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A pair of George III satinwood and painted card tables, c.1800, each hinged D-shaped top with a Greek key border, opening to a baize inset playing surface, above a frieze decorated with a snaking vine pattern and centred with a moulded tablet decorated with a tied ribbon, lute and horn motif, on turned and reeded tapering legs, surmounted by patera terminals, 92cm wide45cm deep 74cm high (2)For a related pair of satinwood card tables displaying a similar scheme of painted decoration, see Christie’s, 'Important English Furniture & Carpets', 24 November 2005, lot 116, (£19,200).Condition report: Old splits to tops of both tables, carefully restored.Both probably re-polished.Minor movement to veneers and paint loss.Late baize.

Franz von Stuck (1863-1928)-circle, Monumental painting of woman with lute and boy in symbolist landscape, view from a round window decorated with fruits and bull skulls, oil on canvas, 215x195cm (canvas only – without stretcher); damages.

A Chinese Sanxian rosewood lute and a Ganesha wall mask (2).

An early 19th century half length miniature portrait of a young man in red waistcoat, watercolour on paper, no signature visible, 8 x 7cm, together with a further 19th century watercolour of a standing gentleman in Regency style costume, together with lute, 8 x 7cm, both framed (2)

JACKSON, Holbrook (1874-1948), and others - Claud LOVAT FRASER (1890-1921). Sixty-Three Unpublished Designs, London, [1924], original cloth-backed decorated boards. NUMBER 2 OF 500 COPIES. With 8 other books. (9)JACKSON, Holbrook (1874-1948), and others - Claud LOVAT FRASER (1890-1921).  Sixty-Three Unpublished Designs. With an Introduction by Holbrook Jackson. London: The First Edition Club, [1924]. Square 8vo (158 x 120mm). Printed on yellow paper, woodcut illustrations by Claud Lovat Fraser. Original cloth-backed decorated boards, spine lettered in gilt. Provenance: Holbrook Jackson (bookplate, and with his signature on front free endpaper, with a further presentation inscription in his hand, "to Gladys Burlton." NUMBER 2 OF 500 COPIES "printed on Ingres paper dyed by hand for this book." With 8 other books, namely The Butterfly ([1893], vol. one (only), plates and illustrations, a few leaves detached, original decorated buckram gilt), The Lute of Love. Decorated by C. Lovat Fraser (London, Selwyn and Blount, [n.d.], original decorated stiff wrappers, with the same provenance as the first named item), Anatole France's Stendhal ... Translated by J. Lewis May (London, 1926, NUMBER 2 OF 110 COPIES PRINTED FOR HOLBROOK JACKSON, signed by Holbrook Jackson and the translator), A. J. A. Symons' Frederick Baron Corvo (London, The Curwen Press, 1927, original decorated wrappers, NUMBER 189 OF 199 COPIES presented to Gladys Burlton and signed "very cordially" by the author), the same author's An Episode in the Life of the Queen of Sheba ([London], "Privately printed Christmas 1929," original wrappers decorated in blue and silver, LIMITED TO 150 COPIES inscribed by the author "All good wishes, A. J. A. S."), Graily Hewitt and Holbrook Jackson's The Illuminated Manuscripts of William Morris ... The Typography of William Morris ([?London, 1934], original cloth, PRESENTATION COPY from Holbrook Jackson, the front free endpaper inscribed, "G.A.B. [i.e. Gladys Burlton] from H.J."), The First Edition Club. Opening Speech by Mr. Holbrook Jackson ([London, 1935, original stiff wrappers, LIMITED TO 500 COPIES) and John Sparrow's Lapidaria tertia (Cambridge, 1954, original wrappers). The lot sold not subject to return. (9)

A Meissen group of elegant figures, early 20th centuryAfter the model by M.V. Acier and J.C. Schönheit, the lady seated beneath a fruiting tree playing the lute, attended by a gentleman holding roses in his hat and a boy at the rear holding a floral wreath above her, the base moulded with rockwork and tufts of grass and a foliate border bound by a pink ribbon, 26.5cm high, crossed swords mark in underglaze-blue, impressed model number D95, impressed 34 (minor chips and restoration)Footnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis 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 pair of Meissen figures of Malabar musicians, mid 18th centuryModelled by F.E. Meyer, she playing the hurdy-gurdy and wearing a straw hat, pale pink robes with puce foliate motifs, a green underrobe and a white underskirt, he playing the lute, wearing a straw hat and green fur-lined robes over a yellow underrobe, the bases moulded with gilt-edged scrollwork and applied with leaves and flowers, 18.5cm high, crossed swords marks in underglaze-blue to the rear of the bases (top of his instrument restored, her head restuck) (2)This 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

Alfred Rogoway 1900-1990 framed oil on canvas of a figure playing a lute, signed bottom left, 38 x 21cm

Jan Harmensz. van Bylert, um 1597 Utrecht – 1671 ebenda DER LAUTENSPIELER Öl auf Leinwand. 105 x 80 cm.Der Maler hatte sich auf Halbbildnisse spezialisiert, insbesondere auch von Musikern oder Philosophen, die in mehreren öffentlichen Sammlungen vertreten sind, wie das bekannte Gemälde mit einem Konzert mit Lauten- und Cellospielern. Auch das hier vorliegende Motiv zeigt einen Jüngling im Dreiviertelbildnis nach rechts, in sitzender Haltung an einer Laute, wobei sein halb geöffneter Mund andeutet, dass er sich selbst singend begleitet. Über dem schwarzen kurzen lockigen Haar ein Barett mit großer weißer Straußenfeder, eine Reminiszenz auch an das Werk Caravaggios, wie ebenso die Darstellung des jungen Musikers mit entblößter Schulter. Farblich dominierend ist das kräftige Rot im Umhang, das als farblicher Gegenpol zum hellen Grau-Blau des Hintergrundes steht. Der Einfluss Caravaggios ist auch in dem vorliegenden Gemälde unverkennbar. Anmerkung:Der Künstler war Sohn eines Glasmalers und nach Mitteilung des frühen Künstlerbiographen Joachim von Sandrart d. Ä. (1606-1688) ein Schüler des Abraham Bloemaert (1564-1651), bevor ihn seine Studienreisen nach Frankreich und dann nach Italien führten. In Rom verblieb er wahrscheinlich bis 1624 und stand dort in Kontakt mit den holländischen Malern Jan Gerritsz van Bronchorst (1603-1661) oder Cornelis van Poelenburgh (1586-1667). Ab Mitte der 1620er-Jahre ließ er sich stark von Michelangelo Merisi il Caravaggio (1570/71-1610) und Guido Reni (1575-1642) beeinflussen, wie ebenso von Gerrit van Honthorst (1590-1656). Er gilt als einer der führenden, wenn nicht sogar als führendster Vertreter der Utrechter Caravaggisten.Literatur: Paul Huys, Jan van Bijlert, 1998, S. 139 Nr. 105, Pl. 46, circa 1625-1635. (12901421) (11)Jan Harmensz. van Bylert,ca. 1597 Utrecht – 1671 ibid.LUTE PLAYEROil on canvas.105 x 80 cm.Literature:Paul Huys, Jan van Bijlert, 1998, p. 139 Nr. 105, Pl. 46, circa 1625-1635.

Studio of Sir Peter Lely (British, 1618-1680)Portrait of the Countess of Tweeddale (1628/29-1688) in a pale brown dress, seated, playing a luteoil on canvas121 x 99.5cmProvenance:Lord John Thynne Collection;Sir Hugh Lane Collection by 1917;Louis Breitmeyer Esq., Rushton Hall, Kettering, Northamptonshire, by 1930,His sale, Christie’s, London, 27th June 1930, lot 51,Bought by Sir George Leon, 2nd Bt. (1875-1947) London,Sir Ronald George Leon, 3rd Bt. (1902-1964) 31 Aldford House, Park Lane, London, by 9th May 1938,With Knoedler, New York, On loan to the Museum of Fine Arts, Boston, 1947,Sold to Bruce Dodson Reynolds Jr., Court Square, Charlottesville, VA, USA, in 1957;Thence Private Collection, WashingtonFootnote: The sitter, Lady Jane Scott, was the daughter of Sir Walter Scott, 1st Earl of Buccleuch and Lady Mary Hay. On 24th September 1644, Lady Jane married John Hay, son of John Hay, 8th Lord of Yester (later 1st Earl of Tweeddale) and Jean Seton, daughter of Alexander Seton, 1st Earl of Dunfermline. The sitter became Countess of Tweeddale when her father-in-law died in 1653. Her husband was elevated to the Marquessate in 1694, after her death. Condition report: 145 x 123cm (framed) Oil on canvas which has been lined. The paint layer has been slightly softened during the lining process and the canvas weave is now evident in the paint texture. Overall the paint layers appear to be in a very good condition with no flaking. There are localised areas of wear in the lighter paint passages. There are localised areas of overpaint present on the varnish but it is difficult to determine the presence, or extent of further overpaint lying below the varnish. The varnish is thickly applied and has become yellowed with age. There are matte spots and scuffs in the varnish.

A Charles II stumpwork casket,with two hinged lifting compartments above two doors opening to reveal three short and one long drawer, decorated with scenes of ladies and gentlemen in landscapes, one lady playing a lute, standing on melon feet29 x 26 x 18cmProvenance: Property of the late Michael Stennett, Suffolk

VINTAGE INLAID MINIATURE MUSICAL LUTE

A North Indian (Bhari) Santhal Tribe Wooden Sarangi or Lute on Associated Metal Stand, 86cm high

A collection of 19th and 20th Cenutyr treen and other collectables, to include two guitars and a lute of tortoiseshell and mother of pearl, an African tribal hair comb, a Chess set, a carved Norwegian wooden salt, a book mark, technical drawering items, including a Victorian ivory folding ruler by J. Rabone & Sons, and more (parcel)

Four Old English Songs Booklet - 'The Poems of Shakespeare, the music by Eric Coates.' 1909 music sheet booklet given to Gertrude Newson, and made by Boosey & Co., London. Signed inside by Eric Coates, the songs are Orpheus with his lute, Under the Greenwood tree, Who is Sylvia and It was a Lover

A Louis XVI revival mahogany, walnut and parquetry commode, in the style after Jean-Henri Riesener, marble top in a breakfront shape, above ornate gilt mount decorated chest, two long drawers centred with a parquetry and gilt mounted of a Lute, woodwind instruments and a book of music notes, large swan neck handles, over a gilt apron, raised on tapered supports. 86cm H x 118cm W x 56cm D

A collection of carved Black-Forest walking stick handles and others, three examples carved as Dogs heads, two carved as Parrots' heads, another in the form of a Bulldog, a carved horns handle in the form of an Elephant head, four carved Ivory mounts - two as a Tiger head, one as a Bulldog, another as a Lion, bone game markers and playing cards, stained Ivory miniature Lute, etc (qty)

A pair of carved figures/supports of musicians, one playing a lute, the other a pipe, 14'' tall and an usual shaped face mask, possibly papier mache with cane surround, 13'' diameter.

A Staffordshire flatback of a man holding a lute and a woman holding a lamb/calf with a grapevine and dog between them, painted in white, pinks, greens and oranges.

Two 19th century Staffordshire pottery figures, circa 1825, modelled after original models by Derby, the first example modelled as a shepherd bagpiper, the second as a shepherdess playing the lute, H16cm

Two 19th century oil on board paintings of a gentleman playing a lute and a dandy holding a gaming board. Set within a pierced gilt Florentine frame. Measures 24cm x 20cm.

TREEN, Mauchline Edinburgh Castle string holder, also vintage glove stretchers and miniature tortoiseshell lute

A Symphonion Eroica disc musical box, with three pairs of combs, one (of two, one motor missing) motor, in ebonised upright case with glazed print of a lute-player in door, black and gilt glass Symphonion Musik Automat plaque on frieze and moulding on top, possibly for a pediment or clock, with coin-chute and drawer -- 69 ½ in. (177cm.) high, with thirty-four discs and a further 69 in a chest (not arranged in sets) (remaining motor drives lower two mechanisms; dampers need attention; two combs have one tooth each off.

A mixed collection of items to include: Royal Doulton large Beefeaters character jug, Wedgwood Sandeman decanter, vintage lute etc (1 tray).

Nikos Engonopoulos (Greek, 1907-1985)Le retour de Bessarion signé en grec et daté '54' (en bas à droite)huile sur toile65 x 46.5cm (25 9/16 x 18 5/16in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceN. Gonatas collection, Athens.Private collection, Athens.ExposéAthens, Zappeion Hall, X Panhellenic Art Exhibition, July 15 - October 20, 1969, no. 134 (listed in the exhibition catalogue under the title Euclid, according to Cat. Rais.). Athens, Portalakis Collection venue, The search of Modernity - the Transition to Greekness, January 22 - July 31, 2007 (mentioned, p. 11, and illustrated in the exhibition catalogue, p. 103).LittératureD. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, p. 269 (listed), pp. 236-239 (discussed), fig. 67.1 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 505, p. 287 (illustrated), p. 448 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 378-379 (discussed), p. 380, fig.138 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007 (listed and illustrated).'Unfortunately, I never owned an Engonopoulos. Gonatas, instead, has managed to buy one or two of his paintings.'Miltos Sachtouris1 Inspired by the nobility of bygone times and drawing from the vast storehouse of Greek history and tradition, Engonopoulos pays homage to Bessarion (1403-1472), a great Byzantine Greek scholar and humanist and later Catholic Bishop and titular Latin Patriarch of Constantinople. A student of the celebrated Neoplatonist Gemistus Plethon, Bessarion contributed to the dissemination of Greek letters in the 15th century and fought for the liberation of the Ottoman-occupied territories of the Hellenic world. His palazzo in Rome was a virtual Academy for the studies of new humanist learning, and a center for Greek exile scholars and diplomats. As noted by historian E. Glykatzi-Arhweleir, Bessarion was a major contributor to the Italian Renaissance. 'Thanks to the intellectually challenging environment he found in Venice, he brightened the Greek name. The spirit of Greece traveled to the West only to triumphantly return later, by way of Crete and the Ionian Islands, to the enslaved metropolis.'2 Engonopoulos portrays Bessarion as an elegant male nude reminiscent of Minoan frescoes or El Greco's saints.3 He is standing on a cobblestone pavement in front of a stately Renaissance-style palazzo, probably his Rome residence and the centre of his celebrated Academy. The mansion's wine-red façade is adorned with a niched statue and a pair of wall-mounted fragments of ancient sculpture, while a cluster of adjacent palm trees suggests the existence of a lush garden hidden behind the tall brick wall on the foreground. Engonopoulos's Bessarion wears a heraldic galero rosso, the scarlet broad-brimmed hat with tasselated strings reserved for Catholic cardinals.4 He is holding a stringed instrument (lute)5 in his right hand and a bow (or a sword) in his left to keep an approaching giant scarab at a safe distance. As noted by scholar D. Vlachodimos, 'the handling of the subject clearly speaks about Bessarion's contribution to the beginning and evolution of the Renaissance movement. Isn't the lute a symbol of poetry, music and art? Shouldn't the scarab, this ancient Egyptian symbol of eternal life and the human soul, be interpreted as a direct reference to Platonic philosophy, which Bessarion was largely responsible for disseminating to the West? What's more, aren't the palm trees in the mansion's garden, along with the symbolic overtones of the ancient sculpture on its walls, an indirect, yet clear, reference to the East? Ultimately, doesn't Bessarion represent the combination of eastern and western elements, which, in short, is the essence of the Renaissance?'6 1 As quoted in M. Sachtouris, 'A Wonderful Man', interview [in Greek], Lexi magazine, no. 179, p. 47.2 See E. Glykatzi-Arhweleir, Why Byzantium [in Greek], Greek Letters editions, Athens 2009, p. 75.3 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.4 Similar hats worn by Greek patriarchs are depicted in 16th c. representations (see History of the Hellenic Nation, Ekdotiki Athinon editions, vol. X, pp. 98, 119).5 Compare N. Engonopoulos, Apparition de Rigas Pheraios en Eubée, sold by Bonhams, Greek Sale, May 18, 2010, lot. 38.6 D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 239.« Malheureusement, je n'ai jamais possédé une œuvre d'Engonopoulos. Gonatas, au contraire, a réussi à acheter une ou deux de ses toiles.» - Miltos Sachtouris Inspiré par la noblesse des temps anciens et puisant dans le vaste patrimoine historique et culturel grec, Engonopoulos rend hommage à Bessarion (1403-1472), grand érudit et humaniste gréco-byzantin, puis évêque catholique et patriarche latin de Constantinople. Élève du célèbre néo-platonicien Gemistus Plethon, Bessarion a contribué à la diffusion des lettres grecques pendant le 15ème siècle et lutté pour la libération des territoires du monde hellénique occupés par les Ottomans. Son palais à Rome était pratiquement une Académie d'études du nouvel humanisme, et un centre pour les étudiants et les diplomates grecs en exil. Comme l'a fait observer l'historien E. Glykatzi-Arhweleir, Bessarion a apporté une contribution majeure à la Renaissance italienne. « Grâce à l'environnement intellectuellement stimulant qu'il a trouvé à Venise, il a fait rayonner le nom de la Grèce. L'esprit de la Grèce n'a voyagé vers l'ouest que pour en revenir triomphalement plus tard, via la Crète et les îles ioniennes, et regagner la métropole en esclavage.» Engonopoulos portraiture Bessarion comme un homme élégant, qui rappelle les fresques minoennes ou les saints du Greco. Il se tient sur un sol pavé en face d'un majestueux palazzo de style Renaissance, probablement sa résidence de Rome et le centre de sa célèbre Académie. La façade lie-de-vin de la demeure est ornée d'une statue dans une niche et d'une paire de fragments de sculptures antiques adossés au mur, tandis qu'un ensemble de palmiers adjacents suggère l'existence d'un jardin luxuriant caché derrière le haut mur de briques au premier plan.Le Bessarion d'Engonopoulos porte un galero rosso héraldique, le chapeau écarlate à large bord et glands réservé aux cardinaux de l'église catholique. Il porte un instrument à cordes (luth) dans sa main droite et un arc (ou une épée) dans sa main gauche, afin de tenir un scarabée géant qui s'approche à bonne distance. Comme le note le Pr. D. Vlachodimos, « le traitement du sujet parle clairement de la contribution de Bessarion à la naissance et à l'évolution du mouvement de la Renaissance. Le luth n'est-il pas un symbole de la poésie, de la musique et de l'art ? Le scarabée, qui symbolisait la vie éternelle et l'âme humaine dans l'antiquité égyptienne, ne doit-il pas être interprété comme une référence directe à la philosophie de Platon, que Bessarion a largement diffusée en Occident ? Qui plus est, les palmi... For further information on this lot please visit Bonhams.com

A MEISSEN OUTSIDE DECORATED FIGURE OF A MALE "MALABAR MUSICIAN", 20TH CENTURY after a mid 18th century model by Friedrich Elias Meyer (circa 1723-1785), shown playing a lute in a fur-lined iron-red coat and yellow floral patterned robes below his distinctive hat, on gilt-edged scroll moulded base, cancelled underglaze blue crossed swords mark, incised 67035, impressed 188h 18.5cm high

˜A GROUP OF FIVE CHINESE CORAL FIGURES, 20TH CENTURY three carved as immortals, one as a young woman strumming a lute and one of a child clutching a lotus leaf, all mounted on perspex square plinths plinths 4cm high, largest figure 8cm high

A 9ct yellow gold necklace, approximately 28 grams together with a shell cameo of a girl with a lute

A Bow porcelain figure of Hermes, with winged hat and feet holding a staff with entwined snakes on a scrolling shell decorated base, 20.5cm high together with another bow porcelain figure holding a lute with a flaming torch at his feet, on a scrolling base, 20cm high CONDITION REPORT: Hermes - bottom of staff chipped, wing on hat chipped, flowers chipped Lute figure - lute damaged, flowers chipped, finger missing, wreath on head chipped, other chips and hairline cracks

Carved ivory figure of a lute player standing on a chest, H: 180 mm, signed in panel to base. Lute end is broken off but present. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A Royal Copenhagen figural group, 20th century, modelled as an 18th century courting couple, model number 2046, printed maker's mark with date code for 1963 to base, 22cm high, with eight further Royal Copenhagen figures, comprising: a boy playing the accordion (model 3667), a boy in naval dress (model 685), a boy with two geese (model 2139), a boy seated on a rock (model 4027), a girl with a doll (model 3538), a girl playing a lute (model 301), a boy seated on a barrel (model 3689), and a figural group modelled as a farmer and his wife (model 1300) (9)

A SMALL COLLECTION OF JAPANESE MUSICAL INSTRUMENTS MEIJI PERIOD, 19TH CENTURY Comprising of a koto (zither), a biwa (lute) and a kotsuzumi (drum); the koto embellished with details in yosegi-zaiku marquetry, with areas in tortoiseshell painted with tennin and a dragon; the biwa with remnants of painted decoration and a moon inlaid in silver, with a black lacquer wooden case and a silk purse containing two wood plectrums; the drum in leather and wood, decorated with leafy tendrils in gold lacquer on the black ground, approx. 189cm max. (7) Provenance: from the collection of Cavendish Morton (1874-1939). Morton was a British actor, photographer, and art director. Many of his photographs are today on display at the National Portrait Gallery, London. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

A pair of patinated and gilt bronze candelabra,  c1900, in 18th c style, of two lights on leafy scrolling branches and set with the seated figure of a child with lute or tablet, on triform base, 33cm h Branches slightly bent; drilled for electricity

Two Norah Wellings Islander dolls, a Rese Puppe German fabric doll with painted face and playing a lute, Farnells Alpha Toy figure of a young sailor boy with painted and pressed face and another similar a young girl in blue felt dress (5)

Melody-Uke four-string ukelele banjo, makers plaque to head stock L59cm; and Italian eight-string lute-back mandolin with mahogany stained segmented maple back and spruce top L59cm (2)

A lute mandolin by Vincenzo Ferraro & Figlio. 27' high

ADIE & LOVEKIN LTD; a Victorian hallmarked silver novelty miniature violin, Birmingham 1890, length 4.5cm, an Italian 800 grade silver miniature music stand and two Continental white metal novelty boxes modelled as a violoncello and lute respectively, apparently unmarked, a silvered metal miniature violin and case, a tortoiseshell miniature and an imitation tortoiseshell example (7).Additional InformationLoose strings, knocks, some misshaping, heavy general wear.

A 19th century Continental novelty silver scent bottle, modelled as a lute with figural and scroll decoration in relief, London import mark for 1891, length 18.5cm, approx 4.1ozt/129g.

LLADRO; a boxed figure 'Surrounded by Love', together with two Nao figures including a seated Pierrot with lute, a Beswick figure of a mallard, no.817, and three Beswick cat figures from a jazz band, (7).Additional InformationAs stated the Lladro is complete with box, the box is slightly tired with minor rips and tears, light glaze crazing to the mallard, the Nao Pierrot has remains to the bottom of his foot so is possibly missing something.

OLD VIENNA; a late 19th century cabinet plate, hand painted to the centre representing a maiden playing the lute inside gilt scrolling detail, blue painted hive mark to the underside, diameter 24cm, framed and glazed.Additional InformationIt is difficult to give a 100% accurate condition report on the piece as it is framed, it looks in good condition with no signs of damage but we cannot guarantee this. The frame with minimal wear.

ATTRIBUTED TO JOHN FREDERICK LEWIS (BRITISH 1805-1876)A GIRL IN AN EVENING GOWN Watercolour and inkSigned and dated 1837 (lower left)38 x 27cm (14¾ x 10½ in.)Together with a drawing of a man with a lute attributed to the same artist, 22 x 14cm (8 5/8 x 5 1/2in.) (2)

A Very Heavy 9ct Gold Charm Bracelet by AC and Co, together with Quantity of 9ct, 10ct, 14ct Gold Charms, Plus some Yellow Metal Examples. Charms to Include Enamelled Plaice, Lute, Champagne Bottle, Pig, Steamer Ship, Enamelled Clover, Ecclesiastic Examples Etc, 57gms.

A bronze Hindu Saraswati figure, playing a lute with bird beside, raised on rectangular and lotus base, 9¼in. (23.5cm.) high; together with another bronze deity figure. (2) * Both good with nice patina.

Spelter figure of a classical lady leaning on an ionic column, with indistinct signature, marked Made in France, h53cm, together with another Spelter figure of a Classical lady, h51cm, a cast metal figure of a lady holding a lute h36cm, and a resin figure of a seated nude, h30.5cm

INTERMEZZO-ZWERGENKAPELLE.Meissen, 20.Jh. Fünf Porzellanfiguren aus der Zwergenkapelle: der Dirigent, der Lautenspieler, der Flötenspieler, der Beckenschläger und der Paukenschläger. Entwürfe von Paul Scheurich. Polychrome Bemalung. Limitierte Auflage, bez. und num.: 37/100. H.15,5-18cm. Schwertermarke, 1. Wahl. Bei einer Figur 2 Finger geklebt, sonst makelloser Zustand. INTERMEZZO DWARF MUSICIANS. Meissen, 20th century Five porcelain figures from the dwarfchapel: the conductor, the lute player, the flute player, the cymbal player and the timpanist. Design by Paul Scheurich. Polychrome painting. Limited edition, inscribed and numbered: 37/100. 15.5/18 cm high. Blue crossed swords mark, 1st choice. 2 fingers of one figure glued, otherwise in perfect condition. Keywords: sculptures, plastic art, artworks, figures, figurines, porcelain, German, Germany, Deutschland, chinaware, china factory, porcelain factory, porcelain manufacture, band, music ensemble, music-band

LLADRO: A LARGE LUTE PLAYER 45cms high

OIL ON OAK BOARD: WOMAN PLAYING A LUTE crackled 32 x 39cms, and another oil on canvas Woodland scene, 30 x 39cms

NO RESERVE Education.- Walker (Obadiah) Of education. Especially of young gentlemen. In two parts, sixth edition, 11pp. advertisements at end, water-stained, occasional spotting, lightly browned, contemporary speckled sheep, head of spine chipped, upper joint starting, but holding firm, 1 upper corner worn, rubbed, [Wing W404], printed by H. Gellibrand, for Richard Wellington at the Lute in St. Paul's Church-yard: and are to be sold by Bernard Lintott, 1699; and a Darton (H580) translation of Fenélon on the education of daughters, 12mo & 8vo (2)

Collection of glazed china Pierrot half dolls, including Pierrot playing a mandolin with skull cap and brown kiss curls, 4 ½” (11.5cm) tall, another similar playing a lute, two with hands clasped together under her chin, dressed Pierrot with fan, shoulder head half-doll, five Pierrot head half-dolls with ruffs, and child Pierrot, condition no visible damage of restoration, (12 items).

Collection of Five Lladro Figures, comprising three winged angels, one 7'' tall playing a flute, and two kneeling and praying, a figure of a young girl and a sleeping infant. Together with a Nao figure of an angel playing a lute. All in good condition.

After Caspar Netscher, late 17th CenturyA lady playing a lute with her companion in a park landscape bears signature 'C.Ne*cher' (on the fountain, lower left)oil on canvas42.7 x 34.6cm (16 13/16 x 13 5/8in).Footnotes:ProvenanceThe Collection of Robert Lee, Hampshire, 1903 (according to a label on the reverse)The present work is after Netscher's original, now in the Uffizi, Florence.For further information on this lot please visit Bonhams.com

Kipling, R; Lute Vink (ill): The Jungle Book. Books Illustrated Ltd, 2015. Limited edn. #80 of 200 copies only, Signed by Vink. Full leather gilt, in the original presentation box. Fine.

A Wilhelm Thomasch figure of Pierrette with lute model 5080 and also marked 236 18

FOUR CONTINENTAL TEAK MUSIC BOXESmodelled as a grand piano with an opening lid and stool, 21.5cm long; a cello on stand with a bow, 35cm high; a guitar on stand, 32cm high excluding stand; and a lute on stand, 26cm high excluding stand (4)

The genesis of Gulliver's Travels.- Boyle (Robert) Occasional Reflections upon several Subjects, first edition, initial imprimatur leaf, title printed in red and black, small burn-hole in B4 slightly affecting text, later portrait mounted on rear endpaper, occasional foxing, later speckled calf, [Wing B4005; Fulton 64; Westwood & Satchell p.40], 8vo, Printed by W. Wilson for Henry Herringman, 1665.⁂ Boyle's generally upbeat work, written largely while on holiday at Stalbridge, describes how he felt and thought - as he listened to a lark singing; as he picked up a horse-shoe; as he watched boys swimming with 'bladders'; as he fished with a 'counterfeit fly'; and as he listened to a lute being tuned and then 'excellently play'd on'. A reflection entitled 'The Eating of Oysters' is often considered to have been Swift's inspiration for Gulliver's Travels.Provenance: J. C. Lynn (bookplate Bibliotheca Piscatoria Lynniana, sale of his Angling library, Sotheby's October 1959).

Late 19th/early 20th century oil on artist's board, girl playing a lute, unsigned, 41cm x 34cm, unframedGood condition, paint slightly chipped on the very top edge, no sign of overpainting

A Meissen figure of a girl playing the lute, third quarter 18th century, blue crossed swords mark verso, 12cm high Condition Report: Restored to extremities Condition Report Disclaimer

Indian School, early 20th Century - Lute player, The Musician and Krishna with figure, gouache, 23 x 14.5cms, 19 x 11cms and 19 x 9.5cms unframed.

A Ludwigsburg porcelain group, man playing lute to a seated couple together with a porcelain group of a man kneeling in front of a woman sat on a chaise loungeCondition: Ludwigsburg - girls head has been restored, Lute players hand restored and chip to cloak, other group - goodLocation: CR

A Dutch Delftware garniture, 18th c, the three vases painted with a Chinese musician playing a lute, in moulded frame, the reverse with village scene, domed cover with bird pecking fruit finial, 37cm h Chipped around the foot and some localised flaking around the rims at corners, bird finial cleanly broken off and neatly re-stuck