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Box 26 - Mixed SpiritsDistilleria Sabona Grappa XOReserva Brandy de Jerez Carlos IDistilleria Segnana Chardonnay GrappaWilliam Peel Orange WhiskyDistilleria Sabona Grappa Reserva Botti Da MadeiraDistilleria Sabona Reserva Botti Da Porto GrappaGatsios Tsipouro BrandyAltia Koskenkorva Lemon LiqueurTW Kempton Watermelon LiqueurTW Kempton Parma Violet LiqueurTW Kempton Blood Orange Liqueur (2 bottles)

Box 169 - Portuguese White WineRaza Vinho Verde 2019Quinta Serra d'Oura Reserva 2017Curvos Avesso Vinho Verde 2019Aveleda Parcela do Roseiral 2018Adega de Borba Reserva 2017Campos do Minho NVQuinta sa Raza Avesso 2019Avelada Solos de Granitos 2018Curvos Alvarinho 2019Quinta da Raza Dom Diogo Arinto 2019Cabriz Encruzado Reserva 2019Villa Rosa Reserva 2017

Box 88 - Wine Domaine Saint Jean Luberon 2019 Quinta Da Raza Alvarinho 2019 Colina Rosé 2019 PG Rosé 2019 61 Dorado En Rama Palomino Verdejo Purcari Rosé Brut Fernand Engel Gewurztraminer Grand Cru 2017 Krasnodar Merlot 2015Krasnodar Grand Rosé Brut 2015 Les Janelles Mourvedre 2018 Hirtl Weimviertel Reserve 2017 Royal Tokaji Late Harvest 2018 (50cl)

Box 66 - Sparkling WIne Toffoli Vino Spumante Co-Op Irresistible Sparkling Rosé Quinta Da Raza Espumante Dopff & Irion Cremant D'Alsace Alpha Estate Hedgehog Rosé Pata Negra Semi-Seco Cava Roger Goulart Gran Reserva Cava 2014 Pfaff Cremant D'Alsace Gloet Sparkling Wine (2 Bottles) Gloet Sparkling Glogg (2 Bottles)

Box 170 - Iberian Sparkling WineMarques de Maria Rosé BrutMarques de Maria BrutPortada Demi-SecMarques de la Concordia Brut Gran Reserva 2013Marques de la Concordia Brut Reserva 2015Heretat El Padruell BrutMarques de Marialva Cuvée Brut 2014Marques de Marialva Baga Brut 2017Lumen Reserva Brut 2017Quinta da Raza Brut 2017Adega de Borba Rosé 2019 (still)Maria Viva Rosé 2019 (still)

Marsilius of Inghen, Quaestiones on Aristotle, De generatione et corruptione, in Latin, manuscript leaves on paper, later reused to support a fabric covered item, perhaps an embroidered binding [northern Italy or southern France, opening decades of fifteenth century]Five leaves, trimmed at their head or foot with losses of a few lines there, remains of double column of approximately 46 lines of a squat and scrawling late Gothic hand, with many abbreviations and lines packed densely together, marginalia by near-contemporary hand drawing readers' attention to individual parts of the text, watermark of a simple bell with three lappets at head and simple clapper at foot, part of a wide spread of such symbols in Briquet with a distribution predominantly across northern Italy and southern France throughout the fourteenth and early fifteenth century (Briquet, nos. 3911-85), the leaves with prickmarks showing they were stitched at one point with parallel borders around edges and a large cross in middle (this cross 120mm. high; two leaves without this cross and the innermost border), few tears to a edges, small spots and stains, else fair and presentable condition on thick and heavy paper, 235 by 235mm. Provenance:Recovered from reuse perhaps in an embroidered binding or piece of padded ecclesiastical furniture. Text:Marsilius of Inghen was born around 1340 in Nijmegen. He took up office at the University of Paris from 1362, where he was also rector (1367 and 1371), and served as the University's delegate at the court of Pope Urban VI. He seems to have turned his back on Paris after the Great Schism of 1378, and withdrew to the Netherlands and then Germany, where he was one of the founders of the University of Heidelberg, subsequently serving as its rector nine times in the 1380s and 1390s. He wrote a summary of Aristotle's Physica, and 'Questions' on the same author's De anima and Metaphysica, as well as De generatione et corruptione (the text found on the leaves in question here). These were his most influential compositions, and the present text is noted by both Leonardo da Vinci and Galileo Galilei. 

Ɵ Legal compendium, drawing on Justinian, Institutiones, and Bartolo da Sassoferrato, Quaestio et Repetitio, in Latin, manuscript on paper [Italy, second half of fifteenth century (c. 1481)]To view a video of this lot, click here. 130 leaves (plus a paper flyleaf), complete, collation: i10, ii-iii14, iv-ix10, x12, xi-xii10, single column, 19 lines in an appealing and legible semi-humanist hand strongly influenced by secretarial and vernacular forms, texts opening in lines of small capitals, titles in ornamental capitals (often with baubles set in their mid-points and with letters run together and set within others, probably emulating Romanesque witnesses), numerous contemporary pointing fingers and other small marginalia, small spots and stains, tears to a few margins, some leaves in first gathering loose, else excellent condition, 222 by 150 mm.; bound in seventeenth- or eighteenth-century card covers, title in ink on spine (mostly rubbed away)  This volume clearly dates to the second half of the fifteenth century, and a note on fol. 25v bears the date 1481. However, its apparent ex libris at the head of fol. 1r ("Domini Dominici de Prato", repeated again in slightly more calligraphic script in the same place on fol. 11r) points instead towards the first half of the century, and to the important and well-known Florentine jurist and poet Domenico da Prato, who was the author of several love sonnets as well as a long laudatory verse narrating the struggle of the Florentines against the cruel and paranoid Filippo Maria Visconti (see Dizionario Bibliografico degli Italiani, XL, 1991). He died at some point in the 1430s or 1440s, making it unlikely that he could have owned this book. It is notable the both notes of ownership appear to be in the same hand (and in the first case, ink hue) as the text they were apparently added to, when such notes were more usually added later once the book had been finished, bound and presented to the new owner. Thus, this may well be a clean copy of a book which was his, even copying across his notes of ownership as the crucial piece of authenticating provenance, and perhaps preserving his marginalia and notes (as well as others made up to the 1480s by a subsequent user).If correct, then this manuscript is of some importance for the history of medieval law. Domenico was associated with the first wave of humanists, such as Coluccio Salutati, and was friends with other Florentine luminaries, such as Antoninus Florentinus, who would later be archbishop of the city and compose his famous confessional. Domenico was also an important legal commentator of his age, although study of this aspect of his life has been held back by the small number of surviving records. A handful of notarial materials survive in the Archivio de Stato in Florence, but here we have a compilation of law apparently assembled and ordered by him.  

Ɵ Humanist compendium, including letters by Donato Acciaioli, and other similar works, with notes from Classical texts and Canon Law, in Latin with a few words in Greek, short sections in Italian, manuscript on paper [Italy (probably Palermo, Sicily), at either end of the fifteenth century (c. 1422, and then probably 1484)]To view a video of this lot, click here.66 leaves (plus a more modern paper endleaf at front and back), complete, collation: i8,ii-iv10, v6, vi10, vii12, texts in varying humanist hands and of different line lengths, but all single column, and first text in 21 lines of a fine humanist hand, red rubrics and simple red initials for first text, watermarks of gauntlet surmounted by a flower, simple tower, scales and elaborate letter 'P' (see below), fol. 63 with burn-hole in bas-de-page, some spots, stains and discoloured areas, but overall in good and presentable condition, 223 by 150mm.; card binding (perhaps contemporary) stitched with leather thongs, with "637" and illegible title on spine in faded ink A fascinating humanist compendium, with a probable provenance in Palermo, and thus a rare witness to Sicilian interest in Renaissance learning  Provenance:Apparently written for a humanist scholar on Sicily in two stages at opposite ends of the fifteenth century, initially around 1422 and later in 1484. The earliest section is that now fols. 29-38, written with a scrawling hand and with a watermark of a simple tower with three spiked turrents, identical to Briquet 15,864, and elsewhere recorded in several Italian cities in the first half of the fifteenth century, including Palermo in 1422. Then the section in the most accomplished humanist hand (here fols. 1-18) was apparently added, this with a watermark of a large gauntlet surmounted by a five-petalled flower, and tied at the wrist with a visible bulge for the knot on the outer side of the wrist, an extremely close variant of Briquet 11,158 (recorded Palermo. 1468). This part has dates of completion added in at the end of texts on fols. 13r ("1470") and 13v ("id mar. 1479"). Around the same time, the sections in fols. 19-28 and 39-55 were added, with their common simple scale within a circle watermark, and dates of "Die 26 Novembris hora 6, 1484" and "Vale vijj Calendas Aprilis 1484" at end of letters copied on fols. 44r and 45v. The compendium was completed by the appending of the last 12 leaves, these with a watermark with an elaborate letter 'P' with a sweeping curled backstroke, almost an exact match for Briquet 8492 (Rome, 1484, differing only in the width of the curling lappet and its foliate lips at its terminal). Sicilian humanism is greatly unstudied, and indeed little can be discerned beyond the careers of a handful of scholars such as Antonio Beccadelli ('Il Panormita', 1394-1471), Pietro Ranzano (1428-92), Tommaso Schifaldo (1430-c. 1500) and Antonio Veneziano (1543-93), and the observation that their work tended towards a Christian focussed view of Renaissance subjects. As such any Renaissance text from the region adds greatly to our knowledge. Text:The earliest section of the volume is a series of extracts of quotations and moral information from Classical sources (here fols. 29r-38r), naming Cicero, Varro, Ulpian, Sallust, Quintilian, Ovid, Virgil, Martial, Titus Livy, Plautus, Juvenal and Terrence, among others. Then a series of speeches ascribed to variants of a pseudonym "De Pisis" or "B.P. Pistorius", were added to this (fols. 1r-18v). This author cannot be firmly identified in other records. The works are skilled and indicate academic accomplishments (especially medical). The last refers to the date 9 December 1479 in reference to a new 'interpretation' of the works of Valerius Maximus. Given the proposed origin of the volume he may well have been a Sicilian author about whom little can now be known outside of the present witness. This last section is sandwiched between quires containing notes from various sources (fols. 19-28 and 39-55), including Canon Law (fol. 19rv), a "defensio ab homicidio" (fol. 22rv), and numerous copies of and extracts from fifteenth-century letters (some discussing humanist studies: see fols. 52v-54r), as well as notes of a theological nature, including a section of Peter Lombard's, Sententiarum IV:3 (fols. 50r-51v).The final part here contains the works of Donato Acciaioli (1429-78). He was perhaps the best known orator and politician in the age of Lorenzo de' Medici. He knew the greatest humanists of his day personally, including Vespaniano da Bisticci and Pogglio Bacciolini, and was a member of the Accademia Fiorentina, with his own studies focussing on translations of Greek philosophical works. This volume includes some of his lesser known works, consolatory letters addressed to Pandolpho de Pandolphinis dated 23 November 1456, and to Laurentio and Iuliano Medici dated 22 July 1471. These are followed by a speech in the form of an open letter on a public address by Cosmo de' Medici, dated 20 March 1464. This ends with a letter of Donato Acciaioli to Giovanni Pontano, dated September 1477. 

"Der Raub der Sabinerinnen", nach Pietro da Cortona, Italien, 18./19. Jhdt. Öl auf Leinwand, auf Holz oder Spanplatte aufgezogen, die Rückseite mit Leinwand doubliert. Darstellung des Raubes der sabinischen Frauen durch römische Soldaten. Nach dem bekannten Gemälde von Pietro da Cortona im Kapitolinischen Museum. Ältere, nach einem seitenverkehrten Stich gefertigte Kopie. Bildoberfläche stellenweise berieben. In modernem, reliefiertem und vergoldetem Rahmen. Bildmaße 99 x 125 cm, mit Rahmen 114 x 140 cm. Zustand: II - An Italian painting "The Abduction of the Sabine Women", after Pietro da Cortona, 18./19. Jhdt. Öl auf Leinwand, auf Holz oder Spanplatte aufgezogen, die Rückseite mit Leinwand doubliert. Darstellung des Raubes der sabinischen Frauen durch römische Soldaten. Nach dem bekannten Gemälde von Pietro da Cortona im Kapitolinischen Museum. Ältere, nach einem seitenverkehrten Stich gefertigte Kopie. Bildoberfläche stellenweise berieben. In modernem, reliefiertem und vergoldetem Rahmen. Bildmaße 99 x 125 cm, mit Rahmen 114 x 140 cm. Condition: II -

A RARE AND MASSIVE CHINESE GE-TYPE MOONFLASK, BAOYUEPING YONGZHENG 1723-35 The flattened body moulded to each side with a large circular central boss surrounded by nine ruyi-heads, decorated all over with a pale greenish-grey glaze suffused with dark crackles, the short cylindrical neck flanked by two applied scroll handles, all raised on a short gently flared foot, 50cm. Provenance: from the estate of Dikran Ouzounian (d.8th November 2011) and Seta Ouzounian (deceased), 79 Cadogan Square, London, and thence by descent. The glaze on this imposing moonflask is an active tribute to earlier Chinese Ge wares, which were notable for their deliberate irregular crackle. Whilst the exact location of the site remains unknown, the Ge kiln is regarded as one of the Five Great Kilns (Wu Da Ming Yao) of the Song dynasty, along with Ru, Jun, Guan and Ding wares. It is, however, interesting to note that no examples of Ge pieces have been discovered in Song dynasty tombs, and so their dating is still contentious amongst modern scholars. It is in fact possible that Ge pieces were not produced until the Yuan dynasty, perhaps as a copy of Song Imperial Guan wares. Imitations of Ge glazes applied to porcelain bodies first appeared during the Ming dynasty, and Imperial pieces of this type were produced during the reigns of the Xuande (r.1426-35) and Chenghua (r.1465-1487) Emperors. The later Ming saw the creation of only a few exceptional pieces of this type, and it was not until the reign of the Qing dynasty emperor Yongzheng (r.1723-35) that the imitation of Ge pieces was reinvigorated and reached new levels of sophistication. The Yongzheng Emperor is known to have been fascinated with the past and is remembered as a passionate collector of antiques. Under such a keen patron with great enthusiasm for works of art made for the Imperial Court, the potters at the Imperial Kilns in Jingdezhen carried out much research and experimentation during this period. The workers developed an extensive range of fine monochromes including reinventions of early wares, which reflected the Yongzheng Emperor's admiration of antiquity. Tang Ying (1682-1756), one of the most renowned supervisors of the Imperial Kilns, is particularly associated with the production of pieces imitating early wares during this period, and he writes about the production of imitation Ru, Guan and Ge wares in his Records of Ceramic Production (Taocheng jishi). For a more in-depth discussion on Yongzheng period copies of earlier Chinese wares, see Wang Qingzheng, Yongzheng Imitations of Guan, Ge, Ru and Jun Wares, Chinese Ceramics: Selected Articles from Orientations 1982-1998, pp.265-270. Cf. Bonhams Hong Kong, 26th May 2007, lot 220 for a similar vase; see also Sotheby's London, 8th November 2006, lot 173 for a comparable piece moulded with the Eight Trigrams; see also Sotheby's Hong Kong, 28th November 1978, lot 207 for a related Guan-type moonflask with the Eight Trigrams design.清雍正  仿哥窯抱月瓶來源：Dikran Ouzounian（逝於2011年11月8日）及Seta Ouzounian遺產，之後由其家族繼承。哥窯為宋朝五大名窯之一，其主要特征是釉面有大小不同的開裂紋片，是為南宋時期修內司官窯燒製的。早在宣德及成化年間的官窯已經開始在模仿宋代哥窯開片釉，這種技術發展到清代雍正時期可謂攀上新的高峰。這不僅是雍正皇帝憶古之情的體現，更要歸功於兩位著名督窯官年希堯與唐英。此種樣式源於波斯的金屬工藝品形狀，經改造以迎合漢人的審美。創燒於明永樂官窯，因成型時必須分別製作再粘合成器，故成品難度極大。由此件拍品可看出當時以異材器型和古代瓷釉所重新組合而成的仿古創新之作。

Jose Maria da Fonseca Moscatel de Setubal Superior 1965 1 x 50cl bottle boxed (damage to box)  

Five cased Royal Mint Silver Royal Commemorative crowns for 1977, Tristan Da Cunha, St Helena etc

Five assorted bottles of port, including Kopke, 1978, Croft Quinta Da Roeda, 1978, a half bottle of Croft Six Continents 1978 and two other bottles with very low levels.

Four bottles of vintage port; two Graham's Malvedos 1976 and 1984, one Warres Quinta da Cavadinha 1984 and one Cockburn's Quinta do Tua

Harlekin mit Dudelsack , nach einem Entwurf von Johann Joachim Kaendler vor 1736, überarbeitete Fassung von Johann Friedrich Eberlein um 1740 Da der Dudelsackspieler- das männliche Pendant zur Tirolerin mit Drehleiter- zu den beliebtesten Figuren aus Meissen zählt, ist er in vielen bedeutenden öffentlichen Sammlungen vertreten. Der Ursprung des Pärchens Harlekin und Tirolerin dürfte in den Verkleidungsfesten des Dresdner Hofes liegen. Porzellan farbig staffiert. Der Harlekin sitzt auf einem Sockel und hält einen Dudelsack im Arm. H= 14 cm, unglasierter Boden, ohne Marke Harlequin with bagpipe, after a design by Johann Joachim Kaendler before 1736, revised version by Johann Friedrich Eberlein in 1740 Since the bagpipe player - the male counterpart to the Tyrolean with aerial ladder - is one of the most beloved figures in Meissen, he is represented in many important public collections. The origin of the pair Harlequin and Tyrolean woman is likely to lie in the disguise festivals of the Dresden court. Porcelain painted in color. The harlequin sits on a pedestal and holds a bagpipe in his arms. H = 14 cm, unglazed floor, without brand

J Ibbotson after Leonardo da Vinci: 'The Last Supper', oil on canvas signed 40cm x 80cm - Condition Report

After Leonardo da Vinci: 'Mona Lisa', late 20th century oil on canvas signed 90cm x 60cm - Condition Report

Da Qing Qianlong Nian Zhi "Great Qing Qianlong Period hand painted Chinese vase. Vase depicts a family of monkeys within the trees. Signed by the artist to the side and signed to the base. [32cm in height]

Diverse Künstler des 20. Jahrhunderts - Konvolut 5 Ausstellungsplakate - 2 Farbserigrafien sowie 3 Farboffset/Papier. Bis zu Die Blätter liegen lose. Teils leichte Randmängel. 1. Victor Vasarely. Look at Vasarely. Planetarische Folklore-Spielobjekt. (Farbserigrafie). 2. Sigrid Kopfermann. Neue Bilder. Galerie Brusberg Hannover. (Farbserigrafie). 3. Maria Vieira da Silva. Kestner-Gesellschaft Hannover. 1958. 4. Picasso. Linolschnitte. Kestner-Museum Hannover. 1961. 5. Kestner-Gesellschaft Hannover. Farbige Grafik 1957.

Almir da Silva Mavignier 1925 Rio de Janeiro - 2018 Hamburg - Die Folge der Jahreszeiten nach Runge - 4 Farbserigrafien/Papier. 84 x 60 cm (Druck- und Blattmaß). Jeweils sign. M. u.: Mavignier. Die Blätter liegen lose. Randmängel.

Tristan da Cunha, 'Longest Reigning Monarch Portrait Collection' a set of 4 x silver proof crowns depicting different portraits of the Queen's reign; the reverses of the four crowns depict the Queen's portraits similar to those used in Britain & the Commonwealth by Gillick (1957), Machin (1974), Maklouf (1985) & Rank-Broadley (1998); each crown 38.6mm, 12g .925 silver & each with a total mintage of 4999; with certificate of authenticity; included with the set is a Tristan da Cunha silver proof £5 2015 commemorating the 70th anniversary of D-Day 1945-2015, rev. Union Flag & two banners with letters V & E, London skyline in background, 38.6mm, 25.5g, .925 silver, no certificate; individually encapsulated in London Mint office case of issue, FDC

A framed Oil painting entitled Luciano Manuel Gomes da Costa Pinto.

Fußschale - China, Porzellan mit polychromem Dekor in Emailfarben und Unterglasur, 6-eckige Schale auf ausgestelltem Stand, auf der Wandung umlaufend Darstellungen von Fo-Hunden mit Brokatbällen, Goldrand, innen und am Boden türkis-grüne Lasur, unterseitig roter Zeichenmarke „Da Qing Tongzhi Nian Zhi“, aber wohl nach 1900, leichte Altersspuren/ Abrieb, B.ca.21cm, H 8,5cm

Rundschale - China, Qing-Dynastie, Porzellan, leicht ausgestellte tief gemuldete Form auf Standring, Außenwandung puderblau glasiert, umlaufend ausgesparte fein reliefierte Drachenmotive mit flammender Perle ohne Glasur, von einem Metallring gefasste Mündung, innen florale Medaillons und Borten sowie Lingzhi-Wolken in Unterglasurblau, im Boden unterglasurblaue Sechs-Zeichen-Marke 'Da-Ming Chenghua nian zhi' im Doppelring, H. ca.9,9 cm; Dm. ca.20 cm, ehemals Auktionshaus Nagel Stuttgart, Auktion 717 (12/2014), Los 613, Provenienz: Aus einer europäischen Privatsammlung

Cachepot - China ausgehende Qing-Dynastie, Porzellan, Zylinderform, leicht ausgestellt, die Außerwandung umlaufend beschriftet in Unterglasurblau, mit Siegel "Xi chao chuan gu", Boden teils unglasiert mit vertiefter Mitte, darin blaue Sechs-Zeichen-Marke „Da Qing Kangxi Nian Zhi“, Boden mit Riss, Höhe: ca.15,5cm, Durchmesser: ca.19,5cm

HUAGU-VASE MIT DEKOR VON QILIN China, 18./19. Jh. Porzellan, unterglasurblaue Bemalung. H. 30,5 cm. Sechs-Zeichen-Marke 'Da-Qing Kangxi nian zhi'. Vier Qilin als Dekor auf der Wandung. Eine Stelle minimalst best., minimalste Gebrauchsspuren. Dazu Holzsockel. Provenienz: Privatsammlung Neuss.

ZWEI KLEINE WEIHRAUCHBRENNER China, um 1900 Bronze, braun patiniert. H. 3,8 cm-5,4 cm. Im Boden Zeichenmarke 'Xuan' und 'Da-Tang nian zhi'. Part. ber., altersgemäße Gebrauchsspuren.

SELADONVASE MIT DEKOR VON KRANICHEN China, 19./20. Jh. Porzellan. H. 30,4 cm. Im Boden Sechszeichenmarke 'Da-Qing Qianlong nian zhi'. Leicht reliefierte Darstellung von einer großen Kiefer auf der Wandung. Altersgemäße Gebrauchsspuren. Provenienz: Rheinische Privatsammlung, seit mindestens 30 Jahren im Familienbesatz.

GROßE VASE MIT FIGÜELICHER SZENERIE China, um 1900 Porzellan, polychrome Aufglasurbemalung. H. 46,5 cm. Im Boden unterglasurblaue Marke 'Da-Ming Jiajing nian zhi'. Bauchige Form mit Knoblauchmündung. Umlaufende Darstellung auf der Wandung: figürlicher Szene im idyllischen Landschaft. Part. besch., rest., part. ber.

ZWEI RÄUCHERGEFÄßE China und Japan, 19./20. Jh. Bronze. H. 8,8 cm-9,9 cm. Im Boden gemarkt 'Da-Ming Xuande nian zhi', 'Tokugawa... (?)'. Vierpassiger Weihrauchbrenner part. besch. Part. min. best., altersgemäße Gebrauchsspuren.

VASE MIT DEKOR VON UNSTERBLICHEN China, 20. Jh. Porzellan, polychrome Aufglasurbemalung. H. 44,5 cm. Im Boden Zeichenmarke 'Da-Qing Qianlong nian zhi'. Altersgemäße Gebrauchsspuren.

BLAUE VASE MIT FISCHDEKOR China, Qing-Dynastie Porzellan, Aufglasur- und Unterglasurbemalung. H. 29,2 cm. Im Boden Sechs-Zeichen-Marke 'Da-Qing Kangxi nian zhi' im Doppelring. Part. ber.

KLEINE BAUCHIGE VASE China, 19./20. Jh. Porzellan, Ge-Glasur. H. 8,2 cm. Im Boden Sechs-Zeichen-Marke 'Da-Qing Qianlong nian zhi'. Bodenring minimalst ber.

PAAR VASEN MIT FIGÜRLICHEN SZENEN China, um 1900 oder später Porzellan, polychrome Aufglasurbemalung. H. 31,2 cm. Im Boden Zeichenmarke 'Da-Qing Xianfeng nian zhi'. Eine Vase hat einen Haarriss. Altersgemäße Gebrauchsspuren. Dazu zwei Holzsockel. Provenienz: Privatsammlung Neuss.

VIER DOUQING-TELLER China , wohl um 1900 Porzellan, polychrome Aufglasurbemalung. D. 25,4 cm-26 cm. Im Boden gemarkt, u.a. 'Da-Qing Daoguang nian zhi', 'Da-Qing xianfeng nian zhi'. Teils min. besch., Haarrisse. Altersgemäße Gebrauchsspuren. Provenienz: Privatsammlung Neuss.

ACHT PORZELLAN-SNUFFBOTTLES China, Qing-Dynastie Porzellan, teils mit craquelierter Galsur. H. 5,8 cm-8,3 cm. Snuffbottle mit Ochsenblutglasur: Im Boden Doppelring-Marke in Unterglasurblau. Snuffbottle mit Dekor von Tierfiguren: Im Boden Sechs-Zeichen-Marke in Unterglasurblau 'Da-Qing Yongzheng nian zhi'. Part. min. best., altersgemäße Gebrauchsspuren. Provenienz: Privatsammlung Düsseldorf.

DREI SCHALEN China, um 1900 Porzellan, polychrome Aufglasurbemalung, Blaumalerei. D. 13,5 cm. Feine Schale mit Floraldekor: D. 13,5 cm. Im Boden Sechs-Zeichen-Marke 'Da-Qing Tongzhi nian zhi'. Min. ber. Imari-Deckelschale: D. 11,2 cm. Part. min. best. Imari-Schale: D. 21,3 cm. Rest., Haarrisse. Provenienz: Privatsammlung Neuss.

SITZNDER BODHISATTVA China, wohl 19. Jh. Bronze, part. vergoldet, part. farbig gefasst. H. 37.8 cm. Marke auf dem Sockel 'Da-Oing Kangxi nian zhi'. Ber., altersgemäße Gebrauchsspuren. Sockel geschlossen. Provenienz: Privatsammlung Düsseldorf.

ZWEI SNUFFBOTTLES UND DREI TELLER China und Japan, um 1900 Porzellan, Aufglasurbemalung, unterglasurblaue Malerei. Snuffbottle mit Dekor von Peferden: H. 6 cm, Bodenmarke: 'Daoguan nian zhi'. Part. ber. Snuffbottle mit Drachendekor: H. 6,8 cm, Bodenmarke: 'Kangxi nian zhi'. Min. besch. Drei Teller: D. ca. 16,6 cm. Im Boden gemarkt 'Da-Qing Qianlong nian zhi'. Part. ber.

VASE MIT DEKOR VON FLEDERMÄUSEN China, wohl Republik-Zeit Porzellan, polychrome Aufglasurbemalung. H. 21 cm. Im Boden Sechs-Zeichen-Marke 'Da-Qing Yongzheng nian zhi' im Doppelring. Min. Gebrauchsspuren.

SCHALE MIT DEKOR VON GOLDFISCHEN China, 19./20. Jh. Porzellan, Aufglasurbemalung. D. 10,7 cm. Im Boden Sechs-Zeichen-Marke 'Da-Qing Xianfeng nian zhi'. Acht Goldfische dekorieren die Außenwandung. Part. min. ber.

CACHEPOT MIT LANDSCHAFTLICHEN SZENERIEN China, Republik-Zeit Porzellan, polychrome Aufglasurbemalung. H. 26 cm. Im Boden Sechs-Zeichen-Marke 'Da-Qing Qianlong nian zhi'. Drei runde Reserven mit drei verschiedenen landschaftlichen Szenen dekorieren die Wandung. Rest., Haarrisse.

PAAR DECKLDOSEN MIT DRACHENDEKOR China, um 1900 Bronze. H. 10,2 cm, D. 16,5 cm. Im Boden gemarkt 'Da-Qing Qianlong nian zhi'. Part. min. best.. Altersgemäße Gebrauchsspuren. Dazu zwei Holzsockel. Provenienz: Privatsammlung Neuss.

GROßER WEIHRAUCHBRENNER MIT FABELWESEN China, Qing-Dynastie Bronze, Durchbrucharbeit. H. 24,5 cm. Im Boden 'Da-Ming Xuande nian zhi'. Zwei applizierte Fabelwesen als Henkel. Stilisierte Fabelwesen sowie Schriftzeichen 'Shou' im flachen Relief auf der Wandung. Part. min. ber. und best., altersgemäße Gebrauchsspuren. Dazu ein ausgefallener Sockel. Provenienz: Privatsammlung Neuss.

SIEBEN SNUFFBOTTLES MIT RELIEFIERTEM DEKOR China, späte Qing-Dynastie Porzellan, polychrome Aufglasurbemalung. H. 6,8 cm-8,2 cm. Teils im Boden gemarkt: 'Da-Qing Qianlong nian zhi', 'Qianlong nian zhi'. Part. ber., altersgemäße Gebrauchsspuren. Provenienz: Privatsammlung Düsseldorf.

ACHT SNUFFBOTTLES MIT BLAUMALEREI China, Qing-Dynastie Porzellan, unterglasur- sowie aufglasurblaue Malerei, unterglasurrote Bemalung. H. 7,3 cm-9,9 cm. Teils im Boden gemarkt 'Chenghua nian zhi', 'Da-Qing Yongzheng nian zhi', 'APPLE BLOSSO(N)'. Part. best., Haarrisse, Eine rest., altersgemäße Gebrauchsspuren. Provenienz: Privatsammlung Düsseldorf.

SCHALE MIT PHÖNIX-DRACHEN-DEKOR China, 19./20. Jh. Porzellan, polychrome Aufglasurbemalung. D. 21 cm. Im Boden Sechs-Zeichen-Marke 'Da-Qing Guangxu nian zhi'. Floraldekor auf der Außenwandung. Altersgemäße Gebrauchsspuren.

SCHALE MIT FÜNFKRALLIGEM DRACHENDEKOR Japan, 19./20. Jh. Porzellan, unterglasurblaue Malerei. D. 27,6 cm. Im Boden Zeichenmarke 'Da-Qing Qianlong nian zhi'. Vegetabiler Dekor auf Außenwandung. Haarriss, part. min. rest., altersgemäße Gebrauchsspuren.

FÜNF ELFENBEIN-SCHNITZEREIEN China, um 1900 Elfenbein, part. farbig gefasst. H. 9,5 cm-20,5 cm. Teils gemarkt 'Da-Ming Chegnhua', 'Chenghua'. Part. ber., min. rest., Spannungsrisse, altersgemäße Gebrauchsspuren. Provenienz: Privatsammlung Düsseldorf.

FÜNF DARSTELLUNGEN VON UNSTERBLICHEN China, um 1900 Elfenbein, part. farbig gefasst. H. ca. 21,5 cm-31 cm. Teils im Boden gemarkt 'Qianlong nian zhi', 'Da-Ming Chenghua'. Part. min. besch., best., Haarrisse. Zwei Figuren an Sockeln befestigt. Provenienz: Privatsammlung Düsseldorf.

DREITEILIGES KONVOLUT: TEESCHALEN China, um 1900 Porzellan, polychrome Aufglasurbemalung. D. 10,6 cm, D.-Untertassen: 11 cm-13,4 cm. Teils gemarkt 'Da-Qing Guangxu nian zhi'. Dartellung: Phönixe und Drachen. Altersgemäße Gebrauchsspuren. Provenienz: Alte Privatsammlung Mühlheim.

DREITELIGES KONVOLUT China, Qing-Dynastie H. 12,1 cm. Guangong-Darstellung: Porzellan, polychrome Aufglasurbemalung, Durchbrucharbeit. H. 12,1 cm. Gemarkt auf der Rückseite 'Da-Ming Xuande nian zhi'. Guanyin-Figur aus Ton: H. 6,9 cm. Porzellan-Vogelfigur: H. 15,8 cm. Min. Haarrisse, part. ber., altersgemäße Gebrauchsspuren. Provenienz: Privatsammlung Neuss.

PAAR GROßE VASEN MIT GARTENSZENEN China, 20. Jh. Porzellan, polychrome Aufglasurbemalung. H. 40,4 cm. Im Boden Zeichenmarke 'Da-Qing Qianlong nian zhi'. Beigefügt CERTIFICATE OF IDENTITY von 'The Curios, Furniture & Miscellaneous Utensilo & Hardware Merchants & Employees Association, Hong Kong & Kowloon', 17. Oct. 1973. Altersgemäße Gebrauchsspuren.

VIERPASSIGE VASE MIT FIGÜRLICHEN DARSTELLUNGEN China, um 1900 Porzellan, polychrome Aufglasurbemalung, Durchbrucharbeit. H. 50,5 cm. Im Boden gemarkt 'Da-Qing Qianlong nian zhi'. Besch., rest.. Dazu Holzsockel. Provenienz: Privatsammlung Neuss.

Unbekannter Künstler (wohl 18./19. Jahrhundert), Place de la Concorde (plus kl. Darstellung einer Pferdekutsche), wohl Kaltnadelradierung, unten li. sign. sowie re. unten Monogrammstempel (wohl "DA") und nummeriert (wohl "11/12"), Blattgröße (Place de la Concorde) ca. 20,5 x 38 cm sowie (Pferdekutsche) ca. 3,5 x 2,2 cm, PP, hinter Glas gerahmt. Blatt im altersgem. Zustand.

Unbekannter Küntler (wohl 20. Jahrhundert), "Da fraß Schweina die ersten Tulpen des Klosters", Farbholzschnitt, betitelt, Darstellung ca. 32 x 28 cm.

(See English version below)Almir da Silva Mavignier (Rio de Janeiro 1925 – 2018 Hamburg). Zwei Quadrate. 1966Acryl auf Leinwand, in Objektkasten. 52 × 52 cm (65 × 65 × 6,5 cm) ( 20 ½ × 20 ½ in. (25 ⅝ × 25 ⅝ × 2 ½ in.)). Rückseitig mit Pinsel in Gelb signiert, bezeichnet und datiert: Mavignier Hamburg 66.[3513] Wir berechnen auf den Hammerpreis 30% Aufgeld.Almir da Silva Mavignier (Rio de Janeiro 1925 – 2018 Hamburg). Two squares. 1966Acrylic on canvas in object case . 52 × 52 cm (65 × 65 × 6,5 cm) ( 20 ½ × 20 ½ in. (25 ⅝ × 25 ⅝ × 2 ½ in.)). Signed, inscribed, and dated with brush in yellow on the reverse: Mavignier Hamburg 66.[3513] We charge 30% premium on the hammerprice.

(See English version below)Almir da Silva Mavignier (Rio de Janeiro 1925 – 2018 Hamburg). Ohne Titel (K.B. 47). 1961Öl auf Leinwand, in Objektkasten. 90 × 90 cm (103,5 × 103,5 × 8,8 cm) ( 35 ⅜ × 35 ⅜ in. (40 ¾ × 40 ¾ × 3 ½ in.)). Rückseitig mit Filzstift in Schwarz signiert, datiert und bezeichnet: Mavignier 1961 Ulm K.B. 47.[3513] Wir berechnen auf den Hammerpreis 30% Aufgeld.Almir da Silva Mavignier (Rio de Janeiro 1925 – 2018 Hamburg). Untitled (K.B. 47). 1961Oil on canvas in object case . 90 × 90 cm (103,5 × 103,5 × 8,8 cm) ( 35 ⅜ × 35 ⅜ in. (40 ¾ × 40 ¾ × 3 ½ in.)). Signed, dated, and inscribed in black felt-tip pen on the reverse: Mavignier 1961 Ulm K.B. 47.[3513] We charge 30% premium on the hammerprice.

(See English version below)Almir da Silva Mavignier (Rio de Janeiro 1925 – 2018 Hamburg). „Punctum“. 1965/66Original-Kartonkassette mit 7 Farbserigrafien, jeweils auf Schoellershammer-Karton, sowie einem typografischen Textblatt und Impressum. 62 × 63 cm ( 24 ⅜ × 24 ¾ in.). Jedes Blatt signiert, datiert und mit Ordnungsziffer innerhalb der Folge bezeichnet.Jeweils einer von 125 nummerierten Abzügen. Köln, Galerie Der Spiegel, 1966. [3513] Wir berechnen auf den Hammerpreis 30% Aufgeld.Almir da Silva Mavignier (Rio de Janeiro 1925 – 2018 Hamburg). ”Punctum”. 1965/66Original cardboard box with 7 colour silkscreens, each on Schoellerhammer cardboard, as well as a typographically text sheet and imprint. 62 × 63 cm ( 24 ⅜ × 24 ¾ in.). Each sheet signed, dated, and inscribed with the serial numbers within the series.Each one of 125 numbered prints. Cologne, Galerie Der Spiegel, 1966. [3513] We charge 30% premium on the hammerprice.

(See English version below)Elisa Martins da Silveira (Teresina, Piauí, Brasilien 1912 – 2001 Rio de Janeiro). Bucólica. Öl auf Leinwand. 54 × 65 cm ( 21 ¼ × 25 ⅝ in.). [3513] Gerahmt. Wir berechnen auf den Hammerpreis 30% Aufgeld.Elisa Martins da Silveira (Teresina, Piauí, Brazil 1912 – 2001 Rio de Janeiro). Bucólica. Oil on canvas. 54 × 65 cm ( 21 ¼ × 25 ⅝ in.). [3513] Framed. We charge 30% premium on the hammerprice.