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Peter Swann, British Contemporary, Old Master, 3D Wood and Acrylic, 14 x 17ins.

A LARGE CHINESE BLUE AND WHITE 'PHOENIX AND PEONY' DISH KANGXI 1662-1722 The deep sides rising from a tapering foot to a slightly everted rim, painted to the centre with a pair of phoenix perching on rockwork, large peonies blossom around the mythical birds, with two insects in flight above, with a channelled footrim, the base with a paper label for Sydney L Moss Ltd, London, 33cm. Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).Raymond and Dorothy Smith met in Caracas, Venezuela, in 1939 whilst Raymond was serving as Attaché at the British Embassy liaising with the US on behalf of British Security. They married the following year shortly before returning to the UK. Dorothy then worked for the Ministry of Information in London and Raymond served with the Intelligence Corps in France and various countries in the Far East. After the end of the Second World War, Raymond and Dorothy returned to Venezuela where they made their home. Raymond became a consultant representing various Defence and Aviation companies including British Aerospace, Marconi Plessey and Rolls Royce among others. In 1960, he was awarded the CBE and subsequently in 1967 the KBE for services to British exports. Raymond and Dorothy maintained close ties with the UK and they frequently travelled to London, becoming avid art collectors. Their Old Master and Impressionist works collection included two pieces by Canaletto amongst many other artworks. Their wide-ranging collections, including their collection of Chinese Art, were acquired from the mid 1960s through to the 1980s, principally from Sotheby's and Christie’s in London.清康熙 青花鳳戲牡丹紋碟來源：Raymond Smith KBE紳士（1917-2002）及Smith女士（1918-1996）收藏。附倫敦Sydney L Moss Ltd標籤。

A CHINESE WHITE GLAZED PEAR-SHAPED VASE 18TH CENTURY Carved with flowers growing amongst scrolling leafy branches, the design contained between bands of ruyi-heads and lappets, the neck decorated with pendant leaves, with two applied handles shaped as ruyi sceptres, 30.8cm. Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).Raymond and Dorothy Smith met in Caracas, Venezuela, in 1939 whilst Raymond was serving as Attaché at the British Embassy liaising with the US on behalf of British Security. They married the following year shortly before returning to the UK. Dorothy then worked for the Ministry of Information in London and Raymond served with the Intelligence Corps in France and various countries in the Far East. After the end of the Second World War, Raymond and Dorothy returned to Venezuela where they made their home. Raymond became a consultant representing various Defence and Aviation companies including British Aerospace, Marconi Plessey and Rolls Royce among others. In 1960, he was awarded the CBE and subsequently in 1967 the KBE for services to British exports. Raymond and Dorothy maintained close ties with the UK and they frequently travelled to London, becoming avid art collectors. Their Old Master and Impressionist works collection included two pieces by Canaletto amongst many other artworks. Their wide-ranging collections, including their collection of Chinese Art, were acquired from the mid 1960s through to the 1980s, principally from Sotheby's and Christie’s in London.Cf. Bonhams Hong Kong, 28th November 2017, lot 30 for a pair of related Qianlong mark and period white glazed carved bottle vases also with ruyi-shaped handles.十八世紀 白釉刻划花紋雙耳瓶來源：Raymond Smith KBE紳士（1917-2002）及Smith女士（1918-1996）收藏。

A PAIR OF CHINESE CLOISONNE 'LUDUAN' INCENSE BURNERS AND COVERS 19TH CENTURY Each cast as a luduan, their horned heads forming the hinged covers, each with its mouth agape revealing its tongue and sharp fangs, brightly decorated with large scrolls and geometric designs reserved on a ground of royal blue scales, with loose bells and tassels suspending from their collars, the mythical beasts standing upon sinuous snakes, with six character Xuande marks to the bases, each together with a pierced wood stand, 35cm, each 6.5kg. (4) Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996), acquired in a London auction c.1975. Cf. Compendium of Collections in the Palace Museum, Enamels, 3, Cloisonné in the Qing Dynasty (1644-1911), p.57, no.24 for a pair of Qianlong period cloisonné luduan also with snake-like creatures at their feet.Raymond and Dorothy Smith met in Caracas, Venezuela, in 1939 whilst Raymond was serving as Attaché at the British Embassy liaising with the US on behalf of British Security. They married the following year shortly before returning to the UK. Dorothy then worked for the Ministry of Information in London and Raymond served with the Intelligence Corps in France and various countries in the Far East. After the end of the Second World War, Raymond and Dorothy returned to Venezuela where they made their home. Raymond became a consultant representing various Defence and Aviation companies including British Aerospace, Marconi Plessey and Rolls Royce among others. In 1960, he was awarded the CBE and subsequently in 1967 the KBE for services to British exports. Raymond and Dorothy maintained close ties with the UK and they frequently travelled to London, becoming avid art collectors. Their Old Master and Impressionist works collection included two pieces by Canaletto amongst many other artworks. Their wide-ranging collections, including their collection of Chinese Art, were acquired from the mid 1960s through to the 1980s, principally from Sotheby's and Christie’s in London.十九世紀 銅胎掐絲琺瑯甪端香爐 一對來源：Raymond Smith KBE紳士（1917-2002）及Smith女士（1918-1996）收藏。1975年左右，購於倫敦一家拍賣行。

A CHINESE LACQUERED AND GILT-WOOD FIGURE OF BUDDHA DIPANKARA LATE MING DYNASTY Carved seated in dhyanasana upon a double lotus base, he holds his hands before his chest in dharmachakra mudra, dressed in loose robes decorated in low relief with scrolling lotus, bearing a serene expression on his face, his urna set with a small jewel, 27cm high. Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).Raymond and Dorothy Smith met in Caracas, Venezuela, in 1939 whilst Raymond was serving as Attaché at the British Embassy liaising with the US on behalf of British Security. They married the following year shortly before returning to the UK. Dorothy then worked for the Ministry of Information in London and Raymond served with the Intelligence Corps in France and various countries in the Far East. After the end of the Second World War, Raymond and Dorothy returned to Venezuela where they made their home. Raymond became a consultant representing various Defence and Aviation companies including British Aerospace, Marconi Plessey and Rolls Royce among others. In 1960, he was awarded the CBE and subsequently in 1967 the KBE for services to British exports. Raymond and Dorothy maintained close ties with the UK and they frequently travelled to London, becoming avid art collectors. Their Old Master and Impressionist works collection included two pieces by Canaletto amongst many other artworks. Their wide-ranging collections, including their collection of Chinese Art, were acquired from the mid 1960s through to the 1980s, principally from Sotheby's and Christie’s in London.明晚期 木加彩燃燈佛來源：Raymond Smith KBE紳士（1917-2002）及Smith女士（1918-1996）收藏。

A CHINESE CELADON JADE 'PHOENIX' BRUSH WASHER QING DYNASTY The peach-shaped vessel carved in high relief with a phoenix in flight amidst flowering blooms, with furling leaves and twisting branches forming the foot, the stone of a greyish tone with some inclusions, 16.7cm. Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).Raymond and Dorothy Smith met in Caracas, Venezuela, in 1939 whilst Raymond was serving as Attaché at the British Embassy liaising with the US on behalf of British Security. They married the following year shortly before returning to the UK. Dorothy then worked for the Ministry of Information in London and Raymond served with the Intelligence Corps in France and various countries in the Far East. After the end of the Second World War, Raymond and Dorothy returned to Venezuela where they made their home. Raymond became a consultant representing various Defence and Aviation companies including British Aerospace, Marconi Plessey and Rolls Royce among others. In 1960, he was awarded the CBE and subsequently in 1967 the KBE for services to British exports. Raymond and Dorothy maintained close ties with the UK and they frequently travelled to London, becoming avid art collectors. Their Old Master and Impressionist works collection included two pieces by Canaletto amongst many other artworks. Their wide-ranging collections, including their collection of Chinese Art, were acquired from the mid 1960s through to the 1980s, principally from Sotheby's and Christie’s in London.清 青白玉雕鳳戲牡丹桃型洗來源：Raymond Smith KBE紳士（1917-2002）及Smith女士（1918-1996）收藏。

Old Master Print from Chatsworth.- Salvator Rosa (1615-1673)Diogenes casting away his bowlEtching with drypoint, circa 1661-62, a very fine impression of the second state (of two), printed with light plate tone on laid paper with watermark of two concentric circles surrounding a Fleur-de-Lys with initials 'NA', platemark 460 x 272 mm (18 1/8 x 10 3/4 in), sheet 530 x 370 mm (20 7/8 x 14 1/2 in), minor handling creases, surface dirt, spotting, mainly marginal (unframed) Provenance:Collection of Chatsworth House, DerbyshireChristie's, Old Master Prints from Chatsworth, 5th December 1985, lot 155Literature:Bartsch 5; Wallace 103

Various Artists (17th and 18th century)Collection of over 50 French and Flemish old master printsincluding Hendrik Goltzius's 'Frederick de Vries with Goltzius's Dog', a later 18th century impression by Carlo Losi, with a good group of small etchings and copies by and after Callot, and a mixed group of others similar, engravings, various sizes, 470 x 310 mm (18 1/2 x 12 1/4 in) and smaller (unframed)

A PAIR OF GEORGE II CARVED AND PAINTED PEDESTALSMID 18TH CENTURY, POSSIBLY BY WILLIAM HALLETT (1730-1767)The serpentine tops with paterae and riband moulding above acanthus carved shaped bodies above egg and dart moulded plinthsEach 44cm high, 62cm wide, 37cm deepProvenance:The Saloon Brightling Park (then known as Rosehill House) Reputedly commissioned by John Fuller (1706-1755) for the Drawing Room at Brightling Park Sussex, circa 1747Thence by descent to his brother Rose Fuller (1708-1777) to his nephew John (Mad Jack) Fuller (1757-1834) inherited by his cousin Augustus Fuller in 1834 acquired by Percy Tew, in 1879, when he purchased the house (and renamed it Brightling Park) by descent to his son Thomas Percy Tew (d. 1853) in 1921 thence to his daughter-in law Rosemary Grissell, window of Lieut. Thomas Tew (d. 1940) and thence by descent at Brightling Park until sold Bonhams London 2nd March 2011, lot 95.The pair of stands was recorded in situ in the Drawing Room at Brightling Park during the mid-20th century (see photograph reproduced from the Grissell family album, Bonhams Catalogue 2nd March 2011, p.76) where they are shown in niches either side of the bay window. Although they are seen supporting large Chinese vases, they originally would have been made for large statues supplied by Sir Henry Cheere. John Fuller's journal records a payment of £139 to 'Henry Chere for statuary' on July 11th 1747 (East Sussex Record Office SAS/RF/15/29). The pedestals' possible association with William Hallett is based on a series of six separate payments to him amounting to £488 over a seven year period 1746-1753, the majority of which coincided with the remodelling of the house (see payments drawn from Bank of England Account and paid to 'Hallett' recorded in John Fuller's journal for 1745-1756 East Sussex Record Office SAS/RF 15/29). Stylistic comparisons with Hallett's commissions for carved interiors at The Foundling Hopsital, London, Kirtlington Park in Oxfordshire and the Drawing Room at Brightling Park. In addition decorative elements such as the trussed scrolls and cherubs' heads in the Drawing Room at Brightling Park correspond with furniture traditionally attributed to William Hallett. It should be noted that when the pedestals were entirely white when sold at Bonhams, and have subsequently been partially dry-stripped to reveal an earlier pale green ground colour to the white painted carved elements. The History of Brightling ParkBrightling Park was acquired by the iron master and gun-founder John Fuller (1680-1745) in 1705 and shortly after he renamed it 'Rosehill' in honour of his wife Elizabeth Rose, heiress of Fulke Rose of Jamaica. On the death of John Fuller, the property passed to his son John II who embarked on substantial remodelling of the house and augmenting of the estate by almost 400 hectares. John II's younger brother Rose Fuller was the next to inherit the property but did little to the house, preferring to concentrate on his political career until his death in 1777 when title of the house transferred to his nephew and most famous inhabitant known as either 'Mad Jack' or 'Honest John' Fuller (1757-1833) who employed Robert Smirke to extend the house between 1810 and 1812 as well as build garden follies including a temple and observatory. This augmented the landscaping work to the Park after designs by Humphry Repton carried out two years earlier. When John Fuller III died the house was inherited by his cousing Augustus Fuller who let the house to tenants until he sold it in 1879 to Percy Tew whose family retained ownership until it passed to the Grissells who were related by marriage. Unfortunately the part of the house that contained the Drawing Room was demolished in 1955 to pay death duties.Condition Report: Marks, scratches, chips, splits and abrasions consistent with age and use.Cracks along construction joints.Some repairs.The backs cut to sit flush with a skirting board.Evidence of old worm.Please refer to additional images for visual reference to condition  Condition Report Disclaimer

DINZ “Street scene with figures”, monochrome wash, signed lower left, bears old label verso, together with ARTHUR SUT (possibly ARTHUR SCOTT) “Briefs adjournment”, oil on paper, signed lower left and dated ’95, inscribed on label verso, AFTER ANNA SPENCE “Dog and his master”, colour print, limited edition No’d. 38/295, together with another by the same hand “Under the Umbrella”, limited edition No’d. 29/150, ERWIN GUILLERMO “Teatrin”, watercolour, crayon and pastel, signed and date 5.1.82 right, titled lower left, inscribed verso, JAMES WILSON “Flowers in a vase”, watercolour heightened with white, signed lower right and five various black and white etchings, etc

Italian School, 16th centuryThe Nativity with a choir of angels, oil on canvas laid down on panel, 52 x 76cmProvenance: John Malcolm;Alfred Gathorne-Hardy, John Malcolm’s son-in-law;to his son Geoffrey Gathorne-Hardy;thence to his nephew, Bob Gathorne-Hardy, and by descent.The Hon. Robert Gathorne-Hardy (1902-1973), known to all as ‘Bob’, was an English writer, botanist and horticulturalist. His uncle, Geoffrey Gathorne-Hardy, inherited a well-known art collection from his aunt’s family, through the great Victorian art collector John Malcolm, much of which is now in the National Collection.Bob kept some of the Old Master drawings from the Malcolm Collection, which were sold soon after his death at Sotheby’s and is referred to as the Gathorne-Hardy Collection.Bob was also a collector of Asian items, which included jade and temple figures, paintings and some Asian items, which have come by family descent and are now offered for sale.Condition report: In the thinner paint passages, such as the faces, a very fine weave canvas support is evident in the surface texture. It seems likely that this is the original painting support. In other areas the texture appears more coarse and this can also be seen in some areas of loss. It would appear that the original fine canvas has been lined onto a coarser weave support before being attached to a wooden panel. The panel has suffered from beetle infestation. Some beetle exit holes are evident on the surface of the painting with the insects now trapped behind the glass. Some of the exit holes appear recent. The original paint layers are worn in many areas. The haloes have been gilded with simple punch work around the edges, techniques usually associated with panel paintings rather than canvas.

Old Master, ink and wash, Battle scene, 33 x 23cm

1965 Jaguar S-Type 3.8 Transmission: manualMileage:49935The Jaguar Mk. II was a medium size saloon built from 1959 to 1969 as a successor to the 2.4 and 3.4 litre models which were manufactured between 1957 and 1959. It was a handsome, powerful and good handling saloon which was offered with a choice of three six-cylinder twin cam engines; 2.4 litre, 3.4 litre or 3.8 litre. After the appreciation of the Mk.I, Jaguar’s successor was well received making a good car even better.  Similar in appearance, but with a bigger glass area, it boasted a wider track to improve road holding together with minor front suspension changes to reduce body roll and all-round disc rather than drum brakes. Raced by all the top drivers of the day including Graham Hill, Roy Salvadori and Michael Parkes, the Mk. II has scored victories throughout saloon car races in the sixties and was also raced across Europe in the Tour De France and Monte Carlo rally.Originally registered on 17th June 1965, this 3.8 litre version of the Jaguar S-Type looks good in the classic colour combination of Old English White with red leather interior. This traditional look is enhanced with whitewall tyres. The interior of this S-Type has benefitted from being retrimmed at some point and displays the glorious walnut veneered dashboard and door cappings which is synonymous with classic Jaguars of this period. The S-Type was a popular car with police forces throughout the country due to the models brisk performance and good road-holding. This desirable manual gearbox example features overdrive and when requested, the 3.8 litre engine fired into life. The vendor has invoices for a front brake, master cylinder and handbrake overhaul and also for an engine service, re-sealing of the steering box and carburettor overhaul. The rear subframe has also been out and new bushes fitted, both fuel tanks have been removed and overhauled, painted and weather proofed. Offered to auction with a V5C registration document and a Jaguar Heritage Certificate, these handsome Jaguar’s always create interest when offered to auction.Guide £10,000-£14,000 Interested 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 (1812-70). Master Humphrey's Clock.DICKENS, Charles (1817-70).  Master Humphrey’s Clock. London: Chapman and Hall, 1840 [vols. II-III:] 1841. 3 volumes, large 8vo (254 x 165mm). Wood-engraved frontispieces and illustrations by George Cattermole and Hablot Browne (i.e. “Phiz”) (some spotting and staining). Contemporary half calf gilt (heavily rubbed and scuffed, section lacking from head pf spine of vol. one, upper board of vol. one loose). Provenance: Adelaide Taylor, Rectory, Stoke Newington (old inscription on front free endpaper of vol. one). FIRST EDITION IN BOOK FORM of what originally comprised, in periodical form, a collection of short stories and two novels, “The Old Curiosity Shop” and “Barnaby Rudge.” The present edition contains the full and correct ordering of the texts as they originally appeared. The first volume contains a printed dedication from the author to Samuel Rogers, extolling him for his “active sympathy with the poorest and humblest of his kind.” Hatton and Cleaver 163; Eckel pp. 69-070; Smith I:6. (3)

RUSDEN, Moses (dates unknown). A Further Discovery of Bees.RUSDEN, Moses (dates unknown).  A Further Discovery of Bees. Treating of the Nature, Government, Generation and Preservation of the Bee. With the Experiments and Improvements arising from the keeping them in transparent Boxes, instead of Straw-hives. Also proper Directions (to all such as keep Bees) as well to prevent their robbing in Straw-hives, as their killing in the Colonies. London: "Printed for the Author ... And by Henry Million," 1679. 8vo (167 x 105mm). Engraved frontispiece, woodcut typographical headpieces, 2 folding engraved plates only (of 3, frontispiece almost detached, some mainly marginal staining mostly to lower fore-corner, lightly browning). Contemporary speckled calf (inner hinges broken with several signatures starting, rubbed and scuffed, stain to rear endpaper). Provenance: J. Gilbert (old signature at head of title). FIRST EDITION. The title page describes the author as "an Apothecary; Bee-Master to the King's most excellent Majesty." The book bears two printed dedications, the first to King Charles II (" ... I make it my prayer that all your Majesties Subjects may be as loyal to your Majesty, as conformable to your laws, and as beneficial to the Publick, as these little People are to their Soveraign ..."), the second to "the Royal Society at Gresham College". Regrettably, this copy is lacking one plate: the plates that are present are all illustrated. British Bee Books 55; Walker Catalogue p.61; Wing R2313.

Old Master drawing in the manner of Rosa Da Tivoli, cattle near ruins, pencil drawing with brown and grey wash, 28cm x 25cm, unsigned, framed.

Martin Schongauer (1440-1491), Christ Blessing the Virgin, old master engraving, 15cm x 16cm. Condition - fold lines, creases, tears, generally dog earred.

Three Royal Doulton figures “The Master” (HN 2325); “The Old Balloon Seller” (HN 1315); & “The Wayferer” (HN 2362).

Willem Van De Velde The Younger [1633-1707]-Boats at anchor in a calm sea, two rowing boats in the foreground,:-signed with initials (partially lost) bottom leftgrey wash and brown ink drawing, 14 x 16.6cm.*Provenance. Sothebys Old Master Drawing Sale 18th February 1991, lot 142.With P & D Colnaghi & Co. Ltd.

Six Old Master type and other prints

1970 Aston Martin DB6 Mk2 Vantage Sports SaloonRegistration no. YKR 270J (see text)Chassis no. DB6Mk2/4255/REngine no. 400/4598/VC•One of only 240 DB6 Mk2s manufactured•An older (1980s) restoration to a high standard•AMOC Stanway Concours Volz Trophy winner (1987)•Present ownership since 2008•Offered at No ReserveFootnotes:The final incarnation of the 'DB4' family, the DB6 Mk2 incorporated many components shared with the successor DBS, most obviously the latter's wider wheels that necessitated flaring the front and rear wheelarches. All Mk2 Vantages came with the highest (325bhp) 'C' state of tune, while all cars benefited from power-assisted steering as standard. Production lasted from July 1969 to November 1970, during which time only 240 DB6 Mk2s were manufactured. According to the build record, this DB6 Mk2 Vantage was completed on 8th April 1970 but not despatched from the factory until 5th November that year, destined for Eton Garages Ltd in Windsor, Berkshire and finished in Olive with Pigskin leather interior. It is understood from a Byron International advert on file that the Aston was first registered (in Kent) on 9th November 1970 but its first owner is not known. According to the advert the earliest known owner was a Mrs Susans of Guilford, Surrey (from December 1983) followed by Frank Reeder & Sons Ltd (Performance and Specialist Cars) of Pewsey, Wiltshire (from April 1984). The advert describes four concours events attended while the DB6 was owned by Mike and Graham Reeder, including Stanway in 1987 where it is said to have won the coveted Volz Trophy. The other three outings produced one 2nd and two 3rd places, clearly demonstrating that the Reeders had done an excellent job in restoring it.The Aston was kept in a heated garage throughout the 1990s, and in December 2001 was sold to Mr Robert Stephens of Gloucestershire. Mr Stephens kept the car for two years before exchanging it with the Reeders, from whom it was purchased by Mr Paul Housego of Devon in August 2003. The current owner purchased the Aston from Byron International in November 2008 (see invoice and advertisement copy on file). At that time it was stated that the car was finished in Canyon Pearl Red with tan leather interior, and that it had been restored between March 1984 and March 1986 by the Reeders and marque specialists Goldsmith & Young (which ties in with the 1987 Volz Trophy concours award). MoT mileage totals were quoted as rising from 56,906 in October 1985 to 68,741 in August 2008. It was further noted that the DB6 had the five-speed ZF manual gearbox and that it had benefited from an unleaded conversion. Exported in 2008, the car comes with copies of its BMIHT Certificate and old-style V5C document but will require reregistering and be subject to the low rate import duty of 5% should the successful purchaser wish to resume using it in the UK. The Mk2 has received a cursory engineer's inspection and the car started and held good oil pressure. We found the brake master cylinder was sticking and, as it has been stored in recent years, it will likely require further recommissioning before being returned to the road.Lot to be sold without reserve.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com

DUNHILL OLD MASTER 5 FINEST SCOTCH WHISKY MINIATURES

Timothy Gatenby Fake Charizard, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Timothy Gatenby is a contemporary British figurative artist who nostalgically paints modern imagery such as motorways and pop culture with a traditional Old Master approach. Through his limited palette and a ghostly distortion of imagery a sense of foreboding lurks behind the softly executed painting surface in Gatenby's world. His work has been displayed at the National Portrait Gallery, Royal Academy of Art, Mall galleries and Birmingham Society of Artists. In recent years Gatenby's work has been selected for the Columbia Threadneedle Prize Exhibition (2018), Royal Society of British Artists (2018), the New English Art's Club (2014), BP Portrait Prize (2012) and the Royal Academy Summer Exhibition (2019, 2012) Gatenby's paintings feature nostalgic characters from 90s television, rendered with a painterly quality more associated with the esteem of Fine Art than the amusement of light entertainment. Familiar characters, usually known for being brightly colored and fun, are depicted in washed-out hues; their smooth cartoon-like surfaces represented as textured and greyed. The usually jovial characters of popular television are stripped of their bright, happy personalities and on them, something much more sinister is superimposed. There is a sense that these characters from happy childhood memories have been lost to the passage of time; that history has forgotten them, that they have been brushed aside in the wake of newer incarnations of characters for popular amusement; washed up at the banks of the mainstream of entertainment, becoming just an afterthought no longer foregrounded, except in these paintings. The same dynamic underlies Gatenby's motorway paintings, which take the often disparaged aesthetics of concrete and tarmac from some of Britain's major roads, and sets them as the atmosphere of landscape paintings that hint at the classical discipline which they reappropriate for a brutalist, modern setting. All the while, throughout the various styles and themes that Gatenby explores, small idiosyncratic moments crop up, where, as if for his own amusement as much as anybody else's, a joke or a pun is given expression through a depicted object seen out of place, or an expectation subverted by an oddity, giving the work a touch of the absurd, since the emotional thread spun on the notion of disgraced and forgotten figures of childhood television 'and the depressing vision obscured by petrol exhaust fumes on the highways and byways of life' becomes an irony. The works thereby achieve a certain circularity of meaning, by which a tragi-comic interpretation can be pursued as far as one wishes to take it. The forgotten characters are not forgotten after all, but return under a different guise.  

Old master print.- Baldung Grien (Hans) St Martin on Horseback, woodcut on laid paper with watermark of double-headed eagle [cf. Meder 227, datable to circa 1580-1590], a good impression of the second, final state (with Dürer's monogram), with small margins, sheet 270 x 198 mm (10 1/2 x 7 3/4 in), central horizontal printer's crease, minor surface dirt, small repaired tear within margin to lower centre, unframed, [circa 1505-1507, but later impression]

NO RESERVE Old master prints.- Bloemaert the Younger (After Cornelis) Two Singing Boys, after Abraham Bloemaert, engraving on laid paper without watermark, sheet 167 x 117 mm (6 1/2 x 4 1/2 in), trimmed within the platemark, minor damp-stain to centre right, two small repairs to lower corners visible verso, unframed, [circa 1625]; together with a group of 7 others, including four plates by Zacharias Dolendo from 'The Passion', plate nos. 1, 4, 5, and 6, Lucas Vorsterman's 'Judith with head of Holofernes', after a painting formerly attributed to Giorgione, now to Catena, and an engraving of the Virgin and Child after Guido Reni inscribed 'Presso Bombelli', various sizes, all unframed, mainly 16th century (8) .

NO RESERVE Scrap Album.- Comprising c.400 old master prints, cuttings and book illustrations, including numerous individual suites, many biblical subjects, some theatre interest, several by or after Daniel Niklaus Chodowiecki, the others mainly by German artists, engravings, etchings, some on coloured papers, various sizes, all neatly tipped onto album leaves, some minor losses, nicks, and handling creases, a few leaves loose, later blue cloth, very worn, folio, [18th century and later]

After Frank W. Wood, HM Defiance, colour print, 12x30cm; together with a 19th century colour engraving of Weymouth, drawn and engraved by William Daniell, 21.5x29cm; and an Old Master print

Follower of Jean Antoine Watteau (1684-1721)Full length study of a young cavalier, pencil and sanguine chalks heightened in white, 22 x 11cmPurchased: Colnaghi June 1968 - 'Old Master Drawings, June 5 - 28 1968, No. 39Provenance: From the Estate of the late Paul Hulton (1918-1990) Deputy Keeper of the Department of Prints and Drawings at the British Museum (retired 1981)

Italian SchoolTwo 18th century old master drawings, the largest 28cm x 19cm, one squared for transfer, unframed (2)

T * J * B * F *A gentleman wearing plumed hat, etching, 23 x 18cm; and three small Old Master head study etchings, signed with initials 'T.W.' (4)

Johan George WillPortrait of an old sea hand, etching, 13 x 9cm; and a small selection of further old master engraving subjects to include: portrait of Richard Fox; 'Belli Quantum lam Restat Acerbi; Life of Hercules; Italian sculpture; and a workshop interior, varying sizes (6)

Old master style oil on board portrait of a man with ruff, 34 x 25cm, in gilt frame

18th or 19thC Old Master school oil on canvas of a continental lady in a bonnet, maximum diameter 68cm, in ornate period gilt frame

Pair of Old Master or naive style oils on panel, fishermen tidying their nets and boats and fishermen relaxing with a woman carrying the catch on her head, both 44 x 55cm, in gilt frames

OLD MASTER DRAWING OF FIGURES ON GREY PAPER, INDISTINCTLY INSCRIBED FRONT & BACK

Twelve Sèvres plates from the 'Service de dessert Marly Rouge' for the Emperor Napoleon, circa 1809Each decorated in the centre with a butterfly reserved against a pale-blue ground within a colourful floral wreath bound with gilt ribbons against a burnished gilt band, the gilt-edged, red-ground rim with a border of formal gilt foliage within two gilt lines, 23.7cm diam. 'M.Imp.le/ de Sevres/ 1809' stencilled in iron-red, gilt marks and various incised marks (12)Footnotes:Provenance: A gift of Napoleon I to the ambassador Ferdinando, Conte Marescalchi;Thence by descent to the current ownerFerdinando Marescalchi (26 February 1754, Bologna - 22 June 1816, Modena) was a notable Italian diplomat and politician. When the French invaded Italy, he led the faction which openly declared their support of Napoleon, and he came to the attention of Bonaparte himself, who placed much trust and confidence in him.He was a strong supporter of the political reform of 1796 and when the Cispadane Republic was formed that year he became part of its executive directory. The Cispadane Republic sent him to Vienna as its plenipotentiary in 1799, but he was only able to gain a single audience with Francis I of Austria. Soon the Russo-Austrian invasion of Italy forced him and his colleagues to flee to France until they were able to return after the Battle of Marengo. In July 1800 he was made the Cispadane Republic's representative to Paris. He took part in the 1801-02 'Consulte de Lyon' in the former chapel of the Jesuit college of the trinity, where he is also depicted amongst the council in a complex and large painting by Nicolas-André Monsiau (1806-07). The Council at first suggested electing an Italian statesman as president, but no willing candidate could be found. Talleyrand then intervened and suggested that the Italians elect Bonaparte himself, due to the presence of French troops in Italy and the reluctance of the other Italian states to recognise the Cisalpine Republic - this suggestion was accepted, with Marescalchi's full support.Marescalchi lived in Paris as the Republic's foreign minister from 1802 to 1805. He was strongly supported in his work by Bernier, bishop of Orléans, who with Giovanni Battista Caprara co-organised the Concordat between Rome and Italian Republic, signed in Paris on 9 September 1803. Marescalchi also assisted in the coronation of Napoleon I on 2 December 1804. After the inauguration of Napoleon as King of Italy, Marescalchi became his representative in France, but with limited autonomy in Italy. He and Emmanuel Crétet signed a Franco-Italian trade treaty on 20 June 1808. He rented Hôtel de Massa as his Paris residence. Napoleon also made Marescalchi a count of the Kingdom of Italy in December 1810 and grand chancellor of the Order of the Iron Crown and a member of all the Napoleonic orders. He was also member of the electoral college of Reno. After Marescalchi's return to Bologna, Napoleon visited him twice. By this time Marescalchi's collection of Old Master paintings was renowned. It attracted much admiration, including that of Stendhal who, after a visit to Mareschalchi's palazzo wrote in his memoirs: 'in the house of Mr. Marescalchi there is a room to envy. It is full of exquisite paintings by Guido Reni, Guercino, Carracci. It's not the usual stuff. It is valued at 500,000 francs.' After Napoleon's abdication, Marie-Louise of Austria made Marescalchi governor of the Grand Duchy of Parma and Piacenza. He was also the Austrian emperor's plenipotentiary at Modena, where he died on 22 June 1816.For a discussion of the dessert service 'fond rouge, papillons et fleurs', commissioned for Compiègne but delivered in October 1809 to Fontainebleau, shortly before the Emperor's arrival there on 26th October for a stay of a little over two weeks see Camille Le Prince, Napoléon Ier & la Manufacture de Sèvres (2016), p. 72, and p. 278 for the entry of 11 October 1809 in the Magasin de Vente, including the composition of the service, which had a total value of 18,580 francs. Other table and coffee services were delivered to Fontainebleau at the same time, including a service with beau bleu ground that was also originally intended for Compiègne (S. Wittwer, Raffinesse & Eleganz (2007), cat. no. 64). In the imperial hierarchy, Fontainebleau ranked second among the country estates, just after Saint Cloud, and required furnishings commensurate with its importance (Le Prince, p. 72).The service comprised 180 plates, thirty-six plates (without the butterfly and floral wreath in the centre) for mounting as fruit plates, sixteen compotiers (of which half had dolphin feet), four footed bowls, four sugar bowls with eagle heads, two ice pails with elephant heads, two ice coolers of 'forme Olympique', four baskets 'forme Jasmin' and four shallower baskets. An additional four sugar bowls 'à dauphin olympique' were listed separately as a cost of 1400 francs, and four more plates were listed on 18 October 1809, and another on 25 March 1811 (Wittwer, ibid.).Two other plates from the service were sold in these Rooms, 3 December 2008, lots 371 and 372, the first of which was acquired by the Chateau de Fontainebleau. Another plate was sold in these rooms 25 May 2011, lot 363, and two more on 12 December 2012, lots 238 and 240. A further group of twelve plates were sold in these rooms on 5 July 2018, lot 223. A group comprising one of the ice pails with elephant heads, two of the sugar bowls with eagle heads, one footed bowl, six compotiers, as well as twelve plates, was sold from the estate of David Rockefeller (Christie's New York, 9 May 2018, lot 118).For further information on this lot please visit Bonhams.com

Monogram J Borghout, Dutch winter landscape with figures on the ice near a mill, canvas after an old master, 50x60 cm

Anonymous, 2 so-called "Witjes" after the old master, canvas 20th century, 34x74 cm each. Provenance collection Castle Frymerson in Sint Odiliënberg

A boxed bottle of Dunhill Old Master Finest Scotch Whisky.

The property of Ewan Cameron Brough Superior SS100 1,000cc Supercharged Special Re-creationRegistration no. not registeredFrame no. (see text)Engine no. JTOS/O 62502/S•Built as an homage to Noel Pope's Brooklands solo lap record-holding Brough•Correct extended frame•Centric supercharger•JAP 8/80 Racing engine from 1938•Sturmey Archer Super Heavy Weight gearboxThis amazing machine has been built by master craftsman and engineer Ewan Cameron, whose objective was to recreate Noel Pope's Brough Superior that set the outright motorcycle lap record of 124.51mph at Brooklands 82 years ago this very same sale weekend. Incorporating many original Brough parts, this stunning machine is a formidable re-creation: running on 105-octane fuel and lubricated by Castrol R, it delivers the same power, noise and smell as the original did 80 years ago. Brough Superior devotee Ewan Cameron will be familiar to many enthusiasts as proprietor of JAP specialists, Cameron Engineering. Ewan's Brough Superior obsession began when his father Tim Cameron sat him on the fuel tank of his 1926 Brough Superior SSl00 racer: 'My very earliest childhood memory is us shooting off up the road at high speed, with noise and smells that have guided my life ever since.' The Brough was sold but R H Clark's book The Rolls-Royce of Motorcycles remained on the bookshelf, and Ewan kept returning to the section recounting how Noel Pope, riding a supercharged Brough Superior, set the solo motorcycle lap record at Brooklands on 4th July 1939 at an average speed of 124.51mph, a mark that would stand for all time. His dream was developing. In 1987, aged 17, he bought the very first parts for the project: the Brooklands Can silencers. Over the years other period-correct parts were found and fully rebuilt. These included a rare Sturmey Archer 3 speed super heavy weight racing gearbox (originally fitted to another 1928 SS100); Castle forks (repaired and re-tubed by Jake Robbins); and a 1,000cc JAP 8/80 v-twin racing engine that was once fitted to the Trimax Formula 2 racing car built by Spike Rhiando. This 1938 engine is an early version of the ultimate racing JAP, complete with correct early-specification rocker boxes; rebuilt, pressed-up crankshaft; racing con-rods and pistons; BTH magnetos; and a total-loss Pilgrim oil pump. Running on 105-octane race fuel and lubricated by Castrol R oil, the engine is fed by a pre-war Centric 260 vane-type supercharger, taken from the Farley-JAP Shelsley special racing car. The fuel tank is from a 1924/1925 Brough Superior SS80, and all other cycle parts period correct, the rear hub, foot brake and throttle being original Brough. In 2010 a chance conversation brought the remains of an SS100 to Ewan's attention. He was there the next day, pulling out the rusty components from the bottom of the owner's garden. A deal was done and Ewan then proceeded to rebuild the Brough in its current 'Pope Brooklands' form using a new-old-stock headstock obtained from Brough Superior's then owner, Alec Card. Ewan tells us that the completed machine is mechanically perfect, running beautifully, and has been ridden to the pub! The Brough and its new owner are invited to this year's inaugural Kilometre Lance Speedrace in September, which is an event additional to the famous Bernina Gran Turismo in St Moritz. Thousands of hours brought one of the most iconic racing bikes back to life that has ever existed.NB: Although its headstock is stamped '963S', this motorcycle should not be confused with the 1928 Brough Superior SS100 '963', which is recognised by the Brough Club and resides in Argentina. For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Chapeaux d'arlequin (recto); Arlequin (verso), circa 1918 signed Picasso (lower left) black crayon on paper, double sided19.9 x 10.5 cm.7 13/16 x 4 1/8 in.Footnotes:The authenticity of this work has kindly been confirmed by Monsieur Claude Picasso.ProvenanceMarcel Michaud Collection, Lyon (acquired from the artist in 1943)Françoise Dupuy-Michaud Collection, France (by descent from the above circa 1951)Anon. sale, London, Charity Auction, 30 November 2015Acquired directly from the above by the present ownerPablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers and artists that were together crystallising the tenets and aesthetics of Modernism – a movement with Picasso at its epicentre. Quite serendipitously, this whimsical, playful work was once owned by the famous dancer Françoise Dupuy, having been gifted to her by her father, the Avant-Garde art dealer and critic, Marcel Michaud.Guiding his black crayon across the paper with fluidity and flourish, Picasso renders a series of iterations of Harlequin, the stock character of 16th century Commedia dell'Arte theatre, performed throughout Europe by travelling comedy troupes. In this present work, the character is instantly recognisable from its typifying features; bicorne hats are perched at jaunty angles and ruffled collars protrude flamboyantly. A mischievous court servant, the Harlequin would perform dazzling stunts and tricks, often acting to thwart his master and gain the affections of his love interest, Columbine. Throughout the development of the Harlequinade pantomime genre in 18th century Britain, the character evolved into a prototype for the Romantic hero. The Harlequin was possibly included in Picasso's repertoire through Barcelona's annual street carnivals, as well as Picasso's visits to the Cirque Médrano in Montmartre in his early twenties, during which he befriended the performers. Their socio-political status as outsiders gave substance to some of Picasso's most poignant early works, including the iconic La famille de Saltimbanques (1905, National Gallery of Art, Washington, D.C.), which depicts an itinerant and seemingly destitute family of performers in a desolate landscape.In this present work, Picasso traces each Harlequin with a single deft stroke. His deliberate, unbroken lines flatten them to the point of pure abstraction. The undulating loops and swirls harmonise each figure into a cohesive entity, defining it in space, yet also generating a flurried medley of movement and perspective. Picasso's goal of eliminating the contours of a three-dimensional space is a hallmark of his Synthetic Cubism, the thematic successor of the Analytical Cubism which he developed with Georges Braque between 1908 to 1912. Picasso and Braque were concerned with fragmenting three-dimensional forms into geometric facets, giving them substance through shading. Conversely, this work represents Picasso forging a more 'distilled' mode of Cubism. By reducing his Harlequins into curvilinear vignettes, Picasso seeks to evoke distortion in its purist form.Incidentally, an iconographic hallmark of Picasso's Synthetic Cubist period was his revisiting the Harlequin and other theatrical characters that were previously ubiquitous in his Rose period (1904-1906). Theodore Reff has observed that, '... like a Cubist composition, the Harlequin's costume of flat bright colours and strongly marked patterns both fragments and conceals the underlying forms, assimilating them to a surface design of great decorative brilliance. Symbolically too this interest in a form of concealment that is also a form of revelation... links Harlequin as a type and Cubism as a style.' (T. Reff, 'Harlequins, Saltimbanques, Clowns and Fools', in Arforum 10, no. 1, 1971, p. 31). Many critics – including Reff and even the psychologist Carl Jung – interpret the Harlequin as an alter ego for Picasso himself. Indeed, Picasso's famous self-portrait, Au Lapin Agile (1905, Metropolitan Museum of Art, New York), depicts the 25-year-old artist in the trademark bicorne hat and patterned garb of the Harlequin, leaning demurely at the bar with a drink in hand. In this deeply psychological scene, Picasso inhabits the melancholic essence of the outcasted Harlequin, thereby evoking his isolation as a young artist.Between the Rose period of Au Lapin Agile and the time of this present work, the Harlequin was dormant within Picasso's oeuvre for nearly a decade. Its resurgence and aesthetic transformation here might be interpreted as a re-alignment of Picasso's social and artistic identity. Indeed, 1917 represented a major turning point in Picasso's life. Motivated by the onset of the First World War, and two failed marriage proposals, Picasso travelled to Italy for the first time at the invitation of his friend, Jean Cocteau. There he designed Cubist sets and costumes for the Ballets Russes, a ground-breaking company that facilitated collaboration between Modern artists, designers, composers and choreographers, including Wassily Kandinsky, Henri Matisse, Erik Satie and Coco Chanel. Picasso's relocation to Rome scandalised his Cubist contemporaries at the Café de la Rotonde, who considered Paris the sole habitable option for artists of their calibre.At the Ballets Russes, Picasso met the young ballerina Olga Khokhlova, who he married in the summer of 1918. At the close of that same year, Picasso contributed three highly similar Harlequin drawings to Jean Cocteau's book, Le Coq et l'Arlequin (1918). This quasi-manifesto, which is at times didactic, comedic and absurd, defends the simplicity of the music of Satie and Stravinsky, reviling in turn the more bombastic compositions of Wagner and Debussy. In it, Cocteau mocks the 'fuzziness' of traditional 19th century paintings, which he interprets as facile spectacles of obscurity. Against this literary backdrop, and indistinguishably from this work, Picasso renders his harlequins at their most minimal. They evoke both Cocteau's ethos, with its speckled veil of farce, as well as the spontaneity and whimsy of Cocteau's choreography for the Ballets Russes.Just as Picasso executed this work near the close of the First World War, Marcel Michaud purchased it from Picasso in 1943 in the final stages of the Second World War. A key figure of Lyon's artistic milieu of the mid-20th century, Michaud owned Galerie Folklore and founded Groupe Témoignage in 1936, an experimental art group bringing together young sculptors and painters, many of whom were taking up the mantle of Surrealism. A few years later he gifted the work to his daughter, Françoise Dupuy who in 1951 married her husband Dominique Dupuy, and befitting to the the work's history, both are renowned for their ground-breaking contributions to dance. They performed globally as a duo aptly named 'Françoise et Dominique' in ballet, cabaret and music-hall productions. From the zeitgeist of its creation to the rich lives of its previous owners, this present work arguably serves as a remnant of the free spirit of Modernism, with interwoven ties to art, music, design and performance. Associations Pablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers an... 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

Walter Richard Sickert A.R.A. (British, 1860-1942)Portrait of Mrs Barrett signed 'Sickert.' (lower left)oil on canvas50.8 x 40.3 cm. (20 x 15 7/8 in.)Painted in 1906Footnotes:ProvenanceThe Artist, 3 January 1907, from whom purchased byBernheim-Jeune, ParisRt Hon Frederick Leverton Harris, thence by descent toMrs Gertrude HarrisSale; Sotheby's, London, 19 June 1974, lot 66aJ. Moore PollockSir Denis Rickett, thence by family descentPrivate Collection, U.K.ExhibitedParis, Bernheim-Jeune, Exposition Sickert, 10-19 January 1907, cat.no.30 (as Le Canapé rayé)London, Stafford Gallery, 27 June-July 1911, An Exhibition of Pictures by Walter Sickert, cat.no.30 (as The Striped Sofa)LiteratureJames Bolivar Manson, 'Walter Richard Sickert A.R.A.', Drawing and Design, July 1927, p.5 (ill.) (as Portrait)Wendy Baron, Sickert, Phaidon, London, 1973, cat.no.228Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.320, cat.no.266.1 (ill.b&w) In April 1906 Sickert sent his intimate friend, the society beauty and talented amateur singer Elsie Swinton (Mrs George Swinton), a series of 14 postcards, each containing a cameo sketch in pen and ink, illustrating the paintings on which he had been working in his studio at 8 Fitzroy Street between Good Friday (13 April) and the following Thursday. All were figure subjects set within a room which featured a striped green sofa, a bentwood chair, and a few heavily-framed pictures on the walls. He inscribed each card, some with the timing of his sittings, some with the identities of his four models and several with both. His models were the Belgian Daurment sisters, Hélène and Jeanne, whom he had recently met in Soho; Agnes Beerbohm – elder sister of Max, a talented dress designer, and some ten years earlier one of Sickert's lovers; and a woman identified in three sketches as 'new model'. The new model sat for two head and shoulders strict profile portraits, one on Saturday morning and one on Sunday (New Head of New Model); on Thursday afternoon she sat for a near frontal head wearing a shy smile and a large straw hat which shadowed her eyes. At no other time in Sickert's long career has his precise production over a one week period been so accurately disclosed.The paintings of Aggie Beerbohm in fancy dress and of the racy Daurment sisters are all in character. Not so the three portraits of the 'new model'. Her face and personality seem to have offered Sickert a blank canvas on which he could experiment with old master prototypes. The Thursday afternoon painting (Private Collection) is a free reworking of Rubens's Chapeau de Paille (London, National Gallery); the two profile portraits adapt the well-known Renaissance formula which Sickert regularly returned to from the 1890s to the 1930s. One of the profile heads is on offer here. The other was bequeathed by Roger Fry to the Courtauld Institute of Art. Fry probably bought it from the Savile Gallery where it had been exhibited in February 1928 (31) under the title Portrait of Mrs Barrett. But who was Mrs Barrett? Lillian Browse, in her monograph on Sickert published in 1960 (p.21) had defined her as 'charwoman', a statement which prompted Mrs Barrett's daughter-in-law to inform Miss Browse that her mother-in-law had been a dressmaker, not a charwoman', and that she had died in 1925. This raises the intriguing possibility that Agnes Beerbohm, the dress designer, may have introduced the dressmaker to Sickert. The portrait on offer here is certainly the profile begun on Sunday. The sitter's jacket or blouse on the Sunday sketch is repeatedly annotated 'RED' denoting vertical stripes, consistent with the colour used in this painting, whereas in the Fry version Mrs Barrett wears an olive green blouse, similar in tone and colour to the background wallpaper. The Sunday version is also much enlivened by the introduction of the striped sofa, the title under which it was exhibited at the Galerie Bernheim-Jeune in Paris in January 1907 and at the Stafford Gallery, London in 1911. The red and pink striped jacket worn by Mrs Barrett reappears (together with a pearl necklace) in two more, near full-face, head and shoulders portraits: The Red Blouse (The Carrick Hill Trust, Adelaide) and Le Collier de Perles (Private Collection), the latter identified in the archives of Bernheim-Jeune as La Belle Sicilienne or La Siciliana.Sickert's model, wearing different clothes, also seems to feature in two interiors executed in pastel: Blackmail: Mrs Barrett (National Gallery of Canada, Ottawa); and Mrs Barrett (Tate). Confusion struck when the Ottawa pastel was taken from its frame. Old backing labels and inscriptions were discovered which revealed it had been exhibited at the Salon d'Automne in Paris in 1905 under the title Popolana Veneziana. How can a 'new model' of Easter 1906 have sat for a picture exhibited in autumn 1905? Did Sickert deliberately mislead Mrs Swinton? And why? I have no answers. The confusing plethora of titles is typical of Sickert. He used invented titles to manipulate the characterisation of his Camden Town period models. In the case of the portraits discussed here, fashion may have misled future scholars and collectors. Heavy, upswept, rolled wings of hair are common to Mrs Barrett at Easter 1906, to an extant photograph of Mrs Barrett given by her daughter-in-law to Miss Browse, and to Sickert's 1905 model – whether Sicilian, Venetian or possibly neither. However, it is indisputable that the models for all these pictures are strikingly alike. We are grateful to Dr. Wendy Baron for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

A GEORGE II MAHOGANY PARTNER'S PEDESTAL DESKIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1750 The tooled leather inset top with ratchet adjustable writing slopes and ink wells to each side79cm high, 190cm wide, 112cm deepProvenance: Rathbeale Hall, County DublinFor a related pedestal desk of the period but of smaller proportions, see Christie's, New York, The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art, 21st March 2015, Lot 1055. Condition Report: Marks, scratches and abrasions, old chips and splits commensurate with age and use. some old repairs and some losses. handles are possibly original, they are in period taste and there are no alternate handle holes or marks from alternate handles. If the current handles are replacements then the originals most have been placed in the same positions. A number of the drawer locks are later replacements, some later 18th century in date, others late 19th/ 20th century. Some later blocks and/ or fillets of timber are present adjacent to locks to compensate for previous placement of locks or for adjacent repairs. Some fading overall. The 'drop in' sections of timber that cover the inset divisions for inkwells etc to the top are present and are likely original, with remnants of a leather/ textile pull to each remaining. Various stains to the drawer linings and to the timber beneath the ratchet adjustable surfaces. The ratchet arms are possibly replacements but hinges to each have been replaced supporting them being of significant age or original. They are very clean in appearance. The hinges of the adjustabel panels themselves are likely replacements and there are alternate 'pin holes' from what were likely the originals. The current hinges are neatly placed. The leather is possibly a replacement and may have been later re-stained black. Various marks and wear to the leather.Please refer to all additional images for visual reference to conditionCondition Report Disclaimer

A FLEMISH MYTHOLOGICAL TAPESTRY 'CEPHALUS AND PROCRIS'LATE 17TH/EARLY 18TH CENTURY, PROBABLY ANTWERPThe figures bearing the emblematic foreshadowing devices of the spear and the arrow, in a verdure settingapproximately 177cm x 126cm Provenance: Offered on behalf of a Charitable Foundation This tapestry depicts part of the story of 'Cephalus and Procris' from book seven of Ovid's Metamorphosis. The Walters Art Museum in Baltimore has in its collection a suite of four tapestries depicting the story of the ill-fated lovers. It describes the tale as 'a parable of the misfortunes caused by a lack of marital trust and fidelity'. In this panel Procris gives her husband a spear that Artemis (goddess of the hunt) had given to her. In composition, colour and style it also bears strong kinship with a painting depicting the same subject, and of a similar date, by Gerard Hoet (1648-1733), see Sotheby's, Olympia, Old Master Paintings, 6th July 2004, Lot 433. Condition Report: The tapestry with the expected fading over. Tapestry has been re-lined and a later border added. The border with fraying, wear and some losses. Some later stitching between the colour lines of the tapestry. Some small tears resulting in loose threads. Some small amounts of later stitching in places. Some of the joins between the colour lines are opening. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A WILLIAM AND MARY WALNUT BOOKCASECIRCA 1690, IN THE PEPYSIAN TASTE203cm high, 117cm wide, 40cm deepThis 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.Condition Report: Marks, scratches and abrasions comensurate with age and use. Old chips and splits, some old repairs. Some replaced veneers. This appears mainly only in small sections to the borders of the door fronts and in a small number of small sections to the side panels. Historic sun fading to the front of the bookcase prompted some simulated figuring with a dark stain/ varnish to the moulding around the glass panels and some other areas, probably during the 19th century. This has been used in some areas of the frames of the doors and to the outer banding of the right hand side panel where sun fading is apparent (see additional images)The glass is later replaced but appears hand bevelled so has age.The door lock is an 18th century replacement. The key is present. The brass escutcheons are also likely 18th century additions/ replacements. Some additional old holes adjacent to the current escutcheons indicate where previous escutcheons and possibly a small pull/ ring handle has previously been positioned. The door hinges are high quality replacements, probably 19th or early 20thc in dateThere are a total of 8 adjustable shelves. The shelf at the centre of each of the two interior sections are fixed and integral to the original interior frame of the bookcase. The shelves appear original as do the rear panels. The feet appear to have significant age and appear to engage the original holes for the feet. We cannot guarantee without a doubt that the feet are entirely original. Please refer to all additional images for visual reference to condition. Condition Report Disclaimer

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. Jeannie's (Barbara Eden) SFX bottle from Seasons 2 through 5 of Sidney Sheldon's fantasy sitcom I Dream of Jeannie. While returning to Earth from a space mission, astronaut Anthony Nelson (Larry Hagman) discovered a 2,000-year-old genie, Jeannie, trapped in a bottle. At the start of Season 2, the bottle was redesigned to coincide with the series' transition from black-and-white photography into color. This bottle comes directly from the family of Clarence Peet, a 36-year prop master and camera technician for Columbia Pictures on such classic shows and movies as I Dream of Jeannie, Guess Who's Coming to Dinner, Mutiny on the Bounty, and The Donna Reed Show. It consists of a glass Beam's Choice bourbon bottle hand-finished in high-gloss enamel paint with a hole in the base for dispersing Jeannie's purple smoke. It features a purple base coat with white, orange, and gold-color details throughout, as well as multicolor specks and a cork and plastic top. Also included is a Letter of Authenticity from Peet's granddaughter, whose father received the bottle from Peet. It exhibits signs of use and wear throughout, including minor paint chipping, but remains in excellent overall condition. Dimensions: 14" x 5" x 5" (37 cm x 12.75 cm x 12.75 cm) Estimate: $30,000 - 50,000

Old Master, pair of oils on card, roundels of classical figures, 13cm and a charcoal and chalk sketch of a sheep's head, 12 x 14cm

An interesting old master interest French oil, classical scene 

dating: third quarter of the 17th Century provenance: Prague, Heavy, octagonal, rifled, 13 mm cal. barrel with brass foresight, signed and dated 'HANS STIFTER 1665' at the breech, with gilt mark (1044 di Stockel), remains of floral engravings at the base, adjustable rear-sight; enclosed wheel lock with flat plate finely engraved with hunter and lion in the countryside, pierced under the hinge, chiselled and engraved hammer and spring, sliding pan cover; chestnut full stock entirely decorated with bone and mother-of-pearl inalys depicting effigy of hunters, animals, hop and ornamental bands, a crowned double-headed eagle under the hammer, bone patchbox cover engraved with musician, elephant, unicorn, bear and other animals among trees; anatomic iron trigger guard pierced with foliage at the edge, set trigger. Neglectacble defects and restorations. Horn-tipped iron ramrod. Hans Stifter, also called 'The old', is documented in Prague from 1648 to 1677, already Master in 1649 he became senior of the guild in 1653. Arquebusier of the court, in 1665, also for the Archduke of Saxony. length 108 cm.

Strauss (Walter L., editor) The Illustrated Bartsch, 39 vol., comprising vols 1-17; 19; 20; 23-32; 35-39; 43; 47; 48 & 141, illustrations, original brown cloth, very slight bumping to corners, New York, Abaris Books, 1978; and 35 vol. Commentaries and 11 vol. Supplements (67).⁂ An extensive and important compendium of European old master prints.

BRINSLEY (JOHN)Ludus Literarius: or, The Grammar Schoole; Shewing how to Proceede from the First Entrance into Learning, to the Highest Perfection Required in the Grammar Schooles, with Ease, Certainty and Delight both to Masters and Schollars, FIRST EDITION, woodcut decorations, some dampstaining, first few leaves repaired in inner lower corner, hole in o4 with loss of a few letters, chip at foot of Bb4 just affecting catchword, last 3 or 4 gatherings with small worm trail occasionally affecting text, last 2 leaves with some old ink scribbles and smudges, modern brown polished morocco, gilt lettered spine with raised bands [ESTC S106596], small 4to (175 x 127mm.), [Humphrey Lownes] for Thomas Man, 1612Footnotes:FIRST EDITION OF THIS FAMOUS MANUAL FOR COUNTRY SCHOOLMASTERS, complete copies of which have become scarce. It includes a detailed account of the curriculum of a school such as Shakespeare would have attended, with sections on orthography, grammar, prose and verse composition, and the translation of Latin, Greek and Hebrew. John Brinsley, Curate at Kegworth, Leicestershire, in 1591, and at Ashby-de-la-Zouch, was in 1600 appointed master of Ashby School with the help of his benefactor the third Earl of Huntingdon. Two years earlier he had married Barbara Hall, sister of his pupil Dr. Joseph Hall, Bishop of Norwich, who contributed the commendatory preface. His other pupils included the astrologer William Lilly, who later wrote that 'In the 18th year of my age [1619 or 1620] my master Brinsley was enforced from keeping school, being persecuted by the bishop's officers...'Provenance: Austin Smith, gilt leather book label; Mary Priscilla Smith, book label.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

SCOTT MYLNE (Rev. Robert): 'The Master Masons to the Crown of Scotland and their works..' Edinburgh, 1893: folio, publishers blue cloth, recased with original spine relaid, title leaf detached with old tape repair: together with: 'An Abstract of the Evidence Adduced to prove that Sir William Stewart, of Jedworth, the paternal ancestor of the present Earl of Galloway, was the second son of Sir Alexander Stewart, of Darnley...', London, printed by W Wilson, 1801: square 8vo, contemporary green quarter morocco gilt, front board detached: plus 11 other vols, large format publications relating to Scottish history and topography, mainly 19th century. (13)

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 fälschlich später aufgetragene unzutreffende Signatur. 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.Later improper signature lower left.Unframed.

Andy Warhol (1928-1987)Golda Meir (Feldman & Schellmann II.153A) Screenprint in blue, 1973, on felt, signed in felt-tip pen, from the edition of 550, published by the American Friends of the Israel Museum, New York, as a gift for attendees at the Beaux Arts Ball in New York, printed to the edges of the felt, lacking the label verso, the blue attenuated, framed Sheet 176 x 176mm. (6 7/8 x 6 7/8in.)Footnotes:ProvenanceSotheby's Old Master, Modern and Contemporary Prints, London, 21 June 2000, lot 397.Acquired from the above sale by the current owner.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

PAIR OF VERY LARGE OLD MASTER STYLE PAINTINGS OF JESUS AND MARY

18th Century Italian School/Figures Beneath Trees/bears signature verso/old master drawing (faded), 19cm x 27cm

Niederlande Altmeister 17. Jahrhundert, Stimmungsvoller Abend, netherlands old master 17th century,Öl/Leinwand, Stimmungsvoller Abend mit Personen und Musikanten. Eine Kellnerin bringt Tablett mit Austern und wird vom Soldaten umgarnt, unsigniert, rückseitig auf altem Klebezettel J.Ochtervelt (zugeschrieben), Inv.No. 1285 und betitelt, H 124 cm x B 103 cm, Holzrahmen 137,5 x 118 cm, Farbabplatzer linker Rand, rest.

Niederlande Altmeister 17./18. Jahrhundert, Interieur mit 2 Herren am Tisch, netherlands old master 17./18. century, interior with 2 gentlemen at the table,Öl/Leinwand (doubliert auf Leinwand), u. mittig signiert (unentschlüsselt), H 51 x B 38,5 cm, alter niederländischer Wellenleistenrahmen 77 x 64,5 cm, Farbabplatzer, restauriert

Altmeister 18./19. Jahrhundert, Portrait eines jungen Burschens, portrait of a young lad, old master 18th/19th century,Öl/Leinwand, Portrait eines Jungen, keine erkennbare Signatur, H 76 cm x B 63 cm, Holzrahmen 86 x 73 cm, Nachbesserung, Abrieb am Rand

Altmeister 18./19. Jahrhundert, Heilige Familie nach Raffael da Urbino, old master 18th/19th century holy family,Öl/Leinwand, doubliert auf Platte, Marienbildnis, H 135 cm x B 115 cm, ungerahmt, rest.