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Furniss, Harry, Parliamentary Views, pictorial covers, printed in red and black, Bradbury & Agnew, Ltd edition of 1000 signed by the publishers (cover worn); to/w Leech, John (ill) Mr Sponge's Sporting Tour and four other vols - Ask Mamma, Handley Cross Mr Ranford's Hounds and Plain or Ringlets; a'Beckett, GA & Leech, John (ill), Comic Histories (3 vols); Cruikshanks' Comic Almanac 1835-53, 2 vols; 20 vols of The New Punch Library; Du Maurier George English Society at Home folio, 1880; Edwards, Lionel - Sketches in Stable and Kennel, 3rd 1936, folio, d/w; Dewar, Douglas & Fitch Daglish, E (ill) Game Birds, 1st, London; Chapman & Hall 1928, 4to; Heaton-Cooper, A (ill) & Palmer, WT, The English Lakes, 2nd 1908, Art Nouveau pictorial covers 8vo (35)

GERALD BENNEY: a silver and 18 carat gold boxLondon 1965, impressed 'MADE BY GERALD BENNEY LONDON', also incuse number 41, Elongated rectangular form, the hinged cover with a bark-effect textured surface, formed with fourteen gold narrow bands between silver rectangular panels, all within a narrow gold border, the sides with vertical bark-effect textured surface, a smooth silver footed rim, the interior and underside lined with dark-green leather, length 29.7cm, weight 20oz.Footnotes:ProvenanceBonhams, London, Knightsbridge, The Family Reserve Collection of Gerald Benney, 1st December 2010, lot 663.ADRIAN GERALD SALLIS BENNEY CBE RDI (1930 - 2008) Gerald Benney was one of the most outstanding and influential British goldsmiths of the 20th century. During a career spanning more than 50 years, he was the first British craftsman to hold four Royal Warrants simultaneously. As well as designs in silver, in his early years Benney also used other materials to design a range of products including clocks, lamps and prams. His work can be seen in many collections worldwide, including those of the Victoria and Albert Museum and Goldsmiths' Company. Born in Hull, Yorkshire in 1930. His mother, Aileen, was a talented silversmith and his father, Ernest, was Principal of Brighton College of Art. Young Gerald attended Brighton College of Art from 1946-1948, he studied design and craft under the tutelage of Dunstan Pruden. After two years National Service with the Royal Army Service Corps he went to the Royal College of Art to study under Professor Robert Goodden. He excelled and, in 1952, a four-piece tea service and tray secured him the Prince of Wales Scholarship. It was at the RCA that Benney met fellow designers and silversmiths David Mellor and Robert Welch, between them they were to revolutionise Post-war silver design. During his last term at the RCA, Benney found his first workshop at Suffolk House, Whitfield Place off the Tottenham Court Road in London. Early in his career Benney discovered, by accident, the distinctive surface texturing of silver that was to become his signature. He inadvertently used a hammer with a damaged head while producing a cup and liked the effect. This surface texturing soon became known as 'Benney Bark Finish'. The finish was widely imitated and dominated contemporary silver design for almost two decades. Its success was, not only, for its new contemporary look but, also for the practical reasons that it almost eliminated tarnish and fingerprints. In 1963, Benney moved to Beenham House near Reading and it was here that he decided to develop the use of enamel to further embellish his silver objects and designs. He realised that he would need to learn the skills from established artisans. His first steps, in 1968, were to travel to Zurich to find an enameller who worked for the house of Burch Korrodi. By chance, he came across the Norwegian Berger Bergensen who, not only continued to practise the art of enamelling for Burch, but had also worked for Karl Fabergé's great rival Bolin. Bergensen was persuaded to come to Britain and instruct the Benney work force all he knew about enamelling: Alan Evans and Robert Winter became the most notable master enamellers for Benney. Though it took several years to master the craft, the Benney studio refined and mastered the art of enamelling to the extent that they were able to decorate larger surface areas than Fabergé. There is little doubt that they went on to be one of the world's foremost modern enamellers. In 1969, Benney moved his London studio to Falcon Wharf, Bankside where he eventually employed 22 people. Four years later, he moved his workshop to warehouses in Bear Lane, Southwark and, in the same year, The Goldsmith's Hall held a major retrospective of his work. A year later, 1974, Benney received his first Royal Warrant from by Her Majesty The Queen, followed a year later by those of her late Majesty, Queen Elizabeth, The Queen Mother and His Royal Highness The Duke of Edinburgh. In 1980, Benney received an unprecedented fourth Royal Warrant from His Royal Highness The Prince of Wales. It is interesting to note that besides running his own silver studio, Benney held several other design posts, between 1957 – 69 he worked as a consultant designer for Viners. He worked on domestic pieces for production in silver, pewter and stainless steel. Particularly successful were his designs for flatware and cutlery in stainless steel. In 1971, he was awarded Royal Designer for Industry and, from 1974 to 1983, he was Professor of Silversmithing and Jewellery at his alma mater, the Royal College of Art. In 1993, together with his son Simon, Benny opened a shop at 73 Walton Street, Knightsbridge, London and two years later was awarded a CBE.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 gem-set gold forehead pendant (chand-tikka), a gem-set gold mirrored roundel and a pearl-mounted gold pendant from the collection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh, and latterly in the possession of her granddaughter Princess Bamba Sutherland (1869-1957) Punjab, probably Lahore, first half of the 19th Centurythe tikka in the form of a crescent set with rubies and white sapphires, decorated to the sides in red and white enamel with chevron motifs, seed pearl fringe; the roundel with central mirror surrounded by openwork foliate motifs set with diamonds and emeralds, later mounted as a brooch; the pendant of filigree gold with seed pearl fringe the roundel 3.3 cm. diam.(3)Footnotes:ProvenanceMaharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839).Princess Bamba Sutherland (1869-1957), gifted by her father HH Maharajah Duleep Singh, later given by the Princess to her life-long personal companion and employee Mrs Dora Crowe of Hampton House, Blo' Norton, Norfolk. Private UK collection, acquired from Mrs. Oriel Sutherland, daughter of Mrs. Dora Crowe. The mirror plaque had, according to Princess Bamba, once been part of Maharajah Ranjit Singh's horse trappings.These three items were likely to have been within the casket of jewels handed back to Maharani Jindan Kaur (1817-1863) by the British authorities when she agreed to live in London with her son, who she was reunited with in Calcutta in 1861. Duleep Singh had not only negotiated a £3,000-a-year pension for his mother but also the safe return of over 600 pieces of her personal jewellery that had been impounded by the British authorities at Benares when she fled to Nepal. In the UK, John Login expedited the passage of her jewels through customs and Lady Login was present when Jind Kaur was finally reunited with them in London: 'Her jewels had at the moment arrived from the Custom House, and so delighted was she at the sight, that she forthwith decorated herself, and her attendants, with an assortment of the most wonderful necklaces and earrings, strings of lovely pearls and emeralds being arranged, in graceful concession to English fashion...' (Lady Lena Campbell Login, John Login and Duleep Singh, London 1890, p 213).These important personal royal effects of the late Maharani were dispersed after her death by her son and grandchildren, either through auction salerooms or by being gifted away. Two decades after her death, when Maharaja Duleep Singh lost his battle against the India Office over the thorny issue of his financial allowances, he decided to auction off some of his possessions in order to raise £20,000 with a view to relocating to India where he could live as a person of importance. He stripped his stately home at Elveden of some choice valuables – including 25,000 ounces of chased silver gilt, rare Indian carpets, Indian shawls, embroideries and a casket of jewels (though 'no old family jewels' according to the press, The Gentleman's Magazine and Historical Review, London, September 1863, p 378) – and packed them up to be auctioned by Messrs Phillips, Son & Neale of New Bond Street. A sympathetic editorial in The Times (20 July 1883) noted how 'news of His Highness being compelled to sell his jewels and other valuables will excite a deep feeling of sympathy among all who are acquainted with the history of the 'Lion of the Punjab'.' The following year, his embittered relations with the British Government compelled him be ransack the contents of Elveden to provide the finances needed to resettle in Punjab with his family. From 27 April to 5 May 1886, while the Maharaja was detained at Aden as he attempted to gain onward passage to India, the auction only realised a fraction of the expected value of the items, forcing Duleep Singh to empty his Coutts safety-deposit box of all his most valuable jewels. When he failed to gain the support of the Russians, Duleep Singh decided to settle in Paris. In 1890, he was forced to sell what remained of the family jewels in his possession to pay for both his own accommodation and that of his estranged second wife, Ada, who moved into an expensive villa situated in an exclusive tree-lined suburb of Paris. Prince Victor Duleep Singh, the maharaja's eldest son, sold part of his inheritance in order to pay off his considerable debts. On 19 June 1899, Messrs Christie Manson & Woods sold 114 lots from Victor's collection in their London sales room including Indian gold jewellery 'formerly the property of the late Maharajahs Duleep Singh and Runjeet Singh of Lahore' according to The Daily Telegraph (20 June 1899, p. 9). Of the riches snapped up at the well-attended auction, which realised nearly £3,000, The Morning Post gave the following details of the best prices achieved, including a lavish horse's head ornament: a gold forehead ornament with diamonds, and ruby drops, from Dholepore, £35; a breast ornament of gold, set with stones and pearls, from Kangra, £46; pair of forehead ornaments, of crescent form, from Delhi, £41; pair of gold armlets, Lucknow, £35; a gold girdle centre set with stones, Delhi, £44; a large ornament for horse's head, of gold, enamelled, from Punjaub, and part of the State harness of Runjeet Singh, £44;... a massive gold horse frontlet, thickly studded with emeralds and rubies, Delhi, £210.... (The Morning Post, 20 June 1899, p 3). Given that Prince Victor's share of the family jewels included a part of the state harness of Maharaja Ranjit Singh, it is perhaps not surprising that another important piece of equestrian jewellery was preserved by Duleep Singh's eldest daughter, Princess Bamba Sutherland (1869-1957).In 1897, Princess Bamba and her two sisters, Princesses Sophia and Catherine, moved to the Norfolk village of Old Buckenham, where they lived near another brother, Prince Frederick. When he sold his house in 1906 and shifted to Blo' Norton, his sisters followed suit. In 1935, the princesses shifted from Blo' Norton Hall to Hampton House at Blo' Norton. When the lease came to an end in 1935, Princess Sophia installed a married couple Dora and Cyril Crowe (Cyril had been a childhood-friend of Frederick's), with their baby son Cyril Junior, at Hampton House to attend upon the princesses whenever they stayed there. When Sophia died in 1948, Bamba became the last surviving member of Duleep Singh's family from his first marriage. Bamba took up residence at Hilden Hall as well as the management of Hampton House. Her relationship with the Crowes developed in terms of mutual respect and affection. While Cyril Jr had been a great favourite with Sophia, his sister Oriel, who was eight years younger, was much loved by Bamba. In later life, the young girl would recall how 'Princess Bamba retained her sense of humour, and as an old lady she would smile, wrinkle her nose, and giggle like a little girl' (Peter Bance, Sovereign, Squire and Rebel: Maharajah Duleep Singh, London 2009, p 160).In 1953, Bamba decided to give Hampton House to the Crowes as she planned to return to Lahore (she had visited Punjab's capital in 1941 but was forced to remain there for five years following the outbreak of the Second World War). She died in her family's ancestral home in 1957. According to Oriel Crowe's (later Sutherland) letter of provenance accompanying this group, Princess Bamba gifted these items of jewellery to her mother, Mrs Dora Crowe, before she left England on her final journey to Lahore. Bamba had told Mrs Crowe that the circular stoned gold and mirrored broach was formerly part of Maharaja Duleep Singh's horse harness. As such, they represent a remarkable link back to one of the richest treasuries in the world.For further information on this lot please visit Bonhams.com

An Umayyad carved marble panel Cordoba, probably Medinat al-Zahra', 10th Centuryof rectangular form, carved in relief with a tree with undulating and intertwined branches forming cartouches filled with leaves and buds, the top of the tree with a pine cone, the border with cable design, mounted 81 x 37.5 cm.Footnotes:ProvenanceOliver Hoare (1945-2018), acquired circa 1976.Jean-Claude Ciancimino Collection (1931-2014), acquired prior to 1965.This panel is a superbly executed example of the intricately carved naturalistic decoration that is characteristic of the art of Umayyad Spain and was used on everything from small ivory caskets to monumental architectural embellishments. Its origins can be traced back to the ornament of Umayyad Syria, which the Islamic craftsmen of Spain made a conscious effort to revive in order to enhance the prestige of the new western Caliphate. This panel is likely to have been produced to adorn the walls of the palace of Medina al-Zahra' which was built for 'Abd al-Rahman III, the first Umayyad Caliph of Cordoba (Reg. 929-961). Construction took place between 936 and his death in 961, but was continued by his son Al-Hakam II (Reg. 961-976). Similar panels can still be seen in situ in the reception hall which can be dated by inscriptions to between 953 and 957. The time consuming and vastly expensive ornamental scheme of relief carved marble panels, which entirely cover the walls of the room, is in stark contrast to the related but vastly cheaper moulded stucco used by the Nasrids at the Alhambra during the twilight of Islamic rule on the Iberian peninsular. In the centuries after Medina al-Zahra' was destroyed by Berbers in 1010, its decorative architectural elements were dispersed and reused in new buildings throughout southern Spain. For this reason, examples of finely carved stone panels, such as the present lot, can be found in many of the regional museums of modern day Andalusia. For comparable examples depicting what may also be Trees of Life in the Archaeological Museums of Cordoba and Seville, see Jerrilynn D. Dodds, Al-Andalus, the Art of Islamic Spain, New York, 1992, pp. 242-243, nos. 36 and 36. Others are in the Malaga Museum (Inv. no. 8701), and the David Collection, Copenhagen (Inv. no. 86/2004).For further information on this lot please visit Bonhams.com

BIRMINGHAM EPHEMERA, a large collection of postcards, old and new photographs and other ephemera of regions of Birmingham, there are approximately 200 postcards and over 200 photographs in the collection, also included is an old plan for the Hall Green Stadium

A collection of books on pirates, buccaneers and seafaring, comprising: GERHARD (P), PIRATES ON THE WEST COAST OF NEW SPAIN 1575-1742, 1st edition, red cloth boards, gilt title to spine, illustrated frontispiece, five maps and four monochrome plates, The Arthur H. Clark Company, California 1960, WOODES (R) and LESLIE (R.C), LIFE ABOARD A BRITISH PRIVATEER IN THE TIME OF QUEEN ANNE, 1st edition, decorated blue cloth boards, pull-out map frontispiece, four monochrome plates and further line illustrations, Chapman And Hall Ltd, London 1894, ESQUEMELING (J), THE BUCCANEERS OF AMERICA, red cloth boards with gilt title and illustration to spine, engraved frontispiece of Sir Henry Morgan, with six further engraved plates and a map of the South Sea and coasts of America, George Allen & Company Ltd, London 1911, DAMER POWELL (J.W), BRISTOL PRIVATEERS AND SHIPS OF WAR, 1st edition, J.W. Arrowsmith Ltd, Bristol 1930, ERLEIGH (VISCOUNT), THE SOUTH SEA BUBBLE, 1st edition, cream cloth boards, Peter Davis Limited, 1933, WYCHERLEY (G), BUCCANEERS OF THE PACIFIC, Neptune Edition, Rich & Cowan Ltd, London 1935, and MASEFIELD (J) (Ed), A SAILOR'S GARLAND, Methuen & Co Ltd, London 1942 (7)

Artist: Adolf Fassbender (German/American, 1884 - 1980). Title: "City, Thy Name Be Blessed [New York City]". Medium: Original vintage photogravure. Date: Composed 1934. Printed 1937. Dimensions: Image size: 11 x 8 in. (279 x 203 mm).Lot Note(s): Stamped with the photographer's signature, lower right recto. Edition of 1,000. High-grade archival paper. Ample margins. Fine, quality printing. Very good to fine condition. Comment(s): Fassbender was a successful professional photographer, a leading proponent of pictorialism, and a popular teacher of photography. He was in the top echelon of American pictorial photographers during the 1930s and 1940s, was exhibited internationally, and was widely reproduced in photographic periodicals. He was a founding member of the Photographic Society of America and a Fellow of the Royal Photographic Society (F.R.P.S.). Fassbender was inducted into the International Photography Hall of Fame in 1980. [6503-3-600]

Artist: Adolf Fassbender (German/American, 1884 - 1980). Title: "Snow Caps [New York City]". Medium: Original vintage photogravure. Date: Composed 1936. Printed 1937. Dimensions: Image size: 7 1/2 x 10 3/8 in. (190 x 264 mm).Lot Note(s): Stamped with the photographer's signature, lower right recto. High-grade archival paper. Ample margins. Fine, quality printing. Very good to fine condition. Comment(s): Fassbender was a successful professional photographer, a leading proponent of pictorialism, and a popular teacher of photography. He was in the top echelon of American pictorial photographers during the 1930s and 1940s, was exhibited internationally, and was widely reproduced in photographic periodicals. He was a founding member of the Photographic Society of America and a Fellow of the Royal Photographic Society (F.R.P.S.). Fassbender was inducted into the International Photography Hall of Fame in 1980. [6500-3-400]

A RUTILATED QUARTZ BROOCH, BY JOHN DONALD, 1970 The faceted rutilated quartz, set within a textured surround of radiating square 18ct gold tubes, maker's mark JAD, UK hallmark (Dimensions: Length: 5.0cm)(Length: 5.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

AN AMETHYST AND TURQUOISE BROOCH, BY JOHN DONALD, 1965 The central oval-cut amethyst, within an abstract border of radiating textured round 18ct gold tubes, accented with collet-set cabochon turquoise, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 5.0cm)(Length: 5.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A PAIR OF AMETHYST EARRINGS, BY JOHN DONALD, 1973 Each oval-cut amethyst within an 18ct gold half surround of pierced and hammered finish, post fittings, maker's mark JAD, UK hallmark, maker's case (Dimensions: Length: 1.8cm)(Length: 1.8cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A LADY'S 18CT GOLD MANUAL WRISTWATCH, BY JOHN DONALD, 1965 The square textured gold dial, with black enamel dot quarters and hands, within a similarly-designed bezel, to an openwork bracelet composed of abstract textured cubes, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 17.0cm)(Length: 17.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A LONGCHAIN, BY JOHN DONALD, 1978 Set at regular intervals with oval openwork 9ct gold links of hammered finish, between cable-link chain connections, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 90.0cm)(Length: 90.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A PAIR OF RUBY EARRINGS, BY JOHN DONALD, 1992 Each designed as a curved 18ct gold wirework leaf, accented with a trio of oval-cut rubies, post fittings, UK hallmark, maker's mark JAD (Dimensions: Length: 2.1cm)(Length: 2.1cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A DIAMOND-SET BROOCH, BY JOHN DONALD, 1971 The circular brooch of 18ct gold openwork radiating design, accented with two tapered lines of baguette-cut diamonds, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 5.5cm)(Length: 5.5cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

Y A NEPHRITE AND CORAL BRANCH BROOCH, BY JOHN DONALD, 1980 The coral branch, corallium rubrum, wrapped with 18ct gold wire, decorated with gold flowerheads and carved nephrite leaves, maker's mark JAD, UK hallmark (Dimensions: Length: 7.0cm)(Length: 7.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

Edward Seago, RWS, RBA (British, 1910-1974)Sardine boats, Cascais, Portugal signed 'Edward Seago' (lower left); bears title (on the reverse)oil on board 30.5 x 40.7cm (12 x 16in).Footnotes:ProvenanceG. Blair Laing Ltd., Toronto.Private collection, Canada.Edward Seago rented a house in Cascais in February and March of 1955, which provided an abundance of new subject matter for the artist, including a large elaborate baroque town hall, brightly painted fishing boats, sun drenched beaches and narrow and vibrant street scenes. Cascais also provided a break from the cold English winter, and was a train ride from Lisbon.In 1954, the Laing Galleries in Toronto held an exhibition of Seago's works with thirteen paintings of Portugal, and they were described by James W. Reid as 'exuberant in mood, their richly textured canvas surfaces harmonising new ranges of bright colours which mirrored the artist's joie-de-vivre'.1The dazzle of light on the sand and the coloured fishing boats has been expertly captured in the present lot.1 James W. Reid, Edward Seago, The Landscape Art, London, 1991, p. 216.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

NO RESERVE Decorative Arts.- Bellaigue (Geoffrey de) [Rothschild Collection] Furniture, Clocks and Gilt Bronzes, 2 vol., Fribourg, 1974 § Gilbert (Christopher) Furniture at Temple Newsam House and Lotherton Hall: A Catalogue..., vol.1 & 2 only (of 3), Leeds, 1978 § Heckscher (M.H.) John Townsend: Newport Cabinetmaker, New York, 2005 § Mitchell (Paul) Frameworks, 1996 § Vignon (C.) & C.Baulez. Pierre Gouthière: Virtuoso Gilder at the French Court, New York, 2016 § Ronfort (J.N.) André Charles Boulle 1642-1732, original wrappers, Frankfurt, 2009, illustrations, some colour, all but the last original cloth or boards with dust-jackets; and c.25 others on furniture, 4to & 8vo (c.30)

NO RESERVE Architecture.- Hill (Oliver) & others. English Country Houses, 5 vol. (Caroline 1625-1685; Baroque 1685-1715; Early Georgian 1715-1760; Mid-Georgian 1760-1800; Late Georgian 1800-1840), reprints of all but vol.2, vol.3-5 limited editions, London or Woodbridge, 1985-70-84 § Harris (John) The Design of the English Country House 1620-1920, 1985 § Saumarez Smith (Charles) The Building of Castle Howard, 1990 § Cooper (Nicholas) Houses of the Gentry 1480-1680, New Haven & London, 1989 § Hall (M.) Waddesdon Manor: The Heritage of a Rothschild House, New York, 2002, illustrations, many colour, original cloth or boards with dust-jackets; and c.55 others on country houses, v.s. (c.65)

NO RESERVE Architecture.- Robinson (John Martin) James Wyatt (1746-1813): Architect to George III, 2011 § Saint (Andrew) Richard Norman Shaw, revised edition, 2010 § Hall (M.) George Frederick Bodley and the later Gothic Revival in Britain and America, 2014 § White (Roger) Cottage Orné, 2017 § Worsley (Giles) The British Stable, 2004 § Salmon (Frank) Building on Ruins: The Rediscovery of Rome and English Architecture, 2000 § White (Samuel G.) The Houses of McKim, Mead & White, 1998, illustrations, many colour, original cloth or boards with dust-jackets, the first five New Haven & London; and c.55 others on architecture, mostly British, 4to & 8vo (c.60)

λ Maggi Hambling (British b. 1945)WaveOil on board Signed and dated 2010 to backboard 9.5 x 14.5cm (3½ x 5½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: Under glass, unexamined out of box glazed frame. A few small pieces of fluff/hairs trapped within the box. Otherwise no significant condition issues. Condition Report Disclaimer

λ Maggi Hambling (British b.1945)UntitledOil on canvas Signed and dated 89 verso 53 x 43cm (20¾ x 16¾ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: In original condition. Condition Report Disclaimer

λ Maggi Hambling (British b.1945)LoversOil on canvas Signed, titled and dated 1977 to canvas verso 52 x 67.5cm (20¼ x 26½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: Light staining and surface dirt throughout, most notable to the lower edge. Otherwise no significant condition issues. Condition Report Disclaimer

λ Keith Milow (British b. 1945) Untitled Mixed media Signed and dated 89 lower right 45.5 x 35.5cm (17¾ x 13¾ in.)Provenance: Nigel Greenwood Gallery, London Private Collection, Gerald Levin (1934-2020) (purchased from the above in 1989) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.  

λ Keith Milow (British b. 1945) Abstract composition Mixed media Signed and dated 91 lower right 20 x 20cm (7¾ x 7¾ in.)Provenance: Drury Lane Gallery, London Private Collection, Gerald Levin (1934-2020)  Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.  

λ Keith Milow (British b. 1945) Five, 1997-98 Mixed media on board Signed verso 95 x 152.5cm (37¼ x 60 in.)Provenance: Private Collection, Gerald Levin (1934-2020)  Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.  

λ Derek Jarman (British 1942-1994)What if this present were the worlds last nightMixed media on canvas Signed, titled and dated April 07 to canvas verso 46 x 46cm (18 x 18 in.)Unframed Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: In original condition. The weight of the compass and other materials have made the work quite fragile. May wish to look into the long term preservation of this work. Condition Report Disclaimer

λ Derek Jarman (British 1942-1994)George and the Dragon, 1979Mixed media Signed and titled to frame verso14 x 22cm (5½ x 8½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Exhibited:London, Barbican Art Gallery, Derek Jarman, May-August 1979, no. 105 Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: In original condition. Condition Report Disclaimer

λ Derek Jarman (British 1942-1994)Study from the Christ Series, 1982Oil on canvas Signed and dated Sept 82 to canvas verso 45.5 x 35.5cm (17¾ x 13¾ in.)Provenance:Edward Totah Gallery, London Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: In original condition. Condition Report Disclaimer

Olivia Scholnick (South African 1927-2013)Still LifeOil on canvas Signed lower right 60 x 60cm (23½ x 23½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat. 

Olivia Scholnick (South African 1927-2013)River RoadOil on canvas Signed lower right, titled and dated 05 verso 60 x 60cm (23½ x 23½ in.)Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat. 

Olivia Scholnick (South African 1927-2013) Jerusalem, View from the Mishkenot Crayon and pencil Signed and dated 83 lower right 21 x 28cm (8¼ x 11 in.)Provenance: Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat. 

λ John Hubbard (British/American 1931-2017) Casa Pilatos no. 8, 1991 Oil on paper Signed with initials and dated 91 lower left, inscribed lower right, titled and dated 1991 to backboard 22.5 x 25cm (8¾ x 9¾ in.)Provenance: Fischer Fine Art Ltd., London Private Collection, Gerald Levin (1934-2020) (purchased in 1991) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.  

λ Eric Victor Shanes (British 1944-2017) Untitled Mixed media on canvas Signed verso 81 x 112cm (31¾ x 44 in.)Provenance: Private Collection, Gerald Levin (1934-2020)  Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.  

λ Jean-Marc Prouveur (French b. 1956) The Portuguese Man Cibachrome print Overall 101 x 160cm (39¾ x 62 in.) Five works to be displayed as one Provenance: Acquired directly from the artist Private Collection, Gerald Levin (1934-2020)  Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.  

λ Anthony Whishaw (British b. 1930)Interior landscape 1982-3Mixed media on paper Signed and dated 1982/3 lower right 56 x 76cm (22 x 29¾ in.)Provenance:Nicola Jacobs Gallery, London Private Collection, Gerald Levin (1934-2020) (acquired from the above in 1985) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.Condition Report: Under glass, unexamined out of glazed frame. Rips and losses to the corners. Slight damage to sheet edges and creases scattered throughout. Condition Report Disclaimer

λ Jane Joseph (British b. 1942) Demolition Ladbrooke Grove Monotype Signed and dated 1987 lower right 84.5 x 61cm (33¼ x 24 in.)Provenance: Flowers East, London (stock no. 2158) Private Collection, Gerald Levin (1934-2020)  Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat.  

λ Victor Vasarely (French/Hungarian 1906-1997)CTA 102, no.4Screenprint, 1966Signed in ink lower centre, from the edition of 150, co-published by Edition Domberger, Stuttgart, Galerie Der Spiegel, Cologne, and Edition Denise René, Paris70.5 x 70.5cm (27¾ x 27¾ in.)Unframed Provenance:Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Gerald was responsible for designs of the Donmar Theatre in London, Royal Concert Hall in Nottingham, Sadlers Wells and many of the practices acclaimed housing projects included The Prudential Building on Euston Road (London) part of Tolmers Square (London) and Earlstoke Estate (London). Gerald was a member of The Architectural Association, President from 1985-1987 and a Life Member. He supported many Arts organisations including LPO, Donmar and Tate Gallery where he was Chairperson of Patrons of New Art 1990-1993 acquiring works of art for their collections and was a driving force behind the instigation of the Turner Prize. Gerald played the Cello and was part of many small groups of string players. Levin was an avid art collector who had many good friends involved in music, art, theatre and ballet including Maggi Hambling, Keith Milow, Yolanda Sonnabend, Derek Jarman, Jane Joseph and Olivia Scholnick whose works of art filled his Covent Garden flat. 

NEW HALL PART SERVICE in pattern 186, comprising teapot and cover and four tea bowls and saucer; together with a similar slop bowl and helmet shaped cream jug (11)

Fine and unique electric mantel clock made by Samuel Wadsworth of New Hampshire, USA in 1875, the clock at 22.5" high sits under a rectangular glass dome and upon a wooden base with central wooden pillar, the 4" diameter silvered dial with inset seconds dial engaved S. Wadsworth, the base of the clock also carries a plaque inscribed Made by Samuel Wadsworth, Keene, N.H. 1875 and has a bone insert indicating it is the first such clock no. 1., above the dial is the electromagnet which, through a series of levers and springs, drives the mercury filled pendulum, 23" high overall *This clock was previously owned by Dr Alan Shenton and was, it is believed by his children, probably a personal gift to Alan in the 1970s from his friend the horologist Albert Odmark of Seattle, USA **Previously, the clock was in the Terwilliger collection, being described thereby as 'Of superb workmanship' and was also previously exhibited by The Science Museum, London at the Electrifiying Time Exhibition held in London from Dec 1976 to Apr 1977. A copy of the exhibition catalogue is included with the clock The clock was also described in Brooks Palmer's book - 'Treasury of American Clocks', with further details in the NAWCC Vol X April and December 1963 publications Samuel Wadsworth was known as a skilful jeweller and clockmaker, who also invented an electric time signal clock for the city hall at Keene, New Hampshire. He died in April 1931

Prints - T A Prior, after, The New Treasury Offices Whitehall, lithograph; others Thomas H Shepherd, Goldsmiths Hall; W G Moss, Waterloo Bridge; G Chambers ; A L Thomas; J H Nixon; Pugin, etc, 35cm x 56cm (9)

MISCELLAENOUS ENGLISH POTTERY AND PORCELAIN, LATE 18TH-19TH C, TEA AND DESSERT WARE, TO INCLUDE A MASON'S IRONSTONE SPILL VASE, H & R DANIEL, NEW HALL, WORCESTER AND OTHER FACTORIES, A FELSPATHIC STONEWARE TEAPOT AND COVER AND ANOTHER Condition report  Mostly in good condition

MISCELLANEOUS ENGLISH PORCELAIN TEAWARE, EARLY 19TH C AND LATER, TO INCLUDE NEW HALL, A COALPORT PALE BLUE GROUND VASE C1820 AND SEVERAL OTHER ITEMS Condition report  Mostly damaged

A SET OF FOUR NEW HALL COFFEE CANS, C1805, PAINTED INSIDE AND OUT WITH CABBAGE ROSES BETWEEN COBALT AND GILT BANDS, 6.5CM H Condition report  Good condition

2 Victorian/Edwardian large glass plate negatives featuring soldiers & the Fire Service in Surbiton. One showing new military recruits outside the Town Hall and the other showing 2 horse drawn fire wagons. Approx. 25.5 x 30.5cm.

The 1956 Earls Court Motor Show1956 Bentley S1 Continental CoupéCoachwork by Park WardRegistration no. 433 STDChassis no. BC44BG•Known ownership history•Exceptionally well documented•Restored in 2010•Offered from an important UK private collection Footnotes:Described by Autocar as, 'A new stage in the evolution of the post-war Bentley', the magnificent Continental sports saloon has been synonymous with effortless high-speed cruising in the grand manner since its introduction on the R-Type chassis in 1952. With the arrival of the final generation of six-cylinder cars, the all-new Silver Cloud and Bentley S-Type, the Continental lost some of its individuality but none of its exclusivity. Eulogising about Bentley's new 'S' Series cars, introduced in April 1955, Autocar wrote, 'the latest Bentley model offers a degree of safety, comfort and performance that is beyond the experience and perhaps even the imagination of the majority of the world's motorists'. Later, in October that same year, the Bentley Continental became available on the 'S' chassis. 'It brings Bentley back to the forefront of the world's fastest cars,' Autocar said of the H J Mulliner-styled fastback, which was the quickest four/five-seater saloon of its day. The Bentley S-Type's new box-section chassis incorporated improved brakes and suspension and an enlarged (to 4,887cc) and more powerful version of the existing inlet-over-exhaust six-cylinder engine, which for the first time was identical in specification in its Rolls and Bentley forms. The Continental version came with a shorter radiator and higher gearing and, for a time at least, could be ordered with right-hand change manual transmission. As had been the case with the original R-Type, the new S-Type Continental was only ever available as a coachbuilt car; the designs produced by independent coachbuilders for the S1 Continental chassis being among era's the most stylish. Of the 431 Bentley S1 Continentals produced between 1955 and 1959, 185 were bodied by Rolls-Royce's in-house coachbuilder, Park Ward Ltd.The 1956 Earls Court Motor Show car, chassis number 'BC44BG' was first registered to Bowmarker Ltd as 'TGO 207'. Photocopy chassis cards and an original Rolls-Royce and Bentley sales brochure are on file. On 22nd April 1957 the Bentley changed ownership, passing to a Mr Melling, and on 9th July 1958 became the property of Frank Arden. Next owner J Rubin acquired the Continental on 3rd November 1960, and some four years later the car passed to a Mr Felix Furlonger of London, who would own it until the late 1990s/2000. One of the three accompanying history files contains documentation dating from the 1960s and 1970s. This includes original 1964 correspondence from H J Mulliner Park Ward Ltd to Mr Furlonger confirming they have found a suitable Park Ward Continental, to which they were proposing to have a Webasto roof fitted. Enclosed with the correspondence is an original Webasto sales brochure. Also on file is H J Mulliner Park Ward's original delivery note to Mr Furlonger dated 9th March 1964 confirming his delivery and receipt of the car. There is also a vast amount of correspondence between Mr Furlonger, Bentley Motors, R S Mead Ltd, Jack Barclay, H R Owen, and the Bentley Drivers Club together with extensive service records throughout the 1960s/1970s and a number of MoT test certificates. Indeed, this car has one of the most complete early service histories we have ever seen.The extensive service history continues into the 1980s in the second file. Still in Mr Furlonger's ownership, the car was maintained mainly by the highly regarded Bentley and Rolls-Royce expert Peter Fischer, followed by Hofmann and Mountfort Ltd/Hofmann's of Henley, and Frank Dale & Stepsons (from 1990). Photographs confirm the car was used for and entered in a wide variety of Rolls-Royce and Bentley events, and it featured on the front cover of the Rolls-Royce Enthusiasts' Club bulletin of March/April 1997 (copy on file). In the late 1990s the car was maintained by Haines & Hall. There is documentation on file up to 1997.There is then have a short gap in the Bentley's history before it reappears in 2001 in the ownership of a Mr Ingrey, who had the car maintained by P & A Wood until 2010. The Continental was then the subject of an extensive restoration. Photographs of the work are on file together with numerous invoices totalling over £47,000. Works included a professional bare metal respray in stunning Steel Blue. The interior leather was reconnolized and it received new carpets including the boot and headlining by renowned trimmers County Coachtrimmers of Maldon in 2017 (bills on file). The car given a compete service mechanically. Since then the car has formed part of a significant collection of motor cars and motorcycles in Essex. The vendor has now decided to live abroad on a permanent basis, which is the only reason for sale. Less numerous than the H J Mulliner version, with a believed only 45 examples produced the Park Ward-bodied Bentley S1 Continental is a relatively rare variant of an already exclusive car; and this fine example, benefiting from an extensive restoration, is worthy of the closest inspection. For further information on this lot please visit Bonhams.com

Offered from The Chester Collection1964 Aston Martin DB5 Sports SaloonRegistration no. BXA 850BChassis no. DB5/1436/R*Six owners from new*Matching numbers*Well documented history*Extensive professional restoration 2016-2018Footnotes:Chassis number '1436/R' was sold new by supplying dealership Callanders on 21st March 1964. The original copy guarantee form records chrome road wheels, heated rear screen, Motorola 818 radio, power operated aerial, two Marchal fog lamps, and two wing mirrors as items of additional equipment, while the car's original colour scheme was Aegean Blue with White Gold Connolly leather interior trim. '1436/R' has had six owners from new. The first onward sale, recorded by a Bill of Sale, was on 10th November 1977 when Paradise Garage of Parsons Green, West London sold the Aston to Lt Cdr G Q S Parker, RN for £3,850. The comprehensive history file records a bare-metal re-spray completed in May 1985 for the sum of £1,840. At this point in time, '1436/R' was painted a light Mink Brown. There are numerous bills on file for the period 1978–1989 from Aston Service Dorset and many other specialists, while a further bill on file dated 30th June 1989 from Village Industries Ltd of Stafford is for substantial mechanical repairs totalling £1,688.51. Lt Cdr Parker owned the Aston for some 14 years, using it as a daily driver until 7th September 1991 when it was sold to a Mr Brian Hall-Tomkin of Devon for £31,500. There is a letter on file dated 22nd July 1991 to Bob Fountain of Aston Workshop from Mr Hall-Tomkin asking him to find a DB5.The car next changed hands on 25th July 1993, passing to Mr G Kelsey of South London for in the region of £23,000. There are many bills on file dating from Mr Kelsey's ownership from marque specialists Pugsley & Lewis for servicing and repairs to the car for the period 1995 to 2013. There are also some 25 MoTs in the history file dating from 1981 (at 60,352 miles) up to the present day at 103.480. The car was little used during Mr Kelsey's ownership, and in the last 24 years has only covered some 6,700 miles. The numerous invoices on file substantiate the mileage records during the earlier period.In 2013, the DB5 was purchased by the immediately preceding owner, who decided to have it restored in 2016. Completed in 2018, '1436/R' is now resplendent in the classic combination of Silver Birch paintwork with a black leather interior. Undertaken by marque specialists Prestige Paintworks of Golden Cross, East Sussex, the restoration of the body and paintwork took in excess of 1,200 hours and cost £60,000 excluding the refurbishment of the chrome (£4,728). On completion of the bodywork, the car was returned to Pugsley & Lewis, who carried out a comprehensive mechanical restoration and interior refresh costing £135,999 (bill on file). The current vendor acquired the car in May 2019, since when it has been carefully stored at a professional facility and checked over regularly by his own mechanic. Driving superbly and looking absolutely immaculate, this beautiful Aston Martin DB5 is 'on the button' and ready to delight its fortunate next custodian.For further information on this lot please visit Bonhams.com

Offered from the estate of the late Michael Patrick Aiken, MBE1939 Lagonda V12 Drophead CoupéCoachwork by LagondaRegistration no. 324 XUJChassis no. 14069*One of only 189 V12s built*Known ownership history*Restored in the USA in the 1990s*Present ownership since 2007*Professionally maintained with no expense spared*Class winner at Pebble Beach in 1997Footnotes:'In making an evaluation of the better British cars, the Lagonda V12 certainly must be considered an excellent design and one that contributed to raising the state of the art - not forgetting, of course, that it probably should be considered W O Bentley's masterpiece.' - Road & Track, October 1978. A quite remarkable piece of automotive engineering, the W O Bentley-designed Lagonda V12 was one of the outstanding British models of its day and one of the exclusive handful of 1930s road cars that could exceed 100mph in standard tune. Not only that, but the magnificent, 4½-litre, V12 engine produced sufficient torque to endow the car with a walking-pace-to-maximum capability in top gear. Approximately 185 V12s of all types were built before the coming of WW2 prematurely ended production.For Lagonda, the year 1935 had brought with it bankruptcy and rescue, its benefactor being a young solicitor named Alan Good. Good reorganised the company and recruited W O Bentley, by then disillusioned with life at Rolls-Royce, which had acquired Bentley in 1931. Bentley succeeded in refining the muscular, Meadows-engined Lagondas while working on a vastly more-advanced design that many consider the great man's finest.First seen in 1936, the Lagonda V12 did not commence deliveries until 1938 and only 189 had been built before the coming of WW2 ended production. The advanced chassis employed double-wishbone independent front suspension and was available with a varied choice of coachwork, including limousine. Frank Feeley, stylist of Aston Martin's post-war 'DB' cars, was responsible for the elegant factory bodywork. As usual, the short-chassis Rapide roadster provided even more performance.The V12's announcement demonstrated that the revitalised company was very much back in business, an impression Lagonda's decision to enter the 1939 Le Mans 24-Hour Race can only have enhanced. The marque already possessed a creditable Le Mans record, a short-chassis 4½-Litre driven by John Hindmarsh and Luis Fontes having won the endurance classic outright in 1935. In October 1938, Earl Howe had set a new national record by covering 101.5 miles at Brooklands in a single hour, despite having to stop to change a burst tyre.This magnificent achievement, together with other high-speed tests during which the Lagonda V12 had shown complete reliability, indicated that it would be a highly suitable candidate for reviving British prestige at Le Mans. Accordingly, it was decided to enter a two-car team in 1939 with the aim of securing valuable data, and then to mount a full-strength challenge the following year. In the race the two streamlined two-seater Lagondas fared better than expected, Messrs Brackenbury and Dobson finishing in third place with Lords Selsdon and Waleran fourth. Had a less conservative race strategy been employed, then either might have won. By the time the outbreak of war halted production, only 189 of the fabulous cars had been produced; sadly, the V12 was not revived when peace returned.A wonderful example, chassis number '14069' is fitted with the factory's Frank Feeley-designed drophead coupé coachwork, and according to the Lagonda Club was first registered on 31st March 1939. The first owner's name is illegible but the records show that this short-chassis car was supplied finished in jewelescent grey with red leather interior and burr walnut woodwork. The supplying agent was University Motors in London and the Lagonda was first registered as 'MG 6448', a Middlesex mark.The second owner, immediately after WW2, was Eric B Fox of the Fox's Glacier Mints company based in Leicester. Immediately prior to his ownership the Lagonda had been used by the manufacturer in its advertising, appearing in a Lagonda factory magazine, Photo World, dated April 1945 and in an Autocar magazine advertisement in May of that year. These advertisements were captioned thus: 'In Due Course: A new, less expensive and smaller LAGONDA will carry the name into markets hitherto unacquainted with all LAGONDA has signified to discerning motorists for over 40 years'. Why Lagonda chose to use the far from cheap V12 to promote a forthcoming smaller and less expensive model is a mystery.'MG 6448' was last serviced at the factory in 1947 while still in Mr Fox's ownership. The next record is dated 1960 when the car is recorded with one R Nicholson in Kent and a few years later with W G V Hall in Southwest London. Subsequently the Lagonda was exported to the USA, and in 1968 was owned by famous collector Jack Nethercutt. In 1987 Mr Nethercutt sold it to another respected and discerning collector, General William Lyon. The Lagonda was next owned by Pebble Beach Concours Judge, Mark Tuttle, passing in 1993 to William Roberts of Bainbridge Island, Washington State. The latter then commissioned an extensive restoration, with the paint and bodywork entrusted to recognised specialist Walter Johnson of Bainbridge Island, a craftsman with numerous Pebble Beach concours winners to his credit.The engine was fitted with new Jahns pistons, Carrillo con-rods, and Crower camshafts with a modern profile, while the internals were updated for improved performance and reliability. An enthusiastic owner/driver, the then owner made every effort to keep the Lagonda as original in appearance as possible, the only non-original items visible being the dipstick and separate reservoir for the Bijur lubrication system.The interior was re-trimmed throughout with finest American leather, colour matched to the coachwork, while the wood was re-veneered to original specification by a master violin maker, and a new high-quality soft-top made. All the considerable work and expense was rewarded when the Lagonda was awarded 1st Prize in the Open European Classic class at the Pebble Beach Concours d'Elegance in 1997.Since deceased, the present owner, Michael Patrick Aiken MBE, purchased the car in 2007 at the Amelia Island auction. A successful businessman who achieved boardroom-level appointments in the brewing and shipping industries, Michael Aiken was CEO and owner of Wightlink Ferries, and received his MBE in 2013 for services to National Heritage. In his hands since its acquisition in 2007, the Lagonda has been meticulously maintained by recognised specialists including Blakeney Motorsport, Harwoods, BishopGray, etc).W O Bentley's Lagonda V12 is one of the most sophisticated, attractive, and exclusive cars of the pre-war era and this fine example, with its well-chronicled provenance, is an opportunity not to be missed.For further information on this lot please visit Bonhams.com

A Victorian Stained Beech Astronomer's Chair, the curved back with a pierced top rail extending to a low scroll seat on an X-frame supports, the underside of the seat stamped JF, 34cm wide, 85cm high This chair normally bears an oval plate ''W Callaghan, 28a New Bond Street S, Registered London January 15th 1873''. W Callaghan is listed as an optician in London directories between 1866 and 1892. Several of these chairs are known to exist and it seems to be accepted that they are probably for use with a telescope. A similar chair is illustrated in Architectural Review Decoration Supplement July 1937 from the catalogue of a loan exhibition depicting ''British Country Life'', where it is described as a cherry sorter's chair. Gilbert (C) Furniture at Temple Newsam House and Lotherton Hall 1998, a similar chair with the Callaghan label is illustrated and described figure 712, page 591-2. .Damage to the front edge of the seat. Surface and general wear consistant with age and use. Some scratches.

A circa 1930 Windsor plectrum banjo, "Ambassador Supremus" and bearing plaque "The Whirle", the tailpiece inscribed "The Windsor Pyxe 34 New Hall St B.ham. Good playing order. Minor repairs to the detachable resonation rim.

MEDALS (x5) "DAMBUSTERS RAID" INTERESTComprising a Distinguished Flying Cross Group of 5 medals in a blue Hayward & Hall case awarded to Flt Lt. Chadwick of 617 Squadron. The lot contains a DFC dated 1944, together with an Air Crew Europe Star with "France & Germany" bar, the 1939-45 star, defence medal and war medal. Also enclosed is a small bag containing dog collar tags & St Christophers belonging to Chadwick 1434387. Included with the lot are extensive documentation & news reports relating to the "Dambuster" raids and the attacks on the 'Turpitz'.Born on the 14th September 1922 in Nottingham he was the son of Harold and Edith Chadwick who were well known shopkeepers in Uttoxeter. He attended Allynes Grammar School before joining the RAF at the ago of 18. He was sent to Canada to train as a pilot under the Empire Air Training Scheme. Unfortunately, he suffered from chronic nose bleeds and air sickness during his training where he clocked up over 60 flying hours on Stearman PT 17 biplanes and Harvards. His air sickness relegated him to a new air crew category that of Navigator/Bomber. He was eventually to join the elite by becoming one of Bomber Commands most skillful bomb aimers and one of the first to drop the 12000 1b 'Tallboy' over Germany whilst attached to the famous 617 'Dambuster' Squadron. Initially posted to RAF Lichfield an aircrew reception centre, in the middle of 1943, he quickly teamed up with Sergeant Pilot Arthur FEARN, a partnership which lasted throughout the war. Both Chadwick and Fearn were posted to 57 Squadron at Scapton flying Lancasters on many missions to Germany which included nine to Berlin interspersed with trips to Frankfurt, Leipzig and Mannheim. On one of the missions to Berlin a 4000 'Cookie' bomb got hung up under the fuselage of the Lancaster. Harold Chadwick grabbed a fire-axe and an emergency oxygen bottle and started to chop away at the retaining hooks. Working in freezing conditions and a howling gale he managed to release the bomb whch in fact landed on Kassel, a large industrial town engaged in manufacturing V1 rockets. Both Chadwick and Fearn were promoted to Flight Lieutenants whilst with 57 Squadron and awarded the DFC each. Chadwick's citation shows he had completed 20 sorties and flown 131 hours with eight attacks on Berlin and stating 'he had always shown courage and determination to bomb the target accurately and consistently in the face of very strong opposition, and his complete disregard of danger had contributed very largely to the success of an excellent crew. In the spring of 1944 Chadwick and his crew 'volunteered' for an attachment to 617 Squadron. This was to take them on many more dangerous missions over Europe culminating in the sinking of the German Battleship 'Tirpitz' in Tromso Fiord Norway in November 1944. Harold Chadwick's final mission was in late 1944 on a sortie to bomb the U-Boat pens at La Pallice. During the flight heavy flak was encountered and the perspex nose of the bomb-aimers compartment was shattered wounding Harold Chadwick in his face, and ending his combat career after 51 missions.After his wounds had healed he became an instructor for the rest of the war. He later retired to Spain and operated a farm also caring for stray animals. He died in February 1995 in Spain.

Of Edinburgh Interest: an 18ct gold presentation key, Royal Infirmary of Edinburgh, 1887-1897, by Hamilton & Inches, Edinburgh, 1900With satin finish throughout, the bit incorporating the RIE monogram, to a two-coloured foliate-garlanded stem, the elaborate bow with central enamelled crest, comprising a three-towered castle flanked to either side by a Rod of Asclepius and the numbers '87' and '97', amidst pierced scrolling foliage, all beneath a Pelican in Her Piety and a banner inscribed 'PATET OMNIBUS', surmounted by a royal crown, the reverse inscribed with 'ROYAL INFIRMARY OF EDINBURGH DIAMOND JUBILEE PAVILLION 26 OCTOBER 1900', approximate length 14cm, approximate weight 72.2g, stamped '18', Edinburgh hallmarks for 1900, maker's mark H&IFootnotes:First established, in 1729, on the corner of South Bridge and Infirmary Street, The Royal Infirmary of Edinburgh is the oldest voluntary hospital in Scotland. The later, David Bryce designed premises, completed in 1879, on the north side of the Meadows, fronting Lauriston Place, were claimed to be the largest voluntary hospital in the United Kingdom, and later the Empire. At this time, the new RIE was one of the first in Scotland to follow the pavilion plan, widely adopted for new hospital buildings from the 1860s. The new hospital had 600 beds, placed in eight three-storey ward pavilions, with one large ward per floor.The pavilion plan enabled the primary requirements of separation and classification. Each ward was a self-contained unit, its occupants having no connection with any other ward, and thus hopefully preventing the spread of infection. Furthermore, each pavilion could serve a different classification of patient and allowed men and women to be separated. The adaptability of the plan made it ubiquitous for almost all types of hospitals for decades.The current RIE was opened in 2003, on a large green-field site, south east of Edinburgh, at Little France. The new location reflects the need for the hospital to serve people living in Mid and East Lothian, as well as Edinburgh.The Diamond Jubilee Pavilion, mentioned on this presentation key, is now renamed Jubilee Hall, and, following refurbishment, forms part of the Quartermile development at Lauriston Place, which combines various residential and commercial premises.For further information on this lot please visit Bonhams.com

Of Taymouth Castle Interest: A set of fourteen William IV carved oak dining chairsEach with overstuffed brass nailed back upholstered in red tooled morocco leather, centred by the Breadalbane crest depicting a Boar's head crest with the motto 'FOLLOW ME', the scrolled uprights carved with stylised laurel leaves above spiral twist mouldings with pierced trefoil dividing rails, the brass nailed sprung seats with later leatherette upholstery, with leaf lappet carved rails on octagonal tracery carved tapering front legs with Coronet capitals and gilt-brass strapwork cast castors, the back legs carved with paterae and overlapping leaf borders, the castors stamped 'COPE'S PATENT', one lacking castor, 53cm wide, 57cm deep, 100cm high (20 1/2in wide, 22in deep, 39in high). Footnotes:The West Wing of Taymouth Castle was extensively re-modelled by the architect James Gillespie Graham between 1837 and 1842. The Hall and Library were designed in the Gothic taste and the present chairs are shown in many photographs of this part of the castle. It is clear from Gillespie's diaries that the celebrated architect and designer Augustus Welby Pugin was working under his supervision, and it also has recently been discovered that the Edinburgh firm of Trotter executed many of Pugin's designs at Taymouth, some of which are in the Trotter Albums held by the National Archives of Scotland. Additionally, the London firm of J. G. Crace were involved in the decoration of the new rooms, although their invoices of 1842 show that they were not responsible for providing any furniture for the principal rooms.The Campbell clan were one of Scotland's greatest landowning families, owning castles at Holyrood and Inverary as well as Taymouth. Taymouth itself was built on a lavish scale and survives as one of the largest baronial castles in Scotland. The extensive phase of building and redecoration during the late 1830's was carried out in preparation for a state visit made by Queen Victoria in 1842. In her diaries the Queen described her grand reception in highland dress, huge crowds and guns being fired as 'one of the finest scenes imaginable'. She also went on to remark on the inside of the castle, saying that '...the whole of the house is newly and exquisitely furnished', describing the Banner Hall as follows, 'The dining room is a fine room in Gothic style and has never been dined in till this day. Our apartments are also inhabited for the first time.' (cf. John Kerr, Queen Victoria's Scottish Diaries, 1992, pp.27-37).At the end of the First World War the Breadalbane Estates were sold and many of the furnishings auctioned by Dowell's of Edinburgh during a six day sale (24-29 April 1922). The chairs may have formed part of lots 2907-2909 each described as '12 oak dining chairs the panel backs with carved foliage and Gothic borders, seats and backs in scarlet morocco upon carved supports', listed as being in the Baronial Hall. The copy of this catalogue in the National Art Library, London shows that they were bought in at 8I guineas each. Taymouth Castle was used as a hotel in the 1920's and 1930's and then requisitioned by the Government during the Second World War to be used as a convalescent home. After the war the Authorities turned it into a headquarters for Civil Defence Training in Scotland, and it has now returned to private ownership.Alistair Rowan, 'Taymouth Castle, Perthshire - II', Country Life, 15 October 1964, pp.978-981James Macaulay, 'The Gothic Revival 1745-1845', 1975, pp.193-8Paul Atterbury and Clive Wainwright (eds.), 'Pugin: A Gothic Passion', 1994, pp.49-51James Macaulay, 'The Architectural Collaboration between J. Gillespie Graham and A.W.Pugin', Architectural History, No.27, 1984, pp.406-420For further information on this lot please visit Bonhams.com

2 Victorian/Edwardian large glass plate negatives featuring soldiers & the Fire Service in Surbiton. One showing new military recruits outside the Town Hall and the other showing 2 horse drawn fire wagons. Approx. 25.5 x 30.5cm.

FOUR 18th/19th C. ENGLISH PORCELAINS, A DERBY CUSTARD CUP, NEW HALL TYPE TEA AND SLOP BOWLS TOGETHER WITH A BLUE AND WHITE SAUCE BOAT

A LATE 18th/EARLY 19th C. GILT PORCELAIN PART TEA AND COFFEE SERVICE, THE TEA POT STAND WITH THE PATTERN NUMBER 2, POSSIBLY FOR NEW HALL, AN ODD CREAM JUG AND A WORCESTER BOWL WITH MATCHING PLATE (29)

A BRISTOL GREEN FLORAL SWAGGED TEA BOWL, SAUCER AND TEA CUP, A PAIR OF NEW HALL TYPE TEA BOWLS, A PLATE AND A BLUE AND WHITE POTTERY PLATE

A CHINESE EXPORT TEA BOWL AND SAUCER, NINE VARIOUS TEA BOWLS, ANOTHER OF NEW HALL TYPE TOGETHER WITH A CHINESE SAUCER, ALL VARIOUSLY PAINTED WITH FLOWERS AND WITH FIGURES

BAFTA: A Methuselah of Champagne Taittinger signed by guests at the 2020 EE British Academy Film Awards,2 February 2020,a typical glass bottle with special Taittinger/BAFTA label signed in gold metallic pen by BAFTA winners and citation readers backstage at the Royal Albert Hall including; Robert De Niro, Olivia Colman, Niamh Algar, Emilia Clarke, Mark Strong, Joe Alwyn, George MacKay, Dean-Charles Chapman, Daniel Kaluuya, Asim Chaudhry, Anthony Welsh, Andrew Scott and Aisling Bea, accompanied by a letter concerning the provenance and Champagne Taittinger wooden crateFootnotes:Provenance:Offered by BAFTA and their Official Champagne Partners Champagne Taittinger, proceeds of which will go towards the Illuminating BAFTA campaign, expanding BAFTA's learning and new talent programme.For further information on this lot please visit Bonhams.com

BAFTA: A Methuselah of Champagne Taittinger signed by guests at the 2019 Virgin Media British Academy Television Awards,12 May 2019,the typical glass bottle with special Taittinger/BAFTA label signed in gold metallic pen by BAFTA winners and citation readers backstage at the Royal Festival Hall including; Benedict Cumberbatch, Danny Dyer, David Schwimmer, Fiona Shaw, Holly Willoughby, Huw Edwards, Jessica Hynes, Jodie Comer, Judge Rinder, Julia Davis, Louis Theroux, Lucy Worsley, Matthew Macfadyen, Nicola Shindler, Paloma Faith, and Steve Pemberton, accompanied by a letter concerning the provenance and Champagne Taittinger wooden crateFootnotes:Provenance:Offered by BAFTA and their Official Champagne Partner Champagne Taittinger, proceeds of which will go towards the Illuminating BAFTA campaign, expanding BAFTA's learning and new talent programme.For further information on this lot please visit Bonhams.com