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TRACEY EMIN (B. 1963)The Last Black Horse circa 1985 signed and titled on the reverseoil and wood collage on board45.4 by 30.5 cm.17 7/8 by 11 15/16 in.This work was executed circa 1985.Footnotes:ProvenanceBilly Childish Collection, London (gift from the artist)Acquired directly from the above by the present owner in 2008The artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.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

BILLY CHILDISH (B. 1959)Self Portrait 1982 signed SH and dated 82; inscribed SP 1 of 3 on the reverseoil on board 121.7 by 61.7 cm.47 15/16 by 24 5/16 in.Footnotes:ProvenanceCollection of the artistAcquired directly from the above by the present owner in 2008LiteratureBilly Childish, Childish - Paintings of a Backwater Visionary, London 2005, pp. 34, 173, illustrated in colourThe artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.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

TRACEY EMIN (B. 1963)Untitled 1984 dated 84 and inscribed TRACI XX on the reverseoil on board 33.9 by 23.3 cm.13 3/8 by 9 3/16 in.Footnotes:ProvenanceBilly Childish Collection, London (gift from the artist)Acquired directly from the above by the present owner in 2008The artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A TEADUST-GLAZED VASE, YONGZHENGChina, 1721-1735. The compressed globular body supported on a short tapered foot and rising to a slender waisted neck with flared mouth, the body encircled by two bowstrings. The magnificent tea dust glaze is applied evenly to the body and the inside of the vase, thinning distinctively to a dark red tone at the rim of the mouth and along the edges of the base.Provenance: The J. M. Hu, Zande Lou Collection. The padded silk box with an old note inscribed in Chinese, in parts referring to the present lot, described as 'Yongzheng Teadust-glazed Vase with peony [shape] and lines', confirming the dating above. Two old labels to the exterior of the box, 'M-132' and '128'. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with minor old wear and expected firing irregularities, including a small polished glaze flaw near the foot.Weight: 589.1 g Dimensions: Height 16.5 cm With a fitted padded silk storage box. (2)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 8 October 2020, lot 357 Price: HKD 250,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A fine large teadust-glazed latern vase, Qing dynasty, 18th-19th century Expert remark: Compare the related teadust glaze. Note the different form and larger size (46.5 cm). Also note that this lot is unmarked, exactly as the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 5 December 2019, lot 117 Price: USD 32,500 or approx. EUR 35,000 converted and adjusted for inflation at the time of writing Description: A Teadust-Glazed Double-Gourd Vase, 19th CenturyExpert remark: Compare the related teadust glaze. Note the different form and larger size (26 cm). Also note that this lot is unmarked, exactly as the present lot. 雍正茶葉末釉瓶中國, 1721-1735年。瓶口外撇、直頸長頎、溜肩、扁鼓腹，底承圈足。器形飽滿端正，重心下移，愈顯豐腴大方。整器通體施茶葉末釉，釉質潤澤，釉色勻凈而深沉。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A BRONZE DRUM, HAN DYNASTYChina, 202 BC-220 AD. The round instrument supported on a waisted base, the top and sides finely cast in relief with multiple concentric geometric designs including key-fret, triangles, and beads centered by a star design, with pairs of loop handles to either side. The drum produces a clear and distinct sound.Provenance: From a private collection in Berlin, Germany. The interior of the drum has an old collector's number written in faint phosphorescent paint, '60.'Condition: Good condition commensurate with age showing extensive wear and weathering, some casting flaws, old repairs, small losses, nicks, dents, and scratches. Fine, naturally grown patina with malachite encrustations. All as expected from a bronze drum with an age of roughly two millennia.Weight: 15.1 kg Dimensions: Height 29.5 cm, Diameter 53.3 cm Expert's note: Bronze drums such as the present lot are a percussion instrument used by various ethnic groups from the southwest of China. They were popular in Yunnan, Guizhou, Sichuan and Hunan Provinces, among which Yunnan and Guangxi have the largest numbers recorded. Both provinces share a border with Vietnam, home to the Dong Son culture, which in turn is well known for its own drums. Applied to sacrifice rituals, the drums were usually used to play music or accompany dance rites.The Yunnan Provincial Museum in Kunming houses an important collection of early bronze drums (Warring States through Western Han period) that were excavated from royal burials at Shizhai Shan and other locations in the vicinity of Lake Dian. This part of Yunnan, whose people and language were not originally Han Chinese, had been ruled by the independent Dian kingdom from about 500 BC. Bronzes from this period through the middle Western Han Dynasty (about 100 BC) are unique to the region and share many characteristics with bronze artifacts of Southeast Asia. Their decoration was also influenced by artistic styles of the Eurasian steppe.After surrendering to Han Wudi in 109 BC, the Dian kingdom was administered as a frontier commandery of the Han empire. Dian kings were retained as local rulers. From then on, the distinctive Dian regional bronzes were gradually replaced by Han-style bronzes, by the type of cultural assimilation that is called "Sinification" (literally, "becoming Chinese") by Chinese historians.Literature comparison:Compare a closely related but smaller drum in The Complete Collection of Treasures of the Palace Museum, Bronze Articles for Daily Use, Beijing 2007, number 78.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 29 September 2022, lot 265 Price: EUR 7,800 or approx. EUR 8,500 adjusted for inflation at the time of writing Description: A bronze drum, Han dynasty Expert remark: Note the similar central star medallion and the related forms of decoration. Note the size (51.5 cm). 漢代銅鼓中國，公元前 202 年至公元 220 年。圓形樂器，頂部和側面精雕細琢，採用多種同心圓幾何設計，包括串珠和三角形，以星形設計為中心，兩側都有成對的環形手柄。銅鈸可以發出清晰而獨特的聲音。 來源：來自德國柏林的私人收藏。鼓的內部有一個用磷光塗料寫的收藏編號：“60"。 品相：狀況良好，大面積磨損和風化、一些鑄造缺陷、小修、小損失、刻痕、凹痕和劃痕。精美、自然的包漿，帶有綠色結殼。 重量：15.1 公斤 尺寸：高 29.5 厘米，直徑 53.3 厘米 文獻比較: 比較一件非常相近但較小的鼓 ，《故宮博物院藏文物珍品全集・日常青銅用品》，北京，2007年，編號78。 拍賣比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2022年9月29日，lot 265 價錢：EUR 7,800（相當今日EUR 8,500） 描述：漢代青銅鼓 專家註釋：請注意相似的星形標誌在中央，以及相近的裝飾外形。請注意的尺寸 (51.5 厘米)。

AN IMPORTANT OVER-LIFESIZE ANDESITE HEAD OF BUDDHA, CENTRAL JAVANESE PERIOD, INDONESIA, 9TH CENTURYExpert's note: The current lot exhibits compelling similarities to the renowned group of Buddha statues from Borobudur and can in particular be compared to several examples found at the Rupadhatu level. While appearing similar, each Buddha statue within this group actually possesses subtle variations, encompassing varying hand positions (mudras) and distinct facial features. These nuances symbolize distinct facets of enlightenment, from compassion and wisdom to spiritual power. For a closely related statue from the same period, see an andesite statue of Buddha which remains in situ at Borobudur (fig. 1). This particular statue exhibits several shared facial characteristics with the current lot, including outlined lips and crescent-shaped eyes, which become particularly apparent when viewed side by side (fig. 2) or superimposed over each other (fig. 3).Superbly carved, the serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised circular urna, above a broad nose and full bow-shaped lips with a raised lower edge forming a benevolent smile, flanked by long pendulous earlobes with pointed helices. The hair arranged in neatly incised snail-shell curls over the high ushnisha.Provenance: From a European private collection, acquired before 2007, and thence by descent.Condition: Superb condition, commensurate with age. Extensive wear, expected losses, signs of weathering and erosion, minor nicks. The stone with a superb, naturally grown, dark patina overall.Weight: 25.2 kg (incl. stand)Dimensions: Height 42 cm (excl. stand) and 58.5 cm (incl. stand) With an associated stand. (2)The present andesite head epitomizes the ingenuity of the Central Javanese stone carvers of the time, with distinct characteristics such as the incised pupils, large and elongated ears, and masterful snail-shell curls, arguably the best-designed facial features across all Buddhist art. Furthermore, the present sculpture bears the telltale signs of smoothened areas where beholders were gripped with the overt temptation to caress the head, which combined with the porous nature of the stone give it a unique yet unmistakable and, without a doubt, inimitable appearance.A Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with stunning ease. The sculptors working on the great stone monuments of 9th century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison: Compare a related andesite head of Buddha, 36 cm high, dated c. 800, originally part of a sculpture at Candi Sewu, Java, now in the Museum of Fine Arts, Boston, accession number 43.6, illustrated by Ananda K. Coomaraswamy, “A Buddha Head from Java", Bulletin of the Museum of Fine Arts, Vol. 41, No. 244 (June 1943), pp. 33-34. Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur Buddha heads were created equal (1859,1228.175, 1859,1228.176, 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2016, lot 23Price: USD 509,000 or approx. EUR 596,000 converted and adjusted for inflation at the time of writingDescription: An important stone head of Buddha, Indonesia, Central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. While the Christie's example hails from a well-known collection, the current lot bears greater resemblance to pieces found in prominent museum collections. Both examples share similar features and size, but the current lot stands out as aesthetically superior. Note the related size (39.9 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 143Price: USD 170,500 or approx. EUR 207,000 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. Note the much smaller size (36.8 cm).

A LARGE AND RARE 'QILIN, MYTHICAL HOUND AND BUDDHIST LION' JAR, MING DYNASTY, JIAJING PERIOD, 1521-1567Expert's note: The combination of iron-red and green glazes was utilized primarily during the Jiajing period (1521-1567). According to Daisy Lion-Goldschmidt in Ming Porcelain, New York, 1978, page 164, in her discussion of the 'Red-and-Green' Group, this palette would come to dominate polychrome porcelains, eventually leading to the appearance of famille verte during the second half of the seventeenth century.China. The ovoid body is supported on a flat base and rises to a short and slightly flared neck with a lipped rim. Boldly painted in green, red, and aubergine enamels with three lobed panels enclosing a mythical hound, a Buddhist lion and a Qilin, each with a long snout and standing foursquare amid foliage and rockwork depicted in profile and facing the viewer, surrounded by floral sprays, all beneath a band of phoenixes and peony blossoms below the rim decorated with lingzhi sprays. Covered overall with a finely crackled transparent glaze of a pale-ivory tone, the interior with a dark brown glaze.Provenance: The J. M. Hu, Zande Lou Collection. An old, padded silk box fitted to the vase accompanies the lot. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art. Condition: Remarkably well preserved, commensurate with age. Expected old wear and firing irregularities, including some burst bubbles, firing cracks, tiny bumps, pitting, dark spots, and glaze recesses. Occasional light scratches. Minor chips to base, mostly smoothened over time. Small hairlines. Displaying exceptionally, due to its size and excellent condition.Weight: 13.5 kg Dimensions: Height 40 cm Literature comparison:Compare a related red and green enameled porcelain 'min yao' dish donated by R. Soame Jenyns, 30.3 cm in diameter, dated to the Ming dynasty, likely Jiajing, in the British Museum, registration number 1951,1010.1. Compare a related polychrome enameled jar decorated with horses, with a Jiajing mark and of the period, 18 cm high, in the Metropolitan Museum of Art, accession number 1991.253.58.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2023, lot 1036 Price: USD 32,760 or approx. EUR 30,000 converted at the time of writing Description: A very rare green and red-enameled 'fish' jar, Ming dynasty, 16th century Expert remark: Compare the related form and decoration. Note the different motif and smaller size (24.8 cm high). 嘉靖開光麒麟太獅罐中國。罐小口，豐肩，鼓腹，平足。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

Photography; A Canon Ixus 30 digital compact camera, boxed; An Olympus Camedia C-120 digital compact camera, boxed; An Olympus Camedia P 200 printer, an Olympus Camedia P-200 VA video adapter; A Fujifilm Finepix S5000 digital camera, boxed; A Fujifilm Finepix A340 digital compact camera, boxed; A Kodak Easy Share CX6200 digital camera, boxed; others etc.

A Georgian Bilston type enamel patch box, the lid inscribed "This day by day shall be my care your pleasures & your pains to share" 14.5 cm wide x 3.5 cm x 2.5 cm deep

CLEMENT HEATON (1861-1940) ARTS & CRAFTS JARDINIÈRE, CIRCA 1890 copper with applied cloisonné decorationDimensions:26.5cm highNote: Note: Clement Heaton, an early member of A.H. Mackmurdo’s Century Guild, set up his company Heatons Cloisonné-Mosaic Ltd at 6 Berners Street, London in 1887, a year after selling his share in his father’s lucrative stained glass business Heaton, Butler & Bayne for £4,800. He patented his enamelling technique in 1886, inspired by medieval techniques that precluded the firing process and instead used coloured cements: a mixture of resin, beeswax, sulphur marble dust and coloured pigments. Hardening over time, these cements could be polished to give the soft matt finish characteristic of Heaton’s work as seen in the present example.

Eleven Mattel Barbie dolls dating mainly to the 1990's including Share a Smile Becky 15761, Sharin' Sisters Gift Set 5761 and Family Holiday 14073, all in original boxes.

A Chelsea Village PLC commemorative share certificate

Zase ‘Green King’ Acrylic paint on a hollow fibreglass statue Measures: 229 x 50 x 209cm Approx weight: 57kg Artist Zase said of the unicorn, ‘I’m excited to share my latest art project with you all. It’s all about celebrating nature and the beauty of our planet. I’ve been using spray can only ! and incorporating natural elements like leaves and flowers into my piece. It’s been such a fun and fulfilling experience to create art that not only looks beautiful but also promotes sustainability. I hope my art inspires you to appreciate and protect our planet too!’ Green King spent the summer at North Street Green before being returned to auction in pristine condition, finished in a coat of anti-graffiti varnish.  Zase was born in Trencin, Slovakia and has been involved in art and graffiti since 1996. Back then, graffiti was still young in Trencin, but this only made him more determined to improve his skills and develop a style. He is both a skilled artist, and designer with many years of experience in the urban field. Zase offers a broad variety of services ranging from graphic design and print-ready artwork to commercial airbrushing and illustration. He has worked on brand advertising campaigns, commercial exteriors, interior displays, billboards and conventional walls and canvases. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site

COLLECTION OF EPHEMERA, STAMPS AND COINS including a framed set of Northern Rhodesia 1925-29, company share bonds, loose stamps depicting animals and birds, cigarette cards, banknotes and coins, also editions of The British Gazette from 1926

AFTER THE ANTIQUE, A CARVED MARBLE GRAND TOUR FIGURE OF THE EPHESIAN ARTEMIS POSSIBLY ITALIAN OR FRENCH, 19TH CENTURY Depicting Artemis (or Diana) as a deity of nature, protection and of fertility, wearing a mural crown emblematic of her city protection, with multitude of breasts or egg shaped nodules, an enveloping tight sheath skirt with panels of heads of animals, plinth base 118cm high Provenance: Robert Kime (1946-2022) Collection "All cities worship Artemis of Ephesus, and all individuals hold her in honour" Pausanias "Guide to Greece", 2nd Century A.D. The Temple of Artemis was a Greek temple dedicated to an ancient, local form of the goddess Artemis located in Ephesus near the modern town of Selçuk in present day Turkey. The worship was centred around the Goddess Artemis- not as the virgin huntress but rather as a goddess of fecundity and protection akin to the Phrygian goddess Cybele. By around 150 B.C., coins of the period show a figure much like this example. Most characteristic are the rows of gourd egg like objects around her upper midriff. Sometimes thought of as breasts (where the figure is then referred to as Polymastros), scholars have posited that they are instead gourds or pouches called kurša - others have suggested bees' eggs, dates and bull testes. The finest examples of mostly Roman statues of this are found in the Ephesus Archaeological Museum in Selçuk titled 'Artemis the Beautiful' and 'Artemis the Colossal'. Stylistically this example, with the distinctive exaggerated building above a plain swept veil, natural curled hair, suggests a later derivation- perhaps from the 18th century and 19th century prints produced depicting what was then referred to as Diana of Ephesus (see for example Le Magasin pittoresque, book 26, publ. Paris 1833). Examples produced by Righetti and others at this period tend to depict her more in the traditional fashion with disc like headpiece and a Polos crown. Another comparison should be made with the plaster cast version in The Sir John Soane's Museum (Museum number: SC51) as described by Soane in his 1835 "Description of the house and museum on the north side of Lincoln's Inn Fields, the residence of Sir John Soane"; 'A few steps up the staircase leading to the Attic story, in a niche, is a bust .... and in the niche above is a plaster Cast of the Ephesian Diana or Prolific Nature, presented to me by Messrs. Rundell & Co.' In the Curatorial Notes for the Soane example- it is commented that: "It is fascinating that the original letter sent to Soane with the statue refers to its being a cast from a Greek marble formerly in the possession of Rundell and Bridge because in fact this figure has rather a 'Regency' look and former Director, Tim Knox, has speculated that it might in fact be an early 19th century sculptor's version of the Ephesian Diana rather than a cast after the antique." As with this example from The Kime Collection, both share a softened more idealised presentation of the form with a face that is more suggestive of a Regency approach to Classical beauty. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The reverse shows clearly that this has been broken into several pieces at the upper end of the figure and repaired- also visible to the front. There's a clear line also across slightly lower which may be from construction suggesting use of sectional composition. Edge loss and wear- some scuffing around nose and mouth and what appears to be some deposition of material to her left cheek. old iron inserts at wrists- surface dirt which has become engrained. Wear to base edges Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.As catalogued this is 118cm high overall Condition Report Disclaimer

A FINE CHARLES II TREEN LIGNUM VITAE WASSAIL BOWL C.1670with a plain body on a turned stem and spreading foot, the contemporary silver rim with the inscription 'Antony RINDO + EXETER' above an engraved border of foliate lobes 26.5cm high, 25.2cm diameterProvenancePurchased from Maria Baer, Davies Street, London. The Adler Collection of Treen.Catalogue Note A legacy of Anglo-Saxon culture, wassailing ceremonies traditionally occurred on important feast days, especially Twelfth Night. The term 'wassail' itself derives from the Anglo-Saxon 'waes hael', meaning 'good health'. This expression of well-wishing was exchanged as the wassail bowl was passed round the table for guests to share its contents of mulled ale. The bowl had become, by the Stuart period, a significant status symbol and grew greatly in size during the 17th century, thanks to the adoption of lignum vitae as a turnery wood around 1660. With its large hardwood core and its particular durability, this timber revealed itself ideal for making large drinking vessels, especially as its sap was also considered to have healing properties. The pinnacle in this production is arguably epitomised by Post-Restoration wassail bowls, such as the example offered here. Recent examples of this date sold in these rooms include lot 14, 4th October 2017, which fetched £14,000 hammer, as well as lot 101, 6th July 2021, which achieved £8,500 hammer and lot 43, 3rd April 2019, which made £6,500 hammer.

A qty of Chinese share certificates

Registration - XJW 470GChassis No - 2064025M.O.T. - August 2024Odometer 62,154 The Fiat 500 packed a huge amount of Italian flair into a tiny package and, with its smart dark blue paintwork and black-piped ochre-coloured trim, ‘XJW 470G’ is a pleasing example of Italy’s much adored ‘people’s car’. First UK registered on June 24, 1969, this nimble little right-hand-drive motorcar has recently undergone a sympathetic restoration that included a full respray and new trim, while the underside was freshened up and finished in black. Its steel wheels sport quality Pirelli tyres, and the flip-back fabric sunroof allows driver and passengers to make the most of fine days. Accident damage caused the Fiat to be declared a CAT S insurance write-off in 2020 but, following the installation of a new rear quarter and much recent expenditure, ‘XJW 470G’ is now ready to share its undoubted charisma with a new owner. MOT records show that the car has covered just 1,000 miles in the past decade and confirm the total indicated figure of 62,154. The vendor describes the car’s all-round condition as ‘excellent’ and he believes that the four-speed gearbox is a later all synchromesh example. In the post-war austerity of the 1950s there was a race to develop small cars that required less steel to build and less fuel to run. Germany had already led the way with the Beetle, in France Citroën was not far behind with the 2CV and the UK was soon to develop the Mini. In Italy, Fiat gave its Lead Engineer Dante Giacosa broadly the same brief, and he met it with arguably the most stylish design of all the new compact cars. In July 1957 the Nuova 500 was born, meeting Fiat’s requirement to seat four adults in (relative) comfort while utilising a shell that was less than 10’ long. Echoing the VW Beetle, its 479cc engine was rear-mounted. The specification of the first incarnation included a full-length fabric foldable roof and ‘suicide’ doors. The 500D, introduced in 1960, featured a smaller sunroof and an uprated 499cc engine producing 17bhp, while the 500F of 1965 had front-hinged doors. In summary:A recently-restored example of an ever-popular Italian classicNew paintwork and trim in an attractive colour combinationJust 1,000 miles covered since 2013

KAWS (Né en 1974) X MEDICOMTOYCompanion Share, 2020 Figurine en vinyle peint, bras articulés, état d'origine proche du neuf. Estampillé sous le pied. Open Edition Share Médicom Toy,TokyoHauteur : 30 cm

Bergbau - - Johann Wolfgang von Goethe. Gedruckte Zubußen-Quittung für eine Nachzahlung auf den Ilmenauer Kux Nr. 373 mit eigenhändiger Unterschrift "JWvGoethe" als Leiter des Ilmenauers Bergbaus und eh. U. von Bergrat Christian Gottlieb Voigt auf Bütten. Weimar, 20. Sep. 1791. 1 Bl. (ca. 11,5 x 17,6 cm). "Ein neuer Louisd'or oder Vier Laubthaler sind wegen des Ilmenauer Kuxes oder Bergtheils No. 673. zu dem in der Vierten Bergwerksnachricht am 24sten Februar d. J. ausgeschriebenen gewerkschaftlichen Nachtrage baar entrichtet worden, worüber hierdurch quittiert wird. Weimar, den 20ten Sept. 1791. Sr. Hochfürstl. Durchl. zu Sachsen-Weimar und Eisenach gnädigst verordnete Bergwerks-Commission." - Geglätteter Mittelfalz, horizontale Qeutschfalte im oberen w. Rand, mit sauber hinterlegtem Einschnitt, insg. wohlerhalten. - Ein Kux bezeichnet einen Anteil an einem Bergwerk, das als bergrechtliche Gewerkschaft betrieben wird. Wenn die Gewerkschaft Kapital benötigte, waren Kuxinhaber zur Zubuße verpflichtet. - Die Wiedereröffnung des Ilmenauer Bergwerks 1784, im Zuge derer Goethe eine Bergwerkskommission, der u.a. die beiden Unterzeichneten angehörten, gründete, wurde im Auftrag Herzog Carl Augusts von Goethe betrieben, das seit 1776 unter dessen Leitung stand und der angeschlagenen Wirtschaft Sachsen-Weimars zum Aufschwung verhelfen sollte. Mining. - Printed receipt for an additional payment on the Ilmenau Kux No. 373 with handwritten signature "JWvGoethe" as head of the Ilmenau mining department and signature of mining councillor Christian Gottlieb Voigt on handmade paper. 1 sheet. - Smoothed centrefold, horizontal smoothed crush fold in upper white margin, with neatly backed cut, overall well preserved. - A Kux denotes a share in a mine operated as a mining union. When the union needed capital, Kux holders were obliged to contribute. - The reopening of the Ilmenau mine in 1784, in the course of which Goethe founded a mining commission, of which the two undersigned were members, was operated by Goethe on behalf of Duke Carl August, which had been under his management since 1776 and was intended to help the ailing economy of Saxony-Weimar to flourish.

Tinner's Cottage: A South Crofty share certificate, a Tinners Ale plaque & a model of mounted tin grinding balls

Denis Law's final player's contract as a professional footballer: a Manchester City Player's Contract for season 1974-75,drawn up on behalf of MCFC by the Club Secretary J B Halford, an agreement for the player to be paid £100 per week between 1st July 1974 and 30th June 1975, plus an additional fee of £110 per first-team appearance, and the £125 balance of the share of the signing on levy; plus entitlement to standard club bonuses, fully-signed by the player and secretary Denis Law only played two competitive games in season 1974-75, both in the pre-season Texaco Cup competition. Although signing a contract, manager Tony Book had told Law that he would only be playing for the reserves in the forthcoming League season. Law did not want to end his illustrious career in this fashion, also having represented his country at a World Cup in the summer, and formally retired as a pro on 26th August 1974.

Manchester City Player's Contract for Denis Law for the 1973-74 season following his transfer from Manchester United,drawn up on behalf of MCFC by the Club Secretary J B Halford, an agreement for the player to be paid £100 per week between 2nd July 1973 and 30th June 1974, plus a bonus of £4,500 on completion of 25 first-team matches, a further bonus of £4,500 on completion of contract, and a £250 share of the signing fee to be paid in two instalments after one and two years; plus entitlement to standard club bonuses, fully-signed by the player and secretary

A finely embroidered folder presented to Jane McGillRussian, late 19th centurythe presentation folder dedicated to Jane McGill (Evgenia Ivanovna McGill, 1832-1918), the front with armed figures in the medieval style within a floral design beneath a Red Cross, the Cyrillic dedication reading 'To the Generous and Affectionate Patroness of the Evangelical Field Hospital, Evgenia Ivanovna McGill', 43.5cm high x 31cm wideFootnotes:Evgenia Ivanovna McGill (Jane McGill, née Hastie, 1832-1918) was the widow of the merchant Roman Romanovich (Robert) McGill (1824-1893) and an entrepreneur, public figure and philanthropist, with whose name several notable buildings are associated. Sister of Charles Hastie (1845-1919), a Scotsman who lived in Moscow, following the death of her husband she inherited a significant fortune and several industrial enterprises, including a share in the capital of the Vysokovskaya manufactory in the city of the same name. Grieving the death of her husband, she decided to donate money to charity in his memory. Her husband had began to build the Anglican Church of St. Andrew in Moscow and Jane McGill continued this work.During the First World War, Jane McGill organized and funded a hospital in which soldiers wounded at the front were treated, this folder was presented most likely by the wounded soldiers as a gift.For further information on this lot please visit Bonhams.com

Passing Phrase - Sponsor: S. Stibbards & Sons Ltd Artist: Judy Goring Elephants are known to have strong family bonds and gather around the injured of their herd. They share sorrow and bring comfort to each other in exactly the same way as humans do. Judy wanted her elephant to carry some of the words and phrases used by people; during her dad’s illness and at his funeral. Passing Phrase is dedicated to Judy's dad, Tony Perry (1933 - 2021). The Mandala dot painting was picked as the style after Judy taught a workshop on the art form and realised how relaxing and calming this style was, taking the pupils away from the pressures and thoughts of everyday life

Marina - Sponsor: WINNS SERVICE Artist: Jina Gelder Marina celebrates the species native to our seas. As Southend is a coastal city, Jina wanted to show visitors to the trail what can be found in our oceans. The design also raises awareness of the species we share our spaces with and why we need to look after our oceans.

RUSSIA, NICHOLAS II 500-ROUBLE BANKNOTES 1912 (KM 14) 275 approx., generally from circulation but some uncirculated, 100-Rouble banknotes 1910 (KM 13) (154 approx), from circulation, Poland, 100-Marek (3) 1916 (KM 15), 1919 (KM 17), a Russian share certificate for 10-Roubles dated 1864, and a letter dated 1930 from the Bank of London & South America Limited to Follett Holt. (lot) These banknotes were formerly in the possession of Sir Follett Holt KBE (1865-1944) who became chairman of Entre Rios railways in Argentina Condition Report: There is no condition report available for this lot and is sold as found   Condition Report Disclaimer

Great Britain 1848 - Partial railway share option list from London stock and share brokers posted to Daventry, SG8, 1d red cancelled with Bow numeral strike. Maltese Cross Cancel 3AP3/1848 Daventry/AP4/1848 cancel

A «Mwana Pwo» Mask, wood, fibers and metal, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), minor defects, from the region of Saurimo, province of Lunda-Sul. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 7 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa)- Angola, pp. 13-14. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 4, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila»; - on the cheeks: «Masoji» (tears), «Tubenga» (which is not straight); - on the nose: «Cangongo». - The nasal septum is perforated to be crossed by a stick (mutondu wa zulu), ethnic mutilation that was widely used by the populations of northeastern Angola, but is now in disuse. - Several cross-shaped signs (variants of «mipila»?) all over the face. On the forehead are two brass head studs. [...] Purchased on May 30th. [19]70 to Sanssango Tchiouga, a Tshokwe dancer who represented(?) in the Lumeje region. This dancer lived in the Soba Jamba sanzala (Luena), north of the C. F. Benguela railway line [...]. The mask, his costume and two rattles were kept in a good wooden box with a lid [...]. Purchasing the mask was very difficult because the dancer said that the mask had come from the region of Saurimo (Henrique de Carvalho) and that in Lumeje there was no sculptor who could make another one as beautiful and good [...]. For this reason, after a long conversation, not only with me, but also with his friends, whom he asked for advice, he decided to sell it [...] but when he handed it over, tears came to his eyes, it was a pity to part with it and to have to go without dancing for a while until he found another". According to Marie Louise-Bastin "The name of the mask is Pwo, "Woman", or Mwana Pwo, "Girl". It used to represent a mature woman who had proved her fertility by having a child. More recently, due to changing African values - possibly under European influence - this mask has represented a girl and the hope of having many children. The male masquerade, embodying the female ancestor, guarantees fertility to the spectators during his performance. He has fake breasts and wears cloth draped around his hips and a heavy crescent-shaped belt that bounces up and down as he moves his back. In the past, these gestures were discreet and elegant in order to teach women graceful manners. When ordering a mask, the dancer offered a brass coin, the symbolic price of a bride. Treated as if it were a person, the mask was often buried by the death of the dancer, whose profession generally passed to the nephew. A professional sculptor ('songi') was then tasked with producing a new mask, a process that formerly took several weeks. He worked in the bush, using as a model a woman whose beauty he admired. To that end, he took every opportunity to meet her and observe her features, including her tattoos, hairstyle, and jewelry. For this reason, female masks are often portraits; although they share the fundamental characteristics of all Tshokwe sculpture, each piece varies in subtle ways. The technical mastery of the sculptor, combined with the inspiration caused by the model, explain the great variety of sculptural expression always found in Tshokwe art. The «mukishi wa Pwo» adorns many objects, such as drums, sanzas and knife sheaths. When a female image works as a counterpoint to a representation of the male «Cihongo» mask, reference is also being made to the «Pwo». If the owner of the «Pwo» mask became ill, it was customary to consult a diviner to find out if it was the spirit of the «Pwo» mask that was causing the illness. If the dancer no longer had a mask, he would order a new one and inaugurate it near the «cota», after his wife had sacrificed a chicken over the head of the mask. He would then dance before the assembled village. Finally, there would be a communion meal between the dancer and his wife. The same ritual would be performed in the case of someone who had neglected a mask still in use. The dancer kept the «Pwo» mask usually in the «mutenji» hut outside the village or hidden in a basket in his own house.) cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, pp. 102-103. Para o mesmo tipo de máscara vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (como "Masque Pwo/Pwo"); o catálogo "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nºs 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nºs 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; o catálogo do leilão realizado a 1 de Fevereiro de 2023 na Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; e https://www.metmuseum.org/art/collection/search/319264?ft=Pwo&offset=0&rpp=40&pos=1, consultado a 14 de Março de 2023 às 15:37., Dim. - 19 cm

Ed Mell, the accomplished American artist renowned for his captivating interpretations of the Southwestern landscape, has left an indelible mark on the world of art. Born in 1942, Mell's distinctive style harmoniously melds abstraction and representation, resulting in bold compositions that embody the rugged beauty of the American Southwest. His paintings, characterized by vivid color palettes and geometric forms, transport viewers to the vast mesas, canyons, and deserts of the region. Through his work, Mell captures the interplay of light and shadow, infusing his landscapes with an enduring sense of grandeur and timelessness. Beyond painting, he has ventured into sculpture and public art, further contributing to the artistic landscape. Mell's deep connection to nature resonates in his creations, inviting viewers to share in his appreciation for the ever-changing qualities of light that shape the Southwestern vistas. His artistic influence is a testament to the cultural significance of the region, making him a cherished figure in contemporary Southwestern art and beyond.Measures 24 x 30.

Keith Haring (1958–1990) was an American artist and social activist known for his distinctive visual language that combined graffiti-style elements with pop art influences. He gained widespread recognition for his iconic and instantly recognizable drawings of simple figures and shapes, often in bold, vibrant colors.Haring's art was deeply rooted in his personal experiences and beliefs, particularly his concerns about societal issues such as AIDS awareness, apartheid, drug addiction, and other social injustices. He used his artwork as a form of activism and frequently employed public spaces, such as subway stations and city walls, to share his messages with a broader audience.Some key aspects of Keith Haring's work include:1. **Iconography**: Haring's art featured easily recognizable symbols and figures like radiant babies, barking dogs, crawling babies, and dancing figures. These simple and universal forms made his work accessible and relatable to people from various backgrounds.2. **Pop Art Influence**: Haring was influenced by the pop art movement and drew inspiration from artists like Andy Warhol. He often used bright colors and bold lines reminiscent of comic book aesthetics.3. **Social Activism**: Throughout his career, Haring used his art to raise awareness about social issues, especially the AIDS epidemic. He was openly gay and advocated for LGBTQ+ rights. His work also addressed themes of racial inequality and drug addiction.4. **Public Art**: Haring was known for his public art projects, including murals and installations in public spaces. The "Crack is Wack" mural, for instance, became a significant landmark in New York City.5. **Collaborations**: Haring collaborated with other artists, musicians, and performers, blurring the lines between art and various forms of creative expression.6. **Legacy**: Keith Haring's legacy lives on through his art, which continues to inspire artists, activists, and people around the world. His foundation, the Keith Haring Foundation, was established in 1989 to support organizations that address issues such as AIDS, children's programs, and the arts.Tragically, Keith Haring passed away at the age of 31 due to complications from AIDS in 1990. His impact on the art world and his dedication to using art as a means of social change continue to be celebrated and remembered to this day.Measures 24 x 33.

Ed Mell, the accomplished American artist renowned for his captivating interpretations of the Southwestern landscape, has left an indelible mark on the world of art. Born in 1942, Mell's distinctive style harmoniously melds abstraction and representation, resulting in bold compositions that embody the rugged beauty of the American Southwest. His paintings, characterized by vivid color palettes and geometric forms, transport viewers to the vast mesas, canyons, and deserts of the region. Through his work, Mell captures the interplay of light and shadow, infusing his landscapes with an enduring sense of grandeur and timelessness. Beyond painting, he has ventured into sculpture and public art, further contributing to the artistic landscape. Mell's deep connection to nature resonates in his creations, inviting viewers to share in his appreciation for the ever-changing qualities of light that shape the Southwestern vistas. His artistic influence is a testament to the cultural significance of the region, making him a cherished figure in contemporary Southwestern art and beyond.Measures 24 x 30.

Ed Mell, the accomplished American artist renowned for his captivating interpretations of the Southwestern landscape, has left an indelible mark on the world of art. Born in 1942, Mell's distinctive style harmoniously melds abstraction and representation, resulting in bold compositions that embody the rugged beauty of the American Southwest. His paintings, characterized by vivid color palettes and geometric forms, transport viewers to the vast mesas, canyons, and deserts of the region. Through his work, Mell captures the interplay of light and shadow, infusing his landscapes with an enduring sense of grandeur and timelessness. Beyond painting, he has ventured into sculpture and public art, further contributing to the artistic landscape. Mell's deep connection to nature resonates in his creations, inviting viewers to share in his appreciation for the ever-changing qualities of light that shape the Southwestern vistas. His artistic influence is a testament to the cultural significance of the region, making him a cherished figure in contemporary Southwestern art and beyond.Measures 24 x 30.

NO RESERVE δ Ephemera.- The Way to be Happy all the Day Long, printed broadside, faint vertical and horizontal fold, slight toning along folds, tiny tear to inner-margin, [not on WorldCat], 385 x 250mm., Derby, Wilkins, 1800; and a small quantity of other mixed ephemera, including: an invitation from the Taluqdars of Oudh to meet "the Lieutenant Governor and Lady Hewett" at the Kaiserbagh Baradari; a Spirit Licence dated 1838; an invitation to the Sheriffs Ball 1899 at the Hotel Cecil; two laid-down share certificates; a few loose caricatures; a collection of signatures, doodles &tc on 1p. Savage Club Menu headed paper, dated 1924; a 19th century printed broadside poem "Owd David-at-Major's" &tc, housed together in a modern card portfolio, v.s., v.d., (Sm.Qty.)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 500 pounds, 2022. Royal Mint. Proof. The ninth design in the Chinese Lunar Year - Shēngxiào Collection, there were several different strikes for the Year of the Tiger with varying compositions and denominations which all share David Lawrence's design. Fifth Portrait of Queen Elizabeth II facing right, JC below. Legend around "ELIZABETH II · D · G · REG · F · D · 25 POUNDS ·". Design by Jody Clark./ An image of a Tiger. Legend above "YEAR OF THE TIGER · 2022 · DL · 虎". Design by David Lawrence. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded NGC PF 69 ULTRA CAMEO, certification number 2144381-002. NGC Census in this grade: 1.NGC Census in higher grade: 4Total NGC Census: 5Mintage: 118.Diameter: 50 mm.Weight: 156.30 g. (AGW=5 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 500 pounds, 2022. Royal Mint. Proof. The ninth design in the Chinese Lunar Year - Shēngxiào Collection, there were several different strikes for the Year of the Tiger with varying compositions and denominations which all share David Lawrence's design. Fifth Portrait of Queen Elizabeth II facing right, JC below. Legend around "ELIZABETH II · D · G · REG · F · D · 25 POUNDS ·". Design by Jody Clark./ An image of a Tiger. Legend above "YEAR OF THE TIGER · 2022 · DL · 虎". Design by David Lawrence. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). Mintage: 118.Diameter: 50 mm.Weight: 156.30 g. (AGW=5 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

LONDON, Covent Garden, Theatre Royal, Second Theatre, Retirement of John Kemble, 1817, a silver medal by J. Warwick, bust right, rev. thou last of all the romans, etc, edge impressed retired from the stage 23d june 1817, named (Mr John Field), 41mm, 37.30g (W 559; D & W 139/299; BHM 1210 [recté 1817]). Trifling surface marks and rim nicks, otherwise extremely fine and dark-toned, very rare £150-£200 --- Provenance: J. Spencer Collection, DNW Auction M11, 13 July 2011, lot 1021; D. Young Collection John Philip Kemble (1757-1823), second son of Roger Kemble and brother of the actress Sarah Siddons, first appeared on the stage in 1776. He made his debut at the Theatre Royal, Drury Lane, in 1783, and by 1788 had become its player-manager, a post he held until 1802 when he resigned after a dispute with the theatre’s then owner, Richard Sheridan. In 1803 he became manager of the Theatre Royal, Covent Garden, in which he had acquired a sixth share for £23,000, but the infamous fire on 20 September 1808, and the raising of admission prices after the opening of the new theatre in 1809, almost ruined him; he was only saved when the Duke of Northumberland came to his rescue with a generous loan of £10,000, later converted into a gift. Kemble took his final leave of the stage in the part of Coriolanus on 23 June 1817, and died in Lausanne.

Mezan Jamaica XO Rum (1)Sampan Rum 2018 Vieux Cellar Series Cognac Cask (Vietnam) (1)Don Papa Gayuma (1)Renegade Rum Pre-Cask Old Bacolet (1)Renegade Rum Pre-Cask Dunfermline (2)The Demon's Share 15YO Reserva de Bodega (Panama) (1)The proceeds from this lot will be donated to the following charities: EACH (East Anglia's Children's Hospices), RNLI, The Beeston Hall School Trust Ltd and the Worshipful Company of DistillersLying at LCB Barking

A Lumix FZ200 digital camera, Kodak desk printer, Kodak Easy Share digital camera, Exa 35mm camera and a Brownie Junior six-20 box camera, together with tripod and accessories.

New Orleans Great Northern Railroad Company share certificate, dated 14th January 1927, A870, 20 x 29cm, The Pennsylvania Railroad Company share certificate, dated 2nd August 1937, number N788107, 19.5 x 29.5cm, and the Russian Tobacco Company share certificate, dated 29th October 1915, warrant number C2016, 36.5 x 25.5cm, all framed and glazed

2 Comptometer-Rechenmaschinen und 1 Aktie1) Comptometer Modell No. 1 in Mahagonigehäuse, 1887, Schaltschwingenmaschine, hergestellt von Felt & Tarrent, Chicago. 8-stelliger Schnelladdierer mit Direktantrieb, Mahagonigehäuse, Serien-Nr. 3954, sehr gut funktionierender Zustand. - Literatur: Martin, S. 94. - Wichtiges rechenhistorisches Sammlungsstück aus der Frühgeschichte! - 2) Comptometer, um 1920, Kupfergehäuse, Mechanik hakt. - Und: 3) Aktie der Comptometer Corporation, datiert 15. August 1961. Start Price: EUR 600 Zustand: (2-3/-)2 Comptometer Calculating Machines and a Share1) Comptometer model No. 1 with mahogany body, 1887, Felt & Tarrent, Chicago, no. 3954, first model, 8-digit fast adding system and direct drive, in original condition, very good working condition. - Literature: Martin, p. 94. - Important exhibition piece. - 2) Comptometer, c. 1920, copper case, mechanism sticks. - And: 3) Comptometer Corporation share, dated 15 August 1961. Start Price: EUR 600 Condition: (2-3/-)

Kaws (American 1974-), 'Share (Brown)', 2020, painted cast vinyl figure, stamped to the underside of the feet, manufactured by Medicom Toy; 30.5cm tall30.5cm tallIn excellent conditionStored inside its original packaging as issued.Some production imperfections may appear due to the nature of the material.

Large Collection of Various Share Certificates, includes U.S.A Railroad, General Motors, Manchester Carriage Company, etc.

A quantity of camera equipment, comprising a Kodak Easy Share digital camera, a Praktica M2A5B camera, modern digital cameras, Olympus, Canon and others, a Fujifilm Instax 100, etc. (1 box)

DE GAULLE CHARLES: (1890-1970) French General of World War II. Later President of the French Republic 1959-69. T.L.S., `C. de Gaulle´, one page, 4to, n.p., 26th October 1950, to General Ingold, on his printed letterhead bearing `Le Général De Gaulle´ to the heading, in French. A very interesting thought by De Gaulle, expressing in a bitter way how the services given to the homeland are valued few years after the end of WWII, and how they have to suffer such behaviour. De Gaulle responds to his correspondent´s letter, and states in part `Je comprends et partage vos sentiments en apprenant la mesure qui vient d´atteindre Roger Malfette. Il m´avait écrit pour me dire ses craintes à ce sujet. Malheureusement, dans le regime que nous subissons actuellement, les services rendus au pays, si éminents soient-ils, ne comptent guère en regard des intérêts de parti´ (Translation: `I understand and share your feelings on learning the measure that has just affected Roger Malfette. He had written to me to tell me his fears on this subject. Unfortunately, under the present regime, the service given to the country, no matter how high, counts for little against party interests´) Very small overall minor age wear, otherwise G to VG General François Ingold (1894-1980) was the military Commander of the Niger-Dahomey-Togo Niamey forces. He participated in World War One and was injured. He joined General de Gaulle in 1940. As Officer of the FFL he participated in the Liberation. Roger Malfettes (1918-2009) Officer of the FFL who participated in the Liberation. He was at the time of the present letter, chief of subdivision in Dahomey. 

ANNE: (1665-1714) Queen of England, Scotland and Ireland 1702-07. A fine L.S., Anna R, with a holograph subscription, three pages, folio, Palace at Windsor, 3rd July 1709, to Franz Ludwig, Count Palatine, Bishop of Worms, and Johann Wilhelm, Count Palatine on the Rhine, Elector of Bavaria, in Latin. The Queen writes, in part, 'Most illustrious and excellent Prince, dearest cousin and friend, as well as most serene Prince, dearest brother, cousin, and friend, the new peace negotiation by the French, which is too little sincere, has no doubt already been made known [and] it would be superfluous to explain to Your Excellency and Your Electoral Excellency with how much unworthiness the most Christian King not only refused to have several preliminary articles concluded in The Hague confirmed, & after their having been approved by his plenipotentiaries, but also in contempt of all his allies, he has abused [them] through insinuations he has thought up to enrage the spirits of his subjects. We hope indeed that the long since renowned skills will remove the anger from all hearts and that the allies will all be of the same mind as We that there will in no way at all be a just, honest, stable, comprehensive peace until the arrogant common enemy, who has out of weakness so violently brought on war from all sides, withdraws, that he must by necessity or unwillingly desist. These things may already speak for themselves. We nonetheless, from Our concern for the public weal, deemed it to be not unseemly to appeal with Our exhortation to Your Excellency and Your Electoral Excellency to urge and cause everyone of authority in the region of the Upper Rhine by most grave admonishments to support it, as well as to provide a share of fighting forces, of soldiers and funds, and also at this moment, by which the moments of the greatest causes turn to Our example and that of the order of the general domains of the Belgian Federation, to send men and funds & thus expand the German combat army on the Upper Rhine and fortify it by means of the things needed for war, so that not only the boundaries of the Empire are protected, but also the provinces broken off at the time can be reintegrated. This sole hope of a war to be completed with glory and a peace to be maintained with security. To this be added the hope for divine grace, which will not be rejected as unseemly, health, liberty, and event the indignation at such an enemy. We thus humbly appeal to Your Excellency and Your Electoral Excellency to take active part in the cause, for haste is necessary so that this best occasion not slip from our hands…..' Countersigned at the foot by Henry Boyle (1669-1725) 1st Baron Carleton, Anglo-Irish politician who served as Chancellor of the Exchequer 1701-08, Northern Secretary 1708-10 and Lord President of the Council 1721-25. With integral address panel bearing a blind embossed paper seal (neatly split). Annotated in ink at the head of the first page to record that the letter was received at Erfurt on 29th July 1709. A letter of interesting content and association written during the Spanish War of Succession (1701-14), the European great power conflict which arose from the death of the childless King Charles II of Spain in November 1700 and led to a struggle for control of the Spanish Empire between his heirs, Philip of Anjou and Charles of Austria, and their respective supporters, among them Spain, Austria, France, the Dutch Republic, Savoy and Great Britain. Some very light, extremely minor age wear, VG Franz Ludwig of Palatinate-Neuburg (1664-1732) Prince-Elector of the Holy Roman Empire, Prince-Bishop of Worms 1694-1732. Johann Wilhem II (1658-1716) Elector Palatine 1690-1716, brother of Franz Ludwig.

SANTA CRUZ ANDRES: (1792-1865) Andres de Santa Cruz y Calahumana. President of Peru 1827 & 1836-38, and President of Bolivia 1829-39. An excellent L.S., `Sta Cruz´, one page, 4to, La Paz, 22nd December 1831, to Colonel Pedro Torres, in Spanish. Santa Cruz to his correspondent´s letter and states in part `..you refer to the part of the million reward which has been approved by decree for the Liberatory Army at the 1st Bolivian Assembly…the only amount I have been authorized to distribute as been 80.000 p..and having received so many requests, it has been necessary to share the whole proportionally.´, further saying `Nothing would have made me feel better than showing to you my personal consideration, and I will never forget the merit of all the good officers who under my lead have served with such honesty to the American Liberty cause…´ A letter of very interesting historical content. Folded, with small overall age and staining, mostly to edges. G 

PUCCINI GIACOMO: (1858-1924) Italian composer. A.L.S., with abbreviated signature, to one side of a postcard, Milan, 2nd February 1921, to his brother-in-law Raffaello Franceschini, in Italian. Puccini in a friendly way states, in part, `Vedi, io sono piu gentile di te - forse e una tortura… - tu ti struggi e io ti ayuto con i desideri inutili. Tu mi mandi la canna? caro mio quando te ne servi lo so, l´empi divino´ (Translation: “You see, I'm kinder than you - Maybe it´s a torture… you yearn and I help you with your useless desires. Are you sending me the rod? Hand addressed by Puccini to Franceschini in Pescia, Toscana. The postcard shows to the front an attractive colour image of a young Lybian girl. Postmarked and stamped. G Raffaello Franceschini (1854-1942) husband of Puccini´s one-year younger sister, Ramelde Puccini (1859-1912). Franceschini was working as tax collector in Pescia. Puccini and his brother-in-law maintained a long-time friendly relationship, and used to share the hunting journeys.  

GUILLOTIN JOSEPH-IGNACE: (1738-1814) French physician whose name is eponymous with the guillotine, which he proposed as a device to carry out death penalties in France during the French Revolution. L.S., Guillotin, as President of the Comite de Salubrite, one page, folio, Paris, 3rd November 1790, to the Regent Deans and Doctors of the faculty of medicine, in French. The letter states 'Le comite de salubrite ayant d'eja demande a la faculte de medecine de Paris de vouloir bien lui faire part des vues de ses membres sur la restauration de l'art de guerir, desire se procurer un complement de lumieres......Il prie en consequence M. M. Les Doyens et Docteurs Regent de la faculte de medicine de nommer un depute pour assister en leur nom a ses seances et y apporter le voeu de la compagnie sur les questions importantes dont la Comite s'occupe et sur lesquelles sera fondee la constitution medicale du Royaume' (Translation: 'The Health Committee having already asked the Faculty of Medicine of Paris to share with it the views of its members on the restoration of the art of healing, wishes to obtain additional information…..It therefore requests the Regent Deans and Doctors of the Faculty of Medicine to appoint a deputy to attend its meetings on their behalf and bring to them the demands of the company on the important questions with which the Committee is in charge of and on which will be based the medical constitution of the Kingdom'). Countersigned by Jean-Gabriel Gallot (1744-1794) French politician, secretary of the Comite de Salubrite. With blank integral leaf. VG

A wonderful original Disney sketch of Mickey Mouse, made for a studio employee in the 1940sDISNEY WALT: (1901-1966) American animator, Academy Award winner. An excellent, original pencil drawing signed by Walt Disney, one page, 4to, n.p. (Burbank. California), n.d. (1940s). Disney has executed a swift, although highly appealing, image of the head of Mickey Mouse, undoubtedly his most famous creation. Boldly signed ('Walt Disney') with a large signature immediately beneath the sketch. Matted in pale brown within an oval aperture alongside a photograph of Disney in a smiling head and shoulders pose and attractively framed and glazed in a modern decorative frame to an overall size of 20.5 x 14.5. A wonderful original drawing, both rare and highly desirable. One light, minor stain to the head of the page, not affecting the image or signature, VGProvenance: Accompanied by a typed letter of provenance signed by Michael Miller, dated 22nd March 2023 and stating, in part, 'My mother, Suzanne (Suzie) Miller started working at Walt Disney Studios in Burbank, California on the 21st of October 1940. She worked there until 1944 in the eight wing animation building, and would work around artists, animators and story men…..Walt's office was also used for conferences with directors, animators, artists and any creative team would share ideas in order to create the next big Disney hit. After a meeting, my mother asked Walt for a signature, and Walt kindly smiled and drew this sketch of Mickey and signed it in pencil. She kept it since the 1940's and was then given to me, Michael Miller (her son)'. 

A FINE SWISS ORMOLU EIGHT-DAY GRANDE-SONNERIE STRIKING AND REPEATING PENDULE D'OFFICIER WITH ALARMCOURVOISIER AND COMPANY, LA CHAUX-DE-FONDS, CIRCA 1820The circular five pillar triple-train movement ting-tang striking the quarters on a graduated pair of bells and sounding the hour every quarter on the larger of the two, the going train with large horizontal platform lever escapement regulated by sprung monometallic balance planted to the apex of the plates, and the alarm with pull-wind standing barrel and sounding on the smaller bell, the backplate with visible hour and quarter strikework and stamped with serial number 1183 to lower left hand margin, the 4.25 inch circular slightly convex white enamel dial inscribed Courvoisier & Comp'e to centre within vertically orientated Arabic hour numeral chapter ring and incorporating conforming quarter annotations within the outer minute track, with steel moon hands and third straight alarm setting hand set behind a convex glazed hinged engine-milled gilt brass bezel decorated with band of lappet leaves to interior within a ropetwist outer border, the case with hinged leaf decorated scroll-cast handle to the concave-sided superstructure surmounted by a band of ogee-outline lappet leaves and applied with twin cornucipiae to front and laurel wreaths to sides, over simple shallow-arch projecting pediment and further compressed laurel wreath mounts to lower angles, the sides adorned with lyre motifs and the rear with circular hinged door inset with a repeating flowerhead decorated grille fret, on lappet leaf cast ogee moulded shallow skirt base with hairy paw feet, the underside with three-position selection lever annotated Grande Sonnerie/Petit Sonnerie/Silence. 22cm (8.75ins) high with handle down, 15cm (6ins) wide, 10cm (4ins) deep. Provenance:The property of a private collector. Previously sold at Christies, King Street sale of THE COLLECTIONS OF PRICIPESSA ISMENE CHIGI DELLA ROVERE AND A NOBLE GENOESE FAMILY 4th February 2015 (lot 192) sold for £3,750. The Courvoisier family of clockmakers partnership between Louis Courvoisier (1758-1832) and his father-in-law Captain Louis-Benjamin Robert (1732-1781) was established in 1781. In 1787 Robert died leaving his share of the business in control of his widow, Charlotte. This arrangement continued until 1811 when Louis Courvoisier took his son, Frederic Alexander took in his son to form 'Courvoisier et Cie'. The current lot is a fine textbook example of an early design of pendule portative termed 'Pendule d'Officier'. Although this form of portable timepiece originated during the 1780's they apparently became popular during the period of the Napoleonic wars, particularly amongst the officer class, hence the term 'Pendule d'Officier'. The Courvoisier family were the leading makers of this type of portable timepiece during this period and became important in the establishment of carriage clock making industry in the Chaux-de-Fonds region of Switzerland.A clock of related design by Courvoisier and Companie is illustrated in Roberts, Derek CARRIAGE and Other Travelling CLOCKS on page 19, (Figure 1.24); the present lot is particularly notable in that it is of eight-day duration rather than the usual thirty-hour. Condition Report: Movement is in relatively clean condition with no visible evidence of alteration or noticeable replacements. The clock is running and the grande-sonnerie striking is fully operational including the selection lever to the underside. The alarm will wind but tripping is erratic hence requires adjustment. The dial has been restored to repair chips and cracks which were previously present mostly around the winding holes. The case is in fine original condition retaining original gilding albeit with some wear/rubbing and slight discolouration to the extremities.Clock is complete with a winding key. Condition Report Disclaimer

1914 cheque payable to HRH The Prince of Wales from J.S. Shoosmith for the sum of £5, a collection of banknotes and coins and Mount Morgan Gold Mining Co share dividend certificate

Beautiful black forest flute wall clock. At the precise hours, the flutist's door opens. Musician appears and plays a melody on 8 wooden pipes. Clock and musical movement are weight driven. Carved pendulum. The clock has restoration signs, but mostly only visible from the backside. The fragile carved wooden details have been repaired with glue in places, the clock minute hand has glue signs from reparation. Height: 80 cm. Width: 54 cm. Depth: 24 cm. Condition: Very Good. Location: Switzerland, Degersheim. Video link: youtube.com/shorts/X7q6QQNRgF0?feature=share

GEM Concert Roller Organ, perfect condition. Lot include4 rollers. Perfect playing condition. Height: 38 cm. Width: 46 cm. Depth: 34 cm. Condition: Excellent. Location: Switzerland, Degersheim. Video link: https://vimeo.com/850097376?share=copy

A large Pears' Print titled "Cherry Ripe", presented with The Pears Annual 1897 (Christmas), 21" x 31", along with a framed and mounted print by Joseph Clark titled "Share and Share Alike" for The India and China Tea Company 1904, 23" x 21".

MISC. PHOTOGRAPHS & EPHEMERA: a box, including large vintage photograph of an early motor car (waterstaining and damage to mount): some framed items including coloured map of Suffolk by Fullarton and share certificate for Kingsbury Engineering Company, etc. (One box)

A LARGE AND FINE YAMADA SCHOOL WOOD OKIMONO NETSUKE OF A WOLF AND MONKEYBy Harumitsu (Shunko), signed Harumitsu 春光Japan, Yamada, Ise Province, c. 1860Finley carved as a voracious wolf or yama-inu pressing its paws down on a monkey, while the ape bites into the wolf's tail in an attempt to free itself. The details are remarkably refined, the hairwork very neatly incised. The pupils of both animals are inlaid. Signed underneath the monkey's right hind paw HARUMITSU. There are possibilities for the cord attachment, however, this carving is more likely an okimono.HEIGHT 4.7 cm, LENGTH 5.1 cmCondition: Excellent condition, minor wear.Provenance: US private collection, with old labels to the underside.Relatively little is known about the artist Harumitsu (Shunko), though it is suspected he was a pupil from the Masanao line of Yamada, although some of his carvings also share characteristics of the Tanba and Tsu schools.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

An original early 19th century Cornish mining copper bank note printing plate with engraved Cornwall shield "One Miner's Bank Promise to Pay the Bearer on Demand the sum of One Pound - value received Truro... Day of... 18... for Willyams, Vivian, Willyams and Co." 4¼" x 8" marked to the reverse "Share for Littlemore London"

An original dueling lightsaber prop as seen used by Ewan McGregor as "Obi-Wan Kenobi" in Star Wars: Episode III - Revenge of the Sith (Lucasfilm Ltd., 2005). This prop lightsaber is composed of a combination of resin and machined aluminum that has been painted in a silver-tone and black finish. Towards the top of the lightsaber hilt, gold-tone, copper-tone, and iridescent silver-tone finishes are present near the emitter. While this lightsaber would share many of the same characteristics as the hero lightsaber seen in close-up shots in the film, the dueling lightsaber would have smoother surfaces to allow McGregor to operate the prop with ease. The green colored blade of the lightsaber is composed of a carbon fiber and aluminum material with a rubberized coating present on the exterior. Towards the bottom of the blade, oxidation is present. Obi-Wan Kenobi would use this type of lightsaber in his famous duel against his apprentice Anakin Skywalker (Hayden Christensen) when he transitioned to the dark side. This type of lightsaber would also be used in the character's second battle with Count Dooku (Christopher Lee) at the beginning of the film, and during a duel with General Grievous (Matthew Wood).  Includes a DVD of the film.  Hilt: 11 x 2.5 inches, Blade: 38 x 0.75 inches

KODAK EASY SHARE DIGITAL PHOTO SOLUTION KIT