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Bonhams
Lot 72

WILDE (OSCAR)An Ideal Husband, FIRST EDITION, LIMITED TO 1000 COPIES, toning to front endpapers, publisher's lilac cloth gilt designed by Charles Shannon, light fading to spine, very short tear at foot of spine [Mason 385], 4to, Leonard Smithers, 1899Footnotes:Provenance: Panos Gratsos (1909-1990), bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 2

CAMDEN (WILLIAM)Britannia, Newly Translated into English: With Large Additions and Improvements... by Edmund Gibson, engraved portrait frontispiece, 50 engraved double-page or folding maps, 8 engraved plates of coins, several illustrations in the text, early ownership inscriptions on title and fly-leaves, light offsetting to title, loss to lower right corner and repairs to Bb1, small tears to margins of 2 maps, contemporary tan calf, rebacked, red morocco label to spine, corners worn [ESTC R12882; Chubb CXIII], folio (395 x 240mm.), A. Swalle, A. & J. Churchill, 1695This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 27

[MOLIERE (JEAN BAPTISTE POQUELIN DE)]Oeuvres de Monsieur Molier, Tome premier, vol. 1 (of 2), engraved frontispiece, woodcut printer's device, woodcut head- and tail-pieces, light spotting, contemporary speckled calf gilt, initials PC blind-stamped on each cover, neatly rebacked preserving original gilt panelled spine with raised bands, 8vo, Paris, Estienne Loyson, 1664Footnotes:THE UNRECORDED FIRST VOLUME OF LOYSON'S PRINTING OF MOLIERE WITH A CONTEMPORARY ENGLISH PROVENANCE. Three editions of the collected works by Moliere were published in Paris between 1663 and 1664 without the consent of the author - these are known today as 'éditions collectives factices'. Our edition was previously known only by volume 2 referred to by Guibert in his bibliography, who writes 'le Tome I à son nom n'a été jamais découvert' (Guibert II, p. 560). The works contained in this first volume are:Les Précieuses ridicules, Paris, Claude Barbin, 1660Sganarelle ou Le Cocu imaginaire, Paris, Estienne Loyson, 1665L'École des maris, Paris, Jean Guignard, 1663Les Fâcheux, Paris, Jean Guignard, 1663Provenance: Phillip Constable, early ownership inscription dated 1669 and initials blind-stamped on covers. Philip Constable can be identified as possibly either Philip Constable (b.1622), brother of Sir Marmaduke Constable, 2nd Bt. of Everingham; or Philip Constable (b.1651), son of Sir Marmaduke Constable. The family had ties with the continent, and with Louvain in particular (see A. Hamilton, The Chronicle of the English Augustinian canonesses regular of the Lateran, at St. Monica's in Louvain (now at St. Augustine's priory, Newton Abbot, Devon) 1548[-1644], pp.232-234.).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 63

WILDE (OSCAR)A Woman of No Importance, FIRST EDITION, [LIMITED TO 500 COPIES], a few light spots to opening leaves, publisher's decorative lilac cloth gilt designed by Charles Shannon, slight fading [Mason 364], 4to, John Lane, 1894This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 122

ROWLING (J.K.)Harry Potter and the Philosopher's Stone, UNCORRECTED PROOF COPY OF THE FIRST EDITION, INSCRIBED AND SIGNED BY THE AUTHOR 'to Catriona long time since I have seen one of these!. J.K. Rowling' on the dedication leaf, with numbers 10 through to 1, and 'Joanne Rowling' on the verso of the title-page, small blue ink stain to upper margin of text block on pp.145-173, publisher's white printed wrappers with a yellow band around the middle, and lettered in black (short tear at lower upper joint, a couple of light indentations to upper cover, light handling marks) [Errington AA1(a)], 8vo, Bloomsbury, [1997]Footnotes:VERY RARE SIGNED COPY OF THE VERY FIRST APPEARANCE IN PRINT OF HARRY POTTER, for which an 'unconfirmed print-run of 200 copies is generally accepted... This is also the figure noted by Bloomsbury' (Errington). We have been unable to trace any other signed and inscribed copies of this book.The elegant inscription reflects the fact that Rowling and the recipient had known each other from almost the beginning of the Harry Potter journey. Catriona was the children's book buyer for a famous book shop in Edinburgh, advocating the merits of Rowling's first book from the moment she read this copy of the uncorrected proof copy of Harry Potter and the Philosopher's Stone in 1997 when she was given it by the publisher's agent.She later met Rowling on several occasions when she visited the shop, first to write in the shop's café, later to sign books or attend events that Catriona helped organise. This copy was actually signed in 1999, at the same time Rowling signed Catriona's copy of Harry Potter and the Prisoner of Azkaban (see lot 127). The inscription captures the extraordinary changes in the author's literary journey, from the moment the proof of this, her first book, appeared in 1997 to her burgeoning success with publication in 1999 of Azkaban, from which moment 'Harry Potter' truly became the global phenomenon he has been ever since.Provenance: Catriona, the vendor, who from 1995-2000 was the children's book buyer at a famous large Edinburgh book shop. This copy was personally inscribed by Rowling during a visit to the shop in 1999, at the same time that she signed a proof copy of The Prisoner of Azkaban (see lot 126).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 39

NELSON (HORATIO)Autograph letter signed ('Nelson & Bronte') to Captains Gore, Sutton and Elliot on the ships Medusa, Amphion and Maidstone off Gibraltar, requesting they give '...my dear friend Col. Stewart, The Honble C. Stewart and Lady Georgiana... a run to Madeira...' for '...the reestablishment of her health which is very delicate...', bearing collector's label '402', one page on a bifolium, light dust-staining, some creasing, small pin holes where folds join, remains of guard, 4to (240 x 190mm.), Victory, 20 December 1803; with autograph free front signed ('Nelson & Bronte'), docketed '20 December 1803', bearing collector's label '405', one page, red wax seal with good impression, seal tear with loss not affecting text, dust-staining particularly where exposed, creased with small holes at folds, remains of cardboard guard, 4to (240 x 190mm.), [December 1803] (2)Footnotes:'IF YOU CAN POSSIBLY IN THE EXECUTION OF THE SERVICE ENTRUSTED TO YOU GIVE THEM A RUN TO MADEIRA': Nelson requests passage for his friend Colonel Stewart, travelling with his brother and sister.Colonel William Stewart (1774-1827), founder of the Rifle Brigade, was with Nelson at the Battle of Copenhagen in 1801 and had been given the honour of carrying the dispatches reporting the victory to London, for which he received a promotion to full Colonel: 'the rising hope of our army' as Nelson described him (E.M. Lloyd/Roger T. Stearn, ODNB). They struck up a friendly correspondence, and eleven letters from Nelson were privately published, with Stewart's journal and correspondence with the Duke of Wellington, as Cumloden Papers in 1871. It is evident that Colonel Stewart's party did not make the requested voyage to Madeira, as a letter from Nelson to Stewart dated 16 February 1804 notes that '...you might be sure of all my attention to your brother's desires for your sister. I am very glad to hear she is much recovered and, having given up all thoughts of going to Madeira, will go to England in the summer months...' (Cumloden Papers, no.XII, p.235). Unfortunately, it appears that the health of Lady Georgiana Frances Stewart (1776-1804) did not improve, as she died that April in Malta, presumably on her way home. The other member of the party mentioned here was their brother, Charles James Stewart (1775-1837), later Bishop of Quebec. Our letter is not published in Nicolas Dispatches & Letters online.Provenance: Private European collection formed by the owner's father some 50 years ago.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 23

DOSTOEVSKY (FYODOR)Cabinet portrait photograph by Konstantin Shapiro, SIGNED AND INSCRIBED BY DOSTOEVSKY IN RUSSIAN to Jacob Faddeevich Sakhar beneath the image, albumen print, good tonal range, small neatly repaired hole near the top edge, mount printed recto and verso, light spotting, mount corners rubbed, light spotting and soiling to verso, housed in light tan morocco chemise, 130 x 97mm. (photograph), 160 x 104mm. (with mount), 16 December 1880Footnotes:LAST KNOWN PHOTOGRAPHIC PORTRAIT OF DOSTOEVSKY, SIGNED AND INSCRIBED. The photograph was inscribed in December 1880, in the last few weeks of Dostoevsky's life, who died in early 1881. The recipient and addressee is Yakov Faddeevich Sakhar, a law student at the University of St Petersburg who collected signed photographs of Russian cultural figures. On the 16th December 1880, Sakhar visited Dostoyevsky with a fellow student, E.S. Fedorov-Chzmichov, and both received a signed photograph (F. Dostoyevski, Polnoe sobranie sochinenii, 1972-1990, pp.62-63 and 101-102). Fedorov-Chzmichov's photograph is now in the Dostoyevsky Museum, St. Petersburg (reproduced in Literary Heritage 86, Moscow, 1973, pp. 144-146).According to the 30-volume Academy of Sciences edition of Dostoevsky's works, as of 1990 only sixteen known extant inscribed photographs of Dostoevsky were known, only four of which were not in institutional collections, the present example being one of those. The photograph was taken by Konstantin Shapiro (1839-1900), lyric poet, celebrated photographer and a close friend of Dostoevsky himself. Shapiro was the personal photographer of many Russian royals, officials, writers and composers including Tolstoy, Chekhov and Tchaikovsky.Provenance: Christie's, 30 November 2006, lot 67; Private collection.Saleroom notices:The inscription reads: To Jacob Faddeevich Sakhar/In memory from/Fedor Michailovich Dostoevsky.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 10

SOCIETY FOR THE DIFFUSION OF USEFUL KNOWLEDGEThe Complete Atlas of Modern, Classical and Celestial Maps, together with Plans of the Principal Cities of the World, 226 hand-coloured engraved maps (numbered 1-218, and bis numbers, including 49 city-plans and 6 star-charts), some double-page with 2 numbers per sheet, title, additional 'Sketch map of Dr. Livingstone's Discoveries' pasted inside upper cover, preliminaries and opening map loose, occasional light spotting (heaviest to plate 1), 2 with short tear to blank margin, contemporary half calf, titled in gilt on upper cover, g.e., worn, upper cover detached, folio (440 x 360mm.), Edward Stanford, 1873Footnotes:Maps include United States (16 sheets), China (2), World (3), and Australia (3), with city plans including New York, Philadelphia, London (double-page), Canton, Moscow and St. Petersburg.Provenance: William Lawson, early ownership inscription on front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 90

FLEMING (IAN)Diamonds Are Forever, jacket slightly frayed at spine ends and corners, 1956; From Russia With Love, minor toning to endpapers, a few white specks on upper cover, jacket soiled, frayed at extremities, [1957]; Dr. No, cloth with silhouette on upper cover, a few light spots on lower cover of jacket, [1958]; Goldfinger, jacket very slightly frayed at spine ends, fore-edge margin of upper flap creased, [1959]; Thunderball, small tears at spine ends and corners of jacket, [1961]; The Spy Who Loved Me, [1962]; On Her Majesty's Secret Service, [1963], FIRST EDITIONS, publisher's cloth, dust-jackets (unclipped), 8vo, Jonathan Cape (7)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 95

ISRAEL, PALESTINE, AND THE BRITISH MANDATEA collection of 16 scarce pamphlets relating to Israel, Palestine and the British Mandate in the 1920s-40s, comprising:Palestine during the War. Being a Record of the Preservation of the Jewish Settlements in Palestine, 47pp., Zionist Organisation, 1921The Establishment in Palestine of the Jewish National Home. Memorandum on the Development of the Jewish National Home, 1924-1925 Submitted to by the Zionist Organisation to the Secretary-General of the League of Nations for the Information of the Permanent Mandates Commission, October 1925, dual text in English and French, a few small losses to margins of wrappers, [Zionist Organisation, 1925]Reports of the Experts Submitted to the Joint Palestine Survey Commission [on Agricultural Colonization; Labor; Public Health], 741pp., one folding map, 3 letterpress tables, photographic illustrations in the text, rebacked, Boston, Mass., Daniels Printing Co., 1 October 1928Palestine. Blue Book 1931, 401pp., rebacked, Jerusalem, Printing and Stationary Office, 1931Palestine. Blue Book 1932, 441pp., rebacked with loss to one corner of upper cover, Jerusalem, Printing and Stationary Office, 1932Palestine. Department of Migration. Annual Report 1934, 42pp., ex-libris of Yitzhak Gruenbaum in Hebrew, Jerusalem, Printing and Stationary Office, 1935Palestine. Department of Migration. Annual Report 1936, 97pp., errata slip, small loss to spine extremities, Jerusalem, Printing and Stationary Office, 1937LOURIE (ARTHUR) Britain and Palestine. An Examination of Present British Policy in the Light of the Mandate for Palestine, 19pp., stapled as issued with integral titled wrappers, in later boards, [New York, The American Zionist Emergency Council], c.1940Report of the Anglo-American Committee of Enquiry Regarding the Problems of European Jewry and Palestine, Lausanne 20th April 1946, 80pp., H.M.S.O., 1946[ANGLO-AMERICAN COMMITTEE REPORT] Din-Ve-Heshbon: Shel Va'ad-Ha-Hakirah Ha-Angli-Amerikani bi-devar Beayoteshen shel Yahadat Eropah Ve-Shel Palestinah [Report of the Anglo-American Committee of Enquiry Regarding the Problems of European Jewry and Palestine, Lausanne 20th April 1946], text in Hebrew, 67pp., small loss to extremities of spine, Jerusalem, Government Printing House, 1946Historical Memoranda. I. The Number and Density of the Population of Ancient Palestine. II. The Jewish Population in Palestine from the Fall of the Jewish State to the Beginning of Zionist Pioneering. III. The Waves of Jewish Migration into Palestine (640-1882), 104pp., 5 folding lithographed map sheets, rebacked, upper wrapper detached, Jerusalem, [General Council (Vaad Leumi) of the Jewish Community of Palestine], 1947The Political History of Palestine Under British Administration, Jerusalem [Memorandum by His Britannic Majesty's Government Presented in July 1957, to the United Nations Special Committee on Palestine], 42pp., publisher's wrappers laid down on card, Jerusalem, 1947The Jewish Plan for Palestine. Memoranda and Statements Presented by The Jewish Agency for Palestine, 559pp., some toning, stamps of the Rotberg High School, spine worn at extremities with paper shelf label, Jerusalem, The Jewish Agency for Palestine, 1947The Jewish Case Before the Anglo-American Committee of Inquiry on Palestine as Presented by the Jewish Agency for Palestine. Statements & Memoranda, 686pp., stamps of the Bet Shturman Library, spine repaired with old paper shelf label, Jerusalem, The Jewish Agency for Palestine, 1947BEN-GURION (DAVID) The Yishuv and the Zionist Struggle Now [Supplement to the Jewish Agency's Digest of Press and Events, No.166], 23pp., stapled as issued with integral titled wrappers, in later boards, Jerusalem, [Hashiloah Printing Press], April 1947 BEN-GURION (DAVID) A Jewish State Now [Supplement to the Jewish Agency's Digest of Press and Events, No.192-193], 16pp., stapled as issued with integral titled wrappers, in later boards, Jerusalem, [Hashiloah Printing Press], October 1947together 16 works, institutional stamps to some titles, pages and covers, publisher's wrappers, 8vo and small 4to (16)Footnotes:Provenance: Giavat Havivah Libary, stamps on some titles and covers of all but 2 of the titles.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 129

ROYALTY – EDWARD, DUKE OF WINDSORCorrected typescript draft of a long article titled 'The Story of the Education of a Prince by Edward The Duke of Windsor', published as The Education of a Prince in LIFE magazine, December 1947, a working proof heavily amended and with additions and corrections by the Duke of Windsor throughout in red pen, other amendments in pencil by the editor, additional passages typed on separate sheets and tipped in, some pages duplicated, some crossed through with red pen, comprising some 157 ruled yellow carbon paper pages and 18 mimeographed pages, the story written in three parts (Part I 'A Royal Boyhood', from birth to the accession of his father to the throne, Part II 'I, Edward Prince of Wales', from the coronation of George V to the outbreak of war, and Part III 'A Prince at War', on his wartime service and the immediate aftermath), c.175 pages, sections numbered 'Windsor I', 'Windsor II', 'Windsor III' etc., filing hole top left of each page, general dust-staining, marks and discolouration, contemporary red morocco, gilt coronet on upper cover, gilt title on spine within raised bands, gilt dentelles, marbled endpapers, 4to (280 x 235mm.), [n.d. but c.1947]; in a custom-made solander boxFootnotes:'THE POSITION TO WHICH I WAS BORN': EDWARD, DUKE OF WINDSOR WRITES CANDIDLY ON HIS CHILDHOOD & EARLY YEARS FOR AN AMERICAN MAGAZINE.The present typescript had its origins two years earlier when '...Reading LIFE in 1945 in the Bahamas, the Duke of Windsor was impressed by the understanding of Britain shown in a series about his old friend, Winston Churchill. The Duke had a mutual friend call up Charles J. V. Murphy, now a LIFE staff writer, a big, ducal-looking Bostonian who had written the article (with John Davenport). The friend's suggestion: the Duke of Windsor and Reporter Murphy ought to know each other because 'the Duke is thinking of doing some writing himself.' The result of the delayed meeting (Murphy first spent six months in the Pacific as a war correspondent) was a three-part story, written by the Duke and edited by Murphy, on 'The Education of a Prince.' It was published in LIFE in December 1947...' (Time website, 'The Press: Edward & Wallis', 22 May 1950). The sequel, A King's Story, another collaboration with Murphy, took up the story and was published in book form in 1951. As can be seen from our manuscript, Edward went through the proof with a keen eye, making extensive amendments, correcting facts and deleting certain passages. These deleted extracts, struck through firmly with red pen, show hitherto unseen material that was left out of the published version. A constant theme throughout is the overwhelming sense of duty and responsibility of his position and his frustration at the restrictions this brought, despite a life of privilege: '...the concept of duty was drilled into me and I never had the same sense that the days belonged to me alone... My father literally pounded good manners into us...'. The final words of the piece, written in exile after his abdication, are telling: '...I did not spare myself in striving to fulfil all that was expected of me in the position to which I was born...'.Part I begins with his birth and early childhood, with hazy memories of the elderly Queen Victoria ('...She wore shiny black shoes with elastic sides...') and gives an insight into an idyllic childhood at York Cottage on the Sandringham estate ('...an elegant, undoubtedly paternalistic, and self-contained existence...', the Christmas festivities '...Dickens in a Cartier setting...'). As he grows older, the realisation he is now in the public eye becomes more apparent ('...the most significant change has been the disappearance of privacy... I grew up before the age of photography. We were seldom recognised on the street, and when we were the salutation would be a friendly wave of the hand or, in the case of a courtier or a family friend, a polite lifting of the hat...'). Part II, entitled 'I Edward Prince of Wales' opens with his sorrow at the death of his grandfather Edward VII, a kindred spirit ('...the last Englishman to have an uninterruptedly good time...'), and the coronation of George V which he identifies as a turning point ('...I arrived at the end of my boyhood... Henceforth the demands of my inheritance would press upon me ever more fiercely...'). The final part, 'A Prince at War', covers the war years, with much on his frustration at not being allowed to fulfil his potential as a soldier ('...I was to discover that my trophy value exceeded my military usefulness...'). After the war he devoted himself to what he and his brothers described as 'Princing'. A tour of the country after the war opened his eyes to the poverty and discontent among the people after years of conflict. Despite that, in a letter to George V, he assures him, perhaps ironically in light of future events, that the monarchy is still strong: '...there seems to be a regular epidemic of revolutions and abdications throughout the enemy countries... of those that remain I have no hesitation in saying that ours is by far the most solid...'. Provenance: The Duke (1894-1972) and Duchess (1896-1986) of Windsor; presented by Maître Suzanne Blum, the Duchess of Windsor's French lawyer and executrix, to the present owner who had provided important assistance in the administration of the Duchess's estate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 61

WILDE (OSCAR)Lady Windermere's Fan. A Play About a Good Woman, FIRST EDITION, [LIMITED TO 500 COPIES], 16-page publisher's catalogue at end (September 1893), front free endpaper loose, publisher's decorative cloth gilt designed by Charles Shannon, soiling, one light old tape mark on each cover, spine frayed at extremities touching gilt decoration, shelf label inside upper cover [Mason 357], small 4to, Elkin Matthews and John Lane, 1893Footnotes:Provenance: E. Hubert Litchfield; The Brother Julian F.S.C. Collection, New York, bookplates.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 22

BIBLE, IN LATINBiblia sacra, engraved pictorial title by Abraham de Bruyn after Crispin van den Broeck, 4pp. dedication to Cardinal Albert of Austria, with the blanks NN8 and K6, 3 double-page engraved maps (including World twin-hemisphere, second issue with the verso blank and the word 'gentes' added below 'IEKTAN' in the bottom left-hand panel; 'Terrae Israel'; Canaan), 2 double-page engraved plates, 4 full-page engraved plates on 2 sheets, illustrations in the text, lacks 2 preliminary leaves (**2 and **6, ?a blank), the title and 2 images (a2, one small hole) scuffed to obscure female genitalia, map of Holy Land lightly stained with small abrasion to surface, some marginal damp stains (mostly light, occasionally touching few lines of text at lower section), eighteenth-century half calf over paste-boards, worn [Adams B1089; Darlow & Moule 6173 (note); Shirley World 125; Voet 690 and p. 367], folio (436 x 280mm.), Antwerp, Christopher Plantin, 1583Footnotes:'One of the most impressive and beautiful editions of the Plantin press' (Voet). A reprint of the Bible of Louvain (1547) Plantin first issued his edition in 1565, again in 1574, before this edition of 1583, for which 36 illustrations were specially cut to enhance those taken from earlier publications. The twin hemisphere world map was originally issued in the eighth volume of the Polyglot Bible (1572). This copy includes the dedication to Cardinal Albert of Austria, which is sometimes missing because Antwerp was at that time under a Calvinist administration (perhaps explaining the partial erasures to female body parts on the title-page).Provenance: J. De Surhon, early ownership inscription in upper margin of title; Julien Nysssens Hart (1859-1910, Belgian engineer); and by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 1

BORGET (AUGUSTE)Sketches of China and the Chinese, additional pictorial lithograph title and 32 tinted lithograph views on 25 sheets by Eugene Ciceri after Borget, list of plates and 11 pages of descriptive letterpress, marginal light spotting, publisher's cloth, rebacked [Abbey Travel 540], folio (545 x 370mm.), Tilt and Bogue, [1842]Footnotes:IMPORTANT AND EARLY RECORD OF THE PEOPLE AND LANDSCAPE OF CANTON, MACAO AND HONG KONG. This edition, with the text in English, was issued in the same year as the French version published by Goupil and Vibert, whose imprint appears on the plates. Five of the plates depict Hong Kong, which became a British Crown Colony in 1842, the others depicting scenes along the Pearl River, including Macao and Canton.Provenance: Gift inscription on first flyleaf dated 1843.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 43

BIBLE, IN ENGLISH, 'VINEGAR BIBLE'The Holy Bible containing the Old Testament and the New, 2 vol., LARGE PAPER COPY, title printed in red and black with engraved vignette of Oxford Churches, engraved frontispiece depicting Moses receiving the Law, engraved head and tail-pieces, ruled in red throughout, light browning mostly at edges and occasional foxing, contemporary dark green morocco covers with gilt border of semi-circular rolls and two panels of floral rolls, triangular and lozenge shaped floral tools at the corners, spine divided in eight compartments with raised bands, gilt floral tooling, g.e., a couple of abrasions and one scratch, spines faded and lacking title labels, spines and edges worn [ESTC T89281; Herbert 942A], folio (550 x 360mm.), Oxford, John Baskett, 1717Footnotes:LARGE PAPER COPY IN AN ATTRACTIVE CONTEMPORARY BINDING, 'printed in large type' (Herbert). Known as the 'Vinegar Bible', from the misprint in the headline above Luke XX ('The parable of the vinegar [for vineyard]'), its many misprints also earned it the nickname of 'A Baskett-ful of Errors' (after the publisher's name). Misprints aside, the book is characterised by sixty large and attractively-engraved head- and tailpieces featuring biblical scenes. Harry Carter writes of this edition that 'only Baskerville's Bible (Cambridge, 1763) is its equal among English Bibles for beauty of type, impression, and paper' (H. Carter, The History of the Oxford University Press, 1975, I).Provenance: William Talbot (1710-1782), 1st Earl Talbot, and later family (1777 to 1952) ownership inscriptions and Ingestre Hall bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Dresdener Kunstauktionshaus Günther
Lot 303

Spinnenamulett, China / Hongshan, NeolithikumGrüne Jade mit hellen Einschlüssen, geschnitzt. 4,4 x 3,5 cm. Teil der Sammlung Renier-Bley, Luxembourg. Originalrechnung beiliegend. Kleiner, runder Korpus mit angedeuteten Körpersegmenten, zwei große runde Augen und ein kleines Maul. Rückseitig Lochbohrung zum Durchführen eines Fadens. Die Spinne gilt in China als Symbol des Glücks. Spider amulet, China / Hongshan, Neolithic period. Green jade with light inclusions, carved. 4.4 x 3.5 cm. Part of the Renier-Bley Collection, Luxembourg. Original invoice enclosed. Small, round body with indicated body segments, two large round eyes and a small mouth. Hole drilled on the back for a thread to pass through. The spider is considered a symbol of good luck in China.

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Dresdener Kunstauktionshaus Günther
Lot 459

Hesselmann, Julia (1976)"Licht I" (Regen). Fotografie, 2015. Mattabzug. 100 x 80 cm. Rückseitig mit Etikett der Künstlerin, hier betitelt und datiert. Aus der Ausstellung "Glück im Jetzt", Alte Wache Schloß & Park Pillnitz, Mai-Juni 2015. Light I (Rain). Photography, 2015. Backside with label from the artist with date and title. Has been shown in the exhibition "Fortune now", castle Pillnitz near Dresden, summer 2015.

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Flanders Auctions
Lot 227

Van Den Berghe-Pauvers, a vintage sideboard. Signed Van Den Berghe-Pauvers, Gent. Condition report: - With the original key present. Overall in good condition with some light wear and tear. Dimensions: (L:43 x W:129 x H:81 cm)

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Bonhams
Lot 186

Paire de candélabres en bronze argenté à cinq lumières de la seconde partie du XIXe siècleUn binet central et quatre branches sur un fût balustre feuillagé.H. 50 cmA pair of five-light silvered bronze candelabra from the second half of the 19th centuryA central spigot and branches on a tripod base with foliate decoration.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 200

Gilbert Poillerat (1902-1988) et Max Ingrand (1908-1969)Paire d'appliques en verre peint à trois bras de lumière en fer forgé et doré Vers 1940La plaque murale en miroir découpé à décor doré peint de laquelle partent trois bras de lumière en volutes à forme de feuilles retenant des pampilles et surmontées de coupes à bordure à entrelacs; l'ensemble surmonté d'un fleuron.H. 77 cm - L. 45 cm - P. 25 cmA pair of painted glass sconces with three wrought-iron and gilded light armsCirca 1940The wall plate is made of cut-out mirrors with painted gilded decoration, from which three scrolled arms of light in the form of leaves hold pendants and are surmounted by bowls with interlaced borders; the whole is surmounted by a finial.Footnotes:BibliographieFrançoise Baudot, Gilbert Poillerat, maître ferronnier, Paris, Charles Moreau, 1998, p. 173 (ill.)For further information on this lot please visit Bonhams.com

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Bonhams
Lot 161

Paire de candélabres néogothiques à treize lumières en bronze et métal doré de la seconde partie du XIXe siècleIls présentent deux couronnes en dégradé à décor d'entrelacs et de croisillons, fût en colonne annelée et base tripode évidée.H. 180 cm - D. 70 cmA pair of thirteen-light Neo-Gothic bronze and gilt metal candelabra from the second half of the 19th centuryThe two crowns are decorated with interlacing knotwork and latticework. The shaft is a ringed column with a hollow tripod base.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 250

ROY ADZAK (WRIGHT ROYSTON) (1927-1988)Tête d'homme monté en lampe signé et numéroté 22/30 au revers plâtre, bois peint, clous, système électrique et ampoule signed and numbered 22/30 on the backplaster, painted wood, nails, electrical system and light bulb 41 x 23.6 x 18.1 cm (16 1/8 x 9 5/16 x 7 1/8 in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 137

Paire de miroirs faisant appliques en bois sculpté et argenté, Italie du XVIIIe siècleDe forme mouvementée à décor sculpté de rinceaux, de panier fleuri et ramages, le bras de lumière également feuillagé.H. 77 cm - L. 55 cm - P. 18 cmA pair of carved and silvered wood sconce mirrors, 18th century ItalyCurved shaped with carved foliage, a flower basket and foliage, the arm of the light also with foliage.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 160

Grand lustre en bronze doré à douze lumières d'époque Napoléon IIILe fût central en balustre retient trois groupes de branches à quatre lumières rehaussées de sphinges ailées en buste.H. 80 cm - D. 90 cmA large Napoleon III twelve-light gilt bronze chandelierThe central baluster shaft holds three groups of four-light branches enhanced by winged sphinxes busts.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 132

Paire de candélabres à quatre lumières en bronze doré et ciselé de style Louis XV de la seconde partie du XIXe siècleUn binet central et trois bras mouvementés à décor de branchages.H. 50 cmA pair of Louis XV style four-light ormolu candelabra A central spigot and three curved arms decorated with branchesFor further information on this lot please visit Bonhams.com

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Bonhams
Lot 54

Important lustre de forme montgolfière à douze bras de lumière d'époque EmpireEn bronze doré et ciselé rehaussé de guirlandes de perles facettées; la couronne présente entre chaque bras une couronne de laurier, et de larges palmettes en partie supérieure. H. 135 cm - D. 110 cmAn Empire twelve-light montgolfière celling lightIn gilt and chased bronze embellished with garlands of faceted pearls; the crown features a laurel wreath between each arm and large palmettes at the top.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 9

Paire d'appliques en bronze doré à trois bras de lumière de style Louis XVLes branches de forme mouvementée sont agrémentées d'un décor de feuillages et d'enroulements. (électrifiées)H. 44 cmA pair of Louis XV style ormolu three-light sconcesThe arms are decorated with foliage and scrolls. (electrified)For further information on this lot please visit Bonhams.com

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Olympia Auctions
Lot 175

• ROSE HILTON (BRITISH 1931-2019) Rose Hilton (lots 175-182) You have to give a lot to painting. It's not something you can just dash off. You have to take risks - risk ruining it. You have to know when to stop. Rose Hilton Introduction Rose Hilton (née Phipps), along with her seven siblings, was brought up by strict Plymouth Brethren parents in Kent. Studying at Beckenham Art School after the Second World War she had been expected to go on to train as a teacher, but secretly applied to the Royal College of Art and was awarded a scholarship, much to the consteration of her parents. In her RCA cohort was Peter Blake; on the year above was Frank Auerbach. The college's focus on figurative work suited Hilton and she graduated in 1957 with a first class degree and prizes in painting and life-drawing. Rose fell for Roger Hilton in 1959, introduced by Sandra Blow. She called him her 'Jesus of the art world'. They had a son - Bo - in 1961, married in 1965 and set up home together in three 19th century crofters cottages high on the cliff tops at Botallack, West Cornwall. There, John Wells, Peter Lanyon, Terry Frost and Patrick Heron were in their circle of artist-friends. But Hilton decreed that there was only room for one artist in the household and forbid Rose to paint. Instead she focused on raising her family and supporting her husband. But following Hilton's death in 1975, Rose returned to painting and two years later had her first solo exhibition at the Newlyn Gallery. The house became a hive of activity, described as ‘chaotic’ by many, there were always people coming and going, and frequent parties. A conservatory was added which became her studio, providing the perfect light in which to work. The tranquility of the space suggested the luminous interiors of work by Bonnard, his use of light in his interiors greatly influencing Rose's style. As Ian Collins noted 'Rose had alsways loved the intimacy and accessibility of Bonnard's brilliantly lit domestic interiors... particularly the glowing and jewel-like effects that can be achieved through layers of underpainting, a technique she has always loved' (Collins, Rose Hilton, London, 2016). Although she used professional models, she preferred to ask friends and family to sit for her. Typically she focused on the shape of the person rather than their physical identity (lots 176-181). Much of her later figure work is more abstract, the figure not necessarily taking centre stage in the composition, but being one element of many.175ROSE HILTON (BRITISH 1931-2019)STILL LIFE WITH FLOWERS IN A VASEsigned Rose / Hilton lower right oil on canvas board 50.5 x 40.5cm; 19 3/4 x 15 3/4in (unframed)

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Olympia Auctions
Lot 111

• TREVOR BELL (BRITISH 1930-2017) Trevor Bell (lots 111-122) One of the most important painters working anywhere today is Trevor Bell, and Bell’s first experiments in what we now call shaped canvases began in the late fifties. Patrick Heron, 1970IntroductionBell grew up in Leeds, where he studied at the College of Art (1947-1952) before teaching at Harrogate College of Art. In Leeds he met Terry Frost who was up from St Ives benefiting from a Gregory Fellowship at the university. On Frost's advice Bell and his wife moved to Cornwall in 1955. There Bell became a leading member of the younger generation of St Ives artists, exhibiting with the Penwith Society of Arts from 1956. Used to painting the grimey north of England, Bell responded with vigour and alacrity to the colour and light of his new surroundings capturing the atmosphere of the sea, coast and landscape of the south west in his distinctive and developing abstraction. An early mentor in St Ives for Bell was Ben Nicholson who encouraged him to show in London. Another there who admired his youthful painterly zest was Patrick Heron. Bell's first one man show at Waddington Galleries on Cork Street in 1958 was a sell out success. In the catalogue Heron described him as 'The best non-figurative painter under thirty'. The same year Bell was awarded an Italian government sponsorship; in 1959 he won one of six main painting prizes at the first Paris International Biennale of Young Artists and in 1960 he was awarded a Gregory Fellowship by Leeds University, and moved back north. During the following decade Bell enjoyed considerable commercial success both in the UK and abroad, including a succession of exhibitions at Waddington Galleries (1960, 1962 & 1964). It was during this period that he developed his interest in shaped canvases and the Tate Gallery purchased their first work by him. The decade culminated in a hugely successful show at the Richard Demarco Gallery in Edinburgh which toured to Northern Ireland and the Mappin Art Gallery, Sheffield. In the autumn of 1973 the Whitechapel Art Gallery mounted an exhibition of his recent paintings, and the following year he showed at the Corcoran Gallery, Washington DC. In 1976 Bell moved to Florida to take up the post of Professor for Master Painting at Florida State University in Tallahassee. Availed of a warehouse-sized studio and with time to really develop his painting he produced large-scale, intensely coloured works, reflecting the influence of the climate and landscape on him. A source of inspiration too were the rockets launched from Cape Canaveral, the first he saw being the night time launch of Apollo 17 in December 1972. This and subsequent rocket shots had a lasting influence on his work. Over the 20 years he spent in America exhibitions of his work were mounted at the Academy of Sciences in Washington, the Metropolitan Museum and Art Center, Miami, The Cummer Gallery, Jacksonville and the Museum of Art at Fort Lauderdale, Florida.In 1985 Bell was included in the the Tate Gallery's exhibition on St Ives 1939-64: Twenty-five years of Painting, Sculpture and Pottery and his work was featured in the Tate St Ives' inaugural show in 1993. Retiring from his Florida teaching post in 1996, he returned to Cornwall, setting up studios near Penzance. He was the subject of a full retrospective of his work at Tate St Ives in 2004 and in 2011 a further fourteen works were acquired by the Tate Gallery for their permanent collection. In the UK other examples of his work are in collections of The Arts Council of England, the British Council, the British Museum, Laing Art Gallery and the Victoria & Albert Museum.111TREVOR BELL (BRITISH 1930-2017)CENTRE GREENsigned and dated BELL 1961 lower left; signed, titled twice, inscribed and dated Centre Green / CENTRE GREEN / by / Trevor Bell 1961 / crayon on the reversecrayon and watercolour on thick paper53.5 x 42.5cm; 21 1/4 x 17in72.5 x 61cm; 28 1/2 x 24in (framed)

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Olympia Auctions
Lot 29

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.

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Roseberys London
Lot 487

Two gilt-brass and agate tazze, probably Viennese, late 19th century, each mounted with garnets and turquoise opals, the larger modelled as a kneeling figure supporting an oval ribbed agate dish with cherubim, the figure within a scrollwork fence atop a lobed quatrefoil base with repoussé foliate motifs and four cherubim feet, 8.8cm high; the other with a circular ribbed agate dish supported on carousel with four horses, the circular base with shield motif fence and trefoil arch repoussé decoration to four cherubim feet, the centre with a finial modelled as a bird perched on a tree branch, 8.4cm high (2)Condition Report: Oval tazza with kneeling figure - the agate tazza has a hairline fissure running from one side of the bowl and across the middle.  The garnets and turquoise opals are intact.  The mounts with typical wear and light tarnishing.  The enamels with some miniscule scratches.The tazza modelled as a carousel - the bird mount to the centre is missing a nut and is not attached.  The base is missing one turquoise opal.  The agate bowl with no damages.  The mounts with typical tarnishing and wear.  The enamels with some miniscule losses.   

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Roseberys London
Lot 491

A coco-de-mer (lodoicea maldivica) box, with hinged lid and incised decoration to the opening, 32cm highCondition Report: This coco de mer is in overall good condition, with some light scratches and general surface wear and surface dirt especially to the interior. The hinges are functional and open smoothly to reveal a fully hollow interior.

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Roseberys London
Lot 424

A Dutch-engraved Silesian-stemmed shipping goblet, c.1740, the funnel bowl finely engraved with a three-masted sailing ship flying a flag inscribed VOC beneath the inscription DE OOSTINDISCHE COMPAGNIE for the Dutch East India Company, the bowl set on a flattened ball knop with tear inclusion and a Silesian hexagonal pedestal stem and folded foot, 16.8cm highFootnotes: Note: This goblet is a fine example of a type of English glassware decorated with wheel-engraving by Dutch artisans, dateable to the first half of the 18th century. The stem type known as 'Silesian' is not for any direct connection with Silesia but instead so-named to honour the arrival of the Hanoverian George I to the English throne in 1714. The ship depicted, while not named as a Privateer vessel, can be associated to the Dutch East India Company by the presence of the 'VOC' insignia to the ship's flag. The Dutch East India Company was constituted in 1602 as a means to amalgamate the various competing Dutch companies trading in the East Indies under one monopolistic corporation, united by national interest against foreign competitors. The presence of the 'VOC' insignia on material goods, both luxury and utility, served as a reminder of both the strength and the wealth of the company. Considering the well-established Dutch ritual of drinking and toasting at the conclusion of formal affairs and business transactions, it is not surprising that wine glasses would be an ideal object to bear the mark of the company, regardless of whether the goblet was intended for practical use or as a purely symbolic object. A similarly shaped goblet with related East India Company engraving to the bowl was sold at Bonhams as part of the A.C. Hubbard Collection of Important English and Dutch Glass, 30 November 2011, lot 261, for £5000 (including buyer's premium). Condition Report: This goblet is in overall good condition and presents well despite some minor flaws and light wear consistent with age, listed below: Some light scratches to the bowl. An area of very minute chipping to the rim just above the tallest mast of the engraved ship. An impurity mark to one panel of the Silesian stem, between two of the corners. An impurity to the folded foot with further tiny air bubbles and scratches to the underside of the foot.  Additional images are available - click here. 

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Roseberys London
Lot 455

A George III leather clad silver etui, third quarter 18th century, unmarked, of tapering form, the hinged lid with foliate engraved top enclosing a partially fitted interior with mathematical compass, pen/pencil holders, snuff spoon (broken), ear scoop, fruit knives, folding ruler, and two pronged fork, the underside with engraved initials T.M.C., 9.4cm high; together with a silver-mounted shagreen spectacles case, late 18th century, unmarked, of tapering form with hinged lid, 12.6cm high (2)Condition Report: The exterior of the etui with some tarnishing, the leather lining to the lid is peeling away. The push-release button is functional, the implements inside have some degree of tarnish or light rust. The shagreen case has light wear and tarnishing to the exterior, the push-release button is functional. Additional images are available - click here. 

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Roseberys London
Lot 701

A French giltwood serpentine front console table, of Louis XV style, 20th century, the marble top above floral frieze, on cabriole legs joined by X-frame stretcher, 89cm high, 152cm wide, 52cm deepCondition Report: light scratches and knocks throughout, structurally sound 

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Roseberys London
Lot 401

A Doccia porcelain baluster coffee pot and cover, c.1770, puce //. mark to pot, each side moulded with mythological scenes, possibly with the children of Niobe being slaughtered, below a gilt scalloped band border, the double-scroll handle with a shell thumbpiece, the scrolling spout with a bird’s head tip, the domed cover gilt with loose bouquets of flowers below a knop finial, 23.3cm highCondition Report: Overall in good decorative order. The spout is not perfectly straight and leans slightly to the right when viewed from the front, some firing flaws are present to the crest of the bird head, and some signs of either firing flaws or restoration are present to the scrolling attachment between the body and spout. Some light surface dirt to the body. Some minor pitting throughout. The unglazed footrim with expected wear. 

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Roseberys London
Lot 352

A Victorian hexagonal brass and copper oil burning ship's lantern, third quarter 19th century, the glass panels with lead and brass frames encircled by three copper rods, with brass plaque CLIPPER SHIP LAMP, NO. 1255, DUMBARTON SCOTLAND,1869, with hanging chain, 60cm highProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Condition Report: The upper rim of the cupola is bent in one place. The cupola has two cracks to the brass. The burner can be removed by twisting from below, the wick dispenser can be turned but with some resistance. The mirrored lead framed panels to the upper interior appear to be warped or out of alignment and may need adjusting or fixing. The brass, copper, and lead are all tarnished and have signs of verdigris as well as white paint marks and general surface dirt and wear. The glass panels are intact, with light marks, scratches, and surface dirt. A hanging chain and ceiling light fitting are present with the lamp. 

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Roseberys London
Lot 450

A George III gilt-brass etui, third-quarter 18th century, the case with repousse decoration of rococo scrolling foliage, Classical figures and masks, enclosing a partially fitted interior with implements including scissors, fruit knife, mathematical compass, bodkin, folding ruler, and pencil holder etc., 9.7cm high; together with a George III Staffordshire gilt-brass mounted enamel etui, with painted panels of Classical figures and putti on a pink ground with white scrolls, lacking interior, 9.8cm high (2)Condition Report: The gilt-brass etui: some tarnishing and verdigris present to the exterior rims of the case and lid and high points of the relief decoration, the press-release lid opening smoothly to reveal a full interior, each implement can be easily removed, metal elements of the implements with rust and tarnishing, the scissors still sharp and can cut through paper, some light marks and dents to the brass metalware. The enamel etui: a section of discoloured restoration to the bottom of the case, the painted vignettes in good condition, the push-release lid opening smoothly, the interior with rust and tarnishing to the brass.  

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Roseberys London
Lot 590

A pair of Chinese famille verte beaker vases, mounted as lamps, 19th / 20th century, each lamp decorated with birds in a rocky garden with blossoming prunus trees, the bases drilled, with shades, 36cm high, exc fitments; together with a Chinese famille noire baluster vase, mounted as a lamp, with shade, 53cm high exc fitment (3)Provenance: Christie's, London, Gloria: Property from the late Dowager Countess Bathurst, lot 181.It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Photograph: © Christie's ImagesCondition Report: Each porcelain vase appears to be in good condition with no chips or cracks detected, examination under UV light reveals extensive surface dirt to all three vases, possibly hiding some overpainting. The lamp conversions need to be re-done for wiring and secured properly - the brass fittings are somewhat loose. It is the buyer's responsibility to ensure electrical items are professionally rewired for use. Additional images are available - click here

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Roseberys London
Lot 432

A large Bohemian amber-stained glass goblet and cover, second half 19th century, the flared bowl engraved with a stag and two does in a woodland, on an octagonal-knopped faceted stem and spreading petalled foot, the cover with spire finial and scalloped edge, 48cm high  Condition Report: A flat chip to the edge of one petal of the foot, a couple of impurities to the knop, otherwise in good condition with light surface dirt and dust, the remains of felt lining to the underside of the foot. 

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Roseberys London
Lot 441

A French gilt-bronze mounted porcelain encrier, 19th century, mounted with a Samson & Co. Chinese Export Kangxi style Buddha, modelled seated and laughing with tongue extended, dressed in chequered robes, red square mark to underside, the gilt-bronze base of foliate scrollwork form, the turquoise porcelain inkwell with glass liner and gilt oak leaf lid, supported on a gilt-bronze tree branch with gilt leaves and porcelain flowerheads, 14cm high, 24cm wide, 17cm deepCondition Report: The encrier is in overall good condition and presents well. The Samson Kangxi-style buddha has a small Samson mark to the underside, please see additional images for reference. The buddha's tongue has been chipped with the tip missing, otherwise the porcelain has some marks and light general wear and dirt. The inkwell is in good overall condition, with removable plastic liner, the gilt bronze cover does not sit securely on top and is loose, the hinged lid is functional. The flowerheads have small chips to the tips and edges of the petals, expected for this kind of porcelain decoration and its age, two of the flowerheads are loose bu present. The gilt-bronze mounts are in good condition with expectedlight tarnishing and scratches, consistent with age. Additional images are available - click here. 

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Roseberys London
Lot 595

Ten scatter cushions, by Robert Kime Ltd, each covered in an antique textile, some in Indian cloth, others with metal thread embellishment, the largest: 73.5cm wide, 45.5cm high, the smallest: 40.5cm high, 33cm wide (10)Provenance: Christie's, London, Wilton Crescent: A Robert Kime Interior, 23 July 2020, lot 133.Photograph: © Christie's ImagesCondition Report: Several cushions have staining and tears to the fabric - please see the additional images for further information. All the cushions have some light general wear, and have a slightly musty smell from storage. Additional images are available - click here. 

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Roseberys London
Lot 473

An Austrian silver and enamel cigarette case, second-quarter 20th century, 900 standard, numbered 1063, decorated in the Chinoiserie taste with dragons, cranes and flowers on a light blue ground, the hinged cover enclosing gilded interior, 8.6cm wide, 5.8cm deep 

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Roseberys London
Lot 403

A Paris porcelain fond ecaille cabinet-cup and saucer, c.1800, the ground gilt with anthemion palmettes above pendant chained garlands, the cup reserved with an octagonal panel painted with two putti in a landscape, the interior richly gilt, the saucer underside with concentric gilt bands, the cup 6.6cm diameter, the saucer 12.8cm diameter (2)Condition Report: This cabinet-cup and saucer appears to be in good condition, with light scratches to the gilding and porcelain, some impurities to the foot of the cup, and a few firing spots to the cup and the saucer. 

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Roseberys London
Lot 656

An English mahogany X-frame stool, of Regency style, 20th century, with kilim upholstered seat, 44cm high, 64cm wide, 46cm deepCondition Report: light scratches throughout, structurally sound

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Roseberys London
Lot 674

Christian Audigier for Ralph Lauren, a large ebonized coffee table, of Chinese style, last quarter 20th century, 44cm high, 152cm wide, 120cm deepCondition Report: light scratches throughout, structurally sound

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Roseberys London
Lot 343

A large group of George III cut and faceted wine and water glasses, late 18th / early 19th century, comprising: a group of eight glasses with panelled barrel bowls above balustroid stems, each approx. 15.5cm high; a group of six glasses with panelled bucket bowls above angular knopped stems, between 13.4 - 14.4cm high; a pair of glasses with panelled cup bowls above heptagonal baluster stems, each 16.9cm high; and a further quantity of similarly designed glasses (27) Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.   Condition Report: One glass with a chip to the footrim. A couple of glasses have deep scratches to the underside of the foot. The remaining glasses have scratches to the footrim and foot, light marks, impurities and air bubbles, and general light surface dirt, all consistent with the age of the glass and from expected use. 

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Roseberys London
Lot 699

A French gilt-brass mounted walnut demi lune console table, 19th century, with marble top and single drawer, on square tapering legs to brass caps, joined by lower shelf, 84cm high, 64cm wide, 36cm deepCondition Report: light scratches and knock's throughout, deep scratches to marble, structurally sound 

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Roseberys London
Lot 474

A Russian gold-mounted gun metal cigarette case, by Eduard Wilhelm Schramm, St Petersburg, last quarter 19th century, 56 Standard, the case with fish-scale design and sapphire cabochon thumb-piece, 9.5cm wide Footnotes: Note: Edward Wilhelm Schramm was a German who was a well-known supplier to houses such as Fabergé and Bolin. He married a Russian called Elena Zacharova and qualified as a Master Goldsmith in 1874, when he opened his own workshop and worked as an independent master collaborating with the most renowned jewellers in St Petersburg. He was known to have supplied gold cigarette cases and small objects such as pillboxes to Fabergé.  Condition Report: The gunmetal has evidence of rust to the exterior and interior of the case. The gold mounts have marks and an indistinct incised signature, and are in good overall condition with some light tarnishing. The thumb-piece opens the case easily, the hinge springs forward sharply. Additional images are available - click here. 

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Roseberys London
Lot 434

A modern Baccarat 'Vega' pattern glassware part service, acid etched factory marks, with triple-knopped stems, comprising: nine red wine glasses; nine white wine glasses; four tall champagne flutes; together with eight shorter unmarked champagne flutes of a similar design, the tall champagne flutes - 22.5cm high (30)Provenance: Christie's, London, Alexandra Tolstoy: An Interior by Sybil Colefax and John Fowler, 25 November 2020, lot 10.Photographs: © Christie's ImagesCondition Report: The glasses are in good condition, a couple with some light dirt and wax marks to the base. 

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Roseberys London
Lot 716

A near pair of Dutch inlaid satinwood and rosewood vitrines, 19th century, with canted corners, on square tapering feet to brass pegs, with later light fittings, 154cm high, 74cm wide, 36cm deep (2)Condition Report: some veneer missing on both, scratches and knocks throughout, some lifting to veneer on both, both structurally sound

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Roseberys London
Lot 436

A Baccarat close-packed millefiori glass paperweight, dated 1848, the tight arrangement of assorted brightly coloured canes including Gridel silhouettes of horses, dogs, a stag, and a monkey, signed and dated to cane B 1848, 8cm diameter Condition Report: Several scratches and marks present to the top and edges of the glass dome, possibly indicating the dome has been ground down in the past. Some light scratches to the edge of the ground-down pontil. Additional images are available - click here. 

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Roseberys London
Lot 423

A Herend porcelain 'Apponyi Orange' part dinner service, 20th century, blue factory marks, with osier weave pattern to the borders, comprising: a large oval serving platter - 38.5cm long; eight dinner plates - 28cm diameter; eight salad plates - 23.2cm diameter; eight side plates - 18cm diameter; a circular bonbon dish with ribbon finial - 16.8cm diameter; two sauce boats - 19cm long; two shaped oval dishes - 20cm long; eight twin-handled soup bowls - 13.8cm diameter; with eight saucers - 18.1cm diameter; and seven cream or custard cups and covers - 7cm diameter, with eight saucers - 16cm diameter; together with a Vista Alegre heart shaped dish, decorated with orange flowering branches, 26cm wide (lot)Condition Report: Overall this service is in good condition and presents well. The colours are good and gilding is largely intact. General light wear including scratches to the porcelain can be found, as well as surface dirt to the borders of plates and in crevasses of handles. One chocolate cup cover has been broken and amateurly restored, one chocolate cup saucer has a recent clean break, the pieces are present and can be restored. Additional images are available - click here. 

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Roseberys London
Lot 367

A George III mahogany and brass bound wine cooler or peat bucket, with twin handles, 29.5cm high, 30cm diameter; together with a pair of Regency mahogany circular coasters with rope-twist rims, each 19.4cm diameter (3)Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Condition Report: The bucket - a section of the rim moulding is missing, the exterior wood with several splits, cracks, and general scratches and knocks, the wood underside with several splits and further general wear including scratches, a section of the underside is missing nails resulting in the underside lifting away from the sides. The brass handles are intact and securely attached. The brass binding is largely intact with moderate tarnishing, some scratches, and general surface dirt, one band with a repaired split to the bottom. The removable metal liner with a concentrated area of holes, and warping to the rim. General surface dirt present throughout. The coasters - one with a crack running from the rim, both with general light wear including scratches. Both with felt lining to underside. Additional images are available - click here. 

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Roseberys London
Lot 628

A George II mahogany stool, third quarter 18th century, yellow silk upholstered drop in seat, on shell carved cabriole legs to pad feet, 38cm high, 49cm wide, 49cm deepCondition Report: heavily polished, light scratches throughout, structurally sound

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Roseberys London
Lot 439

Two Russian gilt and patinated bronze paperweights, late 19th century, one modelled as bear on a rock, the other an Imperial Russian Garde de Corps helmet with lobster tail neck guard and curved chin-scales, each on a malachite veneered base, 10cm wide, 7.3cm deep; together with two malachite veneered boxes, 4.5cm high, 7.5cm wide, 5.5cm deep and smaller (4)Condition Report: The bronze elements in good condition with surface dirt and light tarnishing. Each of the malachite bases have various small losses to the corners and edges, and the remains of paper lining to the underside - the underside of the bronze bear also has a paper label. Each malachite box has small losses to the edges and corners, one box has lost its interior velvet lining exposing a crack to one side of the wood, the box retaining its velvet lining has a key, the hinges of both boxes are functional. 

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Roseberys London
Lot 419

A Worcester blue and white porcelain teapot and cover, c.1755-65, blue workman's mark to teapot and cover, of barrel shape with a loop handle, one side moulded with a chinoiserie landscape with a man fishing in a boat beneath a willow tree, the reverse with flowering prunus, between foliate scroll borders and enriched with underglaze blue flowers and foliage, the cover moulded with flowerheads and a flower finial, 10.5cm high; together with a Bristol porcelain leaf-shaped pickle-dish, c.1770-80, blue cross mark to underside, the underside naturalistically moulded with veins, the upper side painted in underglaze blue with flowers and foliage within a blue border at the rim, 8.5cm long, 9.5cm wide (2)Condition Report: Examined under UV light. The teapot: there is a large hairline crack which loops around the top terminal of the handle and down across the length of the body, the tip of the spout has a replaced section and an old repaired crack, the inner rim has several minor losses and rough edges, the flowerhead finial is missing two petals and there is a flat chip to the rim of the cover, with further small cracks and knocks to the cover's inner rim, heavy scratching and wear to the embossed details, general surface dirt and pitting throughout. The pickle dish: several minor losses to the feathered rim, general light surface dirt and pitting throughout. 

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Roseberys London
Lot 418

A pair of Lowestoft blue and white porcelain sauce boats, c.1770, blue crescent marks, each moulded with flowers and scrolls and decorated with blue bouquets below further floral sprays and scroll and trellis-panel borders, the interiors with bouquets below similar borders, 19cm long (2)Condition Report: Examined under UV light.  One sauce boat with a dirt-filled hairline crack from the rim, approx. 3cm long.  Both with some small losses to glaze around the rim.  Both with surface scratches, light wear and pitting throughout. 

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Roseberys London
Lot 586

A pair of George IV lacquered-brass Argand oil lamps, second quarter 19th century, the shades by Robert Kime Ltd, each with vase-shaped reservoir decorated with stiff-leaves, the single branch above a spreading base with a band of scrolling foliage, on fluted bun feet, with replaced cream pleated shades, adapted for electricity, 40cm high, including shade 28cm wide, 15cm deep (2)Provenance: Christie's, London, Wilton Crescent: A Robert Kime Interior, 23 July 2020, lot 94.It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Photograph: © Christie's Images Condition Report: One lamp has a minor wobble due to one foot not sitting flush with the other three, and the stem is slightly bent and does not stand straight. The shade supports are both warped and both have evidence of verdigris to the brass. The shade ring of one lamp is stuck to the socket, therefore the shade support is also stuck in place. The brass has overall tarnishing, light scratches and marks, and general surface dirt all consistent with age. There is some minor verdigris noticeable to the leaves issuing from the stem of one lamp. The shades are in good condition. The wiring is internal and intact, with a switch and old-style three pin plug. The lamps have not been tested for working capability. It is the buyer's responsibility to ensure electrical items are professionally re-wired for use. Additional images are available - click here. 

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Roseberys London
Lot 600

A Jaeger-LeCoultre Atmos clock, c.1950s, Caliber 526-5, serial no. 89560, the gilt-brass case with spirit level in base, the circular white enamel dial with alternating Arabic numerals and dagger markers, in fitted travelling case, 22.3cm high, 18cm wide, 13.5cm deepPlease note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece.Condition Report: When the clock is placed on a level surface and the pendulum is unlocked, the pendulum moves with expected back and forth motion. The case has some light tarnishing and scratch marks, the panels have light marks, the dial is clean. The travelling case with general wear including marks. scratches and dirt. Roseberys cannot guarantee the working operation of any timepiece offered for sale. 

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