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Öl auf Hanfstoff 60 x 73 cm. Gerahmt. Signiert und datiert 'T.Kim-84'. Rückseitig auf dem Keilrahmen mit Richtungspfeil.ProvenienzGalerie Diana Küppers, Düsseldorf (1987); Privatsammlung, Nordrhein-WestfalenI discovered the water drop one morning after working at night. Quite dissatisfied with myself, I had splashed some water with my hands on the back of the canvases. And I noticed that the water drops stayed there and were shining on the canvas. It was extraordinary. I thought: that's what I have to do. I wondered if I could make art out of this. At that time, I wanted to break away from the experience of the war. When I discovered the water drop, I thought I had found a playing ground that could be my own. It also reconnected me back to eastern philosophies like Taoism and Zen Buddhism. My first show at Knoll International was very well received. Poet Alain Bosquet wrote a very good review in the newspaper, Combat and a lot of people came, including Salvador Dali, who wrote in the guestbook, cela égale en magnificence la Gare de Perpignan-this equals in magnificence the train station of Perpignan! (Kim Tschang-Yeul: Art Without Ego, Ocula Magazine Conversation, Vivian Chui, New York 2019,

Gerhard Richter - - 1932 Dresden - lebt und arbeitet in Köln Abdallah. 2010. Acryllack hinter Glas. Online-Werkübersicht der Gemälde 917-59. Verso signiert und datiert sowie mit der Werknummer '917-59' bezeichnet. Unikat. 33 x 33 cm (12,9 x 12,9 in), inkl. Rahmung. • Bisher wurden erst 3 weitere Gemälde aus der 'Abdallah'-Folge auf dem internationalen Auktionsmarkt angeboten. • Richters Hinterglasgemälde sind wunderbare Zeugnisse herausragender technischer Meisterschaft und Innovationskraft. • Auf der glatten Oberfläche des Bildträgers lässt Richter in faszinierender Balance aus Kalkül und Zufall eindrucksvolle Farbstrukturen entstehen. • Mit seinen auf einem strengen Selektionsprozess basierenden Kompositionen hinter Glas, die Titel aus der fernöstlichen Märchenwelt von '1001 Nacht' tragen, eröffnet Richter einen weiten Assoziationsraum. PROVENIENZ: Galerie Fred Jahn, München. Privatsammlung Hessen (vom Vorgenannten erworben). LITERATUR: Gerhard Richter, Marian Goodman Gallery, London 2014, S. 7. Gerhard Richter: Streifen & Glas, Staatliche Kunstsammlungen Dresden / Kunstmuseum Winterthur, Köln 2013, S. 31. „Ich bin fasziniert vom Zufall, weil es ist ja fast alles Zufall. Wie wir beschaffen sind, warum ich nicht in Afrika geboren bin, sondern hier. Alles Zufall.' Gerhard Richter, November 2016. Nach vereinzelten experimentellen Versuchen beginnt Richter 2008 die Technik der Hinterglasmalerei für sich zu entdecken und für seine Malerei des kontrollierten Zufalls nutzbar zu machen. Es entstehen die Gemäldefolgen 'Sindbad' (2008), 'Aladin', 'Bagdad', 'Ifrit', 'Perizade' und 'Abdallah' (jeweils 2010), deren Titel allesamt ihren Ursprung in der reichen Kultur des Orientes haben. Richter hat diese Titel den Gestalten der islamischen Mythologie und der berühmten Märchensammlung '1001 Nacht' entlehnt, die um das Jahr 800 in Bagdad aus dem Mittelpersischen ins Arabische übersetzt wurde und von da an in der orientalischen und später auch der abendländischen Kultur große Verbreitung fand. Dass Richter diese Themenwelt des blühenden Abendlandes seinen abstrakten Schöpfungen gerade in einer Zeit zur Seite stellt, in welcher der Orient durch Krieg und Verwüstung des Irakkrieges gezeichnet ist, ist sicherlich kein Zufall. Gerhard Richter ist nicht nur ein Meister des malerischen Experimentierens im Spannungsfeld zwischen Kalkulation und Zufall, sondern auch ein Meister im Spiel mit der freien Assoziation. Richters orientalische Titel geben dem Betrachter Raum, die leuchtenden, abstrakten Farbverläufe mit den leuchtenden Farben des Orients oder deren fein strukturierte, hinter Glas fixierte Bewegung mit dem Formenrepertoire der arabischen Kalligrafie zu assoziieren. Und letztlich bleibt sogar eine Assoziation mit dem unkontrollierten Chaos der Zerstörung des Krieges nicht ausgeschlossen. Richter erklärt die leuchtenden, abstrakten Farbstrukturen, die das Ergebnis seiner meisterlichen Inszenierung des kalkulierten Zufalls sind, zu den Protagonisten seiner auf der Rückseite des Bildträgers gesetzten und dadurch faszinierend entrückten Komposition. Für dieses eindrucksvolle Ergebnis lässt Richter die Farbe zunächst auf einen Plexiglasträger fließen und greift in diesen zufälligen Prozess der Bildwerdung nur teilweise durch den Einsatz von Pinseln, Stäbchen und Spachteln ein. Schließlich überträgt Richter den gewünschten Ausschnitt der dabei entstandenen Komposition in einem perfektionierten Abklatschverfahren auf die Glasplatte, die diese marmorierten Farbstrukturen schließlich dauerhaft konserviert. [JS] Aufrufzeit: 18.06.2021 - ca. 18.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONGerhard Richter -1932 Dresden - lebt und arbeitet in Köln Abdallah. 2010. Acrylic lacquer behind glass. Online catalog raisonné of paintings 917-59. Verso signed and dated and inscribed with the work number '917-59'. 33 x 33 cm (12.9 x 12.9 in), incl. frame. • To date only 3 other paintings from the 'Abdallah' series have been offered on the international auction market. • Richter's reverse glass paintings are marvelous documents of his technical mastery and innovative power. • With a fascinating balance between calculation and coincidence Richter creates impressive color structures on the smooth surface of the image carrier. • Richter opens up a vast associative space with his reverse glass compositions based on a strict selection process and with titles from the Middle Eastern folk tales of One Thousand and One Nights. PROVENANCE: Galerie Fred Jahn, Munich. Private collection Hesse (acquired from aforementioned). LITERATURE: Gerhard Richter, Marian Goodman Gallery, London 2014, p. 7. Gerhard Richter: Streifen & Glas, Staatliche Kunstsammlungen Dresden / Kunstmuseum Winterthur, Cologne 2013, p. 31. 'I am fascinated by coincidence, because everything happens coincidental. The way we are, why I wasn't born in Africa but here. It's all coincidence.' Gerhard Richter, November 2016. After a few experimental attempts, Richter discovered the technique of reverse glass painting as a means of artistic creation in 2008 and began to employ it for his painting of controlled chance. This led to the series of paintings 'Sindbad' (2008), 'Aladin', 'Bagdad', 'Ifrit', 'Perizade' and 'Abdallah' (each from 2010), of which all carry titles with origins in the rich culture of the Orient. Richter borrowed these titles from the characters of Islamic mythology and the famous collection of fairy tales '1001 Nights', which was translated from Middle Persian into Arabic in Baghdad around the year 800 and from then on was widely spread aroud he world, first in oriental cultures and later also in western cultures. It is certainly no coincidence that Richter puts this theme of a flourishing West alongside his abstract creations at a time when the oriental country of Iraq id torn by war and devastation. Gerhard Richter is not only a master of artistic experiments in a field between calculation and chance, but also a master in playing with free associations. Richter's oriental titles give the viewer room to associate the luminous, abstract color gradients with the luminous colors of the Orient or their finely structured movement fixed behind the glass with the repertoire of forms of Arabic calligraphy. And ultimately, an association with the uncontrolled chaos of the destruction of war cannot be excluded, either. Richter makes the luminous, abstract color structures, which are the result of a masterly staged calculated coincidence, the protagonists of his composition. The fact that they are executed on the back of the image carrier adds a mesmerizing aura. In order to realize this impressive result, Richter first lets the paint flow onto an acrylic glass panel and only partially intervenes in this random process of image creation through the use of brushes, sticks and spatulas. Finally, Richter transfers the desired section of the resulting composition onto the glass plate in a perfect copying process and permanently preserves these wonderful marbled color structures. [JS] Called up: June 18, 2021 - ca. 18.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Attributed to Peter Casteels I (act. Antwerp, 1629-1683). Bacchanal. Oil on canvas. The narrative is based on Italian sources of the god in mystical delirium. The God Bacchus is represented in a landscape, reclining with a lost gaze and a glass in his hand while a Satyr fills it with wine. Next to him is a bacchante and a cupid trying to pick grapes from the bunch that God is holding with one hand. To the right of the composition, two putti plus one among vines and the other playing with the panther that serves as a mount for the god and a bust closing the scene on the left. The painter shows an inclination to exaggerate his style in voluptuous forms, expressiveness and ugliness. Bacchus is the son of Zeus and Semele: he discovered wine and its debauchery. Hera drove him crazy. It is what is visible in the paintings of Casteels. He is the god imprisoned in the mystical delusion that Rubens disclosed. He conveyed the crazy image of the god of wine, mystery and madness. As Matías Díaz Padrón indicates: "Peter Casteels was a painter of evident and overflowing voluptuousness and strange personality in the shadow of Rubens and Jordaens. Repetitive in his production, with gestures and expressions adapted to the lust of the Rubenian baroque. A forgotten painter who prolongs the Dionysian universe inaugurated by Rubens and continued by Jordaens. "Bibliography. Matías Dïaz Padrón. "A bacchanal of Peter Casteels I in the National Museum of Havana". Atlantic Studies Yearbook. No. 64, pp. 1-10. Gran Canaria, 2018. The Museum of Havana preserves a work similar to ours. Relined. 65.5 x 107 cm.

A George II mahogany card table Circa 1740-50, the breakfront hinged and foldover top on a double-gate support, revealing a baize-lined playing surface with sunken counter wells and candlestands on lappet carved legs with pad feet. Height 73cm Width 86cm Depth 42cm.

A New Hall coffee can decorated with a hand-tinted bat print of children playing with a pond yacht c1815, two similar New Hall cans depicting a piping shepherd and rural scenes, two Machin cans with Adam Buck style nursery views, a Rathbone mug with chinoiserie scene and two others. (8)

A GOOD MEISSEN PORCELAIN GROUP OF YOUNG LOVERS, a man has a lamb at his feet, a seated lady playing a mandolin, on an oval base. Cross swords mark in blue, incised 447. 5.5ins high.

A COLLECTION OF VARIOUS PLAYING CARDS.

Michael Crawley (Derbyshire Artist), Children Playing Near Barrow on Trent, oil on canvas underglaze, signed, approx 26cm x 36cm

A pair of Continental 19th Century porcelain figures modelled as Lady cutting wheat with a sythe, with a goat at her feet and a Gentleman playing flute with sheep on naturalistic base, both with underglaze blue marks probably for Sitzendorf, approx 12.5 cm high (2)  

A Lladro Clown limited edition 'Little Traveller' stamped E-15 E and another Lladro Clown playing the Saxophone stamped S471 (2) 

A Set of Eight Plated Cake Pillar Supports, together with a Chinese (Nguan Kwang Heng Swaton) canister (dents), souvenir teaspoons, boxed teaspoons, book mark, caddy spoon, playing cards and scorer, etc.

A Continental 'rococo' porcelain group of a boy and girl playing an oboe; and three white marble or alabaster lamp bases

* Kirk (John). The Cries of London, circa 1754, 17/52 copper engraved playing cards, depicting tradesmen and women, comprising spades: ace, 2-4, 6, jack, queen; hearts: ace, 2-4, 9, jack; clubs: ace, queen; diamonds: 10, king, ace of spades bearing Georgian tax stamp in red ink, hearts and diamonds pip cards with stencilled colouring, court cards with hand-coloured miniature full-length figure in top left corner, toned and dusty, ace of clubs with slight surface loss to top edge (just touching first text letter), 4 of hearts with small nick in slightly creased lower left corner, jack of spades a little creased (with damp-soiling evident on verso), plain versos browned, rounded corners, 95 x 65mm, together with: Baragioli (Attilio), Florentine Pattern deck of cards, circa 1860, 49/52 engraved playing cards, comprising 4 suits of 13 (French suits), each with ace, pip cards 2-10, and three hand-coloured full-length court cards ('Florence I' pattern), lacking the jack and king of spades and the jack of hearts, dust-soiled and bowed, blue dotted circle and lozenge pattern on versos, 98 x 64mmQty: (2)NOTESBoth decks extremely scarce. The first is rare in any state of completion or format: John Kirk's Cries of London could be purchased in bound book form, as a deck of playing cards as here, and as an alphabetical engraved panorama strip mounted on wooden rollers (see Cotsen Children's Library, Call Number: Objects 18 425). The set is given a fleeting mention in Mann, All Cards on the Table, p.134. John Kirk was a shopkeeper and metal worker who ran an engraving and die stamping business in St Paul's Churchyard, London. His set of the Cries was advertised in an issue of the Public Advertiser published on 21st December 1754: "This Day is published, From four Copper-plates neatly engraved, each containing 12 Prints, of The most humorous CRIES of London ... in Sheets, or stitched, in Little Books; likewise made up in Boxes or Rowlers, at 1s. a Piece, very fit to amuse children and help them forward in their Learning..." John Kirk also produced a set of Aesop's Fables playing cards, around 1759. Comprising the following cries: 'Newcastle Salmon'; Great News in the London Evening Post'; 'I'm come this afternoon to play you a merry Tune'; 'Green and large Cucumbers'; 'Sheeps Hearts Livers or Lights to Day'; 'Sweet Damask Roses'; 'Stone Tea Potts Stone Muggs do you want any Earthern Ware'; 'Two Bunches three Halfpence 3 Bunches 2 Pence Sugar Turnips'; 'Old Iron or broken Glass Bottles take Money for them'; 'My pretty Maids within, Have you got any Hare's or Rabbett's Skin'; 'Corns to Cut'; 'Mary, Mary Where are You now?'; 'Buy Beef, a good fat Piece of Beef: Hoa!'; 'Buy my Shrimps'; 'Here's valiant Jack Falstaff, that merry Blade'; 'Bellows to mend'; 'The only Booth in the Fair: The noted Yates is here'.

* Reynolds & Sons. A standard English deck of playing cards, circa 1840, 52 colour woodblock cards (complete), comprising four suits of thirteen, each with pip cards 1-10 and three full-length court cards, 'one shilling' on duty ace, lightly dust-soiled, white versos with gilt floral decoration (1 or 2 a little rubbed), square corners, 93 x 65mm, together with a deck of Belgian Pattern playing cards, circa 1780, 51/52 colour woodblock cards, with double-ended courts, lacking the 2 of spades, spotted, occasional marks or creasing, red lozenge pattern on verso, 83 x 57mm, and a deck of Swiss playing cards, circa 1850s, 51/52 cards, with hand-coloured engraved double-ended courts, lacking the 3 of spades, ace of hearts with circular ink stamp 'Canton de Vaud, 20 centimes', some spotting and marks, red dotted honeycombe pattern on verso, 92 x 59mm, plus 4 miniature decks of cards (some incomplete)Qty: (7)

* Soviet Union. Literature & Theatre, circa 1910-1930, Soviet Union State Playing Card Monopoly, 1910-1930, 52 chromolithographed playing cards, French suits, comprising four suits of thirteen, each with pip cards 1-10 and three double-ended court cards, English indices, lacking the Joker, slightly dusty, versos patterned in dark and pale blue with a central quatrefoil on a lattice panel enclosed within a scrolling volute border, gilt over green edges, rounded corners, 89 x 58mm, contained in a patterned cardboard box for the Soviet 'Anti-Religions' deck, produced by the same company in the 1930s, slightly rubbed, short split in one hinge, and lacking top flap, together with Scandinavia. Dragon, Norway: Kristiania Litografiske Aktiebolag, circa 1890-1910, 52 chromolithographed playing cards, French suits, comprising four suits of thirteen, each with pip cards 1-10 and three double-ended court cards designed by Andreas Bloch, ace of spades with red ink duty stamp, lightly toned, occasional marks and light spotting, a few small corner creases, red patterned versos with rampant lion in centre, rounded corners, 92 x 60mm, plus The "Rameses" Fortune-Telling Pack of Playing Cards, Chas. Goodall & Son Ltd., circa 1910, complete, with 4pp. instructions (creased) and original box (rubbed and marked)Qty: (3)NOTESThe first deck features characters taken from literary works and the theatre, for example the Queen of Diamonds is Scheherazade and the Knave of Hearts is Pierrot.

* Ardizzone (Edward, 1900-1979). Original figurative border illustration, Radio Times Christmas issue, 1951, pencil on heavy stock paper, with calligraphic word 'Evening' bordered on 3 sides with a festive scene of Father Christmas distributing gifts and children playing with toys, somewhat stained, annotated in red ink to upper right blank margin 'Xmas Day PM (R)', verso annotated in blue ink 'Ardizzone Y 21.12.51 Xmas Day Evening Borders', irregularly trimmed, sheet size approximately 8 x 16.5cmQty: (1)

Ladybird Books, Album of Railway Engines Cigarette Cards and Playing Cards etc

A 19th century ebonised papier mache tray, with mother of pearl inlay border surrounding a scene of two children playing, gilt foliate detail to edge, 75x59cm

A Dresden figure of a continental gentleman with rifle and dog, marked to base and stamped 6598, 16cm high; together with a figure of a seated woman playing a flute, 13.5cm high (2)

A collection of seven 19th century Honoré Daumier (1808 -1879) humorous prints cut from French newspapers, mainly from the 'Les Beaux Jours de la Vie' series, to include '7 Heures du Matin' from 'La Journée du Célibataire', 25 x 20cm; 'L'Amateur de Melons', 29x22cm; 'Ce char marchera toujours, ils auront beau vouloir mettre des batons dans les roues!', 22x27cm; 'Aux Champs Elysees' 24.5x23.5cm; 'Armistice' from 'La Guerre des Femmes', 23x20cm; 'Voyage de Paris en Amerique', 35x25cm; and 'Ils Pretendent qu'ils la Soutiennent' from 'Croquis du Jour', 26x22cm; together with a portfolio containing an engraving after Johann Christian Reinhart, 'Landscape with Pan Playing a Flute', 1795, 21 x 29cm (8)

Large gilt decorative cherub ornament plus 2 other hanging cherubs playing musical instruments, largest ornament height 53cm

24ct Gold foil playing cards in original case

Box containing a large quantity of vintage playing cards

A mixed lot of assorted collectors' items including a ship in a bottle, cased set of playing cards and markers, cased set of drawing implements, etc.

An early 20th Rococo style century gilt metal pedestal comport, with cast detail depicting a central cherub flanked by scrolling detail and floral sprays, diameter 38cm, height 15cm, a bronzed spelter twin handled vase, modelled with a child seated playing a lyre, height 35cm, and two late 19th century gilt metal and glass ewers, the central bodies with hand painted opaque glass sections, height of largest 65cm (4).Additional InformationThe bronzed vase is missing the base, the surmount has been broken and is loose, there are numerous dents and knocks. One of the ewers has had its handle off but the handle is still present. The comport is heavily worn and looks to have been repainted.

UNATTRIBUTED; a pair of watercolours, depicting children playing in a harbour scene, and children foraging in woodland landscape, 16 x 24cm, framed and glazed (2).

ROYAL WORCESTER; two figures in 18th century style, one of a boy playing a pipe and seated on a rocky outcropping, the other of a girl reading a letter and sitting on a tree stump, both with date code for 1918, tallest height 13.5cm (2).Additional InformationBoth with heavy rubbing to gilding throughout, the pipe that the boy is playing is restored. The shape number is 10.

GOEBEL; a collection of ten Hummel figures, to include 'Apple Tree Boy' (10).Additional InformationThe boy holding a basket is af and the basket has broken off and glued back, the boy playing the accordion is af with a large chip to the tip of the accordion, the boy holding the ladders is af and the top of the ladders have been broken off and crudely glued.

Robin Williams signed 10x8 Cadillac Man black and white promo photo. Robin McLaurin Williams (July 21, 1951 - August 11, 2014) was an American actor and comedian. Known for his improvisational skills and the wide variety of characters he created on the spur of the moment and portrayed on film, in dramas and comedies alike, he is often regarded as one of the best comedians of all time. Williams began performing stand-up comedy in San Francisco and Los Angeles during the mid-1970s,[8] and rose to fame playing the alien Mork in the ABC sitcom Mork and Mindy (1978-1982. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Cartier. A Limited Edition 18K gold manual wind reversible rectangular wristwatchModel: Tank Basculante 150th Anniversary 'I Love Cartier' Collection Privee, Limited Edition No.18/150Date: Purchased 25th May 1997Movement: Jewelled manual windDial: Silvered with guilloché engraved centre, black Roman numerals, secret signature at 7, black inner minute track with 5 minute markers, blued steel sword handsCase: Brushed and polished reversible rectangular, cabochon set below 6, personal engraving to reverse, No.A109227Strap/Bracelet: Burgundy Cartier alligator leatherBuckle/Clasp: Signed 18K gold folding claspSigned: Case, dial & movementSize: 23mm x 37mm Accompaniments: Cartier box, outer card, International Guarantee Certificate, instruction bookletFootnotes:The Tank Basculante was first designed in 1932 and was aimed at an elite clientele looking to protect their timepieces from impact whilst predominantly playing sport. The case is composed of 3 parts allowing the central body to be inverted in order to present a smooth solid case back thus protecting the more vulnerable glass side. Due to its similar first introduction date, the Tank Basculante is often compared with the 1931 Jaeger-LeCoultre Reverso. Although sharing a similar goal and developed by the same company Spécialités Horlogers, the Basculante differs from the Reverso in several key ways. In particular the method used to invert the case on the Basculante is via a swinging frame that pulls the central body out towards you before flipping and replacing. In comparison the Reverso is set within a track that allows you to slide the body out to the side before turning over.The original production of the Basculante was quite limited before being briefly revived in the 1990s. The current example hails from the late 90s and was presented in celebration of the 150th Anniversary of Cartier.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A CHINESE PICTURE of children playing, 32cm x 33cm.

A 19th century French Brise fan, the wooden sticks and guards with carved floral decoration, the silk panel decorated with putti, playing musical instruments in a landscape with floral decorations

Reuge Saint Croix Swiss cylinder music box, playing eight airs including The Sunshine of Paradise Alley, Simple Little String, When My Hubby is Sir Tom, Darling Mabel, Soldiers of the Queen, Washington Post, It's a great shame and The Toy Monkey. The case has some evidence of old worm to the lower extremities. Note: appears to play well but the case could do with some attention, the top is faded and slightly lifting in the corners. 

A Georgian partridge wood and inlaid small format sewing box, of rectangular form, the top inlaid with an oval conche shell within a crossbanded and line inlaid border, the lid interior with a painted silk panel of a lady playing a harp, the lower compartmentalised section in red morocco with thimble stand and boxwood thimble, pin cushion, leather book form needle flannel, and tool card with three steel tools, with key, 18.5 x 14 x 6cms.                                                                                                From the collection of Enid Riley Part 1

A fine late 18th Century French ivory cylinder form etui, elaborately pierced with trellis pattern and with pierced and carved panels of love birds, a boy playing a flute, a girl with guitar, flowers, doves of love, and other symbols and motifs with variant coloured foil backdrops. In four parts comprising a tape measure with Grecian key pattern tape inked in nails, a replacement needle case/reel, and an ivory thimble, a few small stress cracks, 13.5cms.                                                                                                 A private collection - a passion for collecting of forty years  Part 1

* Charles I (1600-1649). King of England, Scotland & Ireland, 1625-49. Document Signed, 'Carolus R', Beverley, [Yorkshire], 19 July [1642], in Latin, a Royal letters patent to Henry Earl of Bath, Edward Viscount Chichester, Edward Seymore and others, appointing Commissioners of Array for Forces in Devon for the defence of the county against the King's enemies, also calling for beacons to be put in place to give warning of danger, a little ink loss affecting lettering of one or two words near the centre of lines 5-14, a few letters rubbed with a little loss of lettering near lower right margin not affecting sense, blank upper margin clipped at centre [to accommodate tag at lower margin when folded], lacks pendant Great Seal, a little yellowing at extremities (probably from previous framing for display), decorative initial 'C' and signature of the King upper left, countersigned Willys lower right, endorsed 'A Commission of Array for the County of Devon, Willys', 27 x 51 cm, accompanied by an old printed transcription and English translation on two card sheets with mounting remains to extremities where presumably displayed with the documentQty: (1)NOTESAlthough long obsolete, commissions of array were revived by King Charles I in 1642 at the start of the Civil War, in an unconstitutional manner, without Parliament having been consulted, in order to counteract the equally unconstitutional Militia Ordinance enacted by Parliament in 1642 without the usual Royal Assent. Both decrees were issued in order to attempt to gain control of existing militia forces and to raise further troops. The Commission of Array issued by the king thus sought to muster a Royalist army at the onset of the English Civil War. Commissioners were appointed for each county, generally from leading members of the local aristocracy and gentry who might be assumed to wield great influence over their feudal tenants and the population in general. The commissioners proceeded to the major population centres and read out in public gatherings the text of their commission. Frequently such innovative royal decrees, uncertain in precedent and purpose, were met with open hostility on the part of the local inhabitants who suspected them as being instruments designed for general suppression of the people. Opponents of the king, whilst playing down the role of the Militia Ordinance in augmenting civil strife, portrayed the Commission of Array as being a sign that it was the king and not Parliament who was the real aggressor in the developing conflict. 28 Commissioners of Array were appointed in Devon.

 A part set of bone French Prisoner of War work miniature playing cards, with later replacements to complete the set, the original elements comprising:                                                                                                                               Spades eleven - including king and queen.                                                       Clubs eleven - including jack and queen.                                                           Hearts - ten including jack, queen, king.                                                           Diamonds - nine including jack and queen.                                                    Twelve replacements, including one blank.    (53)                                                                                                

A TIBETAN TYPE BRONZE FIGURE OF A DEITY PLAYING A FLUTE, sat upon a forest with deer being chased by a big cat, W 20 cm

AN ORIENTAL CHINESE STYLE LOW BOWL, with scenes of children playing and flying kites, character mark to base, Dia 28 cm

A SATSUMA EARTHENWARE BOWL, the interior painted in typical enamels with a harbour scene, a family beneath a tree and a snow clad mountainous landscape, the exterior with figures playing Blind Man's Buff and four scholars seated below bamboo, seal mark in black and gilt, 7 1/4" diameter, with carved hardwood stand (2) (Est. plus 21% premium inc. VAT)Good, no chips, cracks or restoration.  Typical glaze crazing.  There appears to be a lot of discolouration where scholars are seated, but on close inspection this appears to be shading BUT interior centre has some discolouration beneath and side of standing figures.

A Victorian aesthetic movement ebonised card table, with rounded ends the turnover top with brown baize lined interior and raised on turned and fluted supports with downswept legs terminating in scroll feet and castors. Height 73 cm, width 91 cm, depth 45 cm. CONDITION REPORT: The table is structurally sound with no loose joints. It is in unrestored condition. The top is flat with no splits. It is not warped. The angled edge is in good condition all round. There are some minor veneer nibbles but no significant issues. The interior baize playing surface is marked and stained in places and there is wear to the tooled leather surround. The ebonised outer surround has a stress fracture to the left hand side but there is no movement. The frieze is in good order all round. The four turned supports are in generally good condition. The metal beading is all present. The downswept legs are all in generally good order with no significant losses but all of the usual scuffs and marks around the extremities as one would expect. The castors are original and all present.

A pair of Victorian rosewood serpentine fronted turnover top card tables, each with moulded edge and applied carved frieze mouldings with lobed support and downswept legs terminating in scroll feet with brass castors. Height 73 cm, width 90 cm, depth 44.5 cm (see illustration). CONDITION REPORT: Both tables are structurally sound and in generally very good original condition. Neither top is warped. The top to one table has surface polish scratches which is a shame. These are not deep but visible and fairly recent. The polish to the moulded edge is a little dry. There are no losses to the mouldings on either frieze. Both centre columns are in good condition as are all legs which are not loose at the joints and do not appear to have any repairs or restoration. The castors are all present and original. The baize lined playing surfaces are dirty, tired and stained. We can see no evidence of any woodworm.

A pair of Derby candlestick figures c.1760, he standing and playing the flageolet, his companion holding a flower, each before a column entwined with flowers and raised on a moulded base picked out in green, yellow and puce, some damages and repairs, 24cm. (2)

A rare matched pair of white-glazed Bow figures of street musicians c.1752, he standing and playing the hurdy-gurdy, wearing a tricorn hat, his companion modelled as a Flemish woman with a baby, wearing traditional peasant dress, the infant slung around her neck in a small crib, all raised on low chamfered square bases, some restoration to his hat, 15.3cm max. (2) Cf. Peter Bradshaw, Bow Porcelain Figures, p.72, pl.31 and pl.32. Provenance: the Davies Collection.

A pair of white-glazed Bow figures of Harlequin and Columbine c.1755-60, seated on rocky stumps, Harlequin playing the bagpipes and Columbine with a hurdy-gurdy resting in her lap, some restoration to both, 10.7cm max. (2) Provenance: the Davies Collection.

A Bow white-glazed figure of Harlequin c.1753-55, after the Meissen model by J J Kändler, seated on a rocky stump and playing the bagpipes, his legs crossed at the ankles, some losses, 12cm. Provenance: from the collection of Edward Croft-Murray (1907-1980).

A Samson bonbonnière late 19th century, modelled in the Chelsea manner with a recumbent shepherd boy playing the flageolet to two sheep and his dog, all reclining on a grassy mound, the hinged lid painted with flowers, 5.8cm.

A Meissen figure group of children mid 18th century, a boy seated and playing the flageolet to a bird in a cage resting on a table, a further boy offering a flower to a girl who holds a furled parasol and carries a small dog on one hip, raised on a low scroll base applied with flowers, blue crossed swords mark, some losses, 15cm high. Provenance: from the collection of Edward Croft-Murray (1907-1980).

A Meissen figure of a beggar musician c.1740, modelled by Kändler, seated and playing the hurdy-gurdy, wearing a tattered red coat over brown breeches, his mouth open in song, faint blue crossed swords mark, 13.3cm high.

A Meissen figure of Columbine mid 18th century, seated and playing the hurdy-gurdy, the instrument resting in her lap, wearing a green hat above a flowered skirt, the pad base applied with flowers and leaves, blue crossed swords mark, minor restorations, 12.5cm.

A Meissen family figure group of The Lucky Parents 19th century, modelled by Acier with a couple cooing over a baby reclining on their laps, a young boy behind them playing an instrument, raised on an oval base moulded with lappets, blue crossed swords mark, 22.3cm.

A Meissen figure group of musicians c.1770, modelled with a central figure playing the violin, raised on a tall pierced scroll surrounding by three further figures playing the guitar, flute and hurdy-gurdy, the circular base with further instruments and sheet music scattered around, moulded with swags and a continuous laurel garland, blue crossed swords and dot mark, small losses, 27.5cm. Provenance: from the collection of Edward Croft-Murray (1907-1980).

A Victorian silver gilt cylindrical perfume bottle, the case engraved with Kate Greenaway village scene with playing children, the hinged cover opening to reveal glass stopper, by Sampson Mordan, London, 1885, lid initialled, contained in fitted retailer’s case, the silk signed for Goldsmiths & Silversmiths Co., length 49mm. £200-£260

A Chinese figure of seated Hoti with children playing on him, height 28cm

Colman, Sir Jeremiah. The Noble Game of Cricket, London: B. T. Batsford Ltd., 1941. Presentation copy, inscribed and signed by the author to Sir Charles Aubrey Smith (1863-1948), English Test cricketer and actor, 'You may search the World all round / But where Englishmen are found / From the frozen Polar Ocean to the far Antipodes / Where there's room to pitch a wicket / You will find us playing cricket / For King Willow rules the meadows / As Britannia rules the seas, Jeremiah Colman, Author, Recalling happy hours spent with C. Aubrey Smith 60 years ago on cricket fields & stage at Cambridge University, 1.6.1941'. Quarto, publisher's green cloth lettered in gilt, top edge gilt, all plates as called for (including colour frontispiece). Contents generally good, clean, bright, occasional pale spots, corners of opening leaves lightly bumped, 1963 gift inscription on front free endpaper, binding tight and square with some light discolouration and pale teacup marks, corners bumped, a couple of knocks to edges of boards and scuffs to bottom of text-block

A small scrapbook, c.1830, featuring manuscript questionnaire/game relating to personality and appearance (eyes, figure, passion, conversation, desires and so on), 'A Peep into Futurity' manuscript fortune-telling game (predicting romance/marriage based on the choosing on playing cards), and various scraps (topographical steel engravings, toy theatre lithographs), 39 leaves, most bearing text or clippings, bound in embossed floral cloth. Together with a 'Royal Album' of clipped signatures, some indistinct, predominantly members of the Toller, Gillespie, Bockett and Bell families; a presentation copy of 30 Years with GBS, inscribed by Blanche Patch (author and secretary to George Bernard Shaw), London: Gollancz, 1951, binding obliterated by parcel tape, and a small collection of miscellaneous Player's cigarette cards (4)

Y A GEORGE IV ROSEWOOD CARD TABLECIRCA 1825With a turned pillar support, on quadruple hipped and moulded splayed legs ending in paw feet and castors75cm high, 90cm wide, 45cm deep when closedCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Split to one side of the top (see image). Some additional dark scratches to the top. Some old veneer repairs to edge of top. Baize inset playing surface is a replacement. It has wear, marks, and some loose threads to the edges. Some sections of the bead moulding re-stuck. Evidence of old worm to the block at the top of the stem. Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

A JAPANNED CARD TABLEMID 18TH CENTURY WITH LATER DECORATIONThe shaped folding top revealing a baizelined playing surface with counter-wells, on tapering supports with pad feet72cm high, 86cm high, 43cm wideProvenance: Supplied by Robert KimeCondition Report: Please note this table extends with a concertina action.Marks, knocks, scratches and abrasions commensurate with age and use.Various old splits, chips, losses and cracking throughout (please see additional images)Some areas of later repaintingSome movement and separation between joined sectionsOverall of relatively solid structureThe red paint/stain to the underlying frieze may be later added.The front frieze is of beech timber, and possibly a replacement, whereas the remainder of the frieze is oakEvidence of later regluing to jointsThere is a high concentration of indented marks to the legsNo obvious evidence of repairs or splicing to legs.Some later blocks to the underlying structureDiscolouration, craquelure and staining in areas throughoutLater baize inset lifting in areas and with some stainingA pair of later hooks have been added to secure the concertina legsA pair of later hooks have also been added to secure the extended frieze (these may not be original but no have significant age).Please refer to additional images for visual reference to condition.Condition Report Disclaimer

ALABASTER, PLASTER & OTHER COMPOSITION WHITE FIGURINES & PLAQUES - to include an urn topped oval cameo type wall plaque depicting cherubic figures, 74 x 38cms, an angelic standing figurine, 46cms H, violin playing cherubic wall bracket, 26 x 30cms and two models depicting possibly the Three Graces, 27cm heights

A tray containing a large quantity of playing cards and casino dice (many sealed).