemporary European royalty and characters, aces showing Queen Victoria (hearts), Wilhelm I (clubs), Alexander II (Russia) and General Grant (spades), a trifle dusty, some light finger-soiling and minor marks (mainly affecting pip cards), square corners, versos green with Arms of the bride and groom in gold, each card 93 x 64 mm, together with: Fourth Quality Royal Bezique set, De La Rue, circa 1870, 4 packs (2 complete with 32 cards, 2 packs with 31 of 32, each without ace of spades) of letterpress playing cards (French suits), double-ended De La Rue type D5 courts (used circa 1865-1875) printed in black & red, unusual 'Fourth Quality' ace of spades (present in two packs of 4), no indices, variable spotting, one pip card with edge stain, versos blue small repeating 3-pointed shapes (2 packs) or green diagonal basket weave (2 packs), square corners, each card 94 x 65 mm, plus: London and Paris deck, De La Rue, 1867, a complete deck of 52 letterpress playing cards (French suits), double-ended courts in historical costumes, no indices, ace of spades with 'London & Paris' and maker's name within decorative oval centrepiece, some minor marks or light finger-soiling, 5 of clubs with pale staining, square corners, versos blue, each card 88 x 56 mm, with 7 other De La Rue decks (not examined for condition): later London & Paris deck, 1880 (Plainbacks M112); standard type D4.1 with Old Frizzle ace and simple Owen Jones-style versos, circa 1855-1865; Japanese Lacquer deck, with original titled box, circa 1870 (51 of 52, without 2 of hearts); Golden Jubilee of Queen Victoria deck, versos with Royal arms & symbols of the dominions, 1887; 20th Hussars deck, circa 1890; standard type D6.1 deck, versos yellow & red design; standard type D6.1 with larger indices, versos dark blue with ornate gold design, original box (defective), circa 1900, a quantity of cards from each deck mounted with photo corners onto 8 display boards, most encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cm and similarQTY: (10)NOTE:Provenance: Collection of Dudley Ollis.First item: Fournier, British 276.Second item: Berry [2001], p.31 & illustrated p.69; Article by RTEW?, in EPCS Newsletter (September 1984) p.2, "Extremely rare, the only quality to state so on AS".Third item: Plainbacks M113.

* Swiss playing cards. Occupation of the Borders 1914-1915, St Gallen: E. Funke & Cie, 1915, the complete Jass deck of 36 colour lithographed playing cards (original suits), the suits being: J for infantry (rifle bullets), A for artillary (gun shells), C for Cavalry (horse's heads), G for genius/pioneer (spades), the courts depicting army officers: kings = Hauptmann (captain), obers = Oberleutnant (lieutenant, or first lieutenant), unters = Korporal (corporal), the tens showing banners, soiled, browned and marked, few corner creases, ober of A and 8 of C each with small edge chip, 9 of C with surface loss to central blank area (just touching one horse), versos brown & blue plaid, each card 86 x 54 mm, together with: Jass de Luxe 10001, A.G. Müller, 1982, the complete deck of 36 offset playing cards (Swiss suits), the first edition of this design by Egbert Moehsnang, with muted colours, versos purple diamond pattern, rounded gilt corners, each card 89 x 57 mm, with original box and leaflet/questionnaire, with 13 other 20th century Swiss decks, including: Italian suited Tarot, by J. Müller & Cie of Schaffhouse, c.1975; Swiss Costumes, by AG Müller, c.1960; traditional Jass deck, by J. Müller & Cie, c.1975; Jass 11110 'Swiss Party Cards', by AG Müller, designed by Seppi Amrein (oversize cards), c.1950s, also several publicity packs and Basler Fasnachtskarten, a Tressette deck, all complete except a Tarot Classic deck by Müller & Cie (77 of 78, without trump X, but with 16 duplicates), a quantity of cards from each deck mounted with photo corners onto 16 display boards/cards (the tarot ones double), the first board encapsulated in clear plastic, none examined out of boards, the remainder contained in clear plastic bags, several with original box, the boards 54.5 x 40 cm & similarQTY: (16)NOTE:Provenance: Collection of Dudley Ollis.First item: Cartorama 45 #289; Schweizer Spielkarten 63; World Web Playing Cards Museum, WWPCM00346.

* French playing cards. Gatteaux Empire design, Liege: J.T. Dubois, 1811, a complete deck of 52 stencil coloured wood engraved playing cards (French suits), single figure neo-classical named courts, each with dot indices to indicate ranks (double-ended), also with double-ended suit signs, jack of hearts with maker's ink stamp, eagle watermark, occasional minor foxing spots or marks, versos plain white, each card 82 x 54 mm, together with: Gatteaux portrait officiel, unknown maker, between 1816-1830, a complete deck of 52 stencil coloured wood engraved playing cards (French suits), single figure named courts, filigranes on king of diamonds (head of cockerel) and queen of spades (head of dog), jack of clubs with medallion dated 181[6] (indistinct), most courts with fleur de lys, ace of clubs with garland of fleur de lys, fleur de lys watermark, somewhat toned and soiled, jacks of diamonds and clubs with some pale brown marks, king of hearts toned with light spotting, two pip cards with pale brown stain to one blank corner, another with tiny area of abrasion to one corner, versos plain pink, each card 83 x 54 mm, plus: Gatteaux portrait officiel, unknown maker, circa 1830s-1840s, a complete piquet pack of 32 stencil coloured wood engraved playing cards (French suits), single figure named courts, filigranes on king of diamonds (head of cockerel) and queen of spades (head of dog), jack of clubs with medallion dated 1816, all courts without fleur de lys (abolished 1830), king of diamonds and queen of hearts each with a tiny spot of surface abrasion (to face and gown respectively), queen of clubs with tiny brown spot to neckline of gown, versos plain blue, each card 83 x 54 mm, 16 cards from each pack mounted with photo corners onto 3 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry in The Playing Card vol. XIII no. 1 Aug 1984, p. 21; British Museum 1896,0501.761 (Schreiber, Flemish 13); Cary, FRA 359; Hoffman (1973) p. 34 & illustrated plate 53b. Uncommon.Second item: Berry, Playing-Cards of the World, [522], [56] & [352a]; Berry in The Playing Card vol. XIII no. 1 Aug 1984, pp. 21-23; Cary, FRA 16 & 18.Third item: Berry, Playing Cards of the World, [63] & [78]; Berry in The Playing Card vol. XIII no. 1 Aug 1984, pp. 21-23; Cary, FRA 19 & 20; Hoffman (1973) pp. 34-35 & illustrated fig. 11.

* Braun (Georg & Hogenberg Franz). Monachium Utriusque Bavariae Civitas Primar, circa 1580, engraved city plan of Munich, contemporary hand-colouring, slight creasing and staining, 285 x 485 mm, mounted, framed and glazed, together with Ortelius (Abraham). Silesiae Typus Descriptus et Editus a Martino Heilwig Neisense, et Nobili Viro Nicolao Rhedinger Dedicatus. Anno 1561 [1570 or later], engraved map with contemporary hand-colouring, 280 x 385 mm, mounted, framed and glazedQTY: (2)NOTE:The second described item. Marcel Van den Broecke, Ortelius Atlas Maps, number 102.

Huge Leather Black Panther A Stunning Quality 20th Century Leather Black Panther In Lovely Worn Condition With Glass Eyes Very Sought After Item Most Likely 1970's By Liberty Of London 150cm Long x 85cm Tall

{ Option of lots: 376 } Opal Pouffe Blush Add This Pouffe To Your Home To Give It A Much More Detailed Design This Is An Ideal Purchase For Your Bedroom Living Or Dining Room Perfect If You re Looking For A Pouffe That Will Fit In Amongst Many Styles Of Interior Handy To Use As A relaxing Footrest Or An Item To Add Design Towards The Whole Of Your Home 50 x 50 x 40mm New in Box (5055999236522)

Opal Pouffe Blush Add This Pouffe To Your Home To Give It A Much More Detailed Design This Is An Ideal Purchase For Your Bedroom Living Or Dining Room Perfect If You re Looking For A Pouffe That Will Fit In Amongst Many Styles Of Interior Handy To Use As A relaxing Footrest Or An Item To Add Design Towards The Whole Of Your Home 50 x 50 x 40mm New in Box (5055999236522)

A Bespoke King Size Bedframe The Ornate Hand Carved Frame And Boards Constructed Of Solid Mahogany Decorated And Finished In Gold Leaf The Headboard And Foot Board Upholstered In  Champagne Ivory Velvet Takes A 150 x 201cm Mattress (Brand New Item)

David Bowie  Signed / Autographed - Keanan Duffty Original Pair of unworn black denim Jeans, Complete with original Tags - size 34 x 32 slim straight fit. With original Signature by David Bowie and dated 07 on the left hand side near front pocket. With Embroidered Ziggy Stardust decoration on the back pockets. Rare item with genuine signature in silver sharpie.

Mr Frosty, Crunchy Ice Cream Maker. Boxed, boxed open but contents sealed. This is the first version of the maker made by Hasbro. This item is from the collection of the former Managing Director of Wizards of the Coast in the UK, Stephen Wilks.

Micro Machines by Galoob collection of 17 boxed sets (75030 - 16 and 74972 -1). Includes number 1 Famous Fords, number 29 Racers, number 40 Classic Air Racers, number 20 Quarter-Milers, number 23 Road Work, number 29 Racers, number 34 Cops 'N Robbers, number 7 Mustangs, number 38 Weekend Warriors, number 26 Service Masters, number 8 Camaros, number 32 Ranger Patrol, number 33 Jungle Safari, number 13 Modern Streets (box opened on this one only). And a 1997 Indianapolis 500 - 1997 Race Veterans (17). This item is from the collection of the former Managing Director of Wizards of the Coast in the UK, Stephen Wilks. An image of his previous business card and a Wizards of the Coast brochure is included for provenance but please be aware these are not included in the sale.