155742 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

A rare selection of 'Sarah Records' 7" vinyl. Eleven in total. Another Sunny Day; 'Anorak City' (single-sided Flexi-disc, SARAH 3, 1988), Another Sunny Day; 'I'm In Love With A Girl Who Doesn't Exist' (Picture sleeve, includes original A4 poster, SARAH 7, 1988), Another Sunny Day; 'What's Happened?' (Picture sleeve, includes insert and original A4 poster, SARAH 16, 1989), The Poppyheads; 'Cremation Town' (Picture sleeve, includes original A4 poster, SARAH 6, 1988), St. Christopher; 'You Deserve More Than Maybe' (Picture sleeve, includes original A4 poster, SARAH 15, 1989), The Springfields; 'Sunflower' (Picture sleeve, includes original A4 poster, SARAH 10, 1988), The Orchids; 'Underneath The Window, Underneath The Sink' (Picture sleeve, includes insert and original A4 poster, SARAH 11, 1988), The Field Mice; 'Emma's House' (Picture sleeve, includes insert and original A4 poster, SARAH 12, 1988), 14 Iced Bears; 'Come Get Me' (Picture sleeve, includes insert and original A4 poster, SARAH 5, 1988), The Field Mice; 'Sensitive' (Picture sleeve, includes insert and original A4 poster, SARAH 18, 1989), The Golden Dawn; 'My Secret World' (Picture sleeve, includes insert and original A4 poster, SARAH 9, 1988).Overall the condition is generally VG/VG+. Another Sunny Day; 'What's Happened?'- Three very small scratches to an otherwise ex+ disc, fine folded poster and sleeve. St. Christopher; 'You Deserve More Than Maybe'- two tiny scratches to an otherwise ex+ disc, fine folded poster and sleeve. The Golden Dawn; 'My Secret World'- Three very light scratches, otherwise vg+, fine folded poster and sleeve. 14 Iced Bears; 'Come Get Me'- vg++ disc, fine folded poster and sleeve. Another Sunny Day; 'Anorak City' single-sided Flexi-disc- vg+ The Field Mice; 'Emma's House'- One fine scratch to otherwise vg+ disc, fine folded poster and sleeve. The Poppyheads; 'Cremation Town'- vg++ disc, fine folded poster and sleeve. The Field Mice; 'Sensitive'- vg++ disc, fine folded poster and sleeve. The Springfields; 'Sunflower'- vg++ disc, fine folded poster and sleeve. The Orchids; 'Underneath The Window, Underneath The Sink'- vg++ disc, fine folded poster and sleeve. Another Sunny Day; 'I'm In Love With A Girl Who Doesn't Exist' - a small finger-sized mottled scratch which does not affect the playing of, otherwise vg, fine folded poster and sleeve

Rare (signed) Queen 12" album A Kind Of Magic. Fully signed in silver sharpie; Freddie Mercury, Brian May, Roger Taylor, and John Deacon. The album itself is in VG/G condition (gatefold, EU 3509, 1986).The vendor has stated that they acquired the album at an auction held in Truro to raise funds for the local Pencalenick School, which was facing potential closure. Roger Taylor, who grew up in Truro, is believed to have provided the album after being contacted by the patrons of the school and organisers of the auction due to his connection with the city.

Van Der Graaf Generator. Seven 12" albums. 'H to He Who Am The Only One', (CAS 1027, 1970), VG, 'The Quiet Zone/The Pleasure Dome', (CAS 1131, 1977), VG, 'World Record', (Cas 1120, 1976), VG, 'Still Life', (CAS 1116, 1976), VG, 'Repeat Performance', (BG 3, 1980), VG, 'Pawn Hearts', (CAS 1051, 1972), VG, 'Godbluff', (CAS 1109, 1975), VG. (7)

A mixed bag of 7" singles. Including Canned Heat, Cat Stevens, Lynyrd Skynyrd, Troggs, Jefferson Airplane, Fairport Convention, The Who, Cyndi Lauper, Don McLean, Johnny Cash, Donna Summer, T. Rex, Isaac Hayes, The Kinks, Jackie Wilson etc. (50+)

The London Rock N' Roll Show original film flyers. Seven in total, advertising the one-night-only 1973 Rainbow Theatre showing of the film of the iconic 1972 concert, directed by Peter Clifton.'The London Rock and Roll Show was a historic music event that took place at Wembley in 1972. Organized by legendary music promoter Harvey Goldsmith, the show featured an all-star lineup of some of the biggest acts in rock and roll at the time.The event took place on August 5, 1972 and attracted a crowd of over 100,000 people. The star-studded lineup included Chuck Berry, Little Richard, Bo Diddley, Jerry Lee Lewis, and Bill Haley and the Comets.The show was a major success, with all the performers delivering electrifying sets that had the crowd dancing and singing along. Each act took turns on stage, with Chuck Berry opening the show with his hit song "Johnny B. Goode". Little Richard followed with hits like "Good Golly Miss Molly" and "Tutti Frutti", and Bo Diddley kept the energy high with his unique blend of blues and rock and roll.Jerry Lee Lewis, known as the "Killer", wowed the crowd with his piano playing and charisma, belting out hits like "Great Balls of Fire" and "Whole Lotta Shakin' Goin' On". Bill Haley and the Comets closed out the show with their rock and roll classics like "Rock Around the Clock" and "Shake, Rattle and Roll".The London Rock and Roll Show remains a landmark event in music history, considered by many to be one of the greatest rock and roll shows of all time. For those who were lucky enough to attend, it was a night they would never forget. The show helped to further cement the legacy of the legendary rock and roll performers who took the stage that night, and it remains a testament to the power of music to bring people together and transcend the boundaries of time and place.'

Indie/Rock Limited Edition & Coloured 7" singles and EPs. Hole; 'Miss World' (picture sleeve and pink disc, EFA 04936-7, 1994), Ben Folds Five; 'Battle of Who Could Care Less' (picture sleeve, 664230 7, 1997), Drugstore; 'Sober' (picture sleeve and transparent red disc, RR 2230 7, 1998), Drugstore; 'El President' (picture sleeve and Ltd Edition clear blue disc, RR 2236-7, 1998), Inspiral Carpets; 'Uniform' (Ltd Edition, sealed in the original camouflage cloth bag, dung 26, 1994), Inspiral Carpets ft. Mark E. Smith; 'I Want You' (picture sleeve, Ltd Edition numbered 2181, dung 24, 1994), The Raconteurs; 'Steady, As She Goes/Store Bought Bones' (picture sleeve, B, XLS 229A, 2006), The Raconteurs; Steady, As She Goes (Acoustic)/Call It A Day' (picture sleeve, C,XLS 229B, 2006), The Raconteurs; 'Hands (Live)/It Ain't Easy (Live)' (picture sleeve, E, XLS236B, 2006), The Raconteurs; 'Hands/Store Bought Bones (The Zane Rendition)' (picture sleeve, D, XLS236A, 2006), The Raconteurs; 'Steady, As She Goes/Store Bought Bones' (picture sleeve, Ltd Edition, A, XLS 227, 2006). (11)The overall condition is generally VG/VG+.

An excellent collection of 12" albums. Jack Lancaster and Robin Lumley; 'Marscape' (2394 170, 1976), Dan Hill; 'Dan Hill' (450939 1, 1987), The Moody Blues; 'Days Of Future Passed' (SML 707, 1967), The Moody Blues; 'Seventh Sojourn' (Gatefold, THS 7, 1972), John Lodge; 'Natural Avenue' (Gatefold, TXS 120, 1977), Cream; 'Best of Cream' (2394 131), Cream; 'Goodbye' (Gatefold, 583 053, 1969), Yes; 'The Yes Album' (Gatefold, SD 8283, 1971), Genesis; 'Duke' (Gatefold, CBR 101, 1980), Genesis; 'Seconds Out' (Gatefold, GE 2001, 1977), John Stevens' Away; 'Mazin Ennit' (6360 141, 1977), Glenn Phillips; 'Lost At Sea' (C 1519, 1975), Various Artists; 'Peter and the Wolf' (2479 167, 1975), Gerry Rafferty; 'Night Owl' (UAK 30238, 1979), Dan Fogelberg; 'Souvenirs' (EPC 80623, 1974), Supertramp; 'Crime Of The Century' (AMLS 68258, 1974), Santana; 'Barboletta' (69084, 1974), Santana; 'Festival' (86020, 1976), Santana; 'Marathon' (86098, 1979), Splinter; 'A Place I Love' (Gatefold, AMLH 22001, 19740), Vangelis; 'China = 中國' (Gatefold, POLD 5018, 1979), Loudon Wainwright III; 'A Live One' (RAD 24, 1979), The Who; 'The Best of the last Ten Years' (Gatefold, 2674 017, 1975), The Marquee; '30 Legendary Years' (Gatefold, MQTV 1, 1989). (24)The overall condition is generally VG.

Books - Poetry and Other - scarce G. Bewlay Dalby 'Verse and Prose and Leaves of my Leisure, printed for personal friends, signed Charles F. Dalby 'with the aucthor's love'; Swan, Who Shall Serve?;  The Poetical Works of Cowper;  James Blackwood & Co, The Complete Poetical Works of Robert Burms and Sir Walter Scott;  Heinmann Homer I and II;  etc

Spira, Rupert (geb. 1960, London,Keramiker u. Philosoph, Vertreter der Lehre des Nicht-Selbst und Non Dualität) Großer Poetry-Topf auf eingezogenem Stand Keramik, weiß glasiert. Auf der Wandung erhabene Gedichtzeilen, beginnend "Who am I, who speaks from the Dust, who looks from the clay ..." H. 25 cm. Im Boden Monogr. RS. Dazu: Rechnung S.K.H. Gallery, Great Barrington, USA vom 19.3.(20)06. Und: Lebenslauf v. Rupert Spira (60450)

Altniederländische Schule, Meister von Ghent, um 1480DIE HEILIGE KATHARINA VON ALEXANDRIENÖl und Goldauflage auf Holz. Parkettiert.40,5 x 29,8 cm.In teils bemaltem und vergoldetem Rahmen.Das Gemälde zeigt die stehende Heilige Katharina, der christlichen Überlieferung nach, im 4. Jahrhundert die Königstochter von König Costus von Alexandrien und dessen Frau Sabinella, die die heidnischen Praktiken Kaisers Maxentius anprangerte und schließlich wegen Ihres christlichen Glaubens von ihm zum Tode durch das Stachelrad verurteilt wurde. Sie steht triumphierend über dem Körper des liegenden Kaisers, das zerbrochene Rad neben ihr, in bergiger Landschaft und trägt ein prachtvolles, reich mit Gold besticktes langes Gewand, das mit Hermelin besetzt und mit Perlen (als Symbol der Reinheit) verziert ist. Sie trägt eine Turbankrone und hat einen großen goldenen Nimbus um ihr Haupt. Zu den Attributen ihres Martyriums gehören rechtsseitig das große Rad mit Stacheln und ein großes Schwert in ihrer rechten Hand, mit dem sie enthauptet wurde, nachdem das Rad auf ihr göttliches Gebet hin, zerstört worden war. In ihrer linken Hand hält sie ein aufgeschlagenes Buch, ihr Attribut als Schutzpatronin der Gelehrten und Studenten. Im Hintergrund links kniet Katharina vor ihrem Henker, der gerade das Schwert zur Enthauptung schwingt. Auf der Bergspitze tragen zwei Engel ihren Körper weg, um ihn zu begraben. Für einen Aufenthalt des Künstlers in Italien spricht die Vielzahl der Zypressen im Hintergrund. Die scharfen Formen dieser Bäume erinnern an die Stacheln ihres zerbrochenen Rades und betonen die Vertikalität der wichtigsten Kompositionselemente des Gemäldes: Ihr langgestreckter Körper, das Zepter des Maxentius, die Pfosten des Rades und die Landschaft selbst.Provenienz:Lacombe, Paris, bis 1909, dann verkauft an folgende Gesellschaften.Kleinberger, New York und Paris, 1909-1910, als Meister der Legende von St. Lucia, von dem er von George D. Pratt (gest. 1935), Glen Cove, N.Y., als Meister von St. Lucy erworben wurde, und durch Erbschaft an seine Witwe Vera Amherst Hale Pratt, (1935-44).1935 durch Vermächtnis von George D. Pratt vom Metropolitan Museum of Art erworben.Christie´s, New York, 29. Januar 2014, Lot 106. Dort vom jetzigen Besitzer erworben. Literatur:A. Priest, "Loans from the Collection of George D. Pratt", Metropolitan Museum of Art Bulletin, XXXV, Dezember 1940, S. 237, als Kreis des Meisters der Legende der Heiligen Ursula.H.B. Wehle und M. Salinger, The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings, New York, 1947, S. 77.E. Larsen, Les primitifs flamands au Musée Metropolitain de New York, Utrecht 1960, S. 77.R.H. Wilenski. Flämische Maler, 1430-1830, New York, 1960, I, S. 40-42, 44, 46, 52; II, Taf. 109.M.W. Ainsworth und K. Christiansen, From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, Ausstellungskatalog, New York, 1998, S. 405. (1371691) (†)Old Netherlandish School, Master of Ghent, Ca. 1480SAINT CATHERINE OF ALEXANDRIA Oil and gold on panel. Parquetted.40.5 x 29.8 cm.In partially painted and gilded frame.The painting depicts the standing Saint Catherine, who according to Christian tradition, lived in the 4th century and was the daughter of King Costus of Alexandria and his wife Sabinella. Catherine denounced the pagan practices of Emperor Maxentius and was then condemned by him to death by a spiked wheel for her Christian faith.She stands triumphantly over the body of the reclining emperor, the broken wheel beside her, in mountainous scenery, wearing a magnificent long robe richly embroidered with gold, trimmed in ermine and decorated with pearls, as a symbol of purity. She is wearing a turban crown and has a large golden nimbus on her head. Among the attributes of her martyrdom are the large spiked wheel on the right and a large sword in her right hand, with which she was beheaded after the wheel was destroyed in response to her divine prayer. In her left hand she holds an open book, her attribute as the patron saint of scholars and students. In the background on the left, Catherine kneels before her executioner, who is swinging the sword for her beheading. On the hilltop, two angels carry her body away to bury it. The multitude of cypresses in the background speaks for a possible stay of the artist in Italy. The sharp shapes of these trees evoke the spikes of her broken wheel and emphasize the verticality of the main compositional elements of the painting: Catherine’s elongated body, Maxentius’s sceptre, the wheel´s posts and the landscape itself. Provenance:Lacombe, Paris, until 1909, when sold to the following.Kleinberger, New York and Paris, 1909 – 1910, as the Master of the Legend of St. Lucia, from whom acquired by Georges D. Pratt (d. 1935), Glen Cove, N.Y, as the Master of St. Lucy, and by inheritance to his widow Vera Amherst Hale Pratt, 1935-44).Acquired by the Metropolitan Museum of Art by bequest from George D. Pratt in 1935.Christie´s, New York, 29 January 2014, where purchased by the present owner.Literature:A. Priest, “Loans from the Collection of George D. Pratt”, Metropolitan Museum of Art Bulletin, XXXV, Dezember 1940, p. 237, as Circle of the Master of the Saint Ursula Legend.H.B. Wehle and M. Salinger, The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings, New York, 1947, p. 77.E. Larsen, Les primitifs flamands au Musée Metropolitain de New York, Utrecht 1960, p. 77.R.H. Wilenski, Flemish painters, 1430-1830, New York, 1960, I, pp. 40-42, 44, 46, 52; II, pl. 109.M.W. Ainsworth and K. Christiansen, From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, exhibition catalogue, New York, 1998, p. 405.

Flämischer Meister des 16. JahrhundertsANBETUNG DER HEILIGEN DREI KÖNIGEÖl auf Eichenholz.68,5 x 90 cm.Verso Festigungsklötzchen, kleiner roter Klebezettel, französisch beschriftet „flamand Adoration“.Im Renaissance-Rahmen.Die Darstellung der Bildtafel führt alle im Bild versammelten Figuren sehr nahe an den Betrachter heran. Dies ist als stilistisches Merkmal zu sehen, dass das Gemälde wohl erst etwas nach den Beispielen etwa des „Meisters der Antwerpener Anbetung“ (Museum der Schönen Künste Antwerpen) geschaffen wurde, der um 1520 tätig war. Auch die symmetrisch entwickelte Ruhe, die im Werk des „Meisters von 1518“ zu bemerken ist, steht im Gegensatz zu vorliegender Tafel. Dazu kommt, dass es sich hier wohl nicht um eine Altartafel handelt, die mehrere Szenen und Szenendetails etwa mit seitlichen Flügeln illustriert, wie die genannten Beispiele, sondern als Einzeldarstellung geschaffen wurde. Die Benennung von Meistern für die „Antwerpener Manieristen“ und deren Biografie hat sich als äußerst schwierig erwiesen. Erstmals 1915 hat der bedeutende Kunstwissenschaftler Max J. Friedländer sich der Aufgabe der Künstlerzuweisungen gewidmet (s. Lit.). Dabei wurden „Notnamen“ gebildet für Werke, deren Stil auf einen bestimmten Maler weist. In vorliegendem Fall kann gesagt werden, dass bereits italienische Einflüsse mitgeprägt haben. Man denke nur an Bilder desselben Themas von Bellini oder Mantegna. Es bestand gerade in diesem Zeitraum auch ein enger Gedanken- und Begegnungsaustausch, nach dem dennoch die Eigenart der flämischen Malerei erhalten blieb.Gezeigt ist die Bethlehem-Szene mit den Heiligen Drei Königen, die das Jesuskind mit Geschenken ehren. Die Komposition teilt den Bildraum: rechts die Gruppe mit Maria, dem Kind und Josef. Links, dicht gedrängt, die Halbfiguren der drei Könige und deren Gefolge, traditionsgemäß der Älteste mit langem Bart, dunkelhäutig Balthasar und Kaspar hier mit Kopfbedeckung. Links oben die Begleiter der Könige, wobei daran zu denken ist, dass die Physiognomie des aus der linken oberen Ecke möglicherweise an ein Portrait eines Auftraggebers denken ließe, was etwa auch für den bärtigen König gilt. Die Textilien, vor allem aber auch die goldenen Prunkgefäße als Gaben, verraten bereits die Kunst des reifen Renaissance-Stils. Die Malweise ist von sehr hoher Qualität. Natürlich ist auch in diesem Bild eine ikonografische, wie symbolische Besonderheit eingefügt: Das Kind blickt nicht auf die Pracht der Goldpokale, sondern auf einen Apfel, auf den auch die gefalteten Hände des Königs weisen. Wohl die bedeutendste Aussage des Bildes.Literatur: Vgl. Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), S. 65-91.Vgl. Max J. Friedländer Die altniederländische Malerei. Die Antwerpener Manieristen – Adriaen Ysenbrant, Bd. XI, Berlin 1933.Vgl. Peter van den Brink/ Maximiliaan P. J. Martens (Hrsg.), ExtravagAnt! A forgotten Chapter of Antwerp Painting 1500-1530, Koninklijk Museum vor Schone Kunsten Antwerpen, 15. Oktober - 31. Dezember 2005, Antwerpen 2005.Vgl. Ortrud Westheider (Hrsg.), Sturz in die Welt. Die Kunst des Manierismus in Europa, Ausstellungskat.: Hamburg Bucerius Kunstforum 2008/2009 München 2008. A.R. (1331312) (1) (11)Flemish School, 16th centuryTHE ADORATION OF THE MAGI Oil on oak panel.68.5 x 90 cm.Parquetting slats on the back, small red sticker, labeled in french "flamand Adoration".All the figures gathered in the painting are brought closely to the viewer. This can be considered as a stylistic feature and suggests that the painting was probably created somewhat after the example of the “Master of the Antwerp Adoration” (Antwerp Museum of Fine Arts), who was active around 1520. In contrast to works by the “Master of 1518”, the present symmetrical composition conveys tranquillity. Furthermore, it was probably not created as an altarpiece illustrating several scenes and details in side wings, as is the case in the mentioned examples, but was created as a standalone depiction. The identification of masters of the “Antwerp Mannerists” and their biographies has proven very difficult. The important art historian Max Jakob Friedländer first devoted himself to the task of attributing artists in 1915 (see ref.). “Notnamen” were invented names for works whose style points to a specific painter. The present painting shows that Italian influences have already had an impact if one thinks of paintings of the same subjects by Bellini or Mantegna for instance. During this period there was a close exchange of ideas and encounters, after which the uniqueness of Flemish painting was nevertheless preserved. The painting depicts the Bethlehem scene with the three Magi honouring the Christ Child with gifts. The painting style is of very high quality. Naturally the painting also includes iconographic and symbolic characteristics: the Christ Child is not looking at the splendour of the gold cups, but at an apple, to which the folded hands of one of the kings are also pointing. This is probably the painting"Ts most important message.Literature: cf. Max J. Friedländer, Die Antwerpener Manieristen von 1520, in: Jahrbuch der Königlich Preußischen Kunstsammlungen 36 (1915), pp. 65-91.cf. Max J. Friedländer, Die altniederländische Malerei, Die Antwerpener Manieristen – Adriaen Ysenbrant, vol. XI, Berlin 1933.cf. Peter van den Brink/Maximiliaan P. J. Martens (eds.), ExtravagAnt! A forgotten Chapter of Antwerp Painting 1500-1530, exhibition catalogue, Koninklijk Museum voor Schone Kunsten Antwerp, 15 October - 31 December 2005, Antwerp 2005.cf. Ortrud Westheider (ed.), Sturz in die Welt: Die Kunst des Manierismus in Europa, exhibition catalogue, Hamburg Bucerius Kunstforum 2008/2009.

Bureau Mazarin81 x 146 x 79,5 cm.20. Jahrhundert.Das Möbel auf insgesamt acht Beinen, die mit X-förmig gestellten Streben verbunden sind. In der Front seitlich flankierend jeweils drei Schübe. Mittig ein Schub auf Fronthöhe. Das Furnier in première partie mit Ranken und Blattwerk sowie Schaustellern nach Callot in symmetrischer Anordnung auf den Schüben und Seitenflächen. Die rechteckige Tischplatte mit Lambrequin- und figürlichem Dekor. Schlüssel vorhanden. Gebrauchsfertiger Zustand.Anmerkung:Das in Boulletechnik eingelegte Möbel ist benannt nach dem Kardinal Mazarin, der 1642-1661 Frankreichs Premierminister war.Literatur:Vgl. Jean Nerée Ronfort (Hrsg.), Charles André Boulle. 1642-1732. Ein neuer Stil für Europa, Paris 2009, S. 294, Nr. 45. (1371121) (13)Bureau mazarin81 x 146 x 79.5 cm.20th century.Notes:The bureau is inlaid in Boulle work and named after Cardinal Mazarin, who was the chief minister of France from 1642 to 1661.CITES export restrictions – sale in the EU only.

Hans Rottenhammer (1564 München – 1625 Augsburg) und Jan Brueghel d. Ä. (1568 Brüssel – 1625 Antwerpen), zug.DIE TAUFE CHRISTIÖl auf Holz. Verso seitlich schmale Parkettierleisten.34 x 48 cm.Gerahmt.Von dieser Darstellung sind bislang nur drei Fassungen bekannt geworden, allgemein angesehen als Höhepunkt der Zusammenarbeit der beiden Maler Hans Rottenhammer und Jan Brueghel d. Ä. Die beiden Maler trafen erstmals um 1594-95 in Rom zusammen und ergänzten sich in gemeinsam geschaffenen Werken. Wie das Werk Brueghels auch in der Zusammenarbeit mit anderen Figurenmalern erweist, sind es die landschaftlichen Elemente, die Baumgruppen und Waldpartien, die von seiner Hand stammen. Rottenhammer sah hier im Bild seine Aufgabe in der Schaffung einer reichen Personenstaffage, die das eigentliche Bildthema beherrscht. Das Bildthema zeigt sich hier in außergewöhnlicher Weise als eine allumfassende Schau des Ursprungs der Christenheit. Die eigentliche Taufszene am Jordan bildet zwar den Mittelpunkt der Darstellung, ist jedoch umgeben von zahlreichen Personengruppen, die dem Hauptthema allegorisch zugeordnet wurden. Die Baumlandschaft, in die die Gruppen eingefügt sind, öffnet sich oben in einer leuchtenden Gloriole, in der Gottvater erscheint, von Engeln umgeben, darunter schwebt die Taube des Heiligen Geistes herab. Aus dem dunkleren Hintergrund der Baumwipfel leuchten die einzelnen Figurengruppen auf. Am rechten Ufer des dunkel-türkisblauen Flusslaufs steht Jesus, das Haupt gebeugt, während Johannes eine Taufmuschel darüber ausgießt. Dass der Täufer hier schwebend in Begleitung zweier Engel gezeigt wird, erweist den allegorischen Charakter der Bildgestaltung insgesamt. Allegorisch sind auch die übrigen Figurengruppen zu sehen. Sie sollen den Wandel andeuten, den das Christentum mit der Taufe in die Welt gebracht hat: rechts unten eine Mutter mit zwei Kindern, nun als christliche „Charitas“ erkennbar, weiter rechts ein Mann, der furchtsam in den dunklen Wald zurückblickend, sich dem Heil der Taufe zuwendet. Im Hintergrund eine lagernde Gruppe, antik-heidnisch dargestellt, mit einer der Venus ähnlichen Frauengestalt. Links im Abseits eine weitere Familiengruppe, die am Geschehen nicht teilhat, der Mann mit Turban, das Kind entsprechend in einen orientalischen Umhang gehüllt. Die Dunkelheit des Waldes ist symbolisch als die Welt vor dem Auftreten von Johannes und Jesus zu interpretieren, das Licht der neuen Welt erscheint nun am Himmel. Auch weitere Einzelheiten zeigen das Gemälde als symbolträchtig. Vorbilder zu einzelnen Figuren sah Rottenhammer in Werken von Veronese, Tintoretto und Tizian, die er in Venedig studieren konnte. Von den drei bekannt gewordenen Fassungen wurde eine von Klaus Ertz um 1608 datiert, eine weitere Fassung ist auf Holz gemalt. Eine dritte Fassung befindet sich im Besitz der Bayerischen Staatsgemäldesammlungen München, und wird in den Städtischen Kunstsammlungen Augsburg ausgestellt, als „Hans Rottenhammer d. Ä., Die Taufe Christi, um 1597“. Eine der Fassungen wurde 2011 bei Lempertz, Köln verauktioniert (A 987, Lot 1227). A.R.Literatur:Vgl. Klaus Ertz, Jan Brueghel d. Ä, Lingen 2008-2010, Bd. IV, S. 1670, Kat. Add. 30. Vgl. Hans Rottenhammer. Begehrt – vergessen – neu entdeckt. Ausst.-Kat., Weserrenaissance-Museum Schloss Brake 17. August - 16. November, Prag Nationalgalerie 11. Dezember 2008 - 22. Februar 2009, München 2008/2009, S. 125. Vgl. Klaus Ertz und Christa Nitze-Ertz, Jan Brueghel d. Ä. Kritischer Katalog der Gemälde, Bd. II, Lingen 2008/2010, S. 561, Kat. Nr. 260A. (1371301) (11)Hans Rottenhammer (1564 Munich – 1625 Augsburg) and Jan Brueghel the Elder (1568 Brussels – 1625 Antwerp), attributedTHE BAPTISM OF CHRIST Oil on panel. Slim parquetting slats at the side. 34 x 48 cm.Framed.As is typical in Brueghel’s oeuvre, he collaborated with other figure painters and it is the landscape elements, the groups of trees and forest areas that he painted himself. In this painting Rottenhammer created a rich figure staffage, which dominates the actual subject of the painting. Extraordinarily, the subject of the painting is an all-encompassing view of the origin of Christianity. The actual baptismal scene on the Jordan is at the centre of the depiction, but it is surrounded by numerous groups of figures who have been assigned allegorically to the main subject. Of the three known versions, one is dated ca. 1608 by Klaus Ertz, another version is painted on panel (Klaus Ertz, Jan Brueghel the Elder, Lingen 2008-2010, vol. IV, p. 1670, cat. add. 30). A third version is held by the Staatsgemäldesammlungen in Munich, (inv. no. 4826, copper, 33 x 44 cm.) and exhibited in the Städtische Kunstsammlungen Augsburg, as “Hans Rottenhammer the Elder, The Baptism of Christ, ca. 1597“. One of the versions was sold at auction at Lempertz, Cologne in 2011 (A987, lot 1227).Literature:cf. Hans Rottenhammer. Begehrt – vergessen – neu entdeckt, exhibition catalogue, Weserrenaissance-Museum Schloss Brake – National Gallery Prague, 2008/2009, p. 125. cf. Klaus Ertz and Christa Nitze-Ertz, Jan Brueghel d. Ä. Kritischer Katalog der Gemälde, vol. II, Lingen 2008/2010, p. 561, cat. no. 260A.

Bernardo Bellotto, genannt „Canaletto“, 1721 Venedig – 1780 Warschau, Nachfolge desDRESDEN, BLICK VON AUSSEN AUF DIE ALTE FESTUNGSANLAGE MIT DEM WILSDRUFFER TORÖl auf Leinwand. Doubliert.94 x 124 cm.In breitem vergoldeten Prunkrahmen.Unter hohem blauen Himmel mit weißen Wolkenformationen die größtenteils in der strahlenden Sonne liegende Stadtansicht von Dresden mit der alten Festungsanlage und einem Teil der prächtigen Pavillons, in denen sich die Königliche Bibliothek und das Theater befinden. Über eine steinerne Brücke führt der Weg zur anderen, verschattet liegenden Uferseite mit mehreren Wohnhäusern und zahlreichen, teils elegant gekleideten Männern und Frauen auf der Uferstraße.Zum Gemälde gibt es einen Kupferstich mit fast identischer Ansicht und einer Bezeichnung unterhalb des Bildfeldes „Vue exterieure de l Porte d’Italie des Rempars de la Ville de Dresden...“; dazu rechts unten der Vermerk: gemalt und gestochen von Bellotto, genannt Canaletto, königlicher Maler, 1750.Anmerkung 1:Bellotto, der neben Dresden auch die Städte Warschau und Wien verewigt hat, war der Neffe des seinerzeit schon berühmten Vedutenmalers Giovanni Antonio Canal, genannt Canaletto (1697-1768). Dieser hatte sein Talent schon früh entdeckt und ihn in seine Werkstatt aufgenommen. 1738 wurde er Zunftmitglied in Venedig. Die Pinselhandschrift von Onkel und Neffe ist oft schwer zu unterscheiden. In Dresden von August III berufen und vom Ersten Minister Graf Heinrich von Brühl unterstützt, wurde er alsbald Dresdener Hofmaler, mit einem nicht unerheblichen Jahresgehalt. Dazu übernahm das Königspaar auch die Patenschaft für die Kinder des Malers.Anmerkung 2:Der Hauptzyklus von 14 Dresdener Veduten befindet sich in der dortigen Gemäldegalerie, die Bilder entstanden bis 1754. Davon wurden 13 im Auftrag des Grafen Brühl in gleicher Größe nochmals wiederholt, sodass sich Bellotto erst ab 1753 der Veduten der Nachbarstadt Pirna annehmen konnte. Erst nachdem ab 1760 die Aufträge nachließen, begab er sich nach Warschau an den Hof des neuen polnischen Königs Stanislaw II. Auch dort schuf er Veduten, in denen die zeitgemäße Figurenstaffage nun einen wichtigen Platz in der Bildauffassung einnehmen sollte, von denen viele sich sogar als identifizierbar erwiesen haben.Literatur:Vgl. Stefan Kozakiewicz, Bernardo Bellotto genannt Canaletto, 2 Bde., Recklinghausen 1972. (1370312) (18) (†)Bernardo Bellotto, also known as "Canaletto",1721 Venice – 1780 Warsaw, follower ofDRESDEN, VIEW FROM THE OUTSIDE TO THE OLD FORTIFICATIONS WITH WILSDRUFFER GATE Oil on canvas. Relined.94 x 124 cm.There is a copper engraving of the painting with an almost identical view and an inscription below the image field “Vue exterieure de la Porte d’Italie des Remparts de la Ville de Dresden...”; Furthermore, note on lower right: painted and engraved by Bellotto, known as Canaletto, royal painter, 1750.Notes 1:Bellotto, who immortalized the cities of Warsaw and Vienna in addition to Dresden, was the nephew of the then famous veduta painter Giovanni Antonio Canal, known as Canaletto (1697-1768).Notes 2:The main cycle of 14 Dresden vedute is held at the Gemäldegalerie there, the paintings were created until 1754. 13 Count Brühl commissioned 13 replicas of the same size, so that Bellotto was only able to paint vedute of the neighbouring town of Pirna from 1753.

Johann Heinrich Tischbein d. Ä., 1722 Haina – 1789 KasselGemäldepaarLANDGRAF FRIEDRICH II VON HESSEN-KASSEL (1720 - 1785) sowiePRINZESSIN CHRISTINE CHARLOTTE VON HESSEN-KASSEL (1725 - 1782)Öl auf Leinwand.144 x 112 cm.Das Herrenportrait ist rückseitig oben links bezeichnet und datiert „Tischb. 1765 Kurfürst von Hessen“.In Rokokorahmen, die dem Innenarchitekten und Dekorationsbildhauer Johann August Nahl d. Ä. (1710 Berlin - 1785 Kassel) zugeschrieben werden. Dieser war seit 1755 in Kassel tätig.Der Souverän in Dreiviertelfigur nach links in blauem, reich besticktem Uniformrock dargestellt mit Band und Stern des englischen Hosenbandordens. Neben ihm ein kleiner Tisch, darauf sein Dreispitz und eine Kupferstichkarte, dahinter eine Vorhangdraperie. Christine Charlotte als Kniestück, den Kopf nach links gewandt, mit Band und Stern des russischen Katharinenordens vor Vorhangdraperie. Die Prinzessin hält die Pfote ihres Schoßhündchens, der auf einem Sessel steht. Dessen Halsband mit Bezeichnung C.P.Z.H: Christine Prinzessin zu Hessen. Als Cousine des Landgrafen Friedrich II war sie nach dessen Trennung von seiner Gemahlin im Jahre 1754 die ranghöchste Dame am Kasseler Hof und kam bis 1773 den Repräsentationsaufgaben der ehemaligen Landgräfin nach. Ab 1766 bekleidete sie das Amt einer Koadjutorin der Förstabtei Herford.Provenienz:Familie des Johann Jacob von Uckermann (ehemals Hessischer Geheimrat, Schloss Weesenstein, Bedeleben).Bis 1945 im Besitz der Uckermann‘schen Nachfahren auf Schloss Luttowitz bei Bautzen.1945 im Rahmen der Bodenreform enteignet mit Übergang in den Besitz der Gemäldesammlung Alte Meister, Dresden.2008/2009 Restitution an die Erben der rechtmäßigen Eigentümer.Anmerkung:Ein weiteres Portrait der Prinzessin befindet sich im Besitz der Hessischen Hausstiftung, Museum Schloss Fasanerie, Eichenzell. Eine weitere Version findet sich auf Schloss Kronberg (signiert und datiert 1765).Literatur:Das hier angebotene Gemäldepaar ist aufgeführt im Werkverzeichnis: Anna-Charlotte Flohr, Johann Heinrich Tischbein d.Ä. (1722 - 1789) als Porträtmaler. Mit einem kritischen Werkverzeichnis, München 1997, S. 176, WVZ-Nr. G14 (Landgraf) und G41 (Prinzessin), mit Abb. (1370346) (13)Johann Heinrich Tischbein the Elder,1722 Haina – 1789 KasselA pair of paintingsFREDERICK II, LANDGRAVE OF HESSE-KASSEL (1720 - 1785) and HIS COUSIN PRINCESS CHRISTINE CHARLOTTE OF HESSE-KASSEL (1725 - 1782)Oil on canvas.144 x 112 cm.The portrait of the gentleman is inscribed and dated top left on the reverse: Tischb. 1765 Kurfürst von Hessen.In Rococo frame, attributed to the interior architect and decorative sculptor Johann August Nahl the Elder (1710 Berlin - 1785 Kassel). He was active in Kassel since 1755.The sovereign is shown in three-quarter length portrait to the left, in a blue, richly embroidered tunic, with the ribbon and star of the Order of the Garter. Beside him a small table, on it his tricorn and a copperplate map, with drapery in the background. Christine Charlotte is shown in knee-length portrait, her head turned to the left, with the ribbon and star of the Russian Order of Saint Catherine in front of curtain drapery. The princess holds the paw of her pet dog, who is standing on an armchair. His collar with the inscription C.P.Z.H: Christine Princess of Hesse.Literature: The pair of paintings on offer for sale in this lot are listed in the catalogue raisonné: Anna-Charlotte Flohr, Johann Heinrich Tischbein d. Ä. (1722 - 1789) als Porträtmaler, mit einem kritischen Werkverzeichnis, Munich 1997, p. 176, catalogue no. G14 (Landgrave) and G41 (Princess), with illustration.

Maestro dei Riflessi, 18. JahrhundertDAME BEI BEGUTACHTUNG EINES STICKTUCHESÖl auf Leinwand.72 x 55,5 cm.Gerahmt.Beigegeben eine Expertise von Prof. Egidio Martini, in Kopie.Die Figuren bühnenhaft beleuchtet, vor dunklem Raumhintergrund. Ein Mädchen lässt ein Sticktuch von einer Dame begutachten, während ein Kavalier – vielleicht der Ehemann – ein Tablett mit Tasse herbeiträgt. Rechts hinten ein weiteres Kind an einem Stickrahmen. Anscheinend handelt es sich hier um eine Familienszene. Das Thema mit einem Stickrahmen zeigt auch das Bild „Ricamatrice“ (Gregory‘s Casa d‘Aste Bologna).Die Künstlerbezeichnung ist ein Notname für einen anonymen Maler, der in Venedig tätig war. Er zählte zum Kreis des Pietro Longhi (1702-1785), der ebenfalls für seine zum Teil sehr originellen Genreszenen an venezianischen Höfen bekannt war. Im Gegensatz zu Longhi, der eher helle Räume zeigte, wählte der Meister des vorliegenden Bildes nicht selten einen dunkleren Raumhintergrund, vor dem die Figuren mit ihren aufwändigen Kostümen umso leuchtender erscheinen, den Raum aber auch geheimnisvoller machen. So ist hier im Hintergrund ein Gemälde zu sehen, das dem Auge erst langsam sein Thema „Diana und Endymion“ verrät. Die Beleuchtung aber auch die Themen in den Gemälden des Maestro erinnern häufig an Bühnenaufführungen, etwa der gleichzeitigen Komödien des Carlo Goldoni. Nicht selten wartet der Meister mit einem humorvollen Beiwerk auf, wie etwa hier mit dem Hündchen, das dem Betrachter entgegenblickt. A.R. (1370723) (11)Maestro dei Riflessi, 18th centuryLADY EXAMINING AN EMBROIDERED CLOTH Oil on canvas.72 x 55.5 cm.Accompanied by an expert’s report by Professor Egidio Martini, in copy.The artist’s name is a pseudonym for an anonymous painter who was active in Venice. He belonged to the circle of Pietro Longhi (1701-1785), who was also known for his sometimes very witty genre scenes at Venetian courts. Contrary to Longhi, who depicted rather bright rooms, the master of the present painting often chose a darker background for his rooms, against which the figures with their elaborate costumes appear even more luminous, but also convey a more mysterious ambience to the space. Here, a painting is visible in the background, which only slowly reveals its subject of Diana and Endymion to the eye.

Maggi Hambling. British b. 1945. Etching titled 'Colour for Kosovo'. Signed lower right by Hambling and marked 'A.P' (artists proof) in pencil. This image was reproduced in 'Colour for Kosovo' a colouring in book published 1999. Hambling was among a number of artists who submitted work to the publication; Damien Hirst, Patrick Caulfield, and Richard Wentworth were also featured in the book. This print was never edition and probably only and few were printed. Framed and glazed. H.42 x W.32 cm.

Jack Butler Yeats RHA (1871-1957) On a Western Quay/ Sligo Quay (1923) Oil on panel, 23 x 35.5cm (9 x 14”) Signed Provenance: Sir Patrick Ford, London; With J. Leger & Son, Old Bond Street, London, November 1942 label verso; Sale, these rooms 16 March 1978, lot 114; Private Collection, Dublin.Exhibited: Dublin, Stephen’s Green Gallery, April/May 1923, Drawings and Pictures of Life in the West of Ireland, cat. no.24; New York, Society of Independent Artists, Annual Exhibition, March 1924; London, Tooth, Pictures of Irish Life, cat. no. 33; London, Leger Galleries, October 1942, London Group 4th Wartime Exhibition.Literature: Listener (6 April 1942); Hilary Pyle, A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, 1992, cat. no. 193.Bounded by a spectacular West of Ireland landscape, a sailor leans against a wooden building, its planked construction giving a sense of structure and solidity to the right hand side of the painting. Its starkness makes the surrounding scenery appear even more fantastical.  A high mountain dominates the vista with a large ascendancy house to its left. In the centre huddled along a causeway are a line of comparatively tiny cottages. Hilary Pyle has identified the location as Drumcliffe, the area north of Sligo town, under the shadow of Ben Bulben, where W. B. Yeats was later buried and where the Yeats’s paternal grandfather was once the clergyman.¹ The rugged shaped mountain has also been identified as Knocknarea, to the south of Sligo town, on a note on a label on the reverse.  It is not possible to identify the specific location.  Yeats seems to have exaggerated the details of the view for dramatic effect as he did in many of his later epic paintings such as On Through the Silent Lands (1951, Ulster Museum) and Two Travellers (1942, Tate Gallery), both of which feature similar glacial peaks. Here the juxtaposition of the large house and the sheer limestone cliff face of the mountainside convey a familiar congruence of manmade splendour and the more sublime beauty of nature as it exists in the West of Ireland. This, as in all Yeats’s work, is painted from memory and may combine different elements in the one composition. The details are probably gleaned partly from the perusal of earlier sketches. The man is dressed in a dark double breasted, marine style jacket and a peaked cap, like that of the pilot, a recurring figure in the work of Yeats. The pilot is based on Michel Gillen, who worked at Rosses Point when Yeats was a child living with his grandparents in Sligo. Gillen’s job was to guide merchant ships from Rosses Point along the Garavogue River to the quayside in Sligo town. The pilot’s job required great skill in navigation and sailing as well as a deep knowledge and understanding of the geography and conditions of the Garavogue and its environs. He appears in several of Yeats’s drawings and paintings, often in or near the Pilot House, a look-out hut, which was located on the headland at Rosses Point, and from where he could watch for the arrival of ships into the river mouth. In a contemporary work, Pilot Comes Ashore, (1923, Private Collection) the pilot stands on a quay in front of Knocknarea.² In Sligo Quay, he appears as an outsider in the depths of the countryside, his pose retaining a nautical stance. This solitary male figure in an expansive landscape that moves between water and mountain becomes a major theme in Yeats’s later work. Here the traveller is the pilot man who waits patiently for his boat to arrive rather than the nomads of the later work. He contemplates the incoming tide instead of the magnificent landlocked world beside him. The mixture of the building types in this space – the large colonial mansion and modest dwellings - denotes the complex history of rural Ireland. When the painting was made in 1923, the conflict generated by this past was raging throughout the land, and the solemn pose of the figure and the quiet calm of the view could be seen to reflect contemporary political and social tension. It shares the clarity of vision, psychological intensity, and rich colour with such other work of this period as the Island Funeral (1923, Model Sligo), Liffey Swim (1923, NGI) and Early Morning, Glasnevin (1923, Private Collection). The stone bollard on the quayside demarcates the foreground of the painting. Its solid form casts a shadow across the stone blocks of the quay, leading to the pilot. Touches of red in the sky suggest the slow dissent of the sun which casts its intense light on the gables of the houses and on the mountain cliffs in the distance, also heightened in red tones. Movement is conveyed by the blue turquoise torrent of the water and the cloud strewn sky above, a subtle indication of change and energy in the otherwise tranquil scene. The painting was exhibited in Dublin in 1923, at the Society of Independent Artists in New York in 1924, at the Goupil Gallery, London in 1925 and in the Leger Galleries in London in 1942.  It belonged to the Scottish politician and art collector, Sir Patrick Ford for many years. Dr Róisín Kennedy (July 2023) H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.169H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.170      

Paul Henry RHA (1877-1958) Menawn Cliffs and Dooega Head, Achill, and West of Ireland Landscape with Trees Oil on panel, Double sided, 30 x 38.5cm (11¾ x 15¼") Both signedProvenance: Private Collection, Co. DublinThe present work, a double-sided plywood panel, boasts two signed paintings by Paul Henry. Both works are largely complete, if sketchy, however in the case of the landscape with trees, it’s composition and treatment is more impressionistic than usual. The composition is typical with its diagonal axis, the towering mountains on two planes and the sketchy, almost misty treatment of the middle distance with its resonances of James Whistler, a strong influence on Henry. The two spindly trees which dominate the scene are elements that appeared in much of Henry’s work over the decades, ranging from his early Achill period to the 1940s. Despite their wiry form the thorn trees can be seen as a metaphor for the resilience of nature, and indeed all forms of life, in the west of Ireland – the lean trunks bowed by the prevailing winds but standing firm in the ground, surviving against so many odds.The painting on the reverse is a view of the Menawn Cliffs and Dooega Head from near Keel, on Achill Island. A similar view, Cliffs and Sea, (SBK, #323) was identified as Menawn Cliffs by the late S.B.Kennedy and sold in these rooms in 1980 and is dated to 1912 – 15. Not as monochromatic as some of his work of this period, the present work is imbued with rich colours, the pink and white sky, the hulking mass of the cliffs painted in hues of dark blue and umbers, and the white surf modelled with Henry’s signature translucent glazes. Both paintings in the present lot are likely to have been painted during the artist’s near ten year sojourn in Achill. The impact of Henry’s time in Achill cannot be overstated. It was to Dugort, on the north of the island and at the eastern foot of Slievemore, that Henry went when he first arrived on Achill in August 1910. But even then he found the village busy with tourists. ‘Every second house seemed to be an hotel or boarding house’, he later wrote, and so the morning after his arrival he set off for the much quieter village of Keel, itself positioned south of the mountain, where he subsequently established himself, taking rooms with John and Eliza Barrett who ran the post office in Keel.

Norah OKelly RHA (b.1886 - unknown) Hermes Enamel Panels and metalwork on a stained timber shield, 67 x32 (26½ x 12½")With label verso inscribed with artist's name, details of class number from Dublin School of Art dated and 1912; and another hand written label 'By Norah M. O'Kelly under P. Oswald Reeves at Dublin School of Art'.We do not know much of Norah’s life or career except for small fragments of information that we can gain from the work itself. The labels on the back of enamel panel give us some more insight. Her full name was Norah Mary O’Kelly, she was a student in class 6019 in the Dublin School of Art and her profession is listed as ‘craftworker’. Presumably the panel was made during her time there as a student. It also lists her under the supervision of Percy Oswald Reeves, who was an enameller and metalworker from England who moved to Ireland in 1902 to work at the Dublin Metropolitan School of Art. He had studied under the famous British enameller Alexander Fisher. The School was very well known for its enamel and stained glass departments, which were both hugely popular art forms in Ireland. As a result the Irish Arts and Crafts movement flourished in the early part of the 20th century.Mythology and symbolism are key elements of the enamel and metalwork art of the period. As a medium it as often championed by women who excelled in this artform, elevating the individual and handmade objects. The central panel of this work depicts the Greek god Hermes, standing with his caduceus in one hand and with a satchel slung across his body. His head and feet are adorned with wings as he seems to float above the landscape behind him. The sky is filled with deep blue and turquoise tones, teeming with swimming fish and a majestic lion, while stars light up the background. It is mounted on a wooden shield shaped plaque, with scrolling vacant reserves that were possibly meant to be engraved with a title and the artist’s name or dedication if it was a private commission, but these are details that we can only speculate at.Historical records also prove invaluable in providing an insight into the specific connections between artists and cultural institutions of early 20th century. Dr Katy Milligan wrote an article[1] in 2016 examining the cultural losses connected to the 1916 rising and in particular the fire that destroyed the Royal Hibernian Academy’s original building on Abbey Street. The annual RHA exhibition was taking place at time the shell was fired from the British Navy yacht Helga, igniting a fire which engulfed the building and all 500 of the artworks on display along with the Academy’s collection of prints, books and other objects. Through her research into the claims made to the Property Losses (Ireland) Committee by the RHA and the artists to gain some compensation for loss of their artwork, Dr Milligan uncovered some fascinating details about artists, particularly female artists, whose work, and careers remain much a of mystery to us today.Norah O’Kelly is one of the artists mentioned in her text and we learn that she had four oil paintings in the RHA exhibition in 1916, all of which were of landscape views of India. Interestingly she was living there at the time as indicated by her father submitting the claim on her behalf. On it her address is listed as ‘Loreto House, & Middleton Row, Calcutta’, a school founded by Loreto sisters in 1840. We do not know why she was in India or how long she remained there. The 1911 census confirms she was an art teacher in her 20s, and she may possibly have been offered a teaching job in India. She had clearly moved in a different direction artistically from metalwork to producing oils and landscape works. This enamel panel is a wonderful example of her early practice and it is a rare opportunity to see it offered on the auction market.Niamh Corcoran, September 2023[1] Dr. Katy Milligan ‘A Closer Look at Inspiring Ireland 1916 Objects- The Cultural Cost of 1916: The Property Losses (Ireland) Committee and The Royal Hibernian Academy’ – Research Fellow at the ESB Centre for Study of Irish Art, at The National Gallery of Ireland

Paul Henry RHA (1877-1958) Evening, c.1924-5 Oil on canvas, 39 x 59cm (15¼ x 23 ¼")  SignedProvenance: Private Collection, Co. Cork.Exhibited: Dublin, The Studio Merrion Row, Dublin c.5 - 19th July, Pictures by Paul Henry, Catalogue no. 21Literature: S. B Kennedy, Paul Henry, Paintings, Drawings, Illustrations, Yale University Press, 2007, page 225, catalogue no. 617By now, as S.B Kennedy notes in his catalogue raisonne on the artist, figures had all but disappeared from Henry’s compositions, as he focused solely on landscape views. It is taken to its purest form in this work, a simple scene, completely uninterrupted, without the usual cottages or haystacks to give us a sense of people who would have lived there.It still retains the broad panoramic approach of earlier paintings and its size, larger than his usual works, heightens that sense of space. We are positioned on the edge of lake looking out and across at the mountains in the distance. There is a seamless transition between where the water and the land meets, with the blue grey mountains rising above. They are reflected in mirror image in the still surface of the water below. The elements have become interchangeable, moving straight from water to land, and from mountain to sky. He has used quicker upright brushstrokes to describe the sharp edges of the rocks in the foreground, and shorter strokes for the coarse grassy bank.Henry often painted evening scenes, enjoying the changing of the light, as dusk is falling, casting blue and purple shadows across the landscape. A softer light streams through the large billowing cloud passing by the centre, while longer veil-like wisps stretch across the skyline behind. A sense of stillness pervades the scene and he has used a limited palette to distil everything down to the essential elements.Niamh Corcoran, September 2023

William John Hennessy ROI (1839-1917) A Woman in White with Peacocks by a Fountain: (Baroness Methuen (née Eleanor Norah Hennessy) at Corsham Court, Wiltshire) Oil on canvas, 76 x 91 cm. (29.2 x 35.8") Old stock label, versoProvenance: BY descent from the artist; Paul Ayshford Methuen, 4th Baron Methuen (1886-1974); his sale, Sotheby's, 8 November 1984, lot 39     With its hints of symbolist, or Aesthetic Movement, refinement, this elegant composition documents the, perhaps surprising, connection between the family of an Irish artist and one of England’s great houses.   A young woman, dressed demurely in white, but holding a bright red fan, which forms the focal point of the composition sits by a fountain in a landscape dappled by strong summer light. The woman at the centre of this initially enigmatic scene is Eleanor Norah (1872-1958) daughter of Kilkenny artist William John Hennessy who married Paul Ayshford Methuen, 4th Baron Methuen, a talented painter and later member of the Royal Academy.   Norah, as she was usually known, is shown in the gardens of her new home of Corsham Court in Wiltshire, a treasure house of art. Lady Methuen is accompanied by two of the peacocks for which Corsham is famous – they roam the court and the town’s streets freely. The work dates from the very end of Hennessy’s life, presumably between Norah’s marriage in 1915 and the artist’s death two year later and the tight style of Hennessy’s earlier work in Normandy has loosened under the influence of several trends in recent art.   There are clear echoes of Art Nouveau in the swirling composition; of Whistler in the woman-in-white-with-fan motif – and also in the iconography of the peacock – and of Japanese prints in the multiple viewing points: the woman is shown at close to eye-level while the path progressing out of the picture is depicted as if from a noticeably elevated angle. Hennessy had had to flee Ireland after his father’s involvement in the Young Ireland rising in 1848 and there is something pleasing in his ending his life painting his eligible young daughter in the idyllic grounds of Corsham Court, laid out by ‘Capability’ Brown, while there is a neat circularity in the fact that the house would later become home – through the generosity of his daughter’s husband – to the Bath Academy of Art, associated with artists such as William Scott and William Crozier.    

William Conor RUA RHA (1881 - 1968) A Family Group in a Railway Station Wax crayon on paper, 37 x 47cm (14½ x 18½") SignedProvenance: Dr Kurt Ticher, purchased directly from the artist, thence by descent.William Conor, who was born in Belfast in 1881, is certainly best known for his scenes of everyday life, particularly but not exclusively in his native city. He studied at the Belfast College of Art and by 1904 he was working on poster design as a lithographer. This training appears to have had a sustained impact on his work throughout his career, producing copious paintings and drawings which recorded the lives and activities of the working people of Belfast.The present work depicts a scene in a railway station with three generations of women and small children about to enjoy a train trip out of the city. The smiling faces convey a happy group while the children wait in anticipation. Conor carried a notebook with him at all times which he could use to ‘’note down any happening which strikes me as interesting and significant’’. Conor added that by hiding his sketching block behind a newspaper he had been able ‘’to garner many happy expressions’’ as is the case here where the subjects appear unaware that they are being observed. Conor began exhibiting at Dublin’s Royal Hibernian Academy Annual Exhibitions from 1918 and a review of the titles provides a snap-shot of this artist’s favourite subjects - ‘Mill-workers’, ‘The Street Singers’, ‘The Knife Grinder’, ‘The Jaunting Car’, ‘The Singing Class’ and the 1939 work entitled ‘Waiting for the Excursion Train’ which on the basis of the subject of the present work, could as easily be the title of this work.

'Gartenmauer', Radierung auf Papier, 22 cm x 17,5 cm Plattenmaß, 30,5 cm x 24,5 cm Passepartoutinnenmaß, aus einer Auflage von 31 Exemplaren, signiert, 63 datiert, betitelt, partiell leicht stockfleckig, Literatur: Wvz. Ebner/Gabelmann 1049 RErich Heckel (1883 Döbeln - 1970 Radolfzell) (F)'Garden wall', etching on paper, 22 cm x 17,5 cm plate size, 30,5 cm x 24,5 cm mount inside, signed, 63 dated, titled, from an edition of 31 copies, partly a little bit stained, literature: Wvz. Ebner/Gabelmann 1049 R. Erich Heckel is regarded as one of the main representatives of German Expressionism. During his studies of architecture the artist began to paint autodidactically under the influence of Munch, van Gogh and the Fauves. With his fellow students Karl Schmidt-Rottluff and Ernst Ludwig Kirchner, Heckel founded the artists' group ''Die Brücke'' in 1905. Strong forms and equally strong colours formed his works at this time. However, they became increasingly milder. His graphic work includes woodcuts as well as etchings, such as that of the ''Garden Wall''. The structure of the individual wall stones can be seen on the printed plate, so the viewer is brought very close. The left margin of the sheet shows an open flower, the plants sprouting from the ground in the garden, and two small figures placed on the wall like toy figurines. In terms of scale, it seems to be inspired by the idea of Romanticism: the small human being juxtaposed with the great splendour of nature. Based on the date (1963), the print can be classified as one of the artist's late works and could well have been observed in the garden at home. Almost as if through the eyes of a child, who himself is hardly taller than a garden wall and lets the figures on the wall play in just cheerful, childlike fantasy.

Arthur John Elsley (British, 1860-1952)Won't You Try? signed and dated 'ArthurJ.Elsley/1905' (lower left)oil on canvas 66 x 91.4cm (26 x 36in).Footnotes:ProvenanceWith W. W. Sampson, London. Private collection, Ireland. ExhibitedLondon, Royal Academy, 1905, no. 524.LiteratureTerry Parker, Golden Hours: The Paintings of Arthur J. Elsley, Yeovil, 1998, p. 99, illustrated.Arthur John Elsley was born on 20 November 1860. The son of a coachman and sometime artist, Elsley joined the South Kensington School of Art at the age of fourteen and first exhibited at the Royal Academy in 1878, two years after being a probationer. Elsley's interest in painting animals had been heightened by regular visits as a boy to the Zoological Gardens in Regent's Park. His ability to paint animals, and in particular domestic breeds such as dogs and ponies, meant that his sentimental depiction of late Victorian and Edwardian genre scenes found a ready market amongst collectors.In 1894 the death of Charles Burton Barber, who had been considered the pre-eminent painter of animals and children, left this particular field open for Elsley. He was able to exploit the contemporary taste and although a bout of childhood measles had partially affected his eyesight, he was the undoubted master of this genre by the dawn of the new century. Well regarded amongst his peers, his reputation was enhanced by having shared a studio with the artist Fred Morgan in the mid to late 1890's. After the two artists fell out, Elsley continued to work in his studio on increasingly larger canvases depicting children and animals at play. His daughter Marjorie became one of his favourite models and he drew inspiration from the open countryside which he regularly visited on his bicycle. His popularity grew as many of his paintings were reproduced as prints and calendars. In addition some of his images were used by companies such as Bibby's Animal Feeds and Peak Frean Biscuits to promote their products.The outbreak of the First World War and the immediate post war years resulted in an understandable change in taste as the country tried to come to terms with the horror of the trenches and the loss of a generation and Elsley's sentimental compositions appeared somewhat anachronistic to a war embittered British public.Elsley continued to paint, mainly for pleasure, exhibiting a number of works at the Royal Academy until 1927. Increasingly poor eyesight meant that by 1931 he had ceased to paint almost entirely and spent most of his time gardening. He died in Tunbridge Wells in 1952 at the age of 91.Painted in 1905 and one of three works he exhibited at The Royal Academy the same year, Won't you try? is a quintessential work, featuring many of the elements that came to define Elsley's art. Like many of his paintings, the present lot was reproduced in various formats, in this instance as a photogravure, under the title A Passive Register (1906, Weldon's Bazaar of Children's Fashions), and by The Rotary Photo Co., as a black-and-white postcard, under the title Come Along, circa 1909.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

Alice Mary Havers (British, 1850-1890)Contemplation  signed 'A Havers' (lower left)oil on canvas127 x 81.3cm (50 x 32in).Footnotes:ProvenanceWith Thos. Agnew & Sons, Manchester.With Pyms Gallery, London.Private collection, UK (acquired from the above).When Alice Havers died of an accidental morphia overdose in 1890, aged only forty years old, more was made of this abrupt, tragic end, linked to her status as a divorced woman than of her art. In her resultant obituaries, journalistic opinion swayed between describing her manner of dress, her mental health, only turning occasionally to the popularity of her art. Despite the seemingly gentle and traditional scope of her art, the life and career of Alice Havers, also known as Mrs Frederick Morgan, resonates with the fate of modern, creative women today.Alice Mary Celestine Havers was born on 19th May 1850. The Havers family lived at Thelton Hall in Norfolk, their ancestral home, built in the 16th century. Alice's father, Thomas Havers (1810-1870), relocated his family to the Falkland Islands in 1854, taking work as manager of the Falkland Island Company, then moving his family to Uruguay. Thomas Havers apparently had artistic aspirations himself, planning a series of pieces based on the flora and fauna of the islands and it is assumed he encouraged his daughter's talent.1 For source material far from home, Alice copied pictures from the Illustrated London News and the Graphic as her way of developing her artistic skills (Atlanta, Volume 4, 1890).After Thomas Havers' death in 1870, Alice returned to England with her siblings. She enrolled at the South Kensington Art School where her work earned her a free scholarship. She married fellow artist Frederick Morgan in April 1872 yet maintained her maiden name professionally. The couple had three children, including artist Valentine Havers (1873-1912), who tellingly used his mother's name professionally. Despite the pressures of motherhood, Alice continued to work and exhibit to some modest acclaim, including Ought and Carry One (1874), a profile of a schoolgirl working on a sum, which was bought from the Royal Academy by Queen Victoria. Coupled with this, Alice illustrated books, including the romantic novels of her sister Dorothy Boulger (1846-1923), becoming known for her spirited and expressive illustrations.  The Gentlewoman magazine in September 1890 commented on Alice's work as being 'graceful, delicate, almost ethereal...She never painted anything large or very ambitious in design or colouring...it was [beauty] proceeding from purity of soul, and the outward expression of the artistic thoughts and ideas treasured up in her heart'.2 Her output bustled with images of idyllic, industrious female rural lives; groups of picturesque peasant girls washing clothes, gathering flowers or just pausing in woodland or by streams. Such public-pleasing images became coloured plates, sold for domestic display and securing her reputation as a popular, accessible artist, not to mention providing an income to her household that would have easily rivalled, if not exceeded, that of her husband. Throughout these years, Alice was contending with an abusive homelife. Frederick Morgan had conducted affairs from the year after Valentine was born until Alice filed for divorce in 1889. The marriage was violent; her sister Dorothy once took the place of her sister at a dinner party after Alice was too badly beaten to attend. It is possibly unsurprising therefore that alongside the pastoral idylls, Alice occasionally exhibited more poignant, darker paintings such as End of her Journey (1875), depicting a woman dying by the roadside, and Trouble (1885), showing a mother holding her cadaverous child la pietà, while stoically instructing her other children, within a dingy room with the grey-washed city visible through the slanting windows. When Trouble was exhibited with the Society of Lady Artists, it was praised in the way Alice 'treats the domestic sorrows of humble life with touching tenderness of sentiment.' The common thread through these works is the condition of female existence in a perfect world, sometimes in harmony, sometimes at odds.The present painting hangs between the idyllic and the pensive. A beautiful peasant girl carrying a bundle pauses by a stream in a woodland. Beyond the screen of trees lies a sunlit meadow but she pauses, hand on hair, gazing down at a patch of foxgloves. The familiar elements of Havers art are present – the setting, the character, the eternal summer – but the girl's pondering of the flowers brings interpretations to the work. In Thomas Miller's 1840 book on the language of flowers, The Romance of Nature, he gives the meaning of foxgloves as 'I am not changed, they wrong me', an expansion on the traditional meaning of 'insincerity'. Arguably a narrative of Havers own marriage, the weary, thoughtful expression and dark, atmospheric woodland speaks of choices and disappointments, raising questions of where the girl is headed or what she is leaving behind.Alice's arrival in London in 1870 coincided with that of Paul Durand-Ruel (1831-1922), famed Parisian art dealer, who sought exile from the Franco-Prussian war. With the establishment of his London gallery in New Bond Street and its annual exhibitions, the shock of Impressionism was finally released on the London masses. Art students including George Clausen (1852-1944) flocked to see Impressionism and its treatment of the rural poor as a legitimate subject. This drive gained further momentum with the publication of Alfred Sensier's 1881 book Jean-François Millet, Peasant and Painter together with others including the Fine Art Society's Twenty Etchings and Woodcuts of Millet's work on the noble, rural poor. This influence was reflected in a review of Alice's illustrations for William Morris's 1889 book of poems, where the Birmingham Mail referred to her as 'one of the foremost English lady exponents of the French school'.3 Alice's transition from rural idyll to rustic narrative reflects the general movement in Britain which resulted in the art of Henry Herbert La Thangue (1859-1929), the Newlyn School and the novels of Thomas Hardy. The girl who considers the foxgloves in Alice Haver's painting is a proto-Tess of the D'Urbervilles or Bathsheba Everdene, considering her life choices that are ever-dependent on their socio-economic status in natural surroundings that offer both light and plenty and dark and danger.After a very public and damaging divorce in 1889-90, Alice and her children moved back to London, to St John's Wood where she rented a house with a studio, but the new life was not to last long. She had been suffering from neuralgia and medicating with morphia, injected straight into her forehead, spending her nights on the couch in her studio. On the morning of 25th August 1890, the maid found her insensible from an overdose, with the needle still clenched in her hand. On the table was a letter to her doctor, describing her symptoms as unbearable and requesting another course of treatment. 

Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)Jogging on signed and dated 'A. J. MUNNINGS/1912' (lower left)watercolour and bodycolour35.5 x 51cm (14 x 20 1/16in).Footnotes:Alfred Munnings arrived in Cornwall in late summer 1911, 'curious to see this country which attracted artists'1 eventually settling to live and work in the Lamorna Valley. Munnings was a great hunting enthusiast and upon arriving in Cornwall he began to ride with the Western Foxhounds. Led by Thomas Robins Bolitho, the Western was considered excellent hunting country with no wire and a plentiful supply of foxes. Hound bloodlines come from a number of the Leicestershire packs.2 Bolitho, the oldest huntsman in England at the time, having been master since 1864, was painted by Munnings on his favourite hunter, Barum, in 1920, on the occasion of his Golden Wedding Anniversary.Munnings enjoyed his days out hunting and often was inspired by what he saw, noting in his autobiography that 'Hunting became part of my life, and I saw many things on those days: bright winter sunlight on clipped horses and scarlet coats; on bare trees; stacks; on farmhouse gables; the riding out after a slight frost; the riding home with a frost beginning and a young moon in the sky; puddles already crisping over as I said good night to friends. Such were needed to freshen my mind and vision'3 This scene appears to depict hunt followers and the huntsman bringing the hounds to the meet prior to setting off. The principal rider is most likely Ned Osborne- 'simple soul, who grew into a useful combination of groom-model, and posed for many picture'4 and the scene is set in Lamorna, with the properties 'Riverside Cottage' and 'My Rosary' in the background. Munnings often used his own horses and groom as models and the central horse in the present composition was most probably the brown mare that the artist brought down from Norfolk with him when he settled in Lamorna in 1911. On this grey day, the artist used a subdued palette yet adds life and brightness by juxtaposing the scarlet of the huntsman's jacket with the close vivid hues of green making each colour more vibrant. As a result, the central figures of horse and rider, as they are also painted in sharper focus, emerge from the background. This use of optical effects was a hallmark of his style even early in his career. Although Munnings painted in watercolour during the first quarter of the 20th century, critics at the time noted his mastery of the medium. Munnings was a member of both the Royal Institute of Painters in Watercolour and the Royal Society of Watercolour Painters. A similar watercolour, The End of the Day depicting a head-on view of a huntsman returning home, was exhibited at National Museum of Racing and Hall of Fame, Saratoga, New York in 1999.1Sir Alfred Munnings, An Artist's Life – Autobiography, Museum Press, London, 1950, p. 270.2Sporting Life and Sportsmen, 1925 p. 123.3 An Artist's Life, p. 258.4Ibid, p. 273. We are grateful to Lorian Peralta-Ramos for compiling this catalogue entry. We are also grateful to David Tovey for supplying supplementary information regarding Munning's time in Cornwall.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Henry Scott Tuke, RA, RWS (British, 1858-1929)Expectant signed and dated 'H. S. TUKE. 1923' (lower left), inscribed with title and artist's name and address (on an old label attached to the reverse)oil on canvasboard 45.5 x 30.5cm (17 15/16 x 12in).Footnotes:ProvenancePurchased by the current owner's great uncle, Roland Turnell of Birmingham (1865-1946)Thence by descent.Private collection, UK.The present painting is an exciting discovery. It was probably begun in the summer of 1921, on Newporth beach, Falmouth, the home of Henry Scott Tuke. It features the artist's dog Chippy, a spaniel, along with a young male model wearing a pink shirt and white breeches and round brimmed hat. It is typical of Tuke's later confident impressionist style of painting in a lively fresh way using bold brushwork and creating a sense of movement by capturing the changing light.Chippy the dog appears in several paintings by Tuke of groups of bathers on the beach at that time including Comrades (1923, R1043) and Companions (1924, Auckland Art Gallery, New Zealand, R1125). The title of the painting, taken from a label on the reverse, relates to the endearing way the dog is looking up at the boy waiting expectantly for either play, a reward, or both. The boy appears to be holding something in his right hand between his thumb and forefinger.The model for the boy who has his eyes closed, which is unusual and rare for Tuke to paint, seems to relate to a photograph of Donald Rolph with Chippy the dog which is in the Tate archive dated circa 1921 (see fig. 1). Donald, who is also wearing a similar round brimmed hat as in the painting, is photographed with his eyes closed. The series of photographs in the Tate archive are of Rolph in the nude playing with Chippy on the beach in Falmouth. It is unusual to find a photograph relating to Tuke's posed models as he was always recorded as being a painter from life and didn't use photographs to paint from.Rolph (born 1905) was someone Tuke got to know through Stanley Towsey who was an English teacher at St. Paul's School where Rolph was a pupil. Towsey was acting as guardian to Rolph as both of his parents had died when he was young. Rolph and Towsey came to Falmouth in 1921 to stay with Tuke and were frequent visitors in the 1920s. Tuke used Rolph to model for the figure on the left in his Royal Academy painting of 1922 Lovers of the Sun and Tuke also painted Rolph's profile portrait as a Study for Lovers of The Sun (R1023a). Later in 1922 when visiting Stanley Towsey at Parkgate in Petersham, Richmond, Tuke also painted a portrait of Rolph in jacket and tie. It is clear from these paintings and other photographs of Rolph that his physical appearance changed in the five years that Tuke knew him. As with so many of Tuke's portraits of young men, he is trying to capture his model in those few elusive years of post-pubescent beauty when they transition from boys into men.This is possibly why the painting looks unfinished, as Tuke needed the model in front of him to get a true likeness. Tuke probably started this painting in the summer of 1921 when Rolph was sixteen, and maybe added to it in the summer 1922. Tuke then used the photograph to work on the painting later. It also could have been that Tuke could not find a model to pose for this particular picture and found painting from a photograph too difficult. Rolph went to study at Trinity College, Cambridge. We know from Tuke's diaries of 1925 that Tuke visited him at Cambridge but Rolph had by that time grown up. There is an intriguing sketch of a man in a blue and white strip on the back of the painting, probably painted by Tuke when he was watching a rugby match.The fact that Tuke signed and dated the painting 1923 is typical of his practice of dating a painting a year after he painted it for exhibition purposes although it is not clear when or where this painting was shown.A label on the reverse is from The Graves Art Gallery at 44 Cherry Street, Birmingham, which operated between 1895 and 1907. The painting was probably bought from elsewhere and the sticker was on an old backing board either recycled by Tuke or the dealer from another painting.References:Brian D. Price's notes on H.S.Tuke and his associates, (unpublished) notes 203 and 224, 'Interview with Rolph 1st October 1981'.Brian D Price (ed), The Registers of Henry Scott Tuke, Royal Cornwall Polytechnic Society, 1983.David Wainwright & Catherine Dinn, Henry Scott Tuke 1858–1929: Under Canvas, London, 1989.Catherine Wallace, Catching the Light: The Art and Life of Henry Scott Tuke, Atelier Books, 2008.We are grateful to Catherine Wallace for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

John Anster Fitzgerald (British, 1819-1906)The birth of a fairy signed with monogram (lower left)watercolour and bodycolour40 x 29.6cm (15 3/4 x 11 5/8in).Footnotes:ProvenancePrivate collection, UK.John Anster Fitzgerald, or 'Fairy Fitzgerald' as he became known, is one of the most celebrated exponents of Fairy Painting which captured the imagination of the Victorian public and continues to delight collectors today. Born in London in 1823, there were few signs in Fitzgerald's youth to indicate that he would go onto to become a prolific exhibitor at the Royal Academy and at the British Institution. Having had little or no formal training he first exhibited at the Royal Academy in 1845 at the age of twenty-two, and would continue to do so regularly until 1881, his final exhibit coming in 1902 after a long hiatus. Fitzgerald lived his whole life in a London where the public imagination was becoming increasingly gripped by ideas of the supernatural and the occult. The interest pervaded all parts of the arts, literature, opera, ballet and of course painting. The uniquely British tradition of fairy painting had begun in the late eighteenth century with artists such as William Blake and Henry Fuseli who imaginatively illustrated the work of Shakespeare, particularly his more fanciful plays, A Midsummer Night's Dream and The Tempest. This peculiarly Victorian contribution to the Romantic movement reached its height in the 1850s and 60s but while artists such as Sir Joseph Noel Paton continued to use literature as their source of inspiration, Fitzgerald did not limit himself in this way. Many of his works are the products of a fertile imagination in which he created his own fairy kingdom. Whether these scenes were induced by drug fuelled dreams is a matter of debate, opium was the recreational drug of the artistic and poetic and many great Victorian works of literature were produced under its influence. It is also likely that Fitzgerald was aware of and influenced by the works of Hieronymous Bosch whose prints were widely available in the mid nineteenth century and collected by artists. Fitzgerald was also a devotee of the stage, and from all these influences a colourful character is built up and the vibrancy of his art can come as no surprise. Indeed Harry Furniss, in his memoir My Bohemian Days (1919), writes of Fitzgerald: 'his life was one long Midsummer Night's Dream.'In the present lot the excitement and chaos so often seen in Fitzgerald's larger fairy paintings is centred around a new-born fairy emerging from a flower of pure white. She comes into the fairy domain shimmering and lighting the scene from the centre. The introduction of limelight into London's theatres in the mid-nineteenth century was well known to Fitzgerald, and we see its influence here. Gathered around to bear witness are all the denizens of the fairy world, rendered in Fitzgerald's exquisite and vibrant colours. The close relationship between the fairies and the natural world is clear as birds of all type perch and hover to catch a glimpse. In the foreground two larger birds carry sprites away to spread the news, one blowing a small wind instrument fashioned out of a pink petal. To the left of centre, a pair of large diaphanous wings are opened seemingly to shade our human eyes from the pure iridescent light of the new-born fairy, lest we be dazzled. All the characters are however apparently unaware of our intrusion, their focus is on the momentous event alone, and we are left with the impression of having been fortunate to have been a witness.For further information on this lot please visit Bonhams.com

Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Portrait of Daphne Gaskell coloured chalks65 x 53cm (25 9/16 x 20 7/8in).Footnotes:ProvenanceCollection of Helen Mary 'May' Gaskell, the sitter's mother.Anon. sale, Sotheby's, Belgravia, 23 March 1981, lot. 41.Listed in the online catalogue raisonne, www.eb-j.org.The present portrait depicts the daughter of May Gaskell, society hostess and member of the 'Souls', an artistic and intellectual group in which Burne-Jones also circulated. Recently discovered correspondence reveals that the artist was in love with May, and Burne-Jones produced one of his most arresting portraits of another of May's daughters, Amy, unusually picturing her dressed in black (1898, Collection of Lord Lloyd-Webber).As well as his frequent correspondence with May, the artist wrote many affectionate letters to Daphne, who was six when she first met the artist, letters written phonetically and populated by sketches of birds and animals.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

Edward Lear (British, 1812-1888)Coast of Malabar signed with monogram (lower right) oil on canvas 23.5 x 46.5cm (9 1/4 x 18 5/16in).Footnotes:Painted in 1880 (according to an inscription on the frame).ProvenanceThe Honourable Eustace Henry Dawnay, 8 Belgrave Square, London.Thence by family descent to the present owner.Private collection, UK.An inveterate traveller, Edward Lear was in his sixties when Lord Northbrook (at the time Viceroy of India), persuaded the artist to undertake an all-expenses paid trip to India and Ceylon. Initially reluctant to leave his new home in San Remo, Lear was flooded with so many requests for depictions of India that he was finally persuaded to undertake one last voyage. After an initial attempt that got him only as far as Suez, Lear eventually reached Bombay in November 1873, noting his 'violent and amazing delight at the wonderful variety of life and dress' he encountered.1 Lear travelled extensively throughout the country, visiting Lucknow, Benares, Agra, Gwalior, Delhi, Simla, Poonah, Hyderabad and the Himalayas. He visited Mahee on the Malabar coast in November 1874 (see for example View of Mahee, India, Christie's, London, 10 December 2008, lot 51) noting 'the view there is a stunner!!! As a river scene can any other equal it'.2Lear produced a vast quantity of sketches while in India -at least 1500, many now in the collection of the Houghton Library at Harvard University- and worked some of these into oil paintings on commission (see for example View of Gwalior, India, 1880, Christie's, New York, 25 January, 2012, lot 56; this work, like the present lot, has the date of 1880 on the frame, suggesting the date of execution).The present work was in the collection of Eustace Henry Dawnay (1850 - 1928), who was a lieutenant in the Coldstream Guards and fought in The Egyptian Campaign of 1882. The work hung at West Heslerton Hall, which was the Dawnay home for over 150 years. 1Edward Lear, Indian Journal.2Ibid.For further information on this lot please visit Bonhams.com

Bohemian Schwarzlot glass goblet and cover, circa 1880, the flared goblet painted with various aspects of a boar hunt, the cover with similar decoration below a mushroom knop with gilding to the top and rim, 26cm high Probably the work of Josef Lenhardt who worked at Steinschonau from 1880

An ormolu-mounted Sèvres porcelain bleu nouveau-ground pot-pourri-vase and cover, c.1787, interlaced L mark and painter’s mark for Jean Bouchet, the mounts later, the blue ground reserved with gilt dot ornament, the front and reverse reserved with oval pastoral scenes, the cover similarly decorated, mounted with foliate scroll handles with satyr mask terminals joined by a pierced gallery, with a reeded lower part, socle and plinth base, 17.5 cm high overallProvenance: Property of a Lady    Footnotes: Note: This piece is a Sèvres sugar-bowl which has been mounted as a pot-pourri vase, probably by a marchand-mercier.  The underside of the porcelain bowl bears the painter’s mark of a shrub which has been newly attributed to Jean Bouchet, who was active at Sèvres from 1757 to 1793.  Bouchet is associated with this style of landscape painting and he initially used a caduceus mark, but later changed his mark to that of a tree or shrub; see David Peters, Decorator and Date marks on 18th Century Vincennes and Sèvres Porcelain, Little Berkhamsted, 2019, p. 23.Condition Report: There is a small restored chip to the rim of the cover, and there is some slight overpainting to the rim which presumably disguises very small minor chips or flaking – this is not particularly noticeable.  There is some minute wear to the gilt finial and the leaf terminals – this is very minor.  

A Victorian Aesthetic movement oak side table by Marsh, Jones and Cribb, third quarter 19th century, part-ebonised, with single drawer, turned legs and spindles, on castors, with paper label stating Marsh, Jones, and Cribb, (late Kendell & co) no.52406 workman's name, ? Smith, 73cm high, 92cm wide, 46cm deepFootnotes: Note: Following their joint purchase of John Kendell's London cabinet making firm in 1864, John Marsh and Edward Jones, both originally from Leeds, then went on to establish their own furniture showroom in Cavendish Square. By 1872 Marsh and Jones had formed an official business partnership with Henry Cribb.Marsh, Jones and Cribb enjoyed great success and gained particular renown during the 1860s and 1870s, coinciding with a period when the company employed some of the foremost gothic revival designers of the time. Perhaps most notable among these important creative figures were Charles Bevan and Bruce Talbert (d. 1881), who both championed their own highly distinctive Geometric gothic style.  

A Wimshurst electrostatic machine, second half 20th century, on a mahogany base bearing plaque inscribed Scientific Developments WHITBY 002, on four tapered legs, 47cm high, 45cm wide, 31cm deep Please note Roseberys do not guarantee the working order of any scientific instrument. Footnotes: Note: This instrument is named after the British inventor James Wimshurst, British, 1832-1903, who developed it in the early 1880s for generating high-voltage electricity. His devotion to his work and its later purpose in the advances of medical science was recognised firstly in 1898 when he was made Fellow of the Royal Society in 1898 and later elected a member of the Institute of Electrical Engineers in 1889. Wimshurst is believed to have created over 90 electrical influence machines throughout his lifetime, many of which were presented to scientific institutions, such as the Charing Cross Hospital, the Royal Institute and the Royal Society.    

A French gilt and patinated bronze mounted black slate three-piece clock garniture, late 19th century, the central clock in the form of a fluted column base surmounted by a bronze figure, after Alfred Louis Habert, 1824-1893, depicting a lady seated on a stool and holding a flower, signed HABERT, the white enamel dial signed VILAIN DUBOIS BOURGES, with Roman numerals and outer minute track, the eight day movement striking on a bell, numbered 12723, flanked by brass urns with twin female mask handles, the covers surmounted by Classical standing female figures, on corresponding column bases, clock - 46.5cm high, garniture - 33.5cm high    Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.      Footnotes: Note: Alfred Louis Habert was a student of Pradier, who 'exhibited only three times at the Salon, between 1850 and 1886, notably showing two statuettes in bronze. L'Amour meditant (1861) and La Discipline (1886). Also known by the sculptor is another statuette in bronze, Cupidon.. sold in London in 1977. Finally, La Vierge aux raisons is noted for having been cast by Susse in three sizes' -  Kjellberg, Pierre, Bronze of the 19th Century, Schiffer Publishing Co., 1994, 375pp

A group of maritime and scientific instruments, to include a lighthouse lightbulb, 20th century, the brass mount marked 3004 / THORN / MADE IN ENGLAND / 42/52, on a base inscribed in pen The Friday Folly, 44.5cm high; together with a Naval brass station pointer, by Henry Hughes & Sons Ltd, early 20th century, with six inch dial, engraved H HUGHES & SON LD / 59 FENCHURCH ST LONDON, in fitted mahogany box, 46cm long; a Naval brass rolling rule, issued by the Hydrographic Office, engraved COOKE TROUGHTON & SIMMS / HO 72, in fitted mahogany box, 100.5cm long, 7.5cm wide; and others (6)  Please note Roseberys do not guarantee the working order of any scientific instrument.     Footnotes: Note: Henry Hughes and his brother Joseph were both apprenticed to their father, also Joseph, who was an optician and mathematical and nautical instrument maker in London in the early 19th century.Henry was known to have been working from circa 1835; from 1840 at 3 Union Terrace, Commercial Road, London, 1845-55 at 120 Fenchurch Street, 1859-75 at 50 Fenchurch Street and from 1867 at 36 Trinity Square, Tower Hill, London.Henry's son, Alexander, joined the firm becoming H. Hughes and Son, later a limited firm, that continued to trade right up until circa 1940.Cooke, Troughton & Simms were active from 1922-1988, producing high quality astronomical and drawing instruments, in London and York.   

Naval Interest: A George III vellum Letter of Marque, dated 1778, with blue stamp duty seal to left border, giving authority for Thomas Falliase "fitly qualified who hath equipped furnished and victualled a ship called the Surprise...of about 150 Tons...mounted with fourteen guns having shot of four pounds weight and sixteen swivel guns and navigated with 70 crew and belonging to the Island of Guernsey whereof to the said Thomas Fallaise is commander and Henry Le Mesurier and Andrew Bonamy of the said Island of Guernsey Merchants are the Principal Owners...to set forth in a warlike Manner the said Ship called the Surprise.....and therewith by force of arms to apprehend seize and take the Ships Vefsels and Goods belonging to the ffrourh (sic) King or his Vafsals and Subjects or others inhabiting within his Countries Territories or Dominions", given at London and with registrar's signature to the bottom right corner, large engraved initial portrait of George III and decorative border to head, held in a double glazed black frame with gold trim, the document 55 x 64.5cm Footnotes: Note: A letter of marque is a specialist licence issued by a state authorising a private person, known as a privateer, to attack and capture vessels and goods of a nation they were at war with, for their own profit. References to the Surprise and Thomas Falaise are to be found in the National Archives at Kew, including 'L'Esperance en Dieu formerly La Joyeuse (master Gabriel Conte), a French merchant ship (schooner, 140 tons, 4 guns, 19 men), bound from Bordeaux to Martinique, laden with wine, flour, beef, pork, hams, brandy, cheese and other merchandise; taken on 11 January 1779 in latitude 46°25'N, longitude 9°33'W from Paris by the privateer Surprise (Thomas Falaise commanding), and brought into Guernsey', - Court papers: 1-7; Ship's papers: 8-12, and 'North Star of Bilbao (master Francis Fawson), an American merchant ship (brig, 200 tons, 2 swivels and a barrel of powder, 9 men, 3 passengers, owned by John Emery of Bilbao [late of Newburyport, Massachusetts), bound from Bilbao to the first port in America, laden with warlike stores on the risk and account of the American Congress, namely the rigging and sails for a 74-gun ship being built in America, and 340 bales comprising sail cloth, blankets, shoes, stockings, and linen for shirts, by Messrs John & Joseph Gardoqui and Sons; taken on 23 January 1779 in latitude 45°N, off Cape Ortegal, Bay of Biscay by the privateer Surprise (Thomas Fallaise commanding), and brought into Guernsey', Court papers: 1-5; Ship's papers: 6-9.    

A Victorian Aesthetic movement oak dining table by Marsh, Jones and Cribb, third quarter 19th century, part-ebonised, with three extra leaves, on turned legs and castors, with paper label stating Marsh, Jones and Cribb, late Kendal & co, 72cm high, 325cm wide, 127cm deepFootnotes: Note: Following their joint purchase of John Kendell's London cabinet making firm in 1864, John Marsh and Edward Jones, both originally from Leeds, then went on to establish their own furniture showroom in Cavendish Square. By 1872 Marsh and Jones had formed an official business partnership with Henry Cribb.Marsh, Jones and Cribb enjoyed great success and gained particular renown during the 1860s and 1870s, coinciding with a period when the company employed some of the foremost Gothic Revival designers of the time. Perhaps most notable among these important creative figures were Charles Bevan and Bruce Talbert (d. 1881), who both championed their own highly distinctive Geometric gothic style.  

A Victorian oak horseshoe back chair, by Holland & Sons, third quarter 19th century, upholstered in a brown silk, on turned front legs to castors, stamped Holland & S to back left leg and Cope & Collinson patent to both front castors Footnotes: Note: Holland and Sons rose from their origins in the early 19th century to become, by the middle years of the century, a rival to Gillows and one of the greatest English furniture producers (they also worked successfully as undertakers and were responsible for the Duke of Wellington's funeral). Under William Holland the firm became cabinetmakers and upholsterers to the Queen, their first commission being for Osborne House in 1845, supplying furniture in the Queen's favoured Louis XVI style. They continued to supply furniture for Osborne until 1869 but gained further commissions for Windsor Castle, Balmoral and Marlborough House. Holland also worked for many leading institutions including the Reform and Athenaeum Clubs, the British Museum and the Royal Academy. Along with Gillows they shared the commission for the new Houses of Parliament. They participated in many of the important International Exhibitions including London in 1862, Paris in 1867 and 1872, and Vienna in 1873. The Holland's labelled day books are now housed in the National Archive of Art and Design in London and present a virtual 'who's who' of 19th century society.Condition Report: Two pieces of wood have been repaired on the back, scratches, stains and old gouges throughout, minor stains to upholstery, structurally sound, overall very good condition.

A pair of French mahogany and walnut commodes à vantaux, in the manner of Guillaume Benneman, Louis XVI style, 20th century, gilt-metal mounted, marble tops above two drawers and two doors, on lion paw feet, 99cm high, 158cm wide, 56cm deep (2) Footnotes: Note: The present lot is a copy of the commode supplied by Guillaume Benneman for Louis XVI's apartments at Compiègne in 1786. It was probably made by Sauvage for the Comte de Provence and was later adapted by Benneman under the instruction of Hauré for Louis XVI's Cabinet du Conseil at Fontainebleau, where it remains today. (see J. Meuvret et al., French Cabinet Makers of the Eighteenth Century, 1963, p. 309).Copied in widely varying degrees of quality throughout the late 19th and early 20th centuries, the present example exhibits a high level of workmanship as becoming of a celebrated Parisian Belle Époque ébéniste such as François Linke who made the model under Index Number 775.

Coronelli, Vincenzo Maria, 1650-1718, America Settentrionale Colle Nuove Scoperte fin all' Anno 1688, engraved map on two joined sheets of laid paper, with later hand-colouring, V. M. Coronelli, Venice, c.1690, each sheet approx. 61 x 44.2cm, total 61 x 88.5cm, frame 87.2 x 114cm      Footnotes: Note: Vincenzo Maria Coronelli was an Italian Franciscan friar, cosmographer, cartographer, publisher, and encyclopaedist, who became one of the most celebrated globe and map makers of his era. He produced over one hundred terrestrial and celestial globes, hundreds of maps and large numbers of cartographic publications. He completed the Marly Globes for Louis XIV in 1683, which are considered some of the most magnificent globes ever produced. He founded the first geographical society, the Accademia Cosmografica degli Argonauti in Venice in 1684, which had immense success, enrolling some 200 members from all of Europe by 1693. He published the Atlante Veneto,1691, and the Isolario, 1696-98, and compiled the first encyclopaedia to be arranged alphabetically.This map of North America, first published in the Atlante Veneto, was considered to be one of Coronelli's finest maps. The most prominent geographical detail is California's appearance as a massive island, this map being one of the best renderings of this misconception. Based on Sanson's 1669 map, with the addition of mountain ranges and place names. "It provided a major leap in the cartography of the day. The whole is aesthetically delightful, providing a perfect balance between the provision of scientific accuracy and beauty'' (Burden 643). McLaughlin 103; Tooley, p. 125 and 306. Condition Report: In good condition, however please note the following observations: mounted in a frame with UV acrylic glass and has been examined out of the frame. The top of the sheet is attached to the underside of the mount with four pieces of tape along the top of the sheet and three along the bottom. There is a further piece of tape to top of centre and a minor tear to upper right top edge seen from the reverse that has been covered with tape. Another short piece of tape to upper right edge. Pencil inscription to reverse a top right and lower right. Seen from the front, margins visible about 1cm all around from sight edge of mount to flat mark, approx. 2cm to left margin. Some ruckling along the centre fold to lower right and centre left, crease to lower right below Isola Spagnuola and ruckling to upper and lower right. Horizontal soft crease to lower left section. Very small piece of fibrous brown coloured paper to lower edge of central crease. Crease or tear visible to upper left top edge which corresponds to tape on the reverse. Colouring is later. When the two sheets were joined they are slightly out of line and as such the scale on both sheets along centre are no longer visible.   

A plaster figure of St Denis, late 19th century, depicting standing frontally in his robes and holding his severed head in his hands, 103cm highFootnotes: Note: St Denis was allegedly the first Bishop of Paris, and was a martyr and patron saint of France. He is venerated as one of the 14 Holy Helpers, an assemblage of saints who were especially popular in the Middle Ages for their powers of intercession. According to St. Gregory of Tours’s 6th-century Historia Francorum, Denis was one of seven bishops sent to Gaul to convert the people in the reign of the Roman emperor Decius. Little is known of his life; it is believed that he was martyred by decapitation during the persecution of Christians by the Roman emperor Decius in 251 or Valerian in 258.Saint Denis is depicted as a cephalophore (a saint carrying their own severed head) on the Portail de la Vierge of the Notre Dame of Paris. 

A mahogany two day marine chronometer, 1920's, the silvered dial with Roman numerals, signed John Bruce & Sons / MAKERS TO THE ADMIRALTY / 25 So. Castle St. Liverpool and numbered 2931, the brass bound case with recessed side carrying handles, the hinged lid with bevelled glass top and with ivory plaque with retailer's name, with single chain fusee movement, the case interior numbered 12469, 17cm high, 18.5cm wide, 19cm deep, with service document from J. Sewill Ltd, 1983, and a printed and signed letter from Jonathan Betts of the Royal Observatory, 1995Ivory submission reference: Z5W3H7BD Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.         Footnotes: Note: The instrument was made by Thomas Mercers of St. Albans for Bruce, who was a retailer of nautical instruments. It was supplied to Bruce in 1923 for £30.     

BEN NEVIS 1992 10 YEAR OLD SINGLE CASK #2613 HIGHLAND SINGLE MALT Ben Nevis distillery, located at the foot of the UK’s highest mountain of the same name, was responsible for producing one of the most successful blended whiskies of the late 19th Century. Named after “Long” John MacDonald, who was the first to acquire a licence for the distillery, the Long John brand was so popular that a second distillery was built next door just to keep up with demand (and, no… before you ask, we don’t know what Mr MacDonald’s “Long” moniker referred to, or if it was self-appointed). Sadly, these good fortunes didn’t continue, and by 1908 the second distillery ceased production, instead being utilised as a bonded warehouse.Today Ben Nevis is owned by Japanese whisky giants, Nikka, with some of its output being used in their blended “Japanese” whiskies. Its popularity as a single malt has also grown thanks to many favourable reviews.Distilled: 11/09/1992Bottled: 12/2002Matured in Sherry Butt #261355.2% ABV / 70cl

BLAIR ATHOL 12 YEAR OLD FLORA & FAUNA HIGHLAND SINGLE MALT Despite being situated in the small town of Pitlochry, Blair Athol distillery is named after another town about seven miles further north. There is some speculation that this was done to ingratiate the distillery with the Duke of Athol who owned the land the distillery was built on.As with so many other distilleries, Blair Athol couldn’t weather the storm of The Great Depression and closed its doors in 1930. During this period of silence the distillery was acquired by Arthur Bell & Sons who reopened it in 1949. Today it still provides the heart of the Bell’s blend.43% ABV / 70cl

GLENDRONACH CASK STRENGTH BATCH #1 HIGHLAND SINGLE MALT Thanks to its rich, weighty spirit and penchant for sherry cask maturation, GlenDronach is often viewed as an excellent (and affordable) alternative to Macallan, despite being just on the wrong side of the Speyside / Highland border.Once providing the heart of the Teacher’s blend, in recent years GlenDronach has become better known as a single malt thanks to substantial investment by Pernod Ricard, who acquired ownership in 2008, and more recently by Brown-Forman (producers of Jack Daniel’s) who took over in 2016.54.8% ABV / 70cl

GLENDRONACH 1993 16 YEAR OLD SINGLE CASK #523 HIGHLAND SINGLE MALT Thanks to its rich, weighty spirit and penchant for sherry cask maturation, GlenDronach is often viewed as an excellent (and affordable) alternative to Macallan, despite being just on the wrong side of the Speyside / Highland border.Once providing the heart of the Teacher’s blend, in recent years GlenDronach has become better known as a single malt thanks to substantial investment by Pernod Ricard, who acquired ownership in 2008, and more recently by Brown-Forman (producers of Jack Daniel’s) who took over in 2016.Distilled: 26/02/1993Bottled: 07/2009Matured in Oloroso Butt #523Bottle Number: 320 / 63460.4% ABV / 70cl

BLAIR ATHOL DISTILLERY EXCLUSIVE 2010 RELEASE HIGHLAND SINGLE MALT Despite being situated in the small town of Pitlochry, Blair Athol distillery is named after another town about seven miles further north. There is some speculation that this was done to ingratiate the distillery with the Duke of Athol who owned the land the distillery was built on.As with so many other distilleries, Blair Athol couldn’t weather the storm of The Great Depression and closed its doors in 1930. During this period of silence the distillery was acquired by Arthur Bell & Sons who reopened it in 1949. Today it still provides the heart of the Bell’s blend.55.8% ABV / 70cl

GLENDRONACH 1989 23 YEAR OLD SINGLE CASK #4885 HIGHLAND SINGLE MALT Thanks to its rich, weighty spirit and penchant for sherry cask maturation, GlenDronach is often viewed as an excellent (and affordable) alternative to Macallan, despite being just on the wrong side of the Speyside / Highland border.Once providing the heart of the Teacher’s blend, in recent years GlenDronach has become better known as a single malt thanks to substantial investment by Pernod Ricard, who acquired ownership in 2008, and more recently by Brown-Forman (producers of Jack Daniel’s) who took over in 2016.Distilled: 18/01/1989Bottled: 06/2012Bottle Number: 88 / 286Matured in Moscatel Barrel #488553.9% ABV / 70cl

BENRINNES 1978 GORDON & MACPHAIL CENTENARY RESERVE SPEYSIDE SINGLE MALT Despite churning out 3.5 million litres of spirit every year, Benrinnes is seldom seen as a single malt, with most of its output getting hoovered up by various blends. Those who do seek out the scant few special releases and independent bottlings will be rewarded by a meaty, powerful whisky, akin to Mortlach or Cragganmore; a result of the complex distillation process and use of worm-tub condensers.Bottled: 199540% ABV / 70cl

OLD PULTENEY 1983 SINGLE CASK #929 HIGHLAND SINGLE MALT Established in 1826 to satiate the local fishing community’s thirst for the good stuff, Pulteney distillery, in the town of Wick, is home to some unusual stills. Scaled up versions of the kind favoured by smugglers of the era; they sport oversized reflux bulbs that are nearly as big as the still bases. These are combined with purifiers and snaking lyne arms running into worm-tub condensers, resulting in a spirit that is oily and full bodied. In 1995 the distillery was acquired by Inver House, who properly established “Old Pulteney” as a single malt brand. Since then, the brand has gone from strength to strength, and collected several awards and accolades along the way.Matured in Sherry Cask #929Bottle Number: 14858.4% ABV / 70cl

ROYAL LOCHNAGAR 1952 30 YEAR OLD GORDON & MACPHAIL CONNOISSEURS CHOICE 75CL HIGHLAND SINGLE MALT Royal Lochnagar Distillery sits at the foot of the Cairngorm mountains and is fed by the crystal clear water of the Scarnock springs.Originally called Lochnagar, it was renamed following the royal visit by Queen Victoria, who was quite a fan. The distillery reguarly resupplied the nearby Balmoral Castle which is situated just one mile away.40% ABV / 75cl Some wear to the label on the bottle and the carton is also worn. Please see additional pictures.

HIGHLAND PARK 12 YEAR OLD 1990S ISLAND SINGLE MALT Orkney’s Highland Park distillery is situated in the town of Kirkwall on the site of an illicit still thought to have been operated by Magnus Eunson, a smuggler, local butcher and former priest who was directly descended from Viking settlers. With that heritage, it’s fitting that today they frequently draw from Scandinavian mythology when it comes to naming their whiskies.The distillery is known for its signature style that utilises Orcadian peat in the malting process, resulting in a fragrant, heathery spirit that is most often left matured in Sherry wood.40% ABV / 70cl

GLENDRONACH 15 YEAR OLD HIGHLAND SINGLE MALT Thanks to its rich, weighty spirit and penchant for sherry cask maturation, GlenDronach is often viewed as an excellent (and affordable) alternative to Macallan, despite being just on the wrong side of the Speyside / Highland border.Once providing the heart of the Teacher’s blend, in recent years GlenDronach has become better known as a single malt thanks to substantial investment by Pernod Ricard, who acquired ownership in 2008, and more recently by Brown-Forman (producers of Jack Daniel’s) who took over in 2016.40% ABV / 70cl

GLEN GRANT 1992 19 YEAR OLD DISTILLERY EXCLUSIVE CASK #17161 50CL SPEYSIDE SINGLE MALT Glen Grant was the first distillery in Scotland to have electric lighting installed, thanks to its forward-thinking owner, and all-round colourful character, Major James Grant. Grant was an innovator who was one of the first people to realise the potential of exporting whisky abroad. Initially, this paid dividends, and in 1897 The Major began construction of a second distillery across the road. However, as was the case with so many distilleries built around this time, Glen Grant 2 was mothballed after just a few years. Although, it did re-open in 1965 under the name Caperdonich.While it might not be a household name in the UK, Glen Grant is consistently one of the top selling single malts in Italy due to the groundwork laid by legendary importer Armando Giovinetti in the 1960s. It, therefore, seems appropriate that the distillery is now owned by Campari, an Italian company.Distilled: 12/02/1992Bottled: 06/01/2012Matured in cask #17161Bottle Number: 73 / 22252.4% ABV / 50cl

GLENDRONACH CASK STRENGTH BATCH #1 HIGHLAND SINGLE MALT Thanks to its rich, weighty spirit and penchant for sherry cask maturation, GlenDronach is often viewed as an excellent (and affordable) alternative to Macallan, despite being just on the wrong side of the Speyside / Highland border.Once providing the heart of the Teacher’s blend, in recent years GlenDronach has become better known as a single malt thanks to substantial investment by Pernod Ricard, who acquired ownership in 2008, and more recently by Brown-Forman (producers of Jack Daniel’s) who took over in 2016.54.8% ABV / 70cl

GLENFIDDICH MARY QUEEN OF SCOTS DECANTER 75CL SPEYSIDE SINGLE MALT Without Glenfiddich, Scotland might not enjoy the same thriving whisky scene it has today. Founded in 1886 by William Grant, and still family owned, Glenfiddich was one of the first distilleries to seriously market single malt whisky as a credible alternative to blends. This decision was prompted by a dispute with their grain supplier in 1963, leading to a scaling back in production of their Grant’s blend. By the late 1960s Glenfiddich single malt was a firm hit with the Jet Set, who were picking it up in their droves from the newly emerging Duty-Free market.That early prescience clearly paid off, as (despite strong competition from fellow Speyside giants Glenlivet and Macallan) Glenfiddich is consistently the best-selling single malt in the world, shifting over 1 million cases every year.43% ABV / 75cl

GLENDRONACH 18 YEAR OLD ALLARDICE HIGHLAND SINGLE MALT Thanks to its rich, weighty spirit and penchant for sherry cask maturation, GlenDronach is often viewed as an excellent (and affordable) alternative to Macallan, despite being just on the wrong side of the Speyside / Highland border.Once providing the heart of the Teacher’s blend, in recent years GlenDronach has become better known as a single malt thanks to substantial investment by Pernod Ricard, who acquired ownership in 2008, and more recently by Brown-Forman (producers of Jack Daniel’s) who took over in 2016.Bottled: 04/2009Bottle Number: 2380 / 660046% ABV / 70cl

ROSEBANK 12 YEAR OLD FLORA & FAUNA LOWLAND SINGLE MALT Pride of the Lowlands, Rosebank is making a comeback after more than 25 years courtesy of Ian MacLeod Distillers who purchased the derelict Falkirk distillery in 2017. While renovations have been delayed slightly by global events, the new stills were installed in May 2022, so they’re well on their way to resuming production.It might still be a while before we see any new Rosebank expressions hitting the shelves, but until then Ian MacLeod will be tiding us over with several exciting releases drawn from casks laid down prior the distillery’s closure in 1993. The question is, how will the new output stack up against these classics?43% ABV / 70cl