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"To Her Most Excellent Majesty Queen Victoria The North East View of the City of Victoria Capital of Hong Kong", print glazed with black frame

Luigi Locatelli (1904-1983) Italian - A beauty w Fan and Flowers, oil on canvas, signed lower right. After his first training took place with his father, Luigi Locatelli enrolled at the Accademia Carrara. In his late teens he started working for the gallery Zecchini Milan. In the 30s he moved to Paris where he became friends with the great Italian artists living in the French capital. After about a decade he moved back to Italy and settled in Bologna where he worked as a restorer. 46 1/8 x 34 1/2 39 1/4 x 27 1/4

pair of antique pillars in painted oak, each with a 17th/18th Cent. sculpted capital || Paar antieke zuilen met rank model in beschilderde eik, telkens met een fijn gesculpteerd kapiteel uit de 17°/18° eeuw - hoogtes : ca 212 cm

SPRINGBANK 1991 12 YEAR OLD BOURBON WOODSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: December 1991Bottled: February 2004One of only 5986 bottles released.58.5% ABV / 70cl

SPRINGBANK 1997 16 YEAR OLD SINGLE CASK #07/178-3Single malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: June 1997Bottled: October 2013Finished in a Madeira cask for 6 years.One of only 630 bottles released56% ABV / 70cl

SPRINGBANK 1997 18 YEAR OLD FOR SPINGBANK SOCIETYSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This was an exclusive release for members of the Springbank Society.Distilled: May 1997Bottled: September 2015Matured in a re-charred Sherry Butt.One of only 502 bottles released.58.9% ABV / 70cl

LONGROW 18 YEAR OLD 2015 RELEASESingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70cl

SPRINGBANK 1973 18 YEAR OLD CADENHEAD'SSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: June 1973Bottled: September 1991Matured in a Rum Butt57.5% ABV / 70clFill level at top of shoulder

SPRINGBANK 21 YEAR OLD 1980SSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 75clFill level in low neck.

Sir William Orpen RA RHA (1878 - 1931)Portrait of Yvonne Aupicq as a Nun (Sister X)Oil on canvas, 76 x 63.5cm (30 x 25")Signed (upper right)Provenance: With Neptune Gallery, Dublin where purchased c.1950, thence by descent; Their sale, Sotheby's London 11th May 2006; Private Collection, IrelandExhibited: Dublin, National Gallery of Ireland, Orpen Centenary Exhibition 1978, Catalogue No. 121, listed mistakenly as 'Lady Diana Manners in theatrical costume'Literature: P.G Konody and Sidney Dark, William Orpen; Artist and Man, Seeley Service London 1932, p.272A woman with many identities, Yvonne Aupicq was presented in so many different forms over the course of her relationship with Orpen that it is difficult for us to get a sense of who she really was. Her birth certificate and other historical records have recently revealed that her identity was further misrepresented, firstly by the incorrect spelling of her name, it is not Aubicq but Aupicq and that her father was not the mayor of Lille as previously believed but a school teacher in Hergnies. As we can see from the exhibition history of this work, the painting was also wrongly listed as 'Lady Diana Manners in theatrical costume', when on show in The National Gallery of Ireland’s centenary exhibition for Orpen in 1978. Orpen painted her initially as Frida Nater, a German spy, in an attempt to mask their true relationship as lovers. As the official allied war artist, he was tasked with documenting the reality of life on the front line. His work from this period was supposed to be strictly related to the conflict and in particular the lives of the soldiers fighting. There are two portraits of Yvonne from this period, now both titled ‘Refugee’ and held in the collection of the Imperial War Museum in London. One shows her partially nude, holding a white sheet up to cover her breasts. The other she is presented sitting, wearing a rudimentary blue coat and dress. In both works her hair is instantly identifiable, tousled blonde curls sitting on top of her head. The War Office was immediately suspicious of Orpen’s story about the German spy which he had embellished further with falsehoods. On being recalled to London to explain himself, he retracted the story and was reprimanded. However, he maintained his position in France due to his connections within the War Office itself and was favoured again when an artist was needed to document the post war peace process. Yvonne had met Orpen, we understand, while working as a nurse during the war. He had been admitted to hospital with a suspected case of scabies which ended up being a far more serious case of blood poisoning as he recounts in his wartime memoir ‘An Onlooker in France’.  Their relationship continued after 1918 when Orpen was appointed as the official artist to The Paris Peace Conference. They relocated to capital and over the following decade he painted her numerous times, often nude as in Amiens 1914, or The Rape and Nude Girl Reading (1921). Working with her as his model during these early years after the war allowed Orpen an opportunity to re-fuel his creativity. On this occasion she is disguised further, not as a war time collaborator or nude model but as a nun. His young and beautiful companion is recast as the pious Sister X. There is another version of this portrait, with Yvonne set against a completely white background. It is not unusual for artists to produce more than one example of a portrait, exploring different variations of the composition. However, the only difference between these two works is in the background colour. This present work, starker in its contrasts, was kept by Orpen for his own personal collection, the other gifted to Yvonne. As a composition, Orpen often favoured a tight, close-up format to give greater scrutiny to the sitter’s features. The black background serves to enhance the brilliant white of her religious habit. It frames her face as the light falls delicately across her features, the long bridge of her nose and lips. Her eyes seem to express a sense of sorrow or inner turmoil, suggesting the emotive connection between the sitter and the artist. The relationship between an artist and their model is complex and we get the sense that Orpen maintained a deep curiosity and interest in Yvonne over their decade spent together. These portraits represented different aspects of her personality, at least as seen through Orpen’s eyes. In this work her youth and innocence are symbolised in the white shroud. Using the strong contrast of the white against black, with only her face visible to us, suggests a desire to limit the focus of the work. There are no extraneous details, no background scene, it is just Yvonne. The simple wooden crucifix hanging around her neck captures our attention, with the body of Christ at the centre of the composition. Yvonne, or Sister X meets our gaze, asking us to consider this bodily sacrifice, which is central to the Catholic faith and to ultimately remind us of the fragility of human life. Condition Report: Very good overall condition, very sound.The canvas is unlined.Craquelure is evident particularly in the black areas – see photos.There is also a small amount of craquelure in the area of the lower veil.Light stretcher marks are also evident particularly across the bottom of the painting.The signature is in the top right-hand corner, painted in a dark pigment.Under UV inspection we saw some florescence – see photos.

VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Una estrella presa más que dos lunas", 1990.Mixed media on paper.Signed in the lower central area. Signed, dated and titled on the back.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 37 x 27 cm.Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

CLAUDIO BRAVO CAMUS (Valparaiso 1936 - Taroudant, Morocco 2011)."Menina", 1964.Pencil on paper.Signed and dated in the upper right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 24 x 16 cm; 52 x 41 cm (frame). The menina is an artistic icon that has inspired numerous artists. In this particular case, Bravo is inspired not only by the work of Velázquez, but also by the painting of Giuseppe Arcimboldo, as he composes the face of the protagonist and her bust with vegetal elements. The sitter's face and arms are based on a large flowerpot that acts as a torso, while her skirt is a large tablecloth placed on a table. The precision of the drawing and the technical quality of the landscape create a great interplay between reality and the imaginative that keeps the viewer expectant before the visual paradox posed by the artist.Born into a wealthy family of Chilean landowners, from an early age he was clear about his artistic vocation and his refusal to take part in the family business, despite his father's insistence on his first son. He studied at a religious school and although he eventually rejected all the Catholic dogmas he had learned as a child, he always retained a certain interest in the mysterious aspects of religious life and a fascination for the lives of the saints. His style was influenced by classical and Renaissance perfection, as can be seen in the work we present here. He had his first exhibition at the Salon 13 in Santiago de Chile in 1954 at the age of 18. He discovers the surrealism of Dalí, whose influence will be palpable in some of his future works, but always with a personal imprint. He achieved a certain fame in Latin America and Europe as a portrait painter, a genre he never abandoned as, although he began to find it boring, it provided him with economic stability and an important social status. In 1961 he finally left Chile and arrived in Spain, settling in the capital of Madrid, where he continued to cultivate fame and fortune until the early 1970s, when he finally headed for Tangiers, captivated, as he explained, by the unequalled light and climate. In 1981 he held his first exhibition at the Marlborough Gallery in New York, a gallery that has represented him internationally ever since, and in 1994 he held a major solo exhibition at the Museo Nacional de Bellas Artes, which became one of the most popular in history. For his merits and artistic contributions, he was granted Spanish nationality by the Spanish Council of Ministers on 1 July 2002.

A large 19th century carved pine and gilt-gesso Corinthian capital, 33cms high x 41cm wide (at the top)

A PAIR OF GEORGE V SILVER CORINTHIAN COLUMN CANDLESTICKS, fluted and stop reeded columns on stepped square loaded bases with egg moulding, green baize to underside, makers Barker Brothers, Chester 1924, height 29cm (2) (Condition Report: evidence or old soldered repairs to top corners of Corinthian capital and corners of square base, some rubbing to hallmarks and minor dints)

Three vintage 1970s Capital Radio 539 London advertising posters. Illustration by Mick Greenslade Kenny 'n' Cash Breakfast, Gerald Harper and Roger Scott, 30cm x 47cm

A carved beech plinth of Classical design, the square moulded and acanthus-carved capital over fluted tapered body, on a moulded base. H91.5cm, W39cm, D39cm.

A pair of early 19th Century finely cast bronze Egyptianesque candlesticks in the manner of William Bullock, having a bulbous column engraved with pseudo hieroglyphs supported on three sphinx and surmounted by a bobeche over a capital bearing three owls, two sides of the base inscribed "Oedipus Expounded Her Riddle, She then Destroyd Herself" (sic), the third side inscribed "Oedipus Expounded Her Riddle" in reverse, 33 cm high [William Bullock 1773 - 1849 was the older brother of the Regency furniture designer George Bullock, he began as a jeweler and goldsmith, but was better known as a collector of curiosities, naturalist antiquarian and designer]

A Large Classical Style Fluted Column with Ionic Capital, constructed from fibreglass, 218cm, together with A Small Marble Cluster Column, A Parcel-Gilt and Ebonised Column Form Torchere and A Further Column (4)From the Estate of Stephen Hamilton Rawlings, Scarborough.

Radical Reformers.- Crime & Poverty.- Hunt (Henry) Investigation at Ilchester Gaol..., first edition, etched frontispiece and 5 plates, bookplate, later half-calf, Thomas Dolby, 1821; A Narrative of the Rise and Progress of the Improvements effected in His Majesty's Gaol at Ilchester, two folding engraved plans (1 loose), light browning, ?original boards, joints cracked but stitching intact, spine toned, Bath, Wood et al., 1822 § Gurney (Joseph John) Notes on a visit made to some of the Prisons in Scotland and the north of England in company with Elizabeth Fry, light spotting, ?original boards, rebacked, uncut, Edinburgh, Archibald Constable, 1819; and another, v.s. (4)⁂ I. Henry Hunt, radical orator and later MP for Preston, was imprisoned at Ilchester for his role in the Peterloo Massacre of 1819. During this time he gathered evidence to present to the House of Commons against the abusive regime, particularly against the gaoler William Bridle for torture, drunkenness, rape and neglect. II. Brother of renowned prison reformer Elizabeth Fry, Gurney campaigned with his sister against capital punishment, and travelled nationally gathering material for prison reports for Parliament.

An Elizabeth I carved oak corbel, circa 1600Designed as an angel mask, atop feathered wings, and headed by an addorsed leafy-carved split baluster capital, height 25.5cm, width 12cm, depth 13.8cm

A rare and interesting 12th century Romanesque limestone capital, EnglishDesigned with an entwined demonic male and 'hare', 80cm wide, 35cm, 23cm deep

A wrought iron fire basket Of basket form with cone finials, 37cm deep, 37cm high, together with a pair of andirons, with Ionic capital, and trefoil divergent splayed leaf, 43cm high, (3) Provenance: Doughton Manor, Doughton, Gloucestershire

Interesting British ship's bulkhead wall clock with a WWII German Navy 6" silvered dial engraved with the Nazi eagle logo over a capital M and inscribed 441N/G, within a blackened metal case inscribed verso Grimshaw Baxter Elliott (German Navy clock winding key) *The 'M' is for Kriegsmarine (the title of the German Navy from 1935-45), the 'N/G' is for the Baltic Fleet and the serial number '221' dates the dial to around 1942

An early 19th century style brass and glass column table lamp late 20th century, the spiral reeded column with stepped, square brass base and Corinthian capital, with pleated silk shade, 19in. (48.25cm.) high plus fittings.

A pair of gilt metal and cut glass candlestick lamps the hexagonal tapering glass column to circular star cut base in gilt metal mount, raised on three lion paw feet, gilt metal foliate capital, 14in. (35.7cm.) high without fittings, silk shades. (2)* Condition: Tested , both working, good condition.

A pair of modern 19th century style brass and glass column table lamps the spiral twist glass column to stepped square bases, foliate capital, height without fittings, 21in. (53.2cm.) high. silk shades.* Condition: tested working.

Corgi Original Omnibus (OOC) a boxed Set group to include 97097 Bridges & Spires Set, 97096 Capital & Highlands Set, 97095 Lancashire Holiday Set, 45003 Leyland Olympian/ECW & Van Hool Alizee 'Stagecoach', 97056 Bristol L & Bristol K6A 'Crosville Motor Services Ltd', 97057 Leyland PSI & Leyland Leopard 'Southdown Motor Services' plus others similar. Conditions generally appear Excellent to Mint in generally Good to Excellent boxes. (11)

Great Western Steam Locomotive Pressure Gauge. A brass and glass steam pressure gauge with GWR in block capital letters. Includes a painted red arrow danger pressure indicator.

UK Silver Proof £1 Capitals set of 4 Coins 2010-2011 A Royal Mint boxed set of four British nation capital city proof silver £1 coins, complete with Certificate of Authenticity.

A collection of small grand tour items including a late grand tour cast bronze model of an ancient Roman oil lamp, 19th century, with twin mask head spouts and leafy mantle over a pedestal foot. 19 cm wide (cover missing) together with an A&AB patent twin asp handled oil lamp, a specimen marble obelisk, a classical ormolu urn with swag and goats mask decoration, a small gilt bronze tripod form inkwell body and cove, gilt bronze furniture capital mounts and a niello worked hinged box and a rustic Doric column fragment.

David Linley; a walnut strung sycamore pedestal fruit cradle in the form of a classical capital with scroll ends, on a turned sycamore spreading base, stamped David Linley 1990. 44 cm long x 20 cm wide x 19 cm high.

Tucker's Meridian lamp for burning crystal petroleum No.28 Thomas Tucker & Sons, a brass column oil lamp with cast capital, cut glass reservoir, on square base with smoke funnel, and a Victorian cast metal and floral painted opaline glass Duplex oil lamp Location:

Tommy Vance signed 6x4 vintage Capital Radio postcard promo photo. Good Condition All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Gerald Harper signed 6x4 Capital Radio promo black and white postcard photo. Good Condition All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

PAIR OF COMPOSITION STONE CAPITAL GARDEN PLANTERS MODERN with void interiorsDimensions:50cm wide, 51cm high

Y A WILLIAM IV ROSEWOOD LIBRARY TABLEIN THE MANNER OF GILLOWS, CIRCA 1835The frieze with two drawers73.5cm high, 136cm wide, 71cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, there are no locks or handles by desingOverall solid and stableWith a polished appearance, the top with some old marks and signs of age and use, there is dark mark to the front part, some other marks to the moulded edgeA slightly curious feature, the 'capital' of the supporting columns is turned and of small gauge then the faceted support, this is unusual, it may be a replacement or additional element to raise the height but Dreweatts makes no guarantees. they are not visible when viewed in from a standing positionPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

A PAIR OF GILT AND PATINATED METAL TABLE LIGHTS IN LOUIS PHILIPPE TASTE20TH CENTURYEach with a corrinthian capital above a fluted shaft and triform base50cm high excluding fitmentTogether with a further columnar table lamp, 46cm high excluding fitment(3)Provenance:Private Collection, Tim Rootes and Obby Waller, Barton Hill House, GloucestershireCondition Report: All with marks, knocks, scratches, abrasions consistent with age and usePlease note these are sold as decorative furnishing items only and not as working electrical lamps - these would need to be rewired and tested by a professional electrician prior to use in a domestic setting.The pair have wear to the patinated and gilt metal surfaces overall, the patina varied and slightly distressedThe gilt metal example with indentation and knock to the shaftPlease refer to additional images for visual reference to condition Condition Report Disclaimer

2nd-3rd century A.D. or later. A 2nd-3rd century A.D. Roman marble Corinthian capital fragment carved with acanthus leaves; together with a 16th-17th century A.D. reworked male head modelled in the round with naturalistic detailing. 16.2 kg total, 44 cm high including stand (17 3/8 in.). Acquired on the UK art market. English private collection. A video of this lot is available to view on Timeline Auctions Website.]

Circa 14th century A.D. A bronze chessman-type seal matrix with pierced trefoil finial; hatched field with reserved heater shield bearing a Lombardic capital 'G', band to the rim with incuse legend * S' : CVSTVME : PANNORVM:. 28.1 grams, 37 mm (1 1/2 in.). The Matrix Collection, formed by David Morris since the late 1980s.Found Romney Marsh, Kent, UK, on Monday 1st December 2008 by Graham Collard.Matrix Collection catalogue no.4604.Many of the seals within the collection were published in a book titled 'The Matrix Collection', by David Morris in 2012.Accompanied by a copy of the illustrated collection notes.Accompanied by a copy of the UK Detector Finds Database record entry no.16201. The seal relates to the payment of duty (custume) on imported cloth, and was presumably used by a customs official.

17th century A.D. A substantial gold signet ring composed of a lentoid-section hoop, expanding capital style shaped shoulders and irregular octagonal bezel engraved with a skull, two flowers below separating the reversed initials in capitals: 'CL', framed by a beaded border. Cf. The Metropolitan Museum, New York, accession number 197587, for a very similar ring dated c.1600 A.D.; cf. The V&A Museum, accession numbers M.272-1962, M.378-1927 and M.273-1962, for broadly comparable examples. 15.65 grams, 27.14 mm overall, 22.68 mm internal diameter (approximate size British X, USA 11 1/2, Europe 26.29, Japan 25) (1 1/8 in.). Acquired in the 1980s.Property of a London gentleman. Signet rings were jewellery items serving practical functions, and were pressed into hot wax to seal letters and packets. Personal seals or secreta acted as a legal safeguard, since they were used to witness wills, loans, commercial, personal and other documents. Such rings were often engraved with a coat of arms, initials, merchant's mark or some other personal symbol. Painted portraits of this period portray the wearer with the signet ring on the thumb or forefinger, allowing for practical use. Skulls on rings were potent symbols of mortality. 'Memento mori' or 'remember that you must die' imagery served as a reminder to the Christian of the need to keep their soul in good order for the final judgment. A video of this lot is available to view on Timeline Auctions Website.]

Late Period, 30th Dynasty, circa 380-343 B.C. A pale blue glazed mummiform shabti for an Imy-Khent priest, modelled standing on a rectangular base, arms crossed over the chest and holding a pick and a hoe, seed bag over the left shoulder, wearing a tripartite wig and false beard; two vertical columns of hieroglyphs to the front of the body, plain dorsal pillar; some of the hieroglyphs spelling the owner's name are poorly rendered, but appears to be Ba-ankh-sa-sobeky. Cf. The British Museum, museum number EA49422 'Green glazed composition shabti of Tjahorpata', for a similar shabti figure of this period; cf. The Metropolitan Museum, New York, accession number 30.8.187, for a priest shabti of this date. 99 grams, 13.5 cm high (5 1/4 in.). From a Worcester deceased estate.Property of a Cambridgeshire gentleman.Accompanied by an academic report by Egyptologist Paul Whelan. Although the name of the shabti’s owner and, in particular, that of his parent, are rather unclear, the titles are clearly written and inform us that Ba-ankh-sa-sobeky served as an ‘Imy-khent priest’ associated with the Delta city of Mendes, where the principal deity was the sacred ram god Ba-neb-djedet (meaning ‘Ram, lord of Djedet’). The hieroglyph of the standing ram (Ba) forms the first part of the priest’s name. From the Late Period onwards the priestly title of the nearby city of Hermopolis Parva, ‘One who Separates the Two Gods’, also appears in Mendesian title strings, perhaps indicating that Hermopolis Parva and its religious cults had come under the control of Mendes; indeed, Mendes is thought to have been the capital of Egypt during the 29th Dynasty. The crocodile god Sobek was also worshipped at Mendes in later periods and Ba-ankh-sa-sobeky’s name appears to reflect both this reptilian deity and the traditional ram god of the city. A video of this lot is available to view on Timeline Auctions Website.]

A pair of George II cast silver candlesticks, London 1743, maker's mark T G, possibly Thomas Gilpin, the cylindrical nozzles to knopped stems and shaped circular bases, approx. 16.3cm high, total weight approx. 23.5oz (pr)Provenance: Property from the estate of the late David Cornwell, best-known as the author John le Carré.Condition Report: Please refer to department for condition reportFor maker's mark (possibly Thomas Gilpin) see Grimwade ref. 3826. The candlesticks are in good condition commensurate with age. Some general surface scratching, nicking and minor pitting noted. Some heavier nicking to section where stem meets foot. Both maker's marks poorly stamped to bases, one candlestick poorly stamped with maker's mark to capital. Slightly misshapen capitals (dings). Slightly worn decoration. No repairs noted. Bases match well in size. One candlestick leaning slightly to one side.  

A fine pair of Victorian silver plated column candlesticks, the removable re-entrant square sconce with bead moulding over the 'composite' column capital and cylindrical stem decorated with spiralled bell flower garlands, all resting on a square section base with acanthus moulded corners, foliate pendants and bead moulded edges, marked for R. Favell, Elliot & Co, Sheffield (1884-1891) some wear to plating.

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Divine Shepherdess"Oil on canvas. Signed. 39 x 31.5cm.On the back there is a label of the "Junta de Incautación" (Confiscation Board), with the number 921. This divine shepherdess is comparable to the one made on copper by Miguel Cabrera, which is kept in the Los Angeles County Museum of Art, Los Angeles, USA.Miguel Cabrera was one of the most renowned painters in the field of eighteenth-century New Spanish painting, with an oeuvre that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented." Little is known of his youth; In fact, according to the Andrés Blaisten Museum, it is only because of the painter's will in 1768 that we know that he was a native of Oaxaca. The first news of him is from 1739, the year of his marriage to Ana María Solano, and we also know of his stint at Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's patron, whom he named his chamber painter. He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was appointed president for life of the Academy of San Carlos.In 1756 Cabrera published "American wonder and set of rare wonders observed and directed by the rules of the art of painting", a narrative about the image of the Virgin Guadalupe from the printing press of the Jesuit school of San Ildefonso.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756, for the temple of San Francisco Javier, is kept in the National Museum of the Viceroyalty.The Dallas Museum of Art has a Saint Gertrude the Great by Miguel Cabrera and another painting of the saint, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, there is an outstanding series of Casta paintings from 1763 that is kept in the collection at the Museo de América in Madrid. They represent the families, father, mother and son of the various castes and social strata, in situations of daily life. Reference bibliography: Dallas Museum of Art. (s.f.). "Saint Gertrude". (2006.37). https://collections.dma.org/artwork/5328501 - Maravilla americana y conjunto de raras maravillas. (11 de enero de 2021). En "Wikipedia". https://es.wikipedia.org/w/index.php?title=Maravilla_americana_y_conjunto_de_raras_maravillas&oldid=132313754 - Miguel Cabrera (pintor). (25 de diciembre de 2022). En "Wikipedia". https://es.wikipedia.org/w/index.php?title=Miguel_Cabrera_(pintor)&oldid=148179916 - Museo Andrés Blaisten. (s.f.). "Miguel  Cabrera , 1695-1768". https://web.archive.org/web/20071122014831/https://www.museoblaisten.com/spanish.asp?myURL=%2F02asp%2Fspanish%2FartistDetailSpanish%2Easp&myVars=artistId%3D53 

G.B KGV Advertising Booklet Pane 'For Safety of Capital and Security of Capital', cylinder 28 (no dot) good perfs, catalogue £225.

G.B KGV Advertising Booklet Panes, 'Cash's Satin Lingerie' and 'For Safety of Capital and Security of Capital', poor perfs, but very high catalogue.

A 19th century Italian Naples porcelain and gilt metal mounted oval casket. The hinged oval top decorated with four classical female figures and rose borders in relief. The oval body with a ring of putti playing musical instruments and dancing with ribbons in a garden landscape. The base with under glaze blue crowned Naples capital "N" mark, 14 cms x 10 cms.

A brass Oil Lamp, late 19th Century, with reeded stem and Corinthian capital on square stepped base supporting a glass reservoir and bulbous glass shade, 31'' (79cms). (1)

After John Leech 'A Capital Finish' Hunting Scene, a large coloured Print, another coloured Hunting Print and an Oleograph Hunting Scene. (4)

A telescopic brass Standard Oil Lamp, the brass reservoir on an adjustable reeded stem with Corinthian capital on a heavy square cast base with large lion paw feet, 61'' (155cms). (1)

An Italian silver chamberstick, with c-scroll and leaf cast nozzle, fluted capital and moulded shell and scroll border drip-pan and handle, the underside stamped 800 with lozenge, together with another Italian silver chamberstick, with missing handle, with circular drip-pan on four c-scroll cast feet, combined weight 496 gramsLocation: RAB

The Unique First Boer War ‘Fort Alice Intelligence Department’ D.C.M. group of three awarded to Sergeant P. Sharkey, 94th Connaught Rangers, a Veteran of Ulundi and the Zulu War, who won his D.C.M. for Gallantry under fire at Fort Alice during the Siege of Standerton; twenty years later, during the Second Boer War, Sharkey re-enlisted and again fought the Boers in the Transvaal, this time as a Scout in the 1st Scottish Horse Distinguished Conduct Medal, V.R. (L./Sergt. P. Sharkey, 2/Conn. Rang.); South Africa 1877-79, 1 clasp, 1879 (732 Corpl. P. Sharkey, 94th Regt.); Queen’s South Africa 1899-1902, 2 clasps, Transvaal, South Africa 1901 (175 Scout P. Sharkey, Scottish Horse) suspensions slightly loose on first two, occasional edge bruising, otherwise nearly very fine or better (3) £12,000-£16,000 --- Provenance: Dix Noonan Webb, May 2016. No campaign medals were awarded for the First Boer War 1880-81 but six V.C.s (all of which are held by institutions), one C.B., four R.R.C.s, twenty D.C.M.s and a single C.G.M. were awarded. One other man who received the D.C.M. for the First Boer War plus a Zulu War medal is recorded on the Q.S.A. roll, but his was a no-clasp medal, suggesting he was involved in the war effort but not engaged in combat. This makes Sharkey’s group unique to a man who unquestionably fought in both Boer Wars. D.C.M. Submitted to the Queen 14 March 1882: ‘For his gallant conduct during the investment of Standerton by the Boers.’ The original document, signed by the Queen, is held by The National Archives (copy included). Patrick Sharkey was born in 1858, possibly in Omagh, Co. Tyrone, Ireland; his father was living there at the time of the 1901 census. He enlisted in the 94th Regiment (Connaught Rangers) in October 1877, when he was about 19. Zulu War and Operations Against King Sekukini in Transvaal
Sharkey arrived at Durban, the capital of Natal, South Africa in April 1879 on the troopship S.S. China. The 94th Regiment formed part of the reinforcements which arrived after the opening battles of the Zulu War, as a response to the disaster at Isandlhwana. He was subsequently present at the final battle of Ulundi in July 1879, which effectively ended the Zulu War. The 94th was the only regiment in Newdigate’s Division that had six companies present at the battle. It suffered casualties of two men killed and 18 wounded. By then Sharkey had risen to the rank of corporal, unusual after just two years of army service. When hostilities against King Sekukuni in the Lydenburg district of the Transvaal resumed in November 1879, four companies of the 94th formed part of the 1,400 Imperial troops and 800 colonials which attacked the reputedly impregnable tribal stronghold. Sekukuni escaped, but he was pursued by ‘B’ Company of the 94th and captured on 2 December 1879. First Boer War – Gallantry during the Siege of Fort Alice at Standerton The 94th Regiment remained in South Africa after the Zulu War, with its regimental headquarters at Pietermaritzberg in south-eastern Natal. Its companies were deployed to garrison a number of towns across the Transvaal, either because they were large and strategic in themselves, or because they were significant waypoints on the British lines of communication, such as Standerton, where the road from Natal to Pretoria crossed the Vaal river. Corporal Sharkey belonged to one of the detached companies based at Wakkerstroom in southern Transvaal. An extensive account of the 94th’s time in South Africa 1879-1882 is recorded in four chapters of Jourdain’s Regimental History. Tensions between the Imperial government and the Boers rose throughout 1880, culminating in the Boers declaring Independence in mid-December. The main body of the 94th Regiment was marching from Leydenberg to Pretoria when, on 20 December 1880, it was ambushed by Boers at Bronkhorst Spruit. The Boers called on the 94th to surrender, but the officers chose to fight and suffered a costly and bloody defeat. As Standerton was situated midway on the main road between Newcastle in Natal and Pretoria, its strategic importance was obvious. The British scrambled to put down the Boer rebellion and on 21 December 1880 two companies of the 94th and one of the 58th Regiment marched into Standerton from Wakkerstroom and began constructing fortifications. A mile outside the town itself, these were soon christened ‘Fort Alice’. Standerton sprawled on a slope which overlooked a ford across the broad, sparkling Vaal to the south. It lacked trees or gardens; the fifty-odd iron-roofed houses looked to the visiting C. L. Norris-Newman ‘as if they had been a mud-splash thrown at random on the bare veld’. The one object of interest was the octogenarian ‘General’ Stander, a sturdy Voortrekker who had fought the British at Bloomplaats [33 years earlier] and given the town its name. Fort Alice lay below rocky kopjes rising to the north and east, and the towering, flat-topped Stander’s Kop. Major W. E. Montague of the Connaughts was selected to take command of the new Standerton garrison, despite being far away in the regimental headquarters at Pietermaritzburg near the east coast of Natal. According to the Regimental History, the assignment was not to Major Montague’s liking: “‘I don’t want to go, sir,’ he had told Major-General Sir George Pomeroy Colley, ‘I dislike the Transvaal more than I can say, but if you think there is any necessity for my going, I am ready to start at an hour’s notice.’ Colley thought it vital, and advised the major, who had an outstanding record in the Zulu War, ‘You will find Standerton an excellent position for defence, strengthen it, take care they don’t get you unawares, and hold till I come [on January 20th] ... we shall march together on Heidelberg [where the Boers had first proclaimed their independent republic on 16 December 1880].’
To escape detection by Republican patrols (who had already taken two travelling officers prisoner), Montague disguised himself as a colonial bank messenger, journeying to the Transvaal in a post cart. He bought a slouch hat, removed his collar and tie, and left his hair unkempt and his face unwashed after shaving his moustache (which by regulation was worn by all British officers). The Boers let him pass. Arriving on 23 December, Montague found everything ‘in the wildest confusion’. The half-built fort was ‘all dirt and muddle’. A strict, no-nonsense officer, he infused discipline and organisation while more vigorous preparations were made for the defence. While the parapets of the fort were being raised, the main stone buildings in the town were loop-holed and garrisoned. Soldiers who misbehaved were bound and lashed. Having resorted to the cat from the outset, the Major had no difficulty in maintaining the strictest discipline during the rest of the Siege. In the beginning there were only thirty-four volunteers serving with the 350 regulars. Others ‘came in but slowly, many making excuses for not joining’, wrote Montague. ‘Pressure became necessary.’ He brought the number of ‘volunteers’ up to seventy-five. When Colley did not arrive at the appointed time [he had been blocked by the Boers on the Transvaal/Natal border and was ultimately killed at Majuba Hill on 27 February 1881], rationing was introduced. Boer sympathisers were given a chance to clear out of Standerton. The small Dutch party which remained complained of, among other things, the theft of the church clock and other items from their place of worship. These were later found among the effects of the men of the 94th.” Sh...

Six: Chief Petty Officer J. Mitchell, Royal Navy, attached Royal Australian Navy, who was awarded the Naval Good Shooting Medal whilst serving in H.M.A.S. Australia in 1913, the first time an official medal was awarded and named to an H.M. Australian Ship East and West Africa 1887-1900, 1 clasp, Benin 1897 (J. Mitchell, Ord. H.M.S. Theseus.); 1914-15 Star (179801 J. Mitchell, C.P.O., R.N.); British War and Victory Medals (179801 J. Mitchell. C.P.O. R.N.); Royal Navy L.S. & G.C., E.VII.R. (179801 John Mitchell, P.O. H.M.S. Astræa.); Naval Good Shooting Medal, G.V.R. (R.A.N. 8118 J. Mitchell, P.O., H.M.A.S. Australia. 1913. 12in. B.L.) contact marks and minor edge bruising to the pre-Great War awards, generally very fine and better, the last rare (6) £1,200-£1,600 --- H.M.A.S. Australia was the first capital ship of the Royal Australian Navy, and was commissioned on 21 June 1913. The Royal Australian Navy was first engaged during the Great War; consequently, the Naval Good Shooting Medal awarded to H.M.A.S. Australia in 1913 is likely to be the very first medal ever awarded and named to an H.M. Australian Ship. John Mitchell was born at Foscoway, Clackmannanshire, on 3 May 1878 and joined the Royal Navy as a Boy Second Class on 20 may 1894. He served in H.M.S. Theseus from 14 January 1896, and was rated Ordinary Seaman from 3 May 1896. He was advanced Petty Officer First Class on 25 April 1904, and was awarded his Long Service and Good Conduct Medal on 22 May 1911. He was seconded to the Royal Australian Navy for three years from 24 May 1913, and served throughout that period in H.M.A.S. Australia. He spent the rest of the War in various shore based establishments, and was shore pensioned on 2 May 1918, joining the Royal Fleet Reserve the following day.

National Geographic Society (publishers). The Reaches of New York City, Baltimore, 1939, large decorative lithographic map by Albert H. Bumstead, inset map of South Jersey, the margins decorated with portraits of prominent Americans, topographical vignettes and vistas, old folds, 705 x 645 mm, with another copy similar, together with Historic and Scenic Reaches of the Nation's Capital, National Geographic Society, 1938, large decorative lithographic map by C. E. Riddiford, the margins decorated with portraits of prominent Americans, topographical vignettes and vistas, old folds, 645 x 770 mm, with Gulf Oil Corporation (publishers). Florida, printed by Rand McNally and Co., circa 1955, decorative colour lithographic touring map, old folds, additional maps and advertisements to the verso, plus Arnold (Danny). Danny Arnold's Pictorial Map of The Old West, Showing Pioneer Trails and Battles, Indian's (sic) Territories, Stagecoach lines, Military Forts, Historical data of the Frontier period around 1840, Compiled and Illustrated by Fran Dowrie, printed in Ireland by Webbs, circa 1970, decorative colour printed tea towel on linen with the borders decorated with 26 portraits of well-known characters from the wild west, slight creasing, 470 x 745 mm, with a larger example (610 x 855 mm) printed on paper, and, Peterson (C. C. publisher). The United States at War, circa 1945, decorative colour photolithographic map of North America, inset map of 'The Ocean Fronts', several martial and maritime vignettes, old folds, the whole strengthened with tissue on the verso, additional black and white map of the eastern hemisphere on the verso, 500 x 665 mm, supplied with the contemporary publisher's envelopeQTY: (7)

A late 19th century oil lamp, clear glass columnar stem, stepped square base, brass Corinthian capital, clear glass reservoir, cranberry flashed acid etched shade, clear chimney, 56cm

Lord Rayleigh, Beryllium and Helium, offprint from the Proceedings of the Royal Society, A, Vol. 142, 1933, Beryllium and Helium. I. - The Helium Contained in Beryls of Varied Geological Age, signed in pen to the front cover P.S.I. Tomkeieff, with the author's compliments John William Strutt, 3rd Baron Rayleigh (1842-1919), a mathematician and physicist, won the 1904 Nobel Prize in physics for his work on gases and the subsequent discovery of Argon. Not just confined to research on gases, Lord Rayleigh also contributed to our understanding of how light is affected by particles that are smaller than the light’s wavelength. This phenomenon, known as Rayleigh scattering, explains why the daytime sky is blue. Additionally, he contributed to the study of fluid dynamics, aerodynamics and quantum theory. Even today Lord Rayleigh’s 1877 text, The Theory of Sound, is used by sound engineers. Lord Rayleigh conducted the entirety of his academic career at the University of Cambridge, where he was chancellor in his twilight years from 1908-1919. Professor Sergei Ivanovich Tomkeieff FRSE FGS (1892–1968) was a 20th-century Lithuanian geologist and petrologist. He was born on 20 October 1892 in Vilna the capital of Lithuania. He came to Britain either during or just after the First World War and began lecturing in Geology at Anderson College in Newcastle-upon-Tyne in 1920. In 1948 he was elected a Fellow of the Royal Society of Edinburgh. His proposers were Arthur Holmes, James Ernest Richey, Sir Edward Battersby Bailey, Heslop Harrison, George Walter Tyrrell, John Weir, and H. B. Donald. In 1957 he became Professor of Petrology at the Anderson College. He was Author of many books including; The Tholeite Dyke at Cowgate (1953); Coals, Bitumens and other Related Fossil Carbonaceous Substances (1954); Isle of Arran (1961); The Economic Geology of Quarried Materials (1969) Dictionary of Petrology (1983) (posthumous). He was awarded the Geological Society's Lyell Medal in 1966. He died on 27 October 1968 in Newcastle aged 76

Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child. 

Signed and dated 'G. Loiseau/1923' bottom right; also signed, titled and dated on label on stretcher verso, oil on canvas25 5/8 x 21 1/4 in. (65.1 x 54cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenancePrivate Collection, California.NoteWe wish to thank Mr. Didier Imbert for confirming the authenticity of the present work. A Letter of Authenticity will accompany the Lot.Although Gustave Loiseau was born in Paris and earned a reputation for his lively depictions of the French capital city, his family was originally from Pontoise, a provincial town north of Paris made famous by Camille Pissarro’s early Impressionist paintings of the 1870s. Loiseau came late to painting, and first learned the butchery trade before shadowing a house decorator. He only fully embraced the career in 1887, after receiving a small allowance from his deceased grandmother. A year following the final Impressionist exhibition, he studied sculpture and design at the École des Arts Décoratifs, and in 1889, he spent six months in the studio of landscapist Fernand Quignon. At the latter’s suggestion, Loiseau went to visit the faraway Breton village of Pont-Aven and stayed at the famed pension Gloanec, where Gauguin had settled in the summer of 1886. Although Loiseau came back to Paris in the fall, he returned to Brittany every summer and painted many canvases there, including the present work – one of many views of the village’s Grand Place, where the market was traditionally set up in the morning. While his first biographers tried to link his work to that of Gauguin due to the Pont-Aven connection, Loiseau never saw Gauguin as a mentor (in fact they only met once in 1894), and the present work shows it: with its luminous palette, rich impasto and broken brushstrokes, the painting boasts all the hallmarks of the Impressionist movement. The quick dabs of paint which give motion to the scene, its overall abstract quality, paired with the slightly higher-up vantage point in fact strongly resemble the work of Camille Pissarro, whom Loiseau effectively revered, and whose work he studied at length during the artist’s memorial retrospective held at the Durand-Ruel Gallery in Paris in 1904.Executed in 1923, more than fifty years after the first Impressionist Exhibition, the present work denotes Loiseau’s faithfulness to the Impressionist principles throughout his life. It also confirms the strong market at the time for bold Impressionist canvases, which the famous dealer Paul Durand-Ruel promoted heavily, particularly since he signed a contract with Loiseau in 1897 and exhibited his paintings in his affiliated gallery in New York City, alongside works by Henri Moret and Maxime Maufra, long-life Pont-Aven friends.Frame: 35 x 30 x 3 in.The relined canvas presents well, with a nice impasto. Examination under UV light does not reveal any sign of inpainting. To receive images, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

ANTONIO DE LAS PEÑAS Y LEÓN (Granada, 1815 - Seville, 1886)"Bullfighter" and "Lady with mantle".Pair of terracotta sculptures.Signed, one of them also dated 1874.Measurements: 22 and 23 cm highExtensively documented by Joaquín Manuel Álvarez Cruz, Antonio de las Peñas was the most important clay sculptor of the Sevillian school of the 19th century. He began his career in Madrid, from where he moved to the Canary Islands, finally settling in Seville around 1870. He trained in imagery and clay sculpture, the latter technique being particularly favoured by the Romantic context. In fact, De las Peñas specialised precisely in terracotta sculptures of costumbrista genre, popular types with clear Romantic roots. His pieces, small in size and not very expensive, were mainly acquired by travellers visiting ANdalucía. This type of sculpture, together with various vases in the Arab style, were the pieces with which De las Peñas became known at the Fine Arts Exhibitions of the Economic Society of Friends of the Country, where he won a gold medal in 1835. This prize enabled him to make a name for himself in Madrid, and important commissions followed one after another from then onwards, consolidating his reputation at a national level. He also taught at the Academy of Fine Arts in Las Palmas de Gran Canaria before settling in Seville. In 1871 he won the first medal at an official exhibition held in the Andalusian capital, placing him at the forefront of the Sevillian sculptors of the time. In the last years of his life he had a large workshop where young sculptors were trained.

CARL LUDWIG HOFFMEISTER (Vienna, 1790-1843)."View from the Palais Schwarzenberg to the city center, on the left the Karlskirche, Vienna".Oil on copper.Signed.Measurements: 56 x 80 cm; 72 x 96 cm (frame).In this oil on copper Carl Hoffmeister gives us a detailed panoramic view of the Austrian capital. In it he emphasises the elegance of the carriages and passers-by, the parading guards and the ladies accompanied by servants, recreating an atmosphere in keeping with the nobility of the architecture and the arrangement of the parks, with their groves of trees and wide avenues. In the style of the painter Biedermeier, the soft colour ranges are combined with a precise, miniaturist drawing. The bell tower of St. Stephen's Cathedral stands out from the rest of the houses in the right background of the painting, and the roofs gleam under an iridescent sky, their blues eclipsing behind the sun, which is already declining on the horizon. The amber mists freeze the magical moment of the sunset. Hoffmeister had previously immortalised the most stately cities of central Europe, such as Salzburg, Vienna, Dresden and others.