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A Pair of Thai Cast Resin Figures of Goddess, 27.5cms High

Corgi Aviation Archive, two boxed 1:144 scale models, AA33501 Military Air Power B-52C Stratofortress Fort Worth and Unsung Heroes AA33502 B-52D Diamond Lil Utapao Royal Thai Naval Airfield 1972, G-E, fading to boxes F-G, (2)

A 19th century Thai silver-gilt and enamel bowl, unmarked, fluted circular form, with foliate niello work decoration, on a circular base, filled, diameter 7.2cm.

A mixed lot of silver items, various dates and makers, comprising: a set of four late-Victorian silver bonbon dishes, by James Dixon and Sons, Sheffield 1896-1898, oval pierced form, beaded borders, plus another similar, a Thai dressing table box and cover, embossed with figures, a Swedish punch ladle, two scent bottles, a pair of sauce boats, London 1916, one handle a.f, two sifting spoons, a tea strainer, a cased set of six oyster forks, three modern wine labels, a toilet jar cover and seven various salt and pepper pots, approx. weighable 40oz. (qty)

Turkish Mauser Bayonet in scabbardCondition report: Believed to possibly be Siamese (Thai) not Turkish.

PAINITNGS, PRINTS AND POSTERS, ETC, to include a watercolour of Alice Springs by Narelle Day, framed size approximately 37cm x 51cm, mixed media study of a tree, signed P. Slade, David Shaw limited edition print 5/75 of a man and puppet lying on the floor, watercolour cartoon of a peg leg man by George M. Stocks watercolour of a baptist church dated 1944, D.G. Smith, New York Art Expo 1984 poster, aged print of working dogs in an ornate gilt frame, etc, posters include a 1977 Star Wars poster by Hildebrandt, Thai poster of dogs drinking, smoking and playing cards, Battle of Britain Aircraft posters, etc (box and looses)

Indian batik tapestry of Lord Ganesh, framed, 86 x 58.3cm, Thai painting on silk, depicting a temple with barge in foreground, 43.5 x 50.8cm, Balinese suar wood hand carved panel of Saraswati standing on a swan playing the veena, panel 49 x 28.5cm, 73.5 x 52 overall and a pair of abstract paintings, mixed media, possibly Indian, 37.5 x 57.5cm both (?)

Oh de Laval Hereditary I, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. She likes "seeing what people are afraid of and why," an interest that culminates in overtly sexual painting that challenges the viewer. Laval seems to delight in the melange of awkward apprehension and floundering rage her work instills in British viewers, whilst noting the inverse reaction in international audiences. Laval's self professed manifesto dictates that the painter should have an inarticulate desire for something beyond the daily life; they should explore old artists' way of living rather than studying their way of painting and they should never ask for feedback on an unfinished painting - other opinions will affect the work and the artist will end up trying to please others. There's evidence to say Laval upholds these manifesto commitments: she's heavily influenced by Francis Bacon, however this is not a direct, technical or stylistic influence, she speaks of how she likes the way he lived, likes the risk and the hedonism. In Bacon's words "the art that has no balls has no value," Laval's deliciously unsettling work would certainly have interested him. Finally, Laval states "I'm not calling myself an artist, I'm a painter. I'm the only one who knows which one of my paintings is art and which one isn't [...] It's art for me." This unabashed egoism is what makes Laval so appealing, her work is unfiltered and, in an age awash with anxiety and self-doubt, her sultry, divisive compositions shine through.Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim's notions of deviance, something that influences her work today.  

Oh de Laval Hereditary II, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. She likes "seeing what people are afraid of and why," an interest that culminates in overtly sexual painting that challenges the viewer. Laval seems to delight in the melange of awkward apprehension and floundering rage her work instills in British viewers, whilst noting the inverse reaction in international audiences. Laval's self professed manifesto dictates that the painter should have an inarticulate desire for something beyond the daily life; they should explore old artists' way of living rather than studying their way of painting and they should never ask for feedback on an unfinished painting - other opinions will affect the work and the artist will end up trying to please others. There's evidence to say Laval upholds these manifesto commitments: she's heavily risk and the hedonism. In Bacon's words "the art that has no balls has no value," Laval's deliciously unsettling work would certainly have interested him. Finally, Laval states "I'm not calling myself an artistinfluenced by Francis Bacon, however this is not a direct, technical or stylistic influence, she speaks of how she likes the way he lived, likes the , I'm a painter. I'm the only one who knows which one of my paintings is art and which one isn't [...] It's art for me." This unabashed egoism is what makes Laval so appealing, her work is unfiltered and, in an age awash with anxiety and self-doubt, her sultry, divisive compositions shine through.Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim's notions of deviance, something that influences her work today.  

Oh de Laval Hereditary III, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. She likes "seeing what people are afraid of and why," an interest that culminates in overtly sexual painting that challenges the viewer. Laval seems to delight in the melange of awkward apprehension and floundering rage her work instills in British viewers, whilst noting the inverse reaction in international audiences. Laval's self professed manifesto dictates that the painter should have an inarticulate desire for something beyond the daily life; they should explore old artists' way of living rather than studying their way of painting and they should never ask for feedback on an unfinished painting - other opinions will affect the work and the artist will end up trying to please others. There's evidence to say Laval upholds these manifesto commitments: she's heavily influenced by Francis Bacon, however this is not a direct, technical or stylistic influence, she speaks of how she likes the way he lived, likes the risk and the hedonism. In Bacon's words "the art that has no balls has no value," Laval's deliciously unsettling work would certainly have interested him. Finally, Laval states "I'm not calling myself an artist, I'm a painter. I'm the only one who knows which one of my paintings is art and which one isn't [...] It's art for me." This unabashed egoism is what makes Laval so appealing, her work is unfiltered and, in an age awash with anxiety and self-doubt, her sultry, divisive compositions shine through.Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim's notions of deviance, something that influences her work today.    

Oh de Laval Hereditary IV, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. She likes "seeing what people are afraid of and why," an interest that culminates in overtly sexual painting that challenges the viewer. Laval seems to delight in the melange of awkward apprehension and floundering rage her work instills in British viewers, whilst noting the inverse reaction in international audiences. Laval's self professed manifesto dictates that the painter should have an inarticulate desire for something beyond the daily life; they should explore old artists' way of living rather than studying their way of painting and they should never ask for feedback on an unfinished painting - other opinions will affect the work and the artist will end up trying to please others. There's evidence to say Laval upholds these manifesto commitments: she's heavily influenced by Francis Bacon, however this is not a direct, technical or stylistic influence, she speaks of how she likes the way he lived, likes the risk and the hedonism. In Bacon's words "the art that has no balls has no value," Laval's deliciously unsettling work would certainly have interested him. Finally, Laval states "I'm not calling myself an artist, I'm a painter. I'm the only one who knows which one of my paintings is art and which one isn't [...] It's art for me." This unabashed egoism is what makes Laval so appealing, her work is unfiltered and, in an age awash with anxiety and self-doubt, her sultry, divisive compositions shine through.Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim's notions of deviance, something that influences her work today.    

Two Thai embroidered textiles, to include a collar and an embroidered panel (2).

Collection of Antique and Later Carved Wood Oriental Figures of Buddha and other deities - Chinese, Thai, Burmese and Indian, approx. fifteen pieces (15)

Collection of Oriental Items, including Thai puppets, carved dolls, statues, masks, etc.

Stone rubbing of two Thai figures, rubbed at Angkor Wat, 48x48cm

6x Foreign Nations Naval Officers Belt Buckles, including example for the Swedish navy, Thai Navy, plus others. Various conditions. (6 items) Ex Jerry Withers collection.

Quantity of Foreign Nationalities Naval Belt Buckles, including Soviet Russian, Thai navy, Netherlands Marines belt plate, Dutch naval belt buckle, plus many more. Various conditions and periods. (Small quantity) Ex Jerry Withers collection.

Five Thai puppets mounted within an illuminated wooden display box, with carved frame and electrical fitting, box 55 x 81cm and a pair of Thai shadow puppets mounted within glazed frames, 71 x 35cm (3).

A colour lithograph of a Chinese junk, framed and glazed, a Chinese watercolour on silk painting of a dragon within clouds, signed and a pair of Thai screen prints depicting deities within garden landscapes, all framed and glazed.

Two Thai brass table lamps in the form of seated deities, one male, height 37cm, the other female, height 33cm, both cross legged, on raised bases (2).

PAIR OF POTTERY GILT LINED THAI MALE AND FEMALE BUSTS

Thai Bronze sculpture, of an archer; brass cast on wooden base, around 1900. 26cm

A Collection of Mid 20th Century and Later Oriental Ceramics to Comprise Pair of Thai Celadon Glazed Vase Decorated with Shallow Relief with Figures and Script (Chip to One), 14cm high, Yellow Glaze Spoon and Bowl, Chinese Teabowl on Yellow Ground Decorated with Bats etc, Large Floral Deocrated Bowl (Chip to Rim) etc

Bronze Thai Buddha statuette 13 cm high and 2 malachite statuettes of owl and duck 5 cm high

A Chinese famille rose vase made for the Thai market, height 23cm

AN ANTIQUE THAI BUDDHIST ILLUSTRATION Rattanakosin Period 1782-1932 Watercolour and ink, depicting a scene of Buddha's life with baby Sidartha on the head of the ascetic 63cm x 45cm; 81cm x 63cm with frame Condition: Some wear and thin cracks in the painting, folding visible along the middle of the manuscript - See additional images

A THAI TEAK BENCH With scroll end and white upholstered seat cushion 77cm high x 147cm wide x 54cm deep Condition: Minor signs of wear commensurate with age and use

SURASIT SAOKONG (THAI, B.1949) - TEMPLE Print on paper Signed in the bottom right Numbered 136/250 in the bottom left hand corner The light is used as a symbol for opulence within religious buildings 54cm high x 89cm wide Condition: Minor foxing on the border Additional Information: Surasit Saokong received a Bachelor of Fine Arts Degree in Painting form Silpakorn University in 1973. Currently, he is an instructor in the Fine Arts Department at Phayap Campus in Chiang Mai. Surasit was awarded third prize in the National Art Exhibition in 1974, 1980, and 1982. He also received “top award winner” prize in the Contemporary Art Exhibition sponsored by Thai Farmers Bank in 1982, and the gold medal in the Bua Luang Art Exhibition in 1983. In 1981, he was named an Outstanding Teacher by the Teachers Council of Chiang Mai province. Surasit has also served on the judging committee at numerous art competitions around Thailand. In 1996 and 1997, for example, he was a judge for the annual Contemporary Art Exhibition sponsored by Thai Farmers Bank. The artist’s works are on display, among other places, at the Bank of Thailand, the Thai Investment and Securities Public Co., Ltd., the Singapore Art Museum, the Fukuoka Art Museum in Japan.

A KHON THAI THEATRE MASK Paper maché, gilt and with glass inlay, likely 1st half 20th Century 50cm high Condition: No obvious condition issues

verchromter, eckiger Säulenstand mit dunklem Ponyfell-Beschlag, braun gewischter, zylindrischer Pappschirm, im Inneren goldfoliert, 1 elektrische Brennstelle, gekauft bei Thai Cong (Hamburg), Neupreis à EURO 980.-, H ca. 96cm, Funktion ungeprüft und ohne Gewähr

A moulded plaster bust of a Thai figure

An antique Thai bronze Buddha shown standing, his hands unusually crossed at the chest in the rare posture of contemplating the metaphysical, an age crack to his robe, in the style of the 16th century but possibly later, 22'' tall.

THAI SAWANKHALOK JAR, painted with floral and stylised designs in blue, 8cm high, along with Sawankhalok two circlar bowls, 7.5cm and 6cm diameter (3)

WOODEN FOLDING SCROLL, with hand written leaves within the outer bowed boards, 48cm wide, tied with two Chinese belt coins, possibly Thai

20TH CENTURY THAI BI METAL MODEL OF A TEMPLE, housed in a display case, 23cm high

A collection of silk and other scarves to include Tomasz Starzewski, Jaeger, Thai silk examples, etc.

THE PROPERTY OF AN ENGLISH NOBLE FAMILYA RARE SIAMESE (THAI) NIELLO AND SILVER-GILT MOUNTED SWORD (DHAB)^ 19TH CENTURY^ ALMOST CERTAINLY MADE FOR PRESENTATION TO A FOREIGN DIGNITARYwith curved blade double-edged towards the point and formed with a full length fuller and a narrow groove along the back-edge on each face^ silver-gilt and niello hilt of traditional form^ chased with a band of foliage at the base^ pointed pommel chased with flowers and foliage on a punched ground^ integral grip of lai dok phuttan pattern^ in its original silver-gilt and niello scabbard with wooden core^ the chape and locket decorated with expanded flowerheads on a punched ground and the remaining surface decorated with a further design of lai dok phuttan66.5 cm; 26 1/4 in bladeProvenanceThe Earl Mountbatten of Burma, thence by descentA Badae knife of similar traditional form and decorated in the same manner is preserved in the ancient Buddhist temple^ Wat Phra Mahathat Woramahawihan of Nakhon Si Thammarat Province. For a discussion of Thai Royal Gifts and other presentation weapons see McQuail 1997^ p.84. Another Siamese sword of presentation quality was sold in these rooms 5th December 2018^ lot 39.

Ⓦ AN ASIAN QUIVER AND ARROWS^ 19TH CENTURY^ PROBABLY THAI¦of lacquered woven cylindrical raffia^ the outer surface lacquered red^ decorated with traditional designs in gold^ with associated cord and leather strap for suspension^ and complete with eight arrows comprising five with conical iron heads^ two with leaf-shaped heads^ and one with long triangular head¦the quiver: 47.0 cm; 18 1/2 in high¦¦Part proceeds to benefit The Wallace Collection¦¦

Siamese School, a bronze, of Thai Prince Pra Apai Manee, playing a zueng, 30cm high

A Second World War Archive Relating to Changi P.O.W. Camp, Singapore, collected by prisoner Captain Harry Edward Witheford (1912-2008) and including his framed group of medals comprising 1939-45 Star, Pacific Star, Defence and War Medal, Indian Office letters and a Short Statement of Service,  his commission as Lieutenant O.M.E. Indian Army (16.02.1940), his  handwritten journal, a 1944 Calendar and two greetings cards signed by Ronald Searle, various other sketches showing life in camp and hand drawn greetings cards, various group and portrait photographs, two published books - The Naked Island, and End of a Hate by fellow  POW Russell Braddon, a book - Forty Drawings by Ronald Searle with inscription to the Withefords from Russ Braddon, a 1952 published volume of It Must Be True by Denys Parsons with illustrations by Ronald Searle, related magazines etc.Footnote :- Captain Harry Edward Witheford 1912-2008Harry served under Lt-Col Charles Anderson in the 45th Brigade of the Indian Army. He became a prisoner of the Japanese in Malaya after the fall of Singapore in 1942. He was imprisoned in the notorious Changi prison, and was forced to work on the Siam-Burma railway along the River Kwai.  Harry made many friends among his fellow prisoners including Ronald Searle. He was also friendly with the Australian author Russell Braddon, then a Gunner in the 2/15th Field (Artillery) Regiment. Braddon later recounted his experiences as a POW in the bestselling memoir, The Naked Island (illustrated by Searle). The book was one of the first to describe in grim detail the appalling treatment the POWs received. Braddon talks about Harry in several places in the book. He records how impressed he was by Harry's knowledge of the stars, production engineering and turbo jet-engines, but the most moving description comes near the end of the book. After completion of the railway line from Bangkok to Rangoon, Braddon describes how he and other survivors were sent by their captors on a long train journey to Kamburi. In this extract Braddon writes: "As I staggered off the train, cramped and ravenous, for we had had no food for two days, I noticed that beside the line ran long rows of huts separated into two areas. In one were white men: in the other black men. Both lots looked shocking. The fence that marked the dividing line between railway and camp was draped with white men only. The natives no longer took any interest in anything. Therein lay the difference. And as I shambled towards this fence, one of the men on the other side crawled under it, dragged me through and greeted me with a warmth I had forgotten existed. It was Harry Witheford. I managed a feeble crack - 'How's your turbo-jet?' I asked - but was a bit overwhelmed. But he, good soul, knew what was required. Leading me firmly round the back of a hut he gave me bananas and boiled eggs - bought on the spot from a Thai - which I devoured frantically lest they vanish. Though I live to be a thousand the warmth of that greeting and the gift of that food after the sterile months of want that had gone before will never leave me." (pp.207-208)Harry survived the war then spent time working in Kenya during the 1950s. He and his family returned to the UK, settling in North Yorkshire. Both Harry and Edna had a long and happy life until their deaths in their mid-nineties 

RUBIN-DIAMANT-RING, um 1980.Gelbgold 750, 9g.Sportlich-eleganter Bandring, die Schauseite besetzt mit 1 ovalen Thai-Rubin von ca. 1.80 ct und ausgefasst mit zahlreichen Brillanten und 6 Diamant-Carrés von zus. ca. 1.40 ct. Gr. ca. 46.With case. Verbal short test by GGTL, March 2021.

RUBIN-DIAMANT-RING.Gelbgold 750, 9g.Dekorativer, leicht gewölbter Bandring, die Schauseite besetzt mit 1 feinen, ovalen Thai-Rubin von ca. 1.60 ct und ausgefasst mit zahlreichen Brillanten von zus. ca. 2.40 ct. Gr. ca. 58.With copy of the insurance appraisal, September 2005 and verbal short test by GGTL, September 2020.

20th century Thai School, study of a golden Thai cockerel, gouache, signed in pencil, 36.5cm x 42cm

A Thai silver ladle

A wooden and lacquered Shakyamuni Buddha, early 20th century, possibly Thai, inset with glass jewels, mounted on a later display stand, 51cm wide31cm deep93cm highCondition report: Fragmentary to the base. Wear and loss to the gilding. Numerous losses and repairs to the surfaces throughout. Stand chipped to the corners.

Assorted works of art, including Canton enamelled pieces, carved green hardstone pieces, ivory boxes, Thai white metal vessel and other items

A large Thai bronze seated figure of Buddha Shakyamuni, Ayutthaya Period, 17th/18th century,seated in virasana on a shaped base, his right hand in bhumisparshamudra, the left on his lap, dark brown and green patina,36 cm high

A Thai gilt bronze seated figure of Buddha, 18th/19th century,seated in dhyanasana on a double lotus base with hands in dhyana mudra,33 cm high

THAI DEITY 168CM TALL

A large brass Chiang Saen, Thai Buddha statue on a decorated base. Excellent condition. W30 x H45 cm.

A beautiful gilt statue of a Thai goddess lying down. 76cm long x 29cm wide.

Collection of Thai charcoal rubbings, three framed, one unframed, each approx 44cm x 54cm

5 VARIOUS FRAMED PICTURES, THAI PICTURES ETC

Two Thai silver pendants, silver music festival medal, silver and citrine stags head brooch and some costume jewellery

A collection of vintage Ethnographic black & white and colour Postcards, Singapore Javanese Hadjee and Family, Chinese Ice Cream Seller, Siamese Girl , Chitty, Cantonese Girl, Burmese Beauties, Jungle Girl, Chinese Opium Smokers, Kedahh Elephants etc CONDITION REPORT 160 cards in total 40 used cards Unsure how many are Siam/Thai Overall in good condition

Gemporia - 4ct Thai Saphire gold on silver Earrings, design ALJS86 weight 3.5 g (All in). Limited edition 1 of 200 pieces with authenticity certificate and display pouch.

Four Thai puppets

A Thai figure with mosaic decoration. 95cm high

An Antique Thai Painting of deities and another (2)

A pair of pineapple finial candlesticks, Thai figure and pheasant