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FRANCIS II: (1768-1835) Last Holy Roman Emperor 1792-1806, who dissolved the Holy Roman Empire after the defeat against Napoleon at Austerlitz. Founder of the Austrian Empire, ruling from 1804 to 1835 as Francis I, first Emperor of Austria. An excellent and cleanly written A.L.S., `Le tres affectionné frere et neveu - François´, one page, 4to, Vienna, 1st of July 1794, to Prince Albert of Saxony, in French. Francis II, in his capacity as Holy Roman Emperor, sends a close letter to his uncle reporting on the birth of his child, stating `..by announcing to Your Royal Highness that the Empress, my very dear spouse, has given birth to an Archduchess, I flatter myself knowing that Y.R.H will share the satisfaction that I feel for such a joyful event..´ With blank integral leaf. Very small repair to the verso and fold, otherwise VG  Prince Albert Casimir August of Saxony (1738-1822) Duke of Teschen. Son of King Augustus III of Poland. His spouse Archduchess Marie Christine was the sister of Holy Roman Emperor Leopold II, father of Francis II. Prince Albert was a notorious Art collector, founder of the Albertina in Vienna, with the largest collection of old master prints and drawings in the world. On 8th June 1794 Empress Maria Theresa of Naples gave birth to Archduchess Marie Caroline who died nine months later in childhood on 16th March 1795.

KENNEDY JACQUELINE & ONASSIS CHRISTINA: Jacqueline Kennedy (1929-1994) Wife of American President John F. Kennedy, First Lady 1961-63; & Christina Onassis (1950-1988) American-born Greek heiress to the Aristotle Onassis fortune as his only daughter with Tina Onassis Niarchos. Very rare and exceptionally interesting Typed Contract Signed, `read and approved Jacqueline Bouvier Onassis´ individually and as Guardian of her children, and  `Read and Approved Christina Onassis´ individually and as Personal Representative of her Father´s Estate, twenty-three pages, folio, London, 7th May 1975. The document being the original Agreement of Family Compromise and Settlement between Christina Onassis (herein called the "Daughter"), and Jacqueline Bouvier Onassis (herein called the "Wife"). The very interesting contract content, in its preliminary part, states in part `Whereas, the Daughter is the sole surviving issue of the late Aristotle S. Onassis…Whereas, the Wife is the surviving spouse of the Father, having been married to him on October 10th 1968 on the Island of Skorpios, Greece… Whereas, on November 25th 1972 in New York, the Father and the Wife each executed and delivered a Mutual Waiver and Release…(copy attached).. Whereas the Father died on March 15th 1975… Whereas, the Wife has claimed that the Waiver was and is invalid… by reason of her status as surviving spouse to share in the Father´s Estate…and the Daughter…has disputed all such claims made by the Wife.. Whereas the Wife and the Daughter each desires…a legally valid and binding compromise, settlement…and discharge for all time under the present and future laws of every jurisdiction throughout the world of any and all claim, right, title…past, present or future..´ Further listing the thirteen agreements clauses, stating in part `..2) Payment to Wife. .. by way of compromise and settlement and on a lump sum (forfaitaire) basis, the Daughter, individually and as the Personal Representative of the Father´s Estate to the Wife in London, England, the sum of $20,500,000 (U.S.) by banker´s draft, issued by a non-United States bank and payable in London…3) Obligations of Wife…4) Children of the Wife. During the marriage of the Wife and the Father, the Wife´s two children by her prior marriage, John Kennedy and Caroline Kennedy, resided with the wife. The Wife, as Guardian of said children, hereby acknowledges on behalf of her children that the Father at no time had any obligation for the support of her children, but that he nevertheless contributed to their support, maintenance and welfare during the marriage…´ Also signed by four witnesses at the conclusion, each party chosen two, and to the front page by the English Notary Public James Malcolm Waugh. Bearing to the front a red notarial seal affixed with bounded green ribbon. A historical document with extremely interesting legal content. EX  Christina Onassis, diagnosed with clinical depression, died at the early age of 37. She was found in her bathtub in Buenos Aires. She had lost her entire immediate family in a three years period, her brother, Alexander, died in a plane crash in 1973 at the age of 24, her mother Tina died of a suspected drug overdose in 1974, and her father Aristotle died in March 1975.

SANTA CRUZ ANDRES: (1792-1865) Andres de Santa Cruz y Calahumana. President of Peru 1827 & 1836-38, and President of Bolivia 1829-39. An excellent L.S., `Sta Cruz´, one page, 4to, La Paz, 22nd December 1831, to Colonel Pedro Torres, in Spanish. Santa Cruz to his correspondent´s letter and states in part `..you refer to the part of the million reward which has been approved by decree for the Liberatory Army at the 1st Bolivian Assembly…the only amount I have been authorized to distribute as been 80.000 p..and having received so many requests, it has been necessary to share the whole proportionally.´, further saying `Nothing would have made me feel better than showing to you my personal consideration, and I will never forget the merit of all the good officers who under my lead have served with such honesty to the American Liberty cause…´ A letter of very interesting historical content. Folded, with small overall age and staining, mostly to edges. G

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

VANDERBILT GLORIA: (1924-2019) American artist, author, actress, fashion designer, heiress and socialite, particularly noted as an early developer of designer blue jeans. A.L.S., with her initial G, on two sides of her personal printed folding letter card, n.p. (New York), 17th April 1990, to Tessa Kennedy. Vanderbilt informs her friend that she has finally moved to 67 East 91st Street in New York, and also provides her with the telephone and fax numbers, further adding 'I wanted to share the enclosed with you'. Accompanied by the original envelope hand addressed by Vanderbilt. Together with the original enclosure, a photocopy of a letter to Gloria Vanderbilt from J. John Mann, Professor of Psychiatry at the University of Pittsburgh, concerning Vanderbilt's son, Carter Cooper, who had committed suicide at the age of 23. Also including Oscar de la Renta (1932-2014) Dominican fashion designer. Ink signature ('Oscar de la Renta') on a printed correspondence card from Harry's Bar in London, further adding his New York address and telephone numbers etc. beneath his signature. One light vertical central fold to De la Renta's card, otherwise VG, 2 Tessa Kennedy (1938-     ) British interior designer whose second husband was Elliott Kastner (1930-2010) American film producer.

‘There was something bewildering, yet interesting in the scene which lay before us’CARTER HOWARD: (1874-1939) British archaeologist and Egyptologist who discovered the intact tomb of Tutankhamun in November 1922. An important typed manuscript, unsigned, with numerous corrections and annotations in Carter's hand, in pencil and ink, ten pages, 4to, n.p., n.d. (1933), being the working manuscript of chapter three ('The Annexe') of Volume III of Carter's work The Tomb of Tutankhamun (1933). The manuscript explains the thrilling moment in which Carter's party enters the crucial section of Tutankhamun's tomb, in part, 'Strange and beautiful objects call for wonder and praise, conjecture and fair words - but are they not all signs of the thought and progress of the Age to which they belong?......In contrast to the comparative order and harmony of the contents of the Innermost Recess, we find in this last chamber - the Annexe - a jumble of every kind of funerary chattel, tumbled any way one upon the other, almost defying description. Bedsteads, chairs, stools, footstools, hassocks, game-boards, baskets of fruits, every kind of alabaster vessel and pottery wine-jars, boxes of funerary figures, toys, shields, bows and arrows, and other missles (sic) all turned topsy-turvy. Caskets thrown over, their contents spilled: in fact, everything in confusion……To exaggerate the confusion that existed would be difficult. It was but an illustration of both drama and tragedy…..Two days of somewhat strenuous work had to be spent in clearing the way to the little doorway…..The southern end of the Antechamber, where the doorway is situated, was occupied by a number of large roof sections of the dismantled sepulchral shrines that had shielded the sarcophagus……The doorway of this Annexe, only 51 inches high, and 37 inches broad, had been blocked up with rough stones and plastered over on the outside. The plaster while still wet had received numerous impressions of five different sepulchral-seals of the king…..The history of this little room may have been unfortunate, but never the less romantic. There was something bewildering, yet interesting in the scene which lay before us. The incongruous medley of material jostled in wanton callousness and mischief concealed, no doubt, a strange story if it could be disclosed. Our powerful electric lamp threw a strong mass of light upon its crowded contents…..The blaze of light illuminated strange objects…..Here a vase and there a tiny figure gazing at one with forlorn expression. There were weapons of various kinds…..a boat of alabaster, a lion, and a figure of a bleating ibex. Here a fan, there a sandal, a fragment of a robe, a glove! - keeping odd company with emblems of the living and of the dead. The scene, in fact, seemed almost as if contrived, with theatrical artifice, to produce a state of bewilderment upon the beholder. When one peers into a chamber arranged and sealed by pious hands of the long past, one is touched filled with an emotion: it seems as if the very nature of the place and objects enforce and hush the spectator into noiseless silent reverence. But here in this chamber, however, where nothing but confusion prevailed, the sobering realization of a prodigious task that lay before one, took the place of that emotion……..Tradition holds that in burial custom each article belonging to tomb equipment has it prescribed place in the tomb. However, experience has shown, that no matter how true the governing conventions may be, seldom have they been strictly carried out……The foregoing are but Such were the general facts and impressions gathered during this final part of our investigations in the tomb……Nothing can ever change the fact that we have undoubtedly found evidence in this tomb of extreme felicity mingled with want of order and eventual dishonour. This hypogeum, though it did not wholy (sic) share the fate of its mightier and kindred mausoleums, it was nevertheless robbed, twice robbed, in Pharaonic times……I am also of the belief that both robberies took place within a few years after the burial. Facts such as the transfer of Akh-en-Aten's mummy, from its original tomb at El Amarna to its rock-cut cell at Thebes, apparently within the period Reign of Tut.ankh.Amen……throw considerable light upon the state of affairs in the royal necropoli at that Age……In any case the evidence afforded by those two burials and by this tomb, prove how the royal tombs suffered even within their own Dynasty. The wonder is how it came about that this burial, with all its riches, escaped the eventual fate of the twenty-seven others in the Valley'. Three of the pages feature relatively lengthy holograph additions to the text and to the verso of the ninth page Carter has drawn two pencil sketches of tomb complexes. An exceptional manuscript. Some light overall age wear and two file holes to the left edge of each page, causing a few small tears and paper loss, none of which affect the text. About VGCarter's drawings of the tomb complex were published in The Tomb of Tutankhamun (KV 62) : Supplementary Notes, (The Burial of Nefertiti? III) by Nicholas Reeves, the British Egyptologist, as part of the Amarna Royal Tombs Project, Valley of the Kings, Occasional Paper No. 5. In the article Reeves provides an explanation of Carter's drawings 'Although at first glance this sketch might appear to record Carter's ruminations on the location of additional chambers within KV 62, a moment's reflection will indicate that this is not the case. The typescript on the reverse of which this drawing was made almost certainly post-dates Carter's failed investigation of the left-hand side of room J's north wall-meaning that, by the time the sketch was made, Carter's hopes of KV 62 being a larger tomb were already in the past……[the] document is a casual attempt to illustrate, for persons unknown, how the Annexe and Treasury within KV 62-pictured in the centre of the sheet-relate to a full-sized royal tomb. The tomb Carter here chose as example, and sketched above KV 62, was WV 22 (Amenhotep III), drawing in neat dotted line the chambers present in that earlier tomb which were missing from the tomb he had found; obviously thrown in as an aside-as reflected in the sloppiness of the line-was Carter's acknowledgement of other chambers running off from the WV 22 burial chamber and of no particular relevance to what he was then attempting to describe.'

Hampshire Shopkeeper. Manuscript Exercise and Account Book of Josiah Pack of Alton, of the four basic mathematical operations, reduction of English money and exchange, reduction of foreign currency, cloth measure, iron weight, time, rules of proportion and other exercises, each with fine copper plate heading followed by worked examples, the accounts (at the other end) from 1748-1766 concerning the sale of cloth, including barragon, drugget, serge, fine woded denim, sallinett and black or white amen, for frequent purchases of national stock, interest payments (3½, 4 and 5%) and rent, original verse 'On Chewing Tobacco Written for the Benefit of G. H.' by J[osiah] P[ack] of 25 rhyming couplets, also signed at the end with initials and, elsewhere, in a slightly later hand a few notes, including 'My son went towards Charlbury on 19th of ye 11 mo: 1770', about half of the leaves blank, contemporary vellum with two blind fillets, cover inscribed in ink Josia Pack Liber Septembris rrvi a d 1727, brass clasps, 20 x 16cm, accounts indexed, unpagenated An unusually well preserved and interesting picture of an early Georgian Quaker Mercer and Shopkeeper in a rural English market town. Josiah Pack (January 13, 1714-May 1, 1768) spent his entire life in Alton. He was the son of Samuel and Mary Pack of Alton. Josiah Pack was buried in the Quaker burial ground adjoining the Meeting House. Almost all of the entries are for the sale of cloth. This example to William Benford is typical: 21.3.1748 "45y[ards] nutmeg-drab chequ'd Drugg[ett] 2s 4d". Several of his customers were contra creditors, including John Churchill, the owner of a vessel "at Pole" [Poole] in which Pack had a quarter share. On 5 March 1761 he paid Churchill 6s 3d "for the carriage of a cask of wine from Gosport" Excellent condition

TALISKER 10 YEAR OLDSingle malt.Even by today’s standards Talisker distillery is a bit out of the way, nestled on the shore of Loch Harport on the west coast of the isle of Skye. This might explain why, in its early days, the distillery frequently changed hands, with owners struggling to turn a profit. It wasn’t until owner Roderick Kemp oversaw construction of a pier in the late 19th century, allowing much easier access for the boats that transported the casks to the mainland, that the distillery’s fortunes began to improve.Despite a minor stumbling block in 1960 when the distillery burned down and had to be completely rebuilt, it has grown to become one of the most recognisable single malt brands in the world.45.8% ABV / 70clDALWHINNIE 15 YEAR OLDSingle 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.43% ABV / 70cl

GLENMORANGIE 10 YEAR OLDSingle malt.Famous for their unique stills, each as tall as an adult giraffe, and their passion for innovation, Glenmorangie remains one of the best-selling single malts in the world. They were one of the first distilleries to experiment with cask finishing; the process of transferring spirit from one cask type to another in order to impart additional characteristics and flavours.To further this agenda of innovation, in September of 2021 Glenmorangie began production at their new “Lighthouse” facility, a futuristic R&D department protruding from the heart of their traditional distillery complex like a monolith from 2001: A Space Odyssey. Off limits to the public, it is home to a “sensory lab” as well as two of Glenmorangie’s signature stills, each of which plays host to several classified modifications. Only time will tell what exciting innovations will filter down to the rest of the industry.40% ABV / 70clDALWHINNIE 15 YEAR OLDSingle 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.43% ABV / 70clGlenmorangie fill level in low neck / high shoulder. Dalwhinnie fill level in high shoulder.

DALWHINNIE 12 YEAR OLD MANAGER'S DRAM 2009 RELEASESingle 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.This rare expression was originally only available to Diageo staff members.Bottle Number: 15257.5% ABV / 70clFill level in mid neck.

Two Egyptian stone bowls Early Dynastic Period, circa 3000-2650 B.C.Both mottle grey and white and of shallow form, with a slightly flattened base, a wheel-cut band around the tondo and in-turned rim, 30.5cm and 31cm diamFootnotes:Provenance:The bowl illustrated on the left: American deceased estate, acquired between 1970 - 1989. Anonymous sale; Bonhams, London, 28 October 2009, lot 10 (part lot).The bowl illustrated on the right: with Galerie Chenel, rue du Bac, Paris.Acquired from the above in January 2011.Private collection, Belgium, acquired from the above.These similarly formed bowls, while of differing recent origins, share similar structures of veining, indicating they came from the same original geological source.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

AN EARLY 20TH CENTURY CONVERTIBLE DIAMOND FLORAL TIARA/NECKLACE CIRCA 1910With seven graduated old mine cut diamond set gold backed silver flower heads, with screw fittings verso, one later, with rose cut and mine cut diamond set foliate links, with a diamond set foliate band below, approximately 12 carats total, with removable tiara frame, the bottom band with a clasp so the two sections can be made into a necklace, with additional brooch and earring fittings, with a fitted Carrington & Co. caseSize/dimensions: the rise of the tiara is 4.7cm high, necklace is 37cm long Gross weight: tiara 57.3 gramsProvenanceThe tiara was made by Carrington in London for Phyllis Elinor Turner (1893-1958) for her presentation at court, possibly at Holyrood Palace in Edinburgh, before her marriage to Gilbert Maxwell Adair Graham on the 19th June 1913. Phyllis and her brother Arthur Turner were born, brought up, and lived their lives in Porto, amongst the 1000 strong Anglo-Portuguese community. She worked tirelessly for poor relief charities in the Douro Valley and was made a Dame of the Order of Christ of Portugal for her charitable work. During World War I Gilbert Maxwell Adair Graham was on the Staff of the Quartermaster General Department at the War Office and received an OBE 1918 and a CBE in 1919. Gilbert's Scottish family had long trading links with Portugal starting in the late 18th century. Their introduction to the port business came in 1820 when John Graham exported 27 barrels of port to Glasgow in lieu of an unpaid debt. By the 1880s the Graham family's port trading was so successful they launched the W. & J. Graham port business. The Graham family purchased their own Portuguese estates in 1890, the Quinta dos Malvados vineyards in the Douro Valley, in order to produce their own port grapes. After many successful years in the port trade, the Graham family sold their remaining share of the W. & J. Graham business in 1970. In subsequent decades decedents of the Graham family have brought other vineyards Douro Valley and have set up a new successful port business with their brand, Churchill's Port.Thence by family descentCondition Report: The principal diamonds are approximately 0.80 carats each, however the depth of the diamonds cannot be measured due to the settings. One of the second largest flower heads to the side of the central flower is a later replacement cast from the other remaining original, the replacement is only noticeable due to the difference in the setting seen from the reverse. The replacement flower head is slightly smaller than the original it was cast from.The two smallest flower heads may have come from an earlier tiara, there is some lead solder behind these two smallest flowers which had been used to fix them in place to the ear stud fittings. There are no other signs of repair to the main gold backed silver tiara/necklace mount.The flower heads measure 13.5mm (smallest), 15mm, 26.1mm (replacement flower head), 27.1mm (original flower head) and 29mm (largest). The diamonds are all present with no obvious replacements, they are mixed clarity (mostly VS - SI, with inclusions visible in some with a 10X loupe); they are also slightly mixed in colour H-K, with some showing slight tinged colour). The nickel tiara frame has had numerous repairs with lead solder patches. The original tightening screws at the side of the frame have been lead soldered into a fixed position.As is common with gold backed silver mounted jewellery of this period, there are no hallmarks or makers marks on the mount. Condition Report Disclaimer

Adam Dix Untitled (1), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (2), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (3), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

FINANCE & BANKING collection of early 20th c. share certificates (Russia, Rhodesia, Bukhara etc.) with a group of early Bank of England government bond certificates, also some cheques (China & England).

English School, 19th century, The coaster ‘Rescue of Guernsey J. Quesnel, Master’ oil on canvas, signed with initials WH lower left and inscribed lower centre 19½ x 23¾in. (49.5 x 60.3cm.) * Notes: The Rescue - According to Lloyds Register of Shipping 1869, the Rescue was built in Guernsey in 1861 by Ogier and was 112.8ft long, 24.9ft wide and with a depth of 12ft. J. Quesnel was her Master, and she was owned by Dorey & Co. John Quesnel was born in Jersey in 1827 before moving to Guernsey in 1852, working as Master of the Rescue from 1862 to 1867. Josiah Dorey, St Sampson’s Weighbridge Master and shipowner ran Dorey & Co. He died in 1887 and it it his son, Onesimus Dorey, who found greater success with Onesimus Dorey Shipowners Limited, whose business sign is now displayed in Castle Cornet, together with other artefacts from the business. On Onesimus’s death, the business passed to his son Cecil and then to his son Peter, who bought two-thirds share for the business in Condor.

A modern mirror with metal wirework sides; together with a cased set of fish eaters and a group of early share certificates, including 'Canadian Pandora Gold Mines Limited' and other similar (a lot)

Four 1930's Middle West Utilities Company share certificates and a bond certificate

A 1908 AUSTRIAN STOCK OR SHARE CERTIFICATE TOGETHER WITH A FRAME OF ADVERTISING FLIERS

A collection of early 20th century Share and Bond certificates from around the world to include 1902 USA First National Bank, Panama, Ottoman, Russia, Bavaria and others Location: A3B

A PAINTED LACQUER 'BASKETWEAVE' BOX AND COVER, DATED 1647China. Of circular shape, the flat top to the domed cover painted in gilt and shades of red, brown, and green with two long-tailed birds perched on flowering peony branches growing from craggy rockwork, all on a black lacquer ground and above a red-lacquered basketweave band to the rounded sides, mirrored on the box supported on a tall spreading foot.Inscriptions: To the base, 'Dinghai (corresponding to 1647) Guilin (city in Guangxi province)' and 'Hong yi jun ban (made by Hong Yijun). To the interior of the cover, 'Hong Jun ban'.Provenance: Collection of Gerard Levy. Gerard Levy (1934-2016), named by Le Figaro as 'The Man with the Carnation' for the flower he would always wear on his lapel, was a revered dealer and connoisseur of Asian art and antique photography. His gallery in Paris, designed by Le Corbusier, opened in 1966, and is today run and managed by his daughter, with the help of her two brothers, both renowned collectors themselves. About his collection, Gerard Levy once said, “The intention was that my collection should be off the beaten track. Should you share my taste, I will know that I was right to collect along these lines. But in any case, I have gained enormous pleasure from my collection.”Condition: Good, mostly original condition with old wear, expected crackling, scattered touchups, and minor old repairs. Small losses and minor chips here and there.Weight: 1,135 gDimensions: Diameter 39.3 cmLiterature comparison: See Arts of Asia, September-October 1985, p. 61, fig. 18, for a closely related food box and cover dated 1635, and p. 62, fig. 19, for a closely related octagonal box and cover dated 1674. For the cover of a circular food box painted in polychrome lacquer with a similar scene of two pheasants in garden, see James C.Y. Watt, The Sumptuous Basket: Chinese Lacquer with Basketry Panels, China Institute of America, 1985, cat. no. 9, pp. 46-47, described as late 16th-early 17th century.Auction result comparison: Compare a painted lacquer circular box and cover, dated to the 17th century and with similar basketweave bands, but of slightly different form and smaller size (27.5 cm diameter), at Bonhams London, in Roger Keverne Ltd Moving On (Part II), on 7 June 2021, lot 565, sold for EUR 3,745 (GBP 3,187).丁亥年漆彩藤編蓋盒中國，藤編圓盒帶蓋，圓蓋的平頂鏡面黑地漆金和上紅色、棕色和綠色繪彩。兩隻有著長長羽毛的鳥棲息在從崎嶇岩石上長出的綻放的芍藥枝上。圈足高且寬大。丁亥年製，應爲1647年。 款識：底部可見“丁亥 桂林”與“洪一俊 办”字樣。盒内“洪俊办”。 來源：Gerard Levy收藏。Gerard Levy (1934-2016) 被費加羅報命名為“康乃馨先生”，因為他總是在領上佩戴著康乃馨花，他是一位受人尊敬的亞洲藝術和古董攝影經銷商和鑑賞家。 他在巴黎的畫廊由Le Corbusier 設計，於 1966 年開業，如今由他的女兒在她的兩個兄弟的幫助下經營和管理，兩位兄弟都是著名的收藏家。 關於他的收藏，Gerard Levy 曾經說過，“我要讓我的收藏與眾不同。如果你我品味相投，我就會知道我收藏的方向是正確的。 但無論如何，我從我的收藏中獲得了巨大的樂趣。” 品相：狀況良好，大部分為原始狀態，有磨損、預期的開裂和舊時修補。 到處都是小缺損失和小開裂。 重量：1,135 克 尺寸：直徑39.3 厘米 拍賣結果比較：比較一件漆繪蓋盒，十七世紀，相似藤編但形狀不同，尺寸稍小 (直徑27.5 厘米), 見倫敦邦翰思 Roger Keverne Ltd Moving On (Part II), 2021年6月7日 lot 565, 售價EUR 3,745 (GBP 3,187)。

Camera Related Items, inculding a Kong KN-Tripod45, a Fijifilm Finepix 5500, Kodak Easy Share digital cameras, a Canon SureShot 60 zoom compact and other items

A Group of Digital Cameras, including a Kyocera M400R, Kodak DC240 Zoom, Pentax Opto S50, S5Z, Canon Power Shot G6, Kodak Easy Share P880 and other models, all in maker's boxes, G-VG, all untested

A Tray of Digital Cameras, including a Konica Minota Diamage A2 and A200, a Minolta 7i, a Casio Bestshot, two Kodak Easy Share and other compact digital cameras, G, all untested

Großer Silberposten ca. 1990 g fein mit zahlreichen modernen Medaillen, darunter "Kanzler der BRD", "Bundeswehr", "Königin der Niederlande", "Taler-Repliken", "Medaillen Ersttagsbriefe Franklin Mint", "Gedenkausgabe Tag der Concorde", "Apollo Soyuz", Silber vergoldete Künstlermedaillen, Papstmedaillen, diverse Personenmedaillen. Teils in den jeweiligen Originaletuis. Dazu Beutel Kursmünzen Alle Welt mit Anteil BRD. Am besten ansehen.| Large silver lot approx. 1990 g, fine with numerous modern medals, including "Chancellor of the FRG", "Bundeswehr", "Queen of the Netherlands", "Taler replicas", "Medals First Day Cover Franklin Mint", "Commemorative Concorde Day", " Apollo Soyuz", silver gilded artist medals, papal medals, various personal medals. Partly in the respective original case. In addition, bag of course coins from all over the world with a share of FRG. Best view.

Tütenposten mit Highlights, darunter 5 DM 1952 D Germanisches Museum, 18 x 10 DM, weitere 27 x 10 DM als Numisblatt, ca. 100 x 5 DM, Anteil Österreich mit 10 x 500 Schilling und mehr, 2 x 1 oz. Maple Leaf Silber sowie Calgary 20 Dollars zu 1 oz., Anteil Dt. Kaiserreich, III. Reich, Münzen Querbeet und und... Bitte ansehen!| Bag lot with highlights, including 5 DM 1952 D Germanisches Museum, 18 x 10 DM, another 27 x 10 DM as a numis sheet, approx. 100 x 5 DM, Austria with 10 x 500 Schilling and more, 2 x 1 oz. Maple Leaf Silver and Calgary 20 Dollars at 1 oz., share German Empire, III. Reich, random coins and and... Please take a look!

Tabula Anemogra Phica Feu Pyxis Navtica (Mariner's Compass with the Winds in Six Languages) SAVE SHARE Tabula Anemogra Phica Feu Pyxis Navtica (Mariner's Compass with the Winds in Six Languages) Hand colored navigation map based on wind directions 17th century. Handgekleurde navigatiekaart gebaseerd op windrichtingen 17e eeuw. 44 x 54 cm

Bronze des Lao-Tse auf dem Ochsen. CHINA, um 1900. Aus drei separat gegossen Teilen zusammengefügt. Der chinesische Philosoph Lao-Tse (Laozi) wird als einer der drei „Hochgötter“ des chinesischen, Daoismus verehrt. Der Legende nach sah sich Lao-Tse, Bibliothekar des chinesischen Staates Chu, durch eine heraufziehende politische Krise zur Emigration genötigt. Auf der Reise auf dem Rücken eines Ochsen wurde er am Shan-Gu-Pass von dem dort lebenden Gelehrten Yin-Xi aufgefordert, seine Lehren mitzuteilen. Darauf spielt die Schriftrolle an, die der heiter und gelassen dreinschauende Lao-Tse hält. Der Ochse bzw. Wasserbüffel, ein in ganz Asien verbreitetes Nutztier, steht für Genügsamkeit, Ausdauer und Pflichterfüllung. H gesamt: 29 cm.| Bronze of Lao-Tse on the ox. CHINA, around 1900. Assembled from three separately cast pieces. Lao-Tse (Laozi) has been worshipped since the 2nd century as one of the three "High Gods" of Chinese, Daoism. According to legend, Lao-Tse, librarian of the Chinese state of Chu, felt compelled to emigrate due to an emerging political crisis. Traveling on the back of an ox, he was asked at the Shan Gu Pass by the local scholar Yin-Xi to share his teachings. This is alluded to in the scroll that Lao-Tse holds, looking serene and calm. The ox or water buffalo, a common farm animal throughout Asia, stands for frugality, endurance and devotion to duty. Height total: 29 cm.

Staunton, Howard. Eigenhändig geschriebener Brief von H. Staunton in englischer Sprache, signiert und nicht datiert. Gefaltetes beidseitig beschriebenes Blatt. Blattgröße 11,3 x 18,2 cm. (63) * Staunton schreibt an einen Herren über den Verkauf von Ausgaben seiner Schachpublikation: „My dear Sir. Your agreement this time makes a perilous gash in my remuneration by lopping off my one third share of the stock of Vol. 10. Under other circumstances I would rather publish the work myself, but I wish that this forthcoming volume should fairly „bring you home again“ against any previous losses, and will therefore forego my claim on the stock stipulating only for 18 instead of 12 of the numbers and that, if a double number is published, I receive the honorarium as for two single Nos. I really think you should print 750. Push the work well & you will sell 500 … By all means send me Chess for Winter evenings & by the bearer if possible. I dare say we can get sonething out of it interesting for the Chron … yours H. Staunton“. Der britische Schachmeister und Schachjournalist Howard Staunton (1810 – 1874) galt zwischen 1843 und 1851 als stärkster Spieler der Welt. Er beschäftigte sich detailliert mit der Eröffnungstheorie, gründete 1841 die erste englische Schachzeitung "The Chess Players Chronicle", gab ab 1845 die Schachspalte der „Illustrated London News“. Nach dem Gewinn des Wettkampfes gegen St. Amant 1843 in Paris wurde er als stärkster Spieler der Welt angesehen. Vergl. dazu unsere Abbildung im Internet. Zustand: Die Blatt ist etwas gebräunt, teilweise stärker und wenig fleckig, mehrfach gefaltet und haben Gebrauchsspuren. Seltenes Sammlerstück.

MINING INTEREST - Mining share certificates for: Orsk Goldfields Limited, The Anaconda Gold Mining Company, Cripple Creek, Colrado (500), West Mexican Mines Limited Share Certificate 1,000 share certificate, The New Mine Sapphire Syndicate, Great Falls, Montana, U.S.A., Moulton Mining Company, Montana and Chivor Emerald Corporation, Delaware.

Ivon Hitchens (British, 1893-1979)Forest: O Hurry to the Ragged Wood signed 'Hitchens' (lower right); further signed, inscribed and dated 'Forest. 'O hurry to the ragged wood,'/1971/by IVON HITCHENS/PETWORTH. SUSSEX.' (on a label attached to the stretcher)oil on canvas51.4 x 105.4 cm. (20 1/4 x 41 1/2 in.)Footnotes:ProvenanceWith Jonathan Clark & Co., LondonPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Ivon Hitchens: Retrospective Exhibition, 16 May-9 June 1973, cat.no.30LiteratureAlan Bowness, Ivon Hitchens, Lund Humphries, London, 1973, p.112As he painted the present work, Hitchens approached his 80th year. He had enjoyed a long and lauded career and his position as one of Britain's dearest modern painters had been confirmed by a major retrospective staged at the Tate in 1963. He continued to paint with fervour into his final decade, with a fresh influence arising from the purchase of a house at Selsey Bill. This coastal property, approximately twenty miles south from his rambling twenty-four-acre woodland estate near Petworth, introduced a vibrancy to Hitchens' palette more riotous than employed in his painting hitherto.There are several themes which dominate the works from this period, among them a group of pictures which employ musical references. Hitchens had long used musical rhetoric to discuss painting, and as early as 1933 stated that he strived to paint the 'musical appearance of things'. In the later years a gramophone was positioned in the corner of his studio to play his wide and varied record collection as he worked (with opera being a particular favourite). His wife Mollie played piano beautifully, which could occasionally be heard from the house nearby. Although a longstanding influence for Hitchens, musical references became more direct in his late paintings, such as the series titled Boat and Foliage in Five Chords. A similar, although less prevalent, influence of this period can be traced to Hitchens's enjoyment of poetry. He kept a much-marked copy of Shelley by his bed and would quote Tennyson when the occasion called. The present work is one such example, taking its title from the first line of the final stanza of W.B. Yeats's 1904 poem The Ragged Wood. A tale of mismatched love, it concludes: O hurry to the ragged wood, for thereI will drive all those lovers out and cry O, my share of the world, O, yellow hair!No one has ever loved but you and I. Yeats's woodland setting will have likely appealed to Hitchens's sensibilities, and he painted another work by the title O Hurry Where by Water Among Trees, taken from the poem's first line.We are grateful to Peter Khoroche for his assistance in cataloguing 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

CORNWALL – ACCOUNT BOOKManuscript account book of James Barker of Coverack, with ownership inscription 'James Barker His Book' on reverse of front endpaper and 'James Barkers/ Book 1786' on back endpaper, comprising early entries for haberdashery and cloth ('for a Hatt', '...I yd ½ of holland... 16 buttons... thread... pins... fustain... druggett') and other goods such as sugar and candles, later entries concerning nautical matters ('...Re'd for the Little Boat Share of Copper... for Loading of Goods out of Henry Robarts...'), trading in fish (mackerel, pilchards etc.), brandy, rum and gin, repairs, piloting and landing of goods ('...For Landing Captain Martin... for Pilateing a brig from America...'), and salvage ('... share of the wreck Salvd from the brill...'), noting profits from voyages ('...1794 January 6th the Harmony sailed the first trip for Guernsey...'), with mention of local names and places ('Mr Sandys of Pengarak', 'Theophyllus Johns', 'Cousen Batt the Dockters son', 'Joseph Rogers Trebarweth'), notes on the family ('...August 9th 1789 George Barker was born/ at 11 Oclock in the morning...'), and events ('...November 5 1788 the Maccrony saild for Guernsey with Anthony Barker, Nicholas Hoskin, Philip Hicks & Francis Lowry on Bord and have not been heard of Since...'), some entries inverted, others struck through, 44 leaves, c.11 either neatly cut or roughly torn away with loss, dust-staining, ink blots and other marks, edges frayed, slightly later brown wrappers, rebacked, loose within contemporary limp ruled vellum stitched over later card, marked, worn and stained, 480 x 190mm., preserved in a black solander box, 1730's to 1790'sFootnotes:'FOR PILATEING A BRIG FROM AMERICA': An account book used by several generations of a Cornish piloting family.Whilst early entries in our volume relate to trade in haberdashery and concern cloth, buttons and other accoutrements, by the latter half of the century, the Barker family appear to have concentrated their efforts on piloting. The volume bears the ownership inscription of James Barker of Coverack (1747-1840) who is listed as a licenced pilot in the Compulsory Pilotage Notice for 1809 (the year licensing of pilots was first introduced). The Barker family of Coverack plied their trade as pilots for several generations, using their skilled knowledge of the coastline to help guide ships safely round the treacherous Cornish coast, boarding ships and providing information to the ships' masters on unfamiliar tides, currents and underwater hazards (Knight, T., 'Falmouth Pilots of the late Nineteenth Century', Troze: The Online Journal of the National Maritime Museum Cornwall, December 2019, Vol. 8, No. 1). Judging from the entries in the present volume, the Barkers were involved in several operations, not only piloting and landing of goods but rescue and lucrative salvage operations as well as trading in fish, rum and gin. The account of the Bodmin Sessions for 4 October 1808 also identifies James Barker as a fish curer: '...shipped at Liverpool 2,800 bushels of British fishery salt to carry it to Coverack, in parish of Gweek, on account of James Barker, fish curer. During a storm on the voyage they lost 65 bushels 22 lbs. of salt...' (Archives and Cornish Studies Centre, ref. QS/1/7/555). One particularly poignant entry in our volume amongst the columns of pounds, shillings and pence serves as a reminder of the dangers faced by those who made their living on the seas: '...November 5 1788 the Maccrony saild for Guernsey with Anthony Barker, Nicholas Hoskin, Philip Hicks & Francis Lowry on Bord and have not been heard of Since...'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

The Land Bank of Egypt 1905 £5 share Certificate. An attractive document, blue on white with coupons

NCU Company 1925 Share Certificate for 333 shares of Capital Stock, fine vignette of oil wells (Delaware)

Compañía Salitrera De Tarapaca Y Antofagasta - 1934 - Chile. Two 1934 share certificates for 10 & 100 shares. Beautiful vignette of man sowing seeds.

Gulf, Mobile And Ohio Railroad Company - 1952. Share certificate for 100 shares of common stock. Vignette - classical allegorical figures aside a locomotive.

Pittsburgh, Allegheny and Manchester Traction Company, 1893 Share Certificate, vignette view of Pittsburgh

British Guiana- 1910 - The Essequibo and Tobacco Rubber Estates Limited. Share certificate very rare.

Baku Consolidated Oilfields Limited Share certificate, 'B' fully paid ordinary shares (Waterloo & Sons) unused.

Two Derby custard cups and covers, circa 1810Of bucket shape with angular handles, the gently domed covers with globular finials, finely painted with botanical specimens, probably by William 'Quaker' Pegg, the crest of a snake painted in between the specimens, 9cm high, crown, crossed batons and D marks in red, 29 in puce (4)Footnotes:ProvenanceBonhams, 8 September 2004, lot 227 (one only)G C Bond CollectionTwo more cups from the same service are in the Royal Crown Derby Museum and are illustrated by John Twitchett, Derby Porcelain (2002), p.196. See also p.133 for eight plates of the pattern. The service may have been ordered by a member of the Cavendish family, but a number of other families share the same crest.For further information on this lot please visit Bonhams.com

A quantity of Victorian and later British Empire, Commonwealth and Foreign postage stamps, loose and in albums, together with a selection of newspapers referring to US Presidents including Kennedy Assination etc, Islas del Guardalquiui share certificate, foreign banknotes etc 

A diamond set armorial brooch featuring a pair of hounds en rampant flanking a shield engraved with ears of corn, above the motto I Hope to Share, with en rampant horse above, diamond set overall with ruby highlights, unmarked white metal/platinum? set, 5 x 6 cm overall, approx 16 all inNo losses, damage or repairs

George VI and Elizabeth Silver Wedding interest - a portrait of the couple with Royal cypher in silver and inscribed "Silver Wedding 1923-1948", the photograph with printed signature and note below "We are much touched to receive the beautiful Silver Wedding Present from all at Sandringham. We are most grateful not only for your share in the gift of the silver partridges, but also for your loyal greetings & best wishes to us on the 25th Anniversary of our Wedding Day". Item is creased and dog-earred with stains as expected etc. 34 x 25cm.

A Disney Share a Dream Come True musical globe

A PAIR OF GEORGIAN MAHOGANY FRAMED GREEN UPHOLSTERED OPEN ARMCHAIRS on stretchered square reeded supports, 90cm high x 63cm wide x 70cm deep (2) Condition Report:Both chairs are in a good general condition with sound joints to arms, supports and stretchers though there is some surface throughout frame. There is also a small repair to the arm of the one of the chairs possibly using wood from another source Both chairs share the same heights and were sourced from the same home they have however been upholstered in differing fabrics one with strand gimp along edges

COLLECTION OF STOCK AND SHARE CERTIFICATES,with US railroad interest including New York Central, Northern Pacific, Belding Heminway, West Shore and further similar including Sociedad Anonima Hidroelectrica Iberica, all loose

Dickens (Charles) Sketches by Boz, Illustrative of Every-day Life, and Every-day People, 2 vol., third edition, frontispieces and 14 plates by George Cruikshank, foxing and offsetting to plates, vol.2 title torn with tape repair to margin of title and frontispiece, ink name to endpapers, original cloth, spine ends and corners bumped, vol. 2 with two cloth repairs, light toning to spines, new endpapers, 1837; Sketches by Boz: The Second Series, first edition, first issue without list of plates at foot of Contents, half-title, etched frontispiece, additional pictorial title and 8 plates by George Cruikshank, tissue-guards, browning to plates margins, faint contemporary ink ownership inscription to head of title, label to pastedown covering bookplate, polished calf, gilt by Hatchards, spine gilt in compartments, light rubbing to joints, 1837, [Eckel pp. 11-13; Hatton and Cleaver pp.89-128; Smith I, pp.1-16], John Macrone; "Boz". The Posthumous Papers of the Pickwick Club, 5 vol., vol. 1 second edition, vol.2-5 first American editions, advertisements, foxing, vol. 1 hinges weak, contents shaken and title working loose, original cloth-backed boards, paper labels to spines (rubbed and chipped), shelf-lean, fraying to spines, rubbed, wear to extremities, 8vo, Philadelphia, Carey, Lea & Blanchard, 1837, 8vo (8) ⁂ Sketches was Dickens' first published book. Though sales were brisk, Dickens' share of the profits was only a tenth of that earned by the publisher. With publications of Pickwick and Oliver Twist doing well, he gained backing from Chapman and Hall to purchase the rights to Sketches from Macrone, leading to its publication in parts from November 1837 and an appearance in a one-volume edition in 1839. Meanwhile, the first American editions of "Boz", parts 1-4, preceded the English first book edition, and were published without Dickens' consent. These infringements on his intellectual property were a constant source of annoyance for Dickens. Carey would offer the author £25 for the parts they had already printed but Dickens declined the money on point of principle.

Rolex. A fine and rare stainless steel automatic calendar dual time wristwatch with bakelite bezel from the family of the original owner who flew in the RAF from 1944 and later as a commercial pilot until 1988Model: GMT Master 'Pepsi'Reference: 6542Date: Circa 1960Movement: 25-jewel Cal.1030 automatic, adjusted to 5 positions & temperature, No.N830119Dial: Black, luminous dot hour markers, baton quarters, gilt outer minute divisions, magnified roulette date aperture at 3, polished Mercedes hands with luminous inserts, centre seconds, arrow tipped red dual time handCase: Brushed and polished tonneau form, screw down back and crown, blue and red Bakelite bezel insert, No.597529Strap/Bracelet: Associated black leatherBuckle/Clasp: Steel buckleSigned: Case, dial & movementSize: 38mmFootnotes:The current lot is offered on behalf of the family of the original owner who flew in the RAF from 1944 and later as a commercial pilot until 1988. The family have been kind enough to share the following details with us. This is an extensive list of accolades and items that the family have come across which highlight a magnificent career in the military. They will not be included with the watch and are for representation only.1.RAF Aircrew categorisation card – Pilot2.RAF Pilot's Flying Log Book completed from 1952-19833.UK CAA Airline Transport Pilot's Licence 1/8/19734.UK Ministry of Aviation Private Pilot's Licence 16/1/19665.USA Dept of Transportation Federal Aviation Administration Temporary Airman Certificate 31/1/19706.UK Board of Trade Civil Aviation Dept Airline Transport Pilot's Licence 1/8/19887.UK Ministry of Civil Aviation Flight Engineer's Licence 7/2/19518.RAF Flying Log Book for Navigators/Air Bombers/Air Gunners/Flight Engineers completed from 1944-19489.RAF Flying Log Book for Navigators/Air Bombers/Air Gunners/Flight Engineers completed from 1949-195210.No 9 Flight Training School APO Graduation Trophy11.RAF Station Kirton-In-Lindsey Graduation Trophy12.Copy of entry in The London Gazette 4th June 1954 Showing Appointment to Commission as Pilot Officer13.Thanks for service letter from Secretary of State for Air 22nd April 196314.1969 Trans Mediterranean Airways (Tradewinds) ID card15.Tradewinds Crew bag tag16.British Airline Pilot's Association Membership card17.Medals:a.1939-1945 Starb.Atlantic Starc.1939-1945 Defence Medald.General Service Medal SE Asia (Malaya) 1945-46e.1939-1945 War Medalf.Indian Independence Medal18.Captain's uniform blazer and cap19.Operation Plainfare (Berlin Airlift) tankard presented by 511 Sqdn for completion of 250 sorties20.Presentation plate from Far East Communication Squadron 1958-195921. Airwork Services Training Certificate for Instrument Rating dated 2nd March 196422. British Eagle International Airlines Employee Identification cardFor further information on this lot please visit Bonhams.com

[Bradshaw, George]. Lengths and Levels to Bradshaw's Maps of Canals, Navigable Rivers, and Railways. From actual survey. Taken from a datum of six feet ten inches under the sill of the Old Dock Gates at Liverpool. Dedicated to Thomas Telford, 1st edition, London: T.G. White and Co., 1832, folding engraved map, bound with at front, Lengths and Levels to Bradshaw's Maps of the Canals, Navigable Rivers, and Railways, in the Principal Part of England. Dedicated to Thomas Telford..., 1st edition, London: Printed by E. Ruff, 1833, bound with, London and Birmingham Railway MDCCCXXXIII Capital £2,500,000 in shares of £100 - Deposit five pounds per share, 1833, folding prospectus plan with text to verso, near-contemporary cloth, light wear to spine, slim 8vo, together with:[Bradshaw, George], Bradshaw's Canals and Navigable Rivers of England and Wales. A Handbook of Inland Navigation for Manufacturers, Merchants, Traders, and others: Compiled, after a Personal Survey of the whole of the Waterways, by Henry Rodolph de Salis, London: Henry Blacklock & Co. Ltd., 1918, folding colour lithograph map contained in rear pocket, original green cloth, 8voQTY: (2)

Cundy (Nicholas Wilcox). Reports on the Grand Ship Canal from London to Arundel Bay and Portsmouth, with an abstract of Messrs Rennie and Giles's report thereon, London: Thomas Egerton [& others], 1827, two hand-coloured folding lithograph maps and one folding lithograph sectional diagram, occasional damp staining mostly to text, edges untrimmed, original boards with recent cloth spine, 8vo,Cundy (N.W.), Imperial Ship Canal from London to Portsmouth. Mr. Cundy's Reply to Anonymous and other Authors of malignant abuse and misrepresentation, on his projected line, furnishing truth for libel; with plan of surveys, &c., London: Sold by Messrs. Rivington, Parbury, Allen, & Co., 1828, folding lithograph map, some browning to text margins, edges untrimmed, original printed wrappers bound-in, modern blue cloth, slim 8vo, plus Prospectus for making the Grand Imperial Ship Canal from London to Portsmouth. In 40,000 shares of £100 each, [1827], 3pp., folded as issued, folio, plus an unused Grand Imperial Ship Canal share certificate receipt for twenty shares, printed on pink paper, approx. 15 x 33.5 cmQTY: (4)NOTE:Nicholas Wilcocks Cundy, a distinguished civil engineer, proposed the ship canal scheme in 1824 when canal fortunes were at their peak. The scheme was to commence at Rotherhithe, with the line passing through Malden, Epsom, Leatherhead, Dorking, Ockley, Newbridge, Amberley, and Arundel, with a branch to Chichester. The 78-mile long canal was to cost £4 million and being 28ft deep and 150ft wide, would have enabled large vessels to sail from end to end in 12 hours.

STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE INCRUSTÉ D'ARGENTVALLÉE DE SWAT, VIIE SIÈCLEHimalayan Art Resources item no. 4833 10.5 cm (4 1/8 in.) highFootnotes:A SILVER INLAID COPPER ALLOY FIGURE OF BUDDHA SWAT VALLEY, 7TH CENTURY 斯瓦特 七世紀 銅錯銀佛陀像 Published: Arman Neven, Sculpture des Indes, Brussels, 1978, p. 72, no. 30. Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.70, pl. 3E. Jan van Alphen, Cast for Eternity, Antwerp, 2003, pp. 70-1, no. 14. Exhibited: Sculpture des Indes, Société Générale de Banque, Brussels, 8 December 1978 - 31 January 1979.Cast for Eternity, Antwerp Ethnographic Museum, Belgium, 12 April 2005 - 26 June 2005. Provenance:With Claude de Marteau, Brussels, by 1970s The bronze-caster has skillfully conveyed the Buddha's enlightened consciousness with a compassionate expression illumined by silver-inlaid eyes and urna. The iconography of the Seated Buddha raising his right hand in the gesture of reassurance (abhaya mudra) is rather unusual for sculptures of the Swat Valley, most of which depict him extending his right hand in the gesture of charity (varada mudra) instead. The iconography derives from earlier Gandharan sculptures (see for example, a 6th-century Gandharan standing Buddha at the Metropolitan Museum of Art, New York, 1981.188a,b), suggesting that the present work is likely among earlier sculptures created in the Swat Valley around the 7th century. In the 5th century, the Swat Valley, located in the foothills of the Hindu Kush mountains in modern-day Pakistan, served as a refuge for Buddhist practitioners, as Huns raided the monasteries scattered throughout ancient Gandhara's lush plains. Buddhist bronzes from the Swat Valley therefore constitute an important artistic and religious link between the former civilization of Gandhara, the Gupta period of Northern India, and the rising states of Kashmir, Gilgit, and Western Tibet. Here, the pronounced parallel folds of Buddha's robe are clearly inspired by the Gandharan style, which was in turn influenced by Hellenistic traditions. On the other hand, his pronounced eyes, fleshy cheeks, incised long eyebrows, and small hair curls are all congruent with the Gupta idiom. While, the thick, V-shaped pleats around his neck are commonly seen in later Kashmiri bronzes. Several stylistic features of the present sculpture are consistent with other early Swat Valley images attributed to the 7th century. The treatment of Buddha's robe, using parallel folds to emphasize volume while revealing supple musculature around the chest, is closely related to two other 7th-century bronzes – one formerly in the Lahiri Collection (Christie's, New York, 14 March 2016, lot 44), the other in the Los Angeles County Museum of Art (Pal, Bronzes of Kashmir, 1975, pp. 88-9, no. 20). The three bronzes also share the same facial and lotus petal types. The distinctive, tightly-waisted lotus base, with artichoke-shaped petals covering the lower half and a plain, conical upper half, compares closely to another Swat Buddha at the Harvard Art Museums (1989.57). Also see other Swat bronzes made during the 7th-8th centuries published in von Schroeder, Buddhist Sculptures in Tibet, Vol. 1, 2001, pp. 32-3, nos. 2A-E.For further information on this lot please visit Bonhams.com

STATUE DE MANJUVARA ET PRAJNAPARAMITA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DATÉ 1779 APR. J.-C.The back of the base has a dedicatory inscription dated Samvat 899 corresponding to 1779 CE.Himalayan Art Resources item no. 4854 32.5 cm (12 3/4 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF MANJUVARA AND PRAJNAPARAMITANEPAL, DATED 1779 CE尼泊爾 1779年（據銘文） 銅鎏金文殊金剛及般若波羅蜜多像Provenance:With Claude de Marteau, Brussels, by 1970s Identified by the sword and manuscript he brandishes in his primary hands, Manjuvara is a three-headed and six-armed tantric form of Manjushri. Seated in royal ease (lalitasana), he is joined in blissful union by his diminutive female consort, Prajnaparamita, who embodies the sutra of the same name. Here, she comfortably mirrors her consort's seated pose as she pinches the stem of a blue lily in the gesture of teaching (vitarka-mudra). The bronze's inscription, translates to: 'May it be good: The third of the bright half of Phalgun, in the year 899 (ca. February 1779 CE) was the day on which (this) statue of Mahamanjushri, made in their own names by Chikidhikara Vajracarya and his wife Jaya Lakshmi, residing in Dharmadahtu Mahavihara of the great city of Shankapura, (Mod: Sankhu) was consecrated. May it be good.' Bonhams is grateful to Ian Alsop for his assistance with translating the inscription. This consecration by husband-and-wife donors supports a more romantic interpretation of the divine couple, as Dr. Pal observes, 'when Prajnaparamita holds a blue lotus, the book placed on it is the Kamasastra, the manual of physical desire rather than the lofty Paramita treatise. Curiously, Manjushri is sometimes identified specifically with Kama, god of desire' (Pal,Asian Art At the Norton Simon Museum, vol. 2, 2003, p. 96, no. 62). Although relatively slimmer in proportion than their Early Malla counterparts, images from the Late Malla period are often adorned with elaborate, flaming aureoles to stress the cosmic power of their respective deities. Examples of Manjuvara-Prajnaparamita pairs that share this double-layered arch can be found in von Schroeder, Indo-Tibetan Bronzes, 1981, pp. 389, 391 & 392, nos. 106F, 107F & 108C.For further information on this lot please visit Bonhams.com

WHERRY MINING COMPANY SHARES. A share certificate, dated 1836, for two shares of the Wherry Mining Company, Mount's Bay, Penzance, a unique Cornish mine in that its shafts were offshore of Penzance in Mount's Bay. Also, a photograph of the cast iron rising main still in situ today & the booklet 'A History of Wherry Mine, Penzance' by Peter Joseph.  Please note that all items in this auction are previously owned & are offered on behalf of a private vendor. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

A group of ephemera including 1896 Illustrated Map "Dr. Nansen's Polar Expedition" by J Krum, 1916 War Saving Certificate, 1881/82 New Zealand Consolidated Stock- £4 per share to the value of £7,000 and £10,012 with associated letter, 1888 Paper-lace Valentine and Love Letter, Silk Postcard Card, Special Operations Lincheon Savoy Hotel I960 programme and list of speakers, fornt cover designed by Jean Cocteau and other items.

FREDERIC MARÈS DEULOVOL (Portbou, Girona, 1893 - Barcelona, 1991)."Child", ca. 1925.Bronze sculpture.Signed on the base.Size: 28 x 12 x 23 cm.Frederic Marès trained at the School of Arts and Crafts in Barcelona, later completing his studies abroad. Shortly after completing his training, he joined the teaching staff of that school, a task he did not abandon until his retirement in 1964. Marès' two main activities, that of sculptor and that of collector, frequently overshadowed his important teaching career, in which he came to share the directorship of the School of Fine Arts and the School of Applied Arts and Artistic Trades of Barcelona, and even combined them, for a brief period, with the presidency of the Royal Academy of Fine Arts. Marès began to work in the workshop of the modernist sculptor Eusebi Arnau, later becoming independent. He is currently represented in the museum that bears his name in Barcelona.

Sven Berlin's 1946 prescription for 100 benzedrine tablets - dispensed by T C Leddra, The Rexall Pharmacy, St Ives, Cornwall. Together with Svens National Registration Card, dated 1950, full address The Tower, The Island, St Ives, Cornwall and Sven's Army 'Free Leave Travel' pass for travel to Northfield Military Psychiatric Hospital.Benzedrine tablets or 'whites' are mentioned a few times in The Coat of Many Colours, Sven would regularly share his prescription with close friends such as W S Graham and Bryan Wynter. 'I was in the Tower absorbing the shock when Bryan Wynter dropped in for some benzedrine', W S Graham wrote to Sven around the time he was writing Nightfishing '''...try and round up a good team of whites!'' This meant, could I (Sven) send him some benzedrine tablets, which I had introduced to him during this time, and of course he loved them. They were such a help in his state of poverty and the accompanying despair. I had a prescription from a doctor who treated me for depression after the war and I was able to get a new supply every week.'

Tony O'Malley HRHA (1913-2003)Arrieta-Orzola (Lanzarote)Oil on board, 91.5 x 122cm (36 x 48'')Signed and dated (19)'88; also signed, inscribed and dated 1988Provenance: With Taylor Galleries, label verso.Literature: Brian Lynch 'Tony O'Malley', published by Scholar Press in association with Butler Gallery, 1996, p.235.The image was used to illustrate an Irish 44p stamp as part of the Europa Contemporary Art Series of stamps, 1993.As a self-taught artist Tony O’Malley’s work did not fit with the prevailing and more traditional styles of Ireland in the 1950s. His initial training and then subsequent relocation to St Ives provided him with an important artistic community with whom he could share ideas and draw inspiration. Much is already known about O’Malley’s ill health and need for a warmer climate which provided the subject matter number of works of the Canary Islands and the Bahamas. While rejecting the term ‘abstract’ in order to describe his works, he recognised his paintings as non-figurative, devoid of objects or people. They were instead reflections of his experiences in nature, observations of what he had witnessed and felt at the time. They are deeply emotive, lyrical and energetic expressions of the world around us.  O’Malley used a range of visual signifiers that often appear across different works, repeated symbols and marks made on the canvas. As in this instance, he is using the end of the brush to scratch lines into the red paint. They draw the eye to the texture of the painted surface but also may suggest the wings of a large bird soaring in the sky overhead. This potential viewpoint looking down on the dark red sands of the island, the distinctive red ochre colour caused by various volcanic eruptions, changes our perspective of the composition. We can see how he uses colour and shape to delineate the different sections of the landscape. The pinks and greens on the edges of the canvas, as flowers and foliage, the dark blue at the bottom, possibly a small rock pool on the beach. This darker colour palette creates a greater depth of tone and exudes a warmth that is often absent in his other works.  Throughout his career he made a series of works based on Lanzarote, a place he often visited with his wife Jane in the winter months of the year. This example takes inspiration from the small costal village of Arrieta located in the northern most townland of the Island. Its verdant sub-tropical climate is populated by Canary Island date palms, ferns and wild olive trees. There is vibrancy and warmth coming from the painting. Gestural shifts in the composition, introducing small sections of colour, varying shapes and lines make the work vibrate with movement. Something is taking flight soaring above us or swimming just beneath the surface of the water. There is a liveliness to his Lanzarote works with his depictions of the landscape here evoking a magical atmosphere by which we get swept up in.  Niamh Corcoran, May 2022

Jack Butler Yeats RHA (1871-1957)The Bridge at Skibbereen (1919)Oil on canvas, 46 x 61cm (18 x 24")SignedProvenance: Sold by the artist to Dr Carey, London, 1950; Victor Waddington, London; With Theo Waddington Fine Art; Private Collection, DublinExhibited: Dublin, August 1920, Society of Dublin Painters; Limerick, September 1945, Goodwin Galleries; New York, November 1971, Coe Kerr Gallery, Centennial Exhibition; Dublin, September/October 2004, Douglas Hyde Gallery, Jack B. Yeats Amongst Friends, cat.no. 3; Dublin, October 2010, IMMA ‘The Moderns’; Skibbereen, Co. Cork, July/October 2018, Uillinn, West Cork Arts Centre, Coming Home: Art and the Great Hunger.Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London 1992, No. 116, vol.1In the summer of 1919 Jack B Yeats visited Skibbereen, in Co. Cork, drawing and sketching the surrounding landscape. He wrote to the American collector, John Quinn, telling him that ‘There was good painting ground near to the town. All the creeks and islands of the bay were delightful…’.[1] Yeats produced several oil paintings based on the scenery of Skibbereen and Schull. The Bridge, Skibbereen is the largest and most ambitious of these works and was exhibited at the inaugural show of the newly formed Society of Dublin Painters in 1920.Two boys and two young women stand on a bridge overlooking the river Ilen. Below them is an expansive view of the surrounding hills and the undulating flow of the water through the countryside. Two horses stand in the field below. The bridge is the old metal bridge which spanned the Ilen river and which was removed in 1963 and replaced by the more modern John F. Kennedy Bridge, the following year. The bridge was located beside the West Cork Hotel, a popular destination for tourists.[2] Its stone capstone and metal railings separate the figures from the view, creating an unusual and modern composition. The fashionably dressed young women seem to belong to the more urbane world of travel and fashion than that of the wild nature that extends before them. Their genteel poses are counteracted by those of the youths, one of whom has his arm around his companion’s shoulders, emphasizing their shared elation at observing the horses.The height of the surrounding hills has been exaggerated to create a more dramatic environment but one in which a sense of calm prevails. The outskirts of the town are visible on the hill to the left, with smoke emanating from the chimneys and walled gardens extending down the bank. The distant mountain is made of tones of green and blue and the sky is streaked with salmon pink and grey clouds. This palette is subtly picked up in the pink and blue costumes of the women in the foreground, completing a tightly composed work in which all the components of form and colour subtly compliment and enrich each other.Dr. Roisin Kennedy, May 2022[1] Letter of Jack B. Yeats to John Quinn, 8 October 1919, quoted in H. Pyle, Jack B. Yeats. A Catalogue Raisonne of the Oil Paintings, 1992, I, p.102.[2] I am grateful to Finola Finlay for this information.Dusk is gently setting in, the evening light drawing out and casting pale pink highlights across the clouds. The sunsets’ reflection is captured in the still waters of the river below, while deep blue shadows fall across the rolling hills in the distance. A street of houses stretches off to the left-hand side of the composition and bends swiftly out of view. Smoke can be seen rising slowly from the small townhouses of Skibbereen village.   The two boys standing with their backs to us on the bridge appear animated, looking down on a scene below. Their excitement is wonderfully captured in the young boy reaching his arm across his companion to share in his delight. We notice a smile on the other boy’s face with his cheeks lifting in amusement. The boys’ interest seems to be directed at the two horses who are seen grazing in the field beyond. They pay no heed to these on lookers, continuing their evening meal, necks bowed gracefully. The face of the white horse is beautifully rendered by Yeats, the ears tucked back, large eyes searching in the long grass. He even manages to capture the tension of the muscles in the horse’s jaw while eating.   Yeats has a wonderful ability to suggest or gesture towards moments in his compositions without fully revealing the whole scene. We are not aware of any relationship between the figures, it seems as they have all by chance happened upon the same vantage spot. The two boys may be visiting the village on holidays, excited by seeing horses in the wild for the first time. Or are local to the town and thrilled at being allowed to stay out later than usual in the summer evenings, stopping by the bridge to visit the paddock.  Their excitement does not seem to have affected the two female figures who gaze calmly out into the distance, enjoying the sunset. This work is an excellent example of this earlier period in Yeats style dominated by Romantic depictions of the West coast of Ireland, of its landscape and people. There is a strong use of line in the work and it reflects his time working as an illustrator, sketching in ink and watercolour the experiences of both rural and urban Irish life.   While his style will become much more abstracted in the immediate years following this work, in this example the figures are painted with great attention to detail. In particular the features of the woman’s profile, the sharp angle of her jaw and nose, a glimpse of her red hair peeking out from under her hat. For the other figure who is turned away from us, her hat is adorned with a beautiful arrangement of blue summer flowers. He expertly handles the drapery of both women’s coats, showing the cut and folds of the fabric. They complement each other, standing side by side in dusky pink and pale blue.  Although the scale of work is extensive, he uses a closely contained composition, placing the figures in the foreground of the picture plain, to create a greater sense of depth and distance to the surrounding landscape. The upright pillar of the bridge juts dramatically out into corner of the work directing our eyeline across the middle of the composition to the town and hills in the distance. There is an openness and breath to the painting. By using the bridge as horizontal plain, Yeats has provided us with a similar vantage point to that of the figures, as if we are standing behind them revelling in the shared twilight spectacle. Niamh Corcoran, May 2022

A c1990s Rolex Oyster Perpetual GMT Master II bi-metal gentleman's wristwatch, 41mm, ref. 16713, black and gilt bezel, black dial with date aperture, appears to run, crown does not screw down properly, on a stainless steel and gold Jubilee bracelet, signs of wearCondition link to youtube https://youtube.com/shorts/aZPAiVp0SAk?feature=share