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A large collection of correspondence, postcards and other documents relating to Princess Bamba (1869-1957), the daughter of Maharajah Duleep Singh, including a proclamation laying claim to the lands of the Punjab Great Britain, Europe, and Kashmir, late 19th/early 20th Centuryvariously manuscript and typewritten the largest 294 x 200 mm.; the smallest 55 x 88 mm.(qty)Footnotes:ProvenanceFormerly in the collection of the great-grandson of Princess Bamba Duleep Singh's personal secretary, who with his wife was employed by the Princess for over thirty years.Princess Bamba was the daughter of Maharajah Duleep Singh with Maharani Bamba. In 1915, when she was 46, she married a doctor in the Indian Army, Lt. Col. David Waters Sutherland (hence the surname used in no. 2 below). At this stage (though subsequently saved by a lump sum payment of £10,000 from the British Government) she was not well-off due to mismanaging her allowance and in addition gambling debts (see nos. 4, 8 and 9 below for her apparently lifelong concern with finances).She travelled frequently, including to India, as witnessed by many of the items included in this lot. She died in Lahore at the age of 89, having declined drastically in health during her last years. For a survey of her life, including several photographs, see P. Bance, The Duleep Singhs: the Photograph Album of Queen Victoria's Maharajah, Stroud 2004, pp. 127-134; and by the same author, Sovereign, Squire and Rebel: Maharajah Duleep Singh, London 2009, pp. 152-161. 1. A typewritten proclamation, addressed To: INDIA, from 'Bamba Shahzadi of the Punjab and Kashmir, Rightful Queen of the Punjab, Kashmir and much territory beyond', dated 21st June 1948, from La Turbie, Alpes Maritimes, France, claiming her 'inheritance to the vast lands of my Father, Maharajah Dulip Singh which have been misappropriated'. She castigates the British (and in particular Lord Dalhousie, his guardian) for taking away his birthright. The Sikhs have been sadly forgotten, despite their role in repelling foreign invaders of India (notably Nadir Shah and Ahmad Shah Durrani. 'I claim also the value of the richest portion of our private property. The territory between the Indus and the Jelam from the lower hills to south of the Salt Range'. Maharajah Ranjit Singh began the rise of the Sikhs to power, continued by his sons and successors - but 'There is no doubt that they were all disposed of by the machinations of the British'. Her last paragraph deals with the alleged treachery of Gulab Singh, in league with the British, who began the Anglo-Sikh Wars 'without any provocation'. 'Little Dalip Singh was only 8 years old when robbed by his guardians the British of Kasmir [sic] which they sold to Gulab Singh for £75,000. This money had been placed in Firozpur by his brother Raja Sujet Singh who was killed in battle. At his death this money legally reverted to the Lahore Treasury, but the British accepted it from Gulab Singh in payment of Kashmir. Kashmir was bought with my father's money. Kashmir therefore twice over [also underlined in red] belongs to me'. 294 x 200 mm.On her return to England after the war, perhaps provoked by the partition of the Punjab between India and Pakistan, but also ill-health, Princess Bamba began to refer to herself as 'Queen of the Punjab', and often caused a nuisance in the street in places such as Norwich, asking policemen and others if she knew who she was, Queen of the Punjab.2. A letter from the Governor of the Punjab, addressed to Princess Bamba Sutherland, apparently in rather exasperated response to a perceived slight, dated Government House, Lahore, 30th December 1941: Thank you for your letter of December 23rd, and I apologize for the delay in replying. I have now looked up the records and I find that the procedure indicated in the ADC's letter to which you refer has received the approval of very high authority, and I regret that I am unable to alter it. Let me assure you, however, that the last thing that my wife and I would wish to do is hurt your feelings in any way. With our kindest regards and all good wishes for the New Year., addressed to the Princess at 'Gulzar', Jail Road, Lahore, Governor's official stamp at upper left, 227 x 176 mm.Princess Bamba became stranded in Lahore from January 1941 for the duration of the war, purchasing a house there, and was often unwell as well as distraught through loneliness and being unable to see her sister Catherine before she died in 1942. She became convinced that she had been poisoned by British agents (though she does in reality seem to have been watched by the authorities).3. A typewritten letter, sent soon after the outbreak of the Second World War, from a doubtless harrassed British Consul-General at Marseille, informing the Princess that he cannot assist her with either a visa to enter Spain or a visa to leave France, dated 21st September 1939, addressed to the Poste Restante at Font Romeu, signed by the Consul and with embossed stamp at top, 240 x 190 mm.4. A group of fifteen typewritten sheets from a total of twelve separate letters (incomplete) addressed to Princess Bamba from her solicitors, regarding the estate of her late sister Princess Irene and her litigation with her stepsister Princess Pauline Torry, letters dated between 13th July 1927 and 20th December 1930, two addressed to the Princess at the Poste Restantes in Nice and Monte Carlo, 260 x 205 mm.5. A group of fifteen medical prescriptions made out for the Princess, dating between 1953 and 1956, from the United Christian Hospital, Lahore, a Dr H. M. Selzer, and a Dr G. Lorbeer, both in Lahore, and a Dr Qureshi in Abbottabad, handwritten on printed chits, 190 x 125 mm. and slightly smaller.6. A small quantity of share dividend receipts for Princess Bamba's holding in Woolworth's and Shell, 1951 and 1952, printed forms, 160 x 360 mm.7. A group of seven hotel bills for the Princess during her travels in the Punjab, printed and handwritten chits for hotels in Karachi, Patiala, Multan, one dated 1955, 335 x 265 mm. and smaller.8. A group of nine letters and receipts relating to the Princess' tax affairs, Lahore, 1943, discussing refunds of income tax and her resident status ('Not Ordinary Resident', having arrived in India in February 1941), 230 x 140 mm. and smaller.9. A group of eight letters addressed to Princess Bamba: two letters to the Princess from the Assistant Resident at Lahore (on embossed headed paper), dated Srinagar, 5th and 6th November 1914, gently reminding her that she owes a certain Miss Langley the 'trifling sum' of fifty rupees, and asking her to remit the sum to avoid the possibility of Miss Langley bringing a civil suit against the Princess and 'in the hope of saving you possible annoyance hereafter', and 'with every apology for troubling you'; the second letter, a day later, thanks the Princess for the sum and wishes her a 'good journey down'; a letter from a letting agency in Srinagar, dated 5th November 1914, regarding a house and the aforementioned Miss Langley; four separate notes, apparently from Miss Langley herself, requesting the money, dated October [?] 1914, 210 x 140 mm. and smaller.10. A small clipping from The Illustrated London News, 30th June 1849, relating to Maharani Jindan Kaur's escape from British prison, 160 x 87 mm.11. A small albumen photograph of Maharajah Duleep Singh, circa 1860, 88 x 58 mm.12. A small engraved illustration of Maharajah Ranjit Singh, clipped from a newspaper, late 19th Century, 100 x 82 mm.13. A signed letter in Italian from the Princess to an Italian shipper or travel agent, regarding the collection of packages from San Remo to go to India, dated Hilden Hall, Penn, Buckinghamshire, 29th September 1949, 265 x 205 mm.14. A letter in the hand of Princess Bamba writing... For further information on this lot please visit Bonhams.com

A collection of Bond or Share certificates, conveying stocks and shares of various businesses - some 19th century, including American Railroad, Chicago, New York and Niagra, in plastic folder (c.30)

Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled dated '28 06 2013' (centre right)acrylic, crayon and collage on canvas 100 x 139.5cm (39 3/8 x 54 15/16in).(unframed)Footnotes:Painted in 2013, the dark and moody hues present in Untitled were invoked by the turbulent aftermath of the Ivorian civil wars. The densely populated streets of Abidjan continually inspire Aboudia's canvases which result in intensely emotional works. The present lot is no exception, sharing with the viewer the unnerving feeling in Côte D'Ivoire during the post-civil war years. Untitled is comprised of collage, oil stick and acrylic paint. Aboudia uses multiple shades of purple, green and blue oil stick to create a glowing quality to his signature Nouchi figures, which this time take the forms of a donkey, monkey and humans. The different forms all share a similar hypnotic expression and grimace which is signature to Aboudia's work. Anonymised figures are layered on top of newspaper cuttings with headlines relating to international economic markets and policies, bringing this initially distinctively Ivorian work into the global context. The collage coupled with the gestural application of paint brings texture to the canvas. Untitled is a bustling feast for the eyes and demonstrates Aboudia's impressive ability to produce vibrant large-scale canvases.For further information on this lot please visit Bonhams.com

Sir George Russell Drysdale AC (Australian, 1912-1981), "Tass Drysdale". The Paintings of Russell Drysdale, first edition, limited to 1000 copies, signed by Drysdale, Sydney: Ure Smith, [1951], bearing bookplate of Richard Smart [a director at Arthur Tooth & Sons Gallery, the bookplate designed by Reynolds Stone], featuring corner-mounted card in two parts, inscribed with ink sketch by Drysdale, 'The Man from Snowy River, I really don't believe in this sort of thing but knowing that you hold the same views I can't resist this - a Merry Xmas to you both from Tass D.', followed beneath by a later ink drawing & inscription by Drysdale, again depicting The Man from Snowy River, 'Dear Dick, I think he took up residence on this log about 1957 - but I do know he's been there ever since. Knowing your views, which I share, I hope he stays there - Tass 1978', hardback, dust-jacket, illustrated with tipped-in colour plates, loosely-inserted 'private view' card for an exhibition of recent paintings & drawings by Russell Drysdale at Leicester Galleries, London, 15 July 1972, and a slim catalogue

Comic Books - The Wizard (1950s / 1960s Football Comic Book) - a collection of x11 issues of the comic book, each retaining their original 'Free Gifts'. The collection comprising: - #1553 November 1955 - features one complete 'unused' set of cards and one partially complete duplicate set - #1755 October 1959 - features TWO sheets of photocards (incomplete) - #1836 April 1961 - includes the 'I Am A Loco Spotter' log book (unfilled out) and pin badge, along with the accompanying issue #1837 (they appear to share the same free gifts) - #1731 April 1959 - with both 'Free Gift' full colour photo cards - #1785 April 1960 - with free ' My Own Log Book Of Locomotives ' - the logbook completely filled out with subsequent 'free gifts' - #1549, #1550, #1551, #1552, #1554 - all with various 'free gift' football cards (incomplete) - and issues #1784 and #1746 - both with no free gifts.  All comics complete, and generally in VG to EX condition. From a genuine childhood collection

BRITISH SHARE CERTIFICATES FOR VARIOUS COMPANIES, ALL PRE-1900 (18). 

10441970 Jaguar E-Type 4.2 2+2 CoupeReg. no. AAE 453JChassis no. IR35972Engine no. TBATransmission: ManualHonoured by many as one of the most beautiful designs of all time, the E-type was a success on the road and had its fair share of victories on the racetrack too, firmly embedding it into the British classic car hall of fame.This particular example in coupe, 2+2 format presents well externally. Both the interior and exterior appear unrestored, whilst the previous owner kept the mechanics up together, so he was able to use it on a regular basis. The 4.2 straight six sits pride of place under the long bonnet and it is reported that the car drives well considering its condition.This unrestored 2+2 coupe E-Type has been enjoyed and cherished by a British classic enthusiast and is now offered with a folder of history that includes old MOT certificates and some parts receipts. This car is in useable condition and can be enjoyed as is or restored for its new owner.Estimate: £20,000 – 25,000To be auctioned along with a fantastic selection of other vehicles on October 15th at our Showell Farm site, SN15 2NU. Viewing is welcome prior to sale and all cars are sold as seen, condition reports can be requested on each lot by contacting us direct. Lots are not available to buy prior to auction. Fully illustrated catalogue is available on the Richard Edmonds Auction website. Bids can be made online, by telephone or live on site. All lots are subject to commission.Vehicles that are un-registered or on foreign plates may require Import Duty and Vat to be paid upon purchase via HMRC prior to registering with the DVLA for a UK plate, if you are not sure please ask. For classic cars over 30 years this equates to 5% Duty on the final value.

INTERESTING RANGERS FOOTBALL CLUB MOUNTED SHARE CERTIFICATE & CHEQUE DISPLAY,comprising one share certificate No. 219 '...to Certify that Mr. William Lindsay Hardie of 59 Clifford St. [sic.] Glasgow is the Registered Proprietor of One Proprietary Share of Five Pounds Fully Paid Numbered 219 in The Rangers Football Club Limited... this twenty fourth day of July one thousand eight hundred and ninety nine.. regr. folio 73' signed by two directors and the secretary; another share certificate No. 299 '...to Certify that Robert Hamilton esq. of 18 Macintyre St. Glasgow is the Registered Proprietor of Fifty Ordinary Shares of One Pound each Numbered 7643 to 7692 inclusive... fifth day of September one thousand eight hundred and ninety nine.. regr. folio 100' signed by two directors and the secretary; a cheque of £235-14-5 made payable to the Corporation of Glasgow dated 12th September 1922; and another cheque of £100 made payable to William Struth dated 5th June 1924, mounted, framed and under glass, 65cm x 80cm overallNote: This interesting display includes an early cheque made payable to one of the most important figures in the history of Rangers Football Club, Bill Struth. Struth was Rangers second manager, leading the club for 34 years between 1920 and 1954, as well as being the holder of a number of other positions, including director. Struth is one of the most successful managers in British football history, winning 30 major trophies in his career; a record 18 Scottish league championships, 10 Scottish Cups and two Scottish League Cups.Alongside this, we see two share certificates for the club dating from the year it was incorporated. The football club itself was formed in 1872 and was operated by four founding members, this being until its incorporation on 27 May 1899.According to the vendor, this piece was originally displayed at Ibrox Football Stadium until it was removed relatively recently.

ERNIE BARNES (1938-2009)The Gospel Truth 1985 signedacrylic on canvas 91.4 by 121.9 cm. 36 by 48 in.This work was executed in 1985. Footnotes:We wish to thank the Ernie Barnes Family Trust for their kind assistance in cataloguing this lot.ProvenanceCollection of Tim Hauser, California (acquired directly from the artist in 1985)Thence by descent to the present ownerExhibitedRiverside, Riverside Art Museum, Visual Voice, 2016Ernie Barnes' legacy has crystallized as one of the most significant and upstanding careers of a late great American artist. A young, aspiring boy from segregated Durham, North Carolina, who took to the football pitch as a professional player in the NFL before his first solo show in New York in 1966, Barnes' artistic inclinations were a constant throughout his life that he wove seamlessly together with his love of sport, music, and the sense of community and shared experience that underpinned his creative passion. The gospel halls of Barnes have become some of the most iconic and highly sought-after paintings by the artist, and The Gospel Truth is arguably the finest example of which to come to market. Displaying a remarkable attention to detail and almost chiaroscuro sense of space and light – whose hallowed windows descend in golden sunbeams dappled across the congregation – one cannot shake the imagistic power of a canvas that is bursting with a rapturous joy, marking the height of Barnes' career but a year after he was the official artist of the 1984 Olympic Games in Los Angeles. Across the glorious intensity of The Gospel Truth, Barnes revels in a kind of ecstasy that is both unique to his painting and to the American south that he was raised in. His subjects cast their arms aloft, heads raised to the sky, some held between hands, others throw their bodies and twist their faces in uncontrollable adulation. Recalling his childhood trepidation at the volume and fervour of a congregation in the throes of gospel verse, Barnes glimpsed something that remained at the heart of his career throughout his life; a sense of human presence and power that is found in the individual and in the collective consciousness. In the aptly titled The Gospel Truth this essential quality comes to the fore with remarkable force and artistry. In the finest examples by the artist, the light, depth of field and figurative dynamism identifies masterworks from great paintings – this is such a piece. From the halos that cascade amongst the pulsating crowd to the vignette of the lower edges that frames our gaze, the unique hazy glow of Barnes' paintings makes them radiate an inner light, projecting from the wall with a swirling, intensely layered surface that glistens as it catches the hips and shoulders of the dancing congregation. The Gospel Truth boasts a palette that is immaculately refined and delicately shifts between sunbeam and shadow. Like Barnes' night-time dance venues and pool halls that capture after-hours socialising and amusement, the Sunday morning of The Gospel Truth reveals another kind of liberation, one of worship, community and song, that nevertheless spills over into a party of stupendous energy. Purchased from the artist by Tim Hauser, eight-time Grammy winner and founder of The Manhattan Transfer, the present work bespeaks a musical passion shared between two masters of their craft. Introduced by the bassist Kenny Gradney of Little Feat., who also came up with the name 'The Gospel Truth', the painting was acquired fresh off Barnes' easel by Hauser and would be a brightening focal point of his collection amongst friends. It comes to market now as one of the most remarkable gospel canvases to have remained in constant ownership since its making, full of unique details and qualities that make it one of the most inspired paintings by the artist. Barnes' life and career has become refocused since his retrospective at the California African American Museum in summer 2019. If the truly American Renaissance man existed, it was him. He was unquestionably a natural artist, demonstrating a childhood fascination with the language of painting, intrigued by Delacroix, Michelangelo, and Toulouse-Lautrec. He was rarely without his sketchbook that accompanied him to classroom and track and field alike. Barnes' early sporting ability was an enabler for his artistic pursuit. He earned a full scholarship to the North Carolina College at Durham where he majored in art, and in turn was drafted to the Baltimore Colts in 1959, going on to play for the San Diego Chargers and Denver Broncos, before calling time on his professional career in 1965.Nevertheless, it would be a mistake to consider his term in the NFL a segue from his painting. From his early interests, Barnes' athleticism influenced his artistic inclinations in the most beautiful of ways and placed him at the epicentre of an Americana that made him a bona fide voice of a generation. From his high school captaincy of the football team to the biggest teams in the NFL, his appreciation of the body – of form, of strength, of stamina, of limits – was ingrained. Commenting on his relationship to sport and its impact on his practice, Barnes commented that 'being an athlete helped me to formulate an analysis of movement, and movement is what I wanted to capture on canvas more than anything else; I can't stand a static canvas' (the artist in: 'ernie barnes this is my art', YouTube, 28 July 2011). Athletes and artists share this deep connection, recognizing the nature of physicality and the performative translations that are essential to their endeavours. From illustrating his teammates to the dance halls and marching bands of his native Durham, the elongated, mannerist forms of his characters evince an understanding beyond the visual; of a figuration that embodies the mood, the intensity, and the soul of person.The individual, or moreover, the subjective experience, is at the heart of Barnes' artistic design. Throughout The Gospel Truth and his career at large, the closed eyes of Barnes' characters have been a definitive and iconic motif, one that speaks volumes of how he illustrates the plurality of black experience and culture. Barnes appreciated art as the most complete and intense form of expression of the inner life, but undoubtedly recognized the transformative power of representation in his own painting. The drawn eyelids of his characters he regarded as a manifestation of 'how blind we are to one another's humanity,' but he went still further: 'We stop at color quite often [...] We look upon each other and decide immediately: This person is Black, so he must be ... This person lives in poverty, so he must be ...' (the artist in: Kareem Abdul-Jabbar, 'How Athlete-Artist Ernie Barnes Captured Black Culture's 'Joy and Communal Dignity'', hollywoodreporter.com, 10 May 2019). The expressive body became the locus for Barnes' painting that literally embodied the humanity he sought to reproduce.As the golden light pierces the windows and rains upon the choral troupe and seated attendees, one cannot help but feel the ebullience and religiosity that makes The Gospel Truth such a profound celebration of black joy and community. It is an unashamedly hip-shaking vision whose rhythm and noise is tantalisingly close to breaking from the walls of its frame. For Barnes, it represents one of the most genuine and magnificent scenes of the America that he knew and was raised in, and thus one of the most collectible paintings to have come to market by the artist. A richly coloured and highly contrasted palette, it demonstrates the masterly confidence that Ba... 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

EARLY 20TH CENTURY MUSICAL AUTOMATON BY REUGE,with a bird modelled perching, with surrounding foliage, contained in a gilded cage, movement and chirping mechanism to base, 29cm highWorks and appears to have been well kept, some light general wear but no major issues to report, a good example of the type.For a video please visit https://youtube.com/shorts/WPBl5KpmvH0?feature=share

Vinyl - Louisa Miller Share The Love Around on Wing An' A Prayer Records 12 WAP 003. Sleeve Vg+, Vinyl has very little sign of play and no scratches or scuffs but is warped and therefore Vg. Without warp would grade as Ex

Love Is Owl You Need by SEASONOFVICTORY (Linda Baritski). Sponsored by W D Coe Ltd.Artist:              SEASONOFVICTORY (Linda Baritski)Linda Baritski, aka SEASONOFVICTORY, is an Illustrator based in London; combining dynamic colour, psychedelic patterns, and bold illustrations. She brings a playful spirit to a diverse range of projects and clients who share her appreciation for vibrant, eye-catching imagery. "When I designed my owl last summer, I wanted to create something that would make people smile when they visited the trail. I’m excited to create something for this great cause with so many talented artists”.https://www.instagram.com/seasonofvictorySponsor:         W D Coe Ltd This sculpture is sponsored by W D Coe Ltd. Coes of Ipswich is an independent department store and offers one of the largest selections of men's clothing and footwear in the country. It also boasts a superb women's wear department, comprehensive sports section and a formal hirewear shop for special occasions. Commitment to quality and value, plus our renowned customer service, ensures your shopping experience will be an enjoyable visit.https://www.coes.co.uk/

CLEMENT HEATON (1861-1940) CHARGER, 1895-1906 cloisonné copper and enamel, marked to reverse CHATOYANT ENAMEL Dimensions:42.5cm diameterNote: Note: Clement Heaton, an early member of A.H. Mackmurdo’s Century Guild, set up his company Heatons Cloisonné-Mosaic Ltd at 6 Berners Street, London in 1887, a year after selling his share in his father’s lucrative stained glass business Heaton, Butler & Bayne for £4,800. He patented his enamelling technique in 1886, inspired by medieval techniques that precluded the firing process and instead used coloured cements: a mixture of resin, beeswax, sulphur marble dust and coloured pigments. Hardening over time, these cements could be polished to give the soft matt finish characteristic of Heaton’s work as seen in the present example.

Five: Paymaster Lieutenant A. M. Rogers, Royal Navy, later Captain, Section ‘D’, Special Intelligence Service, and Special Operations Executive, who was captured and interrogated by the Gestapo, but survived the experience, his cover as a Consular Clerk holding up 1914-15 Star (Clk. A. McK. Rogers, R.N.); British War Medal 1914-20 (Papr. S. Lt. A. McK. Rogers. R.N.); Victory Medal 1914-19 (Payr. S. Lt. A. McK. Rogers. R.N.); 1939-45 Star; War Medal 1939-45, generally very fine ands better (5) £600-£800 --- Alan MacKenzie Rogers was born in Portsea, Hampshire, on 19 July 1896, the son of a Naval Officer, and entered the Royal Navy on 15 January 1914, at the age of 17, as a Clerk. He served during the Great War in the Light Cruiser H.M.S. Castor, ands was present at the Battle of Jutland, 31 May 1916, where his ship was damaged by German fire, suffering 10 casualties. Advanced Paymaster Lieutenant in 1919, he resigned his commission in February 1921, and subsequently found employment with the Vacuum Oil Company, which was to merge with Standard Oil of New York in 1931. His work took Rogers to Yugoslavia, and in 1940 he was recruited by Section ‘D’ of the Special Intelligence Service on a voluntary basis. In July of that year Section ‘D’ was merged with two other intelligence agencies to form the now famous Special Operations Executive (S.O.E.) which carried on its work in occupied and threatened territories. Section ‘D’ (the 'D' standing for demolition) had been formed within S.I.S. in April 1938, with the purpose of creating disruption and fostering local resistance within territories that were, or were likely to be, occupied by Axis forces. Their primary responsibility was, as their name suggests, sabotage. At that stage Hitler had already occupied the Saarland and the Rhineland, and annexed Austria, and by the time that Section D received authorisation to commence operations, in March 1939, he had annexed the Sudetenland under the terms of the Munich Agreement. In that month, he contravened the agreement by annexing Bohemia and Moravia. This process had been facilitated by the conciliatory policies of Prime Minister Neville Chamberlain, but from the chronology it is clear that S.I.S. did not share Chamberlain's indulgent view of Hitler. The personnel of Section ‘D’ went to (irregular) war with the Nazis five months before the official declaration of war between Britain and Germany. Their methods tended to involve encouraging and equipping local 'partners' to help them pursue the aims of sabotage and subversion, and such was the case in Yugoslavia, where their objectives included violent interference with traffic on the Danube (vital to the Germans for maintaining the supply of oil from the Balkans) and promoting the interests of local factions likely to resist an Axis invasion. Rogers became part of the effort, working under the cover of a consular clerk, and is described as forming a triumvirate with Trevor Glanville and Major Alexander Lawrenson, running the Croatian and Slovenian networks, at a time when considerable pressure was being exerted on them by the Axis powers - including the attempted murder and murder of two of their colleagues (Section ‘D’ for Destruction, by Malcolm Atkin refers). Yugoslavia was finally invaded by the Axis on 6 April 1941, and four days later Rogers was arrested in Split on the Adriatic coast. Official documents make it clear that he had remained in place and was captured because of his work for S.O.E. The Gestapo held him at a concentration camp near Graz in Styria, on unspecified criminal charges. Correspondence indicates that he was regarded as being in serious danger and instructions were given that German consular officials captured in Iraq be detained by the Foreign Office as a form of security. The following month Rogers’ status was formalised by the granting of a Secret Commission as a Captain on the general list. His cover as a consular clerk held, and he was eventually transferred to a civilian detention camp in Poland (Lager Ilag 8), in December 1941. Liberated in May 1945, he resigned his commission with the honorary rank of Captain in 1949. Returning to the oil industry, he died in Palma in 1970. Sold with copied research, including a photocopy of the recipient’s S.O.E. service file, and a photographic image of the recipient.

Studio of Joseph Wright of Derby (British, 1734-1797)Portrait of Jedediah Strutt, three-quarter-length, in a green coat and waistcoat, seated at a tableOil on canvas laid down on board 127 x 101.5cm (50 x 39 15/16in).Footnotes:Provenance:The Collection of Col. Walter Evans, by whom offeredSale, Sotheby's, London, 15 June 1960, lot 105, where acquired by the Arkwright familyThe present composition is derived from the prime version by Joseph Wright of Derby (see: B. Nicolson, Joseph Wright of Derby, no. 324, when in the collection of Lord Belper and now in Derby City Art Gallery). Strutt was a cotton spinner, hosier and business partner of Sir Richard Arkwright. The son of a farmer in Derbyshire, Strutt was the inventor in the mid-1750s, in collaboration with his brother-in-law, William Woollatt, of a Derby rib machine which seems to have been an improvement on existing machinery. Strutt conducted a business partnership with Woollat and subsequently a new backer, Samuel Need and then with Arkwright, but only until 1781, by which time both men were powerful enough to stand on their own feet, Arkwright remaining at Cromford, Strutt at Belper and Milford. An epitaph that Strutt composed for himself at the end of his life is revealing about his values: 'Here rests in Peace J.S. – Who, without Fortune, Family or friends raisd to himself a fortune, family and Name in the World – Without having wit had a good share of plain Common Sense – Without much genius enjoyd the more Substantial blessing of a Sound understanding – With but little personal pride despisd a mean or base Action – With no Ostentation for Religious Tenets & Ceremonies he led a life of honesty & Virtue - & not Knowing what would befall him after death, he dyed resignd in full Confidence that if there be a future State of retribution it will be to reward the Virtuous & the Good This I think is the true Character J. Strutt'This lot is subject to the following lot symbols: TPTP 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

A box of mixed ephemera to include vintage cigarette cards, photographs, share certificate & Opera Libretto No.3 the Bohemian Girl etc.

US NORTHERN SOUL - 7" RARITIES. A superb pack of 7 US Northern 7" rarities. Artists/ titles include Falcons - (I'm A Fool) I Must Love You/ Love Love Love (Big Wheel 321, record is Ex), Danny White - Cracked Up Over You/ Taking Inventory (32048, Ex), Fred Hughes - Bad Boy/ Who You Really Are (755419, Ex), The Ad Libs - Nothing Worse Than Being Alone/ If She Wants Him (Share #106, drill hole through label. Ex), Baby Washington - Who's Going To Take Care Of Me/ I Can't Wait Until I See My Baby (Sue 45-124, drill hole through label. Ex), Chuck Jackson - These Chains Of Love/ Theme To The Blues (WND 1129, drill hole through label. strong VG+) & Jackie Lee - Would You Believe/ You're Everything (Mirwood 5519, Ex).

REGGAE / DUB / SKA - LP / 7" COLLECTION. Ace collection of 16 x (almost entirely) LPs and 16 x 7". Titles / Artists include Scientist inc. Rids The World Of The Evil Curse of the Vampires (GREL 25 - Ex+ / Ex), Big Showdown (GREL 10 - Red Vinyl - Ex / VG+), Prince Far-I and the Arabs - Cry Tuff Dub Encounter, Chapter 3 (DKLP 15 - Ex+ / Ex), Linton Kwesi Johnson - Forces Of Victory, Dillinger - Rockers (JSD 003), Clint Eastwood & General Saint - Two Bad D.J, The Reggae File - Strictly Dub Wize, Jackie Opel - A Love To Share (WI-264 - Ex+), Lee Roy - Oh Ee Baby (WI-251) and Symarip - Skinhead Moonstomp (TMX 4007). The condition is generally VG+ to Ex / Ex+ with many records grading at least Ex.

A mahogany and brass inlaid box, with an engraved plaque 'L Makin, 1814', 35cm wide24cm deep 12.5cm high together with a rosewood and brass inlaid box, with an initialled plaque, with velvet lined writing surface, on inkwells, 35.5cm wide 23.5cm deep 11cm highand various Western Gas Light Company and Leeds and Yorkshire Fire Office share certificatesCondition ReportBoth with wear and some lifting to the inlaid brass. Used condition all commensurate with age.

° ° BERKSHIRE: Man, John - The History and Antiquities, Ancient and Modern, of the Borough of Reading ... 21 plates and plans (2 folded) and a folded facsimile, text engravings, half title, errata slip at end; old reversed calf with later calf spine, 4to. Reading: printed by Share and Man ... 1816**CONDITION REPORT**Some corners lt wear and lwr edge of upper board; sl. marginal tear on folded plate; incls. list of plts. leaf, also neat marginal ms. table p.125; (5), iii, 431 and XXVIpp.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A quantity of world coin sets. Including British Virgin Island, some silver, and a share certificate.

DANILOVA (Alexandra): printed programme for Ballet Russes at Royal Opera House Covent Garden, August 24th 1936, signed at head by Alexandra Danilova, torn and creased: together with a Russian South-Eastern Railway Company share certificate and two fine press leaves. (4)

'THE ROTHSCHILD CHEVAUX MARINS CHENETS' A RARE PAIR OF LOUIS XV ORMOLU SEAHORSE CHENETS, CHEVAUX MARINS FRENCH OR GERMAN, C.1745-50 each surmounted with a prancing horse with webbed hooves, on a Rococo scrolling leaf base, with chased and punched decoration, stamped '2', with a bronze scroll support (2) 43.5cm high, 35.3cm wide Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This wonderful pair of sculptural chenets derive from a drawing attributed to Lambert-Sigisbert Adam (1700-1759) for a chenet designed with Triton astride a sea horse. Chenets incorporating 'chevaux marins' are recorded in the inventory at the chateau of Passy which belonged to A-G Bernard de Saint-Saire, the grandson of Samuel Bernard, Louis XVI's banker. Listed as 'a high-firing copper representing a mythical sea horse leaning on ornaments ... all gilded with ormolu'. Other examples can be found in the Kunsthistoriches Museum, Vienna, in the collection of the Dukes of Buccleuch and Queensberry at Boughton House, Northamptonshire, a pair formerly in the collection of Dr. Anton C. R. Dreesman, sold at Christie's, 10th April 2002, lot 250 for £91,750 and a pair formerly in the Riahi Collection sold at Christie's, 6th December 2012, lot 6, for £109.250. A further pair of chenets with the same base but lacking the horses is at Waddesdon Manor, Buckinghamshire, see The James A. de Rothschild Collection at Waddesdon Manor, vol. II, Furniture, pp.726-7, no.184. Our chenets share the same pounced decoration as the Waddesdon and Riahi pairs.

A quantity of framed and glazed and other menus and memorabilia from La Gavroche and The Late Roux Brothers clearance, including framed and glazed print of "Floyds Inn (sometimes); and a framed and glazed silk "Menu Exposition Paris 1937, Ruban de St Etienne; and a framed copy of The Queens Hotel Hastings Menu, and a Mirabelle London framed poster, and wine menus, 3 menus from 1939 A LeEcu de France , and Whitehall Court; Egyptian Estates Limited Share certificates; A Richard Bramble Artists Proof poster of mushrooms, and turn of the century, circa 1910 and others ephemera, letters from French ladies, and some memories of Claridge's . Provenance: all from the famous Roux Chefs Memorabilia

Thimble Artist:Dorothy Jenkinson Sponsor:The Fabric ShopThe fabric shop is one of the longest-serving independent retail businesses in the historic market town of Eye, Suffolk. It’s run by our passionate team of handy makers who share a love of craft and pride themselves on friendly service and advice. https://thefabricshopeye.co.uk/ Measurements (approx.)Length 20cmHeight   28cmWidth    17cm

STATUETTE DE TSONGKHAPA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4604 18.8 cm (7 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF TSONGKHAPACENTRAL TIBET, 15TH CENTURY藏中 十五世紀 銅鎏金宗喀巴像Provenance:With Claude de Marteau, Brussels, by 1970sJe Tsongkhapa (1357-1419), the revered founder of the Gelug school of Tibetan Buddhism is presented here with great esteem, exemplified through characteristic features associated with other enlightened teachers, bodhisattvas and buddhas. Seated on a wide double lotus throne, he wears traditional garments of an esteemed master including a dhonka and patchwork robe incised with scrolling vines interspersed with floral buds and blossoms. Flanking either side of the lama on lotus flowers are the manuscript and sword, attributes of the Great Bodhisattva of Wisdom, Manjushri, who has conferred wisdom and skillful means on the master. The portrait merges with images of the Buddha, as the elongated earlobes and alms bowl pay tribute to the greatest of all Buddhist teachers. Tsongkhapa's portrayal is in visual union with all the great enlightened beings. The formality of the lama is at clear play with his more candid portrayal. The countenance of the face is charming, expressed in the laugh lines, plump cheeks, rounded nose and pointed chin having an impression of approachability and friendliness. The toes that peek from below the lama's robe relax any sense of stiffness of the body. This is similarly illustrated by another 15th-century bronze from Central Tibet sold in the Claude de Marteau Collection at Bonhams, Paris, 14 June 2022, lot 41. There is an overall enchanting quality and human tenor, which without these elements, may reduce this portrait to a generic type. As founder of the Gelug order, particular reverence through repetition can be seen in the proliferation of Tsongkhapa's portrayal, and yet this example shows a more sensitive modelling of the face and hands, offering a counterpoint between the realistic and idealized features of this lama.The idealized portrayal of Tsongkhapa and the stylistic variations can make it difficult to identify the master with certainty. Other examples of the lama include HAR 12476, which share similarities in the facial features, the modeling of the lotus petals, and the exposed toe, but are set apart with the inclusion of the alms bowl in this caste. As these are idealized images, without an inscription the identity can remain vague, and yet with certainty, it can be understood that lama portraiture, especially in consideration of the notoriety of Tsongkhapa, was an essential aspect of tantric visual tradition. The stylistic elements are consistent with 15th-century castings from Central Tibet. The lotus petals and base's tall foot specifically reference a mode coming from the atelier of Sonam Gyaltsen which flourished in Tsang province during the early-mid 15th century and can be compared to another lama portrait on HAR 11028. Moreover, Tsongkhapa's legacy, both historically and visually, was established during the 15th century in central U-Tsang region, making memorials of his likeness a testament to his amassed following which culminated in the founding of the Gelug order.For further information on this lot please visit Bonhams.com

STATUETTE D'UN GÉNÉRAL YAKSHA EN ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLEHimalayan Art Resources item no. 4622 13.5 cm (5 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF A YAKSHA GENERALQING DYNASTY, 18TH CENTURY清 十八世紀 銅鎏金藥叉大將像Provenance: With Claude de Marteau, Brussels, by 1970sThe Twelve Yaksha Generals are retinue figures associated with the mandala of Bhaisajyaguru, the Medicine Buddha. Each of the generals characteristically holds a mongoose in his left hand along with various accompanying implements. Sculptural sets, such as these have largely dispersed, making iconographical delineations challenging, and as these yaksha generals share similar characteristics with both Vaishravana and Jambhala, they can be easily misidentified. This broad shouldered and large bellied guardian sits in a relaxed pose with an alert gaze. The modelling, strong countenance, and jewelry correspond to a figure bearing an inscription which denotes its number within a set, stating, 'The Blue g.Yo-hdzin. West. No. 38' (von Schroeder, Indo-Tibetan Bronzes, 1981, p. 454, no. 125B). Both wear a soft sash loosely tied horizontally across the chest half concealing a beaded necklace below. In both cases, the guardians share a similar seated posture, and their arm gestures suggest a staff was set diagonally across their bodies. The example in von Schroeder shows two flanking retinue figures on either side of the Yaksha, offering a visual reference for sculptural arrangements of this kind. Based on the similarity of the crown details between the Yaksha here and a figure of Virupaksha from the Essen collection (HAR 3314890), it is likely these figures relate to the same sculptural group. Another similar Yaksha General figure is in the collection of the Tibet House Museum in New Delhi (HAR 71845).For further information on this lot please visit Bonhams.com

STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE DORÉDYNASTIE YUAN, XIVE SIÈCLEHimalayan Art Resources item no. 4626 17 cm (6 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF BUDDHAYUAN DYNASTY, 14TH CENTURY元 十四世紀 銅鎏金佛陀像 Provenance:With Claude de Marteau, Brussels, by 1970s Many images of the Buddha exist memorializing the moment of his enlightenment. Iconic in form, the portrait is at once recognizable in the gesture, contemplative gaze, and perfected meditative posture. Yet, every iteration carries unique features and motifs tracing both tradition and change, telling a story of both time and place. This bronze tells of the Yuan dynasty's eager patronage of Tibetan Buddhism and its summoning of master Newari artisans from Nepal to establish the dynasty's own practice of image making. Yuan court annals and a reign-marked gilt copper alloy sculpture of Manjushri in the Palace Museum, Beijing, attest to this narrative (see Bigler, Before Yongle, 2013, p. 11, fig. 3). Like the present sculpture, the Manjushri, dated to the 9th year of the Dade reign (1305 CE), emphasizes its subject's sublime nature through a lightly clad idealized body characteristic of Newari aesthetics; less focus is placed conversely on heavily patterned garments and intricate jewelry. The sentiment is carried by the present bronze's restraint of ornamentation in the sheer monastic robe, which hugs a sensuous, monumental frame. Both figure's broad foreheads and square jaws share an affinity with buddha images from Nepal's Early Malla period (13th/14th century). So do the wide, beaded hemlines within their garments. However, the sculptures have almost identical beaded lotus pedestals completed in the round displaying tear-shaped inner petals with curled tips surrounded by a flatter second layer with ridged tips. Such bases and a particular technique of engraving, comprised of small punch marks yielding scrollwork, are idiomatic of bronzes produced for the Yuan dynasty. Additionally, the most prominent engraved detail embellishing the present Buddha is found over his left shoulder, showing a square panel with a visvavajra surmounted by a lotus flower. This motif and the other Yuan elements are all represented by a bronze buddha sold at Bonhams, Hong Kong, 2 December 2021, lot 1011 and two other published examples (ibid., pp. 92-5 & 112-3, nos. 21 & 26).For further information on this lot please visit Bonhams.com

STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉTIBET, XIVE SIÈCLEHimalayan Art Resources item no. 4632 15.5 cm (6 1/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHARATIBET, 14TH CENTURY西藏 十四世紀 銅鎏金金剛總持像 Provenance:With Claude de Marteau, Brussels, by 1970sReferencing the perfected union of wisdom and compassion that results in Buddha-consciousness, Vajradhara, the Primordial Buddha, crosses a vajra and ritual bell over his heart. Compare with a 14th/15th-century image of Maitreya sold at Sotheby's, New York, 22 September 2020, lot 323, as well as another Vajradhara image from the Roshan Sabavala collection in Mumbai (HAR 83297), both of which share similarly elongated limbs and torso with the present lot.For further information on this lot please visit Bonhams.com

A Collection of Seven 19th Century Framed Share Certificates

FOLLOWER OF FRANS HALSPORTRAIT OF A MAN, TRADITIONALLY IDENTIFIED AS ABRAHAM CLARKE THE ELDER (1622-1683), HALF-LENGTH IN BLACKOil on canvas73.7 x 61cm (29 x 24 in.) Provenance:The Crawley-Boevey family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1295Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyAbraham Clark the Elder was the husband of Joanna Boevey (see lot ....) and half brother-in-law of James Boevey. In 1654 James Boevey transferred the Flaxley estate to his half brother William who in turn gifted a share to his sister. Upon the death of William in 1661 Joanna and Abraham bought out her sister-in-law, who had inherited William's interests in Flaxley, and lived there with their son Abraham the Younger. Condition Report: The canvas has been relined and mounted on a later stretcher, which is providing good support. Some discolouration of the varnish and signs of mould. A few superficial scratches, including three in the sitter's hat of approx.. 10 cm and one of approx.. 20 cm running from the right side of the hat into the background. Some abrasions around the edges from contact with the frame. Vertical craquelure running down from the sitter's right shoulder. Condition Report Disclaimer

ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF JOANNA BOEVEY, FULL LENGTH IN A BLACK AND BROWN DRESS WITH EMBROIDERED SLEEVES HOLDING A PAIR OF GLOVESOil on panelInscribed 'ANNO 1616/ ANNO BOEVE/AETATIS SVAE 11-'143.5 x 95.3cm (56¼ x 37½ in.)In an 18th Century carved giltwood frame. Provenance:Probably commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1296.Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyLiterature:Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 1; p. 12. In the 1960 sale of the house contents of Flaxley Abbey, Gloucestershire, this painting was ascribed to 'Sandvort'. The portrait represents Joanna Boevey (1605-64) as a young girl, aged 11, daughter of Andreas Boevey (1566-1625), a Dutch Huguenot emigré, merchant, financier and elder of the Dutch church at Austin Friars. Joanna married Abraham de Clerke (also Dutch, anglicised to Clarke). After 1654, James I transferred the Flaxley estate to Joanna's brother, William Boevey, who gifted a share to his sister, and directed that the remainder be sold after his death for the benefit of his wife. In 1661, Joanna bought out her sister-in-law, and lived at Flaxley with her son, Abraham Clarke the younger. On Abraham's death in 1683, he bequeathed the estate to his cousin, also named William Boevey (1657-92), son of his half-uncle, James (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - I: The Home of Mr. and Mrs. F.B. Watkins',Country Life, 29 March 1973, pp. 844-845). A second painting of Joanna as an adult is recorded at Flaxley in 1912, and at this date was tentatively attributed to Cornelius Jansen (1585-1638) (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 2; p. 13). Condition Report: Panel supported on the reverse by five horizontal wooden slats, one of later date. Four horizontal wooden panels, with visible openings between them. Several vertical cracks: two of about 36 and 27 cm running up from the edge lower left, one of about 36 cm running up from the edge in the centre, one of approx. 40 cm running down from the top edge upper right, several smaller ones running down from the top edge. Surface dirt and discolouration of the varnish. UV reveals retouching particularly along the cracks as well as in the sitter's face where the paint is slightly thinning. Condition Report Disclaimer

Regina 15.5-inch double comb music box with a mahogany cabinet housing 75 steel and zinc discs. Overall excellent condition, original lid picture, plays with a brilliant sound. Serial number: 36881. Condition: Excellent. Location: USA, Florida. Video link: https://youtube.com/shorts/oKBO0ZzRBrE?feature=share

Weber 65-note Pianola piano with fantastic Sheraton-style inlay case, ca. 1907. Overall very good condition and plays extremely well, complete restoration done 30 years ago using synthetics, two small missing pieces of veneer at bottom of case. Comes with around 210 65-note rolls chosen one-by-one over the last 40 years, including about 70 very hard to find popular rolls, about 70 hard to find waltzes and shows, and about 70 operatic and interesting classical music rolls. Serial No.: 62012. Condition: Very Good. Location: USA, Florida. Video link: https://youtube.com/shorts/2NCxuk9MjdE?feature=share

Small Gavioli Harmonipan 44-key barrel organ. The Harmonipan plays 7 tunes and has the original song sheet. Overall very good condition with near perfect case and nice sound, but one bass pipe needs work. Manufactured by Gavioli & Cie, ca. 1860. Height: 56 cm. Width: 63,5 cm. Depth: 35,5 cm. Condition: Very Good. Location: The Netherlands, Tilburg. Video link: https://youtube.com/shorts/2Wt2t8K_SUQ?feature=share

Of all the large orchestrions ever made, the Hupfeld Helios models were the most popular worldwide. They were arranged into five basic "classes," from I through V, indicated by the Roman numeral at the beginning of the style number. The letter following the class number indicates the instrumentation, and the number after the slash describes the cabinet style. Thus, the Ic/31 is a class I Helios with type 'c' instrumentation in a style 31 case. The present instrument is in excellent condition, restored about 20 years ago. Overhauled and brought to the excellent condition by Ron Capell in 2022. This instrument features a double roll system and comes with 50 music rolls. Instrumentation: Overstrung piano with mandolin effect , registers of pipes for the voices of violin and violoncello, orchestra bells, bass drum, Chinese cymbal, snare drum, and expression effects, with clarinet reed pipes and large bass pipes in addition. Several dozen class I, fewer than a dozen class II, two class III and no class IV or V instruments are known to exist. Produced by Ludwig Hupfeld AG, Böhlitz-Ehrenberg, Germany. Height: 300 cm. Width: 213,5 cm. Depth: 109 cm. Condition: Excellent. Location: Switzerland, Degersheim. Video: https://youtube.com/shorts/XkjyNlTrKkw?feature=share

A KOM lodge sash, one other, cigarette cards, postcards, others including Eastenders, a mining share certificate, etc.

COOKE (James) Reference to the annexed plate of a Patent Drill Machine, with a six-share Horse-Hoe . . ., 8vo, caption title, engr. frontispiece, pp. 20, untrimmed in modern calf, foxing, L. [1789]One of at least 4 issues, all published ca. 1789, all rare, and this one an apparently unrecorded variant. The plate here is dated Jan. 1st, 1789.

AN ANDESITE HEAD OF BUDDHA, 9TH Р10TH CENTURYIndonesia, Central Java. Finely carved with bow-shaped mouth and downcast eyes centered by a raised urna, flanked by pendulous earlobes, the hair in snail-shell curls over the conical ushnisha.Provenance: Hopareboden Antikviteter, Stockholm, Sweden, 14 June 1965. From the private collection of Mr. Lampa, Sweden, acquired from the above, and thence by descent to the last owner. A copy of the original invoice from Hopareboden Antikviteter, signed by the owner Eva Rudensch̦ld, dated 14 June 1965, accompanies this lot. Countess Eva Gabriella Rudensch̦ld (1915-2005) was a Swedish noblewoman and a well-regarded collector and antiques dealer in Stockholm. Condition: Overall commensurate with age, showing old wear from handling and worship, sings of weathering and erosion, few chips and losses. The wood base with minuscule nicks.Weight: 6.2 kg (incl. base) Dimensions: Height 24.7 cm (excl. base) and 35 cm (incl. base)With a wood base dating to the 1960s. (2)The facial features of this finely carved andesite head share physiognomic elements inspired by the preceding Gupta artistic tradition of Northern India, such as the well-defined nose and snail-shell curls covering both the head and ushnisha. This remarkable head also closely resembles the manifold transcendental Buddhas that adorn the Buddhist monument of Borobudur in Central Java, erected under the Sailendra Dynasty in the early years of the 9th century. The porous texture of the volcanic stone expertly fashioned into serene expressions manifest a sense of sincerity and bliss characteristic of classical Javanese sculpture. The great stupa of Borobudur is a three-dimensional mandala that maps the cosmic universe in five ascending terraces. The large-scale Buddhas at its pinnacle represent the highest levels of transcendental wisdom.Literature comparison:For a related example, see P. Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, p. 104, cat. no. 126.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 September 2020, lot 715Price: USD 32,500 or approx. EUR 35,200 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th Р10th centuryExpert remark: Compare the closely related curls, urna, and expression. Note the significantly larger size of 40.6 cm.

A SPECTACULAR PORTRAIT OF A SECOND-RANK CIVIL OFFICIAL, IMPERIAL SCHOOL, YONGZHENG, PRE-1730Expert's note: Before the Yongzheng Emperor's new regulations for hat finials in 1730, first-rank officials used a ruby bead and small white pearl, while second-rank officials wore a ruby bead and a small red gemstone. Afterwards, first-rank officials' finials were set with translucent red glass or ruby beads, while those of second-rank officials held coral beads or red glass in imitation of coral, with both using small white pearls. The hat finial of the present official is clearly set with a ruby and not a coral bead, which is evidenced by the paler color of his coral necklace, as well as a smaller red stone. Therefore, this portrait must have been painted before the 1730 regulations were put in place. For more information on Qing-dynasty hat finial regulations before and after 1730, see Gary Dickinson & Linda Wrigglesworth, Imperial Wardrobe, London, 1990, page 106.China, before 1730. Ink, gilt, and watercolors on silk, with a silk brocade frame and laid down on paper. The elderly aristocrat wearing a red official hat (chao guan) with a gold finial holding a large ruby and a smaller red gemstone. Note the exceptional quality of the painting and remarkable attention to detail - as found for example on the silk rug with its distinct forbidden stitch, the gilt-outlined swirling clouds on the rank badge, and the robe hems, which all appear strikingly lifelike.Provenance: Chicago trade, USA, sold for the benefit of a noted cultural nonprofit organization. European trade, acquired from the above.Condition: Very good condition with only minor wear, some soiling, little creasing, small losses, few minor touchups. Dimensions: Image size 155.6 x 77 cm, Size incl. mounting 175 x 80.8 cmSeated on a fine wooden yokeback chair with a tiger skin seat cover, wearing a midnight blue surcoat (pu fu) over a blue silk formal court robe (chao fu), the collar of the surcoat and hems of the robe decorated with sinuous dragons amid colorful clouds, matching the golden pheasant rank badge, his left hand holding a white pearl from his coral court necklace between two fingers, the realistically treated face marked by heavy-lidded eyes, deep wrinkles, and a gray mustache and beard. Note the texture of the soft fur of the tiger's pelt and coat edges, as well as the rough quality of the embroidered cloud-scroll bands of the coat cuffs.At the beginning of the Qing dynasty, the chao guan was worn on semi-formal occasions without its usual ornate spike. The Yongzheng Emperor appears to have felt that this was unsatisfactory. Easily identified hat finials were introduced in 1727 by the Yongzheng Emperor and were worn on all official and public occasions. The new insignia was a large round bead of material of the appropriate color, along with a smaller pearl or stone of the same color as the bead, mounted on a gilt base. The highest-ranking officials wore plain opaque red beads, while the lowest wore silver. In 1730, regulations were introduced to allow the use of colored glass instead of precious stones.Literature comparison: Compare a related portrait of Lirongbao, the father-in-law of Emperor Qianlong, painted posthumously during the 18th or 19th century and now in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institute, accession number S1991.130, illustrated in J. Stuart and E. S. Rawski, Worshiping the Ancestors: Chinese Commemorative Portraits, Washington, D.C., 2001, p. 161, fig. 6.8. Note the ruby bead and small white pearl on the finial, indicating that this painting was made after 1730.Auction result comparison: Type: Closely related Auction: 17 September 2010, lot 1060 Price: USD 74,500 or approx. EUR 98,000 converted and adjusted for inflation at the time of writing Description: Anonymous (18th/19th century), Portrait of a Civil Official Expert remark: Note that the coral bead and white pearl of the hat finial worn by this official were only used after the 1730 regulations (see Expert's note), which clearly indicates this portrait was painted after 1730 and thus after the present lot, although both works share the same level of artistic skill. Note the size (156.2 x 76.2 cm).雍正時期二品官員肖像畫中國，1730年前。絹本設色描金。br />專家注釋：1730年雍正皇帝頒布帽飾新規之前，一品官佩戴紅寶石珠和小白珠，二品官佩戴紅寶石珠和小紅寶石。之後，一品官的頭飾上鑲有半透明的紅玻璃或紅寶石珠，二品官員則戴珊瑚珠或仿珊瑚的紅玻璃，均用白色的小珍珠。拍品上的官員的朝冠上顯然鑲有紅寶石，而不是珊瑚珠，這從他的珊瑚項鍊的顏色較淡，以及一顆較小的紅色石頭就可以看出這一點。 因此，這幅肖像一定是在 1730 年的法規實施之前繪製的。有關 1730 年前後清朝帽飾規定的更多信息，參見 Gary Dickinson 和 Linda Wrigglesworth，Imperial Wardrobe，倫敦，1990年，頁106。 來源：美國芝加哥古玩交易，為資助一個知名的非盈利文化組織；歐洲古玩交易。 品相：狀況極好，只有輕微磨損、一些污漬、少量摺痕、缺損和修補。 尺寸：畫面155.6 x 77 厘米，總175 x 80.8 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPORTANT AND RARE BRONZE RITUAL FOOD VESSEL, LI, WITH 24-CHARACTER INSCRIPTION, LATE WESTERN ZHOU DYNASTYInscriptions: To the rim, 'zhui shi you er nian zhengyue chu ji zhou bai fu zuo zun ge qi wannian zisun yong bao yong xiang'. The inscription states that this vessel was made in “January of the twelfth year” of an unspecified period “with the hope of it being used by many generations after”.Opinion: This spectacular li vessel compares more than favorably to the Zhong Jiang Li previously in the Fujita Museum and sold at Christie's in 2017. Not only do these two vessels share more or less the same form and decoration, they are also both inscribed at the top of the rim - although the inscription on the present vessel is substantially longer. There are, however, some key differences between the two that should be of great interest to the astute collector. For one, the Zhong Jiang Li must at some point have been cleaned, as it lacks the beautiful patina of our li. However, its provenance is well-documented, going back to the 19th century, which goes some way to explain the high price it reached at auction. In terms of quality though, the present li is in no way inferior to the Zhong Jiang li, and very much deserves the same attention. China, 9th-8th century BC. The tri-lobed body is supported on three hoof-shaped feet, and cast on the sides with raised vertical lines divided by plain horizontal bands and narrow flanges. The everted rim is crisply cast with a 24-character inscription. The vessel has a superb, naturally grown patina with extensive malachite encrustation.Provenance: From an old English private collection, acquired in the 1950s and thence by descent within the same family. The fitted box is inscribed with the collector's name "Q.E. Robey" and dated "7. May 195".Condition: Remarkably well preserved and substantially better than expected. Some revision work dating to the period of creation and subsequent usage, such as small patches and fills, must not be mistaken for modern restorations. A minor dent to the shoulder. Old wear and weathering, soil encrustations, minor areas of corrosion, some smaller nicks here and there. The inscriptions are crisp and well-defined. Superb, naturally grown patina.X-Ray images: Images 19 and 20 show the inscription and confirm its originality. Image 21 reveals the small patches mentioned in the condition report. (more images available upon request)Weight: 962.7 gDimensions: Width 16.2 cm (measured rim to flange), diameter 15.4 cm (measured at the mouth rim)Fitted box, dating from the early to mid-20th century. (2)Li with striated decoration were inspired by pottery prototypes and were popular during the middle to late Western Zhou dynasty. A set of five similar li vessels with Wei Bo inscriptions was found in a hoard in Zhuangbai village, Fufeng county, Shaanxi province, and illustrated by Wu Zhenfeng in Shangzhou qingtongqi mingwen ji tuxiang jicheng (Complete Collection of Inscriptions and Images of the Shang and Zhou Bronzes), vol. 6, Shanghai, 2012, pp. 85-89, nos. 2702-2706. The Wei Bo li have more slender legs and taller proportions than the present li and can be dated by inscription to the latter part of the middle Western Zhou dynasty. A group of late Western Zhou li vessels with Zhong Ji inscriptions are very similar to the present li. See ibid., pp. 127-133, nos. 2746-2752. Literature comparison: Compare related examples excavated from mid-Western Zhou sites in Shaanxi province, illustrated in Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol. IIB, Washington, D.C., 1990, pp. 322-323, figs. 27. 2 and 27.4. Compare also a li of similar size and design, from the Arthur M. Sackler Collections, illustrated ibid., pp. 330-331, no. 27.For the pottery prototype, see an earthenware li dated to the 10th century BC in the collection of the British Museum, museum number 1959,0216.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 15 March 2017, lot 528Price: USD 427,500 or approx. EUR 470,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, Zhong Jiang Li, late Western Zhou dynasty, 9th-8th century BCExpert remark: Compare the near identical form and striated decoration, as well as the five-character inscription similarly cast to the rim. Note that this vessel appears to have been cleaned at some point, removing most of its natural patina. Also note the slightly larger size (19 cm). 西周晚期青銅禮器鬲中國，公元前九世紀至八世紀。青銅食器。敞口，束頸，分襠，鼓腹，下置三短蹄狀足。腹飾條紋，扉棱。此器口沿變寬，便於手端，代替立耳，簡潔明快。外翻的邊緣清晰地鑄有 24 個字銘文。極好的自然生長的包漿，大量結殼。 款識：隹十又二年正月初吉周白父作尊鬲，其萬年子孫永寶用享由於字數限制，完整中文敘述請至www.zacke.at查看。

A BRONZE DRUM, HAN DYNASTYChina, 202 BC - 220 AD. The round drum supported on a waisted base, the top and sides finely cast in relief with multiple concentric geometric designs including key-fret, triangles, and beads centered by a star design, with pairs of loop handles to either side. The drum produces a clear and distinct sound.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Good condition commensurate with age showing extensive wear and weathering, some casting flaws, possibly minor old repairs, small losses, nicks, dents, and scratches. Fine, naturally grown patina with Malachite encrustations. All as expected from a bronze drum with an age of roughly two millennia.Weight: 16.4 kg Dimensions: Height 29.4 cm, Diameter 51.5 cm Expert's note: Bronze drums such as the present lot are a percussion instrument used by various ethnic groups from the southwest of China. They were popular in Yunnan, Guizhou, Sichuan and Hunan Provinces, among which Yunnan and Guangxi have the largest numbers recorded. Both provinces share a border with Vietnam, home to the Dong Son culture, which in turn is well-known for its own drums. Applied to sacrifice rituals, the drums were usually used to play music or accompany dance rites. The Yunnan Provincial Museum in Kunming houses an important collection of early bronze drums (Warring States through Western Han period) that were excavated from royal burials at Shizhai Shan and other locations in the vicinity of Lake Dian. This part of Yunnan, whose people and language were not originally Han Chinese, had been ruled by the independent Dian kingdom from about 500 BC. Bronzes from this period through the middle Western Han Dynasty (about 100 BC) are unique to the region, and share many characteristics with bronze artifacts of Southeast Asia. Their decoration was also influenced by artistic styles of the Eurasian steppe. After surrendering to Han Wudi in 109 BC, the Dian kingdom was administered as a frontier commandery of the Han empire. Dian kings were retained as local rulers. From then on, the distinctive Dian regional bronzes became gradually replaced by Han-style bronzes, in the type of cultural assimilation that is called "Sinification" (literally, "becoming Chinese") by Chinese historians.Literature comparison:Compare a closely related but smaller drum in The Complete Collection of Treasures of the Palace Museum, Bronze Articles for Daily Use, Beijing 2007, number 78.漢代青銅鼓 中國，公元前202年至公元220年。圓鼓，由鼓面向下收後，足部外撇，腰部有明顯凸起的弦紋。鼓面有雙圈十二角星紋，外壁飾有雷紋、三角紋、凸起鉚釘等幾何紋飾。兩側各有一對環形把手。該鼓發出的聲音清晰響亮。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。他和其妻子Irene於1960年代初期，在倫敦開設了多間古董樂器行，並出售給博物館、私人收藏家和音樂家，營業40餘年。他也出版了多本關於樂器史的書籍，其中包括《The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors》。 品相：品相良好，與年代相稱的大面積磨損、風化，有些鑄造瑕疵和可能的舊修補，小缺損、刻痕、凹痕和劃痕。良好和自然生長的包漿，帶有孔雀綠色結殼。這些狀況都是在一件兩千年前的青銅鼓上可預期的。 重量：16.4公斤 尺寸：高29.4厘米，直徑51.5厘米 專家注釋：此類型的青銅鼓是中國西南地區各民族使用的一種打擊樂器。它們流行於雲南、貴州、四川和湖南等省，其中雲南和廣西所記錄數量最多。這兩個省都與越南接壤，越南是東山文化的發源地，而東山文化又以鼓而聞名。鼓通常被用於祭祀儀式，演奏音樂或伴舞。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance. 大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。

Fred Yates (1922-2008) 'Just Me' oil on board, signed and titled on the reverse 'Yates, La Motte', 64cm x 44cm, framed. The year before Fred died he started to paint quite a lot of self portraits which share similar quality to this artwork.

Geologie - Bergbau - - Ludwig Heinrich von Colson. Rechnung des Kurfürstlich Hessischen und Fürstlich Schaumburg Lippischen gemeinschaftlichen Obernkircher und Südhorster Steinkohlen-Bergwerks. Deutsche Handschrift auf Papier. O.O., 1831. XX S. 70 S. Fol. HLdr. d. Zt. mit Marmorpapierdeckeln, Lederecken u. mont. hs. DTitel (berieben u. bestoßen, die Gelenke etw. beschädigt, Rücken mit Fehlstelle). Schon 1831 war der hessische Anteil am Steinkohlen- Regal in Schaumburg durch Verzicht des Kurfürsten auf den hessischen Staat übergegangen, so stand dieser Anteil nunmehr dem preußischen Staat als Rechtsnachfolger von Kurhessen zu. Der zu der Zeit des Verfassens als Oberberginspektor agierende Ludwig Heinrich von Colson führte den Betrieb der Schaumburger Steinkohlewerke bis zu seinem Tod im Jahr 1858. Geology - Mining - Handwritten German manuscript on paper. Half calf of the time with marbled paper covers, leather corners and mounted handwritten cover title (rubbed and bumped, joints somewhat damaged, spine with missing part). Already in 1831, the Hessian share in the Schaumburg hard coal region had been transferred to the Hessian state through the relinquishment of the Elector, so that this share was now due to the Prussian state as the legal successor of Electorate Hesse. Ludwig Heinrich von Colson, who was acting as chief mining inspector at the time of his writing, managed the Schaumburg hard coal works until his death in 1858.

Two Boxes of Share Certificates, Bonds, Stock Certificates, together with and tin of low denomination bronze and other UK pre decimal and later coinage

James Gillray (British, 1757-1815), 'The Lion's Share', etching in colours, published in 1797 by H. Humphrey, London, main image size 26 x 21cm, framed and glazed.

CARTIER: GEM-SET BEAD AND DIAMOND NECKLACE, CIRCA 1925The front set with three rows of graduating turquoise beads alternating with ruby spacers, continuing to a double-row backchain of similar design, connected each side via an old brilliant and single-cut diamond geometric plaque with lily-of-the-valley terminals, signed Cartier, indistinctly numbered, length 38.5cm, Cartier caseFootnotes:Please note, lots 206 - 216 are from a Private Collection of 20th Century Jewels.Provenance:Mrs Alice Lurcy (1906-1980)Sotheby's New York, 14th April 2011, lot 179In 1957, Sotheby's Parke-Bernet sold the collection of French investment banker Georges Lurcy. The collection comprised 65 Impressionist paintings, 18th century furniture and objets d'art and totalled $2,221,355. Time Magazine described the historic sale as 'The Greatest Auction'. The ticketed event was limited to 1700 people seated in three salerooms and for the first time closed-circuit television was used to relay live proceedings. The auction was attended by some of the wealthiest, most consequential people in the world who included Eleanor Roosevelt, Helena Rubenstein, Mr and Mrs Winthrop Aldrich, Mrs Stavros Niarchos, the agent for Paul Mellon, James Rorimer, Director of the Met, Charles Durand-Ruel, Mr and Mrs Robert Lehman, plus members of the Rockefeller, Ford and Vanderbilt families. The auction was followed 24 years later by the sale of Georges' wife's magnificent jewellery collection that included pieces by Lacloche, Mauboussin and Cartier. The present lot was kept by the family until it was sold on 14 April 2011, at Sotheby's New York, 'Magnificent Jewels', lot 179.Georges Lurcy (born Levy, the son of a modest Jewish family in Alsace), made his fortune in banking and investments and in developing hydroplanes during World War One. Generous to a fault, he installed his mother and brother in the best quarter of Paris and constantly entertained friends in his homes in Paris and Deauville. In 1937 he married Alice Snow Barbee, an American from High Point, North Carolina, whom he described as 'the only luxury in my life I do not share'. At the advent of World War Two, the couple fled to the USA, eventually settling in New York's Fifth Avenue with an estate on Long Island. The Lurcy's loved to surround themselves in opulence with Georges adding to his art collection, of which he was very proud, as well as showering Alice in exquisite jewels. He saw the acquisition of art as 'money reaping paradise'. Alice writing in 1945 told him 'you are the dearest, most exquisite little husband in the whole wide world; I love you so tenderly, and I want you to know that you have been the only happiness, love and pleasure in my whole life.'For further information on this lot please visit Bonhams.com

AFTER FRANCOIS BOUCHER The dovbe share, oil on board, 91 x 71cm Condition Report:Available upon request

Bonds: Greece Olympias Forestiers Salonique, 1935 Bond, 1000 Drachmai Lumberjack large vignette, with coupons black and blue. With tax stamp adhesive . Société Paris Carlton-Hotel 1920 100 Francs Bond with Coupon. The Land Bank of Egypt 1905 £5 share Certificate. An attractive document, blue on white with coupons. Egypt 1906 Grand Garages D'Egype Bond for Cinqactions de L.E. $ Chacure, yellow on black with coupons. Printer: Barnaud, Lyons, Paris. Societe-Francaise - Des Obturateurs, Bardel 100 Francs Ordinaire 1908, with coupons. Allende - Barcelona Spain 1000 Pesetas Bond, 1918 red and yellow, colourful Bond and Compagnie Paris & Enne Fornciere 1929 Bond, 100 Francs with Coupons (8)

Bonds: NCU Company 1925 Share Certificate for 333 shares of Capital Stock, fine vignette of oil wells (Delaware), Lehigh Valley Railway Company - 1945 - United States. $1000 dollar general consolidated mortgage gold bond. Vignette - locomotive and railway workers., Pittsburgh, Allegheny and Manchester Traction Company, 1893 Share Certificate, vignette view of Pittsburgh, The Cincinnati, Washington and Baltimore Railroad Company 1886 Ten Shares (100$) Certificates, Steam Locomotive, State of Ohio vignette, The International Nickel Company of Canada, Limited, 1930. 100 shared preferred stock. Fine vignette of miners. (5)

Bonds/shares. 1867 new £3 per cent Annuities Share Certificate. Scarce

Bonds/shares. 1909 The Rock Island Company Share Certificate Steam Locomotive at station with activity. An attractive item

Bonds/share 1947 Chicago and Western Railway Company Share (Preferred) Certificate. Allegorical vignette

Bonds/Share 1928 British Colombia Power Corporation Limited a batch of Share Certificates, 1 dollar to 50 dollars. Allegorical figures in the designs. (16) VF to EF

Bonds/shares. Stock Certificate of the Wine Company George Issaias in Megara - 1924. An attractive bond for 8 million Drachma. And Baku Consolidated Oilfields Limited Share certificate, 'B' fully paid ordinary shares (Waterloo & Sons) unused. (2)

A quantity of Victorian and later British Empire, Commonwealth and Foreign postage stamps, loose and in albums, together with a selection of newspapers referring to US Presidents including Kennedy Assination etc, Islas del Guardalquiui share certificate, foreign banknotes etc 

Francis Hans Johnston, ARCA, OSA, CSPWC (Canadian, 1888-1949)'Epic of the North' signed 'Franz Johnston' (lower left); inscribed 'Epic of the North/by/Franz Johnston/A.R.C.A O.S.A.' (verso)gouache37.8 x 25.7cm (14 7/8 x 10 1/8in).Footnotes:ProvenanceWith A.M. Cunningham & Son, Hamilton, Canada.Private collection, UK.Francis (Frank) Hans Johnston was born in Toronto and studied at the Central Ontario School of Art. He was a founder member of the Group of Seven, a band of Canadian landscape painters in the early 20th century who believed that a distinct Canadian art could be developed with direct contact with nature. Other members of the group were Arthur Lismer, Frederick Varley, Tom Thomson, J. E. H. MacDonald, and Franklin Carmichael. They met when working for the design firm Grip Ltd in Toronto, Canada. They were joined by A.Y. Jackson in 1913 after they were introduced at the Arts and Letters Club of Toronto where they gathered to share their works. The Group of Seven is often considered as the first major Canadian art movement, and became popular around the world. Johnston's association with the Group of Seven was short lived and by 1921 he had left Toronto to become principal at the Winnipeg School of Art in Winnipeg, Manitoba. In 1927, he changed his name from Frank to Franz. The 'Epic of the North' is a vibrant example of Johnston's style: the angle is small with trees in the foreground, the colour palette is strong and his fascination with the qualities of light is evident.For further information on this lot please visit Bonhams.com

Ionian Bank Share Cetrificate, Specimen, framed; together with a small collection of old mining share certificates, Ivanhoe Gold, Valentine Gold, Menzies Consolodated Gold Mine etc; also a map of Kalgoorlie Region for Prospectors (9)

A gold cased Tudor Royal ladies dress watch, with a small 16mm diameter circular dial, Roman numerals, the fish-scale slender strap with clasp hallmarked 9 carat gold, 11g (gross, with watch element removed). Tudor have long had an association with Rolex, they share the same founder and many design features are related.