A superb Second War 1943 ‘immediate’ Typhoon pilot’s D.F.C. group of six awarded to Squadron Leader I. J. ‘Dave’ Davies, Royal Air Force, a former Corporal Clerk who went on to shoot down 3 FW 190’s during a scrap over the streets of Margate, 1 June 1943 - his first ever engagement with enemy aircraft. A stalwart of 609 Squadron, he went on to add a Dornier 217 to his tally before being posted to command 198 Squadron in time for D-Day operations. Davies successfully led his squadron in an attack on the HQ of the German 84th Corps in a chateau near St. Lo, which was totally destroyed by rocket salvoes, 6 June 1944. His luck ran out when he was shot down by flak whilst attacking gun positions in support of American troops near Cherbourg, 22 June 1944 - ‘He tried to coax it to safety but to no avail and, at 200 feet, Dave bailed out, but he was too low and his parachute was only partially open when he hit the ground’ Distinguished Flying Cross, G.VI.R., reverse officially dated ‘1943’; General Service 1918-62, 1 clasp, Palestine (590433. L.A.C. I. J. Davies. R.A.F.); 1939-45 Star; Air Crew Europe Star, 1 clasp, France and Germany; Defence and War Medals 1939-45, mounted on card for display, with named Air Council enclosure and ‘ticker tape’ entitlement slip, both laminated, nearly extremely fine (6) £3,000-£4,000 --- D.F.C. London Gazette 3 September 1943, the original recommendation states: ‘Flying Officer I. J. Davies joined No. 609 (WR) Squadron, in April, 1943, after long service in Training Command, and previously as Air Gunner. Apart from taking his full share in Day Defensive Patrols which occupied most of the Squadron’s flying time, he at once showed enthusiasm for individual offensive sorties by day and night, whenever the opportunity offered, and in his first attempt damaged the one locomotive (despite flak) and 2 barges, leaving one in a sinking condition. He also has taken part in a number of shipping attacks and larger scale offensive operations. On June 1st he was patrolling base with another pilot when he saw some 15 FW 190’s attacking Margate. He at once engaged them, destroying one over Broadstairs, a second in mid channel and a third off Ostend, being attacked on the way having to evade 2 more enemy aircraft which tried to attack off their own coast when his own ammunition was exhausted. This was Flying Officer’s Davies first combat with enemy aircraft. His score is as follows: 3 FW 190s destroyed, 2 Locomotives and 2 Barges damaged, 1 Motor Trawler damaged (shared). He has also bombed Abbeville and Drucat airfields at night. Covering Remarks by Sector Commander: F/O Davies’ action in destroying three enemy aircraft during the attack on Margate was an outstanding achievement. I fully endorse this recommendation.’ Additional detail of Davies’ remarkable ‘scrap’ over Margate is given the squadron history, The Story of 609 Squadron - Under The White Rose, by F. Ziegler: ‘Davies attacks four FW 190s which are gunning the streets of Broadstairs. Chasing down after them between the houses, with his own guns blazing, he just has time to see one pull up and its pilot bale out before giving chase to another six which are headed out to sea - five in a ‘vic’, with one in the ‘box’. Firing on the last from 600 yards, this aircraft obliges by ‘weaving’, and closing the range he fires twice more, and it crashes into the sea in a great fountain of water. But he himself has to turn, he is alone, but resuming his original course at full boost, spots another pair of 190s, with a third to port. Saving his last second’s worth of ammo till he is well within range, he attacks the last and it bursts into flame. They are now exactly over Ostend, and the others turn to counterattack. Time to go home. Score: Three. A quite breathtaking story which certainly caught the attention of the public when it was published in the National Press on 3 September 1943.’ Idwal James Davies was to later sit for a portrait by Cuthbert Orde, and his life and service are recorded in an article by Wing Commander J. Routledge thus: ‘Let me tell you the story of the recipient of one group of medals in my collection and see if I can convince you that twentieth century awards can compete in interest and in every other way with earlier medals. Idwal James Davies was on February 15, 1915 at Abertridur, near Caerphilly, Glamorgan. At the age of 15, he left his school-friends and the comfort and security of his family to join the R.A.F. as an apprentice clerk. He enlisted on October 29, 1930 and given the service number 590433. His apprenticeship was enjoyable, albeit somewhat long in comparison with today’s service apprenticeships and it was not until February 18, 1933 that his training was complete. He passed out as a Leading Aircraftman (LAC) in the trade of Clerk, General Duties... The first real excitement for young Dave, as he was known throughout his service career, came in October 1935 with a posting to Iraq, from where he moved on to Palestine in August 1936... Yet he was a discontented young man, whose heart was never in clerical work as he yearned for more excitement. His mind was forever in the air and he dreamed of emulating the aviators that he mingled with. He took every opportunity to get airborne and despite his secretarial role managed many flights as an unofficial air gunner. One particular pilot who befriended Dave in those Palestine days was Pilot Officer J. C. Wells [later Group Captain and D.F.C. and Bar]: their paths would cross again in years to come. With promotion to Corporal on August 15, 1937 and further advancement to the temporary rank of Sergeant, on the outbreak of World War Two, things were beginning to move for Dave, though he was still far from content. The taste he had experienced for flying was still there and had left in him an avid desire to become a fighter pilot. Surely, now that we were at war his services would be needed; clerks were two-a-penny, but fighter pilots...? He pressed his case and was eventually accepted for pilot training, which started in August 1940. He quickly proved himself to be a natural aviator and successfully completed training in April 1941, being awarded his wings and simultaneously being granted a commission as Pilot Officer (service number 63418) in the General Duties Branch (London Gazette May 2, 1941). He was now over 25 years of age, a little old to be starting a career as a fighter pilot. The air battles of France and Britain had been fought and the ex-clerk felt it was now too late, believing that his chance of glory had been missed. His above average flying ability and his maturity in comparison with the many teenagers coming through training combined against him and it should have been no surprise, albeit still a great disappointment, that Pilot Officer Davies found himself retained on instructional duties, the first of a series of such tours in Training Command. Not what the ambitious Dave would have planned for himself and as Charles Lovell would have said, “Not a lot of romance in that.” Dave was appointed to the rank of Acting Flying Officer on May 23, 1941 to give him some authority in his new position and he quickly became something of a character, admired by his students and fellow instructors alike. He was something of a rebel. There were moments of madness which, in a peacetime airforce, could have ruined him. At R.A.F. Little Rissington, in the spring of 1942, he was tried by General Court Martial for “Whilst on active service improperly and without permission flying below the prescribed height&rdq...
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Handmade Silk Scarf (Cosmos) Inspired by Nature Marian’s silk scarves are silk crepe de chine, botanically printed with leaves and flowers from her local environment, and dyed with natural dyes so each one is entirely unique. Inspired by the natural forms and beauty in her surroundings in Southwold, Suffolk, Marian has been exploring ways to share her love of the natural world through textiles. She expresses her inspiration in handmade fine felt and more recently discovered botanical printing. Many leaves and flowers contain natural colours and these can be transferred onto fabrics such as silk and vintage linens using steam. She also teaches workshops in both felt making and botanical printing in Suffolk, Norfolk and Cumbria. https://www.marianmaytextileart.co.uk/
This is a two-volume set of John Milton’s famous epic poems from the seventeenth century. Paradise Lost is a poem in blank verse. The first version, published in 1667, consisted of ten books with over ten thousand lines of verse; a second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time.The poem concerns the biblical story of the Fall of Man, the temptation of Adam and Eve by the fallen angel Satan, and their expulsion from the Garden of Eden. Paradise Regain’d is apoem by Milton first published in 1671.The volume contained the poet's closet drama Samson Agonistes, and Paradise Regain’d is connected to his earlier and more famous poem, Paradise Lost, because they share similar religious themes. Indeed, the title, its use of blank verse, and its progression through Christian history bring to mind Milton’s earlier work. However, this poem deals primarily with the temptation of Christ as recounted in the Gospel of Luke. Milton composed Paradise Regain'd at his cottage in Buckinghamshire, England: Paradise Lost is twelve books long and comprises 10,565 lines, while Paradise Regain’d is four books long and comprises only 2,065 lines, which is why this title has been called a “brief epic”. The title page for Paradise Lost reads “Paradise Lost. A Poem in Twelve Books. The Author John Milton. From the Text of Thomas Newton D.D., Birmingham, Printed by John Baskerville for J. and R. Tonson in London. MDCCLVIII [1758]. The title page for Paradise Regain’d reads “Paradise Regain’d. A Poem In Four Books. To which is added Samson Agonistes: And Poems upon Several Occasions. The Author John Milton. From the Text of Thomas Newton D.D. Birmingham, Printed by John Baskerville For J. and R. Tonson in London. MDCCLVIII” [1758]. Paradise Lost has a three-page Preface by John Baskerville, followed by an eighteen-page list of Subscribers, two pages in Latin by Samuel Barrow and two more in English by Andrew Marvel, then a page on the meter used in the Verse here, and 69 pages on the life of Milton (a to lxix) before the text. Paradise Lost is 416 pages long and Paradise Regain’d 390 pages. Paradise Lost also has a point of issue that hasn’t been corrected yet - on page 75,line 3, it reads “God is light”, with faint impressions of an h before “is”; it reads “God his light” in the first uncorrected state, and here the h is present, but faint, and it has not been corrected to read “God is light” yet. Each volume is 3/4 bound, with five raised bands, gilt titles on red and burgundy labels and elaborate gilt tooling on the spines, beige boards, marbled endpapers, “bound by Riviere” lightly pencilled on the front free endpapers in both volumes, and all the edges are gilt. Both volumes are 8vo. and measure 9 x 6 1/8 in. wide, the bindings are tight, with clean text, light wear and light rubbing on the leather, and the gilt is exquisite - bright and you can’t miss it. These editions by John Milton are scarce and hard to find, and make an attractive addition to anyone who collects Milton.
This is one lot with four books by Charles Dickens all related to Christmas. a) A Christmas Carol, Charles Dickens, New York & London, G.P. Putnam’s Sons 1900, Copyright, 1900 (for Designs) By G.P. Putnam’s Sons, The Knickerbocker Press, New York at bottom of the copyright page, the illustrations are from designs by Frederick Coburn, with twelve illustrations in photogravure, including the frontispiece, and nineteen illustrations in black and white, instead of photogravure, with red-captioned tissue guards present for each plate; 3/4 bound, four raised bands, with gilt labels and gilt lettering on the spine, modest decorations on the spine, with marbled covers and endpapers; the top edge is gilt, the book is 157 pages long and measures 7 3/4 x 5 1/2 in. wide, with light rubbing and modest wear at the tips. This was the first of Dickens’ Christmas books and came out in 1843, and it’s a perennial favorite of children and people who love Christmas. b) A Christmas Carol By Charles Dickens, Illustrated By Fritz Kredel For The Peter Pauper Press, Mount Vernon, New York, circa 1944, with a green slipcase, red and green holly decorations on cover, blank endpapers, a red topstain, and inscribed “Ashley Day Leavitt, best times for 1944 - last paragraph on page 26” on the second front free endpaper; Ashley Day Leavitt (1877–1959) was a Yale-educated Congregational minister who led the State Street Church in Portland, Maine, and later the Harvard Congregational Church in Brookline, Massachusetts; he was a frequent public speaker during the early twentieth century and was awarded an honorary degree from Bowdoin College for his pastorship of several congregations during wartime; the last paragraph on page 26 starts with “Mankind is my business. The common welfare was my business; charity, mercy, forbearance, and benevolence were, all, my business”; the book also includes a Christmas card which reads “The Reading of the Christmas Carol by Dr. Leavitt on Wednesday night before Christmas is one of our richest traditions. So we are sending it to you that wherever you may be on date, you may share with us the Christmas Spirit of Harvard Church”; a topstain is a normal coloring applied by the printer and does not indicate a “stain” on a book - it is not a “bad” thing; the book is 8vo. and possibly a first edition by Peter Pauper Press - 1944 is an early date for a Peter Pauper edition of this book - and book is 108 pages long and the slipcase measures 8 3/8 x 6 in. wide, with light browning on the spine and a tape mark on the front free endpaper where the Christmas card was attached to the book; the inscription by Ashley Day Leavitt and the attached card is what makes this book noteworthy. c) The Holly-Tree, By Charles Dickens, With An Introduction By Walter Jerrold, Thirty-one Illustrations, Philadelphia: Henry Altemus Company on the title page, Copyright 1904 Henry Altemus on the copyright page, with the dust jacket, a beautifully illustrated front cover on the book itself, vignette endpapers with the owner’s name and date inscribed on the front free endpaper (“Elva Bommuleir from Mita G Ott, XMas 1910”), with an attractive colored frontis, black and white illustrations inside, 109 pages (counting the illustration on the last page), and the dust jacket reads “The Holly-Tree No. 1” on the spine and is the first in the Holly-Tree series by Altemus. The book measures 7 1/2 x 5 1/2 in. wide and the green hard-bound volume is in excellent condition, while the dust jacket is in great condition on the back and has some modest chips on the crown and the tips of the front cover. The Holly-Tree Inn was originally published as a short story in the Christmas 1855 edition of Household Words, a publication edited by Dickens in the 1850’s, and it was considered a portmanteau story, or a story written by several authors. The portmanteau story lent itself well to the medium of weekly publications because it allowed for authors to work together to compile a single plot rather quickly, and such stories increased in popularity during the Victorian era. Dickens only wrote three of the sections and the framing story for The Holly Tree Inn (The Guest, The Boots, and The Bill), and Wilkie Collins and three others contributed to the rest of this special Christmas extra. The story published in book form here is called a first edition thus by Altemus because it is based on the original story and has only one date on the copyright page and no additional printings. See Bill McBride, A Pocket Guide to the Identifications of First Editions, West Hartford, Ct., 1995 for first editions by Chapman And Hall. d) The Readings Of Charles Dickens As Arranged And Read By Himself, With Illustrations, London: Chapman & Hall 1883 on the front cover, and “Copyright” at the bottom of the front cover, The Readings of Mr. Charles Dickens, As Condensed By Himself on the title page, Price Sixpence, green wrappers, 64 pages, double columns, with ads on the interior front cover and on the interior and exterior covers at the rear. Dickens started doing readings for charity in 1853, and the readings here include A Christmas Carol In Four Staves, Bardell And Pickwick, David Copperfield, Mr. Bob Sawyer’s Party, The Story of Little Dombey, Nicholas Nickleby Four Chapters, Boots At The Holly-Tree Inn, Doctor Marigold, Nicholas Nickleby Three Chapters, and Mrs. Gamp; the book measures 11 1/2 x 8 1/2 in. wide, the front cover is detached and has wear, and there are creases at the tips on some pages, but very readable.
IGNACIO LÁZARO GARCÍA MEDINA (Cuba, 1968).Untitled, 2004.Oil on canvas.Signed in the upper right corner.Measurements: 66 x 81 cm.Cuban painter resident in Valencia with an extensive artistic career. His pictorial work takes place in the neo-symbolist postmodern language. Lázaro García constructs his pictorial scenes mentally, each planimetric surface is a mosaic of quotations, allusions, references to the History of Art, which behaves as a visual memory from which the artist can freely extract each and every one of the fragments that embody his figurations. This plastic heritage is recontextualised by adding new semantic charges, which make the work a dynamic construct.Lázaro García is a child of his time, his creations vindicate the postulates of postmodern painting, which make the pictorial work a hedonistic product, where the recovery of the figurative image is proposed, from the process of artisanal construction, in which the figuration appeals to the fragmentary, the narrative, where the human figure and the object share the same level of spatial protagonism, the pictorial works are conceived from the freedom, the inclusion, which allows the articulation of multiple constructive strategies as well as readings and interpretations around them. He represents his truth, creates his own stories, seeking to question from them the fluctuating expressions, the aesthetic-formal ruptures of contemporary plastic discourse, as a very personal way of dialoguing with his time, circumstance and context.To the observer it may seem that his scenes do not transcend beyond figuration, but their nature escapes even from himself, to make a pilgrimage towards the spectator as a fugue. Each one passes through that which we call unique, personal, which occurs like a theatrical pose, where each resource, both intellectual and visual, has allowed him to create a language of his own, which frames him within the history of Cuban art.His compositional structures play with optical principles, seeking to direct the gaze. In this visual framework, he appeals to the polyvalent nature of the symbol in order to create a dual structure that moves between the discursive and the imaginary. In terms of construction we can see that they are not subject to an immovable structure, each one varies according to the intentions.
East India Company, Bengal Presidency, Saugor Mint: Third phase, copper Pice in the name of ‘Shah ‘Alam II (1173-1221h/1759-1806), frozen yr 45 [1833-5], type C, sanah julus 45 shah alam badshah [in the 45th year of the emperor Shah ‘Alam], star symbol in centre, rev. ek pai sikka/yek pai sikka [one pai sikka], 6.55g/12h (Prid. 339 [Sale, lot 667]; Stevens 8.148; Stevens website image 1874, same dies; KM. A65). Practically as struck with a little original colour, very rare in this condition £200-£300 --- Provenance: SNC (London) November 1980 (9477), ticket. Owner’s ticket. In slightly superior condition to the Stevens example (Stephen Album Auction 25, lot 1451), described as a possible pattern or trial, an opinion that the present cataloguer does not share
'The Gurwood Papers' contained in five volumes:vol. 1. Mrs Fitzherbert (Maria Anne Fitzherbert 1756-1837) in excess of 50 m/s letters some with wax seals to Lt. Col. John Gurwood (1788-1845) dated between 1827-1837.vol. 2. Lt. Col. John Gurwood to Mrs Fitzherbert, twenty one m/s letters written between 1835-1837vol. 3. Lytton, Edward Bulwer, 1st Lord, 1831-1891. In excess of sixty m/s letters to Fanny Gurwood (d 1872), wife of Lt. Col. John Gurwood dated between 1839-1867, some with seals and postmarked envelopes.vol. 4. Lytton, Edward Bulwer, 1st Lord, in excess of seventy m/s letters to Fanny Gurwood and after her death in 1872 to Adele, her daughter and 'Tomasina' or 'Tom' perhaps sobriquets most with original stamped envelopes.vol. 5. Lytton, Edward Bulwer, 1st Lord, in excess of sixty m/s undated letters to Fanny and Adèle Gurwood, some with original envelopes.All bound in chronological order in half brown calf volumes (approximately 200 x 150mm), in fair condition, b/ps.Provenance: Esher family by descent The Gurwood Papers The Gurwood papers are a collection of around 300 well-preserved letters, written during the late Georgian and early Victorian era by three notable historical figures - Lt. Col. John Gurwood, Lady Maria Fitzherbert, and Lord Edward Bulwer-Lytton. The letters are all hand-written, using pen and ink, in the cursive English Roundhand script and they have been put into chronological order and bound into a five book set. Lt. Col. John Gurwood served in the Peninsula War where he was presented with the Governor’s Sword by the Duke of Wellington. He campaigned for better conditions for soldiers and prisoners of war and he took it upon himself to collate as much as he could of Wellington’s notes and dispatches from battles, which outlined how everything had been organised. He then edited these into succinct volumes for publication, which made a very useful contribution to military affairs. Lady Maria Fitzherbert loved to move in fashionable circles and was a sort of Georgian it girl with some very powerful acquaintances, including the Duke of Wellington. She had been a scandalous personality in her day, as the mistress and unlawful wife of the shockingly extravagant George IV. The Right Honourable Lord Edward Bulwer-Lytton was a Whig member of parliament from 1831- 1841, a Conservative member of parliament from 1851- 1866 and Secretary of State for the Colonies between 1858 and 1859. He was also a hugely successful poet, playwright and novelist, specialising in science-fiction, the supernatural and the occult and he is responsible for the phrase “the pen is mightier than the sword”. Gurwood’s letters show that he was a devoted and resourceful serviceman and that he was concerned with improving his income and bettering his position within the army. Not being wealthy enough to afford to buy promotion (as was the practice in the military at the time) he relied on his influential friends to pull strings for him in order to climb the ladder. Despite support and encouragement from Lord Lytton and Lady Fitzherbert, his papers contain evidence that various requests he made to be compensated for his efforts were denied, much to his distress. His correspondence with Lady Maria Fitzherbert is particularly colourful. It spans from 1827 until her death in 1837 and comprises two of the five books. Fitzherbert, in her 70s, acts as a confidante and personal advisor to Gurwood, who is in his 40s. There is an agreement between them that she will do her best, whenever possible, to speak well of him to the Duke of Wellington, who is mentioned a great deal throughout, particularly by Gurwood, with marked admiration and deference. Often, he laments to Fitzherbert at his lack of support from the army. On one occasion he confides in her his bitter disappointment and frustration when a promotion he had been expecting is scuppered by a jealous rival. As well as many earnest descriptions of the weather and enthusiastic enquiries after one another’s health, avid exchanges of news are written at regular intervals. Gurwood and Fitzherbert clearly share a passion for being in the know about the latest current affairs. References to polite society goings on include the scandal of Lord de Ro cheating at cards; the various movements of Lord and Lady Stafford, Lady Jerningham, Lord Beauchamp, Mrs. Damer, other fashionable figures of the day and the current state of “la grippe” (influenza). There are some captivating passages written during Gurwood’s Spanish mission of 1835, where he keeps her abreast of developments and there is a letter dated 1837, where he appears to be writing, discreetly, from the House of Lords, describing events as they unfold. This episode revolves around Lord Londonderry’s orders to leave for St. Petersburg, leaving Gurwood wondering how this may affect the Whig cause. Other mentions are made of Peel, Stanley, Methuen and King William IV. The letters from Lord Lytton are generally more matter of fact. They begin in 1839 and a number of them simply request the pleasure of Lt. Col. Gurwood’s company. After Gurwood’s suicide in 1845, the letters are then addressed to Mrs. Gurwood. Additionally, there is a letter from Downing Street from around this time, rejecting Mrs. Gurwood’s application for a pension, explaining apologetically that the fund has already been exhausted. Lord Lytton stays in touch with Mrs. Gurwood for many years, always asking after her and her two daughters, particularly Adele, for whom he has a fondness. For the most part, the content consists of easy going conversation - there is weather and health, there is a request for advice on how to get a decent housemaid for one of his residences that’s got rather dusty and there is a simple tale of how he took a fishing trip to Surrey, along the banks of the river Thames, and all he caught was a cold. From his hurried, rather ambiguous handwriting, we can tell that he is a busy and important man, nevertheless, his letters continue until her death some thirty years later and fill three of the five books in the set. The first Lytton book spans from 1839- 67, the second from 1868 - 73 and the third is entitled ‘undated’, although many of the letters from this volume are bound along with their original envelopes, which have postage dates stamped on them. Grace Exley of Jesus College Library January 2023
Gandhi, Mohandas K. Autograph letter signed, in Gujarati 09/12/1940From: Sevagram, Wardha, Hokar MadhyaprantShri Champaben MehtaRam Niketan, Jagmath Plot, Rajkot, Kathiawad (English)"Chi ChampaWhatever Magan Brother is doing (for you) that your aunt cannot do. He is unhappy that Prabhashankar is taking the share. 'Baa' [Kasturba Gandhi] and Khan's brother [Khan Abdul Gaffar Khan] also have expressed their unhappiness for the same. What can be done? It was understood as Madusudan's.Bapu's Blessings"Note: Note:A rare letter in which Gandhi mentions Kasturba Gandhi and Khan Abdul Gaffar Khan. Gandhi writes to Champa (Dr P. J. Mehta's daughter-in-law), intervening in the Mehta family dispute regarding estate and wealth as he has been entrusted with mediation. Champa may have involved her father, Prabhashankar, and her aunt in the matter to oversee and strengthen her claim to a share of the estate. Gandhi reiterates to her that Magan (Champa's brother-in-law) is the best person and he will selflessly ensure that more than a fair share is entitled to her (even better than her father and aunt can negotiate). But Magan is unhappy that even Prabhashankar is getting overtly involved and expects a small share, being an external family member. Kasturba Gandhi and Khan Abdul Gaffar Khan are also unhappy to see this feud. Gandhi expresses regret stating what should be done as a share was supposedly owed to Madusudan.Gandhi & Dr. Pranjivan J.MehtaDr. Pranjivan J. Mehta and Gandhi met on 6th November 1888 while studying law in the United Kingdom at the Inner Temple, where they formed a life-long friendship. In 1899 Dr Pranjivan J. Mehta moved to Rangoon, Myanmar (Burma) where he joined a family diamond and jewellery business, Maganlal Prinjivan & Co. In Burma Mehta was involved in the Burmese Nationalist movement and numerous social activities such as the Hindu Social Club, and corresponded with Gandhi about their respective roles and strategies in societal betterment in South Africa and Burma respectively. Although they corresponded a great deal Dr Mehta had instructed Gandhi to destroy his letters after having been read. In 1909 Dr Mehta referred to Gandhi as 'Mahatma' for the first time in a letter to Gopal KJ. Gokhale, and in 1910 wrote a book on Gandhi entitled M.K. Gandhi and the South African Indian Problem. In December 1915 Dr. Mehta attended the Bombay session of the Indian National Congress. He spent several weeks with Gandhi, and had the 'Lal Kothi' or 'Red Bungalow' built near the Sabarmati Ashram, with Gandhi overseeing its construction.Mehta sponsored Gandhi's early freedom movement, the Sabarmati Ashram, and sent cheques to the value of 250,000 rupees for Gujarat Vidyapith between 1919-22. After suffering a major stroke in the mid 1920s he went to Europe for medical treatment and in 1926 travelled to India to plan the Salt Satyagraha and assist Gandhi in it. Gandhi visited Burma in 1929 and stayed at Mehta's home near the Shwedagon Pagoda. While in jail Gandhi had a premonition on 2 August that Mehta's latest illness would prove fatal. On 3rd August 1932 Mehta died at 9pm in Rangoon General Hospital. Gandhi, who had been in Yeravda jail since 4th January 1932, paid tribute to Dr. Mehta in a letter he sent to Narandas on 7th August 1932:'If I were in the Ashram just now, I would have said a few words about this holy soul. He was my oldest friend... I saw Doctor continually progressing in such virtues as firmness of mind, courage, generosity, purity, love of truth, ahimsa and simplicity. Once he had made up his mind to do something, he would never change. His word, therefore, was trusted by people who had dealings with him. And he was always fearless... Doctor's liberality knew no bounds. His house was like a dharmasala. No deserving poor ever returned empty handed from him. He had helped and supported a number of people. There was no ostentation in his help. He never boasted about it. It knew no limits of caste or community or province... Doctor had enough wealth and to spare, but he was not proud of it. He spent very little of it on pleasures for himself... During the last many years of his life he loved brahmacharya. In his early life, Doctor had little interest in reading religious books, but in his later life his love for such books increased.... Doctor had scrupulously followed truth both in his business and his legal practice. I know that he had great hatred of falsehood and hypocrisy. His ahisma was visible on his face and could be read in his eyes, and it was becoming deeper day by day. Of course the atman in man never dies, but Doctor has become, through his virtues, immortal in a special sense.'To Polak, who had known Mehta since 1909, Gandhi had written on 4 August 1932 'I have lost a lifelong faithful friend.' On the same day he wrote to Mehta's nephew, Manilal R. Jhaveri 'I know that all of you will feel the loss of Doctor. By my sorrow is particular. I had no greater friend than Doctor in this whole world.'To Chhaganlal P. Mehta, Mehta's oldest son, Gandhi wrote: 'Your conduct henceforth should show to others that you understand the true significance of Doctor's death. His many virtues are his real will. They are your legacy. I hope you will do nothing which may make your younger brothers unhappy in the slightest degree. I feel unhappy that, at a time when my lifelong friend had passed away, I am as helpless as a cripple. If I had been free, I would be by your side now. Perhaps Doctor would have drawn his last breath in my lap. But God is ever jealous of our wishes.'
HOUSE / DANCE / TECHNO / DRUM & BASS - LP / 12" COLLECTION. A collection of around 150 x (almost entirely) 12". Artists/ Titles include Cassius - 1999, Dub House Disco (GRLP004), Ten City - Foundation, Daft Punk - Around the World, Metalheadz - Dillinja, Prodigy - Firestarter, Sabres of Paradise - Theme, Deanne Day - The Day After EP, Roni Size / Reprazent - Share the Fall, Basement Jaxx - Bingo Bango, Care in the Community - The Discerning Dancefloor, Slab - Red 4, Pet Shop Boys - Liberation (Remixes), Joey Negro - Phase II, DJ Misjah & DJ Tim - Access and Azzido Da Bass - Doors Night Remixes. The condition is generally VG to Ex+.
SAVOY BROWN - LPs. Comprehensive collection of 17 x LPs from Savoy Brown. Titles including Shake Down (unboxed UK Decca SKL 4883 1W/1W - lovely Ex record/VG+ a little tape on the reverse), Blue Matter (unboxed Decca SKL 4994 - cool Ex/Ex), Getting To The Point (SKL 4935, unboxed - VG/VG), Raw Sienna (SKL 5043, boxed), Looking In (SKL 5066 - Ex/VG+), , A Step Further (SKL 5013 boxed), Street Corner Talking, Skin 'N' Bone, Wire, Savage Return, Lion's Share (SKL 5152 - ace Ex+/Ex), Hellbound Train (TXS 107, green labels), Make Me Sweat and Just Live. Condition is often clean VG+ to Ex+.
Marx Toys (Japan) 1960's mechanical gorilla with clockwork motor and fur covering; when wound the toy walks, thumps chest, and opens mouth, 20cm high, together with a small bag of marblesPlease copy and paste this link into your browser to view a video:https://youtube.com/shorts/WIS_wJAqmYA?feature=share
Erik Nitsche (Swiss, 1908 - 1998) "Congratulations" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood First of Issue Maximum Card for the U.S. 22c Congratulations stamp issued April 20, 1987. Congratulations! Perhaps your red-letter day is a wedding ... the birth of a child ... a new job ... graduation! All are worthy of hearty congratulations. When someone we care about has something worthy of celebration, it's nice to join in the fun, and share the triumph and joy. Whenever good things happen to people we love, it's important to remember them, just as we do when times are difficult. Congratulations can be offered in many ways: a firm handshake from a business associate, a pat on the back from a coach, a gentle kiss on the cheek from grandma, even a great, big bear hug from a long unseen uncle! Always met with a smile, a laugh, perhaps a happy tear, this is one of the best of all sentiments to share. This artwork can serve as a constant reminder of your happiness at someone's success. Image Size: 8.5 x 11.75 in. Overall Size: 15 x 20 in. Unframed. (B10270)
THREE SHARES OF INDONESIAN PLANTATIONS To include: One share of Plantations Nord Sumatra , Bruxelles , 1927, with attached coupons Condition: Good , one fold , clear Belgian chops Dimension: 43cm long x 24cm wide (unframed) Two shares of Plantations Indonesians & Participations , Paris, 1962 , with attached coupons being : 1 Share of FF100 and 1 Share "Part de Fondateur" Condition: good , one fold each Dimension: 27cm long x 32cm wide / 27cm long x 39cm wide (unframed) Condition: Good condition considerate age and use, folded as issued, modern colouring
c.1898 Horse-Drawn Fire Engine 'Metropolitan' Coachwork by William Rose & Co, Engineers of ManchesterFor further information on this lot please visit the Bonhams website•Typical Victorian-era horse-drawn fire engine•From one of the best manufacturers•In the Yorkshire Car Collection from 1977 onwards•Purchased by Peter Bühner in 2007•Stored since acquisitionThe horse-drawn fire engine, generally pulled by two horses, was a feature of British town life in Victorian days when fire risks were far greater than today. The larger country house would generally have its own engine and a team of firemen drawn from the estate workers. Double vertical engine models were the most common and the engine design of this example features twin high-pressure cylinders with external valve chests, a pushrod-operated feed pump and twin-nozzle double-acting pump with pressure dome in series. Shand Mason of Blackfriars dominated the fire engine market in the mid-Victorian era, producing a range of steam-powered fire engines, generally for private ownership and primarily for use in industry and in the great British country houses. Merryweather & Sons of Lambeth, who were established as early as 1769, also vied for a major share of this important and burgeoning industry, whilst smaller manufacturers such as William Rose & Co of Manchester produced engines of equal quality, but on a smaller scale. Indeed, it was a William Rose engine that won the Grand Challenge Cup for Best Engine at the National Fire Brigade's Union Meeting in 1901, adding to its impressive record in regularly winning the Dewar Challenge Shield.This Rose engine was acquired for the Yorkshire Car Collection in 1977 and was restored to running order in the 1980s. Peter Bühner purchased the engine for the collection at Bonhams' sale at the Royal Air Force Museum, Hendon, on 30th April 2007, since when it has been stored in the collection. At that time we said the following: 'It has not been operated for many years and will therefore require the usual careful re-commissioning and boiler safety checks. The engine bears the name 'Metropolitan', the coachwork is liveried with the name Shadwell Court and bears a monogram under the driver's foot-rest. Shadwell Court is situated near Thetford in Norfolk and was the home of the aristocratic Buxton family until 1901. The red, gold and black livery appears to be original and overall condition appears to be of museum quality, simply requiring gentle conservation. The engine comes with hoses and nozzles and two life-size fibreglass horses with saddlery and leather bridlework by A. Goodall, Saddler of Shipley and Keighley.' The aforementioned life-size model horses are included in the sale.Voiture de pompiers hippomobile 'Metroplitan' de William Rose & Co, Engineers of Manchester – Vers 1898•Voiture de pompiers hippomobile typique de l'ère victorienne•Issue de l'un des meilleurs ateliers•Présente dans la Collection de voitures du Yorkshire depuis 1977•Achetée en 2007 par Peter Bühner•Conservée à l'abri depuis son acquisitionLes voitures de pompiers hippomobiles, en général tirées par deux chevaux, étaient courantes dans les villes britanniques à l'ère victorienne, quand les risques d'incendie étaient bien plus élevés que de nos jours. A la campagne, les grands domaines avaient en général leur propre équipement ainsi qu'une équipe de pompiers recrutés parmi le personnel du domaine. Les mécanismes verticaux doubles étaient les plus courants. La conception de l'exemplaire proposé s'appuie sur deux cylindres à haute pression avec boîtiers de vannes extérieurs, pompe d'alimentation à tige et pompe double effet à deux embouts et calotte étanche. Au milieu de l'ère victorienne, c'était Shand Mason, de Blackfriars, qui dominait le march... For further information on this lot please visit the Bonhams website
![Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle,](https://cdn.globalauctionplatform.com/e326032c-4887-405e-a8c8-af65010ecdd3/20bd11e0-184c-4f59-b2f6-af6d01199218/468x382.jpg)
Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle, rev. eadnod monet around cross-crosslet, 1.36g/6h (Naismith E30a, same obv. die = SCBI BM 833, same dies; Pagan, BNJ 1982, p.58; N 434; S 948). Nearly extremely fine, struck on a full round flan, free from the usual porosity but with some patchy toning; extremely rare thus £8,000-£10,000 --- Naismith’s corpus records just two examples of Æthelstan portrait pennies struck by Eadnoth, from two obverse and two reverse dies. The present coin, which is seemingly only the fourth known example, was struck from the same dies as the coin now housed within the British Museum, and the same obverse die as the piece sold through these rooms in 2022. Æthelstan was a king of the independent Kingdom of East Anglia which emerged following the end of Mercian Supremacy in 825. Unfortunately, the paucity of contemporary written sources means that we know little about events in the region during the first half of the ninth century. The Anglo-Saxon Chronicle relates that in 825 the Mercian King Beornwulf, after his disastrous defeat at the battle of Ellendum against King Ecgberht of Wessex, was slain by an anonymous king of the East Angles. Beyond this, little interest was shown by the Chronicle’s compiler towards the East Anglian kings or their activities. This fact, coupled with a complete absence of surviving charters from the area, means that we must turn to the numismatic evidence for answers. The identity of the first independent king of East Anglia is made clear from the hoard record, with the Middle Temple hoard being particularly informative. The large group, deposited at some point during the 840s, contained 243 early ninth century coins produced under various kings across England. Included within were some 39 pieces of Æthelstan. No coins of any other independent East Anglian ruler were present, making Æthelstan’s primacy clear. The name Eadnoth, the moneyer responsible for the striking of the coin offered for sale here, first appears on pennies of the Mercian king Offa in the 780s and then on coins of the obscure local king Eadwald who usurped power in East Anglia for a brief period during the late eighth century. Following this Eadnoth signed no coins during the first two decades of the ninth century, despite the productive nature of the East Anglian mint under the supervision of the Mercian Kings Coenwulf and Ceolwulf. Finally the name reappears in c. 824 on the coins of the last Mercian rulers to exercise power within the region, Beornwulf and Ludica, before continuing onto the coinage of the independent king Æthelstan. Given that several decades lapsed between these episodes of the minting activity we ought to consider the possibility that these are two different moneyers by the same name. Elsewhere, attempts have been made to detect familial connections between successive moneyers operating within the same area who share similar names. The case of Eadnoth may provide another good candidate for such a scenario, and it is possible that the Eadnoth who struck our coin was a relative, perhaps even a son, of Offa’s moneyer. In common with all of Æthelstan’s portrait coins, the present specimen was struck at the beginning of the monarch’s reign, as part of an issue that probably lasted until c. 830. Æthelstan portrait pennies were completely absent from the Middle Temple Hoard. From this some have inferred that these early coins must had dropped out of circulation by this point. However, the same hoard contained numerous pennies struck under Æthelstan’s Mercian predecessors, Coenwulf, Ceolwulf and Beornwulf. It is difficult to believe that all of Æthelstan’s portrait pennies ceased to circulate on account of wear, damage and loss whereas those of earlier rulers consistently did not. We should not dismiss the possibility that Æthelstan’s Portrait coinage was officially called in and deliberately withdrawn from circulation in a renovation monetae. Such a policy was seemingly employed by the Kings of Wessex during the second half of the ninth century to help bring uniformity to their currency and led to a total absence of earlier coins in hoards deposited after the reform’s instigation. It is notable that following the short episode of iconographical variation early in Æthelstan’s reign all of the East Anglian coinage, continuing throughout the reigns of his successors Æthelweard and Eadmund, was of a generally consistent design. If such a reform was implemented it would help to explain why the portrait pennies of Æthelstan remain so excessively rare, despite the general increase in ninth century coins discovered and excavated over the previous two decades. Works cited: Blunt, C.E., Lyon, C.S.S., and Stewart, B.H.I.H., 1963. ‘The coinage of southern England, 796–840’, BNJ 32, pp.1–74 Pagan, H.E., 1982. ‘The Coinage of the East Anglian Kingdom from 825 to 870’, BNJ 52, pp.41-83 Pagan, H.E., 1986. ‘Coinage in southern England, 796-874’ in M.A.S. Blackburn (ed), Anglo-Saxon Monetary History: Essays in memory of Michael Dolley (London), pp.45-66 Naismith, R., 2011. The Coinage of Southern England 796–865, BNS Special Publication 8, 2 vols. (London) Naismith, R., 2012. Money and Power in Anglo-Saxon England: the Southern English Kingdom 757-865 (Cambridge) Stenton, F., 1971. Anglo-Saxon England. Third Edition (Oxford)
A Stuart Crystal and diamond mourning ring, early 18th century, set to the front with a coffin-shaped faceted rock crystal between rose-cut diamonds, the band carved with a skeleton and hour glass applied with black enamel, the interior inscribed 'Let us share in joy and care', size J1/2, indistinct maker's mark, possibly IC
TWO BOXES OF CERAMICS, VINTAGE AFTERSHAVES AND MISCELLANEOUS ITEMS, to include a 1950s Vulcan Ware vase decorated with red, green and yellow leaves, height 21cm, a Royal Worcester large gold lustre sugar bowl (second quality), an eleven piece Japanese coffee set with Geisha lithophanes, mainly boxed vintage aftershaves including Imperial Leather, Brut 33, Mr., Hai Karate, Avon First Edition (bottle in the shape of a book), Avon Wild Country, and Avon Blue Blazer, a boxed Pifco paint stripper, a collection of 1980s badges, a boxed Empire Electric Trouser Presser, boxed Kodak Easy Share C613, Fujifilm FinePix JV500, and Fujifilm FinePix S5700 digital cameras, etc (2 boxes) (sd)
A quantity of 19th century and later share certificates, company reports, receipts, and business correspondence, especially relating to 'Salford Iron Works', and to a Mr Cox of Sydenham, [Mr Cox appears to have been an inventor, included in this lot are references to licensing his "Look again Photographic Advertisement Device", and a celluloid / film making process (to Animated Photographs Ltd, who he subsequently sued), and a patent for an electric glow lamp]
Stephenson (Robert). London & Birmingham Railway. Plan of the Line and Adjacent Country, Charles F. Cheffins, 1835, engraved map on two sheets, with bright contemporary wash colouring, sectionalised and laid on linen, inset city plans of Birmingham and West London showing the railway depots, incline cross section below the map, slight offsetting, each sheet approximately 725 x 780 mm, contained in contemporary cloth slipcase with decorative gilt title to the upper cover, together with a duplex share prospectus of the Worcester, London, Rugby & Oxford Railway (dated 1844), including a map of the proposed railway, old folds, some wear where old folds cross, 380 x 235 mm and two copies of a letter inviting the proprietors of the London and North Western Railway to a General Meeting, old folds, each approximately 240 x 200 mmQTY: (4)NOTE:An early example of Robert Stephenson's map of the London to Birmingham railway.
Chaucer (Geoffrey). [The workes of our antient and lerned English poet, Geffrey Chaucer, newly printed. In this impression you shall find these additions: 1 His portraiture and progenie shewed. 2 His life collected. 3 Arguments to euery booke gathered. 4 Old and obscure words explaned. 5 Authors by him cited, declared. 6 Difficulties opened. 7 Two bookes of his neuer before printed, London: Adam Islip, at the charges of Bonham Norton, 1598], black letter text, lacks title and all preliminary leaves up to b6, as well as c2 and c5 (the first leaves present in this copy are now misbound, starting A3-6, ¶1-4, c3, 4, 6 and 1), collating as standard from B1 onwards, woodcut illustration of The Knight to head of B1, full-page woodcut part-titles to Romaunt of the Rose and The Story of Thebes present, preliminary leaves (all up to B1) with some fraying and minor loss to outer corners and fore-margins, some water stains, final leaves frayed to fore-margins and outer corners (from A4 onwards), affecting some letters or words, generally without loss of text except to final leaf only, later endpapers with bookseller's ticket of H. Young, Bookseller, 12 South Castle Street, Liverpool to front pastedown, 19th-century half calf, morocco title label to spine, rubbed and marked with minor wear to extremities, folio (textblock 290 x 190mm)QTY: (1)NOTE:Pforzheimer 177; STC 5077.The first edition edited by Thomas Speght, with assistance from John Stowe, Francis Thynne, Francis Beaumont the elder, and Robert Glover. 'The most remarkable feature of this edition is the glossary which was largely the editor's production and was the main object of Francis Thynne's Animadversions.'Impressions of this edition appear with the imprint of either George Bishop, Bonham Norton or Thomas Wight. 'From the form of imprints it would seem that Bishop, Norton, and Wight commissioned Islip to print this edition, and judging from the frequency with which copies with their imprints occur it is probable that Bishop took the largest share and Norton the next.' (Pforzheimer).
Ephemera, an interesting collection of mainly early to mid 20thC items to include sheet music (some with attractive covers), 1937 BBC Alexandra Palace broadcast admission ticket, 1939 Christmas Party poster featuring Al Bowlly, early television operating instructions, record catalogues (1898 - 1930s), 1899 Hackney Y.M.C.A. prospectus, Nestle advertising cut-outs, puzzles, Star Album postcard booklets, Royal Collection views, In Memoriam plaques, Mata Hari book, share certificates, stereoscope viewer etc. (mixed cond, gen gd)
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, as well as a personal message written in pen on the carton lid.
A 1970s advertising poster, 'Rover Round from just a pound, Metro Day Rover, pick up a free leaflet from Metro bus or station enquiry office', approx 100 x 61cm, together with three small 1950s posters 'Don't spoil your holiday by accident', printed by M&M Ltd London, 38 x 26cm, 'If you have a good idea, share it, send it to your local JPC' 38 x 25cm, etc (rolled) (4).
Magnum bottle of Château Pédesclaux, Grand Cru 1994, Pauillac, France.Category: red wine.Preserved box.1.5 L.Level: B-C.From 2009, the artisans of the renaissance of Château Pédesclaux made decisive decisions in the vineyard and in the cellar. The profound restructuring of the vineyard and the acquisition of new quality plots went hand in hand with the implementation of environmentally friendly cultural practices, soon to be crowned by organic farming certification. A profound evolution symbolised by the unique architecture of the Château and the 100% gravity-fed winery. A monument of technology, the latter is entirely dedicated to revealing the purest expression of the Pédesclaux terroir. Because Jacky, Françoise and Manon Lorenzetti pursue a single goal: to shape the best possible wine. The teams share their values and their desire to gain in precision and finesse of execution, with a constant concern for excellence.
BLUEBIRD - 78RPM SHELLAC COLLECTION. A quality pack of 18 78rpm shellacs. All released on Bluebird Records. Artists/ titles include Tampa Red inc Crazy With The Blues (B-7879), Detroit Blues (34-0731), Better Let My Gal Alone (34-0740), That Don't Matter Now (B-7642). Washboard Sam inc Diggin' My Potatoes (B-8211), Louise (B8469), My Feet Jumped Salty (B-8844), She Fooled Me (B-8450). Sonny Boy Williamson inc Jivin' The Blues (B-8674), Elevator Woman (34-0744). Lonnie Johnson - Some Day Baby (34-0732), Johnny Barfield - You'll Want Me To Want You Someday (B-8782), Lil Green - Mr Jackson From Jacksonville (34-0733), Jazz Gillum inc Me And My Buddy (B-8872), Tell Me Mama (34-0707). Roosevelt Sykes - I Wonder (34-0721), Kansas Katie - Don't You Know Me (B-8999) & Lil Green - If You Want To Share Your Love. Condition is generally V+ to Ex+.
Only Fools & Horses - A Touch Of Glass (Series 2) - a cat statue that plays 'How Much Is That Doggie In The Window?' identical to those seen on screen in the episode. Custom made replica, with hardwood base, real working brass musical clockwork mechanism and key. Complete with 'Made In North Korea' label to base. This example signed to the side by Sir David Jason (Del). In excellent condition, in full working order. Measures approx; 24cm tall. Supplied with a COA from the Only Fools and Horses Appreciation Society. Del: 'What do you mean a waste of money? I mean, look at ’em, they’re beautiful ain’t they!' Rodney: They are china cats that play How Much is that Doggy in the Window!' A video of this cat working can be viewed here: https://youtube.com/shorts/gh8wMbKs50s?feature=share Sold in absentia - Postage only, or available for collection by appointment.
A GROUP OF HUMMEL FIGURINES, POOLE POTTERY AND A ROYAL DOULTON FIGURINE, comprising nine Hummel figurines: Begging His Share, Little Hiker x 2 (one having a repair to hair, the other missing the top of crook), Little Helper, School Boy, Village Boy, Happy Pastime, Apple Tree Boy, and Goose Girl, a Poole Pottery vase height 18cm, posy vase and jug, all decorated in the blue cockerel pattern, together with a Royal Doulton Top O'The Hill HN2126 figurine, an exclusive for the Royal Doulton International Collectors Club, height 10cm (13) (Condition report: most pieces appear in good condition, specific obvious damage as stated, would benefit from a clean)
A FLYING GADGET X-CAM 2.4GHZ DRONE AND A COLLECTION OF GLASS MARBLES, the X-Cam comes with an instruction manual and controller, together with a collection of over one hundred coloured glass marbles, a small framed print, a display case of assorted nautical knots, size 55cmx 35cm, a framed print of a Russian General Oil Corporation £1 share warrant, size 58cm x 46cm (1 box + loose)
John Judkins (b.951) Jimi Hendrix,- a later lithograph, hand-signed and dated '75 by the artist lower centre, rolled, 65 x 89cm. John Judkins was commissioned to design posters for the swinging 60s boutique, I was Lord Kitcheners Valet, originally based in Portobello Road and later Carnaby Street. The boutique became famous for selling military style clothing to celebrity clientele including Jimi Hendrix, Eric Clapton and Paul McCartney, the artist's painted portraits were later reproduced as posters and share the same flair and style of the early artwork. Condition Report: John Judkins (b.951) Jimi Hendrix, a later lithograph, hand-signed and dated '75 by the artist lower centre, rolled, 65 x 89cm.
Mahatma Gandhi (1869-1948) - a collection of Gandhi's personally owned and used food bowls and plates. Comprising; a hammered bronze eating bowl with shallow flared edge engraved 'Love' (in Bengali) to one side, 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.
Small Gavioli Harmonipan 44-key barrel organ. The Harmonipan plays 7 tunes and has the original song sheet. Overall very good condition with near perfect case and nice sound, but one bass pipe needs work. Manufactured by Gavioli & Cie, ca. 1860. Height: 56 cm. Width: 63,5 cm. Depth: 35,5 cm. Condition: Very Good. Location: USA, Florida. Video link: https://youtube.com/shorts/2Wt2t8K_SUQ?feature=share
F.P. Journe. A fine and rare platinum automatic calendar wristwatch with power reserve indicationModel: Octa Réserve de Marche, No.224-02ADate: Circa 2008Movement: 37-jewel Cal.1300 automatic, adjusted to 3 positionsDial: Grey with offset white time display and guilloché engraved centre, black Arabic numerals, blued steel lance hands, subsidiary dial for constant seconds at 5, sector power reserve indication at 9, date aperture at 12Case: Polished round, exhibition back secured by 6 screws, No.224-02AStrap/Bracelet: Associated blue leatherBuckle/Clasp: Associated steel buckleSigned: Case, dial & movementSize: 38mmFootnotes:Celebrated for producing uniquely complicated and sophisticated timepieces which push the boundaries of expert horological craftsmanship, F.P. Journe is an exclusive watchmaker who produces less than a thousand timepieces annually. With exacting attention to detail, F.P. Journe's belief is that beauty begins from outside rather than from within – he commences his creative process by designing the dial and then arranging the internal mechanism accordingly.Each of the models in the Octa series possesses its own identity, although all share a common design and microengineering lineage. The Octa Réserve de Marche is the premier model in the series and hence is emblematic of the aesthetic and technical virtues of the Octa calibre. With an impressive 120 hours power reserve capability, this model comprises a 22-carat rose gold rotor accompanied by a dedicated 4-arm balance with inertial adjustment and frequency of 21,600 vph. This series was only available to loyal clients of F. P. Journe.For further information on this lot please visit Bonhams.com
A collection of football ephemera relating to the career of Ernest William Lee who in the 1930s and 1940s played football for the Oxfordshire Schools Football Association and Headington United, with an Oxfordshire Schools Football Association cap for 1932-33; a collection of Oxfordshire football association silver, enamel and other medals; various programmes to include three for matches between Headington United and Oxford City in May 1948, Easter 1948; a further programme for a match between Henley Town and MPRD Cowley; a Headington United Official Football Club Handbook for 1958-59 season; a Headington United souvenir programme for Good Friday 1949; together with news clippings; a copy of the memorandum; and articles of association of the Headington United Football Club Ltd July 1949; a share certificate for Headington United Football Club dated September 1949; and further items; together with an FA Final Tie match programme between Leicester City and Wolverhampton Wanderers April 30th 1949
MICHAEL DAHL (SWEDISH 1659-1743)THE HON. MRS. THEODORA COWPER, C. 1710Oil on canvas125 x 95cm (49 x 37¼ in.)Provenance:The Hon. Spencer Cowper, Hertingfordbury ParkThence by descent,Henry Cowper, Tewin Water, Hertfordshire The Rev. Henry Madan Pratt, by 1904, Southern House, Cheltenham (Inherited from the above)Sale, Christie's, London, The Rev. Henry Madan Pratt Sale, 23 May 1930, lot 151 (as Kneller)Private Collection, London Sale, Sotheby's, London, 11 May 1932, Lot 66 (As Kneller) Frost and Reed, Bristol and London Sale, Christie's, London, 10 March 1939, Lot 40 (as Kneller)Private Collection, FranceMichael Dahl painted this majestic portrait of the Hon. Mrs. Theodora Cowper around 1710, whilst the artist was at the height of his popularity amongst the elite in London society. The confident brush work and soft skin tones are typical of Dahl's work of this period and can be easily dated to c. 1710 when looking at the loose draperies and elevated hair. The sitter was born Theodora Kirk and firstly married Joseph Stepney MP in 1693. Her husband was the first cousin of John Stepney, 4th Bt. and Justina van Dyck, the only daughter of the great artist Sir Anthony van Dyck. After the death of her first husband in 1725, Theodora married the Hon. Spencer Cowper, MP and Chief Justice at the court in Chester. Spencer's brother William was the first Lord High Chancellor and had been made 1st Earl Cowper in 1718. Although Spencer and Theodora had no children together, it is clear to see the affection she held for her sons-in-law as she left her estate, including a 3% ownership share of the Bank of England, almost entirely to them. This portrait is also mentioned in her will, dating from 1750, noting that she wished to leave it to her husband's youngest son, the Reverend John Cowper. As John had no children it then passed to Spencer's other son William, whose family it remained until it was sold in 1930. This portrait is particularly unusual within Dahl's oeuvre for the fact that it depicts the sitter in the allegorical guise as Diana, goddess of the hunt. Dahl rarely painted his sitters in allegorical guises and in this instance, it is almost certain that the artist took inspiration from Sir Peter Lely's portrait of Frances Stuart, Duchess of Richmond, located in the Royal Collection. Lely's portrait of Frances Stuart was part of the famed Windsor Beauties series and would have been widely known. The goddess Diana, also known by the Greek name Artemis, was associated with elegance and purity and is often shown holding a bow with a crescent moon on her head, both attributes that Dahl has included in this portrait. Dahl closely echo's Lely's composition, however in turning Theodora more to the viewer he endows a greater sense of grace and poise. The rich landscape in the background is no doubt emblematic of an English Arcadian scene that had become the favoured setting for aristocratic sitters from the time of van Dyck in the previous century.Condition Report: The canvas has been relined and is on a later stretcher, which is providing good support. The paint layers appear stable. UV light reveals remains of an inscription lower right, as well as scattered restorations in the background and in the sitter's hair, neck and arms. Some of these are visible to the naked eye, but the face appears largely untouched. Areas of surface cracking in the sitter's face and chest. The painting has been recently cleaned and revarnished. Condition Report Disclaimer
Christopher Richard Wynne Nevinson A.R.A (1889-1946)Swooping Down on a Taube (Black 21; Leicester Galleries 28) Lithograph, 1917, on Holbein wove paper, signed in pencil, from the edition of 200, published by the Stationery Office, London, as part of the series Britain's Efforts and Ideals: Making Aircraft, with wide margins, framed Image 402 x 300mm. (15 3/4 x 11 3/4in.); Sheet 478 x 390mm. (18 3/4 x 15 3/8in.)Footnotes:Christopher Richard Wynne Nevinson was one of the great printmakers of the early twentieth century, most celebrated as a chronicler of modern warfare and a master of multiple print techniques. He was held in high esteem by contemporaries such as Walter Sickert and Paul Nash for his acute eye for detail, feeling for composition and technical skill. His experiences as an ambulance driver and medical orderly at the Front imbued his work with a strong emotional intensity and his depictions are regarded as some of the most powerful images of World War I.His first major exhibition held at Leicester Galleries in Autumn 1916 was a critical and commercial success and would lead to his commission as an official war artist in 1917. The Ministry of Information commissioned him to create six lithographs on the theme of Building Aircraft to be included in the propaganda series The Great War: Britain's Efforts and Ideals. These works were taken on tour around the country to boost morale and were sold to raise funds for the war effort.The Building Aircraft lithographs detail the process from manufacture, to assembly and finally to flight. Nevinson was particularly interested in aerial combat, which would play an important new role during the First World War and he produced three images of aircraft in flight. In preparation for the series, Nevinson was taken on his first flight in June 1917 and commented 'the whole newness of vision and the excitement of it infected my work and gave it an enthusiasm which can be felt'.In Banking at 4,000 feet he uses variations in tone and steep diagonals to convey the drama and exhilaration of flight, which is literally a white-knuckle ride as indicated by the hand gripping the side of the aircraft. He invites the viewer to share the experience of being in the air by placing them in the cockpit.Swooping down on a Taube depicts a British Sopwith Camel attacking a German Taube. Taube means dove and the plane was named for its bird-like profile. Nevinson conveys a sense of movement and tension using the sweeping arc of the plane's trajectory set against the strong diagonals, representing rays of light, emanating from the searchlights below. He added scratch marks through the crayon to create highlights which intensify the drama.The immediacy of these images and the unusual viewpoints proved popular with visitors to the Fine Art Society exhibition, with one critic commenting that the artist 'contrives to make the visitor almost giddy' and another that he had 'the power of expressing sensations rather than visual facts'.For further information on this lot please visit Bonhams.com
Flemish school of 1620-1630. Workshop of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Self-portrait.Oil on canvas. Relined.With repainting.The frame shows slight lack of polychromy.Size: 75 x 57 cm; 103 x 85 cm (frame).Excellent painting of Flemish school, belonging to the workshop of Rubens, in which we recognise the self-portrait of the baroque genius. It is a work of great artistic quality, which faithfully follows the original model produced by Rubens around 1618, now in the collection of self-portraits in the Uffizi Gallery in Florence. The one in the Uffizi collection shows Rubens at the age of about 41, when he was still living in Antwerp. The artist depicts himself bust-length, with a stern gaze fixed on the viewer, with no other symbols of his rank than the dignity of his face. In the present work, which belongs to the workshop of the Baroque genius, we can appreciate the energy and direct teaching of the master: both the figure and the background share shadows and lights, the spotlight sliding across the flushed complexion and the dark eyes, playing with thousands of nuances that extract velvety textures and naturally capture the boldness of the gallant countenance. As for Rubens's workshop, it is worth noting that the prolific artist could not have tackled the abundant creative fecundity of his work alone. He employed expert collaborators and enlisted the help of external painters, who helped to satisfy the fertile demand for commissions.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral.
Ausländische Orden & Ehrenzeichen - Frankreich : Frankreich: Goldmedaille der französischen Garden für die Erstürmung der Bastille, 1789 - Médaille d'Or des Gardes Francoises (Vainqueurs de la Bastille).Rombusförmige Goldmedaille am Originalband aus feiner Seide. Gold. Dazu die hochseltene originale Verleihungsurkunde ausgestellt vom Bürgermeister und Repräsentanten von Paris ("de la Commune de Paris" ) Bailly sowie dem "Commandant - Général" der Gardes Francoises Marquise de Lafayette an den Grenadier Bouquet. Datiert Paris, den 15. September 1789 mit Originalunterschriften Lafayettes und Baillys in schwarzer Tinte, Im oberen Teil rotes Lacksiegel der "Gardes Nationales Parisiennes" sowie kolorierte Vignette. Interessanterweise wurden die ehemals vorhandenen Symbole des Königreiches (Fleur de Lys) sowie das Wappen von Paris zeitgenössisch in den Farben der Trikolore übermalt. Urkunde ca. 28 x 19 cm. Der Sturm auf die Bastille ist das wohl bekannteste Ereignis derFranzöschischen Revolution.Von den ca. 1000 Teilnehmern gehörten nur ca. 100 den "gardes francaises" an. Diese Truppe hatte einen entscheidenden Anteil am gelingen der Einnahme dieser berühmt - berüchtigten Festung die als Symbol für die Unterdrückung galt. Bereits am 15.07.1789, dem Tag nach dem Sturm auf die Bastille, wurde der Marquise de La Fayette von der Stadt Paris (Commune de Paris) zum "commandant générale de la milice parisienne"aus der kurze Zeit später die Garde Nationale entstand, ernannt. Die Dekorationen wurde in ihrer endgültigen Form als aus Gold gefertigte "losange" von dem Goldschmied Francastel hergestellt. Aufgrund der revolutionären Umstände, insbesondere der Annahme der Verfassung vom 10. August 1793, wurde das Tragen von Auszeichnungen als Symbol der verhaßten vergangenen Epoche der Unterdrückung und der Tyrannei (Ancien Régime) betrachtet. Durch Dekret der Nationalversammlung vom 20. August und vom 18. November 1793 wurden die ursprünglich an die Eroberer der Bastille verliehenen Dekorationen (Couronne Murale und Médaille d' Or des Gardes Francaises) abgeschafft und die Rückgabe der Dekorationen und deren Verleihungsurkunden bei den örtlichen Behörden angeordnet. Es haben sich daher nur sehr wenige Originaldekorationen und Urkunden derhalten. Ensemble von außerordentlich großer Seltenheit dieser wohl eklusivsten Auszeichnung der französischen Revolution. Literatur: André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, Band 1, S. 24-25.Foreign Orders & Decorations - France : France: Gold Medal for the French Guards for storming the Bastille, 1789.Rombus-shaped gold medal on the original ribbon of fine silk. Gold. Comes with the extremly rare original award certificate issued by the Mayor and Representative of the city of Paris ("de la Commune de Paris" ) Bailly and the "Commandant - Général" of the Gardes Francoises Marquise de Lafayette to Grenadier Bouquet. Dated Paris, September 15, 1789 with original signatures of Lafayette and Bailly in black ink, In the upper part red lacquer seal of the "Gardes Nationales Parisiennes" as well as colored vignette. Interestingly, the formerly existing symbols of the kingdom (Fleur de Lys) as well as the coat of arms of Paris were painted over in the French national colours of the tricolore. Document approx. 28 x 19 cm. The storming of the Bastille is probably the most famous event of the French Revolution. Of the approximately 1000 participants, only about 100 belonged to the "gardes francaises", the French guard and other militrary units. These troops had a decisive share in the success of the capture of this famous - infamous fortress which was considered a symbol of oppression. Already on 1July 15, 1789, the day after the storming of the Bastille, the marquise de La Fayette was appointed by the city of Paris (Commune de Paris) to the "commandant générale de la milice parisienne "from which a short time later the Garde Nationale was formed. The decorations were made in their final form as gold "losange" by the goldsmith Francastel. Due to the revolutionary circumstances, especially the adoption of the Constitution of August 10, 1793, the wearing of decorations was considered a symbol of the hated past era of oppression and tyranny (Ancien Régime). By decrees of the National Assembly of August 20 and November 18, 1793, the decorations originally awarded to the conquerors of the Bastille (Couronne Murale and Médaille d' Or des Gardes Francaises) were abolished and the return of the decorations and their award certificates to the local authorities was ordered. Therefore, very few original decorations of the participants of this world-historical event have been preserved. Ensemble of extraordinary rarity of this probably most exclusive award of the French Revolution. Literature: André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, vol. 1, pp. 24-25.
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。
A SPINACH GREEN JADE MINIATURE 'ARCHAISTIC' VASE, 18TH-19TH CENTURY 十八至十九世紀碧玉仿古紋雙耳瓶Opinion: This archaistic vase comes from a distinct group of spinach green archaistic miniature jade vessels, all created after varying ancient models, possibly by Imperial command. While it is not entirely clear what purpose these carvings served, they all share distinct features, such as perfectly matched, elaborate wood stands, 'razor sharp' relief carvings, outstanding purity of the jade, and an average size of 12-15 cm. China. Of flattened square baluster form, the tapering body carved in relief with a writhing chilong, its body terminating in interlocked fish heads on the lower end, the neck flanked by two loop handles, the short sides with archaistic scroll designs, the rim and foot each with a key-fret border. The stone is of a fine and pure spinach green tone with scattered black specks and patches.Provenance: An old English private collection, thence by descent in the same family. Old label to the base reading 'Taotie masks and dragons in archaic style. Chien Lung. 69'. Condition: Good condition with minor old wear, some nibbling to exposed areas. The stone with natural inclusions and fissures, some of which may have developed into microscopic hairlines over time. The wood stand with few small nicks and chips. Weight: 212.3 g (excl. stand) Dimensions: Height 12.2 cm (excl. stand) and 14.1 cm (incl. stand)With a finely carved, open worked, and fitted stand dating to the same period. (2) Auction result comparison:Type: Closely relatedAuction: Christie's London, 18 May 2012, lot 1043Price: GBP 39,650 or approx. EUR 53,500 converted and adjusted for inflation at the time of writingDescription: A Spinach Green Jade Vase of Quatrelobed Section, 18th/19th CenturyExpert's remark: Compare the closely related color, manner of carving, archaistic subject, and size (12.4 cm) of this vase with the present lot.十八至十九世紀碧玉仿古紋雙耳瓶中國。扁方形，束頸，雙耳。瓶身浮雕螭龍，下端魚頭互鎖，邊緣和足墻飾回紋。玉料呈現一種精細而純淨的碧綠色，帶有散落的黑色斑點和斑塊。專家注釋：此仿古花瓶出自一組獨特的碧玉仿古微型玉器，可能是受皇室委托。雖然尚不完全清楚這些玉器的用途，但它們都具有鮮明的特點，例如完美匹配且精緻的木架、線條清晰的浮雕、出眾的純度，以及平均尺寸為 12-15 厘米。 來源：英國私人老收藏，保存在同一家族至今。底座上有一標籤 “Taotie masks and dragons in archaic style. Chien Lung. 69” （仿古饕餮紋，乾隆.69）。 品相：狀況良好，有輕微的磨損。帶有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的細縫。 木架上有一些小刻痕和磕損。 重量：212.3 克 (不含底座) 尺寸：高12.2 厘米 (不含底座) 及 14.1 厘米 (含底座) 鏤雕的來自同一時期的木底座。拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2012年5月18日，lot 1043 價格：GBP 39,650（相當於今日EUR 53,500） 描述：十八或十九世紀四葉草形碧玉瓶 專家評論：比較相近的玉石顏色、雕刻風格、仿古、相似尺寸(12.4 厘米)。
DALWHINNIE 1988 DISTILLERS EDITIONSingle 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.The Distillers Edition from Dalwhinnie is double matured in Bourbon and Oloroso Sherry casks.Bottled: 200343% ABV / 70clMinor wera to carton.
La Vie en Rouge - Olivia Roze Spray paint on canvas 594 x 878 mm ARTIST STATEMENT: This piece is a stencilled spray piece using street art techniques. I was inspired by Teddy Baden’s work after being selected for an Art for Guernsey Scholarship and visiting Teddy in London. I wanted to capture a moment in time using a modern technique; also creating something beautiful and delicate. The flow of the hair and the free expression of the face, then stripped back to black and white with one bold colour to make the expression pop!ABOUT THE ARTIST: Olivia Roze won the Public Vote Prize in the Sovereign Art Foundation Students Prize, Guernsey 2021 with her artwork "Freya" and also was selected for an Art for Guernsey Scholarship. Olivia studies Creative and Digital Arts at the College of Further Education. Olivia's aspriations are "to share my art with many, and also take my education further and study a Fine Art bachelors degree at university."
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