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* Pencz (Georg, circa 1500-1550). Christ washing the feet of the Apostles, circa 1534, engraving, a good but later impression, trimmed on the platemark, 3.6 x 5.7 cm 1 7/16 x 2 1/4 ins),laid onto a support sheet, together with other various Old Master prints: Gérard de Lairesse, Apollo, on laid paper, with small margins; Hendrick Goltzius, The Last Supper from the Passion of Christ, 1598, engraving, trimmed to the subject, laid down, losses at the upper sheet; two engraved copies in reverse after Albrecht Dürer, The Virgin Suckling the Child, & The Resurrection (from the Engraved Passion), on wove paper, two etched copies of plates from Callot's Les Gueux, two copper engraved portraits of William Harvey, one by William Faithorne, 1653, and one by William Darton, circa 1820, in stipple, and a copper engraved portrait of Thomas Parr by Cornelis van Dalen, circa 1635, three framed and glazed, remainder unframed QTY: (10)NOTE:Pencz: Bartsch 45 (vol. 16, p. 98); Hollstein 58; Landau 55. For an impression of Cornelis van Dalen's 1635 engraving of Thomas Parr, see Royal Collection RCIN 659804.

* Circle of Claudio Coello (1642-1693). Assumption of a Female Saint, with angel playing a tambourine below; pen, brown ink and brown wash on laid paper with partial armorial watermark with pendant initials FC, to verso a sketch for the same figure ascending, pen and brown ink, 161 x 125 mm (6 1/4 x 4 7/8 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 17.

* Attributed to François Boitard (1667 - 1719/1729). Allegoryl of Time unveiling Truth, Discord and Envy, pen and black ink and pink/brown wash on laid paper, inscription in pen and black ink, lower left: minutte Deux / a la croc au feu (?) and numbering in pen and brown ink on the reverse of backing sheet: A025, bears attribution in pencil to Luca Cambiaso, an unidentified collector's stamp (reverse of backing sheet); Apelles Collection collector's mark on backing sheet (not in Lugt), backed with a support sheet, 313 x 200 mm (12 3/8 x 7 7/8 ins)QTY: (1)NOTE:Provenance: Unidentified collector's stamp (reverse of backing sheet); Apelles Collection (collector's mark on backing sheet, not in Lugt); 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 34.The present drawing is comparable in technique to another allegorical scene by the artist, Juno commanding Aeolus to unleash the Winds, displaying the same very fine use of the pen in black ink, together with grey wash, 28 x 398 mm, sold Christie's, Rome, 16 November, 1987, lot 9, then subsequently Christie's, South Kensington, 9 December 2010, lot 13.

* German School. Christ and the Woman of Samaria, second half of the 17th century, blue wash over pen and black ink within pen and black ink framing lines, on laid paper with an ornate coat of arms with flowers surmounted by a crown, 269 by 195 mm (10 5/8 x 7 3/4 ins)QTY: (1)NOTE:Provenance: Apelles Collection (mark on verso, not in Lugt); 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 21.

* Rowlandson (Thomas, 1757-1827). Landscape with young couple by a lake, circa 1810, watercolour with pen and black ink, laid onto card, 20.2 x 25.8 cm (8 x 10 1/4 ins), framed and glazed (42 x 52cm), inscribed by Iolo Williams to verso ‘Thomas Rowlandson (1757-1827) chosen by I.A.W'QTY: (1)NOTE:Provenance: Collection of Iolo Williams (1890-1962), author of Early English Watercolours and Some Cognate Drawings by Artists born not later than 1785 (London: Connoisseur, 1952).The present watercolour is similar in subject to A Musical Party by a Lake, offered by Sotheby’s, London, Old Master and British Works on Paper (online), 6 July 2022, lot 184, measuring 22.8 x 29.7 cm, also featuring a wooded landscape, but with numerous courting couples. The Sotheby’s drawing, formerly with Colnaghi, was also laid onto card.

* Follower of Bartolomé Esteban Murillo (1617-1682). The Immaculate Conception, after 1678, pen and grey ink and wash over traces of black chalk, 255 x170 mm (10 x 6 7/8 ins)QTY: (1)NOTE:Provenance: Sir William Stirling-Maxwell (1818 – 1878), thence by inheritance to his son, Brigadier-General Archibald Stirling (1867 – 1931), by descent to his heirs; With Simon Dickinson, 1995, where acquired by the present owner; 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 15 (part).

* Northern School. Beheading of Saint John the Baptist, mid 17th century, pen and brown ink and wash on laid paper, bears pen and brown ink inscription 'had none' (?) lower left, 100 by 70 mm (4 x 2 3/4 ins), together with Spanish School. Mary Magdalene washing the feet of Christ, 17th century, pen and brown ink and grey wash within a drawn decorative border, 103 x 144 mm (4 x 5 5/8 ins)QTY: (2)NOTE:Provenance: Sir William Stirling-Maxwell (1818 – 1878), thence by descent to his son, Brigadier-General Archibald Stirling (1867 – 1931), and to his heirs; with Simon Dickinson by 1995, where acquired by 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 15 (part).

* South German School. The Mocking of Christ, early 17th century, pen and black ink and grey wash over black chalk, squared for transfer in black chalk; bears inscription in black chalk, verso: 'good german' and modern numbering, on firm laid paper, with the ownership stamp of Mathias Polakovits lower right (Lugt 3561),175 x 150 mm (6 7/8 x 5 7/8 ins)QTY: (1)NOTE:Provenance: Mathias Polakovits (1921-1987); 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 20.

* Follower of Nicolas Poussin (1594-1665). Abraham and Rebecca at the Well, point of the brush and grey-brown wash over black chalk, within black ink framing lines; bears old attribution in pen and brown ink, lower centre: ‘n. Poussin.’ and bears later inscription on the mount: ‘Abraham's Servant and Rebecca’, on laid paper with an encircled bird atop three mounts watermark (see Briquet 12251, dated 1590), adhered to the mount at the lower corners, 18.5 x 26.5 cm (7 1/4 x 10 3/8 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 37.

* Galestruzzi (Giovanni Battista, 1618-1677). Niobe adored on the Altar; & The Slaughter of Niobe's Children, from the Niobid frieze of the Palazzo Milesi by Polidoro da Caravaggio, 1656 or later, etchings on laid paper, good impressions, the latter with a double encircled Three Mounts surmounted by a Fleur de Lys watermark (similar to Briquet 11935), with margins, together with six architectural engravings by Antonio Lafreri (1512-1577) on laid paper, one sheet with a Three Mounts in a Shield watermark (Briquet 11939, dated 1598), two sheets with a crowned Fleur de Lys within a shield watermark (similar to Briquet 7110); and other Italian old master etchings and engravings by or after Benigno Bossi (1727–1792), Giacomo Bonanni (active 1624), Annibale Carracci (1560-1609), Giovanni Battista Cipriani (1727-1785), Domenichino (1581-1641),) Vincenzo Ghajassi (1811-1861), Giovanni Maria Ghisalberti (active 1750's), Luca Giordano (1632-1705), Carlo Lasinio (1759-1855), Pietro Longhi (1702-1785), Carlo Maratti (1625-1713), Jan Popels (active 1633), Salvator Rosa (1615-1673), Aegidius Sadeler (1570-1629), Andrea Scacciati (1725-1771), and Giuseppe Zocchi (1711-1767); plus 13 etched copies of Figurines by Salvator Rosa, on wove paperQTY: (41)

Stefano Della Bella (Italian, 1610-1664). Old master etching depicting two horsemen riding pas ta flock of sheet, ca. 1656. From the series "Six large views, four of Rome and two of the Roman countryside." Inscribed "SDBella. / In & f. cum Pri. Reg. christ" along the lower left margin.Sight; height: 12 in x width: 10 1/4 in. Framed; height: 19 3/4 in x width: 18 1/4 in.Condition: There are no visible rips, tears, creases, or losses. There is a slight undulation to the sheet. There are a few minute stains to the sheet, most notable along the lower left corner. There appears to be some dirt along the lower left corner of the mat behind the glass. Some undulation to the matboard. The artwork is matted and framed under glass; some wear to the frame; not inspected out of frame.

Mixed Group of First and Second World War Medals Believed to be From 1 Family, 1914-15 Star medal, British War and Victory medals “4750 PTE. J. ROACH R.W. KENT R.”, with Silver War Badge, reverse numbered “B123473”; British War medal, “147568 GNR G.E. DOUBLE R.A.”; 1939-45 Star medal, Africa Star medal, Italy Star medal and War medal 1939-45, medals unnamed as issued and accompanied by Rifle Brigade cap badge (slightly bent).John Roach from the Old Kent Road, London, enlisted into the 1st Battalion Royal West Kent Regiment on 10th February 1903 and landed in France on 27th December 1914. He later transferred to 399th Labour Company with service number 591898. He was discharged from this unit as unfit for further service due to illness on 7th February 1919 and issued with Silver War Badge B123473. He died in Warrington in 1925.Born in January 1883, George Ernest Double lived in Perry Hall Road, Orpington when he enlisted into the Royal Garrison Artillery. He served with 285th Siege Battery and was discharged due to ill health on 4th December 1918. Also entitled to a Victory medals and Silver War Badge. In 1939 he was living in Chislehurst with his profession being a Master Butcher. He was also a member of the Royal Observer Corps.

* Mullaly (Terence, 1927-2020). A large archive of approximately 4,000 photographs of paintings and artworks, c. 1960s and later, all black & white press and agency photographs of mostly European pictures of all periods, taken from galleries and auctions, all with printed details on paper labels tipped to versos, some with additional pen or pencil markings, credit stamps including Fototeca Mullaly, etc., mostly 20 x 25 cm and similar sizes, largely organised by genre in suspension files in 6 metal filing cabinet drawers and a plastic carton QTY: (approx. 4000)NOTE:The scholar and art critic Terence Mullaly was educated in India, England and Canada. After graduation from Cambridge University he made several archaeological excavations in Tripolitania and Sicily. He became the Daily Telgraph's art critic, writing for them from 1956 to 1987. He became a leading expert in Veronese art and was a regular contributor to the Burlington Magazine and Old Master Drawings art journals. The archive here reflects the breadth of his writing and covers art from the Italian Renaissance to the twentieth century.

Attwell (Mabel Lucie, illustrator). Peter Pan and Wendy by J. M. Barrie, London: Hodder & Stoughton Limited, [1921?], 12 tipped-in colour plates (including frontispiece), line illustrations to text, original pictorial light blue cloth gilt, 4to, together with:Goble (Warwick, illustrator), The Book of Fairy Poetry, edited by Dora Owen, London: Longmans, Green and Co., 1920, 16 tipped-in colour plates (including frontispiece), few illustrations to text printed in black, pictorial endpapers with some offsetting to free endpapers, original pictorial cloth, 4to,Robinson (Charles), The Songs and Sonnets of William Shakespeare, London: Duckworth & Co., [1915], 12 tipped-in colour plates (including frontispiece), illustrations and decorative initials to text, pictorial endpapers, original cloth, gilt-blocked spine, 4to,Robinson (William Heath), Old-Time Stories told by Master Charles Perrault, translated from the French by A. E. Johnson, London: Constable & Co Ltd., 1921, 6 tipped-in colour plates (including frontispiece), illustrations to text (one neatly hand-coloured), occasional light scattered spotting, original cloth gilt with pictorial roundel to upper board, few blemishes mostly to rear board, 4to, plus other similar children's illustrated books etc., many in original pictorial cloth bindings, including some illustrated by Edmund DulacQTY: (24)

After Sir Peter Lely, English / Dutch 1618-1680- Portrait of Eleanora Lee, Lady Norreys, later Countess of Abingdon (1658-1691), half-length, in a feigned oval; oil on canvas, bears old label inscribed 'ELEANORA LEE / Countess of Abingdon / 1655-1691 / Attributed to Lely' attached to the reverse of the frame, 64.9 x 54.9 cm. Provenance: Private Collection, UK. Note: A larger full-length version attributed to Lely's Studio was once in the Collection of the Earl of Abingdon (1836-1928) and is reproduced in R. B. Beckett, 'English Master Painters: Lely', London 1951, pp.24-25, and under I. Portraits, no.2, plate 122. The same painting was offered at Sotheby's, London, 29 April 2014, lot 143. Eleanora Lee was the daughter of Sir Henry Lee, 3rd Bt and Ann Danvers. She married James Bertie, 1st Earl of Abingdon, son of Montagu Bertie, 2nd Earl of Lindsey, and Bridget Wray, Baroness Norris, on 1 February 1671/72 at Adderbury, Oxfordshire, England.

Royal Doulton figures, ' The Potter ' HN1493, ' The Mask Seller ' HN2103, ' The Master ', ' Tuppence a Bag ' and a miniature ' The Old Balloon Seller '

18th Century School. Old Master Study of a Man's Head, unsigned, red chalk drawing on laid/chain-lined paper bearing manufacturer's watermark (D & C Blauw), the paper suggesting a date of c. 1750-90, unmounted, 34.5cm by 26.5cm, framed & glazed but can be removed

Copy of Browns Self Interpreting Family Bible together with six framed reproductions of Old Master drawings

SLAVERY - James RAMSAY (1733-89). An Essay on the Treatment and Conversion of African Slaves in the British Sugar Colonies, London, 1784, 8vo, errata and advertisement leaf, unbound but spine solid and text-block holding. FIRST EDITION.SLAVERY - James RAMSAY (1733-89).  An Essay on the Treatment and Conversion of African Slaves in the British Sugar Colonies. London: "Printed and Sold by James Phillips, George-Yard, Lombard-Street," 1784. 8vo (206 x 125mm). Errata leaf and one-page of publisher's advertisements for books "Published by the same Author, and sold for the Benefit of the Maritime School" at the end (without a half title, ink-spotting to pp.116 and 117, occasional very light mainly marginal spotting and staining, a few darker spots). Unbound but spine solid and the text-block holding with no loose leaves. The spine appears to have been made up from part of an old form, headed "Number as a Transport", with a column of  numbers (*82, 83, 84, 85, 86, 87, 88, 89 and 90), possibly representing years (i.e. 1782, 1783, etc.) beneath. Provenance: "Board of Trade Library" (old stamp on title); some passages marked with pencil crosses in the margins. FIRST EDITION of this work whose "publication was the most important event in the early history of the anti-slavery movement" (DNB). "The abolitionist movement had already made a small beginning, and, on the advice of neighbours, Ramsay revised and published in 1784 'An Essay on the Treatment and Conversion of African Slaves in the British Sugar Colonies', which he had been working at for several years. In this work he discussed the position of master and slave in ancient and modern times, argued that society and the owners themselves would benefit by free labour and that under existing conditions the slave could not be benefited morally or intellectually, and finally, meeting the various objections that had been made on the ground of the inferiority of the negro, concluded with suggestions which practically meant the abolition of slavery. The publication of this essay was the most important event in the early history of the anti-slavery movement. It at once drew a number of angry replies and personal attacks upon the author; and during that year and the next the brunt of the controversy was borne by Ramsay almost unaided ...." (DNB). Goldsmiths' 12770; Kress B772; Sabin 67716.

SOMMER, Giorgio (1834-1914, photographer) [?] & others. A collection of 87 original mounted photographs of Italy, mostly views of Rome, Naples and Vesuvius etc., 210 x 260mm., in a contemporary vellum album, the photographs dating from c.1860-80.SOMMER, Giorgio (1834-1914, photographer) [?] & others. A collection of 87 original mounted photographs of Italy by Giorgio Sommer, and possibly others, mostly views of Rome, but also a number of Naples, Vesuvius, statuary and Old Master paintings, the last photograph colour-tinted, many of the photographs with printed captions beneath, the photographs approximately 210 x 260mm., mounted on thick blue card, hinged throughout, and contained in an attractive contemporary oblong 4to vellum album elaborately decorated in gilt, titled "Italia" on the upper cover, red edges (joints split), the photographs dating from c.1860-80.

November 5th 1645. The County of Suffolke Divided into Fourteene Precincts for Classicall Presbyteries, London, 1647, 8vo, 10-pages, later wrappers. See provenance notes below.November 5th 1645. The County of Suffolke Divided into Fourteene Precincts for Classicall Presbyteries, together with the names of the Ministers and others nominated by the Committee of the said County, according to Master Speakers Direction by Letters; With the names of the severall Committees of the County of Suffolke in their severall Divisions. London: "Printed for Christopher Meredith at the Crane in Pauls Church-yard," 1647. 8vo (183 x 130mm). Woodcut ornaments on title, 10-pages (lightly browned, some repairs and creasing to final text leaf affecting a few words). Later wrappers (torn with some loss and lightly stained). Provenance: "These be since dead over whose names a line is drawn" (old inscription on A2, with c.120 names crossed through in ink); "The Regicide [?]Ed. Whalley's copy with his mss. notes" (later inscription on front free endpaper); "Puritanism ... Suffolk" (later [?]librarian's pencil inscription at head of title); "Free Public Library. St Martin-in-the-Fields" (later stamps on recto and verso of title and on final leaf, with library shelf number pasted onto the verso of title). Edward Whalley (c.1607-c.1675) was a major in Cromwell's army and a regicide. He fled to the American colonies after the Restoration.

Y A REGENCY EMERALD AND DIAMOND BROOCHCIRCA 1815Set with a central squared cushion cut emerald estimated to weigh 2.47 carats, with step cut and oval cut emeralds to the cardinal points claw set in gold cut down collets, with old mine cut diamond scrolls and cut down collet set diamond accents, approximately 0.94 carats total, mounted in gold backed silverSize/Dimensions:3.9cm longGross weight: 8.6 grams Offered for sale with a Gemmological Certification Services Report, No 5783-3022, dated 012.06.2023, stating:Species: Natural BerylVariety; EmeraldOrigin: ColombiaComment: Indications of minor to moderate clarity enhancement In a contemporary Regency fitted ebony box with gold top engraved with provenance inscription:This broach belonged to Her Royal Highness Princess Charlotte Augusta, Obt 6 Nov 1817 at 22, & on her lamented demise, was the kind and valued gift of Her Consort, Prince Leopold of Saxe Coburg to Mary Anne John Thynne, one of H.R.Hs ladies of the bedchamber, in attendance on that afflicting event, whose wish it is, that it should descend unalter'd to posterity, in lasting and grateful remembrance of its former beloved & illustrious possessor. Size/dimensions: 4.1cm x 2.9cm Provenance: Formerly The Property of Princess Charlotte Augusta of Wales (1796-1817)Mary Anne Thynne, Baroness Carteret (D: 1863)Thence by family descent PRINCESS CHARLOTTE OF WALESPrincess Charlotte Augusta was born in London, on 7 January 1796, the only child of the Prince of Wales and Caroline of Brunswick. As her father Prince George was the sole legitimate heir of George III, Charlotte was the heir presumptive to the British throne. After her parents separated in 1798, her father took formal guardianship of Charlotte together with her grandparents, King George III and Queen Charlotte. In 1816 Charlotte married Leopold of Saxe-Coburg-Saafiled, who would later become King Leopold I, the first King of the Belgians. The young royal couple led predominantly at idyllic Claremont in Surrey, but their happiness was tragically cut short when Charlotte died following childbirth in 1817. Charlotte had become extremely popular amongst the public at large in stark contrast to the unpopularity of her father, the Prince Regent, and her death sparked extreme deep mourning thought the whole of Britain. MARY ANN THYNNE, BARONESS CARTERETMary Anne was the third daughter of Thomas Master, the MP for Cirencester. In 1801 she married John Thynne, later 3rd Baron Carteret of Hawnes (1772-1849), son of Thomas Thynne, 1st Marquess of Bath and Lady Elizabeth Cavendish-Bentinck. John Thynne was Vice Chamberlain of the Household at the court of George III, and Mary Ann was appointed Lady of the Bedchamber to Princess Charlotte from 1815 until her death in 1817. As Lady of the Bedchamber, Mary Anne was with Princess Charlotte throughout her two day labour which resulted in the birth of her still born son followed by her own death in the early hours of 6th November 1817.After the death of Princess Charlotte, Mary Anne became Lady of the Bedchamber to Princess Sophia. In 1838 her husband inherited the title 3rd Baron Carteret of Hawnes, and she became Baroness Carteret. Mary Anne died in 1863 aged 86. Condition Report: The emeralds are vivid, they have a few typical inclusions. The diamonds are all present and correct, bright and lively, some variation in colour and clarity as typical of pieces of this period, the brooch fitting has been replaced and there has been a supporting setting around the back of the emerald. There is some wear to the settings commensurate with age and use. The box has some wear commensurate with age and use, the inscription to the top of the case is easily readableCondition Report Disclaimer

Religious Old Master School oil on canvas fragment depicting a crowned lady with cherub's face below, 35.5 x 21.5cm in ornate gilt frame

A pencil study of a seated male in the Old Master manner, 21 x 14.5 cm

BENRIACH 12 YEAR OLD SPEYSIDE SINGLE MALT In the late 19th century John Duff was at the helm of a miniature whisky empire. Business was booming for his two distilleries, Glenlossie and Longmorn, so he decided to strike while the iron was hot with yet another venture. As it turned out, his optimism was misplaced. BenRiach was established in 1897, just two years before a huge downturn in the market forced it (and many other distilleries) to close.It wasn’t until 65 Years later, when it was acquired by Seagrams, that BenRiach was finally resurrected. Still, it didn’t make much of an impact on the single malt market until Master Blender, Billy Walker, took the reins in 2003. Along with the ailing Glenglassaugh, and GlenDronach, Walker reinvigorated the brand, elevating it to the position it enjoys today.46% ABV / 70cl

BENRIACH 2010 8 YEAR OLD CARN MOR SPEYSIDE SINGLE MALT In the late 19th century John Duff was at the helm of a miniature whisky empire. Business was booming for his two distilleries, Glenlossie and Longmorn, so he decided to strike while the iron was hot with yet another venture. As it turned out, his optimism was misplaced. BenRiach was established in 1897, just two years before a huge downturn in the market forced it (and many other distilleries) to close.It wasn’t until 65 Years later, when it was acquired by Seagrams, that BenRiach was finally resurrected. Still, it didn’t make much of an impact on the single malt market until Master Blender, Billy Walker, took the reins in 2003. Along with the ailing Glenglassaugh, and GlenDronach, Walker reinvigorated the brand, elevating it to the position it enjoys today.Distilled: 2010Bottled: 2019Matured in a single Sherry Butt.One of only 824 bottles released.46% ABV / 70cl

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

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

A RARE ITALIAN MOSAIC PANEL IN THE MANNER OF FILIPPO COCCHI (ITALIAN 1762-1818)VATICAN MOSAIC WORKSHOP, ROME, LATE 18TH CENTURYthe central oval panel depicting a bacchante holding grapes in her left hand with a vine leaf in her hair, with Siena marble borders and with sixteen rondels of differing micromosaic butterflies in the manner of Giacomo Raffaelli, all inset into black marble67.6m high, 77.2cm wide, 3.4cm deep Catalogue NoteThe Vatican Mosaic Workshop was established for the embellishment of St. Peter’s, creating altarpieces and other magnificent mosaics. The mosaicists copied famous Old Master paintings by well-known Baroque artists such as the likes of Carracci, Domenichino, Guido Reni and Poussin. Hardstone and coloured glass tesserae were carefully selected and arranged to give the impression of the chiaroscuro effects of the original paintings, in Vasari’s words to ‘appear at a distance as genuine and beautiful pictures.’Rome soon became renowned for the technique and mosaics became the diplomatic gifts of the Papacy. Demand grew from royal travellers, connoisseurs and collectors visiting Rome on the Grand Tour, to quench this thirst artisans started to produce mosaici in piccolo or micromosaics. Initially the subject matter was religious but later in the 18th century classical subjects became popular like the Bacchante portrait in the present lot. A Bacchante or Maenad is a devotee of Bacchus, the god of wine and a symbol of revelry and festivity. The source for the present lot remains elusive but portraits of Bacchantes were popular in the 18th century with similar works painted by Angelica Kauffman and Joshua Reynolds. For a micromosaic plaque of the Muse Euterpe by Filippo Cocchi, dated ‘1785’ see Carlo Bertelli, Mosaics, p.72.

Monogram RT, landscape with cows after old master, panel 20x24 cm

Monumental portrait vase of Julius Caesar wearing knight armor. The surfaces of Rembrandt pieces are heavily indented and along with the portrait ovals based on old master paintings, a quotation is also to be found such as the one on this piece "Cowards Die Many Times Before Their Death, The Valiant Never Taste of Death". Doulton backstamp. Dimensions: 9"W x 16"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

BANKSY (B. 1974)Congestion Charge 2004 tagged; signed and dated Dec 2004 on the overlap oil on canvas, in the artist's frame 68.5 by 78.7 cm. 26 15/16 by 31 in.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office and will be issued with an updated certificate to the buyer. ProvenanceLondon, Santa's GhettoAcquired directly from the above by the present owner in 2004ExhibitedLondon, Santa's Ghetto, 2004 Tokyo, Warehouse TERRADA, WHO IS BANKSY?, 2021Congestion Charge from 2004 is a unique and rare example of Banksy's Vandalized Oil series also referred to as Crude Oils. Bought from Santa's Ghetto by Sir Paul Smith in 2004, the work has remained in the British fashion icon's distinguished private collection ever since and comes to auction for the very first time. Made famous through a now iconic show in 2005 with the same title, the Crude Oils consist of reimagined old master paintings such as such as Show Me The Monet and Sunflowers From Petrol Station alongside modified traditional oils on canvas like the present work. Bought at flea markets around London, Banksy would add his own subversive touches to classical canvas paintings, a congestion charge sign in an otherwise idyllic traditional landscape, injecting new paradoxical meaning into the outdated artwork. This act of subversion serves as a commentary on the commercialisation of art and the collective memory of historical and present events. Banksy's modifications challenge the original context and narrative of the paintings, highlighting the power of art to disrupt and provoke critical thought about societal issues and the role of art in shaping collective consciousness. As one of the most acclaimed and sensationalist contemporary artists in the world, Banksy's career has garnered a following unlike any other. Firmly written into the art history books, alongside the likes of Jean-Michel Basquiat, Keith Haring and Richard Hambleton, Banksy belongs to a rarified group of artist-outcasts whose inimitable styles took seed in their early years as rogue street artists; styles and stories that were hotly embraced by their local contemporary art scene. His political statements and subversive mise-en-scène have adorned cities across the globe at vital junctures in recent history, provoking alternative perspectives and fomenting spectacle and theatre in the art world. With his distinct, cool, disarming wit and charm, Banksy's anti-establishment panache earned him a cult following and unparalleled acclaim. His iconic and universally recognisable works are fiercely sought after by collectors globally.From his emergent years, Banksy associated with the graffiti subcultures that were abundant across European towns and cities in the 1990s, turning to freehand graffiti as a teenager having been inspired by the thriving graffiti community of his hometown. Turning his hand to stencilling after a close encounter with the police, the new technique enabled him to work quickly and avoid apprehension by the authorities. Unlike many of his graffiti counterparts, whose exaggerated script and cartoon characters had become practically conventional in the modern city, Banksy's bold and iconic stencils combined an astute sense of current affairs, transcendent ideas and a stylised technique that has captured audiences and launched him from outsider street artist to one of the most important political and cultural voices of the twenty-first century.First introduced in 2003, the year before the present work was executed, congestion charge is a fee imposed on vehicles entering certain areas of London during peak hours to reduce traffic and promote public transportation. Banksy's artwork ridicules the policy, suggesting an absurd placement of the charge sign in a remote farm path that is unusable due to flooding. As with many of Banksy's works, Congestion Charge has a playful and thought-provoking nature. It captures attention and prompts viewers to question the effectiveness and consequences of urban policies. Around the same time, Banksy famously placed some of his Vandalized Oils in prominent galleries, where they would hang unnoticed amongst the institutions permanent collection, at times for days. At the British Museum for example, he secretly placed a modified version of a prehistoric cave painting, adding a figure pushing a shopping cart and a barcode. The act drew attention to the commercialisation of art and the consumer-driven society we live in with the modified artwork remaining on display for several days before being discovered and removed by museum officials. The act allowed Banksy to circumvent the traditional art world and its gatekeepers, making a direct impact on the public sphere and challenging the notions of ownership, authenticity, and the commercialization of art. His disruptive tactics challenged viewers to re-evaluate their perceptions of art and the institutions that house it.As Banksy's profile and collectability has developed, unique works of exceptional history and quality become still more prized. Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist that has remained in the highly distinguished art collection of Sir Paul Smith for nearly two decades. In common with many of Banksy's most successful works, Congestion Charge intends to amuse the viewer, yet it also aims to engender thought provoking discourse within a broader socio-political context. Graffiti Art has long been the leading means of expression for the visual counterculture. The irrepressible spontaneity of protest art and then early street art was mirrored in the music of Hip-Hop and dynamism of breakdance. These three pillars dominated much of urban culture in America from the 1970s and had a keen influence on Banksy as it came to impact corresponding areas in Britain in the 1980s. Today Banksy has solidified his position as one of the most well recognised and sought after street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, still remains delightedly anonymous and the present auction represents an opportunity to acquire one of the finest examples from the Crude Oils of Banksy's career to date.This lot is subject to the following lot symbols: AR ○AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com

Property of a Gentleman.Venetian18th CenturyA gilt-wood and painted Venetian suite of three matching chairs with cartouche-shaped padded drop-in back above down-scrolled arms and serpentine drop-in padded seats on cabriole legs terminating in claw and ball feet, the frame carved with floral motifs, stylised scallop shells and rocaille, upholstered in duck-egg blue damask silk.DimensionsChairs: 41 in (H) x 24 in (W) x 24 in (D)Comparative Literature:G. Morazzoni, Il Mobile Veneziano del '700, Gorlich, Milan, 1958, Tav. LVI b & c; for armchairs of similar design with reference to cartouche-shaped drop-in backs, down-scrolled arms, and carving on the seat-rails and frames, in the Museo Vetrario, Murano, and the other formerly in the Pietro Accorsi collection, Turin, respectively. See also: Sotheby's Sale 'The Splendour of Venice, Important Furniture and Old Master Paintings from a Private Collection' Lot 101. Sold for 50.000 GBP in 2010.

Hegel (Georg Wilhelm Friedrich) Wissenschaft der Logik, vol.1 part 1 only (of 2 vol. in 3), first edition, Edward Caird's copy with his ink inscription to head of title, some foxing and browning, ex-library copy with ink stamps and label to front pastedown, later cloth, rubbed, spine soiled, Nuremberg, J.L.Schrag, 1812 § Regis (Pierre Sylvain) Systeme de Philosophie, contenant la Logique, la Métaphysique, la Physique, et la Morale, 3 vol., engraved portrait by Thomassin, titles in red & black, woodcut or engraved head- & tail-pieces, initials and illustrations, lacking folding engraved map, vol.3 with duplicate pp.1-2 (one torn), some light water-staining, mostly marginal, ex-Donaueschingen copy with small ink stamp to verso of titles, contemporary sprinkled calf, spines gilt, old paper label to foot of spines, rubbed and a little stained, Paris, Anisson, Posuel & Rigaud, 1690, 8vo & 4to (4)⁂ Edward Caird (1835-1908), Scottish philosopher and Hegelian idealist, Professor of Moral Philosophy at Glasgow University 1866-93, and Master of Balliol College Oxford 1893-1907.

A THANGKA OF PADMASAMBHAVA AS PEMA GYALPO, 17TH - 18TH CENTURYTibet. Distemper on cloth, with a silk brocade frame enhanced with three embroidered flower blooms, mounted as a hanging scroll. Depicting Padmasambhava in prince's robe, holding a damaru and a mirror in his hands and sitting atop a lotus pedestal. Below him two flying Pandits, one with a tiger, above him in the zenith Buddha, as well as a Yidam, and a Nyingma master.Condition: Commensurate with age, with some old wear and soiling, minor abrasions and creasing, losses, some with associated minuscule touchups. The silk mounting with some tears and losses. Provenance: Hungarian Private collection, acquired at Koller Auctions, Zürich, in Asiatica on 29 November 2022, lot 171.Dimensions: Image size 65.5 x 44.5 cm, size incl. mounting 128 x 66 cm

AFTER XIE ZHILIU (1910-1997), BUTTERFLIES AND LILIESChina, 20th century. Ink and watercolors on paper. Inscribed including the artist name Zhiliu jushi Xie Zhi and with red seals. Finely painted with butterflies fluttering above lilies, the flowers in full bloom, with petals of coral and foliage of evergreen, matted in silk. The subject of butterflies, an animal that undergoes a form of 'rebirth' from their chrysalis, is seen as an auspicious symbol of longevity. Lilies and butterflies together form a rebus, 'Xuān Die Tú', meaning 'May mother live up to a ripe old age', and are often a theme for mothers' birthday gifts. Framed in a vintage frame, behind glass.Condition: Very good condition with very minor ink stains and creasing.Provenance: US trade.Dimensions: 89 x 42 cm (image cut-out), 105.5 x 66 cm (frame)Xie Zhiliu (1910-1997) was a leading traditional painter, calligrapher, and art connoisseur of modern China. He was a noted member of the Shanghai School. Xie and his wife Chen Peiqiu are one of the most famous couples in Chinese art. Xie began learning to paint at the age of nine and received an education according to the Chinese artistic tradition, which is a combination of drawing directly from life and copying the paintings of old masters. At the age of 19, he began to emulate the style of Ming dynasty master Chen Hongshou. In the 1930s, Xie Zhiliu befriended the famous painter Zhang Daqian. In 1942 Xie went to Dunhuang with Zhang to study the art of the Mogao Caves. After returning he published several books including 'Records of Dunhuang Art' and 'Compilation of Dunhuang Cave Art'. In 1943, Xie was hired as an art professor by the National Central University (now Nanjing University), then exiled in Chongqing during the Second Sino-Japanese War. He held personal exhibitions in many Chinese cities including Chengdu, Chongqing, Kunming, Xi'an, and Shanghai. After the founding of the People's Republic of China in 1949, he worked on cultural relic preservation, and served as a consultant for the Shanghai Museum.

A FINE PAIR OF ANTIQUE BRONZE RAIN DRUMS, KHALaos, 19th century or earlier. Each heavy, round, drum with a waisted base, the top and side finely cast in relief with concentric bands of decoration, the top with a star symbol in the center and four groups of frogs piled on top of one another applied at the rim, the sides with pairs of strap handles. One with two processions of frogs in relief descending one side, the other with two processions of ´Hamsa´ birds. Condition: Good condition with minor dents, some warping, natural malachite-green encrustations, all commensurate with age. Provenance: French trade. Dimensions: Height 38 cm, and 39.5 cm, diameter 50 cm, and 51 cmAuction result comparison: Compare with a related bronze rain drum also featuring piles of three frogs at Christie's New York in The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art on 21 March 2015, lot 1011, sold for USD 32,500.Kha drums in Laos, also known as fertility drums, are adorned with bronze frogs at the top, symbolizing water and rain. When the drum is suspended by its handle, its sound resembles thunder or the bellowing of a bullfrog, signaling the approach of rain.

Umbrian Master in Renaissance manner , Madonna with child, oil on wooden panel, in integrated wooden frame, partly gilted, on the reverse old religious print label, 63 x 47 cm

Meister von Landshut, 1475 – 1485, nachweisbarMUSEALE HEILIGENFIGURHöhe: 47,5 cm.Rückseitig an der Plinthe wohl alte Sammlungsnummer in Schwarz „M 105“.Die beiliegende Begutachtung durch den Leiter der Skulpturensammlung Germanisches Nationalmuseum Nürnberg von 2011 erkennt in der Figur eindeutig die Arbeit eines Landshuter Meisters, jener Werkstatt, die an der (Landshuter) Stadtpfarrkirche St. Martin Figurenzyklen um 1474/85 schuf. Die Entstehungszeit der Figur ist also gegen 1485 zu datieren.In hellem Ton gebrannte Standfigur einer weiblichen Heiligen, auf mitgearbeiteter, achtseitiger Plinthe wurde bereits 2012 anlässlich einer Ausstellung der Stadt Landshut ausgestellt (siehe Literatur).Die Körperhaltung leicht S-förmig gestaltet, im sog. Weichen Stil. Kühn und schwungvoll gestaltete Mantel- und Kleiderfalten, bei hochsitzender, gegürteter Taille. Kragenausschnitt V-förmig, mit runder Agraffe. Das üppige Haar fällt seitlich der Schultern wellig herab, der Kopf mit einem feinen Tuch bedeckt. Eine leichte Einziehung des Tuches überhalb der Stirne, das auch nach hinten zieht, sowie eine kleine Lochung oben seitlich lassen erkennen, dass hier ehemals eine Krone aufgesetzt war. Diese Beobachtung und die Gesamterscheinung lassen auch vermuten, dass es sich hier um eine Marienfigur handelt. Die Handschrift des Bildhauers ist insbesondere an der Gestaltung des Gesichts - mit auffallend schweren Augenlidern, betonter Nase und den vollen Lippen - zu erkennen.Der hellfarbige Ton findet sich in der Landshuter Region. In den Faltentiefen, vor allem an der Rückseite Zinnober-Farbreste (Bolus ?). Rechte Hand und linker Unterarm fehlen. A.R.Literatur:Die Figur wurde 2012 zusammen mit weiteren Werken der Landshuter Werkstatt ausgestellt, im Katalog ausführlich besprochen und abgebildet in: Franz Niehoff, Die Stadt als Bühne der Bilder. Skulpturenstadt Landshut, Katalog anlässlich der Ausstellung der Museen der Stadt Landshut in der Spitalkirche Heiliggeist, 15. Juni-14. Oktober 2012, Landshut 2012, Kat. 7, S. 199 f. (1340431) (11)Master of Landshut,1475 – 1485, verifiableFIGURE OF A SAINT OF MUSEUM QUALITYHeight: 47.5 cm.Probably old collection no. “M 105” in black on the back of the plinth.The enclosed expert´s report by the director of the sculptures collection of the Germanisches Nationalmuseum in Nuremberg from 2011 clearly recognizes the work of a Landshut master in the figure, “the very workshop that created figure cycles for the (Landshut) parish church of Saint Martin around 1474/85”. The time of creation of the figure can therefore be dated around 1485.Standing figure of a female saint fired in a light tone, on an eight-sided plinth worked in one piece together with the figure, was already shown in 2012 in an exhibition of the city of Landshut (see ref.).Literature:The figure was exhibited in 2012 together with other works by the Landshut workshop, discussed in detail in the exhibition catalogue and illustrated in: Franz Niehoff, Die Stadt als Bühne der Bilder: Skulpturenstadt Landshut 2012, cat. 7, p. 199 f.

Florentinischer Meister der ersten Hälfte des 16. JahrhundertsBILDNIS EINES JUNGEN MANNES VOR WEITER LANDSCHAFTÖl auf Nussholz.45 x 36 cm. Verso zwei, originale Querleisten, Schablonennummerierung und ein alter Papieraufkleber mit Schablonennummer „2“.In vergoldetem Prunkrahmen.Halbbildnis eines jungen Mannes mit schwarzem Barett und entsprechender Kleidung, vor einer Flachlandschaft, die zum Horizont zieht. Ein weißer Hemdkragen führt sichelförmig in starkem Kontrast zur schwarzen Kleidung um den Hals. Der Kopf leicht seitlich geneigt, mit fragendem, nachdenklichem, beinahe forschendem Blick. Die Lippen schmal und geschlossen, am Kinn rasierter Bartwuchs zu erkennen. Der scheinbaren Schlichtheit des Portraitbildnisses entspricht auch die Landschaft, die auf ablenkende Elemente völlig verzichtet, lediglich einige schlanke Bäume zeigt und in blauer Luftperspektive mit dem über hellem Horizontlicht nach oben dunkler werdenden Himmel korrespondiert. So dürfte es sich bei dem Dargestellten um einen jungen Gelehrten handeln, wofür auch das Kostüm spricht. Deutlich sind hier die Einflüsse der Maltradition von Werken wie Raffael und Perugino zu sehen.Das vorliegende Bild weist Verwandtschaft auf mit dem Bildnis des Evangelista Scappi von Francesco Raibolini Francia (um 1450-1517), das sich in den Uffizien in Florenz befindet.Provenienz:Toskanische Adelssammlung, erworben aus einer Wiener Privatsammlung. (13619314) (18)Florentine Master of the first half of the 16th centuryPORTRAIT OF A YOUNG MAN IN FRONT OF WIDE LANDSCAPEOil on nut panel. 45 x 36 cm.Verso two, original crossbars, stencil numbering and an old paper sticker with stencil number “2”.Provenance:Tuscan noble collection, acquired from a Viennese private collection.

Meister der Altniederländischen Schule des 16./ 17. JahrhundertsDIE VERSUCHUNG DES HEILIGEN ANTONIUSÖl auf Holz.27,5 x 23 ,5 cm.Gerahmt.Das Bildthema hat vor allem in den Niederlanden zu höchst phantasievollen Darstellungen geführt. Bestens bekannt sind die skurrilen Bilder von Hieronymus Bosch.Der Fantasie hat sich auch der Maler des vorliegenden Bildes keine Grenzen gesetzt. Der langbärtige alte Einsiedler Antonius sucht hier in einer Baumlaube Schutz vor den erotischen wie furchterregenden Erscheinungen, die ihn vom Glauben abbringen wollen, jedoch, wie die Legende weiß, vergeblich. Grauenhafte Wesen, Mischbildungen aus menschengestaltigen Wesen und Fauna beherrschen hier die Szenerie. Zu den furchterregenden Visionen zählt auch die brennende Kirche im Bildhintergrund. Genauere Betrachtung lässt hier Brandstiftung vermuten, da links aus dem Klostertor zwielichtige Gestalten mit geschulterten Beutesäcken auf einer Brücke davonziehen. Für den Einsiedler eine Angstvision. Auch Bosch zeigt in seinem Antonius-Triptychon im Museu Nacional Lissabon einen Stadtbrand links hinten. Das rund-genährte Schwein vor der Laube ist ein bekanntes Attribut des Heiligen, das weitere ein Glöckchen steht auf dem Tisch in der Laube, neben dem Kreuz. Ob dem Alten die anmutig gewachsene nackt-weibliche Verführung noch gefährlich sein kann, die sich ihm links im Bild zuwendet, bleibt dahingestellt. A.R. (1362362) (2) (11)Old Dutch Master, 16th/ 17th centuryTHE TEMPTATION OF SAINT ANTHONYOil on panel.27.5 x 23.5 cm.

A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER (1988) - Crave Inn Menu and Lisa Wilcox-Autographed Promotional Still - Crave Inn menu and Lisa Wilcox-autographed promotional still from Renny Harlan's horror sequel A Nightmare on Elm Street 4: The Dream Master. Menus at Crave Inn were displayed on the tables diner-style.From the collection of actress Lisa Wilcox, this lot consists of one laminated menu and one promotional still. The menu features the Crave Inn design on the back and a menu on the front for "Hot Cakes," "Eggs Ranchero," "Side Orders," and "Chilled Juices and Fruits." The still features an image of an old Alice from her dream sequence and was autographed by Lisa Wilcox. This lot exhibits minor corner wear and notable adhesive residue. Dimensions: 11" x 8.5" (28 cm x 21 cm)Estimate: $1,200 - 2,400Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.

PABLO PICASSO (1881-1973)Minotaure aveugle guidé par une petite Fille au pigeon, La Suite Vollard signéeau-forte, aquatinte et pointe-séche sur vélin Montval avec filigrane PicassoExécuté en 1934 dans une édition de 260 exemplairesEdité par Ambroise Vollard, Paris, 1939.signedetching with aquatint and drypoint, 1934, on watermarked Picasso Montval laid paperExecuted in 1934 and from the edition of 260Published by Ambroise Vollard, Paris, 1939.33,5 x 44,5 cm. 13 x 17 5/16 in.Footnotes:ProvenanceVente: Christie's, Londres, Old Master, Modern and Contemporary Prints, 20 juin 2000, lot 356Acquis dans cette vente par le propriétaire actuelBibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.224).Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1932-1934, Berne, 1992 (B. 436 IV.B.d).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

AN IMPORTANT GERMAN WHEEL-LOCK SPORTING GUN, CIRCA 1605-10, PROBABLY DRESDEN with associated smooth-bored sighted barrel formed in two stages and struck with Amsterdam town mark at the breech, flat lock retained by two associated side nails, fitted with external wheel with gilt-brass cover chased with a pair of figures seated within a scrollwork frame and a winged cherub mask beneath, the rear portion of the plate applied with a large pierced and chiselled gilt-brass plaque decorated with Mars and Venus attended by Cupid above an espagnolette mask, dog engraved with a monsterhead, a pelican-in-piety concealing the dog-jaw screw, arm applied with a further decorated gilt-brass plaque (one plaque retaining screw missing), and the spur with a gilt-brass mask issuant from foliage, dog-spring decorated with filed scrolls, sliding pan-cover with button release, the inside of the lock retaining some blued finish (oxidised to black) and with filed springs (rear spring incomplete), double set trigger, full stock profusely inlaid in engraved bone over its entire surface with detailed scenes from the Old Testament all within a scrolling framework of trellis (losses, restorations along the full length of the barrel on each side), the butt carved with a scroll and with shaped cheek-piece on the left, with patchbox with sliding cover on the right and all decorated en suite (the butt and patchbox cover with losses), ramrod channel enclosed by a running openwork design of entwined scrolls (the forward portion missing), gilt copper alloy trigger-guard writhen at each end and shaped for the fingers (reversed), applied with a carved trophy-of-arms bone panel at the base of the ramrod channel, carved bone fore-end cap decorated with bouquets of fruit and foliage, and early horn-tipped wooden ramrod106.2 cm barrel ProvenanceJohn Beardmore, Uplands, near Farnham, Hampshire, probably acquired after 1844Beardmore Collection, sold Christie, Manson & Woods, 5th July 1921 , lot 97 $2,694.26 to Duveen (for Hearst)William Randolph Hearst, sold Gimbel Bros., Inc., 30th May 1944, $355Joe Kindig Jr. (1898-1971), thence by descent LiteratureFrancis Henry Cripps-Day, A Record of Armour Sales 1881-1924, London 1925, p. 225.Jacob Hay, Arms and the Man, the Sunday Magazine, Baltimore, 16th January 1949, p. 8.Harold L. Peterson, The Book of the Gun, London 1962. pp. 58, fig. 4.Merrill Lindsay, One Hundred Great Guns, An Illustrated History of Firearms, New York 1967, p. 56.John S. duMont, Joe Kindig Jr., Master of Antiquities., in Antique Arms Annual, sponsored by the Texas Gun Collectors Association, 1971, p. 153. The scenes are taken from the Neuwe biblische Figuren deß Alten und Neuwen Testaments, illustrated by Jost Amman and Johann Melchior Bocksberge, published in Frankfurt in 1565. There is a total of fifty six scenes on the gun, all taken from the old testament and running in order starting from the muzzle end, opposite the lock, continuing to and around the butt then, on the lock side to the muzzle. There are a very small number of variations from Amman’s illustrations, such as David and Goliath which were likely adapted to fit within the space. The sequence runs in strict order with only one anomaly: the final scene on the right of the muzzle taken from the first Psalm, which precedes Esther in the Old Testament. A possible explanation may lie in the text: 'Blessed is the one who does not walk in step with the wicked or stand in the way that sinners take…..but whose delight is in the law of the Lord…..that person is like a tree planted by streams of water, which yields its fruit in season…..Not so the wicked! They are like chaff that the wind blows away. Therefore, the wicked will not stand in the judgment, nor sinners in the assembly of the righteous. For the Lord watches over the way of the righteous, but the way of the wicked leads to destruction.' The choice of scenes was no doubt deliberate and possibly held a specific meaning for the recipient of the gun, such as those shown in the earlier garniture of Saxon edged weapons made for the Elector August around 1560 (Historisches Museum, Dresden, inv. Nos. VI-393, P210, IV195). The Elector is portrayed as Moses, the worship of the Golden Calf is symbolic of the rejection of the Papacy and warns of the forces at play in the Protestant church. The vignettes on the spine of the butt of the present gun are based on illustrations by Hans Brosamer for Martin Luther’s bible published in Wittemberg in 1551. The intricacy and exceptional detail of the inlay is remarkable. It is likely that the stockmaker, who conceived the decorative trellis scheme, signed his work behind the tang where a small plaque is now missing. The gilt-brass decoration on the lock and the form of the pan-cover are characteristic of Dresden work of the first decade of the 17th century. A gun with a comparable lock is preserved in the Historisches Museum, Dresden (GG.237) and another in the Victoria and Albert Museum (acc. No. 2241-1855) . The barrels are struck with the mark of Georg Gessler (recorded 1569-1616) and dated 1611 and 1606 respectively. The stock of the present gun has a distinctive 'eye' motif on the scroll ahead of the cheek-piece, this is encountered on two other guns struck with the mark of Hans Stockman (recorded 1590-1639), both dated 1605, preserved in Dresden (GG235) and St Petersburg (no. 13). The Dresden gun is decorated with the initials of Christian II, Elector of Saxony (1583-1611) and his wife, the Electress, Hedwig of Denmark (1581–1641). The St Petersburg gun is decorated with the monogram of Christian II. It is likely that the present gun was an Electoral commission from the workshop of either Stockman or Gessler. See Schobel 1975, p. 193 and p. 182 no. 125, Hayward 1955, no. 21, and Tarassuk 1971, p. 161, no. 72. This gun was not featured in John Beardmore’s catalogue of 1844, suggesting it was acquired after that date. It was Joe Kindig Jr.'s favourite firearm. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

Limited edition photograph printed on silver halide material, an old darkroom process that is slow and expensive.This photograph was taken in the Florida Keys by the Master Photographer. 150cm size. Purchased at the Lik Fine Art Miami gallery. Signed and numbered in the lower right corner. Certificate of Authenticity included. Includes instructions on how to hang on the wall. Custom shipping box 69" x 29" x 4.5" Artist: Peter LikDimensions: 60" W x 20" HEdition Number: 841 of 950Country of Origin: AustraliaCondition: Great

Joan Miró (Spanish, 1893-1983)Le Scieur de Long (Dupin 458) Aquatint with drypoint and carborundum in colours, 1968, on Mandeure rag paper, signed and numbered 21/75 in pencil, printed by Arte Adrien Maeght, published by Maeght éditeur, Paris, the full sheet printed to the edges, with deckle edges at right and below, framed Sheet 765 x 580mm (30 1/8 x 22 7/8in)Footnotes:ProvenanceChristie's, Old Master, Modern and Contemporary Prints, London, Wednesday 30 June 2004, Lot 270 (with their label).Acquired directly from the above by the current owner.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Andy Warhol (American, 1928-1987)Blackglama (Judy Garland), from Ads (Feldman & Schellmann II.351) Screenprint in colours, 1985, on Lenox Museum Board, signed and inscribed 'AP 11/30' in pencil, one of 30 artist's proofs aside from the edition of 190, printed by Rupert Jasen Smith, published by Ronald Feldman Fine Arts, New York, with their blindstamps, with the artist's and publisher's copyright inkstamps verso, the full sheet, framed Sheet 965 x 965mm (38 x 38in)Footnotes:ProvenanceChristie's, Old Master – Modern and Contemporary Prints, London, Tuesday 5 December 2000, lot 324.Acquired directly from the above by the present owner.For further information on this lot please visit Bonhams.com

A LOUIS XVI CARVED GILTWOOD FAUTEUIL DE BUREAU OR ARMCHAIRATTRIBUTED TO NICOLAS-LOUIS MARIETTE, CIRCA 1775-80Stamped indistinctly to the seat rail 'N.L. Mariette' and with an ink inscribed paper label, the caning rails with two indistinct pencil inscriptions83cm high, 60cm wide, 54cm deepProvenance:Sotheby's, Paris, 29th April 2020, lot 44 (€7,500)Nicolas-Louis Mariette (1730?-1789) worked for twenty years as a labourer in the open enclosure of Saint Antoine in Paris before being received as a master cabinetmaker in 1770. First based at the sign 'To the King of Naples' rue de la Roquette in Paris, Mariette then moved to rue de Charenton. Nicolas-Louis Mariette was a relative of Claude-Louis Mariette, who was received master cabinetmaker in 1765.Condition Report: Marks, scratches and abrasions, old chips and splits comensurate with age and use. some old repairs. Wear and some losses, including to gilt gesso surface in areas, There is more chipping to the gilt gesso surface to the reverse of the chair overall. Of solid useable structure overall, however there is some minor movement when weight is put onto the chair. The joints may require tightening , there is some division between some joints (see images) . The loose seat cushion is in good condition and is a later replacemenNo noticeable holes or elements lacking to the caning and has likely been later replaced, the caning of the seat has a depressed 'dip' in one area of the seat. The gilding has been sympathetically refreshed in some areas but maintains its antique appearance. The plugged holes to the front seat rail are likely where there were holes to secure a previous/ original seat. These are now plugged, probably at a later date Please refer to all additional images available via email for visual reference to condition. Condition Report Disclaimer

A TABRIZ CARPETSIGNED BY MASTER WEAVER JAVAN AMIR KHIZ approximately 386 x 313cmCondition Report: Some wear overall consistent with age and use. The outer boarders/guard stripes with various losses from old moth damage in places - see images for extent. Binding to longest edges are generally tidy and just bear the expected wear.Fringing is lost to one end, and the fringing to the other is trimmed short. Both have the expected wear and fraying. Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

A TABRIZ CARPETSIGNED BY MASTER WEAVER JAVAN AMIR KHIZ approximately 400 x 282cm Condition Report: Some wear to carpet overall consistent with age and use. Various small losses to the outer edge of the carpet from old moth damage - see images for extent. Fringing is short at both ends. They have wear, fraying and discolourations. The wear has encroached into the pile slightly in places to one end. Longest edges with some wear to bindings and some pale knot heads visible. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A TABRIZ CARPETSIGNED BY MASTER WEAVER RABIEEI LALEHapproximately 403 x 288cmCondition Report: Carpet with wear overall resulting in short pile revealing underlying weft in various areas. Stands of broken weft visible. Area of losses to pile at one side border which appears to be from old moth damage - see images for extent. There are also smaller losses to the borders in places which appear to be from old moth. Fringing is short at both ends and has the expected wear and fraying. Fringing has moved into the guard stripe at one end has been secured with later thread. Longest edges have been rebound and have some wear and undulation. Condition Report Disclaimer

A gentleman's 1978 stainless steel Rolex Oyster Perpetual GMT-Master 'Pepsi bezel' wrist watch, model number 1675, serial number 5194292, on a stainless steel Rolex bracelet numbered 78360, with Rolex box and old service paperwork.***CONDITION REPORT***Scratches to the bracelet. Bracelet still quite firm. A few minor nicks and scratches to the case back and sides, commensurate with age and mild use. Scratches to the dial cover. A few minor chips to the Pepsi bezel. Watch currently running and the hands and date adjust. Dirt between links, back of case and on the clasp and would benefit from a good clean.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. 

THE MASTER INCOLOUR COCKTAIL SHAKERCirca 1930The cream urea formaldehyde body with chrome mount and cover, the collar rotating with 8 cocktail recipes, the underside moulded with ‘PATENTS PENDING PATENT NO 427237 THE MASTER INCOLOR COCKTAIL SHAKER MADE IN ENGLAND’ 28cm highSome chips to the internal threading, old marks and scratches to the body with one losses to the plating, see additional photos. 

A circular floral embroidery and an old master style print

Pop Art Alain Jacquet (1939 Neuilly-sur-Seine - 2008 New York)o.T. (Mother and Child oder La Vierge e l'Enfant). 1966. Mec-Art (photomechanischer Transfer mittels Serigraphie) auf Offset-Papier. 32,1 x 24 cm. In der Darstellung monogrammiert und datiert. - In sehr gutem Zustand. Prachtvoller, nuancenreicher und farbkräftiger Druck der formatfüllenden Darstellung. Aus einer Auflage von 300 Exemplaren. - Der Künstler-Autodidakt Alain Jacquet gilt als einer der Begründer der Mec-Art. Im Gegensatz zur Verwendung von Bildern aus den Massenmedien, wie sie in der amerikanischen Pop Art üblich sind, bezieht sich die Mec Art häufig auf kanonische und klassische europäische Werke, darunter Gemälde des Impressionismus und Alter Meister. Mec-Art on offset paper. Monogrammed and dated in depiction. - In a very good condition. Splendid, nuanced and colour saturated impression of the format-filling depiction. - One of 300 copies. - The self-taught artist Alain Jacquet is considered one of the founders of Mec Art. In contrast to the use of motifs from the mass media, common in American Pop Art, Mec Art often refers to canonical and classical European works, including Impressionist and Old Master paintings.

Hardback Fiction and Literature including Walmsley, Leo. Master Mariner. London. Collins 1948. 1st edition signed by the author; Dexter, Colin. The Wench is Dead. MacMillan. Inscribed by Dexter to Edwin Dawes ‘ For Edwin Dawes From one - another ofmany caught up with the Christine Story. With my very best wishes Colin Dexter; King-Hall, Magdalen. The Life and Death of the Wicked Lady Skelton. London Peter Davies. Reprint 1949. With an inscription ‘To Marjourie - with best wishes … Margaret Lockwood April1963. The modern books are mainly in good condition, the old material shows signs of wear. A quantity. 3 boxes.

A Case of collectables to include vintage puck master ice skates and old money banks

ANTOINE-LOUIS BARYE (1796-1875)Cheval Turc N°2, antérieur gauche levé modèle en bronze à patine brun rougeâtre à rehauts vert ; reposant sur une base rectangulaire ; numéroté « 52 » sous le ventre du cheval ; signé sur la terrasse « BARYE » et numéroté « 058 »épreuve ancienne, 1857-1875A bronze model of Cheval Turc N°2, left foreleg up, Antoine-Louis Barye (1796-1875)reddish-brown patina with green highlights; standing on a rectangular base; numbered 52 under the horse'stomach; signed on the terrace 'BARYE' and numbered '058'old cast, 1857-187530 x 31.5 x 12.5 cm (11 13/16 x 12 3/8 x 4 3/4 in)Footnotes:安托万·路易斯·巴里(1796-1875)土耳其马，编号2，左前马蹄抬起青铜，古代作品，1857-1875ProvenanceFrançois Fabius (1944-2006), Paris.ExpositionParis, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Sculptures, Printemps 1990, no 4, p. 19, ill. pp. 16-17. Barye débute sa formation dans l'atelier de François-Joseph Bosio et poursuit ses études auprès du peintre Antoine-Jean Gros. Il se rendait régulièrement au zoo de Paris, le Jardin des Plantes, où il dessinait les animaux directement d'après nature. Considéré comme le maître incontesté de la sculpture animalière, Barye a étudié les animaux pour représenter les extrêmes de puissance et d'émotion qui étaient au cœur du mouvement romantique. Le Cheval Turc est souvent considéré comme le modèle incarnant le mieux sa vision unique de la sculpture et sa maîtrise suprême de l'anatomie.Le succès du Cheval Turc a persuadé Barye d'éditer quatre versions différentes du modèle, deux avec des bases rectangulaires, comme le lot ici présent, et avec la jambe avant droite ou gauche levée, et deux avec des bases ovales, également avec la jambe avant droite ou gauche levée. Le Cheval Turc n° 2 fut en fait le premier modèle édité, le Cheval Turc n° 1, un modèle légèrement moins stylisé, étant proposé comme nouveau modèle en 1874. Créé entre 1837 et 1874, le modèle actuel avec la jambe avant gauche levée apparaît dans le catalogue de Barye vers 1847-48 (6, rue de Boulogne). Son pendant avec la jambe droite levée a suivi en 1854-55. Pour beaucoup, l'anatomie expressive du puissant Cheval Turc est emblématique de l'ensemble de l'œuvre de Barye. Barye began his training in the studio of François-Joseph Bosio and continued his studies with the painter Antoine-Jean Gros. He regularly visited the Paris zoo, the Jardin des Plantes, where he drew animals directly from life. Considered the undisputed master of animal sculpture, Barye studied animals to represent the extremes of power and emotion that were central to the Romantic Movement. The Cheval Turc is often considered the model that best embodies his unique vision of sculpture and his supreme mastery of anatomy.The success of the Cheval Turc persuaded Barye to produce four different versions of the model, two with rectangular bases, like the present lot, and with the right or left front leg raised, and two with oval bases, also with the right or left front leg raised. The Turkish Horse No. 2 was in fact the first model published, the Turkish Horse No. 1, a slightly less stylized model, being proposed as a new model in 1874. Created between 1837 and 1874, the present model with the left front leg raised appears in Barye's catalog around 1847-48 (6, rue de Boulogne). Its counterpart with the right leg raised followed in 1854-55. For many, the expressive anatomy of the powerful Cheval Turc is emblematic of Barye's entire oeuvre.For further information on this lot please visit Bonhams.com

CLAUDE GELÉE, DIT CLAUDE LORRAIN (1600-1682)Une rue avec des maisons à gauche, une fortification à droite porte une inscription « claudio Lorenese » (en bas à gauche)plume et encre brune, lavis brun bears inscription 'claudio Lorenese' (lower left)pen and brown ink, brown wash10 x 15 cm (3 15/16 x 5 7/8 in)Footnotes:克洛德·热莱，又称克洛德·洛兰(1600-1682)房子在左边的小街，保护墙在右边羽毛笔和棕色油墨，棕色水洗ProvenanceRev. Dr. Henry Wellesley (1794-1866), Oxford; sa vente, Londres, Sotheby's, 25 juin 1866, lot 1023 (« Claude. An Italian Village. Houses running from the right to the centre; a stone wall to the left, with trees. Pen and sepia. 6 in. by 4. »).Sir John Charles Robinson (1824-1913); sa vente, Paris, Hôtel Drouot, 7 mai 1868, lot 115 (« Claude Lorrain. Paysage. Les dehors des murailles d'une ville italienne, effet de soleil de midi. Haut., 10 cent.; larg. 15 cent. ½. Collection Wellesley »).John Malcolm, 1st Baron Malcolm of Poltalloch (1833-1902), par descendance à son gendre,The Hon. Alfred Erskine Gathorne-Hardy (1845-1918), puis par descendance, Geoffrey Gathorne-Hardy, puis par descendance The Hon. Robert Gathorne-Hardy, Newbury; sa vente, Londres, Sotheby's, 24 novembre 1976, lot 27, ill.BibliographieJ. C. Robinson, Descriptive Catalogue of Drawings by the Old Master, forming the Collection of John Malcolm of Poltalloch, 1869, no 475, p. 168 (« Landscape View outside the Walls of an Italian Town, probably a study from nature. Brilliant effect of midday sun. Pen drawing washed with bistre. Signed in the left 'Claudio Lorenese'. W. 51/4 in.; H. 4 in. Collection (W.) »).M. Roethlisberger, Claude Lorrain. The drawings. Catalog, Berkeley et Los Angeles, 1968, vol. I, no 143, p. 122, vol. II, fig. 143.Daté par Marcel Roethlisberger entre 1635 et 1650, ce dessin, remarquable par la répétition du motif des maisons, la simplicité du trait et la qualité du rendu atmosphérique, représente probablement une rue de Rome.Dated by Marcel Roethlisberger to between 1635 and 1650, this drawing probably represents a street in Rome. It is remarkable for the repetition of the house motif, the simplicity of the line and the quality of the atmospheric rendering.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

GIOVANNI BENEDETTO CASTIGLIONE, IL GRECHETTO (1609-1664)La famille de Darius devant Alexandre pinceau, huile et gouache, collé en pleinbrush, oil and bodycolour, laid down28 x 40.4 cm (11 x 15 7/8 in)Footnotes:乔凡尼·贝内戴托·卡斯蒂廖内，又称格莱切托(1609-1664)大流士大帝全家面对亚历山大大帝毛笔刷，油和水粉混合ProvenanceCarl Robert Rudolf (1884-1974), sans sa marque; sa vente Londres, Sotheby's, 4 juillet 1977, lot 123, ill.ExpositionLondres, Brod Gallery, Old Master Drawings, 1965, no 31.Paris, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Dessins, Printemps 1990, no 16, ill. Ce dessin mêlant huile et gouache sur papier doit dater d'environ 1660. Il est caractéristique des dessins tardifs de Castiglione avec de larges traits de pinceau, des figures brossées rapidement à l'aspect parfois schématique, des formes qui confinent à l'abstraction comme la nature morte d'animaux vers la droite, l'absence de paysage à l'arrière-plan, seulement suggéré par un aplat de bleu évoquant des nuages. Il peut tout particulièrement être rapproché de deux dessins de Windsor représentant l'un Laban cherchant les idoles et l'autre L'Adoration des Mages (inv. RL3896 et RL3869; cat. exp. Castiglione. Lost Genius. Masterworks on Paper from the Royal Collection, Londres, The Queen's Gallery, 2013, no 85, ill. p. 155 et no 90, ill. p. 160).Le dessin représente probablement la mère de Darius aux pieds du roi de Macédoine, le vainqueur de son fils à la bataille d'Issos (333 avant J.-C.), afin d'implorer la clémence pour sa famille prisonnière. Nous remercions Monsieur Timothy Standring d'avoir bien voulu confirmer l'attribution de ce dessin à partir d'une image numérique. Il rapproche la feuille de la collection Delon d'un monotype au sujet mystérieux aujourd'hui à Windsor, qui porte la date de 1660 (inv. RL3946d; op. cit., no 88, ill. p. 158.).This drawing, a mixture of oil and gouache on paper, dates to circa 1660. Its style is characteristic of Castiglione's late drawings, with broad brushstrokes, quickly executed figures, sometimes schematic in appearance, forms that border on abstraction, such as the still life of animals to the right, and the absence of a landscape in the background, suggested only by a solid blue that evokes clouds. It can be closely compared to two drawings at Windsor, Laban seeking the idols and The Adoration of the Magi (inv. RL3896 and RL3869; cat. exp. Castiglione. Lost Genius. Masterworks on Paper from the Royal Collection, London, The Queen's Gallery, 2013, no. 85, ill. p. 155 and no. 90, ill. p. 160).The drawing probably depicts Darius' mother at the feet of the Macedonian king, her son's victor at the Battle of Issos (333 BC), begging for mercy for her captive family. We are grateful to Mr Timothy Standring for confirming the attribution of this drawing from a digital image. He compares the sheet in the Delon Collection to a monotype of an unknown subject now at Windsor, which bears the date 1660 (inv. RL3946d; op. cit., no. 88, ill. p. 158.).This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com