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Master of Antwerp (1485-1491), Attr. - Jesus preaches in the synagogue / Description: This is an old colored incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is identical in style as the ones attributed by the Rijksmuseum to The First Antwerp Master and dated 1485-1491. They do not have this woodcut and I did not find it elsewhere. It is a real early woodcut in History and precedes the more common woodcuts from the Ludolphus editions of the turn of the century. / Dimensions: 9,85 x 13,00 / Condition: Excellent impression with unbroken woodcut lines, mounted on a laid paper collection sheet. Nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Woodcut /Circa: 1485-1491 260

Master of Haarlem (1483-1486 Fl.)Attr. - The Wise and Foolish Virgins / Description: The foolish virgins with a lamp without oil before a door, inside the wise virgins with a lamp holding oil. This is an old colored incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is identical in style as the ones attributed by the Rijksmuseum to The Master of Haarlem and dated 1483-1486. They do not have this woodcut and I did not find it elsewhere. It is a real early woodcut in History and precedes the more common woodcuts from the Ludolphus editions of the turn of the century. / Dimensions: 9,20 x 13,00 cm / Condition: Excellent impression with unbroken woodcut lines, mounted on a laid paper collection sheet. Nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Colored woodcut /Circa: 1483-1486 260

Master of Haarlem (1483-1486 Fl.) - The Last Supper / Description: This is an old colored incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to The Master of Haarlem and dated 1483-1486. This attribution was also confirmed by Prof. Defoer. This makes it a real early woodcut in History. / Dimensions: 17,50 x 14,50 cm / Condition: Excellent impression with unbroken woodcut borderlines tipped with corners on a support sheet. Nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway 1884 (Conway 21.3:4) ---"The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Woodcut /Circa: 1483-1486 260

Matthäus Merian - Berg by Suttgart - Unknown Proof state (RRRR) / Description: Proof state unknown to Wüthrich (!). Very atmospheric etching showing the village of Berg by Stuttgard with the bridge over the Mühl canal flowing in the Neckar on the right. This etching (Wüthrich.528) in an extremely rare unfinished proof state, before adding of: 1. the small stork's nest, the dovecote and the sign on the the house to the left of the canal. 2. seven birds in the sky, 3. further additions on the roofs of the house on the right, 4. two walkers in the middle right on the horizon, 5. a plentitude of shrubbery added in bottom section and right bottom corner. 6. additional cross hatching adding shade in several parts for instance on the man front left. Still with still square plate borders. Wütrhrich describes two states, the second with added number, but this proof state is unknown to him, not described in his catalogue raisonné in 1966. This excellent early impression in unfinished proof state was only printed in a few copies and probably no other has been preserved. Merian married the daughter of Theodor de Bry in 1617 and worked for his father-in-law. In his early works in his twenties and thirties, he showed a great talent for free landscape etching after his own designs, close to his contemporains Jan van de Velde and other fine Dutch landscape artist but also influenced by Flemish artists such as the master of the small landscapes and even work after Jan Breughel the younger. His landscape art from his early period deserves more attention as it is far superior to his other work. / Dimensions: 13,80 x 17,10 cm / Condition: An early outstanding, richly inked and luminous impression on a full sheet of laid paper. Excellent condition with no folds, tears or stains. Old number in sepia ink in the upper right margin. An extremely rare proof state in an very early outstanding printing condition. / Literature: Wüthrich 1966-1996 (Merian) - 528 (proof state preceding state I) RRRR --- For the preparatory drawing by Merian for this etching see Wüthrich catalogue S.226 Abb.402. / Medium: Etching /Circa: Circa 1620-1622 360

Jan Chalon - Four head studies following Rembrandt / Description: Four delicate portraits very close in style to Rembrandt. Jan Chalon was the brother of the female artiste Christina Chalon and the father-in -law of the publisher Christian Josi. Rembrandt was his great example and like his great master he developed a bold etching style aiming always aiming towards progression, not really following the influence of his Contemporains, and averse to commercial gain. He destroyed many of his work even before it was published if it did not fits his standards. The largest one is signed upper left: J Chalon invent J Chalon Fecit. Amongst the subjects: Bust of a young man with mid-length hair, slightly turned to the left, wearing a fur-lined coat. c.1788-1793 and an old man with large beard and cap very close to Rembrandt. / Dimensions: 8,20 x 6,20 the largest, 5,80 x 4,70 cm the smallest / Condition: Very good early impressions with much plate tone and still som ink in the plate borders and little scratches in the plate. With full plate borders and small margins on thin laid paper mounted with the left side on a collection sheet. / Literature: Wurzbach 1906-11 / Niederländisches Künstler-Lexikon (undescribed) / Medium: Four etchings with drypoint /Circa: Ca. 1788-1793 180

Matthäus Merian - Wirtemberg Castle - Unknown Proof state (RRRR) / Description: Proof state unknown to Wüthrich (!). Very atmospheric etching of the residence of the house of Württemberg near Stuttgard build in the 1520's. This etching (Wüthrich.529) in an extremely rare unfinished proof state preceding the first state, before adding of: 1. Three birds in the sky central left of the castle, 2. A stake on the castle wall lower rightr, 3 a shimney on the castles lower roof top at right, 4. two walkers on the path leading down from the castle gate. This excellent early impression before any number and still with square plate borders must be one of the very first impressions of this print and is of the uppermost rarity. The proof state was only printed in a few copies and probably no other has been preserved. (Wüthrich- 529). Matthäus Merian I (1593-1650), born in Basel, Switzerland moved to Oppenheim in 1617 and when the city of Oppenheim was destroyed in 1620 by fire during the Spanish occupation he moved back to Basel. Merian married the daughter of Theodor de Bry in 1617. In his early works in his twenties, he showed a great talent for free landscape etching after his own designs close to his contemporain Jan van de Velde but also influenced by Flemish artists such as the master of the small landscapes and he made even work after Jan Breughel the younger. The landscape art from his early period deserves more attention as it is far superior to his later work. Wütrich mentions: 'Because of the overly tight cross layers in the foreground, most of the known prints are very defective and have numerous blind spots. Clear prints are early prints and rare.' So a proof state like the one here on aucton is of the uppermost rarity and very valuable to enjoy in it's superb quality. RRRR / Dimensions: 13,60 x 17,00 cm / Condition: An early outstanding, richly inked and luminous impression on a full sheet of laid paper. Excellent condition with no folds, tears or stains. Old number in sepia ink in the upper right margin. A rare print, certainly in this very early outstanding printing condition. / Literature: Wüthrich 1966-1996 (Merian) - 529 - (proof state, preceding state I and II) RRRR / Medium: Etching /Circa: Circa 1620-1622 360

CARTER THE GREATEight Sheet (80" x 104")Very Fine- on Linen Otis Litho, c. 1927This fabulous eight sheet is one of three featured in this auction. In each picture, Carter, the Great, works his magic as demons, skeletons, and witches look on.There are two punctures in the T and R of Carter. There has been some separation of the fold lines, which have been repaired. Carter the Great was born Charles Joseph Carter, an American stage magician. His first appearance as a magician occurred when he was just ten years old and dubbed "Master Charles Carter, the Original Boy Magician." He toured the world performing magic, and upon his passing at age 61, his son carried on "Carter the Great's" legacy.This lot will be auctioned on Thursday, April 18th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on April 19th.

CARTER THE GREATEight Sheet (80" x 104" )Very Fine on Linen Otis Litho, c. 1927This fabulous eight sheet is one of three featured in this auction. In each picture, Carter, the Great, works his magic as demons, skeletons, and witches look on.This eight-sheet has been lovingly restored. Several chips around the edges have been repaired, along with a puncture to the left of Carter and a tear about 2 feet from the bottom right edge.Carter the Great was born Charles Joseph Carter, an American stage magician. His first appearance as a magician occurred when he was just ten years old and dubbed "Master Charles Carter, the Original Boy Magician." He toured the world performing magic, and upon his passing at age 61, his son carried on "Carter the Great's" legacy.This lot will be auctioned on Thursday, April 18th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on April 19th.

CARTER THE GREATEight Sheet (80" x 104")Very Fine on Linen Otis Litho, c. 1927This fabulous eight sheet is one of three featured in this auction. In each picture, Carter, the Great, works his magic as demons, skeletons, and witches look on.This eight sheet has been lovingly restored. Several chips around the edges have been repaired along with several touch-ups to the fold lines and a small puncture in the man with his back turned to the right of the globe.Carter the Great was born Charles Joseph Carter, an American stage magician. His first appearance as a magician occurred when he was just ten years old and dubbed "Master Charles Carter, the Original Boy Magician." He toured the world performing magic, and upon his passing at age 61, his son carried on "Carter the Great's" legacy.This lot will be auctioned on Thursday, April 18th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on April 19th.

GIORGIO DE CHIRICO (1888-1978)Ponte di Rialto signed 'G. de Chirico' (centre); signed and inscribed 'questa 'Venezia' (Ponte di Rialto) è opera autentica da me eseguita e firmata Giorgio de Chirico.' and further signed and inscribed 'Venezia (Rialto) Giorgio de Chirico' (on the reverse)oil on canvas50.5 x 60cm (19 7/8 x 23 5/8in).Painted in 1956Footnotes:ProvenancePrivate collection, Milan (acquired by 1971).Galleria La Barcaccia, Rome.Anon. sale, Christie's, Milan, 23 November 1998, lot 280.Private collection, Rome.LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. I, Opere dal 1951 al 1970, Milan, 1971, no. 49 (illustrated).An enigmatic maverick in the history of modern art, Giorgio de Chirico forged a unique and long career. Hailed as the master of Metaphysical art, in the 1950s he departed from the elusive imagery that defined his early career and created his most celebrated depictions of Venice as part of his 'late Baroque phase'. These works which are rooted in realism as opposed to the imagination, stand out within his oeuvre, and derive from his desire to reconnect with the history of Venice and the dignity of the old masters which shaped the city's cultural legacy. Beyond the metaphysical elements of much of his corpus, the present work places his brand of genius in close conversation with his forefathers and is an affirmation that he too belonged to the lineage of the great Italian masters.Born in Greece to Italian parents, de Chirico was surrounded by classical mythology, art, history, and architecture during his childhood. He first visited Venice in 1905 and throughout his career exhibited his paintings at the Venice Biennale. These sojourns provided ample opportunity for de Chirico to paint the sites, study the architecture, and to immerse himself amongst the masterpieces that fill the ancient city. For de Chirico, Venice served as an open-air studio from which he could draw endless inspiration.Executed in 1956, Ponte di Rialto is testament to the artist's mastery of paint and use of colour. From its fine architectural lines to the palpable texture of the water and the clouds, the work strikes a wonderfully balanced tone with its compositional symmetry. With the iconic Ponte di Rialto commanding the centre of the scene, the calm canal widens into the foreground as three gondolas glide across the surface, exuding a sense of serenity. The detailed facades of the architecture capture the sunlight, while dramatic shadows are cast into the water. The harmonious colour palette - comprising blues, greens, ochres, and pinks - is skilfully brought together by the bold red banner hanging from the keystone, proudly presenting the artist's signature to the viewer.Ponte di Rialto reveals a central desire of the artist held throughout his career, as described by Stephen McKenna: 'de Chirico saw himself as a man with a mission to fill (...): the preservation, or rather restoration, of the dignity of painting, the reestablishment of a respect and love for the Old Masters and the values they represent' (S. McKenna, Late de Chirico 1940-76, exh. cat., Bristol, 1985, pp. 11-12). De Chirico's relationship with Venice is comparable to Monet's relationship with Giverny – it was his own artistic playground, enabling him to develop his ideas and techniques. Moreover, his depictions of the city's canals, piazzas, and churches placed him in dialogue with the great Italian painters such as Titian, Tintoretto and Canaletto. Paying homage to the tradition of rendering the city's deep colours, teal canals and neoclassical facades, de Chirico also found Venice to be the ideal environment in which to hone his artistic skill and experiment with colour.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Hollar (Wenceslaus) Seven engravings, including portraits, landscapes and a still life, with 'Donkey' after Bassano, still life of dead hare after Boel, and a view of Islington, engravings, between 60 x 40 mm (2 1/4 x 1 1/2 in), and 260 x 185 mm (10 1/4 x 7 1/4 in), neatly hinged into mounts, unframed, [17th century]; together with a good group of 15 other old master prints by Stefano Della Bella, Jacques Callot, and Jean Baptiste Pillement, engravings, various sizes, all unframed, 17th century and later (22)

Young (John) A Catalogue of the Celebrated Collection of Pictures of the late John Julius Angerstein, Esq., large paper copy, text in English and French, 42 etched plates on india paper and mounted, foxing to mounts, engraved portrait of the Earl of Liverpool tipped in at beginning, bookplate of Richard Meux Benson, contemporary half green roan, uncut, spine rubbed and faded, 1823; A Catalogue of the Pictures at Leigh Court, near Bristol; the seat of Philip John Miles, Esq., contemporary half roan, uncut, 1822; A Catalogue of Pictures by British Artists, in the possession of Sir John Fleming Leicester...at Tabley House, Cheshire, some offsetting, modern half morocco, 1825; A Catalogue of the Collection of Pictures of the...Marquess of Stafford, at Cleveland House, London, 2 vol., mezzotint portrait, engraved plates on india paper and mounted, foxing, original roan-backed cloth, gilt, vol.1 rebacked preserving decorative gilt spine, 1825, first editions, half-titles, engraved plates, most rubbed, folio & 4to (5) *** Good collection of 4 of the 5 catalogues produced by Young (lacking only the Pictures at Grosvenor House).  John Julius Angerstein (1735-93) was a London businessman, collector and patron of the arts. When he died his collection of thirty-eight pictures was bought for the nation (for approximately £60,000) and formed the basis of the National Gallery, founded in 1824 and first situated in Angerstein's house at 100 Pall Mall. It included Rubens' Rape of the Sabine Women, Claude's Embarkation of the Queen of Sheba, Rembrandt's Woman taken in Adultery, and Sebastiano del Piombo's Raising of Lazarus which Angerstein had bought from the celebrated Orléans Collection in 1798 for 3500 guineas and which became item No.1 in the National Gallery Catalogue. Angerstein's house soon became too small and the present gallery designed by William Wilkins was built between 1832 and 1838. Philip Miles was a railway magnate who bought Leigh Court near Bristol and filled it with a fine collection of Old Master paintings. It included the famous "Altieri Claudes", originally purchased by William Beckford in 1799 for the then astounding price of £6825 for the pair. The collection was dispersed at Christie's in 1884. 

Cort (Cornelis) St Jerome reading in a rocky landscape, after Titian, engraving, on laid paper without watermark, sheet 300 x 260 mm (11 3/4 x 10 1/4 in), trimmed to or within the platemark, repairs to sheet loss in the upper edge, minor nicks and tears, some surface dirt, unframed, [New Hollstein 120], 1565; together with 8 other old master prints, including Master of the Die's 'Nymphs assisting Psyche to dress her hair', plate 10 from the 'Story of Cupid and Psyche', an etching after Lodovico Carracci's 'God the Father holding a globe in his left hand, flanked on either side by crowds of putti or angels', an allegory of Time signed in the plate 'Franciscus Ivuanis', and five others, various sizes, between 160 x 120 mm (6 1/4 x 4 3/4 in), all unframed, 16th to 18th century (9)

Michele Lucchesi (active 1534-1564)Bathers from the Battle of Cascina, or "The Climbers", after MichelangeloEngraving, circa 1535-1560, on laid paper, a good impression but printing slightly dryly to the centre left, platemark 330 x 440 mm (13 x 17 1/4 in), sheet 332 x 450 mm (13 1/8 x 17 3/4 in), some red chalk to the genitals of two of the figures, minor surface dirt and browning (unframed)Provenance:Sir William Stirling-Maxwell (1818-1878); then by descent to the present owners*** Together with a large miscellaneous group of over 40 old master and later prints from the Stirling-Maxwell collection, all unframed (qty.)

German Circa 1740 A huntsman with his dog, holding a dead hare Oil on canvas Signed indistinctly Provenance:  Phillips, Fine Old Master Paintings, 7 July 1998, Lot 111, where purchased by the present owner Dimensions: (Canvas) 8.5 in. (H) x 11.5 in. (W) (Frame) 13 in. (H) x 16 in. (W)

Dutch 18th Century Circle of Marc Baets A winter landscape With peasant figures carrying sticks through a town Oil on panel Provenance: Christie's, Old Master Pictures, 28 October 1998, Lot 128, where purchased by the present owner Dimensions: (Panel) 9.5 in. (H) x 12.5 in. (W) (Frame) 13 in. (H) x 16 in. (W)

Boxes of Art and Architectural reference books, to include Old Masters from the Thyssen- Bornemisza Museum La Belle Epoque, Art Nouveau, Musee D'Orsay Robert Rosenblum, Wiener Werkstatte, auction catalogue from Christies, Sotheby's Old Master Paintings etc Two volume bound catalogue Champalimaud Christies, Venice Art and Architecture, Futurismo, Interni Barcelona, Les Noces de Cana Caravaggio (qty in three boxes)

A Leica IIIF Rangefinder camera, Serial Number 614768 (1951-52), with a Leitz Elmar lens (f=5cm, 1:3.5), with a Leica lens cap and leather case. With various accessories including a leather cased Leitz Elmar mount, Leica booklet, Weston Master II cased light meter, flash bulb attachment, cable release and lens extension tube. Also with an original Customs Invoice from 1954. *This camera was purchased by the vendors father in 1954 as a second hand purchase, it was a couple of years old by this time. *CR Case is in generally good order, with very little wear to the leather and chrome, there is one scratch to the base. In good working order.

A COLLECTION OF SILVER FLATWARE comprising: six Scottish Hanoverian pattern three-pronged table forks, three by Henry Beathune, Edinburgh 1725, assay master Edward Penman, and three by Robert Gordon, plus seven George III Hanoverian pattern tablespoons, London 1776, six table forks, by G. Jackson, London 1892, and ten old English pattern tablespoons, London 1773, the terminals with crests, approx. weight 65oz. (29)ProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

A TÔLE PEINTE BISCUIT OR DRESSING BOX PROBABLY FRENCH, LATE 19TH CENTURYprinted with various Old Master style scenes on a black ground, the cover with a mirror to the inside12.8cm high, 27.4cm wide, 20cm deepProvenanceParker & Morris: The Art of Decorating.With a paper Christie's label to the underside.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Folio of eleven Japanese old master woodblocks.

Unclearly signed, winter landscape after an old master, canvas 30x40 cm

A Collectio0n of Royal Doulton Figurines including Song of the Sea HN2729, Nanny HN2221, Teatime HN2255, Balloon Boy HN2934, The Old Balloon Seller HN1315, The Balloon Man HN1954, The Master HN23255, Silks and Ribbons HN2017

Old Master School, Early Figural Scene. Oil on Canvas. Apparently unsigned. Has not been examined out of the frame. Sight Size: 16 x 20 in. Overall Framed Size: 19 x 23 in.

A small quantity of Royal Doulton Character Figures, to comprising Pearly Boy HN2767, Fisherman HN4511, Embroidering HN2855, The Master HN2325, Graduate (male) HN3017 and Old Meg HN2494 (6)

'Dutch painting from Van Eyck to Pieter Bruegel' folio and four other large German folios containing various colour prints of old master paintings each titled 67cm x 50cm (5)

Italo-Spanish School, late 16th CenturyChrist as Salvator Mundi, design for a title page of a book pen and brown ink and wash on paper13.1 x 7.8cm (5 3/16 x 3 1/16in).Footnotes:ProvenanceMarquis de Lagoy (L.1710)Marquis C. de Valori (L.2500)Emile Wauters (according to inscription on the verso)ExhibitedLondon, Alpine Club, Old Master to East English Drawings, 29 November 1958, no.56 (according to an inscription on the verso).The present work has a traditional attribution to Palma II Giovane (c.1544/48-1628), with an attribution to Francisco I Herrrera (1576-1656) as a suggestion.For further information on this lot please visit Bonhams.com

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which include 3x HA4101, 2x HA4402 along with 2x HA2809. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which includes 2x HA2809 Lockheed F-22 Raptor, HA1962 along with HA3501. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which includes 2x HA2809 Lockheed F-22 Raptor, HA2508 along with HA1051. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which include 3x HA4101, HA2615, HA4402 along with HA1017. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

John Colley Nixon (1755-1818) - Study of a Chinaman, attributed and inscribed mount, pencil on paper, 15 x 8cm, mounted, six other Old Master and other drawings and works on paper, 18th c and later, including a pen-and-ink sketch of Bacchus and Ariadne attributed to Samuel Woodforde RA, another attributed to James Northcote RA, Joshua Cristall pen-and-ink, Harold John Stanley pencil on paper, etc., mixed sizes, hinge-mounted, various collector's labels to verso, (7) Mixed condition, mostly good; see online images.

Henry IV of France (1553-1610), an album of approx. 60 Old Master and other prints, 17th c and later, including two copies of Pierre-Etienne Moitte (1722-1780) after Nicolas Bernard Lépicié (1735-1784), Henri IV, the portrait in two states, one unlettered and presumably proof, etching and engraving, 26.5 x 18.5cm and 26.5 x 19cm, Pierre Duflos (1742-1816) after Jacques Louis Touzé (1747-1807), Henri IV, Roi de France et de Navare; Tiré du Ceremonial de l'Ordre du St. Esprit, s.l., s.n., n.d. [1780], copperplate engraving, contemporaneous watercolour and gouache hand-colouring, picked-out in gilt, 28 x 20.5cm, other portraits and profiles of the monarch, some medallic, three or four with images of other contemporary Bourbons, mixed medium and sizes, all mounted on wove paper leaves, 20th c limp calf wrapper, worn and stained, uncut edges, folio (34 x 25cm) The prints are in mixed condition, but generally good. The album binding worn.

After Rembrandt (Dutch, 1606-1669) Old Master ink, Landscape with kneeling figure, Erich Bretschneider, Leipzig label verso, 14.5 x 27cm Unexplained vertical line to centre affecting ink drawing and the mount; otherwise good.

Dunhill Old Master finest scotch whisky in original box. 750ml., 43% vol. Sealed.

18th century Old Master style sanguine chalk drawing, cattle and herd in landscape, unsigned, 18cm x 25cm, framedSlight paper discolouration and several small fox marks

GIOVANNI GUERRA (ITALIAN, 1544-1618)A scene from the life of Ahasuerus with inscription '23' (on the back of the old mount) traces of black and red chalk, pen and brown ink, brown wash 22 x 16cm Provenance Charles Rogers (1711-1784), London (L. 624), on his associated mount; Anonymous sale; Christie's, London, 12 April 1983, lot 12; Sale, Christie's, London, 27th July 2020, lot 8FootnoteThis drawing belongs to a series illustrating the Book of Esther. Most sheets carry extensive inscriptions on the verso, but the present drawing is an exception. Other drawings from the series are in the Ashmolean Museum, Oxford (Inv. WA 1947.189 and 190), the Musée du Louvre (Inv. 10559), the British Museum (Inv. 1975,0517.1 and 1975,0517.2; J.A. Gere and P. Pouncey, Italian Drawings in the Department of Prints and Drawings in the British Museum: Artists Working in Rome: c. 1550 to c.1640, London, 1983, nos. 191-2, pl. 181), and the Musea Brugge (inv. 2018.GRO0021.II; see V. D'haene, European Old Master Drawings from the Bruges Print Room, exhib. cat., Bruges, Brangwynmuseum, Musea Brugge, 2019, no. 10, ill.).Condition ReportThere are creases off the left border but otherwise the sheet appears sound; light surface staining in the foreground.  Under glass and held in a modern frame; unexamined out of frame.

Sydney Alex Kumalo (South African, 1935-1988)St Francis of Assisi signed and numbered 'K VII | X' (beneath the figure's tunic)bronze on wooden base 70 x 27.5 x 22.5cm (27 9/16 x 10 13/16 x 8 7/8in). (including base)Footnotes:ProvenanceEgon Guenther Gallery, purchased 3rd November 1966;By descent;A private collection.ExhibitedJohannesburg, Egon Guenther Gallery, An Exhibition of Sculpture and Drawings by Sydney Kumalo, (8 May 1962). (edition i/x).LiteratureGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), SK13, p. 143.H. Toerien & G. Duby, ed. Our Art, vol.3, (Pretoria), p. 66. (illustrated).Elizabeth Rankin, 'Sydney Kumalo', ed. E. Burroughs & K. Nel, Re/discovery and Memory: The works of Kumalo, Legae, Nitegeka & Villa,(Cape Town: ABC Press & Norval Foundation, 2018), p. 131. (different edition of the same work illustrated). S. Sack, The Neglected Tradition: Towards a New History of South African Art (1930-1988), (Johannesburg Art Gallery, 1988), p. 51. (different edition of the same work illustrated), (edition 6/10).Born in 1935 and raised in the old suburb of Johannesburg known as Sophiatown, Sydney Kumalo grew up with and became absorbed into a community that would be destroyed by the apartheid, catalysing a generation of some of South Africa's most passionate, driven, and famous artists. Being Zulu in this community meant that Kumalo grew up surrounded people of different political beliefs and cultures, developing a grounding of cohesive societal understanding that would reflect in his later works of art. Kumalo was only seventeen when he began studying at the Polly Street Art Centre in Johannesburg under the guidance of Cecil Skotnes and Edoardo Villa, before becoming a teacher there himself in 1964. Kumalo would go on to exhibit alongside the two aforementioned artists (also prominent figures in today's market) in collaborative shows. Given his background Kumalo would establish himself as a prominent figure in modern African Art who overcame challenging adversity given his position as a Black creative during apartheid, emphasising his importance. Guenther Gallery cast two terrazzos and the first bronze (edition i/x) of this sculpture for the May 1962 exhibition, An Exhibition of Sculpture and Drawings by Sydney Kumalo. Further casts were created on a basis of supply and demand; the present rendition was cast in November 1966. Evidently a popular cast, Egon Guenther Gallery sold all future editions of St Francis of Assisi from 1966 to 1971. Elizabeth Rankin notes that Carlo Gamberini of the foundry remembered 'how Kumalo used to come to the foundry to oversee the finishing of the bronze casts, and also to work on the waxes of his sculptures, often using a saw blade to introduce surface texture.' This practise can be seen on the present work, with hairline etchings of texture most notable to the head, shoulders, and back of the work. This technique would further animate the figures the artist produced and displayed the artist's continuous passionate development of his works. Figures expressing spiritual emotion is a theme that is consistent within his oeuvre. With regards to his wider body of work, Kumalo's renditions of strong semi-abstracted figures, whether they be animals or humans, are somewhat characteristic of traditional African sculptures. As Jean Kennedy notes on the artist's technique: 'The solidity and central axis of his forms convey strength, the interpretation of which ranges from protest to endurance.' (Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.). In this instance, the image of St Francis of Assisi brings to the surface notions of peace which the figure is associated with. Differing from classical descriptive reproductions of the Saint, for instance often portrayed bearing stigmata in Old Master depictions of the Saint, Kumalo portrays the essence of Assisi, focusing on compositional form rather than the imitation of Christ which older western portraits tend to have leaned towards. While most associations of an animal interaction with the Saint are more famously through the legend of Francis and the Wolf of Gubbio, doves themselves are symbols of peace and therefore contribute to the humility of the figure. St. Francis is one of Kumalo's best known works. Conceived in 1962, the sculpture depicts the Christian saint renowned for his acts of compassion. It was described by Watter in Our Art 3 contemporary critic thus:'The mask-like head radiates spiritual serenity, yet the neck is rigid with strain. The wide-legged stance asserts confidence but the arms are pathetically thin. This is a representation of a man rent by spiritual conflict, caught in his frail human body. Movement is concentrated at two points: on the saint's left hand that cuddles a dove protectively against his chest, and on the strong thrust of the right arm reaching heavenwards in a gesture that combines blessing with threat. This double significance reinforces the tension caused by the amalgam of Christian content with forms redolent of African ritual. The soft pot-belly is opposed to hard purpose. The ludicrous little legs provide a stylised base for a gesture that challenges the universe. In Sydney Kumalo's St. Francis a man is portrayed who has galvanised himself through the strength of selfless compassion and so overcomes the limitations set by his fallible human body.'Since the creation of this work, Sydney Kumalo represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the Sao Paulo Biennale. Kumalo received a number of awards throughout his career; he was invited to the Artist of Fame and Promise Exhibition in 1960 further winning the award for most promising up and coming artist. In 1967 won a bronze medal from the Transvaal Academy and a travel bursary from the US-SALEP (the United States/ South African Leadership Exchange Programme) enabling him to travel to the US in 1967. It seems appropriate, given the religious motivation behind much of the artist's work such as the present lot, that Kumalo also received commissions from religious institutions, such as a mural in the Catholic Church in Kroonstad that was completed in 1957. Therefore, we see Kumalo's career extending beyond these art circle bounds and into physical and pivotal societal structures.We are grateful to Gavin Watkins for his assistance with the above footnote.BibliographyGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), pp. 142-145.H.Toerien & G.Duby, ed. Our Art, vol.3, (Pretoria), pp. 66-68.Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.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

Hsiao Chen. 'FA Mu-Lan on horseback', Qing Dynasty, 19th century. Watercolour, silk on card, together with an old typed letter entitled 'FA MU-LAN', image size 90 x 41cm. (2)West Cornwall private seller, by family descent. The vendor inherited items from her great grandfather Captain John Dewar (ship master). He was born in Shanghai in 1866 and died in 1950. His wife Susan Smith Oudney (1875-1967) whose father was William Oudney a master mariner owned two clipper ships including 'The Coach Inn'. John and Susan married in Shanghai in 1896.Please see the images showing the condition issues.

THEATRE, programme selection, Malvern Theatre, inc. The Apple Cart 1929, The Play of the Weather 1932, Jane Eyre 1936, Alexander 1938, Old Master 1939, Bernard Shaw Centenary programme 1956, Plays by Bernard Shaw brochure etc., staining & foxing, some tears & corner damage, FR to G, 20*

DUNHILL OLD MASTER CRYSTAL DECANTER 75CL BLENDED WHISKY 43% ABV / 75cl

2 BOTTLES OF JOHNNIE WALKER 12 YEAR OLD BLACK LABEL (70CL & 75CL) BLENDED WHISKY 40% ABV / 70cl & 75cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 15 YEAR OLD KILMARNOCK 400 75CL BLENDED WHISKY With souvenir brochure.43% ABV / 75cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

BENRIACH 16 YEAR OLD SAUTERNES WOOD FINISH SPEYSIDE SINGLE MALT 46% ABV / 70cl In the late 19th century John Duff was at the helm of a miniature whisky empire. Business was booming for his two distilleries, Glenlossie and Longmorn, so he decided to strike while the iron was hot with yet another venture. As it turned out, his optimism was misplaced. BenRiach was established in 1897, just two years before a huge downturn in the market forced it (and many other distilleries) to close.It wasn’t until 65 Years later, when it was acquired by Seagrams, that BenRiach was finally resurrected. Still, it didn’t make much of an impact on the single malt market until Master Blender, Billy Walker, took the reins in 2003. Along with the ailing Glenglassaugh, and GlenDronach, Walker reinvigorated the brand, elevating it to the position it enjoys today.

GLENLIVET MASTER DISTILLER'S RESERVE 1L SPEYSIDE SINGLE MALT 40% ABV / 1L One of the very first distilleries in Scotland to be granted an official licence, after the passing of the licencing act in 1823, Glenlivet distillery has become synonymous with Speyside whisky. So much so, that at one point 28 other distilleries in the area adopted “Glenlivet” as a suffix to their own brand in order to piggyback on the reputation Glenlivet had built for itself. Although that practise has fallen by the wayside in recent years some independent bottlers still use it. The Glenlivet brand is now one of the most recognisable in the world, and despite the distillery undergoing an expansion and upgrade (beginning) in 2010, their iconic 12-Year-Old expression still had to be discontinued for a few years before production was able to catch up with demand.

A small collection of Old Master prints by or after Dirk Stoop, Cades, Perelle and others, unframed, (6).

After the Old Master from the Borghese Gallery and Museum, Christ on the cross, oil on canvas, 31.5" x 22.5" (80 x 57cm).

Follower of Pierre Mignard (French School late 17th early 18th century), Portrait of Francoise d'Aubigne, Mme.Scarron and later Madame de Maintenon, as a young woman circa 1675, oil on oval canvas, 74x60cm, carved wood oval frame.Purchased by the vendor in 2016 from William Thuillier, Old Master and British Paintings, London.

A TABRIZ CARPET SIGNED BY MASTER WEAVER KHAYAM approximately 361 x 280cm Condition Report: Carpet with some minor wear commensurate with age and use, but generally maintains good pile overall.Some small losses to pile adjacent to bound edges in places - possibly isolated old moth. Some minor marks and discolourations. Fringing is short at both ends. They both have wear, fraying and some losses. Binding to longest edges generally tidy with just the expected wear. Please refer to additional images for visual reference to condition.Condition Report Disclaimer

Quantity of The Tudor Mint Myth & Magic Figurines Includes Sentinels Portal #3307, Reborn Dragon #3033, The Giant Sorcerer #3035, The Bell Ringer #MM4070, Old Father Time #3067, Master Wizard #3009, Queen Guinevere #3205, The Skull Master #6207, The Skull Gateway #6203 with one unnamed other. Excellent to Excellent Plus within Good to Good Plus

Alfred Leslie (American, 1927-2023). Large oil on canvas Abstract Expressionist painting titled "The Silver Thistle," painted in cool tones of blue and gray with splashes of red and yellow, 1955. Signed and dated along the lower center. Further signed and titled along the verso.Provenance: Signa Gallery, New York; B.C. Holland Gallery, Chicago; Richard Gray Gallery, Chicago; Private Minnesota Collection.Lot Essay:Alfred Leslie is well known as being one the key figures in the second generation of Abstract Expressionist artists along with Grace Hartigan, Joan Mitchell, and Milton Resnick. He took part in the landmark show "New Talent" organized by Clement Greenberg and Meyer Schapiro at Kootz Gallery in 1950 as well as the "Ninth Street Show" the following year. His first show at Tibor de Nagy Gallery in 1952 was highly praised with one critic writing that the "fresh, romantic, reckless expressionism" made the competition "seem prim and tight by comparison."By the 1960s he began moving away from Abstract Expressionism, favoring figurative paintings, often portraits. His grisaille paintings were realistic, dramatically changed from his work of the previous decade. The subjects were often dramatically lit from multiple angles. In 1966, nearly all of his monochrome works were destroyed in a fire. It was at this point that he began introducing color back into his works.While he would never return to the Abstract Expressionist works of his youth, the figural works of the present would remain influenced by his time with the movement. While the subject matter was rooted in the old master paintings of the past, he introduced modern elements that refreshed the genre and breathed new life into the act of portrait painting.Unframed; height: 78 1/2 in x width: 70 3/4 in. Framed; height: 79 1/2 in x width: 71 3/4 in.

A large Italian bronze mortar, Veneto, 17th century, of Renaissance style, cast with twin human head side handles and satyr masks, with coats-of-arms displaying a pair of bells and an oak tree within laurel garland, with borders of foliate swags and leaves above and below, 33.5cm high, 38cm diameter Provenance: Sotheby's Old Master Sculpture and Works of Art, 7 December 2010, Lot 65.Related Literature: Peta Motture, Bells and Mortars: Catalogue of Italian Bronzes in the Victoria and Albert Museum, p. 96-193, for a discussion and catalogue of other North Italian examples of bells and mortars. 

After Rembrandt Portrait miniature of the artist watercolour on ivory, in a gilt brass frame6cm diam.The present work after Rembrandt’s self-portrait of 1634 in the Uffizi, Florence, is similar in style to the numerous Old Master portrait copies executed by Giuseppe Macpherson (1726-c.1780). A work by Macpherson after the same self-portrait exists in the Royal Collection (RCIN 421156).This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 459K3CQK.

A large diamond cluster ring, a pear shaped diamond set to the centre of a large cluster mount 25x20mm, and surrounded by a further ten old cut diamonds and border of small old and rose cut diamonds, the white metal closed back setting testing as silver mounted on a 2.6mm wide band ring size P, marked 9ct J.M.Condition report:Gross weight - 7.4g. We do not ha e master stones in order to grade the diamonds but in our opinion the central stone falls into the Colour band U-W and Clarity band SI1/2, and the other diamonds into Colour band J-L and Clarity band VS1/VS2. The central diamond and several small diamonds have damage to the girdle and crown facets. Please see additional uploaded images of the back and sides of the ring.

A diamond five stone ring, the five old brilliant cut stones graduating in size and divided by four pairs of diamond chips all carved claw set in an unmarked yellow metal mount ring size W, gross weight 3.2g.Condition report:This type of ring was set using 18 carat gold. We estimate the main diamonds to be approximately 5mm x 2.9mm, 4.8mm x 3.9mm and 3.6 x 2.4mm. We do not have master stones in order to grade the diamonds but in our opinion the main diamonds fall into the Colour grade band M-O and Clarity grade band I1-I2. One of the main diamonds has some chips and surface-reaching fractures to the table and side crown facets. Please see additional uploaded images.

A diamond two stone crossover ring, the old brilliant cut stones claw set in a yellow and white metal mount ring size S, approximate size of diamonds 5mm and 5.3mm, gross weight 3.5g.Condition report:We estimate the depths of the stones to be approximately 3.3mm and 3.4mm. We do not have master stones in order to grade the stones but we estimate their Colour grade band to be K-M and their Clarity grade band to be SI1/SI2. Both stones and all claws are secure. The shank is in very good condition. Please see additional uploaded images.

A diamond and seed pearl bracelet, the yellow and white metal mount having an arched panel to the centre millegrain and pip claw set with twenty-four old cut diamonds, a two strand chain attached to each side set with diamonds and seed pearls in stylised fleur-de-lys motifs, the tongue snap fastener incorporating one motif, length 16cm.Condition report:Please see further images.Two seed pearls missing, please note the short length of bracelet, fastener is functioning. Gross weight - 12.6g. There is a bit of yellow to the diamonds. We do not have master stones in order to grade the diamonds but in our opinion the largest ones fall into the Colour band K to M and the Clarity band SI1/SI2.

A diamond five stone ring, the five old cut diamonds graduating in size, claw set in a yellow metal mount ring size P, marked 18ct, gross weight 3.6g.Condition report:Approximate diameter of largest diamond 4.6mm. Approximate depth of largest diamond - 2.7mm. We do not have master stones to grade diamonds but in our opinion they fall into the Colour grade band I to K and Clarity grade band SI1/SI2. Several diamonds have chips to the girdle. Some claws require re-tipping. Please see additional uploaded images.

A Coronation Souvenir Book 1937; an album of "Photographs from America" and an album of various Old Master photographic prints

1987 BMW R100RS Registration number D464 NAF Being sold without reserve Frame number 0160486 Engine number 51860172 Totally restored by the present owner Frame, sub frame and wheels powder coated New brakes, discs, pads, pipes, master cylinder and rear brake shoes Top end overhaul, new piston rings Speedo and volt meter overhauled New rocker box covers fitted, old ones included New seat cover New alternator and regulator, wiring checked and replaced where necessary New clutch friction plates, new Hagon shock, final drive oil seal Surefoot side stand Pannier frames re-chromed but not fitted as with the panniers Some spares Mileage unknown Previous MOT shows 63,000 recorded miles MOT expired February 2024 Currently SORN'ed All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions With V5C This lot must be collected by 12.30pm on Friday 15th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice