We found 16524 price guide item(s) matching your search

A George III Chippendale period padouk card table,mid-18th century, in the 'Gothick' taste with strung decoration and a concertina action, the hinges stamped 'H. Tibats', with chamfered square supports,91cm wide45cm deep74cm highMany fine pieces of 18th-century furniture, particularly card tables, bear the stamp ‘H. TIBATS’ on their hinges. The stamp almost certainly refers to Hugh Tibbatts, ‘hinge and sash fastening maker‘ of Bell Street, Wolverhampton, listed relatively late in the 1781 Pearson & Rollason Directory for Birmingham, Wolverhampton, Walsall, Dudley, Bilston and Willenhall. A concertina-action card table, c.1755-60, with quadrant hinges stamped ‘H. Tibats’ is in the collection of the Victoria & Albert Museum (W.65:1-1962).Literature: P Thornton, 'A Signed Hinge', Journal of the Furniture History Society, Leeds, 1966, pp.44-45, pl.XXIII.

Clery (d.i. J.B.A.Hanet).: Journal de ce qui s'est passe a la tour du temple, pendant la capitivite de Louis XVI, roi de France. London, o.Dr. 1798. Gr.8°. Mit 1 Kupfertaf. 2 Bl., 168 S., 1 Bl. Pbd. d. Zt. (Rckn. mit Fehlst., Gebrauchsspuren). Vgl. Cioranescu 19894 (andere Kollat.). - Berühmte Aufzeichnungen von Ludwigs Kammerdiener. Die Tafel mit Ansicht des Turms. - Breitrandiges Ex. Gebrauchsspuren. - Exlibris. - ╔Dabei: Geheime Artikel╗ zu den Friedensverträgen der französischen Republik (zweisprachig frz.-dt.), Mainz 1799. - ╔Decrais,A.╗ Annuaire administratif... des Alpes-Maritimes. Jg. 15. Nizza 1875. - ╔Humbert,J.╗ Manuel chronologique... les principales dates de l'histoire universelle ... 2. ed. Genf u. Paris 1838. - Zus. 4 Bde.

Riesener, Henry-Francois,: französ. Portraitmaler und Miniaturist (1767-1828). Eh. Brief mit Unterschrift "Riesner", dat. Paris, 11 Ventoise 9 (2. März 1801). 4°. 2 Bl., 2 S. beschrieb. Mehrf. gefalt. An den Redakteur F.P. des Artikels Spectacle des Journal de Paris in Paris. Über die zweite Aufführung von Zaire, über die Schauspieler Lafond u. Talmas, Shakespeare, Iphigenie etc. - Anschließend die Antwort der Redakteure (1 1/3 S.), insges. 3 S. beschrieben. Mit einigen Verbesserungen und Streichungen, darin etwas Tintenfraß u. etwas beschäd. durch Öffnen. D

Turgenjew, Iwan,: Dichter (1818-1883). Eh. Brief mit Unterschr. "Ivan Tourguéneff" dat. Paris, 50 Rue de Douai, 1. Dez. (18)80. 8°. 1 Bl., 1 S. beschrieb. Mehrf. gefalt. In französ. Sprache, an einen ungenannten Herrn, wegen dessen Vorschlags einen Roman von A. Daudet in einer russischen Wochenzeitung erscheinen zu lassen: "...Il existe à Petersbourg un journal hebdomadaire et illustré, extremement répandu (25000 abonnés)- du nom de "Ogonek" (petite flamme)...". - Auf einem Bogen mit der gedr. Adresse u. Monogramm. - Tls. ger. Randläs. D

Poppe,J.H.M.v.: Neuer Wunder-Schauplatz der Künste und interessantesten Erscheinungen im Gebiete der Magie,... Tle. 1-4 (von 6) in 2 Bdn. Stgt., Scheible 1839. Mit 30 lithogr. Taf. Hldrbde. d. Zt. mit Rsch. Ferchl 419. Erste Ausgabe. - Der populäre Technikschriftsteller legt hier eine umfangreiche Sammlung an mechanischen, optischen, chemischen, magnetischen, elektrischen und mathematischen Kunststücken vor. Nebentitel: Wieglebs und Rosenthals gesammelte Schriften über natürliche Magie, Tle. 1-2 u. Martius gesammelte Schriften... Tle. 1-2. - Vors. leimschattig, N.a.T. - ╔Dabei: Dingler,J.G.╗ Polytechnisches Journal. Bd. 23. Stgt. 1827. Mit 8 gefalt. Taf.

Didaskalia.: Blätter für Geist, Gemüth und Publicität. 76 Teilbände (meist Halbjahres- oder Quartalsbände). Ffm., Heller u. Rohm 1825-1873. 4°. Versch. Einbde. Kirchner 6337. Täglich ersch. Zeitschrift, als Beilage zum Frankfurter Journal. Jede Nr. 4 Seiten. - Versch. starke Gebrauchsspuren. - ╔Liste der Jgge. kann angefordert werden╗.

Aircraft Publications Collection Includes Brace by Wire to Fly-By-Wire - 80 Years of The Royal Air Force 1918 - 1998 by Peter R March 1998, Flightpath - The International Journal of Commercial Aviation 2003, XB-70 Valkyrie - The Ride To Valhalla by Janet Remak and Joe Ventolo Jr 1998, Mil's Heavylift Helicopters Mi-6 / Mi-10 / V-12 / Mi-26 by Yefim Gordon, Dimitriy and Sergey Komissarov 2005, good condition. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

A Victorian manuscript cycling journal, "Bicycle Rides", 1879. Octavo, 16cm, slim volume in worn contemporary cloth, black ink on 34pp, remainder unused. The journal records the weather (mostly rain & thunderstorms), the conditions of the roads, the times of departure & arrival, and the boarding places. Locations visited include Stratford-upon-Avon, Evesham, Cheltenham, Swindon, London, Winchester, Southampton, Dudley, Birmingham, Llandudno, Malvern, Uttoxeter, Ashbourne, Sheffield. "Commence holidays today...On examining the machine find one of the bearing pins broken. Welsh drunk as usual so have to get to Hatton blacksmith to get it put right...Pleasant run to Winchester, got into a scrape here for not having bells on our machines, bobby took names. Good run to Southampton doing the 12 miles within the hour." Anonymous author. The journal contains a loosely-inserted newspaper clipping, "A Warwickshire Romance, Well-Bred Man Who Accepted the Wrong Lady", relating the story of Edward Heneage Dering & Lady Georgiana Chatterton

Lear, Edward. A collection of books, monographs, bibliographical and biographical works, to include Journal of a Landscape Painter in Corsica, by Edward Lear, London: Robert John Bush, 1870; Later Letters of Edward Lear, edited by Lady Strachey, London: T. Fisher Unwin, 1911; Edward Lear in Southern Italy, Greece and Corsica, three volumes, first editions, London: William Kimber, 1964-66, and others, condition varied, sold as one collection with all faults (15)

Religion & Theology. A collection of three antiquarian books comprising: A Journal or Historical Account of the Life, Travels, Sufferings, Christian Experiences, and Labour of Love, in the Work of the Ministry of George Fox, by [George Fox], third edition, folio, London: W. Richardson & S. Clark, 1765; The Tryal of Dr. Henry Sacheverell, Published by Order of the House of Peers, folio, London: Jacob Tonson, 1710; The Practice of Piety, by [Lewis Bayly], 60th edition, 8vo, London: Daniel Midwinter, 1743. All recently rebound, sold with all faults (3)

A painted cast iron mangle; 'The Dolly Washer', Taywil. With patent number 29445R and stamped 'Always Oil Dolly Journal Before Using'. With wooden rollers. Signs of worm.

Journal The Royal Engineers August 1992, very good condition

A MILITARY JOURNAL FROM 1813 from an officer in The Royal Artillery with descriptions of actions and events from the Napoleonic Wars period including court martials, parades, inspections etc

ANDRE LANSKOY (1902-1976)Journal d'un Fou 1975-1976Signé en bas à droiteCollage et gouache sur papier Getekend onderaan rechtsCollage en gouache op papierSigned lower rightCollage and gouache on paper66 x 43,8 cmFootnotes:Provenance / HerkomstJane Kahan Gallery, New York Collection privée / Privécollectie, BelgiqueL'authenticité de cette œuvre a été confirmée au dos par Catherine Zoubtchenko. Cette œuvre est tirée de la suite 'Journal d'un Fou' d'après Gogol, que Lanskoy a commencée en 1962. Il a travaillé sur ce projet pendant quatorze ans, jusqu'à sa mort en 1976. Au sein de cette série, il a réalisé 150 collages et 80 lithographies.This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

Kent, A.C. (ed): Journal of the Flyfishers' Club, Issued Quarterly To Members, No.1 Vol. 1. April 1911 - Vol. 12 No.48 Winter 1923,24, bound in six volumes in half brown leather over cloth boards, 4to, together with West, Leonard: The Natural Trout Fly And It's Imitation and Skues, Edward George Mackenzie: Minor Tactics Of The Chalk Stream, The Way Of A Trout With A Fly and Side-Lines, Side-Lights & Refelections. (10)

HO Gauge Lineside Kits including Brawa Transfer Table; Cornerstone Bascule Bridge (Motorised); Pola Cafe Journal; Faller B980 Station building, B940 Gas storage tank, B115 Bonn station, 3xB180 Train shed, B185 Covered bridge, B535 Wooden bridge and B193 Gravel tipple; Kibri 8470 Tower; Saw Mill and a few others (contents unchecked, boxed) together with assorted constructed examples

A mixed collection of items to including Beatrix Potter A Journal by Beatrix Potter & Children Christmas Annuals including Beano, Whizzer & Chips & Dandy, Vintage Tin Boxes & Brass Bellows set

The British Numismatic Journal, volumes 62 to 82 inclusive, publishers green cloth. (21)

This is a lot of THE COMICS JOURNAL magazines released in the 1970's and 1980's.

LA TRAITES DES BLANCHES BY JEAN-LOUIE DEBUT DE LA FORESTFrench Newspaper Grande (47" x 73")Fine- on European Linen; Artist Theophile Alexandre Steinlen Le Journal, 1899This poster on European linen with an overall appearance that is largely undiminished has had some touch-ups to previous fold wear and separations, pinholes, chipping, as well as tears to the interior. There is some paper loss in the lower vertical folds and in between the words "Le" and "Journal" in the upper left. There is also an ink stamp in the lower left, some general color softening and the linen has been trimmed into the border by approximately 1" vertically and horizontally, extending slightly into the upper printing. This intriguing poster from 1899, with Art Nouveau-inspired design by Theophile-Alexandre Steinlen (1859-1923), promotes Le Journal, a Paris daily newspaper published from 1892-1944. This issue is particularly infamous as it covers a chapter of author Dubut de Laforest's novel La Traite des Blanches (The White Slave Trade), a fictionalized account of an actual incident that occurred in 1880 when it was revealed that some 50 foreign - and underage - girls were taken captive and forced to work as prostitutes in the brothels of Brussels. The case drew international attention, especially when it came to light that some of those involved in the affair were members of the local police force. Steinlen's image, which brings to mind the iconic poster art of Henri Toulouse-Lautrec, captures a scene from the novel inside one of the brothels as the house manager looks on derisively as three desperate girls are forced to endure their captivity and abuse. Among those who appreciate posters from this period, Steinlen's work is considered especially collectible, so make sure you don't overlook this rare beauty, as it deserves a special place in your collection.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

HONORÉ DAUMIER (1808-1879)Trois spectateurs (Three Spectators) encre et aquarelle sur papier ink and watercolour on paper 10.2 x 12.4 cm.4 x 4 7/8 in.Footnotes:ProvenanceVente, Hôtel Drouot, Paris, 18 novembre 1946, lot 5.Vente, Hôtel Drouot, Paris, 24 mars 1952, lot 4.Collection particulière, Paris (acquis en 1968).Collection particulière, Paris.Vente, Sotheby's, Londres, 29 juin 1988, lot 305.Collection particulière, Royaume-Uni (acquis dans cette vente).William Louis-Dreyfus, Mt. Kisco, New York (acquis en 2009). Louis-Dreyfus Family Collections (par descendance en 2016). Collection particulière, Royaume-Uni. BibliographieK. E. Maison, Daumier Drawing , Londres, 1960, n° 101, illustré n.p.Karl Eric Maison, Honoré Daumier, Catalogue Raisonné des peintures, aquarelles et dessins, vol.II, Londres, 1967, no. 489, illustré p. 167.Dessinateur, illustrateur, graveur, peintre, sculpteur, et surtout caricaturiste d'hommes politiques et des comportements de ses compatriotes, Honoré Daumier a changé la perception que nous avions sur l'art de la caricature politique et sociale, et a malmené avec humour la monarchie en place. En 1831 et 1832, la publication de deux lithographies stigmatisant les vices de la Monarchie de Louis-Philippe, Gargantua et La Cour du roi Pétaud, lui ont valu d'être incarcéré pendant six mois.Cette expérience marque un tournant dans la vie de Daumier. Il réalise dès lors peu de caricatures politiques, excepté Le Ventre législatif, Rue Transnonain et la statuette de Ratapoil (1851-1852), modelée à l'image des partisans d'un régime méprisé par l'artiste. La loi du 29 août 1835 contre la liberté de la presse sonne le glas des caricatures et de la satire politique. L'artiste n'a plus d'autres choix que de dépeindre la société contemporaine, ses mœurs et ses attitudes et s'en donne à cœur joie. Le Charivari, journal fondé par Philipon en 1832, sera son terrain de jeu privilégié et sa plus belle galerie. Cette envie de dénoncer et de relater les évènements de la société lui vient de son expérience familiale et personnelle, tant il a eu l'occasion d'observer les comportements des avocats, des juges, des huissiers, des artistes maudits, des rebus de la société.... Honoré Daumier n'eut pas la célébrité financière nécessaire pour vivre de son œuvre, néanmoins l'histoire de l'art et le marché le considèrent comme l'un des plus grands dessinateurs et peintres de son époque. Les trois spectateurs sont trois observateurs concentrés et happés par le spectacle qu'ils ont en face des yeux. Les témoins d'une audience ? Les participants à un débat politique ? Les spectateurs d'une pièce de théâtre ou d'opéra ? Nul ne sait. Quoiqu'il en soit, le jeu des ombres et des lumières sur les visages, la mise en scène théâtralisée, les expressions des trois spectateurs, l'équilibre parfait de la composition, témoignent du génie caricaturiste et de la confiance du trait de Daumier. On y retrouve ce don extraordinaire de donner vie à un personnage avec une inclinaison des sourcils ou quelques plis sur un front. Les touches de couleur aquarellées appuient l'impression de contraste. Quand la maîtrise technique se marie à l'intensité, l'intelligence et la justesse du message, on peut parler de génie.As a draughtsman, illustrator, engraver, painter, sculptor and, above all, caricaturist of politicians and more generally of his compatriots, Honoré Daumier changed our perception of political and social caricature, and took a humorous swipe at the monarchy in power. In 1831 and 1832, the publication of two lithographs stigmatising the vices of Louis-Philippe's monarchy, Gargantua and La Cour du roi Pétaud, led to him being imprisoned for six months.This experience marked a turning point in Daumier's life. From then on, he did few political caricatures, except for Le Ventre législatif, Rue Transnonain and the statuette of Ratapoil (1851-1852), based on the image of a regime that the artist despised. The law passed on the 29th of August 1835 against press freedom sounded the death knell for caricatures and political satire. The artist now had no choice but to depict contemporary society, its mores and attitudes, and made the most out of it. Charivari, the newspaper founded by Philipon in 1832, was his favourite playground and his best gallery.His desire to denounce and report on events in society stemmed from his family and personal experience, as he had the opportunity to observe the behaviour of lawyers, judges, bailiffs, cursed artists and the scum of society.... Honoré Daumier did not achieve the financial fame needed to make a living from his work, but art history and the market nevertheless consider him to be one of the greatest cartoonists and painters of his time. The Three spectators are three concentrated observers caught up in the spectacle before their eyes. Witnesses to a hearing? Taking part in a political debate? Watching a play or an opera? No one knows. In any case, the play of light and shadow on the faces, the theatrical setting, the expressions of the three spectators, the perfect balance of the composition, all testify of Daumier's genius as a caricaturist and of the confidence of his brushstrokes. It shows his extraordinary gift for bringing a character to life, with a tilt of the eyebrows or a few creases in the forehead. The different touches of watercolour add to the general contrast of light and shades. When technical mastery combines with the intensity, intelligence and accuracy of the message, we can call it genius.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

William Behnes, English, 1795-1864, a white marble portrait bust of a gentleman, dated 1831, restorations, signed to the reverse W.BEHNES SCULP.LONDON 1831, on a waisted socle and a later associated painted plaster pedestal column, the bust - 72cm high; the pedestal - 109.8cm (2)Footnotes: Note: William Behnes found fame at a young age. He first exhibited at the R.A. in 1815 and quickly accumulated a following with many commissions. The Art Journal, referring to a bust of Clarkson, wrote that they had 'never seen anything finer in modern or ancient art'. While H. Weekes was inclined to rate him as the superior of Chantrey in the field of portrait sculpture. Sadly Behnes, in middle age, fell into financial difficulties and died a pauper.

Halstaff & Hannaford - Victorian coromandel book compendium, with quatrefoil-pierced gilt metal clasp enclosing five gilt-stamped red Morocco volumes entitled to spines 'Visits & Addresses', 'Daily Journal', Cash Accounts', 'House Expenses' and 'Memoranda', only the first used (two lines in sepia ink, wear to spine), the hinge engraved 'Halstaff & Hannaford 228 Regent St', the coromandel body with gilt brass strapwork and quatrefoil-backed carry handles, 22.5cm inc. handles x 9cm x 12.5cm high, sold with working key

[CLASSIC LITERATURE] Dickens, Charles. Household Words. A Weekly Journal, Volumes 1-10, London 1850-1855, uniform half calf, the spines ruled gilt with black title and crimson volume labels, octavo, (10).

A group of five Second War medals awarded to Captain P. A. Sheridan 26 Medium Regiment Royal Artillery:- 1939-45 star, Africa star, Italy star, defence medal and 1939-45 War medal with mentioned in despatches emblem (entitled to the Military Cross) with an original handwritten field journal of Captain Sheridan dating from May 1944 to November 1944 with numerous descriptive accounts, officer's release book, War Office notifications and confirmation of Military Cross award, British Military identity document, watercolour caricatures of Captain Sheridan, photographs and other original paperwork

Crimean War Elphinstone, H.C. Siege Of Sebastopol 1854-5. Journal Of The OperationsConducted By The Corps Of Royal Engineers 2 Vols. 2003, Plus 10 Others (12)

Volume 1 Complete Year Set of Madame (In a World of Fantasy), includes first issue, No. 1. An Illustrated Journal dedicated to the appreciation of the Dominant Female. All in excellent condition for age.

5 vintage issues of Madame in a World of Fantasy, an Illustrated Journal Dedicated to the appreciation of the Dominant Female. All from volume 3, No's 1 - 5. All in excellent condition for age.

10 assorted vintage 1970's adult erotic magazines to include The Journal of Sex, New MS, National News and The Best of New Direction.

A rare Saint-Cloud ormolu-mounted tobacco jar and cover with gold Paillon decoration, circa 1710-30Of cylindrical form with a domed cover, each moulded with flowering prunus branches and applied with fine die-stamped gold appliqués, the jar with a military trophy flanked by two landscape vignettes with classical figures and birds in flight, all between bands of foliate scrollwork motifs alternating with flowerheads, the cover with three vignettes with a putto and scattered flowers and a bird, the mounts finely tooled with birds in a scroll- and strapwork border, 14cm high (some crazing to glaze surface)Footnotes:Provenance:With Georges Lévy-Lacaze, Paris (applied paper label);Private Collection, France;Acquired in 2003 from Manuela Finaz de Villaine, ParisOnly two similarly decorated Saint-Cloud tobacco jars are recorded by (E. Manners, Gold Decoration on French, German, and Oriental Porcelain in the early 18th Century, in The French Porcelain Society Journal IV (2011), figs. 11 and 12). The first is in the Hermitage Museum, St. Petersburg; the second also has similar mounts and moulded flower sprigs.For further information on this lot please visit Bonhams.com

A Sèvres sauceboat (saucière) from the 'Service de la Reine' ordered by Marie-Antoinette and delivered to Gustav III, King of Sweden, circa 1784Painted by J.-F.-L. de Laroche with a band of alternating roses and cornflowers surrounded by foliate gilding on a maroon ground interspersed with four medallions enclosing pansies surrounded by a blue-ground or pink-ground pearl border between gilt beaded and laurel leaf borders, 23.5cm long, interlaced LL monogram enclosing date letter gg and painter's mark for de Laroche, gilder's mark for Henri-Martin Prévost, incised mark (one handle restuck)Footnotes:Provenance:Ordered by Marie-Antoinette, and delivered to Gustav III, King of Sweden, in 1784;Pecheteau-Badin, Paris, 14 June 2019, lot 113;Acquired in the above saleIn early 1784 Marie-Antoinette (1755-1793), Queen of France, expressed the desire to order a new dinner service from the Sèvres manufactory. In February 1784 Antoine Régnier, the director of the manufactory, wrote to the comte d'Angiviller, the Superintendent of Buildings, Arts and Manufactures: 'La Reyne m'ayant fait dire quelle verroit une Assiette d'Echantillon pendant son diner, elle a choisi une assiette de 36 livres et ma ordonné un service Entier avec les plats. Sa Majesté en est pressée, il y a 22 ouvriers qui y travaillent' [The Queen told me that she would see a sample plate during her dinner, she chose a plate for 36 livres and ordered a full service with all dishes. Her Majesty is in a hurry, there are 22 workers working on it] (quoted in Geoffrey de Belaigue, The Louis XVI Service (1986), p.8). Already on 3 May d'Angiviller noted that the service would be finished immediately (de Bellaigue op.cit., p.8).However, the Queen was to be denied immediate delivery of her service. Back in March of the same year Louis XVI (1754-1793) had sent an invitation to Gustav III, King of Sweden (1746-1792), to visit France, and his acceptance triggered the speedy collection of various treasures for a diplomatic gift, including the 'Service de la Reine', which was of suitably impressive quality for the Royal Gift. Travelling under the pseudonym 'comte de Haga', Gustav III arrived in Paris on 7 June 1784 and subsequently presented with the service by Louis XVI (recorded in the Journal des Présents du Roi on 23 July, see David Peters, Sèvres Plates and Services (2005, revised edition 2015), vol. III, no. 84-5, p.723). He must have been thrilled by the gift, as additional pieces were delivered on 7 September of the same year (David Peters, op.cit., no. 84-8). Marie-Antoinette in the meantime finally received her service, described as 'Service decoration riche en Couleurs et Riche en Or', consisting of a dinner and dessert service, on 26 August 1784.Both services were almost identical in composition (apart from the additional pieces in the second delivery to Gustav III) and were listed in the artists' ledgers under the same descriptions, mainly as 'Service de la Reine'. In some cases the same decorators were involved on both (especially the assiettes), although mostly different painters worked on the two services (Peters, op.cit., no. 84-10, p. 738). De Laroche is listed as having decorated two sauceboats (saucières et plateaux) on 31 March 1784 as part of the batch of pieces that went to Gustav III, instead of Marie-Antoinette (see Peters, vol. VI, artists' list 46, p. 1375).For further information on this lot please visit Bonhams.com

A rare Sèvres hard-paste dish (compotier carré) from the 'service des Astories' for Maria Luisa of Parma, later Queen of Spain, circa 1775Painted by André-Vincent Vielliard (père), with the monogram CL made up of gilt scrolls and foliate roses, the border with four figural landscapes within tooled gilt cartouches surrounded by gilt foliate garlands alternating with four circular gilt panels enclosing a crenelated tower emblematic of Castille against a gilt trellis pattern, all with entwined rose garlands, 22.2cm wide, crowned interlaced LL monogram, painter's mark for Vielliard (père), indistinguishable painter's mark and gilder's mark for Vincent (le jeune), incised marks (some retouching to gilding)Footnotes:Provenance:Ordered by Louis XV, King of France, and given to his granddaughter, the Princesse des Asturies, Maria Luisa of Parma, Queen of Spain from 1788 to 1808;Anon. sale, Christie's New York, 27 October 1988, lot 247;Acquired in the above saleThe ServiceThe service was ordered by Louis XV in 1774, but was only completed after his death and ended up being delivered on behalf of Louis XVI by the Ministry of Foreign Affairs. The royal gift was listed in the Journal des Présents du Roi with a total value of 22,105 livres, and included various compotiers including four compotiers carrées. Maria Luisa must have been very happy with the service, as several supplements were made, first at Sèvres and subsequently also in soft-paste at Buen Retiro (a Buen Retiro example was sold in these rooms, 12 November 2003, lot 156). See David Peters, Sèvres Plates and Services of the 18th Century (2005, revised edition 2015), III, pp. 533-536, cat. no. 75-1, for a full discussion of the service. The service has sometimes been described as the first hard-paste service, but David Peters has noted Madame du Barry already purchased a hard-paste service in 1773 (Peters, ibid., no. 73-9). An in-depth discussion of the service, its history and supplements can be found in Dorothee Guillemé Brulon, Porcelaine de Sèvres - Le Service de la Princesse des Asturies (2003).Surviving pieces can be found in the Real Casa, the Museo Arqueológico, the Escorial, all near Madrid, the Museu de Arte Antiga, Lisbon, the Musée du Louvre, the Musée national de Céramique, Sèvres, the National Museum, Stockhold, and the Walters Art Gallery, Baltimore. A dish from the service was sold at Christie's New York, 19 May 2004, lot 82, and an ice cup at Christie's Paris, 19 March 2010, lot 164.Maria Luisa of ParmaMaria Luisa of Parma (1751 - 1819) was the youngest daughter of Philip, Duke of Parma, the fourth son of Philip V of Spain, and of Louise Élisabeth of France, eldest daughter to King Louis XV. She married Charles, Prince of Asturias, who would later become King Charles IV of Spain. After the Bourbon dynasty was deposed in Spain by Napoleon I, she and her husband first lived as state prisoners in France and later lived under the protection of the Pope in the Barberini Palace in Rome, where they settled permanently in 1815. Maria Luisa died in 1819, the same year as her husband.For further information on this lot please visit Bonhams.com

A large Sèvres vase (vase 'Théricléens') given by King Louis Philippe I to William Standish Standish of Duxbury Hall, dated 1844Finely painted by Jean-Joseph Fontaine, with flower garlands between tooled gilt classical borders with anthemia and palmettes, a wide border of yellow rudbeckia under the gilt rim, the foot with a band of gem-like motifs and gilt zig-zag border, on a square gilt metal base, applied with gilt foliate scrolling handles, 48cm high with base, crowned interlaced LP monogram and Sèvres 1844 within circles stencilled to inside rim (handles restored)Footnotes:Provenance:Given with its pair by Louis Philippe I to William Standish Standish in September 1844;Probably sold by Capes Dunn, 29 June - 1 July 1881The matching vase to the present lot is now in the Bowes Museum, Barnard Castle (inv. no. 1995.33). Both vases with paper label that reads: 'Given by His Majesty Louis Phillippe First / King of the French / to W M. Standish, Esquire. / September 1844'.This pair of Sèvres vases was part of a larger royal gift of Sèvres porcelain given to the Carr Standish family in gratitude and appreciation for a bequest by Frank Hall Standish (1799-1840) of his collection of Old Master Paintings to King Louis Philippe, later sold at a high-profile sale at Christie's in 1853. The background and the bequest itself is discussed in great detail by Howard Coutts, Louis Philippe's Gifts of Sèvres Porcelain to the Standish Family of Duxbury Hall, Lancashire, and Cocken Hall, County Durham, in the French Porcelain Society journal, VII (2018), pp. 161-174. The gift of the collection was widely publicised at the time and considered a great feat for France. Frank Hall Standish had had his application for the family baronetcy refused by the British government and twice tried to offer the paintings to them for the new National Gallery in London (Coutts, ibid., p. 161). As the collection had been a personal gift to Louis-Philippe, he was later allowed to take the paintings when he went into exile from France in 1848. William Standish Standish was second cousin to Frank Hall Standish and took over Duxbury Hall and the estate upon his death in 1840. However, King Louise-Philippe's gifts of Sèvres porcelain continued, and in September 1844 another delivery was sent to William Standish Standish, including the pair of vases 'Théricléens', recorded in the manufactory's archives with a cost of 1000 livres each, plus two leather cases at 49 francs each. Originally designed by Jean-Charles-Francois Leloy in 1818, the vases are clearly recorded in the archives as having been painted by Jean-Joseph Fontaine and gilt by Pierre Riton, who worked on them between January and June 1844 (Coutts, ibid., p. 167). They were entered into the sale records on 11 June 1844 as '2 vases Théricléen à fond blanc, guirlandes et couronnes de fleurs. Décoration en or quest(?) et poli' (transcribed by Howard Coutts, ibid., p. 172).There were no heirs in the late 19th century and the contents of Duxbury Hall were sold by Capes Dunn between 29 June and 1 July 1881, presumably including the pair of vases. Coutts traced a pre-auction advertisement which mentions 'magnificent vases and other pieces of old Sèvres china, presented by King Louis Philippe' (Coutts, ibid., p. 167).Saleroom notices:Please note, the overall height with base and handles is 58.5cm, as stated in the printed catalogue.For further information on this lot please visit Bonhams.com

A very rare Crépy-en-Valois tobacco jar and cover in the form of a wild boar, circa 1762-70Of cylindrical form with the fur, dorsal line, legs and tail, as well as a leady branch on the underside moulded in relief, the head also naturalistically modelled to form the cover, 22.3cm high, incised 'DCO' (small restored chips to rim of cover and small repair to cover flange) (2)Footnotes:Provenance:Mr. and Mrs. William Brown Meloney, New York;With The Antique Porcelain Company, New York;Acquired from the above in 1981Literature:The Connoisseur, Vol. CXLIII, no. 577, April 1959, p. 140, no. 12;D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 13Exhibited:Zurich, Credit Suisse, Meisterwerke des Europäischen Porzellans 1710-1820, 17 September 1985-17 January 1986, cat. no. 188;London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988The only other recorded examples of this form are the two in a fitted leather case in the British Museum, Sir A.W. Franks Collection (inv. Franks 359); published by A. Dawson, French Porcelain A Catalogue of the British Museum (1994), no. 201 (where other examples of Crépy-en-Valois porcelain are recorded), and by G. Le Duc, Porcelaine tendre de Chantilly (1996), p. 326.The short-lived porcelain factory in Crépy-en-Valois was apparently founded in October 1762 by Louis-François Gaignepain - a former worker at the Mennecy factory - together with a Paris marchand-mercier, Pierre Bourgeois. The new factory experienced financial difficulties in 1767 and is thought to have closed after the death of Gaignepain in 1770. The attribution of these wild boar jars and covers to Crépy is based on the Livres Journal de Vente pur la manufacture de Crépy, in which sales of 'pot a tabac blanc En hure de Sanglier et de Chien are recorded on three occasions in 1765 and 1766 (quoted by A. Dawson, op. cit., p.253 (no corresponding jars in the forms of a dog are recorded).For further information on this lot please visit Bonhams.com

A 12 BORE FLINTLOCK SPORTING GUN BY BARKER, WIGAN, CIRCA 1775-80 with rebrowned two stage barrel swamped towards the muzzle and octagonal over the breech, the latter stamped with gold-lined Spanish style barrelsmith’s mark ‘Barker Wigan’, London proof marks and a further barrelsmith’s mark, ‘WB’, engraved grooved tang, signed stepped bevelled lock with some later case-hardened colour (the pan with later gold lining, steel relined), figured walnut half-stock, chequered grip, iron mounts comprising skeleton butt-plate formed of a series of engraved strapwork panels decorated with beadwork and small flowerheads, trigger-guard with very short finials and engraved bow, three ramrod-pipes, horn fore-end cap, and brass-tipped wooden ramrod (perhaps an early association), 94.7 cm barrel ProvenanceBrian Boys, 2003 LiteratureAlbert Littler, “An Old Wigan Trade”, Journal of The Society of Archer – Antiquaries, vol. 34 (1991), pp. 30-41. William Barker is thought to have come to Wigan circa 1738-40 where he apprenticed to Jonathan Johnson serving until 1748 when he became a Freeman and traded in his own right at Standishgate until his death around circa 1786-7. He is principally known for his clocks and crossbows; the latter were numbered up to 416. Firearms by this maker are rare.

A RARE 11 BORE SILVER-MOUNTED FLINTLOCK SPORTING GUN BY EDWARD NEWTON, GRANTHAM, LONDON 1743, MAKERS MARK JA with rebrowned swamped barrel formed in four stages, fitted with chiselled silver fore-sight (rubbed), two-stage breech octagonal then polygonal, the former signed ‘E. Newton, Grantham’ within a frame of houndstooth, struck with the barrelsmith’s marks, a flowerhead and the initials ‘EN’ and private proof mark on the left, gold lined vent, engraved breech tang decorated with scrolls and grooved for sighting, banana shaped lock signed ‘E. Newton’ on a tasselled scroll beneath a rococo shell, fitted with broad engraved sliding bolt safety-catch, moulded cock chiselled with foliage (top-jaw and screw replaced), raised pan with water drain and moulded steel (refaced), figured walnut full stock carved with a raised moulding involving a rococo shell about the tang (the fore-end with a small repaired crack, small filled repairs and dents on the butt), finely chased full silver mounts comprising butt-plate decorated with rococo fronds, a cockle shell and acanthus foliage, side-plate formed as a pike, trigger-guard with acanthus forward terminal, a flower at the rear and engraved with a further large cockle shell on the bow (rubbed), escutcheon chiselled with a leafy branch inhabited by a large pheasant, three ramrod-pipes (the forward-most an early replacement) and horn-tipped wooden ramrod, perhaps the original, 106.8 cm barrel ProvenanceAlexander Montgomerie, 10th Earl of Eglinton (1723-1769)Eglinton Castle, sold Dowell’s Edinburgh, 1st – 5th December 1925, lot 903The Rev. E.C. AlstonW. Keith Neal (no. G331), sold Bonham’s 10th November, 2005, lot 19 LiteratureW. Keith Neal & D.H.L. Back, Great British Gunmakers, 1740 – 1790, 1975, p. 108, plates 378 – 380.W. Keith Neal & D.H.L. Back, Messrs. Griffin & Tow and W. Bailes, 1989, p.18.Fred Buller, The Domesday Book of Mammoth Pike, Stanley Paul & Co., 1979, p.181 (sideplate illustrated).John A. Atkinson, The British Duelling Pistol, p.45. Alexander Montgomerie, 10th Earl of Eglinton (1723-1769) was a politician, reformer and close friend of James Boswell who records his time with Doctor Johnson in his London Journal 1762-1767. Eglinton took considerable interest in national and local affairs, particularly in the welfare of his tenants, and was described as the reviver of agriculture in Ayrshire. In the family archives there is a letter to his brother stating that a duel took place between him and a Mr Bathurst with apparently no consequence of note. His life came to an untimely end when he was accidentally shot by Mungo Campbell, an excise officer on Ardrossan beach. Eglinton saw Campbell with a musket, having already warned him against carrying a weapon on his land. The earl rode up with some servants and challenged Campbell to hand over his piece, while chiding him for suspected poaching. Campbell refused and backed away from the earl, who continued to demand the weapon. The stand-off continued, Campbell stumbled and discharged his weapon as he fell. The ball struck the earl in the stomach, inflicting what he himself immediately recognized as a fatal wound, he died in the early hours of 25th October. Campbell was found guilty of murder at the high court of justiciary in Edinburgh on 27th February 1770, but escaped execution by hanging himself in his cell on the night of 1st March. Edward Newton of Grantham (1718-1764) has been described as a pivotal gunmaker, in terms of the quality, diversity and technical innovations in the weapons he made and of the next generation of illustrious gunmakers who were apprenticed to and influenced by him. These include Robert Wogdon, John Fox Twigg, John Manton (to William Edson, Newton’s foreman) and Thomas Manton. See Wimsey 2000, pp. 281-289.

Speedway : Odsal Bradford - Supporters Journal - rare booklets 1950-51-52 - good conditions (3)

A fine Great War 'Second Battle of the Dover Straits' M.I.D. group of three awarded to Sick Berth Attendant J. Gradwell, Royal Navy, one of just two medics aboard H.M.S. Broke, who provided essential care when his ship rammed the Imperial German Navy Torpedo Boat SMS G42 at 27 knots, almost turning her adversary right over. With both vessels locked together, the scene descended into desperate hand-to-hand fighting on the top deck of Broke, the sailors attacking each other with cutlasses, bayonets and anything else at hand. Remarkably, the recipient later gave a firsthand account of this to a Bolton newspaper, adding that he suffered from the effects of an exploded gas shell British War and Victory Medals, with M.I.D. oak leaves (M.16759 J. Gradwell. S.B.A. R.N.); Romania, Kingdom, Medal for Bravery and Loyalty, 2nd Class, with crossed swords, silvered bronze, mounted as worn, good very fine and better (3) £300-£400 --- M.I.D. London Gazette 10 May 1917: 'Honours for Service in the Action between H.M. Ships "Swift" and "Broke" and German Destroyers, on the night of the 20th to 21st April, 1917.'  Romania, Medal for Bravery and Loyalty, 2nd Class London Gazette 17 March 1919: 'For distinguished services rendered during the war.'  James Gradwell was born in Bolton on 26 December 1891 and joined the Royal Navy at Portsmouth on 22 October 1915. Posted to Haslar Naval Hospital for a year, Gradwell transferred to the destroyer H.M.S. Broke on 29 December 1916 as Acting Auxiliary Sick Berth Attendant. The scenes aboard Broke in the night action of 20-21 April 1917 rank amongst some of the most vivid of the entire Great War. Thwarting a significant attack on the Dover Barrage by six Zeebrugge-based enemy torpedo boats, the Swift and Broke succeeded in sinking two vessels, the second by ramming, and at enormous cost, in a manner reminiscent of Napoleonic engagements rather than modern warfare. An eye-witness account of the action states: ‘Many casualties had occurred among the guns' crews of the forecastle through two enemy shells, one of which had detonated projectiles in a ready rack. All the electric cables and voice-pipes from the bridge had been shot away, while the after compass, after wireless-room, and searchlight were demolished. The foremost funnel was pierced through and through by splinters until it resembled a huge nutmeg-grater. A shell passing in through the side above the waterline had penetrated a coal-bunker, to explode in the boiler-room beyond, killing or wounding every man in the compartment and severing the main steam-pipe, from which the steam escaped with a deafening roar. And, besides the damage from enemy shell, the British flotilla-leader had a badly bent and crumpled bow, and two huge gashes forward above the waterline. Dead and wounded lay everywhere … In the space of a few moments the Broke was converted into a smoking-shambles. In places, her decks were literally running in blood. She sustained 57 casualties, of whom 21 were killed outright, and no part of the ship was immune.’ (Taffrail's Endless Story, refers). Towed back to port, the survivors of Broke were placed on 'survivor's furlough' and sent home. It was here that Gradwell's story caught the attention of The Farnworth Chronicle on 4 May 1917: ‘They call our ship the chattiest and happiest ship in the Navy,’ he remarked, in paying a very high tribute to the officers and crew, to all of whose bravery in the action he testified. ‘A probationary surgeon and our towns-man comprised the [only] medical staff of the vessel.’ For his bravery and devotion to duty that night, Gradwell was Mentioned in Despatches. The Bolton Journal and Guardian of 18 May 1917 corroborates the details above, adding: ‘For devoted services in attending the injured during the whole of the engagement, he being the only sick-berth attendant on board’. Remaining in service, Gradwell survived the War and was further recognised by the King of Romania with the rare 2nd Class decoration. He returned home to Bolton and later worked as an agent and superintendent for the Royal London Insurance Company. Elected Alderman in 1949 and Chairman of the Bolton and District Sewerage and Water Board, Gradwell served from 1960 to 1961 as Mayor of Bolton. A 'Bolton man' from top to toe, he died at Bolton General Hospital on 14 April 1972. 

General Service 1962-2007, 2 clasps, South Arabia, Northern Ireland, unofficial retaining rod between clasps (23738746 Cpl. W. V. F. Carter. SCLI.) mounted as worn, minor edge bruise, good very fine £120-£160 --- William Victor Francis Carter was born in Paulton, Somerset, on 10 July 1942 and attested for the Somerset and Cornwall Light Infantry on 4 April 1960. He served with the Regiment in Aden from 26 April to 30 October 1966, where he is recorded in the Regimental Journal as ‘came out unscaved [sic - presumably should read unscathed] from a gunfight in Sheik Othman’, and subsequently in Northern Ireland. Promoted Sergeant and appointed Bugle Major on 3 December 1968, he transferred to Section B Reserve on 17 February 1970, and was discharged on 3 April 1972, after 12 years’ service. He died in North Walsham, Norfolk, on 1 February 1993. Sold with copied record of service and other research.

Queen’s South Africa 1899-1902, 5 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, South Africa 1902 (F. Penny, Surgeon) engraved naming, lacquered, nearly extremely fine £240-£280 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Francis Penny, ‘formerly House Surgeon at the North Devon Infirmary, has received speedy promotion since he took the appointment of civil surgeon in the South African Field Force twelve months ago. In a letter to a friend at Barnstaple, Mr. Penny says: “I was coming home this month but have now been taken on as senior medical officer of Steinaeker’s Horse, so shall not be home for a year or so, as I hear it is to be a permanent corps, even after the War is over. I am to rig up in all the trappings and decorations of a captain in His Majesty’s Army, with the special tabs of the Medical Corps.” Captain Penny has latterly been stationed at Kaapsche Hoop (where, he says, he dug up enough gold to make a ring), but is now transferred to Komati Poort.’ (The North Devon Journal, 6 February 1902 refers).

A post-War 1949 ‘Malaya operations’ M.M. awarded to Private H. McPhee, Seaforth Highlanders, who rushed to the aide of his officer during a Company Contact in North Johore, 12 November 1949, accounting for at least 1 ‘bandit’ and probably several more Military Medal, G.VI.R. (2824888 Pte. H. McPhee. Seaforth.) minor edge nicks, generally very fine or better £1,400-£1,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- M.M. London Gazette 21 March 1950: ‘In recognition of gallant and distinguished services in Malaya.’ The recommendation states: ‘On the afternoon of 12th November, 1949, “B” Coy had a fierce encounter with a large force of bandits in a camp situated in overgrown rubber about 3 miles SW of the village of Chaah in North Johore. This was the first day of a full scale battalion operation in the vicinity of the Ma’Ckill Forest Reserve estimated to last for 7 days; the role of “B” Coy was to search a given area. On arrival in the area the Coy. Comd. took the Coy. a short distance into the jungle and there formed a temporary firm base while he himself went forward with an armed recce party of platoon strength to reconnoitre a locality where there was believed to be water for a permanent firm base. Pte. McPhee was one of those who was left at the temporary firm base with the remainder of the Coy. When the recce party had proceeded about a quarter of a mile forward of the Coy temporary firm base they bumped into the enemy in a very new and temporary camp in some overgrown rubber; they at once attacked the camp which is now known to have contained approximately 160 bandits. As they had no sentries on this occasion they were taken completely by surprise and were forced to put up a stubborn resistance to extricate themselves from the camp. A fierce battle ensued; the bandits counter attacked strongly and subjected the recce party who were in very open ground in some cleared rubber to very heavy fire. At this stage Pte. McPhee arrived on the scene with the first party of reinforcements from the temporary firm base. In the very early stages of the battle the Coy. Cmd. and 2 of the subaltern officers were killed. The only surviving officer, Lieut. Brown, was therefore left in command. Immediately Pte. McPhee arrived up, and acting on his own initiative, he made his way forward to Lieut. Brown and requested permission from him to take up a position on the left forward flank of the Coy. With complete disregard for his own safety he then doubled forward to this position, which was an extremely vulnerable one, and from it dominated the whole of the left flank. He remained in this position, firing away steadily whenever he saw any enemy movement, throughout the remainder of the battle which continued for a further hour and a quarter. He was completely unaffected by the heavy fire which he drew upon himself, and was extremely cheerful throughout the whole battle. He definitely killed at least 1 bandit and probably more. The initiative and bravery shown by Pte. McPhee were undoubtedly responsible for denying the ground on the left flank of the Coy. position to the enemy, and his cheerfulness and high morale were an inspiration and example to all those who were near.’ A picture of Hugh McPhee appears in the regimental journal Cabar Feidh for May 1950. Note: Another M.M. to this recipient, an officially re-impressed G.VI.R. 2nd issue example (and therefore almost certainly a duplicate issue), was sold in these rooms in November 2022; the MM in this lot is undoubtedly the recipient’s original award.

A large quantity of magazines to include 'Buses', 'Model Bus Journal', and other bus publications and five biscuit tins in the shape of buses.

CÈSAR DALY; Volumes 1-20, Volumes 29 and 30 of 'Revue Générale de L'Architecture et des Travaux Publics Journal, Sous la Direction de M. César Daly Architecte', containing numerous black and white and colour engravings and plates, also 4th Series Volumes 2, 5 and 14 of the same, and 'L'Architecture Privée Au XIXe Siècle (Deuxième Série) Nouvelles Maisons de Paris et Des Environs, Second Volume Villas-Chalets-Jardins', together with a volume of 'Catalogue de Dessins et Tableaux Provenant et la Collection de Feu M. H. Destailleur', printed Paris Damascène Morgan de Libraire de la Société des Bibliophiles François Passage des Panoramas 55 1896 (20).

FORTEAN TIMES; fifty-seven 'Journal of Strange Phenomena' monthly magazines, dating from 2000 onwards (57).

English School, circa 1744 Family group of portrait miniatures of Mary Orlebar (1730-1821), Richard Orlebar (1736-1803) aged 8 and Constantia Orlebar (1739-1808) aged 5 inscribed with the sitters' identities and ages to the reverse, one inscribed with date 1744 plumbago on vellum 8.5 x 6cm, together with another miniature said to be of Mary Orlebar's friend, Miss Hacks (4) Provenance: By descent from the sitters to the present owner The sitters in the present miniatures were born at Hinwick House, three of the five children of John Orlebar (1697-1765) of Hinwick, Bedforshire, and his wife Mary. At the death of their father, the unmarried sisters Mary (1730-1821) and Constantia (1739-1808), along with Elizabeth (1732-1810) who is not depicted here, moved to Ecton, Northamptonshire. The sisters had an active interest in literary matters and left behind many private writings, including Mary’s travel diaries and poems, and perhaps most notably Constantia’s Weather Book, an important chronicle in which she recorded daily weather from 1786 until her death (see Gordon Manley, ‘Constantia Orlebar's Weather Book, 1786-1808’, in Quarterly Journal of the Royal Meteorological Society, v. 81, 1955, 622-5). An attribution to James Ferguson (1710-1776) might be considered. Light surface dirt and fly spots under glass. Slight undulations to the vellum observed in Mary's portrait, commensurate with age. Constantia's portrait - there appear to be very minor foxing spots in her sleeve and face and slight abrasion to her neck. Not examined out of frames. The frames are as per images with slight separation. Miss Hacks' portrait - There is some staining and toning along the edges. The frame is broken.

THIRTY BOOKS 'THE WELSH PONY AND COB SOCEITY JOURNAL' FROM VARIOUS YEARS

Hector Berlioz (La Côte-Saint-André, 1803 - Paris, 1869) Autograph letter, dated January 9, 1840, by the French composer. A letter of musical contents in which the Maestro, addressing his sister Nancy Pal née Berlioz, discusses his current activities, future plans, and challenges. He has been engaged: "à cause d'un feuilleton (...) Il s'agissait de Drapier ('Halévy et Scribe) qui vient de mourir à l'opéra, bien qu'on soit dans l'intention d'exposer son cadavre aussi longtemps que possible" He expects to travel soon to Brunswick "pour un Festival (...) si les propositions sont acceptables". He then speaks of the challenging relationship with the Paris Opera and his intention to finish the collaboration: "J'ai rompu avec l'opéra (...) La direction a voulu me faire faire une partition en trois actes, et je ne veux pas la faire. On m'a donné un livret de Scribe j'ai été tenté un instant, je l'ai pris et, à peine sorti du Cabinet du directeur, réfléchissant que c'était un piège qu'on me tendait pour me brouiller avec Scribe, je suis rentré et j'ai rendu le manuscrit sans le lire". He continues, commenting with sadness: "L'opéra est devenu une école de Diplomatie. J'ai une autre idée qu'ils ne veulent pas accepter, comme ils ont une peur effroyable du 'Journal des Débats'" (Berlioz acted as a music critic for the newspaper between 1835 and 1864). Other theatres have requested new works from him, but he is uncertain and suspicious: "Je ne sais encore que répondre. Toujours de la ruse, toujours des intérêts à débrouiller". At the end Berlioz reveals some difficulty in finding the musical inspiration: "Je cherche une nouvelle idée de grande Symphonie, mais c'est bien difficile à trouver. Ça viendra quand je n'y songerai plus, comme Romeo et Juliette [the symphony executed for the first time in 1839]. Il faut faire des opéras pour gagner de l'argent, sans quoi je laisserais bien volontiers ces Messieurs faire leur cuisine en famille (...) tout le monde-là est si horriblement bête et intéressé". 4 pp. In-8°.

Circa 1st century B.C. Represented nude and winged, with detailed head crowned by dressed locks and a low petasos, the face beautifully modelled with delicate features; accompanied by a custom-made display stand. Cf. Lambrothanassi, E., Touloumtzidou, A., 'A Terracotta Figurine of a War Elephant and Other Finds from a Grave at Thessaloniki' in 'Rosenthal-Heginbottom, R., Kogler, P. and Rudolph, W., Journal of Hellenistic Pottery and culture, no.1, 2016, fig.2, 14-15. 49 grams total, 11.5 cm including stand (4 1/2 in.).Ex P. A., Hertfordshire, UK, specialist collection of Greek art, 1980-1990s.These figurines were often deposited inside the graves of children. In Thessaloniki, a winged Eros very similar to this was deposited in a grave. From the small size of the skeleton, with a maximum length of 1,10?m, and from the grave offerings, the archaeologists deduced that it belonged to a boy who was accompanied by his beloved and necessary possessions, but also by those providing escort and entertainment beyond this world. Unguentaria were placed on either side of the femoral bones, two on one and a single one on the other, two strigils along the eastern side of the grave near the head, a coin on the chest, and several terracotta figurines near the north-eastern corner near the head, while a handle-less bowl was placed very close to the face.

Circa 16th century A.D. Complete with mouthpiece and sounding hole. Cf. British Museum, 1856,0701.1584; Hayfield, C. and Hurst, J.G., Pottery fool's head whistles from London and Tattershall, Lincs, in Antiquaries Journal 63 (1983), 380-3; and Jones, M., The Secret Middle Ages, Stroud, 2002, 109 and fig.6.5. 43 grams, 54 mm (2 1/8 in.).Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

1967-2006 A.D. D.J. Symons & P. de Jersey (eds.) - British Numismatic Journal 2006 - hardback, 413pp, 60 plates; The Numismatic Chronicle Vol 159 - 1999, hardback, 452 pp, 34 plates; Stewart J. Westdal - Dictionary of Roman Coin Inscriptions - 1971, card covers, 140 pp; Gilbert Askew - The Coinage of Roman Britain - 1967, hardback, 94 pp, line drawings, maps. 3.34 kg total, 23 x 15.5 - 28 x 20.5 cm (9 x 6 1/8 - 11 x 8 in.).Property of a Stowmarket, UK, gentleman. [4, No Reserve]

5th-3rd century B.C. or later. Comprising a penannular hoop and discoid finials with applied filigree collars; the filigree ornament repeated at the centre. Cf. Marshall, F.H., Catalogue of the Finger Rings, Greek, Etruscan and Roman, in the Department of Antiquities, British Museum, London, 1907, no.2714; Robinson, D.M., Williams, D., ‘Unpublished Greek Gold Jewelry and Gems’ in American Journal of Archaeology, Vol. 57, No.1 (Jan, 1953), pp.5-19, figs.29, 31; Ogden, J., Greek Gold, Jewelry of the classical world, London, 1994; Despini, E., Greek Art, Ancient Gold Jewellery, Athens, 1996; Yavtushenko, I. (eds.), Masterpieces of Platar, Kiev, 2004. 41.68 grams, 70 mm (2 3/4 in.).Previously in the Mansees collection; formed 1950s-early 1990s. From a large American collection formed in Chicago, Illinois, USA, in 1995. Ex European collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no.11731-200431. For this specific lot, 5% import VAT is applicable on the hammer price

4th century B.C. With rounded loop handles with elaborate palmettes below, pedestal foot; Side A with nude Eros flying left, holding a dish in his right hand; Side B with a standing female (Psyche?) waiting for Eros and offering a wreath with her left hand, dressed in a flowing peplos, a small altar before. Cf. Cambitoglou, A. and Trendall, A.D., ‘Addenda to Apulian Red-Figure Vase-Painters of the Plain Style’ in American Journal of Archaeology, Vol. 73, No. 4 (Oct., 1969), pp. 423-433, pls.119-120, figs.20-21, 26; similar painting style on a terracotta hydria in the Metropolitan Museum of Art, accession no. 56.171.65, in Mayo, M.E. and Hamma K., The Art of South Italy: Vases from Magna Graecia, Richmond: Virginia Museum of Fine Arts, 1982, no. 38, pp. 116–17, 308; some similar elements also on the volute crater in the MFA, accession no.1970.235; see also other works of Iliupersis in Trendall, A.D., Cambitoglou, A., The red-figured vases of Apulia, Oxford, 1978, figs.8/25; 8/51; 8/60. 90 grams, 27 cm wide (10 5/8 in.).Ex Barnard & Moore, 2003. From a Norfolk, UK, private collection. Accompanied by an original thermoluminescence analysis report no.N123k4 from Oxford Authentication. Accompanied by an old Moore Antiquities identification card with reference no.1958 and invoice dated 26 July 2003. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.11918-205900.The Iliupersis Painter was a south Italic Greek vase painter whose name is unknown. The name derives from a represented scene in a volute crater in the British Museum depicting sacking of Troy (Iliou Persis). The characteristic pillar-shaped monument depicted here can be seen also on the MET hydria, where the closed foot of the woman corresponds in detail to the one on our vase too. The Iliupersis Painter was a prolific and innovative artist, active just before mid 4th century B.C., whose work set the standard for the large, ornate-style vases of the second half of the same century: volute-kraters with plastic masks on the volutes, increased polychromy, complex floral ornament, multilevel compositions, mourners surrounding funerary naiskoi and stelei. [A video of this lot is available to view on Timeline Auctions Website]

2nd-3rd century A.D. The upper part of a Beneficiarius dedicatory spear or sceptre, comprising a circular-section shaft with an ivy leaf finial, a crescent (lunula) below and the point with triple acorn-shaped spheres; the lower end of the shaft square-section and with a rosette for attaching it to the wooden part, engraved with X-motifs and circumferential lines. Cf. Klein M. J., ‘Votivwaffen aus einem Mars-Heiligtum bei. Mainz’, in JRMES,10 (1999), pp. 87–94, fig.1 and 9, for similar votive spearheads; Kovács, P., ‘Beneficiarius Lances and Ring-Pommel Swords in Pannonia’, in Limes XIX, Procedings of the XIXth International Congress of Roman Frontier Studies, Pécs, 2005, pp. 955–70, fig.5 (similar spear represented on the Altar of Müllendorf); D’Amato, R., Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.258, p.179, for similar specimen; Gaiu, C., ‘The Beneficiarius spearhead from Arcobadara’ in Journal of ancient Art and Archaeology, No.1.3/2014, pp.22-30. 62 grams, 49 cm (19 1/4 in.).Found Cambridgeshire, UK. Accompanied by an academic report by Dr Raffaele D’Amato.The beneficiarii, within the Roman army, were soldiers exempted from menial duties and acting as orderlies of senior officers; they were also charged with particular duties by governors and generals. Their distinctive insignia were decorated spears, often with a point shaped like an ivy leaf. The military stela from Perinth depicting a 3rd century beneficiarius shows a very similar spear, mounted over a particular structure on the midshaft of the spear.

2nd-3rd century A.D. Decorated with stamped patterns comprising dolphins, vegetal and floral patterns, motifs with ivy leaves and floral border strips with laurel leaves. See for a similar specimen in the Metropolitan Museum of Art, accession no.31.116a-i; Penn Museum, coffin panel B10280, from Lebanon (Tyre); see also Rahmani, L.Y., ‘Lead Coffins from Israel’ in Israel Exploration Journal, vol.37, no.2/3 (1987), pp.123-146, pls.10,11,14. 38.5 kg, 175.5 cm (67 1/2 in.).Acquired 1970s-early 1990s. Property of a North American collector. London collection, 2016. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11992-209844.Although the majority of people were buried without coffins, there is evidence for wooden coffins, lead-framed wooden coffins, tile burials, lead coffins and stone coffins from the Roman Empire. Our typology belongs a type diffused in the Eastern Mediterranean. The leaves refer to actual garlands and flowers used to decorate tombs and altars. The dolphin was considered to ferry the souls of the dead to the afterlife and was a common motif in this period, also used for the slide-fitting of Roman sword scabbards. Romans believed these animals carried souls to the Fortunate Isles, perhaps because they could pass through the air-breathing terrestrial world and into the watery depths that claimed so many Roman sailors’ lives. This symbol would have had a personal significance for the deceased, who may have been a seafarer during life. Romans often ordered their lead coffins long before they died as the process of making them took a long time. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website]

INDIAN ALBUM CONTAINING MANY ORIGINAL WATERCOLOURS & EARLY PHOTOGRAPHS : A beautifully presented album, over one hundred and fifty original watercolours and other mediums, titled " The Ramblings and Adventures of an Indian Officer." Executed by Mark Batt Tanner, written on his retirement from the Bombay Army in 1856. Later after his death in 1897 it was restored by his brother Albert Tanner, Lt.Col. late Royal Fusilier's. The sketches record his travels and places he visited in India and Egypt between 1852 and 1885. Possibly of even more importance than the paintings are the approximate 50 albumen print photographs taken by M. B. Tanner, the earliest a group of six are dated 1851 these are of Cairo and monuments in the desert. As the pages turn there are revealed some fantastic examples of early photography all published in the 1850s. There are well over fifty large ( pages size 43 x 23 cms)original paintings mostly of obscure and little visited areas in India. Each image has accompanying hand-written detailed explorations." All are titled in ink with borders and signed M.Tanner. To quote from Albert, " I inherited this book of sketches from my brother Mark Batt Tanner ... it was then in a most dilapidated condition ... I rearranged, and had it newly bound, adding in my own hand writing extracts from his journal regarding his travels and some of the places he visited in the East between 1852 & 1885."

KEMPTON, Chris, Loyalty and Honour' in the Indian Army September 1939- August 1947: in three parts, original card covers, folio, published The Military Press, 2003, with Charles Rathbone Low, History of the Indian Navy, 1613-1863, two vols, rebound in an attractive 4to morocco bindings, published The London Stamp Exchange Ltd, 1990 *originally published in 1877, with Catherine Mayo, The Face of Mother India, folio, original pictorial cloth, nd, with The Victoria Crosses and George Crosses, 1856-1945, in original printed wrappers, with Ian Hay, The Great Wall of India, original cloth in dust wrapper, 1933, with The Journal of the United Service Institution of India, three volumes, with Waddington, C. W., Indian India, folio, 1933 (2).

A collection of ten bookscomprising ART, Etc: Knight, Charles (edit): The Arts and Industry of all Nations or Pictorial Gallery of Arts, in 2 volumes, with 50 steel engravings & 4000 wood engravings. JG Button, no date, c1860, supplied to subscribers only. 4to. Cont. half leather and marbled boards. VG; Royal Blue Book: Fashionable Directory, and Parliamentary Guide. Gardiner, 1848. PP: xx, 761, (iii), 120. Original gilt pictorial boards; TOMLINSON, C (Edit): Cyclopaedia of useful arts, 2 volumes. Virtue, nd, C1860. With 44 engraved plates (one folding). Cont. half leather, rubbed; tear to pages xii/xiii of the preface, with the loss of a few letters; PYNE, W. H (Edit): Etchings of Rustic Figures for the embellishment of Landscape. Ackermann, 1815. PP: 8 + 60 plates. 4to. Rebound in cloth backed boards with the original leather label to upper cover & new endpapers. Scattered spotting and a couple of small stains; Sampson, Henry: A history of advertising from the earliest times. 1875, with 14 plates. Recased with new endpapers; The Co-Operative Wholesale Societies Limited England and Scotland - Annual for 1889. With a Map & 166 plates; The Art Journal, Virtue, 1862. 4to. Cont. half leather, aeg; & The Studio, Volume 26, 1902, fully illustrated. Half leather. (10)From the Paul Bentley collection of maps and atlases.

No. 2, 1921 and nos. 6 and 9, 1922. Berlin, A. Kogan "Russische Kunst", 1921-22, 3 vols. of the series, w. tipped-in col. plates after and num. (full-p.) ills. after a.o. S. Sorin, A. Jakowlew, B. Grigoriew, J. Bilibin, B. Kustodiew, W. Schuchajew and L. Bakst, num. advertisements, orig. wr. after Bilibin, L. Brailowsky and B. Kustodiew, folio. All vols. spine strenghtened w. tape, no. 2 w. marginal missing pieces, mostly repaired w. tape, occas. other internal and external sm. defects. The famous post-revolutionary art journal Jar-Ptitza ("The Firebird"); only 14 issues published in total from 1921 to 1926. (total 3)

All richly ill., ca. 1930s-50s. (1-7) Film Fashionland. May, April, July, September, October and November 1934 and January 1935. 7 numbers, 40 or 56 p., a few w. inserts, orig. stapled wr., sm. folio (8) Algemeene Vereeniging "Radio Omroep" (AVRO). Oogenspel. Herfst en winter 1932/33, 40 p., orig. stapled wr., folio. (9) Zomerpracht 1935. No pagination, orig. stapled wr., folio. -and 21 similar others, incl. 4 nos. of Star Carnaval and issues of Deutsche Moden-Zeitung, Weldins Ladies Journal, Jolynmode, Chic Parisien, Constanze and Star. Sold as a collection of periodicals (w. occas. defects/ imperfections), not subject to return. (total 30)

Taken from var. French magazines, 1920s-40s, all 4to. Some w. indication of the studio or photographer: Manassé (many), Paul Hamann, Studio 35, Braig, Henri Manuel, Moreau, Seidner, Denise Bellon, Paris-Sex-Appeal, Keystone, Jacques Lemare, Martin, Vizzavona, Binder, Granère, Claire, Ervé and S. Sasanof. -and 2 other binders containing loosely inserted erotic playing cards, cards by Éditions Esco Antwerp, bifolia taken from Jane's Journal by Pett (late 1940s, w. erotic photogr., ills. and comics) and plates after M. van Maele, a.o. (total approx. 280 in 3 binders)