Dad loved his clocks! He had a ritual of going around the house winding them all up and he loved it when the chimes all went off together! It could last a while, as they were old clocks and not particularly well synchronised. Dad would often have one of his pocket watches on his person and frequently wore waistcoats to accommodate a watch. He took a real pleasure from sitting in the front room with a watch opened up in his hand, just observing the amazing mechanics moving in the palm of his hand. Dad occasionally handed me a watch and say “ just feel that in your hand. Isn’t it wonderful!” Of course in my younger years the experience he was trying to share was slightly lost on me! An early 19th Century French Empire eight day mantle clock by Faisant Paris circa 1820, enamel dial with Roman numerals, the bronze case applied with ormolu cast and chased mounts of winged Classical maidens holding a wreath above winged horses, surmounted by cast figures of a Bacchanalian putto feeding a goat grapes with bird with foliage below, standing on adjustable feet, 46cm high x 20cm wide ❧ from "The Best or Dad's Room" at Brachefield CONDITION:very good condition for age, missing pendulum.
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Manuscript drafts of letters to David Frost and Ronnie Barker, handwritten by Eric Morecambe; a typed speech honouring Des O'Connor; early Morecambe & Wise programmes, 1950s & 1960s; several early handbills, including "Ernie Wise & Morecambe", 1942, and "Morecambe & Wisdom", 1948 [a brief change of name designed to avoid confusion with another act called "Wise & Lane"]; a typed script of the Morecambe & Wise Autobiography; a playbill and running order from the Ed Sullivan Show; Eric Morecambe's financial material (building society paying-in books, share accounts, ledger, VAT invoices); Eric & Ernie Australian Equity receipts, signed ❧ This is from Eric Morecambe’s private study at his home in Harpenden
Limited edition. Sisters Forever: A Time to Share. Present two sisters in adulthood, adorned with gold jewelry and headpieces. Features a beautifully detailed resin figure, hand painted in realistic colors and details. Thomas Blackshear's Ebony Visions backstamp. Issued: c. 2000Dimensions: 11''H x 7.25''diaEdition Number: 7858Manufacturer: Willitts DesignsCondition: Age related wear.
A SAFAVID-STYLE GILT AND LACQUERED INDIAN PORTABLE CHEST OF DRAWERSMughal India, 17th century Comprising eight carved ebony narrow filing drawers, the front of each gilt and lacquered with typical Persian lacquer motifs including fine interlocking lotus and rosette sprays, fleshy saz leaves and foliage, set within gilt concentric decorative frames against a dark ground, fitted in a tailored modern plexiglass outer case. 19.5cm x 53.5cm x 29.5cm At a first sight, this portable chest of drawers could be easily attributed to the renowned production of Persian lacquered artworks. The decorative vocabulary and overall style share much affinity with contemporary Safavid specimens. And yet, the chosen material of the drawers, made of smooth ebony, point towards an Indian origin, given that this wood was autochtonous to the Indian Subcontinent, especially in the southern regions and Sri Lanka, and much more readily available. This link makes the present lot a remarkable example of the interaction between India and Iran in the 17th century, and showcases the profound mutual inspiration of their respective courtly ateliers.Qty: 9
mixed media on paper, signed mounted, framed and under glass image size 29cm x 20cm, overall size 46cm x 36cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* Murdoch (Iris, 1919-1999). Autograph Essay Signed ‘Iris Murdoch’, no place or date, c. 1975, being the author's piece for Literary Guild Bulletin, sent to Book Club Associates, in blue ink on ruled foolscap paper with file holes to left margin, beginning, ‘I do not resemble my hero’, Hilary Burde, in temperament or in history, but I do share with him his feeling about words and languages and grammar, and perhaps this interest will somehow far back in the genesis of the book. I love grammar, all the mechanics and the mysteries of language structure, and not just because I am a writer. I would like to have been (also) a comparative philologist and polyglot. And I agree with Hilary’s judgment that studying a language is not only an academic but a moral education…’, a total of 39 lines ending at the top of page 2, marginal split and top file hole affecting final word of first line of verso, a few manuscript corrections in Murdoch’s hand, note in another hand at head of first page, 4toQTY: (1)NOTE:This essay relates to Iris Murdoch’s 17th novel, A Word Child, first published in 1975 by Chatto and Windus. It charts the trials and tribulations of the title character, ‘The Word Child’, Hilarly Burde as he attempts to recover his soul from the misery of his troubled past. The novel explores the possibility and meaning of redemption, the nature of human memory and the possibility of love for the tarnished soul.
Master of the Martyrdom of the Ten Thousand, follower - Supper at Emmaus - C. 1470-1490 / Description: Christ invited by two of his apostles to share a meal is at first not recognized, here we see the moment he breaks the bread and they realizes their guest isin fact the resurrected Christ. This is an old colored incunabula woodcut preceding the one used in the more common editions of Ludolphus editions of the turn of the century (1490-1503) "Dat Boeck vanden leven ons lief heeren Ihesu Christi". In that more common edition the woodcut with this scene shows Christ with a hat wit a pilgrim sign on it instead ot the Halo used here (See British Museum RP-P-OB-2062) . The design of the woodcut on auction is very near to the one by The Master of the Martyrdom of the Ten Thousand (1460-1470 fl.) It is in reverse but In fact it is quite identically looking at the halo and the hat and hear dress of the apostles, also the table and the windows behind (however two instead of four). I added a mirrored image of that one. All these works go further back to Master ES and the Master of the Berlin Passion. Our woodcut is a very early scarce woodcut in very attractive old colouring and in top condition.H / Dimensions: 7,5 x 5,50 cm / Condition: Excellent early impression with unbroken woodcut lines, mounted on a laid paper collection sheet. Very nice period hand coloring. Gothic Dutch letterpress on the backside. / Literature: See: Lehrs 1908-34 / Geschichte und kritische Katalog des deutschen, niederländischen und französischen Kupferstichs im XV Jahrhundert (III.381.50) (Master of the The Thousand) ------ British Museum 1846,0709.54 / Medium: Woodcut /Circa: 1470-1490
F.P. Journe. A fine and rare Limited Edition platinum automatic calendar wristwatch with power reserveModel: Octa Reserve de Marche, Limited Edition No.34/99-ANDate: Purchased August 2022Movement: Jewelled Cal.1300.3 automatic, 22K gold rotorDial: Champagne with offset white time display, black Arabic numeral hour markers, black outer minute track with Arabic numeral 5 minute markers, subsidiary seconds at 5, date aperture at 11, power reserve indication at 8Case: Polished round, exhibition back secured by 6 screwsStrap/Bracelet: Brown F.P Journe alligator leatherBuckle/Clasp: Signed platinum buckleSigned: Case, dial & movementSize: 42mm Accompaniments: F.P Journe box, outer card, Certificate, polishing clothFootnotes:Each of the models in the Octa series possesses its own identity, although all share a common design and microengineering lineage. The Octa Réserve de Marche is the premier model in the series and hence is emblematic of the aesthetic and technical virtues of the Octa calibre. With an impressive 120 hours power reserve capability, this model comprises a 22-carat rose gold rotor accompanied by a dedicated 4-arm balance with inertial adjustment and frequency of 21,600 vph. This series was only available to loyal clients of F. P. Journe.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cmNote: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.
BALBLAIR VINTAGE 1979 | Distilled: 1979 | Bottled: 2007 | ABV: 46% | Region: Highland | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Duty stamp: CZ | Packaging: folding paper box | Estimate: 5 000 - 10 000 Kc | Distillery | Balblair is a Scottish distillery in the Highlands, near the village of Edderton, founded in 1790 by John Ross. The name "Balblair" comes from the Celtic term for a plain or marshy area, referring to the local landscape and the proximity of the Allt Dearg spring, which serves as the source of water for whiskey production. The Balblair distillery is characterized by a heavier profile with notes of sulphur, meatiness and fruitiness.The distillery went through several closures, including between 1911 and 1949. After rebranding in 2007, it introduced its first vintage whiskeys, comprising the 1979 vintages, 1989 and 1997.In 2013 the distillery appeared in "The Angel's Share" by Ken Loach. Balblair is now part of Inver House Distillers, which is owned by International Beverage Holdings | Bottle | Balblair 1979 is a single malt whisky, distilled in 1979 at the Balblair Distillery and bottled in 2007. It is one of the first vintages that Balblair released after transitioning to vintage-only releases. The whisky was matured in bourbon casks, without chill filtration or added coloring, ensuring the natural and authentic character of the whisky. It is known for its rich aroma and balanced profile.Nose: Rich and dessert-like, with notes of apricot jam and oranges in a creamy vanilla custard.Taste: Creamy vanilla pudding with fruity and orange notes.Finish: Dry and leafy, leaving a refreshing aftertaste with soft, earthy notes.The bottle is presented in a luxurious, representative paper box.
LAGAVULIN 1979 MISSION SELECTION NUMBER ONE 23 YEARS OLD | Distilled: 1979 | Stated age: 23 years old | ABV: 46% | Region: Islay | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Duty stamp: CZ | Packaging: wooden box | Estimate: 10 000 - 20 000 Kc | Distillery | Lagavulin is an iconic distillery from the island of Islay, founded in 1816 by John Johnston, although the site had previously been illegally distilled. The distillery is located between Ardbeg and Laphroaig and is renowned for its heavily smoky, peaty character.In 1862 the distillery was bought by John Logan Mackie, whose nephew Sir Peter Mackie, creator of the famous White Horse blend, was a major figure in the whiskey industry. After losing the exclusivity of representation to Laphroaig, he built a Malt Mill on Lagavula's grounds in 1908, but although it was designed to produce a whiskey similar to that of Laphroaig, it never succeeded. Her whiskey didn't even resemble Lagavulin. A fictional cask from this distillery played a central role in Ken Loach's film 'The Angel's Share'.Lagavulin is part of the Classic Malts range from Diageo (which owns it today) and its most famous whiskey is Lagavulin 16 Year Old, which is considered one of the best peated whiskeys on the market. In addition to this regular bottling, limited editions appear on the market in the form of Distiller's Edition, Diageo Special Release or for the Feis Ile festival. | Bottle | Lagavulin 1979 is a single malt whisky, bottled by independent bottler Murray McDavid in 2002 as part of their prestigious Mission - Selection Number One range. This series focuses on limited bottlings of exceptional and rare whiskies, often from closed distilleries or very old stocks. Whiskies from this series are bottled at natural cask strength, without chill filtration or added coloring, guaranteeing an authentic and complex flavor profile, exactly as the whisky was drawn from the cask.The bottle is decorated with the signature of the legendary Jim McEwan, who played a vital role in the restoration and reopening of the Bruichladdich distillery in 2001 and served as master distiller until 2015. His signature appears only on truly exceptional bottlings, still prized by whisky connoisseurs and collectors today.Nose: Complex, with notes of lemon peel, seaweed, almonds, smoke, and subtle sweet hints.Taste: Herbal and peaty, with elements of pine, salty sea water, fireplace smoke, and dried fish. The citrus notes from the nose recede into the background here.Finish: Medium length, with lingering notes of ash, woody tannins, and a subtle hint of sea air.The auctioned bottle is no. 12/600 and is presented in a luxurious wooden box.
LAGAVULIN 1991 THE DISTILLERS EDITION LGV.4/495 | Distilled: 1991 | Bottled: 2007 | ABV: 43% | Region: Islay | Country: Scotland | Type: Single malt Scotch whisky | Volume: 700 ml | Duty stamp: CZ | Packaging: paper box | Estimate: 10 000 - 12 000 Kc | Distillery | Lagavulin is an iconic distillery from the island of Islay, founded in 1816 by John Johnston, although the site had previously been illegally distilled. The distillery is located between Ardbeg and Laphroaig and is renowned for its heavily smoky, peaty character.In 1862 the distillery was bought by John Logan Mackie, whose nephew Sir Peter Mackie, creator of the famous White Horse blend, was a major figure in the whiskey industry. After losing the exclusivity of representation to Laphroaig, he built a Malt Mill on Lagavula's grounds in 1908, but although it was designed to produce a whiskey similar to that of Laphroaig, it never succeeded. Her whiskey didn't even resemble Lagavulin. A fictional cask from this distillery played a central role in Ken Loach's film 'The Angel's Share'.Lagavulin is part of the Classic Malts range from Diageo (which owns it today) and its most famous whiskey is Lagavulin 16 Year Old, which is considered one of the best peated whiskeys on the market. In addition to this regular bottling, limited editions appear on the market in the form of Distiller's Edition, Diageo Special Release or for the Feis Ile festival. | Bottle | Lagavulin 1991 The Distillers Edition is a limited edition single malt whisky, distilled in 1991 and bottled in 2007. The Distillers Edition is a special series that uses double maturation. After an initial maturation in traditional oak casks, the whisky is transferred to sweet Pedro Ximenez sherry casks, adding richer complexity and a subtle sweetness that harmonizes with the peaty notes typical of Lagavulin.Nose: Intense aromas of peat and vanilla, complemented by notes of raisins, sea salt, leather, and orange marmalade.Taste: A sweet and fruity introduction transitions into strong smokiness with notes of dried grapes and a subtle saltiness.Finish: Very long, with lingering notes of peat and fruit intermingling with hints of oak and smoke.Lagavulin 1991 The Distillers Edition is a favorite among collectors and distillery fans for its distinctive and complex character. The auctioned bottle comes from batch LGV.4/495.
Netsuke eines großen Hundes und Welpe. Elfenbein. Kyoto. Spätes 18. Jh.Der schlanke Hund mit um den Hals gebundener Schelle und sich einrollendem Schwanz legt die rechte Vorderpfote auf den sich die Pfote leckenden Welpen vor ihm. Drei Pfoten des Welpen rest. Gewicht 31 g.Diese schlanke Hunderasse wurde angeblich aus Europa nach Japan eingeführt und wird als „kōken“, „yōken“ oder „kame“ bezeichnet.H 5,4 cmProvenienzSotheby’s, Los Angeles, 28.8.1981, Lot 41Sammlung Frau Gunvor Björkman Dahm, SchwedenAus der Sammlung Dr. Reinhard Lohrberg (1943-2024), Hannover, erworben von Robert Fleischel (Sagemonoya), Tokyo, 25.3.2011AusstellungenSato Art Museum, Toyama, April 1998Netsuke, Östasitiska Museet, Stockholm, 16.10.1999-9.1.2000LiteraturAbgebildet in: Netsuke chokoku Edo no share, Toyama Satō bijutsukan, Toyama 1998, S. 39, Nr. 133 und Netsuke, Ausstellungskatalog, Östasitiska Museet, Stockholm 1999, S. 3Dieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird.
IMPORTANTE ET RARE COUPE EN JADE VERT, YIDynastie Yuan (1279-1368)/Début de la Dynastie Ming (1368-1644)AN IMPORTANT AND VERY RARE GREEN JADE POURING BOWL, YIYuan Dynasty/early Ming DynastyOf circular shape supported on a flat, slightly countersunk base, with gently rounded sides and lipped rim, set on one side with an angular outward flaring spout above a short cloud-scroll underneath, set on the other side with a triangular handle in the form of a pierced and openwork ribbon centered on a small peach, the stone a translucent, soft mottled green colour polished to a soft sheen. 21 cm (8 1/4 in) wide across handle and spout Footnotes:PROPERTY FROM A GERMAN FAMILY COLLECTION德國家族珍藏元/明早期 碧玉匜Provenance:Collected in China between 1894 and 1922, then handed down in the family by descent.來源於1894年至1922年間得自中國，後經家族流傳至今This green jade pouring vessel is incredibly rare and is one of the very few jade vessels made in the between the Song and early Ming dynasties. Jessica Rawson notes that the sheer extravagance involved in carving jade vessels may account for the absence of jade vessels in tombs of the pre-Han period, and the same reason may apply to the scarcity of jade vessels in tombs and hoards of the Tang, Song, Yuan and Ming periods. In the early period, bronze technology enabled the production of highly complex vessels shapes and designs that were difficult to copy in jade, a material that did not lend itself to articulation or depth of decorative detail when carved. As the use of bronze vessels declined and ceramic wares with distinctive shapes and glazes gained in importance, the use of jade to fashion vessels of similar shapes and designs made in ceramic was still exceptional. Scholars have noted that the influence of Western and Central Asian metalware played an important role in the evolution of ceramic vessels and lacquerware made in the late Tang, Song, Jin and Yuan dynasties. In fact, this particular jade pouring vessel with its distinctive angular spout and flat openwork handle is an example that perfectly illustrates the links between metalware, ceramics and jade in the Song and Yuan period. This unusual spouted pouring vessel known as yi is a form that appeared both in ceramics and metal in the 14th century. Examples made in ceramic and porcelain are plentyful and well documented, see, for instance, a Yuan dynasty celadon-glazed Longquan pouring cup yi excavated in Taishun county, Zhejiang, illustrated in Celadons from Longquan Kilns, Taipei, 2014, no. 148-2; compare also with a blue and white pouring vessel of this shape in the collection of the British Museum, London, illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 69, fi. 1:21; see also a Yuan dynasty blue and white spouted bowl excavated in Lintao County, Gansu Province, illustrated in Splendors in Smalt: Art of Yuan Blue-and-white Porcelain, Shanghai, 2012, pp. 148-149, no.42, lot 17, and an underglaze-red pouring vessel of this type published in Shane McCausland,The Mongol Century. Visual Cultures of Yuan China, 1271-1368, London, 2014, pp. 82-83, no. 24. The Mongol rulers of the Yuan dynasty took over the ceramic tradition of the kilns that flourished in southern China. They appropriated many of the existing ceramic shapes and designs to fit their taste and needs. The small loop beneath the spout of the ceramic pouring vessels is a reminder that in the nomadic tradition and culture similar vessels were hung from the belts of the Mongol horsemen owners. The angular spout and the sharp lipped rim of this jade pouring vessel demonstrate that the form originally derived from metal prototypes as a silver pouring bowl inscribed with the year 1333 and excavated from a hoard in Hefei, Anhui, shows, see The World of Khublai Khan. Chinese Art in the Yuan Dynasty, New York, 2010, p. 83, fig. 115. Compare also with a related Yuan dynasty silver pouring bowl in the collection of the Philadelphia Museum of Art, published in Hiromi Kinoshita, Art of China. Highlights from the Philadelphia Museum of Art, Philadelphia, 2018, p. 82. In Yuan culture, such pouring vessels were used to pour wine into smaller cups. and often appear together with yuhuchunping vases as Chuimei Ho observed in 'Social Life under the Mongols as seen in Ceramics', in Transactions of the Oriental Ceramic Society, vol.59, 1994-95, p. 44. A mural discovered in the tomb of Zhang Andabuhua and his wife Li Yunxian, in Dongercun, Shaanxi, dated 1269, shows a table full of wine cups, a vase and a pouring vessel (Fig. 2). While this green jade pouring vessel is clearly related to Yuan dynasty ceramic and metalware examples, it is different from these rare silver examples as it also has a distinct triangular handle facing the spout on the other side of the vessel. This feature appears on three other rare jade vessels of similar shallow form but without a spout and described as cups, two dated to the Song dynasty, and the third to the Yuan dynasty, all three in the collection of the Palace Museum, Beijing, published in Compendium of Collections in the Palace Museum. Jade. 5: Tang , Song, Liao, Jin and Yuan Dynasties, Beijing, 2011, nos. 62, 63 and 268 (Fig. 3).This unusual green jade pouring vessel appears to be unique as no other comparable piece is known. Closely related types of vessels made of silver and jade are equally scarce and suggest that not many were made. Known examples share different features meaning that they may have been individual commissions, luxury commodities reserved for members of the Yuan elite.For further information on this lot please visit Bonhams.com
A highly desirable 3.2 Audi Quattro in gleaming Misano Red with just over 25,000 miles. First launched in 1998 and in production until 2006, the MkI/Type 8N cars might share its PQ34 chassis with cars as commonplace as the VW Golf, Skoda Octavia and the Audi A3 but the coachwork - designed in California and named the NSU’s historical success at the Isle of Man - is a world apartFirst registered in 2003, this TT coupé has recently been imported from Japan and is showing just 25,528 milesIt's powered by a 3.2-lite VR6, producing 247bhp and 236lb/ft of torque which is sent to all four wheels through the 6-speed DSG automatic transmissionFinished in Misano Red Pearl complemented by a cream leather cabin, it sits on 18" 7-spoke cast-aluminium alloy wheelsThe specification includes climate control, heated front seats, heated rear screen and optional cup holdersSupplied with its Japanese history, including the grade sheet showing 'Grade 4'Low-mileage, an appealing colour scheme and impressive performance make this TT an ideal year-round daily driver, as well as a competent weekend cruiser or road trip companion Specification Make: AUDI Model: TT Year: 2003 Chassis Number: TBC Registration Number: TBA Transmission: Automatic Drive Side: Right-hand Drive Odometer Reading: 25528 Miles Make: RHDClick here for more details and images
* FRANK MCFADDEN (SCOTTISH b. 1972), TOTENKOPF (DEATHS HEAD) oil on canvas, signed, titled and dated 2020 label versoframed image size 51cm x 46cm, overall size 66cm x 61cm Artist's label versoNote: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.Condition of the picture is good overall, with no visible or known issues.
* FRANK MCFADDEN (SCOTTISH b. 1972), TROPHY FACE I pastel on paper, signed mounted, framed and under glassimage size 20cm x 15cm, overall size 43cm x 37cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* FRANK MCFADDEN (SCOTTISH b. 1972), IN ICTU OCULI (IN THE BLINK OF AN EYE) oil on canvas, signed, titled and dated 2020 label versoframed image size 51cm x 46cm, overall size 66cm x 61cm Artist's label versoNote: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.Condition of the picture is good overall, with no visible or known issues.
* FRANK MCFADDEN (SCOTTISH b. 1972), TWILIGHT SADNESS pastel on paper, signedmounted, framed and under glassimage size 30cm x 24cm, overall size 53cm x 47cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* FRANK MCFADDEN (SCOTTISH b. 1972), GREASER oil on board, signed and dated '08mounted, framed and under glassimage size 19cm x 19cm, overall size 39cm x 37cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* FRANK MCFADDEN (SCOTTISH b. 1972), PORTRAIT OF A MAN pastel on paper, signedmounted, framed and under glassimage size 40cm x 29cm, overall size 61cm x 49cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* FRANK MCFADDEN (SCOTTISH b. 1972), PORTRAIT STUDY mixed media on paper, signedmounted, framed and under glassimage size 29cm x 20cm, overall size 46cm x 36cmNote: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* FRANK MCFADDEN (SCOTTISH b. 1972), MANY FACES pastel on paper, signed mounted, framed and under glassimage size 62cm x 46cmm overall size 87cm x 70cmNote: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
Autographed TONY CURRIE / ALAN BIRCHENALL 1975 'THE KISS' 12 x 8 Photo, Currie of Sheffield United and Birchenall of Leicester City share a tender moment during a First Division encounter at Bramall Lane, after both players clashed on the pitch they made up by kissing one another, signed by both players in blue marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Hoepker, Thomas -- View from Williamsburg, Brooklyn of Manhattan, September 11, 2001. Large-format archival pigment print, printed 2007. 50 x 74 cm. (60 x 90 cm). Signed and editioned "18/20" by the photographer in ink and photographer's stamp on the verso. This photograph, by acclaimed Magnum photographer Thomas Hoepker, sparked considerable debate upon its release. As a photojournalist acutely aware of the power of visual storytelling and the intense emotions it can evoke, Hoepker chose not to share the image immediately after September 11. He believed that its inherent ambiguity made it an inadequate representation of that day’s events. Rather than conveying indifference, Hoepker has explained that his aim was to capture the complexity of human responses to tragedy, highlighting how a single image can evoke diverse interpretations. Today, it stands as an iconic piece of photojournalism, representing a pivotal moment in global history. – In excellent condition with rich colors.Provenance: Robert Morat Galerie to the present owner.
A rare and large Caughley porcelain mug in the 'Natural Sprays' pattern, circa 1775-80, transfer-printed in underglaze blue, printed C with serif mark, 14.2cm high and 10.8cm diameterThis print is more commonly found on Worcester porcelain, and the close similarities between the patterns at both factories suggest they share either an engraver or a source.Condition:Good condition with no damages or restoration.
DALWHINNIE 12 YEAR OLD MANAGER'S DRAM 2009 HIGHLAND SINGLE MALT Bottled: 10/2009Bottle Number: 067857.5% ABV / 70cl Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
DALWHINNIE 13 YEAR OLD MANAGER'S DRAM 2023 HIGHLAND SINGLE MALT Bottled: 10/2023Bottle Number: 130053.6% ABV / 70cl Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
DALWHINNIE 12 YEAR OLD MANAGER'S DRAM 2009 HIGHLAND SINGLE MALT Bottled: 10/2009Bottle Number: 068257.5% ABV / 70cl Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
DALWHINNIE 13 YEAR OLD MANAGER'S DRAM 2023 HIGHLAND SINGLE MALT Bottled: 10/2023Bottle Number: 130153.6% ABV / 70cl Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
A collection of assorted Preston North End ephemora including 1938 cup final programme with compliments of Football Association; 1954 cup final programme and compliments slips from PNE; signed photograph of Tom Finney; PNE share holders certificate etc Condition- some slight marks and creases to the programmes, no rips, holes punched or writing, there is some rusting to the staples on one.
8 Hummel figurines - Street Singer (1950-55), Begging his Share (1957-60), Little Gardener (1960-72), Little Hiker (1960-72), Just Resting (1964-72), Home from Market (1964-72), Trumpet Boy (1972-79) and a boxed figurine My Best Friend Condition- good overall, there is some crazing, otherwise fine.The shortest is 7.5cm and the tallest 13.5cm.
BLERIOT LOUIS: (1872-1936) French pioneer aviator, the first man to fly across the English Channel, 1909. D.S., L Bleriot, two pages, small 4to, Paris, 27th April 1931, in French. The typed document, completed in Bleriot´s hand, is issued by the Comptoir des Approvisionnements de l'Aviation et de l'Aerostation and is a subscription form incorporating a power of attorney in which Bleriot provides details of his profession (´Aviateur - Constructeur´) as well as his address in Paris, further stating that it has been decided by the Board of Directors ´d´augmenter de 200,000 francs le capital social, pour le porter de 800,000 frs. a 1,000,000 de francs, par la creation de 200 actions de mille francs chacune´ (Translation: ´increase the share capital by 200,000 francs, bringing it from 800,000 francs to 1,000,000 francs, by the creation of 200 shares of one thousand francs each´) and continuing ´Je verse a l´appui de ma souscription, la somme de quinze cents francs representant, a raison de 250 frs, par action, le quart du montant nominal de chacune des actions par moi souscrites, et m´engage a les liberer du surplus au fur et a mesure des appels de fonds qui seront faits ulterieurement par le Conseil d´Administration´ (Translation: ´In support of my subscription, I hereby pay the sum of fifteen hundred francs, representing one quarter of the nominal value of each of the shares I have subscribed, at the rate of 250 francs per share, and I undertake to release the remainder as and when the Board of Directors subsequently calls for funds´) and further adding ´En outre, en ma qualite de proprietaire de cinq actions anciennes de mille francs, et de souscripteur de cinq et une soit: six actions nouvelles de mille francs du Comptoir des Approvisionnements de l´Aviation et de l´Aerostation, Je donne, par les presentes, pouvoir Monsieur Fernand Liore a l´effet de me representer dans toutes les Assemblees Generales Extraordinaires des actionnaires de la dite Societe.....En consequence, assister aux Assemblees, prendre part a toutes deliberations, emettre tous votes sur les questions a l´Ordre du Jour, adopter toutes resolutions, signer toutes feuilles de presence, registres et proces-verbaux, accepter en mon nom toutes fonctions, remplir toutes formalites, substituer tout ou partie des presents pouvoirs, et generalement faire le necessaire´ (Translation: ´In addition, in my capacity as the owner of five existing shares of one thousand francs, and as a subscriber to five and one, i.e. six new shares of one thousand francs in Comptoir des Approvisionnements de l'Aviation et de l'Aerostation, I hereby give Mr Fernand Liore authority to represent me at all Extraordinary General Meetings of the shareholders of the said Company......In consequence, to attend the Meetings, to take part in all deliberations, to cast all votes on the matters on the Agenda, to adopt all resolutions, to sign all attendance sheets, registers and minutes, to accept on my behalf all functions, to fulfil all formalities, to substitute all or part of the present powers, and generally to do all that is necessary´). Signed by Bleriot at the conclusion and also signed by Fernand Liore with his name alone in the margin of the first page. With two official circular French revenue stamps. Some very light, extremely minor age wear, VGFernand Liore (1874-1966) French pioneer aviator and aeronautical engineer. Liore´s aeronautical vocation was inspired on the day he witnessed a failed takeoff by Louis Blériot at the Issy-les-Moulineaux aerodrome, two years later unveiling the first biplane of his design.
BUFFON COMTE DE: (1707-1788) Georges-Louis Leclerc. French naturalist, mathematician and cosmologist. L.S., Buffon, three pages, small 4to, Montbard (Cote-d´Or), 14th November 1771, to the wife of the President de Meinieres, in French. Buffon commences his letter by stating ´L´idee qu´il vous plait, Madame, d´appeller bizarre, n´a point cette acception dans mon esprit´ (Translation: ´The idea that you please, Madame, to call bizarre, has no such meaning in my mind´) and continues ´Elle justifie autant la surete du votre que la bonte de votre coeur et l´interet que vous prennez au sujet que vous me proposez suffit pour m´en inspirer. Il est bien rare en effet, Madame, de trouver dans la classe d´hommes ou est place celui que vous protegez, je ne dis par des talents aussi varies que les siens mais meme des connaissances ordinaires. C´est, comme vous le dites tres bien, un caprice de la nature, qui pour demontrer l´etendue de sa puissance dans tous les genres, produit des singularites qui nous defendent de la limiter et nous prouve que le terme de nos connaissances est bien distant de celui de sa liberte´ (Translation: ´It justifies the safety of your own as much as the goodness of your heart, and the interest you take in the subject you propose is enough to inspire me. It is very rare indeed, Madame, to find in the class of men in which the one you protect is placed, not only talents as varied as his, but even ordinary knowledge. It is, as you say very well, a caprice of nature, which in order to demonstrate the extent of its power in all genres, produces singularities which prevent us from limiting it and prove to us that the end of our knowledge is far removed from that of its freedom´), further explaining that his affairs, and particularly his health, will prevent him from returning to Paris before January, and adding ´Quand j´y serai je serai plus a portee de m´interesser a un homme que vous honorer de votre appui et que j´en crois digne d´apres ce que vous me faites l´honneur de m´en dire. Je ne serai point fache de le voir et quand j´aurai demele ce a quoi je le pourrais employer pour mon service, ou pour celui de mes amis, je tacherai de l´occuper ou de le placer. Si cependant Madame, avant ce temps, qui peut encore etre long, vous trouviez l´occasion de le tirer de l´obscurite ou il est, que la preference que vous voulez bien me donner, ne retarde point l´effet de votre bonne volonte. Je serais fache qu´un motif qui ajouterais a ma reconnaissance, peut etre invisible a un homme qui peut bien n´avoir pas le temps d´attendre´ (Translation: ´When I am there I will be in a better position to take an interest in a man whom you honour with your support and whom I believe to be worthy of it from what you do me the honour of telling me. I will not be shy about seeing him and when I have found out what I could use him for for my service, or that of my friends, I will try to occupy or place him. If, however, Madame, before that time, which may still be long, you find the opportunity to draw him out of the obscurity in which he is, may the preference you are willing to give me not delay the effect of your goodwill. I would be angry if a reason which would add to my gratitude could be invisible to a man who may not have the time to wait´). Buffon further writes ´Une des raisons, Madame, qui me fait desirer de retourner bientot a Paris, est de pouvoir vous faire ma cour avec liberte, je fus prive de ce plaisir l´annee derniere, mais je compte me dedommager cet hiver et aller quelque fois gouter avec vous les douceurs de votre retraite. Je fais, Madame, qu´on n´en trouve que dans les asiles ou regnent la paix et la tranquillite et comme elles habitent partout ou vous etes, j´irai en jouir avec vous avec grand plaisir on est trop heureux quand on peut se derober au tumulte des affaires et du grand monde et partager sans contrainte les plaisirs du commerce des personnes qui comme vous, Madame, ajoutent a toutes les qualites de l´ame tous les agrements de l´esprit´ (Translation: ´One of the reasons, Madame, which makes me wish to return to Paris soon, is to be able to court you freely, I was deprived of this pleasure last year, but I intend to make up for it this winter and go with you a few times to taste the delights of your retreat. As they are to be found wherever you are, I shall go and enjoy them with you with great pleasure. One is too happy when one can disobey the tumult of business and the big world and share without constraint the pleasures of the company of people who, like you, Madame, add to all the qualities of the soul all the pleasures of the spirit´) before concluding by asking for his respects and compliments to be paid to the President de Meinieres. Some very light, extremely minor age wear, otherwise VG
BREGUET LOUIS: (1880-1955) French pioneer aviator and aircraft designer & manufacturer. D.S., Louis Breguet, one page, small 4to, Paris, 30th January 1926, in French. The partially printed document, completed in manuscript, is a Bulletin de Souscription (Subscription Form) issued by the Comptoir des Approvisionnements de l'Aviation et de l'Aerostation, providing details of Breguet´s address and confirms that he has read the articles of association of the company, as well as the resolution of the Extraordinary General Meeting held on 17th June 1925 at which it was ´a decide d´augmenter le capital social de 400,000 frs et de le porter ainsi a 800,000 frs par la creation de 400 actions de 1,000 frs chacune a souscrire en numeraire´ (Translation: ´decided to increase the share capital by 400,000 francs to 800,000 francs by creating 400 shares of 1,000 francs each to be subscribed in numerical form´) and further stating ´Declare souscrire soixante quinze actions de 1,000 frs de la Societe denomee "Comptoir des Approvisionnements de l´Aviation et de l´Aerostation" faisant partie de l´augmentation de Capital precitee, et m´oblige a faire le versement du montant desdites actions de la maniere stipulee en la deliberation du Conseil du 18 Novembre 1925 sus-enoncee´ (Translation: ´I hereby declare that I subscribe for seventy-five shares of 1,000 frs in the company known as ‘Comptoir des Approvisionnements de l'Aviation et de l'Aerostation’, which form part of the aforementioned capital increase, and that I undertake to pay the amount of the said shares in the manner stipulated in the aforementioned Board meeting of 18 November 1925´). Signed by Breguet at the foot of the document alongside an official circular stamp. Together with a typed manuscript, unsigned, two pages, 4to, n.p., n.d., on the printed stationery of Ateliers d´Aviation Louis Breguet, in French. The manuscript is entitled Quel fut mon vol le plus émouvant (´Which was my most moving flight?´) and Breguet explains that he has experienced many strong emotions, both as a pilot and a constructor, recounting his first flight in his Gyroplane in September 1908, and also writing of another experience in an aeroplane, ´Avec mon aeroplane, il m´est arrive une fois, alors que je voguais a 150 m d´altitude d´avoir cru infailliblement ma derniere heure arrivee. J´en avais pris mon parti, croyant a une rupture d´aile, mais l´instinct de la conservation, me fit manoeuvrer energiquement & grace a un virage audacieux, je redressais mon apparei. Je ne sais comment se fit la dessente, mais ce que je sais bien, c´es que je me retrouvais sain & sauf & mon appareil intact embourbe dans un champ´ (Translation: ´With my aeroplane, there was one time when I was flying at an altitude of 150 m that I thought my last hour had come. I took my fate into my own hands, believing that my wing had broken, but the instinct for self-preservation made me manoeuvre energetically & thanks to a daring turn, I righted my aircraft. I don't know how the glide occurred, but what I do know is that I found myself safe and sound, with my plane intact and mired in a field´), also referring to his first flights at high altitude in clouds, and concluding ´que mes emotions les plus fortes ont ete ressentien non pas en pilotant moi meme mais en voyant piloter les autres´ (Translation: ´that my strongest emotions were felt not when I was flying myself but when I saw others flying´). A few small, minor tears to the edges of the manuscript, generally VG, 2
THATCHER MARGARET: (1925-2013) British Prime Minister 1979-90. T.L.S., Margaret Thatcher, with holograph salutation and subscription, one page, 4to, House of Commons, London, 17th December 1975, to Miss.V. E. Watson and Miss. W. M. Brett. Thatcher apologises for not having repied to her correspondents before now, remarking ´It is always a great pleasure to hear from you and I always value your advice and comments´, and continuing ´The party for the opening of St John´s School was very pleasant, but as you know they had to keep numbers down. It was a great pity that you missed the Autumn Fair also, but I hope we will meet soon´, further adding ´Naturally I share your alarm about the trend towards greater Socialism in this country and we will all have to work doubly hard to achieve our aims´, and concluding ´With regard to religious education, I have sent a copy of your letter to Norman St John-Stevas - you will doubtless know he is very active on this´. Some light overall creasing, G
PUCCINI GIACOMO: (1858-1924) Italian Composer. A.L.S., `G.Puccini´, one page, to an Italian postcard, Cartolina Postale, 5.5 x 3, Torre del Lago, 14th October 1897, to his brother-in-law Raffaello Franceschini, Pescia, in Italian. Puccini refers to his hunting great days and states `Caro Raff. Torno adesso... 4 folaghe 2 fistioni e 1 moriglione! Tutti gridono che c´ho culo! è la rabbia che gli fa parlare. Se tu non vieni presto la pecorina muore... pazienzia...´ (Translation: “Dear Raffaello, I am on my way back now...4 coots, 2 pochards and 1 wild duck! They all shout that I have luck! It's the anger that makes them talk. If you don't come soon the sheep will die... be patient...") Overall staining, otherwise about GRaffaello Franceschini (1854-1942) husband of Puccini´s one-year younger sister, Ramelde Puccini (1859-1912). Franceschini was working as tax collector in Pescia. Puccini and his brother-in-law maintained a long-time friendly relationship, and used to share the hunting journeys.
THEATRE: An unusual folio hardbound scrapbook owned by Lynn Hope and containing many photographs of various sizes, theatre programmes, newspaper clippings and other printed ephemera, a few vintage signed photographs and some autograph letters etc., all collected during Hope´s career in the theatre, commencing with the Royal Shakespeare Company´s international tour of Titus Andronicus (with Vivien Leigh and Laurence Olivier amongst the principal cast members) across six major continental cities in 1957, including an official press release and tour itinerary, various railway and other travel tickets, an invitation to a supper held in honour of Leigh and Olivier in Paris on 24th May 1957 and a few other official invitation cards, tourist map of Yugoslavia and guide to Belgrade, programme for the performance of Titus Andronicus in Belgrade, June 1957, and another for the performance in Warsaw, a BOAC luncheon menu for the Stratford Memorial Theatre Company, Warsaw to London, passenger ticket and other ephemera for the flight (June 1957), a T.L.S. on behalf of Vivien Leigh by a secretary, to Lynn Hope, in part, ´I hope so much that we´ll work together again and that your plans for "The Entertainer" turn out well´ (8th August 1957), a vintage signed and inscribed 4.5 x 6.5 photograph of Laurence Olivier (with his initials), two programmes for The Entertainer at the Palace Theatre and the Royale Theatre (both starring Laurence Olivier), a handbill for Ivanov at the Shubert Theatre (starring John Gielgud and Vivien Leigh), various newspaper clippings relating to Leigh and Olivier and other thespians, a printed order of service for the memorial service to Vivien Leigh at the Royal Parish Church of St. Martin-in-the-Fields, 15th August 1967, an A.L.S., T.L.S., and signed Christmas greetings card (1955/56) by John Gielgud, in one letter stating ´We had a wonderful reception on Thursday, but, alas, the critics certainly do not share the enthusiasm of the audience´ (10th August 1963), an A.L.S. and signed and inscribed 6 x 8 photograph by Paul Scofield, a vintage signed postcard photograph and two different signed greetings cards by Margaret Rutherford, a vintage signed and inscribed 7.5 x 10 photograph by Robert Helpmann, and other signed photographs and letters by Claire Bloom, Alfred Lunt & Lynn Fontanne, Elizabeth Seal, Robert Morley, Peggy Ashcroft, Judi Dench etc. The majority laid down (most in multiples) to the pages, although a few letters and photographs only loosely inserted within the scrapbook. Also including a large 18 x 27 poster issued for the stage production of The Sisters Rosenweig at The Old Vic, London, 1994, individually signed and inscribed by the three prinicpal cast members, Maureen Lipman, Janet Suzman and Lynda Bellingham, and presented to Lynn Hope on the occasion of her birthday (framed and glazed). Some age wear and minor faults, generally about G to VG, 2Lynn Hope was the head costume mistress at the Aldwych Theatre in London and also performed the same duties on the tours of the Royal Shakespeare Company from 1955 onwards.
HEMINGWAY ERNEST: (1899-1961) American novelist, Nobel Prize winner for Literature, 1954. An exceptional A.L.S., Ernesto, seven pages (two bifolia), 8vo, n.p., n.d. (February 1941; ´Night before we get to Hawaii´), to George [Brown], on the printed stationery of the Matson Line. Hemingway writes (in bold pencil) a social letter full of wonderful anecdotes relating to his recent activities, beginning by reporting on a trip to Los Angeles where he had enjoyed the hospitality of Gary Cooper, ´Stayed with Coopers who met us with the big new cadillac double funeral hearse he bought his wife for Xmas and they had a dinner that night with one swell broad (Carole Landis) that all the marrieds or uglies jumped all over because she got a little drunko´, adding ´But she was only 22 and I said to them they should have seen what guys like me or Cooper were like when we were drunk at 22´, continuing to refer to a mixed doubles tennis match, ´Coopers wife (Rocky) and I beat Cooper and Marty 5 sets of tennis to win 11 dollars in two days. But no money changes hands......I think Marty and I could beat them but Mrs C. likes to win very much......She has very extensive taught ground strokes but she has a high bouncing serve that I could set myself and murder so it is better for her happiness that we are partners´, remarking that Martha was ´much prettier´ than the other ladies in Hollywood and ´looked like a human being instead of a kennell (sic) entry but I shudder to think what would pass with the Colonel faced by them blondes altho lots of them were 22-23 years old which is aged in the Colonel´s book´, also reporting on a visit to San Francisco, ´We ate very well and saw Mike Ward, an old pal, and his wife and Selznick shipped up Ingrid Bergman to look her over for Maria for the picture. She is perfect. Really swell. Not like those Hollywooders´. Hemingway also comments on his experiences on the boat that they are travelling on, ´it has been rough as a bastard all the time. The gym guy wouldn´t box. He rubs too and he says he is afraid it would hurt his hands altho he says he teaches boxing (he comes from Hollywood too where I guess hands hurt easy. Probably his thumbs swell up). It was a shame because I was going to left hook him in the profile.....But I worked on the big bag instead but couldn´t rouse no really dirty feeling against it on such short acquaintance and when you get close to it the fucking thing seems sort of dead and helpless and not like ones fellow man. I practiced hitting it in the balls a little´, and further writing ´Tomorrow we get into Honolulu. It sounds more like a 1/2 jig Coney Island or Polynesian Miami Beach all the time´, before concluding ´Marty sends her love. We got a bang out of the wire. I miss you and the reading Colonel and working out and all the fun we have, but will be back soon with a lot of new lies and stories´. A truly wonderful and characteristic Hemingway letter, written with energy, humour and a touch of rudeness, giving an exact idea of what conversations between the writer and his friends might have been like. The stories that delighted his friends are preserved here in an autograph letter, so that we may now share in the delight too. VGGeorge Brown, who owned a gymnasium in New York, was a friend of Hemingway´s for more than a quarter of a century and coached the writer in the sport of boxing. It was Brown who drove Hemingway home to Idaho from the Mayo Clinic in 1961 shortly before the Nobel Prize winner committed suicide. Brown was also one of the pallbearers at Hemingway´s funeral.Hemingway mentions another friend in his letter, Taylor Williams (´the Colonel´), who would be a regular hunting and shooting partner of the writer. Furthermore, Hemingway writes of his time with his good friend Gary Cooper and of meeting Ingrid Bergman, the two actors who would go on to star together in the film adaptation of For Whom The Bell Tolls in 1943. Hemingway also writes of the attractive young actress Carole Landis who, despite her relatively short lifetime (Landis also committed suicide, at the age of 29), was married four times. In addition Hemingway writes affectionately of his third wife, the writer and war correspondent Martha ´Marty´ Gellhorn (1908-1998), whom he had married in 1940.
A TURKEY RUG OF 'LOTTO' DESIGN approximately 160 x 118cm Provenance: The personal collection of the Late Robert Kime, LVO (1946-2022)The design of this rug is related to a group of Ottoman rugs which share a distinctive lattice design, usually in yellow, set against a red ground. The early group of rugs are thought to originate from western Anatolia, probably the Ushak region, during the sixteenth century. The group is named after the Venetian artist Lorenzo Lotto, who depicted a rug of this field design in at least two of his paintings in the mid 16th century, for example The Alms of St Anthony, oil on wood, 1542.Rugs of an early period with this field design appear in the work of several western artists, from the 1520s until the early 18th century, including a number of Flemish artists including Breugel, in the 16th century, and Rubens in the 17th. The wide 'cloudband' border design of this rug is considered to originate from the 17th century; the earlier, 16th century period examples are thought mainly to have narrower 'Kufic' borders. For related examples of an early period offered at auction, see Christie's London, 2nd May 2019, lot 237; Christie's, London 27th April 2017, lot 186; Christie's London 18th October 2001, lot 228; and Sotheby's London, 24th October 2007, lot 375. Condition Report: Pile - Generally in good pile, and in largely original condition. A small number of small areas of re-piling and repair. Brown corroded and mostly lost. Lustrous wool with good depth of colour.Sides - Selvages (side cords) missing in places. Uneven loss to both ends, with outer guard stripe partially lost Ends - uneven loss Please see all additional images for a visual reference to condition. Condition Report Disclaimer
A FINE GEORGE III MAHOGANY SERPENTINE COMMODE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 The upper drawer fitted with an arrangement of lidded compartments with harewood crossbanding and further storage, below a baize lined slide 83cm high, 173cm wide, 60cm deep Provenance: Purchased from Charles Lumb & Sons Ltd, Harrogate, 27th September 1976 (£4,250). The original invoice and accompanying photograph is available with this lot. The elegant serpentine form of this commode is directly comparable to a number of commodes from some of Thomas Chippendale's most notable commissions, including Harewood House, Nostell Priory and Osterley Park. Further comparisons can be made to commode designs from The Gentleman and Cabinet-Maker's Director, 1762; two particular sketches by Chippendale share close form to the present lot and it can be argued that these two sketches combine to create the outline and drawer arrangement of this commode (V&A Museum D.720-1906; P. Ward-Jackson, English Furniture Designs of the Eighteenth Century, 1958, pl.106). A black lacquer commode attributed to Chippendale that also shares the same outline as the present lot can be seen, Sotheby's London, Important English Furniture, 7th & 14th May 1993, Lot 150. See also The Nostell Priory Commode, Nostell Priory, West Yorkshire, from the workshop of Thomas Chippendale (NT 959751) for a green lacquered example of similar form and outline. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some of the old expected chips Some old moulding and veneer repairs (see images) Key present and operates all locks All metalware, including the handles and locks appears original Baize to the slide of the upper drawer is a replacement The central fitted section to the upper drawer appears to previously had a hinged dressing mirror, which is now lacking One loper is missing its stopper, so it can be completely removed Some possible later securing screws to the backboard The feet to the commode have been reduced in height from their bases. This has been neatly done and the commode stands well. The feet could be 'built up' again with the attention of a qualified restorer to bring the commode back to its previous height and proportions Small section of loss to moulding of base (see images) Please see all additional images as a visual reference to conditionCondition Report Disclaimer
Black hat trimmed with white feathers; white lace collar. A character in Alexandre Dumas' lively 19th-century fiction. D'Artagnan came to Paris to join the celebrated band of Three Musketeers and share their adventures. Series: The Three Musketeers; Characters From Literature. Royal Doulton backstamp. Artist: Stanley J. TaylorIssued: 1987 - 1995Dimensions: 4"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Ephemera.- Finsbury Chapel.- Certificate of one share of Ten Pounds owned by Samuel Leach Junior in Finsbury Chapel, Finsbury Circus, printed certificate with manuscript insertions, folds, slightly browned, 130 x 235mm., 25th December 1826; and a small quantity of ephemera, pamphlets etc., including a printed plan of the Uplands Estate, Fareham, with manuscript notes, 480 x 610mm., 1925 & 5 duplicates of the same, v.s., v.d. (sm. qty).
Registration No: 551 XWD Chassis No: A1210428501142 MOT: July 2025Subject to a thorough brake overhaul, new battery, replacement engine mounts and fresh bushes earlier this yearOffered with a collection of invoices and current V5C documentSubject to a repaint in Ivory plus an engine overhaul as part of a major refurbishment in c.2005Current ownership since 2018The 190SL was introduced in 1955 – the year Mercedes swept all before it on the Mille Miglia with the 300SLR. Indeed, the graceful, new two-door, convertible grand tourer was sold alongside the road-going version of the SLR – the 300SL - whose styling it strongly resembled. In fact, the underpinnings of the two cars were quite different and, while the 300SL had a purpose-built tubular spaceframe (W198), its smaller sibling was built on a shortened version of the ‘Ponton’ saloon (W121) platform, which was of monocoque construction. The 190SL also boasted an all-new engine - an over-square SOHC straight-four unit of 1897cc that produced some 120bhp, which was sufficient to propel the car to a maximum speed of 112mph. The engine was coupled to a manual four-speed gearbox. The suspension comprised double wishbones and coil springs at the front and a coil-sprung swing axle at the rear. Steering was by recirculating ball and braking by power-assisted drums all round. Built to the highest standards and among the quickest comparable cars of the time, the 190SL featured a well-appointed cockpit, notable comfort for its occupants and relatively generous luggage space. The 190SL continued in production until 1963, when both it and the 300SL were replaced by the 230SL (W113). By this time 25,881 190SLs had been produced. Factory finished in the rare and attractive hue of Ivory (DB608), this particular example was one of just 2,722 190SLs completed during the 1958 model year. Thought to have begun life in Europe - if only because of its KPH speedometer (and other metric instruments) - the two-seater subsequently migrated to the USA. Acquired by its penultimate American keeper in 1994, the Mercedes-Benz emerged from an extensive refurbishment eleven years later. As well as a bodywork restoration and repaint, the work encompassed an engine overhaul, interior re-trim and a soft-top and sundry re-chroming. The gauges were renovated, the brake servo / water pump / shock absorbers replaced and the wheel bearings repacked etc. A popular upgrade, the original Solex carburettors were removed in favour of Mikuni units (which deliver more power as well as easier starting and smoother running). Resident in Maine between 2015 and August 2018 when it entered the current ownership, the 190SL journeyed across the Atlantic that same year. Kept in climate-controlled storage since arriving on these shores and road registered with the DVLA as ‘551 XWD’, the two-seater was entrusted to Southern Classics of Twickenham some four/five months ago where it was treated to a thorough brake system overhaul, replacement propshaft coupling, alternator mounting kit, new engine mounts (x4) and fresh anti-roll bar bushes (x8) plus a new chrome starter button at a cost of £5,813.06. Believed to retain its original carpets, the vendor has also ordered a new 14-pc set to be included in the sale (or post-sale depending on production time and shipping). Passing an MOT test on July 2nd 2024 with ‘no advisories’, the 190SL has barely been driven since. Indeed, it has covered minimal miles in the 19 years since the big 2005 renovations. Still presenting well as an older restoration and seemingly ready to be enjoyed by a new owner, ‘551 XWD’ is offered for sale with V5C Registration Document and sundry paperwork.The vendor informs us plans for romantic weekend country lane jaunts and pub lunch stops, have for the past few years given way to children immersed in weekend sport and with time needing to be spent with other classic cars he has, so, with a heavy heart, it is now offered to market for someone else who will have the time to use, enjoy and share such an example of a beautiful Mercedes marque. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
Rapkin & Son, Designers, Engravers & Co. 57, Cheapside, an advertising note beautifully printed on card for the printing of everything under the sun, including Bills of Exchange, Bills of Lading, Banknotes, Bonds, Coupons, Share Certificates, Cheques, Portraits, landscapes, Heraldry, Post Stamps, Maps, Pland and Charts, Seals Dies and Presses, uncirculated and rare £100-£150
A William III Brittania standard silver monteith bowlThomas Corbet, London 1701Hemispherical form with vertical fluting, cartouches either side with scrolls and fish scale panels, centred with engraved armorial to one and engraved crest to the other, the handles with cast lion mask junctions and hinged drop handles, with stippled panel below, on a spreading shaped-circular foot with a band of fluting, underside of the foot engraved 'The Legacy of John Goodfellow Esq', also scratch number 48=8, diameter 28.2cm, weight 47.6oz.Footnotes:This maker's mark is that of CO with bird above in a shaped device, for Thomas Corbet, unrecorded in Grimwade, is recorded at Goldsmiths' Hall.The present lot is one unrecorded in literature and there is no recorded mention of a Monteith by this maker. In Lee's 'British Silver Monteith Bowls' there are two bowls both with unrecorded makers both with the makers mark of CO, while differing in style from the two presented, it must be noted that they all share a similar makers mark. Thomas Corbet was apprenticed to Matthew Gyles of the Merchant Taylors' Company in around 1692. Corbet was the son of Symon Corbet of St. Martin's Middlesex. His apprenticeship was turned over to the renowned Huguenot goldsmith Pierre Platel, Paul de Lamerie's master, from who he was freed on the 6th December 1699, entering his first mark on the 12th of that month.Works by Corbet are very scare and few survive John Hayward illustrates a chocolate pot of 1702 in Huguenot Silver in England and a mug of 1703 was sold Christie's London, 25th of February 1942, lot 24, a chased tazza of the same year was sold Christie's London, 11th of July 1900, lot 95, and a pair of wall sconces 1701 for Hugh, 2nd Baron Clifford of Chudleigh sold at Christie's 19th of November 2002.The arms and crest here represent the armorial of Anthony BRAMSTON (1640-1722) of Roxwell, Essex and his wife Katherine NUTT (1652-1708). They were married at Westminster in 1678.Anthony BRAMSTON was the son of Sir John BRAMSTON (1611-1700) of Roxwell, Essex, Chief Justice to the King's Bench and MP for Malden Essex from 1661, by Alice ABDY (1611-1648) formerly of Willingdon, East Sussex. The BRAMSTON family have many memorials in the church of St Michael, Roxwell. Katherine NUTT was the eldest daughter of Sir Thomas NUTT (1623-1675) of Lewes, Sussex by Katherine PARKER (1633-1700). The blazon: or, on a fess sable three plates (Bramston) – impaling – party per fess azure and ermine, a pale counterchanged, three pheons argent (Nutt).The crest: a lion sejant or, gorged with a collar sable charged with three plates (Bramston)Literature:Georgina E Lee, 'British Silver Monteith Bowls', London, 1978.John Hayward, 'Huguenot Silver in England 1688-1727', London, 1959.A. Grimwade, 'London Goldsmiths 1697-1837, Their Marks and Lives', London, 1982.For further information on this lot please visit Bonhams.com
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