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A GEORGE I BLACK LACQUER AND GILT CHINOISERIE DECORATED CHEST ON STAND CIRCA 1720159cm high, 109cm wide, 60cm deep For a chest on stand of the same date and of closely related form but in plain walnut, see Adam Bowett, Early Georgian Furniture 1715-1740, Antiques Collectors Club, 2009, page 116, plate 3:41.  For a George I japanned chest on stand incorporating similar but less refined decoration, see Doyle, New York, Important English & Continental Furniture and Decorations/Old Master Paintings, 26th October 2011, Lot 284 ($10,625). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various old splits and chips. Some areas of decoration possibly refreshed. Various flaking, losses and chips to surface. Some splits to drawer linings. Handles and escutcheons are likely period replacements and suit the piece well. One handle to a drawer of the base is lacking. Locks appear original, no key present but all are open. The cabriole legs and their supporting blocks to the underside are later replacements. One leg has been re-secured to the body of the piece by a neatly executed glue repair. Backboards are possibly old replacements but have age. Some evidence of old worm. Please refer to additional images for visual reference to condition.   Condition Report Disclaimer

Vintage Fashions - a 1950's gentleman's Saville Row tailored striped three piece suit, c.1956; 1920s Cambridge Tailcoat; Rocola Dress; Harris Tweed Childs jacket/coat, Little Beaut

Victorian hallmarked silver cruet set comprising two peppers and a mustard with blue glass liner, all with wrythen decoration, London 1862/3, maker Horace Woodward & Co, weight without blue glass liner 96g, together with a plated spoon to suit and a hallmarked silver mounted pepper grinder, London 1905, maker Hukin & Heath, height 8cm

Victorian hallmarked silver photograph frame, to suit 6 x 4 inch photo, with pierced decoration, bevelled glass and easel back, Birmingham 1899, maker Henry Matthews

George V hallmarked silver mustard with blue glass liner, Birmingham 1915, maker Deakin & Francis Ltd together with a Victorian hallmarked silver teaspoon and hallmarked silver spoon to suit the mustard, weight excluding liner 61g

Modern hallmarked silver photograph frame to suit 10 x 8 inch photo, with velvet easel back, London 2006, maker Kitney & Co

Asprey George VI hallmarked silver travelling watch holder or stand, Birmingham 1942, weight 98g, together with an Asprey Goliath pocket watch to suit, length 10cm

George V hallmarked silver photograph frame to suit 6 x 4 inch photo, Birmingham 1918, maker Charles Boyton & Son Ltd, pair of hallmarked silver candlesticks, height 15.5cm, two hallmarked silver dressing table pots and a hallmarked silver mounted miniature book of prayer

Modern hallmarked silver photograph frame to suit 6 x 4 inch photo, with blue velvet easel back, together with a hallmarked silver circular photograph frame with easel back, diameter 11cm

Cased set of hallmarked silver sugar tongs and a hallmarked silver bottle holder, weight of spoons and holder 94g, with bottle to suit holder, silver rimmed cut glass pot and two further pots with plated lids

George V hallmarked silver photograph frame to suit 9 x 7 inch photo, with stained wood easel back, Birmingham 1929, maker William Devenport

Victorian hallmarked silver mustard with blue glass liner, London 1870, maker H J Lias & Son, height 6.5cm, with Victorian spoon to suit, London 1872, weight without liner 101g

Pair of Edward VII hallmarked silver photograph frames to suit 6 x 4 inch photo, Birmingham 1909, maker Robert Pringle & Sons

Large silver photograph frame to suit 11 x 8 inch photo, marked sterling, with easel back

Three hallmarked silver photograph frames, the largest to suit 8 x 6 inch photo, Birmingham 1906, the other two late 20thC

Georgian hallmarked silver mustard pot with blue glass liner, Sheffield 1824, maker's mark indistinct but likely Thomas Watson & Co, height 7cm, weight without liner 179g, together with a silver plated spoon to suit

Buzz Aldrin famous American astronaut on the Gemini 12 1966 moon landing and space walk and the Apollo 11 in 1969 signed colour photo of Mr Aldrin in his space suit. Rare inscription we came in peace. 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

An Armand Marseille bisque doll, German, c. 1925, impressed 990 A 13 M, weighted brown eyes, wearing a marron velvet suit, 57cm long

Eddie Kelly Arsenal FC club blazer by Charlie Allen,single breasted navy embroidered with club cannon emblem on chest pocket and on gilt buttons, size 58, with original Arsenal suit carrier bag, bears slight wear, (2)

Joel Campbell Arsenal FC two-piece suit by Duchamp,the navy two-piece suit, single breasted blazer embroidered with club cannon emblem in red on breast pocket, size 38 jacket, size 32R trousers, bears slight wear, (2)

LLADRÓ; a figure of a young lady in Edwardian day suit with straw bonnet and one Nao figure in couture evening dress with upswept hair, height of largest 32cm (2). CONDITION REPORT LLadro figure - finger missing to raised hand

BURBERRY; a vintage fold-over suit carrier in Burberry check with brown leather trim, with horseback knight ghosted intermittently through the check, with three internal coat hangers and additional pockets (af) and a further oxblood leather slim satchel (2). CONDITION REPORT The Burberry suit carrier has extensive wear throughout and has a slightly musty odour. The leather trim is heavily worn in parts, with some light surface mould and fading to some of the fabric. Some of the outer edges have bowed slightly, leaving it somewhat out of shape. The oxblood leather satchell has surface wear throughout commensurate with use, most notably, a small nick through the surface of the leather, just underneath the zip pouch to the front.

ARMOUR, miniature suit of 16th Century German armour, 22" height

Edwardian skirt and blouse suit. Cream polka dot cotton with lace panels and inserts.Condition report: Some brown marks at back of bodice, some bars within the lace are broken, lace at neckline need attention. Additional photographs available .

Designer Tomasz Starjewski selection of ladies clothing including black velvet cocktail dress with tiers pleaded chiffon, heavily beaded evening dresses, two dress suits, a skirt suit and a grey wool jacket with fringing. Sizes 14,16 and 18.Provenance: The Lady Elizabeth Shakerley Collection.

Designer Claire Thorogood clothing including green lace dress suit, evening jackets, dress suit etc, two Hardy Amies evening dresses.Provenance: The Lady Elizabeth Shakerley Collection.

Black baby doll in knitted wool romper suit, Leonardo Collection bisque doll 'Marsha', boxed, another boxed modern porcelain doll and sundry dolls to include painted wood, porcelain and plastic (2 boxes) 

An early 20th century Italian alabaster figural lamp fashioned as a girl in a bathing suit seated on rocksIn cream and brown, on a square mottled base, signed Tozzi(?), Firenze, 16cm wide, 16cm deep, 43cm high.

Louis Vuitton leather trimmed suit carrier, (some wear)

LADIES VINTAGE JAEGER SUITS AND UNBRANDED FUR COAT, comprising a grey suit, jacket size 8, skirt 10, the brown suit jacket size 10, skirt 12 and cream suit jacket and skirt both size 8, fur coat is approximately size 10, items appear to be in good condition

MOTORCYCLE CLOTHING AND HELMETS, to include a leather JTS one piece suit size 52, Proto leather jacket size 50, leather biker style jacket size 52, Akito leather jacket size medium, Akito and Milano textile jackets size XL and XXL, Off Track biker style jacket, leather waistcoat etc together with nine motorcycle helmets, four open face helmets Nitro XS and S, two Caberg both M, Leopard motorcross style size Small youth, Lazer size S, Nitro XL, HJC Small youth and T-Line? helmet size M, all items in used condition to be used at wearers discretion

A man's dress suit with decorative braided edge

A Frank Thomas all in one motor bike suit

A men's dinner suit

A Royal Doulton china figure, Sir Winston Churchill, 1984, in white suit (27cm)

A leather two piece suit by Highwayman Leathers of London.

A VINTAGE LADIES TWEED OVERCOAT, TOGETHER WITH A HUCKE TWO PIECE SUIT, A BALLGOWN, A PLANET DRESS AND SET SUITE, A GRAY & OSBOURN POLKA DOT DRESS, AN INWEAR PLUM LACE EVEING DRESS, A LAURA ASHLEY SUMMER DRESS, A GREGORY PAT DRESS, NASSC LINEN DRESS, A SHE BLACK DRESS, A SANGRIA DRESS, A NITYA THREE PART LINEN TROUSER SUIT, AND AN ANNE KLEIN TROUSER SUIT AND BLOUSE.

A 16th Century Style Suit of Armour complete with sword upon a wooden plinth 197 cms tall

Ethnic vintage clothing: Moroccan hippy type embroidered, kaftans, tunic and oriental suit with metallic thread design. Together with university robes, 1970's and 80's dresses, 1960's purple cape, naval blazer and sailor's tunic, broderie anglaise long Past Times cotton nightdress, etc.

VALISE A ROULETTES PEGASE 55 EN DAMIER EBENE TOILELouis Vuitton, 2003Toile marron et en cuir, garniture en métal doré, intérieur rouge avec porte-costume amovible en nylon marronCondition: C+Largeur: 38cm, hauteur: 55cm, profondeur: 20cmPoignée et porte-adresse inclusFootnotes:A DAMIER EBENE PEGASE 55 ROLLING SUITCASELouis Vuitton, 2003Brown canvas with leather trim and gold tone hardware, red interior with removable brown nylon suit carrierCondition Grade C+38cm wide, 55cm high, 20cm highIncludes handle pull and luggage tagFor further information on this lot please visit Bonhams.com

Incline Press.- Muir (Ann) Harvesting Colour: The Year in a Marbler's Workshop, with an introduction by Barry McKay, number 60 of 250 copies signed by the author, tipped-in samples of marbled paper by Muir, with a pamphlet by Muir loosely inserted, original half cloth, uncut, slip-case, 4to, Oldham, Incline Press, 1999.⁂ A superb display of the marbler's craft and skill, with beautiful samples chosen to suit the colours of each month.

Austrian School, c.1880-1900 - Oil on canvas - Profile portrait of a gentleman in suit of armour, 53cm x 42cm, in later gilt frameCondition report: Small holes to the canvas in various places, would benefit from a clean, crease marks present in places, most noticeable to the top left hand corner. We would advise checking the extra images provided / viewing in person prior to bidding.

A Denman and Goddard Ltd 3 piece Eton suit consists of morning tailcoat, 2 x waistcoats and 2 x pairs of trousers

Four Pippa dolls, to include one in blue ruffled dress numbered 43 2, white dress numbered 3371, a white love heart dress numbered 3, and one in a red play suit, together with various clothing and shoes.

A collection of assorted Wedgwood jasperware, including an Etruria fruit bowl, a suit of cards pin dish set, etc (10)

Full suit of German ceremonial steel armour for horseback in the Medieval style, including a helmet (possibly period) and pointed shoes, 73.5" high, upon a square wooden plinth ** provenance - Abbey House, Malmesbury, Wiltshire

Neil Armstrong signed 10 x 8 inch colour white space suit photo. Original NASA photo printed on back. Apollo XI Astronaut. 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

Michael Collins Apollo 11 astronaut signed 10 x 8 inch colour white space suit photo. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Nikolaos Gyzis (Greek, 1842-1901)Carnaval à Athènes signé des initials 'N. G.' (en haut au centre)huile sur panneau27 x 40.5cm (10 5/8 x 15 15/16in).signed with initials (upper middle)oil on panelFootnotes:ProvenanceThe artist's wife, Artemis Gysis.Heinemann Gallery, Munich.Private collection, Athens.Christie's London, Greek Sale, 24 May 2000, lot 66.Acquired from the above sale by the present owner.LittératureNicholaos Gysis 1842-1901, The Great Master, exhibition catalogue National Gallery and Alexandros Soutzos Museum, Athens 2001, shown in a photograph with the artist in his studio, c. 1899.A precious gem kept in the artist's possession until his passing in 1901 and shown in a well-known photograph of the artist's studio at the Munich Academy taken by his student Elias van Bommel the Younger around 1898,1Carnaval à Athènes lovingly chants the unspoiled traditions of 19th century Greece.A master of genre painting, Gysis captures a vignette of urban revelries set in a spartan setting enlivened less by the figures' movements and gestures than by the artist's swift, energetic brushstrokes and wonderful passages of bright colour. Concerned with purely pictorial issues, he eliminates all detail and focuses on light and shadow juxtapositions to convey an evocative atmosphere of mystery and magic that perfectly matches the sense of awe and wonder kindled by carnival and masquerade. The painting is bathed in light which invades the scene from the left, highlighting the figures and objects in the room and making them glow with a shimmering luminescence. Two counterbalancing diagonals—the man's form in the background painted in a magnificent Gysis red, and the woman's leaning body in the front—draw the eye to the brilliant white of the tablecloth that brims over with a joyful mood, demonstrating Gysis's ability to engage the viewer in the narrative by relying on purely pictorial means. This charming work is the final link to Gysis's Carnival in Athens, which was awarded a gold medal in the 1892 International Exhibition in Munich. Held by the Bavarian State Painting Collections and currently on loan to the Museum of the City of Athens, it follows the same narrative sequence featuring all the individual compositional characteristics of the Greek Sale picture, namely the female figures on the left, the old man with grandchild, the male figures in the back, the mother holding her child in the foreground and the jubilant masqueraders invading from the right. 1 For a photograph of the artist's studio with lot 31shown on the lower right, see M. Katsanaki, Glory by Nikolaos Gysis, exhibition catalogue, Benaki Museum, Athens 2021, p. 46.Véritable joyau conservé par l'artiste jusqu'à son décès en 1901, représenté sur une photographie célèbre de l'atelier de l'artiste à l'Académie de Munich, prise par son élève Elias van Bommel le Jeune vers 1898, Carnaval à Athènes chante avec amour les traditions immuables du 19ème siècle grec.Maître de la peinture de genre, Gysis nous présente ici une vignette des festivités urbaines qui marquent le carnaval, saisies dans un décor spartiate, animé moins par les mouvements et les gestes des personnages que par la touche rapide et énergique de l'artiste et des percées magnifiques de couleurs éclatantes. Exclusivement passionné par des considérations picturales, il élimine tous les détails et se concentre sur des juxtapositions d'ombre et de lumière, afin de créer une atmosphère de mystère et de magie qui rend parfaitement l'impression de fascination et d'émerveillement suscitée par le carnaval et les bals masqués.La peinture baigne dans une lumière qui envahit la scène à partir de la gauche, illuminant les visages et les objets de la pièce et les faisant briller d'une lumière chatoyante. Deux diagonales croisées – l'homme à l'arrière-plan peint dans le magnifique rouge de Gysis, et la femme penchée au premier plan – attirent l'œil sur le blanc brillant de la nappe, qui répand une atmosphère joyeuse sur la toile, démontrant ainsi la capacité de Gysis à entraîner le spectateur dans la narration en s'appuyant sur des moyens purement picturaux.Cette œuvre charmante est le dernier tableau que Gysis a consacré au thème du carnaval à Athènes ; précédemment, une autre œuvre consacrée au même thème a reçu la médaille d'or à l'Exposition internationale de Munich en 1892. Cette autre œuvre, propriété des collections de peinture de l'État de Bavière, est actuellement prêtée au Musée de la Ville d'Athènes, suit la même séquence narrative et présente toutes les caractéristiques de composition qui figurent dans celle qui est aujourd'hui mise en vente, à savoir les personnages féminins sur la gauche, le vieil homme avec son petit-fils, les personnages masculins à l'arrière-plan, la mère tenant son enfant au premier plan et les personnages costumés et masqués jubilants qui font irruption sur la droite.For further information on this lot please visit Bonhams.com

A PAIR OF CHINESE SILK 'DRAGON' PANELS FROM A SUIT OF ARMOUR QING DYNASTY Each embroidered with a confronting dragon picked out in gold couched thread all on a geometric ground with copper studs, 43cm across. (2) Provenance: an English private collection, Oxfordshire.

WW2 USAAF Summer Flying Suit dark green gaberdine, full suit.  Full front central zip.  Breast patch pockets and lower hidden leg pockets, all with buttoned flaps. Side buttoned slash pockets.  Tightening straps to the ankles.  Internal issue label "Suits Summer Flying".  Minor wear.  

Post War Flight Transference Immersion Suit orange PVC, fly front jacket with large pull up hood, the sides with fluorescent stripes.  Seat with crotch strap.  Interior with small, rectangular flotation pads.  Together with matching orange PVC trousers.  Both contained in an orange PVC transport bag.  Some service wear.

ROLEX, SUBMARINER 'KERMIT', REF. 16610LVA STAINLESS STEEL BRACELET WATCH WITH DATE, CIRCA 2004Movement: Cal. 3135, automatic, 31 jewels Case: Stainless steel case, rotating bezel, screw down crown, screw down case backDial: BlackBracelet: Rolex Oyster stainless steel bracelet with fold over claspSize: 40mm, bracelet 17cmSigned: Case, dial, movement, crown, claspAccessories: Rolex box, guarantee certificate, two information booklets, swing tag, outer card packaging Rolex introduced the reference 16610LV in 2003 to celebrate the 50th anniversary of the Submariner. This was the first time Rolex introduced a coloured bezel to the Submariner. Collectors have since given the model the affectionate nickname Kermit. As well as having a green bezel, the watch comes with a black Maxi dial featuring larger hands and hour markers. Not everything got bigger with the Kermit, the case has a slimmer profile, which helps suit to smaller wrist sizes. Production of the 16610LV ran until 2010, when it was replaced by its bigger brother the 'Hulk' 116610LV.Condition Report: Movement is currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case appears to be in good condition. Rotating bezel rotates. Protective film to the sides of the case and case backCrown in good condition and screws down.Bracelet appears to be in a generally good condition, with light scratches and no signs of significant stretching, twisting or distortion of the links. Clasp is currently functioning and appears to be in good condition. Bracelet measures approximately 17cm including case.This lot comes with a box and papers dated .Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com   Condition Report Disclaimer

Selection of mainly M&S mens suit jackets, 40'' chest, trousers 36W 29L etc. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

A Meissen figure of 'The Juggler' designed by Peter Strang circa 1976, modelled seated with traditional clown make-up, green hair and harlequin suit, juggling five 'Onion' pattern plates (each with crossed swords verso), with three clubs and two balls at his feet, on an octagonal base, under glaze blue crossed swords mark to the back of the seat, incised '60460', indistinct impressed ?40? and painted '81' to base, 27cm high CONDITION REPORT:The piece appears to be in good overall condition showing no visible chips, cracks or losses. 

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Formerly from the Collection of Her Royal Highness The Princess Margaret, Countess of Snowdon: An aquamarine and diamond brooch by Cartier, 1932, the oval hoop set with circular-cut aquamarines, each shoulder with hexagonal-cut aquamarine highlight set between twin scrolls of brilliant-cut diamonds, mounted in platinum, engraved with the ownership mark ‘M’ beneath The Princess Margaret’s coronet, numbered ‘9865’ and ‘6656’, width 51mm. £40,000-£50,000 --- Accompanied by the Certificate of Provenance from Kensington Palace, dated 13 June 2006, in original embossed leather folder. Provenance: Christie’s, Lot 12, Property from the Collection of her Royal Highness The Princess Margaret, Countess of Snowdon, sale 13 June 2006, London. The brooch was purchased by Her Majesty Queen Elizabeth the Queen Mother from Cartier on 23 January 1947 for £175. The brooch is unsigned however Cartier Geneva confirmed this brooch was made by Cartier London in 1932. This brooch was purchased a week before the Royal family set sail to South Africa on 1st February 1947. The major tour was both the first trip abroad for Princess Margaret and also the first time a reigning monarch had undertaken a tour with his whole family. The three month-long visit was not only an important display of imperial solidarity but an opportunity for the young Princesses to witness first hand the statecraft, duty and hard work required in order to fulfil their royal roles in public life. The tour was remembered for being the first occasion that Princess Margaret spent significant time with Captain Peter Townsend, equerry to King George VI. The Princess later confided how the time they spent together “in that wonderful country, in marvellous weather” was when “I really fell in love with him.” Later that year Townsend was to become the official charge on Princess Margaret’s first solo visits. Prior to the South African tour, it was agreed that the engagement between Princess Elizabeth and Lt. Philip Mountbatten would be formally announced upon the family’s return to England. The purchasing of the aquamarine brooch before departure perhaps foretold of the busy months ahead, with the engagement announced in July and the wedding planned for November. It was therefore decided that Princess Margaret would take on a greater role in public life. In August 1947 the Princess turned seventeen and it was widely reported at the time that this birthday would mark her official “coming out” and signal a turning point in her own independence. To celebrate the occasion, King George VI appointed the Princess to Colonel-in-Chief of the Highland Light Infantry and on her first official duty for the Regiment, in March 1948, Princess Margaret wore this aquamarine and diamond brooch to the reception at Glasgow City Chambers. It is likely that the brooch had been given to Princess Margaret the previous year on the occasion of her seventeenth birthday. In a letter to Queen Mary written in April 1944, Queen Elizabeth discusses the jewellery being given to Princess Elizabeth for her eighteenth birthday from her father, King George VI, and states: “It is almost impossible to buy anything good, but he may find something second hand.” This aquamarine and diamond brooch purchased from Cartier by Queen Elizabeth in 1947, yet manufactured in 1932, certainly reflects a similar perspective in regards to buying jewellery. Princess Margaret’s love of brooches was apparent throughout her lifetime and was highlighted by the jewellery auction in June 2006 at Christie’s which included over sixty brooches from her collection. This particular aquamarine and diamond brooch was one of the few Art Deco examples included in the sale and, more importantly, one of only a handful of jewels with Royal provenance extending back to previous generations. A large number of the brooches offered in the auction had been acquired directly by the Princess from the 1960s onwards. Unlike her sister, Queen Elizabeth II, who favours wearing brooches on the traditional left, Princess Margaret followed her grandmother’s style in regularly wearing them to the centre front of her neckline. One such photograph, taken in a garden during the official visit to The Caribbean in 1958, shows the Princess wearing this brooch at the centre of a floral dress. An earlier photograph, taken in 1950 at a dance at the Dorchester Hotel, shows the young Princess wearing the brooch on a strapless ballgown in ice blue brocade. Known for her sense of fashion and style, the Princess always coordinated her jewels to match her outfits. In 1959, when opening an exhibition, The Bulletin newspaper reported that Princess Margaret had pinned ‘a delicate ornament in aquamarines and diamonds’ to the side of her pale blue chiffon hat. The Princess was photographed wearing this brooch throughout her lifetime, seemingly always when dressed in blue. One such photograph shows Princess Margaret and Lord Snowdon introducing baby David Linley to his grandmother, The Queen Mother, in 1961. A more recent example from 1989 shows the Princess wearing the brooch on a striking blue suit at the Trooping the Colour ceremony. The photographs depict the whole Royal family with Princess Margaret standing beside Princess Diana and her two young sons, Princes William and Harry, on the balcony of Buckingham Palace. During the 1930s and following on from the Art Deco, Cartier displayed a progressive attitude towards design, materials and palette choices. The rigidity of geometry was gradually lost to a flexibility of form that, as seen with this brooch, featured curves, volutes and loops, combined with unusual six-pointed cuts that livened up the usual sequence of stones. The introduction of semi-precious materials saw a preference for colour overtake the monochromatic palette of the previous decade. Black and white jewels set with diamonds, rock crystal, onyx or enamel gradually evolved to feature aquamarines, topaz and amethysts. This brooch made in 1932 is an early example of the evolution seen in design over the course of the coming decade and showcases the originality and foresight of Cartier at the time.

EIGHT US CIVIL WAR REPLICA UNIFORM JACKETS, with two waistcoats, various units and insignia, one has two copy medals mounted, suit re-enactors etc

Ventriloquism/Ventriloquy - a mid-20th century ventriloquists dummy in the form of a gentleman, wearing a black dinner suit, the painted papier mâché head with mechanisms for the inset side glancing blue glass eyes and mouth piece, long brown wig, carved and painted wooden hands, the lapels on the black dinner jacket picked out with coloured threads and matching bow tie, white ruffled shirt and black trousers, 105cm high (suitcase not included) Provenance - reputedly used by the vendors Father and Uncle who entertained/performed with the dummy at Boys Brigade in Sheffield in the 1950's

Collection of Robert Palmer memorabilia to include: Robert Palmer EU tour 1980 pin badge, 13 assorted photos many unpublished depicting Robert Palmer and crew onstage and backstage, a suit carry bag printed with 'Robert Palmer 'Secrets Tour' 1979', Isley Brothers 1977 tour jacket (no sizing label), Rose Royce tour jacket (no sizing label), Pat Travers 1980 tour jacket (M).