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Lot 229
Richard O`Meara (b.1946) SLEEPING DUCK, c.1993 polished limestone on white marble base; (unique) signed on feet; with inscribed RHA exhibition label beneath base 20 by 26.25 by 5in., 20 by 26.25 by 12.5cm. L RHA, Dublin;Where purchased by the present owner RHA Annual Exhibition, Dublin 1993 catalogue no. 450 Dimensions of white marble base: 1 by 5.5 by 7.75ins.
Lot 1097
A 9ct gold peridot flower ring - The four oval-shape peridots to the textured shoulders and plain half-band - Partial hallmark - Ring size O - Weight approx 3.2gms - Together with a 9ct gold red and white-gem band ring, with carved gallery and plain half-band - Hallmarked Birmingham - Ring size P - Weight approx 3.7gms. Condition Report: Fair - With surface scratches - Gems with rubbed facet edges.
Lot 1156
A sapphire and diamond dress ring - The graduated oval-shape sapphires with old-cut diamond double spacers to the plain band - Estimated total diamond weight 0.40ct - Tests a gold - Ring size O 1/2 - Weight approx 3.4gms Condition Report: Good to fair - With light surface scratches - Diamonds lively and bright - Sapphires possibly synthetic - With some surface abrasion.
Lot 17
DAVID OCTAVIUS HILL R.S.A. (SCOTTISH 1802-1870)PERTH, SUNSET, THE CELEBRATIONS FOR THE VISIT OF QUEEN VICTORIA 1842Signed, oil on canvas, arched top91cm x 183cm (36in x 72in)Exhibited:Arts Council of Scotland, D.O. Hill and R. Adamson: A Centenary Exhibition 1970/71, no.64Note:Hill`s contemporaries thought highly of his paintings of sunset landscapes. On the left, the town of Perth is lit by the celebration bonfires on the racecourse; on the right, the river walls of Bridgend are hung with carpets; on the river on the right-hand side, the Royal Barge is escorted by a number o boats.
Lot 65
Ireland - The Easter Rising 1916 group of approx eight letters written to Lady Denys-Burton giving contemporaneous accounts of the Easter Rising April and May 1916: `...there was this awful business in Dublin in Monday^ the Sin Finers [sic] as they say entrenched in Stephens green - they have taken the PO in Dublin so no letters are allowed through and no trains...Coleman who went up in a motor - his motor seized by Sin Fien [sic] people to barricade a building...some say Sir Roger Casement was landed in Kerry by a German submarine & has been shot !! This I hope is true. I am told that 4000 national volunteers marched to Dublin from Maryborough yesterday and that all the national volunteers are to be ordered to join the Sin Fien lot or be shot...people say that 1000 have been killed in Dublin & that Grafton St is running with blood !! This is probably exaggerated but anyhow it is very serious & unless Redmond can do something & get the upper hand of national volunteers it will mean Civil War...` (letter dated April 26th 1916) `...I am thankful to say that Sir R Casement is taken. Why is he not shot at once. All Ireland is under Marshall law...it is evidently a plot for Dublin to be taken by Sin Fieners & the Germans...the Sin Finers in P O in Dublin have been given till today to surrender or be all blown up...` (letter dated April 27th 1916). `...today we hear on best authority - someone back from London - that Casement has been shot. I am thankful for this...Countess Markovitx is they say also shot. Dublin is being bombarded. You can hear the guns ...there are all sorts of stories of risings in the west but nothing authenticated...(letter dated April 29th 1916)
Lot 293
Autographs group of signed letters/ pieces by various figures - many of which are typed quotations or sentiments which the celebrity has signed. Names include: Neil Kinnock^ Ann Widdecombe^ Chris Bonnington^ Michael Bond^ Michael Howard^ Matthew Paris^ Sir Tim Rice^ Kevin Keegan^ Jack Gold^ Martin O`Neill^ Norman Tebbit^ William Hague^ Dame Judi Dench^ Alan Ayckbourn^ Raymond Briggs^ Bernard Ingham^ Shirley Williams^ Sir Bernard Lovell and others. Approx 30 separate pieces in all
Lot 129
Bootlegger`s Map of the United States This unique map spoofing prohibition is by Edward McCandlish. Filled with puns, nothing is sacred in this hilarious look at alcohol and prohibition. Many place names are plays on words, like Chi-keg-o, Tus-Keg-ee, Mash-ville, Albu-Corky, Scoth (sic) Bluff, Booze (Boise), and many more (some so bad they hurt) - The pints of the compass are Norse, Wets, Yeast, and Souse. McCandlish was a prominent illustrator for the children`s page in many newspapers in the 1920`s and 1930`s, making this parody a radical departure. A wonderful piece of Americana that beautifully captures the humor and mood of the time. Issued folding and now flattened and backed with Japanese tissue with numerous fold separations that have been professionally repaired on verso with minimal loss of image and a minor amount of image skillfully replaced in facsimile. There is light toning and soiling primarily along the folds. 22 W x 32 H 1926
Lot 319
Messico o Nuova Spagna Dove si Possono Rintracciare i Movimenti di Cortes... This is an Italian edition of Kitchin`s map of the American Southwest and Mexico. California is labeled ""Nuovo Albione"" (New Albion) with no detail outside of a few coastal place names. The region of present-day Arizona and New Mexico is well delineated with numerous Indian villages and the locations of missions. The area from New Mexico to Louisiana is named ""Grande Spazio di Terra Incognita"" (Great Space of Land Unknown). The small Texas settlement of Cenis is near the ""Nuovo Regno ni Leon"" (New Kingdom of Leon). An inset shows Mexico City on the large Lake of Mexico. Finely engraved with a decorative title cartouche and compass rose. Issued folding on watermarked paper with light offsetting and a binding trim and short binding tear confined to the lower right blank margin. 11.2 W x 14.9 H Kitchin, Thomas 1795
Lot 327
Carta Geografica del Messico o Sia della Nuova Spagna Beautifully engraved, Italian edition of Delisle`s map of Mexico, extending south to Costa Rica. There is good detail of towns, political divisions, rivers, and topography. The map includes the western end of Cuba and the southern tip of Florida with several place names noted. The large pictorial title cartouche features a pair of Noblemen, slaves, and a shepherd. A fine impression on watermarked paper with attractive color and a tiny hole east of Guadalajara. 12.9 W x 16.8 H Albrizzi, Girolamo 1750
Lot 369
A Map of Terra Firma. Guiana and the Antilles Islands This small map covers all of the West Indies and South America, north of the equator. In Guyana, the large, legendary Prime Lake is noted on the Equator, with the mythical city of gold, Manoa o el Dorado named on its shores. The tip of Florida is labeled Part of Louisiana and the Great Bahama Bank (Bahama Shoald) is clearly indicated. Published in London in Thomas Salmon`s Modern History: or the Present State of All Nations. Toned with light offsetting from an opposing text page. 7.1 W x 10.2 H Moll, Herman 1745
Lot 709
Tab. V. de Architectura Marina oder Vorstellung eines Orlogs oder Kriegs Schiffs... Small Dutch engraving of the marine architecture of a three-masted 96 gun man-o-war. The rendering includes a fine view of the ship with detailed diagrams of its equipment, construction, rigging, cutaway detail of the decks, etc. Published in Johann Hubner`s Staats Zeitungs Lexicon. A nice impression with attractive color, minor soiling, a hint of toning along centerfold, and a tear that just passes the neatline at bottom and has been closed on verso with archival tape. 7.5 W x 8.9 H 1760
![[Illuminated Leaf] A nice vellum manuscript from a French Book of Hours, in the style of a Rouen scriptorium. Written in br](http://lot-images.atgmedia.com/SR/36385/2906594/715-201458131626_468x382.jpg)
Lot 715
[Illuminated Leaf] A nice vellum manuscript from a French Book of Hours, in the style of a Rouen scriptorium. Written in brown and red ink, the leaf has three large initials, five small initials, and six line fillers in red and blue and burnished gold leaf, as well as a decorative panel in the margins with ivy and flowers. The text is from the Litany of the Blessed Virgin Mary, also known as the Litany of Loretto. Beginning with the large initial ""C"" on the recto, the text translates as:Grant, we beseech Thee, O Lord God, unto us Thy servants,that we may rejoice in continual health of mind and body; and, by the gloriousintercession of blessed Mary ever Virgin, may be delivered form presentsadness, and enter into the joy of Thine eternal gladness. Through Christ our Lord. Moderate toning and soiling. 6 W x 4.4 H Anon., 1430
![[Illuminated Leaf] This buttery vellum leaf is from a French Book of Hours, written in or near Rouen. The text is written i](http://lot-images.atgmedia.com/SR/36385/2906594/717-201458131630_468x382.jpg)
Lot 717
[Illuminated Leaf] This buttery vellum leaf is from a French Book of Hours, written in or near Rouen. The text is written in Latin in regular book hand in brown ink. The leaf is embellished with one large and nine small initials and three line fillers in red and blue ink and burnished gold. The verso also includes a decorative panel with leaves and flowers. The text is from the Office of the Dead, the psalms and prayers for relatives and friends who were suffering in purgatory. This passage is from Vespers, Psalm 137, and the text reads (beginning at the large initial on verso):I will praise thee, O lord, with my whole heart: for thou hast heard the words of my mouth. I will sing praise to thee in the sight of his angels:I will worship towards thy holy temple, and I will give glory to thy name. For thy mercy, and for thy truth: for thou hast magnified thy holy name above all. Light soiling with a stain at bottom right, not affecting the text. 6.1 W x 4.6 H Anon., 1470
![[Illuminated Leaf] A fine vellum leaf from a French Book of Hours, written in Angers on the Loire River. This region was we](http://lot-images.atgmedia.com/SR/36385/2906594/719-201458131633_468x382.jpg)
Lot 719
[Illuminated Leaf] A fine vellum leaf from a French Book of Hours, written in Angers on the Loire River. This region was well known for the many workshops for Books of Hours. Many masters who worked there became famous, including Jouvenel, Robinet Tesard and the Master of the Geneva Boccaccio. This leaf has one large initial, seven small initials and seven line fillers in red, blue and gold. The text is from the Hours of the Virgin, Lauds (beginning at the top on the recto):[O Lady set in glory great,Above the stars] in high degree,That gave him suck with sacred breast,By providence that formed thee.By thy fair blossom thou restored,What lamentable Eve decayed:That wailing wights might mount the stars,The heavensÂ’ window thou art made.The gate thou art of the high king,The port of light that glisters clear,Since life was given by a maid.Let freed men show joyful cheer.On the verso is part of the Canticle of Zachary:Blessed be our Lord God of Israel: because he hathvisited and wrought the redemption of his people.And hath erected the horn of salvation to us: in the house of David his servant.As he spake by the mouth of his holy prophets: that are from the beginning.Salvation from our enemies: and from the hand of all that hate us. Very minor soiling. 6 W x 4.1 H Anon., 1480
![[Illuminated Leaf] This creamy vellum leaf is from an Italian book of hours, written in black, red and blue ink. There are](http://lot-images.atgmedia.com/SR/36385/2906594/720-201458131636_468x382.jpg)
Lot 720
[Illuminated Leaf] This creamy vellum leaf is from an Italian book of hours, written in black, red and blue ink. There are three large initials decorated with pen work. The text on the recto is a 6th century hymn used in the Roman Breviary at the Office of Prime, known as ""Star of Light Now Having Risen."" Beginning with the large initial ""I"" the text translates as:Now in the sun`s new dawning ray,lowly of heart, our God we praythat He from harm may keep us freein all the deeds this day shall see.On verso, beginning with the large initial ""B,"" is Psalm 118 (119):Blessed are the undefiled in the way, who walk in the law of the Lord.Blessed are they who search his testimonies: that seek him with their whole heart.For they that work iniquity, have not walked in his ways.Thou hast commanded thy commandments to be kept most diligently.O! that my ways may be directed to keep thy justifications.Then shall I not be confounded, when I shall look into all thy commandments.I will praise thee with uprightness of heart, when I shall have learned the judgments of thy justice.I will keep thy justifications: O! do not thou utterly forsake me. Very light soiling. 7.7 W x 5.6 H Anon., 1480
Lot 264
Late 18th century French fusee verge white metal pocket watch, the movement with square baluster pillars, pierced engraved balance bridge and silver regulating disc, the enamel dial with Arabic numerals, winding hole between the one/two o`clock position and gold sunburst hands within a consular case and bright cut engraved bezel, 51mm (surface dents to the case back)
Lot 47
An Art Deco style 18ct white gold mounted sapphire and diamond set ringthe lozenge shaped front invisibly set to the centre with an oval cut sapphire flanked to either side by graduated French cut sapphires, within outer borders, millegrain set with slightly graduated round brilliant cut diamondsRing size: O/P
Lot 808
A silver cased propelling pencil, a Yard-O-Led sterling silver cased propelling pencil, three further propelling pencils, various spare leads, six pocket knives, two petrol lighters formed as ammunition shells, two military cap badges, an identity disc, three thimbles, a silver curb link watch Albert chain, two further chains, two brooches, two paste set costume buttons and a colourless paste dress clip.
Lot 211
An exceptionally rare set of catalogues issued by the celebrated ethnographical dealers W. O. Oldman of Brixton Hill London containing descriptions of the Oldman stock and including a large number of original photographs depicting the items Mr. Oldman was offering for sale. The catalogues are loosely bound into an album 25cm.; 10ins high At one time these catalogues were issued monthly but, as with all such ephemera, examples are virtually impossible to find.
Lot 146
Jean COCTEAU. 4 L.A.S. et un tapuscrit signé avec corrections autographes, 1952-1954, à Marc-Gilbert Guillaumin dit Marc’O ; 4 pages et 3 pages in-4. St Jean Cap Ferrat 9 septembre 1952. Il lui envoie un article : « Si l’article vous intéresse, publiez-le »... – Le tapuscrit, Usage externe, encourage la liberté de création et le renouveau de la scène artistique : « La jeunesse, et elle a raison, ne peut ni ne doit se résoudre à passer de la scène dans la salle. D’un jeu d’acteur aux fauteuils d’orchestre. Elle est mouvement. Le piège qui la menace est l’École. Dès qu’un mouvement devient École, il se fige et l’artiste debout, s’asseoit. C’est difficile de vivre debout, de manger debout, de dormir debout, je vous l’accorde. Un Mouvement en arrive presque toujours au dogme, fût-ce celui de la liberté qui prend vite allure d’esclavage. Libre de n’être pas libre. C’est la formule américaine. Car la jeunesse iconoclaste se sculpte une idole de résultats. Arriver où ? À quelle heure ? Je vous le demande. On ne part ni on arrive. On est »... Égratignant au passage Mauriac, il termine par un quatrain, également intitulé Usage externe : « Je résiste assez mal à la chute des corps / Mon âme se repose assise entre deux chaises / à ma table invité, je suis le chiffre 13 / Et le sommeil m’encombre avec ses vieux décors ». [L’article paraîtra dans le n°3 de la revue Le soulèvement de la jeunesse, fondée par Marc’O]. – 28 septembre 1952. « Vous avez, j’en suis sûr, très bien deviné que mes réserves ne sont pas des réserves mais sont un mécanisme d’effluves qui disparaissent (dont l’efficace disparaît) dès qu’on les constate. J’ai toujours peur, un matin, par distraction de raser mes antennes. Saviez-vous qu’une oreille malade pousse des poils pour se défendre. Il est probable que je mourrai debout »... Et à propos de son article : « J’ai fait ici un très gros travail. [...] L’article était surtout une preuve de l’amitié que je vous porte. Un signe »... Samedi [1954]. Après un rendez-vous manqué : « Je peux dire sincèrement que je regrette d’avoir à vous reprocher une mauvaise grâce qui ne vous ressemble pas. J’ai été très malade et je le suis encore. Il est vrai qu’on n’a pas le droit d’être malade. Au reste, malade, je travaille et répète La Machine infernale après midi et soir »... [Autriche] 17 février 1954. Il se rétablit difficilement. Quant à la programmation de Closed Vision de Marc’O au Cinéma d’Essai (avec Le Sang d’un poète), on lui fait des histoires pour la grande salle. « Par contre la petite salle est excellente et j’ai constaté que le même film avait un public attentif dans la petite salle et inattentif dans la grande. En ce qui concerne Le Sang d’un poète votre idée me semble bonne mais il faudrait que le film sorte non pas en vieille copie mais d’après une copie neuve. […] Je rechigne toujours à donner Le Sang d’un poète en France à cause de cette immense bêtise inculte dont vous avez aussi à souffrir »...
![Jean COCTEAU. Manuscrit autographe signé, [avril 1954] ; 2 pages in-4 (traces de trombone). Discours de présentation du film](http://lot-images.atgmedia.com/SR/15978/2906995/147-201451616202_468x382.jpg)
Lot 147
Jean COCTEAU. Manuscrit autographe signé, [avril 1954] ; 2 pages in-4 (traces de trombone). Discours de présentation du film Closed Vision de Marc’O au Festival de Cannes de 1954. Essai symboliste et révolutionnaire, ce premier long-métrage de Marc’O devait, selon Cocteau, sauver le cinéma en produisant un choc sur les spectateurs, guère habitués à ce nouveau type de langage poétique. Il le présenta à Cannes avec Louis Buñuel. Il s’agit ici d’un brouillon du discours, avec ratures et corrections. La version définitive du texte comportera quelques variantes. « Même si je désapprouvais le film de Marc’O et de Yolande du Luart réalisé par Vickman – ce qui n’est pas le cas – je le présenterais quand même. L’essentiel est qu’il existe et qu’il veuille vivre. On connaît l’obstacle que l’industrialisation du cinématographe à la jeunesse. Un jeune a fait ce qu’il voulait faire. Je ne le juge pas. Je le présente. Un jour Marc’O me téléphona qu’il souhaitait me montrer son film Closed Vision et que je le présentasse au festival de Cannes. […] Lorsque nous fîmes, il y a trente ans, Buñuel L’âge d’Or et moi Le Sang d’un poète, nous ne nous doutions pas que nos films courraient le monde et fixeraient l’esprit d’une époque. En outre, à distance, les esprits antagonistes se confondent en un seul style et Buñuel me raconte qu’il arrive au Mexique qu’on lui attribue Le Sang d’un poète et qu’on m’attribue Le Chien Andalou. Il est possible que Closed Vision fixe l’esprit d’une époque et même qu’on s’en serve pour condamner une époque. […] Salvador Dali me parlait dernièrement à Madrid d’une science nouvelle qu’il baptise : Phoenixologie. C’est la science qui consiste à mourir plusieurs fois de suite et à revivre en chair et en os. On observe ce phénomène dans nos vieux films. On le retrouve dans Closed Vision – ce qui prouverait qu’il existe une tradition de l’avant-garde ou de ce qu’on a coutume d’afficher comme tel. Un jeune homme qui s’exprime avec singularité s’exprime à la minute même où sa révolte l’exige. Être un précurseur est chose impensable (cela reviendrait à se promener avec un parapluie ouvert l’avant-veille d’un orage). Il serait plus juste de constater que les autres retardent sur un acte qui enfonce sa griffe quand il se doit. Marc’O enfonce-t-il sa griffe ? Seule une tireuse de cartes pourrait me répondre »â€¦ On joint une photographie originale de Jean Cocteau avec Marc’O à Cannes en 1954 (par A. Traverso, 13 x 18 cm), et une photographie de Cocteau avec Guy Debord et Marc’O à la villa Santo-Sospir (vers 1951-1952, contretype).
![Guy Debord (1931-1994). L.A.S. « Guy-Ernest », Cannes 23 septembre [1951], à « Marco » [Marc-Gilbert Guillaumin dit Marc̵](http://lot-images.atgmedia.com/SR/15978/2906995/151-2014516162010_468x382.jpg)
Lot 151
Guy Debord (1931-1994). L.A.S. « Guy-Ernest », Cannes 23 septembre [1951], à « Marco » [Marc-Gilbert Guillaumin dit Marc’O] ; 2 pages in-4. Belle lettre de jeunesse, publiée dans le volume 0 de la Correspondance de Guy Debord (2010). Il répond tardivement à sa lettre, reçue à son retour « d’un bref voyage dans Paris et ses proches environs pour des raisons toutes de bave » [allusion au film d’Isidore Isou Traité de bave et d’éternité, produit par Marc’O]. Il regrette de l’avoir manqué à son hôtel, mais il a rencontré Isou : « Je vois donc quelle est la situation. Sitôt arrivé je t’aiderai pour sortir le film. C’est d’ailleurs un travail qui ne me déplaît pas. Il faudra bien que ces pauvres cons acceptent et sans nous faire attendre. On a vu des directeurs de salle se faire buter pour moins. Dans cette ville abandonnée de Dieu – et en général de tout créateur ; j’ai fait ce que tu m’as demandé avant de partir. Avec cinq camarades j’ai fort gêné la projection du film du jeune G. Albicocco [Debord a ici collé une coupure de presse au sujet du court-métrage en question, Absolve domine]. Heureuse conséquence ? Pour la première fois de sa carrière encore brève, l’idiot n’a pas obtenu son prix habituel dans un festival de la connerie noire. D’autre part j’ai jeté les bases du ciné-club que tu voulais (et déjà son premier directeur à la porte) – Actuellement ils sont acceptables, et aux prises avec de lourdes difficultés pour trouver les 30 ou 40 billets nécessaires pour démarrer. Enfin jeudi dernier, après une discussion serrée de 5 heures dans un bar du quartier, j’ai fait admettre qu’Isou est dieu à mon ami Hervé Falcou, que tu as vu à Cannes. Je suis très fier de ce dernier résultat, presque autant que d’être le (1) manquant dans la seule équation que je connaisse par cÅ“ur »â€¦ Isou lui a parlé de la possibilité de réserver une chambre dans son hôtel, et prie de la retenir pour lui pour octobre : « Excuse-moi de t’importuner de ces nécessités très peu éternelles, et d’en souligner le caractère d’urgence. Je veux te lire, en attendant absolument je te salue (il faut révolutionner les formules de politesse) »... On joint une photographie originale d’Isidore Isou marchant dans la rue (1951, 12 x 8,5 cm), et une de l’affiche pour les récitals lettristes au Tabou (1950, 8,5 x 9 cm) ; plus 2 contretypes de Marc’O et son équipe pour le tournage du film d’Isou.
Lot 265
An 18ct gold, emerald and diamond five stone carved head ring, with a central oval mixed cut emerald, an old European cut diamond to either side, with a rectangular step cut emerald to each end. All claw set to a carved head with pairs of rose cut diamond set points between. Sheffield 2012, probably a later hallmark. Finger size O CONDITION REPORT: Wear to the claws. one claw to the centre collet and one shoulder claw worn away, Crown facet edge wear and nibbles to the centre emerald. Facet edge wear to the others.
Lot 362
A white gold, ruby and diamond oval cluster ring, with an oval mixed cut ruby, claw set to the centre. An open surround of two rows of graduated brilliant cut diamonds to a wire basket and split shoulders. Marked 18ct. Damage. Finger size O/P CONDITION REPORT: Head very tilted to the shank. All the claws are nice and deep, and the setting appears secure. Light surface wear to the shank. Has been sized up in the past. Diamonds good colour, nice and bright. Damage - the head of the ring (cluster) has been squashed to one side, and is at an angle to the shank (there is an image on our website that illustrates this); a good jeweller should be able to correct this, and clean, polish and re-rhodium the ring; it can be restored to virtually new condition.
Lot 402
A jade and diamond dress ring, with an oval cabochon jade, rub set in a yellow collet. Three row flat section shoulders, each set with a central row of rub set brilliant cut diamonds, with two outer rows of grain set brilliant cut diamonds. Plain flat guards and shank. Tested as approximately 18ct gold. Jade not tested for colour enhancement. Finger size O½
Lot 409
A sapphire and diamond fingerline cluster ring, with yellow, pink and green oval mixed cut sapphires, rub set in yellow collets to the centre. An open oval frame of brilliant cut diamonds, grain set to a scalloped outer edge, with diamond set split shoulders and a plain shank. Marked 750. Finger size O
Lot 410
An 18ct gold ruby and diamond oval cluster ring, with an oval mixed cut ruby, surrounded by brilliant cut diamonds, all claw set to a white head with yellow shank. Import hallmark London 1988. Finger size O½ CONDITION REPORT: Table scratched, and crown facet edge wear to the ruby. Very small chip to the girdle. All stones dirty and would benefit from being cleaned. Rippled marks to the inside of the shank.
Lot 952
An interesting World War II group of seven medals attributed to (Captain) Ronald Jack Brittain RNR - 1939-45 Star; Atlantic Star; Africa Star-bar, N. Africa 1942-43; Burma Star; Italy Star; 1939-45 Defence and BWM, QEII coronation medal to/w seamans record book, continuous discharge book, identity cards etc Note: 1st mate S.S. Oronsay, bombed at St Nazaire 1940 (photos included), officer served aboard S.S. Oronsay, Otranto, Orontes, P&O/White Star line employed
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175434 item(s)/page