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BETJEMAN, JOHN. Collection of 20 Books / Literature by John Betjeman, numerous first editions, to include; ‘Ghastly Good Taste or a depressing story of the Rise and Fall of English Architecture’ by John Betjeman, First Edition Chapman & Hall Ltd, London, 1933 with fold out insert to reverse. ‘Continual Dew’ by John Betjeman, First Edition, William Clowes and Sons, London, 1937 with dust jacket. ‘Antiquarian Prejudice’ by John Betjeman, The Hogarth Press, London, 1939. ‘Old Lights for New Chancels’ by John Betjeman, John Murray, London, 1940. ‘New Bats in Old Belfries’ by John Betjeman, John Murray, London, 1945. ‘The English Scene’ a readers guide by John Betjeman, Published for the National Book League by The Cambridge University Press, 1951. ‘First and Last Loves’ by John Betjeman, First Edition, William Clowes and Son, London, 1952 with dust jacket and fold out insert. ‘A Few Late Chrysanthemums’ by John Betjeman, First Edition, John Murray, London, 1954. ‘Poems in the Porch’ by John Betjeman, S.P.C.K, London, 1954 with John Piper. ‘Summoned by Bells’ by John Betjeman, First Edition, William Clowes and Sons, London, 1960, in dust jacket. ‘High and Low’ by John Betjeman, 1966 First Edition, John Murray, London, 1966. ‘West Country Churches’ Four Essays by John Betjeman, Society of SS Peter and Paul, London, 1973. ‘A Nip in the Air’ by John Betjeman, John Murray, London, 1974. ‘Mount Zion’ by John Betjeman, 1975 Poetry Reprint Series, St. James Press, London, 1975. ‘Archie & The Strict Baptists’ by John Betjeman, First Edition, John Murray, London, 1977. ‘An Oxford University Chest’ by John Betjeman, Oxford University Press, Oxford, 1979. ‘Uncollected Poems’ by John Betjeman, John Murray, London, 1982. ‘Ah, Middlesex’ by John Betjeman, Warren Editions, 1984. ‘Poems in the Porch’ The Radio Poems of John Betjeman by Kevin Gardner, Continuum, London, 2009. Plus, ‘Wantage Poems’ compiled by Sister Sylvia Mary preface by John Betjeman, A. R. Mowbray & Co, London, 1966 & A Catalogue of Works by Sir John Betjeman from the Collection of Ray Carter with an unpublished poem, 1983. (20)

Postcards - Central Birmingham (292), comprehensive collection in an album, largely RPs with Aston Hall, The Old Wharf, Corporation Street, New St, Synagogue, Good Friday Procession St Jude's Depot, Bull Ring, Market Hall, Bull Street, High Street, Lord Mayor Inspecting Birmingham Tramway Staff, Old Square, Colmore Row, The Waterloo Bar, Post Office etc.

Warwickshire / Coventry, selection of five books of local interest relating to Warwickshire / Coventry to include; ‘The Coventry Guide’ Containing a Concise Account of the Ancient History of the City and particular descriptions of the Churches, St. Mary Hall, and other public buildings, illustrated with nine engravings. Printed and Sold by Merridew and Son, 1824. ‘New Coventry Guide’ Containing the History and Antiquities of that City’ by W. Reader embellished with engravings, printed and sold by Rollason and Reader, Coventry, 1823. ‘Coventry Past and Passing’ a Pictorial Record of changes during the last century with short explanatory notes by Dr. V. Wyatt Wingrave, compiled by A. E. Feltham. Issued to Subscribers, Subscription Copy No. 192, Caldicott & Feltham, Coventry, 1927. ‘Warwickshire Painted by Fred Whitehead Described by Clive Holland’, Adam & Charles Black, London, 1906. ‘Coventry’s Heritage’ An Introduction to the History of the City by Levi Fox, The Coventry Evening Telegraph, 1947. (5)

Postcards - Birmingham Suburbs (117) with Acocks Green (15), Stechford (55) and Yardley (47), many RPs including The Prince at South Yardley, Yardely Arms Hotel, Station Road, Lea Hall nr Yardley, The Malthouse Garage, Blakesley Road, Deakins Lane, River Bridge Stechford, Leonard Rd Stechford, New Foot Bridge at Lea Ford 1914, Old Bridge Lea Ford, Manor Road, Stuarts Road, Market Place, Deakins Farm, The Tram Terminus Acocks Green etc.

Four folios with colour plates (Part 1,2, 5 and 6) 'Turner's Water-Colours at Farnley Hall, text by Alex J. Finburg, The Studio Ltd, London, Paris, New York' (each folio approx. 35.5cm x 41.5cm), Condition: some foxing.

A 16th century impressive oak court cupboard, French, circa 1560-80 Having a back of fifteen panels, including a top row of five panels, each carved with guilloche arcade on fluted pillars, atop a gadrooned and punch-decorated carved frieze, raised on Corinthian capital bulbous end-columns, centred by small cupboard, enclosed by a female Romayne-type portrait panel carved boarded door, and with twin-panelled sides, flanked by Corinthian capital stop-fluted pilasters, and an open recess, a tall open boarded undertier below, enclosed by addorsed baluster-turned end columns, with raised nulled-carved base rail, 204cm high, 175cm wide, 50cm deep Provenance: Formerly with the Blumka Gallery, New York. Reputedly former collection of Dr Albert Figdor This is a court cupboard in the true sense of the word - designed principally for display, probably for use in 'The Great Hall’ of a large manor house.

A trio of 18th century New Hall tea bowls and saucers, painted with floral swags and pink scales, all unmarked; four Derby porcelain cups, decorated with feathers in puce and gilt, painted marks, c.1820

To comprise Melbourne House, White-Hall; Old Palace Yard; John Street, Adelphi; Part of Somerset Place; Front of St Martin's Church, Strand; North Front of the Chapel and Hall of Greenwich Hospital; The Admiralty; Inner Temple Court; Carlton House; Privy Garden; Great Court, Somerset Place; New Palace Yard; Lothbury Court, Bank; South West View of St. Martin's Church; North Front of the Bank; The Great Court of the Tower; St. Lawrance's Church & Guild-Hall Seventeen aquatints with etching, hand coloured, published by the artist, published 1793-1800, various sizes, all framed. *CR Some lightly foxed and stained; some grazed within image; `John Street` with a notable crease; `Old Palace Yard` with a wash stain in margin; fair overall.

A Viking gold bangle, early 2nd millennium A.D. Formed of solid gold, the exterior stamped with alternating bands of circular and triangular decoration, terminating in dual loops Dimensions:8.2cm diameter Provenance:Provenance:Simon Bendall, London, United KingdomThe Hall Family Collection, acquired from the aboveFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the item Note: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.

A selection of 18th Century and later tea wares, including: New Hall tea pot, jug and stand; 18th Century Chinese bullet tea pot; Pearlware tea pot; Chinese blue and white tea bowl; and other items.

Music Sheryl Crow signed 6 x 4 inch colour promo photo. American musician, singer, and songwriter. Her music incorporates elements of rock, pop, country, folk, and blues. She has released eleven studio albums, five compilations, and three live albums, and contributed to several film soundtracks. Her most popular songs include "All I Wanna Do" (1994), "Strong Enough" (1994), "If It Makes You Happy" (1996), "Everyday Is a Winding Road" (1996), "My Favorite Mistake" (1998), "Picture" (2002, duet with Kid Rock), and "Soak Up the Sun" (2002). Crow has sold more than 50 million albums worldwide[3] and won nine Grammy Awards (out of 32 nominations) from the National Academy of Recording Arts and Sciences. As an actress, Crow has appeared on the television series 30 Rock, Cop Rock, GCB, Cougar Town, Jon Stewart's and Stephen Colbert's Rally to Restore Sanity and/or Fear, One Tree Hill, and NCIS: New Orleans. Crow was inducted into the Rock and Roll Hall of Fame in 2023. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

1968 Triumph 649cc T120R BonnevilleRegistration no. WSU 324FFrame no. T120R DU85136 (see text)Engine no. T120R DU85136As the 1960s dawned, unitary construction of engine and gearbox was already a feature of Triumph's 350 and 500 twins, and that innovation duly appeared on the 650s in 1963. The café racer's favourite since its launch, thanks to lusty acceleration and a top speed approaching 120mph, the Bonneville continued in this new form as Triumph's top-of-the-range sports roadster, arriving at what aficionados consider its ultimate specification with the launch of the 1968 model. By this time the frame had been sorted and 12-volt electrics standardised, while welcome improvements included shuttle-valve fork internals; independently adjustable ignition points; Amal Concentric carburettors; and a long overdue twin-leading-shoe front brake. For the next couple of seasons the Bonnie continued essentially unchanged, before the disastrous launch of the Umberslade Hall-designed 'oil-in-frame' models in November 1970 precipitated the collapse of the entire BSA-Triumph Group. Belonging to the last Bonneville generation built before BSA-Triumph switched to the oil-in-frame range, this restored example was purchased by the lady vendor's late husband from Union Road Moto-Velo of Crediton on 25th April 2018 (sales receipt on file). The Bonnie was last used in 2018 and has been stored since then; recommissioning will be required before further use, while cleaning and polishing should reward the new owner with a very tidy machine. Accompanying paperwork consists of sundry bills and old/current V5C documents. We recommend that prospective bidders pay close attention to the frame number on this machine and satisfy themselves as to the originality of the stamping.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

1969 Triumph 649cc T120R BonnevilleRegistration no. TTU 828HFrame no. PD33097 T120REngine no. PD33097 T120RThe café racer's favourite since its launch, thanks to lusty acceleration and a top speed approaching 120mph, the Bonneville continued into the 'unitary construction' era as Triumph's top-of-the-range sports roadster, arriving at what aficionados consider its ultimate specification with the launch of the 1968 model. By this time the frame had been sorted and 12-volt electrics standardised, while welcome improvements included shuttle-valve fork internals; independently adjustable ignition points; Amal Concentric carburettors; and a long overdue twin-leading-shoe front brake. For the next couple of seasons the Bonnie continued essentially unchanged, before the disastrous launch of the Umberslade Hall-designed 'oil-in-frame' models in November 1970 precipitated the collapse of the entire BSA-Triumph Group. Belonging to the last Bonneville generation built before BSA-Triumph switched to the oil-in-frame range, this example was imported from the USA and has belonged to our vendor since 2014. It was first registered in the UK on 11th October 2016. Works carried out since acquisition include replacing the carburettors; painting the cycle parts; rewiring and adding indicators; fitting a new front wheel rim; and replacing the tyres, speedometer, and front and rear suspension. Kept in dry storage and used sparingly, the machine was overhauled and serviced in 2021 and was last used in 2022. Presented in very good order throughout although some recommissioning will be required before the Bonnie returns to the road. Offered with a dating letter, two keys and a V5C.Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

The Anthony R. East Classic Motorcycle Collection1954 Velocette 500cc MSSRegistration no. TVK 493Frame no. RS4058Engine no. MSS 10359The MSS tourer disappeared from Veloce Limited's range in 1948 while the company concentrated on the LE, reappearing in 1954 with a new swinging-arm frame and Hall Green's own telescopic front fork. The engine too was updated, gaining 'square' bore and stroke dimensions of 86x86mm together with an alloy cylinder barrel and 'head. Following the introduction of the Venom and Viper sports models, sales of the touring MSS gradually declined throughout the 1960s; only 22 were made in 1969 and the last examples left the factory in 1970.This MSS comes with a V5C document showing that Tony East acquired the machine in 1995 from a James Plant of Moseley, Birmingham, who was the recorded keeper in 1973 according to the old-style duplicate logbook on file. These Velocette singles can be tricky to start, especially when hot, but this one boasts the not inconsiderable convenience of an electric starter. Fully restored circa 1996 and last taxed until 31st March 2015, the machine comes with Bryan Small's restoration invoice totalling £6,067; various instruction manuals and a 1980s spare parts list; BMS service sheets; some old MoTs; and instructions for the electric starter kit. At time of cataloguing the odometer reading was 257 miles.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Early 19th Century New Hall famille rose tea set, having a white ground with pink floral sprays and entwined details to the rims, marked No. 241 Tea set to include serpentine teapot, creamer jug, bowl, tea bowl, three round dishes and a serpentine plate. Together with two similar but unassociated plates. Teapot measures approx 25cm wide.

THREE ATLASES, including CHAPMAN & HALL (publ) A New British Atlas, comprising a Series of 54 Maps, 183 and Wales, reduced from the Ordnance Survey,4, half green morocco, gilt tooled spine, marbled boards, 4to, BARTHOLOMEW (J.G.) The Royal Atlas of England containing colour printed maps, George Newnes Ltd.to, and JOHNSTONE (W. & A.K.) (publ.) The Half Crown Historical Atlas, containing colour printed maps, 8vo (3)Provenance: private collection Pembrokeshire

Irma Stern (South African, 1894-1966)The Yellow Hat signed and dated 'Irma Stern/ 193?' (lower left); bears inscription 'Man in Yellow Hat (1938)' (verso), further inscribed 'Wolpe Gallery' (verso)oil on canvas 65 x 66cm (25 9/16 x 26in).(framed)Footnotes:ProvenanceWolpe Gallery, Cape Town;Sotheby's/ Stephen Welz & Co sale, Johannesburg, 31st October 1988, Lot 221;A private collection. ExhibitedMacFayden Hall, University of Pretoria, (April 1933), no. 24. Lezard's Gallery, Johannesburg, (May 1933), no. 20. Newland's House, Cape Town (19-26 February 1934), no. 24.LiteratureStephan Welz, Art at Auction in South Africa: Twenty Years of Sotheby's/Stephan Welz & Co., 1969-1989, (Johannesburg: A.D. Donker, 1989), p.122Irma Stern's handwriting, given her expressive hand, prevents the date of 'The Yellow Hat' from being clearly legible. The last digit of the date she has inscribed beneath her signature in the lower left corner of the painting is unclear.More clear is an inscription, not in Stern's hand, on the stretcher that includes reference to the Wolpe Gallery and was probably made in the 1960s when Joe Wolpe befriended the artist. The inscription reads 'The Man in the Yellow Hat (1938)'. It is this inscription that seems to have persuaded previous cataloguers to date the work '1938' when it was first brought to market in 1988. In fact, the origin of the painting can be traced with certainty to the beginning of this decade, to 1931 when Stern spent a few months on Madeira on her way to Europe. A drawing that is unmistakably a portrait study for the painting is preserved in the Irma Stern Museum and is clearly dated 1931 (Irma Stern Trust #741). As Stern left Madeira on the Kenilworth Castle in November 1931 the painting is likely to have been at least started before then. She had an exhibition of some of her Madeira work at Foyle's Gallery, London, in January 1932, but it is not known what works were shown because there is no exhibition list preserved in her Scrapbooks at the National Library of South Africa in Cape Town. Nor did the work feature on the list of her first exhibition following her return to Cape Town, at Ashbey's Gallery in November. But it is listed in both her exhibition at MacFadyen Hall, University of Pretoria, in April 1933 (as #24 at 40 guineas), and that at Lezard's Gallery, Johannesburg, in May (#20). And 'The Yellow Hat' was shown at Newlands House, Cape Town, between 19 and 26 February 1934, as #24 again at 40 guineas. Although Stern left the island before the end of 1931, some of her Madeira paintings, for example 'The Fisherman' and 'The Two Harlots', are clearly dated 1932. The last digit of the date on 'The Yellow Hat' may best be explained by imagining Stern completing the work with signature and date while still on the island but revising both the work and the date in 1932 or 1933 after she had returned to South Africa. Stern wrote (in her inimitable style) on 11 October 1931 from Madeira to Roza van Gelderen, her friend in Cape Town, that she was staying in Santa Cruz, on the east coast of the island in 'a delight full fisher village': 'You cannot imagine how interessing [sic] this all is for me. But how I ever can go away from here and feel happy again I do not know – it is so full of beauty and colour and life.'There are indications at other times during her stay that she was not always so happy and even that she might have had some kind of breakdown, but Karel Schoeman is undoubtedly correct in suggesting that Stern used her visit to Madeira to find a new direction in her art, particularly for the role of colour. According to an interview she gave in June 1931, a few months before her stay in Madeira, Stern found the colour scheme of her 'Native Studies', that had been her principal subject up to this time, limited to the browns of African bodies enlivened only by touches of orange, red and green; and that she felt the need to expand her palette, interestingly through the medium of Still Life painting that allowed the distribution of colour accents across the picture surface. And, in 1933, looking back on the time leading up to her visit to Madeira, she stated:'But now a growing absorption in colour theory even to the exclusion of the subject-matter, overtook me to such a degree that for two or three years all my work consisted in studying and building up a new palette. The year 1931 brought me for a few months to Madeira where I was able to harvest the benefits of my recent studies.' The reaction to Madeira expressed in her letter to van Gelderen confirms that she found beauty and colour there. Significantly, she also found 'life' in human figures who were rather less passive than the mode she had devised for her African subjects.'The Yellow Hat' is one of several fisher subjects that Stern exhibited in South Africa in 1933 and 1934. While perhaps not as overtly dramatic as other subjects she recorded in Madeira – such as 'The Hunchback', 'The Blind Boy', 'The Two Harlots', etc. – ocean fishing was seen generally at that time as a heroic occupation representing the idea of human struggle with nature. To capture the implicit drama of these fishermen's lives, Stern returned to her Expressionist roots in her vigorous brushstrokes, loosely defined planes, broken contours, and compressed spaces. All these devices were achieved through a newly energised application of colour. The mood of many of Stern's Madeira paintings is sombre, not to say tragic. But in 'The Yellow Hat' she uses the bright yellow of the large Sou'Wester to introduce a heightened, even fauvist palette as another way to express the exceptional nature of the mariner's heroism. As D.L. wrote in response to the Lezard Gallery exhibition in 'Miss Irma Stern's Exhibition. A Brilliant Modernist', in The Star, May 11 1933, ''Yellow Hat', and several more are not only harmonious in colour, but express the character of their subjects in a way quite impossible by more conventional methods'.We are grateful to Professor Michael Godby for his completion of the above footnote.BibliographyJeanne van Eeden, 'Irma Stern's First Exhibition in Pretoria, 1933', South African Journal of Art History, 13, (1988), pp.89-104.Marion Arnold, Irma Stern, A Feast for the Eye, (Cape Town: Fernwood Press, 1995), passim, for the Madeira works.Karel Schoeman, Irma Stern, The Early Years, 1894-1933, (Cape Town: The South African Library), pp. 99-100.'Irma Stern and her Work', South African Life and the Woman's Forum, (December 7 1933)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

BERTIE AULD OF HIBERNIAN F.C., SCOTTISH CUP FINAL JERSEY 6TH MAY 1972 vs. Celtic F.C., UMBRO label, stitched crest inscribed SCOTTISH CUP FINAL 1972, and number 12 verso, long sleeved The Bertie Auld Collection.Whilst Bertie Auld spent most of his playing career with Celtic F.C., successful periods as both player and manager at several other clubs cannot be overlooked. Certainly, whether you’re a Brummie from the West Midlands or a Jag from Maryhill, the name Auld could mean more to you than Lisbon Lion.He first signed for Celtic from Maryhill Harp in March 1955, a tenacious and talented seventeen-year-old who combined a marvellous touch with tenacity and aggression. It is often said that too much of the latter saw Auld loaned to Dumbarton in 1956, before signing with Birmingham City for £15,000 in 1961.He went on to become an integral part of the team during something of a golden age. This would include a debut win vs. Inter Milan (a team he seemed to enjoy beating) in the 1961 Inter-Cities Fairs Cup semi-final. Though they eventually lost the final to Roma, Bertie did go on to lift some silverware with the team, helping them to their first League Cup vs. arch-rivals Aston Villa in 1963.His development as a player did not go unnoticed, and he was eventually re-signed to Celtic by Jock Stein in 1965. The following six years with the club, and all the time after, secured him as one of the greatest and most loved players in their history.An important move in his career came in 1971, when he joined Hibernian on a free transfer. Whilst he only tallied a dozen or so appearances over two seasons, he combined his role as player with that of trainer, coming to focus on the latter.This would springboard him into his first managerial position, when in 1974 he was brought in by boyhood club Partick Thistle. He would spend a successful six seasons with them, securing promotion to the topflight in 1976, as well as reaching the semi-finals of the Scottish Cup twice (1978, 1979), Scottish League Cup (1975), and Anglo-Scottish Cup (1977). His success and great affinity with the support continues to be remembered, with him being inducted into the club’s Hall of Fame in 2011. A large Bertie Auld flag still stands proud in the North Stand at Firhill.Upon Hibs being relegated in 1980, Bertie was brought back as manager in the hope of reviving the club. He did just that, immediately guiding them to promotion in his first season, though would eventually leave the club in 1982.The shirt opposite comes from Bertie’s first spell with Hibs, during which time they reached the 1972 Scottish Cup final. The Cabbage had a solid run, even putting Rangers out in the semi-final replay. Whilst many of Auld’s Lisbon Lion comrades lined up to face him in the final, it was the new guard of the Quality Street Gang who stole the show. Three goals from Dixie Deans, two from Lou Macari, and one from his old captain Billy McNeill, saw Celtic lift the trophy 6-1.

AN ARCHAIC CEREMONIAL JADE BLADE, YUE, NEOLITHIC PERIOD TO SHANG DYNASTYPublished:Henry Trubner and Tsugio Mikami, Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no. 108.Roger Keverne Ltd., Winter Exhibition, London, 2004, no. 86.China, c. 3500-1500 BC. The slender slab tapers toward the back where there is a small hole drilled from one side. One long edge and the cutting edge are beveled, and now slightly worn. A longitudinal rib made by the saw runs along one face. The translucent stone is a deep olive-green tone.Provenance: Idemitsu Museum, Tokyo, Japan, prior to 1989. Roger Keverne, London, United Kingdom, 2004. Private English collection, acquired from the above. The Idemitsu Museum of Arts was opened in 1966 as an exhibition hall for the private collection of Idemitsu Sazo. Idemitsu Sazo (1885-1981) was a Japanese businessman, founder of Idemitsu Kosan, a petroleum company, and an important art collector. He acquired his first work of art at the age of 20, which was a painting of the Chinese monk Putai by Sengai Gibon. In later years, his collection grew, culminating in a large number of Chinese ceramics, paintings, jades, and other works of art. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020.Condition: Excellent condition, commensurate with age. Ancient wear, minor signs of weathering and erosion, tiny nibbles. Minute chips to edges, one at the top has been smoothened probably millennia ago. The jade with natural fissures, some of which may have developed into small hairline cracks.Weight: 68.1 g Dimensions: Length 16.7 cm Literature comparison:Compare a related jade blade in The Hubei Provincial Institute of Cultural Relics and Archaeology, The Panlongcheng Site: Report of Archaeological Excavation from 1963-1994, pl. CXVII, fig. 6. Compare a related jade blade illustrated in Liu and Capon's book Masks of Mystery: Ancient Chinese Bronzes from Sanxingdui, no. 36, p. 104. Compare a related jade blade excavated by the Institute of Archaeology, CASS, illustrated in Tomb of Lady Hao at Yinxu in Anyang, pl. 20, fig, 1. Compare a closely related jade blade, 19.5 cm long, dated to the Neolithic period, in the collection of the Harvard Art Museums, accession number 1943.50.113, illustrated in Ancient Chinese Jades from the Greenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, no. 1, pp. 4-5. Compare a related jade blade illustrated ibid., no. 202, pp. 159.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2019, lot 2717 Price: HKD 81,250 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A dark green jade axe, Neolithic period, circa 3500 BC Expert remark: Compare the closely related form and color as well as the similar wear. Note the larger size (28.8 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2015, lot 545 Price: USD 16,250 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A mottled, blackish-green opaque jade axe, late Neolithic period, 3rd-early 2nd millennium BC Expert remark: Compare the related form. Note the darker color and the larger size (23.8 cm).

"Rodin - Immortal Peasant" by Anne Leslie, Prentice-Hall Inc, New York, 1937 first edition; "Bismarck" by Emil Ludwig, translated by Eden& Cedar Paul, George Allen & Unwin Ltd, 1927 first English edition 

Full title: A rare Chinese bronze cylindrical tripod censer with Arabic inscription, Zhengde mark and of the periodDescription:H.: 8 cm - Dia.: 10 cm Weight: 1084 grams Bronze censers decorated with Arabic inscriptions came to influence the making of a distinctive group of heavily potted blue-and-white porcelains, all bearing Zhengde imperial marks on the bases and the body decorated with Arabic or Persian inscriptions. Jessica Harrison-Hall in Ming Porcelain in the British Museum, London, 2001, p. 188, notes that it is possible that these wares 'were used by literate Muslim eunuchs at court or by the emperor, who was fascinated by foreign scripts.' For examples of blue-and-white wares with Arabic or Persian inscription in the British Museum see ibid., pls. 8:3-8:11, including an incense burner (8:11) with six roundels each bearing an Arabic phrase. Two ceramic censers of this shape, also with Arabic inscriptions in panels are illustrated in Kaikodo Journal, XXIV. Material Witness, New York, 2008, p. 166, where it is explained that the form derives from Han period prototypes known as zun or lian which were used for containing wine. Provenance:- A Belgian private collection.- Acquired at TEFAF Maastricht from Galerie Lamy, Brussels, in 2014, accompanied by their certificate of authenticity. (as visible on the Alain Truong blog - link)- A Dutch private collection, before 2010. Ref.:- Sotheby's, New York, March 15, 2017, lot 561, for a similar example with a continuous text band. (sold USD 112.500) (direct link available on rm-auctions.com)- Sotheby's, Hong Kong, April 3, 2012, lot 143, for a very closely related example. (sold HKD 800.000) (direct link available on rm-auctions.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

* ANGUS MCEWAN PRWS RGI RSW (SCOTTISH b. 1963), ANCIENT STANDING STONE watercolour on paper, initialled and dated '96mounted, framed and under glass.image size 25cm x 18cm, overall size 48cm x 39cmNote: in 2022 Angus McEwan was elected President The Royal Scottish Society of Painters in Watercolours (RSW).Note 2: 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, in 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 a special guest and in 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.

Peter Howson OBE (British, born 1958)Totem signed 'HOWSON' (lower left), titled and signed 'HOWSON' (on stretcher)oil on canvas153 x 123cm (60 1/4 x 48 7/16in).painted in 1992Footnotes:ProvenanceWith Flowers Gallery, London.Private collection, UK (acquired from the above in 1992).ExhibitedGlasgow, McLellan Galleries, Peter Howson: A Retrospective, July - September 1993.The present lot is an important example of Peter Howson's work from this period in the early 90s. Painted a year before he took up the role of official war artist for the Bosnian War in 1993, the subject highlights his recurring theme of working class men. The men, wearing what look to be military khakis and armed with a baton, appear menacing and poised for a conflict despite the contrast of the white flag being held in the upper right of the composition. The title of the work, Totem, perhaps simultaneously acknowledges the upright composition of the group, but also the symbolism, incorrect or otherwise, assumed by the public perception of working class men. 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 best:'Peter Howson also identifies with the 'radical imagination', although his work has little to do with ideological concepts. He is pre-occupied with themes and motifs which reflect his perception of urban life, the kinds of people who live, work and play in the City... 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)Presently, in 2023, Howson is 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.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

A CLOISONNE ENAMEL 'DA JI' WALL VASE, CHINA, 18th CENTURYOf double gourd shape, the upper and lower bulbs centered by characters reading 'da' and 'ji' ('great fortune') respectively. Tied at the waist with a gilt-bronze flowing ribbon issuing loops and rolling ends along the sides. Finely decorated in bright enamels against a turquoise ground with colorful double-gourds borne on scrolling leafy vines, a bat diligently overlooking with its wings wrapped around the rim. The gilt-bronze back finely chased and incised with intertwining lotus scroll against a ring-punched ground with an aperture for mounting.Provenance: From the private collection of Sara Fredericks, probably acquired in New York during the 1960s, and thence by descent. The back with an old label, '40', and inscribed with a collector's number, '40'. Sara Fredericks (1903-1986) was a designer and retailer who specialized in women's luxury fashion for more than 50 years. After her marriage to Frederick Cohen, who was in the shoe business, she began selling dresses out of her home to women who admired her clothes. ''She lived the life her customers lived,'' said Pauline Trigere, who was among the designers who considered Miss Fredericks a friend as well as a client. Others in that category were Geoffrey Beene, James Galanos, Bill Blass, Oscar de la Renta, Bob Mackie, and Hubert de Givenchy. ''She had impeccable taste,'' Miss Trigere said, “her customers trusted her."Condition: Good condition with minor wear and manufacturing irregularities, including expected pitting. Minor flaking and small losses to enamels, tiny nicks here and there, two small dents with old fills.Weight: 800 gDimensions: Height 23.5 cm Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase displays the ornate aesthetic and technical mastery that characterizes cloisonne wares of the High Qing period. The double-gourd vase is particularly fine in the vibrant tones achieved in its enamel and the elegant execution of the linework of the cloisons.Literature comparison: Compare a Yangcai sgraffiato 'bats and clouds' double-gourd form wall vase, with a Qianlong gilt six-character mark in horizontal line and of the period, at Christie's Hong Kong, 30 May 2018, lot 3036. Compare a pair of embellished gilt-repousse copper wall vases, dated to the Qianlong period, at Christie's New York, 13-14 September 2012, lot 1299. Compare a pair of cinnabar lacquer 'daji' double-gourd wall appliques, dated to the Qianlong period, at Sotheby's London, 04 November 2009, lot 122.Auction result comparison: Type: Closely relatedAuction: Christie's London, 12 November 2010, lot 1427Price: GBP 30,000 or approx. EUR 57,500 adjusted for inflation at the time of writingDescription: A cloisonne enamel double gourd wall vase, Qianlong period (1736-1795)Expert remark: Compare the closely related technique, form, and 'da ji' characters. Note the smaller size (17.5 cm). 十八世紀掐絲琺瑯《大吉》葫蘆壁瓶瓶身呈雙葫蘆狀，主體瓶身呈凸面平背的葫蘆形，胸腹之表分別“大"、“吉"楷書二字，綠松石綠地，精美的明亮琺瑯，綠葉藤蔓上掛著多色小葫蘆，葫蘆口鎏金倒蝙蝠。葫蘆瓶腰部鎏金束錦飛揚。葫蘆平背面以銅為材鏨富麗纏枝蓮紋，有一個安裝孔。造型雍容，加工工藝精製。 來源：Sara Fredericks私人收藏，可能於上世紀六十年代購於紐約，保存至今。Sara Fredericks (1903-1986) 曾是一位設計師兼零售商，專注於女性奢華時裝已有五十多年的歷史。與從事鞋業生意的Frederick Cohen結婚後，她開始在家裡向欣賞她的衣服的女士出售衣服。“她過著顧客的生活，" Pauline Trigere說道，她是把 Fredericks 小姐視為朋友和客戶的設計師之一。此外還有Geoffrey Beene，James Galanos，Bill Blass，Oscar de la Renta，Bob Mackie與Hubert de Givenchy。“她的品味無可挑剔，" Trigere小姐說，“她的顧客信任她。" 品相：狀況良好，有輕微磨損和製造缺陷，包括點蝕。 琺瑯有輕微剝落和小缺損，局部有小刻痕，小凹痕和相應的修補。 重量：800 克 尺寸：高 23.5 釐米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2010年11月12日，lot 1427 價格：GBP 30,000（相當於今日EUR 57,500） 描述：乾隆銅胎掐絲琺瑯雙葫蘆壁瓶 專家評論：比較非常相近的技巧、外形和「大吉」款識。請注意尺寸較小(17.5 釐米)。

A GOLD-SPLASHED BRONZE BOMBE CENSER, YUTANG QINGWAN MARK, CHINA, 17TH-18TH CENTURYExpert's note: The gold-splashed decoration on this censer is especially rich, suggesting that it was made with no cost spared and for the table of a high-ranking official or an important scholar-literati.The compressed tripod vessel is raised on three tapering feet, the everted rim with two upright loop handles, richly decorated to the exterior with cloud-like gilt splashes. The base is neatly cast with the four-character hall mark in deep relief.Inscriptions: To the base, 'Yutang qingwan' (pure please of the Jade Hall).Provenance: English trade. Condition: Good condition with old wear, expected traces of use, and minor casting flaws, slight rubbing to the gilt, and occasional minute nicks and light scratches. The interior with several pronounced fatigue cracks, signs of extensive usage over a prolonged period of time.Weight: 1,221 g Dimensions: Width 14.7 cm Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 6 March 2021, lot 442 Price: EUR 20,224 or approx. EUR 24,000 adjusted for inflation at the time of writing Description: A 'Yutang qingwan' gold-splashed bronze bombe censer, 17th century Expert remark: Compare the similar gold splashes and identical hall mark. Note the different position of the loop handles and the larger size (18.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 17 March 2017, lot 1040 Price: USD 30,000 or approx. EUR 34,500 converted and adjusted for inflation at the time of writing Description: A gilt-splashed bronze tripod censer, 17th-18th century Expert remark: Compare the closely related gilt splashes and tripod form, albeit with different loop handles, and the identical hall mark. Note the slightly larger size (17.5 cm). 十七至十八世紀灑金橋耳三足銅爐，玉堂清玩款三足爐胎體厚重，底出三乳足，橋形耳，外壁有雲狀灑金，爐底工整深浮雕四字款。 款識：玉堂清玩 來源：英國古玩交易。 品相：狀況良好，有磨損、使用痕跡、輕微的鑄造缺陷，鎏金有輕微摩擦、局部有微小刻痕和劃痕。內部有幾處明顯的裂紋。 重量：1,221 克 尺寸：寬 14.7 厘米 拍賣比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2021年3月6日，lot 442 價格：EUR 20,224（相當今日EUR 24,000） 描述：十七世紀“玉堂清玩"款灑金雙耳銅香爐 專家註釋：比較相似的灑金和同款。請注意雙耳在不同的位置和尺寸較大 (18.7 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1040 價格：USD 30,000（相當今日EUR 34,500） 描述：明末/清十八世紀銅灑金押經爐 「玉堂清玩」款 專家註釋：比較非常相近的灑金和三足的外形，但不同的雙耳及同款。請注意尺寸較大 (17.5 厘米)

A GILT COPPER ALLOY FIGURE OF AMOGHASIDDHI, ONE OF THE FIVE WISDOM BUDDHAS, POSSIBLY DENSATIL, TIBET, 14TH-15TH CENTURYExpert's note: The present sculpture dates from the fourteenth or early fifteenth century and is modelled in Nepalese style with the diaphanous robe clinging to the muscular body. The alloy with its rather high copper content and distinct copper-red color, the extra thick casting and the well-defined lotus petals are common traits of sculpture typically associated with the famed monastery of Densatil. Furthermore, close comparison can be drawn with the present lot's squared face, convexly stepped eyebrows, double-lined eyelids and lips, and sinuous upper lid with those of several Densatil figures in public and private collections (see comparisons below).The relatively simplistic form and lack of ornamentation is not common at Densatil, however, photographic evidence captured by Pietro Mele in 1948 shows closely related Buddha statues set against cast back panels in the fourth tier of the Tashi Gomang stupa. The base of the figure has been resealed with a simple metal plate, a fact that could indicate that it may once have been part of a larger supporting structure, such as Tashi Gomang stupa, from which it was forcibly removed. The many small traces of violence, see condition report below, could further support the theory that this figure may indeed have been one of the victims of the destruction of Densatil during China's Cultural Revolution (1966-1978).Finely cast seated in dhyanasana on a double lotus pedestal atop a stepped plinth, his right hand raised in abhaya mudra above his left lowered in dhyana mudra, the tapering waist wrapped in a sheer monastic robe, gathering elegantly in remarkably well executed folds at his feet and over the left shoulder. His serene face with heavy-lidded downcast eyes below gently arched brows centered by a raised circular urna. His hair arranged in tight curls over the domed ushnisha topped by a jewel.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Good condition, commensurate with age, showing expected old wear and casting flaws, scattered dents, light rubbing to gilt, tiny nicks here and there. Minor losses, minimal cracks, the fingers of one hand bent back slightly, due to heavy impact. A distinct stress crack at the lower end in front of the figure. The base resealed with a metal plate.Weight: 3,492 g Dimensions: Height 26.2 cm This fine sculpture depicts the Presiding Buddha Amoghasiddhi, whose name means, "He Whose Accomplishments Are Not in Vain". Amoghasiddhi, identified by his hand gesture of reassurance (abhaya mudra), exemplifies a Buddha's transcendence over jealousy. He is one of the Five Wisdom Buddhas (Tathagatas) of the Mahayana and Vajrayana tradition of Buddhism and as part of the five, this sculpture would have been joined by representation of the other four Tathagatas, exactly as seen in the fourth tier of the Tashi Gomang stupa in Densatil. His consort is Tara, meaning 'liberator', and he is often depicted mounted on Garuda. He belongs to the family of karma whose family symbol is the double vajra.Densatil was a Kagyu monastic complex in central Tibet, southeast of Lhasa, that has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning "many doors of auspiciousness," and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil, eight of them dating between 1208 and 1432 stood in the Monastery's main hall.Followers of the charismatic Phagmo Drupa Dorje Gyalpo (1110-1170) constructed the Densatil Monastery. His school, which came to be known as Phagmo Drupa Kagyu, was one of the four primary schools of the Kagyu lineage of Tibetan Buddhism. Its noble house became so powerful that their dynasty ruled from the mid-fourteenth to the mid-fifteenth century. Eventually it had died out by the end of the seventeenth century, but the Densatil Monastery survived intact under the control of other Tibetan Buddhist schools until it was eventually destroyed. Today the monastery is undergoing reconstruction thanks to the efforts of the Tibetan Autonomous Region Ministry of Culture and the Drigung (Drikung) Kagyu school.Literature comparison:Compare the seated unadorned Buddhas made by Newar craftsmen seen in photographs of Densatil monastery taken by Pietro Mele in 1948, see O. Czaja and A. Proser, Golden Visions of Densatil, New York, 2014, pp. 18-19. Compare a related bronze figure of Buddha Vajrasana, 34.1 cm high, dated to the 14th century, illustrated in Ulrich von Schroeder's book Buddhist Sculptures in Tibet, Vol. 2, Hong Kong, 2001 pp. 1062-1063, no. 271D, and note that this figure has also been resealed with a metal plate. Compare two Densatil figures of Amoghasiddhi and Akshobhya in the The Berti Aschmann Foundation Collection, see Uhlig, On a Path to Enlightenment, Museum Rietberg, Zurich, 1995, pp. 74-75. Compare a related figure of Akshobhya Buddha from Densatil, 30.5 cm high, dated late 14th to early 15th century, in the National Museum of Art, Smithsonian Institution, accession number S2012.6.Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 March 2014, lot 16 Price: USD 461,000 or approx. EUR 543,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Buddha, Tibet, probably Densatil, early 15th century Expert remark: Compare the closely related extra thick casting, modeling with near-identical facial features and diaphanous robe, and size (26.7 cm). Note the different hand posture and more compressed lotus petals to the base.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 2 October 2018, lot 52 Price: HKD 1,1250,000 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Amoghasiddhi, Tibet, 15th century Expert remark: Compare the closely related subject with identical hand gestures and modeling with similar facial features and lotus base as well as the related manner of casting, gilding, and size (28.5 cm). Note the incised hems to the robe and the lack of slits to the earlobes.Auction result comparison: Type: Related Auction: Bonhams New York, 23 September 2020, lot 618 Price: USD 250,075 or approx. EUR 267,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Buddha, Tibet or Nepal, circa 14th century Expert remark: Compare the related thick casting, solid gilding, and modeling with a similar diaphanous robe gathering in double folds to the base. Note the different pose, incised hems, sinuous eyebrows, and slightly larger size (31.5 cm).由于平台拍品叙述的长度限制，我们移除了中文叙述，中文叙述请至www.zacke.at查看

A FINE PAINTING OF A BODHISATTVA OF THE DIAMOND REALM, TABO STYLE, 10TH CENTURYExpert's note: The present lot was once a part of an illuminated manuscript, likely from a Prajnaparamita sutra. This has been confirmed by Tibetologist Dr. Amy Heller, who points towards several comparable works, all dating from the 10th century, and all originating from related manuscripts from this region.To receive a PDF copy of this dossier, please refer to the department. Northern India, Himachal Pradesh. Watercolors and ink on paper. Depicting a Mahabodhisattva seated in dhyanasana upon a cushioned lotus-petaled throne with the hands held in dharmachakra mudra, the palms and soles stained red, wearing a five-pointed crown, and adorned with elaborate jewelry. The figure with an hour-glass shaped torso, surrounded by flowing celestial scarves, and backed by a flaming halo. Provenance: From the collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, loss to margins, soiling, minimal fading to colors, small tears to edges.Scientific Analysis Report: An “Initial Condition Survey" with a microscopic and UV-light examination was conducted by Podany Conservation Services, USA. The examination report concludes: “Given the lack of modern materials there appears to be no clear evidence that this object is an intentional modern forgery or copy." A copy of the signed examination report, dated 18 May 2021, accompanies this lot.Dimensions: Image size 17.3 x 16.4 cm, Size incl. frame 34 x 33.8 cm Framed behind glass. (2) Constructed in 996, the Tabo Monastery was built by the Buddhist king Yeshe-OE (c. 959-1040), who was a descendant of ancient Tibetan nobility that expanded into the Spiti Valley when connecting trade routes between Ladakh and Mustang. The monastery was part of the dynasty's successful political effort to reintroduce Mahayana Buddhism throughout the region, and thus was once richly decorated with paintings and sculptures. While some of the monastery's paintings date to around 1040, we know that there have been restoration campaigns over the centuries. Prajnaparamita refers to an enlightened means of seeing the nature of reality and it is part of the Mahayana scriptures or sutras which discusses this form of transcendental knowledge. It consists of several sutra, the earliest of which is the Aṣṭasahasrika Prajnaparamita Sutra or 'Perfection of Wisdom in 8,000 Lines.' The Prajnaparamita sutras were first brought to Tibet during the reign of Trisong Detsen (742-796) by scholars Jinamitra and Silendrabodhi and the translator Ye shes De. A key theme of the Prajnaparamita sutras is the Bodhisattva, the 'awakening-being,' which is defined in the 8,000-line Prajnaparamita sutra as, “One who trains in all dharmas without obstruction, and knows all dharmas as they really are." The paintings which illuminate these manuscripts had a meditative purpose, delivering illumination through the images. Literature comparison: Compare a related 11th century wall painting in the assembly hall of the Tabo Monastery in the Spiti Valley of Himachal Pradesh. The two paintings are so similar that the present lot possibly served as an inspiration for the Tabo Monastery painting. Compare several paintings of bodhisattvas inside Tabo Monastery, depicted within identical roundels and with similar iconography. The painting also bears a close resemblance to a painting at the White Temple of Tsaparang, which belongs to the Guge style of Western Tibet. Auction result comparison: Type: Related Auction: Bonhams, New York, 27 September 2020, lot 505 Price: USD 16,325 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: An illuminated sutra page with Buddha underneath the bodhi tree, Kashmir or West Tibet, 12th/13th century Expert remark: From Kashmir or neighboring Western Tibet, this comparable is one of a small number of paintings on the market that have a large undecorated section around the central scene, possibly suggesting a similar use for the current lot. The comparable also shares the same vibrant use of color.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A CLOISONNE ENAMEL WALL VASE, CHINA, 18th CENTURYOf flattened form, the body supported on a short spreading foot atop a gilt-copper stepped stand raised on three ruyi-form feet and rising to a tall flared neck with a ribbed rim decorated with pendent ruyi heads, flanked by a pair of gilt-copper openwork chilong handles. Brightly enameled on a turquoise ground with a central lotus bloom borne on a leafy scroll surrounded by colorful tendrils, all between overlapping petal and stiff leaf lappet bands at the shoulder and lower body, respectively. The neck with plantain leaves, separated by ruyi heads, above a T-scroll band, below lotus scroll. The copper back with two pierced apertures.Provenance: From the private collection of Sara Fredericks, probably acquired in New York during the 1960s, and thence by descent. Sara Fredericks (1903-1986) was a designer and a retailer who specialized in women's luxury fashion for more than 50 years. After her marriage to Frederick Cohen, who was in the shoe business, she began selling dresses out of her home to women who admired her clothes. ''She lived the life her customers lived,'' said Pauline Trigere, who was among the designers who considered Miss Fredericks a friend as well as a client. Others in that category were Geoffrey Beene, James Galanos, Bill Blass, Oscar de la Renta, Bob Mackie, and Hubert de Givenchy. ''She had impeccable taste,'' Miss Trigere said, “her customers trusted her."Condition: Good condition with old wear and manufacturing irregularities including pitting. Tiny nicks and small dents. The foot and base loose, the screw still in place but the nut missing. Minor flaking and small losses to enamels, one with an old fill. For more details, please request a video of the wall vase shot under strong blue light directly from the department.Weight: 413 gDimensions: Height 26 cm Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2006, lot 1276 Price: HKD 204,000 or approx. EUR 38,000 adjusted for inflation at the time of writing Description: A cloisonne enamel wall vase, Qing dynasty, 17th centuryExpert remark: Compare the closely related technique and form.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2006, lot 1278 Price: HKD 228,000 or approx. EUR 42,000 adjusted for inflation at the time of writing Description: A rare cloisonne enamel wall vase, Qing dynasty (18th/19th century)Expert remark: Compare the closely related technique and form. 十八世紀掐絲琺瑯纏枝蓮紋壁瓶壁瓶半器型，敞口，束頸豐肩，斂腹，足部外撇。頸部鑲鎏金銅雙耳，鏤空螭龍紋；瓶身松石綠色地，纏枝蓮紋；頸部芭蕉葉紋；瓶足鎏金銅底，三如意形足。瓶背面銅面有兩個穿孔。 來源：Sara Fredericks私人收藏，可能於上世紀六十年代購於紐約，保存至今。 品相：狀況良好，有磨損和製造缺陷，包括點蝕，微小的刻痕和小凹痕。支腳和底座鬆動，螺釘仍在原位，但螺母遺失。琺瑯有輕微剝落和少量缺損，存在舊修。 如需瞭解更多細節，請直接向我司索取在強藍光下拍攝的視頻。 重量：413 克 尺寸：高 26 釐米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得， 2006年5月30日，lot 1278 價格：HKD 204,000（相當於今日EUR 38,000） 描述：十七世紀清代銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2006年5月30日，lot 1278 價格：HKD 228,000（相當於今日EUR 42,000） 描述：十八至十九世紀銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A BLUE AND WHITE 'DRAGON' STEM CUP, SECOND HALF OF THE MING DYNASTYChina, 16th-17th century. Delicately potted, the cup stands on a long stem with a bow string just below the cup. The stem is decorated in cobalt blue with geometric designs, painted in thin brush strokes. The cup is painted with a stylized dragon and bi-disk, the interior with a central stylized flaming pearl.Provenance: From the estate of a notable Hong Kong family, who brought a substantial collection of ceramics, porcelains, and other Chinese works of art with them when they immigrated to Canada in the 1950s. Thence by descent within the family to the last owner. Condition: Very good condition, commensurate with age, with minor wear. Some firing irregularities, minimal pitting, and part of the recessed base with light orange inclusions from overfiring.Weight: 57.8 g Dimensions: Height 7.4 cm, Diameter 6.7 cm Literature comparison:Compare a related blue and white stem cup with a similar form, 8.3 cm high, dated to the first half of the 14th century, in the Metropolitan Museum of Art, accession number 1986.97.1. Compare a closely related stem cup with a similar style of decoration, 6.2 cm high, dated to the early 17th century with an apocryphal Chenghua mark, in the British Museum, registration number 1943,0215.14 published by Jessica Harrison-Hall in Catalogue of Late Yuan Ming Ceramics in the British Museum, London, 2001.Auction result comparison: Type: Related Auction: Christie's New York, 29 March 2023, lot 97 Price: USD 6,300 or approx. EUR 5,700 converted at the time of writing Description: A blue and white 'Shou' stem cup, Ming dynasty, 17th century Expert remark: Note the similar bow string around the stem and the related decorations. Note the size (14.7 cm).Auction result comparison: Type: Related Auction: Christie's 16 October 2001, lot 127 Price: USD 25,850 or approx. EUR 41.000 converted and adjusted for inflation at the time of writing Description: An early Anhua-decorated blue and white stem cup, late 14th century Expert remark: Note the related motif and cup form. Note the size (9.5 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 9 November 2016, lot 331 Estimate: GBP 5,000 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A blue and white stem cup, Ming dynasty, 15th/16th century Expert remark: Note the related painting style and cup form. 明代下半葉青花龍紋高足杯中國，十六至十七世紀。杯口微撇，下承中空竹節狀手柄。器型高雅。杯心繪雲紋火珠，杯壁繪螭龍，杯足以蕉葉紋為飾。青花發色純正，紋飾靈動。 來源：香港一個著名家族的遺產，該家族在二十世紀五十年代移居加拿大時，隨身攜帶了大量陶器、瓷器和其他中國藝術品。從那時起，藏品在同一家族一直傳承到如今的最後一位主人。 品相：狀況極好，有輕微磨損，小凹坑，凹陷底座的一部分因過度燒製而帶有淺橙色夾雜物。 重量：57.8 克 尺寸：高7.4 厘米，直徑 6.7 厘米 文獻比較： 比較一件相近的十四世紀上半葉青花杯，高8.3 厘米，收藏於大都會藝術博物館，館藏編號1986.97.1。比較一件非常相近的十七世紀早期成化款青花杯，高6.2 厘米，收藏於大英博物館，館藏編號1943,0215.14，出版於Jessica Harrison-Hall，《Catalogue of Late Yuan Ming Ceramics》， 收藏於大英博物館，倫敦，2001年。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2023年3月29日，lot 97 價格：USD 6,300（相當於今日EUR 5,700） 描述：中國明十七世紀青花壽字紋高足盃 專家評論：請注意相似的的弓弦和相近的裝飾。請注意尺寸(14.7 厘米)。 拍賣結果比較： 形制：相近 拍賣：佳士得，2001年10月16日，lot 127 價格：USD 25,850（相當於今日EUR 41.000） 描述：十四世紀末期青花杯 專家評論：請注意相近主題和杯的外形。請注意尺寸(9.5 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，9 11月 2016年，lot 331 估價：GBP 5,000 EUR 8,500 （相當於今日） 描述：明十五/十六世紀青花獅戲繡球紋高足盃 專家評論：請注意相近的彩繪風格和杯的外形。

A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE FAMILLE-ROSE 'SHOULAO AND THE EIGHT IMMORTALS' VASE, SHENDETANG ZHI MARKChina, 1830-1930. Of baluster form, the body is finely painted with a continuous scene depicting the Eight Immortals in a garden with craggy rockwork and a gnarled towering pine. He Xiangu holds her lotus flower next to Lu Dongbin, holding his fly whisk with his sword sheathed on his back, and the elderly Zhang Gua, holding his tube-shaped bamboo drum. Zhongli Quan holds his fan next to young Han Xiangsi, who plays his flute. An attendant holds a basket of flowers behind Cao Guojiu and his castanets who watches Li Tieguai as whisps of red smoke rise from the double gourd strung to his back.Inscriptions: The base with an iron-red four-character mark, 'Shendetang zhi' (Hall of Prudent Virtue).Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.2.50. An old label to the interior of the vase reads, 'KW N2.50.' Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition with old wear and minor firing irregularities, some rubbing and flaking to the enamels, and minute chips to the foot. Overall displaying exceptionally well.Weight: 3,717 g Dimensions: Height 46.1 cm Shendetang ('Hall of Prudent Virtue') is a hall mark associated with a range of fine porcelains made for the Hall of Prudent Virtue, a summer residence of the Emperor Daoguang. The Daoguang Emperor was known as a prudent, kind, and frugal ruler, investing heavily in the dilapidated Old Summer Palace (yuanmingyuan). The financial review of the Yuanmingyuan in 1824 showed significant surplus left over, which enabled Daoguang to construct the Shendetang ('Hall of Prudent Virtue') within the Old Summer Palace. This became his new living quarters in 1830. Daoguang porcelain inscribed with the Shendetang mark can be dated between 1831 and 1850 and is often characterized by their novel designs.Auction result comparison: Type: RelatedAuction: Sotheby's London, 18 January 2023, lot 88Price: GBP 75,600 or approx. EUR 88,500 converted at the time of writingDescription: A small famille-rose 'immortals' bowl Qing dynasty, 19th centuryExpert remark: Compare the related decor, manner of enameling, and the Shendetang mark. Note the different form and the smaller size (14.5 cm).Auction result comparison: Type: RelatedAuction: Bonhams Edinburgh, 15 November 2012, lot 337Price: GBP 17,500 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: A mirrored pair of famille rose vases, bearing four character hall mark, Republic periodExpert remark: Compare the related decoration and Shendetang mark. Note the smaller size (23 cm), and that the lot comprises a pair. 大型粉彩《壽老與八仙》賞瓶，慎德堂款中國，1830 -1930 年。 侈口，直頸，通景描繪山間八仙群會場景，何仙姑手捧荷花，呂洞賓背劍執飛拂，張果老手持魚鼓，漢鍾離拿著扇子，旁邊是吹笛子的韓湘子，身後曹國舅拿著響板，藍采荷提著花籃，還有鐵拐李背著葫蘆。 款識：礬紅釉四字款“慎德堂" 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.2.50。瓶底有一個標籤 'KW N2.50.'。品相：狀況良好，有磨損和輕微的燒製不規則，琺瑯有一些摩擦和剝落，足部有微小的缺口。 重量：3,717 克 尺寸：高 46.1 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A SILVER-INLAID BRONZE FIGURE OF A TORTOISE AND YOUNG, ATTRIBUTED TO SHISOU, LATE MING DYNASTYChina, 17th century. Well cast as a mother tortoise standing foursquare and lifting its head as its young clambers on her back. Both with their carapaces finely inlaid with silver wire, the mother's deeply incised as well, their faces neatly detailed. Provenance: From a private French collection in Bordeaux. Condition: Very good condition with minor wear and casting irregularities, few small nicks, light scratches, minor losses to inlays. Fine, naturally grown patina overall.Weight: 365.7 g Dimensions: Length 10.4 cm Little is known about the historical figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists'). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity'). Although the present piece is unsigned, the high quality of the casting and fine silver-wire inlays make an attribution to Shisou or a related workshop more than reasonable.The tortoise is one of the Four Fabulous Animals, the most prominent beasts of China. They govern the four points of the compass, with the Black Tortoise as the ruler of the north, symbolizing endurance, strength, and longevity. The tortoise and the tiger are the only real animals of the four, although the tortoise is sometimes depicted with supernatural features such as dragon ears, flaming tentacles, and a long hairy tail - such as the present lot - representing seaweed and the growth of plant parasites found on older tortoise shells that flow behind the tortoise as it swims. The Chinese Imperial Army carried flags with images of dragons and tortoises as symbols of unparalleled power and inaccessibility, as these animals fought with each other but both remained alive.Literature comparison: For an earlier inlaid bronze tortoise-form weight, dated 3rd-2nd century BC, see Christie's New York, The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection, 16 September 2010, lot 907. For an inlaid bronze tortoise-form weight dated Yuan to Ming dynasty, see Christie's Hong Kong, Important Chinese Ceramics and Works of Art, 27 November 2013, lot 3584. A lacquer-gilt bronze model of a turtle, also dated to the 17th century, was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 6 March 2021, lot 430.Auction result comparison: Type: Related Auction: Zacke, 16 October 2021, lot 346 Price: EUR 1,150 or approx. EUR 1,350 adjusted for inflation at the time of writing Description: A silver-inlaid bronze 'turtle' weight, attributed to Shisou, late Ming dynasty Expert remark: Compare the closely related manner of casting, silver wire inlay decoration, and size (10 cm). Note that this is a figure of the mother turtle only, not showing the young. 明末錯銀銅龜携子，或爲石叟中國，十七世紀。 一隻母龜呈四足著地立姿，抬頭；一隻小龜爬在她的背上。龜甲上精美錯銀線，面部細節生動，活靈活現。 來源：法國波爾多私人收藏。 品相：狀況極好，有輕微磨損和鑄造不規則，局部小刻痕，輕微劃痕，鑲嵌物有輕微損失。整體包漿細膩。 重量：365.7 克 尺寸：長10.4 厘米 文獻比較： 一件西元二至三世紀銅鑲嵌龜鎮，見紐約佳士得，「The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection」，2010年9月16日，lot 907。一件元至明代銅鑲嵌龜鎮，見香港佳士得，《Important Chinese Ceramics and Works of Art》，2013年11月27日，lot 3584。一件十七世紀漆金鎏金銅龜，售於Zacke，《Fine Chinese Art，Buddhism and Hinduism》，2021年3月6日，lot 430。 拍賣結果比較： 形制：相近 拍賣：Zacke，2021年10月16日，lot 346 價格：EUR 1,150（相當於今日EUR 1,350） 描述：明末錯銀銅龜鎮紙 專家評論：比較非常相近的鑄造風格，銀鑲嵌裝飾和尺寸(10 厘米)。請注意此龜鎮紙只有母龜，沒有小龜。

A BRONZE CENSER, YUTANG ZHENWAN MARK, EARLY QING DYNASTYChina, late 17th-18th century. The compressed globular body rises from a short foot to a flaring neck and rim and is set at the shoulder with a pair of simple loop handles. The base is cast with a four-character mark, and the finely polished metal has naturally patinated with speckles of a rich dark toffee tone.Inscriptions: To the base, 'Yutang zhenwan' (precious plaything of the Jade Hall).Provenance: From a notable private collection in Bavaria, Germany. Condition: Very good condition with expected old wear and some casting irregularities. Tiny nicks, light scratches, the interior with distinct traces of use.Weight: 1,155.1 g Dimensions: Width 14.1 cm Auction result comparison: Type: Closely related Auction: Sotheby's London, 17 May 2019, lot 348 Price: GBP 7,500 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A bronze censer, 17th/18th century Expert remark: Compare the closely related form and patina. Note that this censer is similarly cast with a Yutang Qingwan ('pure pleasure of the Jade Hall') mark. Note the size (18.3 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2014, lot 1052 Price: USD 25,000 or approx. EUR 29,000 converted and adjusted for inflation at the time of writing Description: A bronze tripod censer and bronze stand, 17th-18th century Expert remark: Compare the identical mark and related form, albeit with slightly different handles. Note the size (18 cm) and the bronze stand. 清初“玉堂珍玩"款銅爐中國，十七世紀末至十八世紀。爐身線條流暢柔美，雙耳出頸曲折下收於腹部，渾厚有力。香爐通體深褐色包漿，富貴而莊重。底足有“玉堂珍玩"印。 款識：玉堂珍玩 來源：德國巴伐利亞知名私人收藏。 品相：狀況良好，有一些磨損、表面淺劃痕、鑄造缺陷。 重量：1,155.1 克 尺寸：寬 14.1 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2019年5月17日，lot 348 價格：GBP 7,500（相當於今日EUR 11,500） 描述：十七/十八世紀銅蚰耳爐《玉堂清玩》款 專家評論：比較非常相近的外形和包漿。請注意同樣為「玉堂清玩」款識。請注意尺寸(18.3 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2014年9月19日，lot 1052 價格：USD 25,000（相當於今日EUR 29,000） 描述：清 十七至十八世紀銅雙耳三足爐《玉堂珍玩》篆書款 專家評論：比較相同的款識和相近的外形，儘管雙耳不同。請注意尺寸(18 厘米) 和有銅底座。

Five Hornby 00-gauge locomotives and tenders, to include: Charterhouse 903 Southern, New York Central 1147, Adderley Hall 4901 and others, in Great Western, Southern, LNER and LMS livery, boxed.

Bible [Italian]. La Sacra Bibbia, tradotta in lingua Italiana, e commentata da Giovanni Diodati ... con l'aggiunta de' sacri Salmi, messi in rime per lo medesimo, 2nd edition, Geneva: Pietro Chovet, 1641, printer's woodcut device to title (dust-soiled and marked, margins a little frayed), Apocrypha present before New testament, includes Book of Psalms bound at rear entitled I Sacri, messi in rime volgari da Giovanni Diodati, some dust-soiling mostly to initial leaves at front of volume, toning throughout, occasional and marginal damp stains and few marks, front free endpapers detached, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedown, contemporary calf, without title label to spine, joints split and extremities worn, folio (30.5 x 19 cm)QTY: (1)NOTE:Darlow & Moule 5600. The second edition of Diodati's Italian translation, also containing his metrical Psalms.

London & Thames Valley reference. 18th-20th century publications, including a defective copy of John (Noorthouck). A New History of London, c. 1770s, lacking title, containing 30 of 42 engraved plates (3 folding), some leaves detached and text-block partly broken, contemporary calf, boards detached, worn, 4to; Chamberlain (Henry). A New and Compleat History and Survey of the Cities of London and Westminster, London: J. Cooke, c. 1780, engraved frontispiece (detached), folding map, folding plan and numerous plates, final two leaves detached and frayed, contemporary half calf, board detached, worn, folio; Taunt (Henry W.). A New Map of the River Thames from Thames Head to London ... combined with guides giving every information required by the tourist, the oarsman, and the angler..., 5th edition, Oxford: Taunt & Co., London: Simpkin, Marshall & Co., c. 1886, mounted albumen print photographs on double-page lithograph maps, original green cloth, 8vo; Hall (Mr. & Mrs. S. C.). The Book of the Thames, from its rise and fall, new edition, London: Virtue and Company Ltd., [1877], numerous wood engraved vignette illustrations, all edges gilt, original blue cloth, 8vo, William (Alfred). Round about the Upper Thames, 1st edition, London: Duckworth & Co., 1922, monochrome frontispiece and plates, single-page map at rear, original cloth, minor wear to joints, 8vo, plus others similar including an ex-library set of Royal Commission on Historical Monuments, An Inventory of the Historical Monuments in London, 5 volumes, 1904-1930QTY: (2 cartons)

Taylor (Jeremy). The Great Exemplar of Sanctity and Holy Life according to the Christian Institution..., 4th edition, London: J. Flesher for Richard Royston, 1667, engraved portrait frontispiece, additional engraved title, letterpress title in red and black, 10 engraved plates (7 folding), armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedown, contemporary mottled calf, gilt decorated spine, upper joint split, spine and extremities rubbed and worn, folio (Wing T345), together with:[Downame, John, attributed]. Annotations Upon all the Books of the Old and New Testament, 2 volumes, London: Printed by John Legatt, 1651, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedowns, contemporary calf, contrasting morocco labels to spines (some lacking), joints cracked, some wear, folio,Hall (Joseph). The Works of Joseph Hall B. of Exceter. With a Table newly added to the whole Worke, 2 volumes, London: Printed by John Haviland, 1628 [-1661], general title to first volume within woodcut border with armorial bookplate of Sir Thomas Cave Bt. of Stanford Hall, Leicestershire to verso, numerous divisional title pages, title to second volume within woodcut border and entitled 'Contemplations upon the historie of the New Testament' with imprint London: Printed by James Flesher, 1661, last two leaves in second volume detached, frayed and with few short closed tears, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedowns, contemporary calf, contrasting morocco labels to spines (volume number label to vol. 2 lacking), worn to head and foot of spines, second volume with upper joint split and lower board detached, folioQTY: (5)

Hall (William Hutcheson & William Dallas Bernard). Narrative of the Voyages and Services of the Nemesis from 1840 to 1843, and of the combined Naval and Military Operations in China: comprising a complete account of the Colony of Hong-Kong, and remarks on the character & habits of the Chinese, 2nd edition, London: Henry Colburn, 1845, 4 folding maps, 3 engraved plates only (of 4, lacking plate of the Nemesis), advertisements at end, some light spotting and toning, previous owner signature of Henry William Jones at head of first preface leaf, inscription to frontispiece verso, original green blindstamped cloth, rebacked, some light edge wear, 8vo, together with The Nemesis in China, comprising a History of the Late War in that Country; with an account of the Colony of Hong-Kong, 4th edition, with a new introduction, London: Henry Colburn, 1848, 3 engraved plates, 1 folding map only (of 4), advertisements at rear, some water stains and soiling to plates, some light spotting, previous owner inscription to frontispiece verso, bookplate, original green cloth, rebacked with original spine relaid, a few stains, 8vo, plus volume II only (of 2) of Travels in Kamtchatka and Siberis; with a narrative of a residence in China, by Peter Dobell, 1830QTY: (3)NOTE:Sold with all faults not subject to return.

Two albums containing approximately 150 watercolour landscapes by Ray Hall including Dartmoor, Cannock Chase, Australian interest examples, Queensland, New South Wales, Adelaide, New Zealand, Patawalonga and Alice Springs, many signed and some dated circa 1965, most 28 x 38cm

CHARLES BEVAN (1815-1891) FOR GILLOW & CO., LANCASTER & LONDON. SIDE CABINET, CIRCA 1866 walnut, inlaid with boxwood, amboyna and fruitwood timbers Dimensions:71cm wide, 107cm high, 40cm deep Provenance:Provenance; Possibly William Harrison (18**-1879), Samlesbury Hall, 1866 Paul Reeves, London 1992 Anissa Helou, Christies South Kensington, 19th May 1999, lot 602 Harris Lindsay, London, until 2000 Private British Collection until 2022 Paul Shutler Note: Literature: Croston, James The History of the Ancient Hall of Samlesbury in Lancashire', 1871 Croston for an engraving of the Great Hall showing a number of pieces of furniture that appear to follow Bevan's designs. Sotheby's, London The Best of British - Design from the 19th and 20th Centuries - Paul Reeves: The Auction, 20th March 2008, lot 81 for a related large cabinet, also potentially from the Harrison commission (£12,000). Coleman B. The Best of British Arts & Crafts, Atglen, PA, 2004, p.69Note: Along with Bruce Talbert, who exhibited a handful of 'medieval' or 'old English' pieces (including the Pericles cabinet now in the Metropolitan Museum, New York) on the Holland & Son stand at the 1867 Paris Exhibition, it is widely accepted that Charles Bevan's 1865 designs for Titus Salt Jr marked a turning point in British taste. This cabinet was one of a pair, which were split up between two friends shopping in London at Harris Lindsay circa 2000. The other cabinet was purchased by the academic collector Peter Rose (recently sold at Christie's London, 30th September 2021, Lot 110, as part of The Peter Rose and Albert Gallichan Collection (£12,000). Stamped 'GILLOW & CO' '2324' the Christie's example has a note in the provenance mentioning Samlesbury Hall in Lancashire. Although originally built in the 14th century, Samlesbury Hall was acquired by the industrialist Joseph Harrison (1805-1880) in 1862 and given to his son William Harrison (18** -1879). William Harrison spent a vast sum of money refurbishing the interiors and furnishing the hall. The Gillow estimate sketch books, held at the Westminster City archives, have records of him ordering numerous pieces of reformed gothic furniture in 1866. The commission includes pieces in Bevan's distinctive style but also in Pugin's.

STARUKH, PETRO (Ukrainian, b. 1961), still life of blue and yellow flowers in vase, green leaves and blue vase, watercolour on paper, signed lower right, framed and glazed, Image size 41 x 59 cms, framed 56 x 75 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961),  still life of flowers, black stems with flash of red, yellow central background, watercolour on paper, signed lower right, Image 40 x 49, Framed 56 x 74.5 Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b.1961), 'Microcosm Diptych', two framed and glazed abstract paintings to form a comment on Microcosm, Signed and dated bottom right, watercolour.  Diptych of two complementary panels, size 65 x 85 cms, total size 65 x 170 cms, each of which can be as a separate picture. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv;.... CONDITION: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv;2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus, 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk ... 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION", 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961),Highly stylised still life of flowers in vase, red, yellow and green, watercolour on paper, signed lower right, Image size 33 x 49 cms, Framed 48 x 65 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian b. 1961), Still life, expressionistic explosion of colour emanating from a pot, with fine back stems, red, yellow and green with vivid Ukrainian blue highlights, watercolour on paper, signed lower right, Framed 48 x 65 cms, Image 33 x 49 cms. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961), 'Musical', a sculpture constructed from interlocking and suspended circular black steel discs abstractly representing music, applied signature to convex circular base.   Height 77 cms, base diameter 21 cms. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; 2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus, 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk ... 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION", 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting. CONDITION: Further Information:Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; 2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus, 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk ... 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION", 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961), still life of blue and yellow flowers in vase,, watercolour on paper, signed lower right, framed and glazed, Image size 41 x 59 cms, framed 56 x 75 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

AN IRISH MID-19TH CENTURY ARBUTUS AND MARQUETRY INLAID KILLARNEY WORK DAVENPORT DESK, the wavy gallery back inlaid with a harp and flanked by animals, above a slopefront panel, with leather inset surrounded by a band of trailing shamrocks, with fitted interior, with arched panel doors to the side, enclosing various short drawers, with solid column supports, on platform base and castors. 101 cm high x 71 cm wide, 71cm deep By the middle of the 18th Century Killarney and its hinterland was emerging as a tourist centre and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. By 1830 Jeremiah O'Connor and others started to produce souvenirs such as chessboards, snuffboxes, card cases - even jewellery. The items were made from a variety of local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainsides surrounding the Lakes of Killarney. Arbutus and bog oak were used prolifically and became particular to the Killarney wares. As mementos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the present Davenport desk. The images were largely taken from a book of engravings Ireland: Its Scenery, Character &c (1841) by Mr and Mrs S. C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, cabinets. Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufacture a fine arbutus cabinet and desk as a gift for Queen Victoria which popularised the trade but by 1900 it had declined.

DICKENS, Charles: Seven 1st. edns: The life and adventures of Nicholas Nickleby. Chapman & Hall, 1839; Bleak house. Bradbury & Evans, 1853; Little Dorrit, Bradbury & Evans, 1857; Dombey and son. Bradbury & Evans, 1848; The mystery of Edwin Drood. Chapman & Hall, 1870; The life and adventures of Martin Chuzzlewit. Chapman & Hall, 1844; Master Humphrey's Clock, 3 vols. Chapman & Hall, 1840-41; Plus: Sketches by Boz. Chapman & Hall, 1839, New Edn. (10)

A mixed group of tea wares, comprising a Caughley trio in the Temple pattern, a New Hall tea bowl and saucer in the Trench Mortar pattern, two New Hall trios in an Imari pattern, a Rockingham cup and saucer and some later 19th century tea wares.

A collection of 80's Pop LPs and 12" Singles to include artists; Hall & Oates, Dexys Midnight Runners, Paul Young, Edie Brickell & New Bohemians, UB40, The Primitives, Simply Red, The Christians, Level 42 and Billy Joel; All conditions vary from Very Good to Very Good Plus with generally Very Good sleeves. (36)

A collection of Recent Issue Bob Dylan LPs to include (1) The Times They Are A-Changing (2017 Europe Mono Reissue, CL2105 / 88985344321, 180g Vinyl); (2) Highway 61 Revisited (2015 Europe Mono Reissue, CL2389 / 88875146301, 180g Vinyl); (3) Another Side Of Bob Dylan (2021 UK Reissue Press, CS8993 / 9700000390736, 180g Vinyl); (4) Nashville Skyline (2015 Europe Reissue, KCS9825 / 88875146321, 180g Vinyl); (5) Bob Dylan (2021 UK Reissue Press, CS8579 / 88985455271, 180g Vinyl); (6) At Carnegie Chapter Hall (2014 Europe Press, NOT2LP204, 180g Red Vinyl); (7) The Essential Bob Dylan (Europe Reissue Press, 88985309551); (8) New Morning (2012 Europe Reissue Press, MOVLP513, 180g Vinyl); (9) Hard Rain (2011 Europe Reissue Remastered Press, MOVLP345, 180g Vinyl); (10) Empire Burlesque (2015 Europe Reissue Press, MOVLP1570, 180g Vinyl); (11) In Concert Brandeis University 1963 (2011 Europe Mono Press, MOVLP286 / 8713748981648, 180g Vinyl); All conditions Mint Factory Sealed (11)

Ceramic Reference. Preller (Patricia), A partial reconstruction of the New Hall Pattern Book, [with] Supplement No. 1, including a comprehensive shapes guide, Newbury: Printed by White Horse Press, 2003 & 2008, illustrated in colour throughout, dj over green cloth, the supplement pictorial wrappers, 4to, Godden's New Hall Porcelains, Antique Collectors' Club, 2004, dj over cloth, 4to, New Hall & Friends Newsletter, Nos. 18-20, Autumn 2012-14, original wrappers, 4to, [&] Barratt (Jean), A & E Keeling, Formerly Factory X: Shapes and Patterns on Porcelain, Gomer Press, 2009, illustrated, original wrappers, 4to, (7)

18th century New Hall tea bowl together with a Chinese Famille Verte cup and saucer etc (AF)

Mixed glass and ceramics including cranberry glass decanter and four other pieces, New Hall bat printed tea cups and saucers and tin glazed dishes, largest 24cm in diameter

An Arts & Crafts Copper Hanging Hall Lantern, circa 1900, with vaseline glass shade, the frame with three stylised trees, unmarked, 35cm high 18.5cm widePossible replacement vaseline glass shade. Four drilled holes near the bottom rim. New ceiling rose. Wear to the surface. Dirty.

THE RUGBY CLUB HOUSE: 1959 SCOTLAND & IRELAND COMBINED JERSEY MATCH WORN BY TONY O'REILLY ONE OF RUGBY'S GREATEST EVER WINGERSThe 36ins chest Lillywhites made jersey retains labels to the interior, white collar to Irish green and Scottish blue quarters and bearing crests of Scotland and Ireland to shield stitched to chest, bears white No.5 to back (to denote the position of wing at the time), jersey in exceptionally fine condition with no loss of colour and all detailing complete. Note, that the jersey appears to be the first Scotland/Ireland combined jersey from 1959 to appear at auction. A very rare jersey in immaculate condition worn by a true great!The jersey was worn by O'Reilly on October 17th 1959, when his Scotland/Ireland combined team played the England/Wales XV at Twickenham to commemorate the Twickenham Jubilee season. O'Reilly was one of twenty-three British Lions playing in the match having recently returned from Australia and New Zealand. O’Reilly scored a fabulous individual try in what was said to be a brilliant match characterised by exciting open play and fitting of the occasion. England/Wales won by four goals and two tries (26 points) to Scotland/Ireland's one goal, one penalty goal and three tries (17 points).Sir Anthony Joseph Francis O'Reilly AO (born 7 May 1936) is as well known for his exploits as a high-profile Irish businessman as he is an international rugby union player. But when it comes to his sporting career, he stands out as a true record breaker and possibly the greatest winger of all time. O'Reilly remains the British Lions and Barbarians record try scorer as well as sharing (with Mike Gibson), between 1955 and 1970, the longest International playing career for Ireland. O’Reilly made his senior international debut aged 18 against France on 22 January 1955. He scored his four tries for Ireland against France on 28 January 1956; against Scotland on 25 February 1956; against Wales in 1959; and against France in 1963. He made his final appearance for Ireland on 14 February 1970, after a six-year absence from the national team. This final appearance, against England, was an 11th-hour replacement, denying Frank O'Driscoll and which ended a seven-year hiatus of O’Reilly’s test career. He did well to last this last game at Twickenham as he was strictly a social player by then at London Irish. He spent most of the match in a daze after a blow to the head!Tall for a wing, at 6ft 2in, and nearly 15st, O’Reilly was swift over the ground, a fine reader of the game and a brilliant finisher. He reserved his greatest feats for the Lions, for whom he felt more of an affinity in terms of style. Tony O’Reilly is enshrined as a member of the International Rugby Board's Hall of Fame.With regards to business, Tony O’Reilly was purported to be Ireland’s first billionaire. He held positions at Independent News & Media Group, Heinz, and Waterford-Wedgwood.International Playing Stats: Ireland played 29 times scoring 12 points, Lions 10 appearances scoring 18 points, Barbarians 30 appearances scoring 114 points.Provenance: private collection West Wales, gifted by O'Reilly to vendor, expansive letter of fascinating provenance handwritten by the vendor (see images). The letter explains the background of the vendor's ownership of the jersey since 1984, which involved a fortuitous discovery of Tony O'Reilly's Irish cap and a great deal of generosity by the vendor in returning this long lost treasure to the player. Also, to accompany, revealing ephemera including a black and white photograph of the vendor with the infamous Irish cap and relating typed letters from O'Reilly on Heinz headed paper and relating letter from then IRFU secretary R Fitzgerald on IRFU headed paper etc

POSTCARDS - MAINLY TOPOGRAPHICAL Approximately 280 cards, comprising real photographic views of New Street, Chipping Norton; Town Hall, Chipping Norton; Market Place, Faversham; The Rose & Crown, East Harnham, Salisbury; The Village, Bramhall; King Harry Ferry, Truro; Chamberlain Place, Birmingham; Fisher Street, Sandwich; Circular Quay, Sydney, N.S.W.; Bourke Street, Melbourne; and Flinders Street, Melbourne; with printed views of Painswick Post Office; The Causeway, Horsham; The Hut, Walton-on-Thames; Broad Gate, Ludlow; The Village, Burraton; Ye Merrie Bells, Wheatley; High Street, Haselmere; Park Wells Pump Room, Builth Wells; advertising cards for Britannia Dyeing & Cleaning Co.; Fry's Chocolate; and Clarnico; and others; together with a quantity of modern, mainly oversize cards, (album and loose).

ROLEX - A rare Rolex Oyster Perpetual 'Double-Red' Sea-Dweller Submariner 2000, ref. 1665. Rare Rolex Oyster Perpetual Date Sea-Dweller 'Double Red' Submariner 2000 stainless steel gentleman's wristwatch, reference no. 1665, serial no. 5057xxx, circa 1977, case 44mm. Purchased from new by the owner in 1977 and is complete with all the original packaging and related accessories, with the original box with outer cover, Chronometre certificate dated June 21/8-77, with 1665 sticker, green and red tag, anchor. Service guarantee dated 10/Aug/06. This rare Rolex Sea-Dweller belonged to Dave Townson (1939-2023). He was born in Hall Green, Birmingham, on the 2nd of May 1939. He pursued various careers before getting married. After several holidays in Cornwall, the family made the move to Cornwall, where Dave started diving for crawfish, lobsters, and sea urchins, which he sold for a living wage. He also obtained permission to own and dive on local wrecks and engage in salvage operations.In 1975, he joined Comex, working offshore on oil rigs in the North Sea. In later years, he would commute on his Kawasaki GT750 motorbike - a commute that spanned from Cornwall to Scotland! He purchased this Rolex watch new in 1977, and it rarely left his wrist, being extensively used throughout his diving career.Initially, he worked as a life support technician, eventually advancing to the position of supervisor. He worked in the North Sea, along the Norwegian coast, West Africa, and Brazil, following a schedule of one month on and one month off, with 12-hour shifts.After a life spent at sea, punctuated by many family holidays, he settled in Newquay and found enjoyment in renovating and collecting classic cars and motorcycles in his garage. In his 70s, he treated himself to a Honda CBR1000RR Fireblade motorcycle.He peacefully passed away in May 2023, having lived a very full life, reaching the age of 84. (Courtesy of the Townson family) Currently running. Light scratches to the enamel on the bezel. Some tiny dents to the lugs and some case scratches. Light glass scratches. We are unsure whether this is the original bracelet. Please satisfy yourself before bidding (see extra images). Clasp number 93150. Strap number 93150. End piece number 585. The clasps on the bracelet need tightening. The links on the bracelet are stretched. We do not guarantee the working order of watches, accuracy or the originality of parts on and within watches. We would recommend a service after purchase.

A PAIR OF DERBYSHIRE CARVED MODELS OF A BULL AND A COW EARLY 19TH CENTURY Probably Derbyshire alabaster or similar hardstone, mounted on Black Ashford marble and attributed to either John Mawe or Joseph Hall each base 47.5cm wide, 25cm deep, taller 13cm high John Mawe (1764-1829) was a mineralogist who transmuted his knowledge into a lifetime and successful business selling carved ornaments, mostly utilising native English stones and minerals. Apprenticed to the Derby mason Richard Brown, he went on to set up business with him in Covent Garden before marrying his daughter Sarah. He went on to travel the world seeking new specimens for his collectors, writing books and treatises on travels in South America (where he was arrested as a spy), and other works on diamonds, shells and mineral categorisation. For a similar example of a Derbyshire figure of 'The Bull Sultan' with label for Sarah Mawe, please see Dreweatts, Interiors Sale 16 August 2023, lot 222 Condition Report: Overall marks, knocks, scratches, abrasions consistent with age and useChips and losses, knocks, some elements detached and missing form the lot, the cow with a section detached to the front leg, this element is present. The horns are missing overall, some of these are old losses, some look more recent (but not new)These are made from a natural material, the cow with various veins and associated indentations associated with the natural nature of the material The cow loose on the base and swivels, there are some marks from this, the bull appears more solid on the baseThe black bases with chips and losses to the extremities and cornersPlease see additional images for visual reference to condition and appearance of these modelsCondition Report Disclaimer