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Sheffield United Cricket and Football Club Ordinary Share Holder Oval Disc, in nickel, numbered '298' 4cm wide.

A PAIR OF GEORGE III GILTWOOD AND NEEDLEWORK UPHOLSTERED ARMCHAIRSIN THE 'FRENCH' HEPPLEWHITE MANNER, CIRCA 1775each 94cm high, 66cm wide, 61cm deep overallProvenance:By repute- Sir Lionel Faudel-Phillips, Balls Park Hertford and thence by family descentFor chairs of related design see Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture, The Norman Adams Collection, pp61-64. The chairs share similar 'fan' detail, moulded cabriole legs and scroll feet showing the influence of 'French lightness'. Variations on chairs with similar treatment of legs, were common at this period and were made by Hepplewhite, Chippendale, Cobb and other fashionable makers following the practice in Paris of rococo-style chairs being placed in strictly neo-classical interiors. These scrolled 'French' feet are referred to by Hepplewhite in his Cabinet-Maker and Upholsterer's Guide as a 'desirable' terminal.Condition Report: Both chairs with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Frames have been re-gilded. The gilt surface has the expected cracking, chips, losses and wear. These losses expose the underlying gesso and timber in places throughout. Shrinkage cracks and some opening to joints. Please note, Dreweatts cannot guarantee the originality of elements beneath upholstery. Needlework and the chair frames are associated. The needlework to both chairs with wear, tears, small holes, some old repairs and sections re-woven - see images. The velvet elements also have significant wear, fading, tears, and water marks. The piping to the seats and backs is untidy with various sections lost or loose. One chair with movement within the joints of the front legs. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A COLLECTION OF UNBOXED AND PLAYWORN FIRST TWENTY ONE 1977-1979 STAR WARS FIGURES, to include 3 R2-D2 (1977), Ben Kenobi with Light Sabre (1977), 2 Chewbacca with 1 gun included (1977), 2 Darth Vader with Light Sabres (1977), Death Squad Commander with gun (1977), Large Head Hans Solo with gun (1977), 2 Jawas one with gun (1977), Luke Skywalker no Light Sabre (1977), Princess Leia Organa no cape and no gun (1977), 2 Sand People one with weapon , both with capes (1977), C-3PO (1977), 5 Stormtroopers 1 gun in black, possibly later one in blue (1977), Hammerhead no gun (1978), 1 Greedo with a gun (1978), Walrus Man no gun mark unable to be identified for year, Snaggletooth with gun, Luke Skywalker X-Wing Pilot no gun (1978), R5-D4 (1978), Death Star Droid (1078), Power Droid (1978), Boba Fett no gun (1979). All models are in play worn condition with some loss of colour, we've aimed to match weapons to models but a lot do share same pieces and can't categorically say the weapon were originally purchased with the figures, for example Boba Fett's weapon the same shape and design as Death Squad Commander and Hammerhead etc

Two boxes containing Kodak easy share G600 photo printer, printer paper, cartridges, together with a further Kodak printer, leads, manuals, camera software disks.

Rabindranath Tagore (1861-1941) - Bengali Polymath - two items owned and used by Tagore, comprising a cast iron pestle and mortar (for Betel leaves), and a larger bronze charger with flared edges. Charger measures approx; 27cm diameterProvenance; these utensils were once owned by Satish Chandra Roy - Indian politician and freedom fighter. Several documented meetings between Tagore and Satish Chandra Roy are known, and these utensils were given during a meeting in Bolpur.. A note of provenance is supplied by the vendor (a relative of Satish Chandra Roy), and the vendor is happy to share their contact information with the winning bidder should any further provenance be required. The exact contents of the provenance letter will be supplied to the winning bidder only.Gurudev Rabindranath Tagore FRAS (1861 – 1941) was a Bengali polymath who worked as a poet, writer, playwright, composer, philosopher, social reformer and painter. He reshaped Bengali literature and music as well as Indian art with Contextual Modernism in the late 19th and early 20th centuries. Author of the "profoundly sensitive, fresh and beautiful" poetry of Gitanjali, he became in 1913 the first non-European and the first lyricist to win the Nobel Prize in Literature. Tagore's poetic songs were viewed as spiritual and mercurial; however, his "elegant prose and magical poetry" remain largely unknown outside Bengal. He was a fellow of the Royal Asiatic Society. Referred to as "the Bard of Bengal", Tagore was known by sobriquets: Gurudeb, Kobiguru, Biswokobi.

Mahatma Gandhi (1869-1948) - a collection of Gandhi's personally owned and used food bowls and charger. Comprising; two small turned bronze rice bowls, a large brass rice cooking bowl, and a larger hammered bronze charger / platter with 'Love' (in Bengali) also engraved to the rim. The plates are accompanied by two traditional stoneware items; a shallow dish and platter (both with extensive damage) which were also used to serve Gandhi fruit. The largest of the four (the bronze charger) measures approx; 35cm diameter.Provenance; these utensils were once owned by Satish Chandra Roy - Indian politician and freedom fighter. Several documented meetings between Gandhi and Satish Chandra Roy are known. In 1945/46 Mahatma Gandhi stayed with Satish Chandra Roy at his house in Narsingdi Gram (district), now Bangladesh, for a period of three days. Whilst staying with Satish Chandra Roy, Gandhi carried out all his meetings with local politicians and dignitaries. When leaving, Gandhi left behind these items and they were kept as souvenirs. A letter of provenance is supplied by the vendor (a relative of Satish Chandra Roy), and the vendor is happy to share their contact information with the winning bidder should any further provenance be required. The exact contents of the provenance letter will be supplied to the winning bidder only.

An album containing a collection of share certificates, bonds, etc, including Erie Railroad Company, The New York Central Railroad Company, Pan American World Airways, Bank of Bengal, Chinese Government 1913 Gold loan paper bond, etc

Canadian coins and banknotes to include three paperweights set with coins, plaque containing a Canadian one dollar note and coins, four share certificates etc. (qty)

SEVEN BRITISH AMERICAN TOBACCO COMPANY SHARE CERTIFICATES one ordinary share no. A19907; an ordinary £5 stock, no. B15407; 10 ordinary shares no. C4907; 20 ordinary shares, no. D10407; 25 ordinary stock, no. X4907; 100 ordinary stock, no. F80407 (7)

Michael Ayrton (British, 1921-1975)Return of Agamemnon oil on board53 x 43cm (20 7/8 x 16 15/16in).Painted circa 1960Footnotes:ProvenanceThe Estate of the ArtistAcquired by the present owner, 13 May 2015Private Collection, U.KLiteratureE. Morshead (trans.), M. Ayrton (illust.), The Orestia, Limited Editions Club, New York, 1961, p. 28The hieratic, sculptural figures and limited palette reflect Ayrton's growing preoccupation at the time with the mythology and landscape of Greece, and share the concerns he was also exploring through the myth of Daedalus and Icarus: finding ways of expressing visually the effects of extreme stress on the human body, and the interaction of the human and the divine. We are grateful to Justine Hopkins for her assistance in cataloguing this lot.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

State of South Carolina 1000 share certificate, framed and glazed. 45 x 36.5 cm overall.

A Pair of George III Carved Giltwood ArmchairsAttributed to Thomas Chippendale, Circa 1775Height 37 1/4 x width 26 5/8 inches.This lot is located in Chicago.Provenance:Probably part of the suite supplied to Prince William Henry, Duke of Gloucester (1745-1805)Phillips, London, Fine English and Continental Furniture, Carpets, Tapestries and Works of Art, 9 February 1999, Lot 98 (with catalog)James Hepworth, London, 1999 (with copy of invoice)Note:This pair of armchairs are probably part of the only known Royal commission executed by Thomas Chippendale. It originally consisted of a set of eight armchairs and two sofas followed by the later addition of thirteen side chairs and two bergeres probably supplied to Prince William Henry, Duke of Gloucester (1743-1805), younger brother of George III. Two armchairs, seven side chairs, the sofas and the bergeres remain in the Royal Collection and are at Clarence House, London (RCIN 100201, RCIN 100202, RCIN 100204, RCIN 100205).Although no specific records have surfaced in the Royal Archives, a surviving portion of the Duke of Gloucester" bank account from 1764-1766 details payments to Chippendale that totaled £134 15s 6d. Though this date is too early to refer to this suite, it does confirm a pre-existing relationship. This commission is very likely the one Chippendale mentions in his 1767 letter to Sir Roland Winn in the apparently universal way of all craftsmen rationalizing why their work was delayed as he writes he…'had a great quantity of business…mostly for the Royal Family' (A. Bowett and J. Lomax, Thomas Chippendale 1718-1779 A Celebration of Craftsmanship and Design, Catalogue of the Tercentenary Exhibition, Leeds City Museum, 2018, p. 130).Stylistically, the chairs reflect the French fashioned chairs supplied to Chippendale" documented commissions from the early 1770s. Although the distinctive arched handholds were almost a leitmotif for Chippendale chairs, the armchairs in the set of seat furniture supplied to Sir Penistone Lamb for the Saloon at Brocket Hall around 1773 are the most closely related to the present lot, featuring guilloche backs surmounted with a medallion and a laurel leaf carved apron (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 109, fig. 186). The dispersal of this suite from the Duke of Gloucester presumably occurred after his death in 1805 when his estate went to his two children, William Frederick and Sophia Matilda. The part of the suite in the Royal Collection presumably went to George IV as they have his inventory brand. As the other three pairs of chairs are not accounted for in the entries for the suite at the Royal Collection, they were presumably kept by Gloucester" descendants, fulfilling his command to bequeath his property to 'share and share alike.' Another pair of identical armchairs also lacking the inventory brand and presumably from this original set were sold anonymously at Sotheby", London, 27 September 2012, lot 135 (£73,250); the whereabouts of the remaining pair is currently unknown.Seat height 18 1/4 inches. Re-gilt. One chair re-blocked for stability. There are very faint differences in the proportion of the decoration and in the carving between the legs of both chairs (probably worked on by different carvers). The differences would not be noticeable when placed in a room, and the differences are not nearly as pronounced as on Lot 56. The pair are clearly a matching pair made as part of the same set. A few small areas of flaking gilding revealing gesso and bare wood. Ribbons on crest rails appear to be intact. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

A Pair of French Soft-Paste Porcelain White Bouquetiere FiguresProbably Saint-Cloud or Mennecy, Circa 1750modelled as a peasant couple in mid-18th century dress, the woman seated with a shallow oval basket supported on her skirt between her knees, her hands resting on either side of the basket's rim, the man seated on a rockwork base, the man seated with a storage basket resting on the ground between his knees, both baskets with fixed covers pierced to receive flowers.Height of taller figure (man) 9 1/2 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, February 1998 (as Mennecy)Note:The present pair of cut flower holders modeled as flower sellers were inspired by the hard-paste porcelain models by Johann Joachim Kändler of circa 1745 for the Meissen factory.Conclusively identifying the factory responsible for unmarked French glazed soft-paste porcelain examples can be difficult. The present pair are certainly mid-18th century in date. The only question is whether they were made at Mennecy or at Saint-Cloud, as they exhibit traits of both manufactories.The corn kernel-like molding of the basket between the male figure" knees is not dissimilar to the molding of a potpourri box and cover modeled as a basket of flowers sold as Saint Cloud in the sale of French porcelain from the Collection of Elizabeth Parke Firestone, sold Christie" in New York, 21 March 1991, lot 1. Acquired by MaryLou Boone at the auction, it is now in the collection of the Los Angeles County where it is attributed instead to the Sceaux porcelain factory of Jacques Chapelle. See Elizabeth A. Williams, ed., Daily Pleasures: French Ceramics from the MaryLou Boone Collection, Exhibition Catalogue, Los Angeles County Museum of Art, 2012, cat no. 111. Cat. no. 107 in the same Boone catalogue are two French soft-paste white figures-one a cobbler, the other an itinerant worker. Attributed to Mennecy, they too share marked similarities with the present bouquetieres, particularly the color of the paste, pooling of the glaze and modeling of the clothing and facial features.Height of shorter figure (woman) 8 1/2 inches. Both in good condition with kiln speckling, minor firing cracks, and glaze pooling visible. Having enclosed bottoms making them watertight for use as proper flower vases.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

[DREYFUS AFFAIR]: HENRY HUBERT-JOSEPH (1846-1898) French Lieutenant-Colonel involved in the Dreyfus Affair. Henry was arrested for having forged evidence against Dreyfus and was subsequently found dead in his prison cell. A rare A.L.S., Ht. J Henry, four pages, small 8vo, Bourbonne, 8th August 1888, to 'Mon cher ami', in French. Henry states that he was very busy before his departure, and was sorry not to have seen his friend, and continues 'Je vous ai dit je crois que j'avais envoye divers documents a M. Gentili di Giuseppe - mais je n'ai pu le voir et sa carte est venue me retrouver ici.  je vous serai oblige de le voir et de le presenter a M. Duval avec qui il doit entrer directement en relations - pour voir les dessins et les modeles. J'ai ecrit a M. Duval d'ici pour le prier de faire preparer une nouvelle notice destinee a remplacer celle qui est epuisee. Elle devra etre imprimee et je voudrais l'examiner a mon retour avant le tirage. Il conviendra d'introduire dans cette notice un type de part et viaduc pour tramway et chemins de fer a voie de 1me pour machines depuis 12 tonnes jus qu'a 30 tonnes - le moment n'est pas eloigne ou les parts demontables seront tres demandes en Algerie et dans les pays de colonisation. Il faut se hater de les faire connaitre si on ne veut pas voir nos inventions exploites par les autres qui semblent deployer dans cette voie nouvelle une activite fructueuse......cette publicite est opportune et indispensable'(Translation: 'I told you I believe I had sent various documents to Mr. Gentili di Giuseppe - but I could not see him and his card came to find me here. I will be obliged to you to see it and to present it to Mr. Duval with whom it must enter directly into relations - to see the drawings and the models. I have written to Mr. Duval from here to ask him to have a new notice prepared to replace the one which is out of print. It will have to be printed and I would like to examine it on my return before printing. It will be advisable to introduce in this notice a type of share and viaduct for tram and railroads with 1st track for machines from 12 tons up to 30 tons - the moment is not far when removable parts will be in great demand in Algeria and in colonizing countries. We must hasten to make them know if we do not want to see our inventions exploited by others who seem to be deploying a fruitful activity in this new direction…..this publicity is timely and essential'). Henry also asks if his correspondent has received General Annenkov, further remarking 'Je n'ai aucune nouvelle de ce qui s'est passe a la seance de vendredi dernier a la societe des Ingenieurs Civils. Avez-vous eu des renseignements .......je ne serais pas etonne qu'Eiffel ait intrigue pour empecher l´inspection de ma lettre' (Translation: 'I have no news of what happened at last Friday's session at the Society of Civil Engineers. Have you had any information…..I would not be surprised if Eiffel intrigues to prevent the inspection of my letter'). Some very light age wear, minor toning and a small rust stain to the head of the first page, otherwise VG Mikhail Annenkov (1835-1899) Russian nobleman and General, a renowned engineer who built the strategic Transcaspian Railway and was also involved in the planning of the Trans-Siberian railroad. Gustave Eiffel (1832-1923) French civil engineer who made his name with various bridges for the French railway network and is best known for the world-famous Eiffel Tower.

Guillotin seeks additional information on ‘the restoration of the art of healing’  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  

‘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’  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. 

PHILIPPE OF ORLEANS: (1838-1894) French Prince, Count of Paris and the disputed King of the French from 24th to 26th February 1848 as Louis Philippe II. A.L.S., Louis Philippe D'Orleans, five pages, 8vo, Claremont (Surrey), 27th November 1858, to Lady Holland ('Madame'), on black bordered mourning stationery, in French. The Prince apologises for his late reply to his correspondent's letter and her expressions of sympathy, and continues to remark 'Je ne pouvais, d'ailleurs douter de la part que vous prendriez a notre malheur, de la douleur que vous éprouveriez vous-meme de la part cruelle qui nous a frappés, car je sais tout l'attachement que vous aviez voué a ma Mere et l'affection qu'elle vous portait en retour. Les témoignages de sympathie qui nous sont venus de toutes parts nous ont prouvé combien notre perte etait grande, et combien nous avions a faire pour nous rendre dignes de notre Mere et de l'attente de tous les amis qui nous ont temoigne leur interet. D'ailleurs nous ne pouvions trouver de plus grande consolation que dans la tendresse de la Reine et dans l'appui et l'affection de nos Oncles' (Translation: 'I could not, moreover, doubt the part you would take in our misfortune, the pain that you yourself would experience from the cruel blow that struck us, because I know all the attachment you had devoted to my Mother, and the affection she had for you in return. The testimonies of sympathy that came to us from all sides proved to us how great our loss was, and how much we had to do to make ourselves worthy of our Mother and of the expectation of all the friends who showed us their interest. Besides, we could find no greater consolation than in the tenderness of the Queen and in the support and the affection of our uncles') and further refers to the persecution of Montalembert, commenting 'Voila l'Angleterre bien aime du proces de M. de Montalembert je voudrais que la France partageat un peu de sa juste indignation et temoignat plus d'interet a celui qui a si courageusement défendue la cause liberale' (Translation: 'Here is the beloved England of the trial of Mr. de Montalembert. I would like France to share a little of its just indignation and show more interest in the one who has so courageously defended the liberal cause') before also remarking 'Plus je vis en Angleterre, plus ce sejour m'interesse; car n'est que peu a peu qu'on peut apprendre a connaitre ce pays, mais plus je comprends le jeu de ses institutions, plus je penetre dans cette activite qui tous les jours fait participer toute la societe a toutes les affaires de la nation, plus j'apprends a l'apprecier' (Translation: 'The longer I live in England, the more this sojourn interests me; because it is only little by little that one can learn to know this country, but the more I understand the play of its institutions, the more I penetrate into this activity which every day involves the whole society in all the affairs of the nation, the more I learn to appreciate it'). Accompanied by the original envelope hand addressed by the Prince. Neatly inlaid, otherwise VGLady Mary Augusta Coventry (1812-1889) Wife of Henry Fox, 4th Baron Holland (1802-1859) British politician and ambassador.Duchess Helene of Mecklenburg-Schwerin (1814-1858) Duchess of Orleans, Princess Royal of France, wife of Ferdinand Philippe, Duke of Orleans (1810-1842). The Duchess died in Richmond, Surrey, on 17th May 1858.

WAYNE JOHN: (1907-1979) American actor, Academy Award winner for Best Actor in 1969 for his role as Marshal Reuben J. 'Rooster' Cogburn in True Grit. An excellent vintage signed and inscribed 10 x 8 photograph of Wayne in a head and shoulders pose, wearing a black eye patch, in costume from his Oscar winning performance as U.S. Marshal Rooster Cogburn from the Western film True Grit. Signed by Wayne with his nickname in black ink to a clear area of the background, 'Lucille - Hope we do a dozen more, Duke'. A couple of very light, minor corner creases, VGProvenance: Accompanied by a typed letter signed by Lucille House McCoy, a stunt woman and the original recipient of the photograph, dated 4th April 2000 and stating, in part, 'I have been in the Motion Picture Business since the early nineteen thirties. It has been my good fortune to have worked with many stars during my Professional Career….It is with pleasure that I share some of my experiences with others to enjoy the photo's (sic) I have gotten over these wonderful, exciting and interesting years'.

THATCHER MARGARET: (1925-2013) British Prime Minister 1979-90. A slim 8vo folding blue and white election campaign leaflet issued by Thatcher for the General Election of 11th June 1987, featuring her image to the front with the simple caption Vote for Margaret Thatcher, the inside featuring Thatcher's printed message to the constituents of her seat at Finchley and Freirn Barnet, and with several further images to the verso. Signed ('Margaret Thatcher') in blue ink with her name alone to a light area at the base of the image to the front. VG Margaret Thatcher increased her share of the vote in her seat of Finchley in the General Election of 1987 and also led the Conservative Party to a landslide victory which saw her re-elected for a third term as Prime Minister. 

INGRES JEAN-AUGUSTE-DOMINIQUE: (1780-1867) French Neoclassical Painter. Autograph statement by Ingres, signed `J. Ingres´, two pages, 12mo, n.p., n.d., to Monsieur Capelet, in French. To a page removed from an autograph album, four personalities have written in their hand four short statements, two the front and two to the verso. To the front page Ingres cleanly and boldly writes `Je m´honore de partager les voeux philantropiques de Mr. Capelet. J´applaudis au zele qu´il montre pour le bien de l´humanité, et puisqu´on dit que les arts descendent du ciel pour adoucir les moeurs des hommes et les rendre meilleurs, je voudrais les voir mettre au nombre des premiers enseignements, et qu´enfin les hommes apprissent a dessiner en meme temps qu´a lire et a écrire´ ("I am honoured to share the philanthropic wishes of Mr. Capelet. I applaud the zeal he shows for the good of humanity, and since it is said that the arts come down from heaven to soften the morals of men and make them better, I would like to see the arts put among the first teachings, and that finally men learn to draw at the same time as to read and write") Accompanied by a 2.5 x 4 cabinet visiting-card of Ingres, unsigned, the Desmaisons image, from Paris, showing Ingres in a half-length pose. To the front page also and above Ingres´ statement, a short statement by Giuseppe Casparo Mezzofanti (1774-1849) Italian Cardinal and Linguist, considered the major polyglot in history, speaking fluently 48 different languages. Mezzofanti states `Quand la religion t´anime d´un esprit noble et magnanime, tu soulages l´humanité´ ("When religion animates you with a noble and magnanimous spirit, you relieve humanity") To the verso bearing an autograph statement by Xavier Sigalon (1787-1837) French Painter, a leader of the romantic movement. VG

Agriculture and Husbandry Ephemera. Broadside, The Sorrowful Lamentation on James Lea, aged 32, & Joseph Grindley, 20, Who Now Lie Under The Awful Sentence of Death In the Condemned Cell Of Shrewsbury, For Willfully Setting Fire To A Stack of Barley, The Property of Mr. J. Nunnerley, of Whitchurch, Shrewsbury: France, Printer, n.d. [March, 183*], illustrated by a wood engraving of the prison and prisoner, 34 x 14.5cm, Fire. Reward of One Hundred and Seventy-five Pound. Whereas last Night a Stack of Corn, at the Top of the Abbey Foregate, belonging to Messrs. Carline and Linell, and Two Stacks of Corn and a Barn, at Sutton, belonging to Samuel Jeffreys, were set on Fire [...], Joseph Carless, Mayor [...], Shrewsbury, April 28, 1800, [Shrewsbury]: Eddowes, Printers,, 31.5 x 17cm, two early 19th c adverts for grass grazing, one to let Welton Growths, Yorkshire, April, 27th 1807, Hull: J. Jerraby, Printer, Butchery, 18 x 15.5cm, another to let, by auction, Closes of Grass, in lots, The Property of Michael Rimington, Penrith [, Cumbria]: A. Bell, Printer, 1805, annotated in ink manuscript with realized prices, 17.5 x 14.5cm, & a Lewes Corn and Hop Exchange Company Share certificate for £30, dated May 1847, (5) All unexamined out of frames. The Lamentations repaired, creases, chipped, etc. Fire reward folded, some stains, etc. The grass lets folded, foxed, light wear, otherwise good. The certificate toned and worn, otherwise OK.

Selection of vintage and later cameras includes Polaroid, Kodak easy share etc

Sapphire and diamond 18ct yellow and white gold set cluster ring, the oval mixed cut sapphire measuring approx 7.5mm x 6mm, ten round brilliant cut diamond surround, total diamond weight approx 0.70 carat,share claw settings, ring size Q

COLLECTION OF POSTAL EPHEMERA including First Day Covers, share certificate and cigarette cards

'BUTTERFLIES, FLOWERS, SCEPTER, AND VASE', BY LU XIAOMAN (1903-1965), CHEN XIAOCUI (1907-1968), XIE YUEMEI (1906-1998), AND PAN JINGSHU (1892-1940)China, 1930s. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Exquisitely painted with an Imperial lime-green-ground famille rose vase with dragon handles, probably Jiaqing, holding a bouquet with peony, hibiscus, and red bamboo, as well as leaves, scrolling vines, and fruit, surrounded by fluttering butterflies, all above a tasseled cloisonne ruyi scepter with floral and dragon decoration as well as a gilt-bronze head.Inscriptions: Upper right, signed and inscribed 'Lu Xiaoman painted the butterfies' and with a poem by the Song-dynasty poet Lu You on butterflies; two seals of the artist, 'Xiaoman' and 'Lu Mei'. Center left, signed and inscribed 'Xiaocui painted the branches in Shanghai'; one seal of the artist, 'Xiaocui'. Lower left, signed and inscribed 'Xie Yuemei painted the ruyi [scepter]'; two seals of the artist, 'Xie Yuemei yin' and 'Juanruo'. Lower right, signed and inscribed 'Jingshu painted this vase in the style of the Yuan dynasty'; two seals of the artist, 'Pan' and 'Jingshu zhi yin'.Provenance: Dutch trade. By repute from an old private estate. Condition: Good condition with minor wear, creasing, and foxing.Dimensions: Image size 137 x 44 cm, Size incl. mounting 240 x 59 cmThe present painting is a collaboration between four female painters, all of whom were active in Shanghai during the 1930s. At least three of them - Pan Jingshu being the possible exception - were associated with the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) which was founded and held its first exhibition in 1934. By 1937, the group had enrolled more than 150 artists. These four, like those of the Women's Society as a whole, are tied together by their art, their gender, and their city of residence, but not by other more obvious social factors. They came from different native places and did not necessarily move in the same social circles. They did not work in the same painting styles, share the same teachers, or specialize in the same subjects. As a group, they came together for two mutual goals: To promote women artists and the practice of traditional painting.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Chen Xiaocui (1907-1968) was a Chinese painter and co-founder of the Women's Calligraphy and Painting Society. Daughter of a famous and popular writer, Chen Diexian, she was educated at a traditional academy in Hangzhou, but moved with her father and two brothers to Shanghai around 1920. Like her brothers, she became known at an early age for her published literary works, including poetry and at least fifty translations of foreign fiction. She studied painting with the conservative master Feng Chaoran (1894-1968), an artistic lineage that is reflected clearly in her work.Xie Yuemei (1906-1998), sobriquet Juanruo, was a Chinese painter who lived and worked in Shanghai. She was the sister of the leading traditional painter Xie Zhiliu (1910-1997), a noted member of the Shanghai School. Although she was largely self-taught, only receiving some guidance in her early years from Zhang Hongwei (1878-1970), she became very popular and influential in her time. Pan Jingshu (1892-1940) was a Chinese painter and the wife of the noted Suzhou painter Wu Hufan (1894-1968). Pan descended from a wealthy family of scholars and officials, and was educated at home in the classics and the arts of poetry, calligraphy, and painting. She married Wu in 1915, and together they named their residence Meijing Shuwu (Plum View Studio).The poem inscribed upper right on the painting was originally written by Lu You (1125-1210), a Chinese historian and poet of the Southern Song dynasty. It can be translated as follows:The blossoms in the garden are fragrant,The butterflies are dancing,One dwells by the window only because of you,Regardless of what color you have, if dark or bright yellow.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 67 Estimate: USD 120,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writing Description: Chinese School, Lotus Blossoms in a Blue and White Dragon VaseExpert remark: Note that this painting shows several seals of the Empress Dowager Cixi, and that according to an inscription on the painting it was presented to her. The Empress was an avid art collector and painter, who herself also painted several related works depicting flowers in an antique vase, which quite possibly served as inspiration for the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1216 Price: HKD 288,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: Empress Dowager Cixi (1835-1908), FlowersExpert remark: The Empress Dowager Cixi was an avid art collector and painter, who painted several works depicting flowers in an antique vase which quite possibly served as inspiration for the present lot, as the Empress and her paintings would have clearly appealed to the feminist and traditional sensibilities of the Chinese Women's Calligraphy and Painting Society's members.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 25 April 2004, lot 86Price: HKD 1,518,400 or approx. EUR 276,000 converted and adjusted for inflation at the time of writing Description: A still-life hanging scroll by Giuseppe Castiglione, Yongzheng period (dated 1725)Expert remark: This painting of flowers in an antique Jun-type vase clearly inspired later works by the Empress Dowager Cixi and others (see previous auction result comparisons), as well as the present lot.陸小曼、陳小翠、謝月眉與潘靜淑合作《花蝶如意瓶》中國，上世紀三十年代，紙本水墨設色，挂軸。

A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. 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 expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。

A MONUMENTAL SANDSTONE FIGURE OF NARASIMHA, KHMER EMPIRE, 10TH-12TH CENTURYFinely carved to depict an imposing anthropomorphic guardian with a fierce gaze, displaying the head of a lion and body of a man, kneeling on a square plinth, wearing a pleated sampot, holding a vajra in his right hand. Note the unusually elaborate coiffure, especially at the backside of the head.Provenance: An old collection in the United States, formed between the 1970s and 1990s, by repute acquired as part of a deaccession from an American museum. A private collection in California, United States, acquired from the above.Condition: Overall good condition, commensurate with age. Extensive wear, some losses, dents, structural cracks with associated old fills, signs of weathering and erosion, drilled to underside of platform. Fine, naturally grown patina.Dimensions: Height 84 cmSuch imposing figures, a symbol of both caution and importance, once served as guardians at the gates and entrances of sacred temple sites throughout Southeast Asia. The mythical composition of the figure, in addition to the presence of a celestial weapon, alludes to this being a divine being with powers far greater than that of any mortal. The iconography, an evolutionary mix of lion imagery with fierce deities, is one repeated throughout the ancient world, from the Gates of Ishtar to the Temple of Todaiji.Expert's note: The figure compares well against closely related examples that have come on the market in the last century, however also exhibits subtle stylistic differences from each that make connecting it to any specific temple site or region difficult. This is further confounded by the fact that many known sites are in varied states of disarray and near complete ruin. For example, if compared with the Banteay Srei guardians, we see that the vajra is proportionally much larger, and the style of the face is much more rectangular. The two are clearly from different areas. In addition to the old restorations, the figure exhibits other attractive signs of weathering, including complex organic growth in the form of black algae (upper torso) and crustose lichens (left knee), and is decidedly ancient. We must conclude that the figure is from a yet unknown site somewhere else in the vast ancient Khmer empire, an empire that at its peak was larger than the Byzantine Empire.Literature comparison: Compare a closely related sandstone figure of Narasimha, 82.5 cm high, Banteay Srei style, dated to the late 10th century, in the CB National Museum, inventory number Ka.786. Note the difference in gaze, being downward facing versus straight-on, the noticeably smaller vajra, and the thicker platform. Interestingly, note the very similar damage to the right arm and right thigh, damage that is also shared to some extent with a comparison from Christie's below. The figure in the CB National Museum appears to exhibit fewer characteristic signs of surface weathering than the present lot and in comparison has the feeling of being a younger figure.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 6 June 2011, lot 381Price: EUR 97,000 or approx. EUR 115,000 adjusted for inflation at the time of writingDescription: An important sandstone figure of a lion-headed guardian, Khmer, Koh Ker style, mid-10th centuryExpert remark: The figures share several characteristics. The Christie's example, however, attributed to Koh Ker, has a style that is somewhat fleshier and more playful. It also has a platform adorned with lotus petals. Note the identical size (84 cm) and similar areas of damage to the right arm and thigh.Auction result comparison:Type: Closely RelatedAuction: Christie's Amsterdam, 20 November 2001, lot 215.Price: EUR 19,975 or approx. EUR 31,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, sandstone figure of a lion-headed guardianExpert remark: Stylistically, the body is similar at first appearance, but the Christie's figure has significantly less detail. The lack of finer carving work is most notable on the face, with less teeth, larger swirls on the muzzle, and plain convex eyes. It is also significantly smaller (55 cm).

A RARE, LARGE AND POWERFUL JADE FIGURE OF A BIXIE, MID-WESTERN HAN DYNASTY - EARLY SIX DYNASTIES PERIODExpert's note: The magnificent polish and remarkably unctuous feel overall are a distinctive testimony of many centuries of passionate handling, indicating that this piece may either be a rare heirloom example, or at the least was only buried for a rather short period, and thence handed down from generation to generation of respectful keepers.China, c. 100 BC to 400 AD. Powerfully carved in a prowling pose with the legs and the right haunch tucked under the body and the left extended backward, rigorously pushing the winged body forward. The face with bulging eyes below thick brows and a pair of curved horns, the pierced mouth baring teeth above the distinct goat beard. The body neatly incised with wings, fur markings, and scroll motifs. The softly polished translucent stone is of a pale green and creamy russet-brown tone with distinct chestnut inclusions and russet veining.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The underside with an old label, 'C. 1085'. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with minor wear, few tiny nicks and light scratches. A small section of the tail has been reattached. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Export License: A French certificat d'exportation pour un bien culturel, document Nr. 233778, dated 31 May 2022, has been granted by the French government. A copy of the document accompanies this lot.Weight: 183.4 g Dimensions: Length 10 cmJade bixie carvings in the round are extremely rare and precious. There are two jade bixie excavated in the Weiling tomb in Xianyang, Shaanxi province: one is striding upright, with two horns curling backwards along the head (fig. 1), the other is crouching with its head down, with two horns growing closely alongside and bifurcating at the tip (fig. 2). There is an Eastern Han jade bixie (fig. 3) in the Taipei Palace Museum with a long snout resembling either a dragon or a horse, unlike the more common tiger-like bixie with shorter snouts, and closely resembles the griffin of Western Asia.Amongst the very few excavated and heirloom examples of jade bixie, the two examples from the Weiling tomb are dated the earliest, indicating that the production of these bixie carvings in the round began as early as the mid-Western Han dynasty. Although none of the bixie carvings from the Two Han dynasties appear identical to one another, they share these characteristics: Double or single-horned, with lion or tiger head and body, goat beard and bird wings. They are also extremely fierce, powerful in musculature, gallant in stature, carved in the round and decorated with incised decoration, shallow relief, high relief and pierced decoration in precise and neat wheel cuts.Although jade bixie have heads like a lion or a tiger, it is the tiger that most embodies its essence. In the Three Kingdoms period, Zhuge Liang in his military strategy coined the now well-known term 'like a tiger added with wings' to describe a general that excels at deploying his troops. The origin of this phrase can be found in his anthology Zhuge Zhongwuhou wenji, juan 4, edited by Zhang Shu (1781-1847): “Military command is the mandate to lead the three armies, and the authority of the chief commander. A general who has the command of the army and knows the essence of troop deployment to gain the upper hand, is like a fierce tiger that has been given wings and able to travel the four seas, to apply force when he sees fit.”Zhuge Liang's description of an able general as 'a tiger added with wings' is the Han dynasty jade bixie personified.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 21 September 2021, lot 46 Price: USD 107,100 or approx. EUR 107,000 converted and adjusted for inflation at the time of writing Description: A beige and russet jade bixie, Han - Six DynastiesExpert remark: Compare the closely related subject, pose, manner of carving, and russet veining. Note the beige color and much smaller size (7 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 40 Price: HKD 2,142,000 or approx. EUR 285,000 converted and adjusted for inflation at the time of writing Description: A Rare Celadon Jade Figure of a Bixie, Eastern Han DynastyExpert remark: Compare the closely related subject, the related pose and manner of carving. Note the different color of the jade and much smaller size (4.8 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 27 September 2021, lot 524 Price: USD 746,000 or approx. EUR 741,000 converted and adjusted for inflation at the time of writing Description: A beige and brown jade figure of a bixie, Ming dynasty or laterExpert remark: Compare the closely related subject, the similar pose and manner of carving. Note the different color of the jade and larger size (12 cm). Also note the original estimate of USD 8,000-12,000 and the market's rather unambiguous response to the conservative dating of this lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 2748 Price: HKD 26,850.000 or approx. EUR 3,170.000 converted and adjusted for inflation at the time of writing Description: An Exceedingly Rare and Exceptional Jade Carving of a Mythical Beast, Bixie, Late Western Han Dynasty, c. 1st Century BCExpert remark: Compare the related carving and subject. Note the different color and smaller size (7.2 cm).

A 1915 Cornish Mining share certificate for Wheal Kitty and Penhalls United - debenture £25

A 1900 share certificate for 188 shares in Wheal Kitty and Penhalls United Mines

A REGENCY BRASS MOUNTED MAHOGANY BRACKET CLOCK IN THE MANNER OF THOMAS HOPE WITH WALL BRACKETLEPLASTRIER, THE CASE POSSIBLY BY BANTING AND FRANCE, LONDON, CIRCA 1825The five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum with holdfast to the geometric border-engraved backplate, the pendulum with fine screw slider for regulation and conforming concentric engraved decoration to the bob, the 7 inch circular convex cream painted Roman numeral dial signed LEPLASTRIER , MARK LANE, LONDON to centre and with steel spade hands set behind hinged convex-glazed cast brass bezel milled with continuous repeating husk design, the case in the Romano-Egyptian taste with brass pineapple finial to the radial gadroon-carved hipped 'chamfer top' upstand incorporating ogee moulded collar and flanked by honeysuckle carved acroteria finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply cut horizontal fluted infill and canted cast gilt brass mummiform mounts decorated with pseudo hieroglyphs to angles, the apron with shaped brass fillet inset panel flanked by canted acanthus scrolls supporting the figures, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets and the rear with rectangular glazed door set within the frame of the case, on fluted panel inset skirt base with stylised fan carved feet; the wall bracket with shallow triangular pediment upstand to the table over fluted panel to frieze and generous scroll-carved support beneathThe clock 52.5cm (21.75ins) high, 33cm (13ins) wide, 19.5cm (7.75ins) deep; the clock on wall bracket 76.5cm (30ins) high overall.  The movement of the present lot is most likely either by either Isaac Leplastrier or his son, John who are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Mark Lane, London 1813-20 and 1817-25 respectively. A partnership between 'Leplastrier and Son' (most likely Isaac and John) is also noted by Baillie as working in London 1820-25. The case of the current lot belongs to a series which share the same basic form and many core details. A slightly simpler variant (without the mummiform figures to the front angles) was offered in these rooms on 28th August 2014 (lot 116) which was stamped with the initials 'B.F.' to the interior of the case. Another further example (perhaps the earliest from this series), this time with a movement by Atkins and Son and formerly in the possession of the Marquesses of Bristol, was sold by Christie's, King Street, London at their 'Ellerslie House' sale, 24th May 2001 (lot 65). The first Marquis of Bristol employed the firm of Banting, France and Company to supply furniture for Ickworth, Suffolk including the state bed which shares similar details such as the 'acrotoria' finials with the 'Atkins & Son' clock and the current lot. This presence of the other example stamped 'B.F.' and another provenanced as most likely being from an interior furnished by Banting and France would suggest that this series of cases were probably made by them perhaps to special order. Indeed the design, with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrates the strong influence of Thomas Hope who, in his 1807 book Household Furniture published designs considered to be the height of fashion at the time. When considering his designs for smaller pieces of furniture such as for 'Recesses in the shape of ancient hypogea' (see Hope, Thomas Household Furniture plate XXVII no. I) the inspiration for the current lot can clearly be seen.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The dial retains old surface but with filling/retouching around to several areas around the edge most noticeably between the X and XI numeral. The numerals show wear and some retouching (as does the signature) the hands appear undamaged. The case is generally in fine original condition and of very good colour with faults limited to relatively minor genuine age-related blemishes. The front is lacking very slender stringing to the upper downward-curved edge of the apron panel (only noticeable on very close examination), both finials have small chips to the apex of each. The rear door is lacking its lock and there is noticeable overall losses/chipping to the veneer overlap to the to and left-hand margins. Faults are otherwise very much limited to minor shrinkage cracking and a few light bumps, scuffs etc. The bracket has a small chip to the lower left hand corner of the table fascia. The underside has overall slight shrinkage cracking and some bruising to the rear left hand corner (commensurate with a series of light hammer taps to adjust the platform lever during mounting on a wall). Clock has pendulum, winder and a case key. Condition Report Disclaimer

A FINE AND HOROLOGICALLY SIGNIFICANT JAMES I 'FIRST PERIOD' LANTERN CLOCKWILLIAM BOWYER, LONDON, CIRCA 1620The separately wound trains with iron-cheeked pulleys to the great wheels, the going train with reinstated verge escapement regulated by horizontal balance oscillating above the frame top plate, the strike train sounding the hours on a lugged bell mounted above the frame via an iron countwheel with overlift provided by an iron-walled hoop wheel cut with a single slot, the dial finely engraved with a large chrysanthemum bloom over twin entwined stalks set within a field of scrolling flowering foliage to centre, within applied narrow silvered Roman numeral chapter ring incorporating floating asterisk half hour markers and concealing fine signature William Bowyer of Lon Fecit engraved in a downward curve to the plate behind the lower part, with fine sculpted steel hand and foliate engraved infill matching that of the centre occupying the upper quadrants and the lower margin, the frame with finely turned generous Doric column corner posts beneath distinctive ovoid vase finials with banded waists, the front and sides applied with symmetrical scroll pierced cast brass frets with the front incorporating foliate engraved detail, beneath domed iron bell bearer capped with a conforming vase finial incorporating pinned plinth upstand for securing the lugged bell, with brass side doors and the rear with iron hanging hoop over spurs applied to the brass backplate, on collar-turned ball feet.40cm (15.75ins) high, 15cm (6ins) wide, 18.5cm (7.25ins) deep.William Bowyer is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as the son of Ralph Bowyer (yeoman of Warfield Berkshire) who is believed to have been married to Alice Mansworth in 1590. William was probably born around this time and by 1616 was a member of the Pewterers' Company when he took-in Thomas Taylor (son of Ralph Taylor, a milliner from Halesowen, Shropshire) as an apprentice. Bowyer took-in no less than five further apprentices prior to the formation of the Clockmakers' Company in 1631, including John Pennock (son of William Pennock of Guisborough, Yorkshire) in 1620. Although he subscribed £5 towards its charter and was made free of the City in 1630, William Bowyer did not apparently join the Worshipful Company on its establishment the following year.Bowyer is thought to have been first married to Margery Barlow of Litchfield, Staffordshire, however, by 1631 he was married to Prudence with whom he had five children (three of which sadly died in infancy). By 1638 Bowyer was living in the parish of St. Andrew Undershaft, he took-in Joseph Jackson (through Thomas Dawson) as apprentice that year and during the following decade took-on at least four more, this time through the Clockmakers' Company. One of these apprentices was Nathanial Allen (probably around 1641/2); Allen subsequently married a Phillipa Bowyer in 1646 hence became related to William through marriage.In 1640 William Bowyer was invited to become an Assistant of the Clockmakers' Company, however it appears that he was reluctant to serve the Company as in July 1642 he gave 'a great chamber clock' in return for excusal from any further duties. Nevertheless he became an Assistant in 1651 and a Warden in 1653 the year of his death.The present clock belongs to a group of less than half-a-dozen surviving particularly early examples made by Bowyer either just before or around 1620. Of the others the first (dated 1617) was sold at Bonhams, London sale of Fine Clocks 11th July 2018 (lot 60 for £43,750) and the second is illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 79 (Figures 7.1-4). Another is illustrated in White, George English Lantern Clocks onpage 101 (Figure II/125 showing movement only), and possibly a fourth on page 113 (Figure II/145).All of the above examples share the same frame castings which are very closely related to those used by the earliest of English Lantern clock makers, brothers Robert and Thomas Harvey. These frames are characterised by having well-proportioned Doric column corner posts surmounted by slightly shouldered ovoid vase finials each decorated with a ring around the waist beneath a disc knop. The ball feet are also cast with a collar matching that of the finials. Indeed when the frame of the present clock is compared with that of an example by Thomas Harvey illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers it can be seen that the castings differ only in very slight detail.In addition to sharing the same design of frame castings it has been noted by Brian Loomes in his article William Bowyer, an exciting and important discovery published in 'Clocks' magazine, June 2018 (pages 9-12) that the movement pivot bar castings follow the same form as those used by Robert and Thomas Harvey. This suggests that these castings may have a common source, most likely the Harvey workshop. It is therefore likely that, during his formative years, William Bowyer had some form of connection with this very important workshop. From the images available it can be seen (with the possible exception of the last clock illustrated by White on page 113) that this group of clocks are all essentially identical with regards to the layout and detailing of the movements. All have iron countwheels, iron-walled hoopwheels, straight hammer checks and iron cheeks to the pulleys (where the originals survive). They also share the same frets hence only essentially differ in the treatment of the dials, and whether an alarm was originally fitted. These inherent similarities suggest, that even at this very early date, a degree of standardisation was being adopted mostly through the use of common castings.The present clock is noticeably well finished with each of the cruciform movement pivot bars having decorative scroll-shaped detailing just above the hammer arbor pivots. This attention to detail is carried forward to the dial which exhibits fine albeit unusual foliate decoration to the entirety of the dial centre. It is perhaps interesting to compare this decoration with that of Bowyers celebrated 'Memento Mori' great chamber clock of 1623 illustrated in Bruce, W.F. EARLY ENGLISH LANTERN CLOCKS 1600-1700 (2013) on page 17. Although the decoration of this larger clock lacks a large flowerhead (or any other large single element) the foliate infill has a similar feel to that of the present clock, albeit in a perhaps slightly more developed form incorporating scrolls and loops to the design.Please see the page-turning catalogue to continue reading the final part of this footnote. 

KAWS,American b.1974-Share, 2021;screenprint on Stonehenge grey wove,signed, dated and numbered 185/500 in pencil,sheet: 51 x 41 cm,(unframed)

Vintage Russian Related Share Certificates/Bonds : Quantity of pre-Soviet and WW1 certificates ,some look to be incomplete, Russian and Belgium issue. Quantity

Vintage Russian Railway Share Certificates/Bonds : Quantity of large pre-Russian Revolution railway bonds certificates 1890s -1913. Quantity

AMRUT 8 YEAR OLD GREEDY ANGELS CHAIRMAN'S RESERVEIndian whisky.The name of this expression is a reference to the hefty toll evaporation takes on whisky casks in the warm Indian climate, otherwise known as 'the Angel's Share'.One of only 1350 bottles released.50% ABV / 70cl

DALWHINNIE 15 YEAR OLDSingle 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.43% ABV / 70clThere is some minor wear to the carton.

DALWHINNIE 15 YEAR OLDSingle 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.43% ABV / 70cl

18th century oak table, the table having turned legs and cross stretchers, with a single drawer, approx 88 x 63w x 74 h cms. (*cr)Condition ReportEvidence of old worm that has been treated, this old table certainly has it's fair share of knocks and bumps. 

Various collectibles to include a small mahogany writing slope with concealed side drawer, a wall-mounted barometer, a small copper and brass bugle, a Missouri Kansas and Texas $100 share certificate, two pocket telescopes, a pair of spectacles, a silver plated wine glass in case, a silver plated Furness Bermuda Line goblet, a cased set of Scala small binoculars/opera glasses, various topographical postcards and mixed coins, etc.

CRISTOFANO ALLORI (Florencia, 1577 – Florencia, 1621)."Portrait of Cosimo II de Medici.Oil on canvas. Re-tinted.Attached export permit.Label with informative inscription on the back.Provenance: private collection conceived from the 70's between London and Madrid.Measurements: 217 x 136,5 cm.Unquestionable protagonist of his time, as his clothing faithfully reflects, characterised by the richness of the qualities and by the presence of the royal symbols such as the crown on which the arm rests or the details in gold, which are arranged on the armour. Standing facing the viewer against a background against which the drapery stands out, the work displays similar aesthetic patterns of the period, intended for the depiction of aristocratic figures. The quality of the glazing creates a detailed and truthful effigy, although slightly idealised in the pose and features of the protagonist, Cosimo II de' Medici (1590-1621) Grand Duke of Tuscany.The work is very similar to the portrait of Cosimo II painted by the workshop of Justus Sustermans between 1597-1681.Sustermans is best known for his portraits. He also painted a series of history and genre paintings, still lifes and animals. He rarely dated his works, which makes it difficult to establish a chronology. His works have been dated primarily on the basis of the apparent age of the models identified. His early portraits show the influence of his master Frans Pourbus the Younger, whose style of court portraiture was known for its emphasis on attention to precious detail as well as its hard modelling. Sustermans did not share the Flemish preference for concentrating on the details of the models' clothing and preferred a monumental simplicity of form. In Italy his style began to reflect contact with Florentine painters such as Cristofano Allori and Domenico Passignano. An example is the Portrait of Fra' Francesco dell'Antella (private collection, before the beginning of 1623). During his years in Vienna in 1623 and 1624 he painted in a more painterly style that was possibly influenced by the works of Hans von Aachen and Josef Heintz. Later his work became more Baroque, influenced by Flemish painters such as Rubens, Anthony van Dyck and Cornelis de Vos. His mature style of the 1630s is characterised by his loose, expressive brushstrokes and lighter palette. From the mid-1640s onwards he returned to his earlier handling of surfaces, with marked contrasts between light and shade. One example is the full-length Portraits of Vittoria della Rovere with the young Cosimo III de Medici (Museo Nazionale di Palazzo Mansi, 1646). In the mid-1950s there was a decline in the quality of his output. The reason behind this may have been a greater dependence on his workshop, either because Sustermans travelled regularly or because of the imposition of the Grand Duke. In the 1660s and 1670s his brushwork became more restrained and he often set his figures against a dark background with quick, expert touches of highlights.

(Charles Dickens), A collection of 15 titles relating to, or by, Charles Dickens, many of which Dickens family association copies, being the personal copies of Henry Charles Dickens (1878-1966), lawyer, grandson of the author Charles Dickens, and son of Henry Fielding Dickens KC (1849-1933), Barrister, or Monica Dickens MBE (1915-1992), grand-daughter of the author Charles Dickens, and daughter of Henry Charles Dickens (1878-1966), titles include Felix Aylmer: 'Dickens Incognito', Rupert Hart-Davis, 1959, Henry Charles Dickens' copy, signed & inscribed to him by the author to FFEP, with further Typed Letter Signed by Aylmer to H.C. Dickens tipped in at front, content of letter in light of the content of the book re Charles Dickens' secret relationship with the actress Ellen Ternan "Dear Mr. Dickens, I am afraid I cannot expect you to give this book your blessing, more particularly in view of the advance publicity, which is quite out of my control. You will, however, want to know what it is all about and, if you have the patience to get through the book, will, I hope, recognise my intention to lift discussion of this much over-criticised attachment of your grandfather's out of the atmosphere of sniggering scandal mongering that has so intolerably surrounded it, and to which the advertising gentlemen seem set on making me contribute...I hope that my unpractised hand may not prove in its clumsiness to have made matters worse, and that your family may finally be able to forgive my intrusion into your family affairs. Yours very sincerely, Felix Aylmer", dated November 20th 1959, plus another tipped in TLS from Charles Garfield Lott Du Cann (1889-1983), barrister, to H.C. Dickens, December 5th 1959 "My dear Dickens, Thank you for your letter...because it shows...that you do not waver in your belief, which I share. I am glad too, because I can imagine the grief and anger of the illustrious dead, your grandfather and father, over the revival of this scandal, which they repudiated so strongly in their lifetimes....Your Aunt Peregini's "hearsay evidence" did much harm and had a disproportionate effect on biographers and viewers and...general readers. As lawyers you and I know what is, or is not, evidence; but not so the literary world, credulous of whatever titillates the reading-palate. This stuff of Aylmer's is surmise, suspicion, guess-work, bad reasoning...meantime I hope you are well and not over-distressed by this revival...of a 100-years scandal, which at its birth, was stigmatised as a foul lie by Charles Dickens himself. Vy sincerely, CGL Du Cann", plus further ALS from Graham Storey to HC Dickens tipped in, couple of relevant contemporary newspaper cuttings etc, original cloth gilt; E.F. Payne & H.H. Harper: 'The Charity of Charles Dickens', Boston, Bibliophile Society, 1929, ltd edn (425), signed & inscribed by H.H. Harper to Mr & Mrs Gimbalist to FFEP, full calf gilt; Madeline House & Graham Storey (edited): 'The Pilgrim Edition The Letters of Charles Dickens', Oxford, 1965-1969, vols 1 & 2, volume 1 with authors presentation bookplate signed & inscribed by both authors to H.C. Dickens attached to front pastedown, uniform orig. cloth gilt, dust wrappers; Augusto P. Miceli: 'The Pickwick Club of New Orleans', 1964, limited edition (400), signed by author to limitation page, further inscribed by author to Monica Dickens to dedication page "To Monica Dickens as souvenir of her trip to New Orleans The Dickensians of the Pickwick Club...OCtober 24, 1967", orig. cloth gilt, slipcase; Ada Nisbet: 'Dickens & Ellen Ternan', Univ. of California Press, 1952, signed & inscribed by the author to H.C. Dickens to FFEP "For Henry Charles Dickens - in deep appreciation of his courtesy and generosity toward an unknown American scholar - Gratefuly, Ada Nisbet", orig. cloth; Edgar Johnson: Letters from Charles Dickens to Angela Burdett-Coutts 1841-1865', L, Cape, 1953, 1st edition, ownership signature Henry Charles Dickens 1953 to FFEP, orig. cloth; Edna Healey: 'Lady Unknown. The Life of Angela Burdett-Coutts', 1978 reprint, signed & inscribed by author to title page, orig. cloth, d/w; Charles Dickens: Master Humphrey's Clock', L, Chapman & Hall, 1840-41, 1st edition, bound in 2 volumes, uniform old half calf gilt, bookplates of Eric Belton to front pastedowns; plus 5 others similar (15) (E) £50-80

SOUL/ NORTHERN - 7" PROMOS PACK. An super selection of 8 soul/ northern 7" singles. All promo pressings in Ex to Ex+ condition. Artists/ titles include The Ad Libs - Nothing Worse Than Being Alone/ Nothing Worse Than Being Alone (SHARE 1, record Ex+), Lee Andrews And The Hearts - Quiet As It's Kept/ You're Taking A Long Time Coming Back (47-8929, RCA promo. Ex+), Carol Fran - Crying In The Chapel/ I'm Gonna Try (45-3000, Port Records promo. Ex), Ace Spectrum - Four Ace Spectrum Hits (3-17-201-007, Brazilian press with picture sleeve. Ex+), The Fuller Brothers - I Want Her By My Side/ Moanin' Groaain' And Cryin' (K-110, Keymen Records. Ex+), Chris Hamilton - I've Got To Cry/ I've Got To Have Your Love (BELL 663, US Bell promo. Ex), Kenny Hamber - Show Me Your Monkey/ Time (1254, De Jac Records. Ex) & Veron Garrett - Angel Doll/ Hop Skip & Jump (VE-635, Venture promo. Ex).

NORTHERN/SOUL - US 7" COLLECTION. Keepin' the faith with this collection of 20 x (primarily) original US Northern/Soul 7" cuts loaded with rarities. Condition is generally cool Ex on this collection. Artists/labels/cat. numbers include The Younger Brothers (Roulette 7012 DJ), Jimmey (sic.) 'Soul' Clark (Teek 4824), The C.O.D's (Kellmac 1003), Harold Burrage, Layers And Layers (Veep 1271 demo), Candy And The Kisses, Melvin Carter, The Catalinas (Scepter 12188), Gene Chandler, Kenny Young (Share 105), Timi Yuro, Gail Winters (Hickory 1453 demo), Richard 'Popcorn' Wylie, Bobby Womack & Peace and The Coasters.

NORTHERN/SOUL - US 7" COLLECTION. Diggin' from Baltimore to Blackpool with this collection of 25 x (chiefly) original US Northern/Soul 7" cuts loaded with rarities! Condition is generally VG to VG+ on this collection. Artists/labels/cat. numbers include Jewel Akens (ERA 3156 demo), Ray Agee (Brandin 211), Viki Adams (Stop 244), The Admirations, The Contessas, Earl Connelly, Johnny Adams, Bobby Adams, The Ad Libs (Share 104), JJ Barnes (Ring 101), Little Joe Cook (Fury 1060), Pete Cooke (Dimension 1037), Cookie V (Checker 1222), The Cookies, Joey Cooper, Cooperetts, Johnny Copeland, Betty Barnes and Billy Barnes.

THE SATISFACTIONS - TAKE IT OR LEAVE IT/ YOU GOT TO SHARE 7" (US NORTHERN - SMASH PROMO S-2098). A floor-fillin' mid-60s slice of classic US northern by The Satisfactions - Take It Or Leave It/ You Got To Share (S-2098, 1967 US promo pressing on Smash Records. White/ black labels are clean and legible with only minor age-related handling wear. The record is in wonderful Ex condition, displaying a couple of hairline, wispy paper marks. Comes with original Smash paper sleeve).

THE PARAMOUNTS - THE GIRLS WITH THE BIG BLACK BOOTS/ I WON'T SHARE YOUR LOVE 7" (US PROMO - MERCURY 72429). A scarce promo 7" copy of The Paramounts mid-60s stomper The Girls With The Big Black Boots/ I Won't Share Your Love (72429, 1965 US promo pressing on Mercury. Labels are bright, clean and legible. The record is in lovely Ex condition. Displaying a couple of wispy, hairline paper marks).

THE RIVIERAS - YOU COUNTER FEIT GIRL/ CAN I SHARE YOUR LOVE 7" (US SOUL - RILEY'S 369). A scarce mid-60s soul 7" by The Rivieras; You Counter Feit Girl/ Can I Share Your Love (369, 1966 US pressing on Riley's Recordings Co. Labels are bright and clean with only minor age-related storage wear. The record is in strong VG+ condition, displaying a couple of hairline paper surface marks).

18th century, St Petersburg, hand coloured engraving, 32 x 44.5cm; 1889 Imperial Russian 4% Railway Bond, Series 2, 125 Roubles, in a double glazed frame, 41.8 x 30.7cm; and a framed share certificate for the Alor Bukit Rubber Estate Limited, Singapore, 1920, 25 x 29cm. (3)

JUVENILE THRESHER SHARK,Alopias vulpinus (Bonnaterre), Atlantic, North Sea, Mediterranean, 105cm longProvenance: the collection of Dr. J. Gordon Todd MBChB FRCA.McTear’s is privileged to offer the Dr. J. Gordon Todd collection of marine natural history.Dr. Todd was a well known and much respected member in Scottish natural history circles, having formed an impressive and extensive collection of natural history alongside his other passions, fossils and minerals. This collection was proudly displayed in a dedicated gallery in his home, fondly referred to as The Cabinets of Dr. Todd, where it played host to fellow enthusiasts, be they amateur or professional, collectors, academics or dealers.Dr. Todd, who received his medical degree from Glasgow University developed a close association with the Hunterian Museum at Glasgow University as a visitor, donor and lender of material for display, carrying the torch of the amateur geologist and naturalist which has been a crucial part of the British scientific and institutional exhibiting tradition for centuries.A lifelong fascination with conchology began on a childhood visit to Chennai when Gordon collected his first shell – an Indian chank from the Bay of Bengal which is regarded as sacred and is often used in Hindu ceremonies. This first ‘acquisition’ fuelled a passion which lay behind the collection we are offering at auction this month; Dr. Todd selected his shells with care so that each would bring a certain quality to his collection, a quality which we are sure a new generation of collectors will appreciate. His wider enthusiasm for the marine world is reflected in the diverse accompanying lots which include a juvenile thresher shark, an impressive selection of crab species and even a giant worm shell.It is our pleasure to bring this collection to auction and we hope that you will share our, and perhaps more importantly Dr. Todd’s, enthusiasm for these fascinating specimens.

1981 Rolls-Royce Corniche 6.75 litre Series 5000 3 door fixed head coupe Harvey-Bailey handling kit fitted with original beige Connolly hide interior  Registration: VEX 207X Chassis:  CRH0050666 Odometer: 72000 Transmission: Automatic  MOT: October 2023 Guide £30,000-£35,000  . Full book pack including service book   . Factory handbook  . Everflex roof with quarter badges  . Correct period audio equipment   . Leather headlining  . Headlight wipers  . History file showing work done by P & A Wood and Shadow Vehicle Services   . One of only 1108 cars produced  . Complete with correct Rolls-Royce too kit Outside Finished in its original factory colour of Seychelles blue. The wheel arches and rear panels show no sign of rust or repair. The paintwork is in generally good order overall apart from a tiny stone chip on the bonnet and some very small paint bubbles , namely offside rear wing above the swage line , near side front wing and door just below the glass . There are some very small bubbles under the Everflex roof above the rear window and front window driver’s side. The chrome is very good all round. The wheels and hub caps are without issue , the tyres show a good tread depth. Inside The seats are original and in fine condition with the exception of signs of minor wear on driver’s door armrest. The door cards and headlining are without issue as are the carpets and pleasingly the correct MPW drivers mat is present and undamaged. The woodwork all appears without damage, chrome and dials excellent as is the steering wheel. Mechanicals  The Rolls-Royce runs sweetly and drives as it should with plenty to power and a supple ride. The handling is very good due to the fitment of the Harvey Bailey kit. The brakes operate effectively and the suspension operates as it should. History There are bills on file dating back until 2006 and pleasingly the full book pack is present including the service book shows stamps from new until 2008 at 69573 miles. The latest record of work completed is 3rd January 2018 which records a full service at 70661 miles and then on 7th April 2018 with work carried out by marque specialist and Rolls-Royce main dealer P&A Wood.     Our opinion This car was supplied new by Mann Egerton & Co in October 1981, making it one of the very last of the 1,108 Fixed Head Coupes to be built, before Rolls-Royce ceased production of the hard top Corniche variant for good in March 1981. The production date of March would indicate that this car spent several months being coach built by Mulliner Park Ward. These “last hurrah” cars (built between 1979-1981) are known as the 5000 Series cars and benefitted from vastly upgraded handling and finishes over the earlier cars. They share the majority of the same suspension and handling components as their successor, the later Rolls-Royce Silver Spirit. Our car is finished in its original colour combination of Seychelles blue with beige hide interior and present very well in all areas with beautiful woodwork. On the road, the Corniche drives very well and the upgraded handling of the 5000 series is clearly evident couple with the fitment of the Harvey-Bailey handling kit which for those who know  totally transforms these cars. These coach-built cars have long been undervalued though the market has finally recognised that they represent excellent value and due to the rarity are tipped as a very strong future investment.

1967 Triumph TR4A 2135cc convertible Original right hand drive home market car with optional overdrive gearbox Registration: WUR739F Chassis: CTC784950 Odometer: 22126 Transmission: Manual MOT: Exempt  • One of the last 180 cars produced  • MOT certificates dating back until 1976  • Subject of a bare metal respray an overall restoration   • Kenlowe electric fan , oil cooler and electronic ignition   • Comprehensive history file  • Only 4 former keepers   • First owner kept the car for 42 years  Guide £24,000-£26,000  Outside The Triumph has been the subject of a professional bear metal respray in 2014 and present very well today. There is no evidence of corrosion anywhere on the car . The paintwork is of a high standard and all panels present very well . It is worth noting that there is a small area of paint crazing at the edge of the bonnet on the passenger side near the windscreen. The Chrome work is very good all over though the petrol filler cap is a little dull. The chrome wire wheels are excellent and the matching tyres have plenty of tread. The hood is without any issues as is the hood cover and there is a brand-new unopened tonneau cover in the boot. Inside The interior is in good order, the seats being correct for the car though there are two small tears on the driver’s seat and a small crack in the dashboard top roll on the passenger side. The wooden dashboard is very good as is the aftermarket Moto-Lita steering wheel. The carpets and door cards are in undamaged condition. The boot area is correctly trimmed and contains the spare wheel , jack and tools along with a fire extinguisher and foot pump. Mechanicals The engine fires from cold instantly and quickly settles down to a smooth idle. On a two mile test , the car performed very well with sharp brakes , precise steering , smooth gearchanges and firm suspension. The engine pulls very well and emits a lovely exhaust note. The TR benefits from an electric Kenlowe fan , oil cooler and an electronic ignition. History There is a comprehensive history file dating back until 1976 with bills and MOT certificates. It is always pleasing to handle a car that has been in long term ownership and this is exceptional being bought by Mr Woods of SW18 , London in 1967 who kept the car registered at the original address until he parted with it in 2009 . It is always reassuring when you can identify the scope of the works carried out during the restoration process and this file certainly does that in great detail. Our Opinion This is a truly delightful example of the highly desirable iteration of the venerable TR range, These IRS models are highly sought after and our example has been properly restored and being a original home market right hand drive car is the one to have. Long term ownership , professional and a documented restoration process ; this car really is one for the true enthusiast and collector , a very safe place to put your money and much more fun than some share certificates or and ISA.

Vinyl – 6 rare soul albums to include The Flirtations - Sounds Like The Flirtations (Original German Pressing on Deram Records SML 1046) VG+ / EX, The Five Royals - 24 All Hit Songs (Original USA press on King Records 955) VG+ (in open shrink) VG+, The Fantastic Johnny C - Boogaloo Down Broadway (Original UK press on Action records ACLP 6001) VG+ / VG, The Hestitations - The New “Born Free” (Original UK press on London / Kapp Records SHR 8360) VG+ / EX, Herbie & The Royalists - Soul Of The Matter (Original UK press on Saga Records FID 2121) VG++ / EX, Gloria Jones - Share My Love (Original UK press on Tamla Motown STML 11254) VG++ / VG++

A TRAY OF ANTIQUE DOCUMENTS AND EPHEMERA TO INCLUDE VICTORIAN EXAMPLES AND SHARE CERTIFICATES

Cream 'Fresh Cream' - Original hand painted artwork on thick paper by John Judkins, signed and dated 67, flat, 57 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.

Entire from Joseph Ady (or Adey; 1770 - 1852) - London to Halifax. A fascinating item sent by the famous Victorian fraudster Joseph Ady who at one time was a hatter but failing at business he decided he would mail letters such as this claiming he was able to assist the recipient in obtaining their share of a deceased estate or other monies owing to them. Whilst many letters were sent and he became well off on the proceeds of his frauds and prior to being caught, it seems few such letters have survived. A lovely example and  a precursor of today's scammer! Scarce.

A large collection of 19th century and later documents. Including post WWII period share/bond certificates (approx 130) together with early vellum documents (approx 40) and paperwork dating from the 1800s/1900s

The Sir Nicholas Goodison Collection of Automata & Moving Toys (lots 91-160)Sir Nicholas Goodison (1934 2021) was a well-respected businessman, scholar, patron of the arts, polymath (he held a Ph.D. in Architecture and Art History), and philanthropist. He had a remarkable presence in the two worlds of banking and the arts; he was a highly respected chairman of the London Stock Exchange (1976-1986), chairman of the TSB Group (1988-1995), and deputy chair of Lloyds TSB (1995-2000). Outside of his finance, Goodison chaired leading cultural institutions such as the Courtauld (1982-2002), the Art Fund (1986-2002), and the Crafts Council (1997-2005).The collection includes hundreds of traditional mechanical and hand-operated toys from many countries, ranging from commercial toys dating from the 1950s onwards, to major contemporary pieces by leading modern British makers. These mechanically minded artists share a delight in the absurd and the ridiculous, creating toys which occupy the strange, shifting ground between folk art, kinetic sculpture, toy-making, satire and mechanics.Alongside the humorous mechanical sculpture are a large number of toys many of them traditional in design and made in countries all over the world, some hand-crafted, some mass-produced, which either move by themselves (once set off) or can be made to move by anyone with a hand or two. They were all collected by Sir Nicholas over a fifty year period from 1953 during his extensive travels throughout the world.Tony Mann, 1927-2013, Wooden Waves with White Words, a hand wound-automaton, painted wood, hardboard, wire, metals, cotton fabric, string, signed to the front of base Tony Mann 05 and under the base Tony Mann 05 Wooden Waves with White Words, 40cm high, 61cm wide, 31cm deepSir Nicholas Goodison noted: the eight wave pieces rock to and from, driven by a Meccano wheel connected by band to a smaller Meccano wheel on the main shaft. The left end of the eight waves have the painted words Swell, Swirl, Splish, Squish, Swoosh, Slap, Splosh, Splash, all indicative of the wetness of ocean sailing. The right hand ends have the words Squall, Sparkle, Spume, Shine, Salt, Sun, Spray, Surf, other characteristic of the open ocean. The yacht rides on the Swoosh/Salt wave, connected to it loosely by screw and rolling owing to a wire connection to an eccentric pin on the drive wheel at the rear. Thus it rolls as well as pitches, but the single-handed yachtsman looks undismayed. The gulls ride freely, attached by wire and with weights to ensure that they ride on the waves convincingly. The purpose of the red-topped post is not clear, but at least the yacht has cleared it, one hopes to portProvenance: Purchased Tony Mann, British Toymakers Guild, Oxo Tower, London, November 2006.Note: Tony Mann, 1927-2013, worked for 20 years as an industrial designer before turning his creative energy into automata. Each is a one-of-a-kind piece and show his love of bright colours.He was voted Toymaker of the Year by the British Toymakers Guild for both 1987 and 1988.Roseberys do not guarantee the working order of any automata or toy.Condition Report: In good condition consistent with use. Bearing Sir Nicholas Goodison's inventory number. 

Kodak Easy Share printer dock 6000 and associated books

A WHITE STAR LINE SHARE CERTIFICATE, issue date 1929, shares were purchased by Miss Lillian Wright of Stapenhill, Burton upon Trent, printed detail is faded but embossed stamp is still fairly crisp