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Schachgraphik. Konvolut von 4 Holzstichen / Kupferstich mit Schachmotiven aus dem 19. Jahrhunderts. Verschiedene Formate und Größen. (19) * Die Zusammenstellung enthält: "Berkshire and Reading Chess Club Soiree, in the new Hall Reading" Illustrated London News 1851. / "Bashi Bazouks playing at chess" von A. Bida, 1859. / “Room of the electric telegraph, Nine Elms Station” im Artikel ‘The Game of Chess played between London and Portsmouth through the electric telegraph’, 1845. / “Tabletier, Ouvrages” (u. a. mit Schachbrettabbildungen). Zustand: Die Blätter sind gebräunt und fleckig, ein Blatt randig. Rückseitig mit Klebe,- und Montageresten und kleineren Randläsuren. Ansprechende Zusammenstellung, die vom interessierten Sammler via Internet besichtigt werden sollte.

Schachgraphik. Schachspielszenen. Konvolut von 5 Holzstichen / Drucken mit Schachmotiven aus der zweiten Hälfte des 19. Jahrhunderts. Verschiedene Formate und Größen. (19) * Die Zusammenstellung enthält: "Berkshire and Reading Chess Club Soiree, in the new Hall Reading" Illustrated London News 1851. / “A chess tournament with living pieces at Brighton” The Graphic, 1883. / “Annual blindfold entertainment at the City Chess Club”, 1876. / "Chess celebrities at the late chess meeting" nach einem Photo 1855 (u. a. mit Löwenthal, de Rivière, Falkbeer, Staunton). / “A fix – black to move” nach Gemälde von W. Hemsley, 1853. Zustand: Die Blätter sind gebräunt und etwas fleckig. Rückseitig mit Klebe,- und Montageresten und kleineren Randläsuren. Ansprechende Zusammenstellung, die vom interessierten Sammler via Internet besichtigt werden sollte.

* JOHN HALLIDAY (SCOTTISH 1933 - 2021), OLIVE GROVES, LUCERA oil on canvas, signed, titled and dated 1965 versoframed image size 51cm x 61cm, overall size 68cm x 78cm Provenance: The artist's studio sale, 2021.Note: Born in Kirkcudbright's Atkinson Place in 1933, John Halliday lived for nearly ninety years just two doors along from the house in which he was born. In the intervening decades, his restless life had been one of exploration: creatively, culturally, geographically and personally. Born into a family background where a career in art was not a likely or realistic prospect, Halliday found himself leaving Kirkcudbright Academy at the age of sixteen to take up work as a trainee on the local Galloway News. And there the story might well have ended. But a benign fate, never far away in the Halliday life story, began to take a hand in events. In 1948, Cecile Walton, daughter of the celebrated E.A. Walton, had decided to settle permanently in Kirkcudbright. Although in straitened financial circumstances, she was a woman of some style and flair which extended beyond her art and into her lifestyle. Introduced to Halliday at an Arts Council touring exhibition in St Cuthbert's Hall, Cecile took an interest in the talented teenager. Along with Jean Menzies, John's art teacher at school, Walton worked hard to have him accepted at the Glasgow School of Art despite his lack of formal educational qualifications. But Walton's influence did not end with Halliday's entrance to art school in 1949. Life in Cecile's Millburn studio was a far cry from the more humdrum life-style of Atkinson Place. Despite a lack of money, Cecile did not lack glamour in young John's eyes: "It was a magical place, with its old pot-bellied stove. I remember the furniture, particularly a big bureau, and the chairs were William Morris. She seemed to entertain everybody there, great Sunday lunches in particular, with all kinds of interesting guests from all the arts. And she managed to bring it all off in a single-end in the Millburn." (Tales of the Kirkcudbright Artists: Gordon, 2006). This passion for style and sparkling company left its mark on the young man. His life has been marked by enrichment through association with beautiful objects and with people who have made their mark on the world of the arts and society in general. 1949 was a good year to be arriving at the Glasgow School of Art. Teaching giants such as William and Mary Armour, Geoff Squire and John Miller greatly impressed the young but impecunious Halliday. His digs in a theatrical boarding house adjacent to the School of Art meant he spent more time than most students in the School, drawing every ounce of input from the learning experience before eventually finding himself a tiny studio in the city centre. In his final year at art school, he won two Royal Scottish Academy Awards: the Chalmers Bursary and the award for outstanding Diploma show. Output from this period featured in an exhibition, largely organised by Cecile Walton, in a Castle Douglas gallery shortly after graduation. Here again, fate took a hand. The largest canvas in the exhibition was bought by Douglas Lorimer, managing director of North British Locomotives, who financed Halliday for a year to 'see the world', as he put it. Lorimer's help, together with money from his awards saw John setting out with his friend and experienced traveller, Gerald Ashton, for his first trip abroad - to Sicily. It was a seminal experience, the beginning of a life-long love of this location to which he has returned countless times. An introduction to Glasgow architect Jack Notman led, over the years, to a series of over 70 mural commissions. Ten of these were for panels of famous Scots at Prestwick Airport, others for the Clydesdale Bank, the Bank of Scotland, the Marquis of Bute, Hope Scott, the National Trust for Scotland, Scottish and Newcastle Breweries, Glenfarclas whisky, to name only a few. In many of them his love of architecture, symmetry and the baroque technique of trompe l'oeil was fully explored. It is, however, to Whistler, friend of his own patron, Cecile Walton, that his own work is most often compared, a comparison with which Halliday was not unhappy. " It is his half-tones and quarter tones which I really love and these play an important part in my work also. The light in the early morning or evening can only be realised through them. People talk a lot about my preoccupation with light but it is to those tones that I am really referring," he remarks. New York-based Clare Henry, doyenne of international art critics, is among those happy to make the comparison: "Landscape is Halliday's real love, be it a damp day by the Tweed or noon in Sicily...while studies of ancient facades in Venice are positively Whistlerian." (The Herald, 25th November 1998). Richard Jacques in The Scotsman has seen similar parallels: "Specially rewarding are those Whistlerian images of Kirkcudbright and Galloway in which the elements of landscape are seen in a penumbral create an almost magical effect." (The Scotsman, 18th November 1991). Some might also see a parallel closer to home. In his love of penumbral light and muted tones and outlines, Halliday at times forays into the concerns, if not the palette, of another Kirkcudbright artist, Macaulay Stevenson. John Halliday remained however, very much his own man with a vision of Galloway to which he had been drawn irresistibly throughout a long career. Travels throughout Europe, homes across Scotland have resulted in glorious oils, gouache and crayon images from all parts: from Calabria to Coldstream, from the baking sun of Sicily to wintry scenes in Edinburgh.

* PETER HOWSON OBE (SCOTTISH b. 1958), PSYCHE 2001 oil on canvas, signedunframed, as intendedoverall size 200cm x 275cmProvenance: Depicted on page 171, "Peter Howson" by Robert Heller, first published 2003 by Momentum, London.Note 1: Believed to be the largest work by Howson to be offered at auction. Ex Flowers Gallery, London. Further authenticated by the Peter Howson Studio.Note 2. Aardvark Art Services Ltd will collect this picture from us and deliver to all but the most remote UK mainland addresses for a charge of £100 + vat, although assistance with unloading may be required. Note 3: "Psyche" is an important and monumental example of Peter Howson's work from the early 2000s. Executed on a large scale, he has applied the paint with impressively bold and direct brushwork - this handling helps to charge the work with a sense of vigorous movement and energy. Howson's tutor at the Glasgow School of Art, Sandy Moffat, described the qualities of his student's work ... his touch remains powerful and dramatic; as in his low-life scenes of prostitutes, thieves and dance hall fights...''It is exactly his ability to capture the menacing tone, to penetrate the darker heart of urban humanity, which raises Howson's painting from the ordinary passionless naturalism of academic realists to an entirely different level of creative achievement.'(S. Moffat, New Image Glasgow, exhibition catalogue, Third Eye Centre, Glasgow, 1985). In 2023, Howson was the subject of a major retrospective at the Edinburgh City Art Centre titled When the Apple Ripens: Peter Howson at 65. Howson's work can be found in collections including the Metropolitan Museum of Art, New York; the Tate Gallery, London; the British Museum, London; the Victoria & Albert Museum, London; the Gallery of Modern Art, Glasgow; and the Scottish National Gallery of Modern Art, Edinburgh. His paintings are held in numerous corporate and prestigious private collections around the world.

* ANGUS MCEWAN RWS RGI RSW (SCOTTISH b .1963), PATCHWORK DOOR watercolour on paper, signed, titled label versomounted, framed and under glassimage size 55cm x 37cm, overall size 79cm x 61cm Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.

* JOYCE W CAIRNS PPRSA HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), THE DRYING GREEN monoprint on paper, signed, titled and dated 1992 in pencil mounted, framed and under glassimage size 43cm x 96cm, overall size 63cm x 107cm Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk

AR * Shepard (Ernest Howard, 1879-1976), 'The Hour is Come’, [1959], fine pencil, ink and watercolour with body colour on off-white wove paper, signed lower left, 26.5 x 18.5 cm, framed and glazed with photocopies of Shepard’s manuscript labels to picture verso pasted to back of frameQTY: (1)NOTE:Provenance: Acquired by the vendors’ parents directly from the artist at an exhibition of his own work in Haslemere, Surrey, 29 May – 12 June 1965. This watercolour does not appear in Shepard’s manuscript inventory for the exhibition but was obtained directly from the artist at the same time.Shepard’s line drawings were first used to illustrate a new Methuen edition of Wind in the Willows in 1931. In 1959 Methuen published a new Shepard edition with an additional eight colour plates from watercolours by the artist.This watercolour features at the very end of the story in Chapter 12, ‘The Return of Ulysses’, and shows the moment Badger, with Ratty, Mole and Toad behind him, on the threshold and ready to burst in and attack the Weasels in Toad Hall.‘The Badger drew himself up, took a firm grip of his stick with both paws, glanced round at his comrades, and cried: “The hour is come! Follow me!” And flung the door open wide. My! What a squealing and a squeaking and a screeching filled the air! Well might the terrified weasels dive under the tables and spring madly up at the windows! Well might the ferrets rush wildly for the fireplace and get hopelessly jammed in the chimney! Well might tables and chairs be upset, and glass and china be sent crashing on the floor, in the panic of that terrible moment when the four Heroes strode wrathfully into the room!’

Warner (Sylvia Townsend). Time Importuned, 1st edition, London: Chatto & Windus, 1928, light partial offsetting from flaps to endpapers, original boards, dust jacket, spine a little faded, 8vo, together with Smith (Stevie). Harold's Leap, 1st edition, London: Chapman & Hall, 1950, illustrations by the author, a little light marginal toning, original cloth, dust jacket, spine toned and a little rubbed at ends, 8vo, plus Spark (Muriel). The Prime of Miss Jean Brodie, 1st edition, London: Macmillan & Co., 1961, previous owner signature, original cloth, dust jacket, edges slightly rubbed, 8vo, together with other 1st editions including Dread Dwelling, by Richmal Crompton, 1st US edition, New York, 1926, Sylvia Townsend Warner's Mr. Fortune's Maggot, 1927, The Salutation, 1932, After the Death of of Don Juan, 1st US edition, 1939, T. H. White. A Biography, 1967 (2 copies), Urania, by Ruth Pitter, 1950, Mrs Palfrey at the Claremont, by Elizabeth Taylor, 1971, Crossing the Water, 1971, and Winter Trees, 1971, both by Sylvia PlathQTY: (28)

A New Hall porcelain 'Knitting Wool' pattern silver shape teapot - early 19th century, painted with floral sprays and an iron red meandering line and spheres to the rim, the cover with baluster finial, painted no '195' to base in red, 14.6cm high, in good condition.

A collection of 18th and 19th century teacups, tea bowls and coffee cans - including seventeen cups and saucers; a tea bowl and saucer; a Royal Crown Derby trio; and other tea wares including tea bowls, teacups and coffee cans, plus a small number of side plates and saucers, makers including Coalport, New Hall etc, the majority English, a few pieces a/f.

Prunella Clough (British, 1919-1999)Lorry with Ladder signed 'Clough' (lower left)oil on canvas88 x 66.7 cm. (34 5/8 x 26 1/4 in.)Painted circa 1953Footnotes:ProvenanceWith The Redfern Gallery, London, where acquired byThe Toledo Museum of Art, Ohio, U.S.ATheir sale; Sotheby's, London, 4 June 2003, lot 35, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Olympia Fine Art Fair, Prunella Clough, 1919-1999: Seeing the World Sideways, 2-7 March 2004, cat.no.PC-160London, Tate Britain, Prunella Clough, 24 March-27 August 2007; this exhibition travelled to Norwich, Norwich Castle Museum, 6 October 2007-6 January 2008, Kendal, Abbot Hall Art Gallery, 18 January-5 April 2008, cat.no.11Chichester, Pallant House Gallery, Prunella Clough: A Centenary, 16 January-9 February 2020LiteratureOtto Wittman, The Toledo Museum of Art, European Paintings, The Toledo Museum of Art, Toledo, 1976, p.389 (ill.b&w)Ben Tufnell (ed.), Prunella Clough, Tate Publishing, London, 2007, p.35, cat.no.11 (col.ill.)Frances Spalding, Prunella Clough: Regions Unmapped, Lund Humphries, Farnham, 2012, pp.102-103, pl.61 (col.ill., as Lorry with Ladder I and circa 1952)Having painted the fishermen of Lowestoft for some years and made use of their netting and tackle as pictorial motifs, Clough turned her attention inland during the 1950s, towards the builders and labourers, lorry drivers and construction workers of the inner city. She called these her 'Lorry-landscapes'. This new theme reflected and celebrated the optimistic and regenerative forces operating across post-war Britain at the time. It also provided her with a readymade contemporary subject and one that, hitherto, had been largely unexplored – least of all by a female painter. Lorries and ladders became her new emblematic objects, readily located within the industrial landscape. With these she attempted to contextualise the figure within a modern urban setting, without having to resort to accepted pictorial narratives. Clough's interest in workmen, who are habitually represented as generic types, rather than individuals, lies in their direct relationship to their workplace and the accoutrements and gear of their trade. Lorry with Ladder circa 1953 is closely related to several other oil paintings which Clough made around this time (see Lorry Driver in Cab, circa 1950-3; Sleeping Lorry Driver, 1951; Lorry with Ladder I, circa 1952 and Lorry Driver, 1952). Framed by his vehicle's window, the cloth-capped lorry driver is formally conceived as part of his place of work. Bent metal bars, tools tied with rope, planks of wood and distant urban buildings are piled perilously high above his cab. While the same formal, semi-abstracted language is used to unite both the figure and the objects he's transporting, Clough is, perhaps, also commenting on the de-personalising nature of the industrial world and the encroaching urban environment. The restricted palette of creams, muted ochres and neutral tones helps unify the disparate compositional elements while simultaneously evoking the atmospheric grime of the loading yards. The chromatic highlight, provided by the driver's orange jacket, is typical of Clough's use of colour. Its richness gently emphasises the lorry driver's presence while fixing him firmly within the context of his working environment.The present work boasts illustrious institutional provenance, having previously belonged to The Toledo Museum of Art. A prime and large example from this important period of Clough's output, of a quality rarely seen on the market, the work has been selected by curators at both the Tate and Pallant House for surveys of Cloughs career.We are grateful to Gerard Hastings for compiling this catalogue entry.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

Henri Gaudier-Brzeska (French, 1891-1915)Firebird (The Russian Ballet) signed 'BRZESKA' (on the base)bronze with a black patina61.6 cm. (24 1/4 in.) highClay conceived in 1912, this cast from the later bronze edition of 10Footnotes:ProvenancePurchased by the present owners circa 1970Private Collection, U.K.ExhibitedLondon, Royal Albert Hall, Allied Artists Association, July 1913, cat.no.1212 (another cast)London, Whitechapel Art Gallery, Twentieth Century Art: A Review of Modern Movements, 8 May-20 June 1914, cat.no.179 (another cast)London, The Leicester Galleries, A Memorial Exhibition of the Work of Henri Gaudier-Brzeska, May-June 1918, cat.no.2 (another cast)London, Mercury Gallery, 1987, cat.no.5 (as L'oiseau de Feu, another cast)LiteratureHarold Stanley Ede, Savage Messiah, William Heinemann, London, 1931, pp.156-57Horace Brodsky, Henri Gaudier-Brzeska, Faber and Faber, London, 1932, p.36 (ill., another cast)Mervyn Levy, Henri Gaudier-Brzeska: Drawings and Sculpture, October House, New York, 1965, pl.73 (ill., another cast)Roger Cole, Burning to Speak: The Life and Art of Henri Gaudier-Brzeska, Phaidon Press, Oxford, 1978, cat.no.14Evelyn Silber and David Finn, Gaudier-Brzeska, Thames and Hudson, London, 1996, cat.no.18 (ill.b&w, another cast)Soon after his move to London from his birthplace and hometown of Saint-Jean-de-Braye near Orléans, France, in 1912, Gaudier-Brzeska received a commission from Julian Lousada, an avid art collector and friend of the artist. Gaudier-Brzeska was to produce a series of work inspired by the Ballet Russe production of Stravinsky's Firebird, which was to be performed in London for the first time from June to August that year. The work depicts the moment when Prince Ivan Tsarevitch, portrayed by dancer Adolph Bolm, captures the eponymous Firebird, portrayed by Tamara Karsavina. Gaudier-Brzeska produced two plaster casts from the original clay sculpture. Lousada was given one of the plasters, and paid £20 for a bronze to be cast from it, the highest price ever paid for a work of Gaudier-Brzeska's during his lifetime. This cast was sadly destroyed by bombing during the Blitz, and ten casts were subsequently produced from the surviving plaster.For further information on this lot please visit Bonhams.com

Registration No: DLR 648C Chassis No: 5VD51 MOT: ExemptSupplied new via Jack Barclay Ltd to Mrs G.E. Davis of Gedma Investments LtdEnclosed Limousine coachwork by H.J. Mulliner Park Ward1 of only 516 Phantom Vs producedBenefitting from a restoration in the late 1990sEntered from a deceased estate and temptingly offered without reserveA replacement for the Phantom IV and Silver Wraith, the Phantom V assumed the mantle of Rolls-Royce flagship in Autumn 1959. Although, based on a derivative of the same 'Bentley 9' modular chassis that underpinned its lesser Rolls-Royce Silver Cloud II and Bentley S2 siblings, the newcomer boasted a substantially longer 145-inch wheelbase, wider track and extra reinforcement. A massive, welded box-section, cruciform-braced affair, the structure in question was equipped with independent coil-and-wishbone front suspension, a 'live' leaf-sprung back axle, power steering and mechanical servo-assisted drum brakes. Propelled by a 6230cc OHV V8 engine allied to four-speed automatic transmission, the Phantom V employed a special 3.89:1 rear axle ratio that enabled it to amble along at walking pace for ceremonial duties and yet still accelerate through 100mph (if just barely). Available to coach built special order only, the model was bodied by the likes of Hooper, James Young, Chapron, H.J. Mulliner, Park Ward and H.J. Mulliner Park Ward (the latter company being a Rolls-Royce created in-house amalgamation).Despite an eye-wateringly expensive price tag when new, the Phantom V proved a surprisingly strong seller throughout its production life. Upgraded for 1963 with a new quad headlamp visage and seven percent more horsepower, some 516 are thought to have been made by the time the Phantom VI usurped it five years later. Although more commonly associated with monarchs, heads of state and plutocrats, the uber Rolls-Royce will forever be associated with at least one anti-establishment figure - John Lennon.Chassis ‘5VD51’ wears Enclosed Limousine coachwork by H.J. Mulliner Park Ward and was supplied new in 1965 through Rolls-Royce agents Jack Barclay Ltd to Mrs G.E. Davis of Gedma Investments Ltd, the Phantom’s factory guarantee was issued on the 29th of March 1965. No doubt conscious that the car would be used for numerous long journeys, Mrs Davis specified the following extras: rear squab top bolster one-inch deeper than standard, special modified central rear armrest with hinged lid, compact, notebook and pencil, cigarette case, cocktail cabinet (two decanters, four glasses, one bottle opener, two hand cushions), electric windows to all doors, special rear footrests and an electric aerial. Finished in Maroon with a Black roof covering, the interior was trimmed in Valentine's Burgundy upholstery.As well as the expected Phantom V accoutrements such as foldout occasional seats and a glass division, chassis number '5VD51' boasts opening rear quarter lights and four pull-out armrests to its front bench seat. Well used during Mrs Davis ownership, among the accompanying sundry paperwork there is a chauffeur's hand-written logbook with entries stretching from 4th November 1968 (26,929 recorded miles) to 3rd February 1982 (75,707 recorded miles). Apart from revealing that the car was principally maintained by the chauffeur and local dealer Caffyns of Eastbourne (aside from the occasional visit to Rolls-Royce's Cricklewood service depot), it showed just how far the Phantom V ventured. Beyond the frequent trips to Brighton and London, that a wealthy Sussex resident might have been expected to make, are notes detailing repeat excursions to Harrogate, Leeds, Stamford, Bury, Oldham, Honiton and Taunton etc. Whether travelling for business or pleasure, chassis '5VD51' certainly served up first class comfort; a little bit like having one's own cabin on the Orient Express.Bequeathed by Mrs Davis to her sibling P.J. Binns in 1995, the Rolls-Royce entered the previous ownership during 1996, in which it resided for twelve years. At the time of purchase by the previous keeper, the Phantom was looking somewhat forlorn. Undaunted he embarked upon a sympathetic restoration programme that saw particular attention paid to the chassis (new sills, step boxes etc), brake pipes, steering hoses, engine bay and paintwork. Pleasingly retaining its original upholstery, the Phantom V has spent the following ten years being shown at various rallies and concours events. Awarded the North of England Lancaster Trophy in 1999, it won its class at the RREC's Annual Rally some two seasons later. Judged second in class at the RREC's Kelmarsh Hall meeting just last month, chassis '5VD51' performed well on a recent test drive. Offered for sale to make way for another project, the Phantom was purchased through H&H by the late vendor in 2008.A retired motor engineer, the late vendor self-serviced the car annually during his ownership, cherishing and enjoying the Phantom, including attending numerous rallies and using most weekends until c.2018 when his health sadly deteriorated. Thereafter, off the road for around six-years, following the passing of the vendor, the Phantom has received new points, plugs, leads and servicing by well-respected retired Rolls-Royce technician Peter Bolton, and started readily and was running well during our photography session, however, a degree of recommissioning should be anticipated. Accompanied by a significant history file that contains a large selection of previous MOTs dating back to the early 1990s, sundry invoices, the original handbook, copy of the chassis cards, the aforementioned handwritten logs, and V5C document. The original vanity mirror, cigarette case, and notepad are also included. Temptingly offered without reserve! For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

A New Hall cup and saucer, the saucer ‘Boy in the Window’ pattern 425, similar coffee can, c.1800.

Pair: Honorary Captain J. W. Graves, late Private No. 6 Field Ambulance, Canadian Army Medical Corps, a Methodist Minister, published poet and author, and founder of the Dagenham Girl Pipers - who travelled the world, and had notable appearances including for Adolf Hitler in Germany in 1937 British War and Victory Medals (Hon. Capt. J. W. Graves.) rank partially officially corrected on both, very fine (2) £80-£120 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Joseph Waddington Graves was born in 1881 at Deal in Kent. His father was a chemist and druggist, the young Joseph also worked in a chemist’s shop before emigrating to Canada in 1906. He later became a clergyman, and served as an Army Padre with the Canadian forces during the Great War - initially as a Private with No. 6 Field Ambulance, C.A.M.C., and then as Minister of the Methodist Church, Canada. He became a published poet in 1915, when Songs of the War was published, with all of the proceeds going to the Belgian Relief Fund. Graves became a published author after the War, publishing The Renaissance of Korea in 1920. He went on to found the female bagpipe marching band known as the Dagenham Girl Pipers in 1930. The Barking and Dagenham Archive gives the following: ‘When the Dagenham Girl Pipers were founded in 1930 they were the first female pipe band in the world. The band's founder, the Reverend Joseph Waddington Graves, was born in 1881 at Deal in Kent. His father was a chemist and druggist, the young Joseph also worked in a chemist's shop before emigrating to Canada in 1906. He later became a clergyman, and served as an Army Padre with the Canadian forces during the First World War (1914-1918). Mr Graves spent ten years as Warden of Browning Hall in Walworth, before being appointed of 1930. At that stage Mr Graves ran a Sunday school from a wooden hut. He later wrote that “During all of my life that I can recall, bagpipes have fascinated me”. He chose 12 girls from his Sunday school, average age just 11, and hired G. Douglas Taylor, a former Pipe Major to the King's Own Scottish Borderers, to teach them piping, drumming, marching and Highland dancing. The first practice took place on 4 October 1930. Mr Graves remembered “Twelve small girls, all giggles, seated in a semi-circle around the kilted Pipe-Major. Something really big happened in that Thameside town that morning the Dagenham Girl Pipers was born!” After 18 months of intensive training, the pipers gave their first public concert to an audience of journalists on an outdoor stage behind Osborne Hall. They wore dashing uniforms of Royal Stuart Tartan: kilts, tartan socks, velvet jackets and tam-o'shanters. They were enthusiastically received, and bookings were soon pouring in. By 1933 some of the band members reached the school-leaving age, which was then 14. This, added to the great demand for performances, led Mr Graves to make the band a full-time organisation with the girls as paid employees and himself as manager. Mr Graves imposed strict rules, including no smoking, no drinking, and no make-up. By 1937 Dagenham Girl Pipers were fulfilling 400 engagements a year, and at busy times had four complete bands all doing separate tours. Two original members, Edith Turnbull (1919-2001) and Peggy Iris (b. 1919), had been appointed Senior Pipe-Major and Assistant Pipe-Major. The band now toured the world, and in 1937 appeared in Berlin before Adolf Hitler, who told Mr Graves he wished Germany had a similar band. As war loomed in 1939, one unit was performing at the World Fair in New York, while another was touring southern Germany. During the Second World War (1939-1945), the band's full-time activities had to be curtailed. Under the call-up legislation, some girls joined the Armed Forces, Fire, Ambulance or Nursing services, while others had to work in factories or the land. This allowed band members when not on duty or working to continue to give concerts at the evenings and weekends, especially at Forces camps. Some girls worked in Entertainments National Service Association shows [ENSA], and two members of the band, Peggy Iris and Margaret Fraser, were for three years part of an ENSA concert party entertaining troops in Africa. They gave over 1000 separate shows, and were afterwards awarded the Africa Star. When the War ended, band members returned to 'Civvy Street' and the Dagenham Girl Pipers resumed their professional status. They were as popular as ever. In 1951, for example, they appeared in over 150 Festival of Britain engagements. This was their own 21st birthday year, and Dagenham Borough Council presented them with a set of silver drums to mark the occasion. In October 1955 the band celebrated their Silver Jubilee by marching through the City of London to attend a Thanksgiving Service in St Paul's Cathedral. Mr Graves had retired as their manager in 1948, to be succeeded by David Land, who ran a theatrical agency in Broad Street, Dagenham, and had already been associated with the band for some years. Mr Graves retired with his wife May to his native county of Kent, where he died aged 81, in 1962.’

Dickens (Charles). The Life and Adventures of Nicholas Nickleby, 1st edition in book form, London: Chapman and Hall, 1839, engraved portrait frontispiece, upper margin of title with ownership signature of Archibald Travers dated 1839, 38 etched plates by Phiz (Hablot Knight Browne), dust-soiling, toning and offsetting to plates and two with repaired closed tears, near-contemporary red half calf, joints rubbed, 8vo, together with:Dombey and Son, 1st edition in book form, London: Bradbury and Evans, 1848, engraved frontispiece, additional title and 38 engraved plates by Hablot Browne, some spotting, toning and offsetting mostly to plates, contemporary brown half morocco, gilt decorated spine, joints and extremities rubbed, 8vo, Our Mutual Friend, 2 volumes, 1st edition, London: Chapman and Hall, 1865, half-titles discarded, frontispieces, 38 engraved plates, some spotting, toning and few marks, contemporary half calf gilt, lacking title label to volume 2, rubbed and light wear, 8vo, Sketches by Boz, Illustrative of Every-Day Life and Every-Day People, new edition, Philadelphia: Lea & Blanchard, 1839, 20 engraved plates by George Cruikshank (including frontispiece), upper pastedown with armorial bookplate of James Reynolds-Peyton and ownership label of Alice Reynolds-Peyton, original cloth, gilt-blocked spine, some fading and wear, frayed at head and foot of spine, 8voQTY: (5)

Pufendorf (Samuel Freiherr von). Introduction a l'histoire moderne, generale et politique de l'univers; où l'on voit l'origine, les révolutions & la situation présente des différens Etats de l'Europe, de l'Asie, de l'Afrique & de l'Amérique, 7 volumes only (of 8, lacks volume 7), new edition, Paris: chez Merigot, Grange, Hochereau, Robustel, Le Loup, 1753-59, engraved frontispiece to volume 1, titles in red and black, 20 engraved folding maps and plans (including North & South America, Spain, Italy, Sicily, France, Greece, Palestine, etc.), armorial bookplate of Stephen O. Meagher to pastedowns, contemporary mottled calf, gilt decorated spines, some wear mostly to extremities, 4to, together with:Millin (Aubin-Louis). Voyage dans les Departemens du Midi de la France, 5 volumes, Paris: Imprimerie Imperiale, 1807, contemporary uniform mottled calf, with gilt Signet Library armorial to centre of each cover, some wear to joints and edges, first volume rebacked with original spine laid down, 8vo, plus William (Stephen W.). A Biographical Memoir of the Rev. John Williams, First Minister of Deerfield, Massachusetts. With a slight sketch of ancient Deerfield, and an account of the Indian Wars in that place and vicinity. With an appendix, containing the journal of the Rev. Doctor Stephens Williams, of Longmeadow during his captivity, and other papers relating to the early Indian Wars in Deerfield, Greenfield Mass: C. J. Ingersoll, 1837, contemporary blind floral-patterned boards with paper label to spine, lightly faded to spine, 8vo, and other various 18th and 19th century antiquarian volumes, including Storer & Greig, Antiquarian Itinerary, comprising specimens of Architecture, 7 volumes, 1815, Thomas Busby, Concert Room and Orchestra Anecdotes of Music and Musicians, Ancient and Modern, 3 volumes, 1825, engraved title page to each volume, folding engraved plate to first and second volumes, and other engraved plates, contemporary uniform full calf, gilt decorated spines, a little rubbed and some marks, 8vo, Henry Gastineau, Wales Illustrated in a Series of Views, 1830, contemporary dark blue half calf gilt, 4to, George Cruikshank, Mornings at Bow Street. A selection of the most humorous and entertaining reports..., by Mr. Wight, 1824, The Looking-Glass for the Mind; or Intellectual Mirror... illustrated by Bewick, 15th edition, 1821, W. G. Blackie, Comprehensive Atlas & Geography of the World, 1882, Henry Simon, Armorial General de l'Empire Francais, volume I, 1812, Parliamentary Debate in England from the Year MDCLXVIII to the present time, volumes I-XXI, Dublin, 1741-42 (with bookplate to most volumes of Sir Robert Grosvenor of Eaton-Hall, Chester), La Belle Assemblée or Bell's Court and Fashion Magazine, volume II, New Series (July-December 1810), XVII (January-June 1818) and XXIII (January-June 1821), together 3 volumes, 1810-21, mostly leather bound, 8vo/4to, including a modern display binder of 19th century fashion and hand coloured platesQTY: (3 shelves)

A mixed lot to include a Dermay Art Deco green satin glass powder jar and other Art Deco satin glassware, together with mixed ceramics to include a New Hall cup and saucer, pattern 195 and other items,Location:If there is no condition report shown, please request

[Geneva Bible] Rouland Hall Geneva: Rouland Hall, 1560. First edition, 4to, contemporary calf with several repairs, without endpapers, lacking Old Testament title, the initial two leaves, ai, Ppiiii, Qqi, Vvi, all after Kkkiii including the Psalms, the plate and three of the four maps, dampstaining and browning in places, spotting, many pages worn at the edges with some loss to text, a few holes with loss to a few words, New Testament title and final leaf of the Old Testament backed with paper [Darlow & Moule 107] “The first edition of the so-called ‘Geneva version’; the earliest English Bible printed in roman type and with verse divisions.” [Herbert [Darlow & Moule]. Historical Catalogue of Printed Editions of the English Bible 1525-1961]

MIXED BOOKS - TROPICAL INTERIORS AND ARCHITECTURE Comprising; Under the Sun, Roland Beaufre, Rizzoli, 2021 Designing Paradise, Juan Montoya, Rizzoli, 2017 Tropical Living, Periplus Editions, 2000 Living Under the Sun, Gestalten, 2018 Houses for the 21st Century, Anna Flanders, Periplus Editions, 2004 New Directions in Tropical Asian Architecture, Philip Goad, Robert Powell, Periplus Editions, 2005 Tropical Interiors, Periplus Editions, 2002 Modern Tropical: Houses in the Sun, Oscar Riera Ojeda, Rizzoli, 2018 Tropical Architecture and Interiors, Tan Hock Beng, Page One, 1994 The Tropical Malaysian House, Robert Powell, Atelier International, 2020 New Directions in Tropical Asian Architecture 2, Philip Goad, Robert Powell, Tuttle, 2005 The New Asia Pacific House, Patrick Bingham-Hall, Pesaro Publishing, 2010 The Tropical Modern House, Raul A. Barreneche, Rizzoli, 2011 Timeless Tropical: Selected Works by Timur Design, Tramex Design, Oro Editions, 2010 Tropical Modern, Raul A. Barreneche, Rizzoli, 2003 (15) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

ARCHITECTS - WOHA; SCDA; DP ARCHITECTS Comprising; WOHA: Selected Projects Vol. 1, Patrick Bingham-Hall, Pesaro Publishing, 2011 WOHA: Selected Projects Vol. 2, Patrick Bingham-Hall, Pesaro Publishing, 2013 WOHA, Patrick Bingham-Hall, Pesaro Publishing, 2009 DP Design | Designing Spaces, Visual Profile Books, 2015 DP Architects, The Master Architect Series, Collin Anderson, Images Publishing, 2012 SCDA Architects: The Architecture of Soo Chan, The Master Architect Series, Robert Powell, Images Publishing, 2007 SCDA Architects II, Soo Chan, The Master Architect Series, Images Publishing, 2013 WOHA: New Forms of Sustainable Architecture, Patrick Bingham-Hall, Thames & Hudson, 2022 WOHA: Breathing Architecture, Michaela Busenkell, Prestel, 2012 SCDA Landscape: The Landscape of Soo Chan, Soo Chan, The Images Publishing Group, 2017 SCDA Interiors: The Interiors of Soo Chan, Soo Chan, The Images Publishing Group, 2016 (11) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A study collection of Isleworth and related porcelain, circa 1765-90Decorated in underglaze blue, comprising a coffee can printed with the 'Plantation' pattern, a saucer printed with a version of the 'Man on the Bridge' pattern, a coffee cup printed with the 'Three Flowers' pattern, together with six teabowls including one painted with a stylised flower spray with an elaborate lambrequin border inside the rim, a fluted example painted with floral sprigs and sprays, one printed with the 'Three Swans' pattern, one printed with two oriental figures before two buffalo and a figure in a garden to the reverse, one printed with two chinoiserie landscapes, the last painted with a variation of the 'Mansfield' pattern, saucer 11.8cm diam (9)Footnotes:ProvenanceBasford Collection (lower left teabowl)With Roderick Jellicoe (saucer)Charles Dawson CollectionOne teabowl (lower centre) illustrated by Anton Gabszewicz and Roderick Jellicoe, Isleworth Porcelain (1998), no.23. The 'Three Swans' teabowl illustrated by Massey, Pearce and Howard, Isleworth Pottery and Porcelain (2003), p.41, fig.59. A saucer printed with an identical version of the 'Man on the Bridge' pattern to the saucer in this lot is illustrated as possibly Isleworth by Massey, Pearce and Howard (2003), p.105. This pattern was used by several factories including Bow and New Hall, and perhaps also at John Bartlam's American porcelain factory at Cain Hoy, South Carolina. Following the publication of extensive finds from rescue archaeology, the Isleworth porcelain factory was rediscovered and research is ongoing. Inevitably, there are many pieces with 'Isleworth characteristics' that cannot be confirmed by matching shards and wasters. Charles Dawson has gathered together a group of these 'problem pieces', in the hope that future study and analysis will provide positive attributions.For further information on this lot please visit Bonhams.com

(1) Muir, R. Vogue 100. A Century of Style. London, National Portrait Gallery, 2016. Hc w. dust-j. (2) Martineau, P. Icons of Style. A Century of Fashion Photography. Los Angeles, Getty Museum, 2018. Hc. (3) Les Belles Robes de Paris 1909-1939. Paris, H. Veyrier, 1978. Hc w. dust-j. (4) Hall-Duncan, N. The History of Fashion Photography. New York, H.N. Abrams, 1978. Hc w. dust-j. -and 7 others. All in (very) good condition. (total 11)

Mixed Lot: New Hall tankards, together with Shelley tea wares and others

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Lost Weekend" Dated: '96 Oil on Canvas. Signed lower left / signed, dated, titled and sized verso. Overall Size: 45 x 60 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Musgil Gusha's Paradise" Dated: '69 Oil on Canvas. Signed and dated verso. Overall Size: 33.75 x 31.75 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

A walnut and figured walnut five drawer hall table, having a cross and feather banded top and raised on chamfered square supports, w.155cm, d.32cm, h.77cmRecently constructed using new and old timbers, and is therefore in excellent condition.

A selection of English Regency porcelain items, early 19th century, including Flight and Chamberlain Worcester, a Derby vase, a New Hall tea bowl and saucer, and a pair of Coalport coffee cans probably gilded by Thomas Pardoe, some as found.

Part early 19th century English porcelain tea set, probably New Hall, all decorated with pink floral sprays, comprising five cups and saucers, three further cups, milk jug, sugar bowl etc

Group of English porcelain cups and saucers, mainly New Hall examples, with floral decoration and further back printed example, with further group of cups, (9 cups and saucers)

Early 19th century New Hall creamer, pattern no 1181

Alfred Pilkington 1851-1907, Manager, Well House Mill Barnoldswick - a collection of ephemera incl. Portrait photograph, three Victorian Certificates of Achievement, three Craven Bank Ltd. books from 1888-1903, Bereavement sympathy letter to Mrs Pilkington from Barnoldswick UDC, Invitation to New Town Hall opening, Thank you note 1909, Receipt 1881, and a silver gilt presentation key from Barnoldswick UDC 19 Dec. 1900, cased by Elkington & Co. Birmingham 1900, 2ozt

Ethnographica: Extremely rare Austral Islands (French Polynesia) Chief's staff or pole club, 19th century, the pommel (hand-carved using shark teeth) with six stylised nio mango masks, each with two short 'horns' to forehead, over pierced openwork scallop and shark tooth frieze above tapering ring-turned grip, the shaft with basal collar, 182cm long overall Literature: Mack, Charles W., 'Polynesian Art at Auction 1965-1980', 1982 Hall, Henry Usher, Woodcarvings of the Austral Islands [Penn Museum Journal] Read, Sir C. H., “On the Origin and Sacred Character of Certain Ornaments of the South-Eastern Pacific” [Journal of the Royal Anthropological Institute, Vol. 21, 1891-1892]The terminals to these staffs are carved very much in the manner of the more common paddle clubs. Similar lots sold at auction: Bonhams, New York, 13th May 2019, lot 56. Bonhams, San Francisco, 5th May 2015, lot 93.

GEORGE PERCY JACOMB-HOOD (BRITISH 1857-1929) THE WATER NYMPHS signed and dated G.P. JACOMB HOOD / 1909 lower leftoil on canvas91.5 x 72.4cm; 36 x 28½in116 x 94cm; 45 3/4 x 37in (framed)Property from a Private Collection, CumbriaProvenanceSale, Christie's, London, 3 June 1988, lot 98 (purchased by the present owner)Jacomb-Hood was one of many artists who had a studio in Manresa Road, Chelsea at the end of the nineteenth century. He counted himself as being 'one of a little colony which included J.J. Shanon, Henri La Thangue, Harvard Thomas, William Llewellyn, Frank Short, Frank Brangwyn and Fred Pomery.' A founding member of the Chelsea Arts Club in the autumn of 1890, he described its initial premises on the Kings Road: 'The ground floor and basement of a house next-door to the Town Hall, and the studio at the back of it in the tenancy of a jovial and talented Scots painter, 'Jimmie' Christie, were rented... The studio formed a mess room for meals, and the room upstairs was for newspapers, chess and general socialbility.' (Caroline Dakers, The Holland Park Circle, Artists and Victorian Society, London, 1999, p. 225).Born in Surrey, Jacomb-Hood studied at the Slade and then under Jean-Paul Laurens (1838-1921) in Paris. His preferred subject matter was mythological scenes such as the present example, and he also earnt his living as an accomplished portrait painter. A founder member of the New English Art Club, Jacomb-Hood also supplied illustrations for the Illustrated London News and The Graphic. He exhibited his work widely: in London at the Royal Academy, the Royal Society of British Artists, the Royal Institute of Oil Painters, the Royal Society of Portrait Painters, the Fine Art Society, the Ridley Art Society and the Grosvenor Gallery. Elswhere across the country he showed at the Royal Birmingham Society of Artists, the Royal Glasgow Institute of the Fine Arts, the Walker Gallery, Liverpool, the Manchester Academy of Fine Arts and the Royal Hibernian Society, Dublin. He also exhibited regularly at the annual Paris Salon. His work is in museums and public galleries across the UK.

Clifford Hall (1904-1973)The New Hat, 1952signed and dated (lower right)mixed media on paper33 x 38cm. Provenance:Atkinson Art Gallery, Southport;The collection of Oliver Carey.

AFTER CASPAR NETCHER FIGURES IN AN INTERIOR Oil on canvas Inscribed `Earl Howe Gopsall Hall' (on a label on the reverse) 43 x 34.5cm (16¾ x 13½ in.) After the picture in the Alte Pinakothek, Munich. Provenance:Earl Howe, Gopsall Hall Gopsall Hall was inherited by Penn Assheton Curzon, eldest son of 1st Viscount Curzon, after Charles Jennens died in 1773 unmarried and without an heir. He was an uncle on Penn Assheton Curzon's mother's side. He married Lady Sophia Howe and the house passed down through the Earls Howe until the 4th who sold the house in 1919. A large part of the collection at Gopsall were dispersed in two sales by George Trollope & Sons, October 1918 and June 1920.Charles Jennens (1700-1773) inherited Gopsall Hall a Jacobean house and 724 acre estate from his father in 1747. Three years later, in 1750, he replaced the house with a new, more grandiose building befitting his recently obtained wealth and status. The 'new' Gopsall reflected the fashionable Neo-Palladian taste inspired by contemporary pattern book designs published by such renowned and important figures as Batty Langley, William Halfpenny and William Kent at a cost of £100,000. It was considered the most impressive Georgian house in Leicestershire. The House was demolished in 1952.  

FOLLOWER OF MICHELE MARIESCHI A VENETIAN FESTIVAL, THE GRAND CANAL WITH THE PALAZZO BELLONI BATTAGIA Oil on canvas 66 x 96cm (29¾ x 37¾ in.)Provenance: Earl Howe, Gopsall Hall Gopsall Hall was inherited by Penn Assheton Curzon, eldest son of 1st Viscount Curzon, after Charles Jennens died in 1773 unmarried and without an heir. He was an uncle on Penn Assheton Curzon's mother's side. He married Lady Sophia Howe and the house passed down through the Earls Howe until the 4th who sold the house in 1919. A large part of the collection at Gopsall were dispersed in two sales by George Trollope & Sons, October 1918 and June 1920.Charles Jennens (1700-1773) inherited Gopsall Hall a Jacobean house and 724 acre estate from his father in 1747. Three years later, in 1750, he replaced the house with a new, more grandiose building befitting his recently obtained wealth and status. The 'new' Gopsall reflected the fashionable Neo-Palladian taste inspired by contemporary pattern book designs published by such renowned and important figures as Batty Langley, William Halfpenny and William Kent at a cost of £100,000. It was considered the most impressive Georgian house in Leicestershire. The House was demolished in 1952. Condition Report: The canvas is relined and presents a subtle craquelure across the whole surface, mostly visible in the e section of the sky. UV light reveals numerous small, scattered retouches especially in the lower section of the painting, on the figures and on the water. Furthermore, some larger signs of the restauration are present in the sky, especially near the upper corners on the right and left, where there seems to be some lines of restoration which are of about 8cm long but of about 0.3 cm in width. To conclude, a yellowing varnish covers the whole surface. Condition Report Disclaimer

THOMAS DANIELL (BRITISH 1749-1840) AND WILLIAM DANIELL (BRITISH 1769-1837) DUSASUMADE GAUT, BERNARES, UTTAR PRADESH Watercolour and pencil, with watermark 'J WHITMAN' Inscribed with title (to the mount); further inscribed and numbered '52' (verso) 37 x 54cm (14½ x 21¼ in.)Provenance: The collection of the artist The Bromley-Davenport family, Capesthorne Hall, Cheshire Thence by descent until 1951 The Peninsular and Oriental Steam Navigation Company (P&O) 1952 - 1996 Sale, Christie's, London, India Observed, 24 September 1996, lot 22 Spink, London, No. K3 11110 A Private CollectionExhibited: London, Commonwealth Institute, 1960, No. 21 Washington D.C, Smithsonian Institute, 1962, No. 9 London, Spink and Son, 1974, No. 41Literature: Archer, M, Early Views of India: The Picturesque Journeys of Thomas and William Daniell 1786 - 1794, Thames and Hudson, 1980, p. 123, ill. No. 71 (aquatint engraving for Part I, Oriental Scenery, No.16) Engraved: T. Daniell, aquatint engraving, May 1796, for Oriental Scenery, vol.I, No. 16The Dasasamadhi Ghat is one of the five most celebrated places of pilgrimage in Bernares, and is where Brahma was said to have sacrificed ten horses. On 22 August 1812, Lady Nugent said of Bernares: 'The city is situated on a high semicircular bank and reaches down to the water's edge. Mosques, pagodas, temples, houses of different sorts - long flights of steps, leading to places of worship - the river, magnificently extended...nothing can be more striking and imposing than the first view of Bernares'. (Archer, p. 123)The series of aquatints of India were published by Thomas and William Daniell between 1795 and 1810. At the time, the aquatint technique was very new in Britain, being introduced by Paul Sandy in 1775. These prints were engraved by the Daniells themselves from their own drawings and watercolours. The present lot is one of the watercolour sketches for number sixteen in Part I of the Oriental Scenery series. In her book, Mildred Archer arranges the illustrations produced by the Daniells in order of their journey, rather than the order in which the aquatints were eventually published, often accompanied by unpublished quotes taken from the small octavo booklets of comments which Thomas Daniell issued with each part of Oriental Scenery. This places the creation of Dusasumade Gaut at circa 17-25 November 1789. Thomas Daniell (1749-1840) was William's (1769 - 1837) uncle. After his father's death Wiliam's mother was left with five children and the burden of running the family pub, which had previously belonged to Thomas's father before passing to his brother. It is thought that Thomas took over responsibility for his nephew to help ease the pressures placed on his sister-in-law.In 1784, when the pair left for India, they were relatively unknown. William was barely fifteen when the pair set sail, and despite having some success in London, in 1773 Thomas had entered the Royal Academy schools, exhibiting thirty pictures over the next decade or so, William had yet to decide what type of painter he should be. When in 1781 he secured a commission for six paintings of West Wycombe Park, and went on to paint the landscapes of Somerset, Yorkshire, and Oxfordshire over the course of the following three years, he seems to have settled on landscapes. However, opportunities for landscape painters were few. As a result, most British artists focused on portraiture with Reynolds and Gainsborough as the leading names. Fueled by the voyages of Captain Cook, it was also around this time that a general interest in the 'exotic', ''picturesque' and the 'sublime' was starting to creep in to British culture. A perfect backdrop then, for the Daniells to explore the opportunities on offer in this exciting new area of the world.During this time, the East India Company had grown substantially and held increasing power in large areas of the British controlled subcontinent. As such, it was possible for English artists to travel freely, and rely on hospitality from fellow countrymen. In addition, many wealthy residents of the Presidency cities of Calcutta and Madras needed pictures to furnish their large mansions, with several artistic fortunes being made in India. As was the case in Britain, of the well-established artists already working in India during the last quarter of the 18th century, those such as Tilly Kettle, George Chinnery, Ozias Humphry, John Zoffany, and George Wilson almost all enjoyed their success by focusing on portraits. However, more interesting to Daniells was the landscape painter William Hodges (1744-97), who visited India between 1780 and 1783 and received the patronage of Augustus Cleveland, the District Officer of Bhagalpur. Upon arriving in India, on 17 July 1786, Thomas placed an announcement in the Calcutta Chronical: 'Mr Daniell proposes to publish twelve views of Calcutta at twelve gold Mohurs the set, from complete plates and finished watercolours. The subscription list is open till Jan. 1, 1787'. Upon completing these twelve views, in 1788, the Daniells then travelled north to Sringar, taking in various stops, including at Bengal, Buxar, and Delhi, but without stopping at Benares. They journeyed up the country until April 1789, when in May of the same year they began their return journey. With less constraints due to hot weather, the Daniells were able to linger longer in areas which they had been forced to skip on their outward journey, and it was during this stage of their travels that the present lot was painted in Benares. They stayed here for around one week, and during this time witnessed an eclipse of the sun. After returning to Calcutta in November 1791, the Daniells then headed south between March 1792 and February 1793, before spending a further six months travelling west before starting their journey home in 1794. By the time the Daniells returned to England in September 1794, they had been away for almost ten years and had completed hundreds of drawings and watercolours, many of which had been carefully annotated with names, places, and dates. These were used to create two series of twenty-four aquatints entitled Oriental Scenery: Twenty Four Views in Hindoostan. The first series, of which this lot is a sketch for plate 16, was published in England and Calcutta between March 1795 and January 1797, was dedicated to the Honourable Court of Directors of the East India Company. The second series was published between August 1797 and December 1798, dedicated to the Right Honourable Henry Dundas, President of the Board of Commissioners for the Affairs of India. In addition, Thomas Daniell exhibited twelve, and William Daniell six, oils at the Royal Academy between 1795 and 1798. The pair went on to create further sets of aquatints well into the early 19th century. For all their engravings, Thomas and William prepared all the plates themselves using sepia, grey and bluish grey, instead of the reddish-brown ink typically used in printing. In doing so, they were able to reproduce the original watercolours exactly.For a condition report on this lot, please contact our Picture department directly, at pictures@dreweatts.com.

Aubrey Williams,  Guyanese/British 1926-1990 -  Untitled, 1967;  ink on paper, signed and dated 'Aubrey Williams 67', 12.4 x 14.7 cm (ARR)  Provenance: the Estate of Andrew Salkey (1928-1995)  Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Aubrey Williams,  Guyanese/British 1926-1990 -  Rastaman, 1970;  gouache on canvas laid down on board, signed and dated lower right 'Aubrey Williams 70' and titled lower left 'Rastaman', 47.8 x 32 cm (ARR)  Provenance: the Estate of Andrew Salkey (1928-1995) Note:  similar works are now in the Tate archive. Williams was strongly influenced in the 1950s by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE PARCELLEMENT LAQUÉ DORÉDYNASTIE QING, MARQUE À SEPT CARACTÈRES ET ÉPOQUE QIANLONG (1736-95)An inscription in Chinese around the front rim of the base, translated:  'The Buddha of Infinite Life.';An inscription in Chinese at the reverse of the base, translated:  'Practice and Conduct are Foundational.' Himalayan Art Resources item no. 1812 16.5 cm (6 1/2 in.) high  Footnotes:A PARCEL GILT LACQUER COPPER ALLOY FIGURE OF AMITAYUS    QING DYNASTY, QIANLONG SEVEN-CHARACTER MARK AND OF THE PERIOD (1736-95)  Provenance  American Private Collection, acquired in China prior to 1940, and thence by descent. Seated with the elixir of long life in his lap is Amitayus, the Buddha of Infinite Life, whose gentle countenance reflects his compassion and desire to save all sentient beings. Invoked for his ability to prolong the lifespan of devotees, Amitayus was an especially popular subject of worship for the Manchu rulers of China. Depictions of this deity were often made in groups as celebratory birthday gifts whenever an emperor or a member of the royal family reached a milestone in age. This practice first began with the Kangxi emperor (1662-1722) and continued under the reign of his equally famous grandson, the Qianlong emperor (1736-95), who presented thousands of Buddhist images to his mother on the occasion of her 60th, 70th, and 80th birthday.   As indicated by the seven-character reign mark, 'Made with reverence in the Qianlong era of the Great Qing', this parcel-gilt bronze belongs to an incredible group of works located in one of eight Buddhist halls within various palaces of the empire. Only two of these halls have been documented, both of which are located in the Forbidden City: the Tower of Precious Forms, or Baoxianglou (published in Clark, Two Lamaistic Pantheons, 1937), and the Hall of Buddhist Efflorescence, or Fanhualou (published in, Fanhualou – Statues in the Sanctuary of Buddhist Essence, Vols. I-II, 2013). Each hall originally contained a configuration of 787 sculptures for private imperial use, with the Baoxianglou pantheon completed in 1771, honoring the Empress Dowager's 80th birthday and the Fanhualou pantheon in 1774 which would later become Qianlong's retirement palace. Both iconographic programmes were conceived by Rolpai Dorje (1717-86), the highest-ranking Gelugpa lama in the Qing court as well as Qianlong's personal teacher and childhood friend. Due to the sheer number of images that were required for each location, these bronzes convey differences in artistic training and preference. Some emulated the rounder features of early Ming statuary, whereas in the case of this figure, the beak-like nose and pointed chin draw a connection to Mongolian artists following in the style of Zanabazar (1635-1723). For examples of Qianlong bronzes bearing a seven-character reign mark in past auctions, see two sold at Sotheby's, New York, 17 March 2015, lot 376; and 16 March 2016, lot 371; as well as a third sold at Christie's, New York, 22 March 2007, lot 215. 局部漆金無量壽佛銅像清 乾隆（1736-95年） 「大清乾隆年敬造」款蓮座正面下沿刻「無量壽佛」；背面刻「功行根本」來源美國私人收藏，1940年前得於中國，後由家族傳承此尊雙手持寶瓶之造像為無量壽佛，其溫和面容展現慈悲與拯救一切眾生之大願。由於其延年益壽的能力，無量壽佛在中國滿清統治者中乃是廣為流行的崇拜對象。無量壽佛像通常是在慶祝皇帝或皇室成員大壽時，作為賀禮而成組製作的。這一做法始於康熙皇帝（1662-1722年），並在他同樣著名的孫子——乾隆皇帝（1736-95年）統治時期得以延續，後者為其母六十、七十、八十大壽獻上了數以千計的佛教作品。正如其七字款識「大清乾隆年敬造」所示，這尊局部漆金銅像屬於一組令人驚嘆的作品，它們被供奉於皇宮內的八間佛樓之一。八間中僅有兩間佛樓被記錄成書，二者均位於紫禁城內：寶相樓（見Clark著，《Two Lamaistic Pantheons》，1937年）與梵華樓（見王家鵬主編，《梵華樓藏寶 ‧ 佛像》，全二冊，2013年）。每間佛樓最初都供奉了787尊皇家私用造像。寶相樓眾佛像於1771年完工，以賀太后八十大壽；而梵華樓之神佛殿堂則於1774年完工，後成為乾隆退位寢宮的一部分。此二次造像工程皆由若必多傑（1717-86年）設計，其為清廷最高階格魯派喇嘛、乾隆的私人上師兼童年好友。由於每間佛樓所需作品數量龐大，這些銅像因諸多藝術家們所受訓練或個人偏好不同而呈現不同風格。有些作品效仿明初造像的面目圓潤的特徵，而這尊佛像的尖狀鼻子和下巴則與承襲扎納巴扎爾（1635-1723年）風格的蒙古藝術家們有關。刻乾隆七字年款之銅像，可參見紐約蘇富比於2015年3月17日（拍品376）和2016年3月16日（拍品371）所呈現之兩件拍品，以及紐約佳士得於2007年3月22日（拍品215）拍出之另一例。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STUPA EN ÉMAUX CLOISONNÉES ET ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLE64 cm (25 1/4 in.) high Footnotes:A CLOISONNÉ ENAMEL AND GILT COPPER ALLOY STUPAQING DYNASTY, 18TH CENTURY ProvenanceAn American CollectionChristie's, Paris, 13 June 2018, lot 209 This unusually large gilt-bronze and cloisonné enamel stupa follows the most ancient form of stupa replicating the monumental burial mounds of ancient India that were appropriated into Buddhism as depositories for Buddha's relics. The stupa is dominated at the centre by a large dome and aperture wreathed with gold, resting on a circular stepped base and surmounted by a tall spire consisting of thirteen stacked gold discs telescoping in size from large to small in an upward direction, representing the ten bodhisattva levels and the three stages of a buddha, tapering towards the top and crowned by an ornate parasol suspending strands of beads, and topped by a tapering flame diminishing into the state of luminosity-emptiness, all set on a gilt-metal tiered circular pedestal and entirely decorated with lotus scrolls on a vibrant turquoise ground. The elaborate shape of this stupa evolved over a long time. Originally, burial mounds were erected over the bodies of great teachers who were buried in a seated, meditative position. The basic form of the stupa was adopted by Buddhists who saw the dome of the stupa not just containing a great master seated in meditation, but Buddha seated in padmasana with his legs crossed in a meditative pose when he achieved enlightenment, his upright body represented by the tall spire of stacked discs, and the top of the spire representing his head. As Buddhist doctrine spread from India to Nepal, Tibet and China, the form of the stupa changed while their function remained the same. Stupa were made in large as well as smaller, scaled-down versions, and in many different materials, often containing small relics or a small image of Buddha. This large stupa would also have contained an image of the seated Buddha Amitayus, the Buddha of Infinite Life, within the cavity of the dome, the unmoving center, a space of stillness, peace, and enlightenment. The spire (yasti) symbolizing the axis mundi, centre of the cosmos bisecting sacred Mount Meru, centre of the Buddhist world, surrounded by a harmika and crowned by an umbrella (chattra). This impressive gilt-bronze and cloisonné enamel stupa was made in the 18th century, probably during the reign of the Qianlong emperor (1736-95), a devout practitioner of the Tibetan form of Buddhism. Its unusually large size, attention to detail including the multi-tiered base and stairs recall imperial architecture, suggesting that this stupa was commissioned by the Qing court. The strong imperial patronage of Tibetan Buddhism and the support of the Dalai and Panchen lamas of Tibet was an important point in pacifying the Tibetan-Mongolian subjects. Between the three Qing emperors Kangxi (1662-1722), Yongzheng (1723-35) and Qianlong (1736-95), twenty-five Tibetan Buddhist temples were founded, all three emperors being the dominant financial supporters. Under the Qianlong emperor, Beijing, Chengde and Mount Wutai in Shanxi were transformed into major Tibetan Buddhist centres, the emperor initiating and financing the construction of many monasteries of the dominant Gelugpa order. He similarly initiated the construction of Tibetan Buddhist shrines within his many palaces, dedicating the largest part of religious space within the Forbidden City to Tibetan Buddhist shrines with resident lama, see Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City. The Glorious Reign of Emperor Qianlong, New York, 2004, pp. 128-130. Six shrines dedicated to Tibetan Buddhism with a distinctive layout were constructed in the imperial residences for the emperor's personal use, three of them in the Forbidden City in Beijing. Each shrine consisted of six double-storied cells flanking a central hall, all furnished with large religious paintings, images, and ritual objects. In the Fanhua Lou, the Building of Buddhist Brilliance, located in the retirement compound of the Qianlong emperor in the Forbidden City, a monumental cloisonné enamel stupa is at the centre of each cell (Fig. 1), see The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 148-149 and pl. 141; also Chuimei Ho and Bennet Bronson, op.cit., pp. 133-139. A pair of massive stupa can be seen flanking the main altar at the Pu-to-cong-cheng (Temple of the Potalaka Doctrine) at the Imperial Summer Retreat in Chengde, see A Special Exhibition of Buddhist Gilt Votive Object, Taipei, 1995, p. 20, fig. 5. As a sign of filial piety and devotion to Tibetan Buddhism, in 1777, the Qianlong emperor decreed a stupa be made of solid gold to store his mother's hair after her death together with an image of the Buddha Amitayus, see Chuimei Ho and Bennet Bronson, op.cit., pp. 152-153, fig. 181. Several cloisonné enamel stupa of 18th century date are known. Compare, for example, a cloisonné enamel stupa of the same size, also dated to the 18th century, in the collection of the National Museum of Art, Smithsonian Institution, Washington, DC, accession number F1991.6. A slightly smaller, gilt-bronze and cloisonné enamel stupa in the Palace Museum collection, Beijing, is published in The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 150, p. 142. A smaller example formerly in the Ann and Gordon Getty collection, was sold in Christie's New York, 23 October 2022, lot 524.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金掐絲琺瑯佛塔清 十八世紀來源美國私人收藏佳士得，巴黎，2018年6月13日，拍品209這座構造龐大的銅鎏金掐絲琺琅佛塔，遵循了古印度存放佛陀舍利的墓丘佛塔的樣式。佛塔中央見大圓頂及開口，圓頂周圍鑲有金絲，底部是一個圓形階梯基座，上面是由十三個金盤組成的高塔尖，金盤由下至上尺寸遞減，代表十個菩薩層次和三個佛陀的階段，頂部是則為華蓋，懸掛串珠，並以逐漸變細的火焰作為頂飾，象徵光明空性的狀態。此構造安置於一個銅鎏金圓形底座上，整體裝飾有捲葉蓮紋，底色為鮮艷的綠松石色。大型佛塔內部成為一個靜止、安寧、和平與令人得開悟之空間，或曾供奉一尊無量壽佛像。尖塔（剎）象徵著世界的軸心，穿過須彌山正中，即佛教世界的中心。佛塔之鑄造工藝精湛，銅鎏金以及掐絲琺琅相映成輝，可能製作於十八世紀，或為乾隆皇帝（1736-95）在位期間。乾隆正是一位虔誠的藏傳佛教修行者。其不尋常的碩大尺寸，以及多層基座及階梯上的精緻細節，讓人聯想到皇家建築，表明這座佛塔可能是由清朝宮廷所委託而造。對藏傳佛教的鼎力資助，以及對西藏達賴和班禪喇嘛的支持，是清廷穩定藏蒙兩族人民的重要方式。在康熙（1662-1722）、雍正（1723-35）和乾隆（1736-95）三位皇帝在位年間，一共建立了二十五座藏傳佛教寺廟，而皇帝都是其主要的財政支持者。在乾隆皇帝統治下，北京承德以及山西五台山皆轉化為主要的藏傳佛教聖地，由皇帝發起並資助了許多當時極盛的格魯派的寺廟。同時，乾隆亦在其諸多宮殿內建立佛堂，將紫禁城內主要的宗教場所變為駐有喇嘛高僧之佛堂（見Chuimei Ho 及 Bennet Bronson，《Splendors of China's Forbidden City ——The Glorious Reign of Emperor Qianlong》，紐約，2004年，頁128-130。已知幾件亦為十八世紀之掐絲琺瑯佛塔可資比較。例如，一件同樣大小的掐絲琺瑯佛塔，收藏於華盛頓特史密森尼學會國家藝術博物館（編號F1991.6）。另一件略小的鎏金掐絲琺瑯佛塔著錄於《故宮博物院藏文物珍品大系43：金屬胎琺瑯器》，香港，2002年，頁150，圖版142。另一較小之例，曾屬於Ann 及 Gordon Getty 收藏，於2022年10月23日在紐約佳士得拍賣，拍品524。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Two sets of three moulded earthenware children's plates, possibly South Wales Pottery, Llanelly, c. 1850, transfer printed in green or black with temperance arms, maxim and motto, 15cm diam and smaller, a pair of New Hall Boy & the Butterfly pattern saucers, and a Liverpool Cannonball pattern saucer, probably James Pennington, late 18th c (9) One octagonal plate stained, one of the black printed plates with two small chips under the rim, another with a faint star crack in centre not visible from front, saucers undamaged

Five New Hall and other Staffordshire tea bowls and saucers and another saucer, c1790-1800, various sizes Blue rock saucer broken and re-stuck. Black and gilt saucer cracked

A George VI four-piece silver tea service and an Elizabeth II additional silver sugar bowl, with floral engraved border, lidded jug 21cm h, by Walker & Hall Ltd, Sheffield 1937, 1939, 1942 and 1969, 71ozs 8dwts Practically as new, no engraving

Dame Ethel Walker DBE ARA, British 1861-1951 - Study for 'The Four Seasons, Decor n.4'; watercolour and ink on collaged paper, 49.5 x 44 cm Provenance: possibly with Lefevre Gallery, London (blank gallery label attached to the reverse of the frame); Fairlie Harmer (1876–1945); Phillips, Tuesday 22nd November 1969, Lot 186; R. Knight, purchased from the above (according to the invoice and inscription on the reverse of the frame); private collection Exhibited: Empire Art Loan Collections Society, London, no.190 (according to the label attached to the reverse)Note: Fairlie Harmer was a friend and neighbour of Ethel Walker in Chelsea. There are a number of works by the artist in UK public collections including Walker Art Gallery, Liverpool, Manchester Art Gallery and the Ashmolean, Oxford. The present work is a study for a mural, or 'decoration' as the artist titled them, 'The Four Seasons' now in the collection of Abbot Hall, Kendal. Many of these Walker's decorations feature mythological or allegorical figures, such as the and evoke a female utopia, similar to the imagery of her French contemporary, Marie Laurencin. There are letters in the Tate Archive to Grace English regarding the loan of what is possibly this work for a touring exhibition to Australia and New Zealand, 'British Watercolours 1914-1953'. Tate Britain recently had several of these decorations on display until March 2024, including one of her largest paintings, 'Decoration: The Excursion of Nausicaa, 1920', and 'The Zone of Hate, 1914-15'. 

° ° Sussex - 48 works relating to Sussex consisting of: Hutchinson, Margaret - A childhood in Edwardian Sussex, Saiga Publishing Co. Ltd., 1981Spence, Keith - A Companion Guide to Kent & Sussex, Collins, 1st ed., 1973Maxwell, Donald - A Detective in Sussex, The Bodley Head,1932Peter Gwynne - A History of Sussex, Phillimore, 1990Godfrey, Walter H. - A History of Lewes, Lewes Borough Council1971Armstrong, J.R. - A History of Crawley, Phillimore,1990Armstrong, J.R. - A History of Sussex, Phillimore,1961 1st edition, 1984Page FSA, William, Editor - A Peep into the Past, James Street, 1905Bishop, John George - A Saunterer in Sussex, Herald Office, 1892Copper, Bob - A Song for every season, Country Book Club, 1972Summers, Leonard A. - A Southern Sketch Book, The Homeland Association, 1st ed., 1921Bond, Peggie - A Shop in LewesPayne, Shaun & Pailthorpe, Richard - A Sussex Christmas, Alan Sutton 1990Ridge, Dudley - A Sussex Family the Ridge family, Phillimore, 1st ed. 1975, £5Collins, Sophie - A Sussex MiscellanySargent, Gilbert (edited by Dave Arthur) - A Sussex Life, Barrie & Jenkins, 1st ed., 1989Wilkinson, Walter - A Sussex Peepshow, Geoffrey Bles, 1st ed., 1933Boogart, Pieter - A272 An Ode to a Road, Pallas Athene, ?199?Copper, Bob - Across Sussex with Belloc, Alan Sutton Publishing LtdHarrison, David - Along the South Downs, Cassel 1975, 1st Ed, 2nd impressionLeslie, Kim & Short, Brian - An Historical Atlas, Phillimore, 1999Cook, C.F. - Another Book of Sussex Verse, Hove SX Gombridges, 1928Cartland, James (& Hendrick, T.W.) - Arundel - A Picture of The Past, Phillimore & Co, 1978Gwendolen - Duchess of Norfolk - Arundel Castle, William Heinemann, 1918Christian, Garth - Ashdown Forest, Farncombe & Co., 1983Hunt, Arthur - Ashurst Wood in the 20h Century, Danewood Press, 2000Edwards, Robert - Attitude to Sussex, Burble,1995Kipling, Rudyard - Barrack Room Ballards, Methuen, 1902Official Guide, Bexhill, ?1954Sawyer FSA, Frederick E. - Black's Guide to the County of Sussex and its Watering Places, Adam and Charles Black,1892Sitwell, Osbert & Barton, Margaret - Brighton, Faber & Faber, 1935?, 1st ed.Underwood, Eric - Brighton, B. T. Batsford Ltd, 1978Middleton, Judy - Brighton & Hove in old photographs, Alan Sutton, 1988Middleton, Judy - Brighton and Hove - picture postcards, SB Publications, 1991Melville, Lewis - Brighton its History Follies Fashions, Chapman & Hall, 1909Dale, Antony & Gray, James S. - Brighton Old & New, EP Publishing Ltd,1976Tombs, Joyce - By Way of Beachy Head, Praxis Books, 1996Evans, A.A. - By Weald and Down, Methuen & Co Ltd,1939, 1st ed.Fuller & Turner - Bygone Uckfield, Phillimore, 1988Matthews, Mike - Captain Swing, Hastings Press,1999 2006Save the Children Fund - Childhood in Sussex, SCF, 1988City Council - City of Chichester, R. J. Ackford Ltd, 1967Come to Sussex Official County Guide - The County Associations Ltd, ? 1950'sWymer, Norman - Companion Into Sussex, Spurbooks Ltd, 1972 (1st ed.)Copthorne Village Millennium Group - Copthorne the Story So Far, C Millennium GP, 1999***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Original New York Giants team baseball including Hall of Famers Willie Mays and Leo Durocher ink signed. Includes two stamps: Official National League with Commissioner Ford C. Frick signature, and one Spalding manufacturer stamp. In BallQube display box. Box size: 3.25"L x 3.25"W x 3.25"H. This item has its original box. Issued: c. 1950Dimensions: 3.25"L x 3.25"W x 3.25"HCountry of Origin: United StatesCondition: Age related wear.

Original New York Yankees 1951 World Series winning team signed baseball. Includes Hall of Famers Mickey Mantle, Joe DiMaggio, Yogi Berra, Billy Martin, Johnny Mize. ink signatures. Includes two stamps: Official American League with President William Harridge signature, and one Reach manufacturer stamp. Set in a BallQube display. Box size: 3.25"L x 3.25"W x 3.25"H. This item has its original box. Issued: 1951Dimensions: 3.25"L x 3.25"W x 3.25"HCountry of Origin: United StatesCondition: Age related wear.

Original New York Yankees World Series winning team signed baseball. Includes Hall of Famers Casey Stengel, Mickey Mantle, Yogi Berra, Billy Martin, and Phil Rizzuto ink signatures. Includes two stamps: Official American League with Commissioner Harridge signature, and one Reach manufacturer stamp. Set in a BallQube display. Box size: 3.25"L x 3.25"W x 3.25"H. This item has its original box. Issued: 1952Dimensions: 3.25"L x 3.25"W x 3.25"HCountry of Origin: United StatesCondition: Age related wear.

HERMÈS 140 Schal "WASHINGTON CARRIAGE", by Caty Latham, Entwurf erstmals erschienen 1979. Akt. NP.: 1.180,-€. Kaschmir- und Seidengemisch. Inspiration für dieses Motiv stammt von einem Werk von J. Robert Hart, ein Aquarell aus dem Jahr 1792 stellt in der Art eines Karosseriebauers einen "Schnitt aus George Washingtons in London hergestelltem Wagen" dar. 1789, fuhr der erste Präsident der Vereinigten Staaten von Amerika in diesem Coupé von New Yorker Federal Hall, wo er seinen Amtseid ablegte. Handrollierte Säume. 140 x 140 cm. Dezente Tragespuren vorhanden. | HERMÈS 140 scarf "WASHINGTON CARRIAGE", by Caty Latham, design first published in 1979. Retail price: 1.180,-€. Cashmere and silk blend. The inspiration for this motif comes from a work by J. Robert Hart, a watercolour from 1792 depicting a "section of George Washington's carriage made in London" in the style of a coachbuilder. In 1789, the first President of the United States of America rode in this coupé from New York's Federal Hall, where he took the oath of office. Hand rolled hems. 140 x 140 cm. Discreet signs of wear present.

A mixed collection of items to include New Hall mugs, Commemorative ware, Royal Belvedere figure, Spode Billingsley Rose Sprays Egg cups, etc (1 tray)

Jessamine KENDALL neé Leach (1920-2014) Tubular silver and lapis beads with African trade beads Silver, stamped, length 66cm.Jessamine had been inspired as a child by watching her father Bernard Leach unpick the glass beads of an old lace bobbin, to re-make it into a necklace for her sister Eleanor. Later on when visiting Patrick Heron and his family, she had been fascinated by seeing Susanna Heron’s jewellery, as well as by visits to the V&A and the British Museum. She loved ancient beads and collected coral, amber, cornelian and lapis lazuli amongst other things. She began working from home, putting the beads she had collected together with her own silver beads to create necklaces and earrings. She had her first exhibition at the newly opened Casson Gallery in London, which opened in May 1974. This was followed by showing her work in the annual ‘Loot’ exhibitions at Goldsmiths’ Hall and taking part in selling exhibitions in galleries around the country. Whilst developing her creative practice, she formed a new relationship with Dicon Nance, an exceptional craftsman who had been an important assistant at the Leach pottery and to Barbara Hepworth. Together, they moved to an old Devon longhouse on Dartmoor, where Dicon provided invaluable practical solutions to many technical problems encountered by Jassamine in her jewellery making as well as helping her to create a beautiful garden from a farmer’s hillside field. She went on to become a member of the Devon Guild of Craftsmen and exhibited her work there as well as at other galleries. Excerpts from ‘The Hidden Twin Daughters’ by David Kendall. Leach Pottery website Purchased from Devon Guild, 1997.Over the last 40 years, Ian & Ann Head have gathered an outstanding collection of about 1000 paintings, prints, pieces of jewellery and studio pottery, buying predominately from galleries across the UK, including Beaux-Arts and The Candover Gallery. It has been a pleasure to meet Ian & Ann and learn about their artistic passions and the arc of their collecting process. In this sale we have some particularly glorious works by Mary Fedden, Breon O’Casey and Bryan Pearce, alongside other paintings from their collection, also beautiful jewellery by Jessamine Kendall who was the daughter of Bernard Leach.We are delighted to be offering an impressive selection of Ian and Ann’s studio pottery including John Maltby, Jim Malone, Janet Leach, Bill Marshall and many more in our inaugural Studio Pottery sale on the 5th of September.

Jessamine KENDALL neé Leach (1920-2014) Lapis and ancient Carnelian necklace Silver, stamped, length 44.5cm.Jessamine had been inspired as a child by watching her father Bernard Leach unpick the glass beads of an old lace bobbin, to re-make it into a necklace for her sister Eleanor. Later on when visiting Patrick Heron and his family, she had been fascinated by seeing Susanna Heron’s jewellery, as well as by visits to the V&A and the British Museum. She loved ancient beads and collected coral, amber, cornelian and lapis lazuli amongst other things. She began working from home, putting the beads she had collected together with her own silver beads to create necklaces and earrings. She had her first exhibition at the newly opened Casson Gallery in London, which opened in May 1974. This was followed by showing her work in the annual ‘Loot’ exhibitions at Goldsmiths’ Hall and taking part in selling exhibitions in galleries around the country. Whilst developing her creative practice, she formed a new relationship with Dicon Nance, an exceptional craftsman who had been an important assistant at the Leach pottery and to Barbara Hepworth. Together, they moved to an old Devon longhouse on Dartmoor, where Dicon provided invaluable practical solutions to many technical problems encountered by Jassamine in her jewellery making as well as helping her to create a beautiful garden from a farmer’s hillside field. She went on to become a member of the Devon Guild of Craftsmen and exhibited her work there as well as at other galleries. Excerpts from ‘The Hidden Twin Daughters’ by David Kendall. Leach Pottery website Purchased from the Devon Guild, 1995Over the last 40 years, Ian & Ann Head have gathered an outstanding collection of about 1000 paintings, prints, pieces of jewellery and studio pottery, buying predominately from galleries across the UK, including Beaux-Arts and The Candover Gallery. It has been a pleasure to meet Ian & Ann and learn about their artistic passions and the arc of their collecting process. In this sale we have some particularly glorious works by Mary Fedden, Breon O’Casey and Bryan Pearce, alongside other paintings from their collection, also beautiful jewellery by Jessamine Kendall who was the daughter of Bernard Leach.We are delighted to be offering an impressive selection of Ian and Ann’s studio pottery including John Maltby, Jim Malone, Janet Leach, Bill Marshall and many more in our inaugural Studio Pottery sale on the 5th of September.

Jessamine KENDALL neé Leach (1920-2014) Incised Lapis and Glass necklace Silver, stamped, length 50cm. Together with a second Lapis, Carnelian and silver necklace, stamped, length 45cm. (2)Jessamine had been inspired as a child by watching her father Bernard Leach unpick the glass beads of an old lace bobbin, to re-make it into a necklace for her sister Eleanor. Later on when visiting Patrick Heron and his family, she had been fascinated by seeing Susanna Heron’s jewellery, as well as by visits to the V&A and the British Museum. She loved ancient beads and collected coral, amber, cornelian and lapis lazuli amongst other things. She began working from home, putting the beads she had collected together with her own silver beads to create necklaces and earrings. She had her first exhibition at the newly opened Casson Gallery in London, which opened in May 1974. This was followed by showing her work in the annual ‘Loot’ exhibitions at Goldsmiths’ Hall and taking part in selling exhibitions in galleries around the country. Whilst developing her creative practice, she formed a new relationship with Dicon Nance, an exceptional craftsman who had been an important assistant at the Leach pottery and to Barbara Hepworth. Together, they moved to an old Devon longhouse on Dartmoor, where Dicon provided invaluable practical solutions to many technical problems encountered by Jassamine in her jewellery making as well as helping her to create a beautiful garden from a farmer’s hillside field. She went on to become a member of the Devon Guild of Craftsmen and exhibited her work there as well as at other galleries. Excerpts from ‘The Hidden Twin Daughters’ by David Kendall. Leach Pottery website The first, purchased from New Ashgate, 1996. The second, purchased from Devon Guild, 1996.Over the last 40 years, Ian & Ann Head have gathered an outstanding collection of about 1000 paintings, prints, pieces of jewellery and studio pottery, buying predominately from galleries across the UK, including Beaux-Arts and The Candover Gallery. It has been a pleasure to meet Ian & Ann and learn about their artistic passions and the arc of their collecting process. In this sale we have some particularly glorious works by Mary Fedden, Breon O’Casey and Bryan Pearce, alongside other paintings from their collection, also beautiful jewellery by Jessamine Kendall who was the daughter of Bernard Leach.We are delighted to be offering an impressive selection of Ian and Ann’s studio pottery including John Maltby, Jim Malone, Janet Leach, Bill Marshall and many more in our inaugural Studio Pottery sale on the 5th of September.

Jessamine KENDALL neé Leach (1920-2014) Lapis, Carnelian and Crystal necklace Silver, stamped, length 46cm.Jessamine had been inspired as a child by watching her father Bernard Leach unpick the glass beads of an old lace bobbin, to re-make it into a necklace for her sister Eleanor. Later on when visiting Patrick Heron and his family, she had been fascinated by seeing Susanna Heron’s jewellery, as well as by visits to the V&A and the British Museum. She loved ancient beads and collected coral, amber, cornelian and lapis lazuli amongst other things. She began working from home, putting the beads she had collected together with her own silver beads to create necklaces and earrings. She had her first exhibition at the newly opened Casson Gallery in London, which opened in May 1974. This was followed by showing her work in the annual ‘Loot’ exhibitions at Goldsmiths’ Hall and taking part in selling exhibitions in galleries around the country. Whilst developing her creative practice, she formed a new relationship with Dicon Nance, an exceptional craftsman who had been an important assistant at the Leach pottery and to Barbara Hepworth. Together, they moved to an old Devon longhouse on Dartmoor, where Dicon provided invaluable practical solutions to many technical problems encountered by Jassamine in her jewellery making as well as helping her to create a beautiful garden from a farmer’s hillside field. She went on to become a member of the Devon Guild of Craftsmen and exhibited her work there as well as at other galleries. Excerpts from ‘The Hidden Twin Daughters’ by David Kendall. Leach Pottery website Purchased from the Devon Guild, 1995Over the last 40 years, Ian & Ann Head have gathered an outstanding collection of about 1000 paintings, prints, pieces of jewellery and studio pottery, buying predominately from galleries across the UK, including Beaux-Arts and The Candover Gallery. It has been a pleasure to meet Ian & Ann and learn about their artistic passions and the arc of their collecting process. In this sale we have some particularly glorious works by Mary Fedden, Breon O’Casey and Bryan Pearce, alongside other paintings from their collection, also beautiful jewellery by Jessamine Kendall who was the daughter of Bernard Leach.We are delighted to be offering an impressive selection of Ian and Ann’s studio pottery including John Maltby, Jim Malone, Janet Leach, Bill Marshall and many more in our inaugural Studio Pottery sale on the 5th of September.

Jessamine KENDALL neé Leach (1920-2014) Glass and silver bead necklace Stamped, length 43cm.Jessamine had been inspired as a child by watching her father Bernard Leach unpick the glass beads of an old lace bobbin, to re-make it into a necklace for her sister Eleanor. Later on when visiting Patrick Heron and his family, she had been fascinated by seeing Susanna Heron’s jewellery, as well as by visits to the V&A and the British Museum. She loved ancient beads and collected coral, amber, cornelian and lapis lazuli amongst other things. She began working from home, putting the beads she had collected together with her own silver beads to create necklaces and earrings. She had her first exhibition at the newly opened Casson Gallery in London, which opened in May 1974. This was followed by showing her work in the annual ‘Loot’ exhibitions at Goldsmiths’ Hall and taking part in selling exhibitions in galleries around the country. Whilst developing her creative practice, she formed a new relationship with Dicon Nance, an exceptional craftsman who had been an important assistant at the Leach pottery and to Barbara Hepworth. Together, they moved to an old Devon longhouse on Dartmoor, where Dicon provided invaluable practical solutions to many technical problems encountered by Jassamine in her jewellery making as well as helping her to create a beautiful garden from a farmer’s hillside field. She went on to become a member of the Devon Guild of Craftsmen and exhibited her work there as well as at other galleries. Excerpts from ‘The Hidden Twin Daughters’ by David Kendall. Leach Pottery website Purchased directly from the artist, 2005.Over the last 40 years, Ian & Ann Head have gathered an outstanding collection of about 1000 paintings, prints, pieces of jewellery and studio pottery, buying predominately from galleries across the UK, including Beaux-Arts and The Candover Gallery. It has been a pleasure to meet Ian & Ann and learn about their artistic passions and the arc of their collecting process. In this sale we have some particularly glorious works by Mary Fedden, Breon O’Casey and Bryan Pearce, alongside other paintings from their collection, also beautiful jewellery by Jessamine Kendall who was the daughter of Bernard Leach.We are delighted to be offering an impressive selection of Ian and Ann’s studio pottery including John Maltby, Jim Malone, Janet Leach, Bill Marshall and many more in our inaugural Studio Pottery sale on the 5th of September.

Jessamine KENDALL neé Leach (1920-2014) Brass, silver and African trade bead necklace Stamped, length 46cm.Jessamine had been inspired as a child by watching her father Bernard Leach unpick the glass beads of an old lace bobbin, to re-make it into a necklace for her sister Eleanor. Later on when visiting Patrick Heron and his family, she had been fascinated by seeing Susanna Heron’s jewellery, as well as by visits to the V&A and the British Museum. She loved ancient beads and collected coral, amber, cornelian and lapis lazuli amongst other things. She began working from home, putting the beads she had collected together with her own silver beads to create necklaces and earrings. She had her first exhibition at the newly opened Casson Gallery in London, which opened in May 1974. This was followed by showing her work in the annual ‘Loot’ exhibitions at Goldsmiths’ Hall and taking part in selling exhibitions in galleries around the country. Whilst developing her creative practice, she formed a new relationship with Dicon Nance, an exceptional craftsman who had been an important assistant at the Leach pottery and to Barbara Hepworth. Together, they moved to an old Devon longhouse on Dartmoor, where Dicon provided invaluable practical solutions to many technical problems encountered by Jassamine in her jewellery making as well as helping her to create a beautiful garden from a farmer’s hillside field. She went on to become a member of the Devon Guild of Craftsmen and exhibited her work there as well as at other galleries. Excerpts from ‘The Hidden Twin Daughters’ by David Kendall. Leach Pottery website Purchased directly from the artist, 2001.Over the last 40 years, Ian & Ann Head have gathered an outstanding collection of about 1000 paintings, prints, pieces of jewellery and studio pottery, buying predominately from galleries across the UK, including Beaux-Arts and The Candover Gallery. It has been a pleasure to meet Ian & Ann and learn about their artistic passions and the arc of their collecting process. In this sale we have some particularly glorious works by Mary Fedden, Breon O’Casey and Bryan Pearce, alongside other paintings from their collection, also beautiful jewellery by Jessamine Kendall who was the daughter of Bernard Leach.We are delighted to be offering an impressive selection of Ian and Ann’s studio pottery including John Maltby, Jim Malone, Janet Leach, Bill Marshall and many more in our inaugural Studio Pottery sale on the 5th of September.

POLIAKOFF, SERGE1900 Moskau - 1969 ParisTitel: Composition grise. Datierung: 1956. Technik: Öl auf Leinwand. Maße: 97 x 130cm. Bezeichnung: Signiert unten links: SERGE PoLiAKoFF. Rahmen/Sockel: Modellrahmen. Provenienz:- Knoedler & Co, New York- Privatsammlung DeutschlandAusstellungen:- Galerie S. Mamède, Lissabon 1972 (Aufkleber)- Musée Fabre, Montpellier 1974- Musée des Beaux-Arts, La-Chaux-de-Fonds 1975- Galerie Melki, Basel 1976 (Aufkleber)- Pori Art Museum, Pori/Finnland 1983- Kunsthalle Helsinki, 1984- Malmö Konsthall, 1984 (Aufkleber)- Association Campredon Art et Culture, L'Isle-sur-la-Sorgue 1986 (Aufkleber)- Fondation Pierre Gianadda, Martigny 1987- The Seibu Museum of Art, Tokyo 1988 (Aufkleber)- Tsukashin Hall, Amagasaki 1988- Galerie Melki, Paris 1991 (Aufkleber)- Museum Würth, Künzelsau 1997- Künstlerhaus Wien, 1998Literatur: - Poliakoff, Alexis: Serge Poliakoff - Catalogue Raisonné, Vol. II, 1955-1958, Paris 2010, WVZ.-Nr. 56-76, Abb.- Ausst.-Kat. Poliakoff, Galeria S. Mamède, Lissabon 1972, Kat.-Nr. 16, Abb.- Ausst.-Kat. Serge Poliakoff, Musée Fabre, Montpellier 1975, Kat.-Nr. 13- Ausst.-Kat. Serge Poliakoff, Musée des Beaux-Arts, La-Chaux-de-Fonds 1975, Kat.-Nr. 13- Ausst.-Kat. Klar Form II, Pori Art Museum, Pori 1984/Malmö Konsthall, 1984, Kat.-Nr. 88, Abb. - Ausst.-Kat. Serge Poliakoff, Association Campredon Art et Culture, L'Isle-sur-la-Sorgue 1986, S. 17, Abb.- Ausst.-Kat. Serge Poliakoff, Fondation Pierre Gianadda, Martigny 1987, S. 17, Abb. - Ausst.-Kat. Serge Poliakoff, The Seibu Museum of Art, Tokyo 1988/Tsukashin Hall, Amagasaki 1988, Kat.-Nr. 29, S. 46, Abb.- Ausst.-Kat. Serge Poliakoff, Galerie Melki, Paris 1991, Kat.-Nr. 29, S. 81, Abb. - Ausst.-Kat. Poliakoff - Eine Retrospektive, Museum Würth, Künzelsau 1997, S. 138, Abb.- Ausst.-Kat. Serge Poliakoff, Künstlerhaus Wien, 1998, S. 138, Abb.- Durozoi, Gérard: Serge Poliakoff, Angers 2001, S. 188 Abb.- Im Entstehungsjahr dieses Gemäldes war Poliakoff Preisträger des renommierten Premio Lissone- Durch den Pinselduktus entsteht eine immense Plastizität und Lebendigkeit inmitten der ausgewogenen Komposition- Beeindruckende Ausstellungshistorie mit wichtigen Ausstellungen in Europa und AsienDas Geheimnis der Lebendigkeit der FarbenIm Zentrum eines Meers aus grünlichen Grautönen begegnen sich zwei Formen, die den Blick anziehen: ein Rot und ein Schwarz.In diesem Gemälde, das Serge Poliakoff 1956 malte, sind alle Farbwerte der ihm so eigenen "Bausteine" vage, in sich polychrom und changierend. Die Oberfläche des Rot flimmert mit seinen Schwarzanteilen, während aus den Tiefen der schwarzen Form ein leuchtendes Gelb hervor strahlt. Aber auch das vermeintlich graue Umfeld ist vielfarbig. Rote und blaue Farbwerte schimmern aus den tieferen Schichten durch. Grünes Pigment ist dem helleren Grau beigemengt. Helle und dunkle Grautöne überdecken einander in lebhafter Spachtel- und Pinselstruktur und geben den Formen eine haptische Oberfläche.Es gibt eine Anekdote darüber, wie Serge Poliakoff sich den Tiefenaufbau eines Gemäldes, die Über- und Untermalung "begreifbar" gemacht hat: Bei einem Besuch des British Museum (während seines zweijährigen Aufenthalts in London in den 1930er Jahren) war Poliakoff durch den außergewöhnlichen Farbton und die besondere Beschaffenheit der Farbe eines ägyptischen Sarkophags derart neugierig geworden, dass er eines Tages die kurze Abwesenheit eines Museumswächters nutzte, um ein Sakrileg zu begehen: Mit einem extra zu diesem Zweck mitgenommenen Messer kratzte er etwas Farbe von einem der Sarkophage ab, um so die einzelnen übereinander bzw. untereinander liegenden Farbschichten freizulegen. Der so ermittelte Befund deckte sich mit dem, was er längst in seiner künstlerischen Ausbildung gelernt hatte: die Leuchtkraft und Lebendigkeit der Farbtöne beruht auf der Überlagerung einzelner Schichten. (Vgl.: Karin Koschkar: Serge Poliakoff - Biografie. In: Serge Poliakoff. Retrospektive. Ausst.-Kat. Emden 2007, S 185 f.)Die Nähe zu den Skulpturen Otto Freundlichs, die Poliakoffs Formfindung stark beeinflusst haben, wird in diesem Gemälde deutlich. Die Elemente bekommen durch den lebhaften Duktus eine immense Plastizität; zudem lädt der Meister der École de Paris zu einem Vexierspiel ein: Die Formen sind so angeordnet, dass sie bei intensiver, anhaltender Betrachtung in manchen Bereichen ein Vorne und Hinten suggerieren. Dabei kommt aber keinerlei Unruhe auf, die Komposition ist perfekt auf ihre Stabilität austariert.Die Verkörperung des ErfolgsDieses Gemälde stammt aus der Lebensphase Serge Poliakoffs, in der er nach vielen Jahrzehnten der Unsicherheit nun ganz arriviert war. Er war sich seines eigenen künstlerischen Ausdrucks sicher und hatte seit 1952 eine finanzielle Basis erlangt, die es ihm ermöglichte, von seiner Kunst zu leben. Nun, vier Jahre später, war seine gesellschaftliche und künstlerische Anerkennung so groß, dass er und seine Familie einen ersten festen Wohnsitz in Paris hatten und sich auch manchen Luxus gönnen konnten, mit dem der in großbürgerlichen Kreisen Moskaus aufgewachsene Künstler vertraut war: Er wurde Besitzer eines Rennpferdes und eines (gebrauchten) Rolls Royces.1956, im Entstehungsjahr dieses Gemäldes, war Poliakoff Preisträger des renommierten Premio Lissone und es erschien die erste Monographie über ihn.Exemplarisch für diese so überaus positive Phase im Leben des Malers ist die "Composition grise" immer wieder bei wichtigen Ausstellungen in Europa und Asien gezeigt worden und hat in dieser Hinsicht eine ganz außergewöhnliche Historie.Serge Poliakoffs Werke sind Klassiker. Es ist zeitlos faszinierend, sie zu studieren und sich ihrer Wirkung zu überlassen. Mit seinem einfachen aber unerschöpflichen Formenkanon und dem auf wenige Pigmente zurückzuführenden unendlichen Farbspektrum hat er verschiedenartigste Gemälde und Gouachen geschaffen, die aber alle in ihrem Wesen Andachtsbilder sind. Den Reiz dieser Wirkung zu erfahren und zu verstehen braucht Zeit - und kein Messer, das an der Farbe kratzt. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Serge Poliakoff Frankreich Nouvelle École de Paris Tachismus Moderne Kunst Unikate 1950er Modellrahmen Formen Gemälde Öl Farbe

A LARGE DAMASCUS HEXAGONAL TILE, OTTOMAN SYRIA, 1550-1600 underglaze painted fritware, the cintamani and tiger stripe design executed in black under and transparent turquoise tinted glaze, mounted for wall hanging, 29 x 26.3cm (max. and min. diam.)Provenance: Sir Howard Hodgkin (1932-2017). Acquired at auction in Paris.Published: Millner 2015, fig.6.122, p.298.The design of this series of large hexagonal tiles comes in two palettes: blue in two tones with apple green on a white ground, and black with turquoise ground as here. It is not known which building they originally came from, but there are several examples of both types in museums across the world, including the Victoria and Albert Museum, London, where there is a panel of eleven pieces, the British Museum, the Potteries Museum, Stoke on Trent, the Louvre, Paris, the Brooklyn Museum, New York, the Sadberk Hanim Museum, Istanbul and the David Collection, Copenhagen. Hexagonal tiles were much more commonly used in the 15th and early 16th centuries in Syria, but the design on this tile makes its classical Ottoman date unambiguous. The only substantial group of Ottoman hexagonal tiles still remaining in situ in Damascus are to be found in the prayer hall and courtyard of the Darwishiyya Mosque (1575), but these are in a variety of other designs. For an example of the white ground version in the Potteries Museum, Stoke on Trent, see Millner 2015, fig.6.91, p.282. For the Victoria and Albert Museum panel, see https://collections.vam.ac.uk/item/O113293/tile-unknown/