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Pair of Old Master Rural/Agricultural Prints, in gilt frames, overall 108 x 88cm. (2)

Dunhill 'Old Master' Finest Scotch Whisky, Cellar Master's Number G 64728, 1 bottle in presentation box

After Hans Holbein, Old Master school oil on panel portrait of Erasmus of Rotterdam writing, with label verso giving title and also details of it having been given to Rev. R. Shepherd by S. Boseley Esq and with Erasmus' dates of birth and death, 18.5 x 15cm

ADAM PERELLE (FRENCH 1640-1695) GASPARE VIGARINI PRESENTING TO DUKE FERDINANDO I THE TEATRO DELLA SPELTA IN MODERNA (CIRCA 1659) Pen, ink, and touches of graphite 12.5 x 15.5cm (4¾ x 6 in.)Provenance: Sale. Sotheby's, New York, Old Master Drawings, 14 January 1989, lot 291 Sale, Bloomsbury Auctions, Cats: The Collection of the Late Marianne C. Gourary, 29 October 2015, lot 249 Condition Report: The drawing presents an even surface with no evident tears or undulations but shows a sparse yellowing of the paper in small patches across. The most evident patch is on the upper left corner which is of around 1.5 cm. The examination has been done with the glazing. Condition Report Disclaimer

A folio of Old Master and other prints, 18th c and later, including George Vertue FSA (1684-1756) after Lucas de Heere (1534-1584), Frances, Duchess of Suffolk and her Husband Adrian Stokes Esq:r, double-portrait, London, 1748, etching and engraving, 48 x 55cm, Thomas Watson (1750-1781) after Sir Peter Lely (1618-1680), [Barbara Palmer, Duchess of Cleveland, as Minerva], proof before title, London, 1779, mezzotint, 47 x 34cm, six further portrait mezzotints, 18th and 19th c, after Piranesi, Outside View of the Colosseum, s.l. [London], n.d. [c. 1775], engraving, 28 x 41cm, [satire/caricature] Anon, The Monkey's Downfall or Cat's-Paw Rescu'd, s.l. [?London], n.d. [c. 1767], etching, later laid on card, 28 x 40cm, Plate No. 117 from Sir William Hamilton's Collection of Antiquities and Vases, s.l. [Naples], n.d. [c. 1767], copperplate engraving, contemporary hand-colouring, 29.5 x 26cm, Giovanni Girolamo Frezza (1659–1730) after Carlo Maratta (1625-1713), Pan Foiled by Diana, s.l. [Rome?], n.d. [c. 1680-1720], engraving, trimmed with loss of some lettering, 36 x 25.5cm, pasted watercolour frieze mount, various other prints with conforming mounts, Francesco Bartolozzi RA (1727-1815) after Richard Cosway RA (1742-1821), Princess of Charlotte of Wales as Baby, [London], [1797], stipple engraving and etching, trimmed with loss of all lettering, 35 x 27cm, etc., others, mixed media and sizes, (approx. 40) Mixed condition.

Cherubino Alberti (1553–1615) after Polidoro da Caravaggio (c. 1499-1543) - Rape of the Sabines, a set of four, numbered 1-4 and titled within the plate, s.l. [Rome?], n.d. [1570-1615], engravings, mixed sizes, the largest 17.5 x 49cm, uniformly framed in Hogarth-type frames, (4) The Old Master prints good, slightly toned portions. Otherwise apparently good condition; please note they have not been examined out of their frames. The frames themselves have some slightly worn losses.

Old Master, pen and ink drawing, Crowd of figures, 10.5 x 17cm

Dunhill Old Master Scotch Whisky Vintage Bottle

An Old Master print on porcelain, 39 x 29cms, framed

A Medici Old Master print after Gerard Terborch ' The Concert' in deep ebonised frame, 56 x 43cm

A QUANTITY OF OLD STAMP ALBUMS AS EARLY AS 1948 TO INCLUDE AN OLD NATIONS STAMP ALBUM, THE GLOBE MASTER, ETC.,

UNITED KINGDOM. Victoria, 1837-1901. Gold half-sovereign, 1890. London. With JEB Low shield DISH L512. No half sovereigns were struck in 1888 and 1889 in an attempt to steer the public towards greater use of silver coins, which were less prone to wear than the half-sovereign and so more cost-effective. The double-florin (4 shillings) piece was produced 1887-1890 to offset for the half-sovereign shortage, but weighs 22.6 grams and measures 36 mm. The public was not happy about carrying around the equivalent value of the widely used half-sovereign (10 shillings) in silver coins. Production of half sovereigns recommenced in 1890 with 2,266,023 coins.The issues the mint encountered with the Jubilee coins are well documented and were exacerbated by the pressure for the coins to be ready for the Queen's Golden Jubilee on 20 June 1887. Due to time restraints the Jubilee head sculptor Joseph Edgar Boehm’s initials JEB were individually punched onto the master dies, resulting in three categories of JEB types—Imperfect J, hooked J (six unique dies) and no JEB. It is unclear in which order coins of these categories would have been produced and why at some point, presumably after 1887, it was decided to discontinue the use of dies with the JEB initials. After 1887, JEB initials are all of the Imperfect J type and become increasingly rarer as the years pass. This in our opinion indicates that coins struck after 1887 bearing the JEB initials would relate to the use of old dies from 1887 production runs, in the same way as the use of high shield dies.To improve metal flow, the reverse was redesigned at some point after 1887 and the shield moved slightly lower (sometimes called wide date as the lower part of the shield pushed the date further apart). In the same way as presumed with the use of JEB dies after 1887, the Mint continued using the high shield dies from 1887 production runs until 1892, the later ones being very rare (1891 is ultra-rare).Crowned and veiled Jubilee bust facing left; JEB on truncation, imperfect J; inscription: VICTORIA DEI GRATIA BRIT: REGINA F: D:. / Lower, crowned and embellished shield-of-arms; wide date in exergue; BRITANNIARUM REGINA FID: DEF:.In secure plastic holder, graded PCGS AU55 , certification number 47109896. PCGS population in this grade: 2, equal-finest graded.Reference: Marsh-479A; S-3869B; DISH-L512Diameter: 19.3 mm.Weight: 3.99 g. (AGW=0.1176 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

An Old Master style pencil sketch of cherubs, probably 18th century or earlier, with pen and ink additions, 17 x 21.5cm; with further work verso.

We thank Professor Nicola Spinosa for his collaboration on the attribution of these artworks. Very important pair of large oil paintings on canvas, together with 18th C italian giltwood period frames. Framed measurements: 165 x 243, canvas measurements: 143 x 219 cm (each). Where we see, a carpet covering a table in the left corner where rest, respectively, a globe, an oval portrait, a sculpture, various books, a planetarium, a table clock and a world map, and another in which the viewer You can see the armor of a complete knight resting on the same table covered with a carpet, and, next to it, a jug, both inside separate Caprices. Work typically associated with the artistic canons of the Italian Baroque that directly connects with similar models of the famous painter of the Roman school Francesco Noletti, called il Maltese and born in Valletta, Malta (Valletta? c. 1611-Rome, 1654) Noletti was an Italian Baroque painter, born as his nickname indicates, in Malta and specialized in still life painting. Noletti's still lifes have been attributed to the so-called Francesco Fieravino or Fioravanti, a confused creation of the 18th century, until, in the early 2000s, his true identity was discovered from an anonymous portrait kept at the Foundation for International Studies of La Valletta, in the building of the old university. His biography shows that around 1640 or something before he settled in Rome, where he married and collaborated with Andrea Sacchi, and died there on December 4, 1654. The death certificate he called him a "famous painter". Although his last name was soon forgotten, he was praised, always by his nickname, by Cornelis de Bie and Joachim von Sandrart and later also by Joshua Reynolds, among several others. In the absence of signed works, two engravings published in 1703 by Jacobus Coelemans on paintings by the Maltese, entitled Omnis salus in ferro est and Quaedam sensum instrumenta, have served as the basis for establishing his style, in which some elements are repeated.5 His Rich still lifes are always characterized by the presence of Turkish rugs, tapestries and curtains covering the tables and shelves on which rest pieces of crockery, flowers and fruit arranged next to some precious object, musical instruments and framed paintings or mirrors. Three still lifes by the Maltese master are preserved in the Bilbao Fine Arts Museum, where they entered in the 1920s with attributions to Antonio de Pereda and Pieter Boel. Provenance: important Spanish private collection.

17th Century An old master drawing of gathered figures with cherubs in attendance, sanguine and graphite. 11" x 9" (28 x 23cm), unframed.

Louis XIV mirrorFrance - Finely carved and gilded wooden mirror. Louis XIV period frame, old mercury glass. Begining of the 18th century.(re-gilded by a master gilder)25,8x20,8 cm

JOHNNIE WALKER 18 YEAR OLD GOLD LABEL, 15 YEAR OLD GREEN LABEL AND SWING 75CL BLENDED WHISKY Johnnie Walker 18 Year Old Gold Label 40% ABV / 70clJohnnie Walker 15 Year Old Green Label 43% ABV / 70clJohnnie Walker Swing 43% ABV / 75cl Qty: 3 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 18 YEAR OLD GOLD LABEL 75CL AND JOHNNIE WALKER 15 YEAR OLD GREEN LABEL 1L BLENDED WHISKY Johnnie Walker 18 Year Old Gold Label 40% ABV / 75clJohnnie Walker 15 Year Old Green Label 43% ABV / 1L 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 18 YEAR OLD GOLD LABEL BLENDED WHISKY 40% ABV / 70cl 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 GREEN LABEL AND 2 BOTTLES OF JOHNNIE WALKER 12 YEAR OLD BLACK LABEL 75CL BLENDED WHISKY Johnnie Walker 15 Year Old Green Label 43% ABV / 70clJohnnie Walker 12 Year Old Black Label 43% ABV / 75clJohnnie Walker 12 Year Old Black Label 40% ABV / 75cl Qty: 3 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.

EDEN MILL 15 YEAR OLD DISTILLER'S CHOICE 50CL GIFT PACK WITH 2 GLASSES SPEYSIDE SINGLE MALT SINGLE MALT Not actually distilled at Eden Mill, this is a Speyside single malt selected by their Master Distiller.40% ABV / 50cl

JOHNNIE WALKER 15 YEAR OLD KILMARNOCK 400 75CL BLENDED WHISKY 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.

JOHNNIE WALKER 12 YEAR OLD MILLENIUM EDITION BLACK LABEL BLENDED WHISKY 40% ABV / 70cl 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.

"Good Fortune"Oil on canvas. Signed. Relined.65,5 x 81 cm.Wonderful painting of a young girl, still quite childlike, looking defiantly yet with the sweetness and innocence of her age, at a hypothetical querent for whom she has she has pulled some cards to read their fortune. With her deep, black eyes, she challenges us, certainly somewhat cockily, against an intense blue sky.  All of this is, undeniably, strongly reminiscent of the master Zuloaga.Of humble origins, Joan Cardona trained at the Baixas Academy, inaugurated by the painter Joan Baixas in 1892, a centre where, as the Prado reports, "a good number of the most prominent artists of Catalan Modernisme were trained."Having deep artistic and musical sensibility, as the Prado continues to explain, in 1894, "at just 17 years old, Cardona participated in the II General Exhibition of Fine Arts in Barcelona" and continued to do so in subsequent exhibitions. At the turn of the century, he moved to Paris, where he lived his years of greatest fulfilment and international recognition, establishing himself as one of the most acclaimed illustrators of the Belle Époque in Paris, illustrating numerous European magazines, especially French ones. Upon returning to his home town, where he consolidated his commercial success, he specialised in oil painting and a more folkloric style, depicting 'majas' and gipsies.Undoubtedly, the central figure in his works is the woman, whether surrounded by the glamour of Parisian high society, with elegant dresses and jewels during his time in the French capital, or, after his return, in a more folkloric and Romany setting, as is the case with the painting we have here.He maintained a close artistic and personal relationship with the popular painter Ricard Opisso, as the former member of the "Quatre gats" group married his sister Consuelo Cardona.His paintings are kept in the Carmen Thyssen Collection, from which we would highlight "A Young Girl" (inv. CTB.2016.35) due its resemblance to our canvas in the attitude of the young girl and her clothing; at the National Art Museum of Catalonia (MNAC), with "Maternal Love" from circa 1914 and "Dona abillada" ("Adorned Woman") from circa 1918 standing out amongst his paintings; and at the Musée d'Orsay. "Gitana con un niño," circa 1929, is kept in the collection at The Prado Museum.Reference Bibliography:- Museo del Prado. (s.f.). “Cardona y Lladós, Juan”. https://www.museodelprado.es/coleccion/artista/cardona-y-llados-juan/cdf3ed07-5dd8-46a3-a3dc-84ce37da5769- Cardona, Joan. (s.f.). “Una joven”. [Óleo sobre tela]. Colección Carmen Thyssen-Bornemisza. https://coleccioncarmenthyssen.es/work/una-joven/

Master of Antwerp (1485-1491) - Adam and Eve in Paradise / Description: God shows Adam and Eve Paradise. Paradise with the four rivers. God introduces Adam and Eve and points to the Tree of Good and Evil. This old colored incunabula woodcut was used in the first edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". and in some other editions, all still from the 15th century. The first edition was published in 1487 in Antwerp. The attribution to the Fist Antwerp Woodcutter is confirmed by Sir William Martin Conway in his work 'The Woodcutters of the Netherlands in the Fifteenth Century', page 229 (Folio cut from the First Antwerp Woodcutter: 3. God's commands to Adam and Eve). The fresh impression still with complete intact borderlines makes it very likely our woodcut belongs to the first edition of 1487 or the second from 1488. / Dimensions: 17,80 x 14,60 cm / Condition: Excellent impression with unbroken woodcut lines, tipped with corners on a laid paper collection sheet. Very nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Sir William Martin Conway (1884) The Woodcutters of the Netherlands in the Fifteenth Century: In Three Parts ...page 229 ---- "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: 1487 320

Master of Haarlem (1483-1486 Fl.) - Christ baptizes in the Jordan / Description: Christ baptizing in the Jordan. How Jesus began to baptize in public. 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 makes it a real early woodcut in History. / Dimensions: 9,20 x 13,00 cm / Condition: Excellent impression with unbroken woodcut lines. 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 Antwerp (1485-1491) - The calling of Zacchaeus / Description: Woodcut with two scenes: The last supper and The calling of Zacchaeus. 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 First Antwerp Master and dated 1485-1491 / Dimensions: 9,80 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 Antwerp (1485-1491) - Jesus' sermon at sea / Description: Jesus' sermon at sea, Peter and Andrew with the full net. This old colored incunabula woodcut corresponds to the first edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". This first edition was published in 1487 in Antwerp. The woodcut here on auction is similar to RDK IX, 345, Abb. 23. Antwerpen 1487.: Seepredigt Jesu, Petrus und Andreas mit dem vollen Netz.23. Holzschnitt-Ill. (18,3 × 12,8 cm) aus Ludolf von Sachsen a. a. O. (Sp. 339) Bl. K 4v. Antw. (Gerardus Leen) 1487. In fact it is more fresh and with complete intact borderlines so probably an eve earlier impression than the one in RDX Labor. It precedes a variant by the Master of Delft. Due to chronology and style it can be attributed to The Master of Antwerp (Act. 1485-1491). This is confirmed by Sir William Martin Conway in his work 'The Woodcutters of the Netherlands in the Fifteenth Century', page 229 (Folio cut from the First Antwerp Woodcutter: 4.Christ teaching from a boat). This woodcut was only used in 16th century's editions. / Dimensions: 18,30 x 12,80 cm / Condition: Excellent impression with unbroken woodcut lines, tipped with corners on a laid paper collection sheet. Very nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Sir William Martin Conway (1884) The Woodcutters of the Netherlands in the Fifteenth Century: In Three Parts ...page 229 (Conway 10.6:4) ---- "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: 1487 280

Master of Antwerp (1485-1491) - The disiples preaching to all nations / Description: Three scenes Where: in each case two Apostles are preaching the Gospel to a group of people. This old colored incunabula woodcut was used in the first edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". and in some other editions, all still from the 15th century. The first edition was published in 1487 in Antwerp. The attribution to the First Antwerp Woodcutter is confirmed by Sir William Martin Conway in his work 'The Woodcutters of the Netherlands in the Fifteenth Century', page 229 (Folio cut from the First Antwerp Woodcutter: 15. The disiples preaching to all nations). The fresh impression still with complete intact borderlines makes it very likely our woodcut belongs to the first edition of 1487 or the second from 1488. There is a rude copy known attributed to the Master of Delft in the Rijksmuseum (Inv. RP-P-OB-2110) but the one here on auction is earlier and far more sophisticated. / Dimensions: 18,50 x 13,00 cm / Condition: Excellent impression with unbroken woodcut lines, tipped with corners on a laid paper collection sheet. Very nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Sir William Martin Conway 1884, The Woodcutters of the Netherlands in the Fifteenth Century: In Three Parts ...page 229 (Conway 10.6:15)---- "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: 1487 280

Master of Antwerp (1485-1491) - The conversion of Mary Magdalene / Description: Mary Magdalene listens to Christ and converts. Christ sitting on couch, Mary Magdalene sitting on floor in room. 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 First Antwerp Master and dated 1485-1491 / Dimensions: 9,80 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

Albrecht Durer, Johannes Wierix - Apostle S.Philip - 1609 / Description: St Philip, standing in a landscape, holding a cross and a book. On of the famous engravings made by Wierix after Durer when he was only 17 years old to show his capability to equal the quality of this great master. Signed on image 'IHW. AE.17', signed with Dürer's monogram and '1526'. This is a second state on four, with the AE... but before adding of number and publishers address in the later states. / Dimensions: 12,10 cm x 7,40 / Condition: A fine excellent impression on laid paper with full plate border and good margins. A few mild rust stains in the margins. Overall in very good condition. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (1207) --- Maquoy-Hendrickx 1979 / Les Estampes des Wierix ... catalogue raisonné (969 II/IV) --- Alvin 1866 / Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix (746) / Medium: Engraving /Circa: 1557 320

Four 18th century prints after Old Master drawings.

Collection of coins to include silver 1889 Victorian crown, 1811 Devon Miners Travistock penny token, John Wilkinson Iron Master 1790 half penny, reproduction/museum copy, Roman and Celtic antiquity coins and two Old English silver hammered coins etc

Full title: Lucas van Leyden (1494-1533): Esther before Ahasuerus, engraving, 16th C.Description:Dim.: 28,5 x 23,5 cm In June 1521, in the diary that Albrecht Durer kept of his journey to the Netherlands from July 12, 1520, to July 15, 1521, he wrote that he had met 'Master Lucas ... a little man, born in Leyden in Holland.' On that day he drew Lucas's portrait in metalpoint (now in Lille, Musee des Beaux-Arts), and a few days later the two exchanged prints. This terse account is the only surviving written document of the meeting between the German artist and his younger Netherlandish counterpart, an encounter that brought together two consummate printmakers who were to leave their mark on the development of the medium in Europe for the next century. Durer was the first to bring together the separate traditions of woodcut and engraving, and his prints in both these media, the product of his apparently inexhaustible imagination, began to attract notice almost as soon as he started making them in the 1490's. Well before the end of the decade, with a print such as 'Samson Rending the Lion', Durer had elevated woodcut to the level of engraving. Lines as lively and free as these, and compositions as dense and complex, had never before been executed in woodcut. By 1500, with his engravings 'The Prodigal Son' and, especially, some esoteric allegorical such as 'The Dream of the Doctor' and 'Hercules at the Crossroads', had established the medium as a bearer of highly sophisticated images and subjects, of meanings. In 1521 Durer was fifty, and he had created most of his more than three hundred prints (indeed, throughout his trip to the Netherlands he stayed ahead of his expenses by selling a number of them). His extraordinary production established the possibility of the print as a medium for artistic ideas in an unprecedented way. Lucas van Leyden, close to twenty years younger than Durer, was a prodigy who was said to have begun making prints when he was nine years old. He also was famous by 1521, and his engravings, such as the poignant 'Saint Paul Led away to Damascus', were admired both for their unusual or unexpectedly treated subjects and for their refined, delicate style. Both artists' innovations had a striking influence on Renaissance printmaking and on subsequent developments of the medium. Remarkably,their creative inventions were built on techniques for suggesting form and tone in a purely black-and-white medium that had only recently been invented and honed by Gothic artists such as Master ES and Martin Schongauer, who had guided the print from its roots as a comparatively coarse craft and workshop by-product to a refined and noble art. At the time of Lucas's and Durer's meeting, printmaking had only a fifty-year history as a medium capable of producing the type of sophisticated artwork that these two men created. (source: Suzanne Boorsch/Nadine M. Oorenstein, The Print in the North, The Metropolitan Museum of Art Bulletin, Spring 1997 (External link available on rm-auctions.com)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURY 十七至十八世紀六臂大黑天銅像Tibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。

FERDINAND VON KOBELL (GERMAN 1740-1799) LANDSCAPE WITH CLASSICAL RUINS IN THE FOREGOUND pen and brown ink on laid paper 19 x 27cm; 7 1/4 x 10 1/2 in 37 x 44.5cm; 14 1/2 x 17 1/2in (framed) Property from a Private Collection, West LondonProvenanceMaltzahn Gallery, London Purchased from the above by the mother of the present owner in February 1970ExhibitedLondon, Maltzahn Gallery, Old Master Drawings, Winter Exhibition, 1969-1970

After the Old Master,(Italian school,17th century), Madonna and Child, oils on canvas. 29x24cm approx. Heavy gilt frame and slip. (B.P. 21% + VAT) Appears to have an older re-lining of the canvas, frame appears to be 19th century rather than earlier.

DUNHILL Old Master fine blended Scotch whisky, 43% abv. 70cl.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)The Adoration of the Shepherds: a Night Piece (Bartsh 46; New Hollstein 300) Etching with drypoint and engraving, circa 1657, on laid paper, a good impression of New Hollstein's eighth state (of eleven), with small margins, framedPlate 148 x 198mm (5 7/8 x 7 3/4in)Sheet 153 x 201mm (6 x 7 7/8in)Footnotes:ProvenanceChristie's, Old Master, Modern and Contemporary Prints, London, Tuesday 28 November 1995, lot 245.Purchased from the above sale by Bernard Levin.Thence by descent to the current owner.The Adoration of the Shepherds was a common motif during the Dutch Golden Age. It provided artists with the opportunity to create tender, private devotional compositions, which were well aligned with the personal approach to religion in the Lower Countries in that period. Painters and printmakers alike experimented with the stylistic tools offered by Caravaggism, such as the theatrical use of light and intimate framing of the image, to draft ever more expressive and moving representations. This etching depicts the Holy Family with an immediate, touching naturalism. Joseph is reading, whilst Mary and the Christ child rest, swaddled in blankets in the cold stable. Rembrandt's skilful use of etching and drypoint to delineate the figures and subtle illumination conveys the wonder of this moment, evoking compassion and empathy for the protagonists.For further information on this lot please visit Bonhams.com

Emil Nolde (German, 1867-1956)Schiffe im Wind (Schiefler & Mosel 65) Drypoint, 1907, on cream wove paper, signed, dated, dedicated 'Unserem lieben Gast v. 12.08.07 Emil Nolde' and inscribed 'Prbdr. 2.' in pencil, a trial proof of the extremely rare first state (of two), printed by Fesling, Berlin, with their signature in pencil, with wide marginsPlate 195 x 150mm (7 5/8 x 5 7/8in)Sheet 448 x 315mm (17 5/8 x 12 3/8in)Footnotes:ProvenanceChristie's, Old Master, Modern & Contemporary Prints, London, 20 March 2013, lot 75.Acquired at the above sale by the present owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

 Master of 338 after Sir Lawrence Alma-Tadema O.M., R.A. (1836-1912)Classical ladies seated on a marble benchoil on canvasBears signature, inscribed 'copyright', inscribed verso by 'Lawrence Alma-Tadema R.A., Abbey Road Studios NW, No.6 this painting was sold for reproduction' (Copyright Reserved). See our footnote. ***CONDITION REPORT***Oil on original canvas in good untouched condition, possibly needs a clean but no real faults noted, signed and inscribed 'Copyright' with further artist's inscription verso, housed in a tatty gilt gesso frame.The lot description states that the picture is "signed, inscribed 'copyright'", when in fact it bears a signature followed by an Opus number. Alma-Tadema invariably signed his paintings 'L. Alma-Tadema', this picture is signed 'L. A. Tadema'. The Opus number 'CCCMMMVIII' which appears on the painting is already ascribed to a painting by Alma-Tadema of the daughter of Edward Onslow Ford: https://www.christies.com/en/lot/lot-4026905 That painting was misreported as being destroyed and in successive years a number of fake paintings appeared on the market, all with the same Opus number. The forger was duly dubbed 'Master of 338', although his identity has not been established. Other pictures by the same hand include:https://www.artnet.com/artists/sir-lawrence-alma-tadema/printemps-PCmYpJ2zJIfQ5jYel0U5UA2https://www.christies.com/en/lot/lot-4277232https://www.invaluable.com/auction-lot/alma-tadema-lady-laura-london-1852-1909-circle-yo-%20%20%20%201894-c-6pvwk3cxk6 all of which bear the CCCXXXVIII Opus number.It appears that the old inscription on the back of the canvas was deliberately added to mislead. Alma-Tadema never lived or worked at Abbey Road Studios. The Georgian townhouse at No.3 Abbey Road only became known as 'Abbey Road Studios' when it was bought by the Gramophone Company Ltd in 1929. And the inscription 'The Painting was sold for Reproduction' is again misleading. If it was genuine, one would expect it in the past to have been reproduced amongst Alma-Tadema's known works, which it is not.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Jaeger Le Coultre Master Compressor Geographic watch in stainless steel, purchased 2005 from 1A Old Bond Street, serviced and in immaculate condition.

signed in Georgian and dated 'Gudiashvili 34' (lower right) mixed media on board 79.5 x 41 cm executed in 1934 Provenance: Property of a Foundation; Freeman's: EUROPEAN ART & OLD MASTER PAINTINGS, 23.01.2018, lot 166; Private collection

OLD MASTER SCHOOL.(18TH/19TH CENTURY) CHERUBS AND FAUN IN CELEBRATION RIDING A TIGER, TOGETHER WITH COMPANION WORK. A PAIR. WATERCOLOUR AND WASH. OVAL 39 X 29 cm

17TH /18TH CENTURY OLD MASTER SCHOOL. TWO FIGURES BY A WOODLAND STREAM. OIL ON CANVAS. THE GILT FRAME BEARING ATTRIBUTION TO SALVATOR ROSA ( 1615-1673) 40 X 51 cm.

Franz von Stuck 1863 Tettenweis - 1928 München Kämpfende Faune. 1898. Öl auf Holz. Rechts unten signiert. Verso mit altem nummeriertem Etikett sowie handschriftlichen Nummerierungen. 57 x 80 cm (22,4 x 31,4 in). Im Original-Rahmen von Hans Irlbacher, München (mit dem Etikett). • Die Faune sind ein bedeutendes Motiv im Œuvre Stucks und können als eines der mythologischen 'alter egos' des Künstlers gelesen werden. • Wundervoll leuchtendes Kolorit im Zusammenspiel von Landschaft, Figur und Himmel. • Eine der gelungensten Darstellungen des zentralen Themas der 'Kämpfenden Faune'. • In den Bayerischen Staatsgemäldesammlungen, Neue Pinakothek, München befindet sich eine erste Version des Motivs. PROVENIENZ: Sammlung Fritz Reimann (1862-1913), Elberfeld (bis 1908). Städtisches Museum Elberfeld/Barmen (1908 als Geschenk des Geheimrats Rudolf von Baum, bis 1956). Privatbesitz (im August 1956 vom Vorgenannten erworben). Privatsammlung Bayern. LITERATUR: Heinrich Voss, Franz von Stuck 1863-1928. Werkkatalog der Gemälde mit einer Einführung in seinen Symbolismus, München 1973, WVZ-Nr. 184/100 (m. Abb.). Franz Hermann Meißner, Franz Stuck. Das Künstlerbuch III, Berlin/Leipzig 1899, S. 64f. Die Kunst für Alle, Jg. 18, 1902/03, S. 292. Artur Weese: Franz Stuck: eine Analyse, in: Gesellschaft für Vervielfältigende Kunst (Hrsg.), Die Graphischen Künste, Jg. 26, 1903, Abb. S. 15. Fritz von Ostini, Franz von Stuck. Das Gesamtwerk, München 1909, S. 74 (m. Abb.). Kunstchronik: Wochenschrift für Kunst und Kunstgewerbe, N.F. 19.1908, Heft 17, 28. Februar 1908, Sp. 299. Die Werkstatt der Kunst: Organ für d. Interessen d. bildenden Künstler, 7.1907/1908, Heft 24, 16. März 1908, Sp. 331. Katalog des Städtisches Museums Elberfeld, Die Reimann-Sammlung, Elberfeld o.J. (ca. 1920), Nr. 148. Otto Julius Bierbaum, Stuck, Bielefeld/Leipzig 1924, S. 105, 110, Abb. 101, S. 93. Ulrich Thieme, Felix Becker, Hans Vollmer (Hrsg.), Allgemeines Lexikon der Bildenden Künstler, Bd. 32: Stephens-Theodotos, Leipzig 1938, S. 233. Claudia Gross-Roath, Das Frauenbild bei Franz von Stuck, Weimar 1999, S. 215. “Alle Welt aber sprach von dem jungen Maler, der gleich mit einer so dezidierten Selbständigkeit auftrat und so vielerlei auf einmal bot: Erscheinungen aus der Fabelwelt der Antike, Nymphen, Faune und Centauren, alles strotzend von vollblütigem Leben und blühend in einer prallen, vom Lüsternen freien Sinnenfreudigkeit; Szenen vom verlorenen Paradiese, die innerlich mit jenem grossen Ausstellungsbilde zusammenhingen; allerlei Romantisches; Landschaften von einem hochgesteigerten, in seiner Art auch monumentalisierten Stimmungsgehalt; Radierungen, ein paar Stilleben usw. Und dies alles war von einer kräftigen neuen Farbigkeit, deren Sprache mit dem Gegenstände wechselte, einmal prickelnd und vibrierend, dann satt und saftig, dann ruhevoll tonig, wie in ein paar dämmerigen Landschaften, dann phantastisch glühend, wie in dem Abendbilde mit dem einsamen Reiter, Aus diesem Debütanten, der doch schon ein Fertiger war, konnte noch alles werden: ein grosser Landschafter, ein hinreissender Phantast, ein Meister des Monumentalen.” Fritz von Ostini, Franz von Stuck: Gesamtwerk, München 1909, S. VIII, zu Stucks Ausstellung im Münchner Kunstverein 1891. Aufrufzeit: 09.12.2023 - ca. 14.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFranz von Stuck 1863 Tettenweis - 1928 München Kämpfende Faune. 1898. Oil on panel. Lower right signed. With old numbered labels and hand-written numbers on the reverse. 57 x 80 cm (22.4 x 31.4 in). In the original frame by Hans Irlbacher, Munich (with the label). • The fauns are an important motif in Stuck's oeuvre and can be read as one of the artist's mythological 'alter egos'. • Wonderful luminous coloration in the interplay of landscape, figure and sky. • One of the most successful depictions of the central theme of the 'Fighting Fauns'. • A first version of the motif can be found in the Bavarian State Painting Collections, Neue Pinakothek, Munich. PROVENANCE: Fritz Reimann Collection (1862-1913), Elberfeld (until 1908). Städtisches Museum Elberfeld/Barmen (gifted from Rudolf von Baum in 1908, until 1956). Private collection (acquired from the above in August 1956). Private collection Bavaria. LITERATURE: Heinrich Voss, Franz von Stuck 1863-1928. Catalog of paintings with an introduction into his Symbolism, Munich 1973, no. 184/100 (fig.). Franz Hermann Meißner, Franz Stuck. Das Künstlerbuch III, Berlin/Leipzig 1899, pp. 64f. Die Kunst für Alle, vol. 18, 1902/03, p. 292. Artur Weese: Franz Stuck: eine Analyse, in: Gesellschaft für Vervielfältigende Kunst (ed.), Die Graphischen Künste, vol. 26, 1903, illu. p. 15. Fritz von Ostini, Franz von Stuck. Das Gesamtwerk, Munich 1909, p. 74 (illu.). Kunstchronik: Wochenschrift für Kunst und Kunstgewerbe, N.F. 19.1908, issue 17, 28. February 1908, col. 299. Die Werkstatt der Kunst: Organ für d. Interessen d. bildenden Künstler, 7.1907/1908, issue 24, March 16, 1908, col. 331. Katalog des Städtisches Museums Elberfeld, Die Reimann-Sammlung, Elberfeld no date (ca. 1920), no. 148. Otto Julius Bierbaum, Stuck, Bielefeld/Leipzig 1924, pp. 105, 110, illu. 101, p. 93. Ulrich Thieme, Felix Becker, Hans Vollmer (ed.), Allgemeines Lexikon der Bildenden Künstler, vol. 32: Stephens-Theodotos, Leipzig 1938, p. 233. Claudia Gross-Roath, Das Frauenbild bei Franz von Stuck, Weimar 1999, p. 215. 'But the whole world was talking about the young painter, who immediately appeared with such decided independence and offered so many things at once: Apparitions from the mythical world of antiquity, nymphs, fauns and centaurs, all bursting with full-blooded life and blossoming in a full-blooded sensuality free from lechery; scenes from Paradise Lost, which were connected with that great exhibition painting; all kinds of romantic things; landscapes of a highly heightened, in its way also monumentalized mood; etchings, a few still lifes, etc. And all this was of a powerful new colorfulness, the language of which changed with the subject, sometimes tingling and vibrating, then rich and juicy, then calmly tonal, as in a few dusky landscapes, then glowing, as in the evening picture with the lonely rider, This debutant, who was already an accomplished artist, could still become anything: a great landscapist, a captivating fantasist, a master of the monumental.' Fritz von Ostini, Franz von Stuck: Gesamtwerk, Munich 1909, p. VIII, on Stuck's exhibiiton at the Munich Kunstverein 1891. Called up: December 9, 2023 - ca. 14.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Altmeister 17./18. Jahrhundert, Zwei Damenpotraits, old master two ladies portraits 17th/18th century,Öl/Leinwand (doubliert auf Holz), keine erkennbare Signatur, Portraits von zwei Damen, jeweils H 28 cm x B 24 cm, Rahmen 37,5 x 33,5 cm, rest. Stellen

Altmeister 17. Jahrhundert, Putto stehend auf Totenkopf und Schlange, old master 17th century cherub standing on skull and snake,Öl/Holz, keine erkennbare Signatur, Altmeistermalerei des 17. Jahrhunderts, H 23,5 cm x B 17 cm, Rahmen 32 x 26 cm, feiner Kratzer

Altmeister 18./19. Jahrhundert Hirte mit grasenden Schafen und Kühen, Old master 18./19. century shepherd with grazing sheep and cows,Öl/Holz, keine erkennbare Signatur, H 31,5 cm x B 46 cm, Prunkrahmen 42 x 56 cm, Nachbesserungen, Spannungsriss

Taylor's 10 year Old Tawny Port. 2004 Dow's Master Blend Port (2)

FREEMASONRY - James ANDERSON (c.1680-1739). Constitution of the Antient and Honourable Fraternity of Free and Accepted Masons, London, 1757, 4to, engraved allegorical frontispiece (variable spotting, staining and browning), contemporary Masonic calf.FREEMASONRY - James ANDERSON (c.1680-1739).  Constitution of the Antient and Honourable Fraternity of Free and Accepted Masons. Containing their History, Charges, Regulations, &c. Collected and Digested By Order of the Grand Lodge from their old Records, faithful Traditions and Lodge-Books, for the Use of the Lodges ... Carefully Revised, Continued and Enlarged, with many Additions by John Entick. London: "Printed for Brother Scott," 1756. 4to (230 x 185mm). Engraved allegorical frontispiece by B. Cole, title printed in red and black (variable spotting, staining and browning throughout, sometimes heavy). Contemporary Masonic calf with red morocco lettering-piece laid down on the upper cover (lightly rubbed and scuffed, inner hinges reinforced) Provenance: "[?]J. McDowell P.G.S.W. Presented to me on 24 June 1876 by Brother Arthur Maxwell of  Moneymore and Past Master of Unity Lodge No. 531, Moneymore" (inscription on title); J. McDowell, Architect, Cookstown (stamp on title); "From the Library of Bro. J. R. M. Macleod" (modern label on front pastedown). Vibet The Rare Books of Freemasonry (1923) p.15: "The third edition of the Book of Constitutions was published in 1756 with a frontispiece by B. Cole. He used the enlarged history that Anderson had written for his 1738 edition, but the Regulations were entirely recast."

WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) GIRL WITH FAN Signed and dated 1912, oil on canvas Dimensions:76cm x 63.5cm (30in x 25in) Note: William Strang was an artist of many facets. He was both a pre-eminent etcher, pivotal in the medium’s revival at the start of the 20th century, and a popular society portraitist, regularly commissioned to depict key figures of the day. Strang’s diverse frame of artistic reference made it hard for critics to place him canonically. One minute he appeared a Realist, touching on contemporary social issues, the next he seemed more akin to a Symbolist, mining Classical, Biblical and allegorical subjects. He encompassed these multitudes with much skill and integrity, earning himself a respected position in the turn-of-the-century London art world. The portrait offered here illustrates how these seemingly disparate threads manage to interlace within his work to unique and impactful effect: concurrently truthful to its subject, decoratively appealing and enigmatic in atmosphere.Strang was born in Dumbarton, Scotland in 1859. The son of a builder, his working-class roots were an important part of his identity, including artistically. Much of his oeuvre (notably his etched works) were Socialist in sympathy and alluded to the struggles of the working and impoverished classes. This, combined with his training at the Slade under the French Realist Alphonse Legros, naturally aligned him with the ideologies of the Arts and Crafts movement with whom he also shared a commitment to the rigour of Life Drawing and a reverence for the Old Masters. The prominent designer and architect C. R. Ashbee became a major patron.This focus on draughtsmanship is very much evident in Strang’s work within the genre of portraiture. He produced over 500 portrait sketches in the early 1900s, drawn in black and red chalk. This choice of materials was a deliberate and characteristic referential nod to an earlier Master; in this instance Hans Holbein. The technical prowess and incisive ‘truth’ of these sketches proved so popular that Strang was able to make two consecutive trips to New York in 1904 and 1905 to execute drawings of his many American patrons.Strang also painted many important commissions in oil, notably those with literary connections including Thomas Hardy, Vita Sackville-West and the poet John Masefield. He exhibited oils regularly at the Royal Academy and the International Society, of which he became Vice-President in 1908. In the manner of Whistler, Strang rarely titled his works under the sitter’s names, rather in the guise of subject paintings. An example of this is 1913’s The Opera Cloak, which in fact depicts his beloved daughter Nancy, her cloak held by one of her brothers in the left of the composition.We believe that the highly attractive portrait offered here for sale, Girl with Fan, also potentially depicts Nancy Strang. Dated 1912, it was executed just one year earlier than The Opera Cloak. The sitter shares the same physical characteristics: the assertive jut of the chin, dark brows and pronounced cupid’s bow of the top lip. Strang clearly revelled in the depiction of women. His female sitters are invariably afforded an elegant sensuality and contemplative demeanour. As the artist once remarked to his patron Ashbee, “I’ve tried all my life to do the pretty-pretty but it’s no good…I can’t”. Instead, his likenesses evoke character, modernity and intellect.Leaning away from the overt, painterly glamour of his peers Sargent and Lavery, Strang’s portraiture was not, as one critic of the day described, “polite”. As we have seen, he was neither categorizable as purely a Traditionalist nor a Modernist; his style referenced broadly from both spheres, resulting in a manner entirely his own. Strang’s focus was on objective truth married subtly with a decorative aspect, producing an effect that was both distinctive and widely admired. He was critically revered for his exceptional, considered compositions and the way he eschewed anything extraneous in terms of detail or technique. His use of colour too, was praised for being confident and spare. We see that here with the striking choice of gold, purple, pink and green, linked subtly and balanced precisely, the fundamentally discordant hues somehow attaining harmony.William Strang’s work was featured in prominent exhibitions across many of London’s most respected galleries, including the Grosvenor Gallery, Whitechapel Gallery, Agnews and the Fine Art Society. In 1918 he became President of the International Society of Sculptors, Painters and Gravers and in 1921 was elected an Engraver Member of the Royal Academy. He died suddenly in 1921, shortly after his election as Royal Academician.

◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.

A German brass alms bowl, Nuremberg, first half 16th century, with floral motifs to the well and punched fleur-de-lys to the rim, 24cm diameterProvenance: Sotheby's, Old Master Sculpture and Works of Art, 7 December 2010, lot 30.

A German brass alms bowl, Nuremberg, first half 16th century, with a depiction of the Annunciation to the well and punched flowerheads to the rim, 27.7cm diameterProvenance: Sotheby's, Old Master Sculpture and Works of Art, 7 December 2010, lot 30.

LALIQUE: TOURMALINE, DIAMOND AND PLIQUE-À-JOUR ENAMEL PENDANT NECKLACE, CIRCA 1905Set with two cushion-shaped tourmalines, accented by old brilliant and rose-cut diamonds, decorated with green enamel, between green plique-à-jour enamel wings, suspended from a chain of twisted baton-links decorated with green enamel, mounted in gold, pendant signed Lalique, pendant length 6.0cm, later fitted caseFootnotes:Provenance:Sold Sotheby's London, 3rd December 1998, lot 102.Literature:For a pendant of similar design, see S. Barten, René Lalique Schmuk und Objects d'Art 1890-1910, Munich, 1977, ill.p.344, no.733.René Lalique (1860-1945) was the undisputed master of Art Nouveau jewellery design. Nature was a pivotal theme in his work, his appreciation stemming from time spent in the French countryside during his childhood holidays. Here, Lalique has used plique-à-jour enamel to represent the delicate transparency of dragonfly wings. This intricate process of placing glass between fine windows of metal was initially used in the Middle Ages, but saw a resurgence in the second half of the 19th century and was used masterfully by Art Nouveau jewellers, who elevated the technique to the highest level of quality. Please note, this lot has VAT at a preferential rate of 5% on the Hammer Price and VAT at the prevailing rate on Buyer's Premium.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

Deutsche Schule des 18. Jahrhunderts, aus dem Besitz von Wolfgang JoopPORTRAIT EINER DAME DES HOCHADELS, FRIEDERIKE CAROLINE MARKGRÄFIN VON BRANDENBURG-ANSBACH, GEB. VON SACHSEN-COBURG-SAALFELD (1735 – 1791)Öl auf Leinwand. Doubliert.117 x 92 cm.In prachtvollem Rahmen.In einem palastartigen Innenraum das Dreiviertelbildnis nach links einer eleganten Dame in einem goldenen, bekrönten Sessel. Sie trägt ein mit floralem Muster besticktes silbernes, glänzendes Kleid mit Rüschenärmeln und Spitze verziertem Dekolleté, an dem eine große Diamantenbrosche und der Sternkreuzorden für Damen mit der Aufschrift „Salus et Gloria“ (Heil und Ruhm) an schwarz-seidener Bandschleife befestigt sind. Zudem trägt sie einen roten Samtmantel, der mit Nerz gefüttert ist. In ihrem Schoß hält sie mit der linken Hand ein kleines Hündchen. Zu ihrer rechten Seite ein goldener Hocker mit rotem Samtkissen mit goldenem Band und Quaste, auf dem die preußische Königskrone und die Markgrafenkrone liegen – eine Identifikation der Portraitierten als die Markgräfin untermauernd. Sie hat ein feines, schmales zur Seite gerichtetes Gesicht mit geröteten Wangen, trägt eine weiße Perücke mit Schmuckaufsatz, wertvolle Ohrringe und eine enganliegende Kette auf einem kleinen Spitzenkragen um ihren Hals. Zudem hat sie eine schmale lange Nase und mit ihren glänzenden Augen schaut sie würdevoll aus dem Bild heraus. Repräsentatives, qualitätvolles Portrait mit vielen feinen Details, besonders Kleidung und Schmuck werden dabei hervorgehoben.Anmerkung 1:Wir danken Frau Anna Eunike Röhrig für freundliche Hinweise bezüglich der Identifikation der Dargestellten.In Berufung auf Ludwig Meyer wurde das Portrait der Markgräfin bereits identifiziert und in das Jahr 1754 datiert.Anmerkung 2:Der Sternkreuzorden ist ein 1668 gegründeter österreichischer Damenorden („Hochadeligen Frauenzimmer-Sternkreuzorden“). Zu den höchsten Schutzfrauen gehörten zwischen 1720 und 1780: Wilhelmine Amalie von Braunschweig-Lüneburg, Maria Theresia von Österreich und Maria Ludovica von Spanien. Die derzeitige Großmeisterin des Ordens ist Gabriela von Habsburg.Provenienz:Anonyme Versteigerung [Sammlung Karl Graf von Maldeghem];Christie‘s, Auktion, Amsterdam, 24. März 1999, Art and Antiques from German Noble Houses, Los 121.Sammlung Wolfgang Joop, Villa Wunderlich, Berlin;Christie‘s, Auktion 14445, London, 18. Oktober 2017, Villa Wunderkind: Selected Works from the Private Collection of Wolfgang Joop, Lot 17.Dorotheum, Wien, 18. Dezember 2019, Gemälde Alter Meister, Los 258. (1301402) (18)German School, 18th centuryPORTRAIT OF AN ARISTOCRATIC LADY, FRIEDERIKE CAROLINE MARQUESS OF BRANDENBURG-ANSBACH, NÉE. OF SAXONY-COBURG-SAALFELD (1735 - 1791)Oil on canvas. Relined.117 x 92 cm.Distinguished, high-quality portrait with many fine details, especially with regards to the highlighted clothing and jewellery. To the sitter's right, a golden stool with a red velvet cushion with a golden band and tassel, on which lie the Prussian royal crown and the margrave's crown - underpinning an identification of the sitter as the margravine. Notes:We would like to thank Anna Eunike Röhrig for her notes and kind advice regarding the identification of the sitter.With reference to Ludwig Meyer, the portrait of the Margravine was identified and dated to 1754 before.Provenance:Anonymous sale [The Property of Karl Count of Maldeghem];Christie's, Sale 2408, Amsterdam, 24 March 1999, Art and Antiques from German Noble Houses, lot 121.Collection Wolfgang Joop, Villa Wunderlich, Berlin;Christie's, Sale 14445, London, 18 October 2017, Villa Wunderkind: Selected Works from the Private Collection of Wolfgang Joop, lot 17.Dorotheum, Vienna, 18 December 2019, Old Master Paintings, lot 258.

A large Sèvres vase (vase 'Théricléens') given by King Louis Philippe I to William Standish Standish of Duxbury Hall, dated 1844Finely painted by Jean-Joseph Fontaine, with flower garlands between tooled gilt classical borders with anthemia and palmettes, a wide border of yellow rudbeckia under the gilt rim, the foot with a band of gem-like motifs and gilt zig-zag border, on a square gilt metal base, applied with gilt foliate scrolling handles, 48cm high with base, crowned interlaced LP monogram and Sèvres 1844 within circles stencilled to inside rim (handles restored)Footnotes:Provenance:Given with its pair by Louis Philippe I to William Standish Standish in September 1844;Probably sold by Capes Dunn, 29 June - 1 July 1881The matching vase to the present lot is now in the Bowes Museum, Barnard Castle (inv. no. 1995.33). Both vases with paper label that reads: 'Given by His Majesty Louis Phillippe First / King of the French / to W M. Standish, Esquire. / September 1844'.This pair of Sèvres vases was part of a larger royal gift of Sèvres porcelain given to the Carr Standish family in gratitude and appreciation for a bequest by Frank Hall Standish (1799-1840) of his collection of Old Master Paintings to King Louis Philippe, later sold at a high-profile sale at Christie's in 1853. The background and the bequest itself is discussed in great detail by Howard Coutts, Louis Philippe's Gifts of Sèvres Porcelain to the Standish Family of Duxbury Hall, Lancashire, and Cocken Hall, County Durham, in the French Porcelain Society journal, VII (2018), pp. 161-174. The gift of the collection was widely publicised at the time and considered a great feat for France. Frank Hall Standish had had his application for the family baronetcy refused by the British government and twice tried to offer the paintings to them for the new National Gallery in London (Coutts, ibid., p. 161). As the collection had been a personal gift to Louis-Philippe, he was later allowed to take the paintings when he went into exile from France in 1848. William Standish Standish was second cousin to Frank Hall Standish and took over Duxbury Hall and the estate upon his death in 1840. However, King Louise-Philippe's gifts of Sèvres porcelain continued, and in September 1844 another delivery was sent to William Standish Standish, including the pair of vases 'Théricléens', recorded in the manufactory's archives with a cost of 1000 livres each, plus two leather cases at 49 francs each. Originally designed by Jean-Charles-Francois Leloy in 1818, the vases are clearly recorded in the archives as having been painted by Jean-Joseph Fontaine and gilt by Pierre Riton, who worked on them between January and June 1844 (Coutts, ibid., p. 167). They were entered into the sale records on 11 June 1844 as '2 vases Théricléen à fond blanc, guirlandes et couronnes de fleurs. Décoration en or quest(?) et poli' (transcribed by Howard Coutts, ibid., p. 172).There were no heirs in the late 19th century and the contents of Duxbury Hall were sold by Capes Dunn between 29 June and 1 July 1881, presumably including the pair of vases. Coutts traced a pre-auction advertisement which mentions 'magnificent vases and other pieces of old Sèvres china, presented by King Louis Philippe' (Coutts, ibid., p. 167).Saleroom notices:Please note, the overall height with base and handles is 58.5cm, as stated in the printed catalogue.For further information on this lot please visit Bonhams.com

David Teniers the Younger (Antwerp 1610-1690), said to be after Jacopo Negretti, called Palma il GiovaneThe Madonna and Child with the Infant Saint John the Baptist oil on panel22.2 x 16.8cm (8 3/4 x 6 5/8in).Footnotes:ProvenancePresumably, Collection of John Churchill, 1st Duke of Marlborough (1650-1722), Blenheim Palace, and thence by descent through the family to George Charles, 8th Duke of Marlborough, Blenheim PalaceHis sale, Christie's, London, 26 July 1886, lot 157 (sold for £23.2), where purchased by Collection of Christopher Rice Mansel Talbot, Margam Castle, Port Talbot, and thence by descent to his daughterMiss Emily Charlotte Talbot, Margam Castle, Port TalbotHer sale, Christie's, London, 29 October 1941, lot 419 (together with another work by Teniers, Christ Bound before Pilate, after Andrea Schiavone)Private Collection, The Netherlands, for at least 70 yearsExhibitedLondon, Charles Davis Gallery, A Collection of 120 Paintings by David Teniers from Blenheim Palace, January 1885, no. 177LiteratureG. Scharf, Catalogue Raisonné or A list of the Pictures in Blenheim Palace, Part I, London, 1862, no. 177G. Vertue, 'Notebooks,' in The Volume of the Walpole Society, vol. 26, 1937-1938, p. 135 EngravedBy Peeter van Lisebetten, as no. 177 after Palma Giovane for the Theatrum PictoriumThe Hapsburg Archduke Leopold Wilhelm was stationed in Brussels as Governor of the Southern Netherlands from 1646-1656 and in 1651 appointed David Teniers as his court painter. The Archduke was in the process of forming one of the most remarkable collections of Old Master paintings to be amassed in the 17th century (much of which now hangs in the Kunsthistorisches Museum in Vienna) and had recently acquired the outstanding collection of the Duke of Hamilton who lost his life in the aftermath of the Royalist defeat in the English Civil War. This newly-formed collection of over 1300 works is the subject of Teniers's celebrated large-scale paintings on copper showing the interior of the Archduke's picture gallery, but it was a collection of which Teniers also became the de facto curator. In an extraordinarily ambitious project he set out to create an illustrated catalogue of a selection of 243 of these works, employing a team of 12 engravers to work from small-scale oil copies that he himself painted. The resulting volume, published in 1660, became known as the Theatrum Pictorium and was the first ever illustrated catalogue to be produced of a painting collection. In due course Teniers's oil modelli were sold off to various collectors, but the largest single acquisition was made by John Churchill, 1st Duke of Marlborough, (1650-1722) who bought a group of 120. These were first recorded as being at Blenheim in 1728 and through much of the 19th Century they hung together in the Billiard Room until dispersed at the Blenheim sale of 1883; the present study was among them. Examples have found their way into major national collections and today can be seen in The Courtauld Gallery (who own 14), the Museo del Prado, Madrid, the Royal Collection, the National Gallery of Ireland and Glasgow Museums. The Theatrum Pictorium – and Teniers's modelli - remain a significant record of a landmark collection, and a point of reference for paintings which in some cases have been altered or lost in the intervening years. No painting by Palma of the present composition is recorded and it may be the case the that original painting is by a different hand.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

Jack Daniel's 'Old No 7' brand Tennessee Whiskey, Master Distiller Series no. 1 Jack Daniel, and no. 2 Jess Motlow, each 1L, 43% vol., in cartons.Qty: 2