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Herbert Ward (British, 1863-1919)The charm doctor signed 'Herbert Ward' (to base), inscribed with the foundry mark 'ALEXIS PODIER/FONDEUR PARIS' (to base), bears inscription 'TO LAURIE AND MARGARET BENET/SOUVENIR OF A LASTING FRIENDSHIP/FROM/SARITA WARD' (on plaque attached to marble base) and bears inscription 'THE CHARM DOCTOR/CENTRAL AFRICA/SKETCH BY HERBERT WARD' (on plaque attached to marble base).bronze on a green marble base45.4 (17 7/8) highFootnotes:ProvenanceGifted to Laura and Margaret Benét by Sarita Ward, Herbert Ward's wife.Thence by descent.The American biographer Laura Benét was the sister of poets and Pulitzer prize winners, Stephen Vincent Benét and William Rose Benét. Herbert Ward struck up a friendship with William Rose Benét in Paris and the two families became close.A charm doctor was considered in several Congo tribes to be the connecting link between mortals and spirits. Another cast of 'The Charm Doctor' can be found in the collection of the Smithsonian Institute (USNM no. E23732-0), donated into the collection by the artist's wife and where it is noted to have been exhibited at the Salon Société des Artistes Français, Paris in 1902. There is also another cast of the sculpture, titled 'Le Sorcier' exhibited at the Musée d'arts de Nantes.Herbert Ward longed for adventure, and at the age of 15, he left England to satisfy his curiosities, spending his youth travelling extensively. In 1884, Ward set out for the Congo where he worked for various companies managing the transport of goods and supplies both to and from Europe. A year into his time in the Congo, Ward joined Henry Morgan Stanley's expedition travelling on the rivers across the country. Ward's appreciation and fascination for the Congo and it's people encouraged him to learn local languages and customs, allowing him to develop good relationships with various communities.Ward left Africa in 1889 and began a career as a touring writer and lecturer, where he paid a particular focus to his time in the Congo. Four years later he turned his attention to the Arts and began his formal artistic training. This led him to Paris to pursue bronze casting and his travel journals from the Congo became a source of inspiration for his sculptures. During his time in Paris, both the French Academy and the general public enjoyed his Congolese subjects. His style adopted a more natural depiction of the human figure, but Ward emphasised that his sculptures were not presented as scientific illustrations, rather they were art to share 'the spirit of Africa in the broad sense'. Throughout his artistic career, Ward begun to question colonialism, especially in Africa. During the First World War, Ward served as a Lieutenant in No. 3 Convoy of the British Ambulance Committee where he distinguished himself. However, his efforts during the war weakened his health and he died in 1919.Saleroom notices:Please refer to the online cataloguing of this lot for provenance details.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

Herbert Ward (British, 1863-1919)A Congo type signed 'Herbert Ward' (to neck verso) and bears inscription 'A CONGO TYPE/BY/HERBERT WARD/SOUVENIR JANUARY 11 1907' (on plaque attached to marble base).bronze with green marble base27.4 (10 13/16) highFootnotes:ProvenanceGifted to Laura Benét by Sarita Ward, Herbert Ward's wife, 11 January 1907. Thence by descent.The American biographer Laura Benét was the sister of poets and Pulitzer prize winners, Stephen Vincent Benét and William Rose Benét. Herbert Ward struck up a friendship with William Rose Benét in Paris and the two families became close.Herbert Ward longed for adventure, and at the age of 15, he left England to satisfy his curiosities, spending his youth travelling extensively. In 1884, Ward set out for the Congo where he worked for various companies managing the transport of goods and supplies both to and from Europe. A year into his time in the Congo, Ward joined Henry Morgan Stanley's expedition travelling on the rivers across the country. Ward's appreciation and fascination for the Congo and it's people encouraged him to learn local languages and customs, allowing him to develop good relationships with various communities.Ward left Africa in 1889 and began a career as a touring writer and lecturer, where he paid a particular focus to his time in the Congo. Four years later he turned his attention to the Arts and began his formal artistic training. This led him to Paris to pursue bronze casting and his travel journals from the Congo became a source of inspiration for his sculptures. During his time in Paris, both the French Academy and the general public enjoyed his Congolese subjects. His style adopted a more natural depiction of the human figure, but Ward emphasised that his sculptures were not presented as scientific illustrations, rather they were art to share 'the spirit of Africa in the broad sense'. Throughout his artistic career, Ward begun to question colonialism, especially in Africa. During the First World War, Ward served as a Lieutenant in No. 3 Convoy of the British Ambulance Committee where he distinguished himself. However, his efforts during the war weakened his health and he died in 1919.Saleroom notices:Please refer to the online cataloguing of this lot for provenance details.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

Kaws (American 1974-), 'Share (Black)', 2020, painted cast vinyl figure, stamped to the underside of the feet, manufactured by Medicom Toy; 30.5cm tall30.5cm tall

Phil Coles (contemporary)'Death Down Under', Stone Fish;'Flesh Ripper', Longfin Eel, Shortfin Eel and Speckled Eel;'Amazon Apocalypse', Piracatinga;'Congo Killer', Kamba Catfisha set of four, pencil, coloured crayons, watercolour and gouache, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28.5 x 40.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmIn good overall condition. Well presented and ready to hang.

Phil Coles (contemporary)'Jungle Terminator', Electric Eel;'Mekong Mutilator', Fresh Water Pufferfish';'Jungle Killer', Wolf Fish;'Killer Snakehead', Northern Snakeheada set of four, pencil, coloured crayons, and watercolour, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28 x 38.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cm.In good overall condition. The glazing of one frame is cracked.

Phil Coles (contemporary)'Amazon Apocalypse', Black Caimen;'Congo Killer', Vundu Catfish;'Death Ray', Giant Freshwater Stingray;'Amazon Flesheaters', Piraibaa set of four, one signed and dated 'Phil Coles '08' l.r., pencil, coloured crayons, watercolour and gouache, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28.5 x 39.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmSome light creasing to 'Piraiba' and 'Giant Freshwater Stingray' but in otherwise good condition. Well presented and ready to hang.

Phil Coles (contemporary)'Cold Blooded Horror', Amur Catfish, Biwa Rock Catfish and Giant Lake Biwa Catfish;'South Pacific Terrors', Giant Trevally;'Devil of the Deep', Humbolt Squid;'Alligator Gar', Alligator Gara set of four, pencil, coloured crayons, watercolour and gouache, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28.5 x 39.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmVery light handling creases but in otherwise good condition. Well presented and ready to hang.

Phil Coles (contemporary)'South Pacific Terrors', Marbled Eel;'Death Down Under', Queensland Grouper;'Death Down Under', Box Jellyfish;'Silent Assassin', Short-tailed River Raya set of four, pencil, coloured crayons and watercolour, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28 x 38.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmIn good condition. The glazing of one frame is cracked.

Phil Coles (contemporary)'Amazon Flesh Eaters', Candiru;'Amazon Apocalypse', Red-tailed Catfish;'Freshwater Shark/Hidden Predator', Bull Shark;'Lair of Giants', Gilded Catfish'a set of four, two signed and dated 'Phil Coles '08' l.r., pencil, coloured crayons, watercolour and gouache, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28.5 x 40.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmSome light handling creases to 'Candiru'. There are two diagonal creases to the extreme left corner of 'Bull Shark.

Phil Coles (contemporary)'Prehistoric Terror', Sailfish;'The Mutilator', Pacu;'Alaskan Horror', White Sturgeon;'Death Down Under', Tiger Sharka set of four, one signed 'Phil Coles' l.r., pencil, coloured crayons, watercolour and gouache, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28.5 x 40.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmLight rippling to 'Pacu' but in otherwise good condition. Well presented and ready to hang.

Phil Coles (contemporary)'Razorhead', Barracuda;'Electric Executioner', Electric Eel;'Chainsaw Predator', Freshwater Sawfish;'Terror in Paradise', Octopusa set of four, pencil, coloured crayons and watercolour, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28 x 39.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmA light handling crease to 'Freshwater Sawfish' but in otherwise good condition. Well presented and ready to hang.

Phil Coles (contemporary)'River of Blood', Golden Dorado;'Freshwater Shark', Giant Grouper;'Killer Catfish', Goonch;'Canadian Terror', Muskellungea set of four, pencil, coloured crayons, watercolour and gouache, each signed by Jeremy Wade, presenter of 'River Monsters', on an Icon Films label verso28 x 38.5cm and similar (4)Provenance: Commissioned by Icon Films, makers of 'River Monsters'.Phil Coles did a combined biology and art degree, originally intending to pursue a career in natural history illustration, but instead found his place in the wildlife film-making industry as a producer/director. As such, he has worked with many broadcasters, especially ITV, National Geographic, Curiosity Stream, Animal Planet and the Smithsonian Channel. Through both his work and recreation, he’s had the privilege to visit many parts of the globe and has seen a spectacular diversity of wildlife - it's these memories he carries home and tries to share through his artwork, which remains a true passion. He continues to push into fine art, but has also produced a large volume of work as an illustrator, including three field guides to whales and dolphins and another on sharks, graphics in television shows including ‘Wild Britain with Ray Mears’ and ‘River Monsters’, and many magazines and science journals. He continues to be active in both television and art, with wildlife the true passion at the core of both.Condition Reportoverall: 42 x 52cmSome very light handling creases but in otherwise good condition. Well presented and ready to hang.

Very rare Gloucestershire  Banking  Company Printing Share Plate for Capital of £500,000. The bank was formed in 1831, same date as the plate, and was based in Gloucester. The bank was amalgamated with Capital Counties Bank in 1886, which was subsequently acquired by Lloyds in 1918. Length approximately 30cm x height approximately 16cm.The first photo shown has been flipped so the writing can be easily read. Note - whilst the share plate was produced, it is interesting to note that no shares have ever been produced.

Belgium: Liege World Fair exposition 1905 construction and promotion collection in two large volumes. Includes over 350 used and unused postcards and covers covering related activity with scarcer varieties, includes aluminium, wooden, silhouettes and trade cards, much promotional material plus definitives, commemoratives and cinderellas. Share and lottery funding certificates, tickets and abonnements (season tickets), brochure/guide, maps and plans. Much expo and postal history in well-presented lot.

Manchester United club accounting ephemera, Revenue Account and Balance Sheets for seasons 1947-48 (Cup winning season), 1949-50, 1950-51, 1952-53, 1953-54 & 1954-55; Goldman Sachs press release regarding Sky Broadcasting's offer of £623.4 million for all of Manchester United FC's share capital 9th September 1998 (offer accepted by the club but blocked by the monopolies & mergers commission in 1999), two Extraordinary General Meeting papers proposing Special Resolutions, both in November 1949, some Ordinary Shares Receipts, AGM Statement of Accounts and Annual Reports for 1962, 1963, 1967, 1968, 1969, 1978 and 1981, (qty)  

Leeds United 1920 share certificate issued to W.A Hinchcliffe for the sum of £1 from a share issue to raise capital of £25,000 for the fledgling football club, measuring 21 x 26cm.  

Victorian needlework sampler showing a mansion with cherubs and flowers, marked to the centre, 'Be Christ my pattern and my guide, his image I may bear, Oh I tread his sacred steps and his bright glories share', and surrounded by a floral border, signed Martha Whitworth, age 11, 1819, framed, H56cm, L56cm

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH – MID-13TH CENTURYExpert’s note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th – mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie’s New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。該像法相威儀，觀音跣足而立，右手低垂結與願印，左手置於胸前。身著飄逸的長袍，線條流暢，佩戴瓔珞。觀音面部平靜慈祥，雙眼微垂，雙眉之間有白毫。頭髮披肩，葉冠后高髻。專家注釋：大理國銅器的一個獨特之處是合金中的砷含量高，使銅質變得柔軟，並因合金產生微小的孔洞。後來的銅器和其他地區的銅器沒有這個特徵，這在本拍品和同類銅造像器中清晰可見（見拍賣結果比較）。大理銅造像的風格包括細長的臉、精緻的頭飾和纖柔的手，這些特徵仍然顯示出印度和東南亞佛教造像的影響。文獻參考： (1) Denise Patry Leidy，Donna Strahan，《Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art》，紐約，耶魯大學出版社， 2010年，頁206-207。 (2) Albert Lutz，《Der Goldschatz der drei Pagoden》，蘇黎世Rietberg博物館, 1991年。Paul Jett，《Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich》，頁73。 (3) 同上本書，頁71。 (4) Wenli Zhou，《Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911)》，倫敦大學學院2012年，頁26。 (5) 同上本書，頁39。 (6) 同上本書，頁46-47。

FOUR BOXED MODERN WOODEN PUPPETS, The Mekon from Dan Dare, Bibenbum the Michelin Man, Dennis the Menace and Gnasher the Dog, all in the style of Pelham Puppets, appear complete and in very good condition with only minor wear, contained in modern plain cardboard boxes, Mekon and Dennis with the name written on one end of the lid in pen, Dennis and Gnasher share a box

THREE BOXED PELHAM SL PUPPETS PEANUTS CHARACTERS, Charlie Brown, Snoopy and Woodstock, all appear complete and in fairly good condition with only minor marking and wear, Snoopy has some yellowing to arms and legs, Charlie Brown in damaged original box, the other two share a modern red cardboard box

Extension of the feathers with a fleur-de-lis and sword at base handle. Black hat trimmed with whiter feathers; white lace collar.A character in Alexandre Dumas' lively 19th-century fiction, D'Artagnan came to Paris to join the celebrated band of Three Musketeers and share their adventures. Series: The Three Musketeers; Characters from Literature. Royal Doulton backstamp. Artist: Stanley J. TaylorIssued: 1982-1995Dimensions: 7.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.

John Doulton 2 O'clock handle D6656 (black coat with purple collar; yellow cravat; Big Ben is dark brown). Designed by Eric Griffiths. Series: RDICC, issued 1981 - 1994. Size: 4.25"H (small) John Doulton (1793-1873) served a seven-year apprenticeship in the pottery industry as a thrower before fortune smiled on him and he was able to buy into a pottery partnership. In 1815 he bought a one-third share of a stoneware pot-house in Vauxhall Walk, Lambent, and the company of Doulton and Watts was born. To honor John Doulton, the Royal Doulton International Collectors Club made this jug available to all their original charter members in 1980. This first variation of this jug has the time shown on "Big Ben" as eight o'clock. Manufacturer: Royal DoultonCountry of Origin: England

Bunter Reigen Münzen, Medaillen und Banknoten, wobei bei den Banknoten das ein oder andere attraktive dabei sein dürfte, aufgrund Anteil Alle Welt, Südamerika und China. Kein Obligo für die Authentizität aller darin befindlichen Münzen. Bitte besichtigen. Fundgrube| A colorful array of coins, medals and banknotes, although there should be one or two attractive banknotes due to the share from all over the world, South America and China. No commitment all coins to be authentic. Please visit. Treasure trove

2011 Lamborghini Gallardo V10 570-4 Superleggera Transmission: automaticMileage:20005The Gallardo was manufactured from 2003 to 2013 and is Lamborghinis best-selling model with 14,022 being built throughout its lifetime. The first generation Gallardo came with a 4961cc, V10 engine and offered two choices of transmission, a conventional six-speed manual transmission and an advanced six-speed, electro hydraulically controlled, semi-automatic, which Lamborghini abbreviates to 'E-Gear'. In March 2010, Lamborghini announced the release of the Gallardo LP 570-4 Superleggera, a lightweight and more powerful version of the Gallardo LP 560 €“4 in the same vein as the previous Superleggera. With carbon fibre used extensively inside and out to reduce weight to just 1,340kg making it the lightest road-going Lamborghini in the range. The 5.2 litre V10 on the LP 570-4 received a power increase over the standard Gallardo to 570 PS (562hp). Performance has been improved to 0-62 in 3.2 seconds, and 204mph top speed.The Superleggera is often compared with the Ferrari 430 Scud, values of which are in excess of £180,000 for similarly aged and mileage cars. See JayEmm's review of the Superleggera on YouTube - https://www.youtube.com/watch?v=YTFy179llF0&t=43s and why he thinks this car is a great buy. Research is unclear but it is thought that less than 360 were produced, with 172 delivered to the US leaving the resto of the world to share 178 €¦ very few will be RHD examples with only 13 found on howmanyleft.co.uk.One of the finest lightened cars money can buy, this Gallardo Superleggera is finished in Bianco Monocerus with a Grigio Alcantara interior and fitted with 19 Superleggera 10-spoke Callisto alloy wheels with a matching set of Michelin PS4s tyres with complementary yellow brake calipers. From what we can ascertain this is a full specification car with carbon everywhere, rear wing and splitter, side skirts, interior door cards, transmission tunnel, and steering wheel, carbon backed sports bucket seats, carbon brake discs, front lift, satellite navigation, rear-view camera and glass engine bay cover with LED lighting. This is a UK five owner car and has covered a fraction over 20,000 miles. It has a fabulous service history - 2012, 2014, 2015, and 2017 at Lamborghini main dealers and 2018, 2020 and 2022 at Lamborghini specialist Autofficina. The last service was on the 16th December 2022 at 19,820. The clutch read at time of cataloguing is at 30% worn, plugs, brake fluid, and the auxillary belts have been done and are ready for the season.We can testify the car drives fabulously and is an absolute riot given it was filmed for a Historics promotional film which can be found on the Historics website. Supplied with the full handbook pack, two original keys, and an advisory-free MoT test certificate valid until Dec 2023.

A group of five Hummel figures comprising a pair of "Happiness" figures (restoration made to both), "Begging his Share" (h- 14.5cm), "Village boy" and "Birthday Cake" (h- 10cm) (marked verso) (5)

A Collection of Various Share Certificates, U.S.A Spain, G.B etc.

Mary Lowndes (1857-1929), a stained and leaded glass panel dated 1920, depicting Saint John in the wilderness holding a lamb in his arms, signed and dated 'M. Lowndes Des 1920'145 x 90cm, framedThe eldest of four sons and four daughters born to Richard Lowndes and Annie Harriet, Mary Lowndes is best known as a stained glass artist, suffragist and pioneering social reformer. Initially training in drawing and painting at the Slade School of Fine Art, it was not until the completion of her studies that Lowndes unearthed her natural aptitude for stained glass making. Under the supervision of renowned artist, Henry Holiday, Lowndes, whose work was prized for her bold use of colour and innovative design schemes, soon became esteemed in her field, despite cultural attitudes towards female influence in the workplace during the late 19th century.By 1888, Lowndes had joined Powell & Sons of Whitefriars, but an increasing desire for artistic liberty persuaded her to work independently from 1892. Unfortunately, Lowndes found herself restricted by the technical requirements of stained glass making and was frequently travelling from her workshop in Chelsea to Southwark, where her designs were fired and glazed at the Britten and Gilsen studio. Owing to her need for specialist facilities, in 1897, Lowndes, alongside Alfred Drury, the former foreman at Britten and Gilsen's studio, established the eponymous Lowndes and Drury glass studio in Chelsea. Quickly having become one of the most prominent glass studios in London, in 1906 the pair moved their business to custom-built premises in Fulham, which later became known as 'The Glass House'.Quickly evolving into a sanctuary of artistic exchange, the Glass House offered artists a space to share and learn from one another whilst working on their own commissions. Lowndes’ became a particularly important figure in the workshop, not only in regard to her own commissions which were installed in churches, private buildings and private homes throughout the country, but also due to the invaluable instruction she offered to the denizens of the Glass House, particularly female artists who would be denied positions at other workshops.In addition to her work as an artist, Lowndes was also involved in the women's suffrage movement. She joined the Women's Social and Political Union and was an active participant in several protests and demonstrations, including the 1910 "Black Friday" demonstration where she was arrested and imprisoned. Lowndes was also passionate about social reform and worked to improve conditions for working-class women. She established a cooperative for women weavers in South London, which provided them with fair wages and safe working conditions. Mary Lowndes died in 1929, but her legacy continues through her stained glass works and her contributions to the suffrage movement and social reform.The panel is buckling under its own weight within the frame and there is a resultant bulge along the bottom. A couple of cracks and breaks to lead work and some scuffing to painted decoration, but in overall good condition.

Thomas Spargo (Mining Engineer, Stock and Share dealer). 'The Mines of Cornwall and Devon: Statistics and Observations. Illustrated by Maps, Plans, and Sections. Of The Several Mining Districts in the Two Counties,' second edition, 8vo with 200 pages, illustrated with maps, plans and sections (20 in total) some folded and in colour, half brown morocco with matching marbled boards, morocco label to spine with gilt lettering on spine, a good copy of a scarce work, W. W. Head, London, 1868.

J. H. Murchison F.G.S. 'British Mines Considered as a Means of Investment,' 'With Particulars of the Principal Dividend and Progressive Mines in England and Wales,' first edition, 8vo, vl;(7)-200 pages, original pebble-grained brown cloth, with the signature of Justin Brooke 1966, Mann, Nephews, London, 1854.This investment guide publishes the progress reports, from the mine agents/captains etc of each mine for the year 1854. These reports are comprehensive, covering increase/decrease in ore, cash in bank, dividends paid, share price, London agent etc etc . This is a very scarce investors guide dedicated entirely to the mines of Devon and Cornwall. Boase & Courtney 380, near fine condition.

It Could Happen To You (1994) New York Post prop newspaper cover page, from the romantic comedy drama starring Nicolas Cage and Bridget Fonda. Inspired by a real-life news story, a New York City police officer (Cage) who is short of cash and unable to tip his waitress (Fonda), half-jokingly offers to share his winnings if he happens to win the lottery. Condition Report: overall good condition.

DALWHINNIE 15 YEAR OLD AND WINTER'S GOLD HIGHLAND SINGLE MALT Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.Each 43% ABV / 70clQty: 2

The important ‘Defence of Lucknow’ Indian Mutiny Medal awarded to James Luffman, a 15-year scholar at La Martinière School - a ‘Ragged Fusilier’, one of only two boys wounded during the siege and one of the six senior boys who bore arms Indian Mutiny 1857-59, 1 clasp, Defence of Lucknow (James Luffman.) fitted with contemporary silver ribbon brooch; together with the Punjab 1848-49 medal awarded to his father with clasps for Chiliamwala and Goojerat (James Luffman.) this correctly impressed but with rank and regiment neatly erased, toned, good very fine (2) £2,000-£2,600 --- Luffman’s mutiny medal has always been associated with a two-clasp Punjab medal, also named to James Luffman. It has a well executed erasure both before and after the impressed naming consistent with the rank and regiment having been obliterated. Research by Major H. E. Dadley in conjunction with A. J. Farrington of the India Office Records confirms that the Punjab medal belongs to James’s father Staff Sergeant James Luffman, 3rd Company 1st Battalion Bengal Artillery, with the medal roll confirming the clasps for Chilianwalla and Goojerat. It further transpires that there is only one man named Luffman on the Punjab medal roll. Fifty-eight medals were awarded to the Foundation boys and staff of the La Martinière School and are highly prized for their uniqueness and rarity – this one to James Luffman more so as he was one of only two boys wounded during the Defence. These boys boarded at the school and came under the auspices of the Claude Martin Charities being deemed as being from straightened but deserving families. On 13 June 1857, at the command of Sir Henry Lawrence, the scholars all marched from the Martinière to the Residency on a journey that, over the next 6 months, would turn these schoolboys into men and earn for them the soubriquet “The Ragged Fusiliers”. The siege commenced on the 1st July 1857 when Luffman was just a few days shy of his sixteenth birthday. With the firing of the first shots most of the servants fled the Residency so the military authorities impressed the younger boys of the Martinière to undertake domestic chores including, sweeping the compounds, the drawing of water, grinding the daily rations of corn to make bread and some to cook the boys meals. Others tended to the sick officers and others to take messages between garrisons. Later, Brigadier Inglis requested that as many boys as possible should be sent to pull the punkahs over the sick and wounded at the General Hospital. For this purpose 36 were told off in reliefs of 12 each and changed every 12 hours. The boys’ health suffered greatly and two died. The junior boys were used as night watchmen and for digging the wells for the “filth” of the Establishment whilst six senior boys bore arms defending the Martinière Post, operating the semaphore system on top of the Residency Tower and in supervising the younger pupils. L. E. R. Rees wrote of their plight:
‘The poor Martinière pupils, who go about the garrison more filthy than others, and apparently more neglected and hungry even than we are, are made use of to drive away these insects (flies) from the sick in hospital, and others. That they, too, should contribute their share of usefulness is but just and fair; but that they should be placed in menial attendance upon the healthy great in the garrison is, in my opinion, far from right. But I shall say nothing more on this subject, lest I assume a tone of censure.’ The Martinière Post, after the Judicial Garrison, was the most exposed defence in the Residency. Johannes’ House kept up an incessant rifle fire from just outside the perimeter with “Bob the Nailer” causing the most nuisance. The Post was defended by men from the 32nd Regiment of Foot, civilians and six armed senior boys from the Martinière named as: James Luffman, Edward Henry Hilton, David Aratoon, John Hornby, George Roberts and Samuel Wrangle. The wounding of Luffman is best described by Edward Hilton from his book “The Tourist's Guide to Lucknow”. Hilton spent much of his latter years given tours to local visitors and is well placed to give the most accurate account. The boys who carried arms used to take 20 or 30 rounds and go to the top of the house in which we were located and fire through the loopholes at the enemy and at whatever seemed a fair target. There were pumpkins and other vegetables which would have made a welcome addition to our cuisine growing in Johannes’ garden outside the line of our defence. We found it very tantalising to know that we must not venture to forage in this garden for the vigilance of the enemy’s marksmen was untiring and they never lost an opportunity of picking off any member of the garrison who was so incautious to expose himself. Seeing that the coveted vegetables were not available for us we did our best to make them unfit for the enemy and found some diversion in firing at the gourds. This “sport” was put an end to by the following circumstances: ‘Shortly after the boy Smith had been hit by one of the enemy’s marksmen, known to the boys by the soubriquet of “Jim the Rifle” located in the Johannes’ warehouse facing our post, Luffman and myself, with the intention of avenging this, went on the the roof of the building in which we were quartered and which overlooked the enemy’s position to try and get a shot at the rascal; we both used the same loophole. While on lookout one of the lads, S. Hornby, came to the roof with a supply of ammunition, and, while our attention was thus diverted our mutinous opponent across the way fired at us. His bullet struck Luffman’s musket, [which was in the loophole], glanced along the barrel and lodged in his left shoulder. As already mentioned he fortunately recovered but our target practice had to be discontinued owing to the ammunition being put out of our reach.’ 
James Austen Luffman was born on 5 July 1841, the eldest of three sons to Sergeant James Luffman, Bengal Artillery, and his wife Mary (née Bowers). Mary died on 4 August 1852, at Peshawar leaving James with the unenviable task of taking care of his three children. He sought assistance from the Claude Martin Charities who accepted the two elder brothers, James Austen and John Thomas, at the Martinière at Lucknow, with the younger, William Collins, being accepted at the sister Martinière School at Calcutta. The boys were orphaned on 11 June 1858, when their father died at Raneegunge, where he had been working as a Dak Agent for the Inland Transport Company. The Principal Registry of Probate, England, handed guardianship, until full age, to their lawful aunt Anne Still who, with her husband John, had been resident in India before returning to England living in Sudbury, Middlesex. At the denouement of the mutiny James Luffman joined the East Indian Railways together with “partners in crime” John Hornby and Edward Hilton, an understanding expected of all Martinière boys that they serve at least a year within the railway establishment. On 26 March 1859, he joined the Indian Police and performed non-gazetted appointments in and around Oudh until being gazetted on 16 January 1879 with the rank of District Superintendent of Police, a position he held until retirement on 25 October 1894. His record of service showed he worked variously in Bahraich, Hardoi, Partagarh, Jalaun, Gorackpur and Rae Barelli. It should be noted that at this time gazetted appointments in the police were generally filled by military officers or appointees from England making promotion and gazetting of locally enlisted officers discriminato...

Collection of ephemera, to include gold mining and similar share certificates, various pencil drawings botanical, animals, still life pastels of fruit etc. (B.P. 21% + VAT)

A Samsung digital photograph frame, Epson Photo PC P-100 Viewer, Cahon Selphy CP1200 Printer, Pandigital Personal Scanner 4x6, Panasonic SV-P20 printer, Selphy ink and paper, together with a Kodak Easy Share V570 dual-lens digital camera, PD3 printer dock and other Kodak cameras, (all boxed).

Great Britain 1851-EL.L.N.W.R share receipt document posted to Denbigh cancelled with red London paid 10.6.1857 cancel 17.6.1851 Denbigh

3rd-2nd millennium B.C. The cylindrical shaft decorated with three bosses, blade with diverging edges, the upper sides of the hole and part of the blade decorated with a dotted pattern. See Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian, pl.XIX, no.38, from Assur.375 grams, 17.5 cm (6 7/8 in.). Acquired 1980-2015. Ex Abelita family collection. The earliest Luristan bronze weapons, particularly daggers, axes, and adzes, share many similarities in form with Mesopotamian artefacts of the 3rd millennium BC. The unadorned weapons, especially the axes, adzes and picks, were made using simple clay or stone bivalve moulds with a core inserted into them to form the socket for the shaft.

Original vintage World War Two propaganda poster depicting a proud looking cockerel wearing a stars and stripes sash and top hat resembling the American flag and a weak and thin sad looking hungry lion wearing a monocle and a top hat with a bandage featuring dollar signs on its tail, looking at a box of egg powder inside a cracked egg that reads American Aid and Made in the USA next to a poem below by B. Timofeyeva translates from Russian as - The Lion's share. A chicken from an American Street clucks loudly: "I laid an egg! Although it is a chicken egg, it is made with the Doctrine as you can see." However, the British lion, in hungry anticipation - is shocked by the gift: Well, how can he not frown when the Scrambled Eggs are presented by an overseas chicken! Issued by the Boyevoy Karandash / Battle Pencil poster artist collective that was established in 1939 in Leningrad (now St Petersburg) during the Soviet Finnish war; the creative group became more active during the WWII German Nazi Siege of Leningrad and continued to work until 1990. Horizontal. Fair condition, folds, creasing, staining, foxing. Country of issue: Russia, designer: V. Galba, size (cm): 48x68, year of printing: 1940s.

Quantity of framed Share Certificates (5)

Registered to the second keeper at a day old and presented to auction in superb condition with a detailed history file.A new era of performance car was launched at the RS Cosworth’s unveiling in July 1986, one of very few genuinely identifiable racing icons, approachable and unpretentious. Based on the three-door Sierra bodyshell, it was designed by Ford's Special Vehicle Engineering (SVE) and was powered by a Cosworth-designed 2-litre turbo engine of now-legendary repute. It was the obvious choice to become the platform for Ford's new competition aspirations in conjunction with Cosworth. It fitted the brief well as it was rear-wheel drive, had good aerodynamics, albeit being prone to lift at high speeds and was available as a three-door.The new body kit and rear spoiler would sort out the lift issues but, more importantly, Ford still needed to build 5,000 units for homologation, somewhat worrying when the company's initial approach to the dealer network came back with an estimate that suggested they could sell around 1,500 units! The eventual sales record is, of course, history. Ford went on to sell 5,545 three-door cars including the RS500, of which only 500 were built, and the Cosworth engine also found its way into nearly 30,000 Ford Sierra Saloons, the Cosworth 3dr and Sapphire 2wd and 4wd variants.The UK was naturally a strong market for the RS Cosworth and online sources state 1,653 were registered here. The following decades, however, saw few cars survive unscathed from the clutches of joy riders, whether insured or not, and the winter commuting of early owners. Some were used to re-shell damaged RS500 racers and others were more heavily modified. Nice, honest, RS Cosworths from long term ownership are therefore incredibly rare, and highly collectable today. We have witnessed the performance Ford market mature into an enthusiast led sector, and whilst we can claim some credit for headline grabbing results, we share the owner-driver’s passion for good, usable cars. As such it is a pleasure to offer a car like this to auction.Although first registered on 26th March 1987 it was the next day that saw the long term ownership begin, when it was registered to the second and current keeper on 27th March 1987 as D470 RTT. In 1999, the private registration number SPE 11R was issued and remained on the car until 2020, reverting back to the original number thereafter.Presented to auction in a simply fabulous condition and recently serviced, the history file includes the original manuals and service book sheathed in the blue plastic folder of the period, alongside historic receipts, copy period logbook and current V5C confirming long-term ownership. Correctly stored whilst off the road during the 2000s, the car’s MOT history shows incremental increases in mileage from 2014 and the current advisory-free certificate was issued at 74,990 miles, valid until 19th April 2024.SpecificationMake: FORDModel: SIERRA COSWORTHYear: 1987Chassis Number: WF0EXXGBBEGR93487Registration Number: D470 RTTTransmission: ManualEngine Number: GR93487 Drive Side: Right-hand DriveOdometer Reading: 74990 MilesMake: RHDInterior Colour: GreyClick here for more details and images

An unframed Watercolour taken from an original American Bank Note company archive, a final design from which engravings were made for Bank Notes, Share Certificates, etc. 5 1/2" x 8".

THE ARCHBISHOP SPOTTISWOODE (1565-1639) SEAL A 17TH-CENTURY BASE METAL SEAL the seal of navette outline, with a depiction of St. Andrew with the Saltire in a border SIGILLVM * R * D * IOHANNIS * ARCHIEPISCOPI * SANCTI * ANDREA, with an integral crescent handle to the reverseDimensions:Length: 95mmNote: Note:Archbishop John Spottiswood was a highly important figure within the Scottish Church and worked at the highest levels of society.Born in 1565 the eldest son of a Minister, he was educated at Glasgow University. He would take over from his father in the Parish of Calder in 1583 only two years after leaving Glasgow. His rise within society is noted by 1601 when he was a Chaplain to the Duke of Lennox in the embassy to the French Court. He was with King James VI and I in England on his accession, once again showing his close relationship with Court. He was nominated to the seat of Glasgow the same year but not consecrated until 1610.His religious views appear to have changed over time, softening from his initial ardent strict Presbyterian attitudes. Some may consider this softening of views with his closer alignment to the Royal Court and the views he chose to share often supported the views of the King. He was a supporter in the suppression of kirk powers that encroached on Royal authority and indeed aimed to align the Scottish practices with the English Church.In 1610 he presided as moderator and during this time the supremacy of Presbytery was abolished, it was not long after this his consecration was made official by the Bishops of London, Ely, Rochester and Worcester. He was made Archbishop of St Andrews and primate of Scotland in 1618.He would continue a close and highly important relationship with the Royal Court and in 1633 would crown Charles I at the Palace of Holyrood in Edinburgh.He published within his lifetime and, while not all would agree with his greatness must be considered an instrumental figure in 17th-century Scottish life and religion. See National Portrait Gallery Collection for a contemporary portraitJohn Spottiswoode by Wenceslaus Hollar - etching, circa 1655; published 1668NPG D9946

Trials.- Concanen (George) A Report of the Trial at Bar, Rowe v. Brenton...as to the Rights to Minerals in the Assessional Lands of the Duchy of Cornwall, first edition, presentation copy from the author to Mr.Wells inscribed at head of title, a few ink annotations, folding hand-coloured lithographed map, 1830 bound with Short Statement (A) of the Case of the Late Sir William Clayton, Bart. and his lessees holding an estate at Kennington, under the Constitution of the Duchy of Cornwall, 8pp., drop-head title, [Library Hub British Library copy only], [1834], together 2 works in 1 vol., some foxing and browning, bookplate of John Davies Enys, contemporary half calf, rebacked preserving old gilt spine with red roan label, 1830 § Trial (The) of Edward Gibbon Wakefield, William Wakefield, and Frances Wakefield...for a Conspiracy, and for the Abduction of Miss Ellen Turner, first edition, half-title, with Appendix at end, some soiling and chipping to edges, modern cloth, [Ferguson 1159], 1827; and 9 others, trials, 8vo (11)⁂ The first was a landmark trial in the long and contentious history of the legal (and constitutional) status of the Duchy of Cornwall, mineral rights of private landowners, the power of the Stannary courts, and, by extension, the whole matter of Cornwall's peculiar semi-separate status within the United Kingdom. The Rowe-Brenton case itself was brought to "try the right to copper ore raised from the East Crinnis mines" at Tewington in Cornwall. The second is an account of one of the most celebrated English criminal trials of the 19th century which resulted in the young Edward Gibbon Wakefield (1796-1862), later an acclaimed colonial statesman, being sent to prison for three years. In 1816 he had made a runaway match with an heiress and ward in chancery, Eliza Susan Pattle, the orphan daughter of a Canton merchant. He afterwards returned to Turin as secretary to the under-secretary of the legation, and after his wife's death on 5 July 1820 he became connected with the Paris legation. In 1826, urged on by the persuasions of his friends in Paris, he made a foolhardy attempt to improve his prospects by a second marriage. On 7 March by a false message he beguiled from school Ellen Turner, the daughter of William Turner of Shrigley, a wealthy Cheshire manufacturer, inducing her, by representing that her father's fortune depended on her compliance, to go through a ceremony of marriage at Gretna Green. He took the lady with him to Calais, but forbore to consummate the marriage; at Calais he was overtaken by his bride's enraged relatives, who induced her to leave him. Wakefield returned to England to share the fate of his accomplice, his brother William, who had already been arrested. They were both sentenced to three years' imprisonment. The question of the legality of the marriage was involved in so much doubt that it was cancelled by special Act of Parliament.

SEISHINKEN MOTOSHIGEA Set of Kozuka (Knife Handle), Kogai (Skewer), Kashira (Pommel), Kojiri (End Cap), Uragawara (Slot Reinforcement), and Semegane (Scabbard Ring) Edo period (1615-1868), mid-19th centuryOf shibuichi, some surfaces ishimeji, each piece inlaid and chiselled in relief of gold and shakudo depicting tigers and bamboo, kikusui (chrysanthemums floating on a stream), or bamboo, the kozuka signed on the reverse Ikeda Mitsumasa no motome ni ojite Jukizan Ushiki no fumoto Sakurai no sato ni oite kizamu toki ni Ansei kinoto-u seito [...] Seishinken Toi (Made to the order of Ikeda Mitsumasa at the foot of Ushiki by Mount Juki in Sakurai village in midwinter 1856), with a seal Toi, the kogai with the same inscription in shorter form concluding with a signature Seishinken Minamoto no Motoshige and with a gold-inlaid kao, the other components variously signed Toi and Seishinken; with a fitted wood storage box. (7).Footnotes:The signatures on the kozuka and kogai share features with two artists listed by Haynes: Motoshige (5923) and Mototomo (5952) who was known as Toi after taking Buddhist vows; taken together, the kozuka and kogai may provide evidence that the two were in fact one and the same individual.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

LI HUAYI (b.1948)Landscape, 2010-2011Ink on paper, signed on the bottom right, framed and glazed. 180cm high x 91cm wide (71in high x 36in wide). Footnotes:李華弌(1948年生) 山水 水墨紙本 鏡框 2010-2011年作Published, Illustrated and Exhibited: Michael Goedhuis, The Ink Art of China, London, 2019, pp.18-19. 展覽著錄：Michael Goedhuis著，《水墨中國》，倫敦，2019年，第18-19頁Li Huayi is internationally renowned for his meticulously detailed landscape paintings that are reminiscent of masterworks from the Song dynasty (960–1279). He was born in Shanghai in 1948. As a child, Li began studying ink painting with a family friend, Wang Chuantao (1903-1978), as well as Western-style painting with Zhang Chongren (1907-1998), who had trained at the Royal Academy of Arts in Brussels. Li was thus trained well in the technical skills of European painting and traditional Chinese painting. Li can thus be said to have inherited Shanghai's cosmopolitan past. As a young man growing up in China during the Cultural Revolution, however, artists and art students were expected to produce the Socialist Realist propaganda images demanded at the time. By the time the Cultural Revolution ended following the death of Mao Zedong in 1976, young artists were eager to experiment and develop new ideas about making art. The open-door policy initiated in 1979 opened up new possibilities and in 1982, Li Huayi emigrated to the United States to find an art world in transition from abstraction to post-modernism. During his graduate studies at the Academy of Art College in San Francisco, he began to concentrate on subtle abstract compositions, unlike anything he had attempted in China. After a decade in San Francisco, Li Huayi's artistic experimentation and transformation bore fruit. Li travelled to China's famous mountains and to the Buddhist caves of Dunhuang, as a means of rejuvenating his art through the inspiration of natural beauty. He once again turned his attention to the classical masterpieces of Chinese landscape painting - in particular the masters of Northern Song dynasty monumental landscape painting such as Fan Kuan (c.960-1030), Li Cheng (919-967), and Guo Xi (c.1020-1090); see Eskenazi Ltd., Waterfalls, rocks and bamboo by Li Huayi, London, 2014, p.11.Li Huayi's careful study of the classics of Chinese and European painting, as well as the modern American practice of abstraction, yielded paintings that are at once firmly rooted in the history of Chinese art and instantaneously meaningful to contemporary viewers. As Li said himself: I began to incorporate elements from traditional Chinese arts in my own works. Tradition is the spiritual core of every form of Chinese art – porcelain, pottery, rubbings, carvings, everything. But each of these arts also contains an abstract side; see M.Knight, The Monumental Landscapes of Li Huayi, San Francisco, 2005, p.2.The solid pine, the mist that both divides and unites the mountain peaks, the overhanging cliff, the tree clinging to rocky precipices, all echo the most potent motifs of Northern Song painting. Li's synthesis of styles is achieved through fastidiously rendered brushstrokes and a unique sense of composition that is inspired by the past and wholly his own. The dreamlike contrasts of pale mist and dark mountain cliffs also resemble works of the seventeenth century artists of the weird and fantastic, most notably Wu Bin (1573-1620) and Gong Xian (1618-1689), who created bizarre images of completely impossible mountains and rocks. The meticulously detailed trees and rocks in Li Huayi's paintings are convincingly naturalistic, but they are placed in impossibly dangerous mountain settings. Clearly imaginary, they are powerfully persuasive.Li applies ink on the paper first, and then allows the composition to take shape in response to the density of the ink. This element of chance brings his work close to late or post-modernist ideas. His success at unsettling or disturbing the viewer seems grounded in our shared conviction that the universe is indeed an orderly one and that both artist and viewer share this knowledge. This order, so well understood and recreated by the great landscapists of the Song dynasty, has in the artist's work, slipped only temporarily out of our grasp, like an interrupted dream. As modern as they are antique, these paintings persuade us that they are part of a cosmic whole and that they exemplify a universal harmony.Li Huayi's paintings are in many prestigious museums across the world, including the Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the National Museum of Tokyo; and Brooklyn Museum, New York. See a related landscape painting by Li Huayi, painted in 2008, which was sold at Christie's New York, 10 November 2022, lot 180.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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

* Boxing Microphotographs. A pair of microphotographs of the boxers Tom Sayers and John Heenan by J[ohn] S[tovin], c. 1860, each within a small clear circular support (10 mm diameter) mounted on glass microscope slides, 25 x 75 mm, each with a printed label pasted to left edge, ‘Tom Sayers, The Champion of England | [John Heenan, the Champion of America], a Photographic Curiosity for the Microscope’ each with printed initials ‘J. S.’, accompanied by modern gelatin silver print enlargements of the microphotographs, images 25 x 20 mm, sheet sizes 70 x 42 mmQTY: (4)NOTE:A rare pair of boxing microphotographs by John Stovin (1814-1896), the creator of these slides, who produced around 150 photographic curiosities on glass slides between 1859 and 1862. The pairing celebrates the legendary fight between Heenan and Sayers on 17 April 1860 in a Hampshire field that can be claimed to be the inaugural ‘world title’ international boxing match that ‘changed boxing forever’. After a brutal but even battle, the fight was broken up of Aldershot police after 42 rounds, and nearly two and a half hours of fighting. The two heavily bloodied men escaped and were to share the purse of £400. Also there, and beating a retreat from the police were the young Prince of Wales, Charles Dickens, William Makepeace Thackeray and the prime minister, Lord Palmerston. Sayers never fought again and died in 1865, aged 39; eight years later Heenan died in poverty in Wyoming, aged 38.

Various share certificates to incl Bank of China, Japan and the Straits dated 1893 with installment receipts dated 1893/1894 and The Famatina Company Limited dated 1912 plus some postcards

Laura Knight - Seated Tumbler and other Figures, pencil with charcoal, signed, circa 1952, 26cm x 19cm, within a gilt frame. Provenance: 'The Bob Date Collection', Stride & Son, 30th July 2015, lot no. 818. Note: this work sits comfortably amongst a group of sketches that share the same composition and figure groupings that the artist produced backstage at the Birmingham Repertory Theatre in 1952. References: 'Mixed Artists Catalogue' Goldmark Gallery, 2010, p.1; David Lay Auctions, 31st July 2014, lot no. 337; Bloomsbury Auctions, 25th March 2010, lot no. 487.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A DIAMOND AND GOLD BANGLE, BY ZOLOTASThe twisted gold bracelet terminating with opposing lion's heads decorated with single-cut diamond collars, with ropetwist and beading detailing throughout, mounted in 18K gold, signed Zolotas, with security chain, inner diameter 5.9cmZolotas is a House which brings together modern fine jewellery and the ancient Greek history of metalworking and embellishment. The business was founded in 1895 in Athens, in front of the Acropolis, by Efthimios Zolotas following a jewellery apprenticeship in Paris.Zolotas was instantly successful, with the store on Aiolou Street becoming a Salon for the Athenian elite. Wishing to share the knowledge from his Parisian training, and needing an atelier filled with skilled craftsmen to keep up with demand, Zolotas began an apprentice-school on site at his atelier. This focus on education allowed him to create a reputation of exciting, new design at the forefront of style and experimentation.Xenofon, Zolotas’ son, was an academic prodigy and by 24 years old was Professor in Financial Law at Thessaloniki University (and would even go on to briefly be Prime Minister of Greece from 1989-1990). Despite his erudite nature and busy schedule, Xenofon remained involved in his father’s business and shared the families love of fine jewellery and Greek history. Throughout the 1950s and 1960s Xenofon, along with his wife Kallirhoe - an admired socialite in New York Greek society - used his academic connections to forge exclusive cooperation with the archaeological museums of Greece. These connections allowed the House to create beautiful pieces of jewellery inspired by ancient treasures such as the Lions of Mycenae and the Byzantine mosaics of Ravenna. Zolotas’ goal in the 1960s was to transform modern women into living goddesses, a goal they achieved with empowered women such as Maria Callas, Jackie Onassis, and Romy Schneider wearing jewellery by the brand.In the 1970’s the House established itself in Paris and took on an identity of being not only a jewellery business but a locus of fine art creation. Sculptors and painters were invited to work with the House, leading to stunning pieces such as the Greek sculptor Taki’s pieces with pearls that move and change position according to body temperature, and the sculptor Claude Lalanne’s laurel leaf necklaces.Perhaps the most admired collaboration in the 1970s was that with Paloma Picasso, the daughter of Pablo Picasso, and trailblazing artist in her own right. The young artist was supported and encouraged by the House, staying true to their values of education and experimentation, and created successful pieces of bracelets and necklaces in the shape of daisies and phases of the moon.The past twenty years has seen Zolotas refine even further their marriage of the new and the global with local ancient, specifically Hellenic and Cycladic, influences. Georges Papalexis is now artistic director of Zolotas and is pursuing the mission of interpreting diamonds in a uniquely Greek manner. Condition Report: Diamonds: bright and livelySecurity chain: fixed, cannot be opened or removedClasp: slightly loose, could do with some service from a jewellerNormal signs of wearTotal gross weight approx. 66g

BLUE AND WHITE 'LANCA' STEM CUP QING DYNASTY, DAOGUANG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD 清道光 青花「大清道光年製」六字篆書款 青花纏枝蓮梵文高足盃 the exterior decorated with lanca characters interspersed with lotus flowerheads growing from scrolling stems and leaves above a band of radiating lappets, the interior decorated with a large stylised flower-headDimensions:14.2cm diameterProvenance:Provenance: Private Canadian collection, acquired from iGavel Auctions, New York, 15 October 2019.Formerly in the Gertrude E. Hodgman (1896-1977) collection thence by descent. In 1929, under the auspices of the Rockefeller Foundation, Gertrude went to Peking China to develop and head a school of nursing. The development and maintenance of the Peiping Union Medical College School of Nursing was Gertrude’s focus for ten years (1929-1939) and in November 1959, she was presented with the Armed Forces Medal of the Republic of China to honour her service.Her relationship with the nurses she helped train did not disappear with their graduation. She also worked with the nurses that left China for Taiwan. As she aged, her nurses came to her to provide assistance and share their love and thanks with her. During her service in China and until her death in 1977, Gertrude was given and/or collected the Chinese cultural artefacts displayed in this collection.

A small collection of Carriage Prints and other paperwork comprising: a pair of framed Hamilton Ellis Carriage Prints, North Staffordshire Railway 1915 and Midland Railway Manchester 1905; three loose Hamilton Ellis Carriage Prints; Wirral Railway 1895; Lancashire & Yorkshire Railway Liverpool 1900; Coniston Furness Railway 1910; BR London, Waterloo Bridge by Kenneth Steel; qty 2 The School of Transport from the LMR Railway Architecture series by Kenneth Steel; The Entrance To Euston Station, London from the LMR Railway architecture series by Claude Buckle; a pair of GWR sepia carriage prints Bath and In Millers Dale. Together with a framed Newcastle upon Tyne and Carlisle Railway Company One Quarter Share Certificate and a BR D/R Poster Grantham, Nottingham and Derby 1963, clean tear at bottom. All far from pristine. (13 items)

A Join the Royal Air Force and Share Their Honour and Glory printed poster, age unknown, 76cm x 49cm, and an RAF cap with badges.

SLAVERY -- "L'ONCLE TOM ET EVA". Paris, Auguste Bry, n.d. (1850's?). Cold. & gommé lithogr. by J. Félon, w. 3 lines caption underneath in both French and English. 400 x 277 mm. Upper margin of v° hinged to mount. (Some browning/foxing, but in very good condition). NOTE: Coloured lithograph with arched upper corners by Joseph Félon (1818-1896), depicting Uncle Tom behind a desk writing to his wife and children. In France, Harriet Beecher Stowe’s 'Uncle Tom’s Cabin', most often translated as 'La case de l’oncle Tom', was an explosive sensation, shortly after first translations were available. The story: Tom meets Eva, an angelic little white girl, on a river boat on the Mississippi River where he is to be transported to a slave market. They quickly become friends. Eva falls into the river and Tom dives into the river to save her life. Being grateful to Tom, Eva's father Augustine St. Clare buys him from his former owner and takes him with the family to their home in New Orleans. Tom and Eva begin to relate to one another because of the deep Christian faith they both share. - Very rare, in fact we have not been able to trace another copy in any collection or on the market.

Four hand coloured engravings and a Somerset Mining Share certificate. The certificate stating 'Mendip Hills Mining Company Limited 1 Share Certificate', the engravings comprising 'Cheddar Cliffs', 'View of the Prating Rock, Somersetshire' and 'Wells Cathedral', largest 17cm x 21.5cm, framed and glazed

A set of four early 20th century Mining and Refinery share certificates.

Bushmills Millennium Single Malt Irish Whiskey, Cask No.305 selected for 4R Irish Angel's Share, label signed by Master Distiller David Quinn, 43% vol. 70cl.

Porcelain figurine Bitter share. Gardner′s plant 19th century. A scene from the life of the people. Thin and precise plastic, surprisingly preserved and richly composed coloring, represents an orphaned peasant woman with a bundle and a baby. The misfortune of a young mother, left on the eve of cold weather, alone without a hearth, shelter and care, is bitter and appeals to compassion. Gardner′s painted biscuit. Late 19th century. Width: 9cm, Height: 22.5cm, Depth: 10cm, Weight: 1kg, Condition: Excellent, Material: Biscuit (porcelain)

A Collection of Historic World Banknotes; presented in two albums, highlights include: Bank of England white £5 note 1944, 3x Bank of England series A £1 notes, 2 of which emergency issue blue pink variety, UK provincial notes from Dartmouth and Stockton on Tees; in addition, many mostly early 20th century examples from Russia, Italy, Sudan, Bhutan, Brazil, Bulgaria, USA, Azerbaijan, China, Iraq, Egypt and many more; collection also includes share certificates and Soviet badges; most banknotes in excellent condition and nicely presented with additional information; viewing recommended

Two Albums of Share Certificates; over 50 different certificates, including many interesting examples from around the world, attractive designs and artistically appealing, examples concerning mining, railways, shipping and forestry, from a diverse range of countries including UK, USA, China, Greece, Egypt, India, Russia etc. all nicely presented in two folders, some with accompanying information, an interesting lot, viewing recommended

A collection of 1960s USA share certificates, to include Phelps Doge Corporation, The Great Atlantic & Pacific Tea Company, General Foods Corporation, Liggett & Myers Tobacco Company; and a collection of German banknotes, ranging from one mark to twenty million marks, from 1908 to 1937.

1906 Darracq Model 40/60 Runabout Chassis no. 11013NA Engine no. 9312422 ci, Side-Valve Bi-Bloc 4-Cylinder Engine c.50hp 3-Speed Manual TransmissionSemi-Elliptic Leaf Spring Suspension2-Wheel Rear Drum and Transmission Brake*Well-known large horsepower French speedster*Formerly in the collections of George Waterman and William G. Lassiter*In the present ownership since 1999*Potential for fast Brass tour carsDARRACQOne of the most enigmatic of posters of this era is for a brazen Darracq screaming horizontally across the page, with a tranquil Victor Hemery at its wheel, it would boldly proclaim the success of 1905, 198 Kilometers in the hour, a World Record, 1st in the Vanderbilt Cup and 1st at the Circuit des Ardennes, that same year. In fact, the successes of 1905 had been developed out of a much more humble entrée into the world of automobiles. Born in Bordeaux in 1885, Alexandre Darracq made a fortune in the bicycle industry's boom years of the late 19th Century, and like many of his contemporaries subsequently turned his attention to powered transport. Darracq's new venture was financed by the sale of his Gladiator bicycle business to Dunlop, though he continued to make bicycle components in his new factory at Suresnes, Seine. Darracq was a businessman rather than an engineer and had recruited designer Paul Ribeyrolles to be responsible for its production.One of the first steps in a more substantial and sporting automobile was the arrival of the 'Flying Fifteen' which was powered by a 3.0-liter sidevalve four rated at 15hp and would go on to become Darracq's most successful model to date. Of exceptional quality, the Flying Fifteen remained essentially unchanged for the next three years, its success helping the company capture a 10% share of the French market. Here in the United States, the Darracq importer accomplished the remarkable feat of covering 2,350 miles in 14 days at the wheel of a 15hp Darracq without stopping its engine!The behemoth that accomplished the 1905 records was a 22-liter V8-engined monster also designed by Ribeyrolles, they would repeat the Vanderbilt Cup victory in 1906. Against this backdrop, it was logical that the marque would have success in America, but it seems that only the larger Darracq models were ever imported as new to the USA. Their original agent was F.A. La Roche & Co. of 652 Hudson Street in New York City. That firm's proprietor tested and proved a Flying Fifteen with a fortnight of continuous running and some 2,350 miles covered. The 40/60 as offered today, was a 7-liter T-head powered car which in France was catalogued as a 40hp, but for the US market was listed with this nomenclature. While chains might be seen as an iconic characteristic today, they were becoming considered as passé and were quickly being replaced by transferal by shaft drive which was accepted as being more refined, the 40/60 also had the refined 'belt and braces' technology of both magneto and coil ignition. THE MOTORCAR OFFEREDDarracq were on top of the world when this large horsepower speedster was originally built, and it would have been images such as this that no doubt inspired its acquisition. That purchase was at the Christie's auction in West Palm Beach in March 1999 when William G. Lassiter sold his collection.As catalogued then, the car could chart provenance back to the incubation of the hobby, with known ownership commencing with one the most famous pioneers of the car collecting movement George Waterman who was based here in Rhode Island. Together with his collecting partner Kirk Gibson, the very first car museum of its kind could have been here in Newport at Belcourt House on Bellevue Avenue a step away from The Audrain today. Termed by Gibson and Waterman as a Musee des Invalides, it had already outgrown its Boston premises and Newport would have been ideal, afterall motorsport had begun here in 1899. But the idea of the such an institution for greasy old jalopies, horrified the neighbors and it was not to be... Well at least Newport can count on the Audrain today!Regardless, the Darracq was part of that famed grouping in the 1950s. From Waterman-Gibson it passed to the Burton Upjohn Collection in Michigan. At this point, it was restored by John Caperton to the guise in which we see it today, that of an archetypal speedster, with bucket seats and barrel gas tank. From Burton Upjohn its next ownership came in 1965 when it was purchased by Donald Gilmore of Kalamazoo, in that same state. It would reside in the Gilmore Museum for many years, until acquired by Lassiter.Surprisingly, although secured at that prominent auction, it is understood that the Darracq was rarely, if ever used by these two generations of collectors, probably owing to all the other cars that cried out for attention. It stands today as a larger horsepower motorcar from an high quality brand which was at a peak in this period, and when returned to the road it will no doubt prove to be an exhilarating and run road racer. Lot to be sold without reserve.For further information on this lot please visit Bonhams.com