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Rare complete Second World War British 3.7 inch AP shell and projectile, dated 1939 to the base, (inert)

World War Two pair of British parachutists knee pads, made by Belmont and dated 1943, label marked with broad arrow, a rare piece of equipment, the pads are made from a expandable material fitted with a khaki cloth edging at its two sides, they have a leather boot lace quick release device and the front of the pad is stuffed with kapok, used by British Airborne troops and S.O.E. agents

FORTY FIVE BOXED EXCLUSIVE FIRST EDITION BUSES AND COACHES, to include rare North Weald Bus Rally 2003, 23315B, 1: 76 Scale.

A BOX CONTAINING SIXTY DR WHO FIVE INCH FIGURES to include Werewolf, Slitheen, Scarecrow, Clockwork Man, Space Pig, Novice Hame, Grandma Connelley etc., together with rare Time Lord Figure

A RARE BOXED BANDAI POWER RANGERS DELUXE TIMESHADOW MEGAZORD

A RARE BOXED BANDAI POWER RANGERS SPD DX DELTA SQUAD MEGAZORD

A RARE BOXED BANDAI POWER RANGERS SPD ROBOTIC INTERACTIVE CANINE

A RARE BOXED POWER RANGERS BLASTER, five weapons in one set

A RARE BOXED BANDAI WHITE TIGERZORD AND WHITE RANGER SET

A RARE BOXED BANDAI POWER RANGERS MEGAZORD DULUXE SET

A RARE BOXED BANDAI POWER RANGERS TITANOS

A RARE BOXED BANDAI POWER RANGERS LIGHTSPEED RESCUE

A large rare hand carved model of dolphins , by South African artist wood carver John Blignaut singed by the artist and dated dated 98 . 34 cm high x 85 cm in length  .Condition good

A large denby stoneware vase by Glyn college , 31.5 cm high , a Portmerrion treacle glaze pot 19 cm high , and a rare St Albans jeux sans frontier stoneware plare , dated 79 , decorated with a central green man 24 cm in diameter . (3)condition good

Emblemata.- ?Beckford copy.- Neugebauer (Salomon) Selectorum symbolorum heroicorum centuria, title within engraved historiated border, 202 engraved emblems within text (Praz calling for 200 only), Aa4 blank, errata f. at end, lacking **1 (letterpress title), Y1 lower blank corner torn away, water-stained, occasional spotting, lightly browned, contemporary limp vellum, little stained, [Landwehr German 451; Praz pp.117-118], 8vo, Frankfurt, Luca Jennis, 1619.⁂ Rare at auction. Provenance: Thomas Windsor, ?1st Viscount Windsor, c.1670-1738 (ink inscription to front free endpaper); 'Mr Beckford's copy, from sale of his library, 1883.' (later pencil note to front pastedown), possibly lot 63 2nd July, 1883; Hubert John Elliott (bookplate); sold Sotheby's 22nd November, 1984 (£110 to Snelling).

Edwards (Edward) A Collection of Views and Studies After Nature, engraved title, 30 plates only (of 32) showing 50 etchings only (of 51), many etchings with pencil captions, dedication and 'index of views' detached, spotting, contemporary half-calf, upper cover detached, rubbed and worn, folio, 1790.⁂ Rare. Only 3 on Library Hub, at the Royal Academy of Arts; British Library and National Trust.

Jonson (Ben) [The Workes], first collected edition, lacks initial blank and engraved title, lacks all after 3S4 (ie complete up to the end of Catiline), repair to inner margin of first 2 preliminary leaves and to upper corner of llast several leaves, affecting pagination and rules at top on only last few leaves, some water-staining and damp-mottling, sometimes heavy, 18th century panelled calf, rebacked and corners repaired, by William Stansby, 1616; another copy, lacking all before B1, 4A1-2 (from The Forrest in Epigrammes) and final leaf 4Q4, with G1 (woodcut title to Every Man out of his Humour) misbound at beginning of book,a few early ink names and annotations, 2M4 torn, some soiling, later panelled calf, worn, by William Stansby, 1616; and a few other extracts and leaves from other copies of the same work, plus part of part of Masques from a later edition, and 2 reference works, folio and 8vo (8)⁂ These two partially defective copies together make up one almost complete copy of what, after Shakespeare's first folio, might be considered the single most important 17th century English dramatical work. One of the fragments also includes the missing leaves from the Epigrammes (4A1-2), therefore in essence the lot is missing only the engraved title and the final leaf, given that the initial blank is so rare as to be almost unfindable. The two copies also show different variants of some pages, notably p.406 the two readings "the readie sword" and "the facile sword"; and p.413 "By Castor" and "By Pollux" altered to "By Pollux" and "By Hercules" with an additional line inserted "That would I more...". The first copy also bears an intriguing inscription in ink to the title of Every Man in his Humour, in a hand deliberately made to look old "To Worthy friend Mr Will. Shakespeare of Ben Jonson". The find of the century were it genuine!

Emblemata.- [Brunner (Andreas)] Fasti Mariani: cum illustrium Divorum Imaginib[us] & Elogiis prope DC. in singulos anni menses diesq[ue] SS. Natales distributis, Part 1 (a separate second part was published in the same year), engraved pictorial title, numerous engraved half-page oval emblematic illustrations within borders of various designs, final f. blank, some spotting and staining, contemporary blind-stamped vellum over boards, 1 (of 2) metal clasps, small piece out of lower cover where clasp detached, small chip to foot of spine, rubbed, [Praz p.333; VD17 12:118978C], 12mo, Munich, Cornelius Leysser, 1630.⁂ Rare charming little work on the feast days of the Virgin and saints for the months of January to June.

Sallustius Crispus (Caius) Opera Sallustiana, edited by Badius Ascensius, Gothic letter, title in red and black and within a border of portraits, woodcut illustrations in text, woodcut decorative initials, occasional early ink marginalia, first few ff. with marginal repairs, with loss of a few letters to verso of title, damp-staining, mostly marginal, occasional spotting or staining, lightly browned, 17th century ink inscription of Thomas Silvester, modern panelled calf, [Adams S143], [Lyon], [Jean de Jonvelle], [1517] § ; and a defective copy of the rare Jonvelle Ovid, 1516, 4to (2) sold not subject to return.

Pacific islands.- Wyld (James) Map of Part of the Fiji Group including the Islands Viti Levo and Ovalau, lithograph printed in brown and black ink, finished with hand-colouring, folding in sections and mounted on linen, 890 x 1375mm., in original cloth slip-case, worn and with label on upper cover rubbed and soiled almost to illegibility, 8vo, [c.1850].⁂ Extremely rare.

NO RESERVE Medicine.- Gynaecology.- Pineau (Séverin) De integritatis & corruptionis virginum notis: graviditate item & partu naturali mulierum, Opuscula, engraved additional pictorial title, 3 folding woodcut plates, 2 folding letterpress tables, some foxing, worming in text from around sig. N to end, water-stained, mostly at end, contemporary calf, upper cover detached, worn, rare in commerce, Amsterdam, Johannes Ravesteyn, 1663; and another, 18th century road making, 12mo & 8vo (2)

A Leica Standard Snapshot Camera,1936, black/nickel, serial no. 191651, with Leitz Elmar f/3.5 35mm lens, 1935, nickel, serial no. 271563, body, VG-E, shutter working, lens, VG, some internal haze, complete with maker's leather case Notes: This is the first time this camera has ever been on the public market and is the finest example ever sold of this rare screw mount Leica. This camera is the first from a small batch of six (No.191651-191656), marked in Leica delivery records as 'I + Ekurz' (Leica I With Elmar 3.5/3.5Cm), with added note 'Mit Mont. Weitwinkelsucher' (With Mounted Wide-Angle Finder).

Collection of Four Rare Meteorite Microscope Slides,Slides labelled as 'Meteorite Ovijak, Greenland' - although not detailed this section is most probably from the one that fell in 1870; a slide labelled in pen 'Meteorite, Fayette Co Texas' - most probably from the Bluff (a) meteorite found near La Grange inTexas. The meteorite originally received the name 'Bluff' from an unofficial settlement because a Kentucky iron had already been given that name; two slides by Hensoldt, Wetzlar, of the Fake Braunfels, Germany meteorite both dated 1879, in later card case. (4) 

A Small Collection of Rare & Unusual Microscope Slidesconsisting of very unusual slides to include: a slide by E Wheeler with a label for 'Syenite from Cleopatras Obelisk'; a slide by E Wheeler with a label for 'Cedar from Temple of Soloman, Palestine Exploration 1869'; a slide by E Wheeler with a label for 'Linen Mummy Cloth, from Ancient Thebes'; a slide by E Wheeler with a label for 'Egyptian Papyrus, the Writing 3000 Year Old' and another similar; a slide by E Wheeler with a label for 'Fossil Bone of Dinosaur'; a slide by E Wheeler with a label for 'Fossil Human Bone Guadaloupe'; a slide by W Watson with a label for 'Pure Iridium, Reduced by Voltaic Battery'; a slide by W Watson with a label for 'Egyptian Papyrus, the Writing 3000 Year Old'; a slide marked W.C. whihc reads 'Section of cedar from Lebanon from an Assyrian Palace at Nineveh upwards of 3000 years old'; a slide with a label marked R.T.L. 1871 which reads 'Ancient Glass from the Temple of Venus Cyprus'; a slide with a label which reads 'Fossil Wood N. S. W. Great Exhibition 1851'; two Radium slides with one by H. J. Grey

An Archive of Papers & Reprints by E. M. Nelson,including a very rare copy of the auction catalogue of Nelsons Microscopes sold at Stevens Auction Rooms in 1939 after his death, with reprint from the RMS titled 'A List of E. M. Nelsons Microscopes & Accessories, dated 1954, a bound copy of Quekett reprints titled in gold 'E.M. Nelson Various Papers on the Microscope', along with many reprints from the RMS covering many aspects of microscopy and the history of the microscope, and a hand written list of publications related to microscopes titled 'List made up for me by E.M.Nelson' (approximately 25)

A Rare Thomson's Lunar Corrector Slide Rule by Robert Bate,English, c. 1818-1820, an early version of this three-foot rule in boxwood and brass, double sided with numerous finely divided logarithmic scales and early form of cursor, time side with scales marked for Tangents, Latitude Sines, Diff TD, Time PM, Time AM, Azimuth; lunar side with scales F Distance, S Distance, Hor Par, Alt, and a full length logarithmic number scale, signed 'Bate London no 110', one edge a 36 inch rule divided in tenths, length 95cm overall. Note: For determining longtitude at sea. This rule was designed in 1816 by David Thomson (1789-1834), an Arbroath merchant captain. The lunar distance method continued to be used well into the 19th century until marine chronometers became more affordable.Condition report: The slide rule is in good overall condition with all divisions on all scales on the boxwood clearly visible although there are old ink stains and marks and wear from use. The rule is not warped but there is a sepration of about one mm between slide and frame around the centre of the rule. The slide is very stiff but does move, it is chipped at one end just at the time side, the long chip 32mm long, 2.5mm deep. There is no trace of any scale engraved on the cursor.

A Rare And Discontinued Bottle Of Tullibardine 10 Year Old Single Malt Scotch Whisky In Dumpy Bottle Box Is In Good Overall Condition, Bottle Is In Good Overall Condition Still Sealed And Measures At The Base Of The Neck.. 

A Bottle Of Glenfarclas Rare Highland All Malt Scotch Whisky 8 Year Old In Box, Box Is In Good Overall Condition With Slight Signs Of Creasing, The Bottle Is In Good Overall Condition, The Label Is Heavily Soiled And Shows Signs Of Wear. Bottle Is Still Sealed And Measures Into Base Of The Neck

A SECOND WORLD WAR SPECIAL FORCES COCKLE MK 7 TWO MAN SAILING CANOE. A two man light alloy canoe in three sections with adjustable catamaran type alloy outriggers, with two original paddles, each in two sections, much original painted surface, residual elements of the rudder, seat bases, a cover for the front cockpit (in poor condition), bilge pump, a number of securing pins and mast cover. Each of the three sections of the canoe are marked with the manufacturers number WC47 and with a military identification number of WC217 to the exterior. WC47 suggesting it is an early production from the 200 or so Mk 7s that were made. A round bilge canoe designed to be an ocean-going craft manufactured in three sections with bulkheads, the centre section being 8' in length, the front and back each 5' making it a sizeable craft when assembled. Although designed to be carried by Submarines it seems likely that the majority travelled in Catalina or Sunderland aircraft. The sections weighing 26lbs, 63lbs and 28bls with a further 34lbs for the outriggers. Interestingly the outriggers which could be deployed to either side were filled with ping pong balls so that in the event of damage from enemy guns they would retain their buoyancy and the holes patched with chewing gum. It seems likely that this example retains the original balls. The history of canoes during the Second World War of this type is best known through the heroic actions of the group of men who have become known as 'The Cockleshell Heroes'. Much of their use has been blanketed in secrecy for many years. The operation to design and manufacture the canoes began in 1941 and was categorised as 'Most Secret' during the War, the canoes were of vital importance and the Mark 7 were upgraded from 'first preference' to list 'A' being primarily used in the Eastern Theatre and South West Pacific. Produced by the Ministry of Aircraft Production, these canoes were manufactured by Warwick Aviation in a material known as Brimabright (Duraluminium), built by qualified aero engineers with each component having the individual engineers own stamp of certification. Built to aircraft standards these canoes were built to exacting standards. The Mk 7 prototype was produced in 1944 with trials taking place at Hayling Island and Ceylon. Production began in 1945 with the craft seeing service in Ceylon and Burma and ceasing c1954 by which time they had been superseded by later models. This example was purchased by the vendor's Father who serving in the army at the time directly as army surplus. This explains the probably unique matching numbers on this craft, with the handful of others known probably having been purchased from scrap yards where the best example of each section was chosen giving them non matching numbers. Purchased by the vendors father for duck hunting on the Somerset levels it is thought that it last saw active service collecting the post from a nearby post office during the floods of 2012. I am very grateful to Quentin Rees, author of the definitive work on Second World War Canoes 'The Cockleshell Canoes British Military Canoes of World War Two' published by Amberley Publishing in 2008 for his assistance in identifying this canoe and cataloguing assistance. Mr Rees, who also wrote a definitive history of the Cockleshell Heroes, has described this example as 'a rare beast' and has generously offered to share his experience of restoring canoes of this type with the purchaser of this lot. Mr Rees further confirms that Mk 7 canoes are a delight to sail and paddle well. A level of experience that very few living share.

Rare WWI 'Comfort for the Troops' Christmas tin, as issued by Cadbury Bros in 1914. Paper label reads Xmas 1914 Greetings to the Wounded Soldiers and Sailors, and with best wishes for their speedy recovery, without the chocolate contents, together with a vintage Bournville Cocoa miniature tin approx 6.5 x 5.5 cms. (2)

Rare 19th century Cape Colonial silver table fork, mm Peter Clarke Daniel dated 1820, approx 56.2 gms. Note: Peter Clarke Daniel was an Irish Immigrant to the Cape, he and extended family travelled to South Africa in 1820, the first settlement of British settlers. 

A bottle of Hine Rare & Delicate Fine Champagne Cognac, 100cl, 40%Sealed and in original box

Finely carved after a Western Han Dynasty form jade ‘ear’ cup, ‘Jian Guangzhi’, carved with a three column archaic inscription in bronze script to the base, the translucent horn of rich honey and dark-chocolate brown, emanating around the base Applied paper label dated 20th June 1930 來源 : H.G. Beasley 私人珍藏 1930年6月20日 標籤 Height: 5cm Length: 13cm Width: 8.5cm Weight: 127g The inscriptions reads: ‘in the year of the Ram, stone fire, star fire, copy of Han dynasty Jade Jianguang Zhi’. 篆書刻文：“葵末秋日，石火星火土，倣漢玉建光巵” It is rare to find a dated Rhinoceros horn ear-cup and only six appear to have previously been recorded. The ‘Jian Guangzhi’ cup (fig.1) is recorded in the Gujin Tushu Jicheng’, known as the Imperial Encyclopedia, written during the reign of the Kangxi and Yongzheng Emperors, begun in 1700 and completed in 1725. Three signed examples are known by the famous Yangzhou carver, Bao Tiancheng: two from the Angela Chua Collection, both illustrated by T.Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p.106. no.58 and the third from the Fowler Museum, Los Angeles, was sold at Christie’s London, 7th November 2006, lot 53 for £120,000. In addition to the three noted above, only two others appear to be published: see T.Fok, ibid., pp.99 and 102, not 51 and 54. The first from the Harvard University Art Museums, dated 16th century, with an inscription which translates as ‘modelled after Han style jades in mid-spring in the cyclical year renshen, with seals Jiyu Gushi; the second dated 17th century, signed You Kan and with a further inscription and another sold at Poly Auction, Beijing, 06/12/2011, lot 520, signed You Kan Gong. The H.G. Beasley cup adds a seventh to this small and interesting group of archaistic cups, (the only one recorded in bronze script) with their wish to emulate the perceived virtues of antiquity, underscored in the inscription. Condition ReportThe ‘Jian Guangzhi’ cup has developed a beautiful patina over the years and sits well in the hand. There are two small ‘dents’ to one side, one to the ear itself, and slightly to the left of it, each approx. 3mm. It would appear that one end of the cup has been slightly reduced, where the patina is a slightly lighter colour, however it was done many years ago and the area is well patinated too. The other ear has a few small ‘dents’ too, but nothing significant. The interior with a few minor dents, and some fine age lines to the base.

The horn of a rich striated walnut tone, finely carved in the form of a recumbent billy-goat or deer-like creature, with finely incised fur to its beard, mane and bushy tail terminating in three cloud-like scrolls, its front claws neatly folded one upon the other, the horns resting on its back, its spine clearly visibleHeight: 7cmLength: 7cmWidth: 4.5cmWeight: 65gThis extremely rare small cup is one of the finest examples of a small group of libation cups modelled in the form of billy-goat or deer-like creatures, dating to the 17th and 18th centuries. Three examples are illustrated by Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.83-84, cat. no. 56 & 58. The first, from The Water, Pine and Stone Retreat Collection, previously sold at Sotheby’s Hong Kong, 25 November 1987, lot 490, is of particular interest as it bears both a Wanli reign mark and Bao Tiancheng seal mark, which helps date this group. The present example bears a strong resemblance to the cup in the Dr. Ip. Yee Collection, illustrated by Chapman. Two other examples of this group include a cup sold at Sotheby’s New York, 20th November 1973, lot 48 and another cup in the A & J Speelman Collection, sold at Beijing Poly Auction, 5.6.2011, lot 7139. Another similar shaped cup is illustrated on the Palace Museum website, 8.7-9cm., diameter., which is similarly designed as a dual-purpose piece.此拍品極其稀有罕見，是H.G. Beasley私人收藏中最為精巧的一隻。目前僅有極少傳世之作，是以雕刻羊形或鹿形犀角杯為主，年代考證為17或18世紀。三件相似獸形犀角杯見Jan Chapman《中國的犀牛角雕刻藝術》倫敦，1999年，圖 56，58， 頁 83-84.。其中一件鹿形犀角杯為 水松石山房舊藏，售於1987年11月蘇富比秋拍，拍品號 490。落款萬曆年製，鮑天成印，流傳有序且有助於年代考證其餘類似獸形犀角杯。另一件極其相似獸形犀角杯，為葉義醫生收藏，著錄於Jan Chapman《中國的犀牛角雕刻藝術》倫敦，1999年。另有兩件相似犀角杯，其中一件見1973年11月20日紐約蘇富比秋拍拍品48號，另一件為A & J Speelman 舊藏，見2011年6月5日北京保利拍品7139號。同時北京故宮博物院館藏一件相似獸形犀角杯，直徑8.7-9cm。此類型獸形犀角杯既可作為文房賞器，同時又可用於飲酒，是不可多得的稀品珍藏。此拍品極其稀有罕見，是H.G. Beasley私人收藏中最為精巧的一隻。目前僅有極少傳世之作，是以雕刻羊形或鹿形犀角杯為主，年代考證為17或18世紀。Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory, rhinoceros horn and tortoiseshell. Accordingly, prospective purchasers should familiarise themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.Please note that an export licence will only be granted for rhinoceros horn objects providing the hammer price meets or exceeds the value of $100 per gram of the items weight.有意購買者請注意，由於若干國家禁止進口包含瀕危物種材料的物品，包括但不限於珊瑚、象牙、犀牛角和玳瑁的物品。因此，準買家如果打算將這批商品進口到另一個國家，則應在投標前熟悉相關的海關規定。請注意，犀牛角拍品的出口許可證只有當落槌價格達到或超過每克100美元的價值時，才會頒發。Condition ReportThe ‘Billy Goat’ libation cup presents well, and sits nicely in the hand. The natural striations of the horn have been superbly used by the carver to accentuate the fur of animal, with particular fine detail being visible on its mane, tail and back. There is a small repair to one ear, where the material used is darker than the original horn, approx 3mm. which has been done a long time ago. There are a few minor ‘dents' around the lower body (the largest 5mm) and one to the interior/underside.Viewing in person is recommended as it is a particularly beautiful example of the carvers art.

The cylindrical vessel in two distinct sections, the upper section with a flattened rim supported on a arrangement of six grotesque long-haired guardian figures, Yakshas, the lower section with an elegant splayed foot, decorated overall with a splashed tortoiseshell like glaze in ochre, brown and green, falling short of the base, exposing the buff coloured body Height: 10cm Diameter: 13.5cm Sancai censers with legs in the form of Yakshas guardians are rare. Two related pieces, one excavated from a tomb in Luoyang, are illustrated in Zhongguo gu ciyao daxi. Zhongguo Gongyi yao/Series of China’s Ancient Porcelain Kiln Sites. Gong Kiln of China, Beijing, 2011, p.428, centre. Another is illustrated in Sekai toji zenshu/ Ceramic Art of the World, vol.11, For another similar incense burner, see The Sze Yuan Tang Collection, Important Chinese Art, London, 4th November 2020 三彩力士足香爐十分少見，相似兩例，其中之一於洛陽出土見《中國古瓷窯大係—中國鞏義窯》北京2011，頁428. 另一例見《世界陶瓷藝術》十一卷。 另一件為思源堂舊藏於2020年11月4日售於倫敦佳士得Condition ReportA 4.5cm section of the rim restored. The Yakshas have been broken and re-stuck, with minor elements missing. See additional lot photos

Painted with a rare European subject of a shepherdess watched upon by a gentleman Height: 12cm Provenance: M Ramos Da Silva, Portugal 來源：葡萄牙 M Ramos Da Silva 收藏Condition ReportThe canister: the enamel decoration fine and in good condition, some rubbing to the gilt floral band around the shoulder and foot rim  The cover: scale chip to underside of the rim, 5mm, with hairline leading from it, the gilt floral sprigs partially rubbed. 

Finely painted in the famille-rose palette with Green Peafowl, Manchurian Cranes, Paradise Flycatchers and Myna birds amongst luxuriant full-blown peony blooms, issuing from rock work within fenced terraces, beneath an elaborate lappet border to the shoulders with cartouches containing precious objects and floral sprays, the domed covers similarly decorated with knops moulded as large lotus blooms, on 18th century European carved gilt-wood stands (6) Height: 90cm, overall height including stands 128cm Provenance: From a Portuguese private collection, with Cohen and Cohen 來源：葡萄牙私人收藏 標籤Cohen and Cohen This fine pair of vases have enamel painting of the highest quality and density of decoration. Vases with lotus bloom knops are rare with only a few examples known, including A similar pair of soldier vases, illustrated by George C. Williamson, The Book of Famille Rose published in 1970, pl. LVIII from the collection of the Honorable Mrs. Ronald Greville; another soldier vase at Polesden Lacy (National Trust) and a single vase in the Swedish Royal Collection at Drottningholm, illustrated in The Chinese Pavilion at Drottningholm, 1972, page 156-157. 相似一例見 喬治.威廉森著 羅納德 《葛蕾威爾女士收藏粉彩瓷器》 1970 頁LVIII。另一例見瑞典皇家收藏中國廳 1972，頁156-157. A similar pair of soldier vases are illustrated by George C. Williamson, The Book of Famille Rose published in 1970, pl. LVIII from a collection of the Honorable Mrs. Ronald Greville Literature: The Elephant in the Room, Cohen & Cohen, October 2019, cat. no. 10, pages 24-27 著錄於：《房間裡的大象》科恩&柯恩，2019年10月，圖10，頁24-27. Overall the famille jars and covers present very well, on good period stands. Cover 1:Overall in very good condition. Three minor chips to the edges of the petals, largest 1cm., approx.Some red plasticine attached to the underside of the rim/flange to stabilise the lid when it sits on the jar. A tiny scale chip to underside of the rim., approx. 6mm. Cover 2:Overall in very good condition. Very minor firing imperfections to petal knops. Two lumps of red plasticine attached to the underside of the flange/rim to stabilise the cover when sitting on the jar. Vase 1: The first vase with a minor glaze line running from a firing fault to the foot rim, approx 9cm. Also a shallow flake to the unglazed base, approx. 1cm. Vase 2: The Second vase with a recently stabilised hairline to the neck of the jar, which has been professionally restored and is invisible to the naked eye. The green paper markers (see photos on the saleroom.com) to the interior show the extent of the hairline which arcs away from the rim, approx. 25cm.  The gilt wood stands  with nicks and chips in keeping with their age. Overall a very impressive pair of jars, covers and period stands.

Of hexagonal lotus-petal moulded form radiating from the base, each enclosing white chrysanthemum sprays with their details picked out in white slip, above a double petalled border, all reserved against a fine powder-blue ground, the interior plain, lightly carved with six spiralling petals corresponding to the exterior, the base inscribed with a six-character reign mark in underglaze-blue with double circles Height: 9cm Diameter 19.2cm Provenance: Recorded in an old inventory valuation, 14th April 1967, cat. no. 179, updated by James Spencer, Christie’s, 3rd June 1976 來源：家族舊物帳中編號176，估價於1967年4月14日。James Spencer，Christie’s 於1976年6月3日為此重新估價。 It is rare to find a bowl designed in this rarely used technique of blowing a cobalt blue glaze through a gauze-covered tube onto a porcelain surface applied with stencils to block out and create a white reserved design. Another bowl of this pattern in the Tsui Museum of Art, is illustrated in Xu Shi Yishuguan/The Tsui Museum of Art, Hong Kong, 1991, pl.93. For an identical bowl sold at Sotheby’s Hong Kong, see The Meiyintang Collection, Part III, lot 46,4th April 2012, 1,640,000 HKD. 此類型雍正藍地留白菊花紋盌實屬少見，運用吹藍貼花技術。相似一例見《徐氏藝術館藏中國藝術》，頁93，香港，1991。另一例見“玫茵堂藏中國瓷器”，2012年4月4日售於香港蘇富比，拍品號46，成交價格為1,640,000港幣。Condition ReportThe bowl has been broken in half between three and nine o’clock using the six-character mark as reference, going to one side of the foot rim, with a small area of loss to the rim to one side, approx. 5mm. There is also a smaller branch of another hairline running off this, slightly stained, approx 6cm. There are two iron-spot imperfections within the glaze to the interior and several discoloured frits around the rim.

Painted to the centre with a green and brown five-clawed dragon contesting a flaming pearl, reserved within black borders, against a yellow ground, the reverse with a border of cranes and cloud scrolls, the foot rim inscribed with a six-character mark of Yongzheng within a double-circle Diameter: 14cm Provenance: Recorded in an old inventory valuation, 14th April 1967, cat. no. 119, updated by James Spencer, Christie’s, 3rd June 1976 來源：家族舊物帳中編號119，估價於1967年4月14日。James Spencer，Christie’s 於1976年6月3日為此重新估價。 See a similar Kangxi dish in the Percival David Collection, British Museum, illustrated by Margaret Medley in Illustrated Catalogue of Ming Polychrome Wares in the Percival David Foundation of Chinese Art, no. PDF. 777, p.46, no. 146. Another similar dish was included by C.S. Tam in The Wonders of the Potter’s Palette, Qing Ceramics from the Collection of the Hong Kong Museum of Art, no. 24, pp. 58/9. 類似一件 清康熙黃地紫綠彩穿雲游龍紋盤，為大英博物館大衛德基金會所藏，著錄於 瑪格麗特《大衛德基金會藏明代彩瓷》藏品編號 777， 圖146， 頁46。 另一相似黃地紫綠彩穿雲游龍紋盤見 談志誠著《清瓷薈錦 香港藝術館清代陶瓷》 ，圖24 頁 58-59。 It is rare to find a dish of this design with a Yongzheng six-character mark and with a change in design to the reverse of the dish, away from the frequently found ‘grape’ border on Kangxi and other later Imperial wares of this type. The crane motif was a popular design used on other Yongzheng yellow and green porcelain wares from the Forbidden City. See a pair of bowls from the collection of Sir Augustus Wollaston Franks, now in the British Museum, Franks.70.a. 此件雍正楷書款黃地紫綠彩穿雲游龍紋盤較為少見，且背面裝飾雲鶴紋。此類型瓷器多出現於清宮舊藏。 另相似兩例現藏於大英博物館弗蘭克斯舊藏，藏品編號70.a。Condition ReportAs one can clearly see from the catalogue photos and images online, this dish has been broken into seven pieces with a riveted repair. There is also a scale chip to the rim, approx 5mm

Joker (2019) Thai One Sheet film poster, double sided rare playing card style, rolled, 27 x 40 inches.

An early 19th century gold necklace mounted with twenty-one classical and neo-classical cameos and intaglios, each carved stone mounted in gold and separated with a circular split ring, 55cm long, fitted case by S. J. Phillips, 139 New Bond Street. 1. Sardonyx cameo, profile portrait of a man in classical dress (possibly Aristotle), 17th century, 1.8cm high 2. Sardonyx cameo, Gryllus with four heads (three of gods and one of a Ram), 17th - 18th century, 1.3cm high 3. Sardonyx cameo, Full-faced youth's head in three colours, late 17th - early 18th century, 1.2cm high4. Carnelian cameo, Talismanic gem with emblems of fertility, 2nd - 3rd century AD, 1.5cm high 5. Onyx cameo, God Cupid making an offering on an alter and observed by Psyche, 17th century, 1.4cm wide 6. Hessonite garnet cameo, Full-head portrait of Pan, possibly late Roman or Renaissance, 1.3cm 7. Dark sard intaglio, Female profile, 17th century or possibly late Classical period, 1.3cm high8. Sardonyx cameo, Young male portrait (possibly Britannicus, late 17th century, 1.3cm high9. Onyx cameo, head of the Virgin Mary, late 18th century, 1.3cm high10. Three-colour onyx cameo, portrait of the goddess Psyche, 17th century, 1.2cm high11. Sardonyx cameo, profile of an athlete wearing a taenia, 17th century, 1.2cm high12. Onyx cameo, profile of a philosopher (possibly Aristotle), late 17th - early 18th century, 1cm high13. Hessonite garnet cameo, profile of a male bust (possibly Francis Bacon), 17th century, 1.3cm high14. Sardonyx cameo, profile of a female Goddess, 18th - 19th century, 1.3cm high15. Onyx cameo, figure with sacrifice to the gods (possibly Hercules with a serpent), 17th century, 1.2cm wide 16. Onyx cameo, Standing lion, late Roman or possibly Renaissance, 1.5cm wide17. Onyx cameo, head of Athena in profile, 16th - 17th century, 1.3cm high18. Sardonyx cameo, profile of a satyr, late 17th - early 18th century, 1cm high19. Sardonyx cameo, double portrait of a beaded man and woman (possibly Antony & Cleopatra, popularised by William Shakespeare), 1.3cm high20. Onyx cameo, profile of Michaelangelo, possibly 17th century, 1.1cm high21. Sardonyx intaglio, full female mask and follower of god Bacchus, a rare female Bacchanalian memorial death mask, 1.2cm highPROVENANCE: The well detailed carved gems were all from the collection of Arthur Richard Wellesley, 2nd Duke of Wellington. The relatively small gems were considered discreet, sophisticated and highly desirable when the collection was formed.The necklace was exhibited as part of 'The Wellington Gems' by S.J. Phillips in 1977 and was listed as item 433.

Carry On Spying (1964) Original UK Press book with rare insert for the James Bond spoof, artwork by Tom Chantrell featuring the banned bent gun barrel, these posters were withdrawn following the threat of legal action by the James Bond producers, flat, 10 x 14 inches. Condition Report: In very good condition, no fold lines, insert present, no pages missing or tears.

Rolling Stones from the inside rare and unseen images by Bill Wyman hardback book, Signed copy.

Harry Potter and the Prisoner of Azkaban (2004) Rare official promotional Divination kit given only to US press during the release of the movie, unused, 22 x 20cm.Provenance: With lifetime hologram certificate of authenticity.

Rare Davidson press moulded glass 'North East Coast Exhibition Newcastle' ashtray, dated 1929, with gold paper label; together with a small quantity of pressed cloud glass including pin trays; panelled vase; and other items.

A rare Doulton figure of 'Fairy', modelled upon a toadstool, printed and painted mark to underside, HN 1395, 7cms high (damages).

‘ALFIE’, 1966 – A RARE COLLECTION OF VINTAGE CONTACT SHEETS (70)Animportant collection of 70 black and white contact sheets, majority featuringthe main cast including Michael Caine, Julia Foster, Shelley Winters, EleanorBron, Vivien Merchant and Jane Asher, majority taken on set during filming, someshots 5.5 x 5.5 cm., others 2.5 x 3.5 cm., majority of pages complete, each page– 26 x 20 cm., in contemporary plastic sleeves contained in a red hard backbinder.Sold Without CopyrightConditionReport:Overall very goodFootnote: LewisGilbert regarded Alfie as his ‘breakthrough’ film.  The chapter devoted to the film in hisautobiography is entitled ‘The Film That Changed My Life’.  In it he recounts how it was his wife Hyldawho, following a chance encounter at her hairdressers with the actress MargaretCourteney (who was appearing in Alfie at the Mermaid Theatre), went tosee the play and immediately realised it would be a great vehicle for afilm.  Gilbert saw the play on thestrength of his wife’s recommendation and recalls…. the subject fascinatedme….because Alfie was a new kind of hero….he had a cockiness and an energy thatwas mirrored in the real life of the 1960s…. Alfiebrokenumerous box office records on its release and was lauded by the critics as aresultthefilm shot Lewis Gilbert and his unknown lead Michael Caine to internationalstardom. Alfie was nominated for 5 Academy Awards including: BestPicture for Lewis Gilbert and Best Actor in a leading role for Michael Caine.It won 3 BAFTAs including Best British Actor for Michael Caine; and wasnominated for 3 others including Best British Film for Lewis Gilbert. At CannesLewis Gilbert won the Jury Special Prize and was nominated for the Palm d’Or.The film also won 4 Golden Globes including Best Director for Lewis Gilbert andBest Actor for Michael Caine and was nominated for 3 others. Ina recent interview for The Guardian newspaper with Xan Brooks, 18 October 2021, Michael Caine’s remarked:“Alfie is probably the best film I ever made”. Literature: GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

Marcos Grigorian (Iran, 1925-2007)Convergence earth, resin, straw and mixed media on panelsigned, titled and dated on the verso, executed in 1981115 x 116cm (45 1/4 x 45 11/16in).Footnotes:MARCOS GRIGORIAN – UNEARTHED: AN IMPORTANT GROUP OF COMPOSITIONS INCLUDING THE EXCEPTIONAL 1981 EARTHWORK 'CONVERGENCE'Provenance:Property from a private collection, Los AngelesOriginally in the collection of the Armenian sculptor Rafael Petrosyan (1937-)Exhibited:Marcos Grigorian, Gorky Gallery, 1981, New York'Surely not in vainMy substance of the common Earth was takenAnd to this Figure moulded... to be broke,Or trampled back to shapeless Earth again?'- Omar Khayyam'Perhaps I was homesick for the native soil of Iran, or maybe it was just the opposite – a reaction to being obsessed with my past' - Marcos GrigorianBonhams is delighted to present this superlative group of works by pioneering Iranian Armenian artist Marcos Grigorian. Ranging from one of the most monumental, exquisitely rendered, and technically complex examples of his signature Earthworks, to rare painted compositions formerly in the collection of the artists uncle and gallery-owner, the present grouping provides a comprehensive and compelling accounts of Grigorian's oeuvre.'Convergence' is part of Grigorian's acclaimed Earthworks Series. Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.Born to Armenian parents in 1925, Grigorian was brought up in Russia for a short time before emigrating to Iran with his family at the age of five. After studying at Kamal-el-Molk Art School in Tehran, he moved to Rome to complete his studies at the Academia di Bella Arti in the 1950s. His move to Rome allowed him to study the works of classical and modern masters and was a turning point in his career. His subsequent moves to Iran and then to the United States in the later years of his career were to be equally influential to his artistic development. His early abstract style was supplanted by expressionist figurative compositions on his return to Iran in 1954. In 1962 he moved to New York where he began his most famous Earthworks Series.These works are mostly on a square format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of particles and gas. The traces of a convergent movement towards the centre of the canvas evoke the image of the universe forming out of primordial dust - and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art.He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sohrab Sepehri (Iran, 1928-1980)Untitled (From the Tree Series) oil on canvas, framedsigned in Farsi (lower right), signed and dated '1967' on the verso, executed in 1967155 x 100cm (61 x 39 3/8in).Footnotes:A RARE AND MONUMENTAL 1967 TREE COMPOSITION BY SOHRAB SEPEHRI FROM THE COLLECTION OF THE LATE PERUVIAN COLLECTOR CARLOS FERREYROS Provenance:Property from a private collection, LimaAcquired directly from the artist by the present owners father, Carlos Ferreyros a prominent Peruvian collector, during his travels to Iran, circa 1967thence by descent to the present owner'I have never known two poplars to be enemiesI have never witnessed a willow selling its shade to the groundThe elm tree freely bestows its branch to the crow-and wherever there is a leaf- my passion blossoms likes a bush -bathing me in the joy of existence'- Sohrab SepehriThe present lot is an exceptional example from Sohrab Sepehri's celebrated Tree Series. Executed in the late 1960's, the depiction of Trees, for Sepehri, represented an escape from the harsh urban environment that he found so oppressive and melancholic, longing for a return to the verdant pastures of his native Kashan.Sepehri's strong representational impulse propelled by a love of the natural landscape of his native of Kashan and the near monastic technical discipline honed from his study and mastery of Eastern painting techniques. Poet, artist and intellectual, Sepehri's mild manner and withdrawn persona belied the richness of expression manifest in his works. Enraptured by nature, Sepehri had a deep and profound attachment to the topography of his native Kashan, the 'oasis city' where trees and vegetation sprung amidst the arid desert. The genesis of Sepehri's work was firmly rooted in this landscape, and he often bemoaned the long periods of absence from Kashan he had to endure when exhibiting and working abroad.Sepeheri had a firm belief in the inherent grace and nobility of the nature he so admired. Inspired by Eastern traditions, with which he had direct contact during travels in India and Japan, Sepehri came to see the purity of the natural world as an antidote to the corruption of the human condition. Removed from the sphere of urban tumult, an unblemished natural world exhibited order, harmony and simplicity.Sepehri's focus however, fell on perhaps nature's most visually striking and symbolically potent inhabitant; the tree. Monolithic, life-exuding, and perpetual, the tree is both the ultimate example of the force of nature, and its symbolic focal point, harbouring all four elements of life; soil within its roots, water within its ducts, expelling life giving oxygen and providing the fuel for fire, its form and significance gripped Sepehri's creative faculties.Sepehri's choice in depicting this singular archetype of nature derives from his belief in the beauty of the concise. Zen tradition encourages the shedding of excess and the absence of the superfluous, to this end Sepehri depicts only trunks, for he was no realist, and was concerned more with the meaning of a tree, its aesthetic essence, than construing its actual physical occurrence in a specified landscape.Combined with this, he employs a limited palette, consisting of coloured grays and dark greens. The limiting of colour to an absolute minimum is a conscious exercise in terseness, echoing the formal restraints of the Zen haiku which are limited to seventeen syllables, and reflecting Sepehri's belief that economy in colour resulted in greater artistic lucidity. Despite this terse palette, Sepehri manages to faithfully capture the texture, complexity and light and dark tonal variations between his tree trunks, delineating gracefully where trunks and branches engage, interlope and separate.Ultimately, for Sepehri, the depiction of a tree was a meditative endeavour, in the Japanese tradition of 'hitsuzendo', an attempt at creative self-reflection. Unlike Western traditions where the artist uses his faculties to fashion a work into existence, the Zen painting tradition holds that the 'man the art and the work are all one'.Flawlessly executed, the present work is not only superlative in its composition but stems from one of the most creatively fertile years in Sepehri's career, when the artist had no fewer than four major solo exhibitions in Paris, new York and Tehran. Archetypal, exemplary and sublime, the present painting is a work that is truly deserving of the title, 'best of breed'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Man and Horse oil on board, framedsigned 'Jewad Selim' and dated '1956' in Arabic (lower right), executed in 195643.9 x 59cm (17 5/16 x 23 1/4in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersExhibited:Fourth exhibition of the Baghdad Modern Art group, April 13 - 19, 1956, Institute of Fine Art, Baghdad.'At the end of each day – Jawad sat in the living room surrounded by our sons, filling sheet after sheet of a small pad of paper with nimble drawings of wild animals in action – tigers, monkeys, crocodiles, elephants and even some imaginary creatures. And as his pencil flew across the paper, he held the children spellbound with tales woven around his jungle beasts. It was his way to relax, and the boys urged him not to stop, even long after their bedtime'Memoirs of Ellen Jawdat, mother of the present owners''You draw on paper, crescents and signs that lead the traveller to your heart, arousing hope in Baghdad, who invited you into her mornings like a woman full of desire. You called your pictures by her name, like a lover who searches in the corners of memory for friendly signs, a square or a rectangle, a suggestion of a palm tree or a coffee pot, or the faces of tired women in love, hovering between al-Risafa and al-Karkh, between the beginning and the end of a dream ?' - Dia Azzawi 'A Homages to Jewad Selim'Painted when Jewad Selim was firmly recognised as one of the leading luminaries of the Iraqi art scene, Arab with Horse is a rare and captivating composition which participated in the landmark fourth exhibition of the Baghdad Modern Art Group in 1956, a demonstration of the remarkable longevity, appeal, and success of the group which Selim himself co-founded. One of Selim's most enthralling works, 'Man and Horse', is a stunning combination of the artistic dexterity and tonal richness of Selim's work, with thematic and aesthetic inspiration drawn from his ever-present subject matter: the rich landscape of urban life in Baghdad . 'Man With Horse', with its free flowing, curvilinear forms, appears to have a lively and spontaneous feel, a trait Lorna Selim attributed to Jewad's creative process, which was to know exactly what he wanted to paint before picking up his brush and often completing works in just a few hours. Jewad's innovation of integration of Iraqi and European ideas creates a work that is a perfect fusion of styles. The two figures meet heads in a tender, thoughtful embrace, they bear round faces with large open eyes and simply delineated noses, not unlike figures of the two European masters Modigliani and Picasso which Selim so admired. Block colours, abstract fauna and shapes fill the ground, curiously blending visual cues both from European Modernism and from the decoration on medieval figural lustre ceramics of the Abbasid era. After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week later on 23rd January 1961 at the age of just forty-one, leaving a wife and two young daughters.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Good and Evil, An Abstraction oil on canvas, framedexecuted circa 195150 x 75cm (19 11/16 x 29 1/2in).Footnotes:'GOOD AND EVIL, AN ABSTRACTION' - A RARE AND MAGNIFICENT 1951 OIL PAINTING BY JEWAD SELIM COMMISSIONED FOR THE IRAQI RED CRESCENT SOCIETYProvenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist, thence by descent to the present ownersNote:The present work is a study for a tile mural planned for the entrance to the Iraqi Red Crescent Society headquarters in Baghdad, a building designed by Nizar and Ellen Jawdat'The ladies of the Women's Red Crescent asked us to design the headquarters for their charitable society. It would occupy a prominent position on a main thoroughfare in the south of the city. In addition to their administrative offices, the project would incorporate their most ambitious charity, an orphanage for about 50 young girls. Fresh from our studies and uncorrupted by caution, we designed a building that provided for their needs in a way that was new to Baghdad —a striking, functional modern design. Jawad Selim, now Iraq's foremost artist, agreed to design a mural in small ceramic, colored tiles that would fill the entrance wall to the offices: He produced an abstract design based on the theme of Good and Evil, which incorporated —appropriately, the symbol of the crescent moon.'- Unpublished Memoirs of Ellen Jawdat'The spectacle of the sky overwhelms me. I am overwhelmed when I see a crescent moon or the sun in an immense sky'- Joan MiroBonham's are proud to present perhaps one of the rarest and most sought-after Iraqi paintings to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Selim painted Good and Evil in 1951 as a study for a mosaic-mural commissioned by the Iraqi Red Crescent society for their Baghdad headquarters, a building designed by the Jawdat's themselves. While the mural itself was never constructed the painting remained in the hands of the family since its composition and its appearance at international auction seventy years later marks an immensely important re-emergence of a major oil painting by Selim Compositionally, Good and Evil is perhaps the archetypal Jewad Selim; painted at the zenith of his career, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which Jewad himself co-founded. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with abstract interpretations of the humorous and extravagant characters encountered in Iraqi everyday life. Light-hearted and boisterous, the Good and Evil is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on the mood and feel of life in Baghdad.The current work is the only known appearance at auction of a Jewad Selim composed with the artists iconic monochromatic silver backdrop, seen most prominently in his superlative painting, Baghdadiyat, now in the collection of the MATHAF: Arab Museum of Modern Art in Qatar. Inspired both by indigenous artistic vocabulary and the great European modernists that Selim studied during his artistic training, Good and Evil seamlessly combines oriental and modernist motif's. The monochromatic background and abstracted line-drawn forms are reminiscent of Spanish modernist Joan Miro, who curiously also had a fascination with crescent forms and used them extensively in his compositions on the constellations. The star and crescent motif itself is a common feature of Sumerian iconography, the crescent usually being associated with the moon god Sin (Nanna) and the star with Ishtar (Inanna), often placed alongside the sun disk of Shamash. In this manner, Selim demonstrates his ability to simultaneously borrow from ancient and modern artistic traditions. Selim's subject matter, an abstract interpretation on the struggle between Good and Evil, is a perennial component of ancient Mesopotamian art and mythology. A slender, horned, devil like figure towers almost comically on the left-hand side of the composition, while more benign winged creatures float on the foreground. The iconography of the ancient Middle East is rife in precisely this kind of abstracted 'dualism', specifically in the ancient Zoroastrian tradition where the universe was characterised as a constant struggle between the forces of Good and Evil. Selim's composition therefore pays homage to a rich artistic legacy in a composition which deftly marries the ancient and the modern in his inimitable style. Jewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week la... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. Lombardic A (over cross-crosslet on rev.) [20 April 1584 to 13 February 1585] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB’· REGINA · Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing annulets, pillars decorated with lis and quatrefoils of pellets, chained portcullis below breaking ornate tressure A : DNO’· FACTV’· EST · ISTVD : ET · EST · MIRAB’· IN : OCVLIS · NRIS’ Royal arms in centre of Tudor rose, from the same die as previous 15.25g/235.4gr/6h Holloway 05-04A-002 [of 3 coins with mm. Lombardic A (over cross-crosslet on rev.) recorded by the late owner]; Brown/Comber A7; SCBI Schneider –; RCL 1950, same dies; N 2003; S 2529 Smoothed on face and upper body and removed from a ring mount, otherwise better than fine, extremely rare; only 3 specimens known using an old reverse die of the First issue £5,000-£7,000 --- Provenance: Abner Kreisberg/Jerry Cohen Auction 30 (Beverly Hills), 10 September 1973, lot 156 Spink Zurich Auktion 1 (Zurich), 6 June 1979, lot 179

First issue of Fine Gold, Sovereign of Thirty Shillings, mm. lis [1 January 1559 to 31 July 1560] ELIZABETH : D’· G’· ANG’· : FRA’· Z : HIB’ : REGINA · . Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets, pillars decorated with five pellets, unchained portcullis below breaking ornate tressure · A · . DNO’· FACTV’· EST · ISTV’· Z : EST : MIRA’· IN : OCVL’· NRIS Royal arms in centre of Tudor rose 15.39g/237.6gr/9h Holloway 03-03-002 [of 4 coins with this die combination recorded by the late owner]; Brown/Comber A1; SCBI Schneider 729-30, same rev. die; RCL 1948, same dies [= Spink 208, 664]; Comber 1, same dies; N 1978; S 2511 Extremely fine and round, practically as struck, considerable mint bloom, very rare, one of the first Sovereigns struck in the reign and an exceptional coin; only eight Sovereigns known with this mint-mark, of which this is arguably the finest £60,000-£80,000 --- Provenance: W. Gott Collection, Sotheby Auction, 12-13 July 1866, lot 84 S. Addington Collection H. Montagu Collection, Part III, Sotheby Auction, 13-20 November 1896, lot 31

Bertel Thorvaldsen (Danish, 1770-1844): A rare and important signed Carrara marble bas-relief plaque of 'The Genii of Music Singing'executed Rome, circa 1833-6the rectangular plaque ​carved with a group of three winged putti in full chorus, holding and reading from a scrolling music score, signed with the sculptors monogram VT, lower right, later mounted within a moulded ebonised wood frame with foliate gilt composition inner slip, the plaque, 36.5cm high x 41cm wide, the frame, 47cm x 52cm For further information on this lot please visit Bonhams.com

A French late 19th century ormolu mounted mahogany and bois satine parquetry bureau a cylindre or cylinder bureauafter Jean-Henri Riesener and Adam WeisweilerCirca 1880, with lozenge inlaid trelliswork to the front, rear and each end, the pierced guilloche brass gallery above three frieze drawers each mounted with bead-and-reel panelling, over a fall with conforming panel mounts, enclosing a satinwood veneered interior comprising three pigeon holes and three short drawers, flanked by spiral-wrapped floral mounted reeded angles, above a writing slide, with a central secret catch-activated and spring-loaded drawer inset with an ormolu relief plaque depicting music-making putti, flanked by two short deep drawers, on angled ormolu legs each modelled as a herm tapering figural column of the goddess Flora with a basket of flowers balanced upon her head, cast with stylised foliate and tasselled floral pendants, on elongated spiral fluted sabots, with a shaped interlacing stretcher mounted with a central sunflower rosette, 93cm wide x 58cm deep x 112cm high, (36 1/2in wide x 22 1/2in deep x 44in high)Footnotes:The upper part of the present lot is modelled after a magnificent parquetry cylinder bureau inlaid with mother of pearl which was supplied to Marie Antoinette by the renowned cabinet maker, Jean-Henry Riesener (1734-1806). Provided in 1786 for the Chateau de Fontainebleau, this impressive piece of furniture was housed in the Royal boudoir. During the latter part of the 19th century the display of Riesener's original at l'Exposition de l'Union Centrale des Arts Decoratifs prompted a number of copies and variants to be produced by the most prominent ebenistes of the period, including by such figures as Linke, Beuderley and Dasson. The lower section of the offered bureau a cylindre conforms to both the legs and stretcher featuring on an exceptional writing table made by the celebrated cabinet maker, Adam Weisweiler (1744-1820). It was provided in 1784 to the Garde Meuble de la Couronne by the marchand mercier, Dominique Daguerre. Whilst belonging to Marie Antoinette, the bureau plat was located in her Cabinet Interieur at the Chateau de Saint-Cloud, however thereafter it was given by the Queen to her close acquaintance, Madame de Polignac. Following the Revolution this 18th century table was sold, before its rediscovery by the Prince de Beauvau (d. 1864) in a marchand's store on the Quai Voltaire in 1840. Subsequently bought at auction by the Empress Eugenie who kept it in the Salon Bleu at the Tuileries, where she held her various audiences. The Empress, who was famed for her dedication and enthusiasm for collecting Louis XVI furniture and objects, was especially keen to own pieces which had originally belonged to Marie Antoinette. This Weisweiler tour de force is now in the Louvre, Paris.Of special note and interest is the fact that the above is evidently an ingenious fusion of these two aforementioned precursors which is a rare occurrence even in 19th century examples of this type.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Registration No: UN-Reg Chassis No: 100GS 010193 MOT: ExemptCharming Bertone 850 SpiderFormerly part of the Petitjean collection of StrasbourgPurchased by the vendor directly from the collection and imported to the United KingdomSupplied with scarce hard-top in body colourFiat's perennially pretty 850 Spider emanated from the prolific pen of Giorgetto Giugiaro, was built by Bertone and unveiled at the 1965 Geneva Salon. It was notable for the free-flowing elegance of its lines and the fact the hood could be completely hidden from view below a panel ahead of the rear-mounted engine. Early examples were powered by the same 843cc engine as the Saloon, but in 1968 the Spider's unit was enlarged to 903cc - this version was known as the Sport.Manufactured in 1967 in left-hand drive specification, this Fiat 850 Spider is fitted with the 843cc straight-four engine mated to the four-speed manual transmission. The charming Bertone coachwork is finished in red with a black vinyl interior upholstery and a black hood, the 850 is accompanied by a scarce body-coloured hard-top. With a recorded mileage of c.60,100 km, the Fiat was formerly part of the Petitjean collection based in Strasbourg, of Marcel Petitjean, a former French racing driver who invested his returns from a business empire into rare cars.Sourced for the collection from a French owner who is said to have used the Fiat for many local events, the 850 entered into the collection in 2009 where it remained until 2020. The car was purchased by the vendor directly from the collection and imported into the United Kingdom in 2020. A rarity on British shores, this 850 Spider is an appealing sports car to those searching for something a little different.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762

Registration No: T.B.C Chassis No: WBSDU92030LF78062 MOT: June 2022Just 62,346 (atoc) miles from new and in current ownership since 2014A rare and powerful compact sports car, being one of only 1,052 right-hand drive Z4 M Coupes produced for the UK marketPresented in a desirable colour schemeOffered with service book displaying thirteen stampsWell-specified from new and an undoubtable modern classicThe BMW Z4 M Coupe is a striking and well-engineered sports car with an immersive driving experience by virtue of its powerful straight-six, manual transmission, and rear drive layout. Specified from new they featured a multi-function steering wheel, anthractire roof lining, headlamp washer system, xenon headlamps, air-conditioning, M steering wheel and sports seats. An undoubtable modern classic, good examples would make an excellent addition to any collection of classics or modern classics.Manufactured on the 3rd of June 2006, this Z4 M was first registered in the UK on the 29th of that month. Fitted with the 3246cc straight-six engine mated to a six-speed manual transmission, the Z4 M is finished in complementary colour scheme of Black with Black Nappa leather interior upholstery. Having covered a total of just 62,346 miles from new when cataloguing, the BMW has been in current ownership since 2014 with seven former keepers and has covered just c.4,500 miles in current ownership.Well-specified from new with additional options, these include electric folding mirrors, auto-dim interior mirror, front heated seats, cruise control, park distance control, Bluetooth, and a HiFi speaker system amongst many others. Offered with a history file which includes the original book pack with stamped service that illustrates thirteen stamps almost entirely from main dealer or specialists. The aforementioned history file further includes the MOT history with many certificates, a large selection of invoices, options list, original sales literature and two keys.Vendor Condition Ratings:Bodywork: 'Excellent’ Engine: 'Excellent' Electrical Equipment: 'Excellent' Paintwork: ‘Very Good' Gearbox: 'Excellent' Interior Trim: 'Excellent'PLEASE NOTE: The registration number shown in the photographs, 'BOB 48', is being retained by the seller.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: ATO 140K Chassis No: GHD5267412G MOT: ExemptAn original UK right-hand drive car which has been retro-fitted with a Rover V8 engineUnderstood to have been exported from the United Kingdom during the 1990sFormerly part of the Petitjean collection of StrasbourgPurchased by the vendor directly from the collection and repatriated to the United KingdomA more powerful alternative to the MG B came in 1973 with the introduction of the B V8 - a GT-only variant powered by the ubiquitous 3528cc Rover V8 unit. Though inspired by the conversions carried out by independent tuner Ken Costello, the factory V8 cars were somewhat less tuned, producing 137bhp rather than 150bhp – the output was nevertheless sufficient for a sprightly 0-60mph time of around eight seconds and a top speed of 125mph. With only 2,591 genuine factory V8’s manufactured, many B’s have since been uprated with V8 engines.Manufactured in 1972 and supplied new to the United Kingdom, the BGT was first registered on the 13th of January that year. Originally fitted with the 1798cc straight-four B-series engine mated to a four-speed manual transmission, ‘ATO 140K’ has been retro-fitted with a 3.5-litre Rover V8 engine. Finished in Red with Black interior upholstery and Black Webasto roof, the MG was originally presented in Orange with the colour change occurring in 1990, around the time ‘ATO 140K’ is understood to have been restored.Showing five former UK keepers, the MG is thought to have been exported during the 1990s before forming part of the Petitjean collection in Strasbourg of Marcel Petitjean (a former French racing driver who invested his returns from a business empire into rare cars). Entering into the collection in 2007, it remained there until 2020 when it was purchased by the vendor and repatriated into the United Kingdom.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: BFN 329Chassis No: 4851230MOT: ExemptCurrent family ownership since the mid 1960'sServed in the Western Desert in WW2Offered with Green logbook and a collection of old MOT's This rare surviving Ford 91C ambulance had the distinction of serving in the Western Desert campaign during World War Two before returning to these shores via Canterbury (hence the BFN registration). It subsequently continued to serve patients in the UK until its retirement and has been the current family ownership since the mid-1960s. Finished in Stateside Yellow with Green vinyl interior, it is powered by a replacement French-sourced 3.6-litre flathead V8 driving through a three-speed gearbox. BFN 329 was treated to a restoration in 2016/2017 and is now described as being in “very good” condition as regards its bodywork, paintwork and transmission with “excellent” engine and electrics. Offered with Green logbook and a collection of old MOT's it is sure to be welcome at shows and events and could even provide the next owner with an entry to the world of film hire.The 91C was produced by Ford UK in 1939 and was the last of the V8 models they built following their introduction in 1932. For the British market it was available as a two-door convertible, five-seat estate and four-door saloon. It was powered by a 3622 cc Ford sidevalve V8 and retained the transverse leaf suspension pioneered on the Model T. Some 1878 were built. Footnote: For more information, please contact:James McWilliamjames.mcwilliam@handh.co.uk07943 584760

Registration No: JC 4435Chassis No: A/EB263186MOT: ExemptCurrent registered keeper since 19661 of only c.800 made and a rare survivorThe subject of much past restoration work and comes with a bench seat for three-up motoring! Brainchild of Herbert Austin and Stanley Edge, the Austin Seven looked almost impossibly small when launched in 1922. Based around an 'A-frame' chassis equipped with all-round leaf-sprung suspension, four-wheel drum brakes and a spiral bevel back axle, it was powered by a sewing machine-esque 747cc sidevalve four-cylinder engine allied to three-speed (later four-speed) manual transmission. An evolution of the Type EB ‘65’ which itself had been inspired by the legendary Type EA Sports ‘Ulster’, the Type AEB ‘Nippy’ arrived during 1934. Visually near identical to its immediate predecessor with the same low-slung stance and distinctive rounded tail, the newcomer was predominantly bodied in steel over an ash frame (though, early cars utilised the same aluminium panelling as the Type EB ‘65’). Powered by a tuned engine allied to four-speed manual transmission and benefiting from a lowered centre of gravity, the Type AEB ‘Nippy’ proved an amusingly brisk and chuckable sports car. Phased out in 1937, total ‘Nippy’ production is thought to have amounted to just c.800 cars.The stampings on the accompanying continuation logbook are a little indistinct but it appears that the current registered keeper acquired this delightful Nippy in 1966. A true Seven enthusiast, he fitted a bench seat for three-up motoring but the past fifty-five years have only seen 10,000 miles or so added to the odometer! First registered in Caernarvonshire on 12th March 1937 (or so its ‘JC 4435’ number plate would imply), the Austin had migrated to Yorkshire by the 1960s. Fitted with a replacement engine that same decade, it is nicely detailed throughout with a badge bar, wooden dashboard, carpeted boot and rear-mounted spare wheel. The snug hood is complimented by sidescreens and wind deflectors. A rare survivor coming from long-term ownership, this wonderful Nippy is described by the vendor as being in ‘good overall’ condition with regards to its engine, gearbox, electrical equipment, interior trim, bodywork and paintwork. Offered for sale with continuation logbook, V5C Registration Document and bucket seats.Footnote: PLEASE NOTE: We have been contacted by the former Chairman of the PreWar Austin 7 Club to say that the mounting of the spare wheel on this lot is non-standard as is the way that the interior trim panels have been affixed. He also informs us that (a) the steering wheel is from an ordinary Austin 7 and (b) the engine dates from 1939.