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A c1990s Rolex Oyster Perpetual GMT Master II bi-metal gentleman's wristwatch, 41mm, ref. 16713, black and gilt bezel, black dial with date aperture, appears to run, crown does not screw down properly, on a stainless steel and gold Jubilee bracelet, signs of wearCondition link to youtube https://youtube.com/shorts/aZPAiVp0SAk?feature=share 

Paper Ephemera, A box containing an interesting mixture of items to include New testament 1901 for Queen Victoria death, 1960s cloth map of UAE area, Almanacks, travel pamphlets, construction manuals, ladybird books, first day covers, autographed pictures of stage and screen, share certificates, maps etc, a very good selection (1 Box) Fair-Good

4X TRIGALES - ANGELS SHARE BY CARLOS RODRIGUEZ [SPAIN] 12.5% ABV / 75CL

An Egyptian Gilt Cartonnage Mummy MaskPtolemaic Period, 304-30 B.C.Height 18 1/2 inches (47 cm).Provenance: Henri Smeets, Weert, Netherlands, prior to 1975. Published: E. Godet, et al., A Private Collection: A Catalogue of The Henri Smeets Collection, Weert, 1975, no. 32.Note: From as early as Napoleon's Egyptian Campaign, ancient Egypt has enchanted the Western world. In 1922, the British Egyptologist Howard Carter discovered the intact tomb of the Pharaoh Tutankhamun. It was the best-preserved pharaonic tomb ever found in the Valley of the Kings. According to Howard, "It was a sight surpassing all precedent, and one we never dreamed of seeing." News of the finding spread fast and sparked an immediate craze for all things ancient Egyptian. Egyptomania swept across Europe and the United States influencing the next century of art, architecture, and popular culture.Initially a collector of 20th Century sculpture and paintings, it is undoubtable that the amazing discovery of Tutankhamun's tomb would have influenced the collecting habits of the young and still impressionable bookmaker, Henri E. Smeets (1905-1980). Indeed, Smeets would later spend a great deal of time and resources collecting important objects from ancient Egypt. In 1973, he lent a limestone head of an Amarna princess to the Brooklyn Museum, and in 1977, three years before his death, had a single owner sale of his entire antiquities collection in London, in which the sarcophagus mask seen here was included.Apart from quality and date, the conventionalized facial features of this exquisite sarcophagus mask share stylistic traits with the mask of Tutankhamun, chief among them the gold face, calcite eyes, and lapis lazuli-colored inlays. Well-preserved and elaborately decorated with two images of Osiris, a winged scarab, and hieroglyphic inscription, this iconic mummy mask is emblematic of our modern-day fascination with the land of the ancient pharaohs and Nile River.

A pair of 18th century American, Pennsylvanian 'Queen Anne' red walnut side chairs, the splats pierced and carved with scrolls and tasselled drapery and floral diaper panels, above woven rush worked drop-in seats, supported on boldly carved cabriole legs with claw and ball feet.From a local estate. The chairs have always been referred to as "Philadelphia Chairs" by the family. The chairs share some characteristics of Philidelphia made chairs It is possible that these chairs were manufactured in one of the surrounding areas of Philidelphia.

EPHEMERA, SHARES. A collection of approximately 241 share certificates, debentures, bonds and investment related ephemera, including a prospectus and share certificate for 'The Hit or Miss Proprietary Gold Mines Limited' dated 24 September 1897, a printed advertisement for shares to be sold by sealed tender for 'Tin Bounds in Wendron' dated 10 May 1827, bond No. 300 for the United States Car Company with 35 coupons, circa 1894, 3 share certificates for 'Netherlands Land Enclosure Company' with dividend coupons, circa 1855, 4 share certificates for 'The Royal Swedish Railway Company' with interest warrant coupons, circa 1855, all other certificates lacking coupons, companies include 'The Gold Fields of Eastern Akim', 'Doornplatz Gold Mining Syndicate Limited', 'The United Mercury Mines of Granada', 'The Premier Sunrise (New Zealand) Gold Mining Company', 'The Sapphire and Ruby Company of Montana', 'The Central Railway Company of Venezuela', The Alabama Portland Cement Company', 'The Australian Trans-Continental Railway Syndicate', 'The Rhodesia Goldfields Limited', 'The Royal Mail Steam Packet Company', 'The Beaumont (Texas) Petroleum & Liquid Fuel Co.', 'The North Sheba Gold & Exploration Limited', 'British & Brazilian Rubber Planters & Manufacturers' and 'Oriental Bank Corporation'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A rare Charles II brass lantern clock, Edward Webb, Chew Stoke, dated November 7th, circa 1680 , the posted countwheel bell-striking movement now with anchor escapement for regulation by short lenticular bob pendulum swinging outside the frame to the rear, the dial with central alarm disc within stylised symmetrical foliate engraved infill incorporating a winged female mask at twelve o'clock and with pierced black painted brass hand within applied narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved with date 'nove -7' to the dial plate behind the 'V' numeral, the upper angles engraved with signature Edward Webb, the typical 'Chew Valley' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and iron backplate between hanging hoop above spurs to rear, on tall disc-knopped ball feet, (mostly retrained using original pivot plates/bars, alarm lacking), 40cm (15.75ins) high  Edward Webb is recorded in Moore, A. J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as married to Anne with sons Walter (1667), James (1670), Richard (1674), George (1678) and William (?). He was probably the son of Charles Webb who owned a foundry in Chew Stoke. Both Edward and his wife Anne died in 1694. Nine lantern clocks by Edward Webb dated 1676, 1678, 1681, 1684, 1688, 1691, 1692, 1692 and 1693 are recorded with the 1684 and 1688 clocks fully described an illustrated in White, George English Lantern Clocks on pages 232 (Figures V/39 and 40), 233 (V/42 detailing date March 10 engraved beneath the chapter ring of the 1684 clock) and 237 (V/51 and 52). In addition to these Moore notes a further undated lantern clock signed Edward Webb of Chewstoke fecit , and a posted musical longcase clock movement and dial (also illustrated by White on page 233, Figure V/43). From these references it would appear that the present clock is currently an unrecorded example of Webbs work. The current lot utilises frame castings that were favoured by the Bristol and Chew Valley school of clockmakers with the earliest surviving being the Edward Webb 1676 example (private collection). All the other recorded lantern clocks by Webb (dates ranging from 1678-93) all share the same frame castings. These castings were also used by John London of Bristol, Thomas Veale of Chew Magna and latterly by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695). Bilbie appears to have persisted with the use of such castings long after Bristol makers had moved onto patterns more closely related to London work of the period, suggesting that such frames were probably cast locally (in the Chew Valley) - perhaps initially by Edward Webb at his foundry in Chew Stoke then by the Bilbie family after Webb's death in 1694. Another noteworthy detail is the distinctive dial engraving which is executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central winged female mask motif at the top. The design of this decoration is typical of Webb and appears to have its roots in the work of Thomas Brown of Bristol who was most active during the 1650's (see White, George English Lantern Clocks page 232) and can can be directly compared to a clock by John Clarke of Bristol which was sold in these rooms on 15th September 2015 (lot 185) for £9,500 hammer. Some later alterations as mentioned in the description. Brass case with some tarnishing.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com

Football : Ipswich Town super collection of original photos various sizes 1980s/1990s plus original share certificate 1936 good volume

Dia Azzawi (Iraq, born 1939)Untitled (No. 14) oil on canvassigned 'Azzawi' in Arabic and English and dated '84' (lower left), executed in 198492 x 71cm (36 1/4 x 27 15/16in).Footnotes:Provenance:Property from a private collection, GermanyAcquired directly from the Artist by the above in 1985Exhibited:Hotel Meridien, Abu Dhabi, N°9, 1985'These are the colours of the Bedouins, of the desert. Almost all tribes, from Morocco to the Gulf, share a preference for warm colours - reds, oranges, yellows - in contrast to Europe, where pastels are more common. Such colours stand out against the neutral tones of the desert, and, indeed, Bedouins will often surround a black tent with textiles of vibrant colours, as if replicating a garden'- Dia AzzawiThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dia Azzawi (Iraq, born 1939)The Seven Golden Odes (The Mu'allaqat) silkscreen print in eight parts in original folio and caseeach print signed 'Dia Azzawi', titled and dated '1978' in Arabic, each print numbered 43/60, executed in 1978Each print: 103 x 72 cm (8)Footnotes:Provenance:Property from the collection of Alecto Editions1. Introduction2. Mu'allaqat Imru Al Qayess3. Mu'allaqat Lubid Ibn Rabia4. Mu'allaqat Tarafa Ibn Al Abd5. Zuhair Bin Abi Sulma6. Mu'allaqat Antarra Ibn Shaddad7. Mu'allaqat Amr Ibn Kalthoum8. Mu'allaqat Al Hareth ben Halza'Oh you long night! Will you not yield to the dawn?Though daylight, like the night.. bears its share of worriesWhat an interminable night you are! As if the stars were bound to the mountains by the tightest of chords... or as though the Pleiades were hung, unmoving in their place by ropes tied to solid rock'- Muallaqat IA HIGHLY SOUGHT AFTER AND INTACT FULL SET OF DIA AZZAWI'S MU'ALLAQATSpectacularly detailed, rich and intricately worked, Bonhams presents a rare, intact and unopened full set of Dia Azzawi's famed Muallaqat prints; a homage to a group of seven long Arabic poems that are considered some of the defining literary works of the pre-Islamic era. The name means The Suspended Odes or The Hanging Poems, the traditional explanation being that these poems were hung on or in the Ka'ba at Mecca. The name Mu'allaqāt has also been explained figuratively, as if the poems 'hang' in the reader's mind.The Hanging OdesIn the eighth century, Hammad al-Rawiya—Iraq's last reciter of tribal poetry—compiled these timeless Hanging Odes. Hammad al-Rawiya, last of the true rawis or reciters of tribal poetry, was renowned among the newly urbanized Arabs of Damascus and Baghdad for declaiming poems he had heard recited by the Bedouin of the Arabian heartland. In the latter half of the eighth century he put together a collection of seven remarkable poems known collectively as the Mu'allaqat, or Hanging Odes.The Hanging Odes have always been shrouded in mystery. Legend tells that in the sixth century, some years before the rise of Islam, the poems were transcribed in letters of gold on the finest Egyptian linen and suspended from the Ka'ba in Mecca as trophies during the Sacred Months of Peace, when the Bedouin laid down their arms and went on their annual pilgrimage to the fairgrounds of 'Ukaz, near Mecca. Rival clans mingled in the marketplace, and, when not feasting or buying and selling wares, gathered round as the rawis swayed and pitched their lines to the rapt audience.The image of pagan poetry hung from the holy shrine of the Ka'ba serves to bind the ancient world of desert lore to Islam, and the poets themselves — Imru al-Qays ('the Vagabond Prince'), Tarafa ('the One the Gods Loved'), Zuhair ('the Moralist'), Labid ('the Man with the Crooked Staff'), Antara ('the Black Knight'), Amr Ibn Kulthum ('the Regicide'), and Harith ('the Leper') — have passed into legend, each lapped in a vast oral tradition.The Mu'allaqat are the most famous — and among the earliest — examples of the qasida (commonly translated as 'ode'), a form that frequently runs to some hundred and twenty lines. The term may derive from the root qasada, meaning 'to aim' or 'go forward,' or else from qasar, 'to break,' in reference to the mandatory division of the line into two rhythmically equal halves — a binary thrust and parry not unlike the alliterative line in Anglo-Saxon verse.The seven Mu'allaqat, and also the poems appended to them cover a vast array of topics. Tarafa's long, for example, anatomically exact description of his camel was a charming representation of the importance of this domesticated beast in the daily life of the Bedouins. In the Mu'allaqat of 'Amr and Harith we can read the haughty spirit of the powerful chieftains, boastfully celebrating the splendors of their tribe. The other poems are fairly typical examples of the customary qasida, the long poem of ancient Arabia, and bring before us the various phases of Bedouin life. In the Mu'allaqat of 'Antara, whose heroic temperament had overcome the scorn with which the son of a black slave-mother was regarded by the Bedouins.Azzawi's illustrated depiction of the Muallaqat is one of the most vibrant and richly composed examples of the artist's fascination with Iraq and the Arab world's pre-Islamic history and its influence on contemporary visual culture.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

FOOTBALL, Bury FC share certifictaes, 1901, folds, VG, 4

Late 1st-2nd century A.D. A copper-alloy sheath mount belonging to a dagger (pugio) of type II, composed of a plaque divided into six decorated sections, the upper and the third representing a goddess’s head enclosed in a tondo, surrounded by foliage, the second and the fourth representing a flower enclosed inside a trapezoidal pattern with plants in all four corners, the last two sections ornamented by tripartite foliage with sinusoid pattern at the base; the edge decorated with dots, the first and the third section fitted with extension at the sides, having four holes for fastening to the wooden core; traces of niello on the leaves; mounted on a custom-made display stand. Cf. Feugère, M., Weapons of the Romans, London, 2007, pp.126-128; Casprini, F., Saliola, M., Pugio gladius brevis est, storia e tecnologia del pugnale da guerra romano, Roma, 2012, fig.F40, for the type (from Vindonissa). 290 grams total, 25 cm high including stand (9 7/8 in). UK private collections, 1990s. Property of a Sussex, UK, teacher. The decorative sheath seems to be of the type “A3” according to Casprini and Saliola, decorated with incisions in brass and silver without the use of enamels. The absence of the latter is their specific characteristic, although they do share symbolism with ‘type B’ sheaths which can be mainly identified by temples, palms, diamonds inside squares. They can be dated to Nero’s reign and possibly to the later Flavian Age. The decoration is unusual and in some aspect recalls the one of the Hercules sheath published by M. Feugère (p.127) and originally sketched by R. Forrer. Fine condition, repaired.

The Arsenal Football Club Limited share certificate, 20th December 1957, addressed to Geoffrey Norman King Esq., for one share for £1 pound, share number 2949, certificate number 1422, bearing official club stamp, mounted, double glazed and framed, overall 40 by 40cm., glass on reverse has crack running through it All glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.      

Original Woolwich Arsenal Football & Athletic Company share certificate, dated 7th May 1894,on headed paper numbers 1266, addressed to Mr Thomas Bourke and signed in black ink by directors William Dobbings, Henry Hodgin and Alfred McQueen, bears wear, stains with vertical and horizontal folds, minor page edge lossesProvenance: Sotheby's Auction, 11th September 2003 Lot 384.

Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle, rev. +eadnod monet around cross-crosslet, 1.28g/8h (Naismith E30a, same dies; SCBI BM 833, same dies; Pagan BNJ 1982, p. 58; N 434; S 948). Nearly extremely fine, struck on a full round flan, free from the usual porosity and retaining a light earthen patina consistent with being a field find; the third and finest known example of this excessively rare and attractive issue £8,000-£10,000 --- Provenance: Found near Amesbury (Wiltshire), 6 March 2022 (EMC 2022.0109) Naismith’s corpus records just two examples of Æthelstan portrait pennies struck by Eadnoth, from two obverse and two reverse dies. The present coin, which is seemingly only the third known example, was struck from the same dies as the coin now housed within the British Museum. It is the finest in terms of preservation. Æthelstan was a king of the independent Kingdom of East Anglia which emerged following the end of Mercian Supremacy in 825. Unfortunately, the paucity of contemporary written sources means that we know little about events in the region during the first half of the ninth century. The Anglo-Saxon Chronicle relates that in 825 the Mercian King Beornwulf, after his disastrous defeat at the battle of Ellendum against King Ecgberht of Wessex, was slain by an anonymous king of the East Angles. Beyond this, little interest was shown by the Chronicle’s compiler towards the East Anglian kings or their activities. This fact, coupled with a complete absence of surviving charters from the area, means that we must turn to the numismatic evidence for answers. The identity of the first independent king of East Anglia is made clear from the hoard record, with the Middle Temple hoard being particularly informative. The large group, deposited at some point during the 840s, contained 243 early ninth century coins produced under various kings across England. Included within were some 39 pieces of Æthelstan. No coins of any other independent East Anglian ruler were present, making Æthelstan’s primacy clear. The name Eadnoth, the moneyer responsible for the striking of the coin offered for sale here, first appears on pennies of the Mercian king Offa in the 780s and then on coins of the obscure local king Eadwald who usurped power in East Anglia for a brief period during the late eighth century. Following this Eadnoth signed no coins during the first two decades of the ninth century, despite the productive nature of the East Anglian mint under the supervision of the Mercian Kings Coenwulf and Ceolwulf. Finally the name reappears in c.824 on the coins of the last Mercian rulers to exercise power within the region, Beornwulf and Ludica, before continuing onto the coinage of the independent king Æthelstan. Given that several decades lapsed between these episodes of the minting activity we ought to consider the possibility that these are two different moneyers by the same name. Elsewhere, attempts have been made to detect familial connections between successive moneyers operating within the same area who share similar names. The case of Eadnoth may provide another good candidate for such a scenario, and it is possible that the Eadnoth who struck our coin was a relative, perhaps even a son, of Offa’s moneyer. In common with all of Æthelstan’s portrait coins, the present specimen was struck at the beginning of the monarch’s reign, as part of an issue that probably lasted until c. 830. Æthelstan portrait pennies were completely absent from the Middle Temple Hoard. From this some have inferred that these early coins must had dropped out of circulation by this point. However, the same hoard contained numerous pennies struck under Æthelstan’s Mercian predecessors, Coenwulf, Ceolwulf and Beornwulf. It is difficult to believe that all of Æthelstan’s portrait pennies ceased to circulate on account of wear, damage and loss whereas those of earlier rulers consistently did not. We should not dismiss the possibility that Æthelstan’s Portrait coinage was officially called in and deliberately withdrawn from circulation in a renovation monetae. Such a policy was seemingly employed by the Kings of Wessex during the second half of the Ninth century to help bring uniformity to their currency and led to a total absence of earlier coins in hoards deposited after the reform’s instigation. It is notable that following the short episode of iconographical variation early in Æthelstan’s reign all of the East Anglian coinage, continuing throughout the reigns of his successors Æthelweard and Eadmund, was of a generally consistent design. If such a reform was implemented it would help to explain why the portrait pennies of Æthelstan remain so excessively rare, despite the general increase in ninth century coins discovered and excavated over the previous two decades. Works cited Blunt, C.E., Lyon, C.S.S., and Stewart, B.H.I.H., 1963. ‘The coinage of southern England, 796–840’, BNJ 32, 1–74. Pagan, H.E., 1982. ‘The Coinage of the East Anglian Kingdom from 825 to 870’, BNJ 52, 41-83. Pagan, H.E., 1986. ‘Coinage in southern England, 796-874’ in M.A.S. Blackburn (ed), Anglo-Saxon Monetary History: Essays in memory of Michael Dolley (London), 45-66. Naismith, R., 2011. The Coinage of Southern England 796–865, BNS Special Publication 8, 2 vols. (London). Naismith, R., 2012. Money and Power in Anglo-Saxon England: the Southern English Kingdom 757-865 (Cambridge). Stenton, F., 1971. Anglo-Saxon England. Third Edition (Oxford).

Vallabhbhai Patel (1875-1950) – Letter - an important letter, handwritten in Gujerati by Patel which mentions Gandhi (Bapu), but also describes the conditions and life whilst imprisoned, presumably in the Yeravda Central Jail: Parawada Temple                                                                                                                Date: 25 Dear Sister, I received your two letters, on of 14th and the second of 20th. Also I received the letter to the Bapu. Apart from that, I also got the letter on Mahadevbhai. The letter Bapu wrote to you is sent to the mail of Ashram but the mail of Bapu goes to the government and remains there still. And after many days it gets released from there and then comes here. After that it drops to mailbox from here. That is why when he writes letter to someone, it is not reaching on time. But the letters written to him are given him directly. So he receives them immediately. Therefore we have received your letter too immediately. You want to know our routine of life, but it can be described in brief. “Eat, Drink and [Illegible]”. Everything comes in this. In early morning at 4:00 am doing prayer and walking around for almost an hour and then reading, after that from 6 to 7 am, taking breakfast of milk and roti drinking tea. Then reading newspaper for an hour and we start spinning. Bathing at 10 am and then rest for half an hour. After that again reading. Again taking meal at 4 pm in which here they prepare Dal (pulse), Bhat (rice), Shak (vegetables) and roti – everything. And I am Mahadev eat the meal. I keep the routine like this. Then again walking around for an hour from 5.30 pm to 6.30 pm. Then again we read. Then at 7.30 we do prayer. Then reading for an hour and at nine o’clock we go to bed. In the early morning exactly at 3.40 we used to wake up. In reading recently I have started learning Sanskrit so I have to give a good amount of time in it. And I am also reading other miscellaneous subjects. If we study philosophy then we can get some new knowledge but. But it is the matter of internal looks and also it needs some culture of previous incarnations. But it is sure that we are fortunate that we got to live with Bapu so it is due to some good deeds cumulated from our previous birth. You need a share from me and you are going to demand it when I come back. It is true but you will get it if you get it from Vidyanand Maharaj or your devotion is by other way. And you will have to get a share from whatever you get, right? Why the doctor is not going to Mumbai and get a good doctor to make his tooth box. You should do it as Chhaganbhai did. Otherwise it will cause trouble. It can be done while you are out, after that it might not be possible. So you will only plan to go after the doctor’s health becomes well.  What are the news about Lilavatiben? Now Haribhai must have get back to work. It is not good being a doctor he stays in bed at rest. Now, as Motilal Sheth has gone so where is the Katha of Vidyanandji Maharaj happens and at which place? And where he has given the stay? You also must be telling the Katha of Belgam to everyone. You should also write a book of your experiences then people will light a lamp near you and worship you believing you as a goddess.  We all of the three became very happy reading your letter.  Did anyone go to see to Diwan master? What is the news of him? We all the three are very happy and our health are good. The letter attached is for Maniben and Doctor, so give it to them.  Yours, Vallabhbhai’s greetings   Written in black ink to both sides of paper. Some folds and corrections. 21cm x 13cm, approx.  Upon the failure of the Round Table Conference in London, Gandhi and Patel were arrested in January 1932 when the struggle re-opened, and imprisoned in the Yeravda Central Jail. During this term of imprisonment, Patel and Gandhi grew close to each other, and the two developed a close bond of affection, trust, and frankness. Their mutual relationship could be described as that of an elder brother (Gandhi) and his younger brother (Patel). Despite having arguments with Gandhi, Patel respected his instincts and leadership. In prison, the two discussed national and social issues, read Hindu epics, and cracked jokes. Gandhi taught Patel Sanskrit. Gandhi's secretary, Mahadev Desai, kept detailed records of conversations between Gandhi and Patel. When Gandhi embarked on a fast-unto-death protesting the separate electorates allocated for untouchables, Patel looked after Gandhi closely and himself refrained from partaking of food. Patel was later moved to a jail in Nasik, and refused a British offer for a brief release to attend the cremation of his brother Vithalbhai, who had died in October 1933. He was finally released in July 1934 Vallabhbhai Jhaverbhai Patel (31 October 1875 – 15 December 1950), endeared as Sardar, was an Indian statesman. He served as the first Deputy Prime Minister of India from 1947 to 1950. He was a barrister and a senior leader of the Indian National Congress, who played a leading role in the country's struggle for independence, guiding its integration into a united, independent nation. He was one of the conservative members of the Indian National Congress. In India and elsewhere, he was often called Sardar, meaning "chief" in Hindi, Urdu, and Persian. He acted as the Home Minister during the political integration of India and the Indo-Pakistani War of 1947. One of Mahatma Gandhi's earliest political lieutenants, he organised peasants from Kheda, Borsad, and Bardoli in Gujarat in non-violent civil disobedience against the British Raj, becoming one of the most influential leaders in Gujarat. He was appointed as the 49th President of Indian National Congress, organising the party for elections in 1934 and 1937 while promoting the Quit India Movement.

Vallabhbhai Patel (1875-1950) & Maniben Patel (1903-1990) – Letter - a handwritten letter in Gujerati, featuring a lengthy note from Vallabhbhai and a shorter note from Maniben Patel which references Gandhi (Bapu):  Telephone: 40407 Aurangzeb Road, New Delhi Vallabhbhai Patel Date: 18.10.40 Dear Jitu, The doctor’s passing away can be considered a good incidence because he was suffering very much. There is nothing about sorrow as he did not have hope to live. So the situation from a long time was like it was better if he could get release as soon as possible. You came to him before his passing away and it happened very well. Otherwise you would have a big regret and also the society would not see as good.  Now you will have to think what you want to do next. If you do not want to return then you should decide your way. If you do not want to stay there, then you have to share. Nanduben has become lonely now so the wellbeing of her is relied on the direction of your life’s future. It is also not good even for you to keep us in uncertain situation. So write me whatever your heart says. And there is nothing to mourn about the passing away of doctor. Keep writing your updates. Thank you, Vallabhbhai’s salutation. Dear Jitu, Write your thoughts directly to the Bapu so that his tension can be reduced. Otherwise as the Bapu has written so you would not have to write. Blessings from Maniben. Written in black ink on Vallabhbhai Patel's personal stationery. Both sides written, with the small note added to the end by Maniben Patel. Folded, with a small tape repair to one corner. A unique piece of Indian political history. Measures 16.5cm x 10cm. Vallabhbhai Jhaverbhai Patel (31 October 1875 – 15 December 1950), endeared as Sardar, was an Indian statesman. He served as the first Deputy Prime Minister of India from 1947 to 1950. He was a barrister and a senior leader of the Indian National Congress, who played a leading role in the country's struggle for independence, guiding its integration into a united, independent nation. He was one of the conservative members of the Indian National Congress. In India and elsewhere, he was often called Sardar, meaning "chief" in Hindi, Urdu, and Persian. He acted as the Home Minister during the political integration of India and the Indo-Pakistani War of 1947. One of Mahatma Gandhi's earliest political lieutenants, he organised peasants from Kheda, Borsad, and Bardoli in Gujarat in non-violent civil disobedience against the British Raj, becoming one of the most influential leaders in Gujarat. He was appointed as the 49th President of Indian National Congress, organising the party for elections in 1934 and 1937 while promoting the Quit India Movement. Maniben Patel (3 April 1903 — 26 March 1990) was an Indian independence movement activist and a Member of the Indian parliament. She was the daughter of freedom fighter and post-Independence Indian leader Sardar Vallabhbhai Patel. Educated in Bombay, Patel adopted the teachings of Mahatma Gandhi in 1918, and started working regularly at his ashram in Ahmedabad.

Mahatma Gandhi (1869-1948) - Letter - an important Gandhi letter, written in Guajarati whilst imprisoned at Yeravda Central Jail, with Vallabhbhai Patel (referenced in the letter as Sardar). The letter reads:  22-07-32 Shri Nandubahen, Tell Haribhai that whom to trust when Doctor falls ill? Dear Sister, I was thinking to write to you, and suddenly the rain of letters from you started. No matter it was a rain over the Sardar too, and fall at whatever reason, but it gets everyone wet. We have the same situation. I was aware of your humorous nature, I just came to know from your letters that you are full of humor.  My blessings are always with you. [Text in horizontal line] What a shame in it if Doctor becomes toothless by hitting? You seem to be [Illegible] from Lilavati bahen. Blessings from Bapu. You are instilling some bravery to Sardar. But he is not soft (loose, less-strong) like me. He is able to do whatever he wants to do when he feels bravery/valiant from inside. Currently he is having the passion to learn Sanskrit. Therefore he is following it. But here no one is able to take the credit of it. And the teacher is Mahadev (Lord Shiv). It has [illegible] is Maa Umiya (Mother Goddess). And also whenever he/she feels. And you have planned for the intent of splitting a share. But do not take the share from his Sanskrit knowledge. If you tell, I will send it through the telegram.  Written in black ink, to both sides, addressed in Gandhi's hand. Folded. Measures 13cm x 10.5cm. Upon the failure of the Round Table Conference in London, Gandhi and Patel were arrested in January 1932 when the struggle re-opened, and imprisoned in the Yeravda Central Jail. During this term of imprisonment, Patel and Gandhi grew close to each other, and the two developed a close bond of affection, trust, and frankness. Their mutual relationship could be described as that of an elder brother (Gandhi) and his younger brother (Patel). Despite having arguments with Gandhi, Patel respected his instincts and leadership. In prison, the two discussed national and social issues, read Hindu epics, and cracked jokes. Gandhi taught Patel Sanskrit. Gandhi's secretary, Mahadev Desai, kept detailed records of conversations between Gandhi and Patel. When Gandhi embarked on a fast-unto-death protesting the separate electorates allocated for untouchables, Patel looked after Gandhi closely and himself refrained from partaking of food. Patel was later moved to a jail in Nasik, and refused a British offer for a brief release to attend the cremation of his brother Vithalbhai, who had died in October 1933. He was finally released in July 1934.  Mohandas Karamchand Gandhi (2 October 1869 – 30 January 1948) was an Indian lawyer, anti-colonial nationalist and political ethicist who employed nonviolent resistance to lead the successful campaign for India's independence from British Rule, and in turn inspire movements for civil rights and freedom across the world. Gandhi's birthday, 2 October, is commemorated in India as Gandhi Jayanti, a national holiday, and worldwide as the International Day of Nonviolence. Gandhi is commonly, though not formally, considered the Father of the Nation in India, and was commonly called Bapu (Father). Provenance - from the collection of Dr Balvantrai N. Kanuga, Gandhi's personal long-term physician and friend. 

1990 Mercedes-Benz 190E Transmission: manualMileage:80486With £600 million spent on research and development, it is clear to see why the Mercedes 190E was the instant success story that it was, capturing an unprecedented share of the compact executive saloon market in the late 1980s. Boasting a spectrum of new safety features including ABS and safety-belt pretensioners, front and rear anti-roll bars, five-link suspension and anti-squat and anti-dive geometry, the cars quickly became renowned for comfort and capability.This example of the incredibly popular 190 is offered in blue coachwork and has covered a mere 80,468 miles which for a 190E is barely run-in! Originally registered on the 3rd September 1990 this example still retaining its book pack, boasts a comprehensive service history all found in the service booklet. The first seven services are with supplying dealer Portfield Mercedes-Benz, then further main dealer and specialist or local garages show a total of 12 stamps, the last in February 2022. A lovely well-kept example this is also offered with original sales brochures, Haynes Manual and an MoT test certificate until March 2023 with no advisories. A great car in good condition and a good history file from an era when Mercedes-Benz's were built to last. Guide Price £4,000 - £6,000

STAMPS & SHARE CERTIFICATES: Album of GB mint special issues from June 1953 to Jan 1983; Album of Belgian cancelled issues from 1920s to 1940s (5 pages) and German cancelled issues 1880 to 1944 (13 pages); 10x German share certificates, (3x 1927 2000RM, 1x 1927 5000RM, 1x 1932 100RM, 5x 1932 5000RM), and 2x 1930 German Rights Certificates for £500.

A late 18th Century Louis XVI grande-sonnerie striking Pendule d'Officier mantel / carriage clock with pull trip-repeat and alarm attributed to Robert & Courvoisier, La Chaux-de-Fonds. The circular four pillar movement with chain fusee and verge escapement regulated by sprung three-arm monometallic balance with rack-and-pinion regulation to the going train, the hour and quarter striking trains driven by a single spring barrel striking the full hour on a bell followed by ting-tang notation for the quarters on a second smaller bell every quarter hour, the alarm with standing barrel wound via a line and pulley and sounding on the smaller bell, the backplate fitted with six-spoke balance bridge, adjacent regulation dial and full visible quarter and hour strikework, the 4.25 inch circular convex white enamel dial with vertical Arabic numerals, faceted minute and hour hands, steel alarm setting hand and Arabic quarter hours within the outer minute track set behind hinged milled convex glazed cast gilt brass bezel, the case with hinged handle formed as a looped snake consuming its own tail over concave-sided hipped superstructure applied with laurel wreath and oak leaf cast mounts to front and back and engraved with panels of fruiting plants over stepped shoulders to sides, the front with acanthus cast infill to lower quadrants and the sides with fluted banner panels over generous laurel rosettes, the rear matching the front but centred with a lattice pieced sound fret, on four turned feet, Measures approx; 19cm high excluding handle. No key some wear to enamel near winding holes.The partnership between Louis Courvoisier (1758-1832) and his father-in-law Captain Louis-Benjamin Robert (1732-1781) was established in 1781. In 1787 Robert died leaving his share of the business in control of his widow, Charlotte. This arrangement continued until 1811 when Louis Courvoisier took his son, Frederic Alexander took in his son to form 'Courvoisier et Cie'.The current lot is a fine textbook example of an early design of pendule portative termed 'Pendule d'Officier'. Although this form of portable timepiece originated during the 1780's they apparently became popular during the period of the Napoleonic wars, particularly amongst the officer class, hence the term 'Pendule d'Officier'. The firm of Robert and Courvoisier were the leading makers of this type of portable timepiece during this period.

Pascale Marthine Tayou (Cameroun, né en 1967)Chalks and pins U, 2012 craie, épingles, plumes, pailles, paillettes et colle chaude sur bois dans le cadre de l'artistechalk, pins, feathers, straws, glitter and hot glue on wood in artist's frame165 x 212cm.64 15/16 x 83 7/16in.Footnotes:ProvenanceGalleria Continua, ParisCollection Gervanne + Matthias Leridon, FranceRéalisée en 2012, Chalks and pins U illustre la constante volonté dont fait preuve Pascale Marthine Tayou à utiliser des matériaux non conventionnels. Saupoudrés de paillettes, des bâtons de craie aux couleurs vives sont disposés en rangées, entrecoupés de pailles en plastique épinglées, afin de former des motifs complexes qui évoquent les schémas décoratifs des tapisseries traditionnelles du Cameroun, pays natal de l'artiste.L'utilisation de la craie par Tayou, à la fois comme support et comme matériau brut, fait directement allusion au processus même de création artistique. Le pigment n'est pas appliqué sur le papier ou la toile ; il reste intact, assumant sa forme originelle cylindrique et structurant le motif rythmique de l'ensemble du dessin.Conçue comme une mosaïque, Chalks and pins U fait partie d'un ensemble plus vaste d'œuvres dans lesquelles Tayou imbrique des morceaux de craie. Cette œuvre est par ailleurs étroitement liée à la série Classroom Walls, dans laquelle des morceaux de craie blanches et multicolores sont disposés en formations pentagonales pour évoquer le contour de base d'une maison. Comme explique Pascale Marthine Tayou : 'Je ne suis pas en dehors du monde, je suis dedans - donc j'utilise ses outils. Le monde est mon atelier' (cité dans 'Interviews : Pascale Marthine Tayou', 2018).Il détourne les objets de leurs usages conventionnels afin de les recontextualiser au sein de son exploration sensorielle de la couleur, de la plasticité et de la forme. Tayou estime que cette réimagination du quotidien incite le spectateur à réfléchir à nouveau aux matériaux employés dans ses œuvres : 'La contemplation peut engendrer le sérieux. Il faut juste laisser le temps à l'esprit de le percevoir' (cité dans ' Interviews : Pascale Marthine Tayou', 2018).'Pour moi, les morceaux de craie blanches et colorées font référence aux souvenirs d'enfance et à l'univers scolaire. Mais même la joie et la légèreté qu'inspirent les couleurs des morceaux de craie ne peuvent complètement occulter les blessures et les coupures occasionnées par ces années d'apprentissage. Bien souvent, à nos dépens, il y a d'un côté ce que nous apprenons à l'école, et d'un autre côté ce que la vie nous enseigne. Ici, Classroomwalls peut ainsi faire à la fois référence aux murs de l'enfer ou aux murs du ciel'. La persistante volonté de l'artiste à reconcevoir les normes établies se reflète dans sa décision de changer ses prénoms pour les formes féminines 'Pascale Marthine' lorsqu'il commence sa carrière artistique au début des années 1990. Pascale Marthine Tayou s'est forgé une solide réputation internationale grâce à son approche idiosyncrasique de la création artistique. Il a participé à la Documenta 11 (2002) à Kassel et à la prestigieuse Biennale de Venise (2005 et 2009). Son travail a été présenté dans le cadre d'expositions personnelles dans de grandes institutions internationales, notamment Beautiful au Bass Museum, Miami, États-Unis (2017), à la Serpentine Sackler Gallery, Londres (2015), et World Share : Installations by Pascale Marthine Tayou au UCLA Fowler Museum, Los Angeles, États-Unis.Bibliographie'Interviews: Pascale Marthine Tayou', Annual Art Magazine, 26 May 2018, online Collection privée: Pascale Marthine Tayou, Actes Sud/ Parc de la Villette, 2012Executed in 2012, Chalks and pins U exemplifies Pascale Marthine Tayou's imaginative use of unconventional materials to investigate the affective qualities of artmaking. Dusted with glitter, brightly coloured sticks of chalk are arranged in rows, interspersed with pinned plastic drinking straws and feathers, to form intricate patterns that evoke the decorative schemes of traditional tapestries from the artist's native Cameroon. Significantly, Tayou's employment of chalk as both medium and material alludes to the artmaking process itself. The pigment is not applied directly to paper or canvas, but instead remain intact in the form of vivid bars that structure the rhythmical pattern of the overall design.Mosaic-like in quality, Chalks and pins U belongs to a larger body of work in which Tayou similarly nestles pieces of chalk together in intricate patterns. These works relate closely to the artist's Classroom Walls series, in which white and multi-coloured pieces of chalk are arranged in pentagonal formations to evoke the rudimentary outline of a house. Here, Tayou's unconventional use of materials functions as an associative device to evoke childhood memories of school. Open-ended in meaning, both bodies of work call upon the viewer to reflect upon their own personal response to the artist's repurposing of materials.Such repurposing of materials sits at the heart of Tayou's diverse artistic practice. As he explains, 'I'm not outside the world, I'm in it – so I use its tools. The world is my studio' (quoted in 'Interviews: Pascale Marthine Tayou', 2018). The artist diverts objects from their conventional uses in order to recontextualise them within his sensory exploration of colour, plasticity, and form. Tayou believes that this reimagining of the everyday prompts the viewer to think afresh about the materials employed in his works: 'Contemplation can breed seriousness. We just need to give the mind time to perceive it' (quoted in 'Interviews: Pascale Marthine Tayou', 2018).The artist's conviction in the importance of reconceiving established norms is reflected in his decision to change his given names to the feminine forms 'Pascale Marthine' when he commenced his artistic career in the early 1990s. Through his renaming, the artist challenged the binary categories of gender, reflecting his understanding of identity as hybrid. This principle extends to his reluctance to reduce his national identity to a specific geographical or cultural origin as a Cameroonian living and working in Ghent, Belgium. Pascale Marthine Tayou has cultivated an international reputation through his idiosyncratic approach to artmaking. He participated in Documenta 11 (2002) in Kassel and at the prestigious Venice Biennale (2005 and 2009). His work has been presented in solo exhibitions at major international institutions including Beautiful at the Bass Museum, Miami, USA (2017), the Serpentine Sackler Gallery, London (2015), and World Share: Installations by Pascale Marthine Tayou at UCLA Fowler Museum, Los Angeles, USA.Bibliography'Interviews: Pascale Marthine Tayou', Annual Art Magazine, 26 May 2018, onlineThis 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

NO RESERVE Ephemera.- Jolley (A., Umbrella, Box and Portmanteau Manufacturer, London) 3 flyers, each c.97 x 150mm., one with illustrations, another with new address slip pasted over, lightly soiled, mounted on card, [c.1870]; and a small bundle of others including an entry form for running races at the Malton Cricket Club, N.Yorks. on 11th May 1891, a flyer for S.Mordan & Co.'s Oblique Steel Pens, and a 1912 share certificate for Mexico North Western Railway Company, v.s. (10)

British WWII Queen Elizabeth's (The Queen Mother, wife of King George V) Personal letter of appreciation of service to the country in 1939 to a Mrs Kimber, the letter reads "In the early days of the War you opened your door to Strangers who were in need of shelter, & offered to share your home with them." The lot comes with Postcard size pictures (5) of Mrs Kimber and her house in Burnham Norton which she shared with refugees.

GREAT HORSELESS CARRIAGE CO. LTD. A large, circa-June 1896, double-sided promotional broadsheet issued after the launch of the company 'To develop this new vehicle industry; to acquire licenses for patents, purchase master patents and receive royalties, to license and form subsidiary companies to sell foreign rights and concessions and to generally establish and work the trade in this country'. The document consists of 18 steel-cut images showing not only a view of 'The Motor Mills' but also a variety of vehicles to include the Kane (Thomas) & Pennington still-born vehicles: the Garrard & Blumfield 'Electric Brake' and various other machines and prices based on 'The British Motor Syndicate Ltd'. master patents. Supporting the statements and images are 29 separate press reports, the earliest being dated 7 Dec 1895 and the most recent, 11 May 1896 from Wheeling magazine, describing the share floatation of the company. The Great Horseless Carriage Company Limited was placed in liquidation in January 1898. This significantly historic document measures 40 x 15 inches (102 x 38 cms), and is in excellent condition, save for three horizontal gentle folds, slight foxing at the upper edge and three small tears. Both sides are illustrated.

A JAPANESE WOOD NETSUKE OF A MERMAID (NINGYO) EDO PERIOD, 19TH CENTURY Probably Nagoya, the smiling siren finely carved in red wood, holding her tail elegantly curled under her chin, her long hair trailing down her back, inscribed Tadatoshi in ukibori in a rectangular reserve underneath, 4.4cm. Cf. M T Coullery & M S Newstead, The Baur Collection, Netsuke, p.115, no.C224 for another example of a mermaid by Tadatoshi. The authors explain that in Japanese folklore, ningyo are lovely creatures, well-disposed towards humans and believed to share the secrets of the sea by listening to the murmurs of seashells. Eating one would also give you immortality.

Videokunst gestaltet von Hati.Hati.Mas im Rahmen der NICE! A(u)ktion 2022 zu Gunsten des Esche Jugendkunsthaus gGmbH.Ende 2020 überrollten die Animationen von Hati.Hati.Mas den Datenhighway im Stile einer jähzornigen Dampflock. Sei es die „S- Bahn-Stempelmaschine“, „Dosen-Notrufsäule“ oder „U-Bahn- Waschanlage“: Die Pointen seiner dadaistisch anmutenden Simulationen sind in doppelter Hinsicht BAHN-brechend. Simple iPhone-Aufnahmen Hatis natürlicher Habitate – Zugdepots, Bahnsteige und Gleisbetten – verwandeln sich mittels 3-D-Software in anarchistische, zu 99.9% legale Liebesgrüße an seine persönliche Nemesis.
An der Intention seines „Artistic Vandalism” scheiden sich derweil die Geister … Führende Kunstphilosophen interpretieren das Oeuvre als explizite Kritik am seelenlosen Strukturwandel internationaler Großstädte. Der Feuilleton wittert gar versteckte, subversive Botschaften, mit denen das charismatische Untergrund-Phantom seine Jünger zum globalpolitischen Umsturz animieren will. Doch überlassen wir das Theoretische den Unschöpferischen …Zweifelsohne wäre es fahrlässig, Hatis künstlerische Vision auf den Graffiti-Kontext zu reduzieren. So treiben brandheiße Gerüchte um den Börsengang seiner Kryptowährung – dem ETHATI – Tradern von New York bis Frankfurt den kokainschwangeren Angstschweiß auf die Stirn. Was zur Hölle hat es nur mit der mythenumrankten Blockchain des gebürtigen Hamburgers auf sich?! Wie auch immer die Antwort auf diese Frage lauten mag, eines ist sicher. Hati.Hati.Mas verkörpert, was sein indonesischer Name auf Deutsch verspricht: Achtung. Achtung. Bruder.Der Ausnahme Video-Künstler, der über 4 Mio Klicks auf einige seiner Videos auf TikTok generiert hat, hat mit seinem Video der A(u)ktion NICE - Sneaker unterm Hammer beigetragen und bietet dies hier auch zur Versteigerung an. Mitsamt der Videodatei kommt dieses auch als NFT.Anschauen unter: https://youtube.com/shorts/Juq7ZyYt6xs?feature=share

Equality circa 1965oil on canvas76 x 92 cm (29 7/8 x 36 1/4 in.)framed dimensions: 90 x 105 cm (35 3/8 x 41 3/8 in.)signed on stretcher, possibly in another handLOT ESSAYThe pioneering Afro-American comic-book illustrator, poet, painter and educator Alvin Carl Hollingsworth was born in Harlem in 1928 to Barbadian emigrants. He began his career, aged twelve, as an artist assistant at Holyoke Publishing Company for Catman's Comics. He continued working in comics throughout the 1940s and 50s before transitioning to painting and printmaking. With his background in commercial illustration, Hollingsworth was an experienced draftsman with an eye for bold colors and compositions, who oscillated seamlessly between styles, genres, media, and influences as diverse as Henry Ossawa Tanner and Gustave Dore to contemporaries Salvador Dali, Tom Wesselman and Nicholas de Stael.Equality evidently dates to Hollingsworth’s early painting years, characterized by naturalistic modelling and earthy color palettes with fluorescent accents, as well as an interest in found materials and urban life (or, the social inequalities it perpetuates). It is closely related to the artist’s most notable body of work from the period: a series entitled Cry City, the subject of a solo exhibition at Terry Dintenfass Gallery. Using material salvaged from the streets — tar paper the artist found on tenement roofs; fishbones, broken cement, stones, teeth and bits of glass — Hollingsworth presented the city as a psychologically and physically difficult terrain (John H. Hewitt, “The Themes of Alvin C. Hollingsworth,†Black Art – An International Quarterly 2:1 (1977): 5).Compared with the sober, alienated character of many paintings from this time, Equality is rather more emotionally inscrutable. Here, the blackboard — evidently bearing a lesson on the 14th and 15th Amendments to the Constitution — has already been partly erased, and class appears to be in recess. Space is collapsed, figures disjointed. Superimposed over the right side of the board is a portrait of a 19th century man in a European military uniform, whose implied gaze looms over the sea of racially ambiguous but pale faces streaming this way and that. The frontality of the man’s portrait is repeated by the two boys at the lower corners of the frame, but they too don't make direct eye contact with the viewer or the figures around them. (Hollingsworth used a similar composition and narrative device in Group of Children, also circa 1965, sold by Swann Galleries, October 8, 2009, lot 55). Equality, however, shares in the dynamism of Jacob Lawrence’s Migration Series, and perhaps also its reticent optimism for the future.Hollingsworth attributes the crystallizing of social issues in works from the 1960s to his involvement with Spiral, a Black artist’s collective founded by Romare Bearden, Norman Lewis, Hale Woodruff and James Yeargans. A dozen or so members initially gathered in Bearden’s and Charles Alson’s shared Greenwich Village studio in July 1963 to discuss the March on Washington for Jobs and Freedom, planned for August 28th. Realizing their galvanizing potential went beyond the scope of the march, the group began planning their first (and only) group exhibition: “Spiral: First Group Showing (works in black and white)â€, which ran in May-June 1965 at a rented Christopher St. storefront. (Black and white was chosen both as a universal political appeal and an organizing principle, since Spiral’s members did not share any specific aesthetic sensibility). Though the group was active for some two and a half years, their praxis and unifying outlook were enormously influential on future generations of artists. (This contribution was the subject of a 2011 show, Spiral: Perspectives on an African-American Art Collective, at the Studio Museum in Harlem).Between 1960 and 1970, Hollingsworth expanded his reach to muralism and lithography, as well as hosted a popular ten-part series for NBC titled "You're Part of Art". From 1980 until his retirement in 1998, he was a full Professor of Art at Hostos Community College of the City University of New York. Hollingsworth’s role during the Golden Age of Comic Books has recently been covered by Ken Quattro in Invisible Men: The Trailblazing Black Artists of Comic Books (San Diego: YOE Books/IDW Publishing, 2020).CONDITIONObserved in frame, the painting is in good condition. Inspection under UV shows no apparent sign of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. 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THE GREAT WAR DISTINGUISHED SERVICE ORDER AND BAR GROUP to Sir Malby Richard Henry Crofton, Royal Field Artillery. The Bar was awarded for Gallantry. G.V.R Distinguished Service Order and second award bar 1914 Star with clasp. Correctly impressed Capt Mr H Crofton RFA British War Medal. Correctly impressed Lt Col M R H Crofton Victory Medal with M.I.D. Oak Leaf. Correctly impressed Lt Col M R H Crofton Court mounted as worn. The 1914 Star is loose on the ribbon. With a corresponding miniature set. Condition GVF. Malby Richard Henry Crofton was born on the 18th of September 1881; his birth was registered in Dromore, Sligo, Ireland. He was the first son of Sir Malby Crofton, The 3rd Baronet of Longford House and his wife, Louisa Margaret Crofton, nee Verschoyle. Crofton attended Sandhurst and was commissioned as a Second Lieutenant on the 18th of August 1900. He served with the Royal Artillery in 94 Battery between 1906 and 1909 as a Lieutenant. Malby was part of the BEF landing on the Western Front in October 1914. He was transferred to Mesopotamia, and for services, there was awarded his First Distinguished Service Order, announced in the gazette on 22nd December 1916. While serving with the of the 62nd West Riding Division Artillery, Crofton was awarded a Bar to his Distinguished Service Order as the Battery Commander of C/312. 'War Office, April 17th, 1917. His Majesty the KING has been graciously pleased to approve of the award of a Bar to the Distinguished Service Order to: — *Maj. Malby Richard Henry Crofton, D.S.O., R.F.A. For conspicuous gallantry and devotion to duty. He went forward under the most intense- fire to a position 150 yards from the enemy's trenches, from where he controlled the fire of his battery with great skill. ' During the course of the war, Crofton was wounded four times and mentioned in despatches twice. The following is an extract from the history of the 62nd: Early on the morning of the 5th of April 1918, the 37th division carried out an attack on Rossignol Wood and a position running thence westwards, undercover of a barrage from the guns, which kept up from 5:30 AM to 7:30 AM. The enemy answered with a very heavy fire on all the batteries, especially on the headquarters of the right group at Chateau La Haie. Here the adjutant of the 235th brigade was wounded, and there were several casualties among the telephonists. About 130 prisoners were captured, including four officers. It soon appeared, however, that this local operation had merely forestalled another tremendous German attack, which reached its full force at about 10:45 AM and was kept up all through this on the following day. The Bosch bombardment was extraordinarily intense and stretched far into the back area. It included a large amount of gas shell, concentrated chiefly on the 312 Brigade, which was in action along a hedge close to and Southwest of Les Essarts. The brigade fought with magnificent courage; though inundated with gas shells the batteries never failed to fire when called upon throughout the day. Many men and officers were temporarily blinded by it. C/312 Had a particularly terrible experience. All the six officers with guns, including Major Crofton, were wounded or gassed, and the majority of the gunners, while several guns, were knocked out. In fact, by the evening, the battery had ceased to exist as a fighting unit, and it was about a fortnight before it could take an active share again in the fighting. Much sympathy was felt for the gallant Battery Commander, Major Crofton. He had already been three or four times wounded during the war, and on this day, orders arrived appointing him to the command of a brigade, a promotion which he was unable to avail himself of owing to this fresh wound. It was particularly bad luck, as he had once before missed promotion in Mesopotamia for the same reason, having been badly wounded on a day on which he was appointed to a command'. Crofton was promoted to Lieutenant Colonel, survived the war, and served in India as the Commanding Officer of 4th Battery 'Quetta' Royal Artillery. He became the 4th Baronet of Longford House when his father passed away in 1926. Sir Malby Richard Henry Crofton passed away in 1962.

Flemish school; early 17th century."Saint Hermenegild".Oil on canvas.Measurements: 104 x 125 cm.Saint Hermenegild was the son of the Visigoth king Leovigild. In 579 he confronted his father and married Ingund, the daughter of the Frankish king Sigebert I of Austrasia, who was a Christian. Later he started a rebellion, in which he tried to replace Arianism with Christianity. During the conflict Hermenegild fled to Seville and when it fell to a siege in 584, he made his way to Cordoba. After Leovigild paid 30,000 gold pieces, the Byzantines withdrew and took Ingund, his wife and son with them. Hermenegild sought refuge in a church and his father sent Recaredo, Hermenegild's brother, to offer peace. In this scene the artist depicts the saint kneeling, praying and turning his face towards the crucifix on the tree on the left-hand side of the composition. However, despite the pious subject matter of the scene, we are struck by the multitude of animals that share the composition with Saint Hermenegild: a white horse, from which he seems to have immediately dismounted as he is saddled, three dogs in the lower part of the foreground and a deer standing on a promontory, looking directly at the saint. This feature creates a confusing situation in the conception of the work, as it seems that Saint Hermenegild is also looking at the animal, to some extent losing sight of the presence of the deer.The painting belongs to the Flemish school, which can be deduced from certain characteristics associated with that school. In this painting, there is a realistic reaction to the fantasy of the international Gothic, it is a painting very influenced by the art of sculpture, oil painting is usually generalised, it is a painting with a great symbolic sense which allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter's eye, the presence of many details is evident, a painting in which real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, achieving perspective in an intuitive manner.

A Victorian yew wood and burr yew wood Windsor 'Best High Smoking' chair, Worksop, possibly by William Gilling of Bridge Place, c1860-80, the burr yew wood splat of pierced 'fir tree' design, seat height 47cm A similar chair with Gillings trade label is illustrated Cotton (Bernard D) - The English Regional Chair, 1990, fig. NE244.  This unusually large and well preserved example is characteristic of Worksop chairs that share several distinctive features in their design. These include the very heavily turned three ring legs, seat shape and decorative splat. In addition to Gilling, similar chairs were made in Worksop by the firm of I Allsop & Sons A good example of large size and fine colour and patina; some movement in back and natural accretion of old dust and grime with a little wear, mainly on arms, legs and stretchers original

CLASSIC SOUL - SOLO GIRLS - LP COLLECTION. Great collection of around 27 x LPs. Titles / Artists include Dionne Warwick - Presenting Dionne Warwick (S508), Doris Duke - I'm a Loser (KEND242), Mavis Staples - A Piece of the Action (CU 5019), Gloria Jones - Share My Love (promo), Gloria Gaynor - Love Tracks, Great Expectations - Kiki Dee (STML 11158), Millie Jackson - It Hurts So Good, Etta James, Yvonne Fair - The Bitch is Black, Roberta Flack, Thelma & Jerry, Brenda Holloway and Irma Thomas. Condition is generally VG+ to Ex+.

Wurlitzer New York built from 1991 to 1993, alongside the famous Wurlitzer OMT, these CD jukeboxes share the same mechanism. For some locations the OMT model must have been too old fashioned, so Wurlitzer came up with these designs. It still had the arched top and bubble tubes, but a more modern design, song titles could be viewed by using buttons to flick the pages. Sounds amazing and looks great. There are a few variations on this design but this one has the 1990's NY skyline, including the famous Twin Towers, very sought after model. Plays 100 CD’s (average 2200 selections). Size: 147 x 99 x 67 cm. Condition: Very Good. Location: The Netherlands, Tilburg.

13 x Imperial Russia, 4% Imperial Government Gold Bond Certificates1894, 6th Issue, 125 roubles (500 francs), issue numbers: 011540, 011544, 011545, 011546, 011549, 011550, 011551, 011552, 011553, 011554, 011555, 011556, and 011557, all with coupons attached, VG to GVF; together with a Netherlands, Verenigde Bedrigven Nederhorst 1000 gulden share certificate 1973, A004787, some coupons missing, EF.

GOLDMAN, Emma (1869-1940). My Disillusionment in Russia. London: The C. W. Daniel Company, [1925].  8vo. Half-title. (Some light spotting to a few leaves.) Original red cloth, paper label on spine (some spotting, covers slightly bowed). Provenance: Presentation inscription to an unidentified recipient (see below). FIRST EDITION, PRESENTATION COPY, INSCRIBED BY GOLDMAN on the half-title, London, 1 December 1925. The inscription is obscured by an affixed label which reads: "This book is a part of the Institutional Library provided through the Cortland County Council of Churches...However, the library program does not necessarily endorse the content of these donated books" (with a portion of Goldman's inscription adhered to the verso of the label). Goldman left the Soviet Union in 1923, and soon after published My Disillusionment in Russia to share the experiences she had while living there. Goldman was initially supportive of the October Revolution which brought the Bolsheviks to power, but changed her opinion after the Kronstadt rebellion and denounced the Soviet Union for its violent repression of independent voices.  

Local Advertisement - Albert Frost & Company Ltd director stamps on cast stand; purchase books with detailed accounts of local businesses; share certificates, etc

World bond or share certificates. A collection including 14 Russian (19th and early 20th century), a Panama Canal Company certificate dated 1890, and 8 others including Egypt and Chile (23)

The MPLSART Sketchbook Project 2021 includes the work of 70 Twin Cities artists in five sketchbooks, capturing their experiences during 2021 through a variety of media and subject matter. This is the second year of the Sketchbook project, which was started as a way to support artists during the pandemic, and now provides an outlet for local artists to come together and share their experiences. All proceeds from this lot will go to the artists.Sketchbook A includes works by the following artists: A Drew Hammond, Alex Kuno, Alison Bergblom Johnson, Amit Michael, Anonymous, Barret Lee, Benjamin Brown, Hibaaq Ibrahim, Maria Epiphany Robinson, Mel Sue Castillo, Micah Savage, Nicole L. Thomas, Star WallowingBull, and Yuya Negishi.Sketchbook B includes works by the following artists: Adam Denton, Ali Kahlert, Angel Hawaii, Anne Ulku, Caitlin Karolczak, CÛry Favre, JDecker, Joshua Wilichowski, Lazerwulv, Margarita Sikorskaia, Marty McConell, Melodee Strong, Pete Driessen, Ricardo Levins Morales, and Wenwen Liao.Sketchbook C includes works by the following artists: Chuck U, Hilary Greenstein, Jada Grey Eagle, John Schuerman, Joshua Cunningham, Jovan C. Speller, Nicholas Harper, Noah Lawrence-Holder, Preston Drum, Ramses Alarcon, Samuel Fleming, Scott Neff, Simone Needles, and Junior Rebollar Carbonell.Sketchbook D includes works by the following artists: Charles Denton, CL Martin, Ivy Sendrijas, John Sauer, Jordan Wiebe, KNZ., Kristina Fjellman, Maiya Lea Hartman, Mary Gibney, Melissa Lee Sisk, Natalia Berglund, Ross Auger, and Sarah Nicole.Sketchbook E includes works by the following artists: Alison Arens, Danielle Pebbles, FOLA (Shade Pratt), Luis Fitch, Maddi Geislinger, Matthew J. Bindert, Oni Sakti, Piotr Szyhalski/Labor Camp, Renee Chartier, sunshine gao, Ta-columba T. Aiken, Vickie LaCroix, W S Norton, and Xee Reiter.Close-ups of all of the art:https://www.dropbox.com/sh/t99grho03w1btwl/AABF7QvgDWSMQXFEsL4D1O18a?dl=0

Three framed Share certificates.

Miscellaneous collection to include five share certificates, three of which relate to motor car companies 1906-07; an early-20th century "Autograph" album, sparsely-filled with pencil & watercolour sketches and cartoons, some WW1 era, some later; a small collection of family photographs, 1920s-50s, loose and in album; a vellum indenture for the marriage settlement of Frederick Martin Furniss & Mary Baxter, 1910; a small quantity of loose stamp clippings and receipts

SCRIPOPHILY INTEREST: A collection of late 19th/early 20th century Bonds and Share Certificates, Mostly relating to the Hon Gerald Fitz-Gerald, Dublin Including: Woodstock Transvaal Gold Mine, Amalgamated Industrials Ltd, The Sunburst Gold Mining Co., Tati Concessions Ltd, Sons of Gwalia Ltd, The Venezuela Central Railway Co, etc

WHITE STAR LINE SHARE CERTIFICATE (1933)

A FINE 1:72 SCALE BUILDER'S-STYLE MODEL OF THE CITY OF PARIS, ORIGINALLY BUILT BY TOD & MACGREGOR FOR THE INMAN LINE, 1865the laminated and carved hull with lower companionways, brass portholes, carved figurehead and four-bladed chromed propeller, scored wooden decks, with anchors on davits with chains and winches, deck rails, companionways, carved and moulded, glazed superstructure with binnacle over bridge, engine room lights, covered lifeboats in davits, racked masts with standing and running rigging and yards with foot ropes, funnels with safety valve extension pipe, ventilators saloon lights with seats and other details, mounted on turned giltwood columns to wooden display base, overall measurements -- 33 x 66in. (84 x 168cm.)Built for the Inman Line as a challenger to Cunard's American service, City of Paris registered 2650 tons, was 346ft long with a 40ft beam and could develop 13.75kts – enough to be accredited with a (disputed) Blue Riband and awarded a share of the lucrative contract to carry mail. Lengthened and re-engined twice, she was chartered by the French Government as the troopship Tonquin but was sunk in a collision off Malaga on 4th March 1885.

Restsammlung, Fundgrube - Beba Kasten mit 4 Tableaus, ca. 90 Medaillen und Münzen. Der Anteil an Medaillen überwiegt klar, hier einiges an Silber dabei, aber auch vieles ohne Punzierung. | Remnant collection, treasure trove - Beba box with 4 tableaus, approx. 90 medals and coins. The share of medals clearly predominates, here some silver but also much without hallmark.

HARUMITSU: A SUPERB WOOD NETSUKE OF A CICADA ON A TARO LEAF WITH SNAILBy Harumitsu (Shunko), signed Harumitsu 春光Japan, Ise-Yamada, second half of 19th centuryA vividly detailed, naturalistic, and superbly carved wood netsuke of a cicada perched on top of a Taro leaf. The venation of the insect's wings and those of the leaf are carved in high relief and appear strikingly similar. The use of dark staining, stippling, and polished areas, give the carving a remarkable three-dimensional appearance. The underside of the leaf shows a small slithering snail and the boldly incised signature HARUMITSU. Natural himotoshi under the stem of the leaf.LENGTH 6.5 cmCondition: Very good condition, minor wear.Provenance: French private collection.Not much is known about the maker Harumitsu other than that he worked in the style of Masanao of Ise. His carvings of zodiac animals such as lot 143 certainly reflect this style. His netsuke of cicada, however, are much more refined and share many stylistic elements with the works of Naito Toyomasa (1773-1856), who must have influenced this carver. Literature comparison:A wood netsuke of a cicada by Harumitsu is in the Victoria & Albert Museum London, Accession no. A.993-1910.Auction comparison:A similar wood netsuke of a cicada by Harumitsu was sold by Millon, Les Collections du Musee De Saint Cyprien Cycle 3 Arts D' Asie, 13 December 2018, Paris, lot 83 (hammer price 5,000 EUR).

Russia share certifcate

Graham McKean (British, born 1962)The Winning Share signed 'McKEAN' (lower left)oil on canvas101.5 x 167cm (39 15/16 x 65 3/4in).Painted in 2000Footnotes:ProvenanceSale; Christie's, London, 29 May 2012, lot 556, where acquired by the previous ownerAcquired from the above by the present ownerPrivate Collection, U.K.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

Assorted coins, stock share certificate etc.

A Chinese Republic Share Certificate or Bond dated 1913, framed.(B.P. 21% + VAT)

Metal strong box (with key) containing various silver and other coins, one with gold mount, Reichsmark bonds and New York Central Rail Road company share certificates, Penny black 175th anniversary silver coin cover, WWI centenary silver coin cover, etc.(B.P. 21% + VAT)

EIGHT TRAYS CONTAINING PROJECTION AND FILM DEVELOPING EQUIPMENT including a Gnome slide projector, a Barclay Dual Editor, a Meopta MS8 Editor, clocks, tanks, trays, various papers, two film Safe Change bags, a Kodak Easy Share Photo Printer, a large diameter lens, slide viewers, etc

J. Craig Thorpe (American, B. 1948) "Illinois Locomotive" Signed lower left. Original oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Illinois Commemorative Cover postmarked September 11, 1995. The Chicago & Alton Railway -- known for building and operating the first Pullman sleeping car -- was also noted for its fabulous "Red Train." The Alton Limited, running between Chicago and St. Louis, was a daylight train distinguished by its luxurious accommodations as well as its distinctive maroon and red exterior. Throughout the six-hour journey between St. Louis and Chicago, passengers on the Red Train had the use of handsomely appointed smoking cars, dining cars and even observation-parlor cars, where afternoon tea was served by Japanese maidens dressed in traditional attire. Introduced in 1899, the Alton Limited was re-equipped in 1905 and again nearly 20 years later. On September 11, 1924, the newly-refurbished Red Train was put on display in the Windy City. The public was encouraged to tour the luxurious train, including the impressive observation car appropriately dubbed "Chicago." Such an exhibition was intended to drum up business on a route where the competition for riders had long been fierce. The Chicago & Eastern Illinois, the Wabash and the Illinois Central all vied with the Alton for a share of the Chicago-to-St. Louis business. Displayed here is engine No. 659, a 4-6-2 Pacific type built in 1913 by the American Locomotive Company. It has been handsomely portrayed pulling the famed red-colored cars through a stretch of Illinois farmland. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15164)

Mel Crawford (Canadian, B. 1925) "Spain" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the U.N. 25c Spain Flags of the U.N. Series stamp issued September 14, 1988. A country of thirty-three million people, Spain is as diverse as its populace. A peninsula divided by many mountain ranges, Spain has always been home to a variety of cultures and regions. Once a great empire, this land has also served as a crossroad to conquest and to trade routes leading to riches. Thus, through history, Spain has been the scene of many wars, invasions and conflicts. Still, her people have developed a strong pride in their traditions. Today, they are proud of their common Spanish heritage, despite the regional differences. In remote villages of Catalonia along the Balearic Sea, in the three Basque Provinces, in the mountain country of Navarre, in northwestern Galicia and indeed throughout all Spain, the people share a sense of personal dignity and hold the qualities of honor and courage in highest esteem. The culture reflects it. Spanish art is often strong and bold, its native dances like the flamenco -- are fiery and determined. And, of course, the pastime for which Spain is known the world over -- the bull fight -- is a mirror of the passion and romance of the Spanish soul. Even in its architecture, Spain reflects centuries of pride. Its castles are so beautiful that daydreamers around the world are accused of "building castles in Spain." Today, Spanish cities are accented by the glories of the past as magnificent museums and fabulous monuments stand beside modern skyscrapers and industrial complexes. Image Size: 14.25 x 12.25 in. Overall Size: 17.25 x 14.75 in. Unframed. (B11392)

British School (19th century)Study of a young woman in whitePastel, 21cm diameter (tondo), together with a map of the North Riding, hunting prints, Russian framed share certificates etc (9)

Sian Gibson Car Share Actress 10x8 inch Signed Photo. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

SHARE CERTIFICATES: a quantity, Republic of Bolivia 6% Loan, 1872.

RENAULT GILBERT: (1904-1984) Best known with his name during the French Reisitance, Colonel Remy. Remy was one of the most famous secret agents of occupied France during WWII. A very fine A.L.S., `Rémy´, two pages, 4to, 18th November 1956, on the Villa Maria, Cascais, Portugal, to Christian Melchior-Bonnet, in French. Renault announces a phone call in two to three weeks, and states in part `I will bring you a manuscript, Edith and I ask you two to share with your children, and with all those who are dear to you, our most warm-hearted wishes for a happy Christmas and new year 1957..´ VG Christian Melchior-Bonnet (1904-1995) Writer and historian. Founder of the publication Historia.

HEZETA JOSE: (1788-1862) Spanish Lieutenant Colonel who served in the Peninsular War and was taken prisoner in 1812. Following the war he was stationed at Catalonia together with the British Generals Bentinck and Clinton. In 1826, Hezeta escaped to England and was later appointed British envoy extraordinary and minister plenipotentiary to Colombia. Series of three A.Ls.S., Joseph Hezeta (2) and J Hezeta, ten pages (total), 4to, Havana, 10th January - 31st March 1828, all to Sir William Henry Clinton in London. Hezeta writes a series of informative letters to his correspondent, congratulating Clinton on his appointment as Governor of Mauritius, and further stating, in part, 'So far from having succeeded in my application to Lord Wm. Bentinck to follow his Lordship to India I have not even received an answer to my letter. I can have no doubt as to my letter being lost…..I must say that I was not very sanguine in my expectations. For I thought the circumstance of being a foreigner might be an obstacle to the good wishes of his Lordship in my favor, the board of Directors might see with an evil eye the intrusion of a foreigner in any part of their extensive administration; nor was my wish to usurp the rights of an English born subject…..I was prepared to any sort of refusal except to receive no answer…..I am always now in a melancholy mood…..one is tempted to think that it is a punishment for having been too bold in addressing a superior without being encouraged to it……What you tell me about the state of Portugal is sad enough. But you don't mention a word upon one of the most interesting subjects to lead to draw an inference respecting the future fate of that Kingdom & that it is something about the personal character of the Infante which for what we hear is by no means to be trusted, being unruly, rash & violent, ignorant in the extreme and in proportion fond of absolute power. And upon such a man will rest the foundation of the prospering of 3 millions of men, and by analogy that of Spain too? If the French can give us a sufficient cause for remaining in Spain the non payment of what they claim from the Spanish Government. England may prepare herself to agree to the extinction of that Independent estate and only weigh in her mind if it will be for her a sufficient indemnity for the aggrandisement of France to take a share in the spoil. My hopes of a change in the state of Spain are very weak, & few years more as you say will place one beyond the pale of Ferdinand's power and that of his monks….in the grave' (10th January 1828), '….you will see what new schemes I have in view to promote my fortune, It has been suggested to me by the knowledge I acquire in business. Money is yet here so scarce…..If among some respectable English merchants they would make here a sort of banking establishment merely to discount bills and make advances to planters upon their produce under judicious managers, they might derive a very handsome profit with perfect safety…..I am very anxious to hear of the arrival of D. Miguel to Portugal to see the state of that country come to a crisis. I have very little doubt but that he will put down the Constitution as soon as he will be left to himself and that England will be obliged to induce D. Pedro to come to Europe, if she wishes not to see Portugal under the French influence by putting it under an absolute monarch' (13th February 1828), 'The long expected answer of Lord Wm. Bentinck came at last….[His Lordship]….wished me to follow him & kindly offers me his assistance to do it by way of Rio Janeiro & Cape of Good Hope but I am not so sanguine about the content of the letter…..If the answer was flattering to my wishes in my destitute situation I have the hopes that His Lordship will have sent a duplicate…..As soon as the French shall evacuate the Peninsula I expect insurrections, rebellions & riots of every description. The extreme parties will agree in the work of destructions, but even men of the same principles will disagree upon what is to be substituted. No one can trust the oaths or pledges given by any of the Bourbons & any constitution imposed or forced upon them must I fear prove anarchical. The nation will sink deeper & deeper in distress & misery; to avoid this there is no other remedy but to unite the whole Peninsula under D. Pedro & send D. Miguel to the Brazils. This is a most desirable plan for the balance of power & to restore to both kingdoms by their union part of the strength & weight which they have lost with their colonies. The present unpopularity of the Bourbon makes this plan possible which in any other circumstances would be rash & impracticable. What Liberal can be imprudent enough to re-enter Spain with no other security but an amnesty from the King?......I for one will not trust myself to such a frail security as Ferd[inan]d's word' (31st March 1828). Each of the letters with integral address leaves (some minor tears and small areas of paper loss caused by the original breaking of the seals). Generally about VG, 3 William Henry Clinton (1769-1846) British General who served in the French Revolutionary and Napoleonic Wars. Lord William Bentinck (1774-1839) British Lieutenant General who served as Governor-General of India 1828-35.

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

GARRETT PAT: (1850-1908) American Lawman, Bartender and Customs Agent of America's Old West, famous for his pursuit and shooting of Billy the Kid. D.S., P. F. Garrett, two pages, oblong 4to, Jarilla, New Mexico, 12th December 1899. The attractive partially printed document is a share certificate for one hundred shares of $10 each of the capital stock of The Alabama Gold and Copper Mining Company, numbered 50 and issued to W. H. H. Llewellyn. Signed by Garrett at the foot in his capacity as Secretary of the company and countersigned by J. M. Llewellyn (most likely a relative of the shareholder) in his capacity as President. With the gold foil blind embossed seal affixed to the lower left corner. Scarce. VG