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LUCIAN FREUD (1922-2011)Man Resting (Hartley 34) Etching printed with tone, 1988, on Somerset Satin wove paper, initialled and numbered 21/30 in pencil, the second state (of two), printed by Marc Balakjian at Studio Prints, published by James Kirkman, London and Brook Alexander, New York, the full sheet, in overall very good condition, framedPlate 369 x 410mm. (14 1/2 x 16 1/8in.); Sheet 470 x 502mm. (18 1/2 x 19 3/4in.)Footnotes:ProvenanceSotheby's, Old Master, Modern and Contemporary Prints, London, Tuesday 2 July 2002, lot 198.Acquired from the above sale by the present owner.ExhibitedLucian Freud Etchings 1946-2004, Scottish Gallery of Modern Art, Edinburgh (with their label); Abbot Hall Art Gallery, Kendal; Fitzwilliam Museum, Cambridge; Birmingham Museums and Art Gallery; Marlborough Graphics, London, 2004–05.Lucian Freud, Museo Correr, Venice, 2005 (with their label).Lucian Freud: Etchings, Northcote House Gallery, University of Exeter, 2007.The sitter in this work is Angus Cook, a filmmaker who sat for Freud regularly between 1985 and 1990. Angus was one of the few men that posed completely naked for Freud, and in fact one of the first ones to have done so. Freud made seven etchings of Angus, including the one presented here. This work closely relates to another two etchings made the year before in 1987, Naked Man on a Bed (state I), and Naked Man on a Bed (state II), albeit in the present version the focus is on the sleeper's head, emphasizing the infantile effects of sleep on a grown-up man's facial features, and wonderfully conveying Freud's liking for 'people to look as natural and as physically at ease as animals' (Lucian Freud, quoted in Feaver, Lucian Freud, 2002, pp.41-42).This is the first time an impression of this etching has come to the market since 2013.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

ROY LICHTENSTEIN (1923-1997)Bicentennial Print, from America: The Third Century portfolio (Corlett 136) Lithograph and screenprint in colours, 1975, on wove paper, signed, dated and numbered 137/200 in pencil (there were also 25 artist's proofs), printed by Styria Studio, with their blindstamp, published by APC Editions, New York, very pale mount staining, the yellow slightly attenuated, generally in good conditionSheet 762 x 567mm. (30 x 22 3/8in.)Footnotes:ProvenanceSotheby's London, Old Master, Modern and Contemporary Prints, 1 April 2008, lot 450.Acquired from the above by the present owner.This is from a portfolio of 13 works by various artists which was sold in aid of several charitable organizations chosen by the artists. This included Change Inc., which was founded by Robert Rauschenberg to support struggling artists and was one of Lichtenstein's chosen charities.For further information on this lot please visit Bonhams.com

Album of correspondence & manuscripts, to include Hester Lynch Thrale Piozzi (1741-1821), author and friend of Samuel Johnson, autograph letter signed in black ink, headed Brynbella, 23 December 1813, addressed to 'my dear Doctor Thackeray' [William Makepeace Thackeray, physician in Chester], requesting that he 'be kind enough to take charge of a Play Thing I have sent to my friend Miss Harriet Maria Pemberton. I am so afraid of its being left at Chester, and she must have it by the New Years Day, or all the joke is lost', signed 'H. L. Piozzi'; Eliza Cook (1818-1889), author and poet, three manuscript poems ('Buttercups and Daisies', 'Master Onny' and Time's Changes', the last of which includes a covering note and is addressed with paid post handstamp, 4 February 1842), and five autograph letters, including one addressed to the Editor of the Literary Gazette, 'At the request of more than one literary gentleman I am induced to offer the enclosed specimens of rhyming to you. I am the writer of "The Song of Old Time" and many other short poems lately published in The "Weekly Dispatch" and which have attracted more notice and admiration than I deem them worthy of. Many however have considered them as fair effusions from a young uneducated and inexperienced scribbler which I candidly confess I am...Try me by my merit, if you think me a "born idiot", tell me so, I like sincerity', with an early-20th century auction catalogue clipping for the Buttercups and Daisies poem and letter to Editor of Literary Gazette; Charles Kingsley (1819-1875), autograph letter on Chersley Rectory letterhead, 2 February 1860, 'My dear Sir, I am always at the service of an officer in the Royal Navy; I therefore subscribe myself with great pleasure, Yours faithfully, Kingsley'. The letters are lightly tipped to blank pages, though some are detached; condition varied, some toning and wear. The album is bound in navy blue buckram lettered in gilt to spine, 'Eliza Cook. MS. Letters & Poems', slight fading to spine. Armorial bookplate for Stanley Austin on front pastedown, with loosely inserted typewritten letter addressed to the same from E. H. W. Meyerstein, 25 January 1934, providing biographical information on Eliza Cook, beginning, 'Dear Austin, I cannot get excited over Eliza Cook'Provenance: From the collection of Stanley Austin, author of The History of Engraving, [1908], thence by descent

A small gilt framed antique oil on card, depicting a townscape - sold with an old master reprint of a seated hare after Albrecht Durer

JOSÉ VELA ZANETTI (Milagros, Burgos, 1913 - Burgos, 1999)."Breaking bread", Milagros, 1972.Oil on panel.Signed, dated and located in the lower left corner.Attached certificate signed by the artist.A preparatory drawing for this work is published in the book "VELA ZANETTI" by Victoriano Crémer, 1974.Measurements: 150 x 250 cm; 165 x 264 cm (frame).From Milagros, his hometown, Vela Zanetti created a personal vision of the peasantry. In his works he gave birth to a true epic of the rural world, whose customs, people and work he represented with a profound sense of human dignity. The large-format panel presented here shows the splendid technique of the artist from Burgos, based on a masterly forceful stroke and a warm, richly nuanced chromaticism. In front of a field in his native Castile, a group of four peasants stop their daily chores to have lunch, leaving aside their sickles and other work tools. The four characters, arranged in a circle around the central snack while drinking from a wineskin and breaking a loaf of bread, reveal the sacred and solemn condition sought by Zanetti.Born in Milagros, in the province of Burgos, he moved to León with his family when he was a child. There he held his first exhibition in 1931. Supported by his father, after finishing high school he travels to Madrid for a few months to see exhibitions and visit the Prado Museum. Shortly afterwards he obtained a scholarship to visit Italy, granted by the Provincial Council of León. As a consequence of the Spanish Civil War he went to the Dominican Republic, where he remained until 1960. In Santo Domingo he started, together with other exiled artists, the National School of Fine Arts. During this period he held exhibitions and projects in Mexico, Colombia, Puerto Rico and the United States. In 1951 the John Simon Guggenheim Foundation of New York awarded him a grant for a singular project: the creation of a large-scale mural for one of the main spaces of the United Nations headquarters, in commemoration of the fiftieth anniversary of the Universal Declaration of Human Rights. This project definitively catapulted the master from Burgos, and is today considered his most important work both for its symbolic relevance and for its expressiveness and artistic quality. He himself said of this work: "I hope that those who contemplate this mural will realize that peace must be won, not once and forever, but every day, remembering the sufferings of the past and making real what men aspire to for the future". Vela Zanetti also painted other important murals, such as those on historical themes for the Provincial Council of Burgos or the frescoes of the old Ercilia Theater in Barahona, Dominican Republic. He was an academician of San Fernando, and Doctor Honoris Causa by the University of Burgos. The Centro Cultural de la Villa de Madrid held in 2001, under the title "Antológica", a retrospective exhibition on the work of Vela Zanetti, the most important to date. In 2009 an exhibition commemorating the tenth anniversary of his death was held at the Ángeles Penche gallery in Madrid. In short, an important exhibition dedicated to the work of Vela Zanetti, commemorating the centenary of his birth and the most complete anthology of this painter held to date, was held at the Fórum Evolución in Burgos. His works are currently preserved in the funds of the Caja Rural de Burgos and the Vela Zanetti Foundation in León, as well as murals in various cities in Spain, Santo Domingo, the United States, Colombia and Switzerland.

Michele Gordigiani (Italian 1830-1909)The Flower GirlOil on canvasSigned (lower left)108 x 81.5cm (42½ x 32 in.)Provenance:Sale, Leslie Hinderman, Old Master, 19th and 20th Century Pictures, 13 December 1992, lot 165Haynes & Son Were acquired by the present owner circa 1993Condition Report: The canvas has been lined. The work has been cleaned and re-varnished. Under UV light the work generally appears untouched. Dimensions including the frame are 130 x 102cm.Condition Report Disclaimer

Laurent de la Hyre (French, 1606-1656)Putti playing at the edge of a woodoil on canvas91 x 118cmProvenance: Christie's, 'Old Master Pictures', 11 December 2002, lot 79.Condition report: The painting is executed in oil on a canvas support which has been lined. Along the upper edge is a vertical line which is possibly a seam or addition to the original canvas. There is some disruption to the paint layers with areas of lumpy texture and small losses. Some of these areas are covering old damages. There is retouching across the surface some of which has a matte texture. The varnish is clear, even and glossy.

Victorian Illustrated Children's Books. A collection, mainly in wrapers, all with hand coloured illustrations, comprising Thomas Dean (and subsequent partnerships) - Amusing Alphabet, Sketches of Little Boys, Sketches of Little Girls, Dame Wiggins of Lee, Uncle Buncle's Young Friends, The Little Old 100s Woman, Lady Golightly and The Truant Bunny, A Park - Park's Tales of Instruction and Amusement William and Lucy's Trip to London, J L Marks' Miss Pussey and Master Spot, Dame Brown's Visit to London and Adventures of Little Julia, Darton & Co - The Little Old Woman and Fun for Little Folks (2), W Tegg & Co, - I Won't and I Will (facsimile cover) and three others (19) All or mostly complete and in fair to very good condition. Please note sold waf

Tiziano Vecellio (1488-1576)-circle, Portrait of a man with red coat and cap, looking to the side; oil on wooden panel; the vertical sides left and right later adapted (about 3cm); in an original carved and gilded collectors frame around 1600; on the reverse old paper label with provenance Collection Alice Schönfeld, Master of Brescia, Portrait of a monk? 53x40cm

Old master, pen ink and wash Christ at the well, 27.5 x 22 cm

Old Master Drawing Assortment (3) undated, unsigned drawings on paper including a facial study of a reverential youth; an ink wash over graphite depiction of John the Baptist as a child visiting the Holy Family; and a sepia drawing having areas of wash depiction of the Holy Spirit, represented as a dove, hovering over the Baby Jesus in Joseph's arms attended by John the Baptist as a child; all matted and framed behind glass Property from: a Chicago, Illinois (Streeterville) estate Height: 8 1/4 inches, Width: 5 3/4 inches (largest)Frame Size: 10 3/4 inches by 8 1/2 inches Condition: Very Good to Good, mat burn to the graphite study; sepia drawing mounted to a ruled backing board and having insect predation to lower left edge; light wear to frames Category: Fine Art > Old Masters Estimated Sale Time: 12:29 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7

The Tudor Mint - Master Wizard, The Siren, Old Father Time, Rising of the Phoenix, Keeper of the Skulls, White Witch, Guardian Dragon, Protector of Young, Enchanted Castle, Unicorn Rider, Old Hag, Castle of Soule (12)

Italian School, 17th Century, a study of the bust of a vine crowned Bacchanalian figure, pencil, 18 by 19cm, with a pair of Old Master coloured pastel cherub group studies, 47 by 46cm, framed (3)

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

A charming watercolour of a hound and his master returning homeWatercolourIndistinctly signed to the verso19cm x 17cmProvenance:Michael Trethewey. A Gentleman of Taste.We are delighted to be selling in this sale and over forthcoming sales, items from the estate of the collector Michael Trethewey. Michael had an unerring eye for quality. He was a frequent visitor to these auction rooms, an elegantly dressed, unassuming man who bought well and had a singular passion for old-school antiques.Condition report: The bottom left corner has a tear. The top left corner has a scratch or a fold. There is a foxed blemish just behind the dog. There are various and there is paper discolouration.

Höfische Louis XV-Kommode gestempelt „DAUTRICHE“ und „JME“Höhe: 89 cm.Breite: 140 cm.Tiefe: 64 cm. Paris, um 1765.Zweischübiger, leicht bombierter Eichenkorpus mit reicher Rosenholz-, Palisander- und Obstholzmarketerie. Üppiges Beschlagwerk in feuervergoldeter Bronze. Die allseitig schräg gestellten Füße laufen gratig in die Ecken ein, unten säbelförmig sich verjüngend. Das Frontfeld, in heller Wirkung mit V-fömig verlegtem Rosenholz furniert, wird gerahmt von Palisanderfurnier. Im hellen Mittelfeld, das sich über die beiden Schübe hinweg ausbreitet, in zarten Holztönen eingelegte Blütenzweige, Rosensträuße, größere und kleinere Blätter. Die Blattformen grün getönt, die Blüten in zarten Farben bis hin zu violett-rot abgestuft. Die Mitte wird betont durch ein in großzügigem Schwung eingelegtes Bandwerk in Palisanderfurnier, das eine leicht nierenförmige Mittelfeldbegrenzung umschließt, in geschickter Weise seitlich unterhalb der vergoldeten Henkelzüge durchlaufend. Zughenkel und Schlüsselbeschläge braun unterlegt, wie auch die Applikation an der mittleren Zarge, die in äußerst eleganten C- und S-Bögen mit eingearbeiteten Blüten gearbeitet ist. An den Seiten der Kommode ebenfalls V-förmige Verlegung des hellen Bildfeldes, darauf jeweils ein Blumenstrauß. Abschließende Marmorplatte in höchst seltener Ziegelrot-, Gelb- und Grausprenkelung. An den Rändern fein profiliert und gerundet. Zarge mit Schlagstempel „DAUTRICHE“ für Jacques van Oostenryk (Meister ab 1765, gest. 1778). Alte Schlösser und Schlüssel. Rest., erg.Literatur: Vgl. Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris 1989, S. 221 ff. (12901425) (10)Courtly Louis XV commode stamped “DAUTRICHE” and “JME”Height: 89 cm.Width: 140 cm.Depth: 64 cm.Paris, ca. 1765.Two-drawer, slightly cambered oak structure with rich rosewood, and fruit wood marquetry. Opulent fire-gilt bronze fittings. Apron with embossed stamp “DAUTRICHE” for Jacques van Oostenryk (master from 1765, died 1778). With old locks and keys. Restored, mended.Literature:cf. Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris 1989, p. 221 ff.Export restrictions outside the EU.

Lorenzo Costa d. Ä., um 1460 Ferrara – 1535 MantuaANBETUNG DES KINDES MIT SAN NICOLA DA TOLENTINO, UM 1491/93 Öl auf Weichholz, verso Festigungsleisten. Ehemals oben abgerundet, Ecken entsprechend angesetzt.50 x 41,5 cm. Verso alter Aufkleber „Auktion Lempertz Nov. 1961, Kat. 466, Nr. 161“ (dort noch als Piemonteser Meister geführt). Im Ädikularahmen.Expertise von Dr. Alessandro Delpriori, Universität Florenz. Hier weitere Einzelangaben und Werkvergleiche. Das Tafelbild, seiner Maße wegen wohl Auftragsgemälde für eine Hauskapelle, thematisiert die Geburt Christi im Stall von Bethlehem. Maria und das am Boden auf einer Matte liegende Kind sind ins Bildzentrum gesetzt, rechts daneben steht Josef, barfüßig, auf einen Stock gestützt. Den Hintergrund bildet der hölzerne Stall mit Brettervordach, darunter die Hauptfiguren, dahinter Esel und Ochs. Links eine hügelige Landschaft, aus der der hier dargestellte Heilige Nikolaus von Tolentino in Mönchskutte und kniender Haltung gezeigt wird. Der Mönch und Prediger (um 1245-1305) wurde 1446 kanonisiert. Der Augustinerheilige hält hier ein Kreuz und ist durch sein Attribut - ein Stern, der ihn der Legende nach bei seinen Predigten begleitete - gekennzeichnet. Dem Gemälde ist eine ausführliche gutachterliche Beschreibung beigegeben. Danach wird das Werk in die Frühphase des Malers eingeordnet, also wohl noch vor der Begegnung mit dem Bolognesen Francesco Francia (1447-1517) und dessen ausgeprägter Feinmalerei. So herrscht hier noch eine gewisse Herbheit, die nähere Verwandtschaft mit seinen Lehrern Francesco del Cossa (1435-1495) oder Cosmé Tura (um 1430-1495) zeigt. Dagegen wird der Bologneser Einfluss spürbar, nachdem Costa - auf der Flucht von der Pest - dorthin zog, um am Hof von Giovanni Bentivoglio zu wirken. 1483 wird ein „Costa“ im Zusammenhang mit dem Palazzo Bentivoglio als Maler dokumentiert. Aus öffentlichen Sammlungen sei hier an die „Kreuzigung mit Stifter“ im Lindenau-Museum Altenburg genannt, in Ferrara um 1480 entstanden. Wenngleich das Werk Costas nicht die dynamische Bewegtheit seines Zeitgenossen Ercole de´ Roberti zeigt, so sei doch an Gemeinsamkeiten des vorliegenden Bildes mit dessen „Anbetung des Kindes“ (National Gallery London) erinnert, mit ähnlichem Aufbau des Stallgebäudes in Bethlehem. A.R. Provenienz: Privatsammlung. Literatur: Rolf Toman, Barbara Borngässer, Alexander Rauch, Uwe Geese, Malerei, in: Renaissance. Kunst und Architektur des 15. und 16. Jahrhunderts in Europa, Bath u.a. 2011. Emilio Negro, Nicosetta Roio, Lorenzo Costa (1460-1535), Modena 2001. Philip Hendy, Die National-Galerie London, Gütersloh 1978. (12903118) (11)Lorenzo Costa the Elder,ca. 1460 Ferrara – 1535 MantuaTHE ADORATION OF THE CHRIST CHILD WITH SAN NICOLA DA TOLENTINO, CA. 1491/93Oil on softwood, with parquetting slats on the reverse. 50 x 41.5 cm.Old label from Lempertz auction on the reverse, Nov. 1961, cat. 466, no. 161 (listed as Piedmontese master).Expert‘s report by Dr Alessandro Delpriori, Florence University enclosed. More details and work examples of comparison are given in the report. As a work held in a public collection, the “Crucifixion with Donor” at Lindenau Museum Altenburg, which originated in Ferrara in ca. 1480, should be mentioned here. Even though Costa‘s work does not show the dynamic emotion of his contemporary Ercole de‘Roberti, we should nevertheless recall the similarities between the present painting and his “Adoration of the Christ Child” (National Gallery London), which shows a similar structure of the stable building in Bethlehem. Provenance: Private collection.Literatur:Rolf Toman, Barbara Borngässer, Alexander Rauch, Uwe Geese, Malerei, in: Renaissance. Kunst und Architektur des 15. und 16. Jahrhunderts in Europa, Bath et al. 2011.Emilio Negro, Nicosetta Roio, Lorenzo Costa (1460-1535), Modena 2001.Philip Hendy, Die National-Galerie London, Gütersloh 1978.

Crijn Hendricksz. Volmarijn, um 1604 Rotterdam – 1645, zug.BÄRTIGER ALTER MANN MIT KERZE BEI DER LEKTÜRE Öl auf Leinwand. 69 x 55 cm. Links unten Signatur von anderer Hand. Ungerahmt.Möglicherweise Darstellung des Heiligen Hieronymus. Die Malweise in der Tradition der Kerzenlichtmalerei, wie etwa „Candlelight Master“ etc. Zum Teil pastoser Malauftrag, in flüssiger Malweise. Zwei kleine Beschädigungen in der Leinwand. (11506020) (11)Crijn Hendricksz. Volmarijn, Ca. 1604 Rotterdam – 1645, attributedREADING BEARDED OLD MAN WITH CANDLEOil on canvas. 69 x 55 cm.Lower left signature by another hand.Unframed.

Bedeutender Meister der Schule der Emilia Romagna des 16. JahrhundertsDIE HEILIGE FAMILIE MIT EINER JUNGEN HEILIGEN MÄRTYRERIN Öl auf Holz. 70 x 55 cm. In einem alten Rahmen mit Blattdekor in Vergoldung.Im Zentrum Maria mit dem Kind, links der Heilige Josef, rechts ein junges Mädchen mit Märtyrerpalme. Die Verwendung der Farben weist auf den florentinischen Manierismus des beginnenden 16. Jahrhunderts hin, wie er auch bei Parmigianino (1560-1540) zu finden ist. Verso zwei Einschubleisten sowie Schwalbenschwanzverbindung. (1171613) (10)Important master of the School of Emilia Romagna, 16th centuryTHE HOLY FAMILY WITH A YOUNG FEMALE MARTYROil on panel.70 x 55 cm.In an old frame with gilt foliage décor.

Denys Watkins-Pitchford 'BB', (1905 - 1990), seven original pen & ink drawings used to illustrate Frances Browne 'Granny's Wonderful Chair', Dent 1963 edition, each drawing approx. 12 x 10cm, comprising "His lordship chanced to meet Spare gathering watercress", p.24; "Corner", p.49; "Out sprang a little man", p.77; "A Poor old woman came to the back door", p.93; "Woe is me also for my son, for I have none beside him", p.119; "Buy a fiddle, my young master?", p.130; "He went off with his pannier", p.135, each on board and mounted, with publisher's pencil notes verso, together with a copy of the book (8)

The Indian Mutiny medal awarded to Sergeant-Major James Hill, 7th Bengal Native Infantry, who was attached to the staff of Major-General Sir James Outram, as Assistant Baggage Master at the first relief of Lucknow and at the subsequent defence and capture of Lucknow Indian Mutiny 1857-59, 2 clasps, Defence of Lucknow, Lucknow (Serjt. Jas. Hill, 7th N,I.) some edge bruising and polished, otherwise very fine and probably unique to regiment £800-£1,000 --- The last Will and Testament of Sergeant-Major James Hill surprisingly reveals that he was born William Nessling. The preamble concerning aliases at the National Archives state that, contrary to popular belief, it was quite common in mid-nineteenth century Britain for citizens to use an alias. Provided one was over the age of 16 and not engaged in any fraudulent activity any person could change their name without registering the fact with any legal authority. William Nessling was christened at Mendlesham on 25 July 1824, the son of Stephen Nessling, a shoemaker and his wife Elizabeth. In 1833 the Norfolk criminal courts convict a certain Stephen Nessling to deportation to the colonies for life for the stealing of a sheep. No other Stephen Nessling can be found in either the Norfolk or Suffolk records and furthermore he disappears from the family records at this date. Speculation apart what is known is that sometime after his 16th birthday William Nessling changed his name to James Hill and lived the remainder of his life under this name. He attested into the Bengal Foot Artillery on 7 October 1841, at Westminster, being assigned to the 4th Company 3rd Battalion. He was fair haired, of light complexion, living in Stowmarket, Suffolk and working as a cotton spinner. He gave his age as 20 whereas he was only 17, and arrived in India on the ship Juliet on 13 June 1842. A series of letters written by Sergeant-Major J. Hill from Ipswich in 1861, which form part of the L/MIL/5 (soldiers letters) archive in the British Library, give a detailed description of his army life and movements throughout his 20 years and 208 days service in India. He wrote that his health had deteriorated and was debilitated by long service and requested retirement to pension. Although he was 157 days short of the required 21 years service, he was allowed to retire with full benefits based on the regulations existing at the time. One letter lists his promotions and service as follows: ‘Gunner, 7 October 1841 - 28 February 1843; Bombardier, 1 March 1843 - 4 January 1844; Corporal, 5 January 1844 - 9 August 1846; Sergeant, 10 August 1846 - 6 April 1851; Quarter Master Sergeant, 7 April 1851 - 16 July 1857; Sergeant-Major, 17 July 1857 - 5 May 1860. Present as Gunner with the Left Wing, 4th Company 3rd Battalion Bengal Foot Artillery at the Battle of Sobraon in the Sutlej Campaign on the 10th February 1846. Present as Sergeant with the 4th Company 3rd Battalion Bengal Foot Artillery at the Siege of Multan and the Battle of Gujarat in 1849. Present with the 7th Regiment Native Infantry in crushing the Santhal Rebellion in 1855/56.’ On 25 July 1857 the 7th , 8th and 40th Regiments of Native Infantry all mutinied at Dinapore and marched for Arrah. Brevet-Colonel H. Templar, 7th N.I states that a total of 882 officers and men were present at Dinapore and sub-stations on this date including Sergeant-Major James Hill. On 27 July a relief party, led by Captain Dunbar, consisting of several companies of the 10th and 37th Regiments together with 50 loyal Sikhs from the Military Police and approximately 20 loyal Sikhs of the 7th N.I. led by Lt. R. M. Ingilby made their way by boats down the Saone river to relieve Arrah. Hill’s letters make no mention of being with the column but as the senior N.C.O. of the 7th NI it is probable that he was. The relief party was badly commanded and ended in a disaster. Of the 405 men that left Dinapore 135 were killed and 232 wounded. Lieutenant Ingleby was shot through the head attempting to climb into a boat and his body never recovered. Major-General Sir James Outram arrived at Dinapore from Calcutta on 18 August 1857, as the newly promoted Commander-in-Chief of the Dinapore and Cawnpore Divisions. All available officers and European troops, including Sergeant-Major Hill, joined the General and immediately marched for Cawnpore. Troops and volunteers were added to the column at Benares, Futtehpore and Allahabad with the force arriving Cawnpore on 19 September 1857. In anticipation of Outram’s arrival, a bridge of boats had been floated across the Ganges on the night of 18 September and the next morning a force of 2,780 Europeans and 400 loyal Indians, led by Major-General Havelock, crossed over to relieve Lucknow. Hill's letters confirm that he was present at the Battle of Mangalwar on 21 September 1857. Further confirmation of his services come from a letter from Captain L. P. Bouverie, 78th Highlanders, and countersigned by Captain Spurgin, Brigade Major 1st Brigade, 1st Division and Captain J. C. Tombs, Field Paymaster, dated 12 March 1858, which states that ‘Sergeant-Major James Hill, late 7th Nat. Infantry performed the duties of Assistant Baggage Master of the 1st and subsequently of the 2nd Brigade 1st Division of the Army in the Field and was actually present in that capacity during the Siege and Capture of Lucknow.’ The Baggage Master was Lieutenant James Augustus Grant of the 8th Regiment Native Infantry which had also mutinied at Dinapore. The baggage train, in the rear, was attacked on numerous occasions and casualties were high, including Lieutenant Grant who was severely wounded. It is worth noting that Lieutenant Grant was famed as the man who accompanied Speke on his quest to find the source of the Nile. Sergeant-Major Hill's letters further state that he was ‘present at the taking of the Alum Bagh, 23d September 1857. Present with the Force in the Relief of the besieged Garrison of Lucknow, 25th September 1857. Was with the Garrison of Lucknow from 26th September 1857 to 19th November 1857. Present with the 1st Division under Sir J. Outram at the Alum Bagh from 30th December 1857 until the fall of Lucknow, March 1858.’ Hill’s official medal roll shows ‘Sergeant-Major James Hill, Jhansie Police, late of the 7th Regt. N.I., attached to Staff of Major-General Outram in Lucknow and Alum Bagh.’ He was ‘in Lucknow with Major Genl. Outram and Asst. Baggage Master in the 1st Division at the Capture of Lucknow.’ Afterwards on ‘Field Service during the recent operations in India - Mangalwarrah 21st Septr. Taking of Alum Bagh, 23d Septr. Joined the Lucknow Garrison 25th Septr. 1857. Sahao 5th Septr. 1858’. After the fall of Lucknow in March 1858, Sergeant-Major Hill was attached to the Jhansie Military Police serving under Brigadier Macduff in the Bundlekhand. He was present at the battle of Sahao, 5 September 1858, and served with the Jhansie Police until he left for England on 5 May 1860. He was granted two years extra service for his exertions. He wrote two further letters asking that his Prize Money for the Lucknow campaigns be forwarded to him and thanked the authorities for his Mutiny medal. James Hill retired to Ipswich, Suffolk, where he bought a plot of land. The 1871 census shows that he had married on his return to England a woman named Sarah, 6 years his senior. He died on 2 March 1880, and is buried at St Mary’s Church, Little Stonham, Suffolk, just a few miles from where he originally lived as William Nessling. He was 58 years old. His wife Sarah continued to live in Ipswich until her death on 23 October 1894. Sold with a file of detailed research including copie...

A French walnut 'Docteur Gall' snuff box, early 19th centuryTurned wood lined with tortoiseshell, the top carved with three numbered views of a skull, the underside inscribed 'Systeme des Organes Cerebreaux du Docteur Gall', with a legend below from 1 to 27, 8cm dia.Condition report: Footnote: For an identical example, see Sotheby's Old Master Sculpture & Works of Art, 10 December 2015, Lot 405.

Anglo-Flemish School, circa 1620Portrait of Sir Giles Alington of Horseheath (1572-1638) in a black embroidered coat with lace ruff and gold embroidered cap oil on panel 72 x 60.5cmProvenance: Presumably by descent in the family at Horseheath until an unknown date; Sale, Christie's, London, 23rd November 2004, lot 6, When acquired by the late Nigel Alington, Little Barford Manor House, BedfordshireFootnote: The sitter was the son of Sir Giles Alington (d. 1573) of Horseheath Hall, Cambridge, by his wife Margaret, daughter of Sir John Spencer of Althorp. His great-grandfather was High Sheriff of Cambridgeshire and Master of the Ordnance to King Henry VIII. The sitter himself became High Sheriff of Cambridgeshire and Huntingdonshire in 1599. He married 1st, Dorothy Cecil (1577-1613) granddaughter of Elizabeth I's Lord High Treasurer, William Cecil, Lord Burghley, the most powerful man in England. Sir Giles inherited his great-grandfather's Cambridgeshire estate at Horseheath in 1586 and came of age in 1593.An attribution to Marcus Gheeraerts (c.1561-1635) could perhaps be considered on the basis of comparison with his signed portrait of 1628 of Richard Tomlins in the Bodleian Library, Oxford (see Oliver Millar in the Exhibition Catalogue, The Age of Charles I, Tate Gallery 1972, page 29, no.25). As Millar writes, “By this late period in his career, Gheeraerts had lost the patronage of the court and was probably finding his patrons principally among scholars and country gentlemen.” His “…comparatively two-dimensional presentation….seem old-fashioned, but it represents a style in which painters outside the court circle, in the City and in the provinces, worked until the 1640s: a style….in which an almost neo-Elizabethan spirit is kept alive.” Condition report: 96.5 x 86cm (framed)The painting is executed on wooden panel made from oak and formed from three boards in vertical alignment. The panel joins are evident on the front surface of the painting as two continues vertical cracks. The panel has been reinforced by an extensive cradle attached to the reverse. The panel has a slight vertical curvature and splits have formed running down from the top edge. The horizontal members of the cradle have seized and the cradle appears to be restraining the original panel, potentially causing the smaller splits. The paint layer is in a good, stable condition overall. There are areas of retouching along the panel joins. There are other areas of overpaint across the surface which are slightly matte but reasonably well-matched to the original. The varnish is clear, glossy and even.

Ɵ Smaragdus of St-Mihiel, Commentary on the Rule of St. Benedict, in Latin, in Visigothic minuscule, decorated manuscript on parchment[northern Spain (perhaps Silos), first half of the tenth century] Near-complete leaf, with remains of two columns of 29 lines (with parts of ch. III:6-10 of text, with occasional scribal errors, apparently involving eye-skip as well as textual misunderstandings), with margins at head and foot and thus no lines lost there from trimming, written in brown ink in a fine and early Visigothic minuscule, rubrics in alternate lines of burgundy-red and normal brown pen, two large initials with penwork compartments infilled with burgundy wash, one initial terminating in a spiky foliate tip, some natural flaws in parchment (these written around by the original scribe), a few erasures, offset in places from another leaf of same, some scrawled numbers on one side from reuse as later binding material, slightly scuffed, a few wormholes, and trimmed on one side (removing outer half of one column), 274 by 150mm.; in cloth-covered card binding This is an extremely early and important witness to a key Carolingian text, produced most probably through imperial pressure to reunite Western monasticism behind a correct and correctly interpreted copy of the Benedictine Rule; and in addition, it is in the earliest and most visually appealing example of Visigothic minuscule to come to the market in decades Provenance:1. Written and decorated in the first half of the tenth century in Visigothic Spain, perhaps in Silos in Burgos province in northeastern Castile and Léon. A bifolium from the prologue of the same parent volume is Beinecke Library, MS. 447, with inscriptions suggesting that the parent volume was cut up in 1612, and reused as binding material then (B. Shailor, Catalogue of Medieval and Renaissance Manuscripts, 1987, II, p. 398). This is consistent with the seventeenth-century scrawled columns of numbers added to one side of the present leaf after its reuse as a binding.2. Bernard Rosenthal (1920-2017), of San Francisco, Califonia; his 'I/162', acquired in October 1963. With Bernard Bischoff's typed letter to Rosenthal about this fragment, dated 10 May 1964, and an undated note by Rosenthal erroneously claiming it is not from the same parent manuscript as the Lansburgh fragment (now Beinecke, MS. 447).3. Quaritch of London, their cat. 1088, Bookhands of the Middle Ages, III (1988), no. 12, and with a copy of their cataloguing and correspondence about the fragment enclosed.4. Schøyen Collection of London and Oslo; their MS. 73, acquired directly from Quaritch. Text:Smaragdus (fl. 809-26) was a Benedictine monk and scholar, and one of the handful of authors who helped shape the earliest phases of the Carolingian renaissance. Very little information survives about him. He was once thought to be Irish, but this was questioned by Bernhard Bischoff ('Muridac doctissimus plebis, ein irischer Grammatiker des IX. Jahrhunderts', Celtica, 5, 1960, pp. 40-44). Other scholars followed, noting Smaragdus' use of Visigothic examples in his writing on patronyms (L. Holtz, '(Nouveaux) prolégomènes à l'édition du Liber in partibus Donati de Smaragde de Saint-Mihiel', Bulletin de la Société nationale des antiquaires de France, 1983, pp. 157-170), and his knowledge of obscure Spanish texts such as the Sententiae of Taio of Saragossa (F. Rädle, Studien zu Smaragd, 1974, pp. 75-77). It now seems certain that Smaragdus came from Visigothic Spain, and may have held office as the abbot of Silos. He perhaps fled northwards into the Carolingian Empire ahead of the Islamic advance through Spain in the late eighth century. He appears first in the historical record in the first decade of the ninth century as master of the school of Castillio, a monastery dedicated to St. Michael ('Mihiel') in the diocese of Verdun in southern France.This is one of the earliest witnesses to the oldest known commentary on the Rule of St. Benedict, allowing us to come into contact with the textual fervour of the Carolingian period as well as Benedict's original sixth-century text. The Benedictine Rule was as much an answer to Charlemagne's scholarly call to arms, as the production of the Tours Bibles. It was the foundation stone of all Western monasticism, and was adopted in 816 at a council called by Emperor Louis the Pious at Aachen, as the rule to be followed in all monasteries throughout the Empire. An eye-witness to this imperial council, Benedict of Aniane, records that the entire text of the rule was discussed there, with debate clarifying obscure or vague passages and removing errors from the text. As L. Traube has noted, it is clear that the scholars of the Carolingian court used a copy made at Charlemagne's request from an old manuscript in use at Montecassino, believing that to be St. Benedict's original (Textgeschichte der "Regula S. Benedicti", 1898). Moreover, St. Gallen, MS. 914 has a letter at its beginning stating that that authorative court copy was its exemplar, and it is likely that Smaragdus used that crucial manuscript as well to produce this text - indeed, in quoting the text of the rule, Smaragdus, often favours the original sixth-century Latin forms over those updated for the ninth century. With this blend of antiquarianism and reestablishment of a correct guide for European monasticism, this text exemplified the Carolingian ideals. Indeed, it may have been commissioned by Louis the Pious himself.In addition, this leaf and its sister-leaf in Yale are among the very earliest witnesses to the text. A. Spannagel lists fifty-five extant manuscripts, of which only five definitely predate the present example (British Library, Addit. 16961, from Stavelot, late ninth century; Orléans, Bibliothèque municipale 230 (201), from France, mid-ninth century; BnF. lat. 4213, from France, late ninth century; Valenciennes, Bibliotheque municipale 285 (275), from France, late ninth century; John Rylands, MS. lat. 104 (116), from Spain, probably Cardeña, late ninth century; and Silos, Archivo del Monasterio 1 and 5-16, from Spain and probably from the monastery itself, late ninth century + Madrid, Archivio Historico National, Clero. Capeta 1030, num. 24, most probably from the same parent codex) as well as two examples of c. 900 (Paris, BnF. lat. 4212, from France; and Vienna, ÖNB, Ser. nov. 4267), and eight of the tenth century (Berlin, Staatsbibl., theol. lat. fol. 339, from Cologne; Cambridge University Library, Ee.2.4, from England; Poland, Kórnik, Biblioteca Kórnicka, from France; BnF. lat. 4210, France; British Library, Addit. 16961, from Cardeña; Madrid, Biblioteca de la Real Academia, 26, from Spain; Montserrat, Biblioteca del Monestir 793-I, from Spain; and Valvanera, Archivo del Monasterio, s.n., from Spain, dated 954: see Smaragdi Abbatis Expositio in Regulam S. Benedicti, 1974, pp. xv-xx). In fact, a distribution pattern emerges when we look at these witnesses, with an initial ninth-century burst of copying of the text in France, ending in two late ninth-century copies from Spain in the John Rylands and Silos+ Madrid, Archivio Historico National manuscripts.  Read more...

A group of books on Greek and Roman art Comprising: J.W. Hayes, Late Roman Pottery, 1972; P. Zanker, Roman Portraits; Sculptures in Stone and Bronze, 2016; L. Budde and R. Nicholls, The Fitzwilliam Museum Catalogue of Greek and Roman Sculpture, 1967; M.B. Comstock and C.C. Vermeule, Sculpture in Stone; The Greek, Roman and Etruscan Collections of the Museum of Fine Arts, Boston, 1976; M. De Nuccio and L. Ungaro, I Marmi Colorati della Roma Imperiale, 2002; D.G. Mitten and S.F. Doeringer, Master Bronzes of the Classical World, 1968; C.C. Vermeule, Greek and Roman Sculpture in America, 1981; J. Chamay and J.L. Maier, Art Romain, 1989; C.C. Mattusch, The Fire of Hephaistos, Large Classical Bronzes in North American Collections, 1997; Oehler, Foto+Skulptur, Romische Antiken in Englischen schlossern, 1980; R. Gnoli, Marmora Romana, 1971; J. Sieveking, Antike Metallgerate, undated; C. Doumas, The Wall Paintings of Thera, 1992; P. Jacobsthal, Greek Pins, 1956; E. Pfuhl, Tausend Jahre Griechischer Malerei, 1940; J.B. Carter and S.P. Morris, The Ages of Homer, 1995; E. Vanhove, Le Sport dans la Grece Antique du Jeu a la Competition, 1992; J. Latacz et al., Homer; der Mythos von Troia in Dichtung und Kunst, 2008; T.B.L. Webster, Monuments Illustrating Old and Middle Comedy, 1978; S. Albersmeier, Heroes; Mortals and Myths in Ancient Greece, 2009; Clara Rhodos; Studi e Materiali Pubblicati a Cura Dell'Istituto Storico-Archeologico di Rodi, vol IX, 1938; A. Ippel, Der Bronzefund Von Galjub, 1922; G. Dickins, The Growth of Spartan Policy, 1912; G.M.A. Richter, Archaic Greek Art Against its Historical Background, 1949; K.W. Arafat, Classical Zeus, 1990; H.A. Thompson and R.E. Wycherley, The Agora of Athens, 1972; F. Eckstein, Antike Plastik, 1979; M.B. Huish, Greek Terracotta Statuettes, 1900; T.B.L. Webster, Monuments Illustrating Tragedy and Satyr Play, 1967; E. Gowin, Petra, undated; K. Schefold, Meisterwerke Griechischer Kunst, 1960 (30)For further information on this lot please visit Bonhams.com

Glenfiddich Goodwood-42 year old-1979Exclusively Selected for the 79th Goodwood Members' Meeting to Raise Monies for Race Against Dementia.Distilled 18-04-1979, bottled 01-09-2021. American Oak Hogshead Cask No. 11136. Exclusive Limited Edition Hand-Blown Baccarat Crystal Decanter 1 of 3. Selected by Malt Master Brian Kinsman. Distilled and Matured at the Glenfiddich Distillery. Presented in exclusive, expertly designed presentation case. Transfer printed and paper labelling. Level: very top shoulder. 700ml. Single malt, 47.1% volumeIncluding, 'Sir Jackie with Jim Clare between qualifying sessions at the Italian Grand Prix, Monza 1967', framed and glazed photographic print, Rainer Schlegelmilch, signed by Sir Jackie Stewart, OBE and photographer.1 Baccarat crystal decanter and 1 photographic printFootnotes:Tasting Notes:Colour: AmberNose: Rich fruit notes with vibrant vanilla oak and creamy caramel. A drop of water releases a softer side with orchard spring blossom, delicate citrus and freshly grated nutmeg. Taste: Silky smooth, mellow and sweet. Rich in Glenfiddich's trademark ripe pear Fruitiness underpinned with oak tannin, woody spices and treacle toffee.Finish: Oaky, sweet and long lasting. Included in this lot is an exclusive VIP experience at Goodwood's 79th Members' MeetingExclusive to members of the Goodwood Road Racing Club, the Members' Meeting presented by Audrain Motorsport is a weekend of exceptional racing, thrilling high-speed demonstrations, and spectacular off-track festivities, including fireworks. The successful bidder of the Members' Meeting lot will have access, along with a guest, to The Duke of Richmond's private hospitality in the 'Old Control Tower' at the April 2022 event, as well as undertaking a paddock tour, private whisky tasting, and a passenger ride around the famous Goodwood Motor Circuit.The Goodwood Members' Meeting is an epic weekend of motor racing founded by the Duke of Richmond, which aims to recreate the atmosphere and camaraderie of the original BARC Members' Meetings held at Goodwood throughout the 1950s and 1960s.As well as a full programme of racing, the Members' Meeting features all kinds of cars from classic tin-tops and GTs, to motorcycles and open wheeled Formula 3 and F1 machines, offering visitors a friendly and intimate atmosphere with no crowds, thanks to being exclusively available to GRRC Members and Fellowship. A winning formula of spectacular cars, high-speed track demonstrations, fun-packed festivities and great entertainment; along with the very best food and drink. Joining the GRRC Fellowship is the only way to become a full GRRC Member.79th Members' Meeting presented by Audrain Motorsport, Saturday 9 - Sunday 10 April 2022This lot has been specially created and auctioned to raise monies for Race against Dementia, set up by three-time Formula 1 World Champion Sir Jackie Stewart, OBE, this charity supports pioneering research into the prevention and cure of dementia.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

Auction Catalogues Important Old Master Paintings etc., Collection of a Gentleman. Town & Country Estates, 27-28 Clare St., Dublin 1960, 9 Nov. profusely illus., some prices and buyers written in. Includes work attributed to Goya, Manet, Jordaens, Raeburn, Rubens, Jan Steen, Turner, Robert Walker (portrait of Cromwell) etc., 88pp, 112 lots; Objets d'Art, Furniture, Oil Paintings, an Outstanding collection of Period Silver etc. at The Orchard, Shankill, Co. Dublin, by order of W.J.B. MacAuley esq., Hamilton & Hamilton 1960, 4-5 Oct., 23pp, 284 lots; Contents of 62 Fitzwilliam Square, Dublin, by direction of Miss Kathleen Kennedy, Osborne King & Megran 1966, 19 July, illus., 15pp, 310 lots (some good furniture). (3)

Assay Master, Hugh Gordon, Edward Lothian, Edinburgh 1745, of Hanoverian pattern, initials engraved to reverse of terminal; together with two similar tablespoons, Assay Master Archibald Ure, Edinburgh 1738 with crest engraved to reverse of terminal and one dessert spoon, London of Old English patternLength: 20cm,17cm, combined weight: 21oz

‡Ben Nicholson OM (1894-1982) Banks Head, Cumberland Signed, dated and inscribed BANKSHEAD Ben Nicholson 1926 (to old backing board) and further inscribed given to David Sept 1961/from W.Nicholson/Boothby/Brompton/Cumberland (to a further piece of old backing board) Pencil 35.4 x 51cm Provenance: Winifred Nicholson (1893-1981); By descent to a private collection; Bonningtons, Epping, Fine Art & Antiques, 27 June 2018, lot 101 In 1923, Ben Nicholson and his wife Winifred settled at Banks Head in Cumberland (now Cumbria), a seventeenth-century farmhouse near Hadrian's Wall. They shared the house until 1931 and it remained Winifred's home for the rest of her life. The view is from the master bedroom, which is also the subject of a number of Ben Nicholson's oil paintings, see for example 1925 (Banks Head looking east) (Peter Khoroche, Ben Nicholson (London, Phaidon, 1993), p.27).

12 BOTTLES PORTVista Alegre 10 Year Old Medium Dry White (500ml), Colheita 2001 & 30 Year Old Tawny; Oscar Quevedo White; Sogrape Vinhos Sandeman Vau 1999 & Sandeman Tawny 30 Years Old; Taylor's Port Chip Dry White, 10 Year Old Tawny & LBV 2016; Dow's Master Blend Reserve; Real Companhia Velha Delaforce LBV 2016; Adega Cooperative de Favaios Moscatel Reserva 2015

12 BOTTLES PORTVista Alegre White Colheita 2010; Kopke 10 Year Old White; Morrisons Special Reserve; Mellor's Fine White; Tesco Special Reserve; Kopke 10 Year Old Tawny; Sandeman Apitiv Reserve White; Dow's Master Blend; Calem 10 Year Old Tawny; Burmester 10 Year Old Tawny; Feuerheerd's 10 Year Old Tawny; Cockburn's Special Reserve

Ernst Fuchs (1930 Wien - 2015 ebenda) (F)20.-tlg. Mappe 'Samson' Zyklus, Radierung auf Japanbütten, 1967, 41,5 cm x 32,5 cm Blattmaß (4 Doppelblätter je 41,5 cm x 65 cm), signiert, aus einer Edition von 15 Exemplaren auf Japanbütten, partiell leicht knickfaltig, Mappe absent, Kaufbeleg anbeiProvenienz: Galerie & Edition Volker Huber, Privatsammlung HannoverLiteratur: Wvz. Weis 52, 53, 54, 59, 60, 62, 63, 67 bis 76, 78, 79, 81Ernst Fuchs gehört zur Riege der "Wiener Schule des Phantastischen Realismus", der spezifischen Richtung des österreichischen Surrealismus, die in den 1950er und 60er Jahren als Absetzbewegung von der international tonangebenden gegenstandslosen Kunst für Aufmerksamkeit sorgte. Fuchs und Weggenossen wie Arik Brauer und Rudolf Hausner bezogen sich auf altmeisterliche Traditionen, die sie in technisch-künstlerisch versierter Manier in neue und aktuelle Zusammenhänge integrierten. Vorbilder fanden sie bei Arcimboldo, Hieronymus Bosch, Pieter Brueghel, aber auch bei den Symbolisten des 19. Jahrhunderts. Der Samson-Zyklus, an dem Fuchs mehrere Jahre arbeitete, führt das in Darstellungen aus dem Leben des alttestamentlichen Samson (Simson) meisterhaft vor. Die Folge der zwanzig Radierungen aus dem Mappenwerk ist heute nur noch selten vollständig erhalten, da die Blätter in der Vergangenheit vielfach einzeln verkauft wurden. Ernst Fuchs (1930 Vienna - 2015 ibid)20 part portfolio, 'Samson' cycle, etchings on Japon, 1967, sheet size 41.5 cm x 32.5 cm (4 double-page sheets 41.5 cm x 65 cm), from an edition of 15 on Japon laid paper, signed, some sheets slightly creased, portfolio lacking, with purchase receiptProvenance: Galerie Volker Huber; private collection, HanoverLiterature: Wvz. Weis, Nr. 52, 53, 54, 59, 60, 62, 63, 67 bis 76, 78, 79, 81Ernst Fuchs belongs to the ranks of the ''Viennese School of Fantastic Realism'', the specific direction of Austrian Surrealism, which attracted attention in the 1950s and 60s as a breakaway movement from the internationally dominant non-objective art. Fuchs and companions such as Arik Brauer and Rudolf Hausner referred to old master traditions, which they integrated into new and current contexts in a technically and artistically adept manner. They found models in Arcimboldo, Hieronymus Bosch, Pieter Brueghel, but also in the Symbolists of the 19th century. The Samson cycle, on which Fuchs worked for several years, masterfully demonstrates this in depictions from the life of the Old Testament figure Samson. The sequence of twenty etchings from the portfolio work is rarely preserved in its entirety today, as the sheets were often sold individually in the past.

Alfred Dunhill Old Master Finest Scotch Whisky, 43% volume, single numbers 16257, in presentation box

ITALIAN SCHOOL (18TH CENTURY) HUNT PARTY RESTINGpen, ink and washtogether with two further old master type drawingsall unframed17 x 37cmsQty: 3

EDMUND THOMAS PARRIS (BRITISH, 1793-1873) MAIDEN BY A FOUNTAINsigned E T Parris and dated 1836 lower left, pencil drawing OLD MASTER SCHOOL, watercolour on vellum together with 5 further drawings by varying handsall unframedParris 33 x 24cms Vellum 13.5 x 7.5cmsQty: 7

A SPANISH CARVED SCULPTURE OF THE CHRIST CHILD AS SALVATORE MUNDIPOSSIBLY WORKSHOP OF JUAN MARTÍNEZ MONTAÑÉS, 17TH CENTURYDepicted holding the orb, emblematic of Earth, in his left hand, right hand now with a later torch42cm high, the base 17cm wide The archetype of the Christ Child in Spanish sculpture was Montañés' depiction of "Niño Jesús" in the Cofradía del Santísimo Sacramento, Seville in 1606. This current lot shows similarities in its use of slight contraposto, the legs and arms in opposing directions with the weight of movement forwards in his right (true) arm. There is also the slight bow to his right leg but this lot shows a more traditional, less 'earthly' depiction of the face and hair. For a similar work please see Sotheby's, Old Master Sculpture and Works Of Art, 6th July 2021, Lot 52.  

A MAHOGANY BOOKCASE'PEPYSIAN' TYPE, SECOND QUARTER 18TH CENTURY233cm high, 130cm wide, 45cm deepAn unusual feature of this bookcase is that the profile of the glazing bars of the upper section has also been used to bisect the panels of the lower section.The profile of the thick glazing bars also suggests dating the bookcase to the second quarter of the 18th century. The same profile of glazing bars is present to the windows of several Spitalfields houses of the period. In addition the use of mahogany is evident in the construction of the documented staircase at 4-6 Fournier Street, Spitalfields. Mahogany was also known to have been used at Houghton Hall and various churches at this early period.For further discussion and evidence of the early mahogany trade and use of the timber, See Adam Bowett, The English mahogany trade 1700-1793, thesis, 1996. This bookcase is similar in form to the 'Pepys Bookcase' first made by the Master Joiner Thomas Simpson (alias Sympson the Joiner) for the naval administrator and diarist Samuel Pepys to house his vast collection of books at his residence at Seething Lane, London. It is possible that Pepys himself had a hand in the design of the original bookcase. For a related example of bookcase, see Adam Bowet, Early Georgian Furniture 1715-1740, Antiques Collectors Club, 2009, page 133, plate 3:75.  Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Various losses to the putty securing the glazed panels. Locks and catches appear original. Key present and operates both locks. Escutcheons are period replacement. Some small filled holes are visible from previous escutcheons. Two escutcheons are lacking some of their securing pins but remain firmly in position. Hinges are old replacements. Small fillets of timber have been applied adjacent to them to fill the gap from the previously larger hinges. The screws securing the hinges have been 'overdriven' in places resulting in the tips of the screws poking out of the sides of the bookcase. Some small filled holes are also visible to the front of the doors adjacent to the hinges. Some old vertical splits and cracks to backboards. Evidence of old worm. Later securing blocks to backs or feet are detached, three are present. One rear foot with detached rear facet.Please refer to additional images for visual reference to condition.           Condition Report Disclaimer

DICKENS (CHARLES)Master Humphrey's Clock, FIRST EDITION, FIRST ISSUE, IN ORIGINAL 88 WEEKLY PARTS, wood-engraved illustrations by G. Cattermole and H.K. Browne, with preliminary matter (title, preface and frontispieces) to parts 26, 52 and 88, and addresses by the author in Parts 9, 80-83 and 87, publisher's white pictorial wrappers, some soiling (especially to latter parts) and occasional spotting, the majority neatly restored at joint (see footnote), a few with small repairs at corners and edges, preserved in red cloth solander box with gilt lettered spine (worn at corners) [cf. Eckel p.67ff; Gimbel A49; Hatton & Cleaver p.163], large 8vo, Chapman and Hall, April 1840-December 1841Footnotes:THE RAREST OF THE THREE ISSUES, IN 88 WEEKLY PARTS. Master Humphrey's Clock was one of the first works to appear in weekly as well as monthly parts, containing the two novels The Old Curiosity Shop and Barnaby Rudge. Collis's loosely inserted note dated 12 July 1936 records that this set was 'cleaned and repaired by Morrell in January 1935'.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

DICKENS (CHARLES)Master Humphrey's Clock, FIRST EDITION, FIRST ISSUE, IN ORIGINAL 88 WEEKLY PARTS, wood-engraved illustrations by G. Cattermole and H.K. Browne, with preliminary matter (title, preface and frontispieces) to parts 26, 52 and 88, and addresses by the author in Parts 9, 80-83 and 87, publisher's white pictorial wrappers, Parts 1-2, 53-56 and 58-62 partially unopened, some soiling and slight wear at outer edges, one or two brown spots or small stains but overall very clean and intact, preserved in 3 original green cloth portfolios with gilt decoration and spine lettering (some stains, spines weak), [cf. Eckel p.67ff; Gimbel A49; Hatton & Cleaver p.163], 8vo, Chapman and Hall, April 1840-December 1841; together with duplicates of Parts 1 & 2, and an additional variant issue of Part 26 (differently set but wanting the front wrapper) (91)Footnotes:A VERY GOOD SET OF THE RAREST ISSUE, IN WEEKLY 88 PARTS. 'Of the four issues the weekly one is difficult to obtain in a clean condition, and is therefore the costliest' (Eckel). The portfolios containing the parts seem particularly scarce. Their inner covers bear the bookseller's ticket of Nettleton, Plymouth, and are printed with: 'Portfolio for Master Humphrey's Clock. Price Two Shillings. This portfolio is intended to contain Twenty-six numbers of the 'Clock' after the four pages of Advertisements have been cut off. London: William Smith, 113 Fleet Street'.Master Humphrey's Clock was one of the first works to appear in weekly as well as monthly parts, containing the two novels The Old Curiosity Shop and Barnaby Rudge.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

A TABRIZ CARPETSIGNED BY THE MASTER WEAVER JAVAN AMIR KHIZapproximately 373 x 288cm Condition Report: Wear overall. Patches of additional wear reveal underlying weft in places. Some pale knot heads poke through pile. Two small patches of replacement to central field. Approximately 10x3cm and 13x2cm (see images). Longest edges have been re-bound and are generally tidy with just some minor wear. Fringing has been lost to both ends. Ends are untidy with the remnants of the fringing, wear and fraying. This wear encroaches into the guard stripe slightly in places. Some small losses to pile at one end which is possibly from old moth. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

Y A LOUIS XV/XVI TRANSITIONAL KINGWOOD, CROSS BANDED AND ORMOLU MOUNTED BUREAU PLATBY GEORGES JANSEN, CIRCA 1775 The underside stamped 'JANSEN'79cm high, 171cm wide, 87cm deep Georges Jansen (1726-??), originally of Scandinavian origin, received master ébéniste in Paris in 1767. He worked until around 1785 Rue du Faubourg Saint Antoine and was regarded as highly skilled craftsman best known for his work with inlays. Few pieces by Jansen are known and signatures are rarely found. There are only a handful of works of his held in museums, the best known being a small table at the Victoria & Albert Museum, London (accession number 1042:1-1882). Condition Report: There is a Christie's label to the underside: 148 18.6.89 . The central drawer marked in ink 'Juin 1777'. There are marks, scratches, cracks and abrasions consistent with age and use. There are some losses and restorations including to the veneers on the drawer fronts and the legs. The inset top marked, stained and faded, rubbed, scratched, scuffed and with corresponding creases to the underlying construction joints. The gilding worn to the gilt bronze border. The left drawer with an interior division, the right drawer with a lockable hinged section. The locks appear to be original each with an unusual disc to the back of each lock. There are two keys. There is some fading across the right side of the front. There is some evidence of old worm. Please see the additional photographs as a visual reference of condition.  Condition Report Disclaimer

A TABRIZ CARPETSIGNED BY MASTER WEAVER MOKHTARPOURapproximately 393 x 285cmCondition Report: Some wear to carpet overall. Patches of additional wear reveal underlying weft and pale knot heads to central field and borders. Tasselled ends with wear, fraying and some losses. One end has a section of additional wear/loss to the centre where the tassels are noticeably shorter. Longest edges have been re-bound and have sections of wear and fraying. The white thread below the red binding is visible between the edges and outer borders (see images). Small area of loss towards once corner which is possibly from old moth damage (see image). Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

A TABRIZ CARPETSIGNED BY MASTER WEAVER TABATABAIEapproximately 344 x 263cm Condition Report: Wear and surface dirt to carpet overall, could benefit from cleaning. Some patches of additional wear reveal underlying weft in places - see images. Some small losses to guard stripe adjacent to fringing at both ends. This is possibly from old moth. Fringing with wear, fraying and some losses at both ends - see images for extent. Binding to longest edges with some wear and loose threads in places. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A GEORGE I BLACK LACQUER AND GILT CHINOISERIE DECORATED CHEST ON STAND CIRCA 1720159cm high, 109cm wide, 60cm deep For a chest on stand of the same date and of closely related form but in plain walnut, see Adam Bowett, Early Georgian Furniture 1715-1740, Antiques Collectors Club, 2009, page 116, plate 3:41.  For a George I japanned chest on stand incorporating similar but less refined decoration, see Doyle, New York, Important English & Continental Furniture and Decorations/Old Master Paintings, 26th October 2011, Lot 284 ($10,625). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various old splits and chips. Some areas of decoration possibly refreshed. Various flaking, losses and chips to surface. Some splits to drawer linings. Handles and escutcheons are likely period replacements and suit the piece well. One handle to a drawer of the base is lacking. Locks appear original, no key present but all are open. The cabriole legs and their supporting blocks to the underside are later replacements. One leg has been re-secured to the body of the piece by a neatly executed glue repair. Backboards are possibly old replacements but have age. Some evidence of old worm. Please refer to additional images for visual reference to condition.   Condition Report Disclaimer

THOMAS GAINSBOROUGH (1727-1788), oil on panel "Portrait of Lady Foster, later Duchess of Devonshire", 16" x 11" originally sold in October 1997 at Dorotheum's Old Master Sale, lot 233 catalogued as "Possibly By....." and sold for 290,000 Austrian schillings, (£20,250) entered from a South German private collectionBiography: Elizabeth Christiana Cavendish, Duchess of Devonshire (13 May 1758 - 30 March 1824) was an English aristocrat and letter writer. She is best known as Lady Elizabeth Foster, the close friend of Georgiana Cavendish, Duchess of Devonshire. Elizabeth supplanted the Duchess, gaining the affections of William Cavendish, 5th Duke of Devonshire, and later marrying him. Several of her letters are preserved.

OLD MASTER, copy oil on canvas "Madonna and Child", 34" x 26"

1969 Wolseley 1300 Mk. II Transmission: manualMileage:47134Alec Issigonis will be best remembered for the Mini and the Morris Minor, but arguably one of his greatest successes was ADO16, the BMC/British Leyland family saloon of the 1960s and 1970s, with its incredibly spacious interior within compact overall dimensions, its superb fluid cushion ride and its mix of models from bargain Austin and Morris through sophisticated Wolseley, gentlemanly Riley, sporting MG and 1300GT, and toff’s Vanden Plas Princess.This 1300 Mk. II is an example of what is considered the best of the Wolseley ADO16 with more luxurious trim, twin carbs, wood dash and a distinctive strip speedometer. Presented with a Sand bodywork and complementary trim, this 50 year old car boasts its original chrome and paint in good order due to the fact it has been garaged and used sparingly its entire life, indeed a hark back to times when the family car was the most treasured of assets. The interior includes Britax Auto-Lok (inertia reel) seat belts and is stunning and even the driver’s seat barely looks used. The veneered wood dash still has its, as-new, gloss and the distinctive strip speedometer, so much a feature of the ADO16 and looks like new. The twin-carb 1300 engine produced a healthy 65bhp, only 5bhp below the highest output engine fitted to an ADO16 when new. The engine has recently been removed, the engine bay restored, new clutch and all oil seals and rubber mounts replaced, so this is still a lively little car that will easily keep pace with modern traffic.Its first owner clocked up 18,000 miles in 16 years before selling it to Mr and Mrs Leo Hill who have kept it in the family ever since. Used by their daughter for some years, it reverted to their care and for decades attended shows with the Wolseley Register of which its owners were keen members. The vehicle has completed multiple times the London to Brighton classic runs and been the winner of the Wolseley National Show, it was a well-travelled car at the local and national shows over its lifetime. We are informed that recently new rear brake cylinders, master cylinder seals, rear brake pipes and flexible hoses, fuel lines, air filter, engine oil and filter and battery were all fitted. The car has an MoT test certificate which is valid until October 2022 and has no advisories.Guide Price £6,000 - £9,000Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.

[Dickens (Charles)], "Boz". Master Humphrey's Clock, first edition, second issue in 20 monthly parts, 3 wood-engraved frontispieces by George Cattermole, woodcut illustrations and initials by Cattermole and H.K. Browne, part 1 lacking "Tyas's Popular Illustrated Publications" ad., part 4 lacking "Magazine of Domestic Economy" ad., all other advertisements as called for, original printed blue wrappers, part 1 spine chipped, occasional minor repairs to spines, occasional light soiling or creasing, the odd small chip, but an unusually bright and crisp set generally, ink ownership inscription to upper covers, preserved in custom drop-back box (upper cover detached), [Eckel pp. 61-5; Hatton and Cleaver pp, 161-182], 8vo, Chapman and Hall, 1840-41.⁂ First edition of Dickens' short-lived periodical in the rare monthly parts issue, including the novels The Old Curiosity Shop and Barnaby Rudge. Master Humphrey's Clock was first issued in weekly part before being collected together into monthly issues and finally into book format.

Architecture.- Malton the Elder (Thomas, English architectural draughtsman and writer on geometry, 1726-1801) Perspective studies of capitals and urns, pen and brown and greyish black inks, point of the brush, monochrome wash, on laid paper without visible watermark, ruled brown ink border, sheet 305 x 220 mm (12 x 8 3/4 in), tipped at edges onto window mount support, minor surface dirt and light browning, unframed, [circa 1770-1775]Provenance:Purchased by the present owners circa 1980sPrivate collection, South West England⁂ An original sheet of preliminary designs for plate XXII of Malton's 'A Compleat Treatise On Perspective, In Theory And Practice', published in 1775. Another comparable perspective drawing by Malton was previously sold by Colnaghi in 1979, and it would appear that the present sheet came from the same source. The Colnaghi sheet was a perspective drawing of a desk and chair, and was sold at Christie's New York in 2011 [see Old Master & 19th Century Paintings, Drawings & Watercolors Part II, 26th January 2011, lot 302]. Tate hold two perspective drawings by J.M.W. Turner, which are copies after sections of the present sheet; Turner used these for his lectures as Professor of Perspective at the Royal Academy, circa 1810 [see acc.no D17096/ Turner Bequest CXCV 125 and D17073/ Turner Bequest CXCV 103].

Spanish master second third of the seventeenth century."St. Paul.Oil on canvas. Relined.Presents restorations and folds on the left side.Measurements: 154,5 x 89 cm.In this painting of firm and material brushstrokes, the author presents us an old man in a solemn way. Standing before the spectator and without any detail that distracts the viewer from the figure of the protagonist, the protagonist rises imposingly above the darkness of the background. St. Paul rests one of his hands and lets it rest, while he opens his left hand in a supplicant attitude, which harmonizes with the sad and tired face presented by the artist. Aesthetically, the work is close to the stylistic precepts of the most naturalistic Baroque, which is especially reflected in the face and hands of the saint, which show the inscrutable passage of time on the skin.St. Paul was a Hellenized Jew of the Diaspora, born in Tarsus. He was therefore Jewish by ethnicity, Greek by culture and Roman by nationality. He received the name Saul, which he changed to Paul after his conversion. Born at the beginning of the first century, he studied in Jerusalem with Rabbi Gamaliel, who was known for his hatred of Christians. One day, when around the year 35 he was on his way from Jerusalem to Damascus, he was dazzled by lightning and fell from his horse. Then he heard the voice of Jesus saying to him: "Saul, Saul, why are you persecuting me? As a result of this experience, the saint went abruptly from persecutor to zealot of Christianity. After curing the blindness of a Christian from Damascus, he began his life as a missionary, until he arrived in Jerusalem where he came into contact with Peter and the other apostles. In the Middle Ages, numerous corporations were placed under his patronage, due to different aspects of his iconography, life and miracles. Nevertheless, St. Paul was never a popular saint, which proves the relative poverty of his iconography. In fact, the role he occupies in art is out of proportion to his importance in the spread of Christianity. In early Christian art, his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom.

Attributed to VALERIO CASTELLO (Genoa, 1624-1659)."Adoration of the shepherds".Oil on canvas. Relined.It has French frame, ca. 1820.Measurements: 125 x 150 cm; 139 x 165 cm (frame).This canvas represents a classic theme in the History of Art, that of the shepherds adoring the newborn baby Jesus in the portal of Bethlehem. It is a scene that lends itself to be interpreted as a large composition with several characters, worked in a costumbrista key, so it was very much to the taste of Baroque painters, who sought above all a natural and close art, which moved the mood of the faithful and made them feel close to what was represented on the canvas, to the sacred story. In this case, the luminosity of the cloth on which Jesus stands stands out, which harmonizes with the pearly white of the Virgin's skin. Next to the Child, located on the right side of the composition, are his parents; Mary and Joseph and to the left several shepherds who have been portrayed in successive planes. The representation of this biblical theme reached great popularity, especially during the reform, since it is a scene in which a disadvantaged family is presented, since no one wanted to shelter it. However, despite this, the star has guided the three wise men and several shepherds on a pilgrimage to the birth of Jesus, thus demonstrating that he is the Messiah, a king for all social classes. This passage is collected in the Gospel according to Luke (2:15:20) which narrates "And it came to pass, when the angels departed from them into heaven, that the shepherds said one to another, Let us go over therefore unto Bethlehem, and see this thing that is come to pass, which the Lord hath shewed unto us. So they came with haste and found Mary and Joseph, and the babe lying in the manger. And when they saw him, they made known what had been told them concerning the child. And all who heard it marveled at what the shepherds told them. But Mary kept all these things, pondering them in her heart. And the shepherds returned glorifying and praising God for all the things they had heard and seen, as they had been told."Valerio Castello was the youngest son of Bernardo Castello, who died when Valerio was six years old. It was then that Valerio and his siblings came under the protection of Torquato's family. Because of Castello's interest and skill with drawing, Torquato's family urged him to begin his artistic career. It was then that he began to learn with the master Domenico Fiasella. He later studied with Giovanni Andrea de 'Ferrari and finally completed his apprenticeship with trips to Parma and Milan. His work achieved great recognition thanks to his mastery in painting war themes. His work shows certain aesthetic inheritances of Tintoretto and Veronese, although he also professed great admiration for Van Dyck, whose work he had been able to contemplate in Genoa.

Italian school; 17th century."Judith beheading Holofernes."Oil on canvas. Old relined.It presents faults and restorations.Measurements: 156 x 144 cm.Both for the dynamic composition of the scene, in which all the figures are in active movement, as well as for the anatomical conception of the figures, and the composition in a cross with which the work has been conceived, the piece is very reminiscent of works by the artist Peter Paul Rubens. In fact, there are several engravings of the XVII century, where Rubens' models are followed, in which this same composition is appreciated, or for example the National Museum of Warsaw, conserves a piece of very identical characteristics to the one presented, which has been attributed to the school of Rubens, and dated between 1625-1650. The painting depicts the theme of Judith beheading Holofernes, just at the most dramatic moment of the action, when he has not yet expired, but is aware of his murder. The story about Judith and Holofernes is described in the biblical book of Judith, belonging to the Old Testament. The text tells the story of a Hebrew widow (Judith), in the middle of Israel's war against the Babylonian army, erroneously called Assyrian. With beautiful features, high education and enormous piety, religious zeal and patriotic passion, Judith discovers that the invading general, Holofernes, has fallen in love with her. Accompanied by her maid, the widow descends from her walled city besieged by the foreign army and, deceiving the soldier into believing she is in love with him, manages to enter his tent. Once there, instead of yielding to his gallant claims, she intoxicates him. When Holofernes falls asleep, Judith cuts off his head, sowing confusion in the Babylonian army and thus obtaining victory for Israel.Peter Paul Rubens was a painter of the Flemish school who, however, competed on equal terms with contemporary Italian artists, and enjoyed a very important international importance, since his influence was also key in other schools, as is the case of the passage to the full baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. His mother, Maria Pypelincks, was a very important character in his life. She gave him a courtly and cultural education, which included the study of Latin and Greek, as well as the Bible. It was in fact his mother who put him in contact, while still very young, with the best painters of the time. Rubens had three teachers, the first being Tobias Verhaecht, a painter of precise and meticulous technique who had traveled to Italy, and who instilled in the young painter the first artistic rudiments. It is also possible that Rubens traveled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter also oriented towards the Italian influence, with a language still Mannerist, and who must also have influenced the young man to visit Italy. Finally, his third teacher was Otto van Veen, the most outstanding and the last of them. After his training, Rubens joined the Antwerp painters' guild in 1598.

Nikolaos Gyzis (Greek, 1842-1901)Carnaval à Athènes signé des initials 'N. G.' (en haut au centre)huile sur panneau27 x 40.5cm (10 5/8 x 15 15/16in).signed with initials (upper middle)oil on panelFootnotes:ProvenanceThe artist's wife, Artemis Gysis.Heinemann Gallery, Munich.Private collection, Athens.Christie's London, Greek Sale, 24 May 2000, lot 66.Acquired from the above sale by the present owner.LittératureNicholaos Gysis 1842-1901, The Great Master, exhibition catalogue National Gallery and Alexandros Soutzos Museum, Athens 2001, shown in a photograph with the artist in his studio, c. 1899.A precious gem kept in the artist's possession until his passing in 1901 and shown in a well-known photograph of the artist's studio at the Munich Academy taken by his student Elias van Bommel the Younger around 1898,1Carnaval à Athènes lovingly chants the unspoiled traditions of 19th century Greece.A master of genre painting, Gysis captures a vignette of urban revelries set in a spartan setting enlivened less by the figures' movements and gestures than by the artist's swift, energetic brushstrokes and wonderful passages of bright colour. Concerned with purely pictorial issues, he eliminates all detail and focuses on light and shadow juxtapositions to convey an evocative atmosphere of mystery and magic that perfectly matches the sense of awe and wonder kindled by carnival and masquerade. The painting is bathed in light which invades the scene from the left, highlighting the figures and objects in the room and making them glow with a shimmering luminescence. Two counterbalancing diagonals—the man's form in the background painted in a magnificent Gysis red, and the woman's leaning body in the front—draw the eye to the brilliant white of the tablecloth that brims over with a joyful mood, demonstrating Gysis's ability to engage the viewer in the narrative by relying on purely pictorial means. This charming work is the final link to Gysis's Carnival in Athens, which was awarded a gold medal in the 1892 International Exhibition in Munich. Held by the Bavarian State Painting Collections and currently on loan to the Museum of the City of Athens, it follows the same narrative sequence featuring all the individual compositional characteristics of the Greek Sale picture, namely the female figures on the left, the old man with grandchild, the male figures in the back, the mother holding her child in the foreground and the jubilant masqueraders invading from the right. 1 For a photograph of the artist's studio with lot 31shown on the lower right, see M. Katsanaki, Glory by Nikolaos Gysis, exhibition catalogue, Benaki Museum, Athens 2021, p. 46.Véritable joyau conservé par l'artiste jusqu'à son décès en 1901, représenté sur une photographie célèbre de l'atelier de l'artiste à l'Académie de Munich, prise par son élève Elias van Bommel le Jeune vers 1898, Carnaval à Athènes chante avec amour les traditions immuables du 19ème siècle grec.Maître de la peinture de genre, Gysis nous présente ici une vignette des festivités urbaines qui marquent le carnaval, saisies dans un décor spartiate, animé moins par les mouvements et les gestes des personnages que par la touche rapide et énergique de l'artiste et des percées magnifiques de couleurs éclatantes. Exclusivement passionné par des considérations picturales, il élimine tous les détails et se concentre sur des juxtapositions d'ombre et de lumière, afin de créer une atmosphère de mystère et de magie qui rend parfaitement l'impression de fascination et d'émerveillement suscitée par le carnaval et les bals masqués.La peinture baigne dans une lumière qui envahit la scène à partir de la gauche, illuminant les visages et les objets de la pièce et les faisant briller d'une lumière chatoyante. Deux diagonales croisées – l'homme à l'arrière-plan peint dans le magnifique rouge de Gysis, et la femme penchée au premier plan – attirent l'œil sur le blanc brillant de la nappe, qui répand une atmosphère joyeuse sur la toile, démontrant ainsi la capacité de Gysis à entraîner le spectateur dans la narration en s'appuyant sur des moyens purement picturaux.Cette œuvre charmante est le dernier tableau que Gysis a consacré au thème du carnaval à Athènes ; précédemment, une autre œuvre consacrée au même thème a reçu la médaille d'or à l'Exposition internationale de Munich en 1892. Cette autre œuvre, propriété des collections de peinture de l'État de Bavière, est actuellement prêtée au Musée de la Ville d'Athènes, suit la même séquence narrative et présente toutes les caractéristiques de composition qui figurent dans celle qui est aujourd'hui mise en vente, à savoir les personnages féminins sur la gauche, le vieil homme avec son petit-fils, les personnages masculins à l'arrière-plan, la mère tenant son enfant au premier plan et les personnages costumés et masqués jubilants qui font irruption sur la droite.For further information on this lot please visit Bonhams.com

Vivian Rainsbury (British Contemporary) 'Old Master', Oil on canvas. 11x13.5ins

A 54-Bore Flintlock Box-Lock Over-And-Under Tap-Action Pistol With Spring BayonetBy Brander, London, Late 18th CenturyWith turn-off barrels numbered respectively '3' and '4' at the border engraved breeches and fitted with a folding bayonet beneath, the catch working on a sprung roller, border engraved action (steel, top jaw and screw replaced), thumbpiece safety-catch, the first signed within a foliate scroll over each side, trigger-guard engraved with a flower-head, figured flat-sided butt (minor old chip and bruising), and vacant silver escutcheon (some old rust patination), London proof marks 10.3 cm. barrels Footnotes:The maker is probably William 2 Brander or his son Martin. The former was elected Master of the Gunmakers' Company in 1762, 1772 and 1779. The latter elected Master of the same company in 1792 and 1807This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A 20-Bore Flintlock Silver-Mounted PistolBy Griffin, Joseph, London, Indistinct Silver Marks, Circa 1765With slightly swamped barrel signed within a drop-shaped panel along the breech flat, border engraved tang decorated with foliage, signed border engraved rounded lock (cock repaired), figured full stock (minor repairs, forward ramrod-pipe replaced) carved with a shell behind the barrel tang, cast and chased mounts comprising pierced foliate and rocaille side-plate, vacant escutcheon en suite, and grotesque mask butt-cap, steel trigger-guard with early form of acorn finial and engraved with a flower-head on the bow, and later wooden ramrod (steel parts with some old rust patination), London proof marks 20.7 cm. barrel Footnotes:Joseph Griffin was turned over to his father in 1741 and was free of the Gunmakers' Company in 1750. He was appointed Gentleman Armourer to His Majesty's Stables-in-Ordinary in 1760 and was elected Master of the Gunmakers' Company in 1761 and 1763. He was in partnership with his father until 1770 and with John Tow between 1771-82. He died in 1784This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Rare English Silver-Mounted Hunting HangerThird Quarter Of The 17th Century, Silver Maker's Mark Of William BadcockWith slightly curved blade (some old pitting) double-edged towards the point and stamped with bladesmith's mark, a male profile bust in an oval, on both sides of the forte, hilt comprising recurved quillons punched with scales and each with double dog-head terminal in the round, pommel formed as a bear's head, and natural staghorn grip with silver basal ferrule punched and chased with foliage 45 cm. bladeFootnotes:LiteratureLeslie Southwick, London Silver-hilted Swords..., 2001, p. 276, pl. 17 (right) and p. 38, fig. 2 for what is thought to be his marks stamped on the copper mark-plate at Goldsmiths' Hall, in use between 1682 and 1697William Badcock (?1630s-1698) was apprenticed to and made free of Ann Simmons of the Longbowstringmakers' Company in 1656. He was elected Upper Warden (effectively Master) in 1669 and between 1673 and 1685 his name appears regularly in the records of the Goldsmiths' and Cutlers' Companies. For a full account of his career see Leslie Southwick, idem, pp. 35-39For further information on this lot please visit Bonhams.com

A collection of small Old Master etchings, mainly figure studies, largest 7" x 5", (qty) (unframed).

Old Master engraving, 17th / 18th Century, A mother and child, on paper, 4" x 3.25".

A print of a Madonna and child by Michelangelo, an Old Master drawing, Mother and child, print, 13" x 9.5".