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13 MIXED BOTTLES SPIRITS2 x 44 Vier Third Batch London Dry Gin (50cl); 2 x Fugu Cutwater Horchata Vodka and 2 x Three Sheets Cask Strength Rum; Hortar Single Malt Whisky (50cl); Brisbane Distillery Botanical Small Batch Gin; 2 x Devil's Share Californian Small Batch American Whiskey; Kyro Pink Gin (50cl) and Malt Rye Whisky (50cl); Kanoshizuku Selected Kuromoji (30cl)

FOUR BOXES OF ASSORTED SUNDRIES AND BOOKS, to include two three tier cantilever wooden sewing boxes, a pair of vintage Koss K/145 ear phones, two Maruman stainless steel lighters, four hip flasks, a Kodak Easyshare G610 printer dock with a boxed photo paper kit, a Russian Zenit Quartz cine film camera, No. 6309222 with handle and leather case, an Agfa Isoly 100 camera, a Kodak Easy share C613 camera, a Miranda FG-X camera, a Canon Sure shot BF, a Kodak Instamatic X-30, a boxed 100K Digital camera TDC-15, approximately twenty assorted books, etc (4 boxes + loose)

Sonja Burniston. Ten of Spades. 'Endowed'. Screen-print on paper. 16.5 x 12cm. Sonja is a collaborator, facilitator and visual communicator. With her foundations in Illustration, Sonja moves between making work in response to a company or individuals vision or from her own perspective. In her posters, narrative booklets, digital illustrations and wall hangings she uses fluid shapes and bodies to communicate in warm nostalgic colours. Her current work is exploring the care and intimacy in combing for nits. Her main medium is screen print and she teaches as one half of Blue Roll Press; a mobile printing duo, together with Luke Wade. The Blue Roll mission is to share and encourage play and experimentation in accessible workshops.

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

Only Fools & Horses - Mother Nature's Son (1992 Christmas Special) - a collection of original production used items from the classic episode, comprising; an original screen used bottle of 'Peckham Spring' water, being a sealed glass bottle with custom production-made label 'From An Ancient Natural Source'. The bottle label has been autographed by Sir David Jason in blue ink, and is believed to be the only signed bottle in private ownership. Accompanying the bottle is an original used studio audience ticket from the episode, and the original printed programme as given to the audience members upon arrival. The bottle measures 32cm tall and is still sealed, as per production. This bottle was given to a lucky audience member once filming had finished. The bottle is accompanied by a special light-up base (new) that can be used to allow the bottle to 'glow' (and rotate) as per the ending of the episode. Supplied with a full letter of authenticity from the Only Fools & Horses Appreciation Society. A very special piece of British comedy memorabilia, with a key prop from one of the series' best loved and most recognisable episodes.A video of the bottle 'glowing' can be viewed here: https://youtube.com/shorts/S5OTRD0v50c?feature=share

FUKUI KYORI & KIYOTOSHI: A LARGE BRONZE KORO IN THE FORM OF A SHACHIHOKO (DRAGON FISH)By Fukui Kyori and Kiyotoshi, signed Fukuri Kyori zo and Kiyotoshi with kakihanJapan, late 19th century, Meiji period (1868-1912)Superbly cast as a gigantic dragon fish, its head resting on the separately cast massive four-legged base with crashing waves both neatly incised to the top and cast in relief on the rim and feet, the sides with craggy rockwork in low relief, the shachihoko with a fierce expression marked by bulging eyes with gilt pupils, spiky brows and mane, and sharp fangs, the mouth agape in a roar, its head surmounted by the pierced cover with a standing Otohime, the daughter of Ryujin, wearing a long flowing robe blowing in the wind and a headdress. The dragon fish's underbelly with a square aperture for attachment to the base and signed FUKURI KYORI zo, the base signed KIYOTOSHI with a kakihan.HEIGHT 50.5 cm (incl. base) and 40.5 cm (excl. base) WEIGHT 8,814 g (the dragon fish) and 5,796 g (the base)Condition: Very good condition with minor wear and casting flaws, few minuscule nicks, occasional light scratches, few minor losses.Provenance: French trade.The given names Kiyotoshi (Seiri) and Kyori (Atsutoshi/Takatoshi) suggest that both artists were from the same family or worked at the same studio, as they share the second character ro/toshi. For a smaller bronze okimono of a rakan, signed Fukui Kiyotoshi, see Bonhams, Fine Japanese Art, 14 May 2015, London, lot 419. The Chinese character for shachi is composed of two radicals, that for 'fish' and that for 'tiger'. The creature is sometimes referred to as a 'tiger-fish', the face resembling a tiger or the mythical leonine shishi. However, the present example has a long face with the horns and whiskers of a dragon. It was believed that this animal could cause the rain to fall, and as such, temples and castles were often adorned with roof ornaments (crafted in the form of a shachihoko), in order to protect them from fire.Auction comparison: Compare a related smaller bronze koro in the form of a shachihoko, 31.1 cm high, lacking the base and figural cover, at Bonhams, Fine Japanese and Korean Art, 11 September 2019, New York, lot 915 (sold for 2,550 USD), and another by Kamejo, dated Meiji or Taisho period, 21 x 23 cm, at Bonhams, Fine Japanese Art, 8 November 2018, London, lot 231 (sold for 6,250 GBP).

Collection of eight Disney Pooh and Friends figures, comprising Hip, hip Poohray for birthdays, Tricks and treats for someone sweet, We'll share forever whatever the weather, Thanks for being a Caring Sort of Bear, Now it's perfect just like you, Have a red-shirt red letter day, Life is sweet and I love you Mama, all with boxes

Share & Sons Ltd, Ercol style Durham 4-piece cottage suite comprising; three-seater high back sofa (W175cm, D approx. 75cm & H approx. 118cm) footstool (47cm x 46cm x H approx. 23cm), armchair (W74cm, D approx. 73cm & H approx. 115cm) & rocking chair (W72cm, D approx. 81cm by H approx. 99cm) all upholstered in traditional oatmeal material (4)

Illuminated manuscript.- A skeleton with a banderole, in an initial on a leaf from an opulently illuminated Book of Hours, in Latin, manuscript on vellum, single leaf, with a large historiated initial 'D' (opening "Dilexi quoniam exaudi ...", the reading for Vespers in the Office of the Dead) in blue, pink and green acanthus leaves heightened with white penwork, enclosing a detailed skeleton clutching a banderole, with inscription: "Memento homo quia cinis es et", all on burnished gold ground, the remaining letters of the initial word in gold or blue capitals, with full border of densely packed single-line foliage, sprays of red and blue flowerbuds and numerous gold leaves and bezants, with an architectural winged face in border at top beneath a wreath hanging from the frame above by two red ties, a realistic mallard in outer border and putto spearing a green dragon in the bas-de-page, the text and border decoration within thin gold frames (the inner frame enclosing angular geometric designs in blue), one-line initials in gold or blue with contrasting penwork, red rubrics, single column of 13 lines of a rounded Italian late gothic hand, margins trimmed at extremities (but without losses to borders, small spots, else in outstanding and fresh condition, 125 x 94mm., [Italy (Naples)], [c.1470-80].⁂ The parent volume of this leaf was most probably produced within the Neapolitan court, by the artist Cristoforo Majorana (fl. c. 1480-94). The illumination here is recognisable as by the same hand as that of the majority of the illumination in a Book of Hours produced within Naples in 1477 for Joachinus Guasconus of Florence (now British Library, Yates Thompson MS. 6: see online catalogue and reproductions) and the frontispiece of a copy of the works of Ausonius made c. 1475-85 for Alfonso of Aragon, later king of Naples, and passing from him to the Neapolitan Royal Library, and eventually to Major J.R. Abbey (J.J.G. Alexander and A.C de la Mare, The Italian Manuscripts in the Library of Major J.R. Abbey, 1969, no. 28, pl. xxxiv). They share distinctive and identical two-colour flowerbuds with long pointed stamens covered in white dots, detailed and naturalistic portraits of birds and fantastical creatures, and putti with delicate shading used to pick out their round cheeks (and in the case of the Yates Thompson manuscript the same slitted eyes as here), all on a ground of dense gold-strewn foliage. Moreover, the angular geometric patterns within the inner gold frame here are echoed by the more prominent frames of both the Ausonius and Yates Thompson manuscripts. J.J.G. Alexander drew together the known examples of the artist's work in 1969 (but without the present leaf, or any note of its lost parent volume), and overturned the earlier attribution to Cola Rapicano, the Neapolitan court artist who trained Cristoforo Majorana in his workshop.

A GEORGE II GILTWOOD AND GESSO TRIPTYCH MIRRORCIRCA 1735 With two girandole arms41cm high, 148cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseFor a giltwood triple mirror of similar form see Graham Child, World Mirrors 1650-1900, pl 78. These overmantel mirrors share the typical gilt gesso decoration and similar pattern of frame to the upright mirrors of the period, but upright and pier mirrors of the early 18th century far outnumber the overmantels. The rarity of overmantel mirrors could be explained because there are far more pier walls whereas there is usually only one chimney piece over which to place an overmantel mirror and also by the fashion of hanging a painting over the chimney piece.Condition Report: There are scuffs, knocks, cracks and abrasions consistent with age and use.There are losses, restorations and observations including:The mirror plates have losses and foxing to the silvering; one has signs of a fingerprint suggesting that it might be a later replacement, but the mirrors have not been removed from the frame for inspection; the mirrors are slightly loose/have dropped in the frame.The mitred corner joints cracked and opened with some missing parts and some visible gesso.The gilding with some later touching up, cracks, some gesso and underlying wood visible; some marks from cleaning the brass candle arms to the surrounding gilt.The backs with later wall fixings and some holes from previous fixings; some metalwork corresponding to the position of the brass candle arms. Cracks to the backboards.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer

A selection of Ottoman Bank Share Certificates circa 1960s

A fine and rare second quarter of the 19th century gilt brass carriage timepieceJames F. Cole, No. 1 Maddox St., Regent Street, LondonThe case surmounted by a stylised facetted Greek key handle with four ribbed mushroom finials above slender Doric columns to octagonal feet, the sides, top and front panels all engine turned, the rear panel patinated and with rotating winding shutter. The 1.75-inch engine-turned silvered Roman dial with subsidiary seconds and slender blued steel moon hands reading against the finely textured centre. The going barrel movement with underslung English lever platform escapement, cut and compensated bimetallic balance, the backplate signed James F. Cole No 1 Maddox Stt Regent Street. 13cms (5ins) highFootnotes:Based on the address on the backplate, this clock was likely made between about 1829-1835. James Ferguson Cole was born around 1798 in Nether Stowey, Somerset to Catherine and James Cole, the latter of whom was a clockmaker, and known throughout the village as 'Conjuror Cole'. It also seems that the family were personally acquainted with both William Wordsworth and Samuel Taylor Coleridge. The Coles had two more children after James, Thomas (born around 1800) and Elizabeth (born around 1808). Both James Ferguson and Thomas became clockmakers, presumably being apprenticed to their father, with evidence that at least James Ferguson began his apprenticeship at 11 years old. According to some sources, James Ferguson was named after the self-taught Scottish astronomer of the same name, who published books and travelled Britain explaining the concepts of Astronomy to lay people. He also made orreries and clocks, eventually becoming a Fellow of the Royal Society. James Ferguson Cole certainly lived up to his namesake and became renowned for his mechanical skill and dexterity; he took out his first patent, for a form of pivoted detent escapement, at the age of 23. Thomas Cole would be lauded for his fine cases and dials, though does not seem to have achieved the same mechanical superiority as his brother.The Cole family moved out of Nether Stowey in 1811, eventually settling in London by 1818. Clocks are known from James Ferguson beginning around 1821, when he seems to have established his own premises, seemingly working out of Hans Place, Chelsea. There is some confusion around this address, it is possible this was the family home. Later in 1821, though, Cole moved to 10 Park Lane, Piccadilly. It does also seem that both brothers were making clocks beginning in their mid-teens, though this was likely done as part of their apprenticeship.Beginning in 1823 the brothers formed a partnership at 3 New Bond Street and began making clocks together. They were responsible for producing some of the most complicated carriage clocks available, which included standard complications such as moon phase and days of the week, and more advanced complications such as perpetual calendar and daily times for sunrise and sunset. They also made watches and chronometers at this time. It is unclear when the partnership dissolved, or why, with the date of dissolution being variously given as 1829, up to 1832. James Ferguson's first shop, after Thomas Cole's departure, was located at 1 Maddox Street, Regent Street, where he stayed until about 1835, then moving to 9 Motcomb Street, Belgrave Sq. Throughout this period he advertised as a chronometer and clock maker. Around 1846, he moved again, this time to 30 Granville Square. At some point, possibly around the time of his move to Belgrave Sq. or a bit after, he married Charlotte Wyatt. The couple would have four children together: James Ferguson Cole Junior, Mortimer George Cole, Ada Martha Cole, and Jessie Cole. Both James Ferguson Junior and Mortimer would become horologists. Ada was a painter, miniaturist, and lithographer who exhibited her work at the Royal Academy. She also printed lithograph portraits, most well-known being of the chronometer maker William James Frodsham. It is unclear if she was or was related to the photographer Ada Cole, who was an early campaigner for animal rights. Cole continued to make high-quality, complicated pieces, relocating first to 20 Devonshire Street and then 11 Great James Street during the 1850's, while his place of residence remained 5 Queen Square Bloomsbury.James Ferguson became quite involved with the British Horological Institute from the beginning, becoming Vice President in 1859. Through his involvement, professional watchmakers began to share information with each other, when previously they had kept the most inconsequential of workshop procedure to themselves, fearing competition from others. For decades afterwards it would be said that 'he broke the ' Conspiracy ' of secrecy' amongst watchmakers. Despite this he relinquished the post in 1862, having become sick of the continual bickering and politicking at council meetings. Another BHI member, however, suggested that it was Cole's 'peculiarity of temperament' which caused the unrest during the meetings. Regardless, in 1875, Cole was commissioned by the BHI, for the sum of £100, to write a series of articles which, taken together, would form a Treatise on Isochronism. It was said that this was partially done to prevent the still new British Horological Institute from appearing antagonistic towards Cole; his possibly forced resignation was warned as being 'no compliment to such an eminent man and also bad taste'. The reviews of the Treatise, after it was published in 1877 were mixed with some members commenting it 'was difficult to criticise [the Treatise] because it contained more language than fact' and others protesting Cole's assertion that flat watchsprings demanded on overcoil if they were to keep accurate time. Some defended the Treatise, including a watchmaker named Joyce Murray, who had been practicing for over three decades. Murray claimed that Cole's Treatise was 'the most valuable work on the subject extant'. Murray further stated that 'Had it been published 30 or 40 years ago, when we began to adjust lever watches, the saving of time and mental labour would have been enormous.' This might suggest that politics and personality clashes biased some reviewers.Cole refused to debate the merits of his Treatise with the various BHI members. He died shortly after, in January 1880, though he continued to practice his horological skills until a few years before his death. James Ferguson Jr. moved into his house, Belvedere (later Tower) House, Bexley Heath, and lived there until 1935. In his obituary, James Ferguson Cole Snr.'s, it was noted that he was one of the foremost practical horologists of his time, and in his particular field of study (springing and timing) he was without equal. Paul M. Chamberlain was well-acquainted with James Ferguson Cole Junior, and his summary of James Ferguson Cole Snr. is probably the most apt: 'Exemplary in his private life, a devoted husband and father, brilliant as artist and scientist, he was in every way fitted to rank with the illustrious men of his time.'Good, R. (2001) 'James Ferguson Cole, Maker Extraordinaire', Horological Journal, Vol. 143(5), pgs. 166-170Murray, J. (1877) 'Letters to the Editor', The Horological Journal, Vol. 19 (6), p. 84Donovan, D. (1975) 'Thomas Cole, Clockmaker 1800-1864. Part 1: The Cole Family', Antiquarian Horology, Vol. 9 (2), pgs. 186-189.Cronin, K. (2016) The Ada Cole Story. Available at: https://unboundproject.org/the-ada-cole-story/British Horological Institute (1958) 'The Rumbustious Days when the Institute was Formed', Horological Journal, Vol. 100 (9), pgs. 566-568.Royal Collection Trust (2022) Astronomy explained upon Sir Isaac Newton's principles and made easy to those who have not studied mathematics / James Ferguson. 1756. Available at: https://www.rct.uk/collection/1090094/astronomy-explained-upon-sir-isaac-newtons-principle... For further information on this lot please visit Bonhams.com

Various Artists, 21st Century, House of Fairy Talesthe incomplete portfolio, comprising 18 prints, numbered 45/60 on the spine, each sheet numbered 45/60, published by The House of Fairytales, London, overall 39.3 x 32.5 x 5 cm, (ARR) Note: The full sheets, loose as issued, within the original numbered box with gilt lettering and slipcase. Works including:Simon English, Sugar Plum FairyFrancis Upritchard, Clan of RobEnrico David, Costume designAdam Dant, BogeymanGavin Turk, MelancholiaCornelia Parker, The blue roomSparticus Chetwynd, Bat opera 33Ellen Cantor, Share it with meSimon Bill, Fairy faceDexter Dalwood, CinderellaRachel Whiteread, StorytimeJane Simpson, Swiss cottageGeorgie Hopton, Little windowKiki Smith, Blue girlBob and Roberta Smith, I was Hansel in the school playSimon Periton, Neighbourhood witchJeremy Deller and Alan KaneMat Collishaw, Duty Free SpiritsPlease refer to department for condition report

After Pierre Reymond (French, c.1513-after 1584): A 19th century Limoges style grisaille and coloured enamel oval platter depicting Abraham Rejecting the Goods of the King of SodomBy Samson et Cie, ParisThe central reserve depicting Abraham kneeling before the barefoot king of Sodom resplendent in his armour, the king's right arm raised, his armies to the right, the immediate background with the palace entrance to the left and wooded vegetation with an undulating stream flowing from a far townscape to the horizon, the bottom right with a faint gilt 'C-S' monogram for Samson, set within an interlaced gilt border, the outer rim with an elaborate border depicting mythical winged and cloven footed beasts, chimera, shells, birds, figural terms, caparisoned elephants and chariots all united by foliate scrolls, the reverse with a figure of Hercules within a canopied tent with laurel fronds, vases, snails, winged grotesques and a central mask-head within drapery hung pendant strapwork, the outer rim border with fine gilt scrolls, 48.8cm wide, 38.5cm deep, 6.7cm high overallFootnotes:A comparable Limoges enamel platter by Pierre Reymond, dating from circa 1577, was formerly in the collections of both J. Pierpoint Morgan and William Randolf Hearst but is now in the permanent collection of Los Angeles County Museum of Art. This platter features an almost identical subject and border but lacks the two brownish streams to the landscape which feature on the present lot.In the story of Sodom and Abraham from the book of Genesis, chapter 14, the King of Sodom comes out to meet Abraham and orders him to 'Give me the people; keep the goods.' To this Abraham responds: 'I have raised my hand to the Lord, God most High and have taken an oath that I will accept nothing belonging to you, not even a thread or the thong of a sandal, so that you will never be able to say, 'I made Abraham rich, I will take nothing but what the young men have eaten, and the share of the men who went with me.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

‘It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled’ HAILE SELASSIE I: (1892-1975) Ethiopian Regent Plenipotentiary 1916-30 and Emperor 1930-74. An extremely rare and historically important printed folio copy of the speech made by Haile Selassie upon entering Addis Ababa on 5th May 1941, following the defeat of Italy and the liberation of Ethiopia, four pages printed in Amharic and with the Conquering Lion of the Tribe of Judah at the head, the text stating, in part, 'My People: It was on this day five years ago that the Fascist forces entered my capital and at once Mussolini proclaimed the establishment of the “Roman Empire” in our country of Ethiopia…..In those dark days you, my people, never abandoned hope. Small bands of warriors with old rifles ranged the hills. For five long years the Italian enemy never dared to penetrate the mountainous regions where Ethiopian patriots maintained their freedom in hardship and privation….Immediately before Italy entered the war to snatch what she could from a defeated France, she poured into Ethiopia men, money and munitions……Confident that these mighty armaments could not be assailed the Fascist Government proceeded with its work…..But a mighty change was at hand. It was to be in Ethiopia, for the first time, that the power of the power of the spirit was to be manifested as the ruling power in modern war. It was in Ethiopia that the will of a whole people was first to co-operate with the expert military genius of a valiant and humane nation to form together an irresistible force which should succeed in destroying an army far superior in numbers and equipment. It was long before the British forces, fighting for the cause of humanity in other theatres of war, could come to the rescue of Ethiopia……when the forces of our great Ally were at last released for an effectual attack upon the enemy….I again entered my country and marched with my forces from the far-off frontier on the Sudan into the heart of the Gojjam…..My forces were outnumbered by 20 to 1 and we were without artillery or aircraft. My appearance amongst the patriots at once brought thousands to my side and the enemy's fear magnified these to as many more……I proceeded at once to collect my forces which were scattered in pursuit of the enemy, and to move towards my capital which I have today entered. It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled. It is my firm purpose to merit the blessings which I have received: firstly to show my gratitude to my allies the British by returning the benefit done me; by releasing their Imperial troops for warfare on other fronts and by my supplying them with armed forces wherever they may need them; and, secondly, by re-establishing in Ethiopia Christian ethics in Government, liberty of conscience and democratic institutions. Lastly to you, my people, I say with a full heart, today is a day of rejoicing, today is a day of triumph over our enemies. Let us therefore rejoice but in the spirit of Christ……Do not stain the name of Ethiopia by acts worthy of our enemies. I shall see to it that they are disarmed and are given a safe passage to the place from which they came. And while you treat your enemies with forbearance, you must treat our Allies with the kindness that you show to a brother and a saviour. St. George who slew the dragon, is the patron saint of both our countries. Let us unite in everlasting friendship and amity to oppose this new dragon of Godless brutality that has assailed mankind'. Signed by Haile Selassie in fountain pen ink to a clear area at the head of the first page and dated 1941 in his hand. Also featuring an inscription in Amharic to Captain Richardson. Accompanied by a contemporary printed English translation of the speech. An extremely rare signed copy of what is undoubtedly the most important speech made in the modern history of Ethiopia. Some very light, extremely minor age wear, about EX 

NATALIJA KONSTANTINOVIC - PRINCESS OF MONTENEGRO: (1882-1950) Granddaughter of Princess Anka Obrenovic, she married Prince Mirko Petrovic-Njegos who was promised the Serbian crown in the event of King Alexander I dying childless. But after Alexander´s assassination in 1903 the crown was not given to him. In 1910 Montenegro became a Kingdom, with her father-in-law crowned as first and only ever King, but when the Austro-Hungarian forces invaded Montenegro in 1916 during World War I, the Princess and her family had to flee the Kingdom. A year later she divorced. A.L.S., `Nathalie´, two pages, 8vo, n.p., n.d., `Sunday evening´, in French. The Princess sends a congratulations message to her correspondent on the occasion of the wedding of her son, a heartfelt message considering that Natalija gave birth to five sons, five Princes of Montenegro and only one reached adulthood, stating `Permettez-moi de vous dire combien de coeur je partage avec vous votre joie à l´occasion des fiançailles de votre fils. Il me semble qu´une mère qui a eu le bonheur d´élever son fils, achève son oeuvre le jouir où elle le voit se marier selon ses désirs´ (“Allow me to tell you how much I share with you your joy on the occasion of the engagement of your son. It seems to me that a mother who has had the happiness of raising her son, completes her work the day she watches him marrying according to his wishes”) Small creasing with right corners very slightly clipped. G 

`A piece of letter from me sold in America for 250 dollars and it was in my secretary's hand!´ PETAIN PHILIPPE: (1856-1951) French General of World War I. A cleanly fountain pen ink written A.L.S., Ph. Petain, two pages, on his personal printed 5.5 x 4 card, Paris, 14th August 1916, to a friend, in French. Petain initiates his letter sending his advice and expressing an interesting thought `Vos élucubrations, comme vous dites, loin de me fatigue, m´amusent beaucoup. Aussi je ne saurais trop vous encourager à me faire part des observations qui marquent d´un trait indélébile la sottise de nos contemporains´ (“Your ramblings, as you say, far from tiring me, amuse me a lot. On the other hand, I cannot encourage you too much to share with me the observations which mark with an indelible mark the stupidity of our contemporaries”) Pétain envies his correspondent for being able to afford a hotel in Bretagne, further saying `On nous raconte qu'à l'arrière tout le monde est ruiné, et c'est grâce à cette affirmation, qui, souvent répétée, dévient une vérité, qu'on rogne les frais de service des généraux de l'avant…  Si vous avez besoin d'argent, vous pouvez faire état de cette carte. Un bout de lettre de moi s'est vendu en Amérique 250 dollars et elle était de la main de mon secrétaire!´ (“We are told that in the rear everyone is ruined, and it is thanks to this assertion, which so  often repeated, becomes the truth, that we trim the service costs of the generals in the front... If you need money, you can use this card. A piece of letter from me sold in America for 250 dollars and it was in my secretary's hand!”) EX The present letter is written at the time Pétain is at the Verdun front. 

BHARATI AGEHANANDA: (1923-1991) Austrian academic and Hindu monk. T.L.S., A. Bharati, one page, 4to, Marburg, 15th June n.y., to Dr. Braude, on the printed stationery of Philipps University. Bharati informs his correspondent that he is on a Fulbright Programme until the autumn, although will ask a friend to send him a bibliography, and when back in the United States 'will gladly autograph and send you a copy, or copies of things you might wish to have, on the basis of the bibliography. If I still have them and reprints aren't all gone, I'll gladly share some with you…..And my pictures are there, too, of course, I don't carry them around - do remind me….'. A few minor, very light stains, otherwise VG 

STANHOPE PHILIP: (1694-1773) 4th Earl of Chesterfield. British statesman, diplomat and man of letters, and an acclaimed wit of his time. A fine A.L.S., Chesterfield, one page, 4to, Bath, 1st January 1758, to a lady (Mrs. Kirkby?). The Earl announces 'This day I have eat my share of the best Turkey that ever was eat, for which accept my hearty thanks', continuing to give his best wishes for the health and happiness of his correspondent and her family over many returning years, and further remarking 'Your Cheese which waits for me, in Town, is I am sure by my experience of the last, as good in it's kind; and as for the Ham I do not regret it, being in that respect, by the Law of my Doctors, a Jew'. An excellent letter of 'delicious' content, written in the spirit of a jubilant New Year's Day. VG 

‘I am delaying the execution of this project again this year. I am not satisfied with the result obtained’ CEZANNE PAUL: (1839-1906) French Artist & Post-Impressionist Painter. An excellent content and rare A.L.S., Paul Cezanne, two pages, 8vo, Aix-en Provence, 2nd of April 1902, to Monsieur Vollard, in French. Cezanne explains to his artistic agent the reasons why he has not finished a work and his unsatisfaction, stating, `Je me vois dans l´obligation de remettre l´expédition de la toile de vos roses à une époque ultérieure, quoique j´eusse beaucoup souhaité envoyer au salon 1902! Je retarde cette année encore l´exécution de ce projet. Je ne suis pas satisfait du résultat obtenu´ ("I find myself having to postpone the shipment of the canvas of your roses to a later date, although I had very much wanted to send tit to the 1902 exhibition! I am delaying the execution of this project again this year. I am not satisfied with the result obtained") Cézanne further refers to his studies on painting, a concept he would repeat several times during his late life, and mentions also the new workshop built, saying `D´autre part je ne renonce pas à continuer mon étude, qui m´aura obligé à des efforts qui, j´aime à le croire, ne seront pas steriles. J´ai fait construire un atelier sur un petit terrain que j´ai acquis à cette intention. Je poursuis donc mes recherches, et vous ferez part du résultat acquis, sitôt qu´un peu de satisfaction m´aura été donné par l´étude´ ("On the other hand, I do not give up on continuing my study, which will have forced me to make efforts which, I like to believe, will not be sterile. I had a workshop built on a small piece of land that I acquired for this purpose. I am therefore continuing my research, and you will share the result obtained, as soon as a little satisfaction has been given to me by the study") Paper with a crown drawing watermark. With blank integral leaf. Small overall minor creasing with a tear to the fold edge. G Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc…  

TOULOUSE-LAUTREC HENRI DE: (1864-1901) French Painter, Printmaker and Illustrator. Best remembered for his immersion in the colourful and theatrical life of Paris in the late 19th century, producing elegant and provocative images of the decadent affairs of those times. A good A.L.S., `H. de Toulouse Lautrec´ with his full name, two pages, 8vo, written to first and third page, n.p., Monday, n.d. [1898], to Monsieur de Tinan, in French. Toulouse-Lautrec sends a short but openness mourning message to the father of his friend Jean de Tinan who has passed away, stating `J´aimais beaucoup votre fils. Veuillez dire à Madame de Tinan la part que je prends `avotre deuil et croyez pour vous personnellement à ma grande sympathie´ (“I liked your son very much. Please tell Madame de Tinan how much I share your mourning and believe, you personally, in my great sympathy”) Extremely small upper left corner clip, otherwise VG Jean de Tinan (1874-1898) French Writer. He is remembered as a figure of the Belle Epoque. Jean de Tinan, also known as Jean Le Barbier de Tinan, died at the very early age of 24. He had only published three works. Three more would be published posthumously. 

DECRES DENIS: (1761-1820) Duke of Decrès. French Navy Officer. A very interesting content letter relating to the abolition of the slave trade. L.S. `Den de Crès´, three pages, folio, Paris, 16th April 1815, to “Messieurs les Commandants des bâtiments de guerre français” (“To the Commandants of the French warships”), addressed to the Governor and Intendent of the Guadeloupe, in French. Decrès, in his capacity as Minister of the Marine and Colonies, referring to the return of Napoleon after eleven months in exile on the island of Elba, states `Messieurs, avant que vous puissiez recevoir cette lettre, la renommée aura porté jusqu'à vous la nouvelle de l'heureux retour en France de l'Empereur Napoléon. Dans sa route triomphale, du Golfe Juan jusqu'aux Tuileries, pas une seule goutte de sang n'a été répandue, pas un seul acte de rigueur exercé : l'amour du peuple et l'enthousiasme de l'armée ont tout fait. Le vingtième jour de sa descente à Fréjus était marquée par l'entrée de l'Empereur dans sa capitale ; le quarantième l'a été par l'expulsion de tous ceux qui voulaient s'y opposer, et il n'est pas aujourd'hui un seul point sur la France où le pavillon tricolore ne flotte et où l'amour de la nation ne soit unanime pour le souverain qui lui est rendu avec tant d'éclat´ (Translation: `Gentlemen, before you receive this letter, your renown will have brought you the news of the happy return to France of the Emperor Napoleon. In his triumphal route, from the Golfe Juan to the Tuileries, not a single drop of blood was shed, not a single act of rigor exercised: the love of the people and the enthusiasm of the army did everything. The twentieth day of his descent to Fréjus was marked by the entry of the Emperor into his capital; the fortieth was by the expulsion of all those who wanted to oppose it, and there is not a single point today in France where the tricolor flag does not stand and where the love for the nation is not unanimous for the sovereign… ´) Decrès further refers to the decree of the abolition of the slave trade aproved few weeks earlier and with conviction explains the supposed peaceful intentions of Napoleon, stating `Je vous adresse des collections de journaux, où vous suivrez avec admiration la marche des événements. Vous vous instruirez des principaux actes du Gouvernement Impérial ; vous apprendrez quelles sont les intentions pacifiques et modérées de Sa Majesté; enfin vous remarquerez le Décret du 29 mars dernier qui abolit la traite des noirs. Je ne dissimule point l'impression que pourrait faire cette dernière mesure dans une Colonie où les habitants seraient servilement sous le joug de l'empire des habitudes: mais les colons français ne sont pas en arrière des lumières des temps où nous vivons. La très grande majorité d'entre eux est composée d'esprits sages et réfléchis qui reconnaîtront que l'Empereur n'a fait que proclamer ce que le génie du siècle inspirait et ce que la voix de l'humanité réclamait avec tant d'énergie….On ignore encore si les cabinets de l'Europe partageront les intentions pacifiques de l'Empereur; mais si, par une fatalité déplorable, la guerre avait lieu, je suis assuré qu'aux Iles du vent, comme en France, rien ne sera négligé pour soutenir l'honneur du nom français´ (Translation: `I am sending you a collection of newspapers, on which you will follow the course of events with admiration. You will learn yourself of the principal acts of the Imperial Government; you will learn what are the pacific and moderate intentions of His Majesty; finally you will read the Decree of last March 29th which abolishes the slave trade. I do not hide the impression that this last measure could make in a Colony where the inhabitants would be slavishly under the yoke of the empire of habits: but the French colonists are not behind the lights of the times in which we live. The vast majority of them are composed of wise and thoughtful minds who will recognize that the Emperor has only proclaimed what the genius of the century inspired and what the voice of humanity so forcefully called for. …. It is not yet known whether the governments of Europe will share the pacific intentions of the Emperor; but if, by some deplorable fatality, war should take place, I am sure that in the Windward Islands, as in France, nothing will be neglected to uphold the honour of the French name´) VG At the time of the present letter the Governor of the Guadeloupe appointed by King Louis XVIII was the Count de Linois, and the Intendent was Baron Guilhermy. The Governor refused to recognized the Imperial government and was kidnapped for this reason by General Boyer, supporter of Napoleon, until he accepted to recognize the new government. Only three days after the present letter was received in the Guadeloupe, the Battle of Waterloo took place.   

BONAPARTE JOSEPH: (1768-1844) King of Naples and Sicily (1806-08) and later King of Spain 1808-13, as Jose I. Elder brother of Napoleon Bonaparte. A good A.L.S., `Joseph, Cte de Surevillier´, one page, 4to, London, 13th January 1833, to a lady (`Madame´), in French. Joseph refers to his correspondent´s letter returned from the United States, received via M. Sarrut, and states `..il vous aura dit combien mes opinions ont de sympathie avec les vôtres et les siennes, combien je suis touché de la fidélité de vos souvenirs, combien je désire vous témoigner de vive voix ma reconnaissance et ma tendre amitié pour vous…´ ("..he will have told you how much my opinions share sympathy with yours and his, how much I am touched by the fidelity of your memories, how much I wish to testify to you in person my gratitude and my tender friendship for you..") With blank integral leaf. Very small creasing to the upper right edge, otherwise G to VG Joseph Bonaparte´s correspondent is the Countess Regnaud de St-Jean d´Angely, born Laure Guesnon de Bonneuil 

Ephemera, Share Certificates and Cheques, to comprise 4 pre Victorian/Victorian share certificates and 17 cheques, all different 1827 to 1895 many from provincial banks such as Lancaster Banking Co. Ulverston, Wilts & Dorset, Sharples, Juke, Lucas & Seebohm, Stuckey's Banking Co. Bristol etc. (gd)

Two framed and glazed share certificates

* Attlee (Clement Richard, 1883-1967). 1st Earl Attlee, British politician and Prime Minister, 1945-1951. A group of 5 Autograph Letters Signed, ‘C. R. Attlee’, ‘Clement R. Attlee’ and ‘Clem’, various London addresses, 1919-1944, to his friend Leslie, mostly personal and work news, the first mentioning that ‘I have just got into my rooms here that form part of the premises of the local labour party and I hope you will come over and see them when they are a bit more shipshape – at present painters and electricians are still about the place… I have to do a certain amount of writing which takes up a lot of time besides lectures at the school…’ (28 October 1919); the second apparently congratulating Leslie on her engagement and talking about love, ‘Very many thanks for your kind letter and congratulations. I am glad to hear your news for I quite agree with you that being in love is the greatest thing in the world. I see you have the right symptoms – one feels so happy that one wants everybody to share one's happiness. I hope that the obstacles in your case will be removed. I am most awfully lucky in having the love of such a girl as my Vi[olet], you would, I am sure, I think that she is very charming if you met. We have got a little house at Woodford – are to be married in January, if all goes well. I hope to see you then when we are settled in’ (28 October 1921); the third talking about an election victory, ‘Our majority was very gratifying, though I never had much doubt about increasing our majority. The few casualties are regrettable, but on the whole the result is magnificent. Jack has returned minus his voice, but otherwise full of beans. I will introduce [Benjamin] Greene to Wise if he likes. We had a day off yesterday and went to see Oxford beat Cambridge - some day’ (12 December 1922); the fourth thanking her for her letter and the cheese, telling that their daughter Janet is stationed in Edinburgh being an officer in the WAAF and wondering whether she might look Leslie up sometime, (Privy Council Office letterhead, 1 January 1944); the last with news of his children before changing subject to the War and politics, ‘… So much has perished in the Blitz. As you know I was opposed to the Communist market system but that does not mean that I want to quarrel with Russia. We owe the Russians much for defeating the foulest system on earth, Nazism. There is hope of development in Russia when I hope the [??] side will give way to fine ideals when the pressure of war is renewed. There is no hope in Nazism which in my view is the negation of civilization. I do not understand why you and others who prefer the [???] are so blind to the actualities of Nazism’ (11 Downing Street letterhead, 19 December 1944), a total of 10 pages, second letter dust-soiled, various sizes, plus two of the envelopes, together with 2 further Autograph Letters Signed, ‘C. R. Attlee’, Prime Minister’s 10 Downing Street letterhead, 7 October 1946 & 6 October 1950, being brief notes with birthday congratulations to Leslie’s son Paul, both 1 page, 8vo, the first with a draft reply to verso, plus a copy of a children’s book, Timothy by Elizabeth Ramal, 1953, with ownership name of Paul Greene and a note in an unidentified hand identifying it as a gift from AttleeQTY: (8)NOTE:An unusual cross-section of letters depicting lesser-known parts of Attlee’s life and thoughts over a quarter of a century from his return to local politics following the First World War to the start of his premiership following the end of the War in 1945. Leslie Greene (née Campbell) was evidently a close friend and fellow Labour supporter from London who in 1925 married Benjamin Greene (1901-1978), a British Labour Party politician and pacifist, and a cousin of Graham Greene. Ben worked for Attlee in the Limehouse constituency during the 1923 general election but after his marriage to Leslie he became a businessman. During the Second World War he was interned because of his fascist associations and appealed to the Judicial Committee of the House of Lords against his detention. In the leading case of Liversidge v. Anderson the Law Lords declined to interfere with ministerial discretion on matters of national security and thus refused to review his detention. Ben and Leslie’s son Paul, born in 1937, became Attlee’s godson. Clearly, Attlee continued to carry out some godfather duties by sending birthday letters and book tokens even after Paul’s parents’ political ideas had moved to the far right and made Attlee’s relationship with them untenable, especially so after he became prime minister in 1945.

* Forester (Cecil Scott, 1899-1966). Pseudonym of Cecil Lewis Troughton-Smith, author of the Horatio Hornblower novels. A good series of 7 Autograph Letters Signed, 'C.S. Forester', East Dulwich & Ajaccio, (Corsica), 13 September 1929 to 5 January 1930, to Winifred Lydia Loraine, relating to Forester's play in U97 which was being written for the actor-manager and soldier, Robert Loraine, 11 pages, 4to, together with a small (?unpublished) vintage photograph of Forester sitting under a tree in Corsica, 55 x 80 mm, plus the original envelope used by Mrs Loraine for the letters, a printed share bond from Bombay, addressed to Mrs Loraine in an unidentified hand, plus 3 printed flyers and invitationsQTY: (6)NOTE:Winifred Lydia Loraine (1898-1986) was the second wife of Robert Loraine (1876-1935), flying ace and actor.U97 is a three-act play based on a real German U-boat (UB-116) and its attempted mission to decimate the British fleet. The play was apparently never performed in London, mostly likely because the British public then may not have warmed to a story of the U-boat war from the perspective of German officers. This revealing archive gives much information on the gestation of the manuscript.

* Marconi Wireless Telegraph Archive. An important archive of ledgers, committee books and notebooks for Marconi Wireless Telegraph (M.W.T.), 1897/1970s, including 28 volumes of registers of agreements, 1897/1955; 3 notebooks for meetings of directors, (in the notebook for 1927-36 Marconi has signed his name as present some 60 times); a seal book, 1920-21, with signatures of Alfonso Marconi; a minutes book, 1917-20, with further signatures of Alfonso Marconi; and a register of seals and a meeting of board directors book for Marconi (China) Ltd, 1943-1976, a total of 35 ledgers and notebooks, mostly full/half morocco or cloth, some rubbing, but generally sound and in good condition, folio/oblong folio and 8vo, plus 2 modern albums with approximately 100 photographs from Marconi Research Station at Great BaddowQTY: (37)NOTE:Contents list:Register of Agreements, 28 volumes: 1-7, 9, 11-30, 1897-1923, 1924-1925, 1925-1955, each volume 160pp. + index of handwritten entries (vol. 30 is 176pp. and typewritten), uniform original full burgundy morocco (vol. 30 cloth), oblong folioM.W.T. Co., Ltd. Special Meeting of Directors, 10 February 1927 - 24 November 1936, [136]pp., original full black limp morocco lettered gilt on upper cover, 8voMarconi was present at some of the meetings and has signed his name some 60 times. His last signature is on 26 November 1935. It also includes the signatures of all the other directors who attended the meetings. Together with 2 further notebook of meetings of the Boards of Directors London, from 1937 to 1959, signed by those present on each occasion, including J. C. Denison-Pender and F. R. S. Balfour.Seal Book. No. 10, January 1920 - April 1921, 101pp., original full burgundy morocco (uniform with Register of Agreements volumes), oblong folioEach handwritten entry is signed by several or more attesting directors and an officer including Alfonso Marconi (younger brother of Guglielmo who had helped with early experiments in Italy). The content lists documents concerning foreign patent applications, ordinary and preference share certificates, ordinary share warrants, and other business mattersM.W.T. Co. Ld. Committee Minute Book No. 6, 31 July 1917 - 5 July 1920, 242pp + blank index, tipped-in duplicated list of share certificates, original burgundy half morocco, folioShare certificate documents and patents and other business transactions signed during committee meetings, the minutes signed off by Alfonso Marconi and others.Marconi (China) Limited. Register of Seals, 8 March 1943 - 31 March 1976, 39pp. but largely blank except for 2 double pages + blank index, original burgundy half morocco, folioIncludes power of attorney agreements, share certificate transfers and other business matters. Loosely inserted is a duplicated power of attorney agreement for Ivor George Gardner to act on behalf of the company in Hong Kong, 5pp., stapled, signed by one of the directors.Marconi (China) Limited. Meeting of Board of Directors, 1943-1970, unpaginated but with first 36pp. completed from 1943 to 1970, signed by the 2, 3 or 4 directors present on each occasion, 8voMarconi Research Station at Great Baddow. Two large modern albums, 1970s, containing approximately 100 large photographs showing giant receivers in various remote parts of the world and other equipment and Marconi enterprisesGuglielmo Marconi (1874-1937) was an Italian inventor, electrical engineer and diplomat. He is known for his pioneering work on long-distance radio transmission and for his development of Marconi's law and a radio telegraph system. Regarded as the inventor of radio he shared the 1909 Nobel Prize in Physics with one of his closest rivals in the field, Karl Ferdinand Braun, 'in recognition of their contributions to the development of wireless telegraphy'. In 1897 Marconi founded the Wireless Telegraph & Signal Company (later the Marconi Company). Its aim was to develop the Marconi apparatus commercially; the first manufacturing works were established in Chelmsford in an old silk factory. Over the next few years the Company rented land and buildings in London, Cornwall, North America and elsewhere. In 1901, Marconi achieved communication over 198 miles between the Isle of Wight and the Lizard in Cornwall. In December of the same year, history was made when Marconi transmitted the letter S of the Morse code (three dots) across the Atlantic from Poldhu in Cornwall to Signal Hill, St. John's, Newfoundland. He had taken on John Ambrose Fleming, a brilliant scholar and a skilled practical engineer who had been an electrical advisor to Thomas Edison; Fleming proved invaluable at Poldhu, designing and operating the generator. One of Marconi's ambitions was to give sailors and passengers in challenging or potentially disastrous situations at sea the means to communicate - most clearly demonstrated when the 'Titanic' sank: the distress calls from Marconi's wireless installation on 'Titanic' saved 700 lives.During the 1920s, assisted by C. S. Franklin, an eminent engineer, Marconi turned his attention to short-wave directional transmissions, known as the 'Empire Beam' system. This met with a favourable response and Marconi's dream of global radio communication was established. The company was also involved in the beginnings of public broadcasting in England, the first being a recital performed by the singer Dame Nellie Melba in 1920. A couple of years later the British Broadcasting Company (later 'Corporation') was born and the population could now enjoy radio and later television in their own homes. Marconi believed that wireless would save lives and hoped it would help to bring peace to the world. Shortly before he died he was made Lord Rector of St Andrews University and was heard to say 'Have I done the world good, or have I added a menace?' What began as pioneering experiments in the Italian countryside had, in his lifetime, grown to an international company with many subsidiaries all over the world.The present important archive shows the astounding and rapid expansion of one of the world's great business enterprises in a field that has now assumed global significance - engineering, communications, wireless telegraphy, communications, electronics. The 28 volumes comprising the Register of Agreements cover company business ranging from the purchasing of patents, patent applications and licences, broadcasting licences, tenancy, land and property agreements and bank and company agreements from the very first day of business on July 22 1897. There are also agreements regarding the construction of telegraph stations, inventions, wireless equipment and hire purchase.Five of the volumes in the archive bear the multiple signatures of Guglielmo Marconi, his brother Alfonso, and those of other directors and secretaries in the Company: Henry W. Allen, W. W. Bradfield, M. A Bramston, S. Geoghegan, Godfrey C. Isaacs, Alfonso Marconi, H. Riall Sankey, Henry S. Saunders, S. St. J. Steadman and Sir Charles J. Stewart.

Originalverpackt. 2 x Fashionistas (Nr. 126, Nr. 133 Mädchen im Rollstuhl), 2 x Collector Dolls of the World, 2 x Space Discovery, 2 x 'You can be anything', 2 x Signature (Ballet Wishes, Cocktail Dress), 2 x Made to Move, 6 x div. Barbies, 1 x Signature Looks, 1 x Becky 'Share a Smile' Rollstuhl-Mädchen. H. 28-35 cm (Packung).

A Great War pair comprising War Medal and Victory Medal named to L8373 S.V. Mabb OS2 R.N. Stanley Vernon Mabb was born 7th November 1896 at Weymouth and lived at St Thomas Street, Weymouth. He served as an Officers Steward and Cooks Servant. With his S-459 Certificate of Service noting that he volunteered on the 23rd February 1916, his protection and Identity Certificate stamped 'Supplementary Prize Share Paid' and other documents. *CR: All in good order. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.

BOXED PLAYSTATION, UNBOXED PLAYSTATION, CONTROLLERS, TWO MEMORY CARDS AND A QUANTITY OF GAMES, playstation inside the box was not the one that originally came with the box, games included are Die Hard Trilogy, Wipeout 2097, Tomb Raider III, F1 2000, Toca 2, Gran Turismo, V-Rally, Rayman, Worms Armageddon, Tomb Raider II (x2), Star Wars Episode 1, Wipeout, Colony Wars: Red Sun, Tomb Raider, Missile Command, Paradise Casino and King Of Bowling 2, Condition report: both consoles and all games (except one copy of Tomb Raider II) have been tested and are in working condition, but one of the Playstations has a stiff eject button, and the other has a lid that's hard to close, both consoles share only one power and AV cable between them

TWO BOXED NINTENDO 64 CONSOLES, CONTROLLERS AND A QUANTITY OF GAMES, N64s that are boxed are not the original consoles from the boxes, games include Wave Race 64, Top Gear Rally, Blast Corps (boxed), F1 World Grand Prix (boxed), F1 World Grand Prix II (boxed) and Goldeneye (boxed), both consoles are in working condition (though one of them struggles to detect controllers), and all games except Top Gear Rally are in working condition, though Goldeneye and F1 World Grand Prix's boxes show signs of label tear, both consoles share only one power and AV cable between them

Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure No. 6 bronze with a brown patina on a stone base22 cm. (8 5/8 in.) long (excluding the base)Conceived in 1954 and cast in bronze in 1956, in an edition of 12 plus 1 artist's proofFootnotes:ProvenanceWith Marlborough Fine Art, London, circa late 1950s, where acquired byPrivate Collection, U.S.A.Private Collection, U.K.LiteratureIonel Jianou, Henry Moore, Arted, Paris, 1968, p.79, cat.no.346Robert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, n.p., cat.no.487 (ill.b&w, another cast)Alan Bowness (ed.), Henry Moore Volume 2: Complete Sculpture 1949-54, Lund Humphries, London, 1986, p.45, cat.no.337 (ill.b&w, another cast)John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, p.216, cat.no.308 (col.ill., another cast)Reclining Figure No.6 represents the culmination of a focused examination by Moore of one of his most fundamental themes, the reclining figure. This examination is displayed across a concise group of maquette-scaled figures, numbered 1 to 6 and executed between 1952 and 1954. Moore utilises a variety of treatments across this small group, and together they display the vast breadth of Moore's concern with this motif.Some of the group nod towards classicism, rendered naturalistically and clothed in drapery with precisely described details such as hands, faces and hair. Others recall primitive and ancient carving, with symbolist features that draw upon the Mayan chacmools which had many years prior first ignited Moore's fascination with the reclining form. Some, including Reclining Figure No.6, are abstracted to a greater degree. Their figural forms appear to have been mined from within the sculptor's material itself and are most attuned to Moore's concern with landscape. The legs and arms are denoted by piercings and negative space, hips, and shoulders by refined planes of mass. Their bodies are composed of great peaks and valleys, they are diminutive in scale, but substantial in presence.It was this specific form, Reclining Figure No.6, which Moore deemed so successful that he scaled it up to an eight-and-a-half foot elmwood carving, Reclining Figure of 1959-64 (now in the collection of The Henry Moore Foundation). Over his career Moore carved just six great reclining figure elmwood carvings, the first in 1935, the last in 1978. They are generally considered some of his finest work, in which the artist's control of the wood's broad grain to articulate the undulations of flesh is perhaps the strongest demonstration of his credence of truth to material. Five of the six Elmwood carvings, including the one relating to the present work, are in international museum collections.Interestingly, the maquette for Reclining Figure No.6 (now in the collection of The Henry Moore Foundation) was formed from a skeleton of plaster, over which the artist applied a surface layer of wax. This was an experimental use of materials for Moore, but highly successful. The sturdiness of the plaster allowed for a dynamic architectural form, awarding the figure a powerful rhythmic presence, yet the pliable wax layer affords a finer degree of refinement resulting in a highly nuanced surface.It should be noted that Moore's preoccupation with the present form began with the maquette in 1952-3 and peaked with completion of the elmwood carving in 1964. This period straddles one of Moore's greatest commissions, the monumental 16-foot UNESCO figure of 1956-8 carved in travertine marble. The two compositions share several features such as the enlarged and planed shins, which counterbalance the visual weight of the upright torso, and the alert, raised head which sits above a series of ovoid holes formed by poised limbs.Other casts from this edition are in the collections of the Montréal Museum of Fine Arts, The Henry Moore Foundation and the Milwaukee Art Museum.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

William Roberts R.A. (British, 1895-1980)The Amateur and The Professional signed and dated 'William/Roberts.70' (lower left); inscribed 'For Hamet/Gallery' (lower right, beneath the mount)pencil and watercolour, squared for transfer36.2 x 47.6 cm. (14 1/4 x 18 3/4 in.) (image); 38.1 x 56.2 cm. (15 x 22 1/8 in.) (sheet)Footnotes:ProvenanceThe ArtistWith Hamet Gallery, London, 28 January 1971, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Hamet Gallery, William Roberts R.A. – A Retrospective Exhibition, 16 February-13 March 1971 (ill.)The present and following lot come from a distinguished family collection in London and have remained in the same private hands for decades. Bonhams were proud to also offer the important 1941 watercolour Demolition Squad from the same collection in June 2018 (sold for £125,000). The present owner recalls the close relationship his parents enjoyed with the Roberts family, with his mother and Sarah Roberts being especially close, and fond memories of visiting the Roberts' home at 14 St Marks Crescent, NW1 as a child for tea and boat trips together on the nearby canal. William, Sarah and their son John moved to St Marks Crescent as tenants in 1946 and latterly became owners of the property in 1951. They were to live there for the rest of their lives. With a firm friendship established and a conviction that William Roberts was among the greatest British artists of their time, the present owner's family admirably set about supporting his work and acquired a number of important examples by the artist.The present work dates to 1970 and depicts Winston Churchill (who had died five years prior) and Pablo Picasso in an informal setting at their outdoor easels. The elder statesman, instantly recognisable by his trademark cigar and formal attire, sits painting under the shade of a parasol. A further box of cigars and an open bottle of red wine (perhaps his preferred Melnik 55?) are ready on the table. By contrast, the Spaniard stands at his easel dressed casually for the weather in hot pink swimwear and flip flops. The difference in their apparel is echoed in their entirely different artistic approaches with Churchill favouring a more traditional style and Picasso as the ultimate Modernist. There is a humour to this fictitious scene (and title) as the esteemed pair were not friends (although they did share a love of painting outside in the South of France), with Churchill once allegedly declaring that if he met Picasso in the street, he would give him a kick up the backside! Picasso, for his part, graciously said of Churchill 'He saved England.... And more than that he saved us all'.The present work may have been prompted by the publication in late summer 1970 of Time's Thievish Progress, a third volume of autobiography by Roberts' bête noire Sir John Rothenstein, former director of the Tate Gallery, in which a chapter was devoted to consideration of Churchill as a painter. Please note that a squared pencil study for this lot may be found in the Tate Archive (Estate of John David Roberts).We are grateful to David Cleall and Bob Davenport for information provided about 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

Sir Terry Frost R.A. (British, 1915-2003)Newlyn Rhythms each canvas signed 'Terry Frost' (verso); one canvas further signed and dated 'Terry Frost/1982/5' (verso)acrylic and collage on twenty canvases232 x 308 cm. (91 1/4 x 121 1/4 in.) (including the backboards); approximately 55.9 x 55.9 cm. (22 x 22 in.) (each canvas)Presented as five separate sets of four canvases, within Perspex casingFootnotes:ProvenanceThe ArtistPrivate Collection, U.K.ExhibitedTruro, County Hall (on loan)LiteratureElizabeth Knowles (ed.), Terry Frost, Lund Humphries, Aldershot, 2000, p.131 (col.ill., where dated 1981-88)Terry Frost moved to Newlyn in 1974 with the help of a number of his artistic friends who already lived in Cornwall, and the move signalled a refreshing change for his artwork. While Frost was still living in Banbury, he used to visit Cornwall every so often, staying with Bryan and Monica Wynter. In time Bryan Wynter and Denis Mitchell began to look for a house for Frost to move to, ideally in Newlyn instead of St Ives as the artistic community there had changed so much in the last few years, with Ben Nicholson having moved to Switzerland, Sven Berlin and Guido Morris leaving, and Barns-Graham spending half the year in Scotland. Soon, a house was found in Newlyn at the top of Tredavoe Lane, and Frost's friends stepped in to help again with securing the purchase of the house: lacking ready money for a deposit, John Hoskin and Adrian Heath stepped in with cheques for £5,000 each, with Frost able to pay back their generosity once his own house in Banbury had been sold shortly after. The move to Newlyn was a welcome return back to Cornwall for Frost, and indeed he was surrounded there by a close artistic community again. John Wells and Denis Mitchell both had studios in Trewarveneth Street in Newlyn, Sheila Lanyon was to move to Newlyn shortly after the Frosts arrived, the Wynters lived at St Buryan, a few miles outside Newlyn, while W. S. Graham lived in Madron, which was also close by.Newlyn Rhythms is a joyous and ambitious piece, executed on twenty canvases, giving free reign to the delight in colour and shape that occupied Frost's later years. Organised in a chequered format, the alternating canvases have bright and paler colour schemes, but all share the compositional motif of a central diamond with semicircles which shift around its edges, creating the sense of movement which is akin to a beat or the rhythm referred to in the title.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A SMALL QUANTITY OF PICTURES AND PRINTS ETC, to include 'The Last Halifax' by Terence Cuneo - commissioned by The Birmingham Evening Mail', a share certificate issued by Overend, Gurney & Company Ltd, issued to Capt. Pelly of the Indian Army, James Priddy etching in colours depicting Worcester Cathedral, Alfa Romeo ninety years of Racing presentation print, framed adverts for Parker and Swan pens, reproduction maps, topographical prints etc (box and loose)

A MENTIONED IN DESPATCHES GSM BORNEO TO LT-COL. BARNES. Irish Guards attached 2 Para. He was awarded a Sultan's Distinguished Service Medal for raising and leading the Desert Army. GSM 1962-2007, Clasp Borneo. Impressed to LT-Col. B. A. S. Barnes. IG.The bar was loose and has been professionally reattached by a medal mounter.Condition NEF. Brian Arthur Stenson Barnes was born on 19th November 1925 in Peshawar, Pakistan. The son of Air Vice Marshall William Edward and Kathleen Barnes. Barnes was educated at Downside Abbey, located in Stratton-on-the-Fosse, Somerset. After attending Sandhurst, he was commissioned as Second Lieutenant into the Irish Guards (LG 22.11.1944). His service number was 330889. He saw service in Palestine from 1947 to 1948 as a Captain with the 1st Bn and was awarded a GSM clasp Palestine 1945 to 48. In 1965 while serving in Borneo, attached to the 2nd Bn The Parachute Regiment, Barnes was Mentioned in Despatches, announced in the London Gazette on 14th December 1965. Barnes served in Dhofar and was awarded the Sultan of Oman's ' Sultan's Distinguished Service Medal.' 'Lieutenant Colonel Barnes raised the Desert Regiment, trained it to a sound operational standard in only 14 months, and commanded it successfully for eight months in Dhofar. Throughout his time in Dhofar, Colonel Barnes led by example with strong and determined leadership. Wherever his men were operating he went, never hesitating, to share their dangers, driving along roads and tracks susceptible to mining, carrying out hazardous flights and landings to be with them. He carefully preserved his resources in flying hours and used the maximum number of men offensively against the rebels. These efforts resulted in fifteen rebels reported killed, and a larger number reported wounded. He proved himself a bold and resolute leader, an inspiration to his officers and men, calm and with common sense, a fine trainer, and an able administrator. I recommend that his leadership and devotion to duty in raising, training, and finally commanding his battalion on operations be recognised by the award of the Distinguished Service Medal' Lieutenant Colonel Barnes passed away in 2004.

CHAÏM SOUTINE (1893-1943)La femme en rouge au fond bleu signed 'Soutine' (lower right)oil on canvas75.4 x 55cm (29 11/16 x 21 5/8in).Painted circa 1928Footnotes:ProvenanceJos Hessel Collection, Paris.Jacques Laroche Collection, Paris.Georges Keller Collection, New York and Davos (acquired by 1943).Carroll Carstairs Gallery, New York (acquired by 1949).Mr & Mrs Walter Ross Collection, New York (acquired from the above by 1957); their collection sale, Parke-Bernet Galleries, New York, 21 October 1964, lot 38.McRoberts & Tunnard Gallery, London (acquired at the above sale).Perls Galleries, New York (acquired by 1967).Alex Maguy, Paris (acquired by 1972, until 1973).Private collection, Japan; their sale, Sotheby's, New York, 5 November 1981, lot 233.Perls Galleries, New York (acquired at the above sale).The Roland Collection (acquired from the above in 1985); their sale, Dorotheum, Vienna, 24 November 2020, lot 12.Acquired at the above sale by the present owner.ExhibitedNew York, Bignou Gallery, A Selection of Paintings of the Twentieth Century, 8 February - 20 March 1943, no. 16 (titled 'The Red Dress').New York, Bignou Gallery, Exhibition of Paintings by Soutine, 22 March - 16 April 1943, no. 15 (titled 'The Red Dress').Montreal, Montreal Museum of Fine Arts, Manet to Matisse, An Exhibition of 19th and 20th Century French Paintings, 27 May - 26 June 1949, no. 39 (titled 'Femme en rouge' and dated 1932).New York, Perls Galleries, 24 Major Acquisitions, 27 February - 6 April 1968, no. 21 (titled 'Jeune femme au fond bleu').New York, Perls Galleries, Chaïm Soutine (1893-1943), 11 November - 13 December 1969, no. 18.Paris, Alex Maguy, Présence de la peinture, 2 June - 12 July 1972.Tel Aviv, Tel Aviv Museum of Art, 1996.LiteratureConnoisseur, vol. 172, no. 693, November 1969 (illustrated p. ccxvii).P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, fig. B (illustrated p. 258; titled 'La femme du cordonnier II' and dated 1926-1927).A. Soutine, Journal de l'amateur d'art, 1973 (illustrated p. 14).Exh. cat., The Evelyn Sharp Collection, New York, 1978, p. 90.M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue Raisonné, Vol. II, Cologne, 2001, no. 123 (illustrated p. 692).IFAR Journal. vol. 10, no. 3/4, 2008/2009, p. 57 (illustrated on the inside back cover).In La femme en rouge sur fond bleu, Chaïm Soutine portrays a woman with unparalleled emotion and intimacy. Despite the artist's choice to leave the sitter anonymous, he renders her familiar to anyone as he translates raw emotions onto the canvas. The present work is the quintessence of Soutine's portraits: it blends the most important colours in Soutine's work (red and blue) and brings together the artist's modern and traditional artistic influences in a consummate psychological portrait.Chaïm Soutine was born in 1893 in Smilovitchi, a small town of the Russian Empire mainly populated by observant Jews. At the age of thirteen, he secretly drew a portrait of the village rabbi, transgressing the ban on depicting the human face, and was beaten by the rabbi's son for it. He spent two weeks in hospital, and the Soutine family obtained twenty-five roubles in compensation which enabled him to leave the Smilovitchi ghetto and the painful childhood memories he had there. Soutine used the money to take drawing classes in Minsk, before enrolling at the Vilnius School of Fine Arts. He then arrived in Paris in 1912 and moved to La Ruche (The Beehive), a hub of artist studios whose name came from its cylindrical shape where low studio rent and free models attracted many artists who had recently emigrated to Paris with little money. Among others, Marc Chagall, Ossip Zadkine, Alexander Archipenko, Constantin Brâncuși, and Diego Rivera, would come and stay at La Ruche, which soon became the epicentre of the École de Paris, a term that paradoxically came to designate the scene formed at the beginning of the 20th century and until the Second World War by artists from all over the world, who converged in the French capital. Soutine had no resources and worked as a labourer in a Renault factory and at the Grand Palais to make ends meet. In 1914, an incurable stomach ulcer prevented him from being mobilised, despite his desire to do so. In 1915, Soutine met Amedeo Modigliani and the two artists formed a solid friendship that would withstand all odds. In 1916, Modigliani introduced him to his dealer Léopold Zborowski, who would go on to also represent Soutine. Zborowski financed Soutine's career and trips to the South of France, in Céret, Cagnes and Vence, but without commercial success.Modigliani's death in 1920 was a terrible setback for Soutine. His physical and mental health deteriorated drastically and he chose to live apart from the artistic community. For almost two years, he painted intensely and kept a very close circle of friends and relationships; mainly Zborowski and Paulette Jourdain, Zborowski's assistant and former model of Modigliani. Jourdain became an important friend, confidante, and model for Soutine. It is almost certain that she is the sitter for La femme en rouge sur fond bleu.Jourdain, who also sat for André Dunoyer de Segonzac, Ossip Zadkine, and Moïse Kisling, was the model for one of Modigliani's very last portraits in 1919. It is highly likely that Soutine was inspired by the Portrait de Paulette Jourdain, which bears many similarities with La femme en rouge sur fond bleu, such as the same fontal position, stately manner, and clasped hands.In 1922, the American collector Albert Barnes noticed the artist's work and bought almost a hundred paintings from Soutine, who became rich and famous overnight. He was now an established painter and had a daily salary of 25 francs from Zborowski, with a car and a driver, and became a fashionable and eccentric Parisian. And yet, despite his newfound introduction to bourgeois society, Soutine became preoccupied with the still-life genre, surrounding himself with dead carcasses in his studio to paint his celebrated series of Bœufs écorchés (Slaughtered oxen, circa 1925). He would visit slaughterhouses to buy dead carcasses of oxen to hang in his studio to paint. Soon the flies swarmed, and the neighbours complained about the smell. Paulette Jourdain recalls that when the police turned up, Soutine hid, terrified. But Jourdain defended the painter, arguing that his work was not done and that he needed to keep them for a while longer. She would sit for portraits for Soutine next to these dead carcasses in the studio while he painted her and would endure the smell and the flies for hours. Indeed, there are strong connections between Soutine's masterpiece of the Carcasse de bœuf (1925) and the present work: they share the same vivid palette, with the main subject painted in red hues and standing out against a blue background with impassioned brushstrokes that unbalance the perspective and stability of the scene. Both subjects occupy the centre of similar-sized canvases, while the colour and treatment of the flesh and blood of the flayed ox recalls that of the sitter's skin and dress. In the words of Cynthia Zarin, 'like Caravaggio, who painted some of the most disturbing and beautiful pictures in the world, and whom these portraits call to mind, Soutine was interested in the agencies of the flesh. In the snarl of paint on the canvas, you can feel his hand on the brush' (C. Zarin, 'The Time Travelling Portraits of Chaïm Soutine' in The New Yorker, 21 March 2018, n.p.). Moreover, like the Bœufs écorch&... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

SHARE CERTIFICATES. A collection of approximately 47 American, Chinese and Russian share certificates (none with coupons), together with a framed share certificate.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

AUTOGRAPH. An autograph letter signed (a.l.s.) by Lord Lucan on 46 Lower Belgrave Street headed paper dated 2nd February 1972, regarding share transactions, 18cm x 14cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

René Romero Schuler Embeya, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   René Romero Schuler is an American painter and sculptor whose work is directly connected to her strong belief in the power of femininity and the stories women have to tell. Embracing the contrast between perceptions of femininity and the complexity of female lives - sometimes not conventionally "pretty" but fascinating and powerful - Schuler's work offers an independent, strong and beautiful vision of womanhood that seeks to provoke thought and empower others. Schuler's own story is one of incredible strength and tenacity, born out of a personal journey that both challenged and shaped her, ultimately allowing her to find healing and joy through her art, and to share that journey with others. Born in Chicago, she spent part of her childhood in Ecuador with her grandparents, before returning to the city's north side and a difficult homelife that prompted her to leave home at an early age. On her own as a teen, Schuler found both solace and a profession in her lifelong talent for creating artwork, eventually building a robust business around commissioned work for designers of hospitality environments and becoming a savvy, successful entrepreneur. Meanwhile, her self-taught fine art practice continued as a constant outlet for her creativity and vision - work that allowed her inner life and past traumas to make their way onto canvas, transforming pain into joy through the alchemy of art.   Select Exhibitions/Awards   Currently represented by galleries across the U.S. and in France, Schuler has had exhibitions throughout the U.S. as well as in France, Italy, Greece, Singapore and Lebanon, and in major international art fairs Expo Chicago, Art Miami, Palm Beach Contemporary, Red Dot, Art Hamptons, Dallas Art Fair and Art Silicon Valley. Her work is a part of the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art and St. Thomas University Museum of Art - Sardiñas Gallery in Miami. Her art, as well as selected essays and poetry, has also been collected into published works: René Romero Schuler: Life and Works, 2013; René Romero Schuler, Paintings 2016 and René Romero Schuler, 2019. A fourth book, Ladies, is scheduled for publication in 2022.   Gallery Representation   Zolla/Lieberman Gallery -Chicago Galerie Géraldine Banier-Paris   Statement about AOAP Submitted Artwork   Spirit is what connects all of humanity. Yet, the innate human nature that drives us to judge one another based on nothing more than face value is a notion that fascinates me and thoroughly influences my work. In every work I create, I strive to show the imperfection, stress and underlying beauty of the being I portray. There are no fine characteristics or clearly defined attributes to my figures -- they are everyone and no one. The meaning lies in the representation of the image, not the image or the "face value" itself. With a fluid and meditative approach to my work, this understanding emerges - our inner beauty transcends the physical, emotional and mental barriers that our life experiences have created within us. I hope to tap into the need to realize and embrace that transcendence with work deeply connected to my soul, and I attempt to convey that truth in everything I do. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

René Romero Schuler Ibiza, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   René Romero Schuler is an American painter and sculptor whose work is directly connected to her strong belief in the power of femininity and the stories women have to tell. Embracing the contrast between perceptions of femininity and the complexity of female lives - sometimes not conventionally "pretty" but fascinating and powerful - Schuler's work offers an independent, strong and beautiful vision of womanhood that seeks to provoke thought and empower others. Schuler's own story is one of incredible strength and tenacity, born out of a personal journey that both challenged and shaped her, ultimately allowing her to find healing and joy through her art, and to share that journey with others. Born in Chicago, she spent part of her childhood in Ecuador with her grandparents, before returning to the city's north side and a difficult homelife that prompted her to leave home at an early age. On her own as a teen, Schuler found both solace and a profession in her lifelong talent for creating artwork, eventually building a robust business around commissioned work for designers of hospitality environments and becoming a savvy, successful entrepreneur. Meanwhile, her self-taught fine art practice continued as a constant outlet for her creativity and vision - work that allowed her inner life and past traumas to make their way onto canvas, transforming pain into joy through the alchemy of art.   Select Exhibitions/Awards   Currently represented by galleries across the U.S. and in France, Schuler has had exhibitions throughout the U.S. as well as in France, Italy, Greece, Singapore and Lebanon, and in major international art fairs Expo Chicago, Art Miami, Palm Beach Contemporary, Red Dot, Art Hamptons, Dallas Art Fair and Art Silicon Valley. Her work is a part of the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art and St. Thomas University Museum of Art - Sardiñas Gallery in Miami. Her art, as well as selected essays and poetry, has also been collected into published works: René Romero Schuler: Life and Works, 2013; René Romero Schuler, Paintings 2016 and René Romero Schuler, 2019. A fourth book, Ladies, is scheduled for publication in 2022.   Gallery Representation   Zolla/Lieberman Gallery -Chicago Galerie Géraldine Banier-Paris   Statement about AOAP Submitted Artwork   Spirit is what connects all of humanity. Yet, the innate human nature that drives us to judge one another based on nothing more than face value is a notion that fascinates me and thoroughly influences my work. In every work I create, I strive to show the imperfection, stress and underlying beauty of the being I portray. There are no fine characteristics or clearly defined attributes to my figures -- they are everyone and no one. The meaning lies in the representation of the image, not the image or the "face value" itself. With a fluid and meditative approach to my work, this understanding emerges - our inner beauty transcends the physical, emotional and mental barriers that our life experiences have created within us. I hope to tap into the need to realize and embrace that transcendence with work deeply connected to my soul, and I attempt to convey that truth in everything I do. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

At the time, the 599 represented the peak of modern Ferrari design, the GTB’s coachwork uniquely combining understatement and aggression. A civilised supercar for the discerning enthusiast.The Ferrari 599 succeeded its predecessor, the 575, in the summer of 2006 and brought the front-engined V12 Grand Tourer into the modern age. Whereas the 550 and 575, even at their introduction, always felt like modern classics, the 599 was every inch a new-age Ferrari. The all-aluminium chassis, F1 SuperFast gearbox, F1-Trac stability and traction control, magnetic semi-active dampers and carbon-ceramic brakes, all wrapped in aggressive, aero-optimised bodywork with minimal overhangs and maximum presence was a mission statement. Top billing, though, went to the engine - a lightly modified version of the Enzo's 6-litre V12 with a mighty 611bhp at 7600rpm, endowing Ferrari's new series-production flagship with truly sensational performance with 0-62 in 3.7 seconds and on to a top speed of 205mph. Of the 3,500 Ferrari 599 GTB F1 Fiorano produced globally, the United Kingdom’s share, as is the norm with right-hand drive Ferraris, amounted to under 10% of the total production.Offered here is a UK-supplied, right-hand drive 599 GTB finished in classic colours with Rosso paint, Nero leather carbon-backed sports seats and black carpets. First registered in October 2007, today the odometer indicates just 30,831 miles at the time of cataloguing. The extensive specification includes ceramic brakes with matching red calipers, Scuderia wing shields, front and rear parking sensors and a set of 20inch 599 GTO alloy wheels to complete the look.This striking Ferrari is presented to auction in exceptional condition, the Rosso paintwork retains a deep gloss and has an even finish across the bodywork and the GTO wheels sparkle with the bright red calipers peeking through the alloy spokes. Inside, the cabin feels clean and fresh showing only minimal wear and all electronic features appear to function correctly. On test the V12 fired into life on-the-button and our vendor informs us that on the road the 599 performs well.The history file contains the original Ferrari book pack with the service book stamped up-to-date, regularly maintained correctly only by Ferrari main agents, and showing the most recent service in November 2021. Also within the file are supporting invoices and old MOT Certificates with the most recent MOT valid until May 2023.Please note - the private number illustrated (V12 GMA) will not form part of the sale, a new V5C will follow upon successful transfer of ownership.SpecificationMake: FERRARIModel: 599Year: 2007Chassis Number: ZFFFD60C000156926Registration Number: V12 GMATransmission: F1Drive Side: Right-hand DriveOdometer Reading: 30522 MilesMake: RHDInterior Colour: BlackClick here for more details and images

Richard Ansdell RA (1815-1885)"Going to the Lodge - Scotch Shootings"Signed and dated 1860? oil on canvas, 75cm by 132.5cmExhibited: Royal Academy 1861, No.376This charming picture was painted at a time when Richard Ansdell was embarking on a life-long love affair with the Scottish Highlands. For four months every year, he would visit from London where he happily mixed with the local people, sensitively recording their daily lives in oils on canvas together with their animals, amidst the dramatic Scottish landscape. Ansdell built a lochside lodge that he shared with his large family and artist friends at a time when the Highlands were being recognised by fashionable London society due to the visits to Balmoral by Queen Victoria. When this picture was painted, Richard Ansdell had been elected as an Associate of the Royal Academy; he became an Academician in 1870. It was, consequently, of paramount personal importance to impress at the annual Exhibition; he was in the prime of his career; he had made it in artistic circles and he was painting subjects that he loved in the place that he loved. This picture is a fine example of a combination of these skills and exuberant aspirations.This painting is unusual in that the two main figures and the dogs share centre-stage – usually the figures in Ansdell’s paintings are secondary to the animals but this makes a charming exception. Here we see a distant shooting lodge at the foothills of what I believe to be the Cuillin Mountains on the Isle of Skye. The gentleman and his lady who will be staying at the lodge are riding towards its shelter before the coming storm arrives, but they have to wait for the ghillie and his boy to catch up before they can attempt to cross the fast-flowing burn. They will be relying on the ghillie for all practical help and guidance throughout their stay whether they are deer-stalking or grouse and partridge shooting.The ghillie, his boy and trusty collie dog are making slow progress over the rough terrain accompanied by two sure-footed Highland ponies loaded up with all the paraphernalia needed for a sporting break in this remote place. The collie dog’s startled gaze back at the main group links the subjects together.The young couple are seen privately exchanging glances surrounded by a group of dogs required for the ensuing days of sport. Here we see, in finest of detail, a pair of glossy-coated Setters chained together; a pair of Pointers; a pair of Springer Spaniels, a single black Spaniel and the ubiquitous Highland Terrier that was a pet of the Ansdell family, appearing in so many of his paintings! The young man is the gamekeeper, and the young woman (his sister, wife or sweetheart) will be the maid at the lodge, carrying out all the housekeeping and catering duties. We must guess at their conversation.With thanks to Sarah Kellam (great, great granddaughter of Richard Ansdell RA) for her catalogue entry.In fully restored condition, relined cleaned and re-varnished. Substantial essentially vertical patch of restoration potentially from old damage which runs effectively from the horizon line to approx 5cm adrift of the top edge is mostly no more than 4cm at the widest point and is mostly positioned approx 2cm from far left-hand side edge. Other finer retouches in general area. The mountain which can be seen rising above the horizon far left-hand side edge has been retouched and strengthened throughout. Essentially fine retouches can be found through approx 50% of the standing highlanders' right arm coat sleeves positioned on the left-hand side of the painting. With further retouching throughout the lower part of his overcoat and trousers. Retouching of a similar character can be found approx 85% of the coat of the dog positioned front and right of zed highlander. The essentially fine and sporadic retouching which can be found within the baggage of the loaded pack horses is less pronounced. Sporadic and essentially fine retouches elsewhere across the sky with a more concentrated band along the upper right hand 30cm and corner. The outstretched foot of the female crofter shows signs of retouching and overpainting. A further notable concentrated area of retouching can be found within the lower part of the mountains approx 6cm right of the horse-mounted gentleman wearing a hat and is approx 3-4cm in length overall and in a slightly horizontal band no more than 1cm in width. The generic retouches are slightly more concentrated along the right-hand side in general. This would mostly take into account more significant or concentrated patches of retouching but the majority of the surface otherwise shows fairly delicate retouches throughout most likely the old flaked paint. The surface is somewhat flattened and the paint is thin in places as a result o the restoration process. Some surface dirt and discolored varnish. The varnish appears to be deteriorating somewhat inconsistently as seen under the UV. Areas of fine and sporadic cracquelure within across the standing female crofter's knapsack. Some areas of the surface have a slightly wrinkled quality which may also be a result of the relining process. New canvas used for reline likely having been aged. For more information please contact the department.

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.This is an older style bottling from the early 1990s.43% ABV / 70cl

The Doors 'The Crystal Ship' - Original hand painted artwork on thick paper by John Judkins, signed, 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.

Jimi Hendrix 'Rainbow Bridge' - Original hand painted artwork on thick paper by John Judkins, signed and dated 1970, 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.

ILLUMINATED MANUSCRIPT ON VELLUMLiber evangeliorum ac epistolarum pro festis solemnibus, text entirely stencilled in imitation of roman type, pp.1-17 with 8 lines of text, each under a line of music consisting of square neumes on four-line red staves, pp.18-122 with 17 long lines, pp.124-126 with 21 long lines, ruled in lead with single bounding lines, running titles and lesser section titles with red roman capitals, major section titles with multi-coloured decorative initials, 4- or 3-line square initial spaces, initials with floral or historiated backgrounds and space reserved for large roman capitals, floral headpieces preceding each feast, some including historiated vignettes, floral or decorative cartouches following the epistle in many sections, incomplete decoration in places, small natural flaw to blank margin of the leaf paginated 53-54, otherwise in clean fresh condition with some very light soiling, re-cased in original binding of red velvet over pasteboards, housed in a morocco case, 333 x 225mm., France, Ambronay, 1740Footnotes:ELEGANTLY AND SKILFULLY DECORATED STENCILLED MANUSCRIPT.Manuscript demonstrating in a remarkable way the techniques by which miniatures were designed and executed as late as the mid-eighteenth century. Stencilled books are a curiosity in the history of book production. They are manuscripts in that they were created by hand, but with the mechanical aid of stencils. They can be recognized by the gaps between parts of letters. Such books were especially popular in the seventeenth and eighteenth centuries, when stencils were often used to produce large-format books of music for communal singing and texts such as the present lectionary intended for public reading. The manuscript was made for the Benedictine Abbey of Ambronay, as stated on the title-page: 'Liber Evangeliorum ac Epistolarum, pro Festis Solemnioribus. Ad usum Ecclesiae et Abbatiae Regiae Beatae Mariae Virgiis de Ambroniaco. Ordinis S. Benedicti e Congraegatione Sancti Mauri. Pars altera.' It combines moveable feasts from the Proper of the Times with a selection of fixed feasts from the Proper of the Saints presented in a single quasi-chronological sequence beginning with the Easter Vigil and ending with All Saints. Several important Benedictine saints or feasts are included: the translation of St. Benedict (from Monte Cassino in Italy to Fleury in France); Saints Placidus and Maurus (the first disciples of St. Benedict, they share a feast day); St. Hugo, Abbot of Cluny (the most important Benedictine monastery in France); and a feast dedicated to the saints of the Benedictine order. A short addendum at the end of the main text provides for commemorations of the dead. The Congregation of St. Maur was formed in France in the early seventeenth century and existed until the French Revolution. It was known for its strict monastic observance, for its emphasis on performance of the choral Office, and for the notable scholarship produced by some of its members.Provenance: Benedictine Abbey of Ambronay (northeast of Lyon), 1740, inscription on title-page; nineteenth century cipher centered on a large letter V, flanked probably by E and B and surmounted by a coronet, gilt-stamped on upper cover, and bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

CAMERA BAG WITH MISC LENSES & ACCESSORIES, QUICK SET COMPASS, DIGITAL CLOCK & A KODAK EASY SHARE DIGITAL CAMERA

Vanuatu, Malekula, Small Nambas, fern tree gable ornament of a men's house showing deep cut spirals, an anthropomorphic figure and on the back a reptile figure, collected before 1969. The Swiss ethnologist Felix Speiser (1880-1949) was one of the earliest researchers to explore the islands of what was then called the New Hebrides, the present day Vanuatu. His extensive travels in 1910-12 brought him to various islands of the archipelago, including Malakula, one of the north-central islands. Malakula was at that period an island shunned by early travellers because of the harsh conditions and the severe practice of cannibalism. Speiser was able, though, to visit several villages, took photographs and acquired several items which he published in his ‘Ethnographische Materialien aus den neuen Hebriden und den Banks-Inseln’ in 1923. In this book there is no mention of the existence of ponarat, a tree fern gable ornament, adorning the men’s house. We may assume from this omission that these gable ornaments were far from general practice in each village. This may well be the result of the practice that the sculptor commissioned belonged to a special lineage inheriting this function in combination with the hierarchal structure within this culture where ultimately the chief of the district and not the elder of a patriline, had to give his approval for this occasion, which amounted to the payment of a certain amount of pigs.These gable ornaments depict the founding ancestor of the me’n house. Most ponarat we know from publications and public collections hail from the Northwest Malakula, inhabited by the Big Nambas. They all share more-or-less the same features of an abstracted face with deep-cut lines and a three-dimensional quadruped, a lizard or dog, at the back. Usually they are confined in measure between 75 and 110 cm. The present item, though, is different in execution and it is much larger in size. It shares the abstracted face and a quadruped at the back, the latter in deep-relief. Thanks to the 1961 catalogue ‘Sculpture monumentale de Nouvelle Guinée et des Nouvelles Hébrides’ in which several ponarats of various sizes were published, we know of the existence of larger and differently executed gable ornaments. They all hail from the Small Nambas, living to the south of the Big Nambas area and who share the same cultural institutions. These examples are much taller, up to 190 cm. in size and exhibit some same features as the present example, i.e. a deep-cut quadruped at the back and spirals denoting fangs of pigs, a prestige attribute.The Small Nambas area is less covered by ethnologists until quite recently. The present item may be added to a small corpus of gable ornaments hailing from a lesser known neighbouring culture.Provenance M.L.J. Lemaire, Amsterdam, 1969 and Gallery D'Eendt, Will Hoogstraate, Amsterdam. H. 160 cm. on stand [1]

BEATLES, THE - John Lennon Signed Publishing ContractAn important 26-page agreement dated "25th June 1974" and personally signed by John Lennon. The last page in the agreement lists early original Beatles songs credited to the Lennon-McCartney partnership.Before the Beatles became a worldwide phenomenon, Lennon and Paul McCartney established a songwriting partnership, meaning they were both credited equally for the songs either of them created. They formed Northern Songs Ltd in 1963 alongside Brian Epstein and Dick James, who received a share of the royalties from Lennon and McCartney's music. This contract was created when Lennon decided to split the partnership and began writing music with Yoko Ono. The agreement features several typed paragraphs stating that the ownership of Lennon and Ono's musical compositions should be transferred to both of their companies in New York. In return, Northern Songs Ltd was entitled to receive a percentage of the gross royalties from those songs. Lennon has signed page 22 in blue ballpoint pen, and "ORI" is handwritten on the top left corner of the first page. The lot exhibits some staple holes and discolouration around the page edges. Dimensions: 33 cm x 21.5 cm x 0.5 cm (13" x 8 1/2" x 1/4") Estimate: £5,000 - 7,000 MThis lot will be auctioned on Friday, November 4th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Saturday, November 5th; or Sunday, November 6th.

AN IMPORTANT AND VERY RARE CLOISONNÉ ENAMEL AND GILT-BRONZE CIRCULAR 'CHUN' BOX AND COVERQianlongOf compressed globular form resting on a wide foot, exquisitely decorated in bright enamels on a turquoise ground, the cover with a central medallion enclosing a large Chun character centred by a medallion enclosing Shoulao and his deer below a pine tree, flanked by a pair of writhing five-clawed dragons amidst cloud scrolls and above a large quatrefoil bowl issuing rainbow coloured rays centred by the flaming pearl, Endless Knot and other Auspicious Emblems, encircled by a classic scroll border, the sides of the box and cover with eight lobed cartouches each vividly depicting different scenes with a scholar and boy engaged in various leisurely pursuits in landscape scenes filled with rockwork and lush vegetation including willow, bamboo, pine and paulownia, divided by the Babao, all reserved against floral honeycomb blue and turquoise diaper ground, with a further zigzag band and a border of continuous foliate lingzhi fungus scroll, the heads of Shoulao and the figures delicately modelled in relief as gilt-bronze appliqués, the base decorated with prunus blossoms on a 'cracked-ice' ground. 21.5cm (8 1/2in) diam. (2).Footnotes:清乾隆 鎏金銅胎掐絲琺瑯「春壽」寶盒Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.This remarkable box and cover was previously part of a set likely numbering eight or nine boxes, of which to-date only five similar cloisonné enamel and gilt-bronze 'Chun' boxes and covers with relief gilt-bronze 'face' appliqués, Qianlong, appear to have been published. These include, in addition to the present lot, the two which were sold at Sotheby's Hong Kong, 9 October 2007, lot 1323; one from the T.B. Kitson collection, which was sold at Sotheby's London, 21 February 1961, lot 263, and is now in the Los Angeles County Museum of Art (museum no.M.73.74a-b); and the fifth, from the Pierre Mercier collection, was published by Poly Art Museum, Beijing, The Exhibition of Chinese Bronze and Cloisonné Enamel Wares from the Pierre Mercier and Overseas Collections, Beijing, 2011, no.52, and was later sold at Poly Beijing, 5 December 2013, lot 7169. See also a pair of closely related but larger cloisonné and champlevé enamel and gilt-bronze Chun boxes and covers, Qianlong, which was sold at Christie's Hong Kong, 1 June 2011, lot 3653. The design of the God of Longevity, Shoulao, centred within a Chun ('Spring') character, appeared during the Qianlong period also on carved lacquer boxes and covers, known as Chun Shou baohe, 'Precious box of Spring and Longevity'; see one box in the National Palace Museum, Taipei, illustrated by R.Zhang, Yangxindian zaobanchu shiliao jilan-dierji Qianlong chao (Historical Materials Relating to the Imperial Workshop in Yangxing Dian: Part II Qianlong), Beijing, 2012, p.136, pl.137, and another similar box, in the Qing Court Collection in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, p.88, pl.61. The design, however, was first introduced during the Jiajing reign of the Ming dynasty (1522-1566). Compare with a polychrome lacquer carved 'Chun' box, Jiajing, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, p.176, no.134; and see also another similar box, illustrated in Carving the Subtle Radiance of Colours: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.97, pl.87. The design of Shoulao, his deer, and the depiction of cranes are all symbolic of the wish for long life. The character Chun, Spring, is a metaphor for youth and fertility. Combined, they impart auspicious wishes to the emperor of long life and eternal youth. The cartouches alternate with the Eight Treasures (Babao), the wish-granting pearl, double lozenges, stone chime, pair of rhinoceros horns, cash, ingot, coral, and ruyi. The box and cover are decorated with eight ruyi-shaped cartouches, each enclosing a figural scene with a sage and attendant within landscape. They each represent a different renowned literatus, who was a scholar, poet or calligrapher, shown in the form of a scholar-official or sage with his attendant and in a scene depicting an attributable feature of anecdotal story unique to the person. They share the characteristic of pursuing a particular devotion, often leading a life of a recluse in preference over civic duties.In the context of the Qing Manchu Court, referencing these highly renowned Han literati on a vessel specially commissioned for the Imperial Court, exemplifies the Manchu emperors' and specifically the Qianlong emperor's intellectual ambitions and endeavours to formulate their image as learned scholars sustaining the values embodied in China's past. The Qianlong emperor wrote thousands of poems, practiced calligraphy and played the qin. He also formed one of the most important collections of art. Therefore the reference to the famous literati, the values they held and their artwork, would have held a special meaning to him. These are on the cover: 1. A scholar and attendant are shown in front of two cranes below a willow tree. Cranes are symbolic of long life. The sage depicted may be Lin Hejing also known as Lin Bu (967-1028 AD), a Northern Song dynasty renowned poet, calligrapher and scholar who lived as a recluse by the West Lake in Hangzhou. Although he was offered prestigious government positions, he refused all civic duties to pursue poetry. He is known to have loved plum blossoms and to raise cranes. It was said that the plum tree was his wife and the cranes his children. 2. A male attendant is offering a goose to a sage seated under bamboo. This scene could be identified as depicting the story of Wang Xizhi catching the goose. Wang Xizhi, regarded as the greatest Chinese calligrapher, was a writer and politician who lived during the Jin dynasty (265–420 AD), and known for his hobby of rearing geese.3. A sag... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A WOOD NETSUKE OF TWO MONKEYSBy Sadakazu, Edo period (1615-1868), 19th centuryThe adult monkey seated and holding a peach with both hands tantalisingly out of reach from her young clambering over her back with one hand outstretched for his share; signed beneath the adult's foreleg Sadakazu to within a polished wood oval reserve. 5.7cm (2¼in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Two late 19th/early 20th century Bohemian (or possibly St Louis) cut glass crystal tastevins, both of similar cut and gilt pattern, one with gilt to the cut floral bouquets, the other similar pattern is without, both share gilt to the inside and similar loop handles and sizes, both unmarked, height of each 3cm, diameter 13cm, together with a cut glass preserve pot with an extended Greek Key rim border and cut glass knop and lid, also decorated with a Greek Key gilt panel, height approx 12cm (3).Provenance: From the descendants of Andrew Barclay Walker (of Walker Gallery Liverpool), this item has been passed down the generations and is suggested from the family that this is originally from the Andrew Barclay Walker estate.

A mid century Roxy cinema share holders certificate

2003 Jaguar S Type, 2.5 V6 Sport. Registration number BJ53 UTR. VIN number SAJAC03N94JN03059. The S-Type Jaguar unveiled at the Birmingham Motor Show of 1998 had strong echoes of the company's glorious past. Not only did it share the name of one of the company's popular 1960's saloons, but the Geoff Lawson styling appeared to have been heavily influenced by an array of iconic Jaguar models from the same era - not least the immortal MKII. UTR presents well with a MOT history going back to 2006. It has recently had the rear subframe replaced along with the suspension receiving a rebuild. It also benefits from a new battery and radiator. There are six stamps in the service book and a good selection of receipts for parts and servicing. Sold with the V5C and MOT until April 2023.

Four bidri silver and copper-inlaid Charpai legs, Bidar, Deccan, Central India, 18th century, comprising four legs of Indian charpai (a traditional handwoven bed), shaped as flower blossoms on squared base, rising from the central bud a squared structure, pierced on two sides to accommodate the sticks of the bed, the latter two sides full, the top worked as a blossoming floral bud with lush petals all around, the body clad in copper and silver inlay laid out in a diamond-shaped grid of stylised flower heads, drop-like pattern to the base, 25cm high (4)These charpai legs share a number of similarities with a set of what Zebrowski calls "the slaves of the carpet" (i.e. carpet weights), also known as mir-i farsh (Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p. 131). Indeed, in the Krishna Riboud Collection, there is a set of carpet weights from Bidar, dating to the early 18th century, with exactly the same inlaid diamond-grid floral pattern as ours (ibidem, fig. 160). Moreover, the lower body of our charpai legs, designed as a blossoming flower surrounded by a multitude of petals and standing on a squared base, is virtually the same of the Riboud Collection mir-i farsh, showing the fluidity of motifs and designs on items with different uses.Please refer to department for condition report

Assortment of various world bond and share certificates to include City of Yonkers and others. Assortment of various world bond and share certificates to include City of Yonkers Bridge Bond; Associated Gas and Electric Company, Russian and German Bonds, Belgian Bonds with partial associated coupons and a Chinese Bond, all loose (quantity).* A full series of images showing all the items in this lot is available upon request.

Acoolection of north west counter date stamps and a share certificate from Lancashire Union Railways Company.