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Parviz Tanavoli (Iran, born 1937)Standing Heech fibreglasssigned 'Parviz' and dated '07' on the base, numbered 16/25, number 16 from an edition of 25, executed in 200759 x 28cm (23 1/4 x 11in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainNote:This work is accompanied by a certificate of authenticity signed by the ArtistReflections of Persia: The Varzi Collection of Modern and Contemporary Iranian ArtThe Varzi Collection of Modern and Contemporary Iranian Art offers a thoughtfully curated selection of works that showcase the diversity and richness of Iran's artistic heritage. Built by Hamid Varzi, this collection reflects both the cultural depth of Iranian art and his personal journey of staying connected to his homeland while living abroad. With a range of works spanning from early modern pioneers to contemporary artists, the collection provides a comprehensive look at the evolution of Iranian art across time and borders.Hamid Varzi, born in Tehran, moved to the United Kingdom as an infant and pursued his education at Trinity Hall, Cambridge University. After completing his studies, he returned to Iran in 1972, where he served in the military and played for Iran's National Hockey Team at the 1974 Asian Games. Eventually, Varzi relocated to Germany, where he established several successful commercial ventures over the next two decades. His return to Iran in 2000 marked a new chapter as he took on leadership roles in banking and industry before settling in Spain in 2017. Today, Varzi is an accomplished writer, with published works in novels, poetry, and screenwriting.The Varzi Collection, built over many years in Tehran and now housed in a grand villa in Marbella, Spain, mirrors the experiences of so many Iranian artists who, like Varzi himself, have navigated life abroad but remain deeply connected to their cultural roots. This dynamic collection is not only a personal expression of Varzi's dedication to preserving Iranian heritage but also an embodiment of the broader reality faced by millions of Iranians in the diaspora—rebuilding their sense of Iranian-ness in foreign lands while always carrying the essence of their homeland with them.What sets the Varzi Collection apart is its extraordinary chronological breadth, encompassing works that span both the early pioneers of Iranian modernism and the emerging talents of contemporary Iranian art. The collection is a seamless blend of traditional motifs and avant-garde experimentation, offering viewers a comprehensive journey through the evolution of Iranian artistic expression.The Varzi Collection brings together an impressive range of media and subject matter, spanning both early pioneers and contemporary voices in Iranian art. From the works of renowned figures like Marcos Grigorian, Parviz Tanavoli, and Monir Farmanfarmaian—who were instrumental in shaping the trajectory of Iranian modern art—to the younger generation represented by Rokni Haerizadeh, whose iconic painting from the Divan restaurant in Tehran is a highlight, the collection is both diverse and cohesive. Among the standouts are two rare early works by Farideh Lashai, including an abstract work on paper from the 1970s and a dynamic, expressive tree composition from the 1980s. Additionally, Bahman Mohasses' ghoulish head of a minotaur, one of his most recognizable themes, offers a haunting presence in the collection. The Varzi Collection reflects a wide spectrum of Iranian art, representing both male and female artists, emerging and established figures, and those working within Iran and abroad. It truly captures the richness and breadth of Iranian artistic expression across different eras and styles.In Varzi's collection, one can read the collective narrative of Iranian artists —the ability to adapt, rebuild, and thrive despite the many challenges of displacement. Each piece serves as a visual homage to the nation's enduring spirit, while the collection as a whole celebrates the richness of Iranian art across generations and across borders. As it moves to auction, the Varzi Collection is not only a unique opportunity for collectors but also a profound statement of cultural continuity and pride. Parviz Tanavoli: Heech The Father of Iran modern sculpture, Parviz Tanavoli was born in 1937 in Tehran, Iran. In 1955, Tanavoli was one of the very first students to enrol in the newly established Tehran School of Fine Arts. A few years later, he left Iran to further his education in sculpting at the Brera Academy of Milan. Tanavoli returned to Iran and established Atelier Kaboud, which became the birthplace of the most significant and avant-garde Iranian modern art movement, the Saqqakhaneh movement.In 1965, Tanavoli created his first Heech sculpture. His signature Heech series is composed of three Farsi letters in the Persian calligraphy style of nastaliq. Tanavoli protested against the empty overuse of traditional forms by giving new depth to the two dimensional calligraphy on paper and transforming it into a three dimensional object. A pioneer of his practice, Tanavoli has produced numerous Heech sculptures in various mediums such as bronze, ceramic, fiberglass and neon and in many different shapes, sizes and colours to expose people with the concept of 'nothingness'.This present sculpture of the Heech is a fine example of Tanavoli's use of fiberglass, a medium he embraced during his later work and through which he found great versatility in form and freedom of expression. To Tanavoli, the concept of nothingness has multiple layers of meanings and is not necessarily an expression of despair and hopelessness. One interpretation relates to Persian Sufism, in which nothing is an aspect of God, who creates everything from nothing. The other is that the physical shape of the word has an appealing volume and a life like form. This repetition of design in his oeuvre is also reflective of the traditional Islamic practice of repeating a craft in the quest for perfection.Tanavoli's practice focuses on the intersection of both traditional Persian folk art and contemporary practices in a career spanning over six decades.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

Large print after Harry Hall of the 1881 Derby and St Leger winner Iroquois with Fred Archer up,engraved by E G Hester, published by A.H. Baily & Co., London, and by other publishers in Paris and New York, mounted, framed & glazed, 81 by 97cm., good condition.

The trophy for the 1830 Richmond Cup won by Lord Milton’s racehorse Medoro, in the form of a William IV silver-gilt cup and cover, maker's mark of Joseph Angell, London, 1827, campana-shaped and on spreading circular foot chased with flutes and a band of acanthus foliage, the lower part of the body applied with acanthus foliage and acorns and with two reeded acanthus leaf-capped scroll handles, the everted rim with alternating acanthus and lobed decoration, the body applied with a race scene, the detachable facetted cover chased with panels of flowers and foliage on a matted ground and with detachable horse and jockey finial, with beaded borders, the body engraved with inscription RICHMOND RACES, 1830, LORD KELBURNE,  HONrble COL L. ARDEN, hallmarked on body, cover and finial, fine condition, 44cm. high, 3,811gr.Provenance: Won by Medoro for Charles, Lord Milton (d.1857), later 5th Earl Fitzwilliam and by descent.Christie’s Wentworth Woodhouse Sale. 8 July 1998, Lot 16.The race was won by Medoro by Levantes out of Marianne by Sorcerer, a bay colt foaled in 1824. He had also won the Richmond Cup the year before and four races in 1827, two races in 1828 and 3½ in 1829 (The Doncaster Stakes in 1829 had been a dead heat). He retired to stud and lived to 19 years of age when he was destroyed, having broken his thigh bone.Richmond Racecourse in North Yorkshire staged its first fixture in 1765, firstly on the High Moor before relocating to the Low Moor. Its final meeting was held in 1891, the Jockey Club decreeing that a bend on the course was too tight and dangerous for thoroughbreds. The racecourse grandstand is still extant and has been given Grade II Listed Status. Gallops are still used in Richmond today for training racehorses, the Green Oaks stables of Philip Kirby being located there.The running of the Richmond Cup endured for just over a century between 1757 and 1858 and a new Cup was produced every year.Charles William Wentworth-Fitzwilliam was born 4th May 1786. Before inheriting the Earldom on the death of his father (the 4th Earl) in 1833 he was given the courtesy title of Viscount Milton. The Fitwilliam Family Seat was at Wentworth Woodhouse in South Yorkshire and reputed to be the largest private residence in England. The 4th Earl had inherited the estate from his uncle the 2nd Marquis of Rockingham and Prime Minister who had died without a direct male heir in 1782.The Marquis of Rockingham won the very first running of the St Leger with his filly Allabaculia in 1776; and the 4th Earl Fitzwilliam continued the family tradition with victories in 1789 (Pewett), 1802 (Orville) and 1807 (Paulina). The 5th Earl, and winning owner of the present trophy, withdrew from racing interests in the 1830s and in particular after Queen Victoria came to the throne in 1837 who held little enthusiasm for the Sport of Kings.The Richmond Races Stewards:James Boyle-Carr, Viscount Kelburne, (d.1869), later 5th Earl of Glasgow was the second son of George, 4th Earl of Glasgow (d.1843) and his wife Augusta (d.1822), daughter of James, 15th Earl of Erroll (d.1778). He married Georgina Ann (d.1895), daughter of Edward Hay Mackenzie Esq., of New Hall and Cromarty. He had assumed the additional name of Carr on the death of his mother in 1822. She was the granddaughter and heiress of Sir William Carr of Etal, Northumberland.The Honourable Colonel William Pepper Arden (d.1857), later 3rd and last Baron Alvanley, was the son of Richard Pepper, 1st Baron Arden (d.1804) and his wife Anne-Dorothea (d.1825), eldest daughter of Richard Wilbraham Bootle Esq. He married Arabella, daughter of William, 1st Duke of Cleveland (d.1842) in 1831, however the marriage was childless and on his death in 1857 the title became extinct.

Patek Philippe. An exceptional, fine and rare 18K gold keyless wind open face minute repeating, perpetual calendar pocket watch with moon phase gifted by Scottish-American Industrialist Andrew & Louise Carnegie to their kinsman in 1912Date: Manufactured 1902, sold October 17th 1912Movement: Swiss lever, Cotes de Genève finish, cut and compensated bi-metallic balance, wolf's tooth winding, swan neck regulation, two polished hammers striking on two gongs, No.112307Dial: White enamel, black Arabic numeral hour markers, black outer minute track with red Arabic numeral 5 minute markers, subsidiary dials at 12, 3, 6, and 9 for seconds combined with date, day, month and moon phase, blued steel spade hands, No.112307Case: Polished round, monogram to back depicting the letters 'CSC', presentation inscription to cuvette reads Presented to my dear kinsman Claud Strachan Carnegie marking twenty five years of warmest friendship from Andrew & Louise Carnegie, October 1912, quick set buttons to band at 6 and between 11 and 12, repeat slide at 3, case No.257931, cuvette No.112307Signed: Case, dial & movementSize: 54mm Accompaniments: Extract from the Archives Footnotes:Andrew Carnegie (1835-1919), once the richest man in the world, was a pioneer in the realm of iron and steel works and helped build so much of the infrastructure that forms part of the now American identity. From exceptionally humble beginnings, Carnegie would use a combination of ruthless efficiency, creative thinking and opportunity-seeking to establish his industrial empire before embracing an era of philanthropy.Born in 1835, Carnegie grew up in near poverty in Dunfermline, Scotland. Times were hard and whilst Carnegie was very young, the struggles to find local work led to the family emigrating to the US in 1848. It was in Pittsburgh that Carnegie first demonstrated his mettle and under the mentorship of Pennsylvania Railroad General Superintendent Thomas A. Scott (1823-1881) the foundations were laid that turned him from messenger boy to famous Industrialist.As Scott's personal secretary and with his ability to spot opportunities during the American Civil War, it was not long before Carnegie's connection to the iron and steel industries began in earnest. Bridge building, along with mining and rail building, would go on to be the three cornerstones of his monumental empire. By 1901, nearing the age of 70, Carnegie's ethos on life had changed. He craved more family time and thus sold Carnegie Steel to John Pierpoint Morgan for a staggering $480 million dollars. It was this deal that catapulted him to the position of wealthiest man in the world. From this point on Carnegie devoted his time and energy to donating his vast wealth to charitable organisations and initiatives. As well as the world-famous Carnegie Hall in New York he also left over 2500 public libraries, numerous organisations dedicated to the pursuit of science, peace and education and the remaining $135m of his fortune to the Carnegie Corporation of New York as part of his legacy.It was in this era of giving that the current lot was gifted by Carnegie and his wife Louise to Claud Strachan Carnegie. Little is known about who Claud was but most likely it refers to Claud Cathcart Rennie-Strachan-Carnegie of Seaton House, Angus. Claud had left a strong impression on Carnegie and this is reflected in the engraving on the cuvette which reads 'Presented to my dear kinsman Claud Strachan Carnegie marking twenty five years of warmest friendship from Andrew & Louise Carnegie, October 1912' and a monogram of CSC further decorates the case. With an eye for the finer things in life, it is not unsurprising that they chose a Patek Philippe to represent their gratitude.Patek Philippe have produced some of the finest ultra complicated watches in history with fantastic examples on either side of the introduction of computer aided design. The current lot features a perpetual calendar, moon phase and is also minute repeating. This was not some throwaway token but a real execution of fine and complicated timekeeping that demonstrated a true appreciation of friendship. This watch is being offered on behalf of a Scottish Family and has never been offered at auction before. It offers a truly rare and exceptional once in a lifetime opportunity to own a piece a history – one that represents the fusing of horological accomplishment, philanthropic endeavour and industrial legacy.For further information on this lot please visit Bonhams.com

LAMBETH. An album containing approximately 88 postcards of Waterloo and the South Bank, London, including photographic postcards titled ‘Waterloo Bridge, London’, ‘Waterloo Station…’, ‘Reception Hall and Shop, The Union Jack Families and Women’s Services Clubs, London’, ‘Charlotte St, S.E.’, ‘The Old Vic’, ‘South Bank Exhibition, Festival of Britain 1951 from the River’, ‘At The South Bank Exhibition, Festival of Britain 1951’, ‘New Schools Pavilion South Bank Exhibition, Festival of Britain 1951’, the album also including a few reprint photographs. Provenance: The Ron Elam Collection of Local Yesterdays.

LONDON. A collection of approximately 105 postcards, the majority of London, including photographic postcards titled ‘Brudenell Rd, S.W.’, ‘Tea in Toplady Hall’, ‘Port of London, Scene at the London Docks’, ‘London Central Meat Markets’, ‘Nicoll Road, N.W.’, ‘Fitzallen Square’, ‘St Maur Road, Fulham’, ‘New General Post Office, King Edward Buildings, London’, ‘Lavender Hill, Clapham Junction’, ‘Cambridge Rd, S.W.’, ‘Elgin Avenue, London’, ‘Wandsworth Cricket Club’, ‘Mount Street, London’ and ‘Malwood Rd, Balham’. Provenance: The Ron Elam Collection of Local Yesterdays.

COLLECTION OF NEW HALL TEA POTS AND TEAWARE LATE 18TH CENTURY comprising a teapot, stand and sugar bowl in the ‘Boy with the Butterfly’ pattern, marked 421; a fluted floral painted teapot, pattern 121, a wrythen fluted teapot, pattern N171; a teapot stand, pattern N157; and a teapot with a ‘Tilting Table' pattern, possibly Factory Z, unmarked (7) Largest teapot 15cm high, 23.5cm wide; sugar 12cm diameter Provenance: The Maisels Collection of British Ceramics

Pyne (J. B). Lake Scenery of England, drawn on stone by T. Picken, London: Day & Son, [1859], illuminated chromolithograph title, 24 tinted colour lithographic plates by T. Picken, some scattered spotting, all edges gilt, publisher's original gilt decorated and blind blocked green cloth, corners bumped, tall 8vo, together with:Morris (Francis Orpen). A Series of Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, 7 volumes (including volume of facsimile autographs), circa 1880, chromolithograph additional titles, numerous chromolithograph plates, letterpress titles to each volume, scattered spotting, publisher's original gilt decorated and blind blocked green cloth, 4toWise (John R.). The New Forest: It's History and its Scenery, London: Smith, Elder and Co., 1867, folding map, illustrations to text, ownership signatures to title and front bank, publisher's original gilt decorated green gloth, corners rubbed and bumped, 8vo, together with 25 other volumes in gilt-decorated cloth bindings including: S. C. Hall, Book of Gems, London; Bell and Daldy, 1866, Birket Foster's Pictures of English Landscape, London: Routledge and Sons, 1862, Flower Poetry and the Language of Flowers, London: Marcus Ward & Co, 1877, Scottish Lock Scenery, London: John Walker and Co, 1882 QTY: (34)

Sir Richard Musgrave. Memoirs of the Different Rebellions in Ireland from the Arrival of the English. Dublin 1801. 1st edition. Large quarto. Folding maps and battle plans. Loosely inserted letter from Sir Richard Musgrave declining a dinner invitation as "I have to go to the country at that time". Written from his Sackville St., Dublin address. Armorial book plate of famous Ennis library (McDonnell of New Hall). Fine contemporary half calf, marbled boards.

A late 19th Century American black and rosso marble cased architectural mantel clock, the eight day movement with visible escapement and Roman numerals to the chapter ring, by Ansonia Clock Co. New York, stamped verso "Ansonia Clock Co. Patented June 14.81 New York USA - Patented June 18.1882", 32 cm high, together with a box of various sundry items including seven Royal Copenhagen Christmas plates (1976, 1980, 1994, 1995, 1996, 2009 and 2013), five various Goebel Hummel figures, two Villeroy & Boch coffee cups and two Old Hall stainless steel candle lights with amethyst glass shades

New Hall, pattern 741, porcelain teaset with blue and gilt entwined foliage borders, comprising a teapot, milk jug, twin handled sucrier, two sandwich plates, fifteen teacups and saucers, and bowl. Condition report:All exhibit wear to gilded areas, however the saucers more so.Many have glaze impurities. One cup has a broken handle and is cracked.

Elton Hall, Historic House & Gardens Cambridgeshire: An exclusive Tour for up to x8 guests of the House, Gardens and the private Chapel, including Afternoon Tea in the Billiard Room Donated by: The Proby Family Elton Hall is a Baronial Hall in Elton, Cambridgeshire, which has been the ancestral home of the Proby family since1660 and houses portraits and artworks by old masters, including Reynolds, Gainsborough and Romney. The Country Trust is delighted to present this unique opportunity for x8 guests, guided by Alexandra Proby. The Hall lies in a 3,800-acre estate through which the River Nene runs. Elton Hall is an enchanting, extraordinary, romantic, part-Gothic historic house nestled in beautiful countryside, lying x8 miles southwest of Peterborough, standing proud in unspoilt landscaped parkland, which comprises part of the land held at Elton by the Proby family, since the reign of Queen Elizabeth I. The award-winning Gardens have been completely and expertly restored with new borders, hedges, topiary, an Orangery, Shell Seat, Fountain and many interesting plants. Alexandra Proby is kindly offering to take you and your x 7 guests on a personal tour of the House, Gardens and the private Chapel used by her family for christenings and special events. Throughout this Alexandra can give you a unique and unparalleled insight into the complicated, yet fascinating, evolution of Elton Hall, which has played an important role in England’s history, A light Afternoon Tea will be provided in The Billiard Room for you and your guests to enjoy. https://eltonhall.com/ Terms & Conditions: Date for the Tour for up to x6 guests to be mutually agreed with Elton Hall & the final bidder, via the Country Trust, with x6 weeks’ prior notice. Subject to availability Experience to be redeemed by 1 October 2025 Food allergies and intolerances to be notified in advance Experience not to be re-sold or re-auctioned We are hosting this auction on behalf of The Country Trust - please contact Victoria Cable if you require further information about the individual lots.

An exceptional example offered from long term ownership, with matching hardtop and just 12,529 miles from new. Penned by Henrik Fisker, the BMW Z8 was initially a concept styling exercise to evoke and pay homage to the stunning BMW 507 produced in the late 1950s. Due to the sensation it caused at the 1997 Tokyo Auto Show, BMW decided to go into production and production ran from 1999 to 2003 for a total run of 5,703 cars with approximately half going to the USA, the rest to continental Europe and fewer than 150 cars supplied to the UK.An engineering indulgence by BMW, it featured an aluminium space frame body and the famous 5-litre DOHC 32-valve V8 engine produced 400bhp, situated behind the line of the front axle, giving the Z8 virtually perfect 50/50 weight distribution and enabling it to out-perform its contemporary benchmark rivals in all departments. The contemporaneous Ferrari 360 Modena was left inadequate in terms of performance, handling and braking. Road tests by period magazines frequently better the quoted 0-60mph times supplied by BMW and many achieved figures of c.four seconds. Most remarkable was its pure driving pleasure and its effortless 'Grand Tourer' capabilities. BMW's mantra of 'The Ultimate Driving Machine' was certainly appropriate when it came to the Z8.Having been a mainstay of the Bond series for four decades, Desmond Llewelyn retired as 'Q' in the 1999 film The World is Not Enough where, in his poignant final scene, he issued Piers Brosnan’s James Bond with a BMW Z8. Whilst entering the James Bond Car Hall of Fame, helped somewhat with filling the order books, it's universally agreed that it is the Z8’s capability as a modern supercar that was responsible for its success. Delivered only in left-hand drive, fewer than 150 cars were supplied new to the UK.The Rydale/Rybrook name has been associated as a family business with strong BMW connections from 1972 until 2024 and over the years, the company has continually expanded through various Midlands-based franchise dealerships, including Oldbury, Sutton Coldfield, Birmingham, Shrewsbury, Evesham, Wolverhampton and Warwick. This year, the company was sold and is now owned by the Sytner Group under the chairmanship of American petrolhead, Roger Penske. This BMW Z8 was acquired in 2005 by the dealership group as a significant and interesting milestone in the development of BMW. Its unique design and features as an early convertible BMW high-performance sports car, including the combination of the incredible engine from the M5, coupled to a 6-speed manual gearbox, made this rare and exciting car an icon of the marque. Its looks evolved from the BMW 503/507 Series of the 1950s which, when finished in the classic colour combination of Titanium Silver with red leather upholstery, evoke a period style that set the trend for many future BMW sports cars to follow. It has been used for showroom display and occasional exhibitions and parades, enjoying a cosseted indoor life with annual maintenance and MOTs carried out and a minimal annual mileage covered. The total indicated mileage at time of cataloguing of 12,529 today can be warranted by the MOT and service history. It's a UK-supplied car from new, has been enjoyed by just two owners and comes complete with a factory hardtop and original book pack.A rare and very exciting opportunity today and we encourage close inspection at our sale at the 2024 NEC Classic Motor Show.Specification Make: BMW Model: Z8 Year: 2000 Chassis Number: WBAEJ110X0AF77815 Registration Number: X343 OSO Transmission: Manual Engine Number: 60562320 Drive Side: Left-hand Drive Odometer Reading: 12529 Miles Make: Only LHD Interior Colour: Black/Red Nappa LeatherClick here for more details and images

An incredibly well restored Land Rover Series I, a multiple show-winning car, hard to imagine that a better one exists anywhere. As an engineering marvel, the Land Rover can still outstrip its modern counterparts and the Series I rightly belongs in the Motoring Hall of Fame. Hugely successful globally, improvements were made throughout its long lifespan. In 1950, the lights were moved from a position behind the grille to protrude through the mesh and in 1952 a larger 2-litre petrol engine replaced the original 1.6-litre. The wheelbase was extended to 86" in 1955 to give the vehicle more stability and greater load capacity and the stronger, more reliable 2-litre petrol engine was standard until 1957.Over the years, here at Iconic Auctioneers, in conjunction with Classic Car Auctions, we have been pleased to offer over 150 Land Rovers, including a good number of early vehicles, but it's a long time (if ever) since we have seen such an impressively restored example as the 1956 Series I on offer today.Acquired from friends, where it had been languishing on their farm for almost 40 years, our vendors set about creating, quite simply, the very best Series I that they could and since the completion of its meticulous restoration, it has won award after award, show upon show. The full list of work carried out is too long to detail here but, in addition to an engine rebuild at a cost of £6,670 by Cox and Turner, the Landy has been fully restored cosmetically, with a new tub seats, new tilt and canvas roof and sundries galore removed, restored, or if beyond repair then replaced with the very best options available.Our meticulous vendor has kept a list of the costs involved in the restoration and when we say a list, it is unlike anything we have ever seen before. Laid out on an Excel spreadsheet, it runs to 286 lines and totals £32,960.90 including dozens of entries for less than £10, every nut, bolt, grommet and bracket is listed and costed. Uniquely, there are 31 'credit' entries relating to surplus, replaced, items sold and totalling £1,236.52 so the real cost of the restoration was £34,197.42.We have to draw the conclusion that anyone so incredibly fastidious as to list and cost everything in detail would be equally fastidious about the quality of work during the car’s restoration. A glance at our images and ideally the car itself will confirm that this Series I is undoubtedly better today than when it left the factory almost 70 years ago.It's believed that our clients are only its second keepers, so this is put simply a ‘one former keeper’ car and we invite and encourage your close inspection of this remarkable Land Rover.Specification Make: LAND ROVER Model: SERIES 1 Year: 1956 Chassis Number: 170603168 Registration Number: MBL 974 Transmission: Manual Engine Number: S10782010 Drive Side: Right-hand Drive Odometer Reading: 39699 Miles Make: RHDClick here for more details and images

A collection of 18th century and later tea bowls and saucers, to include New Hall, and a Chinese Canton export tankardThe majority of pieces are damaged.Tankard has a large chip beneath handle.Tea bowl has two hairline cracks.

A late 18th Century porcelain cup and saucer, probably New Hall with the Boy in the Window pattern

A 1950s Rolex Oyster Perpetual Explorer model number 6610, the property of the late Warrant Officer Navigator First Class Leonard Hall, Royal Air Force. Serial number 268560 - dating the piece to 1957. With luminescent painted Arabic numerals/baton markers on a black dial.  Case diameter 36mm approximately, lug width 20mm. On a generic black leather strap.  Provenance: The watch has been owned by the vendor's father from new and retained the family since his passing. The watch is accompanied by an import tax receipt from 1959, when the watch as brought into the UK, a number of articles of ephemera relating to the gentleman's RAF career and by the following note from the vendor: LEONARD VERNON HALL25/7/23 - 1/12/88WARRANT OFFICER FROM 1/11/1957NAVIGATOR FIRST CLASSMy father, L.V. Hall, was posted to the Middle East in about February 1957. He returned to the UK in January 1959. He was flying Vickers Valettas, Hastings and Dakotas with Squadrons 70 and 84, Transport Command.Prior to this he had been stationed in India and during that time he was the navigator with an aircrew that drew the short straw to fly Nehru (Jawaharlal Nehru - the First Prime Minister of India) over three villages with a severe storm brewing. The pilot was very concerned that they were going to be caught in the storm, but my father assured him that as long as he followed the navigation instructions to the letter, they would be OK. They in fact flew over the same village three times from different directions and returned to the base before the storm broke. Nehru was convinced he had seen the three villages and went away content.During his time stationed in Aden my father saw the withdrawal of the Argyle and Sutherland Highlanders. He was also part of the crew that flew the Sheikh of Oman about. In gratitude the Sheikh presented each of the crew with Rolex Explorer watches.It is my father's watch that is presented for sale at this auction along with the log books that I have of his, a copy of his warrant, granted by the Honourable George Ward, Right Honourable Secretary of State for Air, 1957 - 1960 and an embroidered RAF insignia plus copies of photos of him.

CHINESE EXPORT FAMILLE ROSE FIVE-PIECE GARNITURE QING DYNASTY, QIANLONG PERIOD 清乾隆 外銷粉彩人物紋瓶（一組五件）comprising: three baluster vases, one cover, and two beaker vases, each finely and similarly decorated with idyll figures within leafy cartouches reserved on gilded ground (5) heights: 40.4cm to 52.3cm  From Penicuik House, Midlothian, Scotland. Penicuik Estate, situated to the southwest of Edinburgh at the foot of the Pentlands, has been owned by the Clerk family since the middle of the 17th century. Sits at the heart of this designed landscape is Penicuik House, the finest and most influential example of Palladian architecture in Scotland. The 18th-century Palladian mansion was built by Sir James Clerk, 3rd Baronet, in 1761. It was devastated by fire in 1899. During the fire, a great deal of effort was channelled into salvaging the furnishings. The once magnificent building has stood as a roofless shell for over 100 years. The stables and coach house of the original Penicuik House, converted after the fire into the ‘new’ Penicuik House where the Clerk family reside to this day. A significant selection of property from Penicuik House was sold in this saleroom, 27 March 2024, lot 1-69; A smaller selection of Asian Art from Penicuik House was also sold in this saleroom, 13 March 2024, lot 189-198. The most famous interior feature of the house was the Ossian Hall. A watercolour by G. Carelli, dated 1878, depicts the lavish interior of the Ossian Hall furnished by this garniture set on the fireplace (see illustration 1, circled). A Victorian photograph of the Ossian Hall also shows this garniture set features in the centre of the hall on the fireplace (see illustration 2, circled). One of the covered vases from this garniture set is shown displayed in the drawing room of the ‘new’ Penicuik House (see illustration 3, circled). 佩尼庫克莊園，蘇格蘭中洛錫安。佩尼庫克莊園是蘇格蘭帕拉第奧建築最精美、最有影響力的典範。這座18世紀的帕拉第奧宅邸由第三代男爵Sir James Clerk於1765年建造。1899 年，佩尼庫克莊園被大火摧毀。火災期間，人們投入大量精力搶救其家具及内容，這些家具後來被搬入附近改建的馬厩，Clerk家族後嗣居住於此。佩尼庫克莊園一大部分歐洲藏品於2024年3月27日售於禮昂騰博，拍品1-69；另一部分亞洲藝術藏品於2024年3月13日售出，拍品189-198。佩尼庫克莊園最具代表性的其奧西安大廳（Ossian Hall）。一幅由G. Carelli 1878年繪製的水彩畫描繪了富麗堂皇的奧西安大廳，其中壁爐上陳設的正是此清乾隆外銷粉彩人物紋瓶（附圖，紅圈）；另一幅維多利亞時期拍攝的老照片也顯示Clerk家族成員安坐於奧西安大廳，壁爐上亦擺設本組拍品（附圖，紅圈）；最後一幅照片乃新佩尼庫克莊園客廳，角落一隅可見本品其中一支帶蓋瓶（附圖，紅圈）。

Innes (Michael) What Happened at Hazelwood, jacket spine ends and corners chipped with sympathetic paper repairs to spine ends, some splitting to fore-edge, 1946; From London Far, 1946; The Journeying Boy, jacket with chipping and creasing to head, price erased at front flap, surface soiling, 1949; Old Hall, New Hall, signed by the author on title 1956, first editions, original boards, dust-jackets, very good or excellent copies, [Cooper & Pike pp.174-6], Victor Gollancz; and 12 others, Innes, 8vo (16)*** A good group including all of the author's non-Appleby mystery novels.

AN ELM AND CHESTNUT HALL SEAT FIRST HALF 19TH CENTURY 89cm high, 90.5cm wide, 42.5cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useSome old chips and losses, splits and cracks, Signs of old woodworm to some elements but overall solid and stable The underside of the seat with some later supporting timber Joints all solid, overall frame is solid and stableThe cushion has some age and is in presentable appearance, it may be best to recover to suit the new purchaser's décorPlease see additional images for visual reference to condition Condition Report Disclaimer

An 18th century Worcester blue and white tea bowl and saucer; two New Hall tea bowls and saucers (6)worcester tea bowl - has been restoredworcester saucer - chip to rimnew hall tea bowl 1 - vertical hairline to rim approx 4cmnew hall tea bowl 2 - discoloured area to rimnew hall saucer 1 - patch of wear to the centre, niggles to basenew hall saucer 2 - niggles to base

An 18th century Chinese Imari tea bowl and saucer, four 18th Chinese blue and white tea bowls and a polychrome tea bowl and associated saucerimari teabowl - multi niggles and chip to rim, hairline crackimari saucer - multi rim nigglesnew hall saucer - hairline crack to rimlarge blue and white tea bowl - hairline crack to rim approx 5cmmid size tea bowl - restored repairpolychrome tea bowl - chips to rim

The K.C.B. and K.C.V.O. sets of insignia attributed to Sir Ralph Endersby Harwood, who rose from humble beginnings as a G.P.O. Boy to become Financial Secretary to His Majesty King George V at Buckingham Palace The Most Honourable Order of the Bath, K.C.B., (Civil) Knight Commander’s set of insignia, comprising neck badge, silver-gilt, hallmarks for London 1932; and breast star, silver, gold and enamel, with gold retaining pin, with part lengths of neck riband, in Garrard, London, case of issue; The Royal Victorian Order, K.C.V.O., Knight Commander’s set of insignia, comprising neck badge, silver-gilt and enamel, the reverse officially numbered ‘K243’; and breast star, silver, with gilt and enamel centre, with god retaining pin, the reverse officially numbered ‘243’, with full and miniature-width neck ribands, in Collingwood, London, case of issue, with ‘K’ stock sticker, but with the inked number no longer visible, nearly extremely fine and better (4) £1,500-£2,000 --- K.C.B. London Gazette 1 January 1934. K.C.V.O. London Gazette 2 June 1931. Sir Ralph Endersby Harwood was born at Biggleswade, Bedfordshire, on 28 March 1883, the second son of Charles Harwood of Richmond Lodge, Clifton. Educated at Clifton Church of England School and Bedford Modern School, he entered the civil service at 15 years of age and took initial employment as telegraphist at the General Post Office. Furthered by evening classes, he passed the Second Division Examination in 1900, taking 1st place at Bedford School and 16th place of 1,000 candidates across the country. As Second Division clerk he served successively in the India Office, War Office, Board of Inland Revenue and the National Health Insurance Commission; the latter posting witnessed promotion to a Staff Clerkship. Further promotions followed between August 1912 and May 1913, firstly to Assistant Accountant and thence to the coveted Class I of the civil service with the personal post of private secretary to the permanent secretary. Upon the outbreak of the Great War the Insurance Commission was charged with the important duty of controlling the drug supply of the United Kingdom. Lent to the War Trade Department in late 1915, Harwood took on a statistical position which examined the imports of neutral European Nations - a task which was rendered of vital necessity in order to carry out the blockade of Germany by the Royal Navy. Having set this work on a secure foundation, his superiors - led by Lord Robert Cecil, the new ‘Minister for Blockade’ - set about creating a whole new branch with Harwood as Department Controller. With hostilities at an end, Harwood was appointed temporary Deputy Treasurer to King George V in 1922. He transferred briefly to the Treasury, but returned to the Royal Household in the early 1930’s. In 1935 he was appointed to the new and prestigious role of Financial Secretary to the King. According to The News Chronicle of 16 November 1935, the popular appointment was ‘in recognition of his services in securing economies in the royal household during the depression four years ago, when the King reduced his Civil List income by £50,000.’ More pertinently, Harwood managed to achieve the feat without reducing wages or dismissing any royal servant - at the direct request of His Majesty. Harwood retired from the role in 1936 and later became a financial consultant with Messrs. John D. Wood & Co., London. Awarded the C.B.E. in 1918, C.V.O. in 1921, C.B. in 1924, K.C.V.O. in 1931 and K.C.B. in 1934, Harwood retired to Seckford Hall in Suffolk, and died at home on 28 February 1951. Sold with the original Central Chancery bestowal warrant for the Companion (Civil Division) of the Order of the Bath, named to Ralph Endersby Harwood, Esq., C.V.O., C.B.E., dated 3 June 1924; a second bestowal warrant for the Grant of Dignity of a Commander of the Royal Victorian Order, named to Ralph Endersby Harwood Esquire, C.B.E., dated 4 June 1921; with corresponding Buckingham Palace letter relating to the second, dated 28 June 1921; and a further typed letter from the Privy Purse Office, Buckingham Palace, announcing the King’s intention to promote Harwood K.C.V.O. on the occasion of His Majesty’s Birthday, dated 20 May 1931.

A poignant Great War ‘Western Front 1918’ D.C.M. group of three awarded to Scout-Sergeant George Thomson, 1/5th Battalion, King’s Own Scottish Borderers, who, having been decorated for his gallantry at Beugneux on 29 July 1918, was killed in his battalion’s final action of the War at Anseghem on 31 October 1918 Distinguished Conduct Medal, G.V.R. (241579 Cpl.-A. Sjt: G. Thomson. 1/5 K.O. Sco: Bord:); British War and Victory Medals (241579 A. Sjt. G. Thomson. K.O.S.B.); Memorial Scroll, ‘Serjt. George Thomson, D.C.M., K.O. Scottish Borderers’, with Buckingham Palace enclosure, medals unmounted, extremely fine (3) £1,000-£1,400 --- D.C.M. London Gazette 1 January 1919; citation published 3 September 1919: ‘He has continuously shown great courage and initiative. In particular at the action of Beugneux, on 29th July, he showed marked gallantry and leadership of men, and when all his officers had become casualties, he brought the company out of action.’ George Thomson was born at Cairlaverock, Dumfries, on 25 June 1889, and prior to enlisting at Glasgow he was working for a butchers in Lockerbie. He served in Egypt and Palestine from mid-1916 before moving to France, where he won the D.C.M. and was subsequently killed in action as reported in the press: ‘Sergt. George Thomson, 1-5th K.O.S.B. was killed in action on 31st October in France. He had formerly served in Egypt and Palestine, and had seen a good deal of fighting. Before the war he was employed with Messrs A. Burns & Son, butchers, Lockerbie. He leaves a widow and one child, who reside at Johnsfield, Lockerbie. Mrs Thomson is a daughter of Mr W. Richardson, joiner, Jocksthorn, Johnstone.’ The same newspaper a week later reported: ‘Sergt. George Thomson, 1-5th K.O.S.B., whose death we reported last week, was a son of the late Charles Thomson, forester, Jardine Hall, and Mrs Thomson, Cleughfoots. His youngest brother died from wounds in the Dardanelles three years ago, while the last surviving brother, who has been over two years in Salonika, is at present in hospital there. A letter from one of his officers says he can find no word to express his admiration of his courage, keenness, and ability as Scout-Sergeant. His example to the men was invaluable, as no one was more to be trusted in a tight corner. He was killed instantaneously while reconnoitring, and was buried at Sterhock. He leaves a widow and one child, who reside at Johnsfield, Lockerbie.’ Thomson now lies in Harlebeke New British Cemetery, located 32 kilometres east of Ypres, and is one of ten members of his battalion buried side by side. Within a fortnight of his death, his wife was struck down in the influenza epidemic raging then throughout the world, and she died on 29 November 1918, thus leaving her three-year-old son Charlie without parents. Sold with a good selection of personal effects and documents including an illuminated memorial scroll from the Burgh of Lockerbie; a pocket New Testament; and a large quantity of photographs and postcard photographs (approx 80) sent home to his wife and son throughout the War until shortly before his death.

LAMQUA (ACTIVE 1825-1860)Portrait of the 'Hong Merchant' Houqua, circa 1850Oil on canvas, framed. 63.5cm (25in) high x 48.8cm (19in) wide.Footnotes:約1850年 關喬昌（活躍於1825-1860） 行商伍秉鑒肖像 布面油畫 有框Provenance: John Kearsley Mitchell (1793-1858)Silas Weir Mitchell (1829-1914)Martyn Gregory, London來源： John Kearsley Mitchell (1793-1858)Silas Weir Mitchell (1829-1914)倫敦古董商Martyn GregoryPublished, Illustrated and Exhibited:Martyn Gregory, Catalogue 100: Two Centuries of 'China trade' paintings 1770-1970, 2019-2020, pp.76-77, no.89展覽著錄： Martyn Gregory，《Catalogue 100: Two Centuries of 'China trade' paintings 1770-1970》，2019-2020年，第76-77頁，編號89 John Kearsley Mitchell was an important Philadelphia doctor who made three voyages to China as surgeon on board a ship. He published in The Philadelphia Journal of the Medical and Physical Sciences in 1821 detailing the medical anomalies he encountered during his travels. His son, Silas Weir Mitchell, was also a leading physician in Philadelphia sometimes nicknamed the father of psychiatry for his pioneering work on the nervous system.Wu Bingjian (1769-1843), known to Westerners as Houqua, was the most prominent Hong merchant in Canton (Guangzhou) during the early nineteenth century. Hong merchants were a group of Chinese wholesalers in Guangzhou with whom Westerners conducted their trade. Born in the same year as Napoleon and Wellington, Houqua's death in 1843 coincided with the opening of the Treaty Ports. In the early 1800s, he was perhaps the richest man on earth, with a web of contacts spanning the globe. His wealth, estimated at $26 million in 1834 (for comparison, banker Nathan Rothschild possessed $5.3 million in 1828), was primarily amassed through trade in luxury goods, alongside shrewd investments in American railways and other new technologies. Houqua was so renowned that Madame Tussaud's in London displayed a waxwork figure of him.Robert Bennet Forbes noted Houqua's leadership, stating, 'by his great wealth, intelligence, and position, he was universally recognized as their leader' (Personal Reminiscences, 1882, p.370). As an investor, banker, and entrepreneur, Houqua earned the respect of both Chinese and Western colleagues. He was known for both his wealth and frugality: 'His generosity was boundless, and in accounts he was singularly methodical and precise, never multiplying them beyond what was absolutely necessary. The two or three rooms which he occupied during hours of business in his vast, well-regulated Hongs were furnished with simplicity itself' (William Hunter, The 'Fan Kwae' at Canton before Treaty Days, 1825-1849, 1882, pp.29-30).Chinese 'export' portraits of Houqua likely originated from a series of portraits painted by George Chinnery, a British artist residing in Macao and Guangzhou in the 1820s-1840s. One such portrait, now in the HSBC Collection in Hong Kong, was exhibited at the Royal Academy in 1831. This painting was copied by unidentified Chinese artists in Guangzhou workshops as well as by foreign artists like Speakman. These portrait copies served as important branding tools, displayed in the offices of businessmen worldwide, demonstrating Houqua's extensive reach and financial empire. See R.Hutcheon, Chinnery, Hong Kong, 1989, p.78.During the second and third decades of the nineteenth century, the American merchant house Perkins & Co. had a particularly close connection with Houqua. However, in 1829, Russell & Co. took over the Perkins agency and its valuable association with Houqua. Samuel Russell of Middletown, Connecticut, who had gone to China under the auspices of Edward Carrington of Providence, founded Russell & Company as a commission house on January 1, 1824. His palatial house in Middletown was completed in 1830. For many years, Russell & Co. was the leading American business on the China coast, maintaining profitable trading connections with India, Europe, and the United States. The firm was absorbed into Shewan & Co. in 1891.Portraits of Houqua hung in the substantial homes of several New England families associated with Russell & Co., including the Lows, Forbes, Heards, and Delanos. These portraits, including the present one, were likely gifts from Houqua himself. Judging by Houqua's age in this portrait, it was probably executed in the early 1830s. Samuel Russell, described as 'genial and kindly' by William Hunter, retired at the end of 1836.See a very similar portrait of Houqua in the Metropolitan Museum of Art, New York, and illustrated by J.Harrison-Hall and J.Lovell, China's Hidden Century 1796-1912, London, 2023, p.245.Saleroom notices:Please note that the provenance and publication information is incorrectly stated in the printed catalogue, but is correctly stated in the online description, and should read 'John Kearsley Mitchell (1793-1858), Silas Weir Mitchell (1829-1914)' with the piece illustrated in Martyn Gregory, Catalogue 100.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

Nineteen large DM Medal Special Signed Covers. The unbelievably rare set of 19 special signed large RAF Museum Awards Series Covers and original black Album with slip case. This series of nineteen flown covers Special signed covers, a full run of covers from Air Force Cross to Knights Cross illustrates the principal honours, decorations and campaign medals which have been awarded to members of the Royal Flying Corps, Royal Air Force and Royal Air Force Regiment, the Royal Naval Air Service and the Fleet Air Arm. Each cover which measures a large 32cm x 23cm carries the signatures of seven airmen, whose gallantry or leadership in the service of their country, has been recognised by the award shown.  The collection comes housed in a luxury album £80 to buy new, and all the covers are laid out in protective sleeves with the inlay cards and signatories photographs shown opposite. This stunning collection bears some of the rarest World War Two valuable autographs you could hope to own, including MRAF Sir Arthur Harris RRP £30, Dambuster David Shannon RRP £20, Dambuster Mickey Martin RRP £30, Dambuster Bill Townsend RRP £40, Dambuster Tony Burcher RRP £100, Dambuster Len Sumpter RRP £20, BOB Don Kingaby £20, BOB Herbert Hallows £30, 7 Luftwaffe Knight Cross Winners RRP £70, Sqn Ldr Neville Duke, Leonard Trent VC, Bill Reid VC, Leonard Cheshire VC, Rod Learoyd VC, AVM Don Bennett, AVM Johnnie Johnson, Group Captain John Cunningham, Eric Winkle Brown, Peter Twiss, ACM Sir Christopher Foxley-Norris, Group Captain Dennis David, Bob Stanford-Tuck, Group Captain James Tait, Hamish Mahaddie, Oliver Philpot, Denis Crowley-Milling, James Ginger Lacey, Bobby Oxspring, Laddie Lucas, Luftwaffe aces Major Erwin Fischer KC RRP £20, Hauptmann Wilhelm Johnen KC RRP £20, Oberleutnant Bernhard Jope KC RRP £20, General Friedrich Kless KC RRP £20, Major Friedrich Lang RRP £20, Oberleutnant Gunther Seegar KC RRP £20, Major Gerhard Schopfel RRP £20and so many more. Full list of covers and autographs. DM1 Award of the Air Force Cross signed by Sir Dermot Boyle, FH Bugge, AC Clouston printed, Grp Capt Emmerson, Sir Arthur Harris, and Bill Randle and ACM Keith Williamson. DM2 Award of the Distinguished Flying Cross signed by Sir Robin Hooper, Desmond Hughes, HC Rigby, Flt Lt Jimmy Edwards, Grp Capt. Ken Batchelor, Neville Duke and Ivor Broom. DM3 Award of the Victoria Cross signed by Leonard Cheshire, John Cruickshank, Norman Jackson, Rod Learoyd, Bill Reid, Leonard Trent and Freddie West VC DM4 Award of the Distinguished Service Order signed by Don Bennett, Harry Burton, John Cunningham, Denys Gillam, Johnnie Johnson, Dave Shannon and Hugh Verity. DM5 Award of the Distinguished Service Cross signed by Eric Brown, Fred Russell printed, Peter Twiss, David Morgan, Derry Kearns, Ian Robertson and Sir William Garthwaite. DM6 Award of the Military Medal signed by Edward Cerely, John McFarlane, Elspeth Green, William Magrath, Roy Marlow, Harry Simister and Wally Simpson. DM7 Award of the OBE signed by Sir Harry Broadhurst, Paul Holder, Earl of Selkirk, Colin Scragg, Denis Smallwood, Sir Geoffrey Tuttle and Sir John Whitley. DM8 Award of the Order of the Bath signed by Lord Cameron, William Dickson, Christopher Foxley-Norris, Lewis Hodges, Micky Martin, Denis Spotswood and Augustus Walker. DM9 Award of the Conspicuous Gallantry Medal signed by D Allen, Jack Bettany, George Dove, DT Jones, JW Norris, Bill Townsend and J G Wheeler. DM10 Award of the 1939-45 Star Battle of Britain signed by Ben Bennions, Dennis David, Bob Doe, H Hallowes, Pat Hancock, Bob Stanford-Tuck and George Unwin. DM11 Award of the Aircrew Europe Star signed by Michael Beetham, Harold Bird-Wilson, Wallace Kyle, John Lapsey, Hamish Mahaddie, Fred Rosier and James Tait. DM12 Award of the Military Cross to Airmen signed by Brian Coote, Peter Gosse, Arthur Hall, A E Milton, Norman Page, Oliver Philpot and Sir Robert Thompson. DM13 Award of the Air Efficiency Award signed by Denis Crowley-Milling, HG Davis, Frank Dodd, Sandy Johnstone, Don Kingaby, HM Stephen and Peter Vanneck. DM14 Award of the Distinguished Flying Medal signed by Tony Burcher, E Cummings, Bill Howarth, James Lacey, DA Macdonald, AG Mitchell and Len Sumpter. DM15 Award of the George Medal to Airmen signed by R Bullen, Sir Geoffrey Dhenin, John Gray, Michael Lakey, James McCarthy, D Oliver and J Reeson. DM16 Mentioned in Despatches signed. Air Chief Marshal Sir Hugh Constantine, Air Vice Marshal F.S.Hazlewood, Air Chief Marshal Sir A W Heward ,  Air Vice Marshal I D Napier Lawson, Gp Capt R W Oxspring, Air Chief Marshal Sir A Steedman. DM17 Award of the Air Force Medal Personally Signed by Pilot Flt Lt S P Smirthwaite and  7  holders of Air Force Medal J.W.Allen, T.Barraclough, P.Crouch, J.Donnelly, R.T.Emeny, J.Emmerson, R.Lockhart. RAF (DM) 18 Knights Cross Of The Iron Cross Multi Signed Large Cover. Signed by :: Major Erwin Fischer KC, Hauptmann Wilhelm Johnen KC, Oberleutnant Bernhard Jope KC, General Friedrich Kless KC, Major Friedrich Lang, Oberleutnant Gunther Seegar KC, Major Gerhard Schopfel. DM19 The Defence Medal. Signed by AVM Sir Alan Boxer, ACM Sir Brian Burnett, Fl Lt T Franks, ACM Sir Peter Le Cheminant, AM Sir Peter Wykeham, AVM Sir Laurence Sinclair, WC ‘Laddie’ Lucas.

CONTEMPORARY ARTISTS/PRESSINGS (ROCK/ALT/HEAVY) - LPs/7" BOX SET. Brill diverse collection of 5 x LPs, 1 x 7" box set and 1 x 12" featuring deleted contemporary releases. Titles are Slash Featuring Myles Kennedy And The Conspirators - Apocalyptic Love (2012 deleted LP, Mint and sealed), Patti Smith - Trampin' (original 2004 EU pressing, COL 515215 1/5152151000 - Ex+ or 'as new' copy), Amy Winehouse - 12 x 7 (7" box set, UMC/Island 0727248 - Mint and sealed), Beth Hart - Live At The Royal Albert Hall, Superheavy - Superheavy (2011 LP) Ben Harper / Charlie Musselwhite - No Mercy In This Land and Noel Gallagher's High Flying Birds - In The Heat Of The Moment (RSD). Condition is Ex+/as new/Mint and sealed throughout.

Five New Hall cups, saucers and a coffee can with Imari, shell and named landscape decoration of Dove Dale, tallest 6cm

New Hall cabinet cup and saucer with relief moulded and floral decoration

New Hall 19th/20thC porcelain saucer, dishes including Chinoiserie decorated example, grape and vine decorated etc, largest diameter 22cm

Two New Hall cabinet cups and saucers, one with additional cup, all with floral decoration including interiors

Five 18th/19thC New Hall cream jugs, one relief moulded with coffee can, tallest 11cm

THOMAS ROBERTS (1748-1777)Landscape with a Pool and Bridge, Horse wateringOil on wood panel, 43 x 54cmProvenance:Mess. E. Foster & Son, 54 Pall Mall, February 1907 (as by 'Julius Caesar Ibbetson, 1759-1817), Sir Drummond Cospatric Spencer-Smith (1876-1955); Sotheby's, 22 June 1979, lot 71 (as by Ibbetson); Sir Ivo Mallet (1900-1988) (as by Ibbetson); Private collection, IrelandAlthough painted by one of the most distinctive artists of the eighteenth century, this fine work by Thomas Roberts masqueraded for more than a century under the name of Julius Caesar Ibbetson (1759-1817) – a small but telling instance of how the important school of art that flourished in Georgian Ireland has been subsumed into, or rather appropriated by, that of a neighbouring island. Its correct attribution, only recently confirmed, can be demonstrated by a comparison with a work in the National Gallery of Ireland of very similar composition, if somewhat compromised in terms of condition (William Laffan and Brendan Rooney, Thomas Roberts, Landscape and Patronage in 18th-Century Ireland, 2009, 380-81). In both, and a third related work, figures – or here a single woman – cross a precariously spindly bridge; trees sprout from a rocky outcrop shrouded in shadows while, on the left, the landscape opens up to the distance. There are noticeable differences, however, between this and the NGI painting. Instead of two horses at the water’s edge, in the present work Roberts introduces the rather more successful motif of a horse with a rider stopping to drink. A closely comparable motif can be found in Roberts’s View near Enniskerry, also in the National Gallery of Ireland (NGI, 4703, Laffan and Rooney, 10). The white horse is something of a Roberts trademark and here its reflection is beautifully captured in the still, mirror-like pool of water. This detail is less clearly apparent in the somewhat abraded picture in the National Gallery of Ireland. As Brendan Rooney and Nicola Figgis note of the NGI work, ‘certain details, which are recognisably Irish in character such as the ruins and the foliage, demonstrate how successfully Roberts appropriated a Continental model to suit his own particular sensibilities’ (Nicola Figgis and Brendan Rooney, Irish Paintings in the National Gallery of Ireland, Vol. 1, 2001, 408). Part of the success of the painting, which is in noticeably well-preserved condition, is owing to its unusual support of a panel of wood rather than canvas. The lustrous surface of the panel allowed the artist to bring the composition to an exceptionally high degree of finish – something at which Roberts excelled. The artist availed of supports of different materials on occasion. One of his views of Belleek, County Fermanagh, is painted on the usual support of paper laid down on canvas. The picture is housed in its original carved, gilded and sanded Irish frame of a type that has been found on several other works by Roberts and which he clearly favoured. Anne Crookshank and the Knight of Glin describe Roberts as ‘the most brilliant’ of the Dublin School of landscape which flourished in the second half of the eighteenth-century. William Laffan in the Art and Architecture of Ireland writes ‘In the short span of his career, Roberts produced a body of consistently accomplished, gently lyrical work that justifies his description as the finest Irish landscape painter of the eighteenth century’ (AAI, 2, 435). Born in Waterford in 1748, Roberts would be dead a mere twenty-eight years later and his work is accordingly extremely rare. His father, John, was Waterford’s leading architect who designed both Catholic and Protestant cathedrals in the city, a distinction seemingly unique in Europe; his mother, Mary Sautelle, was of Huguenot descent. After a basic education in his native city, Roberts entered the Dublin Society Schools where he studied under James Mannin. He also apprenticed with George Mullins (who had Waterford connections) and, according to an early source, was ‘improved’ by Cork artist John Butts. Roberts emerges as a fully formed, and highly distinctive, artist in two works which he exhibited at the Society of Artists in Ireland in 1769: a View of Rathfarnham Castle (private collection) and the famous Frost Piece (private collection). These ambitious and confident early works, so different from the contemporary productions of, say, Robert Carver, forcibly announced the arrival of a major new talent on the Dublin scene and the removal of Carver and George Barret to London, left the Irish market for landscapes open to Roberts and his close contemporary, William Ashford. In all, over an eleven-year period up to 1777 he showed about sixty works at the William Street exhibitions. There is evidence to suggest that Roberts painted en plein air, a highly unusual approach in northern Europe at this date. Certainly, in two instances Roberts shows himself painting out-doors and the great delicacy and subtlety with which he captures the fall of light, here, and the beauty of the limpid sky, could well be explained by his precocious adoption of this unorthodox practice. Roberts was a much more advanced, and complex, landscape artist than his restrained, even understated, works at first glance might suggest. In general, his landscapes are built up with the most delicate of paint glazes, and he eschews the more robust impasto of artists such as George Barret in favour of a thin paint surface. The close relationships of friendship, family and political alliance between Roberts’s patrons is noteworthy – and it seems that Roberts was recommended from commission to commission by satisfied noble clients. This helps explain his rapid ascent to the position – while still in his twenties – of the most sought-after landscape painter in Ireland. Roberts’s art could, however, also bridge political divides and perhaps the two most pleasing works in his entire oeuvre were painted for Lord Harcourt, the Viceroy, to whom another client, Lord Charlemont, was politically opposed. Roberts brought the art of Irish demesne painting to its peak in two sets of views showing Lucan, county Dublin, and Carton, county Kildare. Although he exhibited regularly and extensively in Dublin, Roberts sent work to the London exhibitions only occasionally and, unlike Mullins or Barret, did not show at the Royal Academy. Despite this, his one professional foray outside Ireland was for the enormously prestigious commission from Sir Watkin Williams Wynn for two large landscapes to decorate the stair hall of his vast townhouse, newly built to designs by Robert Adam, in St James’s Square. Roberts was paid the sum of £53 10s for the Wynn commission on 3 April 1775, by which date he was at work on his last, and most important commission to paint the demesne of Carton, recently inherited by the 2nd Duke of Leinster. However, ill health prevented him from completing the six pictures originally planned and, in late November or December, Roberts left Ireland for the warmer climes of Lisbon where he did not survive long, dying in March 1777. Two hundred years later Michael Wynne hailed Roberts as ‘most affirmatively one of the finest landscape painters in Great Britain or Ireland’ in the third quarter of the eighteenth century (Studies, Winter, 1977).We are grateful to William Laffan and Brendan Rooney for their assistance in cataloguing this lot. 

U-Boats and Submarines An extensive collection of mostly reference works. Hessler, G., Withers, A.J. and Großbritannien (eds) (1992) The U-boat war in the Atlantic: 1939 - 1945. Facs. ed., 2. impr. London: HMSO (German naval history); Akermann, Paul. (2002) Encyclopeadia of British Submarines 1901-1955. 2nd ed. Penzance, Periscope Publishing; Stern, R.C. (2002) Type VII U-boats. Repr. London: Brockhampton Press; McCartney, I. (2003) Lost Patrols: Submarine Wrecks of the English Channel. Penzance: Periscope; Holt, P. (2015) HM Submarine A7: An Archaeological Assessment. A Report on the Results of the A7 Project 2014. Oxford (GB): Archaeopress (BAR, 613); Korganoff, Alexandre (1977) Sous-Marins de Poche et Torpilles Humaines 1914-1978. Forces Sous-Marines, Paris; Submarine Environmental Assessment (SEA) - Submarine Dismantling Project (SDP) (2011). MOD Abbey Wood, Bristol BS34 8JH; Aydemir, Oguz (2000) WW2 - U-Boats off the Turkish Black Sea Coast Istanbul, Turkey. Tina - Turkish Institute of Nautical Archaeology; Jurgen Rohwer. (1983) Axis Submarine Successes 1939-1945. 1st English ed. Cambridge, Patrick Stephens; Horton, E. (1974) The Illustrated History of the Submarine. London: Sidgwick and Jackson; Offringa, H. (2004) Raising the Kursk. 1st edn. Insch: Lipstick Pub; Showell, Mallmann1 (1973) U-Boats Under the Swastika - an introduction to German submarines 1935-1945. 1st edn. Purnell Book Services Ltd; Messimer, D.R. (2002) Verschollen: World War I U-boat losses. Annapolis, Md: Naval Institute Press; Niestlé, A. (1998) German U-boat losses during World War II: Details of Destruction. London: Greenhill Books; Compton-Hall, R. (1983) Submarine boats: the beginnings of underwater warfare. London: Conway Maritime Press; Nilsson, T. (1989) Ubåtsattack i södra Kalmarsund 1915. Karlskrona: Föreningen Marinmusei vänner i Karlskrona; Kemp, P. (1999) U-boats Destroyed: German Submarine Losses in the World Wars. London: Arms & Armour; McDonald, K. (2003) The Tin Openers: the ssecret underwater war against the U-Boats 1914-18. [First edition]. Storrington, West Sussex: Historic Military Press; Courageous Society (2013) HMS Courageous - a veteran of the Cold War (One vol). 1st. Plymouth; Keatts, H. (1987) Field reference to sunken U-boats. Kings Point, N.Y. : Eastport, NY: American Merchant Marine Museum Press, United States Merchant Marine Academy ; Distributed by Fathom Press; Skinner, R.W. (2003) The Saint and the Sparrow: the Sinking of U-309. Storrington: Historic Military Press; Bunch, J.W. (2017) U-boats off the Outer Banks: Shadows in the Moonlight. Charleston, SC: The History Press; Kemp, P. (1990) British submarines of World War One. London : New York, N.Y., USA: Arms and Armour Press ; Distributed in the USA by Sterling Pub. Co (Warships fotofax). With thirteen other works and facsimilie map titled The Graves of the U-Boats. Approximate Positions. (Q)

(Shipwrecks) Cornwall and Isles of Scilly A good collection of booklets and reports Bray, John (1975) An Account of Wrecks 1759- 1830. 1st edn. Truro & Redruth: The Institute of Cornish Studies; Gillis. Richard (1969) Wrecks Around the Cornish Coast. 1st edn, 3 copies. Bristol : Harvey Barton; Mace, Mac (1969) HMS. Association - Sank 1707. Penzance: Scillonian Diving Services; Camidge, Kevin (2006) The Search for Colossus - a story of wreck and discovery. Cornwall: CISMAS; Garbett, Geoff and Skelton, Ian. (1987) The Wreck of the Metta Catharina. Redruth, St. George Printing; Noall, Cyril (1970). Tales of the Cornish Fishermen. Truro, Cornwall: Tor Mark Press; Ivey, W. F. (no date) Wrecks Around Our Coast. unknown publisher; Graham, Roy (1980) Shipwrecks around the Isles of Scilly - Isles of Scilly Museum Publication No.3. 1st edn. St. Mary’s, Isles of Scilly: Isles of Scilly Museum; Noall, Cyril and Farr, Grahame. (1978) Cornish Shipwrecks Illustrated. Truro, Cornwall: Tor Mark Press; Vivian, John (1969) Tales of the Cornish Wreckers. 1st edn. Truro, Cornwall; Vivian, John (no date) Tales of the Cornish Smugglers. 1st edn. Truro, Cornwall: Tor Mark Press; Strike, Frank (1965) Cornish Shipwrecks -authentic accounts of disaster and heroism over the centuries compiled by an expert local historian. Signed and inscribed, 1st edn. Porthleven: F.E. Strike; Morris, Roland (1969d) Treasure Trove Islands - the Scilly Isles. 1st edn. Penzance: Roland Morris; Moyle, Terry (1998) The Mohegan - 1898 to 1998. 1st edn. Kirby, Kent: Talbot Partnership Publishing Services; Mudd, D. (1981) The Cruel Cornish Sea. 1st edn. St. Teath: Bossiney; Langley & Edwina Small. (1988) Lost Ships of the West Country - a guide to forgotten craft from Poole to Gloucester. 1st edn. London, Stanford Maritime; Hall, Thomas (2005) The T.W.Lawson - the fate of the world’s only seven masted schooner. 2nd edn. Charleston, USA: The History Press; Stevens, T. (2007) Wreck of the Colossus: the find of a lifetime (1 vol). 1st edn. St. Martin’s, Isles of Scilly: Postbox Publications, St. Marys; Bax, Alan; Cowan, Rexs (1970) Juno - booklet - 1782 - sunk in the Isles of Scilly. 1st edn. Plymouth; Winstanley, Monica (1973) The Story of Port Isaac, Port Quinn & Port Gaverne. 5th edn. Padstow: Lodenek Press Ltd; Camidge, kevin & randall, Luke (2009) An Archaeological survey of Mount’s Bay, Cornwall - 2006-2008. CISMAS, Penzance, Cornwall; Pellowe, C.M. (2017) WW1 - The U-Boat war around Scilly; French, Brian (2007) Wrecks & Rescue around Padstow’s Doom Bar. 1st edn. Probus, Cornwall: Lodenek Press, Probus, Cornwall; Journal of the Royal Institution of Cornwall - nw series - Vol.3 - Part 3 - 1959 (1959). Truro, Cornwall: Oscar Blackford Ltd, Truro; Stevens, Todd (2011) The Pirate John Mucknell - and the hunt for the wreck of the John. 1st edn. MIBED Enterprises; Kittridge, A. (2003) Cornwall’s Maritime Heritage: with special places to visit. New ed. Truro: Twelveheads; Doe, H. (2010) The Maritime History of Cornwall: an introduction. Cornwall: Tor Mark Press : [distributor] Tor Mark Press; National Maritime Museum (Great Britain) (ed.) (1984) ‘Valhalla’, the Tresco ships’ figurehead collection. London: National Maritime Museum (Outstations series, no. 1); Harris, S. (2001) Sir Cloudesley Shovell: Stuart admiral. 1st edn. Staplehurst: Spellmount; Camidge, Kevin (2006) The Search for Colossus - a story of wreck and discovery. Cornwall: CISMAS; Pickwell, John (no date) Improbable Legends surrounding the shipwreck of Sir Clowdisley Shovell. 2nd edn. St. Albans: The Mariners Mirror; Gibson, F.E. (1967) Shipwrecks on the Isles of Scilly. St. Mary’s, Isles of Scilly: F.E.Gibson; Gibson, F.E. (1967) Shipwrecks on the Isles of Scilly. St. Mary’s, Isles of Scilly: F.E.Gibson.With seven other works. (Q)

A box of prints and watercolours, to include: Two aquatints bearing Christie's New Hall Vault labels, verso; illustration of a military general inscribed below 'Black Sea, Trebizond'; Two early 20th century rural watercolours by H. Hutchen; together with an etching, tapestry, still life and others (10)

Hall & Son 'Piquet' set of 52 reduced size with wide borders single ended playing cards, circa 1806, housed in period card box, each 9 x 5.6cm. Mr Rayner's catalogue notes state 'Standard (if a little idiosyncratic) English small size single-ended courts. Sometimes referred to, erroneously, as 'Piquet', because Piquet was not played at this time, so more likely to be for gambling, such as Bassette - see Lodge reference. Hall & Son existed 1799-1810 (Lodge p. 181). The AS has 'sixpence additional duty three times (1801-1828 - Berry reference). The AS is identified as Die No 7, nos 1-20 being registered as 'new' to Hall & Son in 1806 - page 45 Berry reference.'. Provenance: Estate of Christopher Rayner, long-standing member of the International Society of Playing Cards and at various times Secretary, Chairman, Vice-President and President of the Society.

Collection of mostly 18th century English porcelain, including Worcester and New Hall

5 OO Bachmann Olive Green Departmental wagons and Brake vans wagons, each boxed and appearing unopened, Made in China(550g)Bachmann Branchline 33-826B 25 ton Queen Mary brake van ADS56302 in BR departmental olive liveryBachmann Branchline 37-931 3 plank wagon in BR Departmental olive greenBachmann Branchline 38-404 25 Ton Pill Box brake van in BR Departmental olive greenBachmann Branchline 38-702 12 Ton Pipe Wagon in BR engineers olive greenBachmann Branchline 38-918 SE&CR 25T 'Dance Hall' Brake Van BR Departmental olive green #DS55466From collection that appears not previously runAs New - Condition - Rolling Stock - ExcellentBoxes - Very Good

[Fitzgibbon (Edward)] The Book of the Salmon, first edition, 8 hand-coloured plates, advertisement leaf at rear, hinges cracked but holding firm, original cloth, spine slightly faded, extremities worn, 1850 § Dawson (George) Pleasures of Angling with a Rod and Reel for Trout, first edition, plates and decorative initials, ink inscription front endpaper, some foxing, original decorative cloth, gilt, New York, 1876 § Hall (Bradnock) Norwegian and Other Fish-Tales, first edition, plates, upper hinge starting, original decoraive cloth, gilt, 1910; and 4 others, 8vo (7)*** A group of works sporting works incorporating salmon fishing and all in original cloth. 

A collection of 18th century and later predominantly British porcelain and ceramics, including a pair of 19th century Wedgwood green jasperware pot pourris (af), bat painted tea bowls, New Hall cream jug, transfer printed plates, further jasperware items, Derby Imari teapot, etc (qty).

Registration No: 608 EKT Frame No: RS10646 MOT: ExemptOwned for the last 14 yearsVelocette enthusiast ownedBTH electronic ignitionProduced by Veloce Ltd in Hall Green, Birmingham, Velocettes were manufactured from 1904 to 1971. This family-owned firm sold almost as many hand-built motorcycles during its lifetime as the mass-produced machines from the likes of Triumph and Norton. Veloce was a technical innovator, introducing features like the positive-stop foot shift and swinging arm rear suspension with hydraulic dampers. Renowned for quality, Velocette was a prominent name in racing from the mid-1920s to the 1950s, securing two 350cc World Championship titles. In 1961, a Venom set an unbeaten record, averaging over 100mph for 24 hours on a 500cc single-cylinder machine, solidifying its status as one of the best sports bikes of its day.This 1959 Velocette Venom has been looked after by its enthusiast owner for the past 14 years, participating in numerous runs and rallies across the UK. Initially fitted with a Viper engine, it now possesses an original Venom unit. The current owner has upgraded to a BTH electronic ignition, which makes it easier to start. Maintained and looked after in current ownership, this Venom is now ready for a new owner to enjoy. It is offered with a current V5C, a continuation RF60 logbook, and a collection of receipts for parts from Groves. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Vinyl Records – LP’s - Sandy Denny – Who Knows Where The Time Goes? – SDSP 100 4LP box set; Richard Thompson – Henry The Human Fly – ILPS-9197; Curved Air – Curved Air Live – SML 119; Richard & Linda Thompson – Shoot Out The Lights – HNBL 1303; Fairport Convention – Liege & Lief – ILPS 9115; Richard & Linda Thompson – Hokey Pokey – HNBL 4408; The Bunch – Rock On – CGLP 4424; Richard Thompson – Daring Adventures – POLD 5202; Strawbs – Grave New World – AMLH 68078; Tim Hart & Maddy Prior – Summer Solstice – CREST 12; Fairport Convention – "Babbacombe" Lee – ILPS 9176; Sandy Denny and The Strawbs – All Our Own Work – SHM 813; Strawbs – Just A Collection Of Antiques And Curios (Live At The Queen Elizabeth Hall) – AMLS 994; Sandy Denny – Rendezvous – ILPS 9433; Maddy Prior – Woman In The Wings – CHR 1185; Maddy Prior – Changing Winds – CHR 1203 (16)

A New Hall  fluted helmet shaped pedestal cream jug, decorated with stylised flowers, 16cm high, c.1790;   others, pattern no.241, 253, 173;   a New Hall Boy with a Kite pattern tea bowl, c.1790;   eight tea bowls, various patterns;   a Ducks pattern slop bowl, 15.5cm diam;   three blue and white coffee cups;  etc (23)

Two boxes of miscellaneous. Includes Yorkshire Penny Bank, Stratton compacts, cranberry glass, Royal Worcester, New Hall etc.

° ° Cook, Captain James - John Webber, et al. [Atlas to] A Voyage to the Pacific Ocean… for making discoveries in the Northern Hemisphere, 2 engraved folding maps, 61 engraved, tissue guarded, plates. Folio, (57 x 42.5cms), contemporary half calf with marbled boards,[London, 1785] THE MAPS1.    A General Chart, by Lt. Henry Roberts, 67 x 100cm.2.    Chart of the N.W coast of America and N.E coast of Asia…received from the Russians, 46 x 76cm.THE PLATES1 - A view of Christmas Harbour, in Kerguellen's Land, J. Newton engraver, 26.4 x 40.5 cm, platemark2 - A man on Van Diemen's Land, J. Caldwell engraver, 28.4 x 22.1 cm, platemark3 - A woman of Van Diemen's land, J. Caldwell engraver, 28.2 x 22.3 cm, platemark4 - An opossum of Van Diemen's Land, P. Mezell engraver, 21.5 x 27 cm, platemark5 - The Inside of a Hippa, in New Zealand, B.T. Pouncy engraver, 25.1 x 40.6 cm, platemark6 - A Man of Mangea, W. Sharp engraver, 30.6 x 24 cm, platemark7 - A View at Anamooka, W. Byrne engraver, 26.4 x 52.8 cm, platemark8 - The reception of Captain Cook, in Hapaee, J. Heath engraver, 25.8 x 40.5 cm, platemark9 - A boxing match, in Hapaee, I. Taylor engraver, 30.3 x 22.5 cm, platemark10 - A night dance by men, in Hapaee, W. Sharp engraver, 41 x 27 cm, platemark11 - A night dance by women, in Hapaee, W. Sharp engraver, 41 x 27 cm, platemark12 - Poulaho, King of the Friendly Islands, J. Hall engraver, 28.5 x 22.5 cm, platemark13 - Poulaho, King of the Friendly Islands drinking Kava, W. Sharp engraver, 26.7 x 41.4 cm, platemark14 - A Fiatooka, or Morai, in Tongataboo, W. Ellis engraver, 25.8 x 40.7 cm, platemark15 - The Natche, a ceremony in honour of the king's son, in Tongataboo. J. Hall engraver, 31.4 x 49 cm, platemark16 - A woman of Eaoo, J. Hall engraver, 29 x 22.3 cm, platemark 17 - A human sacrifice, in a marai, in Otaheite, W. Woollett engraver, 28.5 x 48.6 cm, platemark18 - The body of Tee, a chief, as preserved after death, in Otaneite, W. Byrne engraver, 25.8 x 40.4 cm, platemark19 - A young woman of Otaneite, bringing a present, E. Bartolozzi engraver, 34.9 x 28.1 cm, platemark20 - A dance in Otaheite, J.K. Sherwin engraver, 26.1 x 40.3 cm, platemark21 - A young woman of Otaneite, dancing, J.K. Sherwin engraver, 27.7 x 22.6 cm, platemark22 - A view of Huaheine, W. Byrne engraver, 26.2 x 49.2 cm, platemark23 - A Morai, in Atooi, D. Lerperner engraver, 26.7 x 41 cm, platemark24 - The inside of the house, in the Morai, in Atooi, E. Scott engraver, 21.5 x 27.8 cm, platemark25 - An inland view, in Atooi, S. Middiman engraver, 26 x 51.2 cm, platemark26 - A man of Nootka Sound, W. Sharp engraver, 30.5 x 24.4 cm, platemark 27 - A woman of Nootka Sound, W. Sharp engraver, 30.3 x 22.4 cm, platemark28 - Various articles, at Nootka Sound, J. Record engraver, 20.4 x 27.7 cm, image and platemark29 - A view of the habitation in Nootka Sound, S. Smith engraver, 25.7 x 40 cm, platemark30 - The inside of a house in Nootka Sound, W. Sharp engraver, 27 x 40.5 cm, platemark31 - A sea otter, P. Mazell engraver, 19.8 x 26.8 cm, platemark32 - A view of Snug Corner, in Prince William Sound, W. Ellis engraver, 25.3 x 40.4 cm, platemark33 - A man of Prince William Sound, J. Bafire engraver, 30.8 x 24.2 cm, platemark34 - A woman of Prince William Sound, J. Bafire engraver, 30.9 x 24.1 cm, platemark35. A man of Oonalashka, W. Sharp engraver, 30.4 x 24.3 cm, platemark36 - A woman of Oonalashka, Delattre engraver, 28.4 x 21.7 cm, platemark37 - Canoes of Oonalashka, W. Angus engraver, 20.7 x 26.5 cm, platemark38 - The Tschuktschi, and their habitations, D. Lerpiniere engraver, 25.6 x 40.5 cm, platemark39 - Sea horses, E. Scott and J. Heath engravers, 37 x 41 cm, platemark40 - Inhabitants of Norton Sound and their habitations, B.T. Pouncy engraver, 25.3 x 39.8 cm, platemark41 - Caps of the natives of Oonalashka, J. Record engraver, 28 x 20.9 cm, image/platemark42 - Natives of Oonanlashka, and their habitations, J Hall and S. Middiman engravers, 25.8 x 41.4 cm, platemark43 - The inside of a house, in Oonalashka, W. Sharp engraver, 25.7 x 40.3 cm, platemark44 - An offering before Captain Cook, in the Sandwich Islands, S. Middiman and J. Hall engravers, 26.2 x 40.8 cm, platemark45 - Tereobou, King of Owyhee, bringing presents to Captain Cook, B.T. Pouncy engraver, 25.9 x 40 cm, platemark46 - A man of the Sandwich Islands, dancing, C. Grignion engraver, 30 x 20.8 cm, platemark47 - A young woman of the Sandwich Islands, J.K. Sherwin engraver, 29.1 x 22.8 cm, platemark48 - A man of the Sandwich Islands, with his helmet, J.K. Sherwin engraver, 29.3 x 22.9 cm, platemark49 - A canoe of the Sandwich Islands, the rowers masked, C .Grignion engraver, 25.9 x 40.4 cm, platemark50 - A man of the Sandwich Islands, in a mask, T. Cook engraver, 28.4 x 20.7 cm, platemark51 - Various articles, at the Sandwich Islands, J. Record engraver, 20.8 x 28 cm, image/platemark52 - A view of Karakakooa, in Owyhee, W. Byrne engraver, 26.4 x 52.8 cm, platemark53. A man of Kamtschatka, travelling in winter. S. Middiman engraver, 32.1 x 40.3 cm, platemark54 - A sledge of Kamtschatka, J. Woodyer engraver, 18.9 x 25.2 cm, image/platemark55 - A view at Bolcheretzkoi, in Kamtschatka, P. Benezech engraver, 24.4 x 34.5 cm, platemark, (loss to bottom right corner, appx. 3 x 2cm.)56 - A white bear, P. Mazell engraver, 21.8 x 27.3 cm, platemark57 - A view of the town and harbour of St Peter and St Paul harbour, in Kamtschatka, B.T. Pouncy, 25 x 52.8 cm, platemark58 - A man of Kamtschatka, W. Sharp engraver, 30.4 x 24.1 cm, platemark59 - A woman of Kamtschatka, W. Sharp engraver, 30.4 x 24.1 cm, platemark60. Summer and winter habitations, in Kamtschatka, S. Smith engraver, 24.7 x 40.6 cm, platemark61 - The inside of a winter habitation in Kamtschatka, W. Sharp engraver, 25.4 x 41.5 cm, platemark

An early 20th Century etched amber glass vase, the design for New Hall Christ's Hospital, measuring 15cm high

Signed EDWARD VII (Albert Edward): Gibson, C D: Sketches and Cartoons. New York, Russell, 1898; Oblong folio poor copy; But the front blank endpaper is Inscribed: To Frances- Sweeter than any 'Gibson girl' and Signed: Huf, 1898. Frances was Frances Evelyn 'Daisy' Greville, Countess of Warwick: British socialite and long-time mistress to Albert Edward, Prince of Wales, who later became King Edward VII. She was the inspiration behind the popular music hall song 'Daisy, Daisy'

DICKENS, Charles (Two First editions): 1- A Tale of Two Cities. Chapman & Hall, 1859, 1st edn. Second issue (with the corrected pagination on p.213 and no signature on the list of plates; BUT page 134, line 12 'affetcionately' not corrected; 2- Dombey and Son. Bradbury & Evans, 1848, 1st edn. First or very early issue, half title present; Plus: Sketches by Boz. Chapman & Hall, 1839, new. Edn. All three with all plates exceptionally clean. Bound in matching full calf (3)

A collection of eighteen largely mid 19th century English porcelain cups and saucers Including two trios and comprising examples by Flight Barr & Barr, Grainger Worcester, Alcock, New Hall, Ridgway, Copeland Spode and Crown Staffordshire and examples attributed to Hilditch and Worcester, a Gaudy Welsh design example and a miniature continental cup and saucer, various sizes. (38)

A Birch D end hall table, with two drawers raised on slender turned supports. (As new condition). 119cm long x 33cm deep x76cm high.

Assorted Chinese and Japanese Porcelain and Enamel Wares; including a 19th century saucer and 20th century famille rose bowls, together with an 18th century New Hall ''Man in the Window'' pattern saucer Small bowl with glazed chips and firing floors, large bowl with rubbing and one or two paint scratches, small octagonal dish, rubbed, both saucers with some wear to the painted surface and rubbing, remaining pieces in good order

* ANGUS MCEWAN PRSW RWS AWS NWS AWI RGI (SCOTTISH b. 1963), CELLULA MEMORALIS acrylic on board, signed and titled versoframed and under glass image size 58cm x 46cm, overall size 75cm x 63cm Artist's label versoNote: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary. Angus McEwan's solo show "Liminal Spaces" is taking place at The Open Eye Gallery (Edinburgh) from 30th August - 21st September 2024.

* MALCOLM LOCHHEAD (SCOTTISH 1948 - 2023), FANDANGO mixed media construction, signed, titled and dated 2004 verso mounted, framed and under glass image size 30cm x 40cm, overall size 44cm x 54cm Note: Malcolm Lochhead was a university design lecturer and a much sought-after embroiderer, textile artist and designer whose work adorns many churches across Scotland. His creations can be seen at Glasgow Cathedral (the shrine of Saint Mungo and the Nurses’ Chapel); the offices of the moderator of the General Assembly; the Chapel Royal at Stirling Castle and the Chapel of St Hild at Durham Cathedral, among many other places. He also designed pulpit and lectern falls for churches, and was responsible for most of the furnishings of the Great Hall and the Queen’s Bedchamber at Stirling Castle. His first teaching post was at Coatbridge high school (1971-75), after which he joined the staff at Queen’s College Glasgow, first as a lecturer in design and then as a senior lecturer in marketing and communication, a post he continued to hold when the college amalgamated with Glasgow Polytechnic and became Glasgow Caledonian University. It was during this period that he also became involved in the design, creation and supervision of so many embroidery projects, predominantly in the field of ecclesiastical design. In 1990 he was responsible for the overall design of the Keeping Glasgow in Stitches community arts project, which involved more than 600 amateur participants when Glasgow was European Capital of Culture. He remained at Glasgow Caledonian University until his retirement in 2009, by which time he was professor of design. Afterwards he was appointed emeritus professor of visual design, continuing to give masterclasses and to supervise masters dissertations. Malcolm also designed small embroidery pieces for private clients for use in their homes, and carried on with his work on larger projects, including designing and supervising the making of a parochet for the synagogue in Giffnock in East Renfrewshire, an altar cloth for York Minster and the creation of the pulpit fall for St Andrew’s College in Christchurch, New Zealand. He exhibited worldwide and had a retrospective at Glasgow Cathedral in 2017.

This opalescent New York Yankees carnival glass top hat is a unique commemorative piece. Under the brim, it features an engraved inscription reading Joe DiMaggio 1955 Baseball Hall of Fame, celebrating the legendary player's induction into the Hall of Fame. Issued: 1955Dimensions: 3.75"L x 3.5"W x 2.5"HCondition: Age related wear.

A pair of New York Yankees Hall of Famers. A Series 3 - 1997 Sports Illustrated Mickey Mantle Sports Champions Pewter Figurine standing in front of a replica copy of the July 2, 1962 cover of Sports Illustrated featuring Mickey Mantle. Figurine was limited to 30,000, and comes with a Certificate of Authenticity. Measures 3.25"L x 3.5"W x 7"H. Also included is rare Babe Ruth resin statue originally part of a limited series of Yankee Stadium giveaways of New York Yankee greats sponsored by Hormel's DilLusso Genoa line. 4"L x 3.25"W x 8.5"H and Engraved Yankee Stadium, April 30, 2004. Issued: 1997 - 2004Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

This is an Authentic Diamond Collection MLB cap in navy blue with white New York Yankees logo hand signed in white on the brim by Hall of Famer Legend Mickey Mantle. Certificate of Authenticity from Just Rookies II included. This item comes in a display case that measures 9"L x 7.5"W x 9"H. Dimensions: 10"L x 8"W x 4.5"HManufacturer: New Era Cap Co. Inc. Country of Origin: United StatesCondition: Age related wear.

This is an Authentic Diamond Collection MLB cap in navy blue with white New York Yankees logo hand signed in white on the brim by Hall of Famer Legend Joe DiMaggio. Certificate of Authenticity from Just Rookies II included. This item comes in a display case that measures 9"L x 7.5"W x 9"H. Dimensions: 10"L x 8"W x 4.5"HManufacturer: New Era Cap Co. Inc. Country of Origin: United StatesCondition: Age related wear.

An enamel seal, circa 1910-1930 Formerly owned by Josephine Baker Of bulbous form, decorated throughout with royal blue guilloché enamel, highlighted towards the base by a single band of red enamel, the matrix engraved “Josephine Baker”, unidentified assay mark, height 6.2cm Gifted to Josephine Baker from an admirer. Then in the private collection of a well-known Munich Consul General who was a personal friend of Baker. The Matrix Collection. Josephine Baker made her debut in Berlin as the “Black Venus” in 1926 and that is likely where the relationship formed. From his personal collection sold at auction in 1996 in Munich, Lot 3408.The Matrix Collection. Josephine Baker (1906-1975) was born Freda Josephine McDonald in St. Louis, Missouri. Her mother worked as a washerwoman and the identity of her father has never been confirmed. Her childhood was one of great hardship and deprivation. At the age of 8 she worked as a domestic servant, a role in which she was abused. By the age of 12 she was living on the streets and working as a dancer, at times just on street corners. She married at just 13 but the marriage didn't last a full year. At that time she began a performance touring career as a dancer and comic. She remarried in 1921, aged 15, to William Howard Baker, and despite their divorce in 1925, Josephine retained the name Baker for the remainder of her life. By 1923 Baker had appeared as part of the chorus in her first Broadway production, Shuffle Along. However her career did not really take off until she travelled to France in 1925. Her performances at the Théatre des Champs-Elysees caused a sensation. She became amongst the highest paid performers in Europe. Her career continued to escalate and in 1934 she stared in the French film Zouzou, the first major film with a black woman in the leading role. Baker's career became solidified in France. The racial injustices she witnessed in her home country of the United States ultimately led her to give up her U.S. citizenship and became a naturalised French citizen. From very early on in her career Baker undertook philanthropic giving, particularly around the plight of children. At the outbreak of World War II in France, Baker entertained French troops, was a member of the Red Cross and ultimately became a member of the French Resistance. She was a valued member of the Deuxième Bureau, the French military intelligence agency. Her role as an entertainer allowed her to mix in wide social circles and travel internationally without arousing suspicion. Following the war she was highly decorated for her services.In the 1950s Baker continued her work as an internationally acclaimed entertainer although she was never to reach the level of fame in the United States as she did throughout Europe and North Africa. She refused to preform to segregated crowds and fought against racism both as a performer and as a member of society. She was awarded a lifetime membership to the NAACP. In 1963 she spoke alongside Dr Martin Luther King Jr. as part of the March on Washington, the only female speaker at the event.Her quest to end racism, coupled with her own personal inability to have children, led her to form her “Rainbow Tribe” at her home, the Château des Milandes, in the Dordogne area of France. Baker adopted twelve children, two girls and ten boys, from various nationalities and religions to prove that "children of different ethnicities and religions could still be brothers."Late in life, from 1968 to 1975, Baker returned to the stage performing in Paris, Carnegie Hall in New York and the Royal Variety Performance in London. Her final performance was a retrospective show in Paris, financed by Prince Rainer, Princess Grace, and Jacqueline Kennedy Onassis. She was found unconscious in bed four days later, surrounded by newspapers containing rave reviews for her performance. Josephine Baker died a few days later from a brain haemorrhage while in hospital. 

Coins: A collection issued by The Dublin Mint Office "Building The New Ireland," comprising five silver Coins for G.P.O., Custom House, Liberty Hall, Four Courts, and Kilmainham Gaol, a layered gold Coin for Michael Collins, and a 9ct gold Coin for Leinster House, together with associated certificates, housed in folding container. (1)