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Royal Worcester 'Hog-Hunting' porcelain figure, modelled by Doris Lindner, model number 3164. (Approx 17.5cm high x 22cm wide)

John Gifford (d.1900) Hunting dogs and pony with the days catch within a mountain landscape Signed, oil on canvas 144.5cm by 99cmThis lot has been imported from outside the United Kingdom under the Temporary Admission scheme. VAT will be charged at 5% on the hammer price and 20% on the buyer's premium.

A Set of Twelve Continental Red Wine Glasses, the semi-panelled bowls gilt with a continuous stag hunting scene, on a faceted stem and circular foot, etched mark 18cm highThis lot has been imported from outside the United Kingdom under the Temporary Admission scheme. VAT will be charged at 5% on the hammer price and 20% on the buyer's premium.

After George Wright "His Same Old Game" A colour reproduction, together with three further prints of a similar subject matter to include "Coarsing the Ford" "The Pink of Condition" and "Full Cry through the Homestead", together with six further hand-coloured prints plates 1-6 from Bachelors Hall series, a collection of vignette scale hand-coloured etchings of hunting and sporting subject matter, and four further hunting reverse prints on glass, various sizes (a collection)This lot has been imported from outside the United Kingdom under the Temporary Admission scheme. VAT will be charged at 5% on the hammer price and 20% on the buyer's premium.

A MID 20TH CENTURY HEAVY GLASS TABLE TOPwith reverse painted hunting scene 102cm; 45cm

A PAIR OF LARGE MID 20TH CENTURY PYOGRAPHY PANELS DEPICTING HUNTING SCENESprobably French, each 116cm wide; 74cm high

ENGLISH SCHOOL (18TH CENTURY) HUNTING IN A LANDSCAPE Oil on canvas 76 x 103cm (29¾ x 40½ in.)Provenance: The collection of John W Balfour Property of Harry Taft Hayward (1868 - 1930) and Edith Wires (1872 - 1962) Skyring House, Worthing, and thence by descentPlease note measurements do not include frame unless otherwise stated. Harry Taft Hayward (1868 - 1930) - cousin to William Howard Taft, 27th president of the United States - and Edith Wires (1872 - 1962) were members of the Boston elite. Their two daughters, Mary Elizabeth Hayward (1906-1976) and Harriet Taft Hayward (1907-1968), lived at Oakwald, Franklin, Massachusetts and were both painted by the artist Sir John Lavery (1856 - 1941); see Christie's, The Scottish Sale at The Assembly Rooms, Edinburgh, 6975, 28th October 2004, Lot 152.Mary Elizabeth married the Chilean born Henry Bernard Arthur de Bruyne (1898 - 1976) and eventually came to live in England at Skyring House, Worthing, from circa 1929 until 1939 when the property was commandeered by the British Army. After World War II they moved to Hurstpierpoint, Sussex. Condition Report: The canvas has been lined. There is a layer of dirty varnish, as well as some surface dirt. Craquelure throughout, rubbing and abrasions to the framing edges. Inspection under UV reveals some infilling and retouching, however a green cloudy varnish is potentially concealing the full extent of the overpainting.Condition Report Disclaimer

Three Cecil Aldin hunting prints 

Hunting interest - A novelty shotgun shooting peg drawer / butt marker, in the form of shotgun cartridges on a solid oak base.

Hunting interest: After Henry Alken, a pair of coloured engravings 'Throwing Off' and 'Breaking Cover', printed by Clark & Dubourg, each 57 by 34cms, both in maple frames (2).

Hunting interest. A 15ct gold fox mask and riding crop bar brooch, the fox mask set with ruby cabochon eyes, in original Parkes of Regent Street, London, leather jewellery box, 5.5g.

Large Wedgwood platter decorated with hunting scene, marked Trial, together with 3 Fred Cholerton signed 1920's plates (a/f) one signed plate with hairline & one with chip. (4)

Lionel Edwards, a hunting scene, signed in pencil, colour print, I.33 x 49cm; together with another print after Lionel Edwards; and a limited edition numbered print of the Grand National, by Cecil Aldin. (3)

Continental Lead Wall Plaque Featuring Hunting Party, in wooden frame, 30 x 23cm, another smaller of pipe smoking gentleman (2).

A late 19th century Parian sculpture - modelled as two hunting dogs standing in an alert position, width 36cm.

FERNANDO BOTERO (1932-2023)Dog on a cushion 1976 incised with the artist's signature and numbered 5/6bronze34 by 37 by 40 cm.13 3/8 by 14 9/16 by 15 3/4 in.This work was executed in 1976, and is number 5 from an edition of 6.Footnotes:Provenance Didier Imbert Fine Art, ParisPrivate Collection, Saint Tropez (acquired from the above in 1993)Thence by descent to the present ownerExhibitedMonte Carlo, Marisa del Re Gallery, Fernando Botero, 1992, another example exhibitedParis, Avenue Des Champs-Élysées, Grand Palais and Galerie Didier Imbert Fine Art, Botero Aux Champs-Élysées - Sculptures et Œuvres sur Papiers, 1992-1993, p. 156, another example exhibited and illustrated in colour Literature Jean-Clarence Lambert, Benjamín Villegas (Ed.), Botero Sculptures, Colombia 1998, p. 61, another example illustrated in colour, n.p., another example illustrated in colour Renowned for his distinctive style characterised by voluptuous and exaggerated forms, the Colombian artist Fernando Botero has left an indelible mark on the history of art. His works evoke a sense of affection and endearment, transcending cultural and linguistic boundaries and animals often play a quintessential role in them. Having studied under Roberto Longhi, a distinguished authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his oeuvre and made him one of the world's most revered and sought-after artists of the present day. The canon of art history, especially the European one became a rich source of inspiration, and no subject is quite as interwoven into the history of art as the humble dog, man's best friend and faithful companion. Dog on a Cushion from 1976 is a beautifully playful example of Botero's celebrated sculptural practice, with the small well-rounded canine proudly perching on a fluffy cushion- an emblem of domesticity and comfort but also a nod to the importance we give to the pets in our lives. The artist's fascination with horses, cats, birds, and dogs is a prominent feature throughout his oeuvre. Characterised by an intentional exaggeration of his subjects' forms, Botero's ability to infuse life into his sculptures is striking. The present work is not a mere imitation of a dog but a celebration of its essence, the exaggerated curves and humorous expectantly outstretched tongue emphasize the joviality and charm of the animal, which might at any moment jump off the cushion.Dogs have held a significant role in art history as subjects of fascination, symbolism, and companionship. From ancient cave paintings to the masterpieces of the Renaissance and beyond, dogs have been depicted in various contexts, reflecting their diverse roles in human societies. As companions and symbols of fidelity, dogs often appear in portraits, signifying loyalty, trust, and the bonds of friendship. Furthermore, their depictions in hunting scenes highlight their utilitarian roles as skilled hunters and trackers. In the broader context of art history, dogs have served as allegorical symbols, representing virtue, faithfulness, or even human qualities, reminding us of their enduring importance in the human experience.Profoundly influenced by the classical masterworks he saw during his studies and travels, Botero dedicated his life to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born.World-renowned for his often epic paintings, Botero's foray into sculpture has further enriched his artistic repertoire over the decades. Dog on a Cushion stands as a prime example of his prowess in this medium. His sculptures are characterised by the same aesthetic principles that define his paintings—exaggerated volumes, harmonious proportions, and a playful approach to form. The transition from canvas to three-dimensional sculpture however allowed the artist to bring his iconic subjects to life in a tangible and interactive way with a tactile quality that invites viewers to engage on a more physical level. Dog on a Cushion exemplifies this approach, with its smooth, sensuous surfaces inviting touch and exploration. The artist said that 'For my entire life, I've felt as if I had something to say in terms of sculpture. It's a very strong desire...pleasure—that of touching the new reality that you create. Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality . . . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist in: E. J. Sullivan, Botero Sculpture, New York 1986, p. 13.Fernando Botero's contributions to the world of art are substantial and far-reaching and his unique style and unwavering commitment to his artistic vision have earned him a significant place in art history. His oeuvre serves as a bridge between traditional and contemporary art, drawing from classical techniques while infusing them with a modern and innovative sensibility. Embracing diversity and celebrating the inherent charm in all subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes. The same dog of undefined breed as in the present work can be found in many of the artist's paintings, and a large-scale sculpture version, without the plump cushion, can be found in the Plaza Botero in the artist's hometown of Medellín. Other Botero works are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá. In 1958 and 1992 Botero participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. He has had major retrospectives at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1979); Seibu Museum of Art, Tokyo (1981); Museo Nacional Centro de Arte Reina Sofía, Madrid (1987); Museo de Bellas Artes, Bilbao (2012); and many others. Botero's international recognition and ability to transcend geographical and cultural boundaries has elevated the visibility of Latin American artists on the global stage. Unequivocally timeless, his work continues to inspire artists worldwide, encouraging them to explore new dimensions of expression and representation and Dog on a Cushion offers a wonderful opportunity to acquire a charming example from the contemporary master's celebrated oeuvre.For further information on this lot please visit Bonhams.com

AFTER P. J. MENE, TWO BRONZE STUDIES both depicting hunting dogsthe larger 21cm longQty: 2Ex Knockdow, Argyll, Phillips 1990

BESWICK FOX HUNTING SET, comprising three larger huntsmen and one huntswoman, one on dappled grey mount, nine hounds and one fox, along with three further Beswick dogs and a similar (smaller and unmarked) hunting setthe largest 21cm high

PAIR OF BOHEMIAN GLASS VASES, LATE 19TH/EARLY 20TH CENTURY of Campana form, the bowls decorated with scenes of boar hunting19cm high

A SILVER CASED, KEY WIND HUNTING CASED FOB WATCH AND ANOTHER WATCH (2)The gilt fusee movement detailed to the back plate W. Fletcher, Ambridge, the enamelled dial with Roman numerals, London pre 1821, date letter uncertain, the case front crest engraved, diameter 3.8cm and a key wind openfaced lady's fob watch

A hunting print in gilt frame. 20" x 24"

3 large vintage Goebel ceramic Hummel figurines, 1964 - 79. Good Hunting, Flower Vendor and Postman. All with blue back stamps to underside and in good condition.

MILLAIS, J.G. A Breath from the Veldt new ed. 1899, 4to cl. recased, plus 4 others on hunting (5)

A collection of assorted prints and pictures including hunting examples

A china stirrup cup, formed as a hunting boot

Four 19th century hunting prints, Leicestershire Hunt

ALDIN (Cecil) Hunting Scenes. Forty Sketches of Hunting Scenes and Countries, with a Memoir and Descriptive Notes by 'Sabretache', Eyre & Spottiswoode, 1936, 4to, no. 13 of 25 numbered copies, tinted illustrations, vellum backed, with box; Right Royal, by John Masefield, 1922, 4to, no. 373 of 375 signed copies, illustrated, vellum backed (2)

EDWARDS (Lionel) My Hunting Sketch Book, vols. I and II, 1928-30; My Scottish Sketch Book, 1929; A Leicestershire Sketch Book, 1935; all 4to, signed numbered editions, vellum backed (4)

LUCAS LUCAS (H F) The Hunting Alphabet, no date, oblong folio, no. 14 of 300 copies, signed, 28 coloured plates, publisher's green cloth gilt; STEWART (J A S) Hunting Countries, Cross Country with Hounds, Hark to Hounds, 1935-37, oblong folio, colour plates, dust jackets (chipped and worn in places); FOTHERGILL (George A) Notes from the Diary of a Doctor, Sketch Artist and Sportsman. York: John Sampson 1901, large 4to, lithograph plates, cloth (worn); PAYNE (Charlie Johnson) 'Snaffles'. More Bandobast, 1936, 4to, signed Snaffles bookplate, buckram backed cloth; LUARD (L D) Horses and Movement, 1921, oblong 4to, tipped in plates, dust jacket (7)

EDWARDS (Lionel) Collection of sporting and equestrian works, most in dust jackets, including: Sport in War, 1936; Shires and Provinces, 2nd impression 1927, thick paper; British Racecourses, 1951; Huntsmen Past and Present, 1929; Famous Foxhunters, 1938; They Meet at Eleven, 1956; Tally-Ho Back!, 1931; Forrard-On!, 1930; Hunting and Stalking the Deer, 1930; 15 others in original bindings (24)

PAYNE (Charlie Johnson) 'Snaffles' Being a Selection of His Hunting and Racing Prints, compiled by Mark Flower, Millwood Press, 1983, no. 48 of 750 copies, oblong folio, tipped in colour plates, morocco backed, drop back box

ALDIN (Cecil) Old English Sports and Pastimes, Lawrence & Bullen 1901, portfolio set of 12 loose chromolithograph prints including: Golf, Cricket, Bowls, Hawking, Shooting, Fishing, Curling, Coaching, Ice-skating, Racing, Hunting and Coursing; each 38 x 47.5cm (sheet size)

ARMOUR (G D; illustrator) Humour in the Hunting Field, 1928, folio, no.13/100 copies with 20 signed colour plates, original cloth; Reynard the Fox by John Masefield, 1921, 4to, signed numbered copy of an edition of 380, vellum backed; An Hunting Alphabet, Country Life 1929, 4to, dust jacket; British Sport Past and Present, 1909, 4to, signed numbered copy, original morocco, spine ends chipped; Thoughts on Hunting by Peter Beckford, no date, 4to, signed numbered copy, edition de luxe, original morocco; Pastime with Good Company, tipped in plates with captioned guards, cloth backed boards; and 7 others by Armour (13)

Hunting and Sporting British Sports and Sportsmen - Hunting, no date, edition of 1000 copies, morocco gilt; MASEFIELD (J) & E. SEAGO. The Country Scene, 1st edition Collins 1937, 4to, plates, dust jacket; PAGET (Major Guy) The Melton Mowbray of John Ferneley, 1931, 4to, signed numbered copy no.165/220 with an original drawing at the front, morocco backed cloth, dust jacket; with others by Stanislaus Lynch, A J Munnings, Charles Simpson, and others, cloth bindings (20)

SELECTION OF METAL BELT BUCKLEScomprising Harley-Davidson, The United States Of America, Revolver, Elvis, Native Americans on horse back and Native Americans hunting buffalo, together with a vintage metal AA car badge (8)

Unclearly signed. Fox hunting. Second half of the 20th century. Oil on linen. Dimensions: H 70 x W 100 cm. In good condition.

Monogram + 1877. Still life with fruit, flowers and hunting trophies. Oil paint on panel. Dimensions: H 48 x W 43 cm. In good condition.

Color etching. Leon Danchin. Hand signed. 1887 - 1938. Hunting dog with partridge. Etching on paper. Dimensions: H 47 x W 61 cm. In good condition.

Four old/antique hunting daggers with deer horn. Large one with silver. 20th century. Size: 23 - 38 cm. In good condition.

Two large antique Bohemian figures made of earthenware. Numbered. Circa 1900. Two large dachshunds, hairline cracks. Hunting dogs, chip basement. Size: 33 - 48 cm. In fair/good condition.

Hunting trophy, 4x with silver. Equipped with a bracelet, 2 pendants and a necklace with pendant. All decorated with leaf decor and teeth. approx. 49 grams. In reasonably good condition.

Sutherland, Thomas.: (1785 - 1838, lebte und arbeitete in London) Filho da Puta, The Winner of the Great St. Leger at Doncaster, 1815. Kolor. Aquatinta n.J.F.Herring sen. 38,5 x 51 cm. - Leicht gebräunt. ╔Dabei: Ders.╗ Full cry. Whifsendine Pasture. Farbaquatinta n. Henry Thomas Alken. 29 x 74 cm. Rechts außerhalb der Darstellung u. auf weißem Rand etw. fl. u. geknickt. -╔C. Hunt n. H.Hall╗ Nutwith the winner of the Great St. Leger Stakes at Doncaster, 1843. Kolor. Aquatinta. Ca. 41 49 cm. - Etw. gebräunt, re. oben kl. Fehlstellen. - ╔Harris, J. n. J.F.Herring╗ Fox hunting. The start. Farbaquatinta. 35,5 x 51 cm. - Etw. fl. D

Full title: A Russian Kholmogory reticulated walrus bone casket with brass mounts, 17th C.Description:Dim.: 13,3 x 12 x 10,5 cm Ref.: A closely related example is currently with Amir Mohtashemi Ltd., London, as part of their current stock. (direct link available on rm-auctions.com) It is accompanied by the following text: This casket, covered in pierced openwork bone, and carved with symmetrically displayed foliage over a wooden core, closely follows a 17th-century Sri Lankan (Ceylonese) prototype that originally would have been made for export to Europe. Its decoration, albeit coarser in appearance when compared to the Sri Lankan models, minutely carved, fully echoes its original counterpart, standing as testimony to the far-reaching artistic consequences of global trade in the early modern period in the hands of the Dutch. Following in the footsteps of the Portuguese, who commissioned hybrid carved objects combining European shapes (and uses) with exotic local materials and high-quality craftsmanship, such caskets and other small luxury pieces of furniture were made for export and found their way onto Dutch ships bound for the White Sea on the northwest coast of Russia. Starting from the late 16th century the Dutch established important trading relationships with Russian merchants who supplied export goods from central Russia. The present casket was most likely made in Kholmogory (Холмогоры), which is in northern Russia at the mouth of the Northern Dvina River, and approximately fifty miles up the river from Arkhangelsk (ÐрхаÌнгельÑк, known in English as Archangel). It was the chief seaport of medieval and early modern Russia, established near the mouth of the river into the White Sea. Kholmogory had a thriving bone carving industry, which used the by-products of the hunting and whaling (seal bone...) trade from Archangelsk. A high level of craftsmanship was reached in the late 17th century in the workshops of the Kremlin Armoury, where, under the direct patronage of the Tsar, Yevdokim and Semyon Sheshenin, who had been brought from Kholmogory, produced bone carvings for the court and the Patriarchy. Similarly, the Kholmogory bone carvers Osip Dudin and Nikolai Vereshchagin, who worked for the imperial court in the 18th century, made objects that served as diplomatic gifts. Highly influenced by the designs and decorative repertoire of objects brought by Dutch, English and German merchants, the bone carvings made at Kholmogory, albeit unique, remain poorly known and studied.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: A large Chinese famille rose 'tiger hunting' dish, Yongzheng mark, RepublicDescription:Dia.: 47 cm - H.: 8 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: A large Dutch Delft blue and white 'Venus and Adonis' jardiniere, 1st half 18th C.Description:H.: 38 cm - Dia.: 30 cm Provenance: - A Dutch private collection.- Exhibited at TEFAF. This urn-shaped jardiniere or flower vase is sometimes referred to as 'Medici' vase. The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence. Oak leaves are the primary ornament surrounding the central medallions, which hold two representations: Venus and Adonis with two dogs on one side, and a shell-shaped fountain with three putti on the other. The representation of Venus and Adonis goes back to the mythological story of Venus and Adonis as described by Ovid in his 'Metamorphoses'. Venus, the goddess of love, was in love with the beautiful Adonis, yet warns him to be careful when hunting: “... Come on, boy, be not reckless at the expense of my love, do not hunt animals that be armed! Your glory has been paid too dearly for me. Those charms of yours, that youth with which you dazzle me, there is no bristle hog, no lion, no animal that lets eye or heart be tamed by it.†To the great chagrin of Venus, Adonis is eventually killed by a wild boar while hunting. Pictured here, we see the moment Venus warns Adonis of the perils of the hunt, as Adonis breaks away from his resisting lover. In the depicting tradition, in 1554, Titian was one of the first to depict this moment in the history of Venus and Adonis.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

SAM BOUGH RSA RSW (SCOTTISH 1822 - 1878), RIDING ACROSS THE SANDS oil on canvas, monogrammed and dated 1860 framed image size 31cm x 61cm, overall size 45cm x 76cm Label verso: St. Helier Galleries Ltd., Jersey. Provenance: Christies, London, March 2011, label verso. Note: Considered to be one of the most influential and prolific Scottish landscape painters of the 19th century, Sam Bough RSA was a self-taught artist who spent much of his career working in Scotland. Born in 1822 in Carlisle, Bough settled in Manchester where he worked as a scene painter in the Theatre Royal. After moving to Glasgow he continued to paint in the evenings whilst working at the New Princes Theatre, eventually building enough success to move to painting full-time. Bough's reputation as a topographical and landscape painter grew during the 1850's and by the time he resettled in Edinburgh he had established himself as a successful landscape artist. Whilst living in the capital he created some of his most important paintings. At this point in the 1950s, artistically he was reaping the rewards of many years working and sketching outside, most particularly amongst the ships and shores of the Clyde, Forth and the Fife coast. He had trained his eye sketching from nature across the countryside of the north of England and Scotland. Now able to commit to painting full-time, he was prolific and successful, and in one year, 1859, he submitted seven paintings to the Manchester Institute and a further ten to the Royal Scottish Academy. With a relaxed approach to life, one story tells of him submitting ten canvases to an exhibition, nine fully realised and one completely blank. When questioned over the blank canvas, he indicated that the exhibition was not for another two weeks, so he had plenty of time to work it up! Bough was as successful a painter in both oils and watercolours, and was committed to depicting a wide variety of landscape views and effects, urban and rural, bright days and dark storms. However, there are specific locations and landscapes that Bough returns to regularly in his work; the hustle and bustle of harbours and coastal towns, with the distinctive Newhaven harbour a particular favourite and the hunting Forest of Cadzow, near Hamilton. Generally associated with views of Scotland, he did also create a series of Italian views. In general, his spontaneity, loose technique and interest in capturing fleeting atmospheric effects, particularly cloud formations and weather, establishes him as an important predecessor of the Scottish Impressionists, paving the way for the development towards a freer, plein air style.

* JOHN SANDERSON WELLS (BRITISH 1872 - 1955), PAIR OF FOX HUNTING SCENES watercolours on paper, each signed each framed and under glassimage size 25cm x 34cm each, overall size 35cm x 44cm eachQty: 2

CECIL ALDIN (BRITISH 1870-1935) HUNTING APPOINTMENTSsigned and dated Cecil / Aldin / 98 lower right; titled Hunting Appointments lower centre on the stonelithograph printed in colours43.5 x 35cm/ 17 1/4 x 13 3/4in 58 x 49.5cm/ 22 3/4 x 19 1/2in (framed)Property of a Lady*offered for sale without reserve

Continental Hunting Hanger c.1760, straight single edge blade 58.5cms etched with French maker’s inscriptions with boar and stag, brass hilt chased with hunting related motifs in relief, fish skin covered grip with brass band engraved with a parrot, deer hoof quillon. Good condition, well age worn

Third Reich Hunting Association (Reichsbund Deutsche Jägerschaft) Horn Bugle, fine example of a brass and nickel plated hunting horn bugle with emblem of the organisation to the centre and ‘Fürst Pless’ underneath. Brown leather wrapping to the body of the horn. Complete with mouthpiece. Remains in good overall condition.

A RARE PAINTED POTTERY FIGURE OF A PIEBALD HORSE, TANG DYNASTYChina, 618-907. Well modeled standing foursquare, its head raised high and neighing with open mouth, nostrils flared, and expressive eyes below pricked ears, the neck molded with a ridge for the mane. The white body painted with red spots or irregular outline in imitation of piebald markings.Provenance: From a private collection in Illinois, United States. Condition: Some repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Minor firing flaws, such as firing cracks, glaze flakes, glaze recesses, and dark spots. Overall, very good condition.Weight: 7,870 gDimensions: Height 55.5 cm Expert's note: The physical characteristics of the current lot, such as the broad neck, are noteworthy for their variation from the standard model Tang horse, and have been seen on examples with tiger-skin blankets, suggestive of a breed from the Taiga region.The Tang nobility had a profound fascination with horses, to the extent that a law was enacted in 667 that restricted horse riding privileges exclusively to the elite class. These noble families possessed immense numbers of horses, often totaling in the thousands. These horses were carefully bred and acquired for various purposes, such as cavalry, hunting, and polo. In particular, piebald horses were especially revered. These horses, marked with distinct patches of color, were not only visually attractive but were viewed by the nobility as auspicious and enigmatic.Literature comparison: For published examples of piebald horses dating back to the Tang Dynasty, refer to the Nelson-Atkins Museum's 'Handbook of the Collection', New York, 1993, page 292 (right). Compare a related pottery figure of a piebald caparisoned horse, dated late 7th to early 8th century, in the collection of the Metropolitan Museum of Art, accession number 25.20.4. For a late 7th-century wall painting from a tomb in Taiyuan, Shanxi province, depicting a groom with a dark-spotted pale horse, see Virginia Bower, 'Two Masterworks of Tang Ceramic Sculpture', Orientations, June, 1993, pp. 77, fig. 15.Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2005, lot 178Price: USD 84,000 or approx. EUR 119,000 converted and adjusted for inflation at the time of writingDescription: An unusual large painted pottery figure of a piebald horse, Tang dynastyExpert remark: Compare the closely related manner of painting with similar piebald markings as well as the related modeling, albeit with a different pose and a saddle. Note the larger size (73.6 cm). 唐代彩繪陶馬中國，618-907年。造型精美，四足著地，馬首高高揚起，作張嘴嘶鳴狀，雙眼有神，頸部有鬃毛，十分有張力。 白色的馬身上塗有紅色斑紋和不規則的輪廓，模仿花斑斑紋。來源：美國伊利諾伊州私人收藏。 品相：狀況良好，小修，缺損、裂縫和結殼，輕微燒製缺陷，如燒裂、釉片剝落、釉凹、黑斑等。 重量：7,870 克 尺寸：高 55.5 厘米文獻比較： 一件唐代花斑陶馬的例子，Nelson-Atkins Museum《Handbook of the Collection》，紐約，1993 年，頁292（右）。比較一件相近的七世紀末至八世紀初花斑馬陶俑，收藏於大都會藝術博物館藏，藏品編號25.20.4。 山西省太原墓室出土的一幅七世紀末壁畫，描繪了一位馬夫與一匹黑斑白馬，見Virginia Bower，《Two Masterworks of Tang Ceramic Sculpture》，《Orientations》，1993年6月，頁77，圖1。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2005年9月20日，lot 178 價格：USD 84,000（相當於今日EUR 119,000） 描述：唐代大型彩繪花斑陶馬 專家評論：比較非常相近繪畫風格、相近的模型，但不同的姿勢和馬鞍。請注意較大尺寸(73.6厘米)。

A PAINTED POTTERY 'ARCHER AND TIGER' VASE, HU, HAN DYNASTYChina, 202 BC-220 AD. The ovoid body supported on a short foot and rising to a waisted neck with a flared mouth. The exterior freely painted with confident brushstrokes and brilliant pigments in sky blue, red, amber, white, and black with an archer on horseback hunting a fierce tiger amid wave-like clouds, between borders of C-scroll motifs, all below a band of stiff leaves.Provenance: French trade. By repute acquired from a private collector in Paris.Condition: Good condition, commensurate with age. Old repairs and some touchups as generally expected from Han dynasty excavations. Wear, flaking, losses and fading to pigment. Minor chips, light scratches, extensive soil encrustations.Weight: 5,109 gDimensions: 37.8 cm Expert's note: Expressive polychrome designs on ancient archaic wares from China, such as those on the present lot, are said to have inspired the Art Deco movement in Europe. A good example for this theory may be the design work of noted architect Henry van der Welde (1863 Antwerp - 1957 Zurich).Literature comparison:Compare a closely related covered hu, dated to the 2nd-1st century BC, in The Metropolitan Museum of Art, accession number 1992.165.20a, b.Auction comparison: Type: RelatedAuction: Christie's New York, 15 September 2017, lot 1101Price: USD 22,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A rare large painted pottery vase and cover, fanghu, Han dynastyExpert remark: Compare the related colors and manner of painting. Note the different motifs and the size (60.5 cm).Auction comparison: Type: RelatedAuction: Sotheby's New York, 16 September 2008, lot 201Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: A pair of large painted pottery vases and cover (hu), Han dynastyExpert remark: Compare the related colors and manner of painting. Note the different motifs, the size (60.5 cm), and that the lot comprises a pair. 漢代彩繪狩獵圖陶壺中國，公元前 202 年至公元 220 年。壺口外撇，縮頸，豐胸鼓腹，平足。外壁以天藍色、紅色、琥珀色、白色和黑色描繪馬背上的弓箭手獵虎場景。另飾芭蕉紋、如意紋和雲紋。 來源：法國古玩交易，據説購於巴黎私人收藏。 品相：狀態良好，修復，有磨損、剝落、缺損和顏料褪色，輕微的碎裂、劃痕、大面積的土壤結殼。 重量：5,109 克 尺寸：37.8 厘米 文獻比較: 比較一件非常相近的西元前二至一世紀陶壺，收藏於大都會藝術博物館，館藏編號 1992.165.20a，b。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2017年9月15日，lot 1101 價錢：USD 22,500（相當今日EUR 25,500） 描述：漢代彩繪方陶壺 專家註釋：比較相近的顏色和繪畫風格。請注意不同的主題和尺寸 (60.5 厘米)。拍賣比較： 形制：相近 拍賣：紐約蘇富比，2008年9月16日，lot 201 價錢：USD 21,250（相當今日EUR 27,000） 描述：漢代一對彩繪陶壺蓋 專家註釋：比較相近的顏色和繪畫風格。請注意不同的主題和尺寸 (60.5 厘米)，以及此為一對。

AN EXCEPTIONALLY LARGE PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL AND A SOGDIAN RIDER, TANG DYNASTYExpert's note: The present lot is extremely rare for its exceptional size of 104 cm, with exceedingly few other examples of comparable height recorded in private or public collections.China, 618-907. Powerfully modeled, the large camel with its head turned to the left, the animal with a wild expression marked by protruding eyes, flaring nostrils, and the wide-open mouth with the tongue extended. The Sogdian rider wearing a fur coat and tall cap, his right arm raised to goad the camel, his mustachioed face with a stern expression as he sits on several rolled mats beneath the red saddle blanket with a dog propping himself up on his leg. The camel further ladened with a saddle bag and two flasks, as well as the yield of a hunt, a slain wild goat, tied to the saddle.Provenance: From a noted private collection in Aix-en-Provence, France. Condition: Some restorations and touch-ups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Drilled holes from sample-taking. Overall, very good condition and displaying magnificently.Scientific Analysis Report: A thermoluminescence analysis report issued by QED Laboratoire, Reference QED1346/FC-0101, dated 20 November 2013, sets the firing date of two samples as consistent with the suggested period of manufacture in Tang dynasty. A copy of the report accompanies this lot.Weight: 35.2 kg Dimensions: Height 104 cm The rider with fur coat and peaked hat represents a Sogdian merchant. A similar hat is worn by a small Tang bronze figure of a Sogdian dancer, included in the exhibition Monks and Merchants: Silk Road Treasures from the Northwest China, Asia Society Museum, New York, 2001-2, and at present on view in the Norton Museum of Art, Palm Beach, Florida, which is discussed and illustrated in the catalog, no. 82. Compare also a standing pottery figure of a similarly attired foreigner, excavated from a tomb of AD 724, illustrated in Treasures of a Nation, Beijing, 1999, pp. 216f, and a camel drover with a pointed hat, depicted together with his animal on a brick from one of the Dunhuang caves in Gansu province, included in The Exhibition of Ancient Art Treasures of the People's Republic of China, Tokyo National Museum, 1979, cat. no. 75.The highly animated depiction of the camel is reminiscent of the running camels from the hunting scenes painted on the walls of Crown Prince Zhuang Huai's tomb in Qianxian near Xi'an, Shaanxi province. The two-humped Bactrian camel was an exotic beast known in China from the Han dynasty, when it was first introduced as a form of tribute offered by the tribes of Turkestan and Central Asia. Prized for their ability to survive extreme hardships of heat, cold, and lack of water when travelling across the desert, camels came to symbolize the freely-flowing trade established along the Silk Road and thus the wealth and cosmopolitan nature of the Tang Court.Literature comparison:A related large painted pottery group of a camel and foreign rider, dressed in a fur coat and wearing a large pointed hat, excavated from the tomb of Wang Chen (buried 679), Chengzhi, Shaanxi province in 1954 and now in the Museum of Chinese History, Beijing, is illustrated by Li Jian (ed.), The Glory of the Silk Road, Art from Ancient China, The Dayton Art Institute, 2003, p. 170, pl. 85.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 15 September 2015, lot 258 Estimate: USD 180,000 or approx. EUR 210,000 converted and adjusted for inflation at the time of writing Description: A magnificent painted pottery camel with Sogdian rider and hunting owl, early Tang dynasty Expert remark: Compare the closely related modeling with a similarly animated camel and Sogdian rider, who however is holding a hunting owl in his hand. Note the related size (99.1 cm).唐代彩繪胡人騎駱駝陶俑由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

Equestrian and Country Sports - a copper and brass hunting horn, 22cm long

A Royal Crown Derby 2451 pattern shaped square trinket dish; a pair of hunting scene trinket dishes; an Asian Rose trinket dish, etc (5)

Swaine & Adeney a copper and silver plate hunting horn, length 23.5 cm, 5.75 cm at the bell end, stamped Swaine & Adeney London Proprietors of Kohler & Son Made in England.

A Royal Doulton three piece tea service, with teapot, sugar basin and cream jug (cream jug AF), depicting a fox hunting scene, Model No. HB5650. Teapot +/- 14.5 cm high.

A Swaine hunting crop with red stag antler handle, metal collar, wrapped shaft and thong section, length excluding thong 58 cm, together with a hunting whip with antler handle, metal collar, leather wrapped shaft, tong and whip section, length excluding thong 48 cm.

Two copper hunting horns, 43 cm each, 7 cm at bell end.

Swaine a hunting whip with red stag antler handle, metal collar stamped Swaine with wrapped shaft and thong section with whip. Length excluding thong 16 cm.