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Lot 5052
A Japanese Nintendo DS bundle (NTSC-J) - DS Console (Silver) + 5 games Includes: Futari Wa Precure Max Heart: Danzen, Brain Age, Cooking Mama 2 Dinner With Friends, Yawaraka Atama Juku and Tokutenryoku Gakushuu Shougakkou Condition Report: All games are boxed, complete and in excellent condition. The console itself is untested and the screen has one loose hinge. Console also has yellowing to the plastic.
![Nintendo Game & Watch [MW-56] Mario Bros. Multi Screen handheld consoleCondition Report: Item is complete, boxed and in grea](https://cdn.globalauctionplatform.com/e2853a61-06c1-400f-bb53-b07c016cd6aa/a3b9e10d-ac2e-43b0-9ac6-b08a011c81ad/468x382.jpg)
![Nintendo Game & Watch [YM-801] Super Mario Bros. Crystal Screen handheld console Condition Report: Item is complete, boxed a](https://cdn.globalauctionplatform.com/e2853a61-06c1-400f-bb53-b07c016cd6aa/129db709-6368-4bcf-908c-b08a011c8fbc/468x382.jpg)
Lot 5036
Nintendo Game & Watch [YM-801] Super Mario Bros. Crystal Screen handheld console Condition Report: Item is complete, boxed and in great condition. All flaps of the box are present and intact. There is a pricing label present on one side of the box from the original retailer and a slight tear in one of the corners
![Middle East.- [Amery (Leopold Charles Maurice)] The Western or Wailing Wall in Jerusalem, previous owner's ink signature to t](https://cdn.globalauctionplatform.com/a8196eae-7960-4399-b449-b07000b1aeaa/4aaf4db6-98af-4328-b05f-b0700107e3a3/468x382.jpg)
Lot 196
Middle East.- [Amery (Leopold Charles Maurice)] The Western or Wailing Wall in Jerusalem, previous owner's ink signature to title, light spotting, staple binding, splitting at folds, very slight creasing to edges, 8vo, 1928.⁂ Scarce memorandum. In 1920s Palestine, the prevailing consensus was that the Western, or Wailing Wall, belonged to Muslims. Jewish attempts to alter the status quo by bringing chairs and benches to the wall were interpreted by Muslims as designs to rebuild the Jewish temple; and in 1928 the chief rabbi of the European (Askenazi) community issued a broadly worded edict calling for exactly that. On 24th September, Yom Kippur, a group of worshippers armed with the rabbis' decree, fastened a screen to the wall and pavement to divide the male and female congregants, per Orthodox tradition. The Muslim guardian of the site complained, and the Palestine Police forcibly removed it, provoking outrage from both parties. Almost a year later, these long-running religious tensions came to a head, with Arab riots in Jerusalem spreading to Hebron and Safed, leading to the deaths of 133 Jews and 110 Arabs. The present paper described the infringements of the status quo and states the British government's determination to preserve it.
Lot 223
* TRACEY EMIN, 2002 BBC FOUR 'EVERYBODY NEEDS A PLACE TO THINK' limited edition of 1500 screen print of handkerchief unframedoverall size 52.5cm x 53.5cmNote: Original invitation and box included. Everybody Needs a Place to Think, is a highly collectable limited edition screen-print on a handkerchief created by YBA artist Tracey Emin. Emin was commissioned by the BBC to create a gift to accompany the VIP invitation to their launch party of BBC Four. The work bears the text inscription "Everybody Needs a Place to Think", the text "BBC Four" (three times), an image of a dog with a bone, and Tracey's printed signature and date of 2002. This work was accompanied by an original card invitation to the launch party for BBC Four on February 28, 2002. The invitation also includes printed text by Tracey Emin in her recognizable handwriting outlining the event details and noting "Please bring this invitation with you, otherwise, you're not going to get in, Love, Tracey X." While attendees were able to keep the handkerchief, they were forced to surrender the invitation, making this full set especially uncommon and collectable.
Lot 1553
Box of Cameras & Accessories, including tripods, a screen 'blue wrapping', a light exposure meter, a microphone, a small tripod and attachment, Kodak Cine Camera & Film, Perkeo S250 Projector, Kodak Projector & tapes, Zeiss Projector & extras, Weston Master Exposure Meter, microphone boxed, slide box, etc.
Lot 343
An excellent collection of Punk 7" singles and EPs. The Damned; 'The History of The World Part I', (picture sleeve, CHIS 135, 1980), Various; 'This Is My Life Not Yours!', (numbered 885 and with a blue opaque disc, picture sleeve, VOL. 001, 1988), Acidental Potatochip; 'Madonna Vs. Godzilla', (picture sleeve, VMS - 1001, 1990), S.H.Draumur; 'Drap Mann Meõ Skóflu E.P.', (picture sleeve, E-11, 1987), D.O.A; 'Triumph of The Ignoroids', (picture sleeve, Ltd edition EP, FR-001, 1979), The Pleasers; 'The Kids Are Alright', (picture sleeve, Artist 180, 1978), The Clash; 'Tommy Gun', (picture sleeve, 6788, 1978), The Clash; 'Remote Control', (picture sleeve, 5293, 1977), Skids; 'Into The Valley', (picture sleeve, white disc, VS241, 1979), Skids; 'Circus Games', (picture sleeve, includes poster, VS 359, 1980), The Chords; 'Maybe Tomorrow', (picture sleeve, POSP 101, 1980), The Radiators From Space; 'Television Screen', (picture sleeve, S10, 1977), Buzzcocks; 'Promises/Lipstick', (picture sleeve, UP 36471, 1978), Buzzcocks; 'I Don't Mind/Autonomy', (UP 36386, 1978), Buzzcocks; 'Spiral Scratch', (ORG-1, 1977), Anti-Pasti; 'Six Guns', (picture sleeve, ROUND 10, 1981). (16)The overall condition is VG.
Lot 38
(Signed) Eric Clapton and Peter Blake. Silk screen print of the '24 Nights' album cover, designed by Wherefore Art? Limited edition, 103/250, signed to margin in graphite, framed and glazed, 107.5cm x 91cm; With the original VHS and CD. (3)The signatures have been hand signed in graphite to the bottom margin. The signatures have not been officially authenticated (with certificate etc), but it has been studied by our experts at Lay's and there are no concerns. There are no condition issues.
Lot 124
Roland TR-727 Rhythm Composer. Latin percussion counterpart to TR-707. 15 rhythm sounds; MIDI-capable. OPERATIONAL STATUS: (A) Tested and working. Note screen is damaged but this does not affect the functioning of the rest of the unit. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.
Lot 78
Akai Professional MPC2000XL 32mb 8 Outputs MIDI Production Center Sampler Powers up, screen bright, backlight working. 32mb memory for maximum sample time. Eight outputs. No audio testing performed but from Dex Wright collection - he owned and used many upgraded Akai samplers in excellent order - so expected to be working well. No warranty implied.
Lot 76
Akai Professional Roger Linn Midi Sequencer ASQ10. Modified with USB drive in place of floppy disc drive. Powers up, screen bright, backlight working. No further testing performed but from Dex Wright collection - he owned and used many upgraded Akai samplers in excellent order - so expected to be working well. No warranty implied. The AKAI ASQ10 (Advanced Sequencer) is a classic hardware MIDI sequencer that was first released in 1990. It was designed to provide a high level of sequencing control over external MIDI devices, such as synthesisers, drum machines, and sampler
Lot 70
Alice Mary Havers (British, 1850-1890)Contemplation signed 'A Havers' (lower left)oil on canvas127 x 81.3cm (50 x 32in).Footnotes:ProvenanceWith Thos. Agnew & Sons, Manchester.With Pyms Gallery, London.Private collection, UK (acquired from the above).When Alice Havers died of an accidental morphia overdose in 1890, aged only forty years old, more was made of this abrupt, tragic end, linked to her status as a divorced woman than of her art. In her resultant obituaries, journalistic opinion swayed between describing her manner of dress, her mental health, only turning occasionally to the popularity of her art. Despite the seemingly gentle and traditional scope of her art, the life and career of Alice Havers, also known as Mrs Frederick Morgan, resonates with the fate of modern, creative women today.Alice Mary Celestine Havers was born on 19th May 1850. The Havers family lived at Thelton Hall in Norfolk, their ancestral home, built in the 16th century. Alice's father, Thomas Havers (1810-1870), relocated his family to the Falkland Islands in 1854, taking work as manager of the Falkland Island Company, then moving his family to Uruguay. Thomas Havers apparently had artistic aspirations himself, planning a series of pieces based on the flora and fauna of the islands and it is assumed he encouraged his daughter's talent.1 For source material far from home, Alice copied pictures from the Illustrated London News and the Graphic as her way of developing her artistic skills (Atlanta, Volume 4, 1890).After Thomas Havers' death in 1870, Alice returned to England with her siblings. She enrolled at the South Kensington Art School where her work earned her a free scholarship. She married fellow artist Frederick Morgan in April 1872 yet maintained her maiden name professionally. The couple had three children, including artist Valentine Havers (1873-1912), who tellingly used his mother's name professionally. Despite the pressures of motherhood, Alice continued to work and exhibit to some modest acclaim, including Ought and Carry One (1874), a profile of a schoolgirl working on a sum, which was bought from the Royal Academy by Queen Victoria. Coupled with this, Alice illustrated books, including the romantic novels of her sister Dorothy Boulger (1846-1923), becoming known for her spirited and expressive illustrations. The Gentlewoman magazine in September 1890 commented on Alice's work as being 'graceful, delicate, almost ethereal...She never painted anything large or very ambitious in design or colouring...it was [beauty] proceeding from purity of soul, and the outward expression of the artistic thoughts and ideas treasured up in her heart'.2 Her output bustled with images of idyllic, industrious female rural lives; groups of picturesque peasant girls washing clothes, gathering flowers or just pausing in woodland or by streams. Such public-pleasing images became coloured plates, sold for domestic display and securing her reputation as a popular, accessible artist, not to mention providing an income to her household that would have easily rivalled, if not exceeded, that of her husband. Throughout these years, Alice was contending with an abusive homelife. Frederick Morgan had conducted affairs from the year after Valentine was born until Alice filed for divorce in 1889. The marriage was violent; her sister Dorothy once took the place of her sister at a dinner party after Alice was too badly beaten to attend. It is possibly unsurprising therefore that alongside the pastoral idylls, Alice occasionally exhibited more poignant, darker paintings such as End of her Journey (1875), depicting a woman dying by the roadside, and Trouble (1885), showing a mother holding her cadaverous child la pietà, while stoically instructing her other children, within a dingy room with the grey-washed city visible through the slanting windows. When Trouble was exhibited with the Society of Lady Artists, it was praised in the way Alice 'treats the domestic sorrows of humble life with touching tenderness of sentiment.' The common thread through these works is the condition of female existence in a perfect world, sometimes in harmony, sometimes at odds.The present painting hangs between the idyllic and the pensive. A beautiful peasant girl carrying a bundle pauses by a stream in a woodland. Beyond the screen of trees lies a sunlit meadow but she pauses, hand on hair, gazing down at a patch of foxgloves. The familiar elements of Havers art are present – the setting, the character, the eternal summer – but the girl's pondering of the flowers brings interpretations to the work. In Thomas Miller's 1840 book on the language of flowers, The Romance of Nature, he gives the meaning of foxgloves as 'I am not changed, they wrong me', an expansion on the traditional meaning of 'insincerity'. Arguably a narrative of Havers own marriage, the weary, thoughtful expression and dark, atmospheric woodland speaks of choices and disappointments, raising questions of where the girl is headed or what she is leaving behind.Alice's arrival in London in 1870 coincided with that of Paul Durand-Ruel (1831-1922), famed Parisian art dealer, who sought exile from the Franco-Prussian war. With the establishment of his London gallery in New Bond Street and its annual exhibitions, the shock of Impressionism was finally released on the London masses. Art students including George Clausen (1852-1944) flocked to see Impressionism and its treatment of the rural poor as a legitimate subject. This drive gained further momentum with the publication of Alfred Sensier's 1881 book Jean-François Millet, Peasant and Painter together with others including the Fine Art Society's Twenty Etchings and Woodcuts of Millet's work on the noble, rural poor. This influence was reflected in a review of Alice's illustrations for William Morris's 1889 book of poems, where the Birmingham Mail referred to her as 'one of the foremost English lady exponents of the French school'.3 Alice's transition from rural idyll to rustic narrative reflects the general movement in Britain which resulted in the art of Henry Herbert La Thangue (1859-1929), the Newlyn School and the novels of Thomas Hardy. The girl who considers the foxgloves in Alice Haver's painting is a proto-Tess of the D'Urbervilles or Bathsheba Everdene, considering her life choices that are ever-dependent on their socio-economic status in natural surroundings that offer both light and plenty and dark and danger.After a very public and damaging divorce in 1889-90, Alice and her children moved back to London, to St John's Wood where she rented a house with a studio, but the new life was not to last long. She had been suffering from neuralgia and medicating with morphia, injected straight into her forehead, spending her nights on the couch in her studio. On the morning of 25th August 1890, the maid found her insensible from an overdose, with the needle still clenched in her hand. On the table was a letter to her doctor, describing her symptoms as unbearable and requesting another course of treatment.
Lot 473
A French mahogany four-fold screen, late 19th century, inset on both sides with 19th century Chinese paintings depicting Bannerman in various activities and court ladies within interiors, the reverse with potted plants, including finger citron, peonies and lychee, each panel 198cm high, 54cm wide Provenance: The Property of a Lady
Lot 3287
Leica M6 Ein Stuck Camera no.2300172, limited edition no.172/996, with Ein Stuck Leica Summilux-M f1.4 35mm lens, in display case; with Certificate 172/996 in hardback folder, accessories and Leica Packing Slip dated 23/12/96, all in original boxCosmetically Excellent appears little if at all used, lens appears clear, cannot operate shutter, rangefinder split screen not working
Lot 181
Winter (C.J.W.) Illustrations of the Rood-screen at Randworth, Norfolk & Norwich Archaeological Society, 1867, folio, green cloth boards; together with Goulburn (Very Rev. Edward Meyrick) The Ancient Sculptures in the Roof of Norwich Cathedral, The Autotype Fine Art Company, 1876; Winter (C.J.W.) The Sculptured Bosses in the Cloisters of Norwich Cathedral, 1911 (3) Provenance: Barbara & Martin Miller Collection
Lot 251
A red lacquer, painted and parcel gilt low/coffee tablethe lacquer top probably originally forming part of a Chinese late 19th/early 20th century screenDecorated with assorted objects such as censers, vessels, urns, vases, a teapot and a parchment, flanked by four shaped cartouches, two cartouches decorated with figures within rural landscapes and the other two decorated with flowers and foliage, 151cm wide x 93cm deep x 40cm high, (59in wide x 36 1/2in deep x 15 1/2in high)Footnotes:ProvenanceBy repute purchased by the vendor from Partridges, formerly of New Bond Street, LondonThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 116
A Japanese four fold screenprobably late Meiji/Shōwa periodthe panels depicting a gathering of Chinese scholars in a landscape, ink and colour on paper,172cm high, each panel 62cm wide approximatelyThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 94
A Yashica-Mat Medium Format TLR Camera black, 1957-71, serial no.MT2030856, with a Yashinon f/3.5 80mm lens, shutter fires but only one speed, body F, heavy wear especially a round hood, mirror and screen G, lens F, haze, fungus, with ever ready case, a Rank Elektra exposure meter, Yashica retail box and some paperwork
Lot 29
BANKSY (born 1974); limited edition print, 'X Clown Skateboards (Clown 2022)', one layered hand pulled gloss acrylic screen print printed on JJP textured Somerset 300 gsm hand torn edges, with Clown Skateboards embossed stamp and publisher's stamp, 352/750, sheet size 41 x 60cm, with certificate of authenticity from the Stowe Gallery. B Provenance: Private Cheshire vendor. Condition Report: Published by and purchased directly from Stowe gallery, COA, condition as new.
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