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A Geo III oak plate rack, the moulded pediment above a shaped frieze with blind fretwork, above three shelves with shaped friezes and moulded plate retainer bars, flanked by fluted pilasters, the base with applied moulding, 164cm wide, 106.5cm high

An early 19th century Scottish mahogany dressing table, with blind gallery back framing the well figured top, above a series of short drawers with turned ebony handles, on tapering turned feet terminating in brass casters, 119cm wide, 83.5cm high, 52cm deepCondition report: Left hand side of the gallery requires some attention.

A Victorian mahogany buffet, the top with blind gallery and turned knops to each corner, above a further two tiers, the central tier housing two drawers, on turned supports terminating in ceramic castors, 104cm wide, 106cm high, 44.5cm deep

Sebastiaan VrancxDie Speisung der Hungrigen Öl auf Holz, auf Holz aufgezogen (parkettiert). 64,5 x 48,5 cm.GutachtenDer Auktionskatalog von Sotheby-Maak van Way, Amsterdam 1977, erwähnt die Kopie eines Gutachtens von Dr. Eduard Plietzsch von 1947 sowie ein Gutachten von Dr. Walther Bernt von 1963.ProvenienzGalerie Julius Böhler, München. – Sammlung Dr. Lutz, Berlin. – Dr. Hans Wetzlar, Amsterdam. – Auktion seines Nachlasses, Sotheby-Mak van Waay, Amsterdam, 9.6.1977, Lot 69. – Dort erworben.AusstellungenKeuze uit de verzameling Dr. H. A. Wetzlar, Laren, Singer Museum, 14.12.1968-2.1.1969, Nr. 32 (Abb. Kat. Tafel 7).LiteraturFriedrich Winkler: Der unbekannte Sebastian Vrancx, in: Pantheon 22, 1964, S. 322- 334, Abb. S. 322. – Suyin Scheid, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 264 -266, Nr. 104, mit Abb.Das vorliegende Gemälde illustriert mit der „Speisung der Hungrigen“ das erste der sieben christlichen Werke der Barmherzigkeit. Sechs dieser Werke beruhen auf einem im Matthäusevangelium überlieferten Jesuswort (Mt 25,34-46), während das siebte eine Ergänzung aus dem apokryphen Buch Tobit darstellt (Tob. 1,17). Bühnenartig sind im Vordergrund unserer Holztafel mehrere Bettler wiedergegeben, links beginnend mit einem zerlumpten Jungen zwischen den hohen Postamenten zweier Säulen. Daneben führt eine junge Frau ihren blinden Vater und schließlich erhalten eine Mutter und ihre Kinder von einem reich gekleideten Paar vor dem Eingang eines prächtigen Palasts Brote überreicht.Eingefügt ist diese Darstellung in eine prachtvolle, makellose Renaissancearchitektur, die in scharfem Kontrast zu den ärmlichen Figuren des Vordergrunds steht. Zwischen der in starker perspektivischer Verkürzung dargestellten Palastfassade am rechten Bildrand und den von einem klassischen Gebälk zusammengefassten Säulen auf der linken Seite geht der Blick zunächst auf eine weiträumige Platzanlage. Dort springt vor allem ein dreigeschossiger Palast mit offenen Arkadengängen im Erdgeschoss ins Auge. Leicht versetzt zur Mittelachse wird der Blick auf der rechten Seite weiter in den Hintergrund gezogen und trifft schließlich auf die Fassade einer Kuppelkirche und einen Glockenturm als „point de vue“.Unsere Tafel gehört zu einem Zyklus von Einzeldarstellungen aller Werke der Barmherzigkeit, die Vrancx und seine Werkstatt mehrfach ausgeführt haben dürften und stets mit einem klassischen Architekturhintergrund verbunden waren. Weitere, gleich große Tafeln befinden sich u.a. im Museum in Springfield, Massachusetts, und in der Stichting Nederlands Kunstbezit. Ein 1608 datiertes Gemälde von Vrancx in der Sammlung des Niedersächsischen Landesmuseums Hannover zeigt hingegen alle sieben Werke der Barmherzigkeit auf einer Tafel.Sebastiaan Vrancx war in seiner Geburtsstadt Antwerpen Schüler von Adam van Noordt, bei dem auch Rubens und Jacob Jordaens in die Lehre gingen. Nach einem Rom-Aufenthalt von 1596 bis 1600/01 ließ sich Vrancx wieder in Antwerpen nieder, wo er in die Lukasgilde aufgenommen und 1612 zu deren Dekan gewählt wurde. Darüber hinaus bekleidete er zahlreiche weitere Ämter in Schützengilden, Rhetorikgesellschaften etc., die ihn zu einer wichtigen Figur im künstlerischen und sozialen Umfeld Antwerpens machten.Als einer der ersten Künstler spezialisierte sich Vrancx auf die Wiedergabe von Überfällen, Schlachten und Reitergefechten, als deren Wegbereiter in der Malerei der südlichen Niederlanden er gilt. Darüber hinaus schuf er Ansichten von Gartenfesten und galanten Gesellschaften sowie reine Landschaftsgemälde. Zugleich war der äußerst vielseitige Künstler als Figurenmaler geschätzt und fügte u.a. in Werke von Jan Brueghel d. Ä. und Joos de Momper Staffagefiguren ein. Karel van Mander rühmte den damals erst 31-jährigen Vrancx in seinem 1604 erschienenen „Het schilder-boeck“ insbesondere für seine Darstellung von Landschaften, Pferden und Figuren („eer aerdigh in Landtschap, Peerdekens, en beeldekens“). Sebastiaan VrancxThe Feeding of the Hungry Oil on panel, mounted on another panel and parquetted. 64.5 x 48.5 cm.CertificateThe auction catalogue of Sotheby-Maak van Way, Amsterdam 1977, mentions a now lost copy of an expertise by Dr Eduard Plietzsch from 1947 and an expertise by Dr Walther Bernt from 1963.ProvenanceWith Julius Böhler, Munich;Dr Lutz, Berlin;Dr Hans Wetzlar, Amsterdam;His deceased sale, Sotheby-Mak van Waay, Amsterdam, 9 June 1977, lot 69.ExhibitionsKeuze uit de verzameling Dr. H. A. Wetzlar, Laren, Singer Museum, 14 December 1968-26 January 1969, no. 32 (reproduced in the catalogue plate 7).LiteratureFriedrich Winkler: Der unbekannte Sebastian Vrancx, in: Pantheon, XXII (1964), pp. 322-34, reproduced;Suyin Scheid, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 264 -266, no. 104, reproduced.The present painting illustrates the Feeding of the Hungry, the first of Seven Christian Works of Mercy. Six of these works are based on the teachings of Jesus handed down in the Gospel of St. Matthew (Mt 25:34-46), while the seventh is a supplement from the apocryphal book of Tobit (Tob. 1:17). In the foreground of this panel, several beggars are depicted as if on a stage, beginning on the left with a raggedly dressed boy between the high bases of two columns. Next to him, we see a young woman leading her blind father and finally a mother with her children being presented loaves of bread by a richly dressed couple in front of the entrance to a magnificent palace.The scene is placed in a setting of magnificent, immaculate Renaissance architecture, which contrasts sharply with the poor figures in the foreground. Between the strongly foreshortened palace facade on the right-hand side of the picture and columns on the left, joined by a classical entablature, the view looks onto a spacious square. There, the eye is drawn to a three-storey palace with open arcades on the first floor. To one side of this central axis, our view is guided towards the background on the right, upon the facade of a domed church and a bell tower as a point de vue.This panel belongs to a cycle of individual depictions of all the works of mercy, which Vrancx and his workshop may have executed several times and which always included a classical architectural background. Other panels of the same size can be found in the museum in Springfield, Massachusetts, and in the Stichting Nederlands Kunstbezit, among others. In contrast, a painting by Vrancx dated 1608 in the collection of the Niedersächsisches Landesmuseum in Hanover shows all seven works of mercy on one panel.In his home town of Antwerp Sebastiaan Vrancx was a student of Adam van Noordt, who also taught Peter Paul Rubens and Jacob Jordaens. After a stay in Rome from 1596 to 1600/1, Vrancx settled again in Antwerp, where he was accepted into the Guild of St. Luke and elected Dean of the Guild in 1612. In addition, he held numerous other offices with the rifle guilds, rhetoric societies, etc., which made him an important figure in Antwerp's artistic and social life.Vrancx was one of the first artists to specialise in depicting raids, battles and cavalry fights, and he is regarded as one of the pioneers of these genres in the southern Netherlands. He also painted views of garden parties and eleFull description on lot-tissimo.com

[BRONTË, Charlotte (1816-55), Emily (1818-48) & Anne (1820-49)]. Poems by Currer, Ellis, and Acton Bell. London: Smith, Elder and Co., 1846 [but 1848]. 8vo (169 x 110mm). Errata slip, one-page of publisher's advertisements at the end. Original green cloth with a lyre stamped in blind on the covers, blind-stamped foliate borders, spine lettered in gilt, yellow endpapers (upper joints split, some erosion to foot of spine, some light staining to covers, spine a little faded, corners bumped). FIRST EDITION, second issue. RARE. In 1846, Aylott and Jones of London published the three Brontë sisters' collection of poems under the pseudonyms Currer (Charlotte), Ellis (Emily) and Acton (Anne) Bell. This being their first appearance in print, the authors were completely unknown and the book sold very poorly, with estimates of the number of copies sold of the 1,000 printed ranging from just two to a still paltry thirty-nine. In 1847, Charlotte, still using her pseudonym, published Jane Eyre, and the book was a huge critical and commercial success. On the strength of this, her new publishers, Smith, Elder and Co., bought up the remaindered copies of Poems and published them, in 1848, with a new, or cancel, title page bearing their imprint but with the retrospective date of 1846. By this time, Charlotte's sisters had also had some success with their own novels and the publisher's advertisement at the end of Poems lists, in addition to Charlotte's Jane Eyre, Emily's Wuthering Heights and Anne's The Tenant of Wildfell Hall, whilst still using their Currer, Ellis and Acton Bell pseudonyms. Smith The Brontë Sisters 1.

ELIOT, George [i.e. Mary Ann EVANS (1819-80)]. The Mill on the Floss. London: William Blackwood and Sons, 1860. 3 volumes, 8vo (195 x 125mm). Half titles, one-page of publisher's advertisements at the end of vol. one listing the third edition of Scenes of Clerical Life and the seventh edition of Adam Bede [Carter's second state], 16-pages of publisher's advertisements at the end of vol. III. Original tan cloth, the covers panelled in blind, the spines lettered in gilt (upper inner hinges of vol. one broken, some minor chipping to foot of spines, corners a little rubbed), later cloth slipcase. Provenance: J. Belton (armorial bookplate); Ex Libris Blairhame (label). FIRST EDITION of "one of the most widely read of [George Eliot's] works" (Drabble (ed.), The Oxford Companion to English Literature (1985)). Carter pp. 110-111; Parrish pp. 14-15; Sadleir 816; Wolff 2060. (3)

A CHINESE FAMILLE ROSE 'BOYS' BRUSHPOT, BITONG REPUBLIC PERIOD The cylindrical body painted with a scholar sleeping at his desk as five boys practise calligraphy and play blind man's buff, the studio with a window looking out on to crashing waves, with a four character Qianlong mark to the base, 12.4cm. Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

Y A Victorian silver kettle on stand by Henry William Curry, London 1873, in early 18th century style, with a turned ivory swing handle over, a bud finial to the step domed cover, a hinged cover to the cast rim, the compressed spherical body with a blind fret scroll band to the shoulders, the circular stand with twin lion mask bale handles, an openwork cast frieze above a pierced band, the burner elaborately chased, the three bold scroll supports issuing from lion masks, the paw feet on lobed balls, 45.5cm (16in) high, 6556g (210.8 oz) grossCondition Report: Cover - Hallmarks are clear Handle appears unmarkedBody - Hallmarks to base well struck Stand - Hallmarks well struckStand handles - Hallmarks are clearBurner - Hallmarks are clearCover sits wellSplits to the ivoryIvory spinsKettle wobbles in standLight crease to the body of the kettle, approx 14mmStand does not wobbleLight scratches and wear commensurate with age and use Condition Report Disclaimer

MAHOGANY TWO DOOR BOOKCASE with thirteen pane astragal glazed doors and interior adjustable shelves, having blind fret detail to the top, on corner bracket feet, 122.5cms H, 112cms W, 32cms D

NORTH WALES ANGLESEY OAK DRESSER, CIRCA 1830, the wide boarded back three shelf rack with shaped detail to the cornice over a base section of three frieze drawers and three blind drawers with flanking cupboard doors, all having turned wooden knobs and diamond shape escutcheons on corner bracket feet, 210cms H, 155cms W, 47cms D, good overall colour and patination

LARGE REGENCY MAHOGANY SERPENTINE FRONT SIDEBOARD having a closed box and shaped front top over an arrangement of two long concave central drawers, deep cellar drawer over single drawer and blind drawer cupboard over single drawer, all flanked by reeded and turned pillars and bun feet, 99cms H, 244.5cms W, 70.5cms D maximum (some slight veneer losses, lacking curtain rail, some restoration and re-polishing required)

A Chippendale period mahogany secretaire bookcase,the top with a broken, stiff arched cornice with a shaped dog-tooth and blind fret frieze, over a single door with a shaped mirror within independent, turned and carved columns with blind fret bases and capitals, the door with a dummy escutcheon, opening with one column, to reveal adjustable shelves and three drawers, the base with a fitted drawer over three long drawers, fret cut shaped bracket feet and four conforming independent carved and brass-mounted columns,104cm wide58cm deep228cm highProvenance: The property of a West Country gentleman.Condition report: Mirror tarnished.Two top columns faded.Minor loss to dog tooth frieze.Minor veneer loss around secretaire drawer.One rear foot re-affixed.

A mahogany hall bench,19th century, with a blind fret carved rail over a panelled back and sweeping arms, with a solid seat and raised on sabre legs,118cm wide50cm deep98cm highCondition report: General wear, knocks and scratches throughout. Dings and marks to seat.

A late Regency rosewood centre table, with mirrored veneers and crossbanded top, with alternate blind frieze drawers, on standard end supports, with leaf and scroll carved decoration, on scroll feet,123cm wide67cm deep73cm highProvenance: Horton Lodge, Windsor, Berkshire.Condition report: Small veneer chips to square edge of one end plinth base.Some scratches and marks to the top. Quite a bit of wobble in the joints. See additional images.

*William Scott RA (1939-1989)'Still life with frying pan and eggs'screenprint in colours, signed and dated 'W. Scott 73' u.l., numbered 11/250 l.l., with blind stamp l.l., on wove papersheet 67 x 89cm, unframed*Artist's Resale Right may apply to this lot.Condition report: The paper has discoloured throughout and is browning at extreme edges. Lower left corner is creased. Soft half-moon handling creases scattered throughout. A small crease next to signature and another top centre. A little dirty. Remnants of tape verso in top corners, which show through. Unframed.

A Regency rosewood sofa table, with angled corners, alternate blind frieze drawers, on half hoop and scroll end supports and winged lion paw feet,151cm wide76cm deep73cm highProvenance: Horton Lodge, Windsor, Berkshire.Condition report: Slight warp to the right hand drop leaf, and two shadows of old ink marks to the top

PAIR OF PRINTS OF LONDON LANDMARKS, SIGNED IN PENCIL TO THE MARGIN AND BLIND STAMPS, FRAMED AND GLAZED

A George III mahogany chest on chest, with dentil cornice, blind fretwork frieze, two short and six graduated long drawers, on ogee feet, W. 3ft 3in. D. 2ft 5in. H. 6ft 5in.

Attributed A.W.N. Pugin, A Victorian oak Gothic revival writing table, with saltire inlaid top, castellated corners and blind fret carved frieze incorporating two drawers, on trestle end supports with Tudor rose carved feet, W.4ft 5.5in D.2ft 9.5in. H.2ft 6in.CONDITION: Overall rather worn with what was once a very dark oak colour now reduced in much of it bare timber, scuffs, wear and ring marks to the top commensurate with age, separation lines showing at each of the corners where they attach, drawers never had locks, underframes worn from use but overall honest condition.

A George III mahogany card table, with ovolo carved rim and blind fret carved frieze incorporating a drawer, on chamfered legs, W.2ft 5in. D.1ft 3in. H.2ft 4in.CONDITION: Of good rich dark reddish brown mahogany tone, the back 1.5 inch of the top is of a non matching timber and indicates and old repair, interior with old bright blue baize, upper part of the folding top is carved, the lower part not, minor dents and nicks to the legs. Overall good condition.

§ Laurence Stephen Lowry (1887-1976)limited edition print'Crime Lake'signed in pencil and blind stamped19 x 24in.CONDITION: Very good original condition with no faults noted, colours strong, paper white, signed lower right, blindstamped lower left, housed in a plain card mount and gilt frame, label verso for Adam Collection Ltd.

French Regency rectangular gilt picture frame with blind moulded decoration, aperture 24.5ins x 21ins

Small monochrome Russell Flint print of two ladies in crinoline dresses with blind stamp, signed in pencil by the artist, 9ins x 16ins

Vier Netsuke aus Holz/Elfenbein: Knabe auf Awabi, Korb, Oni-Maske und Blinde m. Wölfen JAPAN, eins signiert Seigyoku, 19.Jh./Meiji-Periode H. 3-4,5 cm Provenienz: Aus einer Württembergischen Privatsammlung, gesammelt zwischen 1950 und 1980 - Minim. berieben A GROUP OF FOUR CARVED WOOD AND IVORY NETSUKE, Japan, one signed Seigyoku, 19th ct./Meiji period, carved as a boy seated atop an Awabi, a wallnut basket, an oni mask and blind men with two wolves - Property from a Württemberg private collection, assembled between 1950 and 1980 - Minor wear

Netsuke eines Blinden mit schmerzverzerrtem Gesicht aus Elfenbein JAPAN, 1. Hälfte 19.Jh. H. 5,9 cm Provenienz: Aus einer bedeutenden süddeutschen Privatsammlung AN IVORY NETSUKE OF A BLIND MAN, Japan, first half 19th ct., wearing hakama and making a grimace - Property from an important South German private collection

Netsuke eines Steinhebers aus Elfenbein JAPAN, signiert Tomoaki, 2. Hälfte 19.Jh. H. 3,7 cm Provenienz: Ehemals aus einer deutschen Privatsammlung, vor 2007 erworben - An den Füßen rest. AN IVORY NETSUKE OF A BLIND STONE LIFTER, Japan, signed Rakumin, second half 19th ct., demonstrating his strength by lifting a stone weighing "shichi ju roku ."- Former property from a German private collection, acquired prior to 2007 - Restoration to the feet

Box 93 - New Zealand Sauvignon BlancRapaura Springs 2020Rapaura Springs Reserve 2020Rohe-Dillons Point Rapura Springs 2020Two Rivers 2020 Summerhouse 2020Starborough 2020Anna's Way 2020Black Cottage 2020Brancott Estate 2020Rohe-Blind River Rapura Springs 2020Awatere River 2020Stoneleigh 2020

Henri BéguinPetersdom Albuminierter Salzpapierabzug. 23,4 x 32,5 cm. Auf Originalkarton aufgezogen, dort unten mittig Prägestempel des Photographen sowie unten links von fremder Hand mit Bleistift bezeichnet.LiteraturBonetti 2008, S. 78 und S. 147 mit Abbn. (Kat. 20) Henri BéguinSt. Peter's Basilica Albumenized salt print. 23.4 x 32.5 cm. Flush-mounted to original card, photographer's blind stamp as well as annotated in an unknown hand in pencil below the image on the mount.LiteratureBonetti 2008, ill. p. 78 and p. 147 (cat. 20)

James AndersonSeptimius-Severus-Bogen, Forum Romanum Albuminabzug. 18 x 24,3 cm. Im Negativ unten rechts beziffert '27'. Auf Originalkarton aufgezogen, dort unten rechts mit Prägestempel der 'Libreria Tedesca di Gius. Spithöver in Roma', sowie unten mittig von fremder Hand mit Bleistift bezeichnet.LiteraturBonetti 2008, S. 66 und S. 145 mit Abbn. (Kat. 3) James AndersonArch of Septimius-Severus, Roman Forum Albumen print. 18 x 24.3 cm. Numbered '27' in the negative lower right. Flush-mounted to original card, blind stamped 'Libreria Tedesca di Gius. Spithöver in Roma' as well as annotated in an unknown hand in pencil on the mount.LiteratureBonetti 2008, ill. p. 66 and p. 145 (cat. 3)

Angelo und Giacomo LuswerghKapitol Albuminabzug. 32,3 x 41,9 cm. Auf Originalkarton aufgezogen, dort unten mittig Prägestempel der Photographen und von fremder Hand mit Tinte und Bleistift bezeichnet.Die Mitglieder der Scuola Romana di Fotografia standen in regem Austausch mit jenen Künstlern, die als Preisträger des Prix de Rome ein Stipendium für einen mehrjährigen Aufenthalt an der französischen Akademie erhielten, die in der Villa Medici, unweit des Caffè Greco, untergebracht war. Der hier vorliegende Abzug stammt aus dem Nachlass des Malers und Photographen Edmond Lebel (1834 - 1908), der sich in den 1860er Jahren in Rom aufhielt. Angelo und Giacomo LuswerghCapitoline Hill Albumen print. 32.3 x 41.9 cm. Flush-mounted to original card, photographer's blind stamp and annotated in an unknown hand in ink and pencil below the image on the mount.

Henri BéguinSanta Maria Maggiore Albuminierter Salzpapierabzug. 21 x 30,8 cm. Auf Originalkarton aufgezogen, dort unten mittig Prägestempel des Photographen sowie unten links von fremder Hand mit Bleistift bezeichnet.LiteraturBonetti 2008, S. 77 und S. 147 mit Abbn. (Kat. 21) Henri BéguinSanta Maria Maggiore Albumenized salt print. 21 x 30.8 cm. Flush-mounted to original card, photographer's blind stamp as well as annotated in an unknown hand in pencil below the image on the mount.LiteratureBonetti 2008, ill. p. 77 and p. 147 (cat. 21)

Henri BéguinAmme (Gattin des Künstler-Assistenten) Albuminierter Salzpapierabzug. 19,4 x 14 cm. Auf Originalkarton aufgezogen, dort unten mittig mit Prägestempel des Photographen sowie von fremder Hand mit Bleistift und Tinte bezeichnet.LiteraturBonetti 2008, S. 109 und 147 mit Abbn. (Kat. 22) Henri BéguinThe Wife of the Artist's Assistant Albumenized salt print. 19.4 x 14 cm. Flush-mounted to original card, photographer's blind stamp and annotated in an unknown hand in pencil and ink below the image on the mount.LiteratureBonetti 2008, ill. p. 109 and 147 (cat. 22)

Lodovico TuminelloPanorama von Rom 3 Albuminabzüge, zum Panorama montiert. 18,6 x 68,6 cm. Auf Originalkarton aufgezogen, dort unten mittig mit Prägestempel des Photographen.LiteraturBonetti 2008, S. 30f. und S. 169 mit Abbn. (Kat. 209) Lodovico TuminelloPanoramic View of Rome Three albumen prints, mounted. 18.6 x 68.6 cm. Flush-mounted to original card, photographer's blind stamp below the image on the mount.LiteratureBonetti 2008, ill. pp. 30 and p. 169 (cat. 209)

Robert MacphersonAqua Claudia Albuminierter Salzpapierabzug. 22 x 39 cm (oval). Auf Originalkarton aufgezogen, dort unten mittig mit Prägestempel des Photographen, darin mit Bleistift beziffert '102'.LiteraturBonetti 2008, S. 113 und S. 158 mit Abbn. (Kat. 119) Robert McphersonAqua Claudia Albumenized salt print. 22 x 39 cm (oval). Flush-mounted to original card, photographer's blind stamp, therein numbered '102' in pencil, below the image on the mount.LiteratureBonetti 2008, ill. p. 113 and p. 158 (cat. 119)

Sebastião SalgadoGoldminers, Serra Pelada, Brazil Gelatinesilberabzug. 52,8 x 35,3 cm (60 x 50 cm). Im unteren Bildrand links mit Prägestempel des Photographen. Rückseitig mit Bleistift signiert und datiert.ProvenienzPrivatsammlung, RheinlandLiteraturAlan Riding, Sebastião Salgado. Gold, Köln u.a. 2019, S. 73 mit Abb. Sebastiao SebastiãoGoldminers, Serra Pelada, Brazil Gelatin silver print. 52.8 x 35.3 cm (60 x 50 cm). Photographer's blind stamp in the margin lower left. Signed and dated in pencil on the verso.ProvenancePrivate collection, RhinelandLiteratureAlan Riding, Sebastião Salgado. Gold, Cologne i.a. 2019, ill. p. 73

Rudolf KoppitzBewegungsstudie Vintage, Gelatinesilberabzug (Photopostkarte, ungelaufen). 12,9 x 9,3 cm (15,2 x 9,8 cm). Im unteren Bildrand links mit Bleistift betitelt, rechts mit Prägestempel des Photographen. Rückseitig mit gedruckten Angaben zum Photographen, mit Bleistift beziffert '1' sowie mit später aufgebrachtem Stempel der Galerie Kicken, darin von fremder Hand mit Bleistift nummeriert. - Unter Passepartout und Glas gerahmt.ProvenienzGalerie Kicken, Köln; Privatsammlung, RheinlandLiteraturMonika Faber (Hg.), Rudolf Koppitz, 1884 - 1936, Ausst.kat. Historisches Museum, Wien u.a., Wien 1995, S. 83 mit Abb. und Abb. auf dem Buchtitel Rudolf KoppitzBewegungsstudie Vintage gelatin silver print (photo postcard, unposted). 12.9 x 9.3 cm (15.2 x 9.8 cm). Titled in pencil in the margin lower left, photographer's blind stamp lower right. Printed mention of the photographer, numbered '1' in pencil as well as subsequently applied stamp of the Kicken gallery, therein editioned in pencil, on the verso. - Matted and framed.ProvenanceKicken, Cologne; private collection, RhinelandLiteratureMonika Faber (ed.), Rudolf Koppitz, 1884 - 1936, exhib.cat. Historisches Museum, Wien i.a., Vienna 1995, ill. p. 83 and ill. on front cover

James AndersonKonstantinsbogen Salzpapierabzug. 39,3 x 27,2 cm. Auf Originalkarton aufgezogen, dort unten rechts mit Prägestempel der 'Libreria Tedesci Gius. Spithöver in Roma'.LiteraturBonetti 2008, S. 68 und S. 145 mit Abbn. (Kat. 2) James AndersonArch of Constantine Salt print. 39.3 x 27.2 cm. Flush-mounted to original card, blind stamped 'Libreria Tedesci Gius. Spithöver in Roma' on the mount lower right.LiteratureBonetti 2008, ill. p. 68 and p. 145 (cat. 2)

James AndersonTrajansforum Albuminabzug. 25,2 x 18,3 cm. Im Negativ unten rechts beziffert '34'. Auf Originalkarton aufgezogen, dort unten rechts mit Prägestempel der 'Libreria Tedesca di Gius. Spithöver in Roma'.LiteraturBonetti 2008, S. 146 mit Abb. (Kat. 16) James AndersonTrajan's Forum Albumen print. 25.2 x 18.3 cm. Numbered '34' in the negative lower right. Flush-mounted to original card, blind stamped 'Libreria Tedesca di Gius. Spithöver in Roma' on the mount lower right.LiteratureBonetti 2008, ill. p. 146 (cat. 16)

Eugène ConstantTitusbogen Salzpapierabzug vom albuminierten Glasnegativ. 21,7 x 28,6 cm. Unten rechts mit Prägestempel des Photographen. Auf Originalkarton aufgezogen, dort unten mittig mit weiterem Prägestempel des Photographen sowie unten links mit Prägestempel des Verlegers Edouard Mauche, Florenz (angeschnitten). Rückseitig mit Bleistift von fremder Hand bezeichnet.LiteraturBonetti 2008, S. 71 und S. 155 mit Abbn. (Kat. 91) Eugène ConstantArch of Titus, Roman Forum Salt print from albumenized glass negative. 21.7 x 28.6 cm. Photographer's blind stamp lower right. Flush-mounted to original card, photographer's blind stamp and blind stamp of the publisher Edouard Mauche, Florence (cropped) below the image on the mount. Annotated in an unknown hand in pencil on the reverse of the mount.LiteratureBonetti 2008, ill. p. 71 and p. 155 (cat. 91)

Tommaso CuccioniForum Romanum, Blick auf das Kapitol Albuminabzug. 33,4 x 46,5 cm. Auf Originalkarton aufgezogen, dort unten mittig mit Prägestempel des Photographen sowie von fremder Hand mit Tinte bezeichnet.Literaturvon Dewitz/Siegert/Schuller-Procopovici 1994, S. 203 mit Abb.; Bonetti 2008, S. 62 und S. 156 mit Abbn. (Kat. 95) Tommaso CuccioniRoman Forum with the Capitol Albumen print. 33.4 x 46.5 cm. Flush-mounted to original card, photographer's blind stamp and annotated in an unknown hand in ink below the image on the mount.Literaturevon Dewitz/Siegert/Schuller-Procopovici 1994, S. 303 mit Abb; Bonetti 2008, ill. p. 62 and p. 156 (cat. 95)

A. de BonisDer Garten der Französischen Akademie, Villa Medici Albuminierter Salzpapierabzug. 29,3 x 25,3 cm. Unten links und rechts jeweils mit Prägestempel monogrammiert. Rückseitig mit Bleistift betitelt sowie beziffert '12'.LiteraturBonetti 2008, S. 107 und S. 156 mit Abbn. (Kat. 101)Die Mitglieder der Scuola Romana di Fotografia standen in regem Austausch mit jenen Künstlern, die als Preisträger des Prix de Rome ein Stipendium für einen mehrjährigen Aufenthalt an der französischen Akademie erhielten, die in der Villa Medici, unweit des Caffè Greco, untergebracht war. Der hier vorliegende Abzug stammt aus dem Nachlass des Malers und Photographen Edmond Lebel (1834 - 1908), der sich in den 1860er Jahren in Rom aufhielt. A. de BonisThe Gardens of the French Academy, Villa Medici Albumenized salt print. 29.3 x 25.3 cm. Blind-stamped monogram lower left and lower right. Titled and numbered '12' in pencil on the verso.The members of the Scuola Romana di Fotografia were in lively exchange with those artists who, as winners of the Prix de Rome, received a scholarship for a stay of several years at the French Academy, which was housed in the Villa Medici, not far from the Caffè Greco. The print presented here comes from the estate of the painter and photographer Edmond Lebel (1834 - 1908), who stayed in Rome in the 1860s.

Gisèle FreundVirginia Woolf vor einem Fresko von Vanessa Bell, London Späterer C-Print. 30,2 x 20,5 cm (38,4 x 28,6 cm). Unten rechts mit Prägestempel der Photographin. Rückseitig mit Filzstift signiert und mit Photographenstempel.LiteraturGisèle Freund, Mémoires de l’Œeil, o.O. 1977, S. 83 mit Abb.; Gisèle Freund. Itinéraire, Ausst.kat. Musée National d'Art Moderne, Centre Georges Pompidou Paris, Paris 1991, S. 150 mit Abb. (Variante) Gisèle FreundVirginia Woolf vor einem Fresko von Vanessa Bell, London Chromogenic print, printed later. 30.2 x 20.5 cm (38.4 x 28.6 cm). Photographer's blind stamp lower right. Signed in felt tip pen and photographer's stamp on the verso.LiteratureGisèle Freund, Mémoires de l’Œeil, n.p., 1977, ill. p. 83; Gisèle Freund. Itinéraire, exhib.cat. Musée National d'Art Moderne, Centre Georges Pompidou Paris, Paris 1991, ill. p. 150 (variant)

Robert MacphersonKolonnade, Nerva-Forum Albuminabzug. 36,1 x 30,9 cm. Auf Originalkarton aufgezogen, dort unten mittig Prägestempel des Photographen, darin mit Bleistift beziffert '6'.LiteraturBonetti 2018, S. 98 und S. 159 mit Abbn. (Kat. 127) Robert McphersonColonnade, Forum of Nerva Albumen print. 36.1 x 30.9 cm. Flush-mounted to original card, photographer's blind stamp, therein numbered '6' in pencil, below the image on the mount.LiteratureBonetti 2018, ill. p. 98 and p. 159 (cat. 127)

James AndersonBlick vom Palatin auf das Kolosseum Salzpapierabzug. 27,5 x 36,6 cm. Auf Originalkarton aufgezogen, dort unten rechts Prägestempel der 'Libreria Tedesca di Guis. Spithöver in Roma'.LiteraturBonetti 2008, S. 45 und S. 145 mit Abbn. (Kat. 8) James AndersonView from the Palatine towards the Colosseum Salt print. 27.5 x 36.6 cm. Flush-mounted to original card, blind stamped 'Libreria Tedesca di Guis. Spithöver in Roma' on the mount lower right.LiteratureBonetti 2008, ill. p. 45 and p. 145 (cat. 8)

James AndersonTempel des Saturn, Forum Romanum Albuminierter Salzpapierabzug um 1858 vom albuminierten Glasnegativ. 28,8 x 36,5 cm. Im Negativ unten links beziffert '24'. Auf Originalkarton aufgezogen, dort unten rechts mit Prägestempel der 'Libreria Tedesca di Gius. Spithöver in Roma'.LiteraturBonetti 2008, S. 35 und S. 146 mit Abbn. (Kat. 11) James AndersonTemple of Saturn, Roman Forum Albumenized salt print, printed from albumenized glass negative c. 1858. 28.8 x 36.5 cm. Numbered '24' in the negative lower left. Flush-mounted to original card, blind stamped 'Libreria Tedesca di Gius. Spithöver in Roma' on the mount lower right.LiteratureBonetti 2008, ill. p. 35 and p. 146 (cat. 11)The angle chosen for this image of the Roman Forum can be found in the works of numerous photographers of the time. It provides a good view of the Forum and its most important structures. In the foreground we see the mighty columns of the Temple of Saturn and in the background at the end of the Via Sacra we see the Colosseum on the left and the Arch of Constantine on the right, as well as the ruins of the Temple of Castor and Pollux on the right edge. Anderson's works also frequently depict the cattle that still grazed between the ancient ruins of Rome during this time.

James AndersonEngelsbrücke mit Engelsburg Albuminierter Salzpapierabzug. 29,3 x 36,5 cm. Auf Originalkarton aufgezogen, dort unten rechts mit Prägestempel der 'Libreria Tedesca di Gius. Spithöver in Roma'.LiteraturBonetti 2008, S. 88 und S. 147 mit Abbn. (Kat. 18) James AndersonSant'Angelo Bridge and Castle Albumenized salt print. 29.3 x 36.5 cm. Flush-mounted to original card, blind stamped 'Libreria Tedesca di Gius. Spithöver in Roma' on the mount lower right.LiteratureBonetti 2008, ill. p. 88 and p. 147 (cat. 18)

Robert MacphersonZypressen bei Santa Maria degli Angeli Albuminierter Salzpapierabzug. 36,8 x 27,6 cm. Auf Originalkarton aufgezogen, dort unten mittig Prägestempel des Photographen, darin mit Bleistift beziffert '64'.LiteraturBonetti 2008, S. 53 und S. 159 mit Abbn. (Kat. 123) Robert McphersonCypress Trees, Santa Maria degli Angeli Albumenized salt print. 36.8 x 27.6 cm. Flush-mounted to original card, photographer's blind stamp, therein numbered in pencil '64', below the image on the mount.LiteratureBonetti 2008, ill. p. 53 and p. 159 (cat. 123)

A JAPANESE LACQUER PEPPER SPRAY, METSUBUSHI MEIJI PERIOD, 19TH CENTURY Of typical form, the top decorated with a writhing dragon in gilt encircling four lines of calligraphy, the metal mouthpiece chiselled with another dragon amongst scrolling clouds, the underside signed in a rectangular reserve, together with a chain, hook and tamper, approx 8.5cm. (2) Metsubushi were weapons designed to blow toxic powder, ground glass or pepper at close range to blind or confuse an opponent.

A GOOD GEORGIAN SWORDSTICK WITH BLUE & GILT BLADE, circa 1800, with straight double edged 26 1/2in. blade decorated with gilt scrolls on a blued ground (some loss to blue and staining to polished section), short blind narrow fuller near hilt, natural bamboo shaft and hilt, white metal band at throat, the hilt bored through, the aperture lined in white metal and fitted with a silk tassel. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A CASED PAIR OF 60-BORE PERCUSSION DELUXE POCKET-PISTOLS WITH IVORY BUTTS, UNSIGNED, no visible serial numbers, Belgian circa 1835, with brushed bright etched damascus turn-off 1 1/2in. barrels, muzzles notched for key, Liege proofs at breech, borderline and American scroll engraved squared boxlock actions with offset engraved dolphin-headed central hammers, concealed automatic triggers, smooth ivory bag-shaped butts (some age related blind hairline cracks) and complete in their leather bound 'book' casing, the cover embossed with partially gilded borders, the 'spine' marked 'VOLTAIRE', marbled paper sides in imitation of pages, the inside lined in green velvet in the continental manner and including compartments for the two pistols, a bullet mould barrel key combination tool and a compartment for caps (lid absent), snap closure (hinge fragile).

CASE, USA A SCARCE WORLD WAR TWO SURVIVAL BOWIE-KNIFE, MODEL 'V44', no visible serial number, with substantial 9 1/4in. roach-belly bowie blade with twin single line narrow blind fullers to each side, the left face signed 'CASE XX', heavy brass cross-guard with bulbous quillions, smooth black plastic grips with off-set pommel, generally fine condition with period but probably incorrect leather scabbard embossed 'COLLINS & CO LEGIT MUS' together with the arm and hammer trademark, the number '18; and decorative borders and belt loop (scabbard almost certainly from a Carson's Raiders 'Gung-Ho' knife), some wear and stitching undone at tip. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

J.J. KUCHENREUTER, GERMANY A FINE PAIR OF 36-BORE FLINTLOCK HOLSTER-PISTOLS WITH GILT MOUNTS, no visible serial numbers, circa 1740, with 13in. slightly swamped iron barrels, blind moulded sighting ribs signed 'IOHANN IACOB KUCHENREUTER', three gold inlaid maker's poincons at breech, silver spider fore-sights, inlet silver scrolls and numbers for the pair at breech, the solid top-tangs fitted with a standing notch rear-sight with additional folding leaf, the tail of the tang of No1 pistol inscribed 'R', slightly curved brushed bright locks engraved with gamescenes of deer and hunting dogs, the forward section of the locks with bevel edges, the tails pointed and radiused, swan necked cocks with chisel engraving, lozenge pans and bridleless frizzens (refaced) with carved springs, highly figured walnut full-stocks with carved borders around the mounts, relief carved vine scrolls around the top-tangs and fore-ends, inlet wire scrolls to the wrists around complex moulded and relief carved escutcheons featuring further deer and hounds, gilded brass mounts all heavily carved and engraved including long side-spurred butt-caps and trigger-guard bows with integral finials, bevel-edged lower tangs and faceted pipes, set triggers, moulded horn fore-end tips and horn tipped wood ramrods.

AN EXCEPTIONALLY LARGE BOWIE-KNIFE WITH DAMASCUS BLADE, UNSIGNED, recent, with deep clip-point 11in. blade, wide blind fuller to both sides, brass boat-shaped cross-guard with conical finials, heavy brass hilt with cushion-shaped dome-topped pommel, smooth buffalo horn scales held with six pins and inlet with brass fletched arrow designs, complete with a later custom leather scabbard. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A JAPANESE NAGINATA POLEARM, late Edo period, with black lacquered 73in. wood shaft (some cracking and losses to lacquer), the end terminating in a small iron crescentic mount, the last 16 1/2in. formed from copper-clad rope binding changing after 1 1/2in. to mother of pearl chip inlay with shaped copper mount at the blade throat and three further moulded copper bands at various intervals, the curved 13 1/4in. single-edged blade thickening towards the tip and terminating in a point with two short blind fullers infilled with red paint. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

Laurence Stephen Lowry (1887 - 1976, British) - 'Landscape with Farm Buildings', signed, blind stamp seal, colour lithograph, the mount inscribed 'Published in 1974 by Venture Prints Ltd, Bristol, England, Copyright to all Countries Including the USA, Printed in England', 40 x 50cm, framed

A pair of Edwardian mahogany bedside/lamp tables, the shallow raised backs with blind fretwork detail over inset marble tops, frieze drawers and cupboards raised on square tapered supports with brass caps and brown ceramic castors (fashioned/converted from a dressing table), 50 cm wide x 60 cm deep x 85 cm in height

Laurence Stephen Lowry (1887 - 1976, British) - 'Peel Park', signed, blind stamp seal, inscribed to top of mount, Published in 1975 by Venture Prints Ltd, Bristol, England, Copyright In All Countries Including The USA, Printed in England, colour lithograph, 38 x 76cm, framed

Francis Lennon limited edition print 150/400 Titled "This ones for mum" official commonwealth games blind stamp, signed in pencil lower left 47x38cm

Kaffeekanne Meissen um 1725/30 Kaffeekanne Meissen, Scherben um 1720; Dekor um1725/30 , kleine birnenförmige Kanne mit gewalztem vergoldetem reich staffiert mit farbigen Chinoiserie Szenen. Sehr guter Erhaltungszustand. Kanne weist keine Schäden und Restaurierungen auf. Blaue Schwertermarke auf der Glasur. Goldziffer 39; Blindzeichen "X". Höhe 20 cm. Der Deckel ist wohl nicht original dazugehörig. Dekor sehr gut erhalten. Coffee pot Meissen around 1725/30 Meissen coffee pot, broken glass around 1720; Decor around 1725/30, small pear-shaped can with a bulging gilded richly decorated with colored chinoiserie scenes. Very good condition. Pot shows no damage and restorations. Blue sword mark on the glaze. Gold number 39; Blind sign "X". Height 20 cm. The lid is probably not original. Decor in very good condition.

John Cother Webb after J M W Turner and Claude Gelee: 'The Decline of Carthage' and 'The Embarkation of the Queen of Sheba', pair limited edition mezzotints signed in pencil with blind stamps pub. 1922, 37cm x 49cm (2) - Condition Report