◆ (B) THE INTREPID: THE MACALLAN 1989 32 YEAR OLD 2021 GUINNESS WORLD RECORD HOLDER OF THE LARGEST BOTTLE OF WHISKYbottled on 9th September 2021, vatted from Hogsheads #6986 and #6992, bottle number 1 of 1, 311 litres/ 43%; together with THE ORIGINAL BOTTLE, 180cm high; THE ORIGINAL CORK CLOSURE; a BESPOKE PLINTH BASE; THE ORIGINAL MACALLAN HOGSHEAD CASKS, cask numbers #6986 and #6992, stencilled 1989ESTIMATE UPON REQUESTProvenance: Distilled 3rd May 1989 Filled into American oak hogsheads #6986 and #6992 Lain undisturbed at The Macallan Distillery for thirty-two years Vatted together September 2021 by Duncan Taylor Scotch Whisky, Huntly, to produce The Intrepid Collection The Intrepid is granted Guinness World Record status as 'The World's Largest Bottle of Whisky' on 9th September 2021Note: Please note all items in this lot are retained in bond at Duncan Taylor & Co., Huntly. Please see Buyer's Guide at head of catalogue for important information about lots in bond, their release and storage. For security and ease of transport to the new owner, the whisky is now contained within 178 x 1.75 Litre sealed glass bottles.Tasting Notes: Provided by Charles MacLean MBE, Master of the QuaichAppearance : Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma : A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste : A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment : An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.ESTIMATE UPON REQUEST
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THE INTREPID: THE MACALLAN 1989 32 YEAR OLD MINIATURE OF THE INTREPIDbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, with carton(5cl/ 43%)Tasting Notes: Provided by Charles MacLean, MBE, Master of the Quaich Appearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD MINIATURE OF THE INTREPIDbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, with carton(5cl/ 43%)Tasting Notes: Provided by Charles MacLean, MBE, Master of the Quaich Appearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD COMPLETE SET OF TWELVE 50CL BOTTLINGS OF THE INTREPIDbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, comprising a REPLICA EDITION OF THE INTREPID: THE WORLD'S LARGEST BOTTLE OF WHISKY, bottle number 1 of 150; and ELEVEN 'EXPLORER EDITION' BOTTLINGS OF THE INTREPID, each with a label showcasing one of the explorers involved in the project: Olly Hicks (bottle number 2 of 150), bottle signed by Olly Hicks; Karen Darke MBE (bottle number 3 of 150) bottle signed by Karen Darke MBE; Will Copestake (bottle number 4 of 150), bottle signed by Will Copestake; Dr. Geoff Wilson (bottle number 5 of 150); Sir Ranulph Fiennes (bottle number 6 of 150); Jamie Ramsay (bottle number 7 of 150); Dwayne Fields FRGS (bottle number 8 of 150); Felicity Aston MBE (bottle number 9 of 150); Sir Robin Knox-Johnston (bottle number 10 of 150); Sarah Outen MBE (bottle number 11 of 150); and Levison Wood FRGS (bottle number 12 of 150), each with individual wooden presentation cases, each 50cl/ 43%; together with TWELVE MINIATURES OF THE INTREPID, each with carton, 5cl/ 43%; and a SET OF TWELVE FRAMED PRINTS, comprising one of each explorer on digital collage detailing The Intrepid project in progress, unsigned, each 31cm x 44cmTasting Notes: Provided by Charles MacLean, MBE, Master of the QuaichAppearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD COMPLETE SET OF TWELVE 50CL BOTTLINGS OF THE INTREPIDbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, comprising a REPLICA EDITION OF THE INTREPID: THE WORLD'S LARGEST BOTTLE OF WHISKY, bottle number 25 of 150; together with ELEVEN 'EXPLORER EDITION' BOTTLINGS OF THE INTREPID, each with a label showcasing one of the explorers involved in the project: Olly Hicks (bottle number 26 of 150); Karen Darke MBE (bottle number 27 of 150); Will Copestake (bottle number 28 of 150); Dr. Geoff Wilson (bottle number 29 of 150); Sir Ranulph Fiennes (bottle number 30 of 150); Jamie Ramsay (bottle number 31 of 150); Dwayne Fields FRGS (bottle number 32 of 150); Felicity Aston MBE (bottle number 33 of 150); Sir Robin Knox-Johnston (bottle number 34 of 150); Sarah Outen MBE (bottle number 35 of 150); and Levison Wood FRGS (bottle number 36 of 150), each with individual wooden presentation cases, each 50cl/ 43%Tasting Notes: Provided by Charles MacLean, MBE, Master of the Quaich Appearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD REPLICA EDITION OF WORLD RECORD BOTTLEbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, bottle number 145 of 150, with individual wooden presentation case, 50cl/ 43%; together with a MINIATURE OF THE INTREPID, with carton, 5cl/ 43%; and a SET OF TWELVE FRAMED DIGITAL PRINTS, comprising one of each explorer on digital collage detailing The Intrepid Project in progress, each signed by the explorer pictured, 31cm x 44cmNote: The full proceeds of this lot will be sold to the equal benefit of the eleven Intrepid Explorers who are the inspiration for this project. For further details of these charities visit www.lyonandturnbull.com/the-intrepid-whisky/#explorers Tasting Notes: Provided by Charles MacLean, MBE, Master of the Quaich Appearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD REPLICA EDITION OF THE INTREPID: WORLD'S LARGEST BOTTLEbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, bottle number 146 of 150, with individual wooden presentation case, 50cl/ 43%; together with a MINIATURE OF THE INTREPID, with carton, 5cl/ 43%Tasting Notes: Provided by Charles MacLean, MBE, Master of the Quaich Appearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD TWO MINIATURES OF THE INTREPIDbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, each with cartons(each 5cl/ 43%)Tasting Notes: Provided by Charles MacLean, MBE, Master of the Quaich Appearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD TWO MINIATURES OF THE INTREPIDbottled on 8th September 2021, vatted from Hogsheads #6986 and #6992, each with cartons(each 5cl/ 43%)Tasting Notes: Provided by Charles MacLean, MBE, Master of the Quaich Appearance: Pale gold with khaki lights. A vatting of two refill American oak hogsheads to create the world’s largest bottle of whisky. Aroma: A very mild and gentle nose. Gradually opens to present scents led by baked apple (and baked apple skin), supported by pear in syrup and a suggestion of flaked almond, on a base note of short-crust pastry. All subtle and understated. A drop of water introduces a trace of vanilla fudge and a whisper of dry sherry. Taste: A smooth texture, and a sweet overall taste with some white pepper in the lengthy, warming finish and a suggestion of French apple tart in the aftertaste. Lightly mouth drying at reduced strength, and more spicy. Comment: An elegant whisky, with subtle complexity. Its pale hue implies second or third fill casks, which has prevented the flavour being dominated by wood extractives. Intriguing and easy to enjoy straight – with (many!) friends – on any occasion.
A Brass-Barrelled Flintlock BlunderbussBy Joyner, London, Circa 1765With three-stage barrel turned and belled at the muzzle, the breech engraved 'London' ahead of a panel of foliage, plain tang, signed border engraved rounded lock decorated with foliage on the tail (cock and steel replaced), figured full stock (fore-stock with minor old splits and small repair on either side) with apron around the barrel tang, border engraved brass mounts comprising shaped flat side-plate engraved with a rocaille and foliage, butt-plate with foliage on the heel tang, draped vacant escutcheon with a shell above, trigger-guard with early form of acorn finial and decorated with a flower-head on the bow, brass ramrod-pipes (repaired), and later brass-tipped ramrod, Tower private proof marks 38.4 cm. barrel Footnotes:John 2 Joyner was elected Master of the Gunmakers' Company in 1773, was viewer to the Hudson's Bay Company between 1763 and 1768, and died in 1774For further information on this lot please visit Bonhams.com
A Brass-Barrelled Flintlock BlunderbussBy Wilson, London, Mid-18th CenturyWith two-stage barrel flared at the muzzle and engraved 'LONDON' along the breech in front of a panel of foliage at the rear, grooved border engraved tang decorated with foliage, signed border engraved rounded lock decorated with a frond on the tail, cock en suite (top jaw and screw replaced), figured full stock (minor old splits and chips, toe of butt with some worming) carved with a rudimentary shell behind the tang (old chips), border engraved brass mounts sparsely decorated with foliage and comprising shaped flat side-plate, butt-plate, trigger-guard with foliate finial, vacant escutcheon with engraved shell above, turned ramrod-pipes (minor damage), and brass-tipped ramrod (some wear), London proof marks and barrelsmith's mark of Richard 1 Wilson 41.8 cm. barrel Footnotes:Richard 1 Wilson was born in 1703 and in 1718 was apprenticed to his uncle Thomas Green. He was free of the Gunmakers' Company in 1725, elected Master in 1741 and died in 1766For further information on this lot please visit Bonhams.com
A mounted group of twelve miniature dress medals worn by Lieutenant-Colonel E. A. Parker, O.B.E., M.C., D.C.M., Royal Welsh Fusiliers The Most Excellent Order of the British Empire, O.B.E. (Military Division) Officer’s 1st type breast badge, silver-gilt; Military Cross, G.V.R.; Distinguished Conduct Medal, E.VII.R.; India General Service 1854-95, 1 clasp, Hazara 1891; Queen’s South Africa 1899-1902, 5 clasps, Cape Colony, Tugela Heights, Relief of Ladysmith, Transvaal, Orange Free State; King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902; 1914 Star, with clasp; British War and Victory Medals, with M.I.D. oak leaves; Coronation 1911; France, Third Republic, Croix de Guerre 1914-1918, with bronze palm; Order of Merite Agricole, breast badge, silver-gilt and enamel, mounted as worn, minor enamel damage to the last, very fine and better (12) £360-£440 --- O.B.E. London Gazette 1 January 1919. M.C. London Gazette 18 February 1915. D.C.M. London Gazette 27 September 1901. Edward Augustus Parker was born in Peckham, London about 1867 and enlisted in the Royal Welsh Fusiliers in December 1886. Having then served with the 1st Battalion in the Hazara Expedition of 1891 (Medal & clasp), he was appointed Sergeant-Major in October 1898 and participated in the operations in the Transvaal, west of Pretoria, including the action at Frederickstad on 20 October 1900. He was wounded on the latter occasion, mentioned in despatches (London Gazette 10 September 1901, refers) and awarded the D.C.M. Subsequently commissioned as a Quarter-Master, with the honorary rank of Lieutenant, in the 1st Battalion in April 1904, he was a member of the regiment’s Coronation Contingent in 1911. Advanced to Q.M. & Captain in April 1914, Parker joined the 1st Battalion in Flanders in early October and was consequently witness to the severe fighting that followed. Following an abortive attack on Menin on the 17th, the Battalion - numbering 1150 officers and men - took up positions on the Broodseinde Ridge: within three days, as a consequence of severe enemy shelling and numerous infantry assaults, the unit’s strength was reduced to 200 officers and men. On the 29th, the Battalion was reinforced by 200 men and moved to new positions just east of the village of Zandvoorde. The Germans attacked in force on the following day, supported by 260 heavy artillery guns, and managed to get behind the Battalion’s line: it was all but annihilated, just 90 men answering the roll call on the 31st, among them Parker, the only surviving officer. He was mentioned in despatches (London Gazette 17 February 1915, refers) and awarded the M.C., both distinctions undoubtedly reflecting his ‘gallantry in the Field’, as cited in a reference written by Major-General H. E. Holman at a later date. He was invested with his M.C. by King George V at Windsor Castle in April 1915, one of the first officers to be so honoured. Parker was subsequently appointed to the Staff, initially serving as A.D.C. to the G.O.C. 7th Division (November 1914-May 1915), and afterwards as a Camp Commandant In IV Corps H.Q. (May 1915-February 1916), and Camp Commandant 4th Army (February 1916-March 1918). Then following a brief spell as Camp Commandant, Supreme War Council, he returned to his post in 4th Army and remained similarly employed until the war’s end. He was awarded the O.B.E. and five times mentioned in despatches (London Gazettes 15 June 1916, 4 June 1917, 7 April 1918, 20 December 1918 and 5 July 1919, refer); in addition he was appointed a Chevalier of the French Order of Merite Agricole (London Gazette 7 October 1919, refers), and awarded the Croix de Guerre (London Gazette 24 October 1919, refers). Parker, who had been advanced to Q.M. & Major on the recommendation of Lieutenant-General H. Rawlinson, G.O.C. IV Corps, in May 1915, was appointed Q.M. & Lieutenant-Colonel in November 1923, shortly before his retirement. He died in December 1939. Sold with a quantity of original documentation, including the recipient’s pre-attestation recruit’s form; warrants appointing him to the rank of Sergeant-Major and Quarter-Master (1898 and 1914); his M.I.D. certificates for French’s despatch, dated 14 January 1915, and Haig’s despatches, dated 30 April 1916, 8 November 1918 and 16 March 1919; and an old copy of General Rawlinson’s letter recommending him for advancement to Q.M. and Major, dated 5 May 1915.
1952 MG YB SaloonReg. no. FDO 348Chassis no. YB0803Engine no. XPAG/SC2/17689Introduced for the 1952 model year, the MG YB was an improved version of the YA, which was MG’s small saloon in the immediate post-war era – although it actually had pre-war origins. Compared to the YA, the YB had a completely new Lockheed twin leading shoe brake system, a more modern hypoid back axle, and smaller 15-inch wheels, which gave better road-holding. It also benefitted from an anti-roll bar and improved shock absorbers, the result being a car that was more modern to drive than its predecessor, even if on the surface the cars looked very similar. Power was still supplied by the same 1250cc XPAG engine, offering respectable performance for a car in its class. Just 1301 YBs were built before the type was replaced by the ZA Magnette in 1953.This 1952 YB joined the collection in 2003. Initial recommissioning work included a new brake master cylinder and speedo cable. It was then in regular light use, a record in the file showing that around 6000 miles were covered between then and 2011. Serviced regularly, it was also treated to a full brake system rebuild in 2011. There are also several old MOTs and tax discs, plus bills for the work carried out. Pleasingly, it also comes with its original logbook, as well as a current V5C. The car now presents as an honest example, with scope for cosmetic improvement to the paint and brightwork, but could easily be used as it is, and its history of regular use since purchase is reassuring. As with the other cars from the collection, recommissioning will be needed before significant road mileage, due to lack of use in recent years.
Taxidermy: A Trio of Alpine Choughs (Pyrrhocorax graculus), circa 1930, by Ernst Flükiger, Interlaken, Switzerland, a trio of full mount adults, a male and two females, all mounted upon a textured and painted faux rock scape, overall height 75cm, signed to rock base "E. Flükiger, Naturalist, Interlaken", Ernst Flükiger supplied James Harrison with many cabinet skins and mounted specimens of European birds, they were neatly prepared and his skills were acknowledged in Harrison's Bird Taxidermy (1964 - and later edition) by both editions being dedicated to him as - "My old friend Ernst Flükiger of Interlaken, Switzerland, a Past Master of the Art".The bird at the top of the rock has the right wing heavily insect damaged, the crown of the head also with insect damage (loose feathers), the other two birds appear to have no insect damage or feather loss.
Taxidermy: A Raven with Mountain Hare Prey, circa 1935-1940, by Ernst Flükiger, Interlaken, Switzerland, a large full mount adult Raven with a full mount adult Mountain hare under foot, mounted upon a large painted faux rockscape, overall height 76cm, signed to rock base "E. Flükiger, Naturalist, Interlaken", Ernst Flükiger supplied James Harrison with many cabinet skins and mounted specimens of European birds, they were neatly prepared and his skills were acknowledged in Harrison's Bird Taxidermy (1964 - and later edition) by both editions being dedicated to him as - "My old friend Ernst Flükiger of Interlaken, Switzerland, a Past Master of the Art". Raven - back of the neck and head has historical moth / insect damage to the feathers.
Taxidermy: A Golden Eagle (Aquila chrysaetos), circa late 1930's, by Ernst Flükiger, Interlaken, Switzerland, a superb quality large full mount adult, perched atop a large textured faux rock scape with Alpine Marmot prey underfoot, overall height 88cm, signed to rock base "E. Flükiger, Naturalist, Interlaken", Ernst Flükiger supplied James Harrison with many cabinet skins and mounted specimens of European birds, they were neatly prepared and his skills were acknowledged in "Harrison's Bird Taxidermy" (1964 - and later edition) by both editions being dedicated to him as - "My old friend Ernst Flükiger of Interlaken, Switzerland, a Past Master of the Art".
Taxidermy: Short-Toed Treecreepers & European Treecreepers, dated 1939, by Ernst Flükiger, Interlaken, Switzerland, a pair of full mount adults, male and female, one sat atop a painted cut branch, the other clinging to the trunk, mounted above painted faux groundwork beneath, overall height 19.5cm, bearing taxidermist's full paper trade / data label to underside, Ernst Flükiger supplied James Harrison with many cabinet skins and mounted specimens of European birds, they were neatly prepared and his skills were acknowledged in Harrison's Bird Taxidermy (1964 - and later edition) by both editions being dedicated to him as - "My old friend Ernst Flükiger of Interlaken, Switzerland, a Past Master of the Art", together with a pair of full mount adult European Treecreepers, mounted by Dr James Harrison, male and female, both clinging to a short tree stump, mounted upon a square beach wood base, overall height 33.5cm, bearing Dr James Harrison data label to underside - December 22nd & 26th, 1939, Sevenoaks, Kent, (4).
Taxidermy: A Pair of European Crested Tits (Lophophanes cristatus), dated 1938, by Ernst Flükiger, Interlaken, Switzerland, a pair of full mount adults, the male perched upon a small branch overlooking the female tending her nest hidden within a small hollowed out tree trunk, the exterior covered with simulated and natural moss, overall height 32cm, with attached taxidermist's handwritten paper trade / data labels, Ernst Flükiger supplied James Harrison with many cabinet skins and mounted specimens of European birds, they were neatly prepared and his skills were acknowledged in Harrison's Bird Taxidermy (1964 - and later edition) by both editions being dedicated to him as - "My old friend Ernst Flükiger of Interlaken, Switzerland, a Past Master of the Art".
Grand Tour scrap album.- Collection of over 180 neatly mounted prints, including Italian, Swiss, and French interest, with early lithographs by N. Strixner and Ferdinand Piloty, others by Bartolozzi, Romanet, Carle Vernet, Engelmann and others, with many after old master paintings and drawings, the majority being views of European cities and sites of interest, some character studies, all mounted onto coloured album leaves, various sizes each leaf approx. 430 x 285 mm (17 x 11 1/4 in), scattered spotting and minor surface dirt, contemporary green boards, very worn, folio, early to mid 19th century
Pablo Picasso (1881-1973)Raphaël et la Fornarina. VIII, from Series 347, 1968 signed and numbered 22/50 in penciletching, on wove paper 28 x 34.8cm (11 x 13 11/16in).Printed by Atelier Crommelynck, published by Galerie Louise Leiris, Paris, 1969Footnotes:ProvenanceChristie's, Old Master, Modern and Contemporary Prints, London, 3 July 2001, lot 206. Acquired from the above by the current owner.LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1966-1969, Berne, 1971 (Bl.1783). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume VI, 1966-1968, Berne, 1994 (B.1800.Bb1).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
UNSIGNIERT (XIX). Frau mit Perlenarmband und Blume.78,5 cm x 61,5 cm. Gemälde. Öl auf Leinwand wachsdoubliert. Keine Signatur gefunden. Im Stil eines Alten Meisters 17. / 18. Jahrhundert. Versand kann organisiert werden. UNSIGNED (XIX). Woman with pearl bracelet and flower. Painting. Oil on canvas wax doubled. No signature found. In the style of an Old Master 17th / 18th century. Shipping can be organized.
Ca. 2000-700 BC A bronze Master of Animals Sceptre comprised of a central tube terminating into a human head. Flanked by animals on either side, with curving haunches and tails below. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East. The figure is normally male, but not always, the animals may be realistic or fantastical, and the figure may have animal elements such as horns, or an animal's upper body. Unless he is shown with specific divine attributes, he is typically described as a hero. In Western Asiatic Art the motif is extremely common, and often highly stylized. In terms of its composition the Master of Animals motif compares with another very common motif in the art of the ancient Near East and Mediterranean, that of two confronted animals flanking and grazing on a Tree of Life. Size: L:374mm / W:70mm ; 455g Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Ca. 2000-700 BC A bronze Master of Animals Sceptre comprised of a central openwork design terminating into a head. Flanked by animals on either side, with wide open mouths.It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East. Size: L:310mm / W:98mm ; 360g Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Very important pair of large oil paintings on canvas, together with 18th C italian giltwood period frames. Framed measurements: 165 x 243, canvas measurements: 143 x 219 cm (each). Where we see, a carpet covering a table in the left corner where rest, respectively, a globe, an oval portrait, a sculpture, various books, a planetarium, a table clock and a world map, and another in which the viewer You can see the armor of a complete knight resting on the same table covered with a carpet, and, next to it, a jug, both inside separate Caprices. Work typically associated with the artistic canons of the Italian Baroque that directly connects with similar models of the famous painter of the Roman school Francesco Noletti, called il Maltese and born in Valletta, Malta (Valletta? c. 1611-Rome, 1654) Noletti was an Italian Baroque painter, born as his nickname indicates, in Malta and specialized in still life painting. Noletti's still lifes have been attributed to the so-called Francesco Fieravino or Fioravanti, a confused creation of the 18th century, until, in the early 2000s, his true identity was discovered from an anonymous portrait kept at the Foundation for International Studies of La Valletta, in the building of the old university. His biography shows that around 1640 or something before he settled in Rome, where he married and collaborated with Andrea Sacchi, and died there on December 4, 1654. The death certificate he called him a "famous painter". Although his last name was soon forgotten, he was praised, always by his nickname, by Cornelis de Bie and Joachim von Sandrart and later also by Joshua Reynolds, among several others. In the absence of signed works, two engravings published in 1703 by Jacobus Coelemans on paintings by the Maltese, entitled Omnis salus in ferro est and Quaedam sensum instrumenta, have served as the basis for establishing his style, in which some elements are repeated.5 His Rich still lifes are always characterized by the presence of Turkish rugs, tapestries and curtains covering the tables and shelves on which rest pieces of crockery, flowers and fruit arranged next to some precious object, musical instruments and framed paintings or mirrors. Three still lifes by the Maltese master are preserved in the Bilbao Fine Arts Museum, where they entered in the 1920s with attributions to Antonio de Pereda and Pieter Boel. Origin:
Dutch Old Masters. Handzeichnungen Alter Meister der Hollaendischen Schule, 6 volumes bound in 3, Haarlem, H. Kleinmann & Cie, [1896-1906], 386 plates mounted on 384 leaves fine tipped-in reproductions after Dutch Old Master drawings, including some tinted or coloured, carefully reproducing the original works, each plate with printed caption below, printed section titles bound in at rear of first volume, untrimmed, contemporary Arts & Crafts-style half brown morocco, raised bands to spines forming six compartments, lettered in gilt, and with decorative leaf design in gilt to spine of each volume, lightly rubbed (generally in very good condition), large folio (binding measures 38 x 28 cm, 15 x 11 ins), together with two other similarly bound works: C.J. Holme, English Water-Colours, 1902, and Molinier, Les Ivoires (Histoire Generale des Arts Appliques a l'Industrie, volume 1), [1896], all folioQTY: (5)
Fischer (Stefan). Hieronymus Bosch, The Complete Works, Köln: Taschen, 2013, numerous colour illustrations, original cloth in dust jacket and original folding book box, folio, together with;Porzio (Francesco), La Natura Morta in Italia, 2 volumes, Milan: Electa, 1989, numerous colour & monochrome illustrations, original uniform cloth in dust jackets & slipcase, large 4to, plus,Thuillier (Jacques & Jacques Foucart), Rubens' Life of Marie De' Medici, New York: Harry N. Abrams, 1967, numerous colour & monochrome illustrations, original cloth in price-clipped dust jacket & slipcase, covers lightly rubbed to head & foot with minor tears & loss to the head of the spine, folio, andCherry (Peter), Luis Meléndez, Still-Life Painter, Fundación de Apoyo a la Hisoria del Art Hispánico, 2006, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus other old master art reference books, mostly original cloth in dust jackets, some paperback editions, G/VG, 4to/folioQTY: (29)
School of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."Lamentation before the Dead Christ".Oil on canvas.Re-retouched.It has repainting and restorations.Frame of the 19th century.Measurements: 33,5 x 25,5 cm; 45 X 35 cm. (frame).In this canvas the painter is interested in approaching the theme of the Lamentation in a naturalistic way. The lifeless body of Christ has been taken down from the Cross and placed on a white shroud. Before being buried, the Virgin, Magdalene, John and Joseph keep vigil beside him in the dark night. The variety of attitudes, the expressiveness of the countenances, the strong chiaroscuro... are aspects that identify a baroque tenebrist style. Due to its technical characteristics, it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous family of Venetian artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, etc.
Andalusian school, ca. 1800. Following models by BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)."Virgin of the Rosary".Oil on canvas.With period frame.It presents perforations.Measurements: 111 x 74 cm (frame); 113 x 78 cm (frame).It is a work carried out in the workshop of Bartolomé Esteban Murillo which follows the same pictorial and compositional characteristics as those of the Sevillian master. The typology of the "Virgin of the Rosary" was a recurring theme for Esteban Murillo, who in fact produced one of his masterpieces on this theme around 1655, now in the Museo del Prado. The present version depicts the Virgin half-length, seated, holding the Christ Child on her lap, seated on her thigh, whom she holds with her left hand and wraps a rosary around him with her right. The child, who is only two years old, covers his genitals with a white cloth, a symbol of purity, held in his mother's hands. Both figures are enveloped in an atmosphere of semi-darkness, against a neutral, timeless background that does not allow us to see, or even imagine, the surrounding space. The artist focuses his painting especially on the beauty of the faces, recreating a prototype of feminine and childlike beauty, reaching what Murillo was proposing at the time, completely angelic virgins. The faces and the rosy, serene flesh tones of the child stand out, which are emphasised by the crimson-pink tones of the tunic. Following Murillo's original typology, the figures - unlike other iconographies of the same type by Velázquez or Alonso Cano in which the protagonists cross their gazes - look straight ahead, towards the viewer.Esteban Murillo was an eminently religious painter who marked a before and after in 17th-century Spanish painting. The iconography of the Virgin of the Rosary is directly related to the figure of Saint Dominic. Tradition, which began in the 15th century, tells us that the Mother of God herself taught the saint to pray the rosary in 1208, telling him to spread this devotion and use it as a powerful weapon against the enemies of the faith. Appearing in the chapel where the saint was praying, holding a rosary in his hand, he taught him to recite it, promising that many sinners would be converted and obtain abundant graces. St. Dominic went out of there full of zeal, with the rosary in his hand. He did indeed preach it, and with great success, bringing many Albingenses back to the Catholic faith.
Aris Kalaizis (Leipzig 1966). Der große Architekt. 2022. Öl/Lw., 120 x 200 cm, l. u. sign. und dat. Kalaizis 2022, verso betitelt, erneut sign. und dat. sowie ortsbez. Leipzig, ungerahmt. - Was ist real, was ist Täuschung? Hinter einem Theatervorhang öffnet sich das Bühnenbild einer Industrieruine, durch ein Fenster der Ausblick auf eine weite Landschaft. Oder ist sie nur gemalt, wie die Graffiti an der Ziegelmauer? Hat der Mann mit Hut sich all dies ausgedacht, ist er der Architekt, oder auch nur ein Betrachter wie wir, in einer anderen Ebene des Bildes? Welche Rolle spielt die Natur, die sich die Ruinen zurückholt? Das großformatige Hauptwerk von Kalaizis greift die alte Tradition des trompe l’oeil auf und stellt Fragen, auf die der Betrachter antworten muss. Wo endet die Wirklichkeit, wo beginnt die Kunst? - Deutsch-griechischer Maler der Neuen Leipziger Schule. Nach autodidaktischer Tätigkeit in der künstlerischen Subkultur und einer Lehre zum Offsetdrucker studierte K. 1992-2000 an der Leipziger Hochschule für Graphik und Buchkunst bei Neo Rauch und Arno Rink, zuletzt als dessen Meisterschüler. Er hatte Einzelausstellungen nicht nur in Deutschland, sondern auch in New York und China. K. malt seine Bilder häufig nach aufwändigen selbstkonstruierten Bühnenbildern, weshalb nur sehr wenige Werke entstehen. Kalaizis, Aris (Leipzig 1966). Der große Architekt - The Great Architect. 2022. Oil/canvas, 120 x 200 cm, lo. le. sign. and dat. Kalaizis 2022, on the reverse titled, sign. and dat. again as well as inscribed 'Leipzig', unframed. - What is real, what is illusion? Behind a theatre curtain the stage set of an industrial ruin opens up, through a window the view of a vast landscape. Or is it just painted, like the graffiti on the brick wall? Did the man in the hat think all this up, is he the architect, or just a viewer like us, in another plane of the picture? Kalaizis' large-scale major work takes up the old tradition of trompe l'oeil and poses questions to which the viewer must respond. Where does reality end, where does art begin? - German-Greek painter of the New Leipzig School. After autodidactic activity in the artistic subculture and an apprenticeship as an offset printer, K. studied from 1992-2000 at the Leipzig Academy of Graphic Arts and Book Art under Neo Rauch and Arno Rink, ultimately as the latter's master student. He has had solo exhibitions not only in Germany, but also in New York and China. K. often paints his pictures after elaborate self-constructed stage sets, which is why very few works are created.
Mel Ramos (Sacramento/Kalifornien 1932 - Oakland 2018). Coco. Farboffset, 23 x 16 cm, r. u. mit Bleistift sign. Ramos, unter Glas gerahmt, ungeöffnet. - Amerikanischer Pop-Art-Künstler. R. begann 1961 mit Comic-Figuren, wandte sich dann der Darstellung von Pin-Up-Girls als aufreizende Verkaufs-Werbeträger zu. In den seit den frühen 1970er Jahren gemalten 'Unfinished Paintings' treten seine modernen Pin-Ups an die Stelle von weiblichen Akten aus der klassischen Kunst, deren dezenter Erotik er ein unverblümtes Sexappeal entgegensetzt. Mus.: New York (Guggenheim), Toronto, Darmstadt, Aachen u.a. Lit.: Rosenblum: M. R., - Pop Art Images, 1995 u.a. Ramos, Mel (Sacramento/Kalifornien 1932 - Oakland 2018). Coco. Offset in colours, 23 x 16 cm, lo. ri. autographed Ramos, framed under glass, uninspected out of frame. - American pop art artist, starting from comic figures he turned to paint pin-up girls combining them with consumer products, since the 1970s he created the so called 'unfinished paintings' where he replaced the female figures in old master paintings by pin-up girls. Mus.: New York (Guggenheim), Toronto, Darmstadt, Aachen a. others. Lit.: Rosenblum: M.R., - Pop Art Images, 1995 a. others.
Arik Brauer (Wien 1929 - Wien 2021). Rote Blume. 1962. Öl/Faserplatte, 22 x 41,5 cm, r. u. sign. Brauer, verso dat. 1962 und bez. 'Champignon Rouge' und 'Rote Blume'. - Ausstellungen: Das Gemälde war um 1980 ausgestellt in der Kunsthalle Nürnberg. - Provenienz: Sammlung Wolfgang Brudermüller; seitdem durch Erbgang. - Österreichischer Universalkünstler, einer der Hauptvertreter des Phantastischen Realismus. B. studierte bis 1951 an der Akademie Wien, u.a. bei R. C. Andersen und P. von Gütersloh. Dort war er mit E. Fuchs und R. Hausner einer der Gründer der sog. Wiener Schule des Phantastischen Realismus. B. lebte anschließend in Israel und Frankreich, wo er zunächst als Sänger sein Geld verdiente. Schon in Paris hatte er seine erste Einzelaustellung gehabt, nach seiner Rückkehr nach Wien 1964 stellten sich bald weitere Erfolge, sowohl im Bereich der Bildenden Kunst als auch der Musik ein. B. schuf in der Folge Bühnenbilder für die Opern in Wien, Paris und Zürich. 1991 begann er mit der künstlerischen Gestaltung des Arik-Brauer-Hauses in Wien. 1986-97 war er Professor an der Wiener Akademie. B. wurde mit mehreren hohen Orden ausgezeichnet. Sein Stil vereint einen altmeisterlichen Detailreichtum mit glühenden Farben und phantastischen Motiven in teilweise surrealen Szenerien. Mus.: Wien (Albertina), New York, Paris, Hannover u.a. Lit.: AKL, Vollmer u.a. Brauer, Arik (Wien 1929 - Wien 2021). Rote Blume - Red Flower. 1962. Oil/fibre board, 22 x 41,5 cm, lo. ri. sign. Brauer, on the reverse dat. 1962 and inscribed 'Champignon Rouge' and 'Rote Blume'. - Austrian multi-talented artist, one of the main exponents of the School of Fantastic Realism. B. studied until 1951at the Vienna acamedy, among others under R. C. Andersen and P. von Gütersloh. During that time he founded the so called Vienna School of Fantastic Realism together with E. Fuchs, R. Hauser and others. B. lived in Israel and France, making his living as a singer. He had his first one man show in Paris. Back in Vienna in 1964 his succees as painter and singer continued. B. created stage designs for the opera houses in Vienna, Paris and Zurich. In 1991 he began to design the Arik Brauer house in Vienna. 1986-97 he was professor at the Vienna academy. His style is characterised by an old master like love for detail with bright colours and fantastic subjects in sometimes surrealist settings. Mus.: Vienna (Albertina), New York, Paris, Hannover a. others. Lit.: AKL, Vollmer a. others.
Silver casket Chest, I.S. Ivan Saltykov(И.С. Ивана Салтыкова), beginning of the 20th century. A captivating enamel casket is made in the Old Russian style with a picturesque lid of a flowering branch. Juicy bright tassels of flowers adorn the body and legs of the casket. They transmit the energy of azure, a chord of life-giving colors.Hallmarks: Nameplate of the master I.S. Ivan Saltykov, the hallmark of the Moscow District Assay Office, which shows: the number 84, certifying the silver sample; “Female in a kokoshnik”, facing left with the initials of the manager of the IL district — Ivan Sergeyevich Lebedkin placed in an oval (corresponding to the period from 1899 to 1908).Weight: 152 gr. Condition: Very goodStyle: RomanticismProduct sizes: Height - 4 cm width - 7.5 cm
FOLIO OF OLD MASTER ETCHINGS AND ENGRAVINGS comprising; various cut and stuck down images to include Cornelis Schut, After Rembrandt, Ruisdael, After Jan Sten, Benedetto Castiglione, Ludovico Carracci, After Henry Fuseli, Ostada etc. Viewing is recommended Condition Report:Available upon request
The Master of Malt - six whisky miniatures, four Special Selection series, two Select Cask series:10 year old, single Lowland malt, bottle #174 of 500, 5cl, 43%10 year old, single Highland malt, bottle #336 of 500, 5cl, 40%10 year old, single Speyside malt, bottle #192 of 500, 5cl, 40%15 year old, single Islay malt, bottle #294 of 500, 5cl, 40%12 year old American oak, single Speyside malt, distilled 1981, bottle #226 of 240, 5cl, 43%12 year old Sherry wood, single Speyside malt, distilled 1980, un-numbered, 5cl, 43%.Qty: (6)
The Master of Malt - eight Cask Strength miniature whisky bottlings:Aultmore, 11 year old, single Speyside malt, 5cl, 60.4% (x2)Inchgower, 19 year old, single Speyside malt, 5cl, 54.3%Tamdhu, 10 year old, single Speyside malt, 5cl, 59.7%Select Cask 1980, 12 year old, Sherry wood, single Speyside, 5cl, 58.6%Pittyvaich 1976, single Speyside, 5cl, 52.2% (x2)Pittyvaich 1976, single Speyside, 5cl 43% (not cask strength).Qty: (8)
The Master of Malt - six speciality miniature whisky bottlings, and another:Mortlach 1984 'Hogmonay Dram 1997-98', 12 year old, single Speyside malt, 5cl, 43%Imperial 1976 'Hogmonay Dram 1992', 16 year old, single Speyside malt, cask no 7559, bottle no 360 of 360, 5cl, 43%Seasons Greetings Christmas 1997, single Speyside malt (unspecified), 5cl, 43%Convalmore 'Happy Valentine's Day', 16 year old, singe Speyside malt, 5cl, 43%Balmenach 'Burns Night 2000', 21 year old, single Speyside malt, 5cl, 43%2000 Millenium Edition, 10 year old, single Speyside malt, distilled 1989, 5cl, 43%'Seasons Greetings 1999', 21 year old, singe Speyside malt (unspecified), 4cl, 46% (may not be Master of Malt).Qty: (7)
Jürgen Marcel, geb. 1951 Bingen, Stillleben mit Obst, Korb und Schmetterling, stark realistische Malerei im Stil der alten flämischen Meister, Öl/Lwd, rechts unten signiert, ca. 50x40cm, R. ca. 63x53cmJürgen Marcel, born 1951 Bingen, still life with fruit, basket and butterfly, highly realistic painting in the style of the old Flemish master, oil/canvas, signed lower right, approx. 50x40cm, frame approx. 63x53cm
Einbände - - Prachtvoller Einband des Königlichen Hofbuchbinders Karl Ernst Lehmann. Um 1824. Mit zahlreichen montierten Handzeichnungen und kolorierten Original-Graphiken. Quer-4° (21 x 27 cm). Dunkelroter Maroquin auf fünf Bünden mit reicher floraler goldgepr. Verzierung. Vorder- und Hinterdeckel reichhaltig vergoldet mit Eckfleurons sowie gestaffelten floralen Bordüren im horror vacui und montierten Mittelstücke mit floralen Jacquard-Stickerein im geprägten vergoldeten Messingrahmen. Steh- und Innenkantenfileten, reiche goldgepr. Doublure, dreis. Goldschnitt, Vorsätze aus Moiré-Seide. (Schließe fehlend, Kapitale und Ecken minimal bestoßen). Mit Etikett des Buchbinders auf dem hinteren Vorsatzblatt: "Carl Lehmann Königl. Hof-Buchbinder und Academischer Künstler in Berlin, Gertrautenstr. Nr. 18". Einige leere weiße Blätter mit Wasserzeichen Whatman 1824. - Das Album umfasst 60 nicht nummerierte Blätter mit verschiedenfarbigen Papieren. Darauf montiert sind u.a. 5 Aquarelle, 15 Bleistiftzeichnungen sowie 15 handkolorierte Lithographien von verschiedenen Künstlern. Die meisten Graphiken sind französischer Herkunft und stellen Kostüme und Genreszenen dar. Die Bleistiftzeichnungen zeigen überwiegend Ansichten in England, Schottland und Irland, einige sind umrandet von geprägtem Luxuspapier. Es gibt einen mutmaßlichen Hinweis auf den Besitzer: Infrage käme eine ausgewanderte Engländerin, die in der Umgebung von Windsor aufgewachsen ist. Eine Zeichnung trägt den Vermerk "my first cottage, at Old Windsor". - Ein lose eingelegtes Blatt aus glasiertem Papier in fast der gleichen Größe wie die Einbände mit einer Stickerei, die einen Blumenstrauß innerhalb einer vergoldeten Zierbordüre zeigt, könnte einen verworfenen Entwurf für die Einbände darstellen. - Lehmann (1806-1848) war berühmt für seine luxuriösen Kommissionseinbände für den preußischen Königshof von König Friedrich Wilhelm III (1770-1840). Die Familie führte zwischen 1781-1848 in drei Generationen Arbeiten für den Berliner Hof sowie für die Königliche und andere Berliner Bibliotheken aus. Bereits Goethe lobte Karl Ernsts herausragenden Fähigkeiten als Buchbinder: "Von dem oben genanntem, sorgfältig und geschmackvoll arbeitenden Landsmanne haben wir mehreres zur Hand, was mit englischen und französischen Einbänden gar wohl wetteifern könnte." - Ein ungewöhnlicher und schöner Einband von diesem deutschen Buchbindermeister. Bindings - Splendid binding by the royal court bookbinder Karl Ernst Lehmann. Circa 1824. With numerous mounted hand drawings and coloured original graphics. Dark red morocco on five bands with rich floral gilt decoration. Front and back covers richly gilt with corner fleurons as well as staggered floral borders in horror vacui and mounted centrepieces with floral jacquard embroidery in an embossed gilt brass frame. Standing and inner edge fillets, rich gilt doublure, gilt edges, endpapers of moiré silk. (Clasp missing, capitals and corners minimally bumped). - With label of the bookbinder on the back flyleaf: "Carl Lehmann Königl. Hof-Buchbinder und Academischer Künstler in Berlin, Gertrautenstr. Nr. 18". Some blank white leaves with watermark Whatman 1824. - The album contains 60 unnumbered leaves with different coloured papers. Mounted on them are among others 5 watercolours, 15 pencil drawings as well as 15 hand-coloured lithographs by different artists. Most of the prints are of French origin and depict costumes and genre scenes. The pencil drawings show mainly views in England, Scotland and Ireland, some are bordered by embossed luxury paper. There is a presumed clue to the owner: an emigrant Englishwoman who grew up in the Windsor area would be a possible candidate. One drawing bears the note "my first cottage, at Old Windsor". - A loosely inserted sheet of glazed paper, almost the same size as the covers, with embroidery showing a bouquet of flowers within a gilded decorative border, may represent a discarded design for the covers. - Lehmann (1806-1848) was famous for his luxurious commission bindings for the Prussian royal court of King Frederick William III (1770-1840). The family carried out work for the Berlin court as well as for the royal and other Berlin libraries in three generations between 1781-1848. Goethe already praised Karl Ernst's outstanding skills as a bookbinder. - An unusual and beautiful binding by this German master bookbinder.
§ Georges Braque (French 1882-1963) Cinq poèsis en hommage á Georges Braque, 1958 (Vallier 131) XVI/XXV, signed and numbered in pencil (to the margin), lithograph, aside from the regular edition of 106, on japon nacré paper(20cm x 55cm (8in x 21.5in))Provenance: Sothebys, London, Old Master, Modern & Contemporary Prints, 20 September 2007, Lot 104; The Private Collection of Mark Gillette.
SHOJI HAMADA (1894-1978) for Leach Pottery; a stoneware bowl covered in celadon glaze with scalloped decoration inlaid in white slip, rare early personal and pottery marks, made 1923, diameter 20cm. A rare, transitional work showing Hamada honing his skills. Almost certainly from the last firing of the original Leach Pottery kiln before it was dismantled and rebuilt. Exhibited: W B Paterson’s Gallery, 5 Old Bond Street, London, 1923. This was Hamada’s first exhibition and ‘the very first solo show of contemporary studio pottery in a Bond Street gallery … a precedent for subsequent exhibitions of all the major English studio potters of the decade’ – Julian Stair, ‘Genius and Circumstance: early criticism of Hamada’s pottery in England’, in T. Wilcox (ed), ‘Shoji Hamada: Master Potter’ (Lund Humphries, London), p. 17. Provenance: Purchased by the sculptor Agatha Walker from W B Paterson’s Gallery, 1923. Gifted by Walker to the potter Adrian Lewis-Evans, 1970. Comparators: A very similar but unmarked example is in the Crafts Study Centre collection in Farnham. For a similar and contemporary vase acquired from the same 1923 exhibition by Walker, and sold at Bonhams, ‘International Contemporary Ceramics’, 19 September 2006, lot 40, see Phillips in association with Maak, ‘The Art of Fire: Selections from the Dr John P Driscoll Collection’, 10 November 2021, lot 5. Additional InformationProfessional restoration to rim, otherwise appears good with no further signs of faults, damage or restorations.
The Master of Delft (1490-1520)-follower, Triptych with Maria and child, a man and a women paying on the sides in landscape; oil on wooden panel, arched top, in later frame gilded with descriptions; iron hinges; on the reverse old lacquer seal. Provenance: Borcke family, private collection Vienna; total length 138 cm, height 85cm, panel size 75x38cm
Old Master Madonna and Child painting, 18th c. or earlier. Oil on canvas. Mary is pictured cradling Jesus, her left hand resting on a Bible, with a landscape with a shoreline spreading out in the background. This painting strongly resembles the school of Giovanni Bellini Madonna and Child held in the collection of the Rijksmuseum in Amsterdam.Provenance: Alfred Pillsbury Gale Estate (2012); Private Collection, MinnesotaHeight: 21 3/4 in x width: 17 3/4 in.
Old Master painting of a praying woman, attributed to Carlo Dolci (Italian, 1616-1686). The woman is depicted sumptuously dressed in silks and pearls, gazing upward with her hands clasped. She is strongly lit from her left side, her pale figure standing out against the dark ground. A red-covered table is visible behind her with a partial string of pearls strewn over it. Inscribed along the verso "Attributed to Carlo Dolci from a motive by Guido," as well as "B48."Unframed; Height: 37 1/4 in x width: 29 1/2 in. Framed; Height: 47 in x width: 39 1/4 in.
Aubusson tapestry. France, 17th century."The Conquest of America".The border is missing and has old restorations. It needs restoration due to holes in the fabric.Measurements: 222 x 295 cm.The tapestry presents the moment in which the Spaniards arrive to America after an exhaustive journey across the Atlantic. Christopher Columbus disembarks in the New World with his three ships (the Santa Maria, the Pinta and the Niña), ultimately visible, together with the entourage of sailors who were eager to find a new trade route across the Atlantic. Formally, the tapestry is characterised by the multiplicity of characters and the richness of the narrative. Thus, the meticulous description of the landscape (with the sea in the last instance) and the plant elements of the colonised territory are superimposed on the scene, with the preciosity invested in describing the rich clothing of the characters, including Christopher Columbus himself, presented on horseback.The Aubusson tapestry workshops constitute, together with those of Felletin, the so-called workshops of La Marche, one of the main French tapestry manufactories of the 18th century, along with Gobelins and Beauvais. The town of Aubusson was home to numerous tapestry workshops, which were created by Flemish weavers who settled in the area at the end of the 16th century. They had a rudimentary operation, compared to the Royal Gobelins Manufacture: they had no painters, no dyers, and no commercial structure, so their tapestries were sold in inns, to a lower class private clientele, mainly provincial aristocrats. In the 16th and 17th centuries, the Aubusson workshops specialised in vegetable tapestries (with mainly floral decoration), but the situation changed radically when, in the mid-17th century, this centre was reorganised by Jean-Baptiste Colbert, Louis XIV's minister, with the aim of converting these workshops into royal manufactories. He subjected the Aubusson and Felletin workshops to a guild regulation and, in return, promised to provide them with a painter and a dyer. This promise, however, did not become effective until the 18th century, a turning point for the workshops of La Marche, which saw a considerable increase in the quality of their tapestries as they were able to count on a painter dedicated to making cartoons and a dyer who produced dyes of a higher quality than those used until then. Until the 18th century, the tapestries of La Marche were characterised by their thick density (50-60 threads per square decimetre), poor quality wool, sometimes very poorly refined, limited colours with a predominance of earthy and green (almost never red, the most expensive and most complicated colour to produce), poor drawing, with few figures, hence the predominance of tapestries with vegetables, and little silk, with wool being used predominantly. On the other hand, the Aubusson tapestries of the 18th century were already of a much higher quality, thanks to the important transformations undergone by these workshops. Louis XIV gave the workshops of La Marche the character of a royal manufacture, and at the beginning of the 18th century, many Protestant weavers arrived in France as a result of the war with Spain and the renewal of the Edict of Nantes. In the 1830s, Colbert's promise was fulfilled; in 1732 Jean Joseph Dumons was appointed painter to the manufactory, and he was to produce the first cartons made specifically for these workshops. He also retouched the cartons when they deteriorated, and gave drawing lessons to the workshop workers (a small drawing school was set up in Aubusson in 1742). Dumons was succeeded by Jacques Nicolas Julliard in 1755, who remained active until 1789. After his departure, the new painter at Aubusson was Jacques Dorliac, who specialised in tapestries of exotic vegetables, which were very successful commercially. A master dyer was also appointed to the manufactory, and so the colours were improved and a wider palette was introduced. There will be different qualities, as it is a group of different workshops, but some will produce tapestries as good as those of Beauvais, with fine densities. Vegetable tapestries continued to be produced at this time, but this was the time of the great development of tapestries "à la Teniers", with genre themes. Also, more silk was used in the tapestries of the 18th century than in those of the previous century, which, however, posed a problem for their conservation. Finally, it should be noted that Aubusson tapestry has been on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity since 2009.
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