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Watercolour Drawing of the Post Office at Delph Lancashire, by Tom Rutherford; mounted, framed and glazed, 16 inches (40cms) x 12 inches (30cms) overall

Ruby Long Drop Earrings, 5cts of marquise cut rubies set in pairs, above each other, creating an articulated line drop resembling red hanging blossom, the rubies being red with a deep pink undertone; here set in rhodium vermeil and silver with post and push back fittings; 1.3 inches (4.3cms) long

Pair of Tanzanite Cluster Drop Earrings, pear cut tanzanites, totalling 3.5cts, set in a 'bunch of grapes' style cluster, suspended from a post and push back set stud with a sparkling natural zircon solitaire; two of December's Birthstones, tanzanite and zircon, represented in the same pair of platinum vermeil and silver set earrings; 1.1 inches (2.7cms) long

A Collection of Copper Printing Blocks from The Lancashire Evening Post images to include a Trawler ship, Taxidermy, Railway track, further seascape. Together with an iron Commemorative plaque. The Worlds First Iron Bridge 1779.

Very extensive collection of Post Office PHQ postcards and first day covers in nine folders, containing a total of around 450 of each. This is a substantially complete collection covering the period of 1977 (PHQ26 onwards) to 1991 (last PHQ139). It looks like nearly all of the first day covers have a gutter pair of stamps and several have special cancellation marks. All first day covers and PHQ postcards look to be in superb condition and have probably been in the albums since they were bought. An exceptional lot.

Blue Zircon Drop Earrings, 3cts of one of the earliest ever mined gemstones, natural zircon, here in a beautiful pure blue, with a pear cut set to the stud post and push back fittings, and three smaller, round cuts to the articulated openwork below; the whole in 14ct gold vermeil and silver; Zircon is one of the Birthstones for December; 1.2 inches (3cms) long

Sea Blue Apatite and Diamond Arch Shaped Earrings, each earring having six pear cut, natural sea blue apatites forming a arch, with diamonds set to the curved shapes below, a total of 1.25cts, set in platinum vermeil and silver post and push back fittings

Amethyst Marquise Drop Earrings, each earring comprising a marquise cut amethyst of rich purple set in an elongated, milgrain, platinum vermeil and silver drop, suspended from a bezel set, round cut amethyst stud with post and push back fitting; amethysts of 3.5cts in 1.5 inch (3.75cm) drops

White Crystal Statement Necklace and Earrings Set, an articulated Y shaped necklace of elegant scrolling design, set with brilliant, large white crystals of different shapes, supported by a plethora of smaller, round crystals; this wonderfully attractive necklace has a matching pair of drop earrings with post and push back fittings; either piece works as well separately as together, depending upon the occasion; ideal as bridal jewellery; necklace 18 inches (45cms) long with 3 inch (7.5cm) extender chain, but may also be worn shorter as the lobster claw clasp will clip into any ring of the main chain, earrings 2 inches (5cms) long

Pair of Jade Drop Earrings, 18cts of green jade pear shape drops set in textured silver caps and suspended from textured silver pear shape studs with post and push back fittings; 1.3 inches (3.3cms) long overall

Sky Blue Topaz Stud Earrings, 5cts of sky blue topaz over two round cut solitaires, each set in a decorative mount of platinum vermeil and silver with post and push back fittings

White Crystal Y Necklace and Drop Earrings Set, rows of closely set, sparkling clear crystals meet to form a fringed tassel, giving the overall classic Y shaped necklace; the matching earrings comprise three articulated rows of similar crystals with post and push back fittings; necklace can be worn from 17 inches (42,5cms) to 20 inches (50cms) plus a 2 inch (5cm) extender chain, the fringed tassel an extra 2.5 inches (6.25cms), earrings 2 inches (5cms) long; Art Deco styling ideal to compliment a wedding dress or occasion wear

Turquoise Drop Earrings, two oval cut cabochon turquoise typical of the matrix free colour and quality from the Sleeping Beauty mine from which they came; no longer being mined at this location the turquoise totals 1.25cts and is set in 14ct gold vermeil and silver post and push back fittings

Diamond Leaf Shape Drop Earrings, baguette cut diamonds totalling .5ct (50pts) set to each of the curved shapes with millgrain edges, that form the leaf drops suspended below the post and push back fittings, all in platinum vermeil and silver; set to the backs are two small sapphires representing the designer; 1.1 inches (2.8cms) long overall

Kenneth Armitage CBE RA. (1916-2002) - standing figure, a preparatory pencil sketch; together with a further smaller example by the same artist 9.5" x 2.25" and 8" x 2.75", one inscribed in pencil verso with the artist's name and the inscription 'Caution '50 (1950)'; together with an old cutting from the Royal Academy magazine, summer 1996 entitled 'Drawing for Drawing's Sake' which relates to the drawings by the artist in the friends room at the Royal Academy, exhibited between July and September 1996, his 80th birthday exhibition was held at the Yorkshire Sculpture Park, Wakefield, between June and September 1996. ** Possibly studies for sculptures. ** The artist was born in Leeds and studied art at Leeds College of Art where Henry Moore, Barbara Hepworth and Lynn Chadwick preceded him. However it was during his period at The Slade School of Art in London that he flourished as a sculptor. At the end of the war he became a sculptor teacher at Bath Academy of Art in Corsham where he stayed for 10 years. It was during this period that he developed his mature style, with a focus on figurative pieces, consisting of flat surfaces that were to be perceived frontally. This approach to the sculptural treatment of the human form can be read as a reaction against the three dimensional monumentality of Henry Moore, a reaction characteristic of the work produced by British sculptors during the post-war period Armitage consequently became interested in investigating the effects of weightlessness and suspension in his work. He exhibited prolifically between the 1950s 60s and onwards at prestigious galleries in both this country, the Continent and the USA.

Box of 20 Observer books, 26 Ladybird books, sets of Post Office stamp cards etc

Pick axe, saw, axe, post rammer etc,condition requests and additional images will not be given for lots in this sale

A large Japanese Shigaraki grain jar, Tsubo, early Edo period, the shoulder with incised 'well curb', with natural ash glaze, height 72cmCondition report: Some chips around the rim. A small chip has been restuck. Some cracks on the rim but as with the crack near the base of the jar, these look to have been repaired either in the workshop during or post production. See online images for details of faults.

A large Chinese porcelain blue & white Kangxi style censer, painted with scholarly figures in a mountainous landscape with buildings and a lake, beneath a band of Buddhist symbols, on three short feet, 25cm dia, 13.3cm highCondition report: Lots of small black speckles on the exterior between the blue & white decoration. No post production faults visible. No obvious chips or cracks.

H. R Giger signed 6x4 colour post card. Hans Ruedi Giger ( 5 February 1940 - 12 May 2014) was a Swiss artist best known for his airbrushed images that blended human physiques with machines, an art style known as biomechanical. Giger later abandoned airbrush for pastels, markers and ink. He was part of the special effects team that won an Academy Award for the visual design of Ridley Scott's 1979 sci fi horror film Alien. His work is on permanent display at the H. R. Giger Museum in Gruyeres, Switzerland. His style has been adapted to many forms of media, including album covers, furniture, and tattoos. 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

Dame Elisabeth Frink R.A. (British, 1930-1993)Small Bird I signed and numbered 'Frink/1/9' (on the base)bronze with a dark brown patina29.6 cm. (11 5/8 in.) highConceived in 1961Footnotes:ProvenancePrivate Collection, U.K.LiteratureHuw Wheldon, Monitor, An Anthology, Macdonald, London, 1962Bryan Robertson, Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Books, Salisbury, 1984, p.154, cat.no.80 (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.78, cat.no.FCR98 (col.ill., another cast)Elisabeth Frink has been associated with the 'Geometry of Fear' group, a term coined by Herbert Read in 1952 to describe the work of eight British artists represented in the New Aspects of British Sculpture exhibition at the Venice Biennale of 1952. This original group of artists, which did not contain Frink, exhibited angular, jagged, rough-textured, or spiky work which was seen to reflect the angst, anxiety and guilt of the immediate post-war period. The influence of the movement can be seen on the work of Frink throughout the 1950s and 60s, with the bird motif playing a key role in her output.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

Lynn Chadwick R.A. (British, 1914-2003)Cloaked Couple III stamped with monogram, dated and numbered '77/761S/3/8' (on the left-hand side of the female figure)bronze with a black patina and polished faces25.7 cm. (10 1/8 in.) highConceived in 1977Footnotes:ProvenanceThe Artist, from whom acquired by Terry Ilott, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondonderry, Keys Gallery, Lynn Chadwick, March 1979 cat.no.14 (another cast); this exhibition travelled to Dublin, David Hendriks Gallery, April 1979, Belfast, Arts Council Gallery, July-September 1979 and Thornbury, Stokefield House, April-May 1979LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.314, cat.no.761SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.322, cat.no.761SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.328, cat.no.761SCloaked Couple III was acquired by the artist Terry Ilott (1945-2019) directly from his friend, Lynn Chadwick, in 1977. Terry was educated at schools in Gloucester and from 1963-1967 was a student at Gloucestershire College of Art, Cheltenham on the Diploma course of Fine Art (Painting). It was in 1967 that Chadwick purchased all of Terry's paintings in his final Diploma, which are still retained by the sculptor's family. Between 1967 and 1970 Terry moved to the Royal College of Art on a Post-graduate M.A. course, also in the Department of Fine Art (Painting).Ilott has been quoted as saying, 'Much of my critical success can be traced back to the fact that Lynn Chadwick, the well-known sculptor, who lived locally, bought my entire Diploma exhibition of 1967 and the work (at least the last time I looked!) was still on the walls of his magnificent house, now lived in by his son, Daniel' (www.newport40yearson.org.uk)Clearly Lynn was a huge fan, and in 1977 wanted to purchase a number of Terry's paintings, who by now was in a full-time teaching post at Newport College of Art. It was agreed the payment would take the form of one of Chadwick's own sculptures and the piece Terry chose was the present lot.There is a wonderful anecdote from the family of Terry Ilott about Cloaked Couple III; during one of his visits to the Ilott residence, Lynn was extremely amused by the fact that Terry's three young daughters had dressed the bronze sculpture in Barbie's hats and scarves!Terry and Lynn became firm friends and in 1980, the Ilotts spent three weeks with the Chadwicks at their family home in the south of France. While delivering some paintings to Lynn at Lypiatt, Terry met the British musician and songwriter Mike Oldfield, who invited him to produce a cover for his album, Crises, released in 1973. Oldfield makes reference to the artwork with the line, 'the watcher and the tower, waiting hour, by hour.'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

Christopher Richard Wynne Nevinson A.R.A (British, 1889-1946)Hampton Court signed 'C.R.W. NEVINSON' (lower left)oil on canvas62.3 x 48 cm. (24 1/2 X 18 1/8 in.)Footnotes:ProvenanceSale; Phillips, London, 10 November 1987, lot 58With David Messum, London, 1988Sale; Bonhams, London, 8 July 2016, lot 78, where acquired byLady DugdaleExhibitedLondon, Leicester Galleries, Paintings and Watercolours by C.R.W. Nevinson, October 1921, cat.no.6London, David Messum, British Impressions, A Collection of British Impressionist Painting 1880-1940, 23 June 1988, cat.no.68Literature'The Queen', Magazine, 15 October 1921'Drawing and Design', Magazine, July 1922'Drawing and Design', Magazine, June 1922Christopher Richard Wynne Nevinson's fame rests primarily on the pictures he executed in his capacity as an Official War Artist during the First World War.However these now iconic works constitute but a small component of Nevinson's extensive output, which is overall more broadly concerned with the various themes of industry, leisure and landscape.In the immediate post-war years of 1919-1922 Nevinson painted pictures which he referred to as his 'peace' works. Despite his futurist and vorticist roots, Nevinson did not consider himself a 'modern' and publicly declared in the introduction to his first peace time exhibition; 'I wish to be thoroughly disassociated from every 'new' or 'advanced' movement; every form of 'ist,' 'ism,' 'post,' 'neo,' 'academic' or 'unacademic.' (C.R.W. Nevinson, catalogue introduction to the exhibition New Works by C.R.W. Nevinson at the Leicester Galleries, London, 1919). Indeed the 'peace' pictures, with a defiantly lyrical air, are a sharp turn away from the stylized mechanical aesthetic of his preceding output. This stance was upheld with his rather sharp-tongued review of 'isms' in his 1921 exhibition introduction where he introduced his public to 'Gagaism' ('The international curse of the senile who dominate all official Art Societies, especially in France') and 'Babaism' ('The propagandist sheep who bleat of pure art and significant form, and butt inanely for little periodicals').Nevinson's tendencies towards public declarations, often pointed and unsympathetic to his peers and supporters, invited rather unkind retort. He recalls 'The only oasis I had was in the friendliness and generosity of Oswald Greene, brother of the present Master of the Rolls, who used to drive us every weekend to his houseboat at Hampton Court' (C.R.W. Nevinson, Paint and Prejudice, Harcourt, Brace and Company, New York, 1938, p.203). It is presumably on such a trip that Nevinson painted the present oil. Archetypal of the peace time works Hampton Court celebrates the leisure pursuits of the great British public in the immediate heady years of the interwar period. Our scene is likely a depiction of the view looking west from atop Hampton Court Bridge. The pier depicted at the left of the composition still stands today. The canvas throngs with the lively hubbub of the summer regatta. Yet rather than the full spectacle of the event, Nevinson chooses to direct our eye to the relaxed couple in the foreground, the young lady's hand lazily enjoying the fresh water. This simple, tranquil gesture is the antithesis to the wrought anxiety of the war works, a testament to how diverse Nevinson was as an artist.The July 1922 Drawing and Design review remarks 'to say that Hampton Court is a masterpiece of perspective in form, tone and colours, is to give no hint of its rare individual charm...' ('Drawing and Design', Magazine, July 1922).For further information on this lot please visit Bonhams.com

Paul Henry R.H.A. (1876-1958)Purple Hills signed 'PAUL HENRY' (lower left)oil on canvas laid on board35.6 x 40.7 cm. (14 x 16 in.)Painted 1932-40Footnotes:ProvenanceWith Oriel Gallery, DublinPrivate Collection, U.K.ExhibitedDublin, Oriel Gallery, Paul Henry, 21 March-8 April 1978LiteratureS.B. Kennedy, Paul Henry: Paintings, Drawings, Illustrations, Yale University Press, New Haven and London, 2007, p.263, cat.no.817 (ill.b&w)Paul Henry is renowned for his evocative depictions of the West of Ireland in a Post-Impressionist manner. The present work, titled Purple Hills, depicts a flat landscape with piles of turf stacked neatly into regular mounds amidst the bogland that occupies the foreground. The still water is calm and mirrors serene reflections of the sky and muddy stacks whilst the expansive clouds, always a feature of Paul Henry's work, take up almost two thirds of the composition above a low horizon line. The arrangement (and palette) illustrates Henry's ability to get to the essence of his subject matter, as Whistler, his teacher in Paris, had instructed, observing things in simple, direct terms and setting them down harmoniously in closely modulated tones. It is an approach which underpins much of Henry's best work, earning him a reputation as Ireland's finest modern landscape artist.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

Chittonveanu Mazumdar (b.1956). Paris, France, post-structural scene, acrylic on paper, signed, 60cm x 53cm.

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Countryside/ Les derniers rayons du soleil inscrit avec dédicace 'For Peter en souvenir of Edipsos with all my love Nico./ Barbaras Birthday Feb.22.1960.' (au verso) ink et gouache sur papier46 x 66cm (18 1/8 x 26in).Peint en 1958.inscribed with dedication (on the reverse) ink and gouache on paperFootnotes:ProvenanceThe artist's collection. A gift from the artist to Lady Nöel Evelyn 'Peter' Norton, London.Thence by descent to the present owner. ExposéNew York, Alexander Iolas Gallery (as per label on the reverse). LittératureGhika, Paintings, Drawings, Sculpture, C. Zervos, S. Spender, P. Leigh Fermor ed., Lund Humphries editions, London 1964, no. 12 (listed and illustrated).Drawing from indigenous sources, ranging from icon painting to folk art and Karaghiozi shadow-puppet theatre, Ghika formulated a distinctive artistic premise related to post-cubist explorations. Moreover, the tender convolutions and fragile gestures so evident here allude to the mystical world of oriental calligraphy and its constant flow of brush and pen. In 1958, the year he painted Countryside, the artist visited the USA at the invitation of the State Department and returned to Greece by way of the Far East. As noted by art critic S. Spender, the drawings of India and Japan Ghika did in 1958 are of particular importance because they established a connection between far-eastern art and Ghika's sensibility which was partly Oriental.'1 1 S. Spender, 'Ghika' in Ghika, Paintings, Drawings, Sculpture, Boston Book and Art Shop, Boston 1965, p. 23.Puisant dans des sources indigènes, qui vont de la peinture d'icônes jusqu'à l'art naïf et au théâtre d'ombres de Karaghiozi, Ghika a formulé un postulat artistique distinctif, relié à des explorations post-cubistes. En outre, les convolutions tendres et la gestuelle fragile, si évidents ici, font allusion au monde mystique de la calligraphie orientale et à son mouvement constant du pinceau et de la plume. En 1958, année où il a peint Countryside l'artiste s'est rendu aux États-Unis à l'invitation du Département d'État, et est rentré en Grèce en passant par l'Extrême-Orient. Comme le note le critique d'art S. Spender, les dessins que Ghika a réalisés sur l'Inde et le Japon en 1958 revêtent une importance particulière car ils créent un lien entre l'art extrême-oriental et la sensibilité de Ghika, qui était en partie orientale. »This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Nata(Natalia) Mela (Greek, 1930-2019)Jeune guerrier signé 'Natalia' (sur la base) fer 170 x 65 x 45cm (66 15/16 x 25 9/16 x 17 11/16in).Réalisé vers 1963-70.Cette œuvre est unique. signed (to the base)ironThis work is unique.Footnotes:ProvenancePrivate collection, New York.Private collection, Venice.Natalia Mela studied Sculpture at the Athens School of Fine Arts (1942 -1947) under Kostas Dimitriadis and Michalis Tombros. She also attended the workshop of Thanassis Apartis. Her early carrier was defined by monumental works, busts and public commissions realised in marble and stone. From 1960's onwards, Mela was intrigued by the newly introduced sculptural welding techniques of post-war modernism. Her focus in ready-made iron materials and their malleable qualities played a pivotal role in defining her new aesthetics. Sourcing raw materials from the Athenian Streets, she assembled figures inspired by the natural world and Greek mythology. The presented lot belongs to her Warrior series, characterized for their heroic and commemorative nature. The Young Warrior's captivating, dynamic and almost chorographical posture renders Melas virtuosity in transforming pieces of rough metal into symbols of natural force and power.For further information on this lot please visit Bonhams.com

A CONTINENTAL SILVER AND ENAMEL CANTED-RECTANGULAR TABLE BOX POST 1912 SWEDISH IMPORT AND SILVER MARKS, NO DATE CODE, .935 STANDARD, STAMPED STERLING, 20TH CENTURY The cover painted with Arcadian lovers in a landscape with ruins, the sides chased with flowers, the base engine turned, the interior gilt, 11.2cm (4 3/8in) long, 327 grams (10.5 oz) gross

A CONTINENTAL SILVER GILT AND ENAMEL MINAUDIERE POST 1912 SWEDISH IMPORT AND SILVER MARKS, OTHERS INDISTINCT, LATE 1930S Canted rectangular section, black and white enamelling, with a mirror, ivorine panel and three vacant compartments in sizes, with a black cord and tassel 8.3cm (3 1/4in) long Condition Report: There is a scratch to the enamel, some light scuffs, no major chips. The mirror is in good condition for its age, only one small spot of deterioration. Some tarnishing and light scuffs. Cord in useable order.Condition Report Disclaimer

A GOLD AND ENAMEL BODKIN OR SEAL CASE POST 1893 FRENCH IMPORT MARKS, EARLY 20TH CENTURY Painted with musical trophy panels front and back, the cover with flower panels, on taupe grounds engraved with scroll foliage, 7.8cm (3in) long, 18.7 grams gross Condition Report: Taupe ground retouched to case and coverCondition Report Disclaimer

BOUCHERON, A DIAMOND SET COMPACT CIRCA 1950the squared compact with scrolled foliate decoration and old cut diamond accents, with a hinged diamond set thumb piece, approximately 1.35 carats total, opening to reveal a mirror and a gold coloured engine turned lidded powder compartment with sprung thumb piece, signed Boucheron Paris and numbered 80.739, stamped with French post 1893 import poinçonSIZE/DIMENSIONS: 7cm x 6.4cm x 1cmGROSS WEIGHT: 188 gramsCondition Report: Part of the hinge has been broken, it swivels round when the lid is opened and closed, there are some knocks to the corners, one has a very small hole, a few of the diamonds have been pushed into the settings, but all diamonds are still present. The mirror has a some light scratching where the internal sprung thumb piece has rubbed the mirror upon closing. The case has the French import owl mark. The inside of the inner lid patch where it appears the box has been acid tested.Condition Report Disclaimer

A DIAMOND AND GOLD COLOURED MELONE BOX the oval reeded box with a brilliant cut diamond set thumb piece, approximately 0.16 carats, with a shaped gold coloured bale, post 1938 stamp 750SIZE/DIMENSIONS: 7.5cm x 3.8cm x 1.7cm GROSS WEIGHT: 45.2 gramsCondition Report: The length includes the bale, 5.9cm without bale. There is some surface wear commensurate with use, hinge and thumb piece in good working order.Condition Report Disclaimer

SEAMAN SCHEPPS, A ROCK CRYSTAL, DIAMOND, EMERALD AND SAPPHIRE FROG BROOCHthe leaping polished rock crystal frog with cabochon emerald eyes, studded with oval cabochon sapphires and brilliant cut diamonds, approximately 0.84 carats total, with a double pin brooch fitting, signed Seaman Schepps © 750SIZE/DIMENSIONS: 10.8cm longGROSS WEIGHT: 91 gramsSeaman Schepps led the way in American jewellery design in the 1940s, 50s and 60s, becoming renowned as 'America's Court Jeweller' in the post Second World War period. This was due to his extensive clientele list included members of American high society from President Franklin Delano Roosevelt and the Duchess of Windsor, to members of the Du Pont, Mellon and Rockefeller families, as well as the world of the arts with celebrities such as Katherine Hepburn, Coco Chanel and Andy Warhol. Seaman Schepps innovative bold designs made use of coloured gemstones, chosen for their texture and bright colours, in whimsical forms and often using more unorthodox materials such as seashells. His designs included sculptural hand-carved rock crystal brooches depicting sea life and animals, embellished with a variety of coloured gemstones to bring them to life.Condition Report: No major chips or cracks to the frog, all gemstones present and correct, the pin hinge has been put back into the hinge and so the fitting is in good working order. The sapphires have a slight chatoyancy, the diamonds are bright and lively Condition Report Disclaimer

A PAIR OF DANISH SILVER CUFFLINKS, PROBABLY GEORG JENSEN, COPENHAGEN, EARLY 20TH CENTURY each openwork shaped circular plaque with leaf and flower motif, curved post and swivel fittings, stamped "830" and "830S" and a poorly struck indecipherable mark plaque 2.2cm wide Provenance: Private European Collector, "The Seawolf Collection", Object No.184 op. cit. (see lot 532 for further details.)

A LEAD PLAQUETTE OF CHRIST BEFORE PILATE, VALERIO BELLI (C.1468-1546), 16TH CENTURY trapezoidal, Christ surrounded by soldiers and disciples brought before Pilate sitting on a dais and washing his hands, signed to the side of the platform "VALERIVS BELLV VICETINVS FA", a classical colonnade in the background, pierced 6.5 x 9.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* This scene is one of a series of similarly shaped Belli plaquettes of The Passion of Christ. Bange 766; Kress 14; Belli 56 LOTS 309 - 490: THE BERNARD KELLY COLLECTION OF PLAQUETTES TO BE SOLD WITHOUT RESERVE, PART PROCEEDS TO BENEFIT WESTMINSTER ABBEY Every so often, if increasingly rarely these days, a collection emerges onto the market that takes you back to another age. The interesting and varied collection of Renaissance and later plaquettes being offered here is therefore a major event. Although some have a more recent provenance, notably from Sylvia Phyllis Adams, whose collection was sold at Bonham"s in 1995, the nucleus of the collection on offer represents the private collection formed by the dealer Alfred Spero, mainly between 1911 and 1936. Spero began trading in London around the beginning of the twentieth century and his career, which lasted into the 1960s, bridged the late Victorian art world and the modern post-War market. Although today a largely forgotten figure, a glance at almost any marked-up catalogue of European sculpture and decorative arts sales in London from the 1920s to the 1960s will reveal Alfred Spero as one of the most active and consistent presences at the auction. Spero was able to benefit from the abundance of Renaissance small bronze sculptures, maiolica, glass and, of course, plaquettes and medals, that were then available on the market during what, for collectors and museums, must have been a golden age of opportunity. Alfred Spero"s own collection of plaquettes contained works stated to have come from some of the great collections of the nineteenth and early twentieth century, Adalbert von Lanna, whose vast collections were sold in Prague in 1911, J.E. Taylor, sold at Christie"s in 1912 and the banker Henry Oppenheimer, a series of sales in 1936, again at Christie"s. There are also plaquettes formerly belonging to two supporters of great museums, Thomas Whitcombe Greene, who gave many of his plaquettes to the British Museum in 1915, and Dr W.L. Hildburgh (1876-1955), one of the Victoria & Albert Museum"s greatest benefactors. Alfred Spero also had a close relationship with the V&A, which as a museum must have been close to his heart. He made a number of gifts to the museum and also sold it various bronzes and other works of art. Purchases and gifts from Spero helped the V&A build its preeminent collection of European Baroque ivories, whilst in 1964 the museum bought from him a masterpiece of Renaissance bronze sculpture, the exquisite figure of Venus removing a thorn from her foot of c. 1560-70 by the French sculptor Ponce Jacquiot. Small-scale, usually single-sided cast metal reliefs, plaquettes began to be made from the mid-fifteenth century and flourished in their purest form only for a limited period of around one hundred years, although they continued to be made into the seventeenth century and beyond. Their subject matter is varied, from designs after the antique to mythological and religious scenes, whilst some plaquettes are important records of designs originally made in precious metal, which have otherwise disappeared. When Alfred Spero began his professional career, plaquettes were eagerly collected and studied, but they have since become a somewhat unjustly neglected art form. At their best, plaquettes are extraordinarily inventive and beautiful works of art, which in their choice and treatment of subject matter are truly emblematic of the Renaissance rebirth of the arts. Dr Jeremy Warren, FSA Honorary Curator of Sculpture, Ashmolean Museum, Oxford Selected Bibliography * Attwood - Philip Attwood, "Italian Medals c. 1530-1600 in British Public Collections", 2 vols., London 2003 * Bange - E.F. Bange, "Staatliche Museen zu Berlin. Die italienischen Bronzen der Renaissance und des Barock. II: Reliefs und Plaketten", Berlin 1922 * Belli - Howard Burns, Marco Collareta and Davide Gasparotto, eds., "Valerio Belli Vicentino 1468c.-1546", Vicenza 2000 * Bernardi 1989 - Valentino Donati, "Pietre Dure e Medaglie del Rinascimento. Giovanni da Castel Bolognese", Ferrara 1989 * Bernardi 2011 - Valentino Donato, "L"Opera del Giovanni Bernardi da Castel Bolognese nel Rinascimento", Faenza 2011 * Bowdoin - Andrea S. Norris and Ingrid Weber, "Medals and Plaquettes from the Molinari Collection at Bowdoin College", Brunswick, Maine 1976 *Jones - Mark Jones, "A Catalogue of the French Medals in the British Museum. II. 1600-1672", London 1988 *Kress - John Pope-Hennessy, "Renaissance Bronzes from the Samuel H. Kress Collection: Reliefs, Plaquettes, Statuettes, Utensils and Mortars", London 1965 *Molinier - Émile Molinier, "Les Bronzes de la Renaissance. Les Plaquettes. Catalogue Raisonné", 2 vols., Paris 1886 *Norris/Weber - A.S. Norris and I. Weber, "Medals and Plaquettes from the Molinari Collection at Bowdoin College", Brunswick, ME 1976 *Planiscig - Leo Planiscig, "Kunsthistorisches Museum Wien: Die Estensische Kunstsammlung, I: Skulpturen und Plastiken des Mittelalters und der Reanaissance", Vienna 1919 *Scaglia - Francesco Rossi, "La Collezione Mario Scaglia. Placchette", 3 vols., Bergamo 2011 *Toderi Vannel - Giuseppe Toderi and Fiorenza Vannel, "Le Medaglie Italiane del XVI secolo", 3 vols., Florence 20004 *Warren

Mixed Lot: antique opal and diamond brooch, the oval cabochon opal within a surround of rose cut diamonds, all on a knife edge bar, 65mm long, an opal droplet necklace featuring nine round opals in cut down settings, an opal pin brooch, the round cabochon opal in a millegrain edge collet, 45mm long, together with a pair of oval shaped opal earrings with post fittings (all tested for gold)

A pair of sapphire and diamond earrings, set with a large oval faceted sapphire, 12mm x 9mm surrounded by pointed oval and round brilliant cut diamonds to a white metal setting and post

A pair of diamond stud earrings, each approximatel 0.1cts to a yellow metal claw setting and screw on post in a Tiffany & Co. leather box

Gemporia - A pair of diamond cluster earrings set with fifty six diamonds to a platinum setting and post, metal 7.14g, with certificate.

A pair of diamond drop earrings of leaf shape, set with round old cut diamonds to a white metal setting and post, approximately 5 grams

A pair of emerald and diamond drop earrings, set with an emerald cut emerald approximately 8mm x 5mm, surrounded by round brilliant and baguette cut diamonds to an 18ct white gold setting and post, approximately 7 grams

A pair of pearl and diamond earrings, set with three round old cut diamonds above a suspended pearl, to a yellow metal setting and post, cased

A mid 20th century cream leatherette egg chair, with a button upholstered back, on a revolving base CONDITION REPORT: All furniture manufactured post 1950 included in any sale was either not originally intended for use in a private dwelling or, will now be offered as a Work of Art. Such items may not comply with the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993) and for this reason, should not be used in a private home.Condition - in need of a clean, no obvious rips or tears, does swivel on the base, reasonably sturdy

An 1803 Pattern Infantry Officer's Sabre, An Officer's Five-Ball Hilted Spadroon, And A Continental Cavalry Sabre The First Early 19th Century, The Second Late 19th Century, The Last 19th CenturyThe first of regulation pattern with curved fullered blade etched and gilt against a blued ground over one side of the forte with post 1801 royal arms between a sprig of Union foliage and a martial trophy, and on the other with crowned 'GR' cypher en suite, bronze hilt retaining some gilding and with crowned pieced 'GR' cypher at the base of the knuckle-guard, lion-head pommel, its mane extending down the back-piece, and ribbed leather-covered grip bound with twisted silver wire (some wear and rust patination); the second with curved fullered blade (pitted), regulation hilt retaining some gilding (knuckle-guard replaced, button missing), and reeded walrus-ivory grip with medial band engraved with owner's initials 'MLR'; the last with curved fullered blade, steel hilt comprising shield-shaped langets, lobed rear quillon, two scrolled side-bars swept-up to join the knuckle-guard, rounded pommel and back-piece, and wire-bound leather-covered grip, in its steel scabbard with two rings for suspension (some rust patination) (3)77.5 cm., 71.5 cm. and 79 cm. blades 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

Eleven German WWI period Mauser bayonets Comprising five Seitengewehr 1898/05 model bayonets (one grip-scale incomplete), each in its steel scabbard, two with leather frog (one perished); another with saw-back blade (scabbard missing); two Seitengewehr 1898 1st pattern bayonets (scabbards missing); a Seitengewehr 1898 2nd pattern bayonet, in its steel-mounted leather scabbard with leather frog; a type EB9 Ersatz bayonet, in its steel scabbard; another of type EB48, in its steel, scabbard; together with a post WWI German sidearm, the blade stamped 'ALCOSO' over manufacturer's logo on one side, and with '1370' over 'DRP' on the other, in its blackened steel scabbard with leather frog and sword-knot; and a WWII period combat knife with chequered wooden grips, in its blackened steel scabbard (13)For further information on this lot please visit Bonhams.com

A Fine Lloyd's Patriotic Fund Trafalgar Sword Of £100 Value To Philip Chas. Durham Esq.R, Captain Of H.M.S. DefianceDated 21st Octr., 1805With curved single-edged hollow-ground blade richly etched and gilt against a blued ground (some old loss of finish) with flowers, foliage, entwined dolphins, naval and martial trophies, figures of Britannia and Victory, crowned arms and cypher of George III, the recipient's initials in a starburst above a phoenix and the presentation inscription, stirrup hilt of ormolu, the quillons formed as a fasces, the knuckle-guard as a club of Hercules entwined by a snake, the langets cast with acanthus foliage and naval trophies, the back-piece of the partly chequered ivory grip cast as the skin of the Nemean Lion, in its original foliate engraved scabbard of ormolu decorated with naval medallions on each side cast and chased with figures of Britannia framed by the inscription 'Defiance Nelson Trafalgar 21st Octr. 1805', Hercules with the Hydra, and the Nemean Lion, the open panels cast, pierced and chased with naval trophies on navy blue velvet grounds, the two suspension loops in the form of coiled serpents, the chape with a border of graduated beads, the top edge of the locket signed 'R. Teed Sword Cutler Lancaster Court Strand', and retaining nearly all its original blued and gilt finish 78 cm. bladeFootnotes:The presentation inscription reads: 'From The Patriotic Fund At Lloyds To Philip Chas. Durham Esqr. Cap.tn Of H.M.S. Defiance For His Meritorious Services In Contributing To The Signal Victory Obtained Over The Combined Fleets Of France And Spain Off Cape Trafalgar On The 21st Oct.r 1805.'Philip Charles Durham was born in Largo, Fifeshire in 1763 and entered the navy in July 1777 seeing much action in America, the Mediterranean and the West Indies. He was promoted to Lieutenant in 1782 and in 1792 with the rank of Commander, he was appointed to the Spitfire. It was at this time that he was awarded the first piece of plate given by Lloyds, valued at 100 guineas and was promoted to post rank. He was appointed to the Anson (46) in 1794. In 1798 after capturing La Loire (46) he obtained the thanks of Parliament and was presented by the Duke of Clarence with his own sword and belt. In 1801, whilst in command of the Endymion (40) he bought home a convoy of 10 Indiamen from St. Helena for which he was awarded by the Court of Directors a piece of plate valued at 500 guineas.In May 1803 he took command of the Defiance (79) and took part in the battle of Trafalgar where he was slightly wounded. He saw further action in the Mediterranean on the Renown (74). He was promoted Rear Admiral in 1810 and in 1813 appointed to the chief command of the Leeward Islands. On his way out he captured two frigates, went on to clear the area of American cruisers and took part in the reduction of Martinique and Guadeloupe. In 1819 he was promoted to Vice-Admiral and to full Admiral in 1830. In 1836 he was appointed Commander-in-Chief at Portsmouth. He was member of Parliament for Queensborough in 1830, and for Devizes between 1835 and 1836. He died in Naples on 2 April 1845. His portrait hangs in the Painted Hall, GreenwichH.M.S. Defiance was built on the Thames and commissioned in 1794; until 1799 she suffered with a number of mutinous crews but subsequently saw much action in the Mediterranean, Copenhagen, Finisterre, Trafalgar, L'Orient and was the ship from which Wellington landed at Coruna. She took part in further actions with distinction until being paid off at Chatham in 1813ProvenanceSotheby's London, Modern Sporting Guns and Firearms; Arms, Armour and Militaria, 8 December 1988, lot 434LiteratureCommander W.E. May, R.N. and P.G. Annis, Swords For Sea Service, 1970, p. 70The original case for the sword was sold Phillips Scotland, The Meldonfoot Collection, 1 October 1991, lot 162This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

Bernucca (Francesco, publisher). [Viaggio pittorico e storico ai tre laghi Maggiore, di Lugano, e Como, Milan: Francesco Bernucca, c.1816-1818]. Oblong folio (248 x 320 mm), contemporary roan-backed boards (binding heavily worn), 50 hand-coloured aquatint plates mainly by Caroline Lose after Friedrich Lose (several by G. Zancon, L. Rados, G. Sasso or A. Biasioli after E. Adam, G. B. Bosio or G. Castellini), on wove paper (a few, e.g. 36, 'Pianello' and 54, 'Villa Passalacqua', watermarked 'J Whatman 1816'), many heightened in gum arabic, each with letterpress text-leaf (with post-horn watermarks), bound without title-page, plates not bound in numerical order, shallow damp-related paper-erosion to upper inner corners (never affecting images or text), variable damp-staining to lower margins of final 10 plates and text-leaves, a few instances of light marginal soiling elsewhere (qty: 1)Footnote: Bobins, The Exotic and the Beautiful, 1026; Brunet V 1168.According to Brunet the work was first published in 1815, with 50 colour plates. The plates in this copy are numbered up to 56 (with 5, 17, 20, 24, 44, 45 absent). Most copies to have appeared for sale have been dated 1818 on the title-page, and though the catalogue notes for these have generally suggested that 60 plates are called for, the actual counts have invariably been fewer (Christie's 2002, 49 plates; Sotheby's 2004, 40; Bonhams 2015, 50, uncoloured), and the Bobins copy has 46 plates only.

P Robinson (20th century British), Kestrel sat on a post, watercolour and gouache, signed lower right hand side, 32.8cm x 21.9cm

P Robinson (20th century British), Grey owl on a post, watercolour and gouache, signed and dated 1983 lower right hand side, 40cm x 29.4cm

A mixed quantity of coins including Victoria crown 1890; USA silver dollars; other silver coins; post 1947 GB coins, some commemorative and others

Blowout Sale! Doomsday Craig Conway hand signed 10x8 photo. This beautiful 10x8 hand signed photo depicts Craig Conway as Sol in the post-apocalyptic movie, Doomsday. Craig has also added the quote *You enjoy pain.. is that it?. This signed photo is guaranteed authentic, and is supplied from one of the UKs leading autograph memorabilia companies. 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

An antique post office scale and weights, L. 17cm.

A VINTAGE WOODEN POST OFFICE COUNTER

Mauchline ware - sewing - seven pieces, comprising a cylinder form sewing companion with matched tools (Steamer Iona/Dunoon x 2), 10cms, a Clarke and Co's cylinder triple reel box (flowers), 8cms, a brown ground thimble egg with needle post and silver thimble (ferns), 5.5cms, a slant top thimble case with white metal thimble (Cobourg Le Grand Hotel Et Le Casino), 3.7cms, another (untitled - photographic), 4.2cms, a thimble egg with needle post and silver thimble (Ely From The River), 5cms, and a circular pin cushion (The Pier Southsea), 3.5cms. (7) From the collectionof Susan Franklin Part 1

An early 19th Century tortoiseshell knotting shuttle, oval post with hole, 12.2cms.

An early 19th Century mother of pearl shuttle, each side engraved with a basket of flowers within zig-zag borders, twin rivet post, 9.8cms. From the collectionof Enid Riley Part 2

A good example of a Mauchline ware shuttle, (The Granville Hotel, Ramsgate), cut corner post with central hole, 7.8cms. From the collectionof Enid Riley Part 2

Two small shuttles, comprising a horn example one side inlaid with wire, mother of pearl and abalone flowers and leaves, bone post with hole, 7.2cms, and another in abalone shell, 7cms. (2) From the collectionof Barbara Spicer

A good late 18th Century/early 19th Century mother of pearl knotting shuttle, each side engraved with a border of ovals, dots and triangles, the oval mother of pearl post with twin rivets engraved to each side as flower heads, 11.6cms.

A fine late 18th Century tortoiseshell, variant coloured gold and silver inlaid shuttle of large size, each side inlaid with a central fruiting gold tree above ground foliage and flanked to each side by a bird in two colour metals and a gold butterfly within borders of gold flowers and silver 'C' scrolls, oval post, 14.5cms.