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TWO BRAZILIAN RAILWAY COMPANY BONDS share no. 12463 and A11732, one stamped 1970 Capital Distribution 5% paid (2)

Only Fools & Horses - A Touch Of Glass (Series 2) - a cat statue that plays 'How Much Is That Doggie In The Window?' identical to those seen on screen in the episode. Custom made replica, with hardwood base, real working brass musical clockwork mechanism and key. Complete with 'Made In North Korea' label to base. This example signed to the side by Sir David Jason (Del). In excellent condition, in full working order. Measures approx; 24cm tall. Supplied with a COA from the Only Fools and Horses Appreciation Society. Del: 'What do you mean a waste of money? I mean, look at ’em, they’re beautiful ain’t they!' Rodney: They are china cats that play How Much is that Doggy in the Window!' A video of this cat working can be viewed here:  https://youtube.com/shorts/gh8wMbKs50s?feature=share Sold in absentia - Postage only, or available for collection by appointment. 

A GROUP OF HUMMEL FIGURINES, POOLE POTTERY AND A ROYAL DOULTON FIGURINE, comprising nine Hummel figurines: Begging His Share, Little Hiker x 2 (one having a repair to hair, the other missing the top of crook), Little Helper, School Boy, Village Boy, Happy Pastime, Apple Tree Boy, and Goose Girl, a Poole Pottery vase height 18cm, posy vase and jug, all decorated in the blue cockerel pattern, together with a Royal Doulton Top O'The Hill HN2126 figurine, an exclusive for the Royal Doulton International Collectors Club, height 10cm (13) (Condition report: most pieces appear in good condition, specific obvious damage as stated, would benefit from a clean)

A FLYING GADGET X-CAM 2.4GHZ DRONE AND A COLLECTION OF GLASS MARBLES, the X-Cam comes with an instruction manual and controller, together with a collection of over one hundred coloured glass marbles, a small framed print, a display case of assorted nautical knots, size 55cmx 35cm, a framed print of a Russian General Oil Corporation £1 share warrant, size 58cm x 46cm (1 box + loose)

Elder Dempster and Company Ltd share certificate, dated 8th December 1933. Provenance: Sydney Logan Collection

Various share certificates etc.

John Judkins (b.951) Jimi Hendrix,- a later lithograph, hand-signed and dated '75 by the artist lower centre, rolled, 65 x 89cm. John Judkins was commissioned to design posters for the swinging 60s boutique, I was Lord Kitcheners Valet, originally based in Portobello Road and later Carnaby Street. The boutique became famous for selling military style clothing to celebrity clientele including Jimi Hendrix, Eric Clapton and Paul McCartney, the artist's painted portraits were later reproduced as posters and share the same flair and style of the early artwork. Condition Report: John Judkins (b.951) Jimi Hendrix, a later lithograph, hand-signed and dated '75 by the artist lower centre, rolled, 65 x 89cm.

Digital Cameras and Camera Related Accessories, including a Fujifilm A500, A610, a Minolta Dimage 5, a Dimage Z1, a Kodak Easy Share Z700, Ocean Camcorder, other digital camcorders, some light meters, filters, camera bags and other items

Digital Photo Printers, a HiTi 73X series, in carry bag, with cables & manual, a HP Photosmart 375, A Canon Powershot A560/Selphy CP740 outfit, in maker's box, G, several Kodak Easy Share printers, AF, with a bundle of Kodak Easy Share paper, all untested

Mahatma Gandhi (1869-1948) - a collection of Gandhi's personally owned and used food bowls and plates. Comprising; a hammered bronze eating bowl with shallow flared edge engraved 'Love' (in Bengali) to one side, a larger hammered bronze charger / platter with 'Love' (in Bengali) also engraved to the rim. The plates are accompanied by two traditional stoneware items; a shallow dish and platter (both with extensive damage) which were also used to serve Gandhi fruit. The largest of the four (the bronze charger) measures approx; 35cm diameter.Provenance; these utensils were once owned by Satish Chandra Roy - Indian politician and freedom fighter. Several documented meetings between Gandhi and Satish Chandra Roy are known. In 1945/46 Mahatma Gandhi stayed with Satish Chandra Roy at his house in Narsingdi Gram (district), now Bangladesh, for a period of three days. Whilst staying with Satish Chandra Roy, Gandhi carried out all his meetings with local politicians and dignitaries. When leaving, Gandhi left behind these items and they were kept as souvenirs. A letter of provenance is supplied by the vendor (a relative of Satish Chandra Roy), and the vendor is happy to share their contact information with the winning bidder should any further provenance be required. The exact contents of the provenance letter will be supplied to the winning bidder only. 

Small Gavioli Harmonipan 44-key barrel organ. The Harmonipan plays 7 tunes and has the original song sheet. Overall very good condition with near perfect case and nice sound, but one bass pipe needs work. Manufactured by Gavioli & Cie, ca. 1860.    Height: 56 cm. Width: 63,5 cm. Depth: 35,5 cm. Condition: Very Good. Location: USA, Florida. Video link: https://youtube.com/shorts/2Wt2t8K_SUQ?feature=share

F.P. Journe. A fine and rare platinum automatic calendar wristwatch with power reserve indicationModel: Octa Réserve de Marche, No.224-02ADate: Circa 2008Movement: 37-jewel Cal.1300 automatic, adjusted to 3 positionsDial: Grey with offset white time display and guilloché engraved centre, black Arabic numerals, blued steel lance hands, subsidiary dial for constant seconds at 5, sector power reserve indication at 9, date aperture at 12Case: Polished round, exhibition back secured by 6 screws, No.224-02AStrap/Bracelet: Associated blue leatherBuckle/Clasp: Associated steel buckleSigned: Case, dial & movementSize: 38mmFootnotes:Celebrated for producing uniquely complicated and sophisticated timepieces which push the boundaries of expert horological craftsmanship, F.P. Journe is an exclusive watchmaker who produces less than a thousand timepieces annually. With exacting attention to detail, F.P. Journe's belief is that beauty begins from outside rather than from within – he commences his creative process by designing the dial and then arranging the internal mechanism accordingly.Each of the models in the Octa series possesses its own identity, although all share a common design and microengineering lineage. The Octa Réserve de Marche is the premier model in the series and hence is emblematic of the aesthetic and technical virtues of the Octa calibre. With an impressive 120 hours power reserve capability, this model comprises a 22-carat rose gold rotor accompanied by a dedicated 4-arm balance with inertial adjustment and frequency of 21,600 vph. This series was only available to loyal clients of F. P. Journe.For further information on this lot please visit Bonhams.com

A collection of football ephemera relating to the career of Ernest William Lee who in the 1930s and 1940s played football for the Oxfordshire Schools Football Association and Headington United, with an Oxfordshire Schools Football Association cap for 1932-33; a collection of Oxfordshire football association silver, enamel and other medals; various programmes to include three for matches between Headington United and Oxford City in May 1948, Easter 1948; a further programme for a match between Henley Town and MPRD Cowley; a Headington United Official Football Club Handbook for 1958-59 season; a Headington United souvenir programme for Good Friday 1949; together with news clippings; a copy of the memorandum; and articles of association of the Headington United Football Club Ltd July 1949; a share certificate for Headington United Football Club dated September 1949; and further items; together with an FA Final Tie match programme between Leicester City and Wolverhampton Wanderers April 30th 1949

MICHAEL DAHL (SWEDISH 1659-1743)THE HON. MRS. THEODORA COWPER, C. 1710Oil on canvas125 x 95cm (49 x 37¼ in.)Provenance:The Hon. Spencer Cowper, Hertingfordbury ParkThence by descent,Henry Cowper, Tewin Water, Hertfordshire The Rev. Henry Madan Pratt, by 1904, Southern House, Cheltenham (Inherited from the above)Sale, Christie's, London, The Rev. Henry Madan Pratt Sale, 23 May 1930, lot 151 (as Kneller)Private Collection, London Sale, Sotheby's, London, 11 May 1932, Lot 66 (As Kneller) Frost and Reed, Bristol and London Sale, Christie's, London, 10 March 1939, Lot 40 (as Kneller)Private Collection, FranceMichael Dahl painted this majestic portrait of the Hon. Mrs. Theodora Cowper around 1710, whilst the artist was at the height of his popularity amongst the elite in London society. The confident brush work and soft skin tones are typical of Dahl's work of this period and can be easily dated to c. 1710 when looking at the loose draperies and elevated hair. The sitter was born Theodora Kirk and firstly married Joseph Stepney MP in 1693. Her husband was the first cousin of John Stepney, 4th Bt. and Justina van Dyck, the only daughter of the great artist Sir Anthony van Dyck. After the death of her first husband in 1725, Theodora married the Hon. Spencer Cowper, MP and Chief Justice at the court in Chester. Spencer's brother William was the first Lord High Chancellor and had been made 1st Earl Cowper in 1718. Although Spencer and Theodora had no children together, it is clear to see the affection she held for her sons-in-law as she left her estate, including a 3% ownership share of the Bank of England, almost entirely to them. This portrait is also mentioned in her will, dating from 1750, noting that she wished to leave it to her husband's youngest son, the Reverend John Cowper. As John had no children it then passed to Spencer's other son William, whose family it remained until it was sold in 1930. This portrait is particularly unusual within Dahl's oeuvre for the fact that it depicts the sitter in the allegorical guise as Diana, goddess of the hunt. Dahl rarely painted his sitters in allegorical guises and in this instance, it is almost certain that the artist took inspiration from Sir Peter Lely's portrait of Frances Stuart, Duchess of Richmond, located in the Royal Collection. Lely's portrait of Frances Stuart was part of the famed Windsor Beauties series and would have been widely known. The goddess Diana, also known by the Greek name Artemis, was associated with elegance and purity and is often shown holding a bow with a crescent moon on her head, both attributes that Dahl has included in this portrait. Dahl closely echo's Lely's composition, however in turning Theodora more to the viewer he endows a greater sense of grace and poise. The rich landscape in the background is no doubt emblematic of an English Arcadian scene that had become the favoured setting for aristocratic sitters from the time of van Dyck in the previous century.Condition Report: The canvas has been relined and is on a later stretcher, which is providing good support. The paint layers appear stable. UV light reveals remains of an inscription lower right, as well as scattered restorations in the background and in the sitter's hair, neck and arms. Some of these are visible to the naked eye, but the face appears largely untouched. Areas of surface cracking in the sitter's face and chest. The painting has been recently cleaned and revarnished. Condition Report Disclaimer

Christopher Richard Wynne Nevinson A.R.A (1889-1946)Swooping Down on a Taube (Black 21; Leicester Galleries 28) Lithograph, 1917, on Holbein wove paper, signed in pencil, from the edition of 200, published by the Stationery Office, London, as part of the series Britain's Efforts and Ideals: Making Aircraft, with wide margins, framed Image 402 x 300mm. (15 3/4 x 11 3/4in.); Sheet 478 x 390mm. (18 3/4 x 15 3/8in.)Footnotes:Christopher Richard Wynne Nevinson was one of the great printmakers of the early twentieth century, most celebrated as a chronicler of modern warfare and a master of multiple print techniques. He was held in high esteem by contemporaries such as Walter Sickert and Paul Nash for his acute eye for detail, feeling for composition and technical skill. His experiences as an ambulance driver and medical orderly at the Front imbued his work with a strong emotional intensity and his depictions are regarded as some of the most powerful images of World War I.His first major exhibition held at Leicester Galleries in Autumn 1916 was a critical and commercial success and would lead to his commission as an official war artist in 1917. The Ministry of Information commissioned him to create six lithographs on the theme of Building Aircraft to be included in the propaganda series The Great War: Britain's Efforts and Ideals. These works were taken on tour around the country to boost morale and were sold to raise funds for the war effort.The Building Aircraft lithographs detail the process from manufacture, to assembly and finally to flight. Nevinson was particularly interested in aerial combat, which would play an important new role during the First World War and he produced three images of aircraft in flight. In preparation for the series, Nevinson was taken on his first flight in June 1917 and commented 'the whole newness of vision and the excitement of it infected my work and gave it an enthusiasm which can be felt'.In Banking at 4,000 feet he uses variations in tone and steep diagonals to convey the drama and exhilaration of flight, which is literally a white-knuckle ride as indicated by the hand gripping the side of the aircraft. He invites the viewer to share the experience of being in the air by placing them in the cockpit.Swooping down on a Taube depicts a British Sopwith Camel attacking a German Taube. Taube means dove and the plane was named for its bird-like profile. Nevinson conveys a sense of movement and tension using the sweeping arc of the plane's trajectory set against the strong diagonals, representing rays of light, emanating from the searchlights below. He added scratch marks through the crayon to create highlights which intensify the drama.The immediacy of these images and the unusual viewpoints proved popular with visitors to the Fine Art Society exhibition, with one critic commenting that the artist 'contrives to make the visitor almost giddy' and another that he had 'the power of expressing sensations rather than visual facts'.For further information on this lot please visit Bonhams.com

Three railway share certificates, Brazil 1902, LNER 1925 and LNER 1929.

Flemish school of 1620-1630. Workshop of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Self-portrait.Oil on canvas. Relined.With repainting.The frame shows slight lack of polychromy.Size: 75 x 57 cm; 103 x 85 cm (frame).Excellent painting of Flemish school, belonging to the workshop of Rubens, in which we recognise the self-portrait of the baroque genius. It is a work of great artistic quality, which faithfully follows the original model produced by Rubens around 1618, now in the collection of self-portraits in the Uffizi Gallery in Florence. The one in the Uffizi collection shows Rubens at the age of about 41, when he was still living in Antwerp. The artist depicts himself bust-length, with a stern gaze fixed on the viewer, with no other symbols of his rank than the dignity of his face. In the present work, which belongs to the workshop of the Baroque genius, we can appreciate the energy and direct teaching of the master: both the figure and the background share shadows and lights, the spotlight sliding across the flushed complexion and the dark eyes, playing with thousands of nuances that extract velvety textures and naturally capture the boldness of the gallant countenance. As for Rubens's workshop, it is worth noting that the prolific artist could not have tackled the abundant creative fecundity of his work alone. He employed expert collaborators and enlisted the help of external painters, who helped to satisfy the fertile demand for commissions.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral.

Ausländische Orden & Ehrenzeichen - Frankreich : Frankreich: Goldmedaille der französischen Garden für die Erstürmung der Bastille, 1789 - Médaille d'Or des Gardes Francoises (Vainqueurs de la Bastille).Rombusförmige Goldmedaille am Originalband aus feiner Seide. Gold. Dazu die hochseltene originale Verleihungsurkunde ausgestellt vom Bürgermeister und Repräsentanten von Paris ("de la Commune de Paris" ) Bailly sowie dem "Commandant - Général" der Gardes Francoises Marquise de Lafayette an den Grenadier Bouquet. Datiert Paris, den 15. September 1789 mit Originalunterschriften Lafayettes und Baillys in schwarzer Tinte, Im oberen Teil rotes Lacksiegel der "Gardes Nationales Parisiennes" sowie kolorierte Vignette. Interessanterweise wurden die ehemals vorhandenen Symbole des Königreiches (Fleur de Lys) sowie das Wappen von Paris zeitgenössisch in den Farben der Trikolore übermalt. Urkunde ca. 28 x 19 cm. Der Sturm auf die Bastille ist das wohl bekannteste Ereignis derFranzöschischen Revolution.Von den ca. 1000 Teilnehmern gehörten nur ca. 100 den "gardes francaises" an. Diese Truppe hatte einen entscheidenden Anteil am gelingen der Einnahme dieser berühmt - berüchtigten Festung die als Symbol für die Unterdrückung galt. Bereits am 15.07.1789, dem Tag nach dem Sturm auf die Bastille, wurde der Marquise de La Fayette von der Stadt Paris (Commune de Paris) zum "commandant générale de la milice parisienne"aus der kurze Zeit später die Garde Nationale entstand, ernannt. Die Dekorationen wurde in ihrer endgültigen Form als aus Gold gefertigte "losange" von dem Goldschmied Francastel hergestellt. Aufgrund der revolutionären Umstände, insbesondere der Annahme der Verfassung vom 10. August 1793, wurde das Tragen von Auszeichnungen als Symbol der verhaßten vergangenen Epoche der Unterdrückung und der Tyrannei (Ancien Régime) betrachtet. Durch Dekret der Nationalversammlung vom 20. August und vom 18. November 1793 wurden die ursprünglich an die Eroberer der Bastille verliehenen Dekorationen (Couronne Murale und Médaille d' Or des Gardes Francaises) abgeschafft und die Rückgabe der Dekorationen und deren Verleihungsurkunden bei den örtlichen Behörden angeordnet. Es haben sich daher nur sehr wenige Originaldekorationen und Urkunden derhalten. Ensemble von außerordentlich großer Seltenheit dieser wohl eklusivsten Auszeichnung der französischen Revolution. Literatur: André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, Band 1, S. 24-25.Foreign Orders & Decorations - France : France: Gold Medal for the French Guards for storming the Bastille, 1789.Rombus-shaped gold medal on the original ribbon of fine silk. Gold. Comes with the extremly rare original award certificate issued by the Mayor and Representative of the city of Paris ("de la Commune de Paris" ) Bailly and the "Commandant - Général" of the Gardes Francoises Marquise de Lafayette to Grenadier Bouquet. Dated Paris, September 15, 1789 with original signatures of Lafayette and Bailly in black ink, In the upper part red lacquer seal of the "Gardes Nationales Parisiennes" as well as colored vignette. Interestingly, the formerly existing symbols of the kingdom (Fleur de Lys) as well as the coat of arms of Paris were painted over in the French national colours of the tricolore. Document approx. 28 x 19 cm. The storming of the Bastille is probably the most famous event of the French Revolution. Of the approximately 1000 participants, only about 100 belonged to the "gardes francaises", the French guard and other militrary units. These troops had a decisive share in the success of the capture of this famous - infamous fortress which was considered a symbol of oppression. Already on 1July 15, 1789, the day after the storming of the Bastille, the marquise de La Fayette was appointed by the city of Paris (Commune de Paris) to the "commandant générale de la milice parisienne "from which a short time later the Garde Nationale was formed. The decorations were made in their final form as gold "losange" by the goldsmith Francastel. Due to the revolutionary circumstances, especially the adoption of the Constitution of August 10, 1793, the wearing of decorations was considered a symbol of the hated past era of oppression and tyranny (Ancien Régime). By decrees of the National Assembly of August 20 and November 18, 1793, the decorations originally awarded to the conquerors of the Bastille (Couronne Murale and Médaille d' Or des Gardes Francaises) were abolished and the return of the decorations and their award certificates to the local authorities was ordered. Therefore, very few original decorations of the participants of this world-historical event have been preserved. Ensemble of extraordinary rarity of this probably most exclusive award of the French Revolution. Literature: André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, vol. 1, pp. 24-25.

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SPINACH GREEN JADE MINIATURE 'ARCHAISTIC' VASE, 18TH-19TH CENTURY 十八至十九世紀碧玉仿古紋雙耳瓶Opinion: This archaistic vase comes from a distinct group of spinach green archaistic miniature jade vessels, all created after varying ancient models, possibly by Imperial command. While it is not entirely clear what purpose these carvings served, they all share distinct features, such as perfectly matched, elaborate wood stands, 'razor sharp' relief carvings, outstanding purity of the jade, and an average size of 12-15 cm. China. Of flattened square baluster form, the tapering body carved in relief with a writhing chilong, its body terminating in interlocked fish heads on the lower end, the neck flanked by two loop handles, the short sides with archaistic scroll designs, the rim and foot each with a key-fret border. The stone is of a fine and pure spinach green tone with scattered black specks and patches.Provenance: An old English private collection, thence by descent in the same family. Old label to the base reading 'Taotie masks and dragons in archaic style. Chien Lung. 69'. Condition: Good condition with minor old wear, some nibbling to exposed areas. The stone with natural inclusions and fissures, some of which may have developed into microscopic hairlines over time. The wood stand with few small nicks and chips. Weight: 212.3 g (excl. stand) Dimensions: Height 12.2 cm (excl. stand) and 14.1 cm (incl. stand)With a finely carved, open worked, and fitted stand dating to the same period. (2) Auction result comparison:Type: Closely relatedAuction: Christie's London, 18 May 2012, lot 1043Price: GBP 39,650 or approx. EUR 53,500 converted and adjusted for inflation at the time of writingDescription: A Spinach Green Jade Vase of Quatrelobed Section, 18th/19th CenturyExpert's remark: Compare the closely related color, manner of carving, archaistic subject, and size (12.4 cm) of this vase with the present lot.十八至十九世紀碧玉仿古紋雙耳瓶中國。扁方形，束頸，雙耳。瓶身浮雕螭龍，下端魚頭互鎖，邊緣和足墻飾回紋。玉料呈現一種精細而純淨的碧綠色，帶有散落的黑色斑點和斑塊。專家注釋：此仿古花瓶出自一組獨特的碧玉仿古微型玉器，可能是受皇室委托。雖然尚不完全清楚這些玉器的用途，但它們都具有鮮明的特點，例如完美匹配且精緻的木架、線條清晰的浮雕、出眾的純度，以及平均尺寸為 12-15 厘米。 來源：英國私人老收藏，保存在同一家族至今。底座上有一標籤 “Taotie masks and dragons in archaic style. Chien Lung. 69” （仿古饕餮紋，乾隆.69）。 品相：狀況良好，有輕微的磨損。帶有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的細縫。 木架上有一些小刻痕和磕損。 重量：212.3 克 (不含底座) 尺寸：高12.2 厘米 (不含底座) 及 14.1 厘米 (含底座) 鏤雕的來自同一時期的木底座。拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2012年5月18日，lot 1043 價格：GBP 39,650（相當於今日EUR 53,500） 描述：十八或十九世紀四葉草形碧玉瓶 專家評論：比較相近的玉石顏色、雕刻風格、仿古、相似尺寸(12.4 厘米)。

Four bottles of Two Hands shiraz:Lily's Garden 2016 - Shiraz - McLaren ValeAngel's Share 2019 - Shiraz - McLaren Vale2 x Gnarly Dudes 2018 - Shiraz - Barossa Valley

DALWHINNIE 1988 DISTILLERS EDITIONSingle malt.Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.The Distillers Edition from Dalwhinnie is double matured in Bourbon and Oloroso Sherry casks.Bottled: 200343% ABV / 70clMinor wera to carton.

La Vie en Rouge - Olivia Roze Spray paint on canvas 594 x 878 mm  ARTIST STATEMENT: This piece is a stencilled spray piece using street art techniques. I was inspired by Teddy Baden’s work after being selected for an Art for Guernsey Scholarship and visiting Teddy in London. I wanted to capture a moment in time using a modern technique; also creating something beautiful and delicate. The flow of the hair and the free expression of the face, then stripped back to black and white with one bold colour to make the expression pop!ABOUT THE ARTIST: Olivia Roze won the Public Vote Prize in the Sovereign Art Foundation Students Prize, Guernsey 2021 with her artwork "Freya" and also was selected for an Art for Guernsey Scholarship. Olivia studies Creative and Digital Arts at the College of Further Education. Olivia's aspriations are "to share my art with many, and also take my education further and study a Fine Art bachelors degree at university."

Two antique share certificates : The British Canadian Lumbering & Timber Co Ltd & Lightening Creek Hydraulic Mine Co Ltd in clip frames

13 MIXED BOTTLES SPIRITS2 x 44 Vier Third Batch London Dry Gin (50cl); 2 x Fugu Cutwater Horchata Vodka and 2 x Three Sheets Cask Strength Rum; Hortar Single Malt Whisky (50cl); Brisbane Distillery Botanical Small Batch Gin; 2 x Devil's Share Californian Small Batch American Whiskey; Kyro Pink Gin (50cl) and Malt Rye Whisky (50cl); Kanoshizuku Selected Kuromoji (30cl)

FOUR BOXES OF ASSORTED SUNDRIES AND BOOKS, to include two three tier cantilever wooden sewing boxes, a pair of vintage Koss K/145 ear phones, two Maruman stainless steel lighters, four hip flasks, a Kodak Easyshare G610 printer dock with a boxed photo paper kit, a Russian Zenit Quartz cine film camera, No. 6309222 with handle and leather case, an Agfa Isoly 100 camera, a Kodak Easy share C613 camera, a Miranda FG-X camera, a Canon Sure shot BF, a Kodak Instamatic X-30, a boxed 100K Digital camera TDC-15, approximately twenty assorted books, etc (4 boxes + loose)

Sonja Burniston. Ten of Spades. 'Endowed'. Screen-print on paper. 16.5 x 12cm. Sonja is a collaborator, facilitator and visual communicator. With her foundations in Illustration, Sonja moves between making work in response to a company or individuals vision or from her own perspective. In her posters, narrative booklets, digital illustrations and wall hangings she uses fluid shapes and bodies to communicate in warm nostalgic colours. Her current work is exploring the care and intimacy in combing for nits. Her main medium is screen print and she teaches as one half of Blue Roll Press; a mobile printing duo, together with Luke Wade. The Blue Roll mission is to share and encourage play and experimentation in accessible workshops.

Only Fools & Horses - A Touch Of Glass (Series 2) - a cat statue that plays 'How Much Is That Doggie In The Window?' identical to those seen on screen in the episode. Custom made replica, with hardwood base, real working brass musical clockwork mechanism and key. Complete with 'Made In North Korea' label to base. This example signed to the side by Sir David Jason (Del). In excellent condition, in full working order. Measures approx; 24cm tall. Supplied with a COA from the Only Fools and Horses Appreciation Society. Del: 'What do you mean a waste of money? I mean, look at ’em, they’re beautiful ain’t they!' Rodney: They are china cats that play How Much is that Doggy in the Window!'A video of this cat working can be viewed here:  https://youtube.com/shorts/gh8wMbKs50s?feature=share

Only Fools & Horses - Mother Nature's Son (1992 Christmas Special) - a collection of original production used items from the classic episode, comprising; an original screen used bottle of 'Peckham Spring' water, being a sealed glass bottle with custom production-made label 'From An Ancient Natural Source'. The bottle label has been autographed by Sir David Jason in blue ink, and is believed to be the only signed bottle in private ownership. Accompanying the bottle is an original used studio audience ticket from the episode, and the original printed programme as given to the audience members upon arrival. The bottle measures 32cm tall and is still sealed, as per production. This bottle was given to a lucky audience member once filming had finished. The bottle is accompanied by a special light-up base (new) that can be used to allow the bottle to 'glow' (and rotate) as per the ending of the episode. Supplied with a full letter of authenticity from the Only Fools & Horses Appreciation Society. A very special piece of British comedy memorabilia, with a key prop from one of the series' best loved and most recognisable episodes.A video of the bottle 'glowing' can be viewed here: https://youtube.com/shorts/S5OTRD0v50c?feature=share

FUKUI KYORI & KIYOTOSHI: A LARGE BRONZE KORO IN THE FORM OF A SHACHIHOKO (DRAGON FISH)By Fukui Kyori and Kiyotoshi, signed Fukuri Kyori zo and Kiyotoshi with kakihanJapan, late 19th century, Meiji period (1868-1912)Superbly cast as a gigantic dragon fish, its head resting on the separately cast massive four-legged base with crashing waves both neatly incised to the top and cast in relief on the rim and feet, the sides with craggy rockwork in low relief, the shachihoko with a fierce expression marked by bulging eyes with gilt pupils, spiky brows and mane, and sharp fangs, the mouth agape in a roar, its head surmounted by the pierced cover with a standing Otohime, the daughter of Ryujin, wearing a long flowing robe blowing in the wind and a headdress. The dragon fish's underbelly with a square aperture for attachment to the base and signed FUKURI KYORI zo, the base signed KIYOTOSHI with a kakihan.HEIGHT 50.5 cm (incl. base) and 40.5 cm (excl. base) WEIGHT 8,814 g (the dragon fish) and 5,796 g (the base)Condition: Very good condition with minor wear and casting flaws, few minuscule nicks, occasional light scratches, few minor losses.Provenance: French trade.The given names Kiyotoshi (Seiri) and Kyori (Atsutoshi/Takatoshi) suggest that both artists were from the same family or worked at the same studio, as they share the second character ro/toshi. For a smaller bronze okimono of a rakan, signed Fukui Kiyotoshi, see Bonhams, Fine Japanese Art, 14 May 2015, London, lot 419. The Chinese character for shachi is composed of two radicals, that for 'fish' and that for 'tiger'. The creature is sometimes referred to as a 'tiger-fish', the face resembling a tiger or the mythical leonine shishi. However, the present example has a long face with the horns and whiskers of a dragon. It was believed that this animal could cause the rain to fall, and as such, temples and castles were often adorned with roof ornaments (crafted in the form of a shachihoko), in order to protect them from fire.Auction comparison: Compare a related smaller bronze koro in the form of a shachihoko, 31.1 cm high, lacking the base and figural cover, at Bonhams, Fine Japanese and Korean Art, 11 September 2019, New York, lot 915 (sold for 2,550 USD), and another by Kamejo, dated Meiji or Taisho period, 21 x 23 cm, at Bonhams, Fine Japanese Art, 8 November 2018, London, lot 231 (sold for 6,250 GBP).

Collection of eight Disney Pooh and Friends figures, comprising Hip, hip Poohray for birthdays, Tricks and treats for someone sweet, We'll share forever whatever the weather, Thanks for being a Caring Sort of Bear, Now it's perfect just like you, Have a red-shirt red letter day, Life is sweet and I love you Mama, all with boxes

Share & Sons Ltd, Ercol style Durham 4-piece cottage suite comprising; three-seater high back sofa (W175cm, D approx. 75cm & H approx. 118cm) footstool (47cm x 46cm x H approx. 23cm), armchair (W74cm, D approx. 73cm & H approx. 115cm) & rocking chair (W72cm, D approx. 81cm by H approx. 99cm) all upholstered in traditional oatmeal material (4)

Illuminated manuscript.- A skeleton with a banderole, in an initial on a leaf from an opulently illuminated Book of Hours, in Latin, manuscript on vellum, single leaf, with a large historiated initial 'D' (opening "Dilexi quoniam exaudi ...", the reading for Vespers in the Office of the Dead) in blue, pink and green acanthus leaves heightened with white penwork, enclosing a detailed skeleton clutching a banderole, with inscription: "Memento homo quia cinis es et", all on burnished gold ground, the remaining letters of the initial word in gold or blue capitals, with full border of densely packed single-line foliage, sprays of red and blue flowerbuds and numerous gold leaves and bezants, with an architectural winged face in border at top beneath a wreath hanging from the frame above by two red ties, a realistic mallard in outer border and putto spearing a green dragon in the bas-de-page, the text and border decoration within thin gold frames (the inner frame enclosing angular geometric designs in blue), one-line initials in gold or blue with contrasting penwork, red rubrics, single column of 13 lines of a rounded Italian late gothic hand, margins trimmed at extremities (but without losses to borders, small spots, else in outstanding and fresh condition, 125 x 94mm., [Italy (Naples)], [c.1470-80].⁂ The parent volume of this leaf was most probably produced within the Neapolitan court, by the artist Cristoforo Majorana (fl. c. 1480-94). The illumination here is recognisable as by the same hand as that of the majority of the illumination in a Book of Hours produced within Naples in 1477 for Joachinus Guasconus of Florence (now British Library, Yates Thompson MS. 6: see online catalogue and reproductions) and the frontispiece of a copy of the works of Ausonius made c. 1475-85 for Alfonso of Aragon, later king of Naples, and passing from him to the Neapolitan Royal Library, and eventually to Major J.R. Abbey (J.J.G. Alexander and A.C de la Mare, The Italian Manuscripts in the Library of Major J.R. Abbey, 1969, no. 28, pl. xxxiv). They share distinctive and identical two-colour flowerbuds with long pointed stamens covered in white dots, detailed and naturalistic portraits of birds and fantastical creatures, and putti with delicate shading used to pick out their round cheeks (and in the case of the Yates Thompson manuscript the same slitted eyes as here), all on a ground of dense gold-strewn foliage. Moreover, the angular geometric patterns within the inner gold frame here are echoed by the more prominent frames of both the Ausonius and Yates Thompson manuscripts. J.J.G. Alexander drew together the known examples of the artist's work in 1969 (but without the present leaf, or any note of its lost parent volume), and overturned the earlier attribution to Cola Rapicano, the Neapolitan court artist who trained Cristoforo Majorana in his workshop.

A GEORGE II GILTWOOD AND GESSO TRIPTYCH MIRRORCIRCA 1735 With two girandole arms41cm high, 148cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseFor a giltwood triple mirror of similar form see Graham Child, World Mirrors 1650-1900, pl 78. These overmantel mirrors share the typical gilt gesso decoration and similar pattern of frame to the upright mirrors of the period, but upright and pier mirrors of the early 18th century far outnumber the overmantels. The rarity of overmantel mirrors could be explained because there are far more pier walls whereas there is usually only one chimney piece over which to place an overmantel mirror and also by the fashion of hanging a painting over the chimney piece.Condition Report: There are scuffs, knocks, cracks and abrasions consistent with age and use.There are losses, restorations and observations including:The mirror plates have losses and foxing to the silvering; one has signs of a fingerprint suggesting that it might be a later replacement, but the mirrors have not been removed from the frame for inspection; the mirrors are slightly loose/have dropped in the frame.The mitred corner joints cracked and opened with some missing parts and some visible gesso.The gilding with some later touching up, cracks, some gesso and underlying wood visible; some marks from cleaning the brass candle arms to the surrounding gilt.The backs with later wall fixings and some holes from previous fixings; some metalwork corresponding to the position of the brass candle arms. Cracks to the backboards.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer

A selection of Ottoman Bank Share Certificates circa 1960s

A fine and rare second quarter of the 19th century gilt brass carriage timepieceJames F. Cole, No. 1 Maddox St., Regent Street, LondonThe case surmounted by a stylised facetted Greek key handle with four ribbed mushroom finials above slender Doric columns to octagonal feet, the sides, top and front panels all engine turned, the rear panel patinated and with rotating winding shutter. The 1.75-inch engine-turned silvered Roman dial with subsidiary seconds and slender blued steel moon hands reading against the finely textured centre. The going barrel movement with underslung English lever platform escapement, cut and compensated bimetallic balance, the backplate signed James F. Cole No 1 Maddox Stt Regent Street. 13cms (5ins) highFootnotes:Based on the address on the backplate, this clock was likely made between about 1829-1835. James Ferguson Cole was born around 1798 in Nether Stowey, Somerset to Catherine and James Cole, the latter of whom was a clockmaker, and known throughout the village as 'Conjuror Cole'. It also seems that the family were personally acquainted with both William Wordsworth and Samuel Taylor Coleridge. The Coles had two more children after James, Thomas (born around 1800) and Elizabeth (born around 1808). Both James Ferguson and Thomas became clockmakers, presumably being apprenticed to their father, with evidence that at least James Ferguson began his apprenticeship at 11 years old. According to some sources, James Ferguson was named after the self-taught Scottish astronomer of the same name, who published books and travelled Britain explaining the concepts of Astronomy to lay people. He also made orreries and clocks, eventually becoming a Fellow of the Royal Society. James Ferguson Cole certainly lived up to his namesake and became renowned for his mechanical skill and dexterity; he took out his first patent, for a form of pivoted detent escapement, at the age of 23. Thomas Cole would be lauded for his fine cases and dials, though does not seem to have achieved the same mechanical superiority as his brother.The Cole family moved out of Nether Stowey in 1811, eventually settling in London by 1818. Clocks are known from James Ferguson beginning around 1821, when he seems to have established his own premises, seemingly working out of Hans Place, Chelsea. There is some confusion around this address, it is possible this was the family home. Later in 1821, though, Cole moved to 10 Park Lane, Piccadilly. It does also seem that both brothers were making clocks beginning in their mid-teens, though this was likely done as part of their apprenticeship.Beginning in 1823 the brothers formed a partnership at 3 New Bond Street and began making clocks together. They were responsible for producing some of the most complicated carriage clocks available, which included standard complications such as moon phase and days of the week, and more advanced complications such as perpetual calendar and daily times for sunrise and sunset. They also made watches and chronometers at this time. It is unclear when the partnership dissolved, or why, with the date of dissolution being variously given as 1829, up to 1832. James Ferguson's first shop, after Thomas Cole's departure, was located at 1 Maddox Street, Regent Street, where he stayed until about 1835, then moving to 9 Motcomb Street, Belgrave Sq. Throughout this period he advertised as a chronometer and clock maker. Around 1846, he moved again, this time to 30 Granville Square. At some point, possibly around the time of his move to Belgrave Sq. or a bit after, he married Charlotte Wyatt. The couple would have four children together: James Ferguson Cole Junior, Mortimer George Cole, Ada Martha Cole, and Jessie Cole. Both James Ferguson Junior and Mortimer would become horologists. Ada was a painter, miniaturist, and lithographer who exhibited her work at the Royal Academy. She also printed lithograph portraits, most well-known being of the chronometer maker William James Frodsham. It is unclear if she was or was related to the photographer Ada Cole, who was an early campaigner for animal rights. Cole continued to make high-quality, complicated pieces, relocating first to 20 Devonshire Street and then 11 Great James Street during the 1850's, while his place of residence remained 5 Queen Square Bloomsbury.James Ferguson became quite involved with the British Horological Institute from the beginning, becoming Vice President in 1859. Through his involvement, professional watchmakers began to share information with each other, when previously they had kept the most inconsequential of workshop procedure to themselves, fearing competition from others. For decades afterwards it would be said that 'he broke the ' Conspiracy ' of secrecy' amongst watchmakers. Despite this he relinquished the post in 1862, having become sick of the continual bickering and politicking at council meetings. Another BHI member, however, suggested that it was Cole's 'peculiarity of temperament' which caused the unrest during the meetings. Regardless, in 1875, Cole was commissioned by the BHI, for the sum of £100, to write a series of articles which, taken together, would form a Treatise on Isochronism. It was said that this was partially done to prevent the still new British Horological Institute from appearing antagonistic towards Cole; his possibly forced resignation was warned as being 'no compliment to such an eminent man and also bad taste'. The reviews of the Treatise, after it was published in 1877 were mixed with some members commenting it 'was difficult to criticise [the Treatise] because it contained more language than fact' and others protesting Cole's assertion that flat watchsprings demanded on overcoil if they were to keep accurate time. Some defended the Treatise, including a watchmaker named Joyce Murray, who had been practicing for over three decades. Murray claimed that Cole's Treatise was 'the most valuable work on the subject extant'. Murray further stated that 'Had it been published 30 or 40 years ago, when we began to adjust lever watches, the saving of time and mental labour would have been enormous.' This might suggest that politics and personality clashes biased some reviewers.Cole refused to debate the merits of his Treatise with the various BHI members. He died shortly after, in January 1880, though he continued to practice his horological skills until a few years before his death. James Ferguson Jr. moved into his house, Belvedere (later Tower) House, Bexley Heath, and lived there until 1935. In his obituary, James Ferguson Cole Snr.'s, it was noted that he was one of the foremost practical horologists of his time, and in his particular field of study (springing and timing) he was without equal. Paul M. Chamberlain was well-acquainted with James Ferguson Cole Junior, and his summary of James Ferguson Cole Snr. is probably the most apt: 'Exemplary in his private life, a devoted husband and father, brilliant as artist and scientist, he was in every way fitted to rank with the illustrious men of his time.'Good, R. (2001) 'James Ferguson Cole, Maker Extraordinaire', Horological Journal, Vol. 143(5), pgs. 166-170Murray, J. (1877) 'Letters to the Editor', The Horological Journal, Vol. 19 (6), p. 84Donovan, D. (1975) 'Thomas Cole, Clockmaker 1800-1864. Part 1: The Cole Family', Antiquarian Horology, Vol. 9 (2), pgs. 186-189.Cronin, K. (2016) The Ada Cole Story. Available at: https://unboundproject.org/the-ada-cole-story/British Horological Institute (1958) 'The Rumbustious Days when the Institute was Formed', Horological Journal, Vol. 100 (9), pgs. 566-568.Royal Collection Trust (2022) Astronomy explained upon Sir Isaac Newton's principles and made easy to those who have not studied mathematics / James Ferguson. 1756. Available at: https://www.rct.uk/collection/1090094/astronomy-explained-upon-sir-isaac-newtons-principle... For further information on this lot please visit Bonhams.com

Various Artists, 21st Century, House of Fairy Talesthe incomplete portfolio, comprising 18 prints, numbered 45/60 on the spine, each sheet numbered 45/60, published by The House of Fairytales, London, overall 39.3 x 32.5 x 5 cm, (ARR) Note: The full sheets, loose as issued, within the original numbered box with gilt lettering and slipcase. Works including:Simon English, Sugar Plum FairyFrancis Upritchard, Clan of RobEnrico David, Costume designAdam Dant, BogeymanGavin Turk, MelancholiaCornelia Parker, The blue roomSparticus Chetwynd, Bat opera 33Ellen Cantor, Share it with meSimon Bill, Fairy faceDexter Dalwood, CinderellaRachel Whiteread, StorytimeJane Simpson, Swiss cottageGeorgie Hopton, Little windowKiki Smith, Blue girlBob and Roberta Smith, I was Hansel in the school playSimon Periton, Neighbourhood witchJeremy Deller and Alan KaneMat Collishaw, Duty Free SpiritsPlease refer to department for condition report

After Pierre Reymond (French, c.1513-after 1584): A 19th century Limoges style grisaille and coloured enamel oval platter depicting Abraham Rejecting the Goods of the King of SodomBy Samson et Cie, ParisThe central reserve depicting Abraham kneeling before the barefoot king of Sodom resplendent in his armour, the king's right arm raised, his armies to the right, the immediate background with the palace entrance to the left and wooded vegetation with an undulating stream flowing from a far townscape to the horizon, the bottom right with a faint gilt 'C-S' monogram for Samson, set within an interlaced gilt border, the outer rim with an elaborate border depicting mythical winged and cloven footed beasts, chimera, shells, birds, figural terms, caparisoned elephants and chariots all united by foliate scrolls, the reverse with a figure of Hercules within a canopied tent with laurel fronds, vases, snails, winged grotesques and a central mask-head within drapery hung pendant strapwork, the outer rim border with fine gilt scrolls, 48.8cm wide, 38.5cm deep, 6.7cm high overallFootnotes:A comparable Limoges enamel platter by Pierre Reymond, dating from circa 1577, was formerly in the collections of both J. Pierpoint Morgan and William Randolf Hearst but is now in the permanent collection of Los Angeles County Museum of Art. This platter features an almost identical subject and border but lacks the two brownish streams to the landscape which feature on the present lot.In the story of Sodom and Abraham from the book of Genesis, chapter 14, the King of Sodom comes out to meet Abraham and orders him to 'Give me the people; keep the goods.' To this Abraham responds: 'I have raised my hand to the Lord, God most High and have taken an oath that I will accept nothing belonging to you, not even a thread or the thong of a sandal, so that you will never be able to say, 'I made Abraham rich, I will take nothing but what the young men have eaten, and the share of the men who went with me.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

‘It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled’ HAILE SELASSIE I: (1892-1975) Ethiopian Regent Plenipotentiary 1916-30 and Emperor 1930-74. An extremely rare and historically important printed folio copy of the speech made by Haile Selassie upon entering Addis Ababa on 5th May 1941, following the defeat of Italy and the liberation of Ethiopia, four pages printed in Amharic and with the Conquering Lion of the Tribe of Judah at the head, the text stating, in part, 'My People: It was on this day five years ago that the Fascist forces entered my capital and at once Mussolini proclaimed the establishment of the “Roman Empire” in our country of Ethiopia…..In those dark days you, my people, never abandoned hope. Small bands of warriors with old rifles ranged the hills. For five long years the Italian enemy never dared to penetrate the mountainous regions where Ethiopian patriots maintained their freedom in hardship and privation….Immediately before Italy entered the war to snatch what she could from a defeated France, she poured into Ethiopia men, money and munitions……Confident that these mighty armaments could not be assailed the Fascist Government proceeded with its work…..But a mighty change was at hand. It was to be in Ethiopia, for the first time, that the power of the power of the spirit was to be manifested as the ruling power in modern war. It was in Ethiopia that the will of a whole people was first to co-operate with the expert military genius of a valiant and humane nation to form together an irresistible force which should succeed in destroying an army far superior in numbers and equipment. It was long before the British forces, fighting for the cause of humanity in other theatres of war, could come to the rescue of Ethiopia……when the forces of our great Ally were at last released for an effectual attack upon the enemy….I again entered my country and marched with my forces from the far-off frontier on the Sudan into the heart of the Gojjam…..My forces were outnumbered by 20 to 1 and we were without artillery or aircraft. My appearance amongst the patriots at once brought thousands to my side and the enemy's fear magnified these to as many more……I proceeded at once to collect my forces which were scattered in pursuit of the enemy, and to move towards my capital which I have today entered. It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled. It is my firm purpose to merit the blessings which I have received: firstly to show my gratitude to my allies the British by returning the benefit done me; by releasing their Imperial troops for warfare on other fronts and by my supplying them with armed forces wherever they may need them; and, secondly, by re-establishing in Ethiopia Christian ethics in Government, liberty of conscience and democratic institutions. Lastly to you, my people, I say with a full heart, today is a day of rejoicing, today is a day of triumph over our enemies. Let us therefore rejoice but in the spirit of Christ……Do not stain the name of Ethiopia by acts worthy of our enemies. I shall see to it that they are disarmed and are given a safe passage to the place from which they came. And while you treat your enemies with forbearance, you must treat our Allies with the kindness that you show to a brother and a saviour. St. George who slew the dragon, is the patron saint of both our countries. Let us unite in everlasting friendship and amity to oppose this new dragon of Godless brutality that has assailed mankind'. Signed by Haile Selassie in fountain pen ink to a clear area at the head of the first page and dated 1941 in his hand. Also featuring an inscription in Amharic to Captain Richardson. Accompanied by a contemporary printed English translation of the speech. An extremely rare signed copy of what is undoubtedly the most important speech made in the modern history of Ethiopia. Some very light, extremely minor age wear, about EX 

NATALIJA KONSTANTINOVIC - PRINCESS OF MONTENEGRO: (1882-1950) Granddaughter of Princess Anka Obrenovic, she married Prince Mirko Petrovic-Njegos who was promised the Serbian crown in the event of King Alexander I dying childless. But after Alexander´s assassination in 1903 the crown was not given to him. In 1910 Montenegro became a Kingdom, with her father-in-law crowned as first and only ever King, but when the Austro-Hungarian forces invaded Montenegro in 1916 during World War I, the Princess and her family had to flee the Kingdom. A year later she divorced. A.L.S., `Nathalie´, two pages, 8vo, n.p., n.d., `Sunday evening´, in French. The Princess sends a congratulations message to her correspondent on the occasion of the wedding of her son, a heartfelt message considering that Natalija gave birth to five sons, five Princes of Montenegro and only one reached adulthood, stating `Permettez-moi de vous dire combien de coeur je partage avec vous votre joie à l´occasion des fiançailles de votre fils. Il me semble qu´une mère qui a eu le bonheur d´élever son fils, achève son oeuvre le jouir où elle le voit se marier selon ses désirs´ (“Allow me to tell you how much I share with you your joy on the occasion of the engagement of your son. It seems to me that a mother who has had the happiness of raising her son, completes her work the day she watches him marrying according to his wishes”) Small creasing with right corners very slightly clipped. G 

`A piece of letter from me sold in America for 250 dollars and it was in my secretary's hand!´ PETAIN PHILIPPE: (1856-1951) French General of World War I. A cleanly fountain pen ink written A.L.S., Ph. Petain, two pages, on his personal printed 5.5 x 4 card, Paris, 14th August 1916, to a friend, in French. Petain initiates his letter sending his advice and expressing an interesting thought `Vos élucubrations, comme vous dites, loin de me fatigue, m´amusent beaucoup. Aussi je ne saurais trop vous encourager à me faire part des observations qui marquent d´un trait indélébile la sottise de nos contemporains´ (“Your ramblings, as you say, far from tiring me, amuse me a lot. On the other hand, I cannot encourage you too much to share with me the observations which mark with an indelible mark the stupidity of our contemporaries”) Pétain envies his correspondent for being able to afford a hotel in Bretagne, further saying `On nous raconte qu'à l'arrière tout le monde est ruiné, et c'est grâce à cette affirmation, qui, souvent répétée, dévient une vérité, qu'on rogne les frais de service des généraux de l'avant…  Si vous avez besoin d'argent, vous pouvez faire état de cette carte. Un bout de lettre de moi s'est vendu en Amérique 250 dollars et elle était de la main de mon secrétaire!´ (“We are told that in the rear everyone is ruined, and it is thanks to this assertion, which so  often repeated, becomes the truth, that we trim the service costs of the generals in the front... If you need money, you can use this card. A piece of letter from me sold in America for 250 dollars and it was in my secretary's hand!”) EX The present letter is written at the time Pétain is at the Verdun front. 

BHARATI AGEHANANDA: (1923-1991) Austrian academic and Hindu monk. T.L.S., A. Bharati, one page, 4to, Marburg, 15th June n.y., to Dr. Braude, on the printed stationery of Philipps University. Bharati informs his correspondent that he is on a Fulbright Programme until the autumn, although will ask a friend to send him a bibliography, and when back in the United States 'will gladly autograph and send you a copy, or copies of things you might wish to have, on the basis of the bibliography. If I still have them and reprints aren't all gone, I'll gladly share some with you…..And my pictures are there, too, of course, I don't carry them around - do remind me….'. A few minor, very light stains, otherwise VG 

STANHOPE PHILIP: (1694-1773) 4th Earl of Chesterfield. British statesman, diplomat and man of letters, and an acclaimed wit of his time. A fine A.L.S., Chesterfield, one page, 4to, Bath, 1st January 1758, to a lady (Mrs. Kirkby?). The Earl announces 'This day I have eat my share of the best Turkey that ever was eat, for which accept my hearty thanks', continuing to give his best wishes for the health and happiness of his correspondent and her family over many returning years, and further remarking 'Your Cheese which waits for me, in Town, is I am sure by my experience of the last, as good in it's kind; and as for the Ham I do not regret it, being in that respect, by the Law of my Doctors, a Jew'. An excellent letter of 'delicious' content, written in the spirit of a jubilant New Year's Day. VG 

‘I am delaying the execution of this project again this year. I am not satisfied with the result obtained’ CEZANNE PAUL: (1839-1906) French Artist & Post-Impressionist Painter. An excellent content and rare A.L.S., Paul Cezanne, two pages, 8vo, Aix-en Provence, 2nd of April 1902, to Monsieur Vollard, in French. Cezanne explains to his artistic agent the reasons why he has not finished a work and his unsatisfaction, stating, `Je me vois dans l´obligation de remettre l´expédition de la toile de vos roses à une époque ultérieure, quoique j´eusse beaucoup souhaité envoyer au salon 1902! Je retarde cette année encore l´exécution de ce projet. Je ne suis pas satisfait du résultat obtenu´ ("I find myself having to postpone the shipment of the canvas of your roses to a later date, although I had very much wanted to send tit to the 1902 exhibition! I am delaying the execution of this project again this year. I am not satisfied with the result obtained") Cézanne further refers to his studies on painting, a concept he would repeat several times during his late life, and mentions also the new workshop built, saying `D´autre part je ne renonce pas à continuer mon étude, qui m´aura obligé à des efforts qui, j´aime à le croire, ne seront pas steriles. J´ai fait construire un atelier sur un petit terrain que j´ai acquis à cette intention. Je poursuis donc mes recherches, et vous ferez part du résultat acquis, sitôt qu´un peu de satisfaction m´aura été donné par l´étude´ ("On the other hand, I do not give up on continuing my study, which will have forced me to make efforts which, I like to believe, will not be sterile. I had a workshop built on a small piece of land that I acquired for this purpose. I am therefore continuing my research, and you will share the result obtained, as soon as a little satisfaction has been given to me by the study") Paper with a crown drawing watermark. With blank integral leaf. Small overall minor creasing with a tear to the fold edge. G Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc…  

TOULOUSE-LAUTREC HENRI DE: (1864-1901) French Painter, Printmaker and Illustrator. Best remembered for his immersion in the colourful and theatrical life of Paris in the late 19th century, producing elegant and provocative images of the decadent affairs of those times. A good A.L.S., `H. de Toulouse Lautrec´ with his full name, two pages, 8vo, written to first and third page, n.p., Monday, n.d. [1898], to Monsieur de Tinan, in French. Toulouse-Lautrec sends a short but openness mourning message to the father of his friend Jean de Tinan who has passed away, stating `J´aimais beaucoup votre fils. Veuillez dire à Madame de Tinan la part que je prends `avotre deuil et croyez pour vous personnellement à ma grande sympathie´ (“I liked your son very much. Please tell Madame de Tinan how much I share your mourning and believe, you personally, in my great sympathy”) Extremely small upper left corner clip, otherwise VG Jean de Tinan (1874-1898) French Writer. He is remembered as a figure of the Belle Epoque. Jean de Tinan, also known as Jean Le Barbier de Tinan, died at the very early age of 24. He had only published three works. Three more would be published posthumously. 

DECRES DENIS: (1761-1820) Duke of Decrès. French Navy Officer. A very interesting content letter relating to the abolition of the slave trade. L.S. `Den de Crès´, three pages, folio, Paris, 16th April 1815, to “Messieurs les Commandants des bâtiments de guerre français” (“To the Commandants of the French warships”), addressed to the Governor and Intendent of the Guadeloupe, in French. Decrès, in his capacity as Minister of the Marine and Colonies, referring to the return of Napoleon after eleven months in exile on the island of Elba, states `Messieurs, avant que vous puissiez recevoir cette lettre, la renommée aura porté jusqu'à vous la nouvelle de l'heureux retour en France de l'Empereur Napoléon. Dans sa route triomphale, du Golfe Juan jusqu'aux Tuileries, pas une seule goutte de sang n'a été répandue, pas un seul acte de rigueur exercé : l'amour du peuple et l'enthousiasme de l'armée ont tout fait. Le vingtième jour de sa descente à Fréjus était marquée par l'entrée de l'Empereur dans sa capitale ; le quarantième l'a été par l'expulsion de tous ceux qui voulaient s'y opposer, et il n'est pas aujourd'hui un seul point sur la France où le pavillon tricolore ne flotte et où l'amour de la nation ne soit unanime pour le souverain qui lui est rendu avec tant d'éclat´ (Translation: `Gentlemen, before you receive this letter, your renown will have brought you the news of the happy return to France of the Emperor Napoleon. In his triumphal route, from the Golfe Juan to the Tuileries, not a single drop of blood was shed, not a single act of rigor exercised: the love of the people and the enthusiasm of the army did everything. The twentieth day of his descent to Fréjus was marked by the entry of the Emperor into his capital; the fortieth was by the expulsion of all those who wanted to oppose it, and there is not a single point today in France where the tricolor flag does not stand and where the love for the nation is not unanimous for the sovereign… ´) Decrès further refers to the decree of the abolition of the slave trade aproved few weeks earlier and with conviction explains the supposed peaceful intentions of Napoleon, stating `Je vous adresse des collections de journaux, où vous suivrez avec admiration la marche des événements. Vous vous instruirez des principaux actes du Gouvernement Impérial ; vous apprendrez quelles sont les intentions pacifiques et modérées de Sa Majesté; enfin vous remarquerez le Décret du 29 mars dernier qui abolit la traite des noirs. Je ne dissimule point l'impression que pourrait faire cette dernière mesure dans une Colonie où les habitants seraient servilement sous le joug de l'empire des habitudes: mais les colons français ne sont pas en arrière des lumières des temps où nous vivons. La très grande majorité d'entre eux est composée d'esprits sages et réfléchis qui reconnaîtront que l'Empereur n'a fait que proclamer ce que le génie du siècle inspirait et ce que la voix de l'humanité réclamait avec tant d'énergie….On ignore encore si les cabinets de l'Europe partageront les intentions pacifiques de l'Empereur; mais si, par une fatalité déplorable, la guerre avait lieu, je suis assuré qu'aux Iles du vent, comme en France, rien ne sera négligé pour soutenir l'honneur du nom français´ (Translation: `I am sending you a collection of newspapers, on which you will follow the course of events with admiration. You will learn yourself of the principal acts of the Imperial Government; you will learn what are the pacific and moderate intentions of His Majesty; finally you will read the Decree of last March 29th which abolishes the slave trade. I do not hide the impression that this last measure could make in a Colony where the inhabitants would be slavishly under the yoke of the empire of habits: but the French colonists are not behind the lights of the times in which we live. The vast majority of them are composed of wise and thoughtful minds who will recognize that the Emperor has only proclaimed what the genius of the century inspired and what the voice of humanity so forcefully called for. …. It is not yet known whether the governments of Europe will share the pacific intentions of the Emperor; but if, by some deplorable fatality, war should take place, I am sure that in the Windward Islands, as in France, nothing will be neglected to uphold the honour of the French name´) VG At the time of the present letter the Governor of the Guadeloupe appointed by King Louis XVIII was the Count de Linois, and the Intendent was Baron Guilhermy. The Governor refused to recognized the Imperial government and was kidnapped for this reason by General Boyer, supporter of Napoleon, until he accepted to recognize the new government. Only three days after the present letter was received in the Guadeloupe, the Battle of Waterloo took place.   

BONAPARTE JOSEPH: (1768-1844) King of Naples and Sicily (1806-08) and later King of Spain 1808-13, as Jose I. Elder brother of Napoleon Bonaparte. A good A.L.S., `Joseph, Cte de Surevillier´, one page, 4to, London, 13th January 1833, to a lady (`Madame´), in French. Joseph refers to his correspondent´s letter returned from the United States, received via M. Sarrut, and states `..il vous aura dit combien mes opinions ont de sympathie avec les vôtres et les siennes, combien je suis touché de la fidélité de vos souvenirs, combien je désire vous témoigner de vive voix ma reconnaissance et ma tendre amitié pour vous…´ ("..he will have told you how much my opinions share sympathy with yours and his, how much I am touched by the fidelity of your memories, how much I wish to testify to you in person my gratitude and my tender friendship for you..") With blank integral leaf. Very small creasing to the upper right edge, otherwise G to VG Joseph Bonaparte´s correspondent is the Countess Regnaud de St-Jean d´Angely, born Laure Guesnon de Bonneuil 

Ephemera, Share Certificates and Cheques, to comprise 4 pre Victorian/Victorian share certificates and 17 cheques, all different 1827 to 1895 many from provincial banks such as Lancaster Banking Co. Ulverston, Wilts & Dorset, Sharples, Juke, Lucas & Seebohm, Stuckey's Banking Co. Bristol etc. (gd)

Two framed and glazed share certificates

* Attlee (Clement Richard, 1883-1967). 1st Earl Attlee, British politician and Prime Minister, 1945-1951. A group of 5 Autograph Letters Signed, ‘C. R. Attlee’, ‘Clement R. Attlee’ and ‘Clem’, various London addresses, 1919-1944, to his friend Leslie, mostly personal and work news, the first mentioning that ‘I have just got into my rooms here that form part of the premises of the local labour party and I hope you will come over and see them when they are a bit more shipshape – at present painters and electricians are still about the place… I have to do a certain amount of writing which takes up a lot of time besides lectures at the school…’ (28 October 1919); the second apparently congratulating Leslie on her engagement and talking about love, ‘Very many thanks for your kind letter and congratulations. I am glad to hear your news for I quite agree with you that being in love is the greatest thing in the world. I see you have the right symptoms – one feels so happy that one wants everybody to share one's happiness. I hope that the obstacles in your case will be removed. I am most awfully lucky in having the love of such a girl as my Vi[olet], you would, I am sure, I think that she is very charming if you met. We have got a little house at Woodford – are to be married in January, if all goes well. I hope to see you then when we are settled in’ (28 October 1921); the third talking about an election victory, ‘Our majority was very gratifying, though I never had much doubt about increasing our majority. The few casualties are regrettable, but on the whole the result is magnificent. Jack has returned minus his voice, but otherwise full of beans. I will introduce [Benjamin] Greene to Wise if he likes. We had a day off yesterday and went to see Oxford beat Cambridge - some day’ (12 December 1922); the fourth thanking her for her letter and the cheese, telling that their daughter Janet is stationed in Edinburgh being an officer in the WAAF and wondering whether she might look Leslie up sometime, (Privy Council Office letterhead, 1 January 1944); the last with news of his children before changing subject to the War and politics, ‘… So much has perished in the Blitz. As you know I was opposed to the Communist market system but that does not mean that I want to quarrel with Russia. We owe the Russians much for defeating the foulest system on earth, Nazism. There is hope of development in Russia when I hope the [??] side will give way to fine ideals when the pressure of war is renewed. There is no hope in Nazism which in my view is the negation of civilization. I do not understand why you and others who prefer the [???] are so blind to the actualities of Nazism’ (11 Downing Street letterhead, 19 December 1944), a total of 10 pages, second letter dust-soiled, various sizes, plus two of the envelopes, together with 2 further Autograph Letters Signed, ‘C. R. Attlee’, Prime Minister’s 10 Downing Street letterhead, 7 October 1946 & 6 October 1950, being brief notes with birthday congratulations to Leslie’s son Paul, both 1 page, 8vo, the first with a draft reply to verso, plus a copy of a children’s book, Timothy by Elizabeth Ramal, 1953, with ownership name of Paul Greene and a note in an unidentified hand identifying it as a gift from AttleeQTY: (8)NOTE:An unusual cross-section of letters depicting lesser-known parts of Attlee’s life and thoughts over a quarter of a century from his return to local politics following the First World War to the start of his premiership following the end of the War in 1945. Leslie Greene (née Campbell) was evidently a close friend and fellow Labour supporter from London who in 1925 married Benjamin Greene (1901-1978), a British Labour Party politician and pacifist, and a cousin of Graham Greene. Ben worked for Attlee in the Limehouse constituency during the 1923 general election but after his marriage to Leslie he became a businessman. During the Second World War he was interned because of his fascist associations and appealed to the Judicial Committee of the House of Lords against his detention. In the leading case of Liversidge v. Anderson the Law Lords declined to interfere with ministerial discretion on matters of national security and thus refused to review his detention. Ben and Leslie’s son Paul, born in 1937, became Attlee’s godson. Clearly, Attlee continued to carry out some godfather duties by sending birthday letters and book tokens even after Paul’s parents’ political ideas had moved to the far right and made Attlee’s relationship with them untenable, especially so after he became prime minister in 1945.

* Forester (Cecil Scott, 1899-1966). Pseudonym of Cecil Lewis Troughton-Smith, author of the Horatio Hornblower novels. A good series of 7 Autograph Letters Signed, 'C.S. Forester', East Dulwich & Ajaccio, (Corsica), 13 September 1929 to 5 January 1930, to Winifred Lydia Loraine, relating to Forester's play in U97 which was being written for the actor-manager and soldier, Robert Loraine, 11 pages, 4to, together with a small (?unpublished) vintage photograph of Forester sitting under a tree in Corsica, 55 x 80 mm, plus the original envelope used by Mrs Loraine for the letters, a printed share bond from Bombay, addressed to Mrs Loraine in an unidentified hand, plus 3 printed flyers and invitationsQTY: (6)NOTE:Winifred Lydia Loraine (1898-1986) was the second wife of Robert Loraine (1876-1935), flying ace and actor.U97 is a three-act play based on a real German U-boat (UB-116) and its attempted mission to decimate the British fleet. The play was apparently never performed in London, mostly likely because the British public then may not have warmed to a story of the U-boat war from the perspective of German officers. This revealing archive gives much information on the gestation of the manuscript.

* Marconi Wireless Telegraph Archive. An important archive of ledgers, committee books and notebooks for Marconi Wireless Telegraph (M.W.T.), 1897/1970s, including 28 volumes of registers of agreements, 1897/1955; 3 notebooks for meetings of directors, (in the notebook for 1927-36 Marconi has signed his name as present some 60 times); a seal book, 1920-21, with signatures of Alfonso Marconi; a minutes book, 1917-20, with further signatures of Alfonso Marconi; and a register of seals and a meeting of board directors book for Marconi (China) Ltd, 1943-1976, a total of 35 ledgers and notebooks, mostly full/half morocco or cloth, some rubbing, but generally sound and in good condition, folio/oblong folio and 8vo, plus 2 modern albums with approximately 100 photographs from Marconi Research Station at Great BaddowQTY: (37)NOTE:Contents list:Register of Agreements, 28 volumes: 1-7, 9, 11-30, 1897-1923, 1924-1925, 1925-1955, each volume 160pp. + index of handwritten entries (vol. 30 is 176pp. and typewritten), uniform original full burgundy morocco (vol. 30 cloth), oblong folioM.W.T. Co., Ltd. Special Meeting of Directors, 10 February 1927 - 24 November 1936, [136]pp., original full black limp morocco lettered gilt on upper cover, 8voMarconi was present at some of the meetings and has signed his name some 60 times. His last signature is on 26 November 1935. It also includes the signatures of all the other directors who attended the meetings. Together with 2 further notebook of meetings of the Boards of Directors London, from 1937 to 1959, signed by those present on each occasion, including J. C. Denison-Pender and F. R. S. Balfour.Seal Book. No. 10, January 1920 - April 1921, 101pp., original full burgundy morocco (uniform with Register of Agreements volumes), oblong folioEach handwritten entry is signed by several or more attesting directors and an officer including Alfonso Marconi (younger brother of Guglielmo who had helped with early experiments in Italy). The content lists documents concerning foreign patent applications, ordinary and preference share certificates, ordinary share warrants, and other business mattersM.W.T. Co. Ld. Committee Minute Book No. 6, 31 July 1917 - 5 July 1920, 242pp + blank index, tipped-in duplicated list of share certificates, original burgundy half morocco, folioShare certificate documents and patents and other business transactions signed during committee meetings, the minutes signed off by Alfonso Marconi and others.Marconi (China) Limited. Register of Seals, 8 March 1943 - 31 March 1976, 39pp. but largely blank except for 2 double pages + blank index, original burgundy half morocco, folioIncludes power of attorney agreements, share certificate transfers and other business matters. Loosely inserted is a duplicated power of attorney agreement for Ivor George Gardner to act on behalf of the company in Hong Kong, 5pp., stapled, signed by one of the directors.Marconi (China) Limited. Meeting of Board of Directors, 1943-1970, unpaginated but with first 36pp. completed from 1943 to 1970, signed by the 2, 3 or 4 directors present on each occasion, 8voMarconi Research Station at Great Baddow. Two large modern albums, 1970s, containing approximately 100 large photographs showing giant receivers in various remote parts of the world and other equipment and Marconi enterprisesGuglielmo Marconi (1874-1937) was an Italian inventor, electrical engineer and diplomat. He is known for his pioneering work on long-distance radio transmission and for his development of Marconi's law and a radio telegraph system. Regarded as the inventor of radio he shared the 1909 Nobel Prize in Physics with one of his closest rivals in the field, Karl Ferdinand Braun, 'in recognition of their contributions to the development of wireless telegraphy'. In 1897 Marconi founded the Wireless Telegraph & Signal Company (later the Marconi Company). Its aim was to develop the Marconi apparatus commercially; the first manufacturing works were established in Chelmsford in an old silk factory. Over the next few years the Company rented land and buildings in London, Cornwall, North America and elsewhere. In 1901, Marconi achieved communication over 198 miles between the Isle of Wight and the Lizard in Cornwall. In December of the same year, history was made when Marconi transmitted the letter S of the Morse code (three dots) across the Atlantic from Poldhu in Cornwall to Signal Hill, St. John's, Newfoundland. He had taken on John Ambrose Fleming, a brilliant scholar and a skilled practical engineer who had been an electrical advisor to Thomas Edison; Fleming proved invaluable at Poldhu, designing and operating the generator. One of Marconi's ambitions was to give sailors and passengers in challenging or potentially disastrous situations at sea the means to communicate - most clearly demonstrated when the 'Titanic' sank: the distress calls from Marconi's wireless installation on 'Titanic' saved 700 lives.During the 1920s, assisted by C. S. Franklin, an eminent engineer, Marconi turned his attention to short-wave directional transmissions, known as the 'Empire Beam' system. This met with a favourable response and Marconi's dream of global radio communication was established. The company was also involved in the beginnings of public broadcasting in England, the first being a recital performed by the singer Dame Nellie Melba in 1920. A couple of years later the British Broadcasting Company (later 'Corporation') was born and the population could now enjoy radio and later television in their own homes. Marconi believed that wireless would save lives and hoped it would help to bring peace to the world. Shortly before he died he was made Lord Rector of St Andrews University and was heard to say 'Have I done the world good, or have I added a menace?' What began as pioneering experiments in the Italian countryside had, in his lifetime, grown to an international company with many subsidiaries all over the world.The present important archive shows the astounding and rapid expansion of one of the world's great business enterprises in a field that has now assumed global significance - engineering, communications, wireless telegraphy, communications, electronics. The 28 volumes comprising the Register of Agreements cover company business ranging from the purchasing of patents, patent applications and licences, broadcasting licences, tenancy, land and property agreements and bank and company agreements from the very first day of business on July 22 1897. There are also agreements regarding the construction of telegraph stations, inventions, wireless equipment and hire purchase.Five of the volumes in the archive bear the multiple signatures of Guglielmo Marconi, his brother Alfonso, and those of other directors and secretaries in the Company: Henry W. Allen, W. W. Bradfield, M. A Bramston, S. Geoghegan, Godfrey C. Isaacs, Alfonso Marconi, H. Riall Sankey, Henry S. Saunders, S. St. J. Steadman and Sir Charles J. Stewart.

Originalverpackt. 2 x Fashionistas (Nr. 126, Nr. 133 Mädchen im Rollstuhl), 2 x Collector Dolls of the World, 2 x Space Discovery, 2 x 'You can be anything', 2 x Signature (Ballet Wishes, Cocktail Dress), 2 x Made to Move, 6 x div. Barbies, 1 x Signature Looks, 1 x Becky 'Share a Smile' Rollstuhl-Mädchen. H. 28-35 cm (Packung).

A Great War pair comprising War Medal and Victory Medal named to L8373 S.V. Mabb OS2 R.N. Stanley Vernon Mabb was born 7th November 1896 at Weymouth and lived at St Thomas Street, Weymouth. He served as an Officers Steward and Cooks Servant. With his S-459 Certificate of Service noting that he volunteered on the 23rd February 1916, his protection and Identity Certificate stamped 'Supplementary Prize Share Paid' and other documents. *CR: All in good order. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.

BOXED PLAYSTATION, UNBOXED PLAYSTATION, CONTROLLERS, TWO MEMORY CARDS AND A QUANTITY OF GAMES, playstation inside the box was not the one that originally came with the box, games included are Die Hard Trilogy, Wipeout 2097, Tomb Raider III, F1 2000, Toca 2, Gran Turismo, V-Rally, Rayman, Worms Armageddon, Tomb Raider II (x2), Star Wars Episode 1, Wipeout, Colony Wars: Red Sun, Tomb Raider, Missile Command, Paradise Casino and King Of Bowling 2, Condition report: both consoles and all games (except one copy of Tomb Raider II) have been tested and are in working condition, but one of the Playstations has a stiff eject button, and the other has a lid that's hard to close, both consoles share only one power and AV cable between them

TWO BOXED NINTENDO 64 CONSOLES, CONTROLLERS AND A QUANTITY OF GAMES, N64s that are boxed are not the original consoles from the boxes, games include Wave Race 64, Top Gear Rally, Blast Corps (boxed), F1 World Grand Prix (boxed), F1 World Grand Prix II (boxed) and Goldeneye (boxed), both consoles are in working condition (though one of them struggles to detect controllers), and all games except Top Gear Rally are in working condition, though Goldeneye and F1 World Grand Prix's boxes show signs of label tear, both consoles share only one power and AV cable between them

Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure No. 6 bronze with a brown patina on a stone base22 cm. (8 5/8 in.) long (excluding the base)Conceived in 1954 and cast in bronze in 1956, in an edition of 12 plus 1 artist's proofFootnotes:ProvenanceWith Marlborough Fine Art, London, circa late 1950s, where acquired byPrivate Collection, U.S.A.Private Collection, U.K.LiteratureIonel Jianou, Henry Moore, Arted, Paris, 1968, p.79, cat.no.346Robert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, n.p., cat.no.487 (ill.b&w, another cast)Alan Bowness (ed.), Henry Moore Volume 2: Complete Sculpture 1949-54, Lund Humphries, London, 1986, p.45, cat.no.337 (ill.b&w, another cast)John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, p.216, cat.no.308 (col.ill., another cast)Reclining Figure No.6 represents the culmination of a focused examination by Moore of one of his most fundamental themes, the reclining figure. This examination is displayed across a concise group of maquette-scaled figures, numbered 1 to 6 and executed between 1952 and 1954. Moore utilises a variety of treatments across this small group, and together they display the vast breadth of Moore's concern with this motif.Some of the group nod towards classicism, rendered naturalistically and clothed in drapery with precisely described details such as hands, faces and hair. Others recall primitive and ancient carving, with symbolist features that draw upon the Mayan chacmools which had many years prior first ignited Moore's fascination with the reclining form. Some, including Reclining Figure No.6, are abstracted to a greater degree. Their figural forms appear to have been mined from within the sculptor's material itself and are most attuned to Moore's concern with landscape. The legs and arms are denoted by piercings and negative space, hips, and shoulders by refined planes of mass. Their bodies are composed of great peaks and valleys, they are diminutive in scale, but substantial in presence.It was this specific form, Reclining Figure No.6, which Moore deemed so successful that he scaled it up to an eight-and-a-half foot elmwood carving, Reclining Figure of 1959-64 (now in the collection of The Henry Moore Foundation). Over his career Moore carved just six great reclining figure elmwood carvings, the first in 1935, the last in 1978. They are generally considered some of his finest work, in which the artist's control of the wood's broad grain to articulate the undulations of flesh is perhaps the strongest demonstration of his credence of truth to material. Five of the six Elmwood carvings, including the one relating to the present work, are in international museum collections.Interestingly, the maquette for Reclining Figure No.6 (now in the collection of The Henry Moore Foundation) was formed from a skeleton of plaster, over which the artist applied a surface layer of wax. This was an experimental use of materials for Moore, but highly successful. The sturdiness of the plaster allowed for a dynamic architectural form, awarding the figure a powerful rhythmic presence, yet the pliable wax layer affords a finer degree of refinement resulting in a highly nuanced surface.It should be noted that Moore's preoccupation with the present form began with the maquette in 1952-3 and peaked with completion of the elmwood carving in 1964. This period straddles one of Moore's greatest commissions, the monumental 16-foot UNESCO figure of 1956-8 carved in travertine marble. The two compositions share several features such as the enlarged and planed shins, which counterbalance the visual weight of the upright torso, and the alert, raised head which sits above a series of ovoid holes formed by poised limbs.Other casts from this edition are in the collections of the Montréal Museum of Fine Arts, The Henry Moore Foundation and the Milwaukee Art Museum.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Roberts R.A. (British, 1895-1980)The Amateur and The Professional signed and dated 'William/Roberts.70' (lower left); inscribed 'For Hamet/Gallery' (lower right, beneath the mount)pencil and watercolour, squared for transfer36.2 x 47.6 cm. (14 1/4 x 18 3/4 in.) (image); 38.1 x 56.2 cm. (15 x 22 1/8 in.) (sheet)Footnotes:ProvenanceThe ArtistWith Hamet Gallery, London, 28 January 1971, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Hamet Gallery, William Roberts R.A. – A Retrospective Exhibition, 16 February-13 March 1971 (ill.)The present and following lot come from a distinguished family collection in London and have remained in the same private hands for decades. Bonhams were proud to also offer the important 1941 watercolour Demolition Squad from the same collection in June 2018 (sold for £125,000). The present owner recalls the close relationship his parents enjoyed with the Roberts family, with his mother and Sarah Roberts being especially close, and fond memories of visiting the Roberts' home at 14 St Marks Crescent, NW1 as a child for tea and boat trips together on the nearby canal. William, Sarah and their son John moved to St Marks Crescent as tenants in 1946 and latterly became owners of the property in 1951. They were to live there for the rest of their lives. With a firm friendship established and a conviction that William Roberts was among the greatest British artists of their time, the present owner's family admirably set about supporting his work and acquired a number of important examples by the artist.The present work dates to 1970 and depicts Winston Churchill (who had died five years prior) and Pablo Picasso in an informal setting at their outdoor easels. The elder statesman, instantly recognisable by his trademark cigar and formal attire, sits painting under the shade of a parasol. A further box of cigars and an open bottle of red wine (perhaps his preferred Melnik 55?) are ready on the table. By contrast, the Spaniard stands at his easel dressed casually for the weather in hot pink swimwear and flip flops. The difference in their apparel is echoed in their entirely different artistic approaches with Churchill favouring a more traditional style and Picasso as the ultimate Modernist. There is a humour to this fictitious scene (and title) as the esteemed pair were not friends (although they did share a love of painting outside in the South of France), with Churchill once allegedly declaring that if he met Picasso in the street, he would give him a kick up the backside! Picasso, for his part, graciously said of Churchill 'He saved England.... And more than that he saved us all'.The present work may have been prompted by the publication in late summer 1970 of Time's Thievish Progress, a third volume of autobiography by Roberts' bête noire Sir John Rothenstein, former director of the Tate Gallery, in which a chapter was devoted to consideration of Churchill as a painter. Please note that a squared pencil study for this lot may be found in the Tate Archive (Estate of John David Roberts).We are grateful to David Cleall and Bob Davenport for information provided about this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Terry Frost R.A. (British, 1915-2003)Newlyn Rhythms each canvas signed 'Terry Frost' (verso); one canvas further signed and dated 'Terry Frost/1982/5' (verso)acrylic and collage on twenty canvases232 x 308 cm. (91 1/4 x 121 1/4 in.) (including the backboards); approximately 55.9 x 55.9 cm. (22 x 22 in.) (each canvas)Presented as five separate sets of four canvases, within Perspex casingFootnotes:ProvenanceThe ArtistPrivate Collection, U.K.ExhibitedTruro, County Hall (on loan)LiteratureElizabeth Knowles (ed.), Terry Frost, Lund Humphries, Aldershot, 2000, p.131 (col.ill., where dated 1981-88)Terry Frost moved to Newlyn in 1974 with the help of a number of his artistic friends who already lived in Cornwall, and the move signalled a refreshing change for his artwork. While Frost was still living in Banbury, he used to visit Cornwall every so often, staying with Bryan and Monica Wynter. In time Bryan Wynter and Denis Mitchell began to look for a house for Frost to move to, ideally in Newlyn instead of St Ives as the artistic community there had changed so much in the last few years, with Ben Nicholson having moved to Switzerland, Sven Berlin and Guido Morris leaving, and Barns-Graham spending half the year in Scotland. Soon, a house was found in Newlyn at the top of Tredavoe Lane, and Frost's friends stepped in to help again with securing the purchase of the house: lacking ready money for a deposit, John Hoskin and Adrian Heath stepped in with cheques for £5,000 each, with Frost able to pay back their generosity once his own house in Banbury had been sold shortly after. The move to Newlyn was a welcome return back to Cornwall for Frost, and indeed he was surrounded there by a close artistic community again. John Wells and Denis Mitchell both had studios in Trewarveneth Street in Newlyn, Sheila Lanyon was to move to Newlyn shortly after the Frosts arrived, the Wynters lived at St Buryan, a few miles outside Newlyn, while W. S. Graham lived in Madron, which was also close by.Newlyn Rhythms is a joyous and ambitious piece, executed on twenty canvases, giving free reign to the delight in colour and shape that occupied Frost's later years. Organised in a chequered format, the alternating canvases have bright and paler colour schemes, but all share the compositional motif of a central diamond with semicircles which shift around its edges, creating the sense of movement which is akin to a beat or the rhythm referred to in the title.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot 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

Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com