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The Macallan Robert Burns-12 year oldA celebratory bottling in honour of The Robert Burns Semiquincentenary 1759-2009. Distilled and bottled by The Macallan Distillers Ltd.Decanter 172 of 250. In original wooden presentation case with stopper. Engraved labelling. Filled to 700ml. Single malt, 46% volume1 decanterFootnotes:A rare release from The Macallan by the then Master Distiller Bob Dalgarno, who hand selected two casks, both numbered #1759 - the year of Robert Burn's birth, one from 1997 and one from 1998.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

The Macallan Fine Oak-10 year oldBottled 16:34, 1.9.04. Distilled and bottled by The Macallan Distillers Ltd.Bottle No. 2 of the first 100 bottlings, signed and witnessed by Bob Dalgarno. In original carton. Good labelling. Level: top shoulder. 700ml. Single malt, 40% volume1 bottleFootnotes:At the inception of their Fine Oak range, Macallan released the first 100 bottles of 10-year-old Fine Oak signed by their former Master Distiller Bob Dalgarno.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

The Balvenie-56 year old-1962The Balvenie DCS Compendium. Chapter Five. Filled 29th June 1962, bottled 26th March 2019. Distilled at The Balvenie Distillery Company.Cask #5575. One of 90 bottles. In original wooden presentation stand and leather case. Good labelling. Level: into neck. 70cl. Single malt, 42.1% volume1 bottleFootnotes:Released as part of The Balvenie DCS Compendium, honouring malt-master David C. Stewart MBE.This expression was distilled in 1962, the same year that Stewart started working for William Grant, and was matured for five decades in European Oak hogshead and is presented in a hand-crafted stand (No. 14/40) by Scottish designer and craftsman Sam Chinnery.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

A SLIP-DECORATED AND ENAMELED 'DOVES AND PEKINGESE DOG' SNUFF BOTTLE, YIXING, 1820-1850Published:Hugh Moss, Chinese Snuff Bottles Four: A Magazine for the collector and student of Chinese Snuff-Bottles, London, 1966, p. 45, fig. 11Arts of Asia, September-October 1973, p. 45, fig. 11Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, no. 336JICSBS, December 1979 and March 1980, p. 13, fig. 4Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 126-127, no. 50Exhibited:Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 92.China. The stoneware bottle of rounded rectangular form, with a cylindrical neck, and tapering to a recessed oval foot, enameled in blue and reserved on each side with a recessed panel, finely carved and decorated in opaque colored slips, one side depicting a pair of Pekinese dogs, and on the other a pair of doves. The coral stopper finely carved with a bat.Provenance: From the collection of Bob C. Stevens, no. 336. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 69. Rachelle R. Holden, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Magnificent condition with minor old wear, light surface scratches, very few touched-up glaze flakes and microscopic pits.Stopper: Carved coral (minuscule age cracks and chips to stopper)Weight: 44.1 gDimensions: Height including stopper 71 mm. Diameter neck 16 mm and mouth 6 mm.The Daoguang Emperor and his consort were fond of doves and small dogs, respectively, as subjects of paired doves and Pekingese dogs became popular during this period. The symbolism imbued in the pairs of dogs and doves implies a wish for happy marriage.The dove-and-dog Yixing bottles were made in sets and in several different series. One of the finest versions of all is seen in the present lot, with its rounded rectangular shape, blue surround and multi-colored slip decoration. The slip is both painted with a brush and plastered on and carved, or at least manipulated with a blade of some sort. This is the same technique as that of the Slip Master (see for example Moss, Treasury 6, lots 1448-1451), but it is a quite different, more evolved style, with a number of different colors of slip used almost like enamels. This is typical of artistic evolution in the snuff-bottle arts, where a simple idea, drawn initially from the painting style of the literati with its predominance of monochrome ink painting, evolves to a more complex style as the possibilities of the medium are explored. These bottles with their more intriguing designs and multiple colors may be the later wares by the Slip Master, perhaps with a son taking over, or they may be from a different workshop, although we are inclined towards the first option. The bulk of the known examples probably date from the earlier part of the Daoguang reign, although the type may have remained popular throughout the reign. As a rule, however, it is not likely that an Imperial type remained fashionable for thirty years without noticeable changes in style.The dogs and doves on this series are always extremely well depicted, full of life, and the limited range of colors of slip available to the carvers are very thoughtfully and effectively used. While the form remains reasonably constant, and the subject matter is always the same, there are several different compositions within the series. Either each was made as an individual composition of the same theme, or each series was redesigned. Two more are illustrated in Stevens 1976, as nos. 334 and 336, both equally well worked. Between them, however, is a rare example (no. 335) with an enameled design of the same subject, still with the blue surround, that is quite poorly painted, even by the decorative standards of Yixing. The painted version may come from a time later in the reign when the enamel workshop responsible for so many earlier bottles was beginning to show signs of decline.Yixing in Jiangsu province gives its name to this distinctive stoneware. In production for nearly a thousand years in the same place, Yixing ware only came into artistic prominence in the later Ming dynasty, when it was adopted by the literati class as a suitable material for teapots and thence for other items for the scholar's studio. Slip-decorated snuff bottles constitute a considerable portion of the known output. Slip is simply liquid clay which can be applied like a thick paint or used for gluing segments together.Literature comparison: Compare a Yixing bottle decorated with landscape scenes set within a blue-enameled surround, and impressed with a cyclical date, jiyu (1849) is illustrated in An Imperial Qing Tradition, Chinese Snuff Bottles from the Collections of Humphrey K. F. Hui and Christopher C. H. Sin, no. 46. Others of the slip-decorated versions with a blue surround are in Sotheby Parke Bernet, New York, 17 March 1977, lot 44, and Jutheau 1980, p. 94, no. 4, and Robert Kleiner & Co. Ltd. 1994, no. 75 (the designs as a mirror image of the present example), and Parke-Bernet Galleries, New York, 2 December 1969, lot 43 (from the Claar Collection).Auction result comparison:Type: Near identicalAuction: Christie's New York, 22 March 2007, lot 38Price: USD 33,600 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: An unusual slip-decorated stoneware snuff bottle, Yixing, 1820-1850Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 16 March 2015, lot 1028Price: USD 37,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: An enameled and slip-decorated, Yixing snuff bottle, 1800-1880 1820-1850年宜興紫砂掛釉加彩雙犬鼻烟壺 由於字數限制，完整中文敘述請至www.zacke.at查看。

A GILT COPPER ALLOY FIGURE OF CHAKRASAMVARA AND VAJRAVARAHINepal, 17th-18th century. Chakrasamvara striding in alidhasana on two prostrate figures over a lotus base, dressed in a tiger skin and adorned with a garland of severed heads, holding a damaru and khatvanga in his primary hands and other attributes including the head of Brahma, trident, kartika, and kapala in the radiating hands. Vajravarahi with both legs wrapped around his waist and holding a kartika and kapala in her raised hands, dressed in a festooned belt and adorned with beaded jewelry. His hair pulled up into a high chignon adorned with sun and crescent moon symbols above the foliate crowns.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Good condition with some wear, particularly to gilt, and minor casting flaws. Small nicks, losses and light scratches, some bending and dents, primarily to attributes. The base sealed with a double vajra plate.Weight: 915.1 gDimensions: Height 15.3 cmChakrasamvara's four heads are cast separately and inserted with an attachment tang at the bottom. (2)Chakrasamvara, embodying the most important transcendental ideals in Buddhist art, couples with Vajravarahi symbolizing a perfect union of wisdom and compassion. From Chakrasamvara's neck hangs a garland of severed heads strung on a length of human intestine and the hair of a corpse, signifying the purification of speech and the mental factors according to the Chittamatra or Mind-Only School as described by Asanga.Being so complex, only the best artists were fit to undertake the challenge of casting Chakrasamvara. The task most often fell to Newari master craftsmen from Nepal who produced such sculptures for domestic and Tibetan worship. The stylistic preferences of each of those two audiences are somewhat slight. But, while many contemporaneous Tibetan examples emphasize the ferociousness of Chakrasamvara's facial expressions, here instead, a benign intimacy is shared between the deities gazing into each other's eyes. This sentiment betrays a preference in Nepal for showing divine couples in harmony, as representatives of ideal matrimony.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 356 Price: USD 20,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Chakrasamvara and Vajravarahi, Nepal, 17th centuryExpert remark: Compare the similar benign expression, the two in embrace gazing into each other's eyes, as well as the beaded jewelry and high chignons. If the base is discounted on the present figure, this bronze is of similar height (12.7 cm). Note that Chakrasamvara has only one head, the figures are wearing skull crowns, and there is no lotus base.鎏金銅勝樂金剛像尼泊爾，十七至十八世紀。勝樂金剛勝四頭，十二臂，兩足，弓步。主尊頭戴五葉冠，上有太陽和新月符。主臂兩手分別持金剛杵和金剛鈴，擁抱明妃金剛亥母。其餘各手分別持不同的法器，如三叉戟、匕首、卡巴拉碗等。脖子上掛人首做成的項鍊，雙足奮力踩踏兩個魔鬼，威力無比。金剛亥母雙腿盤在勝樂金剛腰間，手持鋮刀和卡巴拉碗，穿著花飾腰帶，佩戴著珠飾。 來源：維也納私人老收藏，在1910 年與1975年期間，經過幾代人的共同努力建立，在同一家族保存至今。 品相：品相良好，有一些磨損，特別是鎏金和輕微的鑄造缺陷。小刻痕和輕微劃痕，一些彎曲和凹痕，主要是法器。底座密封，有雙金剛杵印密封。 重量：915.1 克 尺寸：高15.3 厘米 勝樂金剛的四首獨立鑄造，在底部插入連接柄。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得, 2011年9月13日, lot 356 價格：USD 20,000 （相當於今日EUR 24,000） 描述：17世紀尼泊爾鎏金銅勝樂金剛像 專家評論：比較相近的溫和神情，兩人擁抱在一起，凝視著對方的眼睛，還有串珠首飾和高高的髮髻。含底座的尺寸相近（12.7厘米）。請注意此尊勝樂金剛僅有一顆頭，頭戴頭骨皇冠，無蓮座。

A CARVED CELADON AND RUSSET JADE SNUFF BOTTLE, MASTER OF THE ROCKS SCHOOL, 1740-1850Published:Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 118-119, no. 407.Sotheby's Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part III, New York, 1982, no. 156.China. Of rounded rectangular form, finely carved through the russet-brown skin on one side with a scene of pine, lingzhi, rocks and a brick wall, the reverse with a pavilion encircled by swirling clouds which rise from the waves extending around the base. Superb manual polish with an unctuous feel overall.Provenance: From the collection of Bob C. Stevens, California. Sotheby's New York, 25 June 1982, lot 156. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '78' to the base. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor old wear, a minuscule chip to the rim.Stopper: Jadeite stopperWeight: 70.6 g Dimensions: Height including stopper 66 mm. Diameter neck 16 mm and mouth 5 mm.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1563Price: USD 30,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A well-carved greenish-yellow and brown jade snuff bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2002, lot 258Price: USD 22,325 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A rare and fine carved yellowish-green and russet jade bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.1740-1850年青玉留皮雕鼻烟壺中國。扁平長方削肩，一面棕褐色留皮精雕細刻松樹、靈芝和假山，另一面有一個亭台樓閣，周圍祥雲環繞。精湛的工藝，整體瑩潤。 出版：Bob C. Stevens，The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），紐約，1976年，頁118-119，編號407。 蘇富比Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part III，紐約，1982年，編號156。 來源：Bob C. Stevens舊藏，加利福尼亞；紐約蘇富比1982年6月25日 lot 156；紐約Rachelle R. Holden 舊藏，購於上述拍賣。底部可見Rachelle Holden 收藏標籤“78“。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，有輕微磨損，邊緣有微小的磕損。 壺蓋：翡翠 重量：70.6 克 尺寸：高 （含蓋）66 毫米，頸部直徑16 毫米及壺口直徑5 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1563 價格：USD 30,000（相當於今日EUR 36,500） 描述：1740-1850年青玉留皮雕鼻烟壺 專家評論：比較非常相近的雕刻風格，棕褐色留皮精雕細刻，並將青玉部分留白。由於字數限制，完整中文敘述請至www.zacke.at查看。

'MONKEY REACHING FOR THE MOON'S REFLECTION', AN IMPORTANT CAMEO AGATE SNUFF BOTTLE, SUZHOU SCHOOLPublished: Journal of The International Chinese Snuff Bottle Society, June 1975, illustrated on the cover, discussed on page 6, dated 1780-1850Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 160-161, no. 67, dated 1750-1850China, 1750-1850. Superbly well hollowed, of globular shape and waisted neck, resting on a minuscule recessed foot. Finely carved utilizing the opaque white, beige, golden-brown and dark natural layers in the stone to create a three-dimensional scene of exceptional quality, to one side with a monkey in high relief, surrounded by lingzhi and pine cut from the darker areas, reaching for the moon's reflection below him. The reverse with a neatly incised poem in high relief. The translucent stone of a pale gray with inclusions of ochre, white, brown, and greenish-gray.Expert's note: In this bottle, the master carver draws on a common theme in Chan Buddhism: A monkey trying to capture the moon's reflection in water. This image derives from an early Buddhist story in which five hundred monkeys hold onto each other's tails and attempt to seize the reflection of a moon in a well. They fail when the branch from which they are hanging suddenly breaks. The monkeys in this story stand for unenlightened people who cannot distinguish between reality and illusion. On the other side the monkey, hou, is a homonym for the word marquis, the second highest grade among the nobility, and represents the aspiration for a corresponding rise in rank. For this reason, it may be assumed that the present bottle was intended both as a good luck charm and a cautionary tale.Inscription: Top right 'cai zhi xian cao ying chang chun' (everlasting spring is reflected in the celestial herb of immortality).Provenance: Janos Szekeres, Connecticut, USA. Sotheby's New York, 27 October 1986, lot 174 (dated 1800-1880). Christie's New York, 27 November 1991, lot 123. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '212' to the base. Janos Szekeres (1914-1998) was a scientist, inventor, and businessman. Born in Hungary, he later attended the University of Vienna where he graduated in chemistry. In 1941 he enlisted in the US Army Air Force and was sent to Asia, where he spent his free time visiting antique shops and became a collector of Chinese art. Szekeres served on the Board of Directors of the International Chinese Snuff Bottle Society and of the Chinese Art Committee of the Harvard University Art Museums. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first snuff bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear, minuscule nibbling to rim, mouth, and exposed areas. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: White and russet hardstone stopperWeight: 44.7 g Dimensions: Height including stopper 55 mm. Diameter neck 16 mm and mouth 5 mm.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 28 November 2005, lot 1525Price: HKD 420,000 or approx. EUR 78,000 converted and adjusted for inflation at the time of writingDescription: A finely carved Suzhou agate snuff bottleExpert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the closely related size (55 mm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 28 May 2010, lot 55Price: HKD 360,000 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: An agate 'Liu hai' snuff bottle, Zhiting School, Suzhou, 1730-1850Expert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the related size (44.1 mm).蘇作瑪瑙巧雕 “猴子撈月”鼻烟壺中國，1750-1850年。掏膛極好，弦唇，束頸，豐胸，收腹，平底。淺灰色半透明石料，夾雜著赭色、白色、棕色和灰綠色。 出版：《中國鼻烟壺學會期刊》，1975年6月，封面圖片，文字見第6頁，斷代1780-1850年間。 Rachelle Holden，Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary，New York，1994年，頁160-161，編號67，斷代1750-1850 間。 專家注釋:《群猴撈月》原是一則流傳於古印度的寓言故事，後經佛教徒附加上宗教的涵義收入佛典，隨著佛典漢澤傳入中國。這則寓言提示人們看問題一定要看清它的本質，不要為表面現象所迷惑，草率行事而造成白費力氣的結果。 款識：採芝仙草映長春 來源：美國康乃狄克州Janos Szekeres收藏；1986年10月27日紐約蘇富比 lot 174 (斷代為1800-1880)；1991年11月27日紐約蘇富比 lot 123；紐約Rachelle R. Holden購於上述拍賣。底部可見Rachelle Holden 的收藏標籤號 “21”。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CLOISONNE ENAMEL RUYI SCEPTER, EARLY QING DYNASTYOpinion: Cloisonne ruyi scepters from the 17th century are rare. But finding one that presents so nicely after more than 350 years, and coming from one of the finest art collections in the world, is a truly nice surprise!China, second half of the 17th century. The ruyi head is decorated with a pair of blue dragons confronted on a shou medallion. The handle has two sections of archaistic hooked scrolls. One section incorporates the head of a dragon, the other the head of a phoenix, all above a rocky outcrop emerging from crashing waves at the pointed tip. The reverse of both the head and the handle is decorated with lotus scroll.Provenance: The Bernheimer Collection, no. 3/55554 (according to label). A noted South German private collection, built during the 1970s and 1980s, probably acquired from the above. The Bernheimer business was started by Lehmann Bernheimer (1841-1918) in 1864 with a tiny market stall in Munich, Germany, and swiftly grew into the most illustrious antique and interior decoration emporium in the world. Lehmann's son Otto (1877-1960) took over after his father's death in 1918. With his two brothers, Max and Ernst, Otto traveled to many European countries in search of fine art. Bernheimer's customers were European aristocrats, financiers, diplomats, and artists. They included the Krupp family and William Randolph Hearst. During the Nazi regime, the Bernheimer family emigrated across the whole world. In 1945, Otto Bernheimer returned to Munich, rebuilt his company and fought for the restitution of the family property. Konrad Bernheimer took over in 1977, aged 26, and has moved the business to Old Master Paintings. The Bernheimer Collection counts among the finest art collections in the world, reflecting the erudite quest of four generations to discover the very best of ancient art. Condition: Old wear, traces of use and manufacturing flaws. Expected pitting and losses to enamel overall with associated old fills and touchups. Please request a video shot under strong blue light for further details on the condition. The colors are still very strong and the gilt is nicely preserved. The scepter presents remarkably well overall, and the condition must be regarded as exceptionally good, commensurate with age, especially when compared with other large cloisonne scepters from the period that this author has handled over the past decades.Weight: 678.8 gDimensions: Length 38.6 cmLiterature comparison: Compare a similar scepter illustrated by H. Brinker and A. Lutz, in Chinese Cloisonne: The Pierre Uldry Collection, The Asia Society Galleries, New York, 1989, no. 163, which is also dated to the second half of the 17th century.Auction result comparison:Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2328Price: USD 43,750 or approx. EUR 51,000 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel ruyi scepter, second half 17th centuryExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm). 清初掐絲琺瑯“雙龍捧壽”如意中國，十七世紀下半葉。孔雀藍色地，如意頭部可見雙龍捧壽紋。手柄有仿古夔龍紋，底部五彩祥雲江崖紋。如意背面纏枝蓮紋。專家注釋：十七世紀掐絲琺瑯如意十分珍貴。在 350 多年後找到一件呈現如此精美的珍品，並且來自世界上最好的藝術收藏之一，真是一個驚喜！ 來源：Bernheimer 收藏，編號 3/55554 (根據標籤)；德國南部私人收藏，建立於上世紀七十至八十年代，可能購於上述收藏。 品相：磨損、使用痕跡和製造缺陷。預期的點蝕和琺瑯缺損以及相關的填充和修飾。請聯繫藝廊獲得在強藍光下拍攝的視頻，以了解有關情況的更多詳細信息。琺瑯色彩仍然艷麗，鎏金保存完好。如意整體狀況極好，與年代相符。重量：678.8 克 尺寸：長38.6 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE WUCAI 'ZHANG TIANSHI AND THE FIVE POISONS' DISH, WANLI MARK AND PERIODChina, 1573-1620. Exquisitely potted, the shallow rounded sides supported on a tapered foot and rising to an everted rim. Superbly painted in bright enamels and cobalt-blue to the interior with Zhang Tianshi riding a tiger with flame-like mane and bushy tail, raising his sword as he chases a snake hiding behind a craggy rock, all below a gnarled pine tree and above further rockwork and blossoming flowers, enclosed by a double line border and encircled by butterflies, floral motifs, and lingzhi. The exterior similarly decorated with reeds, floral motifs, and a lizard. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: New York trade, by repute acquired from an old Japanese private collection.Condition: Superb condition with minor old wear and distinct firing irregularities, as expected from authentic Wanli wares, including scattered pits and few dark spots. Only minimal rubbing to enamels, occasional light surface scratches.Weight: 191.5 gDimensions: Diameter 16 cmWith a Japanese wood storage box and protective cloth wrapping. (3)The theme in this dish is associated with the Dragon Boat Festival (duanwujie), which falls on the fifth day of the fifth lunar month. Many of the motifs associated with duanwujie relate to the desire to combat evil forces and poisonous creatures. On this dish, we see the legendary Daoist priest Zhang Tianshi, who cuts through evil with his sword.The snake, lizard, centipede, toad, and scorpion constitute the 'Five Poisons' in Chinese traditions. Here, Zhang is depicted chasing two of them, a snake and a lizard, the latter of which is painted to the exterior of this dish. The pomegranate flowers, which are in bloom at the time of the Dragon Boat Festival, are associated with fertility and were worn as amulets by women. Their brilliant red color is also the color of joy.Zhang Tianshi, courtesy name Fuhan, also known as Zhang Daoling and Zhang Ling, among other names, was a Chinese religious leader who lived during the Eastern Han dynasty and founded the Way of the Celestial Masters sect, the first organized form of religious Daoism. In 142 CE, Zhang announced that Laozi had appeared to him, and commanded him to rid the world of decadence and establish a new state consisting only of the 'chosen people'. Zhang became the first Celestial Master and began to spread his newly founded movement throughout the province of Sichuan. The movement was initially called the Way of the Five Pecks of Rice, because each person wishing to join was required to donate five pecks of rice. The movement spread rapidly, particularly under his son Zhang Heng and grandson Zhang Lu. Their rebellion against the Han dynasty is known as the Five Pecks of Rice Rebellion. After the success of the rebellion in 194, they founded the theocratic state of Zhang Han in the Hanzhong Valley of Sichuan, enjoying full independence.Expert's note: Wucai dishes with related designs and Wanli marks were sometimes copied during the Kangxi period. The present lot, however, is without a doubt a genuine Wanli piece, as indicated by the creamy, pale ivory-colored ware, the distinct kiln marks, the fine warping and the inimitable color palette.Literature comparison: A smaller Wanli wucai dish with similar theme but differently rendered with Zhang Tianshi surrounded by all the 'Five Poisons' is in the Palace Museum, Beijing, illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, no. 47. The present dish also relates to a somewhat larger Wanli wucai dish in the collection of the Percival David Foundation and now in the Victoria & Albert Museum, accession number C.1037-1917, illustrated by Rosemary E. Scott and Rose Kerr in Ceramic Evolution in the Middle Ming Period, V&A and Percival David Foundation, London, 1994, p. 22, no. 25, and another in the collection of the Tianminlou Foundation, illustrated by Louise Allison Cort and Jan Stuart, Joined Colors, Smithsonian Institution, Washington, 1993, p. 130, no. 57. The latter two dishes have the theme of the Five Poisonous Creatures on the back and another aspect of the Duanwujie festival - dragon boat races - on the interior.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2016, lot 3400 Price: HKD 525,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A fine and very rare wucai 'Zhang Tianshi' dish, Wanli six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the closely related depiction of Zhang Tianshi with raised sword, the exterior also with a lizard, and further decoration of butterflies, pomegranate flowers and lingzhi. Note that there is no tiger and no snake. Also note that the dish is of smaller size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 6 April 2016, lot 47 Price: HKD 1,125,000 or approximately EUR 158,500 converted and adjusted for inflation at the time of writing Description: A small wucai 'shoulao' dish, mark and period of Wanli Expert remark: Compare the closely related form and wucai decoration, though depicting a different subject. Note the smaller size (12.3 cm).萬曆款與年代五彩開光《張天師斬五毒圖》盤中國，1573-1620年。盤沿外撇，弧腹，圈足。圈足内有“大明萬曆年製”六字二行青花楷體雙圈款。來源：紐約古玩交易市場，據説購於一個日本私人舊藏。 品相：品相極佳，有輕微的磨損和明顯的燒製不規則現象。琺琅磨損輕微，局部有輕微的劃痕。 重量：191.5 克 尺寸：直徑16 厘米 日本木製盒子。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE THANGKA WITH THE FOOTPRINTS OF A KARMAPA, TIBET, 14TH - 16TH CENTURYDistemper and gilt on cloth. Depicting the soles of two golden feet with multicolored chakras standing on a moon disc above a multicolored lotus base, a stylized column in between topped by a blue utpala flower supporting the Karmapa, at the bottom center a red vase flanked by naga figures, all surrounded by various buddhas, protectors, and teachers. Provenance: From a noted Swiss private collection. Condition: Good condition with ancient wear, a minuscule hole at one toe, some creasing and abrasions. The distemper and gilt with signs of natural aging as well as microscopic crackling and flaking. Possibly some minuscule old touchups. Losses and loose thread to the undecorated edges.Dimensions: Image size 46 x 38 cm, Size incl. frame 66.7 x 58.4 cmMatted and framed behind glass. (2)The Karmapa is the head of the Karma Kagyu, the largest sub-school of the Kagyu, itself one of the four major schools of Tibetan Buddhism. Karmapa was Tibet's first consciously incarnating lama. Düsum Khyenpa, 1st Karmapa Lama (1110-1193), was a disciple of the Tibetan master Gampopa. A talented child who studied Buddhism with his father from an early age and who sought out great teachers in his twenties and thirties, he is said to have attained enlightenment at the age of fifty while practicing dream yoga. He was henceforth regarded by the contemporary, highly respected masters Shakya Sri and Lama Shang as the Karmapa, a manifestation of Avalokiteshvara, whose coming was predicted in the Samadhiraja Sutra and the Lankavatara Sutra.The tradition of commissioning drawings of a teacher's feet appears to be an oral instruction coming down from Gampopa Sonam Rinchen, the teacher of the First Karmapa, Düsum Kyenpa, and also of Pagmodrupa Dorje Gyalpo, who wrote a famous early text describing this practice. Such paintings are extremely rare, with only a handful known in the East or the West. Auction result comparison:Type: RelatedAuction: Christie's New York, 22 March 2011, lot 323Price: USD 458,500 or approx. EUR 585,500 converted and adjusted for inflation at the time of writingDescription: An important thangka with the Footprints of the Third Karmapa, Rangjung Dorje, Tibet, circa 1339Expert remark: Compare the closely related motif and colors as well as the related size (51.1 x 37.5 cm). Note that this lot has been attributed to a specific Karmapa and is possibly of an earlier date than the present lot.十四至十六世紀西藏罕見噶瑪巴足印唐卡布面膠彩描金。一幅噶瑪巴上師的足印唐卡。噶瑪巴坐在一巨大的蓮花莖所支撐的蓮座上。腳印上也繪有法輪符號，法輪作為佛教中最為代表性的符號，預示著佛陀在鹿野苑初次的說法佈道，因此上師腳印上的法輪符號同樣具有增強上師與佛陀形象連結的作用。頂部是一朵支撐噶瑪巴的藍色烏帕拉花，底部中央是一個紅色的花瓶，兩側是納迦人物。四周圍繞諸佛、護法與上師。 來源：瑞士知名私人收藏。 品相：狀況良好，有磨損，一隻腳趾上有一個小洞，有些摺痕和擦傷。有自然老化跡象，輕微裂紋和色彩剝落。有一些微小的修飾。邊緣有缺損和鬆散。 尺寸：畫面 46 x 38 厘米，含框66.7 x 58.4 厘米 鏡面。 噶瑪巴是噶瑪噶舉派的領袖，噶舉派是藏傳佛教四大宗派之一。噶瑪巴是藏傳佛教噶舉派中的最高持教法王，也是最早開啟乘願轉世傳統的藏傳佛教領袖。藏傳佛教視他為金剛總持的化身。 上師足印唐卡的傳統似乎是從第一世噶瑪巴杜松欽巴的上師岡波巴索南仁欽那里傳下來的，他也是巴摩竹巴多傑嘉波的上師。此類畫作極為罕見，東西方知之甚少。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得， 2011年3月22日，lot 323 價格：USD 458,500（相當於今日EUR 585,500） 描述：1339年西藏重要噶瑪巴第三世上師讓炯多傑足印唐卡 專家評論：比較非常相近的主題、顏色，以及尺寸 (51.1 x 37.5 厘米)。請注意此唐卡特別描繪一位噶瑪巴的上師，年代可能較早。

JOHANN ZOFFANY (1733-1810) Edward Townsend Singing 'The Beggar' painted in 1796, oil on mahogany panel, 76.2 x 63.5 cm; 30 x 25 inches, in its original eighteenth-century carved frame.Provenance: Johann Zoffany;Zoffany sale, Robins, 9th May 1811, lot.89;Henry Harris;Harris sale, Robins, 12th July 1819, lot.6;Thomas Wilkinson (1762-1837);Jane Anne Brymer (1804-1870), daughter of the above;William Ernest Brymer (1840-1909) of Ilsington House;Wilfred John Brymer (1883-1957); son of the aboveConstance Mary Brymer (1885-1963), sister of the above;John Hanway Parr Brymer (1913-2005); nephew of the above;Maureen Brymer (1924-2021) by inheritanceExhibited: London, Royal Academy, 1796, no.85 (‘Mr Townsend as the beggar in the pantomime of Merry Sherwood’);London, Royal Academy, Exhibition of Works by the Old Masters, 1893, no.44 (‘An Actor’)Literature: Victoria Manners and George Charles Williamson, John Zoffany RA: His Life and Works 1735-1810, London, 1920, p.276; Mary Webster, Johann Zoffany, New Haven and London, 2011, p.585 Martin Postle, Johann Zoffany RA: Society Observed, exh. cat., New Haven (Yale Center for British Art), pp.44-45, reproducedThis little-known theatrical portrait is one of the finest works by Johann Zoffany from the end of his career. Depicting the comic actor Edward Townsend singing ‘The Beggar’, a song by the playwright John O’Keeffe written and set to music by William Reeve for Merry Sherwood, or Harlequin Forester by William Pearce, an entertainment on the theme of Robin Hood. Zoffany captures Townsend with his mouth open wide in the midst of the song. This unusually animated portrait is rendered with Zoffany’s characteristic attention to the minute details of costume and physiognomy. Zoffany was a pioneer of theatrical portraiture, where individual actors are portrayed in the roles for which they were most celebrated, it is a genre which was uniquely developed in Britain in the eighteenth century. Here the comic singer Edward Townsend is shown on stage singing in the midst of William Pearce’s popular pantomime Merry Sherwood. But rather than merely being an illustration of the entertainment, Zoffany paints a portrait of Townsend en role, exploiting a complex layer of relationships between audience and actor, viewer and painting. Zoffany’s theatrical portraits are regarded as some of his most innovative and beguiling works and only a handful remain in private collections, of which this is one of the finest. Preserved in outstanding condition and painted on a mahogany panel, this portrait has not been on the open market since the early nineteenth century and has not been exhibited in public since 1893.By 1796 Johann Zoffany was at the height of his powers as a portrait painter, particularly paintings of complex conversation groups and interiors scenes, rich with domestic and decorative details. Recently returned from a period spent in India, where he had completed a series of remarkable images of European and Indian sitters, including Colonel Maudaunt’s Cock Match now in the Tate, London. Zoffany re-established himself as one of London’s leading portrait painters. Zoffany had found success in London in the 1760s producing a series of remarkable and hugely popular portraits of famous actors. Zoffany worked particularly closely with David Garrick, commemorating his most celebrated theatrical roles in a series of largely comic portraits.The comic singer Edward Townsend sang The Beggar at the first performance of Pearce’s popular pantomime Merry Sherwood at Covent Garden on 21 December 1795. Townsend made the song popular and it became a favourite peace in his repertoire: he sang it at his benefit on 20 May 1796, and was still rendering it at Covent Garden in June 1800. The entertainment, and Townsend’s performance, were an immediate sensation. The success of the pantomime may well have prompted Zoffany to paint Townsend and to submit the painting for the annual exhibition at the Royal Academy in 1796, where the painting is described in the exhibition catalogue as: ‘Mr Townsend in the Beggar, full of expression and character, and a striking resemblance.’ The painting was hugely admired by contemporaries at the annual exhibition. The critic Anthony Pasquin noted: ‘Mr Townsend, the Comedian in the Character of a Beggar. Zoffany. This portrait is eminently characteristic, with a strict adherence to the minutiae of the stage dress. The countenance partakes of all the muscular whim of the original contour and expression of this supplicating visage.’Robin Simon has noted that in his theatrical portraits, such as this, Zoffany’s: ‘nuanced approach enabled him to create a distinctive effect: that of depicting the actors both in and out of character at the same time. This duality lies at the heart of his achievement; but it also reflects the contemporary practice of a number of leading comic actors who, in a tradition that survives in the British pantomime, would interact, sometimes even verbally, with the audience during performance.’[1] There is a sense that in the present portrait Zoffany has caught Townsend totally absorbed in his performance. It is this duality which made Zoffany’s theatrical portraits so publicly successful.The present painting has not been publicly exhibited since 1893, when it was lent to the Royal Academy’s annual exhibition of old master paintings, as a consequence it has remained largely unknown to scholars. Mary Webster, in her authoritative 2011 monograph on Zoffany, assumed the painting was missing. The present portrait remained in Zoffany’s collection and was included in his posthumous auction in 1811. It was acquired in 1820 by Thomas Wilkinson the son of Jacob Wilkinson who was one of Zoffany’s most important supporters. A Director of the East India Company, Wilkinson acquired The Watercress Girl by Zoffany in 1780 and its pendant, The Flower Girl. Zoffany also painted his portrait in 1782 (The Chequers Trust) and Wilkinson, in turn, was one of those who supported Zoffany’s petition to travel to India. The painting passed to Thomas Wilkinson’s daughter Jane Anne, who married the Reverend William Thomas Parr Brymer, the painting has remained by descent in the Brymer family ever since.

Ruskin, John (1819-1900) Collection of autograph letters to Ada Hartnell, c.1873-81 18 in total, various extents, 31 pp. overall, most on a single bifolium of Ruskin's Brantwood stationery, other letters written from Woodstock Road, Oxford, Corpus Christi College, Oxford, Gueux, and Keswick, a few with no place named, several undated, most addressed to 'My dear Miss Hartnell' and signed 'J Ruskin', two to 'My dear Ada' and signed 'J Ruskin', one to 'My dearest Ada' and signed 'Ever your loving JR', and one to 'Dear Ada' and signed 'J R', one letter (Gueux) torn in half but full text apparently intact, one letter with signature removed. Together with 8 envelopes addressed by Ruskin to Hartnell, and an autograph letter signed to Hartnell from Joanna Severn ('[I] am glad … to tell you that after many months of anxiety about the poor master he is at last showing signs of betterness, for which I am infinitely thankful', with envelope) (1 folder)Note: Note:A remarkable collection of newly discovered letters casting light on Ruskin's tormented later years and his relationship with an intriguing female acquaintance, whom he clearly held in high esteem, but about whom little remains known.Ada Hartnell was one of the 32 original members of the Guild of St George, the utopian social organisation Ruskin established in 1878 on the model of the guilds of medieval Venice. She is mentioned by Ruskin in Fors Clavigera as one of a select group of guild companions 'in whose future adherence and support I have entire trust'. During the time these letters were written she lived first at 79 Falmouth Road, London, and later at 6 Brighton Villas, Northumberland Park, Tottenham.Ruskin's mental stability suffered badly during his seventeen-year relationship with Rose La Touche, who died in 1875. In February 1878 he experienced a total collapse, followed by several further attacks between 1881 and 1889, after which he 'gradually retreated into silence, saying little, and writing few letters' (ODNB), living in seclusion at Brantwood under the care of his relation Joanna Severn.The earlier letters in the collection suggest that Ruskin frequently visited Hartnell in London. His letters proposing to meet can strike an importunate note, and the type of assignation proposed is in one instance unexpected:'Would you like to come to the Pantomime at Drury lane to-morrrow with me. You would have to meet me at my good old servants' teashop, 29 Paddington St, Portland place - and I would take the greatest care of you and drive you home. Send me a line here'In letters evidently written in the aftermath of his crisis, Ruskin confides in Hartnell about the debilitating effects of his mental state, while demonstrating an urgent concern for Hartnell's own health and living arrangements, an intense dynamic encapsulated in one letter from Brantwood:'I have had several very bad sleepless nights myself, lately - but the mental gloom causes them - it is not the consequence of them. That darkness over the whole world becomes more and more definite to me as one of judgement, and every voice [...] is of the night. I can only keep my strength by refusing to think, and going on with work that I still have pleasure in - and pleasing any body I can innocently please. But I've been freed to write something serious just now - in which your letter helps me so much - you will have it in a week [...] I am so very thankful your health is on the whole better [...] Shall I see if I can get better lodging for you near my museum at Sheffield - there's no smoke unless with strong southeast wind, and lovely country close by, being certainly as cheap as near London. Please think about this and write again'The later letters also contain much discussion of guild matters, with Ruskin musing on his own suitability to lead 'until they find somebody better', discussing the publication of Fors, indulging in a schoolmasterly harangue in which he dismisses Praeterita as 'mere gossip', and welcoming positive reports of a recent number of Proserpina; Joanna Severn finds frequent mention as someone evidently known to Hartnell and with an interest in her well-being.

Tragara Press Collection of limited editions relating to Oscar Wilde and his circle including:1) A Letter from Oscar Wilde [to Ellen Terry], 1954. One of 40 copies;2) Oscar Wilde. A Study by John E. Barlas, 1974. One of 100 copies;3) Some Early Poems and Fragments by Oscar Wilde, 1974. One of 75 copies;4) Oscar Wilde. Letters to Graham Hill, 1978. One of 25 copies on Amalfi paper, from the total edition of 26;5) Berneval. An Unpublished Letter by Oscar Wilde, 1981. 2 copies: one of three special copies on Barcham Green hand-made paper signed by Alan Anderson (not mentioned in the stated limitation), and one of 75 copies on Ingres d'Arches;6) Oscar Wilde: Graham Hill. A Brief Friendship, 1982. 2 copies, each one of 75 on Ingres d'Arches;7) Oscar Wilde on Vegetarianism. An Unpublished Letter to Violet Fane, 1991. One of 140 copies, this copy additionally inscribed by the editor Jeremy Mason;8) Wilde and the Night, 1994. 4 copies, each one of 85 signed by the editor Jeremy Reed, including one from the first 12 'specially bound in hand-marbled wrappers', one unnumbered and inscribed 'printer's proof copy', and one additionally inscribed by the editor;9) A Phial. By John Gray, 1954. One of 25 copies;10) On Hymn Writing by John Gray, 1977. One of 95 copies on Glastonbury Antique Laid paper, from the total edition of 117;11) John Gray. The Kiss. Translated from the French of Theodore de Banville, 1983. One of 115 copies on W. S. Vellum from the total edition of 145;12) A Friendship of the Nineties. Letters between John Gray & Pierre Louys, 1984. One of 120 copies; 13) Some Unpublished Poems by John Gray, 1987. One of 25 copies on Vélin d'Arches, from the total edition of 145;14) Old Gough by John Gray, 1990. 3 copies, comprising one of 20 on Barcham Green hand-made paper, one of 55 standard copies, and a set of corrected page proofs;15) Master of Fallen Years by Vincent O'Sullivan, 1990. One of 75 copies;16) In Quiet by Vincent O'Sullivan, 1954. One of 35 copies;17) Vincent O'Sullivan. Apollinaire a Letter to the Editor of the Dublin Magazine, 1970. One of 70 copies;18) Tancrède Martel. A Memoir, 1973. 2 copies, each one of 55;19) Some Letters of Vincent O'Sullivan to A. J. A. Symons, 1975. 2 copies: one of 20 copies on Barcham Green 'Charter Oak' paper and one of 110 copies on Strathmore 'Grandee' paper;20) Vincent O'Sullivan. Fifteen Letters to Seumas O'Sullivan, 1979. 3 copies, each one of 100 on Abbey Mills paper;21) The Next Room by Vincent O'Sullivan, 1988. 2 copies, comprising one of 30 on Gainsborough paper, and one of 115 standard copies;22) Olivia Mist by Vincent O'Sullivan, 2009. One of 65 copies on Accent Fresco paper;23) Lionel Johnson. Selected Letters, 1988. 2 copies: one of 30 copies on Brigadoon paper, and one of 120 standard copies;24) Lionel Johnson. Some Letters to Richard Le Gallienne, 1979. 2 copies: one of 20 copies on Amalfi paper, and one of 75 standard copiesNote: Note: A Phial. By John Gray (1954) was the first book printed by the Tragara Press. The Tragara Press was founded in Edinburgh in 1953 by printer Alan Anderson (1922-2016) and operated until 1991.

A FOLIO INCLUDING AN OLD MASTER DRAWING OF A BEARDED MAN, DRAWN ON ANTIQUE LAID PAPER, A DRAWING OF MYTHICAL BEASTS, SIGNED WITH INITIALS AND DATED. A DRAWING OF A FLORAL CARVING SIGNED AND DATED 1864. ANTIQUE SEPIA DRAWING, STILL LIFE OF A BOTTLE, CANISTERS ETC AND A GROUP OF EIGHT OLD LITHOGRAPHS OF DRAWINGS OF DECORATIVE CARVINGS, POSSIBLY OLD DESIGN PATTERNS.

Jan van der Meer (1942-)Cityscape Oudewater after the old master, panel 40x50 cm

Anonymous, still life with fruit after the old master, 20th century maroufle, 60x50 cm in a classic gold-coloured frame, outer size 80x70 cm

Signed J Webb, fishermen for the harbor head, oval panel after the old master, outer size 35x40 cm

Anonymous, oil on panel after an old master in a gold-coloured classic frame, outer size 52x47 cm

Anonymous, wall decoration after an old master, current at sea, canvas 49x56 cm

Jan van der Meer (1942-)Resting woman with dog and horse near ruin, after the old master, panel 46x56 cm

Monogram AR, still life but old master, panel 40x50 cm

A collection of unframed Old Master style engravings

A GROUP OF SIX OLD MASTER DRAWINGS Comprising a sanguine study of St. Paul the Hermit, in the manner of Guercino; a study of a figure smoking at a tavern table, a study of Putti, a bearded male figure, a figure praying and a head study (6) Pen and Ink on paper, all unframed, together with an etching of the Ascension of Christ The largest measures 15.5cm x 21cm; the smallest 9cm x 9cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

2 Cloisonné Vasen Japan alt. Phönix.Je 15 cm hoch. Ein Paar. Wohl Darstellung Phönix, Japan, Meiji Periode, circa 110 - 130 Jahre alt. Eine Vase beschädigt. Die andere sieht für mich gut aus. Zustand siehe Fotos. Auf der Unterseite jeweils "Meister" - Marke. Versand kann organisiert werden.2 cloisonné vases Japan old. Phoenix. Each 15 cm high. Pair. Probably depicting phoenix, Japan, Meiji period, circa 110 - 130 years old. One vase damaged. The other looks fine to me. Condition see photos. On the bottom of each "master" - mark. Shipping can be organized.

2 Cloisonné Vasen Japan alt. Margeriten.30,5 cm hoch. Ein Paar. Margeriten auf dunkelblauem Grund. Wohl Japan Meiji Periode, circa 110 - 130 Jahre alt. Die 2. Vase sieht gut aus. Zustand siehe Fotos. Meisterqualität. Versand kann organisiert werden.2 cloisonné vases Japan old. Daisies. Pair. Daisies on dark blue background. Probably Japan Meiji period, circa 110 - 130 years old. The 2nd vase looks good. Condition see photos. Master quality. Shipping can be organized.

Two Small Paintings of Old Master style Figures, 18cm x 8cm, together with a Needlework of 18th century Figures and Two Prints (5)

1989 Mercedes-Benz 190E 2.5 16V CosworthTransmission: manualMileage:90,500In 1983, Mercedes-Benz introduced the Cosworth 2.3 16V into their range and the new cars were substantially different from the other 190 models. The body kit reduced the drag coefficient and the steering wheel was smaller than that on other 190s, whilst the fuel tank was enlarged to 70 litres. The Getrag five-speed, manual gearbox was unique to the 16 valve and featured a 'dog-leg' first gear. An enlarged 2.5 litre engine replaced the 2.3 in 1988 and offered double-row timing chains to fix the unreliable single chains on the early 2.3s. The power output was up by 17bhp with a slight increase in torque. It is debated whether the 2.5 engine was developed and built by Mercedes-Benz or by Cosworth … Interestingly, they were not keen to broadcast the fact that their most sporting saloon car had an engine developed by a British company. The suspension on the 16 valve models is very different from the standard 190 and as well as being lower and stiffer, it has larger anti-roll bars, harder bushes and hydraulic self-levelling suspension on the rear allowing the rear ride-height to remain constant even when the car is fully loaded.Presented in Smoke Silver with contrasting Black leather interior, this example features the desirable manual gearbox. Recommissioned in 2021 following a decade in storage, this Mercedes-Benz had £6,288 spent on it including a new battery, fuel distributor, clutch master / slave cylinders, spark plugs, injectors and brake calipers etc. In addition, the self-levelling rear suspension was fettled and the engine tuned. Currently showing some 90,500 miles, this impressive 190E boasts the original tool kit, spare wheel, owner’s manual, service booklet (the latter carrying sixteen stamps) and old MOT certificates from 1999-2011 in a large history file. Offered with an MOT Valid until 09 March 2023 a real wolf in sheep’s clothing.*Interested parties should note that the current registration does not come with the car and that a new one will be issued.Interested parties please note that this Lot is not sold with its most recent V5C however this has been applied for and will arrive in due course; we will forward this onto the successful bidder.  

Old Master Interest: An 18th century oil on copper figural study, 16cm x 22cm, framed and under glass. 

AN EARLY OLD MASTER STYLE OVAL STUDY OF A BEARDED MAN IN A TURBAN, unsigned, pen and ink and washes on paper, unframed, 32 x 26 cm, together with and early engraving with hand tinting on paper, figures in a wooded landscape, unsigned, unframed, 31 x 24 cm (2)

A COLLECTION OF VINTAGE MEDICI GALLERY AND OTHER SIMILAR FRAMED PRINTS, MAINLY OLD MASTER AND OTHER DECORATIVE SUBJECTS. SIZES VARY (15)

OLD MASTER SCHOOL , AN INTERESTING INK DRAWING OF TWO FIGURES MOUNTED BUT UNFRAMED 15 x 10 cms

OLD MASTER SCHOOL PORTRAIT OF A YOUNG LADY PLAYING A STRING INSTRUMENT, OIL ON COPPER 16 x 14 cms

OLD MASTER SCHOOL CHICKENS AND DUCKS BY A FEEDER, OIL ON PANEL 79 x 59 cms

Alvise Luigi Vivarini, um 1445 Venedig oder Murano – um 1505MADONNA MIT DEM KINDTempera und Öl auf Holz. Parkettiert.67 x 51 cm.Beigegeben eine Expertise von Mauro U. Lucco, Bazzano, datiert 15. Oktober 2015 sowie eine umfangreiche Dokumentation mit ausführlicher Bildvergleichsdarstellung.Zweifellos kann das Gemälde als bedeutendes Beispiel des Madonnen-Andachtsbildes der italienischen Renaissance insgesamt bezeichnet werden. Der schon zu seinen Lebzeiten gefeierte Meister Alvise Vivarini war ein bedeutender Vertreter obersten Ranges der venezianischen Malerei seiner Zeit. Das Werk zeichnet sich jedoch nicht nur durch den Ruhm seines Schöpfers aus, sondern auch wegen seiner ästhetischen Qualität. Nicht zuletzt hat das Gemälde eine bedeutende Provenienz vorzuweisen.Der Bildtypus war in Venedig traditionell vorgegeben, nicht zuletzt durch Werke des Giovanni Bellini (um 1430-1516). Noch in der Amsterdamer Ausstellung 1934 war das Bild als ein Werk des Venezianers Marco Basaiti (um 1470-um 1535) gesehen, bevor es 1956 durch Michel Laclotte, dann 1962 durch Rodolfo Pallucchini dem Werk Alvises zugeordnet werden konnte, aufgrund von Vergleichen u. a. mit der „Sacra Conversazione“ in Sankt Petersburg, danach auch mit weiteren Werken wie der „Assunta“ in der Kirche Santi Felice e Fortunato di Noale.Vivarini war der letzte Vertreter der bekannten venezianischen Malerdynastie des Quattrocento. Als Sohn des Antonio da Murano Vivarini (um 1415-1476) und Neffe des Bartolomeo Vivarini (um 1432-um 1499), aber auch des Giovanni d´Alemagna (gest. 1450) setzte er die Tradition fort. Vermutlich war er auch der Lehrer des berühmten Jacopo de Barbari (1440-um 1516).Im Gemälde wird Maria auch hier, dem Bildtypus gemäß, im Halbbildnis wiedergegeben, in einem loggienartig zu denkenden Raum, vor einem senkrecht ziehenden Tuch im Hintergrund, in einer Stilstufe davor meist mit Brokatmusterung, hier jedoch durch einheitliches Grün ersetzt, das das Haupt der Maria mehr zur Geltung bringt. Der schwarze Raumhintergrund beruhigt die Darstellung. Komplementär zum grünen Tuch erscheint hier der Mantel in Rot, was von der Tradition mutig abweicht, bedenkt man, dass der Mantel stets blau dargestellt wird. Der landschaftliche Ausblick links, mit Burganlage und Stadt an einem Flusslauf, lässt das Andachtsbild lebendig erscheinen. Im Arm der Mutter sehen wir das Kind schräg sitzend, sein Blick nach links gilt jedoch scheinbar einer Erscheinung außerhalb des Bildes. Auch dies ist für den Bildtypus dieser Zeit bereits ein ungewöhnlicher Vorgriff auf spätere Bildauffassungen. Die Raffinesse der Farbkomposition zeigt sich darin, dass nun das Rot des Marienmantels und der Frucht im Kinderhändchen von dem Grün des Tuchs auf der Steinbrüstung und im Hintergrund umspielt wird. Die Nachdenklichkeit im Gesicht der Maria und den unruhigen interessierten Seitenblick des Kindes hat der Maler ausdrucksstark verlebendigt.Verso auf dem Ädikularahmen:Sammlungsetikett „Collectie Goudstikker / Amsterdam Heerensgracht, No. „1295“ (handschriftlich)“.Ferner: Gedruckter Aufkleber „Stichting Nederlandsch Kunstbezit“ mit Inventarnummer 47.Aufkleber „Dienst voor‘s Rijks Verspreide Kunstvoorwerken S‘Gravenhage“ Inventarnummer 47.Provenienz:Das Gemälde entstammt der bekannten Pariser Sammlung Mori, einst gemeinsamer Besitz von Jaques Goudstikker, Amsterdam, halbanteiliger Rathgeber, Berlin.Im Juni 1940 wurde das Gemälde von der Nazi-Besatzungsbehörde enteignet, durch die Alliierten 1945 jedoch wieder aus dem Raub befreit und unter die Schirmherrschaft der Holländischen Regierung gestellt. Im Februar 2006 wurde das Bild an die Eigentümerin, die Erbin von Jacques Goudstikker, Marei von Saher New York, N.Y. restituiert.Anmerkung:Das Bild wurde kurz vor 1920 durch Jacques Goudstikker (1897-1940) erworben. Er entstammte einer einer Kunsthändlerfamilie, die 1845 die Firma gegründet und eine umfangreiche Sammlung aufgebaut hatte. Die Sammlung zählte zu den wichtigsten der Niederlande und wohl auch Europas. Die Kunsthandlung mit Stammhaus in Amsterdam führte auch zeitgenössische Werke, etwa von Vincent Van Gogh (1853-1890), Piet Mondrian (1872-1944) oder Kees van Dongen (1877-1968), veranstaltete aber auch Festkonzerte (das letzte mit dem weltberühmten Pablo Casals (1876-1973). Die Einkünfte kamen Wohltätigkeitszwecken zugute. Goudstikker verstarb auf der Flucht ins Exil an Bord der Bedegraven. 1941 wurde die Sammlung durch Hermann Göring persönlich geplündert, manche der Werke an Hitler weitergegeben. Nach 1945 kam ein Teil der Sammlung in den Besitz des niederländischen Staates. Die Erbin Desi Goudstikker prozessierte sieben Jahre um die Herausgabe der Bilder, jedoch nur mit Teilerfolg. Erst 1998 konnte die Schwiegertochter Saher-Langenbein erneut Ansprüche geltend machen. (Siehe dazu: Pieter den Hollander und Melissa Müller, Jacques Goudstikker. 1897-1940, in: Melissa Müller und Monika Tatzkow, Verlorene Bilder. Verlorene Leben. Jüdische Sammler und was aus ihren Kunstwerken wurde, 2. Auflage München 2009.)Literatur:Catalogue de la Collection Goudstikker d‘Amsterdam. Exposée dans les locaux du Schilderkundig Genootschap Pulchri Studio, n. 28. La Haye, November 1924, Den Haag.Italiaansche Kunst in Nederlandsch besitz, Amsterdam 1934, n. 20.Raimond van Marle, La pittura all‘Esposizione d‘arte antica italiana di Amsterdam, i Veneziani, in: Bollettino d´Arte, XXVIII, März 1935, S. 391.Michel Laclotte, De Giotto á Bellini, Paris 1956, S. 124.Fritz Heinemann, Giovanni Bellini e I Belliniani, Venezia 1962, Vol. 1, S. 303, MB 118.Rodolfo Pallucchini, I Vivarini (Antonio, Bartolomeo, Alvise), Venedig 1962, S. 140.Bernard Bonario, Marco Basaiti: a Study of the Venetian Painter and a Catalogue of His Works. Ph.D. Diss. Univ. of Michigan, ed. 1983, S. 230.H.W. van Os & C.E. de Jong-Jansen, in: H.W. van Os & C.E. de Jong-Jansen van Asperen de Boer, Jong-Jansen, C. Wiethoffe eds., The early Venetian Painting in Holland, Maarsen 1978, S. 45-49, n. 6.Vedere fino in fondo. Risultati di esperienze tecnico-scientifiche condotte su dipinti veneziani, Florenz 1978 (Inst. Univ. Olandese di Storia dell‘Arte), S. 18 ff.F. Zeri, Recensione a „The Early Venetian Paintings in Holland“, in: Antologia di Belle Arti, Ausgabe 7-8. S. 316.A. Conti, Mostre fino in fondo, in: Prospettiva, 1979, 16, S. 18.Christopher Wright, Paintings in Dutch Museums, Amsterdam 1980, S. 20.John Steer, Alvise Vivarini. His Art and Influence, Cambridge 1982, S. 185 ff.Mauro Lucco, Venezia fra Quattro e Cinquecento, in Storia dell'Arte Italiana, Enaudi, Vol. V., Turin 1983, S. 456, Abb. 326.Fritz Heinemann, Giovanni Bellini e i Belliniani. III Suppl. e Ampliamenti, Hildesheim, Zürich und New York 1991, S. 98. N. MB. 118.Old Master Paintings. An Illustrated Summary Catalogue. Rijksdienst Beeldende Kunst/The Nederlandish Office for Fine Arts, Zwolle und Den Haag 1992, S. 36.D. H. van Wegen, A.A.M. Quick (Hrsg.), Bonnefantenmuseum, Maastricht 1995, S. 177.C.E. de Jong-Jansen, Catalogue of the Italian Paintings in the Bonnefantenmuseum Maastricht 1995, S. 126 f., Nr. 61.Ausstellungen:1924, Den Haag, Catalogue de la Collection Goudstikker d´Amsterdam. Exposée dans les locaux du Schilderkundig Genootschap Pulchri Studio, n. 28 La Haye, Nov. 1924, Nr. 2 m. Ill.11.05 - 01.10.1934, Amsterdam, Stedelijk Museum, Italiaansche kunst in Nederlands bezit, Nr. 20. (13300573) (2) (11)Alvise Luigi Vivarini,ca. 1445 Venice or Murano – ca. 1505MADONNA AND CHILDTempera and oil on panel. Parquetted.67 x 51 cm.Accompanied by an expert’s report by Mauro U. Lucco, Bazzano, dated 15 October 2015 as well as detailed report with elabor...

An Old Master print, various other prints, pictures, etc. (a quantity)

Arthur Rackham, RWS (British, 1867-1939)Andromeda indistinctly signed (lower right)watercolour and bodycolour54.5 x 37.3cm (21 7/16 x 14 11/16in).Footnotes:ProvenanceSale, The George McCulloch collection, Christie's, London, 26 May 1913, lot 216.Lady Lever Art Gallery, Liverpool (acquired from the above sale); Christie's, London, 6 June 1958, lot 79.Mr Goldschmidt (acquired from the above sale).With Paul Longmire Ltd., London.Mr R. Gilbert (acquired from the above, 30 January 1969).Private collection, UK.ExhibitedBirmingham, 1903 (according to a letter from the Walker Art Gallery dated 23 November 1984).London, Royal Academy, Winter Exhibition, 1909, no. 255.Arthur Rackham trained part-time at the Lambeth School of Art whilst working as a clerk at the Westminster Fire Office. In 1892, he left his role at the Fire Office to become a reporter and illustrator, and, shortly after, he provided his first book illustrations. Showing such an aptitude for this, he would dedicate the rest of his career to illustrating literature. Rackham's distinctive style would prove hugely influential and established him as one of the greatest book illustrators of the 19th and 20th centuries. Out with his successful career as an illustrator, Rackham also produced watercolours to be exhibited. However, the subjects of his work rarely strayed from the tales of mythology and fantasy in which he seemed so immersed. In the present lot, Rackham has applied his unique imagery and style to the myth of Andromeda. The princess has been chained to a rock as a sacrifice to sate the sea monster, Cetus, sent by Poseidon as punishment for Andromeda's mother's claim to be of greater beauty than the sea dwelling Nereids. Andromeda has recoiled in fear as she attempts not to look at the beast which makes its way towards her. The viewer can only anticipate the entry of Perseus, who famously comes to the rescue, but, as with so many Old Master paintings of the same subject, tension is created by his absence. Here, we can see the power of Rackham's imagery in propelling the emotional and narrative arc of his subjects.For further information on this lot please visit Bonhams.com

Pablo Picasso (Spanish, 1881-1973)La Danse Barbare, from 'La Suite des Saltimbanques' (Bloch 15; Baer 18.b1) Etching with drypoint, 1905, on Japan laid, from the rare edition of 27 or 29, printed by Louis Fort, published by Ambroise Vollard, Paris, 1917, with wide margins, 333 x 483mm (13 1/8 x 19in)(SH)Footnotes:ProvenanceChristie's London, 'Old Master, Modern and Contemporary Prints', 18 December 2001, lot 192.Acquired from the above sale by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Attributed to Charles Victoire Moench (French 1787-1867) Vertumnus & Pomona, oil on panel, measurements 83 x 67 cm, frame 102 x 85 cm.Label verso: for Arnold Wiggins and Sons picture framers and a wax seal verso bottom. Provenance: previously sold at Christies Old Master Pictures, London, July 2000, Lot 179The tale of Vertumnus and Pomona is taken from Ovid's Metamorphoses. Vertumnus is a god of the seasons, gardens and fruit trees who was enamoured with Pomona, a beautiful wood nymph who dedicated herself to cultivating her orchard and rejecting all potential suitors. He disguised himself as an old woman in order to gain entry to Pomona's orchard and sought to convince her to choose the youthful and handsome deity Vertumnus. He then transforms and reveals himself in his true form to woo her.Please note there is an additional 20% chargeable on the hammer price for this lotProvenance: previously sold at Christies Old Master Pictures in London, July 2000, lot 179 The painting is basically in sound conditionThat said the panel has been cradled on the reverse, and has been subject to signifiacnt cleaning and restoration in the past.It has surface in-painting in various areas of the panel most notably in the tree foliage area ; towards the edges of the painting ;, and in an area towards the left handside of the tree canopy around the the top of the tree trunk on the left hand side of the painting..There are two surface cracks obviously visible , one a vertical surface crack around 20cm in length in the upper cenrte of the tree canopy; and another vertical surface crack towards the top right corner around 15.3cm , there are other less obvious surface fractures in other areas of the panel which also appear to have been restored in the past

A Continental porcelain rectangular plaque, painted with a traditional Dutch genre scene, after the Old Master, 29cm x 34cm, c. 1900

A COLLECTION OF ROYAL MINT PROOF COINS SETS AND OTHER COINS, to include 2015 set, another 2015 Chief Engravers master proofs to include thirteen coin proofs of UK coinage in Royal Mint box of issue, a 2013 Chief of Engravers master proof fourteen coin set in box of issue, a 2014 Chief Engraver master proof fourteen coin set in box of issue, together with a 2011 UK proof coin set fourteen coins included, a 2012 similar coin set containing only ten coins, also including x2 2013 silver proof one ounce Britannia's with COA's, a Royal Mint silver one pound coin 2011, a Pope Paul II commemorative coin, an 1899 Victoria shilling coin has some wear, and an old Uk one pound coin

18th Century School. Landscape & Seascape, a pair, red chalk, 27cm by 43cm, framed & glazed, bearing labels verso, Hal O'Nians, Old Master Drawings, 1-18 June 1966, with catalogue entries. The landscape appears to be in good order, the seascape with closed tears, unexamined out of frames (2)

** Clark, Portrait of a Lady, Oil on canvas, signed, 30.5X25.5cm, unframed, together with a pen and ink sketch titled 'Head-piece for Peachling' and three old master style sketches (5).

Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.

In the Old Master MannerWoman and Child with a basketpencil, 22cm x 17cm

Four: Chief Engine Room Artificer A. W. Treadwell, Royal Navy, who having served through the Great War, tragically drowned in the Yangtse River, China, in January 1927, after falling from the river gunboat H.M.S. Woodcock whilst evacuating civilian refugees 1914-15 Star (M.714, A. W. Treadwell. E.R.A. 2. R.N.); British War and Victory Medals (M.714 A. W. Treadwell. C.E.R.A. 2 R.N.); Royal Navy L.S. & G.C., G.V.R., 2nd issue, fixed suspension (M.714 A. W. Treadwell. C.E.R.A. 2. H.M.S. Hecla.) mounted on card for display, some adhesive residue to reverse of medals, edge bruising and contact marks, otherwise nearly very fine (4) £180-£220 --- Albert William Treadwell was born on 29 April 1887, at Motherwell, Lanarkshire, and was a fitter and turner before he joined the Royal Navy as an Acting Engine Room Artificer 4th Class, H.M.S. Pembroke II on 16 October 1880, when he engaged for 12 years. He was confirmed in that rate on 15 December 1909, when serving in H.M.S. Scylla; advanced to E.R.A. 3 Class, H.M.S. Dido on 16 October 1911; E.R.A. 2 Class, H.M.S. Phoenix, 15 October 1915; C.E.R.A. 2 Class, H.M.S. Verulam, 4 January 1918; and was finally advanced to C.E.R.A. 1 Class, 1 January 1924. He was awarded the L. S. & G.C. Medal in October 1923. During the Great War he had served in several ships including H.M.S. Phoenix in which he served between 18 June 1914 and 19 May 1916, when he transferred to H.M.S. Pigeon, both ships being based at the depot ship H.M.S. Woolwich. Tragically he drowned on 13 January 1927, whilst serving in the river gunboat H.M.S. Woodcock, herself based on the river gunboat H.M.S. Bee, the headquarters ship on the River Yangtse. He had been in H.M.S. Woodcock since 12 February 1925, and the ship’s log confirms his drowning in the River Yangtse: "Friday 14 January 1927 at Paiyuchi Pagoda. 01.30. Tug Chu Chow and launch Kingfisher made fast alongside from down river. Reported accidental death by drowning of Albert William Treadwell, C.E.R.A. o/n M 714, Scotch, aged 39 years, who was found to be missing from launch Kingfisher at 17.50 on 13 January off Pai Ja Chi Pagoda when on passage down river to meet S.S. Sianghan, he having been seen on deck at 17.45." H.M.S. Woodcock had been operating between Changsha and Jung Jing Lake and was engaged in the evacuation of British women and children from Changsha. 18 women, 2 men and 13 children were transferred to S.S. Sianghan at 09.25 on 14 January 1927. His death was reported in the Motherwell Times of 21 January 1927, under the headline “Drowned in Chinese Waters: It is with deep regret we learn of the death in service last week, in Chinese waters, of Chief Petty Officer Albert William Treadwell, E.R.A. He was the elder son of the late Sergeant-Instructor James Treadwell, who was well known to the old Volunteers of Motherwell and district. Deceased had served in the Navy for nineteen years and was due to retire on a good pension in two years’ time. He saw service in the West Indies, during the rising in Nicaragua, and went through the Great War unscathed. His thrilling tales of the sinking of the “Koningen Louise,” the fighting off Heligoland and the Great Jutland Battle will long be remembered by his hearers, in his younger days he was a staff-sergeant in No. 3 Company of the Boys’ Brigade, attached to Holy Trinity Episcopal Church, with which he and his family were closely connected; and was an enthusiast in local Y.M.I. affairs. He was also a Master Freemason in his port town of Chatham. His death in his country’s service cuts short a splendid career. He was in his forty-first year, and leaves a widow and two daughters. The deceased was known to a wide circle of people in Motherwell, was born and brought up in Windmill Hill Street, and as boy attended Whamond’s School and Glencairn School. Fuller details are awaited as to how P.O, Treadwell met his death. The only news received present has been through Admiralty channels, which simply intimates that met his end by drowning a week ago, on the 13th January.” Sold with copied record of service.

An album of old master and 19th-century prints Thirty-seven, including examples by or after Anthonie Waterloo, Herman van Swanevelt, Jan Both, Stefano della Bella, Cornelis Bega, Phillippe Mercier, Nicolaes Berchem, John Arthur Poulter, Battista Franco, Guercino, Karel Dujardin, Thomas Rowlandson, Willem van de Velde the Younge, Nicolas Chaperon, William Hogarth, William Beechey, Georgiana Keate, Rembrandt, and Adriaen Brouwer Largest 31.6 x 27.2cm; 12½ x 10¾in; Smallest 9.9 x 7.3cm; 4 x 2¾in (sheet) (37)

Bartolomeo Passarotti (Italian 1529-1592)Study of a male nudeInscribed Annibal Carrachi (to mount)Pen and brown ink26 x 15.1cm; 10¼ x 6inProvenance:Anonymous sale, Christie's, South Kensington, 17 December 1998, lot 44, where purchased by a Private Collector, California;By whom sold, Christie's, New York, Old Master and 19th Century Drawings, 24 January 2008, lot 21

Thomas Heeremans (Dutch 1641-1694) Winter landscape with figures skating and sledging on a frozen river outside a city's wall Signed and dated HMAN TO 1686 (lower left) Oil on canvas 48 x 57.5cm; 19 x 22¾in Provenance: Possibly, Sotheby's, London, Old Master Paintings, 15 July 1970, lot 118; The Power Collection; And by family descent

MILANESE SCHOOL; early 17th century oil on canvas, portrait of a nobleman in armour, unsigned 121 x 100cm, framed. Provenance: private collection, UK. Purchased Messrs Doyle of New York Important English and Continental Furniture/Old Master Painting Sale, 01/26/2011, lot 28. E.P. Mellon Collection, 1030 Fifth Avenue, New York and Louisville, Kentucky, 1929 (From an old Knoedler & Company label on the stretcher). Private collection Beacon, New York until the Doyle Auction. 

FOLLOWER OF ANTONIS MOR (circa 1512-1576); oil on panel, portrait of a lady, three-quarter length, standing, wearing a black embroidered and bejewelled dress and headdress with right hand resting on a chair, unsigned, 126.5 x 66cm, framed. Provenance: private collection, UK. Purchased Messrs Christie's Old Master & 19th Century Art sale, 28/04/2010, lot 23. 

Jewellery watch, brooch. SIGMA VALMON Geneva. Early 20th century Model representing a cuckoo clock. Gold, turquoises, old-cut diamonds, rubies, a sapphire and enamels. Original leather and silk case.Weight: 19.2 g.Measurements: 6.3 cm (length); 1 cm (dial)The cuckoo clock is a type of clock generally fitted with a pendulum and a gong, characterised by an opening through which, every half hour, a bird-shaped automaton emerges, generally resembling a cuckoo, and which therefore emits a song, the sounds of which resemble the onomatopoeia "cuckoo".This piece belongs to the personal collection of Don Juan José Ontalva (Chinchón, 1930- Madrid, 2019), a famous watchmaker from Madrid, descendant of several family generations dedicated to the world of watches. During his career he achieved a high degree of precision and skill, becoming the master of other watchmakers. He is currently recognised for numerous works, including the commissioning and restoration of the Billeter astronomical clock, located in the Congress of Deputies.

Altmeister 18. Jahrhundert Königliche Szene mit Figurenstaffage, Old master 18th century royal scene with figures,Öl/Leinwand, rechts signiert (unentschlüsselt), H 45 cm x B 40 cm, Holzrahmen 68 x 63cm, deutliche Altersspuren, Fehlstellen, Rahmen besch.Oil/canvas, signed on the right (undeciphered), H 45 cm x W 40 cm, wooden frame 68 x 63 cm, clear signs of age, missing parts, frame is damaged.

Italien Altmeister 18. Jahrhundert Maria lactans, italian old master 18th century breastfeeding Madonna,Öl/Leinwand (auf Platte doubliert), keine erkennbare Signatur, Maria lactans, auch bekannt als Stillende Gottesmutter, Seliger Schoß, oder Galaktotrophousa, H 87,5 cm x B 71 cm, Holzrahmen 98 x 82 cm, Craquele, rest.oil/canvas (doubled on panel), no recognizable signature, Maria lactans, also known as Nursing Mother of God, H 87.5 cm x W 71 cm, frame 98 x 82 cm, restored, craquele

An 18th century old master In the manner of El Greco - A Saint Worshipping at the Altar - oil on canvas, framed, 20 by 28cms.Condition ReportThere is a hole in the canvas and there is some paint loss.

NO RESERVE Campden Wonder.- Overbury (Sir Thomas) A True and perfect account of the examination, confession, trial, condemnation and execution of Joan Perry, and her two sons, John and Richard Perry, for the supposed murder of Will. Harrison, gent...Also Mr. Harrison's own account how he was conveyed to Turkey, and there made a slave above two years, when his master (who bought him there) dying, he returned to England; being, in the mean while, supposed to be murdered by his man-servant, who falsely accused his own mother and brother as guilty of the same, and were all three executed for it on Broadway-Hills, in Gloucestershire, Printed for John Atkinson, [?1754] bound with [Wesley (John)] A Short Account of the School, in Kingswood, Near Bristol, Bristol, by William Pine, 1768 and [Wesley (John)] An Account of the Delivery of Thomas Cross... who was Overset in a Small Boat, Crossing the New-Passage, on the River Severn..., title closely shaved at head, by R. Hawes, [1777], together 3 works in 1 vol., occasional light soiling, bookplate to pastedown, 20th century vellum-backed cloth, 8vo.⁂ A trio of scarce pamphlets. The first details the events of what has become known as the Campden Wonder in which a trio of servants were executed for the murder of 70 year-old man upon his disappearance, only for the man to return two years later with an outlandish tale of kidnap by pirates to explain his disappearance. Provenance: John E. Pritchard, Bristol (bookplate).

A MAHOGANY SILVER TABLE IN GEORGE III STYLE, IN THE MANNER OF THOMAS CHIPPENDALE, LATE 19TH CENTURYThe pierced gallery above the rectangular top, on blind fretwork legs72cm high, 81cm wide, 55cm deep Provenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.There are losses and restorations including some cracks and repairs to the pierced gallery; the underside with some later blocks to minimise the cracks to the top and with later brown wash to the underside; some cracks to the frieze; The casters are leather disc casters. The inside measurement of the top is 78.5cm x 52.5cm.Please refer to the additional photographs as a visual reference of condition.Condition Report Disclaimer

A 17th century terracotta fountain bozzetto modelled as Silenus and two SatyrsNorthern Italian or possibly Netherlandishthe naked drunken figure of Silenus supported by the two satyrs and seated on an upturned wine jar, an owl at his feet, his mouth and groin pierced to take water spouts, on a fragmented base, losses to the base, 22.5cm highFootnotes:Property of a GentlemanProvenance:Sotheby's, London, Old Master Sculpture and Works of Art, 8 July 2011, lot 78.A copy of the thermoluminescence analysis report, dated 29 September 2011, can be supplied with the lot. The report from the Oxford Authentification Ltd, shows that using standard techniques, it was estimated that the date of the last firing was between 100 to 300 years ago.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 QUEEN ANNE WALNUT EIGHT-DAY LONGCASE CLOCKCHARLES GRETTON, LONDON, CIRCA 1705The five finned pillar inside countweel bell-striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and border-engraved calendar aperture to the matted centre within applied Roman numeral chapter ring with foliate half hour markers, Arabic five minutes beyond the minute track and signed Cha: Gretton, London to lower margin, with fine sculpted steel scroll hands and twin cherub and crown cast spandrels to angles within a continuous wheatear engraved outer border, the walnut veneered case with ogee moulded cornice and line-bordered frieze over hinged glazed front applied with Solomonic twist three-quarter columns to the front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with cavetto throat moulding over door with re-worked break-arch top and inlaid with floral sprays above and below the central lenticle, with triple-line inlaid crossbanded border and cross grain half-round edge mouldings, the base with ogee top moulding and conforming triple-line inlay to front, on moulded skirt base incorporating shaped apron and integral bracket feet.126cm (85ins) high, 50cm (19.75ins) wide, 25.5cm (10ins) deep. The life and work of Charles Gretton is thoroughly documented in Radage, Dennis; Warner, Meinen and Radage, Laila CHARLES GRETTON, THROUGH THE GOLDEN AGE. Charles Gretton was born in Clayplole, Lincolnshire in 1648 and by 1662 he had moved to London entering into an eight year apprenticeship under Humphrey Downing on the 30th June of that year (turned over from Lionell Wythe). Humphrey Downing died in 1666 but it is thought that Gretton continued his apprenticeship under his widow, Cordelia, gaining his freedom of the Clockmakers Company in 1672 and se-up business in Fleet Street. In 1677 Charles Gretton married Mary Phillips and established himself at the sign of the 'The Ship' in Fleet Street (either number 174 or 175 next to Fetter Lane). Gretton was appointed an Assistant of the Clockmaker's Company in 1889 and then Warden in 1697; the same year he signed the 'oath of allegiance'. In 1700 Charles Gretton served as Master as well marrying his second wife Lucy Uffman (his first wife Mary died in 1694). In 1701 he put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members and was nominated to serve again as Master in 1705/06. Lucy, his second wife died before 1711 as this is the year that Charles Gretton married his third wife, Dorethea Wilson shortly after which he moved to his newly acquired second premises at two Chancery Lane. At this time his premises at 'The Ship', Fleet Street was passed onto the management of his nephew, Thomas Moore who paid taxes on the building until 1723. In 1716 Charles and Dorothea moved again to Chancery Lane where they remained until Dorothea's death in 1727. By this time Charles Gretton had retired from active clockmaking and went to go and live with his daughter, Ann, in Milk Street where he remained until his death in 1731.During his carreer Charles Gretton He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. By the time of his death and internment at St. Dunstan's in the West Gretton had become a wealthy and highly respected figure within the City of London as well as the clockmaking community. His Will mentions no less than nine properties as well as £1,300 deposited in the Bank of England contributing the £2,600 monetary component of his legacy. Despite the best efforts of the authors to track-down known examples of his work the current lot is not recorded in CHARLES GRETTON, THROUGH THE GOLDEN AGE however the dial can be closely compared to that of clock 'LC63' illustrated on pages 214-5.Condition Report: The movement has survived in its original form with no visible alteration however the collets and pinion lengths would suggest that the trains have been re-pinioned most likely at some point during the 19th century. Although the movement will run and strike the mechanism is in dirty/neglected condition hence a clean/service is required. The dial has survived in good original condition but has lost its silvering and has deposits of metal polish throughout. The matting and engraving show very slight wear/rubbing and the spandrel castings are of good quality. The hands appear original, are well-made and are in good condition having only a small loss to the stem of the hour hand within the looped section.The movement retains what appears to be its original seatboard (albeit with old losses along the rear edge) which rests on cheek uprights of the case at the correct level with no evidence of alteration or adjustment. From this it is most likely that the movement and dial are original to the case. The hood has old replacement top board and the front frieze fret has been substituted for veneer otherwise is in good original unrestored condition with faults limited to age related bumps, scuffs, shrinkage and relatively minor historic repairs. The trunk is structurally sound however strips have been let-in to the rear edges of each side suggesting at some point the backboard has become loose where it joins the sides causing damage to occur (this may have been due to localised worm damage in the sides although non is evident). The exterior of each side has banded veneers inserted over these strips. The backboard has a vertical crack necessitating a brace to be applied across the back. The backboard panel stops short around three inches below the plinth top mouldings with the section beneath backed with an additional panel.The trunk door has been modified by lowering and reshaping the top of the panel with a break-arch; the upper section of the surrounding frame has been infilled to fill the top of the rectangular aperture. The trunk door retains its lock but the hinges are replacements. The marquetry decoration to the door are 19th century additions; the base has been partly re-veneered and has some consolidation/replacements within the structure. The skirt is a later replacement. Trunk is otherwise is in sound unrestored condition but with age related shrinkage, bumps, scuffs and a few small historic repairs.Clock has pair of most likely original brass-cased weights (although one has been sleeve-repaired), pendulum, crank winder and a case key. Condition Report Disclaimer

A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCKTHOMAS HUNTER JUNIOR, LONDON, CIRCA 1775The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with recessed silvered subsidiary seconds dial and calendar aperture to the centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and cast rococo scroll cast spandrels to angles beneath arch with circular silvered signature boss engraved Tho's Hunter Jun'r. London flanked by conforming scroll cast mounts, the case with concave sided 'pagoda' upstand incorporating shaped fretwork panel to fascia over cavetto moulded break-arch cornice and hinged glazed dial aperture flanked by brass stop-fluted columns, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with concave throat moulding over flame-figured mahogany break-arch door applied with complex mouldings to edges, the base with concave top mouldings over rectangular raised panel, moulded double skirt and block feet.244cm (96ins) 56cm (22ins) wide, 28cm (11ins) deep. Thomas Hunter junior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed 1734 gaining his freedom in 1742, he worked from New Broad Street Buildings, was appointed Warden in 1762 then served as Master in 1765, he died in 1785.Condition Report: Condition overview:Movement is in clean working condition with no evidence of alteration or noticeable replacements. The dial is in fine clean condition and appears all-original. The movement and dial rest on old, probably original seatboard directly onto the cheek uprights of the case suggesting that the movement and dial are original to the case. The case is in generally in fine condition of the appearance of being recently cosmetically restored. Faults are very much limited to minor bumps, scuffs, shrinkage and other blemishes commensurate with age.Clock has pendulum, two brass-cased weights, a case key but no winder. Condition Report Disclaimer

A group of ephemera assembled by Manchester United's Duncan Edwards's first "pen-pal"  circa 1954-1955,including a signed 2-page hand written letter in blue ink from Edwards at his 5 Birch Avenue, Old Trafford, address to Master Peter Ings of 162 Athelstan Road, Bitterne, Southampton, Edwards stating that Peter is his first pen-pal, Duncan goes on to answer a question from Peter who was asking for advice hoe to be "a ball player", Edwards reply reads "Well Peter I think this is the only advice I can give. When you gp playing with the local lads, don't just kick the ball anyhow, take your time, get over the ball to keep it low, and try and direct your ball.", with original envelope; offered with a signed b&w press photograph inscribed "Pete, Good Luck In Your Future", Duncan Edwards, the reverse also signed and inscrived "To a good little lad, Good luck", Duncan Edwards, with original envelope; the lot also including two single-sheet programmes sent by Edwards to Ings, a 1953-54 Youth match Manchester United v West Bromwich Albion; and Reds v Blues Practice Match 1955-56