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A fine Art ‘Old Master’ reproduction print of the famous Vincent Van Gogh 1853-1890 painting ‘view of Arles’, framed in a fantastic stylish gilt frame 59.5x59.5cm

Workshop of ANTONIO DEL CASTILLO Y SAAVEDRA (Cordoba, 1616 - 1668)."Salome receiving the head of Saint John the Baptist".Oil on canvas. Preserves original canvas.Presents inscription on the back.Measurements: 66 x 50 cm; 75 x 59 cm (frame).Herodias, wife of Herod Philip, married in a scandalous way with his half-brother, Herod Antipas, which provoked a war, since Herod Antipas had repudiated his previous wife, daughter of the Nabataean monarch. The attitude of the new marriage was highly criticised by the people, as it was considered sinful, and one of those who denounced it the most was John the Baptist, for which he was arrested, although Herod did not dare to execute him for fear of the people's wrath. According to tradition, Salome, a woman of great beauty, danced for her stepfather, and he enthusiastically offered to grant her the prize she desired. The young woman then asked, following her mother's instructions, for the Baptist's head, which was given to her "on a silver platter". This work stands out for its narrative unity, as we can appreciate the precise moment when Salome receives the head of the saint, who has just been beheaded. The dramatic way in which the saint's body is presented to the viewer is particularly noteworthy, and is heightened by the way in which Salome steps on the dead body of Saint John.Due to the technical characteristics of the work, this painting can be classified as one of Antonio del Castillo's artistic circle. Considered the father of the Cordovan school, known for his work as a painter, he was also a polychromator and designer of architectural, decorative and goldsmith's projects. He was the son of Agustín del Castillo, a little-known painter from Llerena (Extremadura) whom Palomino describes as an "excellent painter". It is also thought that he may have trained as a polychromator in Calderón's workshop. However, he was orphaned when he was only ten years old in 1626 and went on to train in the workshop of another painter of whom we have no record, Ignacio Aedo Calderón. Although there is no real evidence of this, it is thought that he may have arrived in Seville, where, according to Palomino, he entered Zurbarán's workshop. This has been corroborated by the stylistic influence of the Extremaduran master that historians have seen in Castillo's work. However, in 1635 he returned to his native Cordoba, where he married and settled permanently, eventually becoming the city's most important artist without question. His fame and quality earned him important commissions, including religious altarpieces, portraits and medium-format series. He was also the teacher of outstanding Cordoban painters of the following generation, such as Juan de Alfaro and Gámez. With regard to his language, Antonio del Castillo did not develop an obvious evolution in his work, although towards the end of his life a more softened language can be discerned, and he remained on the fringes of the baroque innovations of other contemporary painters. However, like the rest of his contemporaries, he was seduced by the novelty of Murillo's work, and in his last years he introduced the Venetian chromatic softness of the Sevillian master. Today, examples can be found in the Prado Museum, the Hermitage in St Petersburg, the J. Paul Getty in Los Angeles, the Louvre, the Metropolitan in New York, etc.

Oskar Kokoschka (Austrian, 1886-1980)Selbstbildnis (Brustbild mit Zeichenstift) (Wingler & Welz 58) Lithograph printed in dark brown, 1914, on laid, signed in pencil, from the edition of 125, with full margins, 642 x 442mm (25 1/4 x 17 3/8in)(SH)Footnotes:ProvenanceChristie's, London, Important Old Master - Nineteenth and Twentieth Century Prints, 25 December 1998, lot 220.Property of a Nobleman (purchased from the above)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

DICKENS (CHARLES)Master Humphrey's Clock, FIRST EDITION, IN 20 ORIGINAL MONTHLY PARTS, 3 frontispieces, titles and preliminaries, wood-engraved illustrations by Hablot K. Browne ('Phiz'), George Cattermole, S. Williams and Daniel Maclise, all the advertisements as called for by Hatton and Cleaver, publisher's blue-green pictorial wrappers, light stain and tear to wrappers of part 10, upper wrapper of part 11 detached with small loss to blank lower cover, a few small tears and small losses to some spines, preserved in chemises within 2 red crushed morocco gilt pull-off book cases [Eckel, pp.67-70; Gimbel A50; Hatton and Cleaver, pp.163-182], large 8vo, Chapman and Hall, April 1840-November 1841Footnotes:Handsomely housed set of the first edition in monthly parts of Master Humphrey's Clock, which included the first appearance of both The Old Curiosity Shop and Barnaby Rudge, with all the advertisements. Provenance: Sewell, name in upper margin of wrappers to parts 10 and 11; Sotheby's, 13 December 2001.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

MANNER OF TIEPOLO (16TH/17TH CENTURY) Figures with a chest Pen, ink and brown wash Inscribed number 207 within a blue stamp Mounted; together with another Old Master drawing of a figural group Ink and brown wash Inscribed lower left Mounted and framed Giovanni Battista Tiepolo was a Venetian painter and printmaker of the Rococo period. He was known as one of the main artists of the 18th century working in the idealised style of the Grand Manner of the High Renaissance. His work was theatrical, celebrating artistic imagination and fantasy in creating compositions filled with characters from ancient mythology. He was equally respected for his draughtmanship, creating highly skilled drawings and oil sketches and enjoyed a very successful career as a printmaker. Drawings of this kind were very common in the period, often acting as preparatory pen and ink sketches for larger scale compositions. Artists drew on subject matter of classical mythology, depicting stories of gods and goddesses particularly known for their drama and eroticism. This work potentially tells the story of Diana and Actaeon, the latter who stumbled upon Diana while she was bathing and, in her surprise, and fear she splashed him with water transforming him into deer. Depicting the nude body, particularly that of female figures was a skill honed through the act of drawing. and these mythological subjects offered ample opportunity to practice. In this work it appears that we have interrupted her in the act of bathing with the shallow pool of water at her feet and attendants on hand, removing water jugs from the trunk to help wash her. The look on her face as she turns to stand is one of surprise or of shock, potentially caused by the arrival of an unknown figure, a hunter visible through the archway in the top right corner. She attempts to protect her modesty with arms raised to cover her breast while she and her attendant struggle to drape her with a robe. As work it is filled with excitement and movement, sketched quickly by the artist, depicting the moments before the action, filled with anticipation and high drama.

Three oils paintings of old master portraits, one of a still life, "Vase of Flowers", a Picasso print of a dove and other pictures and prints.

A boxed bottle of 21 year old Whyte & Mackay master blend Scotch Whisky.

After The Old Master, pastel, male nude study, pencil and red chalks, 20x15cm, together with mixed media study of two old gents, and Frank Verbbek - watercolour (3)

KENYA: A RARE CERAMIC-INLAID WOOD INRO DEPICTING YAMAYURI (MOUNTAIN LILY)By Ogata Kenya (1853-1923), signed Kenya 乾也Japan, Meiji period (1868-1912)Of rounded rectangular form and oval section, decorated in gold and black takamaki-e as well as inlays of glazed ceramic to depict a mountain lily (yamayuri) borne on a leafy stalk, the interior left plain, the natural wood of an attractive color and grain. The reverse signed KENYA within an inlaid green-glazed ceramic reserve.HEIGHT 8.4 cmCondition: One ceramic inlay with two small cracks with associated old repair, otherwise in very good condition with minor wear. Provenance: French private collection.Miura Kenya (1825-1889), known as Kenya I, led a versatile life: first as a maker of clay dolls, then travelling to Nagasaki in 1854 to work on the first Japanese steamboat, in 1869 producing the first Japanese bricks, and from 1875 producing pottery at the Chomeiji in Tokyo. In an inscription on one of his inro he calls himself the last pupil of Ritsuo, and he was also strongly influenced by the style of Kenzan. Ogata Kenya (1853-1923), known as Kenya II, learned the art of pottery from Kenya I. Later he was adopted into the Ogata family as Kenzan VI, in which capacity he was the master of Bernard Leach. While it is not easy to distinguish between the work of Kenya I and Kenya II, the signature and style of the present inro suggest the latter. See Earle, Joe [ed.] (1995) The Index of Inro Artists, p. 125.

An old golf bag and set of clubs including John Letters master model

A Great War Church Memorial Tablet to Captain S. H. Christy, D.S.O., 20th Hussars Memorial Tablet, 490mm x 127mm, bronze, inscribed ‘Captain Stephen Henry Christy D.S.O. 20th. Hussars. Killed in action Sept. 3rd. 1914.’, with six small fixing holes around edge, original white paint from inscription almost all lost, otherwise good condition £80-£100 --- D.S.O. London Gazette 24 January 1905: ‘In recognition of services during the Sokoto-Burmi operations, Northern Nigeria, 1903.’ Stephen Henry Christy was born on 27 April 1879, the son of Stephen Christy Esq., of Stockport, Cheshire, and was educated at Harrow and Christ Church, Oxford. He was commissioned Second Lieutenant in the 20th Hussars on 20 December 1899 and was promoted Lieutenant on 10 August 1900. He served in South Africa during the Boer War from 1901, latterly on the Staff as Signalling Officer, and was present at the operations in the Transvaal and the Orange River Colony (entitled to the Queen’s South Africa Medal with clasps for Orange Free State, Transvaal, and the two date clasps). Christy saw further service in Northern Nigeria in 1903, taking part in the Sokoto-Burmi operations, during which he was slightly wounded. Mentioned in Despatches (London Gazette 2 January 1905, for his services he was created a Companion of the Distinguished Service Order. He retired from the Active List in 1906, and later became Master of the South Shropshire Foxhounds. Following the outbreak of the Great War Christy rejoined his old Regiment, with the rank of Captain, on 16 August 1914, and served with them during the Great War on the Western Front from 18 August 1914. He was killed in action at Ussy-sur-Marne on 3 September 1914, and is buried at Perreuse Chateau Franco-British National Cemetery, France.

A figure in red on a bridge near a cottage in a high windindistinctly signed lower left ‘M.....d’oil on canvas34.5 x 46.5cmProvenance:Mark Hanna-Ross Collection;The Asbjorn Lunde Foundation, Inc.Footnote: All proceeds from the sale of this and another eleven paintings (lots 57-68) will benefit the activities of the Asbjorn Lunde Foundation, Inc., which continues its founder’s support of research, publishing, presentation, and practice in museums and music. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States, and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old master painting, and Asian decorative arts.Condition report: The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are stable but have suffered from wear and abrasion. Areas of overpaint are well matched to the original. The varnish is even and glossy. 50 x 62cm framed

Hardy Hommage-19611 of 1 Trèves Lalique Decanter. Cuvée Francis Hardy.Grande Champagne Cognac. Elaborated exclusively for 'La Part des Anges 2014'. Handwritten vintage. Lalique crystal decanter. In original handcrafted walnut presentation box (some damage). Accompanied by stopper. no spirit strength or capacity stated on labelling.1 decanterFootnotes:This unique Lalique crystal decanter, acquired at 'La Part des Anges' 2014 auction, has been hand filled exclusively under this private collector's specifications with a rare Hardy Cognac 1961, selected and signed by Bénédicte Hardy, 5th Generation of Maison Hardy Cognac.Notes from the producer:When the name of Francis Hardy is mentioned in Cognac, everybody remembers that he has been the mayor of the city for about twenty years. But what few people know is that he also was the Cellar Master of Maison Hardy between 1946 and 1973 before starting his career in politics.In honour of this gentleman with his refined palate, Maison Hardy is proud to offer the very old Grande Champagne eaux-de-vie, a rare 1961 vintage from Francis Hardy's selection, to create Hardy Hommage.In a century-old black walnut case, the Lalique Trèves crystal decanter designed by Marc Lalique in 1955, gift to the Part des Anges 2014, is a one and only piece, a tribute to Francis Hardy's life undertaking.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

Dalmore-45 year oldDistilled and bottled at Dalmore Distillery, Alness.In original presentation case and stopper, accompanied by booklet and outer leather carrying case. Engraved labelling. Filled to 750ml. Single malt, 40% volume1 baccarat crystal decanterFootnotes:Note from Dalmore Distillery:An assemblage brought together by The Dalmore Master Distiller, Richard Paterson, created using some of the distillery's most rare and exquisite casks.Initially matured in American white oak ex-bourbon casks, the whisky then matures in Cabernet Sauvignon barriques. It is transferred back into American white oak ex-bourbon casks before maturing in Tawny port pipes which have held 20 year old port for the penultimate stage.The precious liquid is then married together with aged whisky matured in American white oak ex-bourbon casks and aged Port Colheita pipes.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-40 year oldBatch 2. A marriage of The Balvenie matured in 3 refill hogsheads and 3 sherry butts, certified by The Balvenie Malt Master David C. Stewart.Bottle No. 15 of 150. In original wooden presentation case. Good labelling. Filled to 750ml. Single malt, 48.5% volume1 bottleFootnotes:Note from the distillery:Using some of the rarest casks that have been carefully matured in Traditional American and European Oak in The Balvenie warehouses, Malt Master David C. Stewart MBE creates to craft a bold marriage of extraordinary character.Rich and refined; intense honeyed oak and rich fruit create a complex layer of sweetness and spice; then warm notes of ginger and citrus are revealed.Batch 2 is an early release of The Balvenie 40-Year-Old, and it was produced in very limited quantities as only 150 bottles were made, a detail not featured in current releases, is the description of the casks used to create this outstanding single malt.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-50 year oldBatch 02, Marriage 0197. A marriage of five fifty year old casks hand selected by Malt Master David Stewart, The Balvenie Distillery. Bottled 23/04/2019. Casks #6428, #6430, #9930, #3094, #0732. In original handcrafted wooden presentation case by Sam Chinnery. Engraved and paper labelling. Filled to 700ml. Single malt, 42% volume1 bottleFootnotes:Producer's note:The Balvenie Fifty, Marriage 0197 compliments the liquid drawn from the four casks within Marriage 0962, which was released in 2018, with one further cask added to the blend. The ability to marry precious liquid that has been given 50 years or more to express itself is a complex craft due to the extreme variances of taste, strength, depth and intriguing flavours that result from significant ageing.David's unbridled desire for experimentation, unparalleled stock knowledge and meticulous selection process has been instrumental in creating a second expression that not only successfully introduces an additional liquid to the Marriage 0962, but also adds another dimension to the previous expression's delicate notes.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

Frapin-In honour of Jehan Frapin1 of 1 Rogaska Crystal decanter. Grande Champagne.Elaborated exclusively for 'La Part des Anges 2014' with the oldest eaux-de-vie from Frapin, some of which are over a century old. In original presentation leather case (damages and rubbing). Accompanied by stopper. Engraved labelling. Filled to 70cl. Cognac, 40% volume1 crystal decanterFootnotes:Producer's note from 'La Part des Anges' 2014 event:Frapin Cognac is proud to present a new, unique crystal decanter. The elegant, minimal design features a frieze which honours the nomination - 480 years ago - of Jehan Frapin as Chef Sommelier of the highest order by King François I, back in 1534.Jehan Frapin was the nephew of François Rabelais, the distinguished French humanist writer and renowned ancestor of the Frapin family.The crystal decanter is fashioned by hand at the Rogaska crystal glassworks by a highly skilled master glassmaker. The outstanding savoir-faire of the Rogaska crystal glassworks stems from a rich artisanal heritage dating back nearly 350 years.The harmonious blend of our oldest and most highly prized eaux-de-vie from the Chai Paradis will delight the palates of connoisseurs and collectors alike.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 SMALL BOX OF PRINTS AND ENGRAVINGS to include 'Goodes New Characters No. 3', various old master style drawings, prints etc

View of the Piazzetta, with the Palazzo Ducale and the Bibloteca Marciana. Francesco Albotto (1721 - 1757). Oil on canvas.  Provenance:Oggetti d'Arte, Dipinti e Arredi da una Raccolta, Venezia, Friday, March 25th, 2011. Lot 432.Sotheby's: The Splendour of Venice, Important Furniture and Old Master Paintings from a Private Collection. London, July 6th, 2010. Lot 136.Semenzato Casa d'Aste Venice. Important Old Master Paintings, Lot 6. April 16, 2000.  Dimensions:(Frame) 39.5 in (H) x 62.375 in (W)

Attributed to Sir Anthony van Dyck (1599-1641, Flemish). Study of a Head of Man. Circa 1627-32, van Dyck?s second Antwerp period. Oil on paper, laid down on canvas. Dimensions: 15 (H) x 14 in (W) Provenance: Christie?s New York, 29 January 2015, Old Master Paintings & Sculpture Part II, Lot 00204 Dr Christopher Brown has also not excluded an attribution to the master himself on the basis of a photograph of the work when at Christie's, New York in 2015. Dr Hans Vlieghe attributes this painting to the studio of Sir Anthony Van Dyck after first-hand inspection and dates it to Van Dyck?s second period (1627-1632).

Various artists and engravers, 18th c and later - Portraits, Old Master and decorative prints, the subjects to include eminent British men (Lord Brougham, Samuel Greg, Viscount Melbourne, Thomas Drummond and Henry Grattan), various sizes to approximately 92 x 65cm, sold in portfolio (approximately 42) Condition ReportIn typical country house condition, long kept in the present portfolio, mostly with handling marks, creases, stains, foxing and marginal loss / tears. A number clean, original and unrestored

A-Jacques Callot (French 1592-1635)The Bohemians Marching: The Rear Guard, 1621Etching and engraving on laid paperSize: 9 1/8 x 4.75 in. B-Jan Saenradem (Dutch, 1565-1607)after Hendrick Goltzius (Dutch, 1558-1617)after-Polidoro da Caravaggio (Italian, ca. 1499-ca. 1543)The Story of Niobe, plate 3, 1594From the set of eight etchings, The Story of Niobe (The Punishment of NiobeSlight damage-upper right corner C-Old Master EtchingTravelers Through the CountrysideDated 1776Etching on laid paper D-Rembrandt Van RijnSheet of studies with a woman lying ill in bedOnly stateImage size: 5.25 x 5 7/8 in. Etching on laid paper with Van Gelder watermark

Italian 17th C. Old Master painting, Oil on Canvas. Sight Size: 11.5 x 15.5 in. Overall Framed Size: 14.75 x 18.5 in.

17th C. Old Master Painting of Madonna and Child. Oil on canvas. Apears to be unsigned, has not been examined out of the frame. Provenance: Important North Carloina private collection. Sight Size: 36 x 29 in. Overall Framed Size: 42 x 35 in.

18th C. Old Master Painting, Madonna and Child. Oil on canvas. Manner of Carlo Cignani (1628-1719). Provenance: Important North Carolina private collection. Sight Size: 18.5 x 14 in. Overall Framed Size: 22 x 18 in.

17th C. Old Master Painting of Mary and the Infant Jesus with St. John in a landscape. Oil on canvas. Appears to be unsigned. Provenance: Important North Carolina Private collection. Sight Size: 29 x 37 in. Overall Framed Size: 36 x 44 in.

18th C. Old Master, Moses and the Serpent. Oil on canvas. Depicting the parable from the bible. This dramatic scene from the Old Testament (Numbers 21, 5-9) depicts the moment when Moses saves his people from the snakes sent by God as punishment for their lack of faith. The bronze serpent on a rod, whose mere contemplation is sufficient to cure anyone bitten by a snake, symbolizes salvation. Provenance: Important private North Carolina collection. Sight Size: 20.5 x 51 in. Overall Framed Size: 23 x 54 in.

17th C. Old Master, Jesus with Crown of Thorns. Oil on canvas. Appears to be unsigned, has not been examined out of frame. Sight Size: 17 x 15 in. Overall Framed Size: 20 x 18 in.

MARINO MARINI (1901-1980)Cavalli e cavalieri signed and dated 'Marino 1970' (lower right)oil on paper39.3 x 51.1cm (15 1/2 x 20 1/8in).Executed in 1970Footnotes:The authenticity of this work has been confirmed by the Fondazione Marino Marini.ProvenanceDominion Gallery, Montreal, no. B6324 (possibly acquired directly from the artist in the 1980s).Private collection, Switzerland & UK (acquired from the above circa 1997).ExhibitedToronto, Istituto Italiano di Cultura, Marino Marini: Sculptures, paintings, drawings, 27 May – 11 July 1998.A cavalry rider of the avant-garde, Marino Marini forged a valiant artistic pathway that was in sync with the strident drumbeats of Modernity. Utilising the horse and rider as a lifelong leitmotif, Marini conveyed an exhaustive breadth of drama and emotion, scaling the divide between primeval furore and contemporary anxiety. By enunciating this classical trope with the fragmented language of his own zeitgeist, Marini engendered deep and dynamic meditations on the state of the world and man's relationship with it. Completed ten years before his passing at the age of 79, Cavalli e cavalieri represents a chapter in which Marini's horses and riders are reduced to ideas or memories. The present work therefore embodies the distilled values of a master artist who had reached the apex of his creative vision.Marini grew up in the bucolic environs of Tuscany, enveloped in sun-drenched natural landscapes dotted with the emotive frescoes of Giotto and Masaccio. He strongly identified as a descendent of the Etruscans – a tendency which manifested in the ancient and mythical qualities of his art. Marini learned the language and imagery of the early Renaissance and the international Gothic style whilst enrolled at the Accademia di Belli Arti in Florence from 1917, thence developing a personal connection with Northern European sculpture and ancient cave paintings. His travels placed him at the centre of the European avant-garde: in Paris he associated with Pablo Picasso and Giorgio de Chirico, and then in Switzerland he befriended Germaine Richier and Alberto Giacometti. The creative discourse between Marini and Giacometti resounded in their shared preferences for attenuated forms, expressive textures and rigid abstraction. After starring in the Twentieth-Century Italian Art exhibition at the Museum of Modern Art in New York (1949), Marini became ingratiated with an exciting new generation of post-war artists, among them Lyonel Feininger, Max Beckmann and Alexander Calder.The horse and rider first appeared in Marini's work in 1936, after he visited Der Bamberger Reiter, an early thirteenth century equestrian sculpture at the Cathedral of Bamberg in Germany. In Marini's first iterations of the subject, his riders and their steeds possess elongated physiques, their poses calm and formal. By 1940, they evolve into more squat, simplified, archaic forms. After the Second World War, the horses often have their mouths open in silent screams, their ears pinned back in ecstasy or anguish. Indeed, Marini had witnessed true atrocities under the Italian fascist regime, including watching terrified peasants fleeing from armed forces on horseback. In ensuing years, Marini's riders appear to be dislocated from their mounts and focused on their inner human turmoil, reflecting a society bent by trauma, grief and apathy. By 1970 – and in the present work – the equestrian motif had been reduced into a kind of patterned obscurity, one that favoured impulse and impression over object and circumstance. This chronological disintegration was for Marini an extended metaphor for mankind's expulsion from earthly paradise into the cruel reality of war. In Cavalli e cavalieri, Marini creates mysteries that are just as vivid as his colours and forms. Bright, full-bodied black and blue oil paints coalesce into evocations rather than descriptions of the horses and riders, omitting any possible whispers of individualisation. Marini's lively dabs and strokes resonate across the surface of the paper in thick staccato, generating forms that resemble musical notations or grammatical symbols. The needle-thin lines with which he incises the subjects grants them a certain architecture, forming rivulets of violence and tension. With their arms raised in defiance, they could be cavalry units undertaking a drill or manoeuvre, charging forth in sync. Indeed, their harmonious colours could evoke a common uniform or military standard. Marini conjures up a saturated backdrop beneath them with off-white paint, sustaining the flatness and compression of the wider mise-en-scène. In their symmetry and abstraction, Marini's horses and riders resemble a Rorschach test, a psychological method by which one's perceptions of inkblots are recorded and analysed using a series of algorithms. In this, the present composition manifests psychoanalytical interpretations of his work, by which critics have understood the horses to signify man's primal erotic instinct – a force that must be harnessed and controlled by the riders. The horses also provide links to history and tradition, as Herbert Reed has observed: 'The taming of the wild horse marked a definite stage in the evolution of human civilization. But such symbolism apart, the horse, by its animal form... is in itself a thing of beauty that naturally appeals to the artist... Marini, in selecting this animal as a subject, is showing a predilection as old as art itself. It is all the more amazing, therefore, that he should have given a new treatment to the subject' (H. Read, P. Waldberg & G. di San Lazzaro, Marino Marini, Complete Works, Milan, 1970, p. 12).For Marini, tradition was a mode through which he could delineate mankind's relationship with the world, its values and its events. In this, he distinguished himself from the Italian Futurists, whose art embodied the mechanical and industrial advancements of their age. Nevertheless, he sought to pervert the epic and imperial overtones of the equestrian type, dismantling its mythology of uono di virtù, the individual virtuous hero. He considered this to be, 'my own way of reacting against the imperialist pathos of official Fascist art... I am no longer seeking, in my own equestrian figures, to celebrate the triumph of any victorious hero. On the contrary, I seek to commemorate in them something tragic – in fact, a kind of 'Twilight of Man', a defeat rather than a victory' (Marini quoted in É. Roditi, Dialogues: Conversations with European Artists at Mid-century, London, 1990, p. 87). Marini was keenly aware of the trajectory of the equestrian trope throughout history, placing himself in a dialogue with his antique forerunners and his avant-garde contemporaries. As he explained to the critic Édouard Roditi, equestrian motifs once 'set out to exalt a triumphant hero, a conqueror like Marcus Aurelius... The Romantic painters were already addicted to a cult of the horse as an aristocratic beast... From Géricault and Constantin Guys to Degas and Dufy, this cult of the horse found its expression in a new attitude toward sport and military life... In Odilon Redon's visionary renderings of horses and later in those of Picasso and Chirico, we then see the horse become part of the fauna of a world of dreams and myths' (Ibid., p. 86).As archetypes that endure throughout art history – and that sustain the microcosm of his oeuvre – horses and riders carried Marini's expansive visions of the world. These visions evolved through his encounters with both art and atrocity. In the present work, Marini succeeds in shifting these emblems of status and pow... 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

NO RESERVE Prints.- Various (Artists) Collection of over 100 prints from the 17th to 19th century, including a small group of old master prints with Visscher's Nativity, another after de Vos, Laguerre and James Thornhill, with a quantity of various other prints, decorative, portraiture, and some topographic, various sizes, the vast majority loose, with 8 framed, and a full suite of 13 framed facsimiles of Wheatley's 'The Cries of London', 17th to 19th century (Sm. Qty.).

PLAYBILL, HAVANT PRINTING, SKELTON: rare playbill advertising 'The Celebrated Young Roscius, Master Grossmith, from Reading, Berks. Only 8 years and a quarter old', printed by Skelton, Havant, circa 1826: letterpress playbill on thin paper, wood engraved vignette illustrations, approx 21 x 37cm, cropped with loss down left edge, and torn through letterpress at head. (1)

movement circa 1730, (probably re-cased with fresh dial and hands circa 1790), the unsigned white dial, 40mm diameter, with black Arabic numerals, copper coloured arrowhead hands, outer minute track and winding aperture at 3 o’clock, front loading gilt full plate movement, signed GEO. GRAHAM LONDON 5409, the pierced and engraved winged balance cock with maidenhead embellishment at the neck and diamond end stone, cylinder escapement with chain fusée, silvered regulation and 4 pinned Egyptian pillars under a signed brass dust cover, inner case, 50mm diameter with convex bezel, verso with convex bezel around a central dark blue guilloché enamel panel, (outer case lacking)Footnote: Born in 1673, 'Honest' George Graham was one of the most eminent of English watchmakers. He was apprenticed to Thomas Tompion in 1688 and was free of the Clockmakers Company in 1695. After completing his apprenticeship, he became Tompion's assistant and then his partner, marrying his niece, Elizabeth, in 1704 and succeeding him after his death in 1713. He perfected the cylinder escapement - as in this example - originally designed and patented by Tompion in 1695. He went on to invent the dead-beat escapement in 1715 and the mercury pendulum in 1726.In 1721, he was elected a Fellow of the Royal Society and was the author of 21 papers. In 1722, he was chosen as a member of their council, the same year as his election as Master of the Worshipful Company of Clockmakers. Between 1730 and 1738, Graham's own apprentice was Thomas Mudge who went on to become an eminent watchmaker in his own right.Graham's style of living was distinguished by its simplicity, honesty and generosity. He died in 1751 and Tompion's grave in London's Westminster Abbey was opened to allow the two old friends to be buried together. This exceptional honour and the location of their interment is testament to the high esteem in which these eminent horologists were, and still are, held.It is one of the few original gravestones retained when the nave was repaved in 1835, and the inscription reads: 'Here lies the body of MR. THO TOMPION who departed this life on the 20th of November 1713 in the 75th year of his age. Also the body of George Graham of London watchmaker and F.R.S. whose curious inventions do honour to ye British genius whose accurate performances are ye standard of mechanic skill. He died ye XVI of November MDCCLI in the LXXVIII year of his age'Graham's watches are now much sought after and extremely collectible. This example is not listed in Jeremy Evans' reference 'Thomas Tompion at the Dial and Three Crowns', the nearest numbered examples being 5373 (1729) and 5438 (1732).Literature:Frederick James Britten - Britten's Old Clocks & Watches and their makers, Methuen, 9th edition 1982, pages 326-329With thanks to the Antiquarian Horological Society for their guidance. Condition report: Outer case: Lacking.Inner case: Cover opens and closes satisfactorily, and the hinge does not appear strained. Front and back bezel probably originally gilded but gilding now almost completely worn off. Verso: the enamel worn and heavily scratched with some minor chips and cracks visible.Crystal: Complete and secure with some minor scratches and chips as to be expected.Dial: In good condition. Some very minor chips to the very edge and some minor surface scratches all over. Hairline crack at 6 o'clock from the dial edge to just above the numeral. Minute hand a little out of shape.Movement: Catch opens and snaps shut satisfactorily and the hinge does not appear strained. Inner dust cover in good condition and engages and disengages as it should. Movement not currently in working order. Balance wheel moves freely and 'ticks' for one or two seconds before stopping. Hands move freely in both directions.

unsigned. Circa 1900. Copy after old master. Rubens fleeing. Original in Kassel - Wilhelmshöhe. Oil paint on panel. Dimensions: H 42 x W 55 cm. In good condition.

Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."Allegory of Winter".Oil on canvas.It has repainting and restorations.It has a frame following ancient models.Sizes: 144 x 162 cm; 156 x 174 cm (frame).In the foreground, the author structures two groups of characters; in the right zone a young man climbed on a ladder gathers firewood, while in the lower zone another one seems to carry a bundle with the branches provided by his companion. At the other end of the image several people are gathered around a fire, two children, a woman and a man, all of them trying to keep warm. In the background, a couple distribute the food and finally three figures can be seen who appear to be hunting, one with a shotgun and two with falcons that facilitate this practice. Finally, the scene is completed with a landscape and a large mountain in the background. The figures are notable for their large size and the roundedness of their forms, making them stand out from the landscape.Due to the technical characteristics of the work, it should be mentioned that it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist in his day, 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-established 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.

VICTOR EMMANUEL III: (1869-1947) King of Italy 1900-46 who also served as Emperor of Ethiopia 1936-41 and King of the Albanians 1939-43. Bold, dark fountain pen ink signature ('Vittorio Emmanuele') to the upper edge of an 8vo page removed from an album, dated Athens, 11th April 1907 in his hand. Together with Elena of Montenegro (1873-1952) Queen consort of Italy 1900-46. Dark fountain pen ink signature ('Elena') and date, Racconigi, 1911, in her hand on an 8vo page removed from an album, also signed by Yolanda of Savoy (1901-1986) Italian Princess, eldest daughter of King Victor Emmanuel III; Mafalda of Savoy (1902-1944) Italian Princess, second daughter of King Victor Emmanuel III, arrested by the Gestapo in September 1943 and placed in Buchenwald concentration camp where she died at the age of 41 (the lot also including an adult signature on another page); Umberto II (1904-1983) King of Italy May - June 1946, the only son of King Victor Emmanuel III; and also featuring the childlike 'signature' of the four-year old Giovanna of Savoy (1907-2000) Italian Princess, daughter of King Victor Emmanuel III, Tsaritsa of Bulgaria 1930-43 as consort of Tsar Boris III (the lot also including an adult signature on another page); and further signed to the verso by Princess Helen of Serbia (1884-1962) Serbian Princess, daughter of King Peter I, later Princess Elena Petrovna of Russia and wife of Prince John Constantinovich of Russia from 1911-18; Louise Mountbatten (1889-1965) Princess of Battenberg, sister of Louis Mountbatten and Princess Alice of Battenberg (the mother of Prince Philip, Duke of Edinburgh), later Queen consort of Sweden 1950-65 as the wife of King Gustav VI Adolf; and one other. Also including two further 8vo pages removed from an album and bearing seventeen further signatures of members of the House of Savoy and other royal families including Prince Filiberto of Savoy (1895-1990) Duke of Genoa and a General in the Royal Italian Army who supported Benito Mussolini; Prince Ferdinando of Savoy (1884-1963) Duke of Genoa and an Admiral in the Royal Italian Navy; Prince Tommaso of Savoy (1854-1931) Duke of Genoa, nephew of King Victor Emmanuel III; Prince Adalberto of Savoy (1898-1982) Duke of Bergamo, son of Prince Tommaso of Savoy, served as a General in World War I and World War II; Prince Eugenio of Savoy (1906-1996) Duke of Genoa, son of Prince Tommaso of Savoy; Princess Bona of Savoy-Genoa (1896-1971) Princess Bona of Bavaria, daughter of Prince Tommaso of Savoy; Princess Anne of Orleans (1906-1986) Duchess delle Puglie, wife of Prince Amedeo of Savoy, Duke of Aosta; Princess Francoise of Orleans (1902-1953) French Princess, later a Princess of Greece and Denmark as the wife of Prince Christopher of Greece and Denmark 1929-40; Prince Henri of Orleans (1908-1999) Count of Paris, the Orléanist claimant to the throne of France as Henry VI from 1940-99; Princess Adelaide of Savoy-Genoa (1904-1979) Italian Princess, daughter of Prince Tommaso of Savoy; Philipp, Landgrave of Hesse (1896-1980) German Prince, husband of Princess Mafalda of Savoy, Philipp joined the Nazi Party in 1940 although later fell out of favour with Adolf Hitler and was placed in Flossenburg concentration camp (then Dachau) and was later arrested by US Forces at the end of the war, his relative Prince Philip, Duke of Edinburgh was named after him; Frederick IX (1899-1972) King of Denmark 1947-72 (signed, as Prince, at Cannes in 1922, the year in which he was engaged to Princess Olga of Greece and Denmark); Prince Rene of Bourbon-Parma (1894-1962) Italian Prince, father of Queen Anne of Romania; and Princess Margaret of Denmark (1895-1922) Danish Princess, wife of Prince Rene of Bourbon-Parma. An impressive selection of signatures, most relating to the Italian royal family. Some very light, extremely minor age wear, VG, 4 Provenance: The present pages were removed from the personal album of Baron Robert Stuker (1863-1940) Swiss historian, interpreter, diplomat and educator, a language specialist who was appointed tutor at the Greek Royal Court under King George I. Stuker was later appointed as Royal Chamberlain, Court Librarian and Personal Secretary to the King. Stuker accompanied members of the Greek Royal family on trips, took on sensitive diplomatic missions and became the King's advisor. Following his service with the Greek Royal family, Pope Pius XI appointed the Reformed Protestant Stuker as master of ceremonies and interpreter at the Vatican in 1924, posts he was to hold until 1935. In later years the album was added to whilst in the custody of Jurg Stuker (1914-1988) Swiss antiquarian bookseller and founder of the Stuker auction house in Bern, stepson of Robert Stuker.

A FOLIO OF FIVE OLD MASTER PRINTS Comprising `Descent from the Cross` (Bartsch 81) and `Jan Uytenbogaert (The Goldweigher)` (B.281), after Rembrandt, later editions or copies; also `The March of Silenus` by P. Soutman after Rubens; `Sir Philip Sidney`, an etching by G. Vertue after Isaac Oliver; and another etching in Rembrandt's style (not in Bartsch) (5) ++ Fair-poor only; the two Rembrandt subjects with damages, trimmed; the others satisfactory

A FOLIO OF OLD MASTER DRAWINGS mixed schools, to include The Sacrifice of Isaac, Angel appearing to Tobit, Virgin and Child, Standing Nude, Charity, Adoration of the Shepherds, Massacre of the Innocents, David, Sistine lunette and other subjects; by followers of Maratta, Cano, Schiavone, Caracci, Cignani, Bassano, Tintoretto, Guercino, Michelangelo and others, various sizes (12) ++ Fair only; many worn, grubby etc

Old Master school pencil/charcoal drawing of a lady or angel, 43 x 35cm

Franklin Polar Expedition. Original manuscript instructions for the building of 4 boats used on the Rae-Richardson Arctic Expedition of 1848, the first a document dated at Portsmouth Yard, 23 April 1847, giving details of ‘Dimensions and scantlings of two boats to be built by Contract for the Arctic Expedition’ at Portsmouth Dockyard, then giving a list of materials and sizes with further text below, ’The boats to be built of the very best seasoned materials, as light as possible, consistent with strength, and to be fitted according to the usage of the dockyard, or as shall be pointed out by the surveying officer; the fastenings to be copper throughout. The boats to be finished in all respects, in a workmanlike manner, and to be such as shall be approved of by the officers of the dockyard’, the boats to be delivered to store by 15 May 1847, 1 page with integral blank leaf (watermark date 1846), together with a second single sheet giving dimensions and scantlings for two similar boats to be built for the Expedition by Mr Camper [at Gosport], 1 page; a third sheet (paper watermark date 1839), giving summary technical details of all 4 boats, plus ‘Draught of Water’ and details of 4 tool chests and their contents, including axe (1), adze (1), hand vice (2, oil stone (1), hemp (7.5 lbs), hand saw files (6), small chisels (8), compasses (2), etc., 2 pages with integral blank, all folio, plus a fourth sheet titled ‘The Arctic boats are numbered 1, 2, 3 & 4 inside their Sternposts’ with brief listings of each below, signed by J[ohn] Whettam [shipwright, Portsmouth Dockyard] and addressed to W[illiam] Rice, 1 page, 4to, the last two items with a few rough pencil calculations and some spotting, loosely contained in slightly frayed old wrapping (watermark date 1819) with a later manuscript note about the contents, dated May 1900Qty: (4)Footnote: The Rae–Richardson Arctic expedition of 1848 was an early British effort to determine the fate of the lost Franklin Polar Expedition of 1845. Part of a three-pronged rescue effort devised by the British Admiralty this expedition was led overland by Sir John Richardson and John Rae, the team exploring the accessible areas along Franklin's proposed route near the Mackenzie and Coppermine rivers. Although no direct contact with Franklin's forces was achieved, Rae later interviewed the Inuit of the region and obtained credible accounts that the desperate members of Franklin's team had resorted to cannibalism.Details about the ordering and the construction of the 4 boats used on the expedition is recorded by John Richardson in Arctic Searching Expedition…, 2 volumes, Longman, Brown, Green & Longmans, 1851, pp. 40-42. Technically demanding and innovative the boats had to be both lightweight and sea-worthy and Richardson commends William Rice, ‘Assistant Master Builder of Portsmouth Yard, for the care and skill with which he worked out a successful result’.The first sheet with the Portsmouth Dockyard dimensions is dated 23 April 1847. This was exactly one month before the ‘Victory Point Note’ was written, following Franklin’s first overwintering. It ends: ‘Sir John Franklin commanding the expedition. All well. Party consists of 2 officers and 6 men left the ships on Monday 24th May, 1847’, and is signed by Gore and De Voeux. It was found eleven years later in May 1859 by William Hobson with a second part, dated 25 April 1848, noting the death of Sir John Franklin, this time signed by Captains Crozier and Fitzjames.

Davies (Peter Maxwell, 1934-2016). English composer and conductor, Master of the Queen's Music 2004 to 2014. A significant archive comprising approximately 120 individual items of autograph manuscripts including music manuscripts, autographs letters and postcards, annotated scores and miscellaneous autographs, c. 1952-2000, most notably including very early and significant Autograph Musical Manuscripts of Fünf Gedichte von Christian Morgenstern, 1952; the carol Ave Maria, Blessed Flower, c. 1961; 3 postcards with musical quotations including 1 titled Tabula prima; 54 autograph letters signed, 30 autograph postcards signed, published scores of his own and other composers' works, some with Davies' signature and annotations, further miscellaneous autograph items and other ephemera including biographical important photocopies of unpublished material by Maxwell Davies, etc.Qty: (approx. 120)Footnote: Provenance: Roderic Dunnett, a writer and close friend of the composer who has written widely on music including modern British opera.The collection comprises:Autograph Musical Manuscript of Fünf Gedichte von Christian Morgenstern signed at the end of the score (‘Peter Maxwell Davies / September 1952 / Fünf Gedichte von Christian / Morgenstern’), 6 pages, folio., covers detached and page edges creased. An astonishing score from the 18 year old composer, who is writing in a chromatic, but tonal musical language.An extremely rare, early and significant work.Autograph Musical Manuscript of the Carol Ave Maria, Blessed Flower signed (‘Max’ and ‘Peter Maxwell Davies’), 1 page, large quarto (small tear and two file holes, neither affecting the music or text, however the ’vies’ of Davies has been removed by one of them). Being 18 long bars for mixed choir laid out on two staves, with an autograph note about the Carol, which was written in 1961 for Cirencester Grammar School Choir where Davies taught music. In the autograph note, Davies also refers to the note values he has used in this manuscript, saying, ‘… I think I eventually wrote it out in half-time values…’. This is borne out by the published version of this important manuscript.Autograph Musical Manuscript entitled Tabula prima unsigned, 1 page, written in blue biro on a postcard and laid out along each side of the postcard (two file holes not affecting the manuscript but just touching the corner of the musical stave). A note on the verso, signed with initials (‘PMD’) indicates that the work is “... A tiny canon, with the title borrowed from the illustration which set off the Vesalius work, on a cantus from it”.Autograph Postcard Signed (‘Max) with a short autograph musical quotation of 1 bar, sending greetings from Brazil and informing the recipient that the seminars he is teaching at the university are “…interesting and worth it…” but lamenting the humidity and asking for news. 1 page (with the usual stamps and postal cancellations, one touching but not obscuring, part of the text and musical quotation). The bar is a melody based on a rumba.Autograph Postcard signed (‘Max’) with an unidentified autograph musical quotation, 2 bars for piano written on a hand drawn stave, 1 page, Dorset, 1973. Enquiring when he can see the recipient, and suggesting dates.54 Autograph Letters Signed & 30 Postcards SignedRemarkable 7 page document written in pencil by PMD, being the notes for a lecture on Sonata Form, mentioning most composers who wrote using that structure, as well as drawing parallels to architecture and other extra-musical disciplines. A fascinating insight into PMD’s pedagogy, having begun his career as a teacher at Cirencester Grammar School.Published Score of Maxwell Davies’s Three Organ Voluntaries, 7 pages, Chester Music. Signed on the inside front cover (‘Peter Maxwell Davies’) and further inscribed and signed (‘Max/ 1979’).Published Score of Maxwell Davies’s Farewell to Stromness and Yesnaby Ground, 5 pages, Boosey and Hawkes. Signed and inscribed to the inside front cover (‘All good wishes for / Christmas and New Year - Max’).Two Published Scores of Maxwell Davies’s Strathclyde Concerto No. 2 for Cello and Orchestra, Chester Music and Ave Maris Stella, Boosey and Hawkes. Both signed on the title page (‘Peter Maxwell Davies’) and further inscribed and signed on the Strathclyde Concerto (‘For Roddy, with Christmas and New Year greetings from Max December 1990’), bleeding to both signature and inscription, and the Ave Maris Stella (‘Roddy - thank you for the best Ex Libris sticker ever. Max’).Published Scores of works by Schoenberg (3) and Webern from Maxwell Davies’s own library with his annotations. Plus further miscellaneous materialFor a more complete list please contact the auctioneers.

° ° A large collection of modern and vintage Fine Art reference books and catalogues, 7 boxes, subjects include -Ancient art, British ceramics Benezit, Vienna Art, Treasures from Great Houses, Old Master Drawings, German art, Spanish art, etc. and some other reference books

Old Master, ink and wash, Christ in the temple, 32 x 20cm

Esfahan Seyrafian(16 Kheft), Signiert, Persien, um 1950, Korkwolle geknüpft auf Seide, ca. 230 x 148 cm, Hochfeiner Esfahan aus den Meisterwerkstätten 'Seyrafian' mit einer Knotendichte von 1.2 Mio knoten per Quadratmeter.EHZ: 2(nahezu in perfektem Zustand).Isfahan Seyrafian(16 Kheft), Signed, Persia, around 1950, wool on cotton knotted on silk, approx. 230 x 148 cm, very fine Isfahan from the 'Seyrafian' master workshops with a knot density of 1.2 million knots per square meter. Condition: 2 (almost in perfect condition). Antique, old and decorative collector rugs, carpets & textiles

Seltener feiner Esfahan, (wohl Seyrafian), Persien, um 1930, Korkwolle geknüpft auf Baumwolle, ca. 220 x 155 cm, Diese hochfeine Auftragsarbeit mit einer Knotendichte von 1,2 Mio. knoten per Quadratmeter, kann als eine der frühsten und seltensten Arbeiten der Meistermanufaktur 'Seyrafian' zugeordnet werden.EHZ: 2-3Rare fine Isfahan, (probably Seyrafian), Persia, around 1930, wool knotted on cotton, approx. 220 x 155 cm. This extremely fine commissioned work with a knot density of 1.2 million knots per square meter can be classified as one of the earliest and rarest works by the 'Seyrafian' master manufactory. Condition: 2-3. Antique, old and decorative collector rugs, carpets & textiles

1965 Jaguar 3.8 S-Type M/ODMake: Jaguar Model: S-TypeYear: 1965Mileage: 49931VIN: 1B54494DNConfiguration: Right Hand DriveRegistration: CSA888CTransmission: manFinished in Old English white with red leather interior. This desirable 3.8 litre example, with working overdrive, has benefitted from works including the front brakes, master cylinder and handbrake overhaul, engine service, re-sealing of the steering box and carburettor overhaul. In addition, the rear subframe has been out when new bushes were fitted, both fuel tanks have been removed and overhauled, painted and weather proofed. The interior has previously been subject to a re-trim and the walnut veneer dash and door cappings remain in very good condition. Comes with a current V5 and Jaguar Heritage certificate. The mileage is recorded at 49,931 and the car registers six owners. PLEASE SEE BELOW FOR VIDEO PRODUCED 10TH MARCH BY ACA OF THIS CAR.

19th century school - Girl in a wooded landscape, oil on oak panel, 13 x 9cm; together with an Old Master print of a sketch (2)

Apprentices & Workers.- Two Humble Petitions of the Apprentices of London...for Lawfull Recreations, 8pp., first edition, variant with "u" in Honourable in line 7 of title printed right way up, title with typographic border (trimmed at head, ?supplied from another copy)), woodcut head-piece and initial, text browned, modern boards, [Wing T3453], by J.Macock, for Nathaniel Webb & William Grantham, 1647 § [Barnard (Sir John)] A Present for an Apprentice: or, a Sure Guide, to gain both Esteem and Estate; with Rules for his Conduct to his Master, and in the World, first Glasgow edition, half-title, lightly browned, contemporary calf, scuffed, old paper labels to spine (chipped), Glasgow, for John Gilmour, 1750 § Trenchfield (Caleb) A Cap of Gray Hairs for a Green Head: or, the Fathers Counsel to his Son, an Apprentice in London, fifth edition, rather foxed and stained, old calf with border in blind, A.Bettesworth, 1710 § [Percival (Thomas)] A Father's Instructions to his Children..., third edition, printed on thick paper, half-title, with advertisement leaf and errata leaf at end, a few corrections in ink to text, an excellent crisp clean copy, later marbled sheep, spine gilt, J.Johnson, 1776, all rubbed, the first two rebacked, with corners repaired; and 2 others including a 1784 Warrington edition of the last, 8vo (6)⁂ The second item first appeared in 1740, written by a Whig MP for the City of London and previous Lord Mayor who was responsible for an act to prevent the infamous practice of stock-jobbing. The third, first published in 1671, is one of the earlier books offering advice to those in more humble circumstances, while the last was a popular work by the physician and health reformer Percival, who campaigned for better conditions for factory-workers in Manchester.

Dickens (Charles) [Works], 26 vol. only, all but Oliver Twist; Hard Times; A Child's History of England; and Edwin Drood first editions, most with frontispieces, engraved titles and plates, illustrations, one or two short tears, expertly repaired, occasional faint off-setting, Pickwick with original blue wrapper bound-in, bound without advertisements, 1837-61 § Savonarola (Don Jeremy) Facts & Figures from Italy ... addressed during the last two winters to Charles Dickens, first edition, 1847; scattered faint spotting, uniform nineteenth-century calf, gilt, red and green morocco spine labels, light rubbing to corners and spine extremities, 8vo (27).⁂ Including the first edition, fifth impression of 'Great Expectations' in 3 vol., with no full stop after 'robbery', p.42, line 5 in vol. 1. and p.149, line 21 with a faulty 's' in 'earnings.' Smith notes that "the first five issues were probably printed at a single impression and published with altered title-pages to imply and encourage a rapid sale."Lacking: Master Humphreys Clock; Barnaby Rudge; Old Curiosity Shop; Sketches of a Young Gentleman; Sketches of Young Couples; American Notes vol. 1 only; A Christmas Carol; The Chimes; and The Cricket on the Heath.

Mayer (Luigi, Italian artist and orientalist, fl. 1755-1803) Veduta del Porto, e Città di Rodi con porzione dell' Isola [View of the Port and the City of Rhodes with part of the Island], watercolour heightened with white, traces of black chalk, with the artist's characteristic feigned mount surrounds, sheet approx. 465 x 620 mm (18 1/4 x 24 1/4 in), under glass, some spotting and browning, with a few signs of conservation, framed, [circa 1800]Provenance:Bernard J. Shapero Rare Books, London (Travel, Part I, 2011, no. 116, £12,500) ⁂ Another version of the present view, with the same composition and border, was produced by Mayer and sold as a part of a pair at Christie's in 2012 (Old Master & British Drawings and Watercolours, 3rd July 2012, lot 102, sold for £32,450 incl. premium).

Kokosnuss Pokal, wohl Hanau, um 1890/1900, Silber vergoldet, Marriage, versch. Teile a.d.16.-19. Jhdt. zusammengeführt, wohl durch Neresheimer, nach Augsburger Vorbild des 16. Jhdt., apokryphe Marken der Stadt Augsburg und eines Berliner Meisters, reich grav., mit Figurenszenen den klassischen Vorbildern verpflichtet, Akanthusblatt und Maskeron, nachdem Vorbild der späten Renaissance, Anspielungen am Fuß nach frühbarockem Vorbild,aufwändige Goldschmiedearbeit in guter Qualität, nachgestochen, vgl. Scheffler - 'Goldschmiede Hessens', S. 531, Nr. 493, Unikat, schönes Belegstück für die Wiederholung alter Arbeiten von guter Qualität, H. ca. 29 cm, Deckelbekrönung verbogen, stärkere Gebr.-Spuren, neu verg.Coconut cup, probably Hanau, approx. 1890/1900 , silver gold plated, marriage, different parts of the 16th-19th century assembled, probably by Neresheimer, based on Augsburg antetype of the 16th century, apokryphal marksof Augsburg and a master from Berlin, richly engraved, with figures based on classic antetypes, acanthus leaf and masks, based on the antetype of the late renaissance, allusionon the foot based on early baroque antetype, complicated gold smith work in good quality, re-engraved, compare: Scheffler - 'Goldschmiede Hessens', p. 531, no. 493, unique, nice reference for the repetition of old works in a good quality, h. approx. 29 cm,foliate final bent, many signs of usage, new gilded

Attributed to Nicholas Sageot (1666-1731) an important red Boule and engraved brass contre partie marquetry bureau Mazarin, Louis XIV late 17th early 18th century. Decorated with whimsical scenes in the style of Jean Berain with sphinx and other fantastic creatures, monkies and a colourful figure below a lambrequin canopy inlaid with mother of pearl, stained ivory, hardstone and copper foil. Fitted a central kneehole with three shaped drawers flanked on each side by three bow-fronted pedestal drawers and canted carcass. Supported on similarly inlaid Vitruvian or "S" scroll legs united by shaped under stretchers and gilt turned feet. 148 cm long x 77.5 cm deep x 86 cm overall heightProvenance: Lot 24, Sotheby’s Ariane Dandois sale, New York, 25 October 2007.Footnote: Nicolas Sageot (1666-1731), received Master 1706: He was born in Samaize-les Bains and appears to have become active around 1690 and is first recorded as working in Grande rue du Faubourg-Saint-Antoine in 1698 where, before being accepted by the cabinet-makers guild, he had worked as an ouvrier libre. He married, in 1711, Marie Brigitte Roussel, the daughter of the ébéniste Jacques Roussel and his workshop appeared to prosper until around 1720, when he stopped working and sold his stock. His production seems to have principally consisted of important armoires, commodes and bureaux. He entered into a commercial arrangement with Léonard Prieur, `Marchand Mercier Grossier joaillier Priviligié suivant la Cour', on 26th July 1720. As a result of this, he sold furniture and various materials to him for 16000 livres; the armoires, priced from 400 to 1000 livres were the most expensive pieces (see Grand op. cit.,). Upon the death of his wife, in 1729, the inventory of their workshop records an important stock of brass and tortoiseshell.For similar examples of bureaus attributed to Nicholas Sageot see lot 810, Lempertz, sale 17/05 2019 (sale 1131)Condition report: Please note this lot is 307 The top has some old tortoiseshell repairs in the form of infilled red lead shellac also some signs of old repairs to the tortoiseshell at the borders where small pieces have come away from the ground and have been glued back in position The condition is generally good but shows signs of old polish/ varnish applied to the interior linings of the drawers.All of the drawers are lined in French walnut and the six pedestal and top frieze drawers are veneered on brown oak the two recessed drawers below the central frieze drawer are veneered on a contemporary pine ground. No key is present and the right-hand top drawer is locked shut.To sum up, the desk is in good order both structurally and cosmetically but could do with a revision of some of the old cosmetic restoration to bring up to current standards of conservation but the existing work could be improved with a little workViewing of this collection is available by prior appointmentJRL 24/03/2022

Marino d‘Agnolo, Meister der Umbrischen Schule des 15. Jahrhunderts Paar Tafelbilder eines kleinen Hausaltars, wohl ehemals einem Tritychon zugehörig.DARSTELLUNGEN ZWEIER WEIBLICHER HEILIGENTempera auf Holz. Je 33,5 x 12,5 cm. Wohl Umbrien, zweite Hälfte 15. Jahrhundert, um 1500. In vergoldetem, durchbrochen geschnitztem Rahmen. Dem Tafelpärchen ist eine detailliert ausgearbeitete Expertise von Alessandro Delpriori, Florenz, beigegeben. Künstlernennung durch Expertise.Die Tafeln schlank hochformatig mit halbrundem oberem Abschluss. Beide Figuren in Landschaft mit gesprenkelter Bodenzone, die sich nach hinten grün färbt, am Horizont Berge in blauer Luftperspektive. Die Außenränder rot abgesetzt mit vergoldetem Außenrand. Die links positionierte Figur lässt sich nicht eindeutig identifizieren. Sie hält ein Buch sowie ein Kirchenmodell, was auf eine Klostergründerin verweist. Im Gegenstück ist die Heilige Apollonia gezeigt. Ihrem Martyrium gemäß hält sie eine Zange mit Zahn sowie ebenfalls ein Buch. Kleider und Mäntel in Faltengebungen, die der Entstehungszeit der Bilder entsprechen. Die schräg gesetzten Nimbenscheiben blattvergoldet.Verso dekorative, original Malerei mit stilisiertem symmetrischem Blattwerk in Voluten in Goldocker auf rotem Grund. Die Tafeln in einer grau gefärbten Abdeckrahmung, oben halbrund geschlossen. In der Expertise wird eingeräumt, dass die Identifizierung der Heiligen mit Kirchengebäude schwierig ist, der Vorschlag, hier die Heiligen Barbara zu sehen, kann nicht völlig überzeugen. Als Urheber des Werkes wird darin der wenig bekannte Maler Marino d‘Angelo oder d‘Agnolo als möglich angenommen. Diese Zuordnung erfolgte aufgrund des Vergleiches mit einem Marienbild, bezeichnet „OPUS MARINO AGNELI 1501“, veröffentlicht von F. Tondini. Die Expertise verweist auf weitere Werke im Vergleich, wie etwa Giannivola di Paolo, Schüler des Vannucci, bzw. mit einer Madonnendarstellung im Lindenau-Museum Altenburg, Werkstatt Bernardino di Betto. A.R. Provenienz: Sotheby´s, Old Masters, London, Dezember 2018. Literatur: Filippo Todini, La pittura Umbra dal Duecento al primo Cinquecento, Mailand 1989, S. 209. (13002812) (3) (11)Marino d‘Agnolo, Master of the umbrien school of the 15th centuryPair of panel paintings of a small house altar, probably formerly belonging to a triptych.DEPICTIONS OF TWO FEMALE SAINTS Tempera on panel.33.5 x 12.5 cm each.Probably Umbria, second half of the 15th century, ca. 1500. The pair of panel paintings is accompanied by a detailed expert‘s report by Alessandro Delpriori, Florence. Artist‘s attribution by expertise.Provenance:Sotheby´s, Old Masters, London, December 2018. Literature:Filippo Todini, La pittura Umbra dal Duecento al primo Cinquecento, Milan 1989, p. 209.

Giovanni Francesco Barbieri, genannt „IL GUERCINO“,1591 Cento – 1666 Bologna, zug.BILDNIS EINES BÄRTIGEN MANNESÖl auf Leinwand.62 x 52 cm.Halbbildnis nach links in Lebensgröße. Das Gesicht nach oben, dem Licht entgegengerichtet, die Augen gleichsam erwartungsvoll geöffnet. Der kurze Knebelbart bereits ergraut, die Stirne faltig. Ein schlichtes dunkles Manteltuch liegt über dem Oberkörper, lässt jedoch Halspartie und einen Teil der Brust frei. Diese Art der Darstellung weist auf einen Apostel hin, möglicherweise ist hier Petrus gemeint, auf Vergebung hofft, aufgrund seines Verrates. Das Gemälde weist auch eine gewisse Verwandtschaft mit Guercinos „Der Evangelist Lukas“ auf, das sich in der Gemäldegalerie Dresden befindet; jedoch mehr noch mit einem Gemälde „The penitent Saint Peter“ (Der büßende Heilige Petrus“), um 1624-25, ausgestellt in New York vom 3. November bis 1. Dezember 1989 im Rahmen der Ausstellung Piero Corsini, Important Old Master Paintings.Literatur:Barbara Ghelfi (Hrsg.), Il libro dei conti del Guercino, 1629-1666, Venedig 1997.Luigi Salerno, I dipinti del Guercino, Rom 1988.David M. Stone, Guercino. Catalogo completo dei dipinti, Florenz 1991.Massimo Pulini (Hrsg.), Le collezioni ritrovate di Guercino, Ausstellungskatalog, Mailand 2003. (13020511)Giovanni Francesco Barbieri,also known as “IL GUERCINO”, 1591 Cento – 1666 Bologna, attributedPORTRAIT OF A BEARDED MAN Oil on canvas.62 x 52 cm.Literature:Barbara Ghelfi (ed.), Il libro dei conti del Guercino, 1629-1666, Venice 1997.Luigi Salerno, I dipinti del Guercino, Rome 1988.David M. Stone, Guercino. Catalogo completo dei dipinti, Florence 1991.Massimo Pulini (ed.), Le collezioni ritrovate di Guercino, exhibition catalogue, Milan 2003.

A GEORGE III MAHOGANY WINDSOR ARMCHAIRCIRCA 1760Of large proportions124cm high, 74cm wide, 61cm deepThis hall armchair with solid saddle form seat and cabriole legs belongs to a distinct group which relate to provincial Windsor chairs but because of their more sophisticated design and use of fine mahogany are more likely to have been produced by London furniture makers.An almost identical armchair was sold, Christie's, New York, The collection of Robert Hatfield Ellsworth European Decorative Arts and Old Master Paintings, 21st May, Lot 1285, ($22,500).Condition Report: There are some marks, scratches, chips, cracks and abrasions consistent with age and use, some to the extremities and edges.Overall the piece is clean with some fine pale flecks, possibly from previous polishing.Some fine cracks along the grain of the timber to the bow back around the area that holds the splat and back uprights.There are some knocks/pitting to the seat.The underside of the feet with dowels and holes possibly from previous casters. The feet scuffed and knocked with chips.All that said these comments on condition are only apparent on close up inspection.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer

A selection of whisky, comprising: Inchmurrin 20 years old, retailed by Master of Malt, boxed; The Balvenie Double Wood, 12 years old, boxed; Port Charlotte Hotel 11 years old, Bourbon Cask no.1129; Bowmore 12 years old, boxed; Caol Ila 12 years old, Clynelish 14 years old, and Talisker 10 years old, in The Classic Malts Coastal Collection case.

Dervishes seated beneath a tree in a landscape, attributed to Mir Yusuf al-Husaini Persia, probably Isfahan, circa 1640-50drawing with some gouache on paper, nasta'liq attribution inscription at lower centre, laid down on an album page with gilt-decorated blue borders with medallions of light pink and buff paper, red outer border with ruled margins, verso a leaf from a manuscript of Persian poetry in nasta'liq script in four columns drawing 170 x 80 mm.; album page 328 x 212 mm.Footnotes:ProvenanceSotheby's, Arts of the Islamic World, 3rd May 2001, lot 60.The inscription reads: 'Its painter, Mir Yusuf al-Husaini'. Karimzadeh Tabrizi records him as a student of Reza 'Abbasi, working in the style of his master and of Mu'in Musavvir, and attributes some of the paintings in the Forty Column Palace in Isfahan to him. His recorded work dates to between AH 1040/AD 1630-31 and AH 1068/AD 1657-58, and this and the use of the attribute 'Abbasi in one of his works, perhaps suggests that he was working at the court of Shah 'Abbas II. A work by him signed similarly to the present lot, depicting a youth in European dress holding a bottle, is in the British Museum (1948, 1211,0.15; illustrated in S. Canby, The Golden Age of Persian Art, 1501-1722, London 1999, p. 139, fig. 129). See Karimzadeh Tabrizi, The Lives & Art of Old Painters of Iran, vol. 3, 1991, pp. 1111-14.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A Qajar underglaze-painted moulded pottery tile depicting Kay Khusraw by 'Master Reza' Persia, 19th Centuryrectangular, moulded and decorated in polychrome with a prince seated on a palace terrace, two inscription-filled cartouches, old Sotheby's sticker to frame the tile 25 x 45 cm; the frame 41 x 51 cm.Footnotes:ProvenanceFormerly the property of a diplomat, acquired at Sotheby's London in the 1970s. Inscriptions: 'image of Kay Khusraw'; signed 'The work of Master Reza'.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A Qajar underglaze-painted moulded pottery tile depicting two seated warriors by 'Master Reza' Persia, 19th Centuryrectangular, moulded and decorated in polychrome with two kings seated in a garden, three inscription-filled cartouches, old Sotheby's sticker to frame the tile 56 x 43 cm.; the frame 62.5 x 50 cm.Footnotes:ProvenanceFormerly the property of a diplomat, acquired at Sotheby's London in the 1970s. Inscriptions: the figures identified as 'Banu Zabul, the daughter of Zal' and 'Gisu Banu, the daughter of Rustam'; signed 'the work of Master (ustad) Reza'.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

ANTONIO SENAPE (ITALIAN, 1788-1850) Castello Di Provida and Castello Di Paduaboth inscribed with title, pen and ink old master drawings17 x 25cm & 19 x 25cmQty: 2

Books - Sporting & Inns - Old Sporting Prints by Ralph Nevill 1908; Incompleat Angler after Master Izaak Walton; The History of The Twelve Great Livery Companies of London vol. II; Inns and Taverns of Old London; Handley Cross or Mr Jorrocks's Hunt; Mr.Facey Romfprd's Hounds, Surtees; Inns of Sport; etc