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Wine.- Sellers (Charles) Oporto, Old and New, photogravure portrait frontispiece, illustrations, bookplate of Simon Richard Smallwood to pastedown, endpapers browned, original cloth, spine ends and corners a little bumped, a little rubbed, 4to, 1899.⁂ A rare first edition of Sellers' historical record of the port wine trade, reflecting upon British commercial enterprise in the north of Portugal. From the collection of Simon Richard Smallwood. Smallwood became a Master of Wine in 1970, the self-proclaimed first to hold an Australian passport. He served as wine adviser for Woolley & Wallis, auctioneers in Salisbury, and lectured on the history of wine shipping.

Prints & Drawings.- English School (19th century) Collection of ten preliminary studies for a finished painting of 'Henry I receiving tidings of the Shipwreck of his Son', 4 executed in pencil, 1 pen and ink, and the others all in red and black coloured chalks, each presented in uniform mounts with ink inscriptions and dates, various sizes between 65 x 60 mm (2 1/2 x 2 1/4 in) and 410 x 300 mm (16 1/8 x 11 3/4 in), some surface dirt and rubbing, some spotting and browning, all unframed, [circa 1847]; together with a small group of English drawings by various hands, one bearing an attribution to William Gilpin, another 'Drawn on the spot by Mervyn Richardson/ May 1826', to late 18th century pen and ink studies of figures, and two prints after old master drawings, various sizes, all unframed, 18th and 19th century (20)

After the Old Master Study of a Putto pastel and gouache, 50.5cm x 34cm

JOSÉ VELA ZANETTI, (Milagros, Burgos, 1913 - Burgos, 1999). "Peasants resting after the harvest". Oil on canvas. Signed in the lower right corner. Size: 126 x 106 cm; 140 x 120 cm (frame). In this work the painter shows us all its essence, Vela Zanetti is considered the painter of the soul of Castile, since he knew how to masterfully portray his land through its heroic people, those hard-working human beings, workers from sunrise to sunset. He is the painter of the dignity of man, and in fact all his work revolves around the human being, both the work done in Spain and the works he painted during his long exile in the Dominican Republic. Thus, in each of his works one can appreciate the sacred and dignified condition of man. Born in Milagros, 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 traveled 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.

A 19th Century oval gilt framed Bartolozzi style print depicting The Rt. Hon. Marchioness of Townsend; and a Dutch Old Master style coloured print

Six assorted prints, including Robert Houston, Loch Vennacher, two Old Master drawings and three others (6)

ANTONIO SENAPE (ITALIAN, 1788-1850) CASTELLO DI PROVIDA AND CASTELLO DI PADUAboth inscribed with title, pen and ink old master drawings17 x 25cms & 19 x 25cmsQty: 2

A miniature yew wood writing table in George III style; the gilt-tooled green-leather inset writing surface above two mahogany crossbanded yew wood drawers, raised on square tapering legs (42.25cm wide x 23cm deep x 26cm high) Together with original informational label.Condition Report: The label inside details it was originally £145 and that it was made by an 80 years old master cabinet maker from antique wood.

Eugène Fromentin (French, 1820-1876)Audience chez un Khalifat, Sahara signed and dated '1860 Eug. Fromentin' (lower left)oil on canvas58 x 90.5cm (22 13/16 x 35 5/8in).Footnotes:LiteratureJames Thompson and Barbara Wright, La Vie et l'oeuvre d'Eugène Fromentin, Paris, 1987, p. 171, illustrated.Eugene Fromentin was born in La Rochelle in December 1820 and studied under Louis Cabat (1812-1893). He was also a well respected author, publishing a celebrated book on Dutch and Flemish painting, Les Maîtres d'Autrefois ('The Old Masters') to great acclaim in 1876. An initial visit to Algeria was followed by another trip in 1852, when he accompanied an archaeological mission. This journey gave Fromentin the opportunity to study the local population and culture, which provided him with inspiration and subject matter that was to characterise his work until his untimely death at the age of 56, in 1876. Heavily influenced by the Orientalist master Eugene Delacroix, Fromentin chose to depict real events: camel trains, hunting scenes, Arab horsemen riding through stormy deserts and at evening prayer. He did not shy away from more distressing subjects such as funeral scenes or the effects of drought.In the present picture, executed in 1860, and a larger version of the work on panel which was offered at Sotheby's London, 24 April, 2012, lot 27, a group of horsemen are gathered in front of a mosque; one of their number delivers news to the seated caliph as a guard dressed in red looks on. The languid nature of the seated figures to the right is in stark contrast to the more agitated demeanour of the horsemen who appear to be awaiting orders. The tension is further enhanced by the whispering couple leaning against the wall in the background and the suspicious sideways glance of the central figure as he climbs the step. The picture is beautifully lit by strong sunshine and blue sky. Every detail is carefully picked out and adds to the composition – beautifully rendered drapery, discarded shoes, a pile of weapons - all carefully considered to complete the narrative.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Simone Cantarini (1612-1648), St John Baptist and St Sebastian, Old Master engravings, 16.5cm x 16cm and 12.5 x 19cm, both framed and glazed.

WILLIAM SADLER II (1782-1839)The Great Fire of London's Customs HouseOil on canvas, 67 x 86.5cmA small version of this work sold 29th April 2014 at Christie's, London, Old Master and British Paintings.

***PLEASE NOTE DESCRIPTION SHOULD READ***PIETER ANGELLIS (1685 – 1734)'The Newspaper Sellers', A View of Ludgate Hill from Fleet Ditch, with Ludgate, Church of St. Martin, and St. Paul's Cathedral beyond.Oil on canvas, 61 x 50cmProvenance: Sotheby's London, 18th Novemeber 1981, Lot 15Literature: Sarah Herring 'Pieter Angellis 1685-1734, Oxford DNB 2004; Walpole, Anecdotes of Painting in England Walpole Society Vol.3; K.T. Parker 'Mercier Angelis and DeBar Old Master Drawings' 1938-39.Angellis lived in London's Covent Garden from 1719 to 1727 where he painted many local views with social activities, conversation pieces and market scenes. While in London he collaborated with Pieter Tillemans, John Vanderbank and others.

An early 18th century silver two-handled cup and coverEdmund Pearce London, no date letter circa 1720, Engraving probably attributable to Ellis Gamble, conventional inverted bell form with an applied reeded and moulded banded girdle, raised on a domed foot, the upper section finely engraved and flat chased band of scrolls, leaf motifs and flower heads, engraved below with later engraved coat of arms in a shield reseve and on the opposite side with later crested monogram in an oval reserve, surrounded with diaper-work embellished cartouches and flanked by figural terms issuing from scrolls and over a matted ground, domed foot with engraved similar engraved band, hatching and fish-scales, leaf-capped scroll handles further engraved, the cover with similar decoration and later crested roundel, large disc knop finial, gilt interior.Underneath of foot with later engraved presentation inscription 'Julia Neilsen-Terry A token of affection from her devoted friends and public 21st March 1888 to 21st March 1938', height 31cm, weight 80.3oz.Footnotes:Julia Neilsen-Terry (British, 1868-1957) was an English romantic actress. Born in London, Julia was the daughter of Alexander Ritchie Neilson, a silversmith and jeweller, and Emily Davis, and was a cousin of three other well-known actresses of the Davis family, Lily Hanbury, Hilda Jacobson, and Nora Kerin. She made her first appearance (1888) in W.S. Gilbert's 'Pygmalion and Galatea' and in 1890 she married Fred Terry, brother of the celebrated actress Ellen Terry. Julia became famous for her acting in plays such as 'A Woman of No Importance', 'The Prisoner of Zenda', 'Sweet Nell of Old Drury', and 'The Scarlet Pimpernel'. Her greatest success was as Rosalind in 'As You Like It' (1896). She visited the U.S. in 1895 and again in 1910. In 1900, she and her husband went into management and for the next 30 years played and toured with their own company. She retired from the stage at the end of her run as Josephine Popinot in the revival of 'Vintage Wine' at the Victoria Theatre. On the 21st of March 1938 she was fêted with a celebration luncheon honouring the fiftieth anniversary of her first professional stage appearance. This early 18th century silver two-handled cup and cover is the gift presented to her on that occasion, as signified by the touching inscription. Neilson's memoirs, 'This for Remembrance', were published in 1940.LiteratureFor a comparable example of engraving see Charles Oman, 'English Engraved Silver 1150 - 1900' Faber and Faber, 1978, page 93 illustration number 107. Ellis Gamble was a master engraver of the early 18th century, one of his more talented pupils was William Hogarth.Likely to be the later arms of PONSONBY quartering COOPER.For further information on this lot please visit Bonhams.com

THREE REPROGRAPHIC OLD MASTER PAINTINGS, each in fancy gilt frame

Italian Old Master School (17th century)Landscape, A' Romainscribed and dated 1677, drawing in brown ink, red chalk and wash, 9cm x 15cm

Four Grand Tour and Old Master intaglio impressions, white plaster matrices, gilt and faux tortoiseshell frames, the largest 11.5cm x 10.5cm wide, [4]

OLD MASTER SCHOOL, A FLEMISH RUSTIC SCENE OIL ON CANVAS 55 x 67cms

OLD MASTER SCHOOL IN THE MANNER OF GODFREY KNELLER PORTRAIT OF A GENTLEMAN, OIL ON CANVAS 92 x72cms

OLD MASTER SCHOOL PORTRAIT OF A GENTLEMAN WEARING A BLUE DRESS COAT, PASTEL 55 x 40cms

OLD MASTER SCHOOL PORTRAIT OF A BEARDED GENTLEMAN, OIL ON PANEL 36 x 29cms

OLD MASTER SCHOOL A RECLINING MAIDEN BEING OBSERVED BY WINGED PUTTI, OIL ON COPPER PANEL 3305 x 42ms

OLD MASTER SCHOOL PORTRAIT OF A GENTLEMAN PROBABLY FLEMISH, OIL ON PANEL 51 x 45cms

OLD MASTER SCHOOL WARSHIPS MOORED IN A ESTUARY PROBABLY DUTCH, OIL ON CANVAS 32 x 45cms

A FOLIO OF OLD MASTER DRAWINGS principally by Italian hands, comprising St Antony of Padua, Noah, Virgin and Child with Saints, a Bishop Saint, Cupid by a spring, Lamentation, Assumption of the Virgin, Flight into Egypt, also a scrolling frieze design, a seated figure and other subjects, various media; with two etchings after Guercino, various sizes (14) ++ Fair only; many worn, grubby etc

LIONEL EDWARDS (1878-1966) EXMOOR UNDER SNOW: PONIES AT LARKBARROW Signed and dated 60, inscribed Larkbarrow, watercolour and gouache 29.5 x 36cm; with three books (`Reminiscences of a Sporting Artist` by Edwards, signed and dedicated; `Figures in a Landscape` by Marjorie Edwards, 1986; `Lionel Edwards - Master of the Sporting Scene` by J. N. P. Watson, 1986); and a signed print, `The Mockers`, 17 x 25cm (6 items) Provenance: A gift from the artist to his doctor, May 1964, and thence by descent. An ALS, sold with the lot, reads Please accept my little sketch of `Exmoor under snow` as a small token of our gratitude for all the trouble you have taken, in looking after two old crocks at Buckholt [the artist's home near Salisbury]` ++ Watercolour with very slight time-toning of the paper; books satisfactory; print discoloured

K COTTON "Fruit, chalice and goblet on a stone ledge", still life study in the Old Master manner, signed lower left, 61 cm x 50.5 cm, together with another by the same hand of "Fruit on a table", signed lower right, 61 cm x 51.5 cm

ROYAL DOULTON; two figures HN2325 'The Master' and HN2162 'The Foaming Quart' and two Royal Doulton Toby jugs including 'Old Charlie' and a pair of Staffordshire spaniels and two 19th century flat backs including William III (8). Additional InformationThe Staffordshire group with the clock with numerous chips and losses to the glaze, one of the spaniels has been crudely repaired the other with scuffs and crazing.

* Carducho (Vicente, 1576-1638). Holy Family with Saint Catherine, Mary Magdalen and Saint Luke, circa 1630-1638, pen and black ink and brown wash on laid paper, laid down on somewhat rough canvas and retouched with oil, with inscription '2 R ... 14' and small red printed collector's mark of Charles Gasc (Lugt 542) to lower margin, inscription by Charles Gasc to canvas verso in brown ink: 'Cano (Alonzo Alexis) ne a Grenade le 19 Mars 1601 mort le 3 Octobre 1667, élève de Pacheco a Seville, de J. del Castillo et de Herrera. Dessin achete 10,20 a Seville en 1859. H=0m25 L=0m19.6 C. Gasc', additional late 19th century French printed label to verso of frame, giving the artist as:'Murillo (Esteban). Elève de Velazquez. Sainte Famille. Belle esquisse sur toile, qui a ete reproduite en grand', another collector's mark printed in black to lower edge of the frame verso of an anchor and caduceus within a circle, 26 x 21 cm (10 1/4 x 8 1/4 ins), gilt frameQty: (1)NOTESProvenance: Charles Gasc (circa 1818-after 1869), French collector of Old Master drawings, in collaboration with his brother Paul-Emile Gasc. Purchased in Seville in 1859 (see annotation to verso of the canvas); possibly sold Paris, Delbergue, 17 January 1865 (151 lots); Christie's London, Old Master and 19th Century Drawings, 3 July 2007, lot 74. Comparable, in composition, the present work is included in the catalogue raisonnaisé of Vicente Carducho: Chenel & Rebollo (2015), 60.3. Composition handling and physiognomy, to Carducho's drawing of The Holy Family with Saints (Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, 60.1) now in the Prado, which was made in preparation for a painting now in an English private collection (A.E. Pérez Sánchez and L. Boubli, Dessins Espagnols, Maîtres des XVIe et XVIIe siècles, Paris, Louvre, 1991, number 27). Literature: Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, CEEH/National Library of Spain, 2015, 60.3. See Laurence Lhinares, The Brothers Paul-Emile and Charles Gasc As Collector of Drawings, Master Drawings, volume 52, number 1, 2014, pages 95-110 for further information on Charles Gasc.

* Circle of Thomas Gainsborough (1727-1788). Landscape with a Hermit, pencil and brown wash on 18th century laid paper, sheet size 320 x 237mm (123/5 x 93/8 ins), cream card window mountQty: (1)NOTESProvenance: C. R. Rudolf Collection, with pencil annotations by C. Rudolf to mount, '?Cotman, Mullaly. I still adhere to the view that the drawing is by Gainsborough. C R.' and 'c. f. plate 396 John Hayes, The Drawings of Gainsborough for a landscape by Thomas Barker 1769-1847'. Carl Robert Rudolf (circa 1884-1974), dental surgeon and collector of Old Master drawings. A large number of Italian, French and Spanish drawings from his collection were sold by Sotheby's, London in 1977.

* Attributed to Giovanni Francesco Romanelli (1610-1662). Moses striking water from the rock, circa 1640-50, large-scale composition in pen and brown ink with brown wash over black chalk, on two conjoined sheets of laid paper, with watermark of an anchor within a circle with letters (J M ?) and star above (similar to Gravell Anchor 440.1 or 442.1), additional studies in black chalk of Carita Romana to verso, neat archival restorations to sheet edges and central crease, with some small losses, sheet size 390 x 532 mm (15.3 x 21 ins)Qty: (1)NOTESProvenance: Chiswick Auctions, Old Master Paintings and Drawings, 27 August 2020, lot 31. Drawings by Romanelli are often executed in pen and brown wash over black chalk, as here. The present work may relate to the series of four paintings on the life of Moses by Romanelli's teacher Pietro da Cortona, and Nicolas Poussin, commissioned by Amadeo dal Pozzo, Marchese di Voghera of Turin, a cousin to the scholar, antiquary and secretary to Cardinal Barberini, Cassiano dal Pozzo. For a similar work see Ciro Ferri (1634-1689), Moses striking water from the rock, black chalk, (Royal Collections Trust, Blunt & Cooke, The Roman Drawings of the XVII and XVIII Centuries in the Collection of Her Majesty the Queen at Windsor Castle, 1960, 125). An engraving after this drawing by the printmaker Pietro Aquila (1650-1692) was published by Giovanni Giacomo de Rossi in Rome in the 1670's. After first studying under Domenichino, Romanelli entered the studio of Pietro da Cortona, whose style greatly influenced his own. From 1631, while working as Cortona's assistant on the decoration of the Palazzo Barberini in Rome (purchased in 1625 by Maffeo Barberini, later Pope Urban VIII), Romanelli contributed to the major ceiling fresco of Divine Providence as well as the decoration of the private chapel, where the Adoration of the Shepherds is generally attributed to him in its entirety (1632-39). Pope Urban VIII also commissioned Romanelli for a number of other works intended for the Vatican: the St Peter Healing the Sick, now in the Museo Storico Artistico, Vatican (1636-37), the frescoes depicting the life of Matilda of Tuscany (for the Sala della Contessa Matilda,1637-42), and the ceiling fresco Pasce oves meas for the Galleria delle Carte Geografiche (1638). The Presentation of the Virgin in the Temple, painted in 1638-42 for the Cappella Colonna in St Peter's (now in Santa Maria degli Angeli), was the artist's first major public altarpiece. As superintendent of the Barberini tapestry manufactory, Romanelli also made cartoons for the series of seven tapestries of Putti with Swags, in imitation of Raphael's famous set of tapestries made for Leo X, as well as the cartoons for a second series of tapestries representing the Life of Christ, in the Palazzo Barberini, Rome (both series 1637-43).

* De Vos (Martin, 1532-1603). Mulier Inclinata (plate 9 from Icones Illustrium Feminarum Novi Testamenti), circa 1590-1612, etching on laid paper, published by Phillipe Galle, together with other Old Master prints, various: Albrecht Aldegrever, The Testimony of Daniel, and The Stoning of the Elders, 1555, two engravings from the set of four plates illustrating the story of Susanna (Hollstein 32-33), & Lot with his Daughters, 1555, engraving from the set of four plates illustrating the story of Lot, Abraham Bloemaert, a chiaroscuro woodcut, Giovanni Andrea Sirani (1610-1670), Apollo and Marsyas (Bartsch 2), engraving, and a grey wash drawing by Mathieu Antoine Xhrouet, La Fontaine de la Sauvenière, pen and black and grey inks with grey wash, titled and signed ‘La Fontaine de la Sauveniere ‘xhrouuet fecit’Qty: (7)

A miniature silhouette study AF and three Old Master style miniature prints

1976 Norton Commando 850 MkIIIRegistration no. RCL 633RFrame no. 332064Engine no. 332064•Present ownership since 1986•Professionally restored 2012-2013•Circa 38,000 miles from new•Circa 4,500 miles since full restorationThis Norton Commando 850 MkIII electric start model was first registered on 11th October 1976 and was purchased by the current vendor on the 7th December 1986. The Commando was used only occasionally as the vendor owned a collection of over 20 bikes at the time. By 2012, aged 71, the vendor had sold most of his collection, but not the Commando, which he decided to have 100% restored. He was fortunate in having a professional motorcycle mechanic friend to do the work. The brief was to restore the bike to excellent road going condition as it was to be used, and the vendor advises us that the result is a very smart machine. The rebuild commenced in June 2012, at which time the odometer reading was 33,304 miles. The machine was stripped right down to the last nut and bolt, and the engine, gearbox and clutch completely rebuilt with all new parts. All re-chroming and polishing was carried out by recognised specialists, and all painted parts were sprayed black as per original specification before new transfers were affixed. Other parts renewed include the wiring harness; carburettors; control cables; front brake disc; bearing of all types; rear sprocket; drive chains; brake pipes; rear master cylinder; front master cylinder seals; fork bushes and seals, etc. The speedometer and rev counter were sent away to be reconditioned with strict instructions that the speedometer must not be reset to zero. Having been plagued by his bikes' chromed wheels rusting and spokes discolouring over time, the vendor decided to purchase polished stainless steel wheel rims and spokes from CWC, Birmingham, complementing the stainless mudguards. The master cylinder was professionally modified to improve its operation, while the original feeble starter motor has been replaced with a superior Norvil item. Two new tyres were fitted and the rebuild completed with countless stainless steel nuts/bolts/fasteners, new exhaust system, etc, etc. Labour costs were charged at 'mates' rates', so the bills available (totalling approximately £7,200) represent only the cost of parts purchased. The rebuild was completed in March 2013 and since then the Commando has covered just under 4,500 trouble-free miles. As well as copies of the bills, the machine also comes with a selection of restoration photographs; copies of old MoTs and tax discs; (copy) V5C documents; and MoT to September 2022.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com

The ex-Steve Hislop, Niall Mackenzie, James Whitham, Cadbury's Boost C.1995 Yamaha YZF750 Superbike Racing MotorcycleRegistration no. not registeredFrame no. YM 005007Engine no. W03•Ex-Belgarda Yamaha factory World Superbike team•First raced in the British Superbike Championship in 1996•Part of the Phil Morris Collection since 2016The news of Steve Hislop's untimely death in a helicopter accident in August 2003 came as a severe blow to road-racing aficionados everywhere. On his day, 'Hizzy' was as fast as anyone in the world, if not faster, as his 2002 lap of Donington Park on the Ducati 999R testastretta superbike - quicker than Valentino Rossi's best on the works Honda RC211V Moto GP bike - seemed to demonstrate. Steve Hislop loved the more technical road circuits such as Cadwell Park, Oulton Park and Brands Hatch, and was a master of what for many remains the ultimate challenge: the Isle of Man TT course. Hizzy won 11 TTs between 1987 and 1994, endearing himself to British enthusiasts when he rode the Abus-sponsored Norton Rotary to victory in the 1992 Senior Race, and in 1989 became the first man ever to lap at over 120mph. He was British 250cc Champion in 1990 and British Superbike Champion in 1995 and 2002, having narrowly missed the title in 2001 following an injury. That famous 2002 victory was achieved on the Monstermob Ducati, but Steve was not retained for 2003 and returned to Rob McElnea's Virgin-sponsored Yamaha team for which he had last ridden in the 2000 season. Sadly, it did not turn out to be a happy reunion, and at the time of his tragic accident, Steve was looking forward to riding his old 2002 title-winning Ducati for the ETI team. The Yamaha YZF750 offered here was ridden by Steve Hislop for the Cadbury's Boost team in the 1998 British Superbike Championship. This YZF started life in the World Superbike Championship and for 1995 formed part of the factory-supported Italian Belgarda team's line up. It was among the machines, engines and spares later re-deployed for use in the British Superbike Championship under the Cadbury's Boost banner. An engine data sheet on file shows that 'W03' was used at Donington Park; Monza; Albacete; Salzburg; Brands Hatch; Mugello; and Assen in 1995. Belgarda's riders for 1995 were Yasutomo Nagai and Colin Edwards, but which of them used this engine and when is not recorded. An email printout on file from former Cadbury's Boost mechanic Mel Allen refers to 'W03' as having been Paolo Casoli's No. 1 engine, so it must date from 1994 when Casoli rode for Yamaha in the WSBK. He continues: 'In 1996 we acquired enough factory parts to build three complete bikes and have a spare engine to run in BSB under the Cadbury Boost banner. The main frame YM 005007 heavily braced and quite a stiff chassis... was used in the first part of the season as the spare bike between Niall Mackenzie and James Whitham who I was working for. As the season progressed more parts filtered through from Italy and new No. 1 bikes were built with new modified frames and the originals became No 2 bikes through 1996 and with Chris Walker in 1997. Steve Hislop joined the team for 1998 and after extensive testing he preferred the tautness of the old chassis with the new generation forks as it suited his 250-style high corner speed, so at most of the British rounds that chassis became his No. 1 bike. The engines were on a maintenance rota so that engine was used in both No. 1 and No. 2 bikes depending on the venue.'Steve's palmarès for the 1998 season included four race wins and a total of 12 podiums in BSBK for 3rd overall in the championship, plus 9th and 10th place finishes in WSBK at Donington Park and 8th and 11th at Brands Hatch. Phil Morris acquired the ex-Hislop Yamaha in 2016 as part of a 'bike swap' agreement with previous owner Nick Crocker. Since then the engine has been out and the machine sympathetically refurbished by McAMS Yamaha mechanic Kevin Stephenson. The belly pan has been repainted but otherwise the machine is as acquired. Offered with a history file. A selection of spares relating to this lot will be sold as part of our online sale in December. Further details to follow.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com

DRAWMER DS201 DUAL GATE & SAN SAMP PSA-1 BASS GUITAR PRE-AMP. Dual gate Serial#: 09134 and pre-amp Serial#: 84121. PLUS AKAI S3200 DIGITAL SAMPLER Serial#: 49355-11401 and AKAI Hard Disk Digital Recorder DR16 MASTER B: Serial#: 19655-00404The Drawmer noise gate, as the name suggests, controls the noise mainly from my old effects pedals, turning the noise off when you didn’t play. Much to the relief of lead singers, sound guys, monitor engineers and audiences, the world over. Akai became the industry standard of samplers quite quickly and these two machines were used extensively by New Order; the S3200 in the studio and the DR-16 for live’. Both give excellent quality.

Unsigned. 20th century. Painted copy after an old master. Dutch cityscape with figures. Oil on linen. Dimensions: H 60 x W 50 cm. In good condition.

Frank Watson Wood (British, 1862-1953)Portland, Dorset: Atlantic Fleet Capital Ships, 1921signed and dated 'FRANK WOOD 1921' (lower right), inscribed with each of the ship's names (lower edge) watercolour 17.5 x 75cm (6 7/8 x 29 1/2in).Footnotes:The protected anchorage at Portland – formed by Chesil Beach and the south Dorset coast mainland to the west and north, and the Isle of Portland to the south – has been a spacious base for ships of the Royal Navy for generations. King Henry VIII built Portland Castle and Sandsfoot Castle to defend the anchorage but the navy was keen to enclose it further by providing protection from the south and east; and so construction of the south breakwater arm was started in 1849, finally completing some 25 years later. The early years of the 20th century saw the rising threat of war against Germany dominate naval strategic thinking and as the Royal Navy developed the dreadnought battleship and then raced to outbuild the German fleet, Portland anchorage, strategically well placed and therefore undoubtedly useful was, however, considered too vulnerable to attack from the east. Two further breakwater arms were accordingly constructed together with more forts and batteries ashore, and two small forts were also built on the seaward ends of the breakwater arms. With the scuttling of the old battleship HMS Hood in the southern entrance in 1914 to reduce the risk of submarine penetration, the anchorage had now become a huge and secure harbour and indeed remains one of the largest man made harbours in the world. The Royal Navy continued to make good use of it for the following 70 years or so and remained there until 1995 when defence cuts forced its closure as a naval base. And in 2012 the former naval base and adjacent Weymouth Bay - from where the Grand Fleet's dreadnoughts and escorting flotillas sailed just hours before war was declared in 1914 - became the venue for the sailing events of the 2012 Olympics: – a fitting use indeed. Whilst the harbour was not deep there was certainly water enough even for the deep draught capital ships of the first half of the 20th century and with its quick access to the Channel it was used very extensively by the fleet. In this 1921 painting Frank Watson Wood shows heavy units of the Atlantic Fleet at their overnight anchorage in the great harbour. To the left Wood has painted HMS Ramillies (Captain Cecil D S Raikes RN), HMS Revenge (Captain H J S Brownrigg DSO RN) wearing the flag of Rear Admiral Sir Rudolph Bentinck KCMG CB, Rear Admiral 1st Battle Squadron; and HMS Royal Oak (Captain Percival Hall-Thompson CMG RN). In the foreground to the right lie HMS Queen Elizabeth (Captain Geoffrey Blake RN) wearing the flag of the Commander-in-Chief Atlantic Fleet, Admiral Sir Charles Madden Bt GCB GCVO KCMG; HMS Barham (Captain R C Dalglish RN), flagship of Vice Admiral Commanding 1st Battle Squadron, Vice Admiral Sir William Nicholson KCB; HMS Valiant (Captain Cecil Staveley CMG RN); and HMS Warspite (Captain F Clifton-Brown CB CMG RN). The fifth ship of the class, HMS Malaya (Captain Percy Royds CMG RN) was absent in the Far East, on a courtesy visit to her donors in Malaya and carrying HRH The Duke of Connaught to India enroute. The artist, Frank Wood, originally a school master from the Borders, had moved down south in the early 1900s and painted many commissions for serving officers of the time. Such was his reputation that he was commissioned by HM King George VI in 1937 to paint the senior flagship (Queen Elizabeth again) at the Coronation Review of May that year to give as a present to the battleship's wardroom; and two years later he was Travelling Artist with the Royal party when the King and Queen visited Canada and America in summer 1939.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

Registration No: DLW 654Chassis No: B191HMMOT: ExemptSupplied new to Miss Durand of London and more recently part of a large, private collection for three decadesThe subject of a chassis-up, bare metal, photographically documented restoration during the early 1990sStructurally very sound, cosmetically imperfect and in need of further mechanical recommissioning (c.£7,700 spent in 2019-20)Originally ordered by Jack Barclay Ltd of Mayfair for stock, chassis B191HM was supplied new to Miss Durand of Kensington & Chelsea. The work of esteemed firm Vanden Plas, its decidedly elegant, Pillarless Sports Saloon coachwork (body number 3503) cost some £395 alone. Intended for ‘town work and touring’, the Bentley was specified with a sunroof, Philco car radio, slightly angled gear and handbrake levers and louvres that extended from the bonnet into the scuttle. Miss Durand’s custodianship was comparatively fleeting but Jack Barclay Ltd certainly developed an affinity for the car re-selling it in 1938 and 1947 (copies of the showroom blurb on each occasion remain on file). Having bought ‘DLW 654’ when it was twenty months old, Ernest Thornton-Smith Esq. of Queen Anne’s Gate, SW1 (and later Soho Square) covered a substantial mileage during his nine-year tenure increasing the odometer reading from 15,000 to over 100,000 miles. Such extensive usage during World War Two whilst petrol was heavily rationed suggests that Mr Thornton-Smith either played an important role during the conflict or lent his car to the armed forces. Interestingly, he was a master of the Worshipful Company of Gardeners as well as a renowned antique dealer and interior designer (the Thornton-Smith Co operated on both sides of the Atlantic).Fitted with an exchange cylinder block in 1939, the Bentley had also been repainted from Steel Dust Metallic to Black (perhaps due to wartime duties?) by the time that J.B. Upton Esq of Rolston Hall, Yorkshire acquired it from Jack Barclay Ltd eight years later. Off the road for sometime (or possibly abroad), chassis B191HM was re-registered with the DVLA during 1979. Treated to a photographically documented, bare metal, chassis-up restoration in the early 1990s at a reputed cost of £60,000 by then owner Derek Saunders Esq of Blunham, the Pillarless Sports Saloon subsequently spent twenty-three years as part of a private collection. Stored indoors but with a haphazard cover for most of that time, its Garnet paintwork has suffered accordingly. Two accompanying MOT certificates dating back to the mid-1990s suggest that ‘DLW 654’ may have covered less than 1,000 miles since its restoration. Little used for decades, the car was treated to some £7,700 worth of recommissioning in 2019-2020 by Trevor Farrington of Knutsford which comprised: freeing up the braking system, refurbishing the ignition system and fitting a new battery, rejuvenating the fuel system including cleaning/sealing the tank and fitting a new fuel pump, replacing a broken valve spring and resetting all tappets, cleaning and machine polishing the bodywork and chrome-work, and greasing and checking the underside.The Bentley runs and drives with the engine reportedly showing good compression and the cylinder head appearing sound. However, the straight-six is not as smooth or quiet as it should be and would thus benefit from further attention. The front brakes are currently disconnected due to the brake shafts being seized. On the plus side, the wooden body frame seems particularly sound with the doors all opening and closing easily (a notorious weak point on Pillarless cars) and the interior trim remains highly presentable. A very worthwhile project which would doubtless still cut a dash in Mayfair traffic, this desirable Vanden-Plas bodied Derby Bentley is offered for sale with V5C Registration Document, RREC copy chassis records, restoration photos and sundry other paperwork.Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737

Auction Catalogues. A large collection of approximately 500 Old Master Art auction catalogues including The Champalimaud Collection, 2 volumes, 2005, Christie's, in book box, Important Old Master Paintings and the Borromeo Madonna By Donatello, 3 volumes, 2006, Sotheby's, in slipcase, mostly Sotheby's & Christie's in original wrappers, G/VG, 8voQty: (12 cartons)

Auction Catalogues & Art Reference. A collection of approximately 250 Old Master Art auction catalogues including Drawings From The Clark Art Institute, 2 volumes, Yale University Press, 1964, Rubens Selected Drawings with an introduction and critical catalogue, 2 volumes, Phaidon Press, 1959, in slipcase, Paintings And Drawings From The Estate Of Florance J. Gould, 2 volumes, Sotheby's, 1985, in slipcase, plus other Sotheby's, Christie's, Jean-Luc Baroni, Colnaghi old master art catalogues, some original cloth in dust jackets some original wrappers, G/VG, 8voQty: (7 cartons)

A collection of silver reference books, including: Denaro, V., The Goldsmiths of Malta and Their Marks, Alaine Apapa Bologna, The Silver of Malta, Farrugia, J., Antique Maltese Domestic Silver, Bermuda's Antiques Furniture and Silver, Cape Silver, Presentation Pieces and Trophies from the Henry Birks Collection of Canadian Silver, L'Orfevrerie en Nouvelle-France, Quebec and Related Silver, Master Goldsmiths and Silversmiths of Nova Scotia, The Old Silver of Quebec, and another volume. (qty)

A pair of early 20th century oriental style paintings on black fabric of cranes amongst waterlilies, one signed F Ridgway, dated 1919, 48 x 28cm approx, one mounted and one backed onto card (no mount) together with a further interesting collection of unframed 18th century and later pictures and prints including engravings of notable characters including Thomas Matthews, Vice Admiral of The Red, Commander of His Majesties Fleet in the Mediterranean, Henry Prince of Wales, William Shakespeare, etc, also together with a small collection of engravings after Thomas Bewick, prints of old master paintings, etc (collection) all unframed

A SET OF FOUR BLAUW DELFT BLUE AND WHITE TRANSFER PRINTED PLATES, each with a Dutch Old Master portrait, printed marks, one a second, diameter 29cm (4) (Condition: the plate after Vermeer is a.f.)

Old Master-style watercolour of a figure and animals gathered in woodland, 30cm x 43cm, in glazed frame

BERNARDO BELLOTTO genannt CANALETTO UND LORENZO BELLOTTO(Venedig 1721–1780 Warschau) (Venedig 1742–1770 Warschau)Blick auf München von Osten. Um 1762–1767.Öl auf Leinwand.69 × 119,5 cm.Provenienz:- Sammlung des österreichischen Generalkonsuls Wünsch (geboren um 1780).- Sammlung seiner Tocher, Mrs. Jiricek-Wünsch (1818–1859).- Durch Erbschaft Sammlung ihres Ehemannes, Leopold Zdeborsky (1815–1887), Prag (verso mit Wachssiegel).- Sammlung seiner Tochter, Sofie-Johanna Honsig von Jägerhain, Österreich (Tochter von Leopold und Johanna Zdeborsky, mit Julius Anton Honsig von Jägerhain verheiratet).- Sammlung Julius Anton Honsig von Jägerhain (1849–1924).- Sammlung Ing. Heinrich Honsig, Bruder von Julius Anton Honsig von Jägerhain.- Kunsthandel Sabin, London (über Karl Honsig, Neffe und Erbe von Heinrich Honsig).- Kunsthandel Karl Haberstock, Berlin, 1928.- Sammlung Maser, Zürich, 1936.- Sammlung Heinrich Abel, München, 1997.- Europäischer Privatbesitz, seit 2000.Ausstellung:Wien 2005, Bernardo Bellotto genannt Canaletto. Europäische Veduten, Kunsthistorisches Museum Wien, 16.3.–19.6.2005, Nr. 30.Literatur:- Wohl Ausst.-Kat. Bernardo Bellotto genannt Canaletto, Wien 1965, S. 69.- Andrzej Rottermund: Bernardo Bellotto’s Unknown View of Munich, in: Artibus et Historiae, Nr. 38, 1998, S. 9–20.- Bernardo Bellotto and the Capitals of Europe, Ausst.-Kat., hrsg. von Edgar Peters Bowron, New Haven / London 2001, S. 214.- Karl Schütz: Bernardo Belotto, gen. Canaletto – Leben und Werk, Vernissage, Nr. 2/2005, S. 6–23 (S. 13, ill.).- Ausst.-Kat. Bernardo Bellotto genannt Canaletto. Europäische Veduten, hrsg. von W. Seipel, Wien 2005, Kat.-Nr. 30, S. 152–153.- Charles Beddington: Munich from Gasteig Hill, in: Selected Old Master Paintings, London 2011, S. 54–55 (mit Abb.).- Ausst.-Kat. Canaletto – Bernardo Bellotto malt Europa, hrsg. von Andreas Schumacher, München 2014, S. 254.Diese seltene Ansicht von München vom Gasteig aus gesehen wurde vor einigen Jahren in einer Privatsammlung entdeckt und von A. Rottermund als dritte eigenhändige Version der berühmten Komposition von Bernardo Bellotto publiziert (siehe Literatur). Die Erstfassung befindet sich in den Bayerischen Staatsgemäldesammlungen, Münchner Residenz (Inv.-Nr. 111, 1761 datiert, Öl auf Leinwand, 125 x 220 cm) und eine Replik, bei der angenommen wird, dass sein Sohn, Lorenzo Bellotto (1742–1770), mitbeteiligt war, befindet sich heute in der National Gallery of Art in Washington (Inv.-Nr. 1961.9.64, Samuel H. Kress Foundation).Bernardo Bellotto reiste 1761 von Wien nach München und traf dort am 14. Januar mit einem Empfehlungsbrief Maria Theresias von Österreich an Prinzessin Maria Antonia Walpurgis Symphorosa von Bayern ein (siehe H. A. Fritzsche: Bernardo Bellotto genannt Canaletto, Burg b. Magdeburg 1936, S. 68–70). Die Prinzessin Maria Antonia von Bayern war die Schwester des bayerischen Kurfürsten und mit Friedrich Christian Kurfürst von Sachsen, dem ältesten Sohn und Thronfolger Friedrich August II., verheiratet. Das Paar hielt sich aufgrund des Siebenjährigen Krieges am Münchner Hof auf. Bellotto malte für Maximilian III. Josef Kurfürst von Bayern eine grosse Ansicht von München und zwei von der Sommerresidenz Nymphenburg, die sich heute noch in der kurfürstlichen Residenz in München befinden. Gisela Barche vermutet aufgrund des gemeinsamen bayerischen und sächsischen Wappens auf den Originalrahmen der drei Gemälde, dass es sich dabei nicht um einen Auftrag des bayerischen Kurfürsten, sondern vielmehr um ein Geschenk des sächsischen Fürstenpaares an seine Gastgeber gehandelt habe (siehe Gisela Barche: Bernardo Bellotto, Verona e le citta europee, Verona 1990, S. 156–161).Bellotto hat von diesen drei Ansichten etwa halb so grosse Repliken angefertigt, von denen sich zwei (Ansicht von München und eine Ansicht von Nymphenburg) heute in der National Gallery of Art in Washington befinden. Die hier angebotene, dritte bekannte Version der Ansicht von München, dürfte laut Rottermund zwischen 1762 und 1767, also nach der Rückkehr des Künstlers nach Dresden, entstanden sein und ist in der Grösse vergleichbar mit der Version in der National Gallery of Art. In dieser Zeit nahmen die Aufträge aus dem königlichen Hofe aufgrund des Todes des Königs August III. in Dresden ab, sodass Bellotto zusätzliche Aufträge annehmen musste. Zudem ist bekannt, dass Bellotto, der bereits als 14-Jähriger in der Werkstatt seines Onkels, dem berühmten venezianischen Vedutenmaler Giovanni Antonio Canale genannt Canaletto (1697–1768), tätig war, zahlreiche detaillierte Zeichnungen als Vorbereitung für seine grossen Kompositionen anfertigte. So konnte er für spätere Aufträge auf diese vorbereitenden Zeichnungen zurückgreifen und Repliken anfertigen. In unserer Version halten Andrzej Rottermund und Charles Beddington eine Beteilung des Sohnes Bellottos, Lorenzo, an der Stadtansicht im Hintergrund für möglich, während Karl Schütz das Werk als ausschliessliche Arbeit Bernardo Bellottos sieht (siehe Literatur). Ein 1766 von Franz Xaver Jungwirth (1720–1790) angefertigter grossformatiger Kupferstich scheint der Staffage nach eher auf eine der beiden Repliken als auf die Erstfassung in der Münchner Residenz zurückzugehen.Auf der Rückseite unseres Gemäldes deuten ein Etikett und ein Wachssiegel mit der Aufschrift "Prag" und dem Namen "Leopold Zdeborsky" auf den ehemaligen Besitzer Leopold Zdeborsky (1815–1887) hin, welcher in Prag lebte. Um 1840 heiratete er Jiricek-Wünsch (1818–1859), welche die Tochter des Generalkonsuls Wünsch (geboren 1780) war.

Seán Keating PPRHA RSA RA (1889-1977)Don QuixoteOil on board, 73.5 x 84cm (29 x 33'')Signed versoProvenance: Boston (1927); British Artists Association, Buenos Aires (1928); Helen Hackett Gallery New York (1929); Grace Horn Gallery, Boston (1929).For Irish artist, Seán Keating, the artistic and allegorical possibilities offered by literature were endless. A fluent French speaker, his interest in all things Spanish was ignited on meeting his future wife, May Walshe, in 1916. Raised in a convent in Spain, May was so immersed in the culture that the language of her dreams was Spanish. It was hardly surprising that he would turn to one of the best-known works of Spanish literature to critique issues such as self-invention, social change, questions of truth, and the cult of individualism at the time.Miguel de Cervantes published the first part of Don Quixote in 1605, followed by a second volume in 1615, and ever since the central eponymous and comical character has been popular as a satirical metaphor for those not enamoured of the political classes, or of the self-satisfied. Formerly Alonso Quijano, the delusional old man read so many chivalric novels that he lost his mind. Led by his over-ripe imagination, he decided to transform himself into a knight. He created a cardboard helmet and found himself an ancient horse and an old suit of armour. In the guise of Don Quixote he took to the roads to serve his nation as a chivalric knight, but failed miserably in the face of a series of catastrophic events. Along the way he acquired the services of an elderly assistant, Sancho Panza, otherwise known as the magician, whose role was initially self-serving, yet ultimately, he helped his master through the reality of the terrible tribulations that they encountered. The first image in a series of three relating to Don Quixote was El Prestigiador Despojado (The Magician), a portrait of Sancho Panza, which was painted by the artist in 1918. It is now in the collection of the Crawford Gallery in Cork.Keating did not return to the theme again until the late 1920s, and when he did, it was Don Quixote’s character that offered him the opportunity to allegorically critique the impractical pursuit of idealist goals by politicians, and individuals amid the socially, economically, and politically problematic years of the late 1920s and 30s. Indeed, it was Don Quixote who gave his name to the term ‘quixotic.’ Thus, this version, Quixote, was the first of two images of the unlucky knight. Painted in the artist’s home in Killakee in the Dublin Mountains in 1927, it was initially sent to an exhibition in Boston organised by the then President of the RHA, Dermod O’Brien.Quixote is a quiet and contemplative painting in which the eponymous antihero appears without his suit of armour. He sits in an undefined but decorative interior setting, his hand on a book, his sword and helmet on the table, thinking about his future, and of his supposedly chivalric deeds. But he has yet been fully taken over by the delusions that haunt the character in the book. That was to come in the second version of the painting, which Keating produced amid major political change in Ireland in 1932, and titled Don Quixote (sold in Adams in 2010).Don Quixote is described in the novel as tall and gaunt. Keating always chose his models to suit the character he wanted to portray. In this instance, he used a man with suitable physical attributes from among those that modelled the Dublin Metropolitan School of Art. The same man appears in this version, Quixote (1927), in Quixote Model’s Interval (1927) (private collection), in Good Old Stuff (1928) (private collection) and in Don Quixote (1932).Dr Éimear O’Connor HRHAAuthor: Seán Keating: Art, Politics, and Building the Irish Nation (IAP, 2013).Director: The Tyrone Guthrie Centre at Annaghmakerrig.

A boxed lot of old master engravings and some later old master scenes (Q).

Print of an Old Master drawing, 'The Holy Family and Saints', 16" x 11" with blind stamp. (unframed).

Print of an Old Master drawing, 'Figures in Venetian Cloisters' 19" x 12.75" with blind stamp. (unframed).

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

A small collection of Old Master prints, various sizes from 9.5" x 6.75" to 9.5" x 12".(unframed) (5).

A group of three antique etchings of Continental views, and another of an Old Master scene (4).

A folio of old master engravings of continental city views and other later prints and sketches (Q).

A collection of Old Master prints, 3 laid on board, various sizes from 5.5" x 3" to 15" x 19.75", (unframed) (9).

ERTE (ROMAIN DE TIRTOFF) (1892-1990) Coat design for Henri Bendel signed ‘Erté’ (lower right), Grosvenor Gallery label carrying description ‘Artist: Erte; Title: Henri Bendel: Coat; Medium: Gouache and metallic; Date: 1916; Stock No: 9622. Size: 9 1/4 x 6 1/2’ (on reverse) gouache on paper 16.8 x 11.7 cm Executed in 1916 Provenance: Grosvenor Gallery, London (gallery label affixed on the reverse of frame) Private collection, Italy Regarded as one of the best known artists of the Art Deco movement, the Russian-born Romain de Tirtoff is one of the foremost fashion and theatrical designers of the twentieth century. He designed sets for shows in Paris, London and New York, and dance costumes for the Ballets Russes, and Hollywood actresses, such as Norma Shearer. Some of his earliest costume designs were created in 1913 for ‘Le Minaret’ featuring one of the earliest ‘belly dancer’ showgirls - Mata Hari. For 22 years he worked for Harper’s Bazaar and designed more than 240 magazine covers. The artist also wrote fashion reviews, ran social chronicles, and drew sketches of costumes, accessories, hats, shoes, jewellery and interior design. Born in St. Petersburg to the old noble family Tyrtov (his father was a lieutenant general in the navy), as a child he attended cultural gatherings and travelled to Europe with his mother, where he was introduced to the elegance typical of the high society, saturared with lavish jewellery, garnments, decorative designs and classical art. In 1900, at the age of eight, Romain Tyrtov and his family visited the Exposition Universelle in Paris, which presented a comprehensive display of the Art Nouveau style. In St. Petesburg, he studied drawing under the Russian master of realist painting Ilya Repin. In 1912, at the age of nineteen, Romain de Tirtoff moved to Paris and changed his name to Erté (‘R’ and ‘T’ in French). In Paris, Erté worked with Parisian couturier Paul Poiret, and during World War I Erte lived in a villa in Monte Carlo. Prince Nicholas Ourousoff, a distant cousin, came to live with him and was his business manager. Nicholas first suggested a relationship with Harper’s Bazar in New York. Erté designed clothing for Henri Bendel’s, which ‘at the time, [...] was the epitome of chic and fashion-forward in New York’. The store was essentially founded in 1895, when Henri Bendel began making hats for the city’s elite. By 1913, Bendel was a true pioneer in the luxury fashion industry in the United States, and a fashion promoter. The first fashion show in New York was by Bendel, as well as he was the one who brought Coco Chanel to the United States. It was not only sleek forms and clear lines, but also his personal approach defined Erté’s designs: ‘Clothes are a kind of alchemy; they can transform human beings into things of beauty or ugliness... Elegance is an innate quality, it cannot be acquired. A woman of humble background can be elegant by virtue of her appearance, her carriage and movements, her way of speaking and a thousand other details. Chic is elegance within a context of what is currently fashionable; woman can be elegant even it she is dressed in yesterday’s fashions, or in a highly personal style.’ - wrote Erté in his his 1975 autobiography, Things I Remember.

A fine late 18th century ivory and printed vellum fan, engraved by F. Bartolozzi (1727-1815),the leaf printed and handcoloured in England with cherubs in reserves, and flower garlands, emblematic of the Power of Love, the ivory sticks and guards probably from Dieppe, carved with neoclassical figures, birds and vessels, an old label states that the fan was gifted to Mrs John Hall by Bartolozzi, possibly the wife of John Hall, glass manufacturer in Bristol or a contemporary engraver of the same name, cased.An identical fan is in the Royal collection RCIN 25378. Although the fan in the Royal collection is attributed to Antonio Poggi he is known to have published works by Bartolozzi and John Hall.Literature - In the central medallion winged Cupid (holding a kithara, similar to a lyre), symbolising Love, rides a lion. On the left is Cupid with stick and ball; on the right is the infant Hercules. All these figures may be taken as symbols of the power of love; they all derive from Antique gems. The central figure is copied from the gem engraved (i.e. carved) by Protarchos, which was illustrated several times in the seventeenth and eighteenth centuries. The guards feature a decorative winged interpretation of the moon goddess Diana.A line of printed text, with the name of the fan-maker and publisher Antonio Poggi (fl. c. 1769 - after 1803), is just visible at the foot of the leaf, above the gorge. Mr Poggi, of St George's Row, Hyde Park, was highly regarded both as a maker of fans and as a painter. He is said to have arrived in London in the train of Pasquale Paoli, the Corsican patriot, and exhibited pictures at the Royal Academy in both 1776 (when he was still based in Rome) and in 1781. After Fanny Burney visited his shop with Sir Joshua Reynolds in March of the latter year, she recorded seeing:some beautiful fans, painted by Poggi, from designs of Sir Joshua [Reynolds], Angelica [Kauffmann], West, and Cipriani, on leather; they are, indeed, more delightful than can well be imagined: one was bespoke by the Duchess of Devonshire, for a present to some woman of rank in France, that was to cost £30 . . .The Power of Love was the earliest dated fan to be published by Poggi. It was followed by Victory in 1782, with Children playing Battledore and Children with Tops in 1788, Shakespeare's Tomb (after Angelica Kauffman) in 1790 and Cupid and Psyche in 1797. An auction of Poggi's stock held in London by Messrs Christie and Ansell on 11 April 1783 included fans made by Poggi himself (and by Bartolozzi, Kauffman and West), while lots 99-116 were described as 'Drawings of Fans'; these included The Universal Power of Love which presumably relates to the design shown on the present fan.Poggi frequently published the work of the engraver Francesco Bartolozzi (1725-1815), and Lionel Cust believed that Bartolozzi rather than Poggi engraved this fan leaf. A total of eighteen engraved fan leaves, including the present one, were included in the catalogue raisonné of Bartolozzi's work. The artists responsible for the designs that Bartolozzi engraved included Cipriani, Angelica Kauffmann, Joshua Reynolds and Benjamin West.Later in his career Poggi set up as a dealer in Old Master drawings, and in 1793 he helped to disperse Sir Joshua Reynolds's collection. By 1801 he was supplying drawings to the Prince of Wales (the future George IV). In February 1803 he wrote to request payment of his invoice: he was on the point of 'quiting [sic] this Country' after 'various disappointments'. It is unlikely that this fan has an early royal provenance; it was purchased by Queen Mary from the Red Cross Gift House in July 1916.Text adapted from Unfolding Pictures: Fans in the Royal Collection, 2005fan radius 27.5cm, case 62cm wide

16th C. Old Master Portrait of a Gentleman. Dated 1587 upper right. Oil on panel. Appears to be unsigned. With family crest upper left. Provenance: Alberta Orta collection- Ex Art Director of Vogue Magazine. Sight Size: 11.75 x 8.75 in. Overall Framed Size: 17 x 14 in.

School of Rubins "Pan & Syrinx" Old Master Painting. Appears to be unsigned, has not been examined out of frame. Sight Size: 38 x 27 in. Overall Framed Size: 45 x 35 in.

Large European School Old Master Painting of Saint Teresa. 17/18th century. Oil on canvas. Appears to be unsigned. Provenance: Important private central Florida collection. Size: 55 x 32.75 in.Unframed.

Artist: Robert Motherwell (American, 1915 - 1991). Title: "Tricolor". Medium: Original color lithograph. Date: Composed 1973. Dimensions: Overall size: 14 1/2 x 10 5/8 in. (368 x 270 mm). Image size: 12 1/4 x 9 3/16 in. (311 x 233 mm).Lot Note(s): Signed in pencil with the initials, lower left; signed and dated in the plate, upper right. A proof aside from the edition of 125. White wove paper. Wide (full?) margins. Fine impression. Very good to fine condition. Literature/catalogue raisonne: B24. Comment(s): Another impression of this print sold for £822 (US$1,368) at Christie's, London (Old Master, Modern & Contemporary Prints, Sale #6740), 07/02/2003, lot #297). Image copyright © Licensed by VAGA, New York, NY. [21817-3-600]