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A Collection of Bound Volumes to Include Coaching Days and Coaching Ways, Le Morte D'arthur, Album of North Wales Views, 19th century French Album of Old Master Prints

Paar Lithophanie-Lämpchen, Sitzendorf, 2.H.20.Jh., Rocaillenfüsse mit Goldstaffage, Schirme mit vier ovalen Lithophanien mit Darstellungen von jungen Damen nach altmeisterlichem Vorbild, sog. Schönheiten-Galerie, H.ca. 26 cm, eine Brennstelle, intakt, Metallabschlüsse am Knopf l. beriebenPair of lithophane lamps, Sitzendorf, 2nd halfof the 20th century, rocaille feet with gold decoration, screens with four oval lithophane depictions of young ladies based on the old master model, so-called beauty gallery, H.ca. 26 cm, one burning point, intact, metal endings on the button slightly rubbed

Altmeister 18. Jahrhundert Portrait Papst Clemens XIV. - Provenienz: von Kerckerinck zur Borg Münster, old master portrait 18th century,Öl/Leinwand, Portrait von Papst Clemens XIV., H 84 cm x B 60 cm, Holzrahmen 97 x 73 cm, Provenienz: von Kerckerinck zur Borg Münster, Altersspuren, Fehlstellen, rest.

Altmeister 18. Jahrhundert Stillleben mit Puttenvase und Früchten, old master 18th century still life,Öl/Holz, deutsch, keine erkennbare Signatur, Stillleben mit Blumen innerhalb einer Puttenvase und Früchten auf einem Tisch, H 21,5 cm x B 30 cm, Holzrahmen 28,5 x 37 cm, Nachbesserungen, rest.

Altmeister 17./18. Jahrhunderts Forum Romanum mit Blick auf den Senatorenpalast, Roman Forum with Senatorial Palace old master painting,Öl/Leinwand, Großgemälde, keine erkennbare Signatur, Teilansicht des Forum Romanum in Rom mit Blick auf den Senatorenpalast, H 99 cm x B 136 cm, Prunkrahmen 112 x 148 cm, rest., besch.

Altmeister 18. Jahrhundert Stillleben mit Fratzenvase und Früchten, old master 18th century still life,Öl/Holz, keine erkennbare Signatur, Stillleben mit Vogel, Blumen innerhalb einer Fratzenvase und Früchten, H 22 cm x B 30 cm, Holzrahmen 29,5 x 37 cm, Nachbesserungen, rest.

A set of six botanical studies, after Redoute, prints, in eglomise mounts, framed, and an old master print, (7)

FERNANDO BOTERO (B. 1932)La Casa de Rosalba Correa 2001 signed and dated 01oil on canvas179.2 by 192 cm.70 9/16 by 75 9/16 in.Footnotes:ProvenanceCollection of the artist, EuropePrivate Collection, Turkey (acquired from the above in 2013)Acquired directly from the above by the present ownerExecuted in Fernando Botero's distinctively voluptuous signature style, La Casa de Rosalba Correa from 2001 is a magnificently complex and distinctive painting by one of the most important Colombian modern artists of our day. Having studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his work. The canon of art history, especially the European one became a rich source of inspiration whilst studying Italy's Renaissance frescoes, Spain's Golden Age masters and France's turn-of-the-century School of Paris on his travels in the 1950's. Profoundly influenced by these masterworks, Botero embarked on a quest to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born. Well known for subjects ranging from the Old Masters to circus scenes, bullfights, domestic life and political satire, the present work falls into a theme of brothel scenes and bacchanalia that the artist revisited throughout his career. 'There was a red-light district in Medellín at the time,' the artist recollects of his adolescence in Colombia. 'It was an easy-going place; class lines blurred in a sort of never-ending carnival, a permanent street party.' If he sometimes 'felt like [he] was the local Toulouse-Lautrec,' a sensitive observer of brothels and their late-night habitués, he began to see beauty in all the vagaries of the human body and humour, as well, in its fleshy flamboyance and grandiosity (the artist in: Ana María Escallón, 'From the Inside Out: An Interview with Fernando Botero', Botero: New Works on Canvas, New York 1997, p. 13). Art historically, Botero's brothel scenes are inspired by the lush, arresting depictions of courtesans by the medieval master Lucas Cranach and he has revisited the theme both in painting and sculpture throughout his career. The vibrant, candy coloured La Casa de Rosalba Correa shares clear characteristics with earlier depictions of the theme, notably La casa de Raquel Vega, from 1975 in the collection of Mumok, Vienna, House Mariduque from 1977 and The House of Amanda Ramírez of 1988 which is in the permanent collection of the Museo de Antioquia in Medellin. The latter, shows a similar rudimentary structure of the room, the stage if you will, whilst the protagonists and distinct elements of the scene differ. We appear to be privy to the final stages of a debauched evening in a room that seems too small to hold its curvaceous inhabitants. The smell of tobacco and stale alcohol lingers in the air, and a swarm of flies' buzzes around a lone lightbulb. Much of the night's events have unfolded but some protagonists are still awake and active. A nude couple shares a large bed in the centre of the room. They have fallen asleep in a loose embrace and only a half-eaten plate of food at the man's feet and the green bottle clutched tightly in his hand hint at the preceding evening. He wears a wedding band suggesting an act of infidelity. Two men, one apparently passed out under the bed not unlike the array of discarded clothes around the room, the other taking a large swig from a bottle, along with a further empty bottle and cigarette buds strewn all over the floor tie in with the theme of a raucous party. In the foreground, a man has swept up a somewhat dispassionate woman in a luscious green dress and clutches her tightly in his arms. The only protagonist of the scene to look straight out that the viewer, to acknowledge our peeping eye without judgement, is a cat reclining elegantly in the lower right corner. Symbolic for femininity and domesticity, cats feature in much of Botero's work, often accompanying a dominant matriarch or a sensual nude and in La Casa de Rosalba Correa, it is easy to draw on comparisons with Manet's famous masterpiece Olympia. Despite the scene drawing up questions of male prerogative, Botero's female protagonists tend to be strong, self-alert characters, in control of their situation and playing with their allure. The black feline with its piercing green eyes makes us keenly aware that we are trespassing into this scene, the viewer has become a voyeur, an active participant and we have been spotted. Using humorous and exaggerated elements in his work, Botero breaks with the established classical tradition of eternalizing the classically heroic and brave and adds a fresh approach to age old themes. Botero shifts classical art historical topics into the realm of the common and trivial, the realm of day-to-day life, often infused with a melange of his own lived experiences and the air of his native Colombia.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

An ebonised framed old master portrait print 'Study by Giangiaconi'

OLD MASTER SCHOOL. MADONNA AND CHILD, OIL ON MARBLE. 30 x 39.5cms.

COOK (ELIZA)Autograph poem signed ('Eliza Cook'), titled 'Master Onny/ Affectionally inscribed to my dear nieces, Jenny and Annie', comprising fourteen verses of four lines, beginning 'Few years ago, my darling girls, I touched my simple strings,/ And poured a song to land a pet with feathers, beak and wings...', with deletions and amendments, 2 pages on a bifolium, dust-staining and marks, remains of paper on reverse where removed from album, creased, 4to (258 x 206mm.), [dated 1870]; autograph poem signed 'Eliza Cook' titled 'Times Changes', two verses of twelve lines, beginning 'Time's changes, oh Time's changes...', included in a letter also signed 'Eliza Cook' to Frank ?Cuilpet, noting 'I have just dove-tailed the verses which I think will go best together...', integral address panel, three pages on a bifolium, dust-staining and marks with some losses, remains of seal, 4to (255 x 206mm.), [postmark 1842]; autograph copy of her poem 'Buttercups and Daisies', initialled 'EC', with accompanying copy letter to the Editor of the Literary Gazette ('...I am induced to offer the enclosed specimens of rhyming to you...'), admitting she is '...a young uneducated and inexperienced scribbler...' and hoping he will consider publishing her work, 2 pages, watermark 'Gansell/1831', dust-staining and marks, creased, edges frayed, remains of guards, folio (400 x 205mm. and smaller), [n.p., n.d.]; with four autograph letters signed 'Eliza Cook', to various recipients on literary matters, 11 pages, creased, remains of guards, 4to and 8vo, East Cheap, Kennington, Tunbridge, Wimbledon, April [18]54, August [18]67, December [18]73 and [n.d.] (8)Footnotes:'HERE GOES – AS BYRON SAYS': WRITINGS FROM THE ORIGINATOR OF THE PHRASE 'LEVELLING UP'.The poetical work of Eliza Cook (1812-1889) was strongly influenced by her working class background. Her father was a tinman and brazier and, as one of eleven children, she grew up acutely aware of the marginalisation of the lower classes. She naturally gravitated towards the Chartist movement, of which she was an active sympathiser, and is believed to have coined the phrase 'levelling up' in her weekly miscellany Eliza Cook's Journal: '...The number of self-risen men, sprung up from the ranks, is increasing and must increase... And the mass too is advancing with education and knowledge, and they too must gradually become leveled up' she wrote (quoted in Chakrabarty, D., The Chartist Poetry of Eliza Cook: A Study, 30 March 2015, theconfidentialclerk.com website). She was a prolific contributor to the weeklies and periodicals of the day including the Literary Gazette and her simplicity of form and subject matter was enormously popular with the public both in Britain and America, leading to comparisons to Robert Burns, whom she greatly admired. Her poem The Old Armchair of 1838 made her a household name. As well as encouraging education for all, she was a proponent of political and sexual freedom for women: '...The sentiments expressed in Cook's poetry and prose reflect her efforts to break free from the societal limitations imposed on her class and gender... Cook dressed in unconventionally masculine attire and wore her hair short... She never married, and from 1845 to 1849 she was closely linked with the American actress Charlotte Cushman (1816–1876), to whom she wrote passionate poetic tributes...' (Solveig C. Robinson, ODNB). Our poem 'Master Onny', written for her nieces about the arrival of a cat called Master Johnny, appears to be unpublished. 'Time's Changes', also included here, was widely published in a longer form, in her Journal (16 April 1853, no.207, p.393) and in Poems by Eliza Cook, London, 1861.For further information on this lot please visit Bonhams.com

LEIBNIZ (GOTTFRIED WILHELM)Autograph letter signed ('Leibniz') to Thomas Burnett ('Monsieur'), in French, pleased and surprised to hear that he is in a place of safety, presuming that his failure to thank the Electress and the Queen of Prussia for their help in obtaining his release from the Bastille must mean '...that you are unaware of your own history...' and explaining in detail how his freedom came about through various envoys and royal connections ('...I wrote about the matter too to the Bishop of Salisbury, who answered that he would try and persuade the Queen [Anne] to exchange you for someone... several attempts having completely failed... I asked M. d'Alefeld, the Danish Minister in Berlin to write about it to M. de Meiercron, Minister of his master the King at the Court of France to get him to talk to the Marquis de Torcy and the Queen also spoke to M. d'Alefeld in my presence... that envoy committed himself with zeal... the Electress wrote to the Queen [of France] on your behalf...'), giving reasons for his imprisonment ('...you were known to have evil designs, and were mixed up in suspicious activities, having come to France also without a passport... I said that one part of the report was slanderous and it looked as if the rest might well be too... your character was too well known in our courts for there to be any possible suggestions that you had malicious designs against the Government and the State...'), concluding by saying that his name was now clear ('...certain spies who haunted Paris taverns had thought they were doing themselves a good turn by denouncing you...'), going on to thank Burnett for information on scholars in Geneva and discussing various books such as John Ray's Wisdom of God and Cosmologia sacra by Nehemiah Grew ('...These are good books as they go into detail about nature and don't at all content themselves with generalities...'), noting he has reread Locke's book translated into French as he only had an old English edition ('...I see numerous things with which I totally disagree... I am pro innate ideas and anti tabula rasa...'), commenting on Locke's views of substance ('...he speaks cavalierly...'), liberty ('...good things... but does not explain it enough...'), identity and self consciousness ('...not at all correct...'), ending '...Finally there are endless things I would like to explain to myself quite differently from Mr. Lock. I often find his reflections a little too superficial and his philosophy a little too accommodated to the taste of some people...', admitting that there are many fine reflections in Locke's work and that the Essay is '...one of the finest philosophical books of our time...', with mentions of Rowland Guinn, troop movements and other matters, with many amendments and deletions, 4 pages on a bifolium, pencilled date at head [1704], dust-staining and other marks, creases, small tears and holes at folds, 4to (200 x 155mm.), [Hanover, 3 December 1703]Footnotes:'UN DES PLUS BEAUX LIVRES PHILOSOPHIQUES DE CE TEMPS': LEIBNIZ ON LOCKE, & HIS FRIEND'S RELEASE FROM THE BASTILLE.In the latter part of this letter to his friend Thomas Burnett, Leibniz notes he is re-reading Locke in a new French translation and whilst he sometimes finds him 'too superficial', he concludes here that it is '...one of the finest philosophical books of our time...'. Much has been written on the relationship between Leibniz and Locke. For years, Burnett had acted as an intermediary between the two and has been described as having a significant influence on the way that the men viewed each other. Despite Leibniz's stellar reputation in European intellectual circles, Locke refused to reply directly to Leibniz's responses to his Essay Concerning Human Understanding, first published in 1689, and indeed professed to be rather intellectually disappointed in Leibniz. It has been argued that some of Leibniz's papers written between 1695 and 1700 in response to Locke were in fact a response to Burnett's interpretation of Locke, and even that Burnett mistakenly ascribed works to Locke that were by others (Stewart Duncan, Toland and Locke in the Leibniz-Burnett Correspondence, September 2017, online). According to Nicholas Jolley, Burnett '...clearly had a stake in playing up his contacts with Locke, and in emphasizing Locke's good will, for he wished to come across to Leibniz as a valuable correspondent with access to inside sources of information. But even if we allow for an element of ingratiation on Burnett's part, it still seems to be the case that Locke's personal attitude towards Leibniz was not as distant or as aloof as... might suggest...' citing Locke's interest in Leibniz's metaphysical theories, his wish to know his opinion on his controversial exchange with Stillingfleet and even his offer to obtain for him an ecclesiastical benefice in England as examples (Nicholas Jolley, Leibniz and Locke, 1984, p.38-41). Leibniz in turn was clearly interested in Locke's views on a wide range of topics including money, education and politics and not just religion. In response to our letter, Burnett wrote back to Leibniz encouraging him to compose a full-scale commentary of the Essay (Jolley, p.44).At the time of writing, Thomas Burnett had been recently released from a fourteen-month imprisonment in the Bastille, and much of the letter is taken up with informing him of the circumstances of his release and describing how Leibniz had employed his considerable influence and web of connections to that end. Burnett had been passing through Paris in uncertain times. The succession crisis in England prompted by the death of Queen Anne's only surviving child in 1700 meant that the next protestant in line to the English throne was Leibniz's patron, the Electress Sophia and, with the French favouring Anne's half-brother James as heir, Anne was to declare war on France in May 1702, just six weeks after Burnett was arrested. Anyone with a close connection to the Hanoverian court was therefore under suspicion and prey to 'certain spies who haunted Paris taverns', and the only crime Burnett was guilty of was perhaps not having a passport. On his release, he wrote to Leibniz from Geneva on 5 November 1703 describing the circumstances of his arrest and his ordeal: '...they accused me of nothing despite the fact they interrogated me about everything... To tell you I suffered in this prison would be a long story... I noted myself that they insisted on these two points in particular... my relationship with the Bishop of Salisbury and the honour of being given such a good reputation at the Courts of Hanover and Berlin...' (Susan Burnett, p.13-14). This account prompted our reply from Leibniz which bears the pencilled date of 1704. Gerhardt, however, places it as having been written from Hanover on 3 December 1703.Our letter is published in Gottfried Wilhelm Leibniz: Allemeiner politischer und historischer Briefwechsel, Akademie Verlag, 1998 (no.412, p.705-710), in Gerhardt, C. J., Die philosophischen Schriften von Gottfried Wilhelm Leibniz, 1887, vol. 3, no. XXVI, p. 289, and partly quoted from in Susan Burnett, Without Fanfare: The Story of my Family, 1994, p.16-18 and elsewhere. It has been held in the archive at Kemnay House, Aberdeenshire, until now. Provenance: Thomas Burnett, 2nd of Kemnay (1656-1729); and thence by descent.For further information on this lot please visit Bonhams.com

* George Morland (British, 1763-1804) A rider on a country track with figures, sheep and a farmhousesigned and dated 'G. Morland 1794' (lower left)oil on panel29 x 37.5cmProvenance: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 wooden panel support. The wooden support and paint layers are in a good, stable condition overall. There are some scuffs to the surface of the varnish and paint layers. The varnish is clear and even. Framed 47 x 56cm

* George Morland (British, 1763-1804) Figures on a rocky seashore shooting herring gullssigned 'G. Morland pinx. 17(91?)' (lower right)oil on panel25 x 31cmProvenance:Fisher (36?) Radenham (from an old wax seal to the reverse);Sotheby's, London, 19th February 1986, lot 325,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 wooden panel support. The wooden support and paint layers are in a good, stable condition overall. There are scattered retouchings across the surface which are well matched to the original. The varnish is clear and even. Framed 35.5 x 40.5cm

* George Morland (British, 1763-1804) A boat beneath cliffs with figures in the surf signed 'G. Morland' (lower right)oil on panel28.5 x 25cmProvenance:Sotheby's, London, 18th November 1981, lot 8, as 'Smugglers off the Isle of Wight',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 wooden panel support. The wooden support and paint layers are in a good, stable condition overall. There are some scuffs to the surface of the varnish and paint layers. The varnish is clear and even. Framed 45 x 42cm

* George Morland (British, 1763-1804) Interior of a stable with two cart horses being fed and a goat in the foregroundsigned and dated 'G. Morland pinx 1794' (upper left)oil on canvas62.5 x 75.5cmProvenance:William Garnett Esq., Quernmore Park, Lancaster;David Davies, 1st Baron Davies of Llandinam (1880-1944);F D Heastand, Hillsborough, California by 1950;With the Fine Art Society, London, June 195(7?);Sotheby's, London, 17th March 1982, lot 112,The Asbjorn Lunde Foundation, Inc. Exhibited:London, Royal Academy, 1794, no. 169, as 'Interior of a stable';London, Grosvenor Gallery, 1888, no. 176;Lancaster, Storey Institute, year untracedFootnote: 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 and secure. The thinner paint passages have a pronounced canvas texture, exacerbated through lining. There are localised areas of overpaint present, covering wear and reinforcing the composition in the darkest areas. The overpaint is well matched to the original. The varnish is clear, even and matte. Framed 82 x 94.5cm

* George Morland (British, 1763-1804) Travellers resting by a sandy bank with three horses to the rightsigned and dated 'G. Morland. 1789.' (lower left, strengthened)oil on canvas49.3 x 64.5cmProvenance:Plaza Art Galleries, New York, 17th November 1977, lot 72,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 layer is slightly worn in the thinner paint passages but is stable overall. Areas of overpaint are present in localised areas across the surface and is reasonably well matched to the original. The varnish is even and slightly yellowed. Framed 67.3 x 82cm

* Continental School, 19th century Mountain torrent with trees and boys on a rock inscribed indistinctly 'JIb(?)etson' (lower right)oil on canvas59.5 x 81.5cmProvenance: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: Framed 78 x 99cmThe painting is executed in oil on a linen canvas support which has been lined. A few old tears have been repaired through lining, the fill and overpaint have a slightly lumpen texture but are generally acceptable from a normal viewing distance. The paint layer is stable and secure. The varnish is clear, even and semi-matte.

* Circle of Richard Wilson, RA (1714 -1782) Figures resting near ruins in an expansive landscapeoil on canvas, in a carved and gilt wood English Rococo frame45 x 66.5cmProvenance:The Asbjorn Lunde Foundation, Inc.Footnote: According to an old label to the reverse, the present painting was once owned by James Northcote (1746-1831) who gave it to William Hillman on 25th May 183(0?).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: Framed 63 x 84cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is sound and the picture is generally in plane. The pain layers have a network of age cracks and is stable overall. There is some wear in the darker paint passages which have been overpainted, this is fairly well matched to the original. The varnish is glossy, even and slightly yellowed.

* John Martin (British, 1789-1854) View of Dolbadarn Castle, North Walesoil on panel20.5 x 25.5cmProvenance:Hewson & Forster, Sheffield;Sotheby's, London, 26th March 2004, lot 57,The Asbjorn Lunde Foundation, Inc.Footnote: The construction of Dolbadarn Castle was ordered by Llywelyn the Great sometime in the early 13th century. Its strategic position above the lake of Llyn Padarn in Snowdonia allowed for considerable control over the Llanberis Pass. During the 1400s the castle fell into disuse and by the 1800s it was a ruin. Today what remains of the stone keep is widely considered the finest example of a round tower in Wales. The dramatic and unforgiving landscape of Snowdonia, and the ancient ruins of Dolbadarn, meant that throughout the 18th and 19th centuries the site became a popular destination for painters seeking the sublime and the picturesque. Artists such as Richard Wilson, Paul Sandby, de Loutherbourg and J.M.W Turner painted here. Turner’s Dolbadarn Castle, which was completed from sketches taken on his tour of Wales in 1799, is now held in the collection of The National Library of Wales. 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: Framed 41 x 46cmThe painting is executed in oil on a small wooden panel. The support and paint layers are in a good, stable condition overall. The varnish is slightly yellowed but even and glossy.

* British School, circa 1800 Allegory of filial loveoil on canvas75.5 x 62cmProvenance: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: Framed 90.5 x 78cmThe 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 layer has a network of age cracks, some of which are slightly raised with lifting edges. There are areas of overpaint across the surface covering old damages, cracks and reinforcing the figures. The overpaint is generally well matched to the original. The varnish is even and semi-matte.

* Francis Wheatley, RA (British, 1747-1801) Adelaide and Fonroseoil on canvas, oval86 x 67.5cmProvenance:P & D Colnaghi & Co Ltd;D C Paterson Esq. by 1970;Alexander Hume Esq.,His Sale, Sotheby's, London, 21st November 1979, lot 52,The Asbjorn Lunde Foundation, Inc.Exhibited:Aldeburgh Festival of Music and the Arts, and Leeds, City Art Gallery, Francis Wheatley RA, 1747-1801: Paintings, drawings and engravings, 15th-25th June, and 8th July-8th August 1965, no. 10 Literature:Mary Webster, Francis Wheatley, 1970, p. 133, no. 48Footnote: This painting most likely illustrates a scene from Jean-François Marmontel's romantic play The Shepherdess of the Alps. The play, first published in 1766 as part of Marmontel's Moral Tales, became the rage in both England and France and inspired many paintings and prints. The story is the tragic tale of Adelaide and her lover, the Count D'Orestan, two young French aristocrats, who, despite their families' objections, run away together. Their happiness is short-lived as the Count dies suddenly. A grief-stricken Adelaide digs her lover's grave with her bare hands, renounces the world and her family, and becomes a shepherdess. She at last finds happiness after she reveals her true identity to a French nobleman, Fonrose.A watercolour of the present composition with slight differences, signed and dated 1786 by Wheatley, is in the British Museum (inv. no. 1866,1013.545) (see Webster, p.62, fig.72). 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: Framed 108 x 90cmThe 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 edges of the lining canvas are degraded and tears are starting to form. The thin paint layers have suffered from wear and abrasion, notable in the background of the picture. Old damages have been repaired and retouched. There is overpaint covering areas of wear as well as reinforcing elements of the composition including the sitter’s faces. The varnish is clear, even and semi-glossy.

* William Williams of Norwich (British, 1727-1797) Amelia struck by lightningsigned and dated ‘WWilliams 1763’ (lower centre)oil on canvas, in a carved and giltwood Rococo style frame62 x 74.5cm Provenance:New York, 4th June 1980, as 'Couple in a Forest in a Storm (1763, oil on canvas, 61 × 73.5 cm)', for $2,000;The Asbjorn Lunde Foundation, Inc.Footnote: This landscape illustrates a passage from Summer in James Thomson’s cycle of poems The Seasons, first published in 1730. The latter years of the eighteenth century saw the popularity of Thomson’s series soar. Publishers and booksellers reacting to this created and sold the poems in numerous forms, from duodecimo to folio. Often the latest editions included essays on Thomson’s work and artists were commissioned to create illustrations and frontispieces. This burgeoning market for Thomson’s work and the proliferation of associated visual material meant that The Seasons became an easily recognisable classic - one that was identified by the British public through the high points of its poetic narrative. The scene shown by Williams in the present lot, set in Caernarvonshire, Wales, describes a popular passage from Summer involving the two lovers Amelia and Celadon. The moment was inspired by an account given by Alexander Pope in 1718. Pope tells of two young lovers, John Hewet and Sarah Drew, who were caught in a thunderstorm and when the pair attempted to take shelter, Sarah was killed by a lightning strike. In Thomson’s Summer, Amelia shares the same fate. Williams, originally from Norfolk, spent his formative years working as a scenery painter for the theatre. It is likely that this background influenced his predilection for dramatic subject matter and powerful atmospheric effects. In the present scene, Williams frames the moment of action as if it were taking place on stage. He employs the eighteenth-century language of the sublime to skilfully describe the high drama of this popular story in such evocative terms. The same subject, but of different composition, was sold at Christie’s on 18th November 1966, lot 21 (see Ellis Waterhouse, The Dictionary of British 18th Century Painters, 1981, p. 413 - where it is suggested that composition was exhibited at the RA in 1778, no. 346). A smaller version of that painting dated 1784, titled Thunderstorm with the Death of Amelia, is in Tate Britain. 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: Framed 81.5 x 94.5cmThe painting is executed in oil on a canvas support which has been lined. The canvas has good tension and the picture is in plane. The paint layer is stable overall. Scattered areas of wear and some drying cracks have been retouched, the overpaint is well matched to the original. The varnish is thick, glossy and slightly yellowed but acceptable. There is a light layer of dust across the surface.

After the Old Master (20th century)The Four Evangelists by Jacob Jordaensoil on canvas, laid on board, 29cm x 30.5cm

Old Master drawing, red ink and wash, Warships at sea, initialled, 11.5 x 16cm

Five Master of Malt Single Malt Whisky Miniatures, Ardbeg 19 year old, Ardbeg 18 year old, Aberlour 19 year old, Rosebank 17 year old and Rosebank 18 year old all 43% vol and 5cl

Fourteen Master of Malt Single Malt Whisky Miniatures, Aberfeldy 13 year old 43% vol, Caol Ila 17 year old 43% vol, Caol Ila 18 year old 43% vol, Caperdonich 16 year old 40% vol distilled 72, Dallas Dhu 18 year old 43% vol, Dumbarton 29 year old distilled 61 43% vol, Glen Albyn 12 year old 43% vol, Glen Mhor 14 year old 43% vol, Glen Rothes 16 year old distilled 75 43% vol, Glenury Royal 14 year old 43% vol, North British 25 year old distilled 64 46% vol, Royal Brackla 14 year old distiled 78 43% vol, Teaninich 17 year old 43% vol and Tomatin 26 year old distiled 66 43% vol, all 5cl and 5cl

Fourteen Master of Malt Single Malt Whisky Miniatures, Aberfeldy 14 year old distilled 78 43% vol, Caol Ila 20 year old 43% vol, Craigellachie 28 year old 43% vol, Dallas Dhu 16 year old 43% vol, Dufftown 12 year old distilled 80 43% vol, Glendullan 10 year old distilled 83 43% vol, Glen Moray 13 year old distilled 80 43% vol, Glen Rothes 19 year old distilled 74 43% vol, Imperial 16 year old distilled 76 43% vol, Inchgower 12 year old distilled 80 43% vol, Mortlach 11 year old distilled 82 43% vol, Port Ellen 12 year old 43% vol, Rosebank 19 year old distilled 74 43% vol and Teaninich 26 year old distilled 75 43% vol, all 5cl

Ten Master of Malts Whisky Miniatures, Members Miniature Lagavulin 1995 16 year olds x2 both 40% vol, Linwood 1996 11 year old 43% vol, Balmenach 1997 15 Year Old 43% vol, Convalmore 1998 16 year old 43% vol, Cask Strength Select Cask 12 year old sherry wood x3 all 58.6 vol and Special Selection 10 year old x2 limited editions 29/500 & 21/500 both 40% vol, all 5cl

Walter Sickert (British 1860-1942)The Burning of the Japanese Exhibition at Knightsbridge, 1885 (Bromberg 68)Etching, second statePlate: 24.5 x 21cm (9½ x 8¼ in.)Provenance:Collection of Deny Sutton, LondonThomas Agnew & Sons Ltd., LondonStair Galleries, New York Acquired from the above by the present owners in 2013Exhibited:London, Thomas Agnew & Sons Ltd., Master and Pupil, March 1972, no. 51Condition Report: Examined out of the frame. The sheet is attached to the mount along the top edge. There are two areas of discolouration to the reverse in the bottom left and right corners consistent with old mounting tape. There is general time staining to the margins and scattered areas of very faint foxing throughout the sheet. Condition Report Disclaimer

Seguidor de Paul de Vos (1591-1678)A wild boar attacked by hunting dogsOil on canvas17th century copy after Paul de Vos (1591-1678) work at the Boymans van Beuningen Museum in RotterdamProvenance:"Frederick Muller & Cie." auction sale in Amsterdam, May 6th, 1913, lot 114;"Old Master Paintings" at Sotheby's in April 25th, 2006, lot 264.174,5x247,7 cm

Antique print on glass depicting Jesus with his Followers (possibly from an Old Master painting), 30cm x 24.5cm.

Two exclusive Master of Malt series whiskies: Hogmanay dram 1993/1994 Tomintoul 17 year old, distilled 8/10/76 bottled 12/1993 case no. 7353 bottle 29/150 and Balmenach 21 year old, bottle no. 34/60 'not to be opened until midnight on 31 December 1995 (2)

Two limited edition 'Master of Malt' series whiskies: 1983 Loch Indaal, distilled 3.83 bottled 10.94. together with 1994/5 21 year old Blairfinoy, bottle 4/50 'Not to be opened until midnight on 31 Dec 1994' (2)

A large quantity of unframed prints, to include maps, old master engravings, etchings etc

'MAPLE TREE AND BIRD', BY XIE ZHILIU (1910-1997)China. Ink and watercolors on paper. Finely painted with a white-crested long-tailed bird perched on a gnarled maple branch bearing red, worm-eaten leaves and dense buds, the bird's head turned to one side. With a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Xie Zhiliu' and dated April of the Guiwei year (corresponding to 1943), with two seals, 'Xie zhi' and 'Zhiliu'.Provenance: From an English private collection.Condition: Very good condition with minor wear, soiling, foxing, and creasing, the watercolors lightly smudged in some areas.Dimensions: Image size 64 x 35 cm, Size incl. mounting 203 x 48.5 cmXie Zhiliu (1910-1997) was a leading traditional painter, calligrapher, and art connoisseur of modern China. He was a noted member of the Shanghai School. Xie and his wife Chen Peiqiu are one of the most famous couples in Chinese art. Xie began learning to paint at the age of nine, and received an education according to the Chinese artistic tradition, which is a combination of drawing directly from life and copying the paintings of old masters. At the age of 19, he began to emulate the style of Ming dynasty master Chen Hongshou. In the 1930s, Xie Zhiliu befriended the famous painter Zhang Daqian. In 1942 Xie went to Dunhuang with Zhang to study the art of the Mogao Caves. After returning he published several books including 'Records of Dunhuang Art' and 'Compilation of Dunhuang Cave Art'. In 1943, Xie was hired as an art professor by the National Central University (now Nanjing University), then exiled in Chongqing during the Second Sino-Japanese War. He held personal exhibitions in many Chinese cities including Chengdu, Chongqing, Kunming, Xi'an, and Shanghai. After the founding of the People's Republic of China in 1949, he worked on cultural relic preservation, and served as a consultant for the Shanghai Museum.Auction result comparison: Compare a closely related painting by Xie Zhiliu at Bonhams Hong Kong in Fine Chinese Paintings on 1 June 2021, lot 850, sold for HKD 114,750. 謝稚柳（1910-1997）《翠羽清秋圖》中國。紙本設色立軸。黑嘴白頭翁倚立於枝頭，神色靈動而又機警，貼近自然。秋葉的凋零，盡顯簡約之美。款識：翠羽釵梁欹鬢橫，粉痕凝夜動幽情。鏡台銀帶都無色，試上瓊樓有月明。癸未四月為挺秋先生法家雅教，謝稚柳稚榆林窟下。鈴印：謝稚，稚柳 來源：英國私人收藏。品相：狀況極好，有輕微磨損、汙漬和摺痕。尺寸：畫面64 x 35 厘米，總203 x 48.5 厘米 拍賣結果比較：比較一件謝稚柳畫作，見香港邦翰思Fine Chinese Paintings 2021年6月1日 lot 850, 售價HKD 114,750。

A POLYCHROME STUCCO FRESCO FRAGMENT, YUAN TO MING DYNASTYChina, 13th-16th century. The rectangular panel finely painted with two celestial maidens bearing offerings, both with serene downcast expressions, adorned in flowing robes and elaborate headdresses, the background with thick, swirling clouds. Painted in polychrome pigments with details gilded and picked out in gesso relief.Provenance: Belgian trade, by repute acquired from an old Flemish estate.Condition: Very good condition, commensurate with age. Old wear, very minor age cracks with associated old fills and touchups. Framed.Dimensions: Image size 67.3 x 36.3 cm, Size incl. frame 74 x 43 cmThe present stucco fresco was inspired by earlier depictions of Buddhist deities, like the ones seen in the Mogao grottoes at Dunhuang. Ming painters of Buddhist subjects sought to mimic the style of the Tang dynasty artist Wu Daozi, considered a master of Buddhist mural paintings. Examples of Ming paintings executed in the tradition of Wu are discussed in 'Latter Days of the Law: Images of Chinese Buddhism 850-1850' by Helen Foresman, Spencer Museum of Art, Kansas, 1995, pages 55 and 446. Followers also studied and adhered to Wu's Eight Classes of Supernatural Beings (Tian Long Ba Bu Zhen Ji), whose classification included 'celestial beings, musical demigods, and mythical bird-gods'.Literature comparison: Compare the sculpture and murals in Cave 57 of the Mogao grottos at Dunhuang, illustrated in Roderick Whitfield et. al., Cave Temples of Mogao, Art and History on the Silk Road, Los Angeles, 2000, p. 37, as well as the murals of bodhisattva in caves 172 and 199, illustrated in Chang Shuhong, The Art Treasures of Dunhuang, Hong Kong and New York, 1981, paying close attention to the garments and ornamentation of the figures.Auction result comparison: Compare a related polychrome stucco fresco fragment with three celestial maidens, 83.1 by 52.5 cm, also dated Yuan to Ming dynasty, at Sotheby's New York in Important Chinese Art on 17 March 2021, lot 246, sold for USD 15,120. 元明時期多色灰泥壁畫中國，十三至十六世紀。長方形，彩繪兩位手端供品的仙女，神情安詳，身著飄逸的長袍，頭戴精緻的發飾，背景是祥雲紋。多色顏料繪製，局部描金，石膏浮雕。 來源：比利時古玩市場，據説來自弗蘭芒私人收藏。 品相：狀態極好，與年齡相稱。舊磨損，非常輕微的老化裂縫以及相關的舊填充和修飾。裝裱。尺寸：畫面 67.3 x 36.3 厘米，總74 x 43 厘米 拍賣結果比較：比較一件彩繪灰泥壁畫，83.1x 52.5 厘米，元明時期，見紐約蘇富比 Important Chinese Art 2021年3月 17日 lot 246, 售價USD 15,120。

A VERY LARGE PICCHVAI OF THE RASALILA, 19TH CENTURYNorth India, Rajasthan, Nathdwara. Watercolors, pigment, ink, lacquer, and gilt on extremely thin silk. Finely painted with nine manifestations of Krishna performing an ecstatic dance with Radha and the gopis, all on an octagonal platform with one couple dancing in the center encircled by the others and flanked by two groups of gopi musicians, all above a lotus pond with fish. The background with lush trees and palms with many small animals such as monkeys and birds, below the sun flanked by four deities accompanied by their consorts and mounts.Provenance: Property from an important European collection.Condition: Very good condition, commensurate with age. The colors, gilt, white pigments, and background all well-preserved. Wear, creasing, and rubbing. Two notable losses to the border at the upper corners, and few minuscule tears and losses mostly around the edges. Few minor old touchups.Dimensions: Size 265.5 x 204.5 cmBacked and framed with a red cotton cloth.The Rasalila is a mythological story from the Bhagavata Purana and the Gita Govinda in which Krishna's lover Radha and the gopis, entranced by the music of Krishna's flute, spend the night in ecstatic dance and celebration. Krishna uses his heavenly powers to multiply himself so that, though they link arms and dance in a circle, each gopi feels that she alone is the focus of his attention, thus fulfilling the unconditional devotion (bhakti) each maiden feels for Krishna.The term picchvai ('background painting') refers to the way in which these paintings were traditionally worshipped. Picchvai such as the present lot would have been hung in a temple and placed behind a rupa or sculpture of the deity. Often picchvai retain traces of traditional ablution substances, such as milk or saffron water, used to lustrate the deity.Expert's note: The use of different materials in painting this picchvai, such as watercolors, various pigments, and gilt along with a thin lacquer coating – adding both luster and protection – lend it a certain sculptural quality. The monumental composition shows both sparse areas, for example in the white space between the central couple and the ring of dancers, as well as dense ones, as seen in the upper background, creating a striking contrast. Despite the painting's large size, much attention has been placed on small details such as the animals in the trees or the elaborate jewelry of the protagonists. Along with the fineness of the silk, all these elements together indicate the work of a true master for a demanding patron.Auction result comparison: Compare a related picchvai depicting the Rasalila, dated c. 1900, at Sotheby's New York in Asian Art on 19 March 2016, lot 1322, sold for USD 11,875; and a closely related picchvai of the Rasalila, also dated to the late 19th century, at Christie's New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 389, sold for USD 10,000.

A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, Kushan period, 4th-5th century. The large head is superbly modeled with a serene and meditative expression, with almond-shaped eyes below gently arched brows, distinct recessed urna, aquiline nose, and full lips forming a calm, benevolent smile. The wavy hair is surmounted by a domed ushnisha.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n7, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. Condition: Very good condition, commensurate with dating and presenting magnificently overall. Some wear and firing flaws, minor nicks, shallow cracks, losses to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the high age of this sculpture. French Export License: Certificat d'exportation pour un bien culturel Nr. 185425 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 7.9 kg (excl. stand) Dimensions: Height 34 cm (excl. stand) and 55 cm (incl. stand)Mounted on an old associated hardwood stand. (2)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images. The use of hard-fired ceramic instead of stone such as schist became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha's earlier history as Prince Siddhartha by placing rounded recesses in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince's past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha's renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image bears a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.Expert's note: This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art. Literature comparison: Compare a related but slightly smaller (26.7 cm high) terracotta head of Buddha, dated 3rd-4th century, in the collection of the Metropolitan Museum of Art, accession number 2001.575. Compare a closely related but much smaller (18.4 cm high) terracotta head of Buddha, dated ca. 4th century, in the collection of the Metropolitan Museum of Art, accession number 13.96.4.Auction result comparison: Compare with a related but slightly smaller (28 cm high) terracotta head of a bodhisattva at Christie's New York in Indian and Southeast Asian Art on 19 March 2013, lot 212, sold for USD 75,000. Compare a related but smaller (20.3 cm high) terracotta head of Buddha at Sotheby's New York in Images Of Enlightenment: Devotional Works Of Art And Paintings on 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四至五世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。頭髮緊卷，呈螺髻。 科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n7，2016年10月18日，與目前斷代一致。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Dépêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製瑕疵，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。 法國出口證書: 隨附法國2017年7月3日出具的出口證書Certificat d’exportation pour un bien culturel Nr. 185425。 重量: 7.9 公斤 (不含底座) 尺寸: 高 34 厘米 (不含底座)，總 55 厘米 硬木底座 (2) 拍賣結果比較: 一件相近但稍小 (28 厘米) 陶土菩薩頭像，見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像，見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500。

Dallas Dhu-19 year old-1974Distilled 13th August 1974, bottled December 1993. Bottled exclusively for The Master of Malt. Cask No. 2594. Good labelling. Level: mid shoulder. 70 cl. Single malt, 43% volume Dailuaine-27 year old-1975First Cask. Distilled 26th May 1975. Distilled by Dailuaine Distillery. Selected, produced and bottled by Direct Wines Ltd.Cask 5525. Bottle No. 69. Level: very top shoulder. 70 cl. Single malt, 46% volume Glenlivet-1978Distilled 13/10/78, bottled November 1996. Cask Strength. Specially selected, produced and bottled by Gordon & MacPhail.Cask 16419-16423. Level: very top shoulder. 70 cl. Single malt, 60.2% volume3 bottlesFor further information on this lot please visit Bonhams.com

A BRONZE 'LUDUAN' DOOR KNOCKER, MING DYNASTYChina, 1368-1644. Boldly cast with a central luduan head with a fierce expression marked by large bulging eyes, a broad nose, bared teeth, and a single horn, framed by a full set of curly mane, the mouth suspending a movable ring handle, all on a foliate base with six lozenge-shaped apertures for securing to a door.Provenance: Estate of Dr. Otto Schwend, acquired between 1923 and 1925 in Dongguan, Guangdong Province, China and thence by descent in the same family. Dr. Otto Schwend (1892-1951), a German physician who lived in East Asia for fifteen years, first in Dongguan between 1923 and 1926, and subsequently in Bangkok, Thailand between 1926 and 1938. After serving as a military surgeon in World War I, he worked at a missionary hospital in Dongguan from 1923 and moved to Thailand three years later to open a private practice in Bangkok. As a successful doctor fluent in Chinese, he became an important figure in Bangkok, even treating members of the royal family. During his time in East Asia, Schwend built a substantial collection of Chinese and Thai art, which he brought back to Germany and has remained in the possession of his family for over 80 years. Condition: Very good condition with old wear, traces of use, minor casting irregularities, minuscule nicks and dents, and light scratches. Fine, naturally grown, matte patina with malachite green encrustation here and there.Weight: 3,061 gDimensions: Diameter 24.6 cmLuduan are mythical and auspicious creatures with strong lion bodies, a single horn and the paws of a bear. They are believed to have the ability to traverse vast distances and master all languages, as well as foretell the future, giving life to the good and killing evil. According to legend, they were originally known as 'jiaoduan', and their name changed to 'luduan' because the character for 'lu' matched their appearance better. Known as guardians of enlightened rulers, luduan were said to appear in areas where a wise and virtuous leader was present.Auction result comparison: Compare a related bronze door knocker, 44 cm high, dated circa 17th century, at Christie's Paris in Art d'Asie on 10 December 2020, lot 167, sold for EUR 27,500. 明代甪端銅輔首中國，1368-1644年。圓形片狀。主紋為甪端紋，甪端睜目蹙眉，如意形鼻子，獨角，口含銅環，面目兇惡猙獰，鬃毛飛揚。六邊菱形孔葉狀底座，用於固定到門上。來源：Dr. Otto Schwend收藏，1923 至1925年間購於中國廣東東莞，保存在同一家族至今。Dr. Otto Schwend (1892-1951) 是一位德國醫生，在東亞生活了 15 年。1923 年至 1926 年間，他先是在東莞，隨後 1926 年至 1938 年在泰國曼谷生活。在第一次世界大戰中擔任軍醫後，1923 年起他在東莞的一家教會醫院工作 。三年後移居泰國，在曼谷開設了一家私人診所。 作為一名能說一口流利中文的成功醫生，他成為曼谷的重要人物，甚至為皇室成員提供治療。在東亞期間，Schwend收藏了大量的中國和泰國藝術品，並將其帶回德國，並一直由他的家人收藏超過 80 年。 品相：狀況極好，磨損、使用痕跡、輕微的鑄造瑕疵、微小的刻痕和凹痕以及輕微的劃痕。 自然細膩的包漿，多處可見綠色結殼。 重量：3,061 克 尺寸：直徑 24.6 厘米 拍賣結果比較：比較一件相近的約十七世紀銅輔首，高44 厘米，見巴黎佳士得 Art d'Asie 2020年12月10日 lot 167, 售價EUR 27,500。

A RARE BUFFALO HORN 'XINIU' SEAL, EARLY QING DYNASTYChina, 17th-18th century. Of oval form, surmounted by a finely carved xiniu standing foursquare and gazing up at the sky, the beast neatly detailed with thick brows, an elegantly curved horn, muscular legs, and incised mane and paws.Inscriptions: The seal face, 'Jieda Huanxi' ('happiness for everyone').Provenance: Spanish trade, by repute from an old private estate in Madrid. Austrian private collection, acquired from the above.Condition: Very good condition with minor wear and a network of natural age cracks, some of which appear to have grown in size over time. Few minor nicks. Naturally developed, smooth, dark-brown patina.Weight: 39 g Dimensions: Height 7.6 cmThe xiniu is a legendary Chinese animal. In ancient Chinese texts, the term xiniu originally meant rhinoceros. In later periods, the creature became increasingly mythologized after the rhinoceros was extinct in post-archaic China. By the Song dynasty, it had become a beast of legend, known only through literary references. Over time, the depiction of this animal changed to a more bovine appearance with a single curved horn on its head that was used to communicate with the sky, which is why the xiniu is mostly depicted while gazing up at the moon. Expert's note: The figure is skillfully carved to varying degrees of thickness, resulting in increased translucence to areas carefully chosen by the lapidary, such as the horn, thus resulting in an overall enhanced appearance. This is a long-lost master technique indicating an early Qing-dynasty date.Auction result comparison: Compare a related buffalo horn seal carved with a goat, 6.4 cm high, dated to the Republic period, at Sotheby's Hong Kong in Chinese Art on 3 December 2015, lot 351, sold for HKD 75,000. Compare a related horn seal carved with a ram, 4.5 cm wide, dated to the Qianlong period, at Sotheby's London in Fine Chinese Ceramics and Works of Art on 4 November 2009, lot 173, sold for GBP 10,625.清初水牛角雕犀牛鈕印中國，十七至十八世紀。橢圓形印，上有雕刻細膩的仰頭望天的甪端，濃密的眉毛、優雅彎曲的獨角，姿態矯健，細節雕刻生動。 款識: 皆大歡喜 來源：西班牙古玩市場，據説購於馬德里私人收藏；奧地利私人收藏購於西班牙。品相：狀況極好，輕微磨損和自然老化裂紋，其中一些似乎隨著時間的推移而變大。 輕微小劃痕，自然發展的光滑、深褐色的包漿。 重量：39克 尺寸：高7.6厘米 專家注釋：巧妙雕刻，從而增加了它的半透明度，從而整體增強了其美感。這是一門久違的大師技藝，表明它應該來自清代早期。 拍賣結果比較：比較一件水牛角雕羊鈕印，高 6.4 厘米，民國，見香港蘇富比 Chinese Art 2015年12月3日 lot 351, 售價HKD 75,000；比較一件角雕羊鈕印，寬4.5 厘米，清代，見倫敦蘇富比Fine Chinese Ceramics and Works of Art 2009年11月4 日，lot 173, 售價GBP 10,625。

A THANGKA OF VAJRADHARA, 18TH CENTURYTibet. Distemper on cloth. Vajradhara is depicted seated in dhyanasana on a lotus throne supported by snow lions with offerings and Buddhist emblems placed before him, flanked by elephants and other creatures. His two hands are folded across the heart in the mudra of non-duality, while holding a vajra scepter and a vajra-handled bell, wearing a dhoti and bejeweled, his face with a meditative expression, further surrounded by other deities and several Mahasiddha.Provenance: From a private collection in Belgium, acquired from Mrs. L. and Mr. B., former ambassador of UNESCO in India, in office between 1960 and 1970.Condition: Good condition with old wear, soiling, creasing, minor losses and touchups. The textile mounting with few tears.Dimensions: Image size 46 x 31.5 cm, Size incl. mounting 96.5 x 48.5 cm, Size of frame 117 x 70.4 cmWith a silk brocade frame, mounted as a hanging scroll. Matted and framed behind glass.Vajradhara is the supreme, primordial Buddha without beginning or end, lord of all mysteries, master of all secrets, who is the root-deity of many Tantric Buddhist teachings.Literature comparison: Compare a related thangka of Vajradhara in the Smithsonian's National Museum of Asian Art, accession number F1905.67.十八世紀金剛總持唐卡西藏，布面膠畫，掛軸。金剛總持結跏趺坐坐於蓮座上，由兩隻雪獅馱著。雪獅前放著供品和佛教法器，兩側是大象和其他瑞獸。他的兩隻手交叉置於胸前，同時拿著金剛杵和金剛鈴；他身著天衣，佩戴華麗珠光，表情似乎在冥想，四周圍繞著其他本尊和幾位大成就者。 來源：比利時私人收藏，購於Mrs. L. 與 Mr. B.處， 曾經於1960年至1970年間擔任聯合國教科文組織在印度的大使。 品相：狀況良好，磨損、污漬、摺痕、輕微缺損和修補。織物鑲嵌有輕微水漬。 尺寸： 畫面46 x 31.5 厘米, 總96.5 x 48.5 厘米, 框117 x 70.4 厘米 錦面裝幀成掛軸，玻璃裝框。

William Mulready, RA (British, 1786-1863)Boys playing at cricket inscribed (on an old label on the reverse)oil on canvas laid on panel35.3 x 48.6cm (13 7/8 x 19 1/8in).Footnotes:ProvenanceWilliam Horsley, 1810 cited in Mulready's Account book, 1809-10 in the National Art Library (V&A), as 'Heston, Horsley 31.10'. Probably the accomplished musician and composer, William Horsley (1774-1858).John Gibbons, by 1848.Mrs. Gibbons, by 1864.The Rev. B. Gibbons, by 1890 (according to an old label on the reverse).Colnaghi collection.Sale, Robinson and Foster, 1941.Acquired from the above by the grandfather of the present owner.Thence by descent.ExhibitedLondon, Royal Academy, 1813, no. 73.London, Society of Arts, 1848, no. XXXIV, described as 'Painted in 1810'.London, South Kensington Museum (now the V&A), 1864, no. 31.London, Royal Academy, 1890, Exhibition of the works by the Old Masters, as Landscape with old barn (according to an old label on the reverse).LiteratureSir Henry Cole MS, National Art Library, V&A, manuscript catalogue listing Mulready's paintings along with notes on their location, their condition, their appearance in exhibitions; thought to be in Sir Henry Cole's hand, probably assembled in preparation for the Mulready exhibition at the Society of Arts, 1848, which Cole organised.Society of Arts, A Catalogue of the Pictures, Drawings sketches, etc, of William Mulready, RA, 1848, exhibition catalogue.Athenaeum, 10 June 1848, p 584.F. G. Stephens, 'List of Mulready's important paintings', 1890.Kathryn Moore Heleniak, William Mulready, Yale, 1980, pp. 55-56, cat. no. 63, as Boys Playing Cricket'.The present lot is a recent rediscovery and an exciting early 19th Century depiction of cricket. It belongs to a group of early landscapes, many now sadly lost, which were painted at Heston- now Hounslow, on the site of the St. Paul's playing fields.1.When shown at the Society of Arts exhibition in 1848- an exhibition dedicated to Mulready's work- the present lot is listed as the property of John Gibbons (d. 1851) an iron master, who was one of the new breed of middle-class art patrons coming out of the industrial revolution, who collected contemporary British Art. Gibbons owned a number of works by Mulready, including A Sailing Match which he acquired directly from the artist, and a number of early landscapes. Gibbons lent a number of works to the exhibition.Reviewing the 1848 exhibition of Mulready's work, the Athenaeum noted of the painting that 'the old and picturesque grey trunk of the tree which traverses the foreground [is] marvellously wrought.'21Kathryn Moore Heleniak, William Mulready, Yale, 1980, pp. 55-56.2. Ibid, p. 195.See also:Kathryn Moore Heleniak, 'John Gibbons and William Mulready: The Relationship between a Patron and a Painter.', The Burlington Magazine, vol. 124, no. 948, 1982, pp. 136–141.We are grateful to Professor Kathryn Moore Heleniak for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

A collection of Old Master and later prints, mostly landscapes andanimals, from 1" x 3.5" to 14.5". (Qty).

Lear (Edward, 1812-1888). Saint Moritz, Switzerland, watercolour on grey paper, depicting a panoramic landscape, with a village nestling at the foot of a range of snow-topped mountains, trees in the foreground to the left, and clouds gathering overhead, annotated in brown ink by the artist lower right '101.H.', with pencilled title 'St. Maurice' to verso also in the artist's hand, and additional sketches by the artist to verso of a standing man and seated woman in Swiss costume, as well as a small sketch of a panoramic landscape, 15.5 x 23.9cm (6 1/8 x 9 3/8ins), mounted, framed and glazed (33.4 x 41.7cm), backboard with typed label detailing Sotheby's provenance and printed label of The Rowley Gallery, LondonQty: (1)Footnote: Provenance: Sotheby's, July 29th, 1971.This drawing is almost certainly one of a number dating from Edward Lear’s tour of Europe in the summer of 1837. On July 10th that year the artist boarded the Antwerp packet, accompanied by his sister, Ann, who travelled with him as far as Brussels. On leaving Belgium Lear travelled through Luxembourg, Germany and Switzerland, reaching the Italian lakes by the autumn, arriving in Florence in November and Rome in December. In 2012 Christie's sold a drawing of Sion in Switzerland by Lear, dated 17th September 1837, which, like the present work, was annotated with an 'H' to the lower right corner (Christie's, London, Old Master & Early British Drawings and Watercolours, 3rd July 2012, lot 156).We are grateful to Charles Nugent, former curator of British Drawings at the Whitworth Art Gallery, Manchester, and author of Edward Lear the Landscape Artist: Tours of Ireland and the English Lakes, 1835 & 1836, for assistance with this catalogue description.

Rembrandt (Harmensz. van Rijn, 1606 – 1669). Male Nude, Seated and Standing ('Het Rolwagentje'), circa 1646, etching and drypoint on paper with a Strasbourg Lily watermark (Hinterding G. c.), a very good impression of New Hollstein’s first state (of eight), with some slipped printing most evident in the lower left corner, with small margins, a few repaired areas towards the corners and at centre of the right sheet edge (mostly visible verso), a few further tiny repairs to sheet edges, pale mottled fox marks, a soft crease at the lower right corner, plate size 19.5 x 13 cm (7 5/8 x 5 1/8 ins), sheet size 25 x 13.8 cm (8 x 5 3/8 ins)Qty: (1)Footnote: ProvenanceL Private Collection, Austria; Sotheby’s London, Old Master Prints, 30 June 2021, lot 81.Literature: Bartsch, Hollstein 194; New Hollstein 233, i/viii; Hind 222.

Attributed to Luca Giordano (Naples 1634-1705). Women preparing fish in a kitchen, circa 1680, pen and brown ink with traces of black chalk, on firm laid paper, bearing inscriptions in pen and brown ink, 'Jordan' and 'No 73' lower left, and '360 r' lower right, a further, apparently crossed out inscription in the lower right corner, a few minor losses touched in with brown ink, sheet size 31 x 44.1 cm (12 1/4 x 17 3/8 ins), framed (50 x 65.3 cm)Qty: (1)Footnote: Provenance: Charles Robert Rudolf (1884-1974); Colnaghi, London; A.J. Mackenzie Stuart, Edinburgh; Day & Faber, London (their label, verso); Christie's, London, Old Master and British Drawings and Watercolours, 7 July 2015, lot 16.Literature: O. Ferrari and G. Scavizzi, Luca Giordano: L'opera completa, Naples, 1992, D79.Exhibited: London, Colnaghi, Exhibition of Old Master Drawings, 1967, number 21, illustrated; Edinburgh, Merchants' Hall, Italian 17th century drawings from British private collections, 1972, number 63, illustrated (Scottish Arts Council label to verso)A similar inscription to the one on the present drawing ('Jordan', 'Nº. 73' and '360 r') can be found in The Triumph of Cybele by Giordano dated to his Spanish period, circa 1697, in pen and brown ink lower right 'Jorda/N.º 72. 324Ps, 4 . . . Rs [?].' now in the Metropolitan Museum of Art, New York (inv. 63.76.4; J. Bean, 100 European Drawings in the Metropolitan Museum of Art, 1964, 38). Like the present drawing, the Metropolitan example is executed in brush and brown over black chalk. Another version of the present drawing, of women preparing fish in a kitchen with a cat stealing fish from a table, in pen and brown ink and grey-brown wash over black chalk and grey wash and measuring 32.4 x 44.8 cm. is in the British Museum (inv. 1950,1111.41; O. Ferrari and G. Scavizzi, op. cit., no. D79).

Valentine, c.1830, addressed to Master Frank Hart of Pepper Street, Nottingham. Manuscript romantic verse with central ink & watercolour motif with love hearts and applied border, paper bearing manufacturer's watermark (Hagar & Son 1825), 'Old custom tells us that we may / Write to our sweethearts on this day...Then with this my name I sign / And so remain your Valentine.' Folded as sent with remnants of wax seal, torn upon opening (through address), otherwise well-preserved with general toning and light marks

FLEMISH/DUTCH SCHOOL Master, active 17th century. THE MOCKING OF CHRIST Oil on oak panel, parqueted. 54 x 78 cm (F. 82 x 101 cm). Part. old restored, old retouching. Elaborate column framing of the 19th/20th century. Provenance: European Private Collection.FLÄMISCH/NIEDERLÄNDISCHE SCHULE Meister, tätig im 17. Jh. VERSPOTTUNG CHRISTI Öl auf Eichenholztafel, parkettiert. 54 x 78 cm (R. 82 x 101 cm). Part. altrest., Altretuschen. Aufwendige Säulenrahmung des 19./20. Jh. Provenienz: Europäische Privatsammlung.

J SILAS, FRUIT AND FLOWER STUDY Old Master style, oil on canvas, probably early 20th century, 85 60 cms, with five other flower pictures

ROYAL PAISLEYBlended whisky.43% ABV / 75clDUNHILL OLD MASTER CELEBRATION EDITIONBlended whisky.43% ABV / 75cl

Hubert Robert (French, 1733-1808), Capriccio of Roman ruins with pyramid, urn, fountain, bas reliefs and figures, Romantic School red chalk drawing on paper, watermarked for Jan Honig and Zoonen, Amsterdam, bearing label and Christie's stencil verso, 29 by 36.5cm, framed, provenance: with Hal O'Nians, Fine Art Dealers, St. James, exhibited: No 22, Old Master Drawings, April 1964

After the Old Master (20th century)The Four Evangelists by Jacob Jordaensoil on canvas, laid on board, 29cm x 30.5cm

Attributed to George Morland Portrait Study of a Ladymonogrammed GM and dated 1790, pencil and body colour, 33cm x 27cm; after François Boucher, anatomical study, 19th century lithograph, 27cm x 35cm; four prints of bas reliefs after David; further Old Master and other prints; etc

Europe - Low Countries, a post-Second World War RAF serviceman's album of snapshots, illustrated with b/w photographs of service, topography, and informal larks with comrades and lady friends in Antwerp, Belgium, Eindhoven, Holland, RAF Melle, Germany, dated from July 1946 to November 1947, oblong 4to, (1); an early 20th century album of German named-view postcard and topographical photographic prints, Art Deco boards, oblong 4to, (1); a 19th century Italian Grand Tour folio, illustrated with tipped-in photographic prints of Classical, Renaissance and Baroque Old Master pictures and sculpture, Italian architecture, named-view topography, etc., contemporary half-morocco gilt over cloth, all-edges gilt, marbled albums, folio (37.5cm x 29.5cm), (1), [3]

Ɵ HOROLOGICAL REFERENCE BOOKS MAINLY ON THE GOLDEN AGE OF ENGLISH CLOCKMAKINGNINE PUBLICATIONS: Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 George Routledge and Sons Limited, London 1938, dj; Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks Antique Collectors' Club, Woodbridge 1982, dj; Edwardes, Ernest L. The Story of the Pendulum Clock John Sherratt and Son Limited, London 1977, dj; Cescinky, Herbert and Webster, Malcolm ENGLISH DOMESTIC CLOCKS facsimile reprint of the 1913 edition, Chancery House Publishing Limited, Woodbridge 1976, dj; Dawson, Percy G. THE IDEN CLOCK COLLECTION limited edition of 1,000 copies, dj; Antique Collectors' Club, Woodbridge 1987, dj; Britten, F.J. OLD ENGLISH CLOCKS, THE WETHERFIELD COLLECTION limited edition facsimile reprint of the 1907 edition numbered 719 out of 1,000 copies, Antique Collectors' Club, Woodbridge 1980, gilt titled faux red suede; Symonds, R.W. THOMAS TOMPION HIS LIFE & WORK B.T. Batsford Limited, London 1951, dj; Edwardes, Ernest L. The Grandfather Clock John Sherratt and Son Limited, London 1980, dj; and Darken, Jeff (editor) THE PASSAGE OF TIME, An Exhibition of Timekeeping Through the Ages catalogue for an exhibition held at the Olympia Fine Art and Antiques Fair 15th-21st November 1999, The Antiquarian Horological Society, Ticehurst 1999, softbound with stapled spine, (9). 

Markham (Gervase). A Way to get Wealth. Containing Six Principall Vocations, or Callings, in which every good Husband or House-wife, may lawfully imploy themselves..., The first five Bookes gathered by G[ervase] M[arkham]. The last by Master W[illiam] L[awson], 8th edition, E[dward] Brewster and George Sawbridge, 1653, general title and 7 separate book titles, some woodcuts to text, general title foremargin repair to blank verso, repair to upper outer corner of pages 105/106 and 112 of final part with some loss of text to first two pages, occasional old spotting, browning and dampstaining, closely cut at upper margin, later endpapers with 19th-century inscription at front, modern morocco, 4to (180 x 140mm)Qty: (1)Footnote: Pagination: [28], 188, [2, blank]; [4], 92, [4]; [8], 188; [4], 20; [6], 126, [4]; [6], 56; [2], 69-112 pages.

Study of a Carmarthenshire coracle man, oils on board, together with two old master copies in oils. All Framed. (3)(B.P. 21% + VAT)

TWO ENGRAVED STUDIES OF OLD MASTER DRAWINGS OF MALE NUDES