We found 4924 price guide item(s) matching your search

An Engineer maquette from the production of Ridley Scott's sci-fi thriller Prometheus. Engineers were large humanoid creatures who started life on Earth, and were the object of the Prometheus crew's mission.Maquettes are used early in the production process to hone the design of creatures such as the Engineers. In the film they were revealed to be the "Space Jockeys" from Scott's Alien, and share the same elephantine breathing apparatus. The maquette is made of solid plaster and mounted on a base, and features the Engineer wearing this distinctive breathing apparatus. The maquette has some wear from production use, including scuffing, scratches and small spots of paint. Dimensions: 17 cm x 17 cm x 54 cm (6 3/4" x 6 3/4 x 21 1/4")Estimate: £1,000 - 1,500 M

A book of 19th Century share certificates for John Lowson Jr & Company Limited, for 5% cumulative preference shares, no.58-100 present, within a fabric bound book

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 46/60, executed in 1978Each print: 103 x 72 cm (8)Footnotes:A HIGHLY SOUGHT AFTER AND INTACT FULL SET OF DIA AZZAWI'S MU'ALLAQAT 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 ISpectacularly 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

Dated August/September 1803 BC. A pillow-shaped clay tablet with cuneiform text concerning the division of a big tract of land between two men, accompanied by a typed scholarly note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Clay Tablet, 96 x 53 mm., with 35 Lines of Cuneiform Script on Obverse, Reverse and Upper Edge. This is an Old Babylonian legal document dated to the reign of Rîm-Sîn I of Larsa, to the 6th month of the 20th year, c. August/September 1803 B.C. It concerns the division of a big tract of open land between two men: Translation The land, all there is, open country and uncultivated land: Sîn-magir and Eteyatum are dividing it equally. That near (the town) Imgur-Nanna is the share of Eteyatum. That near (the town) Bari-..... is the share of Sîn-magir. One (of these two men) may not raise any claim (in this matter) against the other. They took an oath by (the gods) Marduk and Shamash, and by Rîm-Sîn the king. Before Ili-ishme'anni Before Ubayatum, the seal-cutter Before Sîn-ludlul, the night watchman Before Nanna-igidu, the merchant banker Before Imgur-Damu Before Mânum, the seal-cutter Before Ali-illati, the seal-cutter Before Ili-awîli, the seal-cutter Before Img?'a, the seal-cutter Before T?ribum, the seal-cutter Before Ili-yatum, the seal-cutter Before Ili-iddinam, the night-watchman Before Sîn-apil .... Before Nanna-manba Before Hazirum, the merchant banker Before Mutum-ilum Before Sîn-ishme'anni, the merchant banker Before Illuku Before Mahnu-B?bilim, the royal herald. Seals of the Witnesses, the elders. Month: work of Inanna Year: by the mighty weapon which Enlil gave him, he destroyed D?rum. The tablet is joined from two pieces, and there is a little loss of surface on both sides, but most of the text is preserved and legible. On the left-hand and lower edges cylinder seals have been rolled to give the seal inscription, but these are too feint to be read with certainty. But they are seals of some of the witnesses, as indicated at the end of the list of witnesses. The document in form is a typical Old Babylonian legal text: a short statement of what was being done, followed by witnesses and the date. But it is entirely unusual for its content. Two men are dividing up unused land only defined by nearness to two named small towns. Babylonia contained much land suitable in principle for agriculture, but it only had use if it was irrigated, which involved massive public works to dig the irrigation canals and ditches and to maintain them as the annual flood rose. And when this work was done and functioning irrigation was in place, all the land was carefully surveyed and let out for use with full specification of areas. But in this case no such measurements are given, and the division rests on proximity to two small towns. This is entirely unusual. Equally unusual is the list of witnesses, nineteen in total, a much larger number than usual, implying some matter of more than normal importance, and the professions of the witnesses seem to be without parallel. Of the nineteen seven are seal-cutters, three are merchant bankers, and two are night-watchmen. One, the last, is the king's heralds. The night watchmen were probably the equivalent of senior police officers today. Such a big concentration of important people implies some major matter. As usual, the document was not intended to satisfy our curiosity, and one can only speculate. All the unused land outside the irrigated areas seems to have been crown property in principle. One may then suggest that in this case two men who had together somehow got a lease on a big piece of such land decided to divide it and have half each. Perhaps they obtained the lease in order to develop an irrigation system by their private means, and to take the profits if it was successful. The document is an important one for economic history.' 171 grams, 96mm (3 3/4"). Ex central London gallery; acquired on the UK art market in 1998; formerly from an old London collection; examined by the late Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; and accompanied by an original typed two page unsigned scholarly note and translation by the Professor; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10256-166491.Very fine condition, repaired.

CLASSIC/HEAVY ROCK - LPs. Superb collection of 50 x rockin' LPs. Artists/titles include Dirk Stevens - The Seventh Step (German og, Nova 6.22478 AS - VG+/VG), Circus Of Power, Doc Rockit - Azugi, Vardis - Vigilante and The Lion's Share, Rush (x10) inc. S/T (UK og, 9100 011 - Ex+/Ex+ top copy), A Farewell To Kings, Signals, Hold Your Fire, Fly By Night, Hemispheres, Presto, A Show Of Hands, All The World's A Stage and Exit Stage Left, Alice Cooper (x7) inc. Goes To Hell, Love It To Death, Killer, Easy Action (US RE), Billion Dollar Babies (no bill) and School's Out, David Lee Roth, Styx, Bob Seger, Judas Priest, Deep Purple - 24 Carat, Ted Nugent, Status Quo, Mick Ronson, CJSS, Rainbow and Toto. Condition is generally VG to Ex+.

1919 FIVE CHINESE SHARE CERTIFICATES FOR BANQUE INDUSTRIELLE DE CHINE

CHINESE SHARE CERTIFICATE 1913

ONE CHINESE SHARE CERTIFICATE FOR £100

1888 PANAMA CANAL SHARE CERTIFICATE WITH REVENUE STAMPS

An Unusual French Revolutionary Period Riddle Fan, the monture of bone, with some light carving and painting to the upper guards. The double paper leaf, hand coloured, shows two couples in extravagant 18th century dress, the ladies appearing to be beseeching the gentleman to share their affections. Cupid floats on a cloud between them, holding both a flaming torch and his bow and arrow, tokens of Love. To each side the leaf features a vignette containing symbols, enclosed in green and pink draperies. The left section contains the word ''DE'' in capitals, with a yellow pitcher, a spray of flowers, and, possibly, a heart. To the right, the word ''VOEUX'' (wishes), a standard bush, and a yellow crown. Both sections contain what could be a letter ''L''. Thus, this is an example of a riddle fan, the sounds when the symbols are spoken aloud giving the meanings. From the left, ''Elle possède mon Coeur'' from L (elle) po (dessin d'un pot) + ssè (dessin d'un ''cep'' - de vigne) + de + mon (dessin d'un mont) + cœur (dessin d'un cœur), and to the right, ''elle couronne mes vœux '' from L + couronne + mes (dessin d'un arbre de mai) + vœux. The leaf is bordered with gold and a subtle ruby. The verso is plain. Guard length 10.75 inches or 27.5cm. Infinite thanks to Ondine P-P and Georgina L-B of the Circle de l'Eventail, Paris, for their invaluable assistance with this puzzle.. In generally good order and strong. When closed, the sticks in the gorge centre are seen to be bowed. Both guards have a crack near the top but there is no obvious repair. The leaf has light foxing to the verso and one or two folds may have been re-secured.

Andrew Torr NOX (LAT 51.4304 LON-0.1359), 2020 Oil on card Signed verso 15 x 10cm (5¾ x 3¾ in.) Andrew Torr lives and works in London. The recent subject and focus of his work are the city's open spaces at night. He is currently represented by the Northcote Gallery. These little, life-size, paintings began as a response to the vast amount of nitrous oxide bottles we see littering the streets and parks recently. The bottles are painted with as few marks as possible. The white areas are usually bare, primed canvas. This seems fitting - nitrous induces a very quick high and the bottles are discarded without a thought - it makes sense that these paintings are executed quickly. The titles come from the latitude and longitude that the bottle was found. These numbers can be entered into smart phone mapping and they will reveal where the bottle was discarded. It would be possible to map the positions of all these paintings which will trace Torr's own journey over the last few months. As with Torr's discarded beer can paintings, these studies are concerned with furtive activity and unknowable stories in the city. Coincidentally, they also share the same problems of rendering shiny, reflective surfaces - a great exercise for a painter.

Andrew Torr NOX (LAT 51.4304 LON-0.1370), 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Andrew Torr lives and works in London. The recent subject and focus of his work are the city's open spaces at night. He is currently represented by the Northcote Gallery. These little, life-size, paintings began as a response to the vast amount of nitrous oxide bottles we see littering the streets and parks recently. The bottles are painted with as few marks as possible. The white areas are usually bare, primed canvas. This seems fitting - nitrous induces a very quick high and the bottles are discarded without a thought - it makes sense that these paintings are executed quickly. The titles come from the latitude and longitude that the bottle was found. These numbers can be entered into smart phone mapping and they will reveal where the bottle was discarded. It would be possible to map the positions of all these paintings which will trace Torr's own journey over the last few months. As with Torr's discarded beer can paintings, these studies are concerned with furtive activity and unknowable stories in the city. Coincidentally, they also share the same problems of rendering shiny, reflective surfaces - a great exercise for a painter.

Andrew Torr NOX (LAT 51.4342 LON-0.1394), 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Andrew Torr lives and works in London. The recent subject and focus of his work are the city's open spaces at night. He is currently represented by the Northcote Gallery. These little, life-size, paintings began as a response to the vast amount of nitrous oxide bottles we see littering the streets and parks recently. The bottles are painted with as few marks as possible. The white areas are usually bare, primed canvas. This seems fitting - nitrous induces a very quick high and the bottles are discarded without a thought - it makes sense that these paintings are executed quickly. The titles come from the latitude and longitude that the bottle was found. These numbers can be entered into smart phone mapping and they will reveal where the bottle was discarded. It would be possible to map the positions of all these paintings which will trace Torr's own journey over the last few months. As with Torr's discarded beer can paintings, these studies are concerned with furtive activity and unknowable stories in the city. Coincidentally, they also share the same problems of rendering shiny, reflective surfaces - a great exercise for a painter.

Laurence De Valmy Banksy Kissing Coppers, 2020 Acrylic and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My goals are to share about the stories behind the artworks, the connections between the artists and to make my viewers consider these artworks with a renewed interest by replacing them in the context of their creation. For this auction I chose artists who had common points or who worked on common themes such as the Kiss by Banksy and Bridget Riley."   Laurence de Valmy is French born and lives in Philadelphia USA. She started her career in France in 2005 as a painter creating artworks in the style of contemporary realism and would regularly exhibit. Laurence de Valmy invites us to reflect on the links between artists through times and the relationship between Art and social media today.​ Inspired by the personal stories of artists, she revisits Art History through fictional anachronistic Instagram of the past asking "what if Instagram had always existed?" The artist combines her knowledge of art history and painting to appropriate iconic artworks and share their stories. Each artwork, skilfully hand painted with acrylic, is a clever juxtaposition of an original painting and an imagined conversation historically accurate yet humorous. The paintings are associated with their story, available on the website and by telling the stories behind these famous artworks, the artist leads us to consider them with a new eye and reflect on the place of social media today in our relationship with art, more often seen through a screen than in person. In 2018, de Valmy's work was displayed at the Museum of Urban and Contemporary Art (MUCA) in Munich in the exhibition The BUNTE Art, alongside Andy Warhol and at the Barnes Foundation in the group show Let's Connect.   In 2019 she had a solo show with Michele Mariaud Gallery, NY and was the guest artist of Museum Week in NY. In December 2019, she presented an installation during the Miami art week at SCOPE Miami Beach with Kahn Gallery. In June 2020, her work was in the exhibition CONCEPT at the CICA Museum in Korea and her artwork now belongs to their permanent collection. Her paintings belong to private collections including CICA Museum, Hubert Burda Collection, Abrishamchi Family Collection, Vinik Family, Corcoran Family, CM Collection and Eileen Kaminsky Foundation.    

Laurence De Valmy Bridget's Kiss, 2020 Acrylic and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My goals are to share about the stories behind the artworks, the connections between the artists and to make my viewers consider these artworks with a renewed interest by replacing them in the context of their creation. For this auction I chose artists who had common points or who worked on common themes such as the Kiss by Banksy and Bridget Riley."   Laurence de Valmy is French born and lives in Philadelphia USA. She started her career in France in 2005 as a painter creating artworks in the style of contemporary realism and would regularly exhibit. Laurence de Valmy invites us to reflect on the links between artists through times and the relationship between Art and social media today.​ Inspired by the personal stories of artists, she revisits Art History through fictional anachronistic Instagram of the past asking "what if Instagram had always existed?" The artist combines her knowledge of art history and painting to appropriate iconic artworks and share their stories. Each artwork, skilfully hand painted with acrylic, is a clever juxtaposition of an original painting and an imagined conversation historically accurate yet humorous. The paintings are associated with their story, available on the website and by telling the stories behind these famous artworks, the artist leads us to consider them with a new eye and reflect on the place of social media today in our relationship with art, more often seen through a screen than in person. In 2018, de Valmy's work was displayed at the Museum of Urban and Contemporary Art (MUCA) in Munich in the exhibition The BUNTE Art, alongside Andy Warhol and at the Barnes Foundation in the group show Let's Connect.   In 2019 she had a solo show with Michele Mariaud Gallery, NY and was the guest artist of Museum Week in NY. In December 2019, she presented an installation during the Miami art week at SCOPE Miami Beach with Kahn Gallery. In June 2020, her work was in the exhibition CONCEPT at the CICA Museum in Korea and her artwork now belongs to their permanent collection. Her paintings belong to private collections including CICA Museum, Hubert Burda Collection, Abrishamchi Family Collection, Vinik Family, Corcoran Family, CM Collection and Eileen Kaminsky Foundation.  

Laurence De Valmy Alma's Resurrection, 2020 Acrylic and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My goals are to share about the stories behind the artworks, the connections between the artists and to make my viewers consider these artworks with a renewed interest by replacing them in the context of their creation. For this auction I chose artists who had common points or who worked on common themes such as the Kiss by Banksy and Bridget Riley."   Laurence de Valmy is French born and lives in Philadelphia USA. She started her career in France in 2005 as a painter creating artworks in the style of contemporary realism and would regularly exhibit. Laurence de Valmy invites us to reflect on the links between artists through times and the relationship between Art and social media today.​ Inspired by the personal stories of artists, she revisits Art History through fictional anachronistic Instagram of the past asking "what if Instagram had always existed?" The artist combines her knowledge of art history and painting to appropriate iconic artworks and share their stories. Each artwork, skilfully hand painted with acrylic, is a clever juxtaposition of an original painting and an imagined conversation historically accurate yet humorous. The paintings are associated with their story, available on the website and by telling the stories behind these famous artworks, the artist leads us to consider them with a new eye and reflect on the place of social media today in our relationship with art, more often seen through a screen than in person. In 2018, de Valmy's work was displayed at the Museum of Urban and Contemporary Art (MUCA) in Munich in the exhibition The BUNTE Art, alongside Andy Warhol and at the Barnes Foundation in the group show Let's Connect.   In 2019 she had a solo show with Michele Mariaud Gallery, NY and was the guest artist of Museum Week in NY. In December 2019, she presented an installation during the Miami art week at SCOPE Miami Beach with Kahn Gallery. In June 2020, her work was in the exhibition CONCEPT at the CICA Museum in Korea and her artwork now belongs to their permanent collection. Her paintings belong to private collections including CICA Museum, Hubert Burda Collection, Abrishamchi Family Collection, Vinik Family, Corcoran Family, CM Collection and Eileen Kaminsky Foundation.  

Laurence De Valmy Rothko and Human Emotions, 2020 Acrylic and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My goals are to share about the stories behind the artworks, the connections between the artists and to make my viewers consider these artworks with a renewed interest by replacing them in the context of their creation. For this auction I chose artists who had common points or who worked on common themes such as the Kiss by Banksy and Bridget Riley."   Laurence de Valmy is French born and lives in Philadelphia USA. She started her career in France in 2005 as a painter creating artworks in the style of contemporary realism and would regularly exhibit. Laurence de Valmy invites us to reflect on the links between artists through times and the relationship between Art and social media today.​ Inspired by the personal stories of artists, she revisits Art History through fictional anachronistic Instagram of the past asking "what if Instagram had always existed?" The artist combines her knowledge of art history and painting to appropriate iconic artworks and share their stories. Each artwork, skilfully hand painted with acrylic, is a clever juxtaposition of an original painting and an imagined conversation historically accurate yet humorous. The paintings are associated with their story, available on the website and by telling the stories behind these famous artworks, the artist leads us to consider them with a new eye and reflect on the place of social media today in our relationship with art, more often seen through a screen than in person. In 2018, de Valmy's work was displayed at the Museum of Urban and Contemporary Art (MUCA) in Munich in the exhibition The BUNTE Art, alongside Andy Warhol and at the Barnes Foundation in the group show Let's Connect.   In 2019 she had a solo show with Michele Mariaud Gallery, NY and was the guest artist of Museum Week in NY. In December 2019, she presented an installation during the Miami art week at SCOPE Miami Beach with Kahn Gallery. In June 2020, her work was in the exhibition CONCEPT at the CICA Museum in Korea and her artwork now belongs to their permanent collection. Her paintings belong to private collections including CICA Museum, Hubert Burda Collection, Abrishamchi Family Collection, Vinik Family, Corcoran Family, CM Collection and Eileen Kaminsky Foundation.  

Carne Griffith Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.  

Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.

Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.

Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.   Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995.   After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008.   Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.

BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venedig Titel: Zwei Venezianerinnen. Der Ring. Technik: Öl auf Leinwand. Maße: 107 x 66cm. Bezeichnung: Signiert und datiert unten rechts: Eugen von Blaas / 1896. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Eurpoa. Für Künstler war es schon immer ein vorrangiges Anliegen, menschliche Gemütszustände, Stimmungen und Erfahrungen in ihren Bildern festzuhalten und für den Betrachter erkennbar und wiedererlebbar zu machen. Gemälde mit Motiven aus dem alltäglichen Leben boten dafür unerschöpfliche Themen und diese Genrebilder faszinieren bis heute, stoßen sie doch ein Fenster in die Vergangenheit auf und lassen den Kunst-Genießer direkten Anteil an der historischen Atmosphäre nehmen. Dabei können die Betrachter der Gemälde in unterschiedlichster Weise von den dargestellten Personen "angesprochen" werden. Sie können neutrale Zuschauer einer Szene sein, die Rolle eines Voyeurs einnehmen oder sogar mit einem Modell in eine spezielle Art von Kommunikation treten. Entscheidend hierfür ist der Blick, mit dem die Personen im Bild aus diesem hinaus eine Kontaktaufnahme suggerieren - oder eben nicht. Den großen Reiz solcher Darstellungen können wir in drei Gemälden (Lot 1195, Lot 1196, Lot 1197) zweier Hauptmeister der Salonmalerei der zweiten Hälfte des 19. Jahrhunderts nachempfinden, die in dieser Auktion angeboten werden: Eugen von Blaas' 1896 datiertes Gemälde "Zwei Venezianerinnen" (Der Ring) zeigt zwei hübsche junge Frauen, die - vor dem Hintergrund der venezianischen Stadt-Kulisse - scheinbar eine Pause beim Wasserholen einlegen mussten, denn es gibt eine Neuigkeit: Den rechten Ringfinger der Stehenden ziert ein offenbar neuer Ring, den sie der Freundin, die sich auf eine, den vorderen Bildraum begrenzende Mauer gesetzt hat, präsentiert. Meisterlich charakterisiert der Maler die frisch Verlobte: Die kontrapostische Gewichtsverlagerung, die auf der Hüfte aufgestützte Linke mit dem abgewinkelten Ellenbogen, die Arm- und Handhaltung der demonstrierten Rechten machen Stolz und auch ein wenig Selbstgefälligkeit der Dargestellten deutlich. Ein Detail wie die leuchtend roten Strümpfe und auch die Mimik der jungen Frau bekräftigen deren kecken Eindruck. Die auf der Mauer sitzende Freundin dagegen, wirkt deutlich zurückhaltender in ihrem Wesen. Sie schaut von ihrem erhöhten Sitz auf das neue Schmuckstück herunter und hält dabei die beringte Hand der Freundin. Ihr Gesicht liegt im Schatten und es entsteht der Eindruck als sei sie leicht errötet. Ihre Linke ruht auf der Schulter der Freundin, ihre Beine hat sie züchtig übereinandergeschlagen. Sie freut sich über die große Neuigkeit und genießt den intensiv freundschaftlichen Moment an dem auch der Betrachter des Gemäldes teilhaben darf. Hintergrund und Umgebung der Szene sind farbig stark zurückgenommen. Beige und ockerfarbene Stadthäuser, Bäume im zart rosa Frühlingsflor, eine marode, teils verputzte Mauer und der graue Steinboden im Vordergrund kontrastieren nicht allein im Colorit zu den beiden jungen, adretten und leuchtend farbig gekleideten Signorinas. Auch inhaltlich hat der Maler Eugen von Blaas den Kontrast der Jugend vor der alten Stadtsilhouette in seinem Werk immer wieder thematisiert. Die beiden jungen Frauen verkörpern geradezu den Frühling, die Verlobung markiert den Aufbruch in eine neue Lebensphase, die ehrwürdige Stadt hat aber schon vieler solcher Frühlinge gesehen. Der 1843 geborene Eugen von Blaas (auch Eugenio de Blaas) war Sohn des höchst erfolgreichen und populären österreichischen Malers Carl von Blaas, der für seine Verdienste um die Kunst das erbliche Adelsprädikat verliehen bekam. Vom Vater wurde Eugen von Blaas, ebenso wie sein Bruder Julius, früh gefördert und unterrichtet und zu den besten Maler-Kollegen an die Akademien in Rom und Venedig geschickt. Eugen von Blaas, der später selbst als Professor an diesen Akademien lehrte, beherrschte das malerische Handwerk meisterlich und verblüffte die Zeitgenossen besonders auch durch seine Fähigkeit, alle Details seiner Gemälde mit derselben minutiösen Sorgfalt zu gestalten, wodurch er eine fast fotorealistische Plastizität erzeugte. In dem hier angebotenen Bild wandte von Blaas einen weiteren Kunstgriff an: Die Details im Vordergrund sind penibel in technischer Perfektion ausgeführt, dem Inkarnat der jungen Damen hat der Maler ebenso viel Aufmerksamkeit gewidmet wie den verschiedenen Stofftexturen, dem schartigen Mauerwerk oder den Metall- und Steingutgefäßen im Vordergrund. Die Welt jenseits der Mauer liegt aber in einem leichten Dunst, dem venezianischen Sfumato. Durch diese Raffinesse fokussiert Eugen de Blaas den Blick des Betrachters auf den Vordergrund und hebt dessen Plastizität noch verstärkt hervor. Erläuterungen zum Katalog Eugen von Blaas Deutschland Romantik 19.Jh. Gemälde Venedig Malerei Genre BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venice Title: Two Venetian Women. The ring. Technique: Oil on canvas. Measurement: 107 x 66cm. Notation: Signed and datedEugen von Blaas / 1896. Frame/Pedestal: Framed. Provenance: Private collection, Europe. For artists it has always been a primary concern to capture human moods, moods and experiences in their images and to make them recognisable and re-experienceable for the viewer. Paintings with motifs from everyday life offered inexhaustible themes and these genre images are still fascinating today, as they open a window to the past and allow the art lover to take a direct share in the historical atmosphere. The viewers of the paintings can be "addressed" in various ways by the people depicted. They can be neutral spectators of a scene, take on the role of a voyeur or even enter into a special kind of communication with a model. The decisive factor here is the gaze with which the persons in the painting suggest a contact out of the painting - or not. The great appeal of such representations can be felt in three paintings by two main masters of salon painting of the second half of the 19th century, which are offered in this auction: Eugen von Blaas' painting "Zwei Venezianerinnen" (The Ring), dated 1896, shows two pretty young women who - against the background of the Venetian city scenery - seem to have had to take a break to fetch water, because there is a novelty: the right ring finger of the standing woman is decorated with an apparently new ring which she presents to her friend who has sat down on a wall which borders the front image space. The painter masterfully characterises the newly engaged woman: the contrapuntal shifting of weight, the left supported on the hip with the elbow bent, the arm and hand posture of the demonstrated right make pride and also a little complacency of the sitter clear. A detail such as the bright red stockings and also the facial expressions of the young woman reinforce her perky impression. The friend sitting on the wall, on the other hand, seems much more reserved in her na Full description on lot-tissimo.com

SCHREYVOGEL, CHARLES SCHREYVOGEL, CHARLES 1861 New York - 1912 Hoboken Titel: The Last Drop. Trapper mit seinem Pferd. Technik: Bronze auf Maße: 30 x Bezeichnung: Bezeichnet auf der Plinthe: Copyrighted 1903 by / Char. Schreyvogel. Literatur: Catalogue of the Collection of the Museum of Western Art, Denver 1983, S. 110, Abb. 76 (abgebildet ist ein weiterer Guß der Serie); G.A. Reynolds: American Bronze Sculpture: 1850 to the Present, Newark 1984, S. 23. S. Campbell: The American West - People, Places, and Ideas. New York 2001, Abb. 62 (abgebildet ist ein weiterer Guß der Serie); L.D. Rosenfeld: A Century of American Sculpture - The Roman Bronze Works Foundry, New York 2002, S. 138. Ein Trapper mit seinem Pferd, zusammen teilen sie sich den letzten Rest des Wasservorrats. Diese archetypische Version des Lonesome Cowboy als modellierte und in Bronze gegossene Figurengruppe diente dem Künstler ursprünglich lediglich als Studienvorlage, nach der er um die Jahrhundertwende das gleichnamige Gemälde "The Last Drop" entwickelte, heute im Tacoma Art Museum (Tacoma, Washington). Charles Schreyvogel, geboren und gestorben in den USA, kam in den Jahren 1886-1890 zum Studium nach München, wo er bei seinem Landsmann Carl Marr lernte, der später Direktor der Akademie wurde. Zurück in Hoboken reiste er ab 1893 mehrfach in den Westen der Staaten in die dortigen Indianerreservate. Die Motive, die er dort fand, wurden zu seinem Lebensthema, für das er noch heute hoch angesehen und gesucht ist. Er wurde zum Maler der Indianer und Cowboys, der das Leben im amerikanischen Wilden Westen dokumentierte. Viele seiner Werke werden heute in den dortigen Museen ausgestellt. Die Bronze "The Last Drop", eine von nur sehr wenigen dreidimensionalen Bildwerken des Künstlers, brachte es vom reinen Studienobjekt zu eigener Berühmtheit. Die in der New Yorker Gießerei gefertigte und nummerierte Auflage findet sich in zahlreichen Museen der USA, u.a. im Rockwell Museum of Western Art, Corning, New York und im Museum of Western Art, Denver, Colorado. Erläuterungen zum Katalog Charles Schreyvogel USA Münchner Schule 2.H. 19.Jh. Bronzen Pferde Bronze Reiter / Reiterin SCHREYVOGEL, CHARLES SCHREYVOGEL, CHARLES 1861 New York - 1912 Hoboken Title: The Last Drop. Trapper with his horse. Technique: Bronze on Measurement: 30 x Notation: Inscribed on the plinth: Copyrighted 1903 by / Char. Schreyvogel. Literature: Catalogue of the Collection of the Museum of Western Art, Denver 1983, p. 110, ill. 76 (illustrated is another casting from the series); G.A. Reynolds: American Bronze Sculpture: 1850 to the Present, Newark 1984, p. 23. S. Campbell: The American West - People, Places, and Ideas. New York 2001, ill. 62 (illustrated is another casting from the series); L.D. Rosenfeld: A Century of American Sculpture - The Roman Bronze Works Foundry, New York 2002, p. 138. A trapper with his horse, together they share the last remnants of the water supply. This archetypal version of the Lonesome Cowboy as a group of figures modelled and cast in bronze originally served the artist merely as a study model, after which he developed the painting of the same name, "The Last Drop", at the turn of the century, now in the Tacoma Art Museum (Tacoma, Washington). Charles Schreyvogel, born and died in the United States, came to Munich between 1886 and 1890 to study under his countryman Carl Marr, who later on became director of the academy of arts. Back in Hoboken he travelled from 1893 several times to the western part of the states to the Indian reservations there. The motifs he found there became his life theme, for which he is still highly regarded and sought after today. He became the painter of the Indians and cowboys, who documented the life in the American Wild West. Many of his works are exhibited in the museums there today. The bronze "The Last Drop", one of only very few three-dimensional pictorial works by the artist, went from being a mere study object to becoming famous in its own right. The numbered edition, produced in the New York foundry, can be found in numerous museums in the USA, including the Rockwell Museum of Western Art, Corning, New York and the Museum of Western Art, Denver, Colorado. Explanations to the Catalogue Charles Schreyvogel USA Munich School 2nd half of 19th C. Bronzes Horses Bronze Horseman / Horsewoman

Early Railways.- [Beginning of the World's Railways (The): Original Letters, Manuscripts, Railway Notices etc.], an album of manuscript and printed ephemera relating to the birth of railways in Great Britain and elsewhere, 150 items, mounted or tipped into 139 blank leaves, one or two into thick card leaves, modern half dark maroon morocco, t.e.g., slightly rubbed at edges, folio, v.d.⁂ Comprising:1. Von Gerstner (Anton) A.L.s. in German from St Petersburg, July 1836, where Gerstner was building the St.Petersburg to Tsarskoe Seloe Railway, addressed to Joseph Hamel in Moscow, 4pp. including blank and address, with handsome hand-coloured train letterhead 2. Vellum share certificate for Plymouth and Dartmoor Railway, 1821.3. Vellum indenture for the Mold Railway, 1847, substantial 4 leaf document with folding section for subscribers4. Watt (James) A.L.s. to John Rennie [the Elder], June 28 1791, discussing installation of various engines, with filing summary of contents by Rennie, 4 pp. including blank page and address sheet, creased, hole to blank/address leaf5. Stephenson (George) A.L.s to Edw. Pease, of Darlington, Aug 2 1821, making a fairly detailed statement of terms and conditions for making the survey for the Stockton and Darlington line, 3pp. & address. 6. Stephenson (George) A.L.s., January 30 1837, to an unnamed recipient trying to arrange a meeting, and referring to the South Union Railway, 1p., slightly cropped7. Stephenson (George) A.L.s. to Thos Harrison of South Shields, Oct 19 1844, discussing the planned route of the Newcastle & Berwick Railway, "I certainly can see no grounds for altering the Line at Warkworth, nor can I imagine the Duke will give any opposition", 4pp. including blank & address8. Stephenson (Robert) A.L.s. 3 pp to John Dixon of Darlington, engineer, Jan 21 1824, referring to George, 3pp., small hole with loss to one word9. Stephenson (Robert) A.L.s. to John Rastrick, Edinburgh, 27 Jany 1836 with Rastrick's reply on third page, 4pp. including address10.Stephenson (Robert) A.L.s., 20 Aug 1839, to one R. Young giving a recommendation of a Mr. Smith, for whom they did not have an opening at the time of his application to them, but had passed on to Mr. Brunel where he had worked since then, 4pp. including address, small hole with loss to one word11. Stephenson (Robert) A.N.s. dated 1852, "admit the Bearer to the Gallery of the House of Commons"12. Rennie (John) A.L.s. Jan 4 1812, to an unnamed recipient "I do now advise you to keep out of all vexatious ... opposition to Publick works ...", 1p.13. Huskisson (William) A.L.s., Earlham, 15 Sept 1810, discussing letting his house in Stafford Street, 1p.14. Smeaton (John) A.L.s., 20 May 1788, to Mr. [?William] Jessop about a project (an aqueduct, probably the Kelvin Aqueduct) Jessop is to assist him on, and mentioning that Eastman is to work on the same project, 1p.15. Rastrick (John) A.L.s., pencil, to his son John, about various projects including the Gloucester and Avon Railway; with an unidentified but interesting document, which might be Rastrick again; a copy letter to Rastrick from Henry Booth, 22 Sept 1829, inviting him to the formal inspection of the Liverpool and Manchester Railway; a letter to his wife "My dear Sally" from Newcastle with detailed instructions for John and others including "pushing on with the locomotive engines for America"; letter from Geo Williams of Manchester, Bolton, Bury, Chorley and Preston Intended Rail Road, sending him samples of the borings made; A.L.s. to his son John, 10 June 1831, stuck in London in Parliament - "this business is of such a complicated nature that there is no end to it." and giving detailed instructions for various other projects, including the need to finalise accounts for the Kenyon and Leigh Railway; A.L.s. to his son John, 30 July 1831, nagging him to work and "not be idling your time away" and sending love to "Sarah and Mary and all the children - if they want any money write me by return." With c.75 further documents, letters to and by Rastrick and his company, including a letter from him of 1832 from Dublin reporting on Mr. Vignoles' Atmospheric railway, a summons to give evidence in a parliamentary discussion of the Grand Junction Railway, correspondence with John Guest of Dowlais, a letter from Vignoles in Dublin, quite a bit on the Edinburgh and Glasgow, London & Birmingham (including an endearing job application from a locomotive driver "I flatter myself perfectly competent to undertake the management of a Locomotive Engine I perfectly understand the working of it both in theory and practice", a little row over confidentiality of plans for the "Wishaw and Coltness Railway", many documents around the London and Brighton Railway including a pair of attractive manuscript demonstrations of the "Manner of Working the Engines" between London, Horley & Brighton, a strongly worded complaint "scandalous negligence" from the Gravesend and Rochester about an uncompleted contract that has led to a "very lamentable accident" at Higham. A good little archive of the Railway Boom, 1829 to 1838.16. Società per le Strade Ferrate Romane, 6 multi-page documents, 1862-65, concerning its foundation, and the role of the Police in ensuring order in the stations.17. Printed ephemera. A grand collection of printed ephemera, including an uncut sheet of tickets for Liverpool to Warrington, 1832; attractive engraved invitation to the Opening of the London & Greenwich Railway, 1836; a pass for the Dublin & Kingstown Railway; prospectus for the Limerick & Waterford; printed sections for the Liverpool & Birmingham [later the Grand Junction] designed by George Stephenson, 1824; fine broadside Notice for the Edinburgh and Glasgow parliamentary bill, 1836; similar large broadside advocating a Railway between Shoreham and Worthing, 1840; handsome broadside advertising services on the Taff Vale Railway, 1841; handsome large notice of a landslide on the London Brighton line, November 1841; proofs of timetables for the opening of the London Brighton line and other very early timetables; rare "Report Relative to a Grand [sic] Western Railway" by Henry Habberly Price, of 1834; prospectus for the "London and Paris Railway" (to use packets from Shoreham), with 2 maps.

Railway Share Certificates.- Two Albums of share certificates, containing certificates of various types, fixed interest bearing, preference, debentures, annuity rights, rental agreement stock transfers etc., from various railway companies particularly the GWR, c.165 items, loose in plastic sleeves in 2 ring-bound plastic albums, slip-cases, 4to, 1833-1945. ⁂ The GWR is well represented with affiliates etc. but many companies are represented including five American eg. the United State Car Company 1894. A few date from the 1830s, many from the 1840s, '50s, and '60s, and several twentieth century.

John Piper C.H. (British, 1903-1992)Harbour through a window signed and dated 'John Piper 1934' (lower right)gouache and collage38.1 x 50.3 cm. (15 x 19 3/4 in.)Footnotes:ProvenanceThe Artist, from whom probably acquired byMrs Amber Blanco White, thence by family descentPrivate Collection, U.K.The present work was executed the year following Piper's election to the Seven and Five Society. By this date, the exhibiting society had developed from its somewhat conservative routes to become the hub of modernism in Britain. Whilst Piper's compositions of this period share a kinship to fellow Seven and Five artists Ben Nicholson and Christopher Wood, and their adoption of British naïve art, his inclusion of collage is drawn primarily from the Cubist works of Braque and Picasso. Piper's selected subjects were often the seaside towns along the south coast, including Rye and Newhaven, the topography of which he would occasionally remould to suit his compositional design. For these collages he included various materials including photographs, engravings, text and, as in the present example, foil and tobacco packaging. However, his dominant material for such works are cake doilies, a rather peculiarly English object. In many works these doilies form equally twee lace curtains, which not only accentuates the quaintness of the seaside, but rather amusingly provide an anglicised framing to the continental treatment that had well and truly permeated the shores of the scene beyond.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

David Bomberg (British, 1890-1957)The Old City and Cathedral, Ronda signed and dated 'Bomberg 35' (lower left)oil on canvas64 x 76.1 cm. (25 x 30 in.)Footnotes:ProvenanceAsa LingardSale; Jackson-Stops, Cirencester, 1-2 May 1957, lot 149, where purchased byMrs E. C. Bowes, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, David Bomberg 1890-1957: Paintings And Drawings, 2 March-9 April 1967, cat.no.61 (as Ronda); this exhibition travelled to Hull, Ferens Art Gallery, 22 April-13 May, Manchester, City Art Gallery, 20 May-10 June, Bristol, City Art Gallery, 17 June-8 July, Nottingham, Castle Museum and Art Gallery, 15 July-5 August 1967 Looking at this prime example of David Bomberg's Spanish paintings is like accepting an irresistible invitation. Here, in 1935, he encouraged viewers to explore the most ancient part of a city which had captivated him immediately when he discovered it a year earlier. Once Bomberg settled in Ronda with his family, 'he painted day after day, without much of a pause' according to his partner Lilian. Enthralled at first by what he described as 'the gorge -- a stupendous rent' splitting the city at its very centre, Bomberg then committed himself to exploring Ronda's awesome and inexhaustible identity.Taking a vantage which leads our eyes towards the heart of the old quarter, he reveals the full extent of his fascination. At the bottom of this canvas, two female figures can be detected standing next to a doorway. The older woman stretches out an arm and, with a maternal gesture, clasps the young one beside her. Either waiting for someone to arrive or simply savouring the view, they are the only people detectable in Bomberg's painting. As its title suggests, The Old City and Cathedral, Ronda focuses on buildings rather than their inhabitants.In the same year, Bomberg executed a powerful charcoal drawing called Rooftops, Ronda from almost the same viewpoint, disclosing just how fascinated he felt when gazing down at the tight-knit structure of the architecture congregated around the historic cathedral in the distance. This large drawing, included in a major celebratory exhibition of Bomberg's career held at the Daniel Katz Gallery in 2007, testifies to his eloquent draughtsmanship. And the painting, doubtless created soon after he completed the charcoal study, proves that he was eager to capture the old city with brush in hand.Although Bomberg remains faithful to Ronda's identity throughout this canvas, there is no hint of topographical dullness anywhere. On the contrary: the marks enlivening his painting have a life of their own. He revels in the dramatic contrast between one side of his composition and the other. On the left, the foreground buildings are relatively dark. Viewed close-to, the freedom of Bomberg's brushstrokes makes us realise how far he is prepared here to push himself towards abstraction. He handles the pigment with surprising forcefulness, giving the thick paint an exemplary sense of dynamism and excitement. Whereas on the right, the tall foreground house asserts its substance even while appearing far paler, as if preparing to dissolve in the dramatic brightness of the light.Bomberg, a Londoner who had grown up in the grime of a smoky and polluted East End, was enchanted by the sun's potency in Spain. It transformed his vision of the world, and the potency of light is evident throughout The Old City and Cathedral, Ronda. Wherever we look, the luminosity emanating from the sky plays a crucial role in defining the buildings below. The pale house on the far right is alive with deft and subtle diagonal shadows cast by the roof and the window-sills below. Then suddenly, further along the sloping street leading deep into the city, sunshine hits at least two more houses. Doors and windows are painted with extraordinary liberty as our eyes pursue them down the street. Bomberg clearly relishes treating them as a sequence of energetic, vertical paint-strokes. They take on a near-abstract vivacity and independence. So does the curving surface of the street itself, evoked with generously loaded swipes of his brush. We share the artist's relish as he claims the freedom to summarise the essence of Ronda in such an emancipated way.Alongside this emphasis on freewheeling vividness, though, Bomberg also conveys his awareness of the city's vulnerability. As he lets us penetrate the tightly-knit clusters of buildings in the distance, we become aware of their poignant fragility, too. Ronda's allure had seduced him into staying there, but he remained acutely conscious of the ravine plunging downwards at the city's heart. In the most distant part of this painting, the land suddenly rears up on the left and proclaims the presence in Ronda of what Bomberg himself described as 'the amphitheatre of mountains by which it is surrounded.' This city had been erected in an intensely dramatic location, and the sheer strength of its surroundings is asserted in this area of his painting. The mountain looms over the city, forever reminding all its inhabitants of the geological violence which must once have created the immense fissure running through Ronda.That is why the near-silhouetted bulk of the cathedral itself makes such an assertive contribution to Bomberg's painting. He gives the spire a thrusting prominence by ensuring that the patch of sky directly behind it is very pale indeed. Later in his life, Bomberg was sufficiently impressed by the architecture of St. Paul's Cathedral in London to make several outstanding drawings of its near-miraculous ability to survive Nazi bombs during the Blitz. He subsequently drew Notre Dame's spires and towers in Paris as well as the side façade of Chartres Cathedral. So although Ronda's cathedral occupies a distant position in Bomberg's painting, he made sure that its impact is assertive. Undisturbed by the restlessness evident in the sky all around, this cathedral presides over Ronda's historic city with unequivocal strength and assurance. The linear elegance of the spire is equally impressive, asserting its poised presence in the air while the secular buildings below almost seem to be jostling with each other in a far more confined space.Looking at The Old City and Cathedral, Ronda today makes us realise how much stimulus and sustenance Bomberg gained by painting it. In 1935 he also became a father here, for the first and only time in his life. Lilian recalled that the birth made him 'very worried and frightened all the way through', especially at the alarming moment when 'the baby was born purple and black because she was tangled up with the umbilical cord.' But little Diana survived, and Bomberg then ecstatically declared she was 'the loveliest thing one could wish for.' Ronda occupied such a special place in his life that he returned there in 1954, executing many of his finest late paintings and drawings before a terminal illness prompted his reluctant, gruelling return to England three years later. Seen in this light, The Old City and Cathedral, Ronda can be viewed above all as a celebratory painting, executed with admirable verve by an artist who had fallen in love with Spain. We are grateful to Richard Cork for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Roberts R.A. (British, 1895-1980)Munitions Factory pencil and watercolour 30.5 x 42.4 cm. (12 x 16 5/8 in.)Executed in 1940Footnotes:ProvenanceWith Hamet Gallery, London, 15 April 1970, where purchased byMr & Mrs J.R. Capstick-DaleWith Michael Parkin Fine Art, London, where purchased byLady DugdaleExhibitedLondon, Hamet Gallery, William Roberts: A Retrospective Exhibition, 16 February-13 March 1971, cat.no.54London, Michael Parkin Fine Art, William Roberts: An Exhibition of Paintings and Drawings, 17 November–4 December 1976, cat.no.51The outbreak of war in September 1939 gave William Roberts a much-needed opportunity. With the turmoil abroad came a great degree of personal upheaval resulting in having to move the family from London to Oxford. However, the conflict brought about new subject matter that favoured his figurative style, which had spent much of the 1930s in the shadow of Abstraction, epitomised by the Unit One movement and spearheaded by Paul Nash and his contemporaries. Roberts had seen some of the bloodiest action during The Great War, toiling in the trenches of Belgium and France with the artillery and carrying out the incredibly dangerous task of repairing communication lines between field batteries. Taken up as an Official War Artist, Roberts produced some outstanding work including the significant oil The First German Gas Attack at Ypres (1918, National Gallery of Canada, Ottawa), a commission from the Canadian War Memorials Fund (CWMF). However, he is perhaps most admired for the smaller pen and ink drawings and watercolours worked up in the Cubist manner from his Flood Street studio in Chelsea once relieved from active military service. Upon writing to the War Office on the 12th September 1939 in the hope of securing commissions he did so with the benefit of experience, hoping to become one of the few artists to document both conflicts in Europe.Roberts was rewarded for his enthusiasm with an assignment to accompany the British Expeditionary Force to France where he would illustrate some of its senior figures. To his detriment the artist failed to appear on the continent, feeling instead that he could produce equally accomplished work in England. Clearly the War Artists' Advisory Committee did not share Roberts' sentiments and owing to his petulance cancelled his contract with almost immediate effect. This unfortunate turn of events scuppered his chances of becoming the fully-fledged war artist he deserved, and it took a grovelling letter to Kenneth Clark, the committee's chairman and owner of his 1929 picture Bath Night (Bolton Museum and Art Gallery), to be reconsidered for even periodic commissions.Three instructions from the War Artists' Advisory Committee were to follow with the first, Munitions Factory (1940, City of Salford Museums and Art Gallery, Manchester), capturing the fraught environment at the Woolwich Arsenal. The present work is a detailed preparatory version for that oil painting and is almost identical in composition. Numerous tradesmen including mechanics, welders and plate-cutters scramble to complete work on an anti-aircraft gun assembly line as the country rises to the challenge of competing with German military might. Their manner has the sense of quiet confidence about it as respective trades come together to fulfil the requirements of the nation at a time of emergency. It was a natural subject for Roberts of course who himself had worked in a Tufnell Park munitions factory during 1915 and manages to successfully incorporate his expertise into the composition whilst at the same time giving centre stage to the individual workers.The Control Room, Civil Defence Headquarters (City of Salford Museums and Art Gallery, Manchester) followed in 1942 and echoes Roberts' preoccupation with the everyday man and woman playing their part in the war effort. In stark contrast to the raw industry of Munitions Factory, this painting transports us into the secret world of intelligence gathering where suited men study a large colourful map of London, divided into sectors whilst telephone operators pass on incoming messages. The final work, A Station Scene in Wartime (1942/43) was executed in watercolour showing a busy platform with men, women and children waving goodbye to one another, evoking the personal strains and emotions placed on family life during wartime. An ironic victim of the conflict itself, this work was destroyed in enemy action shortly after completion.In June 2018 Bonhams offered William Roberts' Demolition Squad (circa 1941 and sold for £125,000) which, although not an official commission from the War Artists' Advisory Committee, also demonstrated the artist's interest in portraying daily life during the conflict. In this work, the finished oil for which is held in the collection of the Guildhall Art Gallery, City of London, the setting is a blitzed building, most likely Christopher Wren's Christ Church Greyfriars in Newgate Street, which was almost totally destroyed in the intense air raid of 29th December 1940.We are grateful to David Cleall and Bob Davenport for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ivon Hitchens (British, 1893-1979)Caves of Green No.3 signed 'Hitchens' (lower right); signed again, titled, inscribed and dated 'Caves of Green, No3.1961/by Ivon Hitchens/Greenleaves, Petworth Sussex' (on a label attached to the stretcher))oil on canvas44 x 145.5 cm. (17 1/4 x 57 1/4 in.)Footnotes:ProvenanceWith Waddington Galleries, LondonMr E. LysaghtPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Summer Water and Other Paintings, June 1962, cat.no.21 (ill.b&w)Writing in 1964 to historian Sir Alan Bowness in preparation for a lecture Bowness was to give at Southampton University, Hitchens details the progression of the four paintings which form the Caves of Green series.Hitchens introduces the subject as 'of 'all-over' atmosphere exploring the idea and the actual place' (in correspondence, February 1964, Tate Archive). Each of the four works share the same compositional make up of three arched 'cave' forms to the left, centre and right. Hitchens notes that each of these three 'caves' are 'clearly sorted out in three main tones, in alternating progression' (ibid). The left-hand 'cave' is formed of tonal bands, drawing the eye upwards and to the left. Similarly, the right-hand 'cave' with a tonally dark centre and lighter surround, is to draw the eye upward and to the right. Lastly the central 'cave', is again formed of tonal bands, but lighter at the centre, designed to lead the eye inwards.Hitchens notes that all the works in the series follow the same design, each becoming more complex than the last. He concludes:'I consider [the series] a successful exploitation of the intended convention and it works throughout the whole picture both in tone and colour... All my better pictures should be 'read' for this deliberate progression of tone (or colour) – the corresponding balance – the white partitions of canvas are there to clarify & distinguish the notes & the movement' (ibid)We are grateful to Peter Khoroche for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ephemera An interesting collection of indentures, share certificates, letters and envelopes, 18th, 19th and 20th century, predominantly paper, earlier indentures on vellum. Includes a number of interesting postmarks including Rushyford and Durham 1842, Durham and Darlington 1867, Sunderland 1835, a quantity of Russian share certificates, indentures relating to Weardale, Alston, Teesdale, etc., share certificates and receipts relating to the Healeyfield Mining Company (Co. Durham), etc. (qty)

A collection of assorted Derby County memorabilia to include: modern team sheets, share certificates, West Ham United v Derby County matchday poster; Park Drive cigarette box; press photographs, two 1960's scrapbooks containing newspaper cuttings, testimonial programmes, and many other items. (one box) Please inspect photograph(s).

FOOTBALL, Cardiff City share certificate for Herbert Henry Merrett, dated 8th Feb 1940, Merrett was Chairman from 1939-1957, centre fold, G

Album of banknotes, to include German Banknotes, 5 million mark, Two mark inflation Banknote, 1910 100 mark, 1923 100,000 Mark, Brazil Banknotes, Italian, Chinese, Japanese Government WW2 issue Banknotes, Greek 1950 issue Banknotes. Republic of Mexico share certificate for the Julieta gold mines, With other Banknotes.

1000-1500 AD. Medieval. Rare bronze ring with circular hoop bearing extensive engraved decoration and octagonal bezel depicting a scene of the Judgement of Solomon. This story, from the Hebrew Bible saw King Solomon of Israel judge between two women both claiming to be the mother of a child. Solomon resolved the case by suggesting that the baby should be cut in two so that each woman could receive a half-share. By doing this, he was able to tell that the false claimant was the woman who entirely approved of this proposal, while the true mother begged that the child committed to the care of her rival so that the baby was not harmed. The story became a symbol of justice in the Middle Ages. Good condition.Size: D: 21.69mm / US: 12 1/4 / UK: Y 1/2 ; 9.5g; Provenance: From an old British collection, acquired on the UK art market in the 1980s.

100 AD or later. Roman-style. Rectangular Roman-style marble plaque framed to the left and right by trees and ranged over two registers. On the upper register two sitting males (left), observe a naked man and woman lying together (centre), as if in a post-coital embrace, while a further sitting male looks on (right); on the lower register, a youth wearing a toga petitions a semi-clothed older male (left), a confronted naked man and a woman lie on their stomachs and share a winecup (centre) while watched by one seated and one standing man. Erotic scenes are common in Roman art, reflecting beliefs in the enjoyment of the good life; such scenes also inspired many later works in a similar style. N.B. this piece may be either of Roman, renaissance or later date. Good condition; on a custom-made stand. Size: L:170mm / W:585mm ; 7.3kg; Provenance: Obtained from a L.F; previously in a collection formed in the 1990s on the UK art market.

Majestic painting of a Great Egret Preening, oil on canvas, excellent condition. Signed lower right.MP Elliott is a disciplined and prolific painter who has spent his entire life studying and learning in the field and at the easel. His vast knowledge of the outdoors, together with well-honed artistic skills has produced wildlife art widely recognized for its creativity, realism and natural beauty. Elliott's talent and dedication to the natural world have received critical acclaim and public praise. As a dedicated sportsman, Elliott is actively involved in efforts around the country to assist in the preservation and reclamation of natural habitats. This devotion to the land and its creatures is reflected in each of his artworks. Elliott was born and raised in the upper Midwest, where he grew to love nature, and discovered he could share his feelings through his art.Elliott's formal art training includes study of art history with a research abroad and a full time three-year apprenticeship in a classical atelier. His paintings are shown throughout galleries in America, Europe and Asia.Overall size: 79 x 66 in.Sight size: 59 1/2 x 47 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

In 2001 our vendor was invited to compete in the 50th Anniversary race with his Lightweight E-Type and Stirling was invited to share the drive....it was Stirling's first and only ever race in an E-Type.This leather-bound, three-spoke Moto Lita is the actual race steering wheel used on that day. Ironically, Stirling finished in 7th place driving car No.7.Please contact Shan Stokes on 07890 0933372 / shan@silverstoneauctions.com to discuss the lot in more detail. Click here for more information and any additional photographs

1920 Leeds Utd, an official share certificate dated 20 December 1920 for five ordinary shares of £1 each in the Leeds Utd Association Football Club Limited. The shares, issued during the clubs inaugural season, includes the common seal of the company, and signed by the club directors (A Masser, J Hilton, Crother and A Fairclough), complete, but minor faults, fragile

Wellington (Arthur Wellesley, 1st Duke of, 1769-1852). Autograph letter signed to Sir Charles Stuart (later Baron Stuart de Rothesay), envoy extraordinary and minister plenipotentiary at Lisbon, Cartaxo, 21 January 1811, 2 bifolia written on 6 sides, addressed to 'C Stuart Esq', signed 'Wellington', gilt edges, 4to (23.2 x 18.2 cm)Qty: (2)NOTESGurwood, The Dispatches of Field Marshal the Duke of Wellington (1837), volume 7, pp. 169-70. Wellington fulminates against the Patriarch of Lisbon and the disturbing reluctance of the Portuguese command to share the costs of arming the allies’ defensive lines: 'The Patriarch’s speech … places the Patriarch’s conduct in such a light that he will tremble when he shall see the lamp post … I think also … that I see in these new claims, of [Colonel] Fava and [General] Rosa, for payment for the work done by their departments respectively, that spirit of anti-Anglican party which I am convinced is encouraged at Lisbon … [I]f the anti-Anglican party is not suppressed, that I shall recommend to Government either to suppress it … or to withdraw their army’. Wellington's twelve-line final paragraph, containing a personal attack on Admiral Berkeley, is entirely omitted from Gurwood's edition of Wellington's dispatches and consequently unpublished: 'I don't know what I shall do with the Admiral ... Every concern in which water forms an ingredient (whether fresh or salt) he not only interferes in, but makes his business exclusively [...]'. Sir Charles Stuart undertook intelligence gathering with the provincial juntas in French-occupied Spain (1808-10) and afterwards 'made himself indispensable to Wellington' as minister at Lisbon (1810-14) and member of the Portuguese regency council. He later helped negotiate the treaty by which Brazil became independent from Portugal.

MODERN BOXED QUANTITY OF PHOTOGRAPHIC ITEMS & VISUAL EQUIPMENT including a JBC digital video camera, ZTV wireless camera, Kodak Easy Share Z700, Kodak Easy Share PD3 printer doc, mirror smart/burn cd rewriter, talk book recorder ETC

REGGAE - SKA/ROOTS/ROCKSTEADY - LPs. Skankin' along with this wicked collection of 14 x LPs. Titles are Various - Ska Au-Go-Go (early JA Studio 1 reissue, SO. 111, white labels/black text - VG+ solid condition record with only a couple of very light and minor surface marks, slightly faded playing surfaces/VG some foxing which is more apparent on the reverse), Ras Michael & The Sons Of Negus (JA Top Ranking original, white/red labels - Ex lovely clean record, especially considering this the Jamaican pressing/VG+ a few creases), Various - Put It On It's Rock-Steady (UK Island bullseye og, mono ILP-978 - VG+/VG+), Dandy - Your Musical Doctor (UK og, TTL-26 - VG+/VG), Hortense Ellis - Jamaica's First Lady Of Songs, Big Youth - Dread Locks Dread (KLP 9001), Various - Guns Of Navarone (TTL 16), U-Roy, Martha Valex - Escape From Babylon (3 copies inc. US promo x1 and US stock x2), I Tones - Something We Share (LP IT-003), Tribesman - Wonder Wolf (PROMO 1) and Poet And The Roots - Dread Beat And Blood (FL 1017). Condition is generally VG+ to Ex+.

Collection of football memorabilia, including programmes, books, souvenir newspapers and miscellaneous paper collectibles including a 1954 Leyton Orient £5 share certificate, other content including World Cups, European Finals, Wembley showcase games etc. (qty.)

RICHARD CLARKE INVITES YOU TO A DAYS SIMULATED GAME SHOOTING FOR 16 PEOPLE AT SIX MILE BOTTOM, SUFFOLK Richard Clarke invites you to a days simulated game shooting for 16 people at Six Mile Bottom, Suffolk 9.00am Arrive for bacon rolls & tea/coffee there will be 5 drives of clays simulating the flight of game Break after 3 drives for snack and refreshments 1.00pm approx finish for a light lunch Cartridges are not included, we expect each person to shoot around 250 cartridges each (depending on experience) Strictly Fibre Wad Only. A TRULY UNIQUE EXPERIENCE… Run by Richard Clarke, Six Mile Bottom shoot provides one of the very best simulated game shooting experience in the country. Situated in the beautiful Cambridgeshire countryside, and no more than 50-miles from the centre of London, their simulated game days provide an unforgettable experience. They endeavour to replicate the excitement of a real game shoot, and even have a full line of realistic grouse butts. Simulated game shooting is tremendous fun for people, aged 16 and over with an accompanying adult. If you’re a keen game shooter wanting to keep your eye in out of season or whether you just prefer to shoot clays it’s a day that you will never forget! The team at Six Mile Bottom Shoot will endeavour to make your shooting experience as successful and enjoyable as possible. FIRST PRIORITY IS THE CARE OF OUR BEAUTIFUL COUNTRYSIDE… The clays used are eco-friendly and carcinogen-free. In agreeing to buy this lot, you must fully read and adhere to all T&C’s stated. T&C’s apply To be booked on a Monday to Friday between March 2021 and August 2021 – subject to availability Subject to government guidelines and can be carried forward to 2022 Any extras in addition to your agreed package must be paid for on the day (gun hire/cartridges/spectators) In the unlikely event of extreme weather conditions (high winds/rain/snow etc) or circumstances beyond our control, and it is unsafe to proceed with the clay shooting an alternative date will be offered You are familiar with and will abide by safety rules when shooting Ear, eye and head protection must be worn at all times in the vicinity of all firing points while shooting is in progress You shall not hold SMB Ltd or any of its officials responsible for any damage to my hearing or eyes as a result of non-compliance with this safety procedure You will keep my firearms and ammunition under secure supervision at all times SMB Ltd will not take any responsibility for any loss or damage on its premises You are shooting at your own risk You must aged 16 and over with an accompanying adult You will not share any of your equipment with other people You understand that failure to comply with these guidelines will result in your eviction from the shoot Six Mile Bottom Shoot Ltd reserves the right to evict anyone from the shoot at anytime Donated by: Richard Clarke https://www.sixmilebottomshoot.co.uk/

Signed John Prine World Tour Poster 2017 The sad loss of the much-loved American songwriter John Prine earlier this year was a real low in the music world. As The Boss, Bruce Springsteen, said: ‘He wrote music of towering compassion with an almost unheard of precision and creativity when it came to observing the fine details of ordinary lives. He was a writer of great humour, funny, with wry sensitivity. It has marked him as a complete original.’ John Prine loved Ireland and the Irish in turn loved him back. As John’s wife Fiona, from Donegal, Ireland, wrote on his passing: ‘John will be so missed, but he will continue to comfort us with his words and music and the gifts of kindness, humour and love he left for all of us to share’. Unframed mounted 67 x 50 cm Donated by: Aiken Promotions, Ireland https://aikenpromotions.com Photo: Doug Atfield

Afternoon Tea for 2 at Kensington Palace, London Kensington Palace Pavilion is the only place in London where you can enjoy a traditional Afternoon Tea in the grounds of a royal palace. Sit back, relax and treat yourself to beautiful food and drink surrounded by over 300 years of royal history. The Kensington Palace Pavilion overlooks the Sunken Garden, planted in 1908 and terraced with paving and ornamental flower beds. Its vibrant colours and exotic planting provide a peaceful, yet stunning backdrop for you and your guest. Afternoon Tea will comprise a delicious array of food, which includes, finger sandwiches, scones, cakes and pastries, as well as a freshly brewed tea. This is the perfect opportunity to share a wonderfully royal experience as you explore a place of residence for the likes of Queen Victoria and Princess Diana. T&C’s Apply The final bidder must redeem the Afternoon Tea for 2 experience on a mutually agreed date with the venue and with the auction lot donor Subject to related government guidelines Experience may not be resold or re-auctioned We always expect all winning bidders and guests to conduct themselves appropriately and be respectful Any dietary requirement or allergies must be notified in advance Donated by: William – a friend of GeeWizz Charity Photo: © Kensington Palace Paul Gillett

A 1786 Agreement to share a home in King's Lynn between Pleasence and Hestor Browne and Thomas Hawkins.

A share certificate for the Shrewsbury and Hereford Railway Company, assigned to John Hughson of Liverpool in 1846, print and ink on paper.

For your consideration is this framed original Great Falls, Montana artist Mike Patterson oil on board called "Boulder Creek." Born in 1953, Mike Patterson believes the beauty in Montana provides Patterson with inspiration and he tries to express the sense of wonder it gives him. At the same time, he derives great pleasure in trying to recreate what he sees and wants to share that connection to Montana. This oil on canvas shows a wonderful scene of the Boulder Creek, located near Darby, Montana, with a good example of his signature in the bottom left hand corner of the painting. The condition of this oil on board is good beautiful frame showing good display condition. The measurements of this framed oil on board is 8.25" x 10.25" and the visible art measures 5.5" x 7.5".

Small bundle of London TRAMWAY EPHEMERA comprising a 1926 London United Tramways STAGES & FARES POSTER, a 1912 LCC Tramways HANDBILL 'Reconstruction of Tramways for Electric Traction', 2 x 1917 LCC Tramways HANDBILLS re 'Revised 1/2d Fare Stages' and 2 x 1883 West Metropolitan Tramways Co documents: a Mortgage Debenture for £50 and a Share Certificate for 5 shares. The handbills have age-related wear, the other items are in good condition. [6]

An East Russia Corporation Ltd share certificate dated 1914, framed and glazed

A rare archive of original sales brochures, photographs and paperwork relating to the Clyde Cycle & Motorcar Company of Leicester and Wait & Co Ltd Leicester Motorworks including original 1897 Clyde Cycles sales brochure; 1898 Clyde Cycles sales brochure; similar original sales brochure for 1899 and 1901; 1902 Clyde Peregrine Cycles & Motors sales brochure and 1902 booklet for the Clyde Motor-bicycle; 1903 Clyde & Peregrine Cycles & Motors sales brochure; 1907 Clyde & Peregrine Cycles cycle list; 1908 Clyde Cycles sales brochure; 1910 Clyde Motors sales brochure and other relating pamphlets; two sales brochures by Wait & Company Ltd circa 1924 illustrating Clyde and other cycles and vehicles; 1897 Clyde Cycle & Motorcar Company Ltd share certificate, brochures by GH Wait and two further share certificates for 1903 together with prospectus and paperwork; various original photographs including photograph of the Clyde Works 1893 with staff, various photographs of Clyde motorcycles and cars; various Victorian sports programmes for the Leicester area featuring bicycles including 1891, 1886, 1885, etc; scrap book of various newspaper cuttings and illustrations relating to the Clyde Cycle & Motorcycle Company; album of photographs relating to the Wait family with numerous photographs of vehicles & shows; various veteran car club Gazette programmes; a volume "Practical Treatise on Gearing" dated 1900, formerly the property of GH Wait; four veteran Car Club Rally pennants; and a large selection of various newspaper cuttings, adverts, paperwork and research relating to the Clyde Motor Company

Led Zeppelin 'Houses of the Holy' - Original hand painted artwork by John Judkins, signed, flat, 56 x 67 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters are later produced by John Judkins but share the same flair and style of the early artwork.

David Bowie 'Ziggy Stardust and the Spiders from Mars' - Original hand painted artwork by John Judkins, signed, flat, 57 x 69 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters are later produced by John Judkins but share the same flair and style of the early artwork.

Iggy Pop ' The Time is Now, Now is the Time' - Original hand painted artwork by John Judkins, signed, flat, 57 x 74 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters are later produced by John Judkins but share the same flair and style of the early artwork.

Black Sabbath 'Masters of Reality' - Original hand painted artwork by John Judkins, signed, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters are later produced by John Judkins but share the same flair and style of the early artwork.

Pink Floyd 'Set the Controls for the Heart of the Sun' - Original hand painted artwork by John Judkins, signed, flat, 57 x 70 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters are later produced by John Judkins but share the same flair and style of the early artwork.

Bob Dylan, The Doors - Two later reproduction prints, all signed, flat, largest 59 x 78 cm (2).Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters are later produced by John Judkins but share the same flair and style of the early artwork.

A metal tin strong box of Charles E Gibbs, c.1900, filled with three captioned photograph albums, Rome, Ireland, and Britain, quantity of letters, Oxford and other family documents, Imperial Russian pre revolution roobles and quantity of Russian railway share certificates. large photo of tower bridge being built, photo of Gibbs holding large iguana he shotCondition report: These items pertain to a Charles E Gibbs, not Charles Gibbes, the tutor of Nicholas II's son.

Vintage games, Confederate share certificates in glazed frame, postcard album, New Zealand specimen wood box, pair glass decanters, wall barometer etc

A gem-set gold forehead pendant (chand-tikka), a gem-set gold mirrored roundel and a pearl-mounted gold pendant from the collection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh, and latterly in the possession of her granddaughter Princess Bamba Sutherland (1869-1957) Punjab, probably Lahore, first half of the 19th Centurythe tikka in the form of a crescent set with rubies and white sapphires, decorated to the sides in red and white enamel with chevron motifs, seed pearl fringe; the roundel with central mirror surrounded by openwork foliate motifs set with diamonds and emeralds, later mounted as a brooch; the pendant of filigree gold with seed pearl fringe the roundel 3.3 cm. diam.(3)Footnotes:ProvenanceMaharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839).Princess Bamba Sutherland (1869-1957), gifted by her father HH Maharajah Duleep Singh, later given by the Princess to her life-long personal companion and employee Mrs Dora Crowe of Hampton House, Blo' Norton, Norfolk. Private UK collection, acquired from Mrs. Oriel Sutherland, daughter of Mrs. Dora Crowe. The mirror plaque had, according to Princess Bamba, once been part of Maharajah Ranjit Singh's horse trappings.These three items were likely to have been within the casket of jewels handed back to Maharani Jindan Kaur (1817-1863) by the British authorities when she agreed to live in London with her son, who she was reunited with in Calcutta in 1861. Duleep Singh had not only negotiated a £3,000-a-year pension for his mother but also the safe return of over 600 pieces of her personal jewellery that had been impounded by the British authorities at Benares when she fled to Nepal. In the UK, John Login expedited the passage of her jewels through customs and Lady Login was present when Jind Kaur was finally reunited with them in London: 'Her jewels had at the moment arrived from the Custom House, and so delighted was she at the sight, that she forthwith decorated herself, and her attendants, with an assortment of the most wonderful necklaces and earrings, strings of lovely pearls and emeralds being arranged, in graceful concession to English fashion...' (Lady Lena Campbell Login, John Login and Duleep Singh, London 1890, p 213).These important personal royal effects of the late Maharani were dispersed after her death by her son and grandchildren, either through auction salerooms or by being gifted away. Two decades after her death, when Maharaja Duleep Singh lost his battle against the India Office over the thorny issue of his financial allowances, he decided to auction off some of his possessions in order to raise £20,000 with a view to relocating to India where he could live as a person of importance. He stripped his stately home at Elveden of some choice valuables – including 25,000 ounces of chased silver gilt, rare Indian carpets, Indian shawls, embroideries and a casket of jewels (though 'no old family jewels' according to the press, The Gentleman's Magazine and Historical Review, London, September 1863, p 378) – and packed them up to be auctioned by Messrs Phillips, Son & Neale of New Bond Street. A sympathetic editorial in The Times (20 July 1883) noted how 'news of His Highness being compelled to sell his jewels and other valuables will excite a deep feeling of sympathy among all who are acquainted with the history of the 'Lion of the Punjab'.' The following year, his embittered relations with the British Government compelled him be ransack the contents of Elveden to provide the finances needed to resettle in Punjab with his family. From 27 April to 5 May 1886, while the Maharaja was detained at Aden as he attempted to gain onward passage to India, the auction only realised a fraction of the expected value of the items, forcing Duleep Singh to empty his Coutts safety-deposit box of all his most valuable jewels. When he failed to gain the support of the Russians, Duleep Singh decided to settle in Paris. In 1890, he was forced to sell what remained of the family jewels in his possession to pay for both his own accommodation and that of his estranged second wife, Ada, who moved into an expensive villa situated in an exclusive tree-lined suburb of Paris. Prince Victor Duleep Singh, the maharaja's eldest son, sold part of his inheritance in order to pay off his considerable debts. On 19 June 1899, Messrs Christie Manson & Woods sold 114 lots from Victor's collection in their London sales room including Indian gold jewellery 'formerly the property of the late Maharajahs Duleep Singh and Runjeet Singh of Lahore' according to The Daily Telegraph (20 June 1899, p. 9). Of the riches snapped up at the well-attended auction, which realised nearly £3,000, The Morning Post gave the following details of the best prices achieved, including a lavish horse's head ornament: a gold forehead ornament with diamonds, and ruby drops, from Dholepore, £35; a breast ornament of gold, set with stones and pearls, from Kangra, £46; pair of forehead ornaments, of crescent form, from Delhi, £41; pair of gold armlets, Lucknow, £35; a gold girdle centre set with stones, Delhi, £44; a large ornament for horse's head, of gold, enamelled, from Punjaub, and part of the State harness of Runjeet Singh, £44;... a massive gold horse frontlet, thickly studded with emeralds and rubies, Delhi, £210.... (The Morning Post, 20 June 1899, p 3). Given that Prince Victor's share of the family jewels included a part of the state harness of Maharaja Ranjit Singh, it is perhaps not surprising that another important piece of equestrian jewellery was preserved by Duleep Singh's eldest daughter, Princess Bamba Sutherland (1869-1957).In 1897, Princess Bamba and her two sisters, Princesses Sophia and Catherine, moved to the Norfolk village of Old Buckenham, where they lived near another brother, Prince Frederick. When he sold his house in 1906 and shifted to Blo' Norton, his sisters followed suit. In 1935, the princesses shifted from Blo' Norton Hall to Hampton House at Blo' Norton. When the lease came to an end in 1935, Princess Sophia installed a married couple Dora and Cyril Crowe (Cyril had been a childhood-friend of Frederick's), with their baby son Cyril Junior, at Hampton House to attend upon the princesses whenever they stayed there. When Sophia died in 1948, Bamba became the last surviving member of Duleep Singh's family from his first marriage. Bamba took up residence at Hilden Hall as well as the management of Hampton House. Her relationship with the Crowes developed in terms of mutual respect and affection. While Cyril Jr had been a great favourite with Sophia, his sister Oriel, who was eight years younger, was much loved by Bamba. In later life, the young girl would recall how 'Princess Bamba retained her sense of humour, and as an old lady she would smile, wrinkle her nose, and giggle like a little girl' (Peter Bance, Sovereign, Squire and Rebel: Maharajah Duleep Singh, London 2009, p 160).In 1953, Bamba decided to give Hampton House to the Crowes as she planned to return to Lahore (she had visited Punjab's capital in 1941 but was forced to remain there for five years following the outbreak of the Second World War). She died in her family's ancestral home in 1957. According to Oriel Crowe's (later Sutherland) letter of provenance accompanying this group, Princess Bamba gifted these items of jewellery to her mother, Mrs Dora Crowe, before she left England on her final journey to Lahore. Bamba had told Mrs Crowe that the circular stoned gold and mirrored broach was formerly part of Maharaja Duleep Singh's horse harness. As such, they represent a remarkable link back to one of the richest treasuries in the world.For further information on this lot please visit Bonhams.com