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Click here to subscribeA collection Dinky model cars and Corgi James Bond vehicles. Dinky: Ferrari 312 P, Meccano Alfa Romeo, Meccano Sams’ Car, Meccano Lamborghini Marzal, Missile Service Platform and a Meccano Ford Transit Van. James Bond: Diamonds are Forever Moonbuggy, Aston Martin DB5 and Lotus E Spirit. Plus Thunderball picture cards.
A 19th CENTURY CUT AND ETCHED TWIN NECK SPIRIT DECANTER purportedly to have belonged to Sir Walter Scott, etched with a horse to one side and with intertwined A.J.B with roses, thistles and shamrock to the other, in a fitted case with paper label, decanter 29cm and a small bust of Sir Walter Scott, 11cm high (2) Condition Report: Large and extensive crack to one side.
An arts & crafts silver plated spirit kettle on stand, by WAH Benson, with rare three light burner, the kettle base and feet both stamped, 32 cm high. Footnote: See another similar design in the Cooper Hewitt Smithsonian Design Museum, New York.Condition report: In good condition, with no apparent damage or repair. Some light surface scratches throughout, with scorch marks to underside of kettle. Minor plate loss to underside of feet, otherwise good.
NO RESERVE Mills (Henry) An essay on generosity and greatness of spirit. The builders of colleges, hospitals and schools, prais'd and commended...with A particular View to Archbp Whitgift's Foundation, in Croydon Surry, first edition, half-title, blue pencil numbers to verso of title, occasional marginal staining, mostly at end, contemporary speckled calf, gilt, rebacked, preserving original gilt backstrip with red morocco label, corners repaired, printed for J. Pemberton, at the Buck, near St. Dunstan's Church in Fleetstreet, 1732 § Stockdale (Percival) An Examination of the important question, whether education, at a great school, or by private tuition, is preferable? With remarks on Mr. Knox's book, entitled Liberal education, first edition, errata slip loosely inserted, some staining to title, marginal repairs at head, affecting the odd page number, modern boards, some staining, printed for J. Dodsley, 1782; and 3 others, including John Clarke on Grammar schools, 1730, 8vo & 12mo (5)
NO RESERVE Golf.- Aesculapian Club, Edinburgh.- Carminum rariorum macaronicorum delectus: in usum ludorum Apollinarium quae solemniter Edinburgi celebrantur, apud Conventum Gymnasticum Filiorum Aesculapii, half-title, some staining, contemporary half calf, upper cover detached, lower joint split, but holding, worn, 8vo, Edinburgh, G. Ramsay, 1813.⁂ A collection of poems in Scots and Latin, including a 'Song in Praise of Gowfing, Composed for the Blackheath Club, in the Neighbourhood of London, and often Sung with Great Spirit at the Celebration of the Ludi Apollinares of Edinburgh'. The 'Ludi Apollinares' here are golf, bowling and swimming.
Coward (Noel) Blithe Spirit, light fading to lower cover and spine, jacket spotted, spine slightly browned, spine ends and corners a little chipped, light creasing to head and foot, 1942 § Nabokov (Vladimir) Lolita, jacket with light rubbing to head and foot, light vertical crease to upper panel, light creasing to head, but a bright and excellent example overall, 1959, first or first English editions, original boards, dust-jackets; and 16 others, 8vo (18)
Maggi Hambling (British, b.1945), 'Sunrise Spirit' [Gillian V] watercolour on wove paper, signed 'Hambling' and dated '11.11.92 (5)' lower right in pencil, in antiqued gilt frame with gilt slip 22¼ x 17½in. (56.5 x 44.5cm.) * Provenance: Marlborough Fine Arts, London and private collection. One of a quintet of works privately commissioned from Hambling, painted from photographs in various media at Hambling's studio, London in 1992. With copy correspondence between Hambling and the subject and a letter of from the commissioning purchaser confirming provenance.
John Bratby, R.A. (British, 1928-1992), " Reclining nude # 3 " oil on canvas, signed 'BRATBY' and dated May '91 lower left, in brushed aluminium frame 36 x 48in. (91.5 x 122cm.) * Provenance: Private collection. One of a group of three paintings titled 'Holiday Spirit', painted in 1991 by Bratby as a private commission through Albemarle Gallery, London W1X. Painted from an artist's model life photography session with John and Patti Bratby at Brown's Hotel, Albemarle Street, London. With copy correspondence between Bratby and the subject, a letter of provenance from the purchaser, copy of the purchase invoice dated 20th Dec. 1991 and photographs of the painting during its creation and once complete taken by Bratby in his studio with accompanying letter.
Maggi Hambling (British, b.1945), 'Sunrise Spirit' [Gillian IV] charcoal sketch on wove paper, signed 'Hambling' and dated '11.11.92 (4)' lower right in pencil, in antiqued gilt frame with gilt slip 23¾ x 18¼in. (60.25 x 46.25cm.) * Provenance: Marlborough Fine Arts, London and private collection. One of a quintet of works privately commissioned from Hambling, taken from photographs in various media at Hambling's studio, London in 1992. This one a sketch for the watercolour 'Sunrise Spirit' [Gillian V]. With copy correspondence between Hambling and the subject and a letter of from the commissioning purchaser confirming provenance.
John Bratby, R.A. (British, 1928-1992), " Reclining nude # 1 " oil on canvas, signed 'JOHN BRATBY MAY 1991' lower right, in antiqued gilt frame 36 x 48in. (91.5 x 122cm.) * Provenance: Private collection. One of a group of three paintings titled 'Holiday Spirit', painted in 1991 by Bratby as a private commission through Albemarle Gallery, London W1X. Painted from an artist's model life photography session with John and Patti Bratby at Brown's Hotel, Albemarle Street, London. With copy correspondence between Bratby and the subject, a letter of provenance from the purchaser, copy of the purchase invoice dated 20th Dec. 1991 and photographs of the painting during its creation and once complete taken by Bratby in his studio with accompanying letter.
Three reproduction walking sticks, late 20th century, comprising a silver plated Art Nouveau style example, with a reclining female handle, on a malacca shaft, 91cm long and an ebonised example with a spirit measure handle (2)Condition report: Rubbing, wear and scratches to handles. Knocks to shafts. General wear throughout
Mahmoud Said (Egypt, 1897-1964)Le Chômeur (The Vagabond) oil on canvas, framedsigned 'M.SAID' and dated '1946' (lower left), further signed, dated and titled 'Le Chômeur' in Arabic and English on the verso, executed in 194680 x 70cm (31 1/2 x 27 9/16in).Footnotes:'LE CHOMEUR' A MASTERPIECE BY MAHMOUD SAID FORMERLY EXHIBITED AT THE LOUVRE FROM THE COLLECTION OF RENOWNED ACTRESS LEILA SHEIRProvenance:Property from the collection of the renowned actress Leila Sheir, Cairo,The artists collection until 1964, thence by descent to Nadia Mahmoud Said, the artists daughteracquired from the above by Raouf Abou Esbe circa 1977 and gifted to his wife, the present ownerExhibited: Paris, Musee des Arts Decoratifs, Louvre, Egypt Exhibit, 1949, No 757Alexandria, Solo exhibition at the Amitiés Françaises, 1950Guezireh Palace, Cairo, Retrospective Exhibition: Mahmoud Said, 1951, No.100 Alexandria, Museum of Fine Arts, Mahmoud Said, 1960, No.53Alexandria, Museum of Fine Arts, 1964, Mahmoud Said, No.131Literature: Boctor, Gabriel. Artistes contemporains d'Egypte: Mahmoud Saïd. Cairo: Editions Aladin, 1 October 1952, (illustrated);Guézireh, Société des Amis de l'Art sous le Patronage de S.M. Le Roi, Catalogue de la rétrospective des oeuvres de Mahmoud Saïd. 1921-1951Makarius, La Revue Du Caire, 1951, No.142Rassem, 1952, plate 23 Al-Sharouni, 1965, p.76 (illustrated)Mustafa, 1966 (illustrated)Abu Ghazi, 1972 (illustrated)Dawastashy, Esmat. Mahmoud Saïd: Memorial Book on the Pioneer ofContemporary Egyptian Painting – On the 100th Anniversary of his Birth, Cairo: Ministry of Culture - The Cultural Development Fund. 1997, no. 43 (illustrated No.172)Abdul Salam, 2009, p.151Al-Shafei, Rawya Ossama. Artist Mahmoud Saïd: An Artistic and Analytical Study. MA Thesis. Faculty of Fine Arts of Alexandria, 2012, illustrated fig 157Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 252Note: The present work is included in the Artists Catalogue Raisonne; Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 252'In Said's works where people are present, we see them expressing their pleasures and dreams' we witness feminine intrigues, the murmurs of street peddlers, the frenzies of the 'Zar'. In this fabulous Egypt, where the women are golden, the sea is indigo and the palm trees are as loaded as the fishermen's nets – miraculously, a witness seems to have come from another world: he is the Chomeur Lightning bolts that sting the sky of Alexandria's Corniche point to the distress of his grey jacket, of his abandoned hands, recalling that he is an Egypt that no magic brush can transfigure. In an atmosphere of enchantment, one sunbeam almost transforms his ragged clothing into a brocade, transforms a puddle into a lake of bliss, transforms a horizon of hovels and mud into a city of Venetian prestige. The beam fades before an ageing face, marked by discouragement. There is poetry in his rags, whose holes withstand the cold wind, and he who wears them refuses to bow to humiliation Witness the Chomeur of Mahmoud Said: is this not, within this retrospective, which is one of the paramount display in Egyptian art history, an example of Egyptian arts ability not only to transform the aspect of things, but also the gaze which falls upon them? ' Laura Makarius 'Witness the Chomeur of Mahmoud Said: is this not, within this retrospective, which is one of the paramount display in Egyptian art history, an example of Egyptian arts ability not only to transform the aspect of things, but also the gaze which falls upon them? ' Laura MakariusBonhams have the rare privilege of presenting one of the most iconic and moving works by the doyen of Egyptian art, Mahmoud Said, ever to come to the market. Poignant, enigmatic and graceful, Le Chomeur or the Vagabond, is the archetypal synthesis of Said's inimitable portraits of noble Egyptian peasants and is specifically identified by leading art critics of the time as a seminal masterpiece within his oeuvre.Said's empathetic and stylized representations of Egyptian daily life, pronounced so touchingly in the present work, would later be regarded as the supreme expression of Egyptian artistic heritage in the twentieth century.Tender and ennobling in its portrayal of the dignified Egyptian peasant, the present work is evidence of an artist, who belying his aristocratic heritage and classical artistic training, captured the true spirit of the age in his penetrative renderings of the Egyptians and their everyday plight.The present work comes to market with a distinguished provenance; originally in the collection of the artists daughter, it was subsequently acquired by the renowned Egyptian Actress and fashion icon Leila Sheir, who was crowned Miss Egypt in 1964. Published in over a dozen books and journals, and exhibited numerous times during the artists life, Le Chomeur's immense significance is underscored by its inclusion in a major exhibition at the Louvre in Paris in 1949 which commemorated Franco-Egyptian culture Never before presented at auction, Le Chomeur is an extremely rare example of a major portrait coming to market. With the majority of Said's work held by institutions or in permanent collections, the current sale presents collectors with one of the few remaining opportunities to acquire a pivotal work by the artist. THE WORKThe composition is permeated by a sense of mystery which is most palpable in the sitter's inscrutable and solemn downward gaze. Reflective, demure, and exuding a sense of dignified simplicity - the sitter can be interpreted equally as a weary, sombre figure as he can a source of wisdom.In imbuing his Vagabond with a sense of humble wisdom, Said follows in a distinct European tradition in portraiture, in particular the works of Diego Velázquez, Goya and Eduoard Manet, whose paintings of world-weary 'beggar-philosophers' fit into the common intellectual notion of the social outcast as a seer possessing rare insight.A dark, almost surreal air envelops the backdrop; gloomy and desolate, the landscape is a visual metaphor for the Chomeur's hardship; yet, in stark contrast to his sullen mood, figures in the background continue their daily work; fishermen by the harbour and sailing boats in the sea remind us that our figure is an outcast from the daily activity of working life. The movement towards a vernacular, humanized art-form marked not only an artistic shift for Said, but a shift from his own aristocratic milieu. What we see in Le Chomeur is the apotheosis of Said's artistic agenda: which was his ache for capturing the ineffable nobility of the common Egyptian.Characterised by an atmosphere of nostalgia and longing, in Said's depiction we get a purified symbol of the beauty and dignity of Egypt and its people. Well documented, widely exhibited, and with a provenance that testifies to its brilliance, Le Chomeur survives as one of the most elegant and iconic examples of Mahmoud Said's work.THE WISE VAGABONDPoor beggars and vagabonds have often been depicted to underscore the virtues of simplicity and the pure heartedness of those which have no material ties in the world, heavily influenced by the popularity of Stoic philosophy throughout Western thinking. Beggars proved to be a highly rewarding subject for painters, draughtsmen and sculptors. The artists could portray various emotions and generate pathos by introducing dramatic gestures and solemn facial expressions, and lavish attention on rendering a variety of texture... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Mahmoud Mokhtar (Egypt, 1891-1934)On the Banks of the Nile bronze sculpturesigned 'M. Moukhtar' on the base, cast posthumously in 1979 by Giovanni and Angelo Nicci, Fondatori Artistici, Roma, accompanied by an invoice from the foundry, executed in October 1979Height: 40cmFootnotes:Provenance:Acquired by the late Saleh Abdoun, Director of the Egyptian Academy of Fine Arts, 1979-1983 from Giovanni and Angelo Nicci, Fondatori Artistici, Roma in October 1979Note:The work is accompanied by a copy of the original foundry invoice'Mokhtar was a devoted son of Egyptian female villagers, whom he idolized in his works as a graceful symbol of Egypt. Mokhtar is the genuine product of Egypt, he came from its countryside, he formed the conscience of a whole nation, so he has been etched in the national memory as our pioneering sculptor'- Mohsen ShaalanPoignant, enigmatic and graceful, 'On the Banks of the Nile' is the archetypal synthesis of Mokhtar's representations of the noble Egyptian rural peasant or fellahaMokhtar's empathetic and stylized representations of Egyptian daily life, pronounced so touchingly in the present work, would later be regarded as the supreme expression of Egyptian artistic heritage in the twentieth century.Tender and ennobling in its portrayal of the dignified Egyptian fellaha (or peasant woman), the sculpture is evidence of an artist who captured the true spirit of the age in his penetrative renderings of the Egyptians and their everyday plight.Mahmoud Mokhtar is considered a pioneer of modern Egyptian art, yet he also occupies a prominent place in the history of the modern Egyptian nation. Self-styled as the first Egyptian sculptor in over two millennia, Mahmoud Mokhtar deftly blended Pharaonic imagery with a modern European sculptural aesthetic to create quintessentially nationalist Egyptian artwork. This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sirak Melkonian (Iran, born 1931)Motherhood oil on board laid down on canvas, framedsigned 'S.Melkonian' and dated '1957' (lower left and verso), executed in 195766 x 58cm (26 x 22 13/16in).Footnotes:A RARE AND IMPORTANT EARLY COMPOSITION BY SIRAK MELKONIAN Provenance:Property from the estate of a distinguished Iranian academic, CaliforniaExhibited:Modern Persian Painting, November 1968, Centre for Iranian Studies, Columbia UniversityPublished:Ehsan Yarshater, Modern Persian Painting, 1968 Center for Iranian Studies, Columbia University'This painter is skilful in portraying faces, gesturers, movements and Iranian characters. His works possess an indigenous tinge and a strong social spirit. His style is figurative with a tendency towards abstraction' - Naqsh o Negar, 1958This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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
15th century AD. A solid gold ring with D-section hoop, expanding shoulders with crown of thorns decoration and ellipsoidal bezel; incised Christian religious scene depicting the trinity: at the centre is the crucified Jesus Christ, head slumped to his left; behind and above is God the father with halo and arms supporting Jesus; either side of God's head at the top are two recessed sub-triangular fields which likely represent wings and thus the Holy Spirit; these wings may once have contained white enamel. Cf. Chadour, A. B., Rings: The Alice and Louis Koch Collection, Volume I, Leeds, 1994, p.181, for a comparable example and discussion; cf. Oman, C.C., Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, items 484, 486, for very similar type; cf. Scarisbrick, D. & Henig, M., Finger Rings from Ancient to Modern, Oxford, 2003, for comparable examples and discussion. Published on the Portable Antiquities Scheme (PAS) with reference number LIN-A52493. 4.60 grams, 20.81mm overall, 17.42mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (3/4"). Found while searching with a metal detector near Fleet, Lincolnshire, UK, on 12 March 2009; declared as treasure to HM Coroner, Boston, Lincolnshire, with Treasure Act reference number 2009 T140, and subsequently disclaimed; accompanied by copies of the treasure report for HM Coroner, and various other correspondence from Lincolnshire Police and the British Museum, and a copy of the PAS report number LIN-A52493; and an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.167355/7/10/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10225-167355. The surface of the ring is worn, suggesting that the bezel scene served as a touch-piece or amulet. Other similar finger rings depict the Holy Spirit as a dove; it is possible that the 'wings' on this example are decorative, and that the dove is worn away. Iconographic rings became popular with the rise of the cult of patron saints in the 15th century. They were often given at weddings and as New Year gifts in England and Scotland. After the Reformation, iconographic jewellery was no longer considered socially acceptable and the type declined in use. Very fine condition, some wear as used as a 'touch piece'. [A video of this lot is available to view on Timeline Auctions website.]
Tang Dynasty, 618-906 AD. A ceramic figure formed as a walking horse, saddled, head to one side, whinnying; ears erect, wide eyes beneath raised brows, cropped mane, open mouth, short dressed tail; musculature suggested by depressed lines of varying depths; suggestion of hair around the mouth; black, pink, red and grey painted pigmentation survives. See Thorp, R., Son of Heaven: Imperial Arts of China, Seattle, 1988. 13.8 kg, 68cm (26 3/4"). From a 1970s west country collection, latterly in a London collection; accompanied by a positive thermoluminescence report issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10173-166766. The Tang dynasty, with its capital at Chang'an, the most populous city in the world at the time, is regarded by historians as a high point in Chinese civilization - equal, or even superior, to the Han period. The Tang period was considered the golden age of literature and art. Stimulated by contact with India and the Middle East, the empire saw a flowering of creativity in many fields. At its peak, the Tang empire stretched from the Caspian Sea to the Pacific, from Manchuria and Korea in the north into Vietnam in the south. Within the country, commerce and cultural ideas thrived and spread through trade to Europe and even the court at Byzantium. Tang China was cosmopolitan and tolerant, welcoming new ideas and other religions. Within this environment, literature, painting, and the ceramic arts flourished. With a history reaching back to before the third century BC, tomb figures and furnishings were an important aspect of the Chinese culture. They also constituted a sizable amount of the ceramics produced during the Tang dynasty. Even in death, members of the wealthy, cosmopolitan Tang society sought to surround themselves with replicas of the splendid riches they had enjoyed during life. These objects were buried in tombs to provide for the needs of the deceased in the afterlife. Preparations for the tomb, which usually began well in advance of death, included the purchase of literally hundreds of pottery ming qi, or 'articles of the spirit,' such as figures of servants, musicians, and professional attendants; models of domestic and foreign animals; guardian spirits; and vessels from everyday life. The tomb furnishings that have survived are important social and cultural documents of the history of life during the Tang period. Finely modelled. [A video of this lot is available to view on Timeline Auctions website.]
NIRVANA LP & 12" COLLECTORS PACK. A rockin, selection of 5 Nirvana LP's & 12" singles. Titles include Incesticide (GEF24504, 1992 European pressing, Record is stunning Ex, sleeve strong VG+), Smells Like Teen Spirit (GET 21712, 1991 German picture disc pressing, record is Ex, comes in thick plastic wallet), Lithium (DGCTP 9, UK 1992 Limited Edition picture disc pressing. Record is Ex, sleeve VG+), In Bloom (GFSTP 34, UK 1992 LImited Edition picture disc pressing, Record is stunning Ex, sleeve lovely VG+), Sliver (TUPEP 25, UK 1991 blue vinyl pressing. Record is lovely Ex, sleeve strong VG+).
SOFT ROCK/POP/COUNTRY & SOUL - LPs. Diverse collection of 75 x (almost entirely) LPs. Artists/titles include Three Dog Night - Suitable For Framing (SL 5013), The Guess Who, Severin Browne inc. Love Songs, American Flyer - Spirit Of A Woman, Alessi Brothers inc. Words And Music, Andrew Gold (x4) inc. Whirlwind, Jose Feliciano (x14) inc. Angela, A Bag Full Of Soul..., Fireworks and Memphis Menu, England Dan and John Ford Coley, Michael Brewer - Beauty Lies, Brewer & Shipley - Welcome To Riddle Bridge, Jimmie Spheeris - Ports Of The Heart, Capability Brown, Leo Sayer, Larry Weiss, Patrick Simmons, Arthur 'Big Boy' Crudup, Mike Kennedy, Christie - For All Mankind, David Gates, Diana Ross And The Supremes, The Isley Brothers and Johnny Rivers - Rewind. Condition is generally VG to Ex+.
CLASSIC PSYCH/ROCK LPs (MAINLY WEST COAST). Absolutely essential LPs with this collection of 38! Artists/titles include Moby Grape (x5) - '69 (UK mono og, M 63430 - Ex+/VG), Murder In My Heart (Edsel), Live Grape, S/T (Edsel) and 20 Granite Creek (RS 6460), Quicksilver (sic) - What About Me, Fillmore The Last Days (box set), Sky Saxon Blues Band - A Full Spoon Of Seedy Blues (GNP Crescendo og, GNP 2040), The Grateful Dead (x9) - Without A Net (303 395 - Ex copy), American Beauty (WS 1893, RE), Live/Dead (WS 1830/1, UK og orange labels - VG copy, records would benefit from a clean), S/T (Edsel RE and K 66009), Workingman's Dead, Go To Heaven, Shakedown Street, In The Dark, Spirit (x13) inc. The Family That Plays Together, Rapture In The Chambers, Farther Along, Twelve Dreams Of Dr. Sardonicus (3 copies), Future Games and Feedback, Randy California (solo) and Randy Ferguson. Condition is generally VG to Ex+.
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![Maggi Hambling (British, b.1945), 'Sunrise Spirit' [Gillian V] watercolour on wove paper, signed 'Hambling' and dated '11.11.](https://cdn.globalauctionplatform.com/a2026920-88dc-4e29-b4e9-ac7200c0c198/e9fe8667-64a2-4f00-891b-ac7700c6607e/468x382.jpg)
![Maggi Hambling (British, b.1945), 'Sunrise Spirit' [Gillian IV] charcoal sketch on wove paper, signed 'Hambling' and dated '1](https://cdn.globalauctionplatform.com/a2026920-88dc-4e29-b4e9-ac7200c0c198/791d30d5-7fd5-4f78-97ef-ac7700c669db/468x382.jpg)
