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SPRINGBANK 1966 LOCAL BARLEY CASK #507Single 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: February 1966Bottled: December 1999Matured in Bourbon cask #507Bottle Number: 4755% ABV / 70clThis bottle is leaking slightly. As such, we would recommend collecting the bottle in person rather than having it shipped.This bottle is leaking slightly. As such, we would recommend collecting the bottle in person rather than having it shipped.Please see additional image.

SPRINGBANK 15 YEAR OLD 1990SSingle 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 15 Year OId is an older example from the 1990s.46% ABV / 70clFill level in low neck.

SPRINGBANK 2002 17 YEAR OLD MADEIRA 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: November 2002Bottled: October 2020Matured in a combination of Rum and Bourbon wood, before being finished in fresh Madeira Hogsheads.47.8% ABV / 75cl

A BRASS COLUMNAR STANDARD LAMP with a Corinthian capital on a reeded stem, to a moulded base with hairy lions paw feet, 127cm high to the top of the column

A BRASS COLUMNAR STANDARD LAMP 19th century, with a Corinthian capital on a reeded stem, to a pedestal base on lions paw feet, 108cm high to the top of the column

Mixed 19th century and later silver plate to include a large candlestick with a Corinthian capital, a pair of candlesticks, a bell and a cup

A Scottish Basket-Hilted BroadswordLast Quarter Of The 17th CenturyWith tapering double-edged blade with central narrow double fuller along each side to the tip, and incised with a double arch device on both sides at the forte, rectangular ricasso cut along each edge with a waved line within line borders, iron 'ribbon' guard of broad flat bars involving saltires, circular panels and an 'S' on each side, most of the bars incised with line decoration, rudimentary quillons, bun-shaped pommel with flattened button and remains of a buff leather liner, the back of the guard struck with a mark, a capital 'B' (grip missing, some surface rust and old pitting) 85.3 cm. bladeFootnotes:Cf. another example struck with the same mark and sold in these Rooms, Antique Arms & Armour..., 23 July 2015, lot 115For other examples of this distinctive type see Cyril Mazansky, British Basket-Hilted Swords, 2005, pp. 70-73This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A WILLIAM IV SILVER AND SHELL MOUNTED TAPERSTICK MAKER'S MARK T.D, LONDON 1833 With a flower capital and foliate loop handle, a shell bowl, on a foliate chased circular foot 11cm (4 1/4in) high

A brass mounted column table lamp, early 20th century, the brass Corinthian capital set to a reeded ebonised column on stepped square brass plinth with applied wreath motifs, 30.5cm high to top of column, 38cm to top of fitting Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items. CONDITION REPORT:The capital and associated fittings have some movement in them, as does the wreath-mounted section of the base. The the top face of the stepped section of the base has been pushed in slightly, and shows the odd small dent to the edges and corners. The switching mechanism may not comply with current regulations. 

A Letter Of A Gentleman To His Friend Shewing That The Bishops Are Not To Be Judges In Parliament In Cases Capital. 1679. Denzil Holles, 1st Baron Holles PC (31 October 1598 – 17 February 1680) was an English statesman, best remembered as one of the Five Members whose attempted arrest by Charles I in January 1642 sparked the First English Civil War. Full leather bound with banded spine, with staining to front and back pastedown, slight browning to pages.

PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973)."Suite 156".Engraving, copy 24/50.Signed in plate, justified by hand.Belonging to the series "Suite 156".Work published in "Picasso Suit 156". Kosme Baraño Letamendia, Ed. BBV, Bilbao 1998.Measurements: 50 x 65 cm; 75 x 88 cm (frame).This series is made up of a set of one hundred and fifty-six prints from as many copperplates that Picasso engraved when he was over ninety years old. The works reveal his old age through an iconography that never fails to show an elderly Picasso. The prints do not provide an overall view, but they all have in common a retrospective look at the artist's life and work, and a nod to his visual memory. Thus we can glimpse the theme of the circus, to which Picasso was a regular in his youth, the female nude, with images of brothels, or his debt to painters for whom he felt admiration.The creation of Suite 156 was structured in three stages. From January to 25 May 1970, Picasso engraved more than fifty copper plates. In the second stage, between 25 February and 16 June of the following year, he made nearly a hundred plates, including thirty-eight dedicated to the image of Degas. Finally, in March 1972, he produced three more copperplates, two of them for Suite 156. Of this series, printed in its entirety by the brothers Piero and Aldo Crommelynck, fifty numbered copies were printed. The only three complete series of Suite 156 in existence are in the Musée Picasso in Paris, in a private collection and in the Bancaixa Foundation.The creator of Cubism together with Braque, Picasso's painting marked a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.

PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Pichet Têtes, 1956.White earthenware, decoration with oxidised paraffin, black and white enamel. Current print run of 500 copies.Work referenced in: Catalogue of the edited ceramic works 1947-1971, by Alain Ramié, Editions Madoura, 1988, illustrated under no.367, p.189.Presents stamp on the base Picasso edition. Madoura.Size: 13 x 14 cm (diameter).The artist produced a large production of ceramic works at the Madoura factory in Vallauris, in the south of France, from 1947 onwards, devoting himself to this technique until the end of 1948. He then returned to his usual activities as a painter, engraver and sculptor, combining them with ceramics until 1971.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in the most important museums around the world, such as the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.

GERARDO RUEDA SALABERRY (Madrid, 1926 - 1996)."Untitled", 1959.Oil on canvas.Signed and dated in the lower left corner.It has slight faults.Measurements: 59 x 80 cm; 63 x 83 cm (frame).This painting belongs to a defining period in Gerardo Rueda's logbook, a few years in which he enters fully into abstraction but giving himself a logical continuity with respect to his previous stage in which he made incursions into the urban landscape: here, the architectures have been transformed into superimposed sheets, into dislocated perspectives, into material suggestions. Thus began his poetic abstraction linked to an abstract expressionism that was more lyrical than gestural.Considered one of the key artists of the second half of the 20th century, Rueda was a pioneer in the introduction of Informalism in Spain, and the creator of the Museum of Abstract Art in Cuenca together with Zóbel. He exhibited for the first time in Madrid in 1949, and since then his work has been increasingly present in the artistic circles of the capital. In 1957 he made the definitive international leap and held his first solo exhibition in Paris, at the Galerie La Roue. The exhibition was a great success, and shortly afterwards the then director of the Musée d'Art Moderne de la Ville de Paris, Jean Cassou, acquired his painting "Composition Gris ou Balbina". On the other hand, his solo exhibition in 1958 at the Madrid Athenaeum brought him a great deal of attention in Spain. He took part in the Spanish Pavilion at the 30th Venice Biennale with three paintings. During these years Rueda and Zóbel began to build up their magnificent collection of works by Spanish abstract artists of the post-war period, for the exhibition of which they formed the Museum of Spanish Abstract Art in Cuenca in 1966. Meanwhile, Rueda continued to show his personal work in important galleries, and in 1965 he began to collaborate with the Juana Mordó in Madrid, which would eventually become his gallery. The following year he also won the Serra Brothers Prize at the Salón de Mayo in Barcelona. In 1967 he acted as art purchasing advisor to the Fundación Santander Central Hispano, whose collection he helped to build up; two years later he took part in the XII Festival dei Due Mondi, at the Palazzo Collicola in Spoleto. His fame continued to grow, as did his recognition, and in 1973 he created a granite mural relief, now in the Museo de Escultura al Aire Libre del Paseo de la Castellana in Madrid. In 1980 he was one of the founding members and patron of the Fundación de los Amigos del Museo del Prado, with which he organised an important Goya exhibition three years later. In the eighties he continued to carry out important projects such as the mural painting of the Spanish Embassy in Riyadh and the remodelling of the Santa Cruz Museum in Toledo. During these years he also made numerous trips to various European capitals and also to Latin American and North American capitals, where he visited the modern art collections of their most important museums. In 1988 he was commissioned to make the stained glass windows in the central nave of Cuenca Cathedral, a task to which he devoted himself from 1989 to 1992. The eighties ended with an anthological exhibition of his work, organised by Caja Madrid. He subsequently exhibited twice at the Museo Nacional Centro de Arte Reina Sofía, and the IVAM devoted nine exhibitions and catalogues to his work between 1996 and 2008. In 1995 he was appointed member of the Real Academia de Bellas Artes de San Fernando. Gerardo Rueda is currently represented at the Museo Nacional Centro de Arte Reina Sofía, the British Museum in London, the Fine Arts Museum in San Francisco, the Museum of Modern Art in Paris, the Rufino Tamayo Contemporary Art Museum in Mexico, Caracas and Barcelona, etc.

11th century A.D. A reliquary cross plate with equal arms, four fastening holes, decorated with nimbate figure of Christ or Saint in orans pose, dressed in long kolobion and chiton, with inscription above maybe reading '? ??(C)?(C) ?? (?)', possibly added later. Cf. similar style of crosses in various, Byzantium, the light in the Age of Darkness, New York, 1989, figs.70, 73, 74. 51.3 grams, 11.25 cm (4 3/8 in). European private collection, 1970-1980s. London, UK, late 1990s. The cross is furnished with four holes and it was possibly destined to be attached to the corresponding lower plate. It could have been a part of a reliquary casket, or of a double cross keeping a holy relic. The rough work of the image suggests that it is of provincial workmanship, far from the city capital of Constantinople. [No Reserve] Fine condition.

8th-9th century A.D. A gold Avar belt hole-guard, of semi-circular form with projecting lobe, the surface embellished with symmetrically disposed chip-carving foliage motifs, three attachment pins on the back. Cf. Brown, K.R., Kidd, D., Little, C.T., From Attila to Charlemagne, Arts of the Early Medieval Period in the Metropolitan Museum of Art, Yale, 2000, p.175, figs.15.13, 15.14, for comparable mounts from the Vrap treasure. 5.30 grams, 20 mm wide (3/4 in). Collection formed in the 2000s. Property of an English gentleman. The mount was probably part of a composite belt, decorated with scrollwork in Byzantine style. Many authors discuss if these belts were produced in the Eastern Roman capital or if they were realised by workshops of the Avar Khaganate, maybe with Roman matrices for producing sheet ornaments. These horseshoe-shaped mounts (called hole-guards) were used to reinforce the adjustment holes in the belt. [No Reserve] Very fine condition.

c.1100-1125 A.D. A carved sandstone capital from an architectural column with square upper face developing to a round base; the spandrel decorated with a frieze carved in the half-round, two winged lions each with its tail looped around its body from an interlaced vegetation motif with trefoil finials towards a looped serpent with its head in the jaws of one lion and tail looped around the head of the other; made in South West France, possibly from the church of Saint Constant, Cantal, France. Cf. a limestone capital with lions, from France, Charente, Church of Saint-Constant, about 1100-1125 A.D., originally in a French Museum, now in The Chicago Art Institute, inventory no.1944.404; Igarashi-Takeshita, M., ‘Les lions dans la sculpture romane en Poitou’ in Cahiers de civilisation médiévale, 23e année (n°89), Janvier-mars 1980, pp.37-54, figs.1,11, pl.III; Lassalle, V., ‘Les chapiteaux, l’organisation du décor et quelques particularités architecturales de l’église Notre-Dame, à Saignon (Vaucluse)’ in Archéologie du Midi médiéval. Tome 20, 2002, pp.37-55, for similar capitals with foliage interlaces, fig.4; Toman, R., Romanesque Architecture, Sculpture, Painting, Cologne, 1997, p.279, for examples of the type. 11.4 kg, 22 cm (8 5/8 in). Swiss private collection. UK trade, 2018. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11252-189569. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fair condition.

Late 13th century A.D. A carved limestone capital from a column with frieze of robed figures within a colonnade, each sitting on a chair facing and holding a book in the left hand; trefoils and other detailing to the canopy. 12 kg, 29.5 cm wide (11 5/8 in). Collection of Mr Pierre Nicolas Roller, bibliothecaire and curator of the Grand Ducal Court. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11253-189571.Cf. Fernandes, C.V., ‘The Tomb of D. Rodrigo Sanches: the rediscovery of an iconographic program’ in Medievalista, no.16, 2024, fig.6, for the sculpture of the Apostles between the Maiestas Domini on the Tomb of D. Rodrigo Sanches, once in the Monastery of S. Salvador, Portugal. [No Reserve] Fair condition.

17th century A.D. A matched pair of carved oak brackets, each with the capital from an Ionic column supported by a bearded figure with lobed collar and armbands, developing to a rounded panel with putto mask and vegetation scrolls; modern suspension loop to the reverse. 1.87 kg total, 42 cm high each (16 1/2 in). Acquired 1960s-1990s. From the late Alison Barker collection, a retired London barrister. [2] Fine condition.

18th century A.D. A gold posy ring with D-section hoop, interior inscribed 'I like my choyce too well to change' in script, followed by a maker's mark given as capital H within a quatrefoil cartouche. Cf. The British Museum, museum number 1961,1202.45, for this inscription at the end of a longer phrase in similar script. 6.02 grams, 22.55 mm overall, 19.65 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19) (7/8 in). Acquired on the UK antiques market between 1974-1985. Albert Ward collection (part 3), Essex, UK. Accompanied by an old handwritten title card. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Very fine condition. A large wearable size.

17th-18th century A.D. A gold ring with slender D-section hoop, arms with collars and stylised lotus heads, oval bezel with reserved heart over capital letter V. Cf. The Portable Antiquities Scheme, record id. BUC-A4655A and SWYOR-E0701D, for comparable rings. 1.09 grams, 18.33 mm overall, 16.96 mm internal diameter (approximate size British L 1/2, USA 6, Europe 11.87, Japan 11) (3/4 in). Acquired on the UK antiques market between 1974-1985. Albert Ward collection (part 3), Essex, UK. Accompanied by an old handwritten title card. In this period, the letter V was also used as the letter U, so one possible explanation for the design of this ring is the message 'love you': love symbolised by the heart and 'you' by the letter V. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Very fine condition.

BLAGDON, Francis - Paris as it was and as it is; or a Sketch of the French Capital : 2 vol, half calf, 8vo, C & R. Baldwin. 1803. With - Memoirs of the Private Life of Marie Antoinette, Queen of France and Navarre .... By Madame Campan, calf, 8vo, Henry Colburn, second edit,1823.(4)

A Lalique "Dahlias" pattern bowl, moulded mark in capital letters, R.Lalique, France, 24cm diameter

1996 Jaguar Sovereign (4.0 litre) Transmission: automaticMileage:117413The Jaguar XJ (X300) series was manufactured between 1994 and 1997. It was the first XJ produced entirely under Ford ownership and can be considered an evolution of the outgoing XJ40 generation. Like all previous XJ generations, it featured the Jaguar independent rear suspension arrangement. The design of the X300 placed emphasis on improved build quality, improved reliability, and a return to traditional Jaguar styling elements. At the car's launch in October 1994 at the Paris Motor Show, Jaguar marketing material made use of the phrase 'New Series XJ' to describe the X300 models. The X300 series represented the result of a £200 million facilities renewal program by Ford. The program introduced state-of-the-art automated body welding robots manufactured by Nissan and was intended to show the future direction of the British automotive industry. To honour Jaguar's achievements, Queen Elizabeth II visited the Browns Lane factory in December 1994 and ordered a British Racing Green X305 Daimler Double-Six for her personal use.Originally registered on 1st August 1996 this Jaguar was chauffeur driven for a large part of its life. It currently resides with a collector who is only selling this Sovereign 4.0 long wheelbase due to lack of storage space. The car has been converted to run on LPG reducing fuel costs by around 50%. However, the system has not been serviced recently and it is recommended to have this done to ensure safety and efficiency. Finished in black with grey leather interior and equipped with all the usual luxuries of such a prestigious marque including air conditioning, electric seats with memory, heated seats and cruise control, this car is superb value given the level of luxury against the capital cost.Guide £2,000-£3,000

1931 Morris Cowley Transmission: manualMileage:3294Morris Motors began in 1912 when bicycle manufacturer William Morris moved on from the sale, hire and repair of cars to car manufacturing. He planned a new light car assembled from bought-in components. In this way he was able to retain ownership by keeping within the bounds of his own capital resources. A factory was opened in 1913 at former Oxford Military College at Cowley, Oxford, where Morris's first car the two seat Morris Oxford 'Bullnose' was assembled. Nearly all the major components were bought-in. Morris Cowley was a name given to various cars produced by the Morris Motor Company from 1915 to 1958. In 1926, the Bullnose radiator was replaced by a flat version known as the Flatnose. These cars were built by Morris until 1931. The chassis was new and the suspension was updated with semi elliptic leaf springs all round plus Smiths friction type scissor shock absorbers. The brakes are rod and spring operated with cams inside the drums to actuate. It is interesting to note that the rear brake drums include two sets of shoes, one of which is connected directly to the handbrake. The basic 'Hotchkiss type' of engine continued on from the Bullnose of previous years.This Flatnose Morris with a solid nickel radiator was purchased by the owner in 2016 shortly before falling ill. Presented in blue coachwork with blue matching trim this example has recently been recommissioned after being stored for some six years and although running we would advise some further recommissioning and certainly new tyres. In 2015 in a pre-purchase inspection by the Morris registry the car was described as restored to original. Supplied with this Morris Flatnose is a buff logbook and the original handbook. Also supplied with the car is the current V5C registration document and many magazines and manuals. This could be a very useable pre-war car, and with further recommissioning will make for delightful and practical pre-war ownership.Guide Price £5,000 - £8,000 

An Elizabeth II silver gilt commemorative 'Herald's' tazza, the shallow bowl with rose and oak leaf border, supported on a column with three Queen's Beasts, rampant lions, each holding a Royal shield, oak leaf capital, and on a circular foot with rose and oak leaf border, limited edition 61/250, Hector Miller for Aurum, London 1985, 15.53toz, 14.6 by 15.0cm high.

GILBOW EXCLUSIVE FIRST EDITIONS - MODEL BUSES 2 boxes with approx 57 boxed buses, including 29601 Capital, 25505 London Transport, 28802A Titan, 25805 Hampshire, 27501 Lincolnshire, 25604 London Sightseeing, and many more.

Malick Sidibé (Mali, 1935-2016)Nuit de Noël (Happy Club), 2012 signé, daté et titré en bas à droite dans la marge 'Nuit de Noël (Happy-club) 1963 Malick Sidibé/ 2012' tirage argentiquesigned, dated and titled 'Nuit de Noël (Happy-club) 1963 Malick Sidibé/ 2012' to the lower margingelatin silver print24 x 17,5cm. 9 7/16 x 6 11/16in.Footnotes:ProvenanceCollection privée, FranceExpositionsGothenburg, The Hasselblad Center, Malick Sidibé, 25 October 2003 – 11 January 2004, p. 82 (another print illustrated and exhibited)Houston, USA, African Art Now: Masterpieces from the Jean Pigozzi Collection, 29 January – 8 May 2005, pp. 33, 184 & 221 (another print illustrated and exhibited, pp. 47 & 185)Houston, USA, The Menil Collection; Lagos, Nigeria, Centre for Contemporary Art; and St. Louis, USA, The Pulitzer Foundation for the Arts, The Progress of Love, 2 December 2012 – 20 April 2013, pp. 30 & 69 (another print illustrated and exhibited)Paris, Fondation Cartier pour l'art contemporain à Paris, Malick Sidibé, Mali Twist, 20 October 2017 – 25 February 2018, pp. 195 & 259 (another print illustrated and exhibited)LittératureGiovanna Cugini, ed., Collection of Contemporary African Artists (Lugano, Switzerland, 2020), p. 361 (another print illustrated)Chika Okeke-Agulu et al., African Artists From 1882 to Now (London, 2021), p. 295 (another print illustrated)Malick Sidibé étudie d'abord la joaillerie à l'Ecole des artisans soudanais de Bamako avant d'être embauché pour décorer le studio du photographe français Gérard Guillat. Devenu apprenti, il adopte rapidement la technique et l'oeil d'un photographe professionnel à part entière.Initié et amateur des clubs de Bamako dans les années 1960 et 1970, Malick Sidibé capture des scènes et des moments spontanés comme Nuit de Noël, illustrant simultanément l'intimité et l'anticipation d'une rencontre impromptue, ainsi que la fierté et l'exubérance d'une nation nouvellement libérée.'Sa photographie était pensée sur le mode de ce qui surgit, de ce qui arrive au hasard, de la bonne rencontre. Il était dans la présence, immortalisait des moments. Nuit de Noël, d'une douceur et d'une tendresse 'infinies', est un instant volé au temps. Ses images dévoilent une conscience aiguë de coïncidences heureuses qui l'ont voulu infatigable, généreux, aimant.' (M. Sidibé, p.9; André Magnin.)BibliographieMalick Sidibé, Mali Twist, exh. cat., Fondation Cartier pour l'art contemporain, Paris, 20 October 2017 – 25 February 2018Malick Sidibé began his creative practice studying jewellery making at the Maison des artisans du Soudan, Mali (known as the Maison des Artisans de Bamako since 2006). From there, he was hired to decorate the studio of French photographer Gérard Guillat, who eventually offered him a position as an apprentice. Sidibé quickly picked up the professional studio techniques which he coupled with his unique creative vision in his own photography practice. In 1957, Guillat's studio closed, prompting Sidibé to begin recording Bamako nightlife on film. Drawn particularly to the Bamako clubs in the 1960s and 1970s, Sidibé captured spontaneous scenes of the vibrant youth culture of the Malian capital, such as that depicted in Nuit de Noël – a photograph which illustrates both the intimacy and anticipation of an impromptu encounter, as well as the exuberance of a newly liberated nation. '[Sidibé's] photography is conceived out of the fashion in which it arises, what happens by chance, the right encounter. He was in the present, immortalising moments. Nuit de Noël, with its 'infinite' softness and tenderness, is a moment stolen from time. His images reveal an acute awareness of happy coincidences which made him tireless, generous, and loving' (André Magnin, 2017: p. 9).BibliographyMalick Sidibé, Mali Twist, exh. cat., Fondation Cartier pour l'art contemporain, Paris, 20 October 2017 – 25 February 2018For further information on this lot please visit Bonhams.com

Gerard Sekoto (Afrique du Sud, 1913-1993)Sans titre, 1959 signé et daté en bas à droite 'G Sekoto 59'techniques mixtes sur cartonsigned and dated 'G Sekoto 59' to the lower rightmixed media on cardboard44 x 16cm.17 5/16 x 6 5/16in.Footnotes:ProvenanceCollection privée, ItalieGerard Sekoto, pionnier de l'art moderne sud-africain, a été l'un des premiers artistes noirs à être reconnu sur la scène internationale.Après avoir remporté le deuxième prix d'un concours d'art en 1938, il décide de poursuivre sa passion à plein temps en s'installant à Sophiatown à Johannesburg.Après avoir vécu à Cap Town et travaillé au sein du bouillonnant district 6, Sekoto déménage à Paris en 1947. Un voyage qui s'avère plus pénible que prévu, additionnant problèmes financiers et difficultés à vivre des recettes de son art.Les années 1950 marquent le début d'une vie plus sédentaire, notamment lorsqu'un hébergement lui est arrangé rue des Grands-Augustins, par son galeriste monsieur de Carbonne, dans l'appartement de Marthe Baillon qui deviendra l'amour de sa vie. Cette période est celle d'une profonde recherche esthétique, où Sekoto développe un style propre et unique.Il s'acclimate peu à peu à son nouvel environnement et intègre la scène jazz parisienne. Il y joue du piano et chante du negro spiritual, mais aussi des chansons françaises populaires de l'époque. Bien qu'il ne soit jamais retourné en Afrique du Sud, il a continué à peindre les scènes de sa vie passée à Sophiatown et Eastwood jusqu'à sa mort en 1993, à Paris. Ses œuvres tardives sont mélancoliques et différentes des peintures qu'il réalise in situ au début des années 1940.L'oeuvre ici présentée est une des nombreuses études que Gérard Sekoto réalise en souvenir de son pays natal, réunissant souvenirs d'enfance et réinventions nostalgiques.Gerard Sekoto, a key pioneer of modern South African art, was one of the first black artists to receive international recognition. Sekoto discovered his aptitude for drawing while training as a teacher. After winning second prize in an art competition in 1938, he decided to pursue his passion for artmaking fulltime and moved to Sophiatown in the suburbs of Johannesburg. Here he began working with oil paint and undertook bold experimentations with painterly mediums. Sekoto settled in Paris in 1947 after almost a decade moving around South Africa. His first years in the French capital were hard. The 1950s marked the beginning of a more stable existence, especially once his gallerist, Monsieur de Carbonne, had arranged for him to live in an apartment belonging to Marthe Baillon – the woman who would later become the love of his life. This period was one of profound artistic development during which time Sekoto strove to further develop his own distinctive style.Following his move to France, Sekoto gradually acclimated to his new environment, engaging particularly with the Parisian jazz scene. Although he never returned to South Africa, he continued to paint scenes from his life in Sophiatown and Eastwood until his death in 1993. In contrast to the paintings he made in situ in the 1940s, these later works created during his self-imposed exile in Paris are deeply nostalgic in nature.The present work is one of these many scenes that Gerard Sekoto made in remembrance of his native country, reinterpreting his memories as a young man in South Africa through his nostalgic reinventions.For further information on this lot please visit Bonhams.com

Pair of mid 20th century silver twin branch candelabra, each with filled circular stepped base leading to knopped stem and central socket with plain drip pan, supporting two curved branches with conforming sockets and drip pans, hallmarked William Comyns & Sons Ltd, London 1956, H35.5cmCondition Report:Wear commensurate with age and use, including surface scratches, and nicks.One example with slight knock to edge of foot, and some small indentations along stem. The other example with very small indentations around top of socket where removable branch sits. Central capital of one branch with some small indentations to top of rim.Hallmarks partly worn but for the most part still legible.

Modern silver twin branch squat candelabra, with filled circular stepped base leading to a short knopped stem supporting a central capital, and twin curved branches leading to conforming capitals above drip pans, hallmarked Birmingham 1972, makers mark partly worn and indistinct, H12.5cm Condition Report:General wear, predominantly in the form of surface scratches and nicks.Hallmarks generally clear and legible, with the exception of makers mark which is partly worn.

Pair of Edwardian silver candlesticks, each with acanthus detailed capital and removable beaded square nozzle, upon a twisted column and filled square stepped base, hallmarked Walker & Hall, Chester 1907, H14.5cmCondition Report:General wear commensurate with age and use, including surface scratches and nicks.Small splits and knocks particularly to corners of stepped bases.Knock to top petal of one socket.Hallmarks clear and legible.

Death Penalty.- Capital Punishments, printed handbill, folds, slightly browned, 225 x 167mm., London, J. M'Creery, n.d. [19 century]; and 3 others printed, including a lithographed card England - America, W.F. Wodson [c. 1850], v.s., v.d. (4).

An unusual 19th century robe travelling case including a tall conical yellow gauze summer hat, Qing Dynasty, with fine red tassels and brocade rim lined with silk, the pinnacle is adorned with a 9th rank gold hat insignia, the case with metal handles and closure, a chop inside the box reads: 'Yue Dong (East Canton); Shen Chen Gao Di Jie Dong Yue Yu He Zao (made by Yue Yu He in East Gao Di Street of the provincial capital); and words translated as: 'Guaranteed to be genuine and if you purchased fake from us we will give you an exchange', hat 31cm diameter, case 56cm wide x 38cm deep x 33cm high  Provenance: Private English Collection, purchased by the owner from Linda Wrigglesworth, 'The Accessory' Exhibition, London, p.3, 1991. 清十九世纪 便携衣帽箱及黄地九品夏官帽拍品来源：英国私人收藏，现藏家于1991年购自英国著名古董商Linda Wrigglesworth，该物品出版于其于1991年的展览图录《清代服饰配件》中，第三页  Condition Report: wear to hat rim some slight stains to yellow silk red silk in interior with minor tears and stains Condition Report Disclaimer

Cambridge University Rowing Teams. A series of 4 photographic diptychs of Emmanuel College, Cambridge, boat teams, by Stearn, Cambridge, 1888-1890, arched top albumen prints, the left image showing group shot of a boat crew, one right image showing the second team, the other three rightmost images showing the crew sculling on the river outside the university boathouse, images 20 x 25 cm, mounted as pairs with photographer's printed credit to lower mount and calligraphic titles with crests and block capital crew name details in blue, mounts a little browned and one with old damp-staining and resultant loss of some lettering of crew member names, each mount 45 x 76 cmQTY: (4)

'GOTHIC' PAINTED, GILTWOOD, AND BRASS MOUNTED CONCERT HARP, JACOB AND JAMES ERAT, LONDON EARLY 19TH double action with 43 strings, in simulated satinwood with stencil decoration, the fluted pillar with winged caryatids on the capital, the brass neck plate engraved 'I & I ERAT/ PATENT HARP MANUFACTURES/ 23 Berners Strt London No. 1875(165cm high)Provenance: The Estate of the Late Lord David Douglas-Hamilton

ROMAN CORINTHIAN COLUMN CAPITAL 1ST - 2ND CENTURY A.D. carved marble, with dual tiers of acanthus leaves, floral ornaments and scrolling vines above(32.6cm tall)Provenance: French and Co., New York, United States Private collection, California, United States, acquired from the above prior to 1981

A Georg Jensen No. 264A Silver Compote, Copenhagen, 1933-1944Designed by Georg JensenMarks: 925.S, DENMARK, (G inside J), STERLING, 264A10-5/8 inches (27.0 cm)1192 grams The silver compote with flaring bowl having pendant grape bunches suspended from vines mounted to underside, all atop twisted columnar stem accented with grape clusters to the capital, to spreading foot. HID12701242017

UTAGAWA HIROSHIGE (1797-1858) KITAGAWA SHIKIMARO (ACT. 1804-20) KEISAI EISEN (1790-1848) KIKUGAWA YEIZAN (1787-1867) UTAGAWA YOSHIFUJI (1828-87) EDO PERIOD, 19TH CENTURY Five Japanese woodblock prints depicting beauties, the first by Hiroshige and entitled 'Evening Cool at Ryogoku', from the series 'Famous Places in the Eastern Capital' (c.1844-48); another by Shikimaro of 'Hanazuma of the Ogiya, Kamuro Nioi and Kaoru', from the series 'Thirty-Six Female Poetic Immortals in the Modern Style' (c.1813); the third by Eisen and entitled 'Yui: Shigesaki of the Owariya' from the series 'A Tokaido Board Game of Courtesans: Fifty-Three Pairings in the Yoshiwara' (c.1821-23); the fourth possibly by Utagawa Yoshifuji of a lady in an interior holding a fan, and another possibly by Kikugawa Yeizan depicting an oiran with a checkered kimono, 39cm x 26.4cm max. (5)

UTAGAWA HIROSHIGE I (1797-1858) UTAGAWA HIROSHIGE II (1826-69) EDO PERIOD, C.1832-60 Six Japanese woodblock prints depicting various urban and rural views, five by Utagawa Hiroshige I entitled: 'Fishing by torchlight on Lake Renko' and 'Satsuma Province: Bo Bay, the Two-sword Rocks', both from the series 'Sixty-odd Famous Places of Japan' (1856); 'The Jewel River in Musashi Province', from the series 'Thirty-Six Views of Mount Fuji' (1858); 'Suruga-cho', from the series 'One Hundred Views of Edo' (1856); 'Theatres in Nichomachi', from the series 'Famous Places in the Eastern Capital' (c.1832-38), all oban tate-e, all approx. 35.8cm x 23.5cm; and one print by Hiroshige II entitled 'Snow Scene', from the series 'Pictures of Famous Places in Edo', (c.1860), oban yoko-e, 25.7cm x 37cm. (6)

A capital mantel clock. The string timepiece is housed in a black marble case resting on fire-gilded legs. The case with rich ornamentation of Imperial symbols from classical antiquity. The dark patinated bronze statue represents a Roman emperor, possibly Caesar. approx. 1850.74 x 52 x 23 cm.

A capital porcelain Imari collar vase. Japan, late 19th century.H.: 89 cm.

Romanisches Kapitell, 11./12. Jhdt. Sand. Runder Stand. Umlaufend figürliche Darstellung in starkem Relief: alternierend Raubvögel, die einen Menschenkopf zwischen ihren Schnäbeln halten und ein Mann, der die Raubvögel bezwingt. Quadratischer Abschluss. Kleine Bestoßungen. Höhe 16,5 cm.Zustand: II -A Romanesque capital, 11th/12th century Sand. Runder Stand. Umlaufend figürliche Darstellung in starkem Relief: alternierend Raubvögel, die einen Menschenkopf zwischen ihren Schnäbeln halten und ein Mann, der die Raubvögel bezwingt. Quadratischer Abschluss. Kleine Bestoßungen. Höhe 16,5 cm.Condition: II -

Spätromanisches Kapitell, 12./13. Jhdt. Sandstein. Auf einem Rundfuß mit Profilring, der in vertikale Züge gegliedert ist. Der obere Teil ist in vier rechteckige Kartuschen gegliedert, die durch vier einander gegenübergestellte Nocken separiert sind. Jede Kartusche mit Gravur "AD", "?A", "RC", "??". Fehlstellen. Höhe 15 cm, Länge 19 cm. Mit Expertise, die das Objekt in das 12./13. Jhdt. datiert. Zustand: IIA late Romanesque capital, 12th/13th century Sandstein. Auf einem Rundfuß mit Profilring, der in vertikale Züge gegliedert ist. Der obere Teil ist in vier rechteckige Kartuschen gegliedert, die durch vier einander gegenübergestellte Nocken separiert sind. Jede Kartusche mit Gravur "AD", "?A", "RC", "??". Fehlstellen. Höhe 15 cm, Länge 19 cm. Mit Expertise, die das Objekt in das 12./13. Jhdt. datiert. Condition: II

Podest, 2-tlg. zusammengesetzt, Steinguss, quadratische Grundfläche, Sockel u. Kapitell mehrfach getreppt, Mittelteil mit 4 leeren Kartuschen, sehr dekorativ, schwere Qualität, z.T. best., ca. 59x46x46 cm (Position rechts)Pedestal, 2 parts assembled, cast stone, square base, base and capital stepped several times, middle part with 4 empty cartouches, very decorative, heavy quality, partly bumped, approx. 59x46x46 cm

Podest, 2-tlg. zusammengesetzt, Steinguss, quadratische Grundfläche, Sockel u. Kapitell mehrfach getreppt, Mittelteil mit 4 leeren Kartuschen, sehr dekorativ, schwere Qualität, z.T. best., ca. 59x46x46 cm (Position links)Pedestal, 2 parts assembled, cast stone, square base, base and capital stepped several times, middle part with 4 empty cartouches, very decorative, heavy quality, partly bumped, approx. 59x46x46 cm

Adidas Sneaker, gestaltet von Deko im Rahmen der NICE! A(u)ktion 2022 zu Gunsten des Esche Jugendkunsthaus gGmbH.Über den Künstler:Mit Breakdance 1982 angefangen und Graffiti 1987. Seit 2004 selbstständiger Künstler. In den 90ern aufgenommen in der legendären New Yorker Crew 156 und 2016 in die Gruppe TDS (The Death Squad), Graffiti-Pioniere aus den 70er Jahren in New York Bronx.2006 für WestCoastCustoms in der Fernsehproduktion StreetCustomsBerlin weltweit ausgestrahlt. 2007-2009 für RunnersPoint auf Europa-Tournee Sneakers bemalt. Projekte wie Playboy, Intercontinental Reifen, Hertha BSC, ICE T, Samra, Capital Bra, Frauenarzt, MTV Barrio, 36 Kinofilm.Instagram: @deko_156_tdsProduktdetails:Adidas-Sneaker Superstar (EG4958), Unisex, Schuhgröße US 10, reguläre Passform, Obermaterial Textil und Leder, Gummisohle, Textilfutter. Farbe: Schwarz und weiß, Schnürsenkel weiß. Zustand: ungetragen. Es handelt sich bei diesem Artikel um ein Kunstwerk, nicht um ein Produkt.

Ca. 600 ADA gold finger ring of a flat-section hoop with wide, supportive shoulders. The bezel set with an amethyst intaglio engraved with Chi-Rho, one of the earliest forms of Christogram, formed by superimposing the first two (capital) letters — chi and rho (??) of the Greek word ??????? (Christos) in such a way that the vertical stroke of the rho intersects the center of the chi.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 16.5mm / US: 6 / UK: M; 8gProvenance: Private UK collection; From an old Oxford collection formed in the 1990s; Ex. Swiss private collection.

Ionic wooden capital with volutes and akant leaves Ionisch houten kapiteel met voluten and acanthusbladeren 29 x 29.5 x 29.5 cm

Sholes & Glidden, 1873 E. Remington & Sons, Ilion, New York, Serien-Nr. 2326. Die erste wirklich erfolgreiche Schreibmaschine der Welt und damit ein Meilenstein in der Geschichte der Büromaschinen-Industrie. Handbemaltes Gehäuse, rundum mit reichem Blumen- und Goldranken-Dekor. Mit seitlichem Wagenrückzughebel, nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas, Wagenzug etwas schwergängig. – Literatur: Martin, 1949, S. 61. – Eine Riesen-Rarität und Kostbarkeit für jede anspruchsvolle Sammlung und ein echtes Museumsstück! Start Price: EUR 8.000 Zustand: (3/2-3)Sholes & Glidden Typewriter, 1873 E. Remington & Sons, Ilion, New York. Serial no. 2326, with detailed polychrome floral decoration and right-hand carriage-return lever, capital keys (no lower case), glass keytops and wood key levers, carriage escapement somewhat stiff. – Note: The Sholes & Glidden was the first commercially successful typewriter. – Literature: Martin, 1949, p. 61. – A milestone in the history of office equipment. Start Price: EUR 8.000 Condition: (3/2-3)

Schreibmaschine "Sholes & Glidden" (schwarz), um 1876 Remington & Sons, Ilion, New York. Frühe amerikanische Unteranschlagmaschine, die als erste erfolgreiche Schreibmaschine der Welt Geschichte machte. Vorgestellt auf der Centennial International Exhibition von 1876 in Philadelphia. Nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas, Serien-Nr. 2540. – Literatur: Martin, 1949, S. 67. – Ohne Papierblech und Holzrolle, ein ideales Restaurierungsobjekt. – Historisch bedeutsames Sammlungsstück. Start Price: EUR 2.800 Zustand: (3-4/4)Sholes & Glidden Typewriter (Black), c. 1876 E. Remington & Sons, Ilion, New York. Serial no. 2540, early American upstroke machine, with capital keys (no lower case), glass keytops and wood key levers, missing paper table and wood roller, worthy of restoration. – Literature: Martin, 1949, p. 67. – Introduced at the Philadelphia Centennial of 1876, the Sholes & Glidden was the first commercially successful typewriter. It was produced in a number of different finishes, both decorative and functional. A milestone in the history of office communication. Start Price: EUR 2.800 Condition: (3-4/4)

Sholes & Glidden, 1873 Remington & Sons, Ilion, New York. Die erste wirklich erfolgreiche Schreibmaschine der Welt und damit ein Meilenstein in der Geschichte der Büromaschinen-Industrie. Handbemaltes Gehäuse mit reichem Rundum-Dekor von Blumen und Gold-Ranken. Serien-Nr. A974. Mit Wagenrückzughebel am Wagen, nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas, mit Deckel, Wagenzug müßte repariert werden. – Literatur: Martin, 1949, S. 61. – Eine Riesen-Rarität und Kostbarkeit für jede anspruchsvolle Sammlung und ein echtes Museumsstück! Start Price: EUR 8.000 Zustand: (3-4/3-4)Sholes & Glidden, 1873 Remington & Sons, Ilion, New York. Serial no. A974, with detailed painted floral decoration and top carriage-return lever, capital keys (no lower case), glass keytops and wood key levers, with lid, carriage escapement in need of repair. – Note: The Sholes & Glidden was the first commercially successful typewriter, a milestone in the history of office equipment. – Literature: Martin, 1949, p. 61. – A giant rarity and a highlight in any collection! Start Price: EUR 8.000 Condition: (3-4/3-4)

Stephen Lushington signed 5x4 letter page PM 1836. Stephen Lushington generally known as Dr Lushington (14 January 1782 - 19 January 1873) was a British judge, Member of Parliament and a radical for the abolition of slavery and capital punishment. He served as Judge of the High Court of Admiralty from 1838 to 1867. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

A Pair of George III Old Sheffield Plate Candlesticks, Apparently Unmarked, Probably Late 18th Century, each on circular base and with tapering stem, engraved with a crest; Together With: a pair of Victorian silver plate candlestick, each on square base and with Corinthian capital (4)George III candlesticks, both with moderate wear to the plating, one nozzle detaches, the other one appears to be firmly fixed, slight dents mainly around the rim of the bases, the other pair with minimal loss to the plating, both nozzles detach, no splits or repairs

With a golden eagle holding a pocket watch perched on the capital of the column in onyx. Clock measures: 14 x 14 cm. Eagle measures: 39 x 25 x 15 cm

Two Nicely Framed and Mounted Posters, The Rolling Stones European Tour 19710, measuring 34" x 24" and Capital Radio Music Festival Poster, measuring 41" x 26.5" which featured Prince and Frank Sinatra.

A PAIR OF GLAZED STONEWARE DANCERSSong DynastyFinely modelled standing on a square base with canted corners, their heads inclined to the side, one arm bent and raised to shoulder height, the other hand held out from the side with fist clenched, each dressed in a short jacket over a long tunic, sashed at the chest and waist, with pleated under-garment, the faces with arched eyebrows and graceful expressions. Each 17.2cm (6 3/4in) high (2).Footnotes:宋 彩釉女舞俑一對Provenance: Spink & Son Ltd., London, 1999An English private collection來源：倫敦古董商Spink & Son Ltd.，1999年英國私人收藏The result of Oxford Authentication Ltd. thermoluminescence test no.P199z72, dated 26 August 1999, is consistent with the dating of this lot.Oxford Authentication Ltd.公司熱釋光檢測結果（1999年8月26日，編號P199z72）顯示年代與本拍品年代一致。Musical and dancing performances formed part of the daily necessities aimed at sustaining the tomb occupants in their afterlife. In this context, dancing scenes could either be performed as individual performances or accompany a theatrical play. According to 'The Eastern Capital: a Dream of Splendour' Dongjing Menghua Lu, compiled in 1187, many dance and musical activities performed during the Song dynasty were also endorsed by the Emperors as part of important festivities, such as the Lantern Festival, and set up in front of the Imperial palace; see Meng Yuanlao, The Eastern Capital: a Dream of Splendour, Taiwan, 1986, Appendix 2, quotation 4.For further information on this lot please visit Bonhams.com

A large glass lamp with metal mounted corinthian capital sconce, 50cm high, and a spelter figural lamp base, 53cm high

Full title: Hiroshige I, Utagawa (Japan, 1797-1858): 'Toto yukimi hakkei' - 'Eight snow scenes in the eastern capital', publ. in 1928 by Shotaro SatoDescription:Dim.: 44,5 x 32,5 cm (the folder)Dim.: ca. 39,5 x 26,5 cm (each sheet)Dim.: ca. 34,2 x 24,5 cm (each print)Ê in 1928, Mr. Shotaro Sato, a considerable publisher from Kyoto, gave the announcement that he published a hitherto unknown series of eight prints by Hiroshige I, from the artist's original drawings in the possession of Mr. Emile Javal, a judge in the Civil Court of the Seine, Paris, France. These drawings were executed in the period between the last two years of Tempo to the end of Koka (1842-1847), which may be called Hiroshige's golden age, when his art reached its fullest maturity. How it happened that they were not then engraved and published, but were carried away to Europe, is an unexplained mystery. As they bear impressions of the seal of the Nanushi (ward head-man) Mr. Fukatsu Ihei, who acted as an official censor of publications in the fourth and eleventh month of the years from 1840 to 1847, it is evident that their publication was intended and had been approved.Ê A comprehensive study is available here.Other sets are in the Van Vleck Collection at the Elvehjem Museum of Art, the Albuquerque Museum and the library of the Fogg Museum, Boston.The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

JUAN LUNA Y NOVICIO (Badoc, Philippines, 1857 - Hong Kong, 1899). "Souvenir of the Battle of Lepanto ", 1887. Oil on canvas. Re-lined Signed, titled, dedicated to Vicente Romero Girón and dated in the lower left corner. Measurements: 20 x 19 cm; 52 x 48 cm (frame). Juan Luna's epic paintings were celebrated internationally, and it was "The Battle of Lepanto" (in homage to the Christian victory over the Ottomans in 1571) which brought him the greatest fame. In the same year in which he painted the historical theme of this naval battle (a commission from the Spanish Senate to the distinguished Philippine painter), he executed the portrait in question. As the dedication says, it is part of the same theme. Although it does not coincide exactly with any of the figures in the final painting, it has notable similarities with the main protagonists of the naval battle, as he would eventually conceive it. Firstly, we have John of Austria (of whom he made various preparatory drawings, and who in the final painting is placed at the bow of the ship, captaining the Christian fleet), wearing a helmet topped with a plume of feathers, with an aristocratic profile and a trimmed moustache, similar to the present figure. However, it is more likely that this is a self-portrait, as Juan Luna included himself among the sailors in Philip II's army (which also included Cervantes). Indeed, his features coincide with those of the personage who in the official commission wears a dalmatic and helmet. The fact that he is included as part of such a victorious feat attests (the royal galley sinking the Turkish galleon) to the self-esteem Juan de Luna owed to himself, and also to the pre-eminent place he enjoyed not only in the Spanish sphere, but also internationally. In the present portrait, we see the sitter in profile, looking straight ahead, with a fragment of sail breaking the composition diagonally, and his gaze straight ahead leads us to imagine his complacency at the enemy's shipwreck. "The Battle of Lepanto", a symbol of the Catholic triumph against the invading forces, was intended for the Senate Conference Room. In technique and style, we can appreciate the broad, vibrant, undone brushstroke characteristic of the Filipino painter, a language close to Impressionism but inscribed in a realism of naturalistic tone. Juan Luna trained at the Ateneo de la Compañía de Manila, where he was taught by Agustín Saéz. He entered the Academy of Fine Arts in the same city, where he was a disciple of Lorenzo Guerrero. In 1877 he was awarded a scholarship by the Manila City Council which enabled him to move to Madrid to further his training at the San Fernando School of Fine Arts. In the Spanish capital he became a pupil of Alejo Vera and travelled with him to Rome when the latter was appointed director of the Spanish Academy in that city. He subsequently settled in Paris, where he opened his own studio. He received important institutional commissions, among them the one he received in 1887 from the Spanish Senate, "The Battle of Lepanto". The Ministry of Overseas France commissioned another work from him, a composition representing Spain and the Philippines. Luna also took part in numerous official exhibitions, being awarded a second medal for "Cleopatra" at the National Fine Arts Exhibition of 1881 and a first medal for "Spoliarium" at the National Exhibition of Fine Arts of 1884. He also exhibited his works abroad, and in fact sent his canvases to the Paris Salon of 1886, where he was awarded the third medal. Two years later, in 1888, he was awarded a second medal at the Universal Exhibition in Barcelona. He took part in the Universal Exhibition in Paris, where he was awarded the third medal. Juan Luna's works are currently represented in important art centres such as the Prado Museum, the National Museum of the Philippines, the Cádiz Town Hall, the Captaincy General of Seville, the Government Delegation of the Basque Country, etc.

FINLAY, I.H. "Poursuites révolutionnaires"/"Revolutionary poursuits". (1987). W. 9 loose inserts. Sm-4°. Owrps. -- Id. Saint-Just Vigilantes. July 14 1989. 8 stickers. -- Id. Corinthian Capital: to construct, cut around outside edge of figure, fold along creased lines, and glue, to form a cube. Wild Hawthorn Press, (1985). Screenprint in red and black. 418 x 320 mm. -- OU numéro 25: Special biennale. 1965. W. contribution by Finlay ("I lov") loosely inserted. Square-4°. Owrps. (Loose in bind., some creases & small tears). Printed in 500 numb. copies. -- H. CHOPIN. A propos de OU - Cinquième Saison, 1958-1974. Un quart de siècle d'avant-garde. 1974. 4°-obl. Owrps. (Wrps. partly faded). Printed in 300 copies. -- (5).