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TSUISHU YOZEI XX (1880-1952)A Finely Carved Red-Lacquer Circular Kogo (Box for Incense) Meiji era (1868-1912), 1902The red lacquer carved in deep relief with Rihaku (the Chinese poet Li Bai) accompanied by an attendant in a rocky Chinese landscape, standing beneath a spreading pine and pausing to admire a waterfall, the sides of the lid and box carved with stylised foliage, the inside of the lid and box plain black lacquer, signed on the base Yozei with a kao (cursive monogram); with a wood tomobako storage box inscribed outside Rihaku no zu tsuishu kogo (Carved red lacquer box for incense with a picture of Li Bai), with a collector's signature and seal; dated and signed on the reverse of the lid Mizunoe-tora chushu, Yozei (Yozei, August 1902) and sealed Nijusei Yozei (Yozei XX). 2.1cm x 6.5cm (13/16in x 2½in). (3).Footnotes:Born in Kyoto the second son of Tsuishu Yozei (Yosei), eighteenth master of a craft dynasty specialising in carved red lacquer in Chinese style, Tsuishu Yozei XX, then only sixteen years old, succeeded to the family leadership in 1896 following the premature death of his older brother, Yozei XIX. After studying lacquer, carving, and painting under the leading masters of the day, respectively Shirayama Shosai (1853-1923), Ishikawa Komei (1852-1913), and Satake Eiko (1836-1909), Yozei XX rapidly brought a fresh vision to the art of carved lacquer, as this extraordinarily fine early masterpiece amply demonstrates. He would go on to an illustrious career, showing his work at the Bunten national exhibition and its successors eighteen times from 1927 until 1951, and would surely have been awarded the title of Living National Treasure had he still been living when the honour was introduced in 1955.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

A pair of George III mahogany and card hand screens, the large rounded rectangular banners printed with Old Master prints and caricatures after Hogarth and Teniers, gilt lined border, shaped trefoil hafts, 50cm long, c.1800

Italian School, In the Old Master Style, Death of Christ, indistinctly signed, pen, ink and watercolour, 37cm x 48cm

Master Models Trix Hornby-Dublo Crescent and other Makers 00 Gauge Platform and Lineside Accessories, Master Models, 65 Coal Bunker (boxed), unboxed Finlay Kiosk, Parcel Trolley, Luggage, bicycle, Barrels and Milk Churns, Cable Drum (2), Figure, Trix Liliput, Horse Drawn Log wagon, Horses and Foals (6), Figures (15+ Dog), Fencing (11), Hornby -Dublo Dinky 1001 Station Staff (boxed) and unboxed Passengers (6), Meccano Sack, Dublo Station Names, Crescent Signal and Level Signs (2), ELK Scenic Scatter (2), Trix Yard Lamps (3, two boxed), PECO Cork Ballast (3 small rolls), imitation Coal, Signal, Charben Old Crocks (2, both damaged), Meccano Toys Price List Feb 1955, Tri-ang Incline Piers Instructions and Hornby Trains Clockwork Track Instructions, generally G-VG, boxes F-G (qty)

A large collection of vintage auction catalogues from the 1970s onwards, including Christie's, Sotheby's, Bonhams and other. With particular interest in fine pictures, paintings, art, sculpture, drawings, Old Master paintings, prints, sporting sale, With private sale catalogues including Sotheby's Barnwell Manor 2002, Christie's the Spencer House sale, Christie's Royal College of Physicians 1988, The Lagerfeld collection 2000, the contents of Glyn Cywatch, Sotheby's New York the Weldon Collection, The Frank T. Siebert Library, the Library of H. Bradley Martin catalogue, etc. Approximately 200 catalogues in lot. 

Three Ottoman calligraphic panels (ijaza'), Turkey, 18th century, unsigned, one with attribution to Sheikh Hamdullah, comprising a fine ijaza', the top line in large black thuluth script, a panel of 4ll. of black naskh script below, with gold rosette markers, blue marbled paper border, outer gold speckled orange border, 25.1 x 19.2cm; another ijaza' with the top and bottom lines in bold thuluth, with 2ll. of naskh between, gold roundel verse markers, gold flecked blue border, plain outer border 29 x 20.7cm., and another with 2ll. of bold naskh with pink and pale blue marbled border, unmounted 25 x 17cm.; two glazed and framed (3)Sheikh Hamdullah was born in Amasya, a north-central town in Anatolia. His father, Mustafa Dede, was a Sheik of the Suhrawardi order, and had migrated from Bukhara (in present-day Uzbekistan) to Anatolia. In Amasya, he studied the six scripts under the tutelage of Hayreddin Mar'asi. He learned the traditional method of the old masters, but struggled to reproduce it. While studying, he met Bâyezïd, the son of Sultan Mehmed, the Conqueror who was a fellow student, and the pair became friends. When Bâyezïd assumed the throne in 1481, following his father's death, he invited his friend, Sheikh Hamdullah, to the capital, Istanbul. Hamdullah went on to become a master calligrapher at the Imperial Palace.

Eliot, Thomas Stearns (1888-1965), poet, critic and publisher, Criterion, 24 Russell Square, London WC1; letter to Peter Winckworth ‘Dear Winckworth’, 30 Buckingham Gate. London SW1, 21 October 1937 Unable to lunch next week as he will be in Edinburgh the whole week; very glad to lunch later; ‘the only day in every week on which I am never free is Wednesday’; ‘I shall be interested to know if you really have some good Wensleydale at Windham’s; if so, I must speak severely to our steward, who has not provided any Wensleydale at all yet this year’.In 1922 Eliot jumped at an offer from Lady Rothermere, wife of Esmond Harmsworth, second Viscount Rothermere, publisher of the Daily Mail, to edit a high-profile literary journal. The first number of The Criterion appeared in October 1922. Like The Waste Land, which The Criterion first published, it took the whole of European culture in its sights. The Criterion's editorial voice placed Eliot at the centre of first the London and then the continental literary scene. The editorial life on Russell Square was also conducted over friendly dinners that served the function of a college or a club, and Eliot seemed to thrive on such occasions.At about the same time Eliot reached out for religious support, and turned to the Church of England. Few followers were prepared for Eliot's baptism into the Church of England on 29 June 1927 at Finstock in Oxfordshire, and so, within five years of his avant-garde success, Eliot provoked a second storm. The furore grew in November 1927 when Eliot took British citizenship and again in 1928 when he collected a group of politically conservative essays under the title For Lancelot Andrewes and prefaced them with a declaration that he considered himself ‘classicist in literature, royalist in politics, and anglo-catholic in religion’. (ODNB)Eliot had been introduced to Winckworth in April 1932 by (Archibald) Kenneth Ingram (1882-1965), author and vice-chairman of the National Peace Council, who was ‘anxious [for Eliot] to meet a young friend of mine … [who] has an unusually good mind and writes very fair verse. I am sure you would like him’. Ingram, an Anglo-Catholic lay theologian, socialist, and prolific writer, attempted in several works to integrate his sexuality with his religious beliefs. See David Hilliard, ‘UnEnglish and Unmanly: Anglo-Catholicism and Homosexuality’; Victorian Studies 25 (2) (1982) 181-210. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In July 1934 he sent Eliot a ‘short essay’ on the Association, which he hoped he might arrange to review in the St Stephen’s parish magazine. He hoped too that Eliot might take the chair at their meeting in Kensington on 16 October, which he duly did. In December 1934, Eliot described Winckworth to William Kemp Lowther Clarke, a Church of England clergyman, as ‘a very good man indeed, and I have great hopes of him’.The present letter is a reply to Winckworth’s invitation to Eliot to participate in a Junior Church Congress on the theme of the Christian Revolution, to be held at the Dorland Hall in Regent Street 28-20 April 1938. His letter declining the invitation expressed a need to conserve his energy, and that ‘Dorland Hall is rather too public a place to suit my book’. His reluctance to appear was doubtless influenced by an incident at the Dorland Hall in November 1935, when he had been accosted by his estranged wife Vivien in one of her ‘often histrionic attempts to embarrass him into a reconciliation’ (https://tseliot.com ; ODNB).John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29The Windham Club, established (as the Windham House Club) in 1828 as a ‘place of meeting for a Society of Gentlemen all connected with each other by a common bond of literary or personal acquaintance’, migrated to No. 13 St James’s Square in 1836. In 1945 it amalgamated with the Marlborough and Orleans Clubs, to form the Marlborough-Windham Club. (Survey of London 28 and 29, St James Westminster, pp136-139.)

° ° Betjeman, Sir John (1906-1984), poet laureate, writer and broadcaster; three letters to Peter Winckworth i. The Mead, Wantage; received 9 April 1954; ‘I am delighted to have the two pamphlets, but I cannot take up the Middle Class one for not being able to put down the Faculty one [A Verification of the Faculty Jurisdiction (1953)]. … I see in my mind’s eye anxious incumbents, the frightened churchwardens, the angry moustached Protestants. What a brute and a fool Lord Penzance was’. Asked [Walter] Taplin editor of the Spectator whether he wanted an article on Easter in Madrid from you. He regretfully declined. The Easter issue is already planned and most of it in type. I am so much in disgrace at Time and Tide now that I have no influence there. … Wasn’t the Honor Tracy case fun?’ii. 43 Cloth Fair, London EC1, 16 October 1957; thanks for ‘a thoroughly enjoyable evening’, with a commentary on the wines – ‘The idea of a little champagne at the beginning was cunning and good’iii. The Athenaeum, 14 March 1962; Thanks for letting us have the Mercers’ hall for the Hawksworth meeting; ‘I am sorry Ian Nairn was so embarrassingly emotional in his speech about Hawksmoor. Not the right kind of thing, I felt, for the City … the excellent hospitality of the Mercers must have enabled them to recover from the speech’In 1937 Betjeman became a devoted member of the Church of England, speaking of it as ‘the only salvation against progress and Fascists on the one side and Marxists of Bloomsbury on the other’ (Betjeman: Letters, 1.171). Betjeman and Peter Winckworth had many things in common – poetry, Anglo-Catholicism, a love of churches, good food and wine – but it is not known which if any of these brought them together. Winckworth’s publication on Faculty jurisdiction – the process by which the Church of England regulates the maintenance and improvement of church buildings – would have been of great importance to Betjeman, whose devotion to the church lay not only in his open admiration for its buildings, its liturgy, and its worshippers, but for its faith.In 1874 James Plaisted Wilde, Baron Penzance (1816–1899) succeeded to the offices of dean of the arches court of Canterbury, master of the faculties, and in 1875 official principal of the chancery court of York. The bishops discouraged recourse to his court, while the laity generally doubted the morality or practical sense of prosecuting ritualists and so converting them into martyrs.In April 1954 Honor Lilbush Wingfield Tracy (1913-1989), journalist and author, had won considerable damages from The Sunday Times, which had published her account of a Canon O’Connell’s attempt to raise funds for a parish house in Doneraile, Co. Cork. O’Connell took exception and the Sunday Times printed an apology, paying £750 to charity. Tracy in turn sued the Sunday Times for damaging her professional integrity by acting without her permission.Ian Douglas Nairn (1930-1983), architectural writer, served in the RAF until 1953, when he resigned his commission and determined to write about architecture. Like Betjeman, he wrote for the Architectural Review, and in 1962 was the first person to be invited by Nikolaus Pevsner to collaborate on The Buildings of England, producing a volume on Surrey and half of the account of Sussex. He was a trenchant critic of both architects and the planning bureaucracy, whom he considered responsible for ruining the towns and countryside of England. His long article in The Observer (13 February 1966), entitled ‘Stop the architects now’, marked a significant step in the growing challenge to the urban policies of the Modern Movement in architecture which resulted in a change in direction the following decade. Nairn's much vaunted affection for public houses combined with his connoisseurship of beer soon proved to be his nemesis, and he only published some short travel guides for the Sunday Times before collapsing into inarticulate melancholia. Nairn described himself as ‘a person who drinks a lot and can’t bear either pretensions or possessiveness’ (Nairn’s Paris, 13). ‘Difficult and intolerant he may have been’, Christopher Hurst concluded, ‘but his heart was warm. This fact shaped his whole world view—his anger was compassionate, on behalf of people and against the impersonal’ (ArchR). During his short, furious, productive career, Ian Nairn had a more beneficial effect on the face of Britain than any other architectural writer of his generation. (ODNB)John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29

Manner of George Cruickshank (1792-1878) Old Master style pen and ink, Study of a figure, 18 x 12cm, bears signature, unframed

1977 BMW 100/7, 980cc. Registration number TVL 682R. Frame number 6041852. Engine number 6041852. Sold with the V5C, panniers, MOT until October 2024 and various old MOT's.The most recent V5C states it is now in the  historic vehicle taxation class  In 1976, BMW reached the top with the launch of the R 100/7 motorcycle, which in addition to the basic R 60/7 and R 75/7 models, the manufacturer had on the market three models with a 1000cc boxer engine. When the unfaired R 100/7 was launched it was overshadowed by the R 100 S and R 100 RS presented at the same time. The model came equipped from the factory with standard features such as laced wheels, a dual exhaust system with a chrome finish, a rear luggage rack, a dual seat with pillion grab rails, wide handlebars, a large round headlamp, and an analog instrument cluster. This three owner bike was bought by the original owner to tour Europe with his wife, hence the stickers on the panniers, when they came she decided she didn't like it so it was parked up. It was then bought by our vendors father in 1996 and he bought it in 2008. The wheels have been rebuilt with stainless steel spokes. The recent MOT at a low 12,149 miles is backed up by previous MOT's. He has just repaired the brake master cylinder and overhauled the braking system. Sold with the V5C, panniers, MOT until October 2024 and various old MOT's.

A box of art books, Augustus John, Epica, Dutch and Flemish Old Master Paintings, Egon Schiele, 19th Century Drawings and Watercolours, The Art Book Phaidon, etc. plus four atlases **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

Prospect of a half-timbered farmstead with river and bridge amongst woodland, various figures coming and going, in the manner of a late 16th / early 17th Century Dutch Old Master, oil on canvas, Christie's or similar stenciled inventory mark verso, in fancy gilt frame, 54 x 86 cm sight size

AN EARLY OLD MASTER STYLE DRAWING OF A FIGURE AND HARP SEPIA WATER COLOUR

Two Royal Doulton china figures "The Master/Old Mother Hubbard"

5 Zinnkrüge. Je gepunzt, darunter Gottfried August Krause in Meißen. Ende 18./19./20. Jh. H maximal 27 cm. 4 Walzenkrüge und 1 gebauchter Krug. GAK gepunzter Krug sehr reich geflechelt: Schilde mit Sachsenwappen und Kurschwertern unter dem Kurhut sowie Gravur "Vivat Sachsen"; auf dem Deckel Name mit Datum 1787 graviert. / Leipzig gepunzter Krug ohne Wandungsgravur; auf dem Deckel Monogramm mit Datum "1820" graviert. / Walzenkrug mit geflecheltem Ritter auf der Wandung; auf dem Deckel Monogramm mit Datum "1789". / 2 Nachgüsse von alten Krügen mit Daten "1801" bzw. "1803"; auf dem Walzenkrug geflechelte Szenen: Löwenjagd bzw. Paar. Minimale Alters-/Gebrauchsspuren. Gottfried August Krause wird 1778 Meister in Meißen. Literatur : Hintze, Bd. 1, Nr. 961. Aufrufzeit 26. | Okt 2023 | voraussichtlich 10:12 Uhr (CET)5 pewter tankards. Each hallmarked, including Gottfried August Krause in Meissen. Late 18th/19th/20th c. H maximum 27 cm. 4 roller jugs and 1 bellied jug. GAK hallmarked stein very richly mottled: shields with Saxon coat of arms and electoral swords under the electoral hat and engraving "Vivat Sachsen"; on the lid engraved name with date 1787. / Leipzig hallmarked stein without engraving on the wall; on the lid engraved monogram with date "1820". / Roller stein with mottled knight on the wall; on the lid monogram with date "1789". / 2 replicas of old steins with dates "1801" and "1803" respectively; on the roller stein braided scenes: Lion Hunt and Couple. Minimal signs of age/use. Gottfried August Krause becomes master in Meissen in 1778. Literature : Hintze, vol. 1, no. 961. Call time 26th | Oct 2023 | probably 10:12 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Niederländischer Altmeister: Raubende LandsknechteÖl/Holz. Unsigniert. Um 1700. 51 x 68,5 cm. Gerahmt : 68,5 x 81 cm. Drei saufende, pöbelnde und die Familie bedrohende Landsknechte in einer Stube an einem reich gedeckten Tisch. Altrestauriert. Aufrufzeit 28. | Okt 2023 | voraussichtlich 11:17 Uhr (CET) Dutch Old Master: Robbing LandsknechteOil / Wood. Unsigned. Circa 1700. 51 x 68.5 cm. Framed : 68.5 x 81 cm. Three boozing, rabble-rousing and family-threatening Landsknechte in a parlor at a richly set table. Altrestored. Call time 28 | Oct 2023 | expected 11:17 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Paar fein gemalte Stillleben im AltmeisterstilJe Gouache. Je unsigniert. Je Passepartoutausschnitt 25,5 x 19 cm. Gerahmt & hinter Glas : 52 x 43 cm. Je Darstellung eines üppigen Blumenbuketts mit verschiedenen Blumen auf einem Sims vor dunklem Hintergrund. Aufrufzeit 28. | Okt 2023 | voraussichtlich 19:15 Uhr (CET) Pair of finely painted still life in old master styleEach gouache. Each unsigned. Each mount cutout 25.5 x 19 cm. Framed & behind glass : 52 x 43 cm. Each depicting a lush bouquet of various flowers on a ledge against a dark background. Call time 28th | Oct 2023 | probably 19:15 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

SCHWAMMBERGER, Hildegard(* 1950 Essen) Altmeisterliches BlumenstilllebenÖl/Holz. Links unten signiert. 30 x 24,5 cm. Gerahmt : 41 x 35 cm. Üppiger Blumenstrauß in kleinem, geflochtenem Korb mit blauer Schleife, Falter und Hummel. Deutsche Stilllebenmalerin, mehrfach ausgezeichnete Pianistin. Studierte an den Akademien in Essen und Wien. Aufrufzeit 28. | Okt 2023 | voraussichtlich 19:16 Uhr (CET) SCHWAMMBERGER, Hildegard(* 1950 Essen) Old Master Floral Still LifeOil / Wood. Signed lower left. 30 x 24.5 cm. Framed : 41 x 35 cm. Lush bouquet of flowers in small woven basket with blue bow, butterfly and bumblebee. German still life painter, multiple award-winning pianist. Studied at the academies in Essen and Vienna. Call time 28th | Oct 2023 | expected 19:16 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

LOT 017 A Descriptive and Historical Gazetteer of The Counties of Fife, Kinross, and Clackmannan, with Anecdotes, Narratives, and Graphic Sketches, Moral, Political, Commercial, and Agricultural; By M Barbieri, Surgeon, formerly Chemist to the late Earl of Elgin. Edinburgh: Maclachlan & Stewart, 64 South Bridge, The Trade Supplied by Macniven & Camerson, 23 Blair Street, 1857. Rebound in New Boards, black leather around spine; new title in gilt on spine; new end papers; internally clean and bright, with speckled edges to end of papers. The book had originally appeared in parts, before being published in book form LOT 018 The Golden Days of Youth. A Fife Village in the Past. By John Hutton Browne. Edinburgh: Robert W Hunter, George IV Bridge, 1893. Red Cloth, title in gilt on front cover; covers marked; signed by the Author on fep. The book is about Kennoway, but nowhere is Kennoway mentioned in the text, but the place names within Kennoway parish are. Similarly, the names are often referred by their pnom-de-plumes, such as Theta for William Thomson, postmaster in Kennoway, and Poute of “Leven Saat Pans” for Alexander Burgess, dancing master in Kennoway ,We have also included the books on Kennoway by A M Findlay - Kennoway: Its History and Legends (1946), printed and published by J & G Innes Ltd, Cupar, St Andrews, and Leven; blue cloth, small 8vo; 2nd Edition, small oblong, Illustrated front cover, Dec 1952; J & G Innes Ltd, Publishers, Cupar, St Andrews, and Leven”Mrs Findlay’s History of Kennoway was published six years ago at 5/-, and went quickly out of print. It has now been revised and brought up-to-date, and is now on sale at 2/6d” (St Andrews Citizen, 20 Dec 1952) LOT 019 A Memoir of the late Ebenezer Henderson (Freeman of the City of Dunfermline), Astronomer & Antiquarian, By His Niece. With Reprints of “The Royal Tombs at Dunfermline” and “The Old Letter.” Edinburgh: Andrew Elliot, 17 Princes Street, Dunfermline: Printed at the Journal Printing Works. Red Boards; title in gilt on front cover and also on spine; covers marked, spine sunned; card, “With Mr Andrew Carnegie’s Compliments,” gummed onto fep [A] Cupar: The Years of Controversy; Its Newspaper Press, 1822-1872. (2009) By Andrew J Campbell. Illustrated Card Covers, illustrated. Read about” Forgers and Embezzlers; an amazing escape from justice; a near pistol duel; a serial adulterer; court actions for libel and assault and proprietorship; the Judas Editor; rival editors who secretly exchanged editorial chairs; one of the greatest editors of the Scotsman newspaper; founder of the Edinburgh Evening News; reports into the Highland Clearances and Destitution (1847) and the Edinburgh Poor (1850)’ one of the founders of the University of Cape Town; Mayor of Wellington, New Zealand; Australian merchants; founder of a High School in Bombay; and noted Professors, local poets and authors, one of the most important economic works to be published in the 19th century; and last but not least the Printer’s Devil paring the corns of the aged pressman, Auld Chasey [B] Bouffonnerie Musicale. The Story of H B Farnie, author, journalist, golfer, librettist, adapter, and song writer By Keith Drummond Sharp (2010). Illustrated card covers Henry Brougham Farnie (1836-1889) was a teacher, writer, and journalist in mid-Victorian Fife, until his scandalous private life caused him to flee to London. He was a serial adulterer. He deserted his first wife in Cupar, who obtained a divorce in the Court of Session in 1863. In London he continued his scandalous life, until his 2nd wife had him arrested on a charge of bigamy (later changed to nullity of marriage) after she contracted a venereal disease from him. In London, while still continuing as a journalist, he began writing for the theatre, and made the adaptation of French opera bouffe his chosen field. Almost single-handedly he made the genre popular, and popular enough to compete strongly with Gilbert and Sullivan’s new English operetta. He had more big hits on the London stage than any of his contemporaries, and his best shows were constantly revived in the Edwardian period and between the wars. He was a significant figure in the theatre of his day {C] Fisher Life; or The Memorials of Cellardyke and the Fife Coast. Illustrated Card Covers, (2004). Written by George Gourlay and originally published in Fife Herald Office by John Innes, and by George Gourlay, bookseller in Anstruther in 1879, this 2nd Edition was published in 2004, with a foreword by Harry D Watson.[D] The Berwicks of Kettle . Compiled by Andrew Campbell (2007). Illustrated Card Covers. The book is written around the mason and builder business founded at Kettlebridge by Thomas Berwick and his brother, Matthew Berwick in 1842, and continued by the sons and grandson of Thomas Berwick under the title of Matthew Berwick & Son until 1968.The brother of Thomas & Matthew, Robert Berwick, was a farmer in Kettle parish, and his sons and grandsons were also farmers in Fife [D] Fife Wills. 1824 -1892, Registered with the Sheriff Court of Fife at Cupar. Published by Fife Family History Society, in 4 parts, in their Publications Club Series in 1997-1998. Part 1, Abercrombie - Dibbs; Part 2, Dick - Knowles; Part 3, Knox - Ritchie; Part 4, Robb - Zeigler [E] The Press of J & G Innes, 1869-1982.

Follower of Quentin Massys (Louvain c.1465 - Antwerp 1530) Portrait of a Man, bust length, in a black hat and a fur trimmed coat Oil on panel, gold ground 30.5 x 22.5cm (12" x 9") Provenance: Presented to Gunther Henle, 1964 English Private Collection With William Thuillier, 14 Old Bond Street, London Tony Chapman Collection, West Yorkshire A letter from William Thuillier to Tony Chapman reads: Strange attributed this picture to the Master of the Holy Kinship, Horst Vey proposed an attribution to the Master of Frankfurt. Although an attribution to Quentin Massys is plausible and this portrait is clearly closely related to those of Massys, no portraits can be given to this Master with certainty, and those that have been attributed to him show some disparity. Wilenski in Flemish Painters (London 1960) lists The Banker and his Wife of 1514 in the Louvre, Profile of an Old Man of 1513 in the Musee Jaquemart Andre, Paris, Portraits of Erasmus and Aegidius of 1517 which are presumed to be in the Corsini collection, Rome, and at Longford Castle. The Antwerp dealer H.de Neyt owned in 1642 An old Man with a young girl and a Fool by 'Quinten', while the Chicago Art Institute has A Man with a Pink Painter attributed to by some Massys, and also mentioned by Wilenski. The artist of our panel may not even have been Netherlandish since Massys' influence was pervasive in the area of the Lower Rhine and Westphalia, and the painter of this portrait could possibly have been from that region, perhaps from the circle of Barthel Bruyn the Elder.

FOLLOWER OF PETER PAUL RUBENS HOLY FAMILY WITH SAINTS ELIZABETH AND JOHN THE BAPTIST Oil on canvas 137 x 112cm (53¾ x 44 in.)Provenance: Sale, Sotheby's, London, Old Master and British Paintings Day Sale, 7 July 2011, lot 217After the 1615 work by Rubens of the same title, now in the Art Institute Chicago, No.1967.229.Several versions of this painting exist suggesting it was an admired composition for private devotion. Condition Report: The canvas has been lined. Surface scratches, rubbing and abrasions, paint cracking and paint loss throughout. Many areas of paint loss with overpaint which has been done in a deliberately obvious manner so that it is visible in natural light (visible in online and catalogue image). There is a vertical line of scuffing and rubbing, with associated loss and subsequent overpaint, running the length of the canvas through Saint John, and the male figure. Inspection under UV reveals an uneven varnish, together with in-filling and overpaint. Condition Report Disclaimer

CIRCLE OF SIR JOSHUA REYNOLDS (BRITISH 1723-1792) MASTER BUNBURY Oil on canvas laid on panel 34.2 x 29cm (13¼ x 11¼ in.)After the picture in the Philadelphia Museum of Art.The sitter was Reynolds's three-year-old godson, whose attention the artist captured during the long sittings by telling fairy tales.In an 18th Century carved and gilded frame. Condition Report: The canvas is laid on a panel and is lifting slightly in places, but generally is providing good support. There is some fine surface cracking and minor abrasions on the edges. Under UV light, there are some scattered areas of retouching across the image, although it is quite difficult to read as it is hidden behind a thick layer of dirt and discoloured varnish. Condition Report Disclaimer

HISTORICAL IMPERIAL RUSSIAN: a pair of silver-mounted ruby glass dessert tazzas from the dowry of Grand Duchess Olga Nikolaevna Romanovaby Carl Johan Tegelsten, assay master Dmitry Ilyich Tverskoy, St Petersburg 1846, 84 standard, one incuse stamped N:6, scratched beneath N:6 and the other N:13 Shaped circular form, a removable ruby cut-glass bowl featuring diamond patterns and leaf motifs, resting on a plain polished circular silver plate, the ruby cut-glass baluster stem attached via a connecting silver disc to a ruby glass domed spreading foot, mounted within an intricately chased silver acanthus base, terminating in four scroll feet, height 21cm, diameter plate 25cm. (2)Footnotes:A similar pair of silver mounted ruby glass tazzas from the wedding dowry service of Grand Duchess Alexandra Nikolaevna (the sister of Grand Duchess Olga Nikolaevna) by Carl Tegelsten, St Peterburg 1844, were sold at Sotheby's London on 9th June 2010 in the 'Russian Works of Art, Fabergé and Icons' auction, Lot 574.ProvenanceFrom the wedding dowry service ordered by Tsar Nicholas I for his daughter, Grand Duchess Olga Nikolaevna of Russia, the future Queen Olga of Württemberg (1822-1892).HistoryGrand Duchess Olga Nikolaevna (1822-1892) was the second daughter of Tsar Nicholas I (1796-1855) and Tsarina Alexandra Feodorovna (1798-1860), born Charlotte of Prussia. Olga grew up as part of a close family of eight sisters and brothers. She had two elder siblings: Emperor Alexander II of Russia and Grand Duchess Maria of Russia, and five younger siblings: Grand Duchess Alexandra of Russia, Grand Duchess Elizabeth of Russia (died in infancy), Grand Duke Constantine of Russia, Grand Duke Nicholas of Russia and Grand Duke Michael of Russia. Attractive, cultured and intelligent, she was considered to be one of the most eligible princesses in Europe. She spoke several languages, and was fond of music and painting. Olga met Crown Prince Charles of Württemberg in early 1846 in Palermo, and their subsequent marriage was a political and dynastic decision rather than a love match. As an overt indicator of wealth and status, the sumptuous wedding dowry from Olga's father the Tsar included furs, furniture sets, carriages, porcelain, bed linen, glass, jewellery and an expansive silver service. These two dessert tazzas came from what was known as the 'Golden Ruby' dessert service, which included a large suite of Russian ruby glass from the Imperial Russian Glass Manufactory. This bespoke service included dessert plates and glasses, plus various silver mounted serving dishes. The Tsar was so impressed by this striking service that he ordered an almost identical set for his other daughter's wedding dowry, the Grand Duchess Alexandra Nikolaevna, which may be seen today in the Schloss Fasanerie Museum in Eichenzell near Fulda in Germany ('Die Mitgift einer Zarentochter' Exhibition Catalogue 1997/98).Tsar Nicholas I insisted that everything created for Olga's dowry (and also those of his other two daughters) was to be in the 'latest English fashion, particularly beautiful and fine' (M. N. Lopato, 'Iuveliery starogo Peterburga', St Petersburg, 2006, p. 128). The service commissioned by the Emperor for Olga included almost five hundred silver items, and the responsibility to fulfil this order fell to the main supplier of silver and bronzes in St Petersburg, the renowned English retailer 'Nicholls and Plincke'. Charles Nicholls and William Plincke (in Russian: Николс и Плинке) were two English men trading in St Petersburg who were granted Russian citizenship in 1804. They were elevated to Merchants of the 1st Guild in 1808 and began trading to capitalise on an increased interest in English products in the first half of the 19th Century, at first importing things from England, but also retailing items made in the workshops of Russian craftsmen. Around 1815 they took over a business founded by their fellow countryman John Pickersgill (1765-1841), which was renamed 'William Plincke's English Shop'. In 1829 they established 'Messrs. Nicholls and Plincke's Magasin Anglais' which supplied luxury goods to the Russian market. 'Magasin Anglais' subsequently became one of the most celebrated shops in Russia and was considered the leading retailer of luxury goods to the aristocracy, with a virtual monopoly in the supply of artistic silverware to the Imperial Court (before eventually being supplanted by Carl Fabergé).The silversmith Carl Johan Tegelsten, of Finnish descent, moved to St Petersburg in 1817. He built up a prosperous business during the next thirty-five years, supplying work to some of the city's best retail houses. Tegelsten's longtime connection with 'Nicholls and Plincke' is of particular interest as he produced for them a range of pieces in the then fashionable English taste, of which this pair of tazzas are a striking example, characterised by rococo motifs and naturalistic foliage.When Grand Duchess Olga Nikolaevna of Russia married Crown Prince Charles of Württemberg (1823-1891) on 13th July 1846 at the Peterhof Palace near St. Petersburg, a grand celebration was held at the Tsar's summer palace, and the extensive dowry was then taken by the newlyweds to Württemberg in Germany. They resided in both the Villa Berg in Stuttgart and the Kloster Hofen in Friedrichshafen, located on the shore of Lake Constance in southern Germany. In 1864, Karl acceded the throne and became the third King of Württemberg, making Olga its Queen. When her husband died on 6 October 1891, Olga became Queen Dowager of Württemberg. She died one year later, on 30 October 1892 in Friedrichshafen aged 70, and was buried in the crypt of the Old Castle in Stuttgart.At the beginning of the 20th century, with the turbulence in Russia, the Grand Duchess Olga's extravagant service was distributed amongst various museums and private collections. Today, nineteen pieces of the original silver service are kept in the storeroom of the Peterhof State Museum, and other pieces are exhibited in the Fabergé Museum in St Petersburg. Few silver items from the Grand Duchess's dowry are still in private hands, but some pieces have been sold at auction over the years, including an impressive tureen from the Van Cliburn Collection that was previously acquired in Vienna in the 1960s (Christie's New York, 17 May 2012, 'The Van Cliburn Collection', lot 21). As such, this pair of silver mounted ruby glass dessert tazzas, steeped in Imperial Russian history, are a rarity to appear on the open market.LiteratureJohn Culme, 'Marks, Fine Antique Silver', (London: A. M. Marks Limited, 2005), pp.82-85 with photographsM. N. Lopato, 'Iuveliery starogo Peterburga', (St Petersburg: 2006), p.128Schloss Fasanerie Museum in Eichenzell, 'Die Mitgift einer Zarentochter' Exhibition Catalogue 1997/98For further information on this lot please visit Bonhams.com

* German School. The Martyrdom of Saint Andrew, 1764, pen and brown ink over black chalk, squared for transfer in black chalk, dated in pen and brown ink, upper left: 'Ano 1764' and inscribed in a number of places throughout the drawing, Apelles Collection ownership mark on verso (not in Lugt), 359 x 220 mm (14 1/8 x 8 5/8 ins)QTY: (1)NOTE:Provenance: Collection of Carlos Alberto Cruz; offered at Sotheby's, London, 23 September 2021, Old Master and British Works on Paper, including works from the Collections of Carlos Alberto Cruz and the Late Timothy Clowes, lot 24.

* French School. Landscape with figures admiring the temple at Tivoli, circa 1770-1790, watercolour heightened with white bodycolour over pen and black ink, Apelles Collection ownership mark on the reverse of the old mount (not in Lugt), 243 x 362 mm (9 1/2 x 14 1/4 ins), laid down on an 18th century original mountQTY: (1)NOTE:Provenance: Apelles Collection (mark on the reverse of the old mount, not in Lugt); Collection of Carlos Alberto Cruz; offered Sotheby's, London, 23 September 2021, Old Master and British Works on Paper, including works from the Collections of Carlos Alberto Cruz and the Late Timothy Clowes, lot 36.

Goya y Lucientes (Francisco de, 1746-1828). Los Caprichos, FIRST EDITION, 1799, published by the artist, the complete set of eighty etchings with burnished aquatint, drypoint and engraving, on laid paper without watermark, fine to good impressions printed in warm sepia and greyish ink, very fine to good impressions printing with great contrasts and bright highlights, with touches of burr on plate 31, with wide margins, some foxing to the plates, otherwise generally in very good, original condition, bound in early to mid-19th century morocco-backed marbled boards, flat spine lettered in gilt, plate sizes overall 21.5 x 15 cm (8 1/2 x 5 7/8 ins), sheets overall 30 x 20 cm (11 7/8 x 7 7/8 ins), album 31 x 21.5 cm (12 1/4 x 8 1/2 ins.) QTY: (1)NOTE:Provenance: Damian Boscana, Palma, Majorca, with his signature in pen and brown ink ‘Es. De Boscana 1841’, his stamp printed twice on the title page (not in Lugt); Sotheby’s, London, 18 March 2014, Old Master, Modern and Contemporary Prints, lot 15 (unsold).Literature: Loys Delteil 38-117; Tomás Harris 36-115.

* Guerra (Giovanni, circa 1540-1618). Scenes from the Life of the Pope, pen and brown ink and brown wash on laid paper; a pentimento for the central figures hinged to the centre of the drawing, collector's mark to lower left with stamped initials EC (Emile Calando, Lugt 837); the pencil numbering of Emile Calando fils on the backing sheet '2154, H 2154', the drawing (not the pentimento) laid to a blue mount, 318 x 296 mm (12 1/2 x 11 5/8 ins)QTY: (1)NOTE:Provenance: Emile Louis Calando (1840-1898), Parisian collector (Lugt 837); Emile Pierre Victor Calando fils (1872-1953), photographer and collector, bears his numbering on the backing sheet in pencil: 2154, H 2154. In the Calando inventory as Attribué à Léonard de Vinci, bought in a sale 4 June 1875, lot 166; Sotheby's, New York, 26 January 2000, lot 147; Collection of Carlos Alberto Cruz; Sotheby's, London, 23 September 2021, Old Master and British Works on Paper, including works from the Collections of Carlos Alberto Cruz and the late Timothy Clowes, lot 26.The present drawing is very close in technique and style to two drawings by the artist held in the British Museum, Esther before Ahasuerus, and Scene from the Book of Esther (nos. 1975,0517.1 and 1975,0517.2), both featuring the same broad use of the pen, and elongated, elegant figures within an architectural setting.

* After Gerrit von Honthorst (1590-1656). Portrait of Princess Elizabeth, Queen of Bohemia, 19th century, oil on canvas, inscribed centre left ‘Elizabetha / Reg.a. Bohemiae', oil on canvas, 50 x 40 ins, in ebonized frame with gilded appliqué acanthus leaf motif, 148 x 122 cm (58 1/4 x 48 ins) QTY: (1)NOTE:This large painting is a copy of a studio version of the state portrait of Queen Elizabeth of Bohemia, by Gerrit van Honthorst. Honthorst's prototype was formerly in the collection of Sir William Craven, 1st Earl of Craven. After Elizabeth’s death in 1662, most of her collection passed onto her intimate friend and supporter Sir William Craven, 1st Earl of Craven (1608–1697) at Combe Abbey, where they were kept until sold in Sotheby's, London on 27 November 1968. The prototype is now in the Government Art Collection, and presently in the British Embassy in Prague.The present work is closer in detail of the setting to a studio version of Honthorst’s prototype, both lacking Honthort’s external view, and with the fan in her hand rather than the sceptre which is now on the table and an additional orb. However, the treatment of coiffure and costume in the present painting differs from both the studio and the prime version. The studio version was offered at Sotheby’s, London, Old Master and British Paintings, Evening Sale, lot 15.

* North Italian School. Allegory of the Coronation of the Pope, circa 1720-40, oval pen and brown ink and brown and grey wash over black chalk, depicting the Pope seated on a raised throne, at upper right an allegory of the Church crowns the new Pope while holding a papal tiara with her left hand, and to the left an allegorical figure of Rome offers a mitre, 26.4 x 17.3 cm (10 3/8 x 6 3/4 ins)QTY: (1)NOTE:Provenance: Collection of Carlos Alberto Cruz; offered at Sotheby's, London, 23 September 2021, Old Master and British Works on Paper, including works from the Collections of Carlos Alberto Cruz and the Late Timothy Clowes, lot 30.

A 19TH CENTURY PAINTED PORCELAIN PLAQUE, signed K. Schubert, Germany, after the old master Rembrandt's 'A Portrait of an man in Oriental Garment', inset within a gilded wooden frame, plaque 29.cm x 23.5cm.

The winning jockey's trophy awarded to Lester Piggott after his celebrated ride on Royal Academy to win the Breeders' Cup Mile at Belmont Park 27th October 1990, in the form of a bronze reproduction of the Torrie or Mattei horse, the Renaissance anatomical bronze sculpture created by Giambologna in Florence circa 1585, set on a green marble plinth with presentation plaque reading ROYAL ACADEMY, WINNER, SEVENTH BREEDERS' CUP MILE, BELMONT PARK, OCTOBER 27, 1990, JOCKEY LESTER PIGGOT [sic], 16.5 by 11cm.; sold together with the racecard signed by Lester Piggott, and a photo of Lester at the signing; a silver photo frame inscribed Racing World Awards 1990, Riding Performance, Lester Piggott; and another framed photo (5 items) Royal Academy was a bay colt (1987) by Nijinsky out of Crimson Saint (Crimson Satan). He was owned by Classic Thoroughbreds Plc and trained in Ireland by Vincent O'Brien. Having won The Tetrarch Stakes and the July Cup in 1990 he was sent to America to run in the Breeders' Cup Mile at Belmont Park - which is where the story really begins! Trainer Vincent O’Brien’s regular rider John Reid, and who had ridden Royal Academy to victory in the July Cup, was sidelined with a broken collar bone. The Master of Ballydoyle turned to his jockey of yesteryear Lester Piggott who was 54-years-old, in retirement following a well-publicised prison sentence for tax fraud. Lester rose to the challenge and just 12 days after coming out of retirement headed to New York to team up with the trainer with whom he had shared so much success over the years. In the race, Royal Academy missed the break and the pair found themselves trailing all 12 rivals initially. Summoning a lifetime’s experience in race riding, without any panic Lester and his partner began picking off rivals expending the minimum amount of energy. Royal Academy was still on the bridle but only sixth entering the short home stretch. By the furlong pole they were in fourth and then Piggott unleashed his trademark finish that had set him apart from others in his illustrious career and Royal Academy got up in the shadow of the winning post to edge out Itsallgreektome by a neck. The race commentator exclaiming “Royal Academy does it and a living legend out of retirement 54-year-old Lester Piggott pulls off the upset.” Brough Scott analysing the victory from Lester’s midfield position entering the stretch summed it perfectly for all that had been enthralled with Lester’s horsemanship for so long “somehow you just knew he's going to do it. It’s his simple genius.” In his post-race interview Brough asked the comeback jockey “It’s 20 years since Nijinsky, is it still there for you? Piggott replied “You never forget do you.” Lester is quoted as saying “No moment in my career ever tasted sweeter.”

° ° Betjeman, Sir John (1906-1984), poet laureate, writer and broadcaster; three letters to Peter Winckworth i. The Mead, Wantage; received 9 April 1954; ‘I am delighted to have the two pamphlets, but I cannot take up the Middle Class one for not being able to put down the Faculty one [A Verification of the Faculty Jurisdiction (1953)]. … I see in my mind’s eye anxious incumbents, the frightened churchwardens, the angry moustached Protestants. What a brute and a fool Lord Penzance was’. Asked [Walter] Taplin editor of the Spectator whether he wanted an article on Easter in Madrid from you. He regretfully declined. The Easter issue is already planned and most of it in type. I am so much in disgrace at Time and Tide now that I have no influence there. … Wasn’t the Honor Tracy case fun?’ii. 43 Cloth Fair, London EC1, 16 October 1957; thanks for ‘a thoroughly enjoyable evening’, with a commentary on the wines – ‘The idea of a little champagne at the beginning was cunning and good’iii. The Athenaeum, 14 March 1962; Thanks for letting us have the Mercers’ hall for the Hawksworth meeting; ‘I am sorry Ian Nairn was so embarrassingly emotional in his speech about Hawksmoor. Not the right kind of thing, I felt, for the City … the excellent hospitality of the Mercers must have enabled them to recover from the speech’In 1937 Betjeman became a devoted member of the Church of England, speaking of it as ‘the only salvation against progress and Fascists on the one side and Marxists of Bloomsbury on the other’ (Betjeman: Letters, 1.171). Betjeman and Peter Winckworth had many things in common – poetry, Anglo-Catholicism, a love of churches, good food and wine – but it is not known which if any of these brought them together. Winckworth’s publication on Faculty jurisdiction – the process by which the Church of England regulates the maintenance and improvement of church buildings – would have been of great importance to Betjeman, whose devotion to the church lay not only in his open admiration for its buildings, its liturgy, and its worshippers, but for its faith.In 1874 James Plaisted Wilde, Baron Penzance (1816–1899) succeeded to the offices of dean of the arches court of Canterbury, master of the faculties, and in 1875 official principal of the chancery court of York. The bishops discouraged recourse to his court, while the laity generally doubted the morality or practical sense of prosecuting ritualists and so converting them into martyrs.In April 1954 Honor Lilbush Wingfield Tracy (1913-1989), journalist and author, had won considerable damages from The Sunday Times, which had published her account of a Canon O’Connell’s attempt to raise funds for a parish house in Doneraile, Co. Cork. O’Connell took exception and the Sunday Times printed an apology, paying £750 to charity. Tracy in turn sued the Sunday Times for damaging her professional integrity by acting without her permission.Ian Douglas Nairn (1930-1983), architectural writer, served in the RAF until 1953, when he resigned his commission and determined to write about architecture. Like Betjeman, he wrote for the Architectural Review, and in 1962 was the first person to be invited by Nikolaus Pevsner to collaborate on The Buildings of England, producing a volume on Surrey and half of the account of Sussex. He was a trenchant critic of both architects and the planning bureaucracy, whom he considered responsible for ruining the towns and countryside of England. His long article in The Observer (13 February 1966), entitled ‘Stop the architects now’, marked a significant step in the growing challenge to the urban policies of the Modern Movement in architecture which resulted in a change in direction the following decade. Nairn's much vaunted affection for public houses combined with his connoisseurship of beer soon proved to be his nemesis, and he only published some short travel guides for the Sunday Times before collapsing into inarticulate melancholia. Nairn described himself as ‘a person who drinks a lot and can’t bear either pretensions or possessiveness’ (Nairn’s Paris, 13). ‘Difficult and intolerant he may have been’, Christopher Hurst concluded, ‘but his heart was warm. This fact shaped his whole world view—his anger was compassionate, on behalf of people and against the impersonal’ (ArchR). During his short, furious, productive career, Ian Nairn had a more beneficial effect on the face of Britain than any other architectural writer of his generation. (ODNB)John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29

Eliot, Thomas Stearns (1888-1965), poet, critic and publisher, Criterion, 24 Russell Square, London WC1; letter to Peter Winckworth ‘Dear Winckworth’, 30 Buckingham Gate. London SW1, 21 October 1937 Unable to lunch next week as he will be in Edinburgh the whole week; very glad to lunch later; ‘the only day in every week on which I am never free is Wednesday’; ‘I shall be interested to know if you really have some good Wensleydale at Windham’s; if so, I must speak severely to our steward, who has not provided any Wensleydale at all yet this year’.In 1922 Eliot jumped at an offer from Lady Rothermere, wife of Esmond Harmsworth, second Viscount Rothermere, publisher of the Daily Mail, to edit a high-profile literary journal. The first number of The Criterion appeared in October 1922. Like The Waste Land, which The Criterion first published, it took the whole of European culture in its sights. The Criterion's editorial voice placed Eliot at the centre of first the London and then the continental literary scene. The editorial life on Russell Square was also conducted over friendly dinners that served the function of a college or a club, and Eliot seemed to thrive on such occasions.At about the same time Eliot reached out for religious support, and turned to the Church of England. Few followers were prepared for Eliot's baptism into the Church of England on 29 June 1927 at Finstock in Oxfordshire, and so, within five years of his avant-garde success, Eliot provoked a second storm. The furore grew in November 1927 when Eliot took British citizenship and again in 1928 when he collected a group of politically conservative essays under the title For Lancelot Andrewes and prefaced them with a declaration that he considered himself ‘classicist in literature, royalist in politics, and anglo-catholic in religion’. (ODNB)Eliot had been introduced to Winckworth in April 1932 by (Archibald) Kenneth Ingram (1882-1965), author and vice-chairman of the National Peace Council, who was ‘anxious [for Eliot] to meet a young friend of mine … [who] has an unusually good mind and writes very fair verse. I am sure you would like him’. Ingram, an Anglo-Catholic lay theologian, socialist, and prolific writer, attempted in several works to integrate his sexuality with his religious beliefs. See David Hilliard, ‘UnEnglish and Unmanly: Anglo-Catholicism and Homosexuality’; Victorian Studies 25 (2) (1982) 181-210. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In July 1934 he sent Eliot a ‘short essay’ on the Association, which he hoped he might arrange to review in the St Stephen’s parish magazine. He hoped too that Eliot might take the chair at their meeting in Kensington on 16 October, which he duly did. In December 1934, Eliot described Winckworth to William Kemp Lowther Clarke, a Church of England clergyman, as ‘a very good man indeed, and I have great hopes of him’.The present letter is a reply to Winckworth’s invitation to Eliot to participate in a Junior Church Congress on the theme of the Christian Revolution, to be held at the Dorland Hall in Regent Street 28-20 April 1938. His letter declining the invitation expressed a need to conserve his energy, and that ‘Dorland Hall is rather too public a place to suit my book’. His reluctance to appear was doubtless influenced by an incident at the Dorland Hall in November 1935, when he had been accosted by his estranged wife Vivien in one of her ‘often histrionic attempts to embarrass him into a reconciliation’ (https://tseliot.com ; ODNB).John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29The Windham Club, established (as the Windham House Club) in 1828 as a ‘place of meeting for a Society of Gentlemen all connected with each other by a common bond of literary or personal acquaintance’, migrated to No. 13 St James’s Square in 1836. In 1945 it amalgamated with the Marlborough and Orleans Clubs, to form the Marlborough-Windham Club. (Survey of London 28 and 29, St James Westminster, pp136-139.)

Spencer Tracy was an iconic American actor known for his remarkable career in film and stage. He was born on April 5, 1900, in Milwaukee, Wisconsin, and passed away on June 10, 1967. Tracy is regarded as one of the greatest actors in the history of American cinema and is celebrated for his versatility, naturalistic acting style, and ability to excel in a wide range of roles.Key information and highlights from Spencer Tracy's career and life include:1. **Early Career:** Spencer Tracy's acting career began on the stage, where he honed his craft in various theatrical productions. He later transitioned to film, signing with Fox Film Corporation (which later became 20th Century Fox) in the early 1930s.2. **Academy Awards:** Tracy received numerous Academy Award nominations throughout his career and won the Oscar for Best Actor twice, first for his role in "Captains Courageous" (1937) and then for "Boys Town" (1938). He received several more nominations, solidifying his reputation as one of Hollywood's leading actors.3. **Partnerships:** Tracy had notable on-screen partnerships with several leading actresses, including Katharine Hepburn and Ingrid Bergman. His collaboration with Hepburn in particular, spanning nine films, became legendary in Hollywood history.4. **Katharine Hepburn:** Spencer Tracy's on-screen chemistry with Katharine Hepburn was celebrated, and their off-screen romance, while never officially confirmed or widely publicized due to Tracy's marriage to another woman, added to their allure as a cinematic couple. They starred in classics like "Woman of the Year" (1942), "Adam's Rib" (1949), and "Guess Who's Coming to Dinner" (1967).5. **Versatility:** Tracy was known for his ability to excel in a wide range of roles, from dramatic to comedic, and from tough guys to sensitive characters. He could portray everyday men with authenticity and depth.6. **Filmography:** Spencer Tracy's filmography is extensive and includes classics such as "Inherit the Wind" (1960), "The Old Man and the Sea" (1958), "Father of the Bride" (1950), "San Francisco" (1936), and "Dr. Jekyll and Mr. Hyde" (1941), among many others.7. **Professionalism:** Tracy was highly respected by his peers and directors for his professionalism and dedication to his craft. He was known for his ability to deliver lines with subtlety and nuance.8. **Legacy:** Spencer Tracy's legacy in Hollywood endures, and he is often cited as one of the greatest actors of all time. His body of work continues to be studied and celebrated by actors, film enthusiasts, and scholars.Spencer Tracy's contributions to American cinema, his exceptional talent, and his memorable performances have left an indelible mark on the entertainment industry. He is remembered as a true Hollywood legend and a master of his craft.Measures 16 x 20.

Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger PlateEtching and engraving, circa 1632, a good impression of New Hollstein's seventh/eighth state (of nine), on laid paper with indistinct countermark initials, sheet 367 x 255 mm (14 1/2 x 10 1/4 in), trimmed within the platemark to arched border, faint central horizontal fold, minor surface dirt, printers' crease to upper left (unframed)Literature:Bartsch 73; New Hollstein 113 vii-viii/ixTogether with a quantity of copies after Old Master prints, including Rembrandt and Albrecht Dürer.

Literature, various WHITMAN (Walt) Leaves of Grass, Philadelphia: David McKay 1900, 8vo, frontis portrait, calf, rubbed; KIPLING (R) The Jungle Book, early edition 1896, 8vo, cloth gilt, owner's bookplate; DICKENS (C) Master Humphrey's Clock - The Old Curiosity Shop, vols. I and II later bound together, 1840, modern morocco backed cloth; MORE (Sir T) Life of.., by William Roper, King's Library edition, De La More Press 1902, 4to, uncut, one of 290 copies, cloth backed boards; with Gray's Poems, Eton 1902, calf; and Tennyson's Works, 1881, illustrated, calf, a little faded (6)

Unsigned antique copy after an old master. Religious figures representation. Circa 1900. Oil on linen. Dimensions: H 83 x W 60 cm. In good condition.

A PAIR OF REPOUSSE SILVER VASES, YANGQINGHE MARK, LATE QING TO REPUBLIC PERIODChina, c. 1850-1935. Each with a baluster body raised on three floral feet above a waisted base and surmounted by a gently flaring neck with a foliate rim. Neatly engraved with prunus and peony blossoms borne on leafy stems, the body with five beaded panels enclosing inscriptions, four of which contain auspicious characters while one is a passage from Journey to the West. (2)Inscriptions: Maker's mark to the base of each, 'Yang Qinghe'. Each vase is inscribed with a passage from Journey to the West: 'Even the wind through the pines and the moon in the water are not as pure as Master Xuanzang. The heavenly morning dew and pearls are not as crystal clear as Master Xuanzang. He is wise, carefree, and has a clear mind. But he does not show this.'Provenance: London trade. Condition: Good condition with some old wear and manufacturing irregularities, light tarnishing, small scratches, minor nicks and minimal warping.Weight: 102.9 g and 104.6 g Dimensions: Height 15.5 cm and 16.1 cm The earliest records of the silver atelier known as Yangqinghe date to 1775 in Shanghai. By the end of the Qing dynasty, it had the reputation as being the best silver workshop on the Shanghai bund. Not only did they make decorative items, but also accessories and jewelry, popular among the Shanghai elite. After 1850, the atelier divided into three separate branches, Jiuji, Faji, and Fuji, and passed to the ownership of Shao Youlian's family.Shao was a statesman who had served as the Qing court's charge d'affaires at St. Petersburg, had been a past governor of Taiwan and acting governor of Hunan. After his death in 1901, his family did not immediately divide up his estate, but his second son Shao Heng, gradually assumed ownership of the Jiuji branch of Yangqinghe. Shao Heng was known as a spendthrift and tended to neglect the business. Jiuji eventually ceased operation in 1935.Journey to the West (Xiyouji), is an epic 16th-century novel fictionalizing the actual journey of the historical figure of Xuanzang (602-664) who made a pilgrimage to India to collect Buddhist sutras. During the eventful trip accompanied by Sun Wukong, the honest but hapless monk encounters a tempestuous and powerful monkey king recently released from a supernatural prison, Zhu Bajie, as well as a greedy pig-like demon and Sha Wujing, a quiet and sensible river spirit. The troupe suffer a series of increasingly dangerous trials but eventually prevail, finally bringing the true word of Buddha back to the Tang imperial court. Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1479 Estimate: USD 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: A silver 'dragon' ewer, late Qing dynasty Expert remark: Compare the related Yangqinghe mark. Note the different form, dragon motifs, and the size (26.5 cm). 清末民初一對卷蓮口錘鍱銀瓶中國，約1850-1935年。卷蓮口，長頸，豐肩，五瓣瓶身，三如意足。頸部雕刻卷葉紋。器身五瓣分別開光，塊串珠板，內刻。 (2) 款識： 松風水月，未足比其清華；仙露明珠，詎能方其朗潤。故以智通無累，神測未形。 楊慶和 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則、輕微變色、小劃痕、輕微刻痕和輕微翹曲。 重量：分別102.9克與104.6克 尺寸：分別高 15.5 厘米與16.1 厘米 拍賣結果比較: 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1479 估價：USD 5,000（相當於今日EUR 5,600） 描繪：清末銀開光龍紋龍柄執壺《上》《楊慶和》款 專家評論：比較相近的楊慶和款。請注意不同的外型，龍紋主題和尺寸(26.5 厘米)。

A WHITE JADE 'PRUNUS AND LONGEVITY' SNUFF BOTTLE, CHINA, SUZHOU SCHOOL, 1730-1810Well hollowed, the compressed spherical body rising from a concave foot to rounded shoulders sloping to a tall cylindrical neck with a flat mouth. Carved to one side in low relief with a blossoming prunus tree amid rockwork and lingzhi, the other side with four raised characters. The translucent stone of a soft white tone with pale russet shadings and inclusions.Inscriptions: To one side, 'Yannian Yishou' (extended years and long life).Provenance: Collection of Lawrence (1926-2021) and Florence (1929-2013) Bier, no. 123. Sotheby's New York, 23 March 2004, lot 263. Collection of Kim Green, no. 86, acquired from the above. Kim Green was a trained geologist and geochemist, serving as director of the Office of the Chief Scientist for the U.S. Department of Agriculture. With her profound understanding and affection for snuff bottles and their unique tactile attributes, she built a deliberately limited and exclusive collection that she cherished intimately.Condition: Very good condition with only minor old wear and little nibbling. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks.Stopper: Glass Weight: 87.1 g Dimensions: Height including stopper 70 mm. Diameter neck 19 mm and mouth 6 mm. Literature comparison: The inscription on the present bottle is identical in carving style to that on a bottle illustrated and discussed by Kleiner, Chinese Snuff Bottles: The White Wings Collection, no. 20, ascribed to the Master of the Rocks School. Compare the treatment of the prunus with another bottle illustrated by Kleiner, ibid., no. 17. and another bottle in the J & J collection, Moss, Graham & Tsang, The Art of the Chinese Snuff Bottle, no. 28.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 25 November 2013, lot 89 Price: HKD 325,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: An inscribed white jade 'prunus' snuff bottle attributed to Suzhou, Qing dynasty, Late 17th/18th centuryExpert remark: Note the similar low relief carving of the blossoming prunus tree.Auction result comparison:Type: Closely related Auction: Christie's New York, 24-25 March 2011, lot 1566 Price: USD 218,500 or approx. EUR 275,000 converted and adjusted for inflation at the time of writing Description: A well-carved white jade snuff bottle, probably Suzhou, 1750-1850Expert remark: Note the size (6.2 cm).Auction result comparison:Type: Related Auction: Sotheby's Hong Kong, 25 May 2014, lot 1060 Price: HKD 187,500 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: An inscribed white jade 'prunus' snuff bottle Qing dynasty, 18th/19th centuryExpert remark: Compare the prunus motif and poetic inscription. 1730-1810年蘇作白玉福壽鼻煙壺掏膛良好，圓柱躰頸，壺身成扁平圓形。一面淺浮雕一棵盛開的桃樹，四周岩石和靈芝；另一面雕刻四字。半透明的白玉柔和瑩潤，帶有淺黃褐色絮狀物和內沁。 款識：延年益壽 來源：Lawrence（1926-2021年）和Florence（1929-2013年）Bier收藏，編號 123；紐約蘇富比，2004年 3 月 23 日，拍品 263；Kim Green 收藏，編號 86，從上述拍賣所得。 品相：狀況好，輕微磨損和磕損。玉石上有天然内沁和裂隙，其中一些可能發展成細小裂紋。 壺蓋：玻璃 重量：87.1 克 尺寸：含蓋高70 毫米，頸部直徑19 毫米 及壺口直徑6 毫米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年11月25日，lot 89 價格：HKD 325,000（相當於今日EUR 49,000） 描述：清十七世紀末 / 十八世紀白玉雕「玉骨冰肌」鼻煙壺（傳）蘇作 專家評論：請注意相似的盛開的李樹浮雕。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24-25日，lot 1566 價格：USD 218,500（相當於今日EUR 275,000） 描述：1750-1850年或為蘇作白玉鼻煙壺 專家評論：請注意尺寸(6.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年5月25日，lot 1060 價格：HKD 187,500（相當於今日EUR 27,000） 描述：清十八 / 十九世紀白玉刻詩「梅花」圖鼻煙壺 專家評論：比較李子主題和款識。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A CYLINDRICAL TORTOISESHELL SNUFF BOTTLE, FORMERLY IN THE COLLECTION OF WU RANGZHI (1799-1870)China, 19th century. The elegant yet traditional 'Rouleau' form, decorated in gilt with inscriptions, supported on a flat base, the conical shoulder rising to a narrow neck with a flat rim. The shell of caramel color highlighted with patches of dark chocolate and near-black tones. The base inscribed with a four-character collection seal.Inscriptions: To the body, 'Shishenxuan cang' (Collection of Shishenxuan); 'Wu / Lu jing Lufu / Songmen Huxi / Yideng wudao / Wie ke bumi'; 'Wu Rangzhi qingwan' (Collection of Wu Rangzhi); ´Jue / li zhi wu wo / kong ya you xing / xin ying xian jue / si bu huang ning'. To the base, 'Jin Shi Cang Yin'. Provenance: From a Hungarian private collection. Condition: Good condition with expected old wear, minuscule nicks, light scratches, natural imperfections.Stopper: Coral Weight: 20.4 g Dimensions: Height including stopper 69 mm. Diameter neck 11 mm and mouth 5.5 mm Wu Rangzhi (1799-1870), also known as Wu Xizai, was a Chinese painter, calligrapher, and master seal carver. He developed the Wan School, originally founded by Deng Shiru, and frequently paired his own texts with rubbings of stelae and other carvings, demonstrating the range of possibilities available to artists inspired by the scholarship of the Stele School and its willingness to blend old and new forms.Auction result comparison: Type: Closely relatedAuction: Woolley & Wallis, London, 17 May 2016, lot 129Estimate: GBP 5,000 or approx. EUR 8,300 converted and adjusted for inflation at the time of writingDescription: A Chinese tortoiseshell square-section snuff bottle, Qing dynastyExpert remark: Compare the closely related material and inscriptions, bearing the same three collector's marks to the body ('Shishenxuan cang' and 'Wu Rangzhi qingwan') and the base ('Jin Shi Cang Yin'). Note the different form and the size (8 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 玳瑁鼻烟壺，原爲吳讓之(1799-1870) 收藏中國，十九世紀。圓柱形壺，平底，鍍金銘文，削肩。 焦糖色，帶有深棕色和近乎黑色的色調。款識：悟：路經盧阜，松門虎溪。一燈悟道，為客不迷；覺：理知無我，空壓有形。心應先覺，思不遑寧；師慎軒藏；吳讓之清玩；金石藏印。來源：匈牙利私人收藏。品相：狀況良好，有磨損、微小劃痕和自然瑕疵。壺蓋：珊瑚重量：20.4 克尺寸：含蓋高69 毫米，頸部直徑11 毫米，壺口直徑5.5 毫米 吳讓之 (1799-1870), 字熙載，清代畫家、篆刻家、書法家。包世臣的入室弟子。善書畫，尤精篆刻。少時即追摹秦漢印作，後直接取法鄧石如，得其神髓，又綜合自己的學識，發展完善了“鄧派"篆刻藝術，在明清流派篆刻史上具有舉足輕重的地位。吳煕載以篆書和隸書最為知名，在晚清書壇享有很高的聲譽。對後來的趙之謙、吳昌碩均有影響。拍賣結果比較： 形制：非常相近 拍賣：Woolley & Wallis，倫敦，2016年5月17日，lot 129 估價：GBP 5,000（相當於今日EUR 8,300） 描述：清代玳瑁鼻煙方壺 專家評論：比較非常相近材質、款識，有同樣的三個收藏印。請注意不同的外形和尺寸 (8厘米)。

A GESSO AND STUCCO FRESCO DEPICTING TWO CELESTIAL MAIDENS, YUAN TO MING DYNASTYChina, 13th-16th century. The rectangular panel fragment finely painted in polychrome pigments with details gilded and picked out in neatly applied gesso relief. The celestial maidens both with serene expressions, adorned in flowing robes and elaborate headdresses.Provenance: Belgian trade.Condition: Excellent condition, commensurate with age. Old wear, soiling, flaking and losses to gilt and gesso. The pigments are remarkably well preserved with only minor fading and minimal losses.Dimensions: Image size 77 x 47 cm, Size incl. frame 84 x 54 cm With an old Chinese wood frame and brass hook for suspension. (2)The present stucco fresco was inspired by earlier depictions of Buddhist deities, like the ones seen in the Mogao grottoes at Dunhuang. Ming painters of Buddhist subjects sought to mimic the style of the Tang dynasty artist Wu Daozi, considered a master of Buddhist mural paintings. Examples of Ming paintings executed in the tradition of Wu are discussed in 'Latter Days of the Law: Images of Chinese Buddhism 850-1850' by Helen Foresman, Spencer Museum of Art, Kansas, 1995, pages 55 and 446. Followers also studied and adhered to Wu's Eight Classes of Supernatural Beings (Tian Long Ba Bu Zhen Ji), whose classification included 'celestial beings, musical demigods, and mythical bird-gods'.Literature comparison: Compare the sculpture and murals in Cave 57 of the Mogao grottos at Dunhuang, illustrated in Roderick Whitfield et. al., Cave Temples of Mogao, Art and History on the Silk Road, Los Angeles, 2000, p. 37, as well as the murals of bodhisattva in caves 172 and 199, illustrated in Chang Shuhong, The Art Treasures of Dunhuang, Hong Kong and New York, 1981, paying close attention to the garments and ornamentation of the figures.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 20 March 2019, lot 693 Price: USD 18,750 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A polychrome stucco fresco fragment, Yuan/Ming dynasty Expert remark: Compare the closely related technique with similar elaborate headdresses gilded and picked out in gesso relief and the manner of painting with similar serene expressions and flowing robes. Note the near-identical size (77 x 55 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 23 September 2020, lot 608 Price: USD 12,600 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A polychrome stucco fresco fragment, Ming dynasty Expert remark: Compare the closely related technique with similar elaborate headdresses gilded and picked out in gesso relief and the manner of painting with similar serene expressions and flowing robes. Note the smaller size (66 x 41.5 cm) and that this fresco was probably trimmed in the 20th century. 元至明彩繪灰泥《神女》壁畫中國，十三至十六世紀。彩繪兩位神女，手持儀仗，神情安詳，身著飄逸的長袍，頭戴精緻的發飾，背景是祥雲。多色顏料繪製，局部描金。來源：比利時古玩交易。 品相：品相極佳，有磨損、髒污、剝落以及鍍金和石膏的缺損。彩繪保存得非常好，只有輕微的褪色和缺損。 尺寸：畫面77 x 47 厘米, 總84 x 54 厘米 中國木框和用於懸掛的黃銅鉤。 (2)文獻比較： 比較敦煌莫高窟第57窟的雕塑和​​壁畫，見Roderick Whitfield編，《Cave Temples of Mogao，Art and History on the Silk Road》，洛杉磯，2000年，頁37。以及另一件敦煌莫高窟第172窟和199窟，見Chang Shuhong，《The Art Treasures of Dunhuang》，香港和紐約，1981年，非常相近的人物的服裝和裝飾。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 693 價格：USD 18,750（相當於今日EUR 20,000） 描述：元 / 明灰泥彩繪天女圖壁畫殘部 專家評論：比較非常相近的技術，以及相似的精緻的頭飾，鍍金並以石膏浮雕、繪畫風格，以及相似的平靜的表情和飄逸的長袍。請注意幾乎相同的尺寸(77 x 55 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2020年9月23日，lot 608 價格：USD 12,600（相當於今日EUR 13,500） 描述：明灰泥彩繪天女圖壁畫殘部 專家評論：比較非常相近的技術，以及相似的精緻的頭飾，鍍金並以石膏浮雕、繪畫風格，以及相似的平靜的表情和飄逸的長袍。請注意尺寸較小(66 x 41.5 厘米) ，以及這壁畫可能在二十世紀被修復過。

A LIME-GLAZED SEAL PASTE BOX AND COVER BY LI YUCHENG, CHINA, 1862-1908Of circular form, raised on a short spreading foot, the exterior finely decorated in high relief to the domed cover with a mountainous river landscape dotted with clusters of bamboo and pine trees, a small stilted house on the riverbank with three figures inside seated around a table, and to the box with two boats with fishermen as well as two figures resting on the shore. The interior of lid and base covered with a turquoise glaze, the foot left unglazed. The base with a neatly incised four-character seal mark.Inscriptions: To the base, 'Li Yucheng zuo'.Provenance: Paris trade. By repute acquired from old private estate in the North of France.Condition: Excellent condition with minor old wear and firing irregularities including dark spots. Expected signs of use including remnants of seal paste especially around the rim and within the box.Weight: 151.8 gDimensions: Diameter 8.9 cm Traditionally, individual artists remained anonymous on artworks created in Imperial China. Apart from paintings and calligraphy, the names of the artists gave way to the Imperial reign marks, but this custom began to change in the early nineteenth century. Although the Imperial reign marks and important hall marks still represented unshakeable power and privilege, there was a growing impulse for artists and craftsmen to sign their wares if they became sufficiently well known among the patrons to warrant a personal identification.Li Yucheng is known as a master of porcelain carving and was active during the reigns of the Tongzhi and Guangxu Emperors (1862-1908). He produced a series of literati items other than snuff bottles, such as the present lot. His works are considerably rarer than those of the better-known Wang Bingrong. It may be that Wang influenced Li, but since the dates of neither are known with any accuracy, we can only guess. There is a tendency to see Wang as the instigator of their particular style, but this theory may be owed merely to the fact that he made far more exemplars than Li.Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 18 December 2017, lot 986Price: USD 8,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A carved lime green glazed porcelain seal paste box and cover, Wang Bingrong, 19th centuryExpert remark: Compare the closely related lime-green glaze. Note the size (10.8 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 29 May 2019, lot 466Price: HKD 106,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A yellow-glazed 'birds and flower' waterpot signed Li Yucheng, Qing dynastyExpert remark: Compare this yellow-glazed waterpot by the same artist as the present lot. Note the similar size (10.4 cm). 1862-1908年李裕成款蘋果綠釉雕瓷印泥盒圓盒，圈足。圓盒蓋上高浮雕山間人物風景，岸上有一座小樓，裡面有三個人物圍坐桌邊。盒子外壁延續盒蓋風景，水中有兩艘船，船上可見漁民，還有兩個人在岸邊休息。蓋及盒內施綠松石色釉，圈足未施釉。圈足內有四字款。 款識：李裕成作 來源：巴黎古玩交易，據説購於法國北部一個私人老收藏。 品相：狀況極好，有輕微磨損和燒製缺陷，包括黑點，有使用痕跡包括密封膏的殘留物，主要是邊緣和盒子內。 重量：151.8 克 尺寸：直徑8.9 釐米 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2017年12月18日，lot 986 價格：USD 8,750（相當於今日EUR 10,000） 描述：十九世紀清代王炳榮作蘋果綠釉雕瓷印泥盒 專家評論：比較非常相近的蘋果綠釉。請注意尺寸(10.8 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年5月29日，lot 466 價格：HKD 106,250（相當於今日EUR 13,500） 描述：清十九世紀淺黃釉雕喜上眉梢紋水盂 《李裕成作》款 專家評論：比較此淺黃釉水盂為同一藝術家所作。請注意相似的尺寸(10.4 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A pair of George III mahogany and card hand screens, the large rounded rectangular banners printed with Old Master prints and caricatures after Hogarth and Teniers, gilt lined border, shaped trefoil hafts, 50cm long, c.1800

Four: Acting Sergeant Major A. Gale, Loyal North Lancashire Regiment, attached Indian Supply and Transport Corps, late Duke of Wellington’s Regiment and Upper Burma Volunteer Rifles, who was killed in action in Iraq on 2 November 1915 1914-15 Star (21368 Sjt. A. Gale. L.N. Lan: R.); British War and Victory Medals (21368 Sjt. A. Gale L.N. Lan. R.); Army L.S. & G.C., E.VII.R. (Act: Sergt.-Major A. Gale U. Burma Vol: Rifles.) nearly extremely fine (4) £160-£200 --- Alfred Gale was born in Basingstoke, Hampshire, in 1874. A groom by trade, Gale attested at Halifax for the Duke of Wellington’s Regiment (West Riding) on 19 August 1891, his papers noting him as a 17 year-old ‘growing lad’. Appointed Lance Corporal on 1 September 1894, and Sergeant on 24 June 1897, he served overseas for 17 years in South Africa, the East Indies and Burma, and was awarded his L.S. & G.C. Medal with gratuity under Army Order No. 239, on 25 April 1910. Advanced Quarter Master Sergeant, Gale was discharged at Gosport on 16 November 1912 upon his second period of engagement, his conduct and character noted as ‘exemplary’. Remarkably, Gale returned to service for a third period upon the outbreak of the Great War. Despite having attempted a new life in India with his wife and three children from March 1914, he rallied once again to the call and re-enlisted as a Sergeant with the 2nd Battalion, Loyal North Lancashire Regiment. With his experience and fervour, Gale was initially fortunate to be omitted from the Indian Expeditionary Force which sailed from Mumbai on 16 October 1914; the subsequent Battle of Tanga resulted in the loss of approximately 115 soldiers of the 2nd Battalion. Instead, he served in the Persian campaign, attached to the Indian Supply and Transport Corps. It was in this capacity that he was likely charged with maintaining the lines of supply of food, water and ammunition to the city of Basra, which from November 1914 was occupied by the 6th (Poona) Division. Extremely vulnerable to enemy attack across hundreds of miles of open desert, Gale was killed in action on 2 November 1915. He is buried in Basra War Cemetery, Iraq.

A CZECH PEWTER PLATE WITH HEBREW INSCRIPTIONEarly 19th Century Maker's mark of Martin Franz Extel, Old Town Prague, with later inscription to the rim, 28cm diameterMartin Franz Extel is recorded as a Master Pewterer in 1802. 

Bolzoni (Marco Simone). Il Cavalier Giuseppe Cesari d’Arpino Maestro del disegno Catalogo ragionato dell’opera grafica, 1st edition, Roma: Ugo Bozzi Editore, 2013, numerous monochrome illustrations, original cloth in dust jacket with slipcase, covers lightly rubbed to head and foot, large 4to, together with; Jaffé (Michael) The Devonshire collection of Italian Drawings, 4 volumes, 1st edition, London: Phaidon, 1994, numerous colour illustrations, original cloth in dust jackets, covers and spines marked and rubbed, tear to head of volume 3, large 4to, plus Boëlens (Benoît & Van Waesberghe), European Master Drawings Unveiled, 1st edition, Belgium: Ludion, 2002, numerous colour illustrations, original cloth in dust jacket, large 4to, and other 36 volumes of modern old master art reference and related mostly original cloth in dust jackets some original cloth, large 4to/8voQTY: (42)

RICHARD DIGHTON (BRITISH, 1795-1880)The Master General of Ordinance etching 28.5 x 19.5cm Provenance John Reid Old Prints and Engravings, Kensington Church Street, London; Private collection, UK

Six Doulton figurines,The Jester, Country Lass, The Master, The Orange Lady, The Old Ballon Seller and Biddy Pennyfarthing, tallest 24cm high

A SMYRNA CARPET WESTERN ANATOLIA, 18TH CENTURY Approximately 590 x 355cm This large carpet is from a group of Anatolian carpets made popular in Europe by the Dutch during the 17th and early 18th century, and many carpets of this design appear in Dutch Old Master paintings. They are characterised by their 'all-over' designs of very large palmettes and it is probable that they are the precursors to the large Oushak carpets that became very fashionable in Europe and America during the 19th century (and remain so to this day). It is also likely that the carpets were not made in Smyrna, now known as Izmir, an important city on the Aegean coast, but became known by that name as they were traded from there. It is more likely that their origin was indeed Oushak or the surrounding area due to the structural and atheistic similarities that they exhibit. For a related example at auction, see: Christie's, London, The Davide Halevim Collection, 14 February 2001, lot 52 Condition Report: Pile generally good with scattered repairs. Overall wear to knotheads. Ends restored with rewoven kilim finishes.Sidecords laterHole to one end which needs attention and a few other small holes but overall in a good state for its age.  Condition Report Disclaimer

AFTER THE OLD MASTER A 17th century style portrait of a gentleman depicted half-length seated in an interior, inscribed verso "Hugo Grotius" (Hugo de Groot), oil on copper, 16cm x 12.5cm

ATTRIBUTED TO PIETER CLAESZ (DUTCH CIRCA 1579-1660) PARROT TULIP Body colour and watercolour on laid paper 23 x 8.5cm (9 x 3¼ in.) Provenance: Christie's, South Kensington, Old Master Pictures and Drawings, 12 December 2003, lot 528 where purchased by Robert KimeThe attribution to Claesz is based on comparison with a group of drawings of the same size and technique formerly with Noortman, which Dr. Sam Segal compared to a drawing signed 'A.C.' and dated 1641 in an album in the Lindley Library, London (S. Segal, Tulips by Anthony Claesz., Maastricht, 1987, fig. 1) Condition Report: There is some light discolouration to the extreme edges, as well as some undulation. The colours are generally good, although the green pigment is a little down. Unexamined out of glazed frame. Condition Report Disclaimer

AN ARTS AND CRAFTS OAK KNEEHOLE DESK ATTRIBUTED TO CHARLES ROBERT ASHBEE EARLY 20TH CENTURY Of slatted panel form, the drawers around the kneehole ingeniously locking with the central drawer, opposing three drawers above four doors, the copper drawer handles stamped 'RATHBONE 543' 76cm high, 183cm wide, 99.5cm deep Charles Robert Ashbee (1863 - 1942) was an English architect and designer who was a leading proponent of the Arts and Crafts movement. His disciplines included metalwork, textile design, furniture, jewellery and other objects in the Modern Style (British Art Nouveau style) and Arts and Crafts genres. He became an elected member of the Art Workers' Guild in 1892, and was elected as its Master in 1929. Richard Llewellyn Benson Rathbone (1891-1939) trained with the distinguished Arts and Crafts metalworker W A S Benson, setting up his own workshop in the 1890s. Rathbone continued production until the early 1900s making metal fittings both to his own designs and for other designers including C F A Voysey, Lamb of Manchester, Morris & Co and A H Mackmurdo. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe leather inset with the usual marks and scratches consistent with age and use, some deeper areas too. The oak top of the desk with old water marks and stains affecting the polish, this is a ring mark and a rectangular mark - water has split and left this mark at some point The ingenious locking system is working at time of report, there is a key that operates the central drawer lock at time of report, this lock appears to have been changed, it may well have had a Bramah type lock previously, there is a circular inset hole to the drawer front where the keyhole probably projected through. There are no other keys present, the rear cupboards are all open at time of report - the drawers to the rear are not operated on the same locking mechanism and are openable when the other drawers are shut and locked. The large right hand drawer was previously divided, this has been well filled to the drawer front and the back drawer lining.The handles are all stamped as per the description, these are almost certainly original.Some later screws are present to the interior to hold front and back elements togetherOverall solid and stablePlease see additional images for visual reference to condition Condition Report Disclaimer

CIRCLE OF ANTONIO VERRIO (ITALIAN CIRCA 1639-1707) ALLEGORY OF PEACE: STUDY FOR A CEILING FRESCO Oil on canvas 62 x 62cm (24¼ x 24¼ in.)Provenance: Property of the late Edward Croft Murray His sale, Christie's, South Kensington, Old Master and British Pictures, 23 April 2009, lot 183, where purchased by Robert KimeEdward Croft-Murray was Keeper of Prints and Drawings at the British Museum between 1954 and 1972, and author of Decorative Painting in England 1537-1837 (published in two volumes by Country Life in 1962 and 1970). He was an advisor on musical instruments at Christie's from 1974 until his death. In his obituary in the Burlington Magazine, J. Byam Shaw described him as 'a meticulous scholar, an enthusiastic connoisseur, and an endearing character' (February 1981, p.99). Condition Report: The canvas has been lined and is on a later 19th century stretcher. Dirty varnish and surface dirt throughout. There is an old U-shaped tear which has been repaired to the centre of the canvas (approx. 10cm) but this has been well restored and is not visible to the naked eye. UV light reveals scattered retouching throughout, but this has been well executed. There is also a layer of green cloudy varnish. Condition Report Disclaimer

Visser, Pier (Amsterdam 1916) "Winter landscape with ice fun", after an old master, signed in full right, oil paint/panel, h17 x w 23 cm.

Visser, Pier (Amsterdam 1916) "Winter landscape with ice fun", after an old master, signed bottom right, oil paint/panel, h 23 x w 29 cm.

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 sapphire and diamond two stone ring, the 5.2mm round brilliant cut sapphire and old cut diamond claw set vertically with a white metal bar and square to either side, cast to give the impression of small diamonds all in a yellow and white metal mount size M, marked 18ct Plat, gross weight 3.9g.Condition report:We do not have master stones to grade diamonds but in our opinion the diamond falls into Colour grade band K to M and Clarity grade band I1/I2.

A selection of bottles of port, including: Taylor’s 20 Year Old Tawny Port, in box; W&J Graham’s Quinta dos Malvedos vintage port 2010, in box; Dow’s Master Blend late bottled vintage port 2006; Maynard’s 10 Years Old Aged Tawny Porto; and another. (5)

Follower of Jan van der Straet (Stradanus, 1536-1605), pair of Old Master ink and washes on paper, Battle scenes, each signed in ink, mounted, 36 x 36cm, unframed***CONDITION REPORT***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. 

Georgian early 19th century graphite and watercolour study of the Old Council House, Corn Street, Bristol. Titled and dated 1823 lower left. Owners label to verso “Proctor Baker”, William Proctor Baker was the elder brother of Arthur Baker and born on 21st July 1834 at 27 Portland Square in Bristol. He was educated at Bristol Grammar School. His joined his father's corn milling and merchants business (whihc grew to become Spillers & Bakers, Ltd.) and was a partner in the business by 1860. He was a Merchant Venturer (Master in 1869) and became Mayor of Bristol in 1871. From 1872 to his death in 1907 he was President of Bristol General Hospital. For many years he lived at Broomwell House in Brislington and died on 17th August 1907 aged 73. In probably its original oak frame. Overall including frame 39.5x33cm