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Click here to subscribeSport Snooker Legend Steve Davis OBE Signed 12x8 Colour Montage Photo. Signed in Silver Marker Pen. He is best known for dominating the sport during the 1980s, when he reached eight World Snooker Championship finals in nine years. Great Signature. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Music Elaine Paige Signed 6x4 black and white photo. Signed in silver marker pen, inscribed with love. Elaine Jill Paige OBE (née Bickerstaff, 5 March 1948) is an English singer and actress, best known for her work in musical theatre. Raised in Barnet, Hertfordshire, Paige attended the Aida Foster Theatre School, making her first professional appearance on stage in 1964, at the age of 16. Her appearance in the 1968 production of Hair marked her West End debut. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Make & Model: Vauxhall Astra Elite CDTI AutoDate of Reg: DS12 LKAColour: Silvercc: 1956MoT: 25-02-2023Fuel Type: DIESELMileage: 71kTransmission: AUTOSummary: Service Book with seven stamps, last entry - 64k. Aug 2020. V5 to followThe V5C for this vehicle is missingVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=155814
Make & Model: VW Passat Sport BM Tech TDIDate of Reg: BD11 ZHPColour: Silvercc: 1968MoT: 19-01-2023Fuel Type: DIESELMileage: 168kTransmission: MANUALSummary: Two registered keepers with the last keeper since Jan 2015. Fifteen service stamps including two handwritten entries with the last recorded December 2021 at 167,262 milesVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=155756
Make & Model: BMW 120D SEDate of Reg: YP09 HHGColour: Silvercc: 2000MoT: 15-03-2023Fuel Type: DIESELMileage: 106kTransmission: MANUALSummary: Three registered keepers with the last keeper since Marah 2015. Six service stamps with the last recorded at 94,000 milesVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=155808
Make & Model: Kia Sportage 3 Sat nav CRDIDate of Reg: YP11 OZRColour: Silvercc: 1685MoT: 15-12-2022Fuel Type: DIESELMileage: 65kTransmission: MANUALSummary: Three registered keepers with the last keeper since December 2016. Six service stamps with the last entry November 2017 at 45,000 milesVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=155769
Make & Model: Ford S-Max Titanium TDCIDate of Reg: EF62 CKGColour: Silvercc: 1560MoT: 09-11-2022Fuel Type: DIESELMileage: 87kTransmission: MANUALSummary: Three registered keepers with the last registered October 2017. Five service stamps including four ford stamps with the last recorded August 2020 at 57,000 milesVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=155810
An English part set of silver plated cutlery comprising of 2 large knives, 11 large forks L20cm, 9 large spoons, 5 dessert knives, 11 dessert forks, 11 dessert spoons, 12 sweetmeat spoons, 9 coffee spoons, 6 ice cream spoons, 9 cocktail spoons with long handles, 2 salad servers, 1 large serving spoon, 5 serving spoons. Mid 20th century. (93)
Winifred Nicholson (British, 1893-1981)February oil, crayon and silver spray paint on board57.8 x 60.5 cm. (22 3/4 x 23 3/4 in.)Footnotes:ProvenanceAcquired by the present owner from the Kettle's Yard exhibitionPrivate Collection, U.K.ExhibitedCambridge, Kettle's Yard, Pictures by Winifred Nicholson, 21 November–16 December 1972, cat.no.16Winifred Nicholson often grew bulbs in the early spring, particularly hyacinths (see for example Candlemas I, sold in these rooms for £106,312, 1st July 2020, lot 41), cyclamens, or as in this picture Alpine narcissi. Winifred enjoyed the expectation of spring about to arrive, writing, 'I like promise of things to come. There always turns out such unexpected and exciting things in the colourlessness of the unknown future'. February with its brightly coloured curtains and the narcissi with their unfurling buds expresses Winifred's innate cheerfulness.We are grateful to Jovan Nicholson 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
Sir William Nicholson (British, 1872-1949)Still Life: Emile's Things signed and dated 'Nicholson/1912' (on the lower left of the mirror)oil on canvas92.2 x 71.4 cm. (36 1/4 x 28 1/8 in.)Footnotes:ProvenanceProbably acquired in the 1920s, or earlier, by the present owner's great auntPrivate Collection, U.K.The title of this unrecorded work by William Nicholson is the one used by the family in whose possession it has been since the 1920s, or earlier. 'Emile' was a dressmakers at 9 Hanover Square in Mayfair London, circa 1927-32, whose clientele was mainly debutantes and their mothers; the business was run by the vendor's great aunt. When and where she acquired the painting is not recorded – perhaps direct from the artist as so far it has not been possible to find any exhibition or other references to this work, whose original title has yet to be discovered.The handling of paint is typical of Nicholson at this period who so evidently enjoys the challenge of depicting surface textures and reflective surfaces. There is a dramatic use of light and shade, together with an equally exciting palette of orange, red and turquoise. The work is particularly interesting as part of Nicholson's search to find a rational for his increasingly large still-life's, and several motifs link it to other works of the period, such as the inclusion of a reflected figure in a still-life as in the untraced Still Life, in the Studio of 1911 (Reed cat.237).The composition with a collection of garments and accessories in front of an oval mirror reflecting a female figure recalls the earlier Souvenir de Marie (Dublin City Art Gallery, The Hugh Lane) of 1906. This was presented by the artist to Sir Hugh Lane with a dedication in 1912, the year in which the present work was executed. It is possible that Lane may have encouraged Nicholson to revisit the subject, here treated on a larger scale and in portrait rather than landscape format, but featuring the same black framed oval mirror. There are fewer items here, whose varied textures are skilfully depicted: a black felt hat with feather and a plaited leather band rests on the pale cream fur lining of a coat with an arm hole opening just discernible. Adjoining is the embroidered white lining of the turquoise silk garment to the right – perhaps an opera coat. A pair of ladies red leather walking shoes, made for a slender foot with an elegant French heel, are standing on the turquoise silk. A disconcerting position, while even more startling is the juxtaposition of the orange organza scarf behind. This is the development of a device that Nicholson had used the previous year in The Black Vase (Bradford Art Gallery) where yellow silk provides a single note of colour. The dried seed heads known as honesty, here in a slender glass vase with another spray resting against the mirror, also appeared in the three other works dating from 1911: The Black Vase and The Chinese Vase both in Bradford Art Gallery, and Honesty in a Staffordshire Jug.Nicholson's prominently displayed signature on a piece of paper tucked into the frame of the mirror can likewise be related to Souvenir de Marie - in the latter there is a label in a more conventional location, foreground right. The reflection of the label in the mirror suggests that this is a black mirror rather than the usual silver-backed one. Black mirrors appear in several still-life's of the period, for example China Figures and Black Mirror (Private Collection) of 1909.Although it was primarily colour and texture that dictated their selection, it is possible that whereas the garments in the Dublin painting are all historic or theatrical costumes, those depicted here are contemporary ones. The woman reflected in the black mirror is wearing contemporary evening dress, but in contrast to the opulence of foreground fabrics her gown is sketched out in white. The artist's interest is obviously more in the garments rather than in the woman, which must be evidence that this is not a portrait. There is also the somewhat imperious look on her face, half lost in shadow. (She has after all usurped the viewer's position in the mirror.) In this same year Nicholson painted the untraced Equestrian Portrait: The Lady in Green (Reed cat.254): a reviewer, Sir Claude Phillips, commented that the sitter regarded the onlooker 'with something that nearly approaches a sneer'. This is most unlike Nicholson and might suggest that he was having difficulties with female sitters at this time. The artist's gift of the Souvenir de Marie to Lane was in part thanks for securing him a major commission in 1912, the portrait of Lady Phillips (Johannesburg Art Gallery). Any other link to this commission would be purely speculative, and the woman in the mirror bears no physical resemblance to Lady Phillips. No doubt several portrait commissions before World War I were abandoned – the details of which are now lost – as female sitters proved difficult and unreliable, unlike the beautiful objects in the still life.The canvas bears the Chenil Gallery stamp found on several of Nicholson's canvases dating from the period 1909-1921. The gallery, which was near the artist's studio in the King's Road, Chelsea, sold artist's materials.We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Reading stand. Egypt, ca. 1500.Walnut, bone and boxwood.Missing inlay.Measurements: 36 x 27 x 8 cm.Lectern of Granada manufacture, from around 1500, which could be either from a private home or for ecclesiastical use for reading the Holy Scriptures. It is made of a walnut base with inlaid bone and boxwood. Typical decoration with eight-pointed stars, borders and geometric ornaments.The inlay technique consists of making mosaics and other figurative elements by applying different materials which, combined together, create geometric shapes and drawings of infinite forms. In this way, the different pieces fit perfectly together. To do this, the craftsmen make several large pieces in which they join the different materials to form the desired pattern. They are then cut into thin sheets, which are combined with others and finished off with metals, mother-of-pearl, ivory, tortoiseshell, bone, etc. In some cases gold and silver are used, and they can have hundreds of different elements. Its origin seems to be in Mesopotamia around 3000 BC, but it was brought to Spain and Granada by the Muslims. In this city, in particular, this technique has become its own.
Andalusian school, possibly from Seville, ca. 1700."Infant Jesus".Carved and polychrome wood. Eyes in vitreous paste. Hair. Silver base and cross.Measurements: 28 cm (height); 35 cm (total height).Polychrome wood carving representing the Child Jesus full-length and naked, which indicates that he was originally dressed in royal robes. It is a magnificently anatomically worked carving, of extraordinary naturalism, following the baroque canons of the Spanish school. The Child stands on a chiselled silver base, with its upper part reticulated and the corners ornamented with plant motifs. The cross and the child's shoes are made of the same material.Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
Circle of FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Portrait of Charles IV.Oil on canvas. Re-retouched.It presents repainting, old restorations and a Carlos IV style frame from the end of the 19th century with damages.Measurements: 126 x 94 cm; 145 x 113 cm (frame).Dressed in a maroon silk suit, embroidered in silver, the monarch holds the command staff of captain general with his hand, barely visible in the composition, while he rests the other on his waist. The cross and the sash of the Order of Charles III, as well as that of San Gennaro of Naples, hang glittering above his costume. The golden fleece can also be seen. Next to the monarch, an ermine-skinned table supports the royal crown, which is the only element outside the figure of the monarch. The work follows the aesthetic models imposed by Francisco de Goya, who painted several portraits of the monarch. The painting is a reflection of the picture painted by Goya in 1789, which belongs to the Museo del Prado collection and is called Carlos IV de Rojo.It was conceived as a companion piece to the portrait of Queen consort Maria Luisa, both commissioned by the Academy in March. It was Jovellanos who entrusted the task to Goya who, as a court painter, produced several versions of the works. In this particular case, despite the similarities with the Prado work, certain differences can be recognised. Firstly, the large green curtain in this case is reduced to a kind of curtain, where the colour is spread evenly, thus avoiding the marked folds. Furthermore, in this case, the monarch carries the baton of command and a highly decorative waistcoat.Charles IV was King of Spain and of the Spanish Empire from 1788 to 1808. The Spain inherited by Charles IV showed few signs of instability, but during his reign, Spain entered into a series of unprofitable alliances and his regime constantly sought cash to meet the demands of war. His son and heir, Ferdinand, led the failed Conspiracy of El Escorial and subsequently forced Charles to abdicate after the Tumult of Aranjuez in 1808, along with the dismissal of his prime minister Manuel de Godoy. Summoned to Bayonne by Napoleon Bonaparte, who forced Ferdinand VII to abdicate, Charles IV also abdicated, paving the way for Napoleon to place his older brother Joseph Bonaparte on the Spanish throne. However, Charles IV's reign proved to be an important turning point in Spanish history.
Baroque silver votive lamp. Spain, 17th century.Measurements: 110 cm (height); 86 cm (diameter).Weight: 8700 gr.Votive lamp made entirely of silver, topped by an upper hemispherical cover, from which hang eight chains, four of which are connected to a smaller openwork crown, and the other four are connected to the main body. The latter is structured on three levels: an upper crown from which nine curved vegetal-format arms, ending in their respective lighters, and two lower bodies suspended from it. From this central body hangs a final mobile structure that continues the baroque typology of the lamp. The beauty of the piece lies not only in its typically Baroque dynamic structure, but also in the masterful embossing and chiselling in which the silver has been worked, which denotes an eighteenth-century Rococo taste. The decorative motifs, carved with great detail and attention to texture, are also typical of this style: a display of acanthus leaves and scrolls combine harmoniously with smooth surfaces and medallions. Also noteworthy is the chiselled decoration of the chains, which are oval in shape and finished with a serrated outer profile. The attention to detail is particularly evident in the reliefs that crown the main body, which contain a central medallion and are flanked by structures of great beauty and workmanship.
Pair of chocolate coco cups. New Spain or Guatemala, 18th century.Carved coconut and silver.Signs of wear and tear.Measurements: 13 x 10 cm .Pair of chocolate cups from the Viceroyalty of New Spain, with an ovoid coconut shell body whose surface has been entirely sgraffitoed with incised vegetal decoration and birds. Decorated with garnishes (handles, mouthpieces and feet) in chiselled and embossed silver. The coco-chocolatero is a sumptuary object that was used to serve small quantities of beverages, including chocolate. It was used during the 17th to 19th centuries and was made from the bark of the coconut, hence its name. Its production during the Viceroyalty period was made possible by the fact that coconut palms, native to the Pacific islands, became acclimatised elsewhere. The hard bark of the fruit was cleaned and carved until polished, then sgraffitoed with a burin or gouge, decorated with profuse geometric plant forms and mounted on elaborate burnished silver work. The process was carried out in two stages: first the coconut was carved and decorated with applications of metals, shell and semi-precious stones, then it was set in silver, forming a pedestal. These objects were made in America and different parts of Europe, including Germany, Spain and France.
Censer; Spain, 17th century.Silver.Measurements: 17 x 11 cm.Silver censer decorated by means of chiselling and embossing, with a decorative scheme that combines the heritage of geometric mannerism with Greco-Roman and Baroque motifs. It consists of a flat foot with a circular perimeter from which a body decorated with a crown of gadroons, followed by stylised palmettes s, with highlights of nuanced textures throughout the body. This tank, composed of two bodies, is openworked at the top with lattice-like scrolls, with a design based on brackets and trophies. The body of the piece ends in a bulbous dome, again with openwork and decorated with leaves, from which a small angel-shaped finial starts.
ART HISTORY - GIMPEL FAMILYTwo photograph albums recording the lives, homes and art collection of the Gimpel family of art dealers, containing approximately 150 gelatin silver prints in total (approximately 88 being 80 x 80mm., the others various sizes up to 170 x 230mm.), those in the later album mostly captioned on mounts in white ink, contemporary cloth, rubbed, the later album contents loose, 4to, c.1898 and 1930s (2)Footnotes:René Gimpel (1881-1945) was an influential Parisian art dealer with galleries in Paris and New York City. His father, Ernest (1858-1907), operated E. Gimpel & Wildenstein in New York from 1902-1919.The earlier of these two albums records Gimpel family holidays in 1897 and 1898 in Trouville-sur-Mer, Calvados, where Ernest's gallery had an annex. Various members of the Gimpel family appear at the beach and on the promenade, as do some early motorcars, a bicycle race, a fire engine, and horse races.The later album has the visiting card of Odette Bourdillon pasted in, annotated 'En souvenir de la Rue Spontini 19, Paris' - the hôtel particulier which was home to René and his family. In photographs of the house's interior can be seen: Greuze's portrait of La Marquise Madeleine Barberie de Courteilles (Herzog Anton Ulrich-Museum, Brunswick); an eighteenth-century Coromandel folding screen, looted from Paris by the ERR and restituted on 11 May 1948; landscapes by André Derain from the D.-H. Kahnweiler collection; in the Louis XVI drawing room Monet's Artist's Garden at Vétheuil (NGA, Washington), along with in other rooms his La Barque Rose (private collection), Les Peupliers (Fitzwilliam), and some waterlilies; Angel Zarraga's portrait of Ernest Gimpel; a group of saints by Puvis de Chavannes; a female portrait by Jean Marc Nattier; a pair of Boucher Cupids; a ruin by Hubert Robert; and an arch-topped Corot, amongst others. Family photos show René's wife Florence (née Duveen) show-jumping in the Grand Palais and in Le Touquet in the mid-to-late 1920s, Florence and her sister Eveline (Eva) in the garden of Rue Spontini, Florence's bedroom, another home in rue de Grenelle, yet another in rue de l'Université (dated June 1934), and hunting excursions.Some of Gimpel's business records are held by the Archives of American Art, Smithsonian Institution, whilst family papers are in the archives of Gimpel Fils, the London gallery founded in 1946 by René's sons.For further information on this lot please visit Bonhams.com
CHURCHILL (WINSTON)Photograph of the 'Commonwealth Economic Conference. London, November 1952', SIGNED BY CHURCHILL, NEHRU and the 7 other sitters, gelatin silver print, some uneven tones, captioned in black ink above, the signatures on mount below, mounted, glazed and framed, the image 260 x 425mm., November 1952; together with 2 other similarly mounted group photographs, captioned 'Meeting of Prime Ministers. London, April-May 1946' and 'Meeting of Commonwealth Prime Ministers. London, October 1948', signed by all the sitters (including Clement Attlee) (3)Footnotes:GROUP PHOTOGRAPH SIGNED BY WINSTON CHURCHILL, NEHRU and all the other Commonwealth Prime Ministers called together by Churchill for an emergency Economic Conference to find common ground in a review of 'the pressing issues of financial, commercial and economic policy with which our several Governments are faced' (Hansard, online). For both the 1946 and 1948 Commonwealth Conferences Clement Attlee was the British Prime Minister, and other signatories include, General Smuts, Montgomery of Alamein, and Liaquat Ali Khan.For further information on this lot please visit Bonhams.com
CHURCHILL (WINSTON)Photograph of the 'Meeting of Commonwealth Prime Ministers. London, June 1953', SIGNED BY CHURCHILL, NEHRU and the 7 other sitters, gelatin silver print, captioned in black ink above, the signatures on sheet of paper (c.70 x 390mm.) pasted below, mounted, glazed and framed, the image 245 x 270mm., June 1953Footnotes:GROUP PHOTOGRAPH SIGNED BY CHURCHILL, NEHRU AND SEVEN OTHER COMMONWEALTH PRIME MINISTERS - Official group portrait of the Prime Ministers present at the Commonwealth Prime Ministers' Conference, hosted by Churchill at Downing Street in June 1953, immediately following from Queen Elizabeth's Coronation. Hansard noted that 'The Prime Ministers have met at a time of general rejoicing. The presence at the Coronation of representatives of all parts of the Commonwealth has illustrated the unity and the variety of the Commonwealth association of which Her Majesty is the Head. The discussions... demonstrated the concord which exists between all the Governments and peoples of the Commonwealth, despite their varying interests and circumstances, in their approach to the major problems of the world today...'. The other signees are Jawaharlal Nehru (India), Robert Menzies (Australia), Louis St. Laurent (Canada), Dudley Senanayake (Ceylon), Sidney Holland (New Zealand), Muhammad Ali Bogra (Pakistan), Sir Godfrey Huggins (Southern Rhodesia), and Daniel Francois Malan (South Africa).For further information on this lot please visit Bonhams.com
ELIOT (T.S.)For Lancelot Andrewes. Essay on Style and Order, first American edition, AUTHOR'S PRESENTATION COPY TO HIS COUSIN ELEANOR HINKLEY, inscribed on front free endpaper 'Eleanor Hinkley from T.S. Eliot affectionately/ 30.iv.29/ (I am not responsible for the Stars, or the wrapper)', publisher's cloth with silver star design stamped on spine and upper cover (spine faded and slightly stained at foot), dust-jacket (tear without loss to front of jacket, split at folds) [Gallup A12b], 8vo, Garden City, N.Y., Doubleday, Doran, 1929Footnotes:'I AM NOT RESPONSIBLE FOR THE STARS, OR THE WRAPPER' - Eliot complains to his cousin and close friend about the book's design, a week before publication.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
FACE TO FACE PROGRAMMEVisitors' book from the BBC's Face to Face series of television interviews with John Freeman, including the signatures of thirty-one guests, one on each page, including the bold signature of C.G. Jung (dated 26 June 1959, a particularly important interview made two years before his death), Evelyn Waugh (a subject of a notoriously awkward interview, here signing himself 'E.A.St.J. Waugh'), John Reith (his signature subscribed 'Late BBC and regrets he ever left it'), Otto Klemperer, Jomo Kenyatta, Tony Hancock (whose grilling is thought by some to have strengthened his suicidal tendencies), Gilbert Harding (who was, famously, reduced to tears), Adam Faith, Stirling Moss, Compton Mackenzie ('A very pleasant talkative half hour for me'), Danny Blanchflower (after famously refusing to take part in This is Your Life), Augustus John and others, prefaced by that of John Freeman himself ('To Hugh Burnett – whose idea it all was – way ahead of his time'), 49 album leaves, some loose, others excised, red cloth, some wear, 4to (292 x 238mm.); with gelatin silver prints of the Jung interview at Küsnacht (4), Cecil Beaton, Augustus John and Albert Finney; three items of correspondence including an undelivered typed memo from Hugh Burnett dated 20 February 1962 explaining the difficulties encountered on the last series (ending with the assurance '...the reports of personal difficulties and ill will between John and myself are quite unfounded and unjustified...'); with a copy of Jonathan Cape's book based on the programme and edited by Burnett, published in 1964, signed by the portraitist Feliks Topolski (small group)Footnotes:Provenance: Hugh Burnett (1924-2011), producer of the ground-breaking BBC television interview series Face to Face which ran from 1959 to 1962.For further information on this lot please visit Bonhams.com
FLEMING (IAN)Diamonds Are Forever, FIRST EDITION, upper corner tips of 5 pages turned, publisher's black cloth stamped in silver-gilt (very light rubbing to head of spine), dust-jacket (spine ends and corners and short tear to upper cover professionally restored) [Gilbert A4a(1.1)], 8vo, Jonathan Cape, [1956]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
IRAN - QAJAR FAMILY IN CONSTANTINOPLEAlbum of photographs commemorating the visit of Muzaffar al-Din Shah Qajar to the Ottoman Court at Constantinople in 1900, 68 gelatin silver prints on 35 card sheets printed with ornamental borders, 24 larger images (c.260 x 200mm.) mounted one per page, 44 smaller images (110 x 80mm.) mounted 4 per page, all recto only, the opening image captioned in ink in Ottoman Turkish, contemporary full red morocco gilt, the covers with blind- and gilt-ruled borders enclosing an elaborate decorative border in gilt and green morocco onlays, each with a shaped centre panel cut away to reveal a brown morocco panel with gilt decoration of (upper cover) the star and crescent within ornamental frame, and (lower cover) the imperial insignia (comprising weapons, medals and flags), spine tooled in gilt, g.e., worn, spine split with minor loss and small old tape repair, oblong folio (345 x 410mm.), [1900]Footnotes:IMPORTANT ALBUM OF PHOTOGRAPHS BY ALI SAMI BEY, COMMEMORATING THE VISIT IN 1900 OF MUZAFFAR AL-DIN SHAH QAJAR TO THE OTTOMAN COURT IN CONSTANTINOPLE - IN A FINE CONTEMPORARY BINDING.The album includes formal portraits of the Shah and high ranking entourage, and scenes depicting his stay in Constantinople, including arrival by train, a voyage along the Bosphorus, visits to the Dolmabahçe Palace and Ortaköy Mosque, official greeting parties, and the Yalta Palace where the Shah stayed. The photographs were taken by Ali Sami Bey, chief photographer for Sultan Abdülhamid II from 1892 until the Sultan's deposition in 1909, who 'was present for the Persian Shah's visit and produced commemorative albums almost immediately for presentation to the sultan and the Shah, among others' (A. Behdad and L. Gartin, Photography's Orientalism: New Essays on Colonial Representation, 2013).For further information on this lot please visit Bonhams.com
KING (MARTIN LUTHER, JR.)Large signature ('Best Wishes Martin Luther King Jr.'), inscribed for producer Hugh Burnett on the day of his interview for the BBC television programme Face to Face, blue ink on single sheet of paper, the signature approx. 30 x 180mm. with flourish, the sheet 290 x 240mm., [29 October 1961]; together with 4 gelatin silver print press photographs (MLK with producer Hugh Burnett; with interviewee John Freeman; with artist Feliks Topolski, 2 images from contact sheet; sheet with 5 sketches of King by Topolski); typed letter signed by King's secretary Miss McDonald to Hugh Burnett giving consent for the text of his interview to be used in the Face to Face book [a copy of which included with the lot], one sheet, folio, Jackson, At., Southern Christian Leadership conference, 19 June 1962; telegram to Hugh Burnett, from Barbara Vesey Brown, alerting him that 'Doctor King willing to meet you Tuesday afternoon Montgomery Alabama after court hearing... He staying with Reverend Abernathy...', on page, 8vo, Canadian Pacific Telegram, 8 June 1961 (small group)Footnotes:Provenance: Hugh Burnett (1924-2011), producer of ground-breaking television interview series Face to Face which ran from 1959 to 1962, and included the interview with Martin Luther King Jnr. on 29 October 1961.For further information on this lot please visit Bonhams.com
LINDBERGH (CHARLES)The Spirit of St Louis, FIRST EDITION, PRE-PUBLICATION PRESENTATION COPY TO HENRY FORD II, inscribed on title-page 'To Henry Ford II/ With best wishes from Charles A. Lindbergh/ August, 1953/ Publication date is Sept. 14th', plates, illustrated endpapers, publisher's blue cloth with silver plane motif on front cover and lettering on spine, spine ends slightly faded and bumped, dust-jacket priced $5.00 (softened and browned at edges, small chips to spine), 8vo, New York, Charles Scribner's Sons, 1953Footnotes:PRESENTATION COPY FROM LINDBERGH TO HIS FRIEND HENRY FORD II (1917-1987), INSCRIBED THE MONTH PRIOR TO PUBLICATION.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
An early 20th Century silver collared glass scent bottle with makers initials HP&S (H Pidduck & Son) together with a dyed rabbit stole, a small gold tone dual photo frame, a 1953 Coronation souvenir powder pot, mixed coinage, a modern Cantonese bowl and a Japanese vase, together with vintage costume jewellery to include turquoise coloured necklaces, brooches and other items
Publuis Cloduis, Marcus Filuis (son of Marcus) silver Denarius, Roman Republic, approximately 42BC, Dianan Lucifera standing facing, head right with bow and quiver over shoulder, holding lighted torch in each hand, with Moneyer mark P Clodivs M F , the other side with head of Apollo, weight 3.3g, 19mm diameter, Location: CAB
A mixed lot of British and other coinage to include silver proof commemorative crowns and other circulated examples to include Churchill crowns, an 1898 silver crown along with an 1895 half crown, a 1900 florin, other world wide coinage and a white waistcoat badge, Location: Porter
A mixed lot to include a collection of mainly silver plated souvenir spoons and two silver examples, a Bakelite stud box containing one 9ct gold cuff link and various others, a small wooden chess set, a green plastic nymph razor, cased set of James Dixon spoons, silver topped green glass scent bottle and a china headed doll
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