We found 5655 price guide item(s) matching your search

ANTONIO DE SALAMANCA 'Retato de le Colona di Roma', from Speculum Romanae Magnificentiae, etching, 29 x 36cm; another similar; and further loose Old Master engravings by or after Anton Wierix II; Collignon etc.. all unframed (9) Prov: The late Eric Gerald Stanley

Large unsigned 20thC oil on canvas, "The fruit pickers", after the old master, framed,The oil measures 60 x 75 cm

Large, unsigned, 20thc oil on board, after the old master in pleasing gilt frame,The oil measures 102 x 86 cm

A SCOTTISH GEORGE II SILVER CASTER AND COVER, 15CM H, CRESTED, MARKED UNDERNEATH, COVER APPARENTLY UNMARKED, WANTING MAKER'S MARK ASSAY MASTER HUGH GORDON EDINBURGH 1744, 5OZS 10DWTS Condition reportSmall old repair to dome of cover, good gauge and colour, moderate wear consistent with age

* Prints & engravings. A mixed collection of approximately 150 prints, mostly 19th century, etchings, engravings and lithographs of portraits, costume, genre, topographical views, 'old master prints', sporting, original drawings, music covers, classical, military and music covers, various sizes and conditionQty: (approximately 150)

A 20th century black metal deeds box and collection of vintage 20th century children's parlour games and playing cards. The box reads Bristol City S.B & D.F. Society - Deeds of 151 Glos'. Rd & Other Securities. Included in the card games are The Jolly Old Maid, Music Master, Lexicon, Snap, various sets of playing cards and a Trick Coin bank. 

A superb collection of 10 LPs by popular 60s garage/ psych bands. Artists/ titles include 13th Floor Elevators - Live (IALP 8, US stereo, record Ex/ sleeve Ex). The Electric Prunes inc Release of An Oath (RS 6316, US stereo, Ex/ VG+) & The New Improved Electric Prunes - Just Good Old Rock And Roll (RS 6342, US stereo, Ex/ VG+). The United States Of America - S/T (CBS 63340, Dutch stereo press, Ex/ VG+), MC5 - Back In The USA (SD 8247, US stereo, Ex/ VG+). The Seeds inc Web Of Sound (GNPS 2033, US stereo, Ex/ Ex), Fallin' Off The Edge (GNPS 2107, US stereo, Ex/ Ex), Future (GNP 2038, US stereo, Ex/ Ex), Legendary Master Recordings (SNTF 746, UK stereo, Ex/ Ex) & Raw & Alive: Merlins Music Box (GNPS 2043, US stereo, Ex/ Ex).

Pair of Old Master red chalk drawings - a family group in landscape and an accompanying work, in glazed frames, 14cm x 18cm

Old Master red chalk drawing - family group and a goat beneath a tree, in glazed frame, 22.5cm x 33.5cm.Provenance: Reeman Dansie, from the collection of Roger Fry's granddaughter

John Speed - framed map of Buckinghamshire 1610, framed by The Old Master Galleries, Map Specialists, 19 Rathbone Place, Oxford Street, W1 (glazed both sides) 55.5 cm x 43 cm

A BLUE AND WHITE ‘BESTOWING THE EDICT’ CHARGER, KANGXI MARK AND PERIODChina, 1713-1722. The steep sides rising from a slightly tapering ring foot to an everted rim. The interior finely painted in deep cobalt blue with a dignitary bestowing an edict to a peasant farmer, accompanied by an attendant holding a canopy and a small elephant, two birds flying in the sky above, the exterior with three evenly spaced blossoming plum branches. The backside with the six-character mark da Qing Kangxi nianzhi within a double circle and of the period.Provenance: From an old French private collection.Condition: Very good condition with old wear, light surface scratches, some firing flaws, few minuscule glaze flakes, minor fritting. The foot rim with superficial markings and soiling, including traces of rust, from a metal mounting which once was applied for wall suspension.Weight: 2,418 gDimensions: Diameter 40.3 cm, Height 7 cmLarge dishes like the present example, where the entire surface of the vessel is given over as the major decorative area, provided the Kangxi ceramic artists with a wonderful opportunity to demonstrate their skills in painting. The style chosen to paint the scene here, probably commemorating an actual event, is a version of the so-called ‘Master of the Rocks’ style. This style, which seems to have developed towards the mid-17th century, continued to be popular in the early years of the Kangxi reign, with fewer but bolder examples being made after the turn of the century. It was by no means limited to the brush of a single artist, or just to rock and landscape painting.Instead, the style is characterized by the use of ‘hemp-fiber’ strokes, slightly sinuous and in seemingly broken lines, seen to great effect in the skin of the elephant and the clothes of the figures on the present lot. These strokes are also found on related but slightly earlier blue and white dishes (see auction result comparison) in the gentle slopes of rock formations and, in smaller applications, on the clothes of figures. But as porcelain production developed during the Kangxi reign, away from the decorative settings of the late Ming period towards a more mature style, the ‘hemp-fiber’ strokes became ever more striking and imposing as they appeared on larger figures against an undecorated background, exactly as in the present dish.Auction result comparison: Compare with a related blue and white dish of significantly smaller size at Sotheby’s New York in Kangxi: The Jie Rui Tang Collection on 20 March 2018, lot 312, sold for USD 60,000, and another considerably smaller dish at Christie’s New York in Fine Chinese Ceramics and Works of Art on 18 September 2003, lot 312, sold for USD 23,900. Compare also with a blue and white brushpot, dated c. 1640, painted with a similar subject, at Sotheby’s London in Fine Chinese Ceramics and Works of Art on 16 May 2012, lot 112, sold for GBP 37,250.康熙款和時期青花人物盤 中國，1713-1722年。盤沿外翻。盤內青花描繪官員把法令賜給農民，身後有隨從和一頭大象。空中有兩隻鳥在空中飛舞。盤外有三個均勻分佈的梅花樹枝。圈足青花雙圈六字款“大清康熙年制”。 來源：法國私人老收藏 品相：狀況良好，有舊磨損，輕微的表面划痕，一些燒制缺陷，很少的釉面開片，輕微熔結。 圈足上有金屬痕跡，表面有污漬，包括鏽蝕痕跡。該盤曾經挂在墻上。 重量：2,418 克 尺寸：直徑40.3 厘米, 高7 厘米 拍賣結果比較：一件相似尺寸明顯較小的青花盤，售于紐約蘇富比 Kangxi: The Jie Rui Tang Collection 拍場2018年3月20日, lot 312, 售價USD 60,000；一件尺寸更小的盤售于紐約佳士得 Fine Chinese Ceramics and Works of Art 拍場2003年9月18日，lot 312, 售價USD 23,900. 一件相近主題，約1640年間的青花筆洗，售于倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日，lot 112, 售價GBP 37,250.

A BLACK AND WHITE JADE ‘SEEKING SHELTER’ SNUFF BOTTLE, ‘MASTER OF THE ROCKS’ SCHOOL, QING DYNASTYChina, 18th century. Extremely well-hollowed through a small mouth, the mostly opaque stone is of a deep black tone with white shadings to one side, skillfully utilized by the lapidary in the carved relief depiction of a man holding an umbrella in the black night, desperately trying to find shelter before a perfect storm.Provenance: From an old private collection in Ohio, USA.Condition: Excellent condition with minor wear, microscopic nibbling here and there.Stopper: White jadeite cabochon with shades of apple green, finely carved spoonWeight: 81.3 gDimensions: Height including stopper 69 mm. Diameter neck 20 mm and mouth 7 mmThe flattened and rounded rectangular body rises from a thick oval foot to a short cylindrical neck with a concave top. Thin and translucent white veins on a plain black ground to the backside. The surface with a fine patina and a smooth and unctuous manual polish.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Literature comparison: For other examples of snuff bottles from the Master of the Rocks School, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, the Mary and George Bloch Collection, Vol. 1, pp. 332-369, nos. 128-141. The bottle, no. 128, pp. 322-323 exhibits a very similar material and style to the presently offered bottle.Auction result comparison: Compare with a related snuff bottle from the same school at Christie’s New York in The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V on 13 September 2017, lot 217, sold for USD 47,500. Compare also with a related snuff bottle at Sotheby’s New York in The Joe Grimberg Collection of Chinese Snuff Bottles on 14 September 2010, lot 70, sold for USD 23,750.清代蘇作墨玉巧雕人物場景鼻烟壺 中國，十八世紀。幾乎不透明的石料，小口，掏膛完整。深黑色玉帶有白色紋理，巧雕刻一個人在黑夜裡拿著一把雨傘，試圖在一場完美的暴風雨之前找到住所。 來源：美國俄亥俄州私人老收藏 品相：狀況極佳，輕微磨損，局部有細的磨損 壺蓋：白色翡翠飄綠，小壺匙 重量：81.3 克 尺寸：含蓋總高69 毫米，頸部直徑20 毫米，嘴部直徑7 毫米 扁平式，溜肩，橢圓形足内凹，短圓柱頸。 背面通透的純黑色面上有細而透明的白色紋理。 表面包漿細膩，光滑無瑕。 拍賣結果比較：一件相近蘇作鼻烟壺，見紐約佳士得 The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V 拍場，2017年9月13日 lot 217, 售價USD 47,500.；另一件相近鼻烟壺見紐約蘇富比The Joe Grimberg Collection of Chinese Snuff Bottles 拍場，2010年9月14日 lot 70, 售價USD 23,750.

A RUSSET JADE SNUFF BOTTLE, ‘MASTER OF THE ROCKS’ SCHOOL, QING DYNASTYChina, 1740-1840. The opaque stone of a richly mottled russet tone with patches of greenish-yellow, skillfully carved in relief with a phoenix in flight next to a towering pine tree above the roof of a pavilion to one side, and a small roof for a well under a willow to the reverse.Provenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong. Old collector’s label ‘88’ to base.Condition: Very good condition with minor wear, minuscule nibbling to mouth.Stopper: Green aventurine cabochon with black collar and neatly carved spoonWeight: 97.5 gDimensions: Height including stopper 72 mm. Diameter neck 18 mm and mouth 7 mmThe rounded rectangular body rising from an oval foot to a short cylindrical neck.Auction result comparison: Compare with a related snuff bottle at Christie’s New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1563, sold for USD 30,000.清代蘇作留皮鼻烟壺 中國，1740-1840年。不透明的玉石，斑駁的赤褐色調，夾雜著淡黃色斑塊，巧妙地浮雕鳳凰，旁邊是亭子、高聳的松樹，一側是小屋，小井，和柳樹。 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta and Omar Kilborn的兒子，出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。 圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況極佳，輕微磨損，嘴部輕微磕損。 壺蓋：碧璽，黑色蓋托，精雕小壺匙 重量：97.5 克 尺寸：含蓋總高72 毫米，頸部直徑18 毫米。嘴部直徑7 毫米 橢圓形底足，短頸 拍賣結果比較：一件相近鼻烟壺見紐約佳士得Fine Chinese Ceramics and Works of Art拍場，2012年3月23日 lot 1563, 售價USD 30,000.

A CARVED ZITAN TABLE-FORM ‘SHOULAO AND BOYS’ MINIATURE STAND, QINGChina, 18th-19th century. The rectangular top supported on shallow legs and carved in high relief with Shoulao in the center, smiling at a recumbent deer in front of him, beside two boys carrying gigantic peaches, and a gnarled pine tree with leafy vines to his other side, all amid ruyi-shaped clouds.Provenance: From a British private collection. Old, only partly legible lacquer-inscription reading ‘Chinese … £155’ to bottom.Condition: Very good condition with old wear, occasional light scratches, few nicks and microscopic nibbling to edges, and tiny natural age cracks.Weight: 522.5 gDimensions: Length 27 cmThe rare and prized zitan wood was available only to the master craftsmen employed by the Woodworks (Muzuo) in the Palace Workshop. Historically, zitan was primarily grown in southern India and Southeast Asia, with a very small quantity known from the southern provinces of present-day Guangxi, Guangdong, and Jiangxi in China. Appreciated for its jade-like silky texture, fine and dense grain, and deep luster, it was the favored timber of both the Ming and Qing courts. Zitan became the Qianlong Emperor’s most favored wood type and he spared no expense in acquiring it. The wood’s long growth period, limited availability, and high demand primarily from the Imperial court, led to its excessive felling and eventual disappearance in China by the early 18th century. At court, zitan was predominantly used for the decoration and furnishing of the many halls and palaces of the Forbidden City. Its use was scrupulously monitored, and the emperor gave special instructions to ensure the most economical and responsible use of the palace’s zitan supply to avoid any waste.Literature comparison: A related, low shaped rectangular wood stand can be found in an eighteenth-century hand scroll painted by an anonymous court master, entitled ‘Pictures of Ancient Playthings’, scroll 6, currently in the Percival David Foundation, London, and illustrated by E. Rawski and J. Rawson, China: The Three Emperors, 1662-1795, Royal Academy of Arts, London, 2005, pp. 252-3, pl. 168. Another related example can be found in an anonymous court painting, Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor, dating to the late Kangxi period (between 1709-1723), illustrated ibid., pp. 258-9, pl. 173.Auction result comparison: Compare with a related carved zitan xiaoji stand at Sotheby’s London in Fine Chinese Ceramics & Works of Art on 6 November 2013, lot 53, sold for GBP 10,000.清代紫檀雕壽老拜壽方座中國，十八至十九世紀。長方形底座，短腿，表面浮雕壽老拜壽圖。壽老居中，身側一隻臥著的鹿，旁邊是兩個童子，抱著幾個著碩大的桃子，而另一側則是一棵蒼松，枝葉茂密。四周圍繞著如意形的雲朵。 來源：英國私人收藏。底部舊時漆描 ‘Chinese … £155’ 。 品相：狀況良好，有舊磨損，輕微划痕，少量划痕和微小的邊緣磕損，以及很小的自然年齡裂縫。 重量：522.5 克 尺寸：長 27厘米 拍賣結果比較：一件相近紫檀雕刻小几售于倫敦蘇富比 Fine Chinese Ceramics & Works of Art 拍場2013年11月6日, lot 53, 售價GBP 10,000。

A CORAL-INLAID AND OPENWORK ZITAN ‘POMEGRANATE’ RUYI SCEPTER, QINGChina, 18th century. Skillfully carved in high relief with the head as two pomegranates showing many seeds neatly inlaid in coral. The slender shaft carved as a gnarled branch with several small leaves and vines, all bearing smaller pomegranates. Note the finely carved imitations of worm holes.Provenance: Fleurdelys Antiquites, London, United Kingdom. Madame Laurence Paul. Label with initials “LP” to backside. An Austrian private collection.Condition: Excellent condition with minor wear, minuscule nicks here and there, occasional light scratches. The wood with a superb patina, naturally grown into a deep reddish, almost black color, with distinct crab-claw marks and an unctuous overall feel.Weight: 127.1 gDimensions: Length 35 cmWith two small beads, one of celadon and russet jade and the other of amber, connected to an old fabric string with two tassels. The ensemble most likely of the period.This scepter is made from the precious and highly esteemed zitan, a timber available to the master craftsmen in the Muzuo (Wood Workshop) belonging to the Zaobanchu (Imperial Palace Workshop). With its jade-like silky texture, extremely fine and dense grain, and subtle and deep luster, zitan was the favored timber of the Ming and Qing courts.Auction result comparison: Compare with a zitan ruyi scepter of 52 cm at Sotheby’s Hong Kong in Fine Chinese Ceramics and Works of Art on 8 April 2011, lot 3335, bought-in at an estimate of HKD 500,000-700,000.清代紫檀雕石榴枝鑲珊瑚如意杖 中國，十八世紀。精緻的浮雕，如意杖頂部飾有兩個石榴，整齊地鑲嵌了很多珊瑚作爲石榴籽兒。 細長的杖身雕刻成粗壯的樹枝，上面有幾片小葉子和藤蔓，挂著可愛的小石榴，局部形象雕刻了蟲蛀小孔。 來源： 倫敦Fleurdelys Antiquites。Laurence Paul女士。背面標簽上注明“LP”。一個奧地利私人收藏。 品相：狀況極佳，有輕微磨損，到處有微小的刻痕，偶有輕微划痕。 美麗的包漿，自然生長成深紅色近乎黑色，具有明顯的蟹爪紋與溫潤的質感。 重量：127.1 克 尺寸：長35 厘米 拍賣結果比較：一件紫檀如意杖52 厘米見於香港蘇富Fine Chinese Ceramics and Works of Art 拍場，2011年4月8日，lot 3335, 估價HKD 500,000-700,000。

AN OPENWORK AND RETICULATED ZITAN BRUSHPOT, BITONG, QING DYNASTYChina, 1644-1912. Of cylindrical form, the exterior exquisitely carved in high relief with a continuous scene of flowers, pine and willow trees, and animals, including monkeys, goats, rats, birds, and phoenixes, finely detailed with close as well as distant mountains. Signed Gu Jue in traditional Chinese characters, and carved either by the master himself or a close follower.Provenance: Zhou Shengli (1951-2018). Acquired ca. 1990. Thence by descent within the same family to the present owner. Zhou Shengli was born in Shanghai, graduated from Shanghai Institute of Mechanical Engineering in 1977, and studied painting under Lu Yanshao (1909-1993) from 1978. In the early 1990s, Zhou established the ‘Baosteel Painting and Calligraphy Society’. In the next 10 years, he and his colleagues participated in various national calligraphy and painting competitions and won over twenty of the highest prizes and awards. A painting by Zhou was auctioned once in 1995 by Gallery Duo YunXuan in Shanghai for a price of RMB 52,000, breaking the record for works by living artists at that time. His paintings are now exhibited in the prestigious Beijing Gallery, along with many of China’s most important artists.Condition: Old wear, several natural age cracks and minor losses with small old fills, few minuscule nicks, occasional light scratches. Overall fine condition, commensurate with age. Superb patina which over the centuries has naturally grown into a dark-brown color with a distinct deep-purple luster of the wood.Weight: 842.4 gDimensions: Height 15 cmThe wood of a fine grain and color, the carver masterfully utilizing the variegating tones for accentuations in the composition, appearing much like sunlight falling onto the respective areas.The brush pot is signed by the carver, Gu Jue (1662-1722), and carved either by the master himself or a close follower, whose designation was known as Zong Yu. The third character in the signature reads zhi (‘carved by’). A native of Jiading, Jiangsu province, Gu was one of the most famous bamboo carvers active during the reign of the Kangxi Emperor and whose surviving works are extremely rare. Gu especially excelled in very fine and detailed carvings of figures and landscape within highly complex compositions, often combining high relief with shallow carving. The quality of the present brush pot is simply breathtaking, therefore it is possible that it was indeed carved by the master himself.Literature comparison: A related brush pot signed by Gu Jue is in the Metropolitan Museum of Art, accession number 1994.382. See a similar bamboo brush pot carved with a landscape design and signed by Gu Jue, from the Eugene Fuller Memorial Collection in the Seattle Art Museum, illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, Part I, Hong Kong, 1978, pl. 50. Compare also the brush pot dated to the early Qing period, signed Jiyou zhongxia Gu Zongyu zhi (‘Made by Gu Zongyu in the Summer of Jiyou year’) in the Palace Museum Collection, illustrated in The Palace Museum Collection of Elite Carvings, Forbidden City Publishing House, 2002, p. 55, no. 26. Compare also one illustrated in ‘Chinese Decorative Arts’, Metropolitan Museum of Art Bulletin, New York, Summer 1997, p. 50.Auction result comparison: Compare with a related brush pot at Christie’s Hong Kong in Fine Chinese Ceramics and Works of Art on 30 May 2005, lot 1293, sold for HKD 10,760,000, and another at Sotheby’s Hong Kong in Scholarly Works of Art from the Mary and George Bloch Collection on 23 October 2015, lot 5, sold for HKD 5,160,000. A brushpot attributed to Gu Jue was offered at Sotheby’s Hong Kong in The Robert H. Blumenfield Collection of Chinese Bamboo Carvings on 7 April 2015, lot 3008, bought-in at an estimate of HKD 2,500,000-3,500,000, and one described as ‘School of Gu Jue’ was sold by Christie’s Hong Kong in The Feng Wen Tang Collection Of Bamboo Carvings and Furniture on 3 June 2015, lot 2828, for HKD 1,360,000.清代紫檀木雕筆筒 中國，1644-1912年。本品直筒形，直口，直腹，平底，精美浮雕茂密森林裏猴子戲耍的情景。不同的樹木，鳥類以及山羊等不同動物，此件器物雕飾巧致，疏透玲瓏並，細節生動逼真。顧珏款，可能爲大師本人，或是其同期匠人或學生。來源：周生力(1951-2018) 收藏。大約購於1990年代。直至現任藏家前一直保存在同一家族中。周生力出生於上海，師從陸儼少(1909-1993) 學畫。1990年代他和他的同事們參加了許多書法和繪畫比賽，並贏得了二十多個獎項，從而建立了“寶鋼書畫學會”。 他的一幅畫曾在1995年上海朵雲軒參加拍賣以52,000元的價格拍出，打破了當時在世藝術家的作品紀錄。 現在，他的畫作與許多中國最重要的畫家一起在著名的北京畫廊展出圖片：周生力與陸儼少，約 1970 至1980年間。品相：舊磨損，一些自然年齡裂縫和少量舊填充物，很少的微小划痕，偶爾的輕微划痕。 總體狀況良好，與年齡相稱。 幾個世紀以來，極好自然生長成深棕色的古銅色包漿，並具有明顯的深紫色光澤。重量：842.4 克 尺寸：高15厘米木材質地細密，色澤鮮豔，雕刻師熟練地運用不同色調來強調構圖，看起來很像陽光直射到各個區域。筆筒上刻清代雕刻大師顧珏（1662-1722）款，可能爲大師本人，或是其同期匠人或學生。顧珏字宗玉，江蘇嘉定人，是康熙皇帝時期最活躍的竹雕刻家之一，其倖存作品極為罕見。 顾珏特別擅長在高度複雜的構圖中精巧細緻地雕刻人物和風景，通常將淺浮雕與淺雕結合在一起。因爲筆筒雕刻工藝令人叹为观止，所以它很可能是由顧珏亲自雕刻的。文獻比較: 顧珏筆筒可見於Metropolitan Museum of Art，編號 1994.382。另一顧珏署名的竹雕山水筆筒來自Seattle Art Museum 中的Eugene Fuller Memorial Collection，見Ip Yee 與 Laurence C.S. Tam編輯的 Chinese Bamboo Carving, Part I, 香港1978, 圖 50。故宮博物院中“己酉仲夏顧宗玉制”的筆筒，Palace Museum Collection of Elite Carvings, Forbidden City Publishing House, 2002, 圖55, no. 26. 以及紐約Metropolitan Museum of Art 的 ‘Chinese Decorative Arts’, Metropolitan Museum of Art Bulletin, New York, Summer 1997, 圖50。拍賣結果比較：香港佳士得Fine Chinese Ceramics and Works of Art 拍場2005年5月30日，lot 1293, 售價HKD 10,760,000；香港蘇富比 Scholarly Works of Art from the Mary and George Bloch Collection 拍場2015年10月23日lot 5, 售價HKD 5,160,000。香港蘇富比 The Robert H. Blumenfield Collection of Chinese Bamboo Carvings 拍場2015年4月 7日，lot 3008, 估價 HKD 2,500,000-3,500,000；香港佳士得The Feng Wen Tang Collection Of Bamboo Carvings and Furniture 拍場2015年6月3 日，lot 2828, HKD 1,360,000。

A THANGKA OF CATURBHUJA MAHAKALA, 18TH- 19TH CENTURYTibetan-Chinese. Finely painted on a black ground with the four-armed blue Mahakala seated on a lotus throne, wearing a tiger-skin dhoti, a white ribbon decorated with lotus scrolls around his shoulders, snakes as bangles and a necklace, and a five-skull crown. Holding in his principal hands a crescent knife and a skullcap, the other hands holding a vajra-handled sword and a trident.Provenance: Schoettle Ostasiatica, Germany, c. 1990 (inventory stamp and number to back). Swiss private collection, acquired from the above, and thence by descent to the present owner. Koller, Zurich, 4 June 2019, lot 161, bought-in at an estimate of CHF 15,000-25,000, auction label to reverse.Published: D. I. Lauf, Eine Ikonographie des tibetischen Buddhismus, Graz 1979, p. 115, illustrated on the cover.Condition: Very good condition with some losses and creases, some with minor old touchups.Dimensions: Size incl. frame 80 x 60.4 cm, Image size 60 x 42 cmClose stylistic similarities between the present lot and the paintings in the Yuhuage, constructed between 1750 and c. 1776, suggest that this work is an imperial commission dating to the second half of the eighteenth century, made under the supervision of Rolpai Dorje, the master of esoteric Buddhist iconography.The wrathful deity shows a fierce expression with an urna, furrowed brows, and the mouth wide open revealing sharp teeth, and is surrounded by a flaming mandorla below Chakrasamvara in yab-yum with his consort. Surrounding the lotus throne are four wrathful bird-headed deities holding skullcaps and crescent knives as well as Palden Lhamo riding a mule and holding a sword and skullcap, flanked by two further wrathful gods, the lion-headed Dakini Simhamukha and a two-armed Mahakala.With a modern frame as well as a photograph showing the reverse of the thangka, with a signature and several collector’s inscriptions.Auction result comparison: Compare with a related thangka of larger size and depicting the goddess Carcika and consort, dated to the Qianlong period, at Sotheby’s New York in Indian, Himalayan and Southeast Asian Works of Art on 22 September 2020, lot 309, sold for USD 47,880. Compare also with a related thangka of considerably larger size at Christie’s New York in Indian & Southeast Asian Art on 1 April 2005, lot 84, sold for USD 31,200.十八至十九世紀四臂大黑天唐卡漢藏。黑地上精美彩繪，四臂的藍色大黑天坐在蓮花座上，身披虎皮，白色的緞帶上飾有蓮花紋，蛇紋手鐲和項鍊，還有骷髏頭冠 。他的手裏拿著月牙刀和一個頭骨杯，其他的手拿著金剛柄的劍和三叉戟。 來源：德國Schoettle Ostasiatica，1990年代(背部印章及標籤)。瑞士私人收藏，購於上述收藏，然後傳承至現任藏家。蘇黎世Koller拍賣行，2019年6月4日，lot 161, 估價CHF 15,000-25,000, 底座可見拍賣標簽。 出版：D. I. Lauf, Eine Ikonographie des tibetischen Buddhismus（藏傳佛教圖像學）, Graz 1979, p. 115, 封面。 品相：狀況非常好，有一些損失和摺痕，有的還有些舊時小修。 尺寸：縂80 x 60.4 厘米, 畫面60 x 42 厘米 現代裝裱，一張展示唐卡背面的照片，並帶有簽名和幾個藏家的題詞。 拍賣結果比較：一件相近但尺寸更大的乾隆時期Carcika及其佛母唐卡見紐約蘇富比 Indian, Himalayan and Southeast Asian Works of Art 拍場2020年9月22日lot 309, 售價USD 47,880. ；另一件尺寸更大的唐卡見紐約佳士得 Indian & Southeast Asian Art 拍場2005年4月1日 lot 84, 售價USD 31,200.

‘LADY JIN YIYI’, BY ZHANG DAQIAN (1899-1983)Ink, watercolors, and gilt on paper. Portrait of the young Jin Yiyi, masterfully executed by the artist in the style of mural paintings from the Tang period, with elaborately coiffured hair, wearing long flowing robes with finely decorated yet somewhat ‘worn’ hems.Inscriptions: Signed Zhang Yuan. Dated yiyou year (corresponding to 1945). Inscribed “Lady Jin Yiyi, in the style of paintings from the Tang period, of the Mogao Caves”. Two seals: Zhang Yuan zhi yin and Daqian. Note that “Lady Jin Yiyi” was in fact Jin Ce (1882-1948), spouse of calligraph and poet Quan Tigan.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘38’ to one of the wooden scroll pegs.Condition: Excellent condition with very minor wear and microscopic foxing. The mounting at the upper edge with extensive wear, several tears, and partially repaired with old tape, the painting itself not affected at all.Dimensions: Image size 86.9 x 35.6 cmMounted as a hanging scroll with finely carved and lacquered wooden handles.Expert’s note: The ‘wear’ on the hems and on the less elaborately decorated ribbon is clearly intended by the artist, as the present ‘abrasions’ are limited entirely to them and not seen elsewhere in the painting. The neatly painted floral borders, though at first glance barely visible below the layer of ‘abrasions’, create a striking contrast that reminds us of the inherent yet often overlooked contradictions in nostalgia for a long-lost age.Zhang Daqian was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang’s first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.The Mogao Caves, also known as the Thousand Buddha Grottoes or Caves of the Thousand Buddhas, form a system of 500 temples 25 km southeast of the center of Dunhuang, an oasis located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years, with the very first caves built in AD 366 as places of Buddhist meditation and worship. They are the best known of the Chinese Buddhist grottoes and, along with Longmen and Yungang Grottoes, are one of the three famous ancient Buddhist sculptural sites of China.Auction result comparison: Compare with a closely related work by the same artist at Christie’s Hong Kong in Fine Chinese Modern Paintings on 1 December 2015, lot 1554, sold for HKD 687,500, and another at Christie’s Hong Kong in Fine Modern and Contemporary Chinese Paintings on 29 May 2005, lot 812, sold for HKD 504,000.張大千 (1899-1983)《仿莫高窟初唐人衣飾金怡怡夫人》 紙本設色。年輕的金怡怡夫人肖像，如初唐仕女衣飾，頭髮精心修飾，穿著長袍飄逸，裝飾精美，下擺処看上去略有“破舊”感。 款識：乙酉（1945）五月，仿莫高窟初唐人衣飾，似怡怡金夫人清鑑，蜀郡張爰。 鈴印：張爰之印，大千專家注釋：畫家顯然打算在下擺和裝飾不太精美的緞帶上再增加些“裝飾”，因為目前的“擦傷”完全限於它們，在畫中的其他地方看不到。 整潔的花卉飾紋雖然乍看之下幾乎看不到“擦傷”層，但卻形成了鮮明的對比，使我們想起了一個失散已久的懷舊內在矛盾，但它經常被人們忽略。 來源：知名繪畫私人收藏，背面藏品標簽上可見“38”品相：狀況極佳，磨損極小，並經過微觀拋光處理。 上邊緣的裝裱磨損嚴重，有幾處撕裂，並用舊膠帶部分修復，繪畫本身完全沒有受到影響。尺寸：畫面 86.9 x 35.6 厘米 天地杆雕刻精美。 拍賣結果比較：同一位藝術家相似的作品，售于香港佳士得 Fine Chinese Modern Paintings拍場 2015年12月1日，lot 1554, 售價HKD 687,500；另一件相似作品，售于香港佳士得 Fine Modern and Contemporary Chinese Paintings 拍場2005年5月 29日，lot 812, 售價HKD 504,000.

A MASSIVE BRONZE RAIN DRUM, 19TH CENTURY OR EARLIERSoutheast Asia. The heavy, round drum with a waisted base, the top and side finely cast in relief with concentric bands of decoration, the top with a star symbol in the center and groups of stylized frogs applied at the rim, the sides with pairs of loop handles.Provenance: French private collection. Condition: Good condition with minor dents, losses and bruises, some warping, natural malachite-green and copper-red encrustations, all commensurate with age and size.Weight: 14.6 kgDimensions: Height 47.5 cm, Diameter 61.5This bronze rain drum is based on the drums created by the Dong Son culture in the Red River Delta of northern Vietnam. These drums were produced from about 600 BC or earlier until the third century AD and are one of the culture's most astounding examples of metalworking. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections – spanning at least the past thousand years – between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet, and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those to the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Auction result comparison: Compare with a related bronze rain drum at Christie’s New York in The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art on 21 March 2015, lot 1011, sold for USD 32,500.

A CHAM GRANITE SCULPTURE OF NANDIChampa, 10th - 14th century. The caparisoned holy bull powerfully carved in a recumbent position with feet tucked under, the head held upright with large eyes and protruding ears, the imposing horns atop the head.Provenance: Hungarian private collection. By repute acquired before 1960 and thence by descent within the same family.Condition: Excellent condition with old wear, natural age cracks and erosion, strong weathering, small losses, and dark encrustations. Dimensions: Height 42 cm, Length 52 cmNandi is Shiva's mount and the gatekeeper of Shiva in Hindu mythology. He is seen as full of ‘joy’ (nandi) in the presence of his master. An image of controlled virility and devotion, he would typically be placed in front of a Shiva temple facing a shrine.Auction result comparison: Compare with a related Cham granite Nandi, dated to the 14th century, at Christie’s New York, Indian and Southeast Asian Art, 19 September 2002, lot 199, sold for USD 15,353.

Twenty four Sotheby's sales catalogues relating to the subject of old master paintings and important 19th Century paintings, predominantly dating around the late 1970's (24)

Zwei Schüsseln/ Terrinenunterteile, u.a. Mainz, 2. H. 19. Jh. Zinn. Ein St. im Boden Flechelinitialen "N.E.I." sowie Marken von Johann Baptist Finck d.Ä., wohl Meister in Mainz seit 1853. Vgl. Hintze VI, Nr. 333. Die andere Schüssel mehrfach alt rep., Boden graviert "J. Ch. F. 1860". D. 22 bzw. 26,5 cm Two bowls/ tureen bases, a.o. Mainz, 2nd half of the 19th century. Pewter. One bowl with flechette initials "N.E.I." in the bottom and marks of Johann Baptist Finck the Elder, probably master in Mainz since 1853. Cf. Hintze VI, No. 333. The other bowl with several old repairs, bottom engraved "J. Ch. F. 1860".

A Marchettini (born 1800), 3 pencil drawings, after Old Master paintings, including Raphael (3) A few tiny fox marks, generally good condition. There is a tear to the paper of the largest picture approximately 3 inches from the side which is just visible inside of the mount.

Kristallglasgefäß Russland Deckel Silber vergoldet 88 Zolotnik, auf dem Deckel Guilloche-Emaille und mit Silberapplikation (Doppelkopfadler), besetzt mit Diamanten im Altschliff und Rubincabochon, kyrillische Meisterpunze, 6,5 cm x 5,8 cm x 3,8 cm Crystal glass vessel Russia lid silver gold-plated 88 zolotnik, on the lid guilloche enamel and with silver application (double-headed eagle), set with old-cut diamonds and ruby ??cabochon, Cyrillic master hallmark, 6.5 cm x 5.8 cm x 3.8 cm

Pillendose Russland Silber vergoldet 88 Zolotnik, auf dem Deckel Emaille Intarsie in Form von einem Sternenhimmel, besetzt mit kleinen Diamanten im Altschliff, kyrillische Meisterpunze, 2,2 cm x 9,5 cm x 5,3 cm Pillbox Russia gold painted silver 88 zolotnik, on the lid enamel inlay in the form of a starry sky, set with small old-cut diamonds, Cyrillic master hallmark, 2.2 cm x 9.5 cm x 5.3 cm

große Zigarrenkiste Russland Silber 84 Zolotnik, kyrillische Meisterpunze, umlaufend ausser am Boden mit Nephritjade, die Nephritjadeplatten ausser die rückseitige mit vergoldeten Silberapplikationen verziert, auf dem Deckel links und rechts die Jahreszahlen 1613 und 1913, diese mit Diamanten im Altschliff besetzt, 7,7 cm x 25 cm x 16,5 cm, wohl als Andenken zum 300 jährigen Regierungsjubiläum der Romanovs angefertigt large cigar box Russia silver 84 zolotnik, Cyrillic master hallmark, circumferentially except on the bottom with nephrite jade, the nephrite jade plates except the backside decorated with gold painted silver applications, on the lid left and right the years 1613 and 1913, these set with old-cut diamonds, 7.7 cm x 25 cm x 16.5 cm, probably made as a souvenir for the 300th anniversary of the reign of the Romanovs

Klappdeckeldose Russland Silber vergoldet 88 Zolotnik, umlaufend mit schwarzer Emaille, auf dem Deckel vergoldete Silberapplikationen besetzt mit Diamanten im Altschliff und Rubincabochons, auf der Schließe Rubincabochon, kyrillische Meisterpunze 1,8 cm x 10,3 cm x 6 cm, anbei Etui Hinged lid box Russia gold painted silver 88 zolotnik, circumferentially with black enamel, on the lid with gold painted silver applications set with old-cut diamonds and ruby ??cabochons, on the clasp ruby ??cabochon, Cyrillic master hallmark 1.8 cm x 10.3 cm x 6 cm, thereby with case

Prunk Klappdeckeldose Russland Silber 88 Zolotnik, Deckel reich verziert mit dunkelblauer Guilloche-Emaille und teils vergoldeten Silberapplikationen, mittig Krone und Anker, zahlreich besetzt mit Diamanten im Altschliff und 4 Rubincabochons, mit kyrillischer Meisterpunze, 1,9 cm x 11,1 cm x 6,7 cm, anbei Etui Pomp hinged lid box Russia silver 88 zolotnik, lid richly decorated with dark blue guilloche enamel and partly gold painted silver applications, in the center crown and anchor, numerous set with old-cut diamonds and 4 ruby ??cabochons, with a Cyrillic master hallmark, 1.9 cm x 11.1 cm x 6.7 cm , thereby with case

Bilderrahmen Russland Silber vergoldet 88 Zolotnik, mit hellblauer Guilloche- Emaille verziert mit Silberapplikationen, diese besetzt mit Diamanten im Altschliff, kyrillische Meisterpunze, 11 cm x 14,5 cm Picture frame Russia gold painted silver 88 Zolotnik, decorated with light blue guilloche enamel with silver applications, these set with old-cut diamonds, Cyrillic master hallmark, 11 cm x 14.5 cm

Italian Master - 2. H. 17. Jh.   Study of a head. Oil on canvas. Laid down on card. 33.5 x 27cm. Framed. Verso: Handwritten on the card: ". fecit 1697." Estimated Shippingcost for this lot: Germany: 26,89 Euro plus 5,11 Euro VAT EU: 50,42 Euro plus 9,58 Euro VAT Worldwide: 75,63 Euro plus 14,37 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Italian Master Italian School Old Masters Face Sketch Figure / Figures Estimated Shippingcost for this lot: Germany: 28,57 Euro plus 5,43 Euro VAT EU: 50,42 Euro plus 9,58 Euro VAT Worldwide: 79,83 Euro plus 15,17 Euro VAT additional shipping insurance

Niederländischer Meister - um 1700 Flusslandschaft mit Figurenstaffage. Öl auf Leinwand. 80 x 112,5cm. Rahmen. Monogrammiert unten mittig: PA. Provenienz: Unternehmenssammlung Deutschland     Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Dutch Master The Netherlands Old Masters Landscape Painting River   Voraussichtliche Versandkosten für dieses Lot:   Absprache nach der Auktion.

Darkroom and Photographic/ camera equipment: MPP Enlarger, model 3 complete with stand, base. Durst F60 black and white enlarger. 6x6cm and 35mm. Paterson 35mm proof printer, Boxed, instructions. Set of Paterson colour printing filters in sleeve with instructions. Vintage. Durst TM60 darkroom timer. Durst Comask enlarging printing frame.Paterson micro focus finder x2. One boxed. Ilford ( old style) multigrade printing filter set. 6"x 6". Grades 1-7. Loose. Boxed. Ilford multigrade printing kit of 12 filters in holders. Filter drawer & fixings. Boxed. Ilford multigrade printing kit of 12 filters in holders in ilford plastic box.Original Ilfospeed multigrade calculator and instructions. Smiths darkroom timer. Paterson universal developing tanks Nikkor EL 50mm f4 enlarging lens. Case. Lens cap. Lovely condition. Nikkor EL 50mm f2.8 enlarging lens. Case. Nikon box. Mint condition.Will Wetzlar. 75mm f4.5 enlarging lens. Case.Dallmeyer 3.25" f4.5 Anastigmat enlarging lens. Jessop light box. Visible 9.5"x 6" screen. Kaiser thermostat controlled dish/tray warmer. 17"x 12" surface area. Various Ilford paper Polaroid Image Elite Camera. Perfect condition. Case.Polaroid Impulse AF Camera.Perfect condition.Polaroid "The Button" Camera. Weston Master 2 Light Meter in case.Weston Master 3 in case. Instruction manual. Weston Invercone attatchment in original box.Hoya 52mm HMC uv filter. Hoya Pro 1 40.5mm digital uv filter. Hoya 40.5mm circular polarizer.15/16 inch cable release with lock.Velbon DF-61 tripod. Cokin filter holder; 49mm and 52mm adapters. Various filters.Bolex Paillard 8mm movie camera. Made in Switzerland. Twin case.

A reproduction coloured print of the Madonna and two other Old Master style prints

Two Old Master style reproduction religious prints

Old Master 16th C. Drawing, After Raphael Sanzio (Italian 1483-1520) "The Fire in the Borgo" 1514. Illegibly inscribed verso. Pen/ink on laid paper. Appears to be unsigned. Watermarks; Haewood # 1591 The watermark is a Fleur de Lis within a double circle and a capital V on top of the circle. Multiple labels verso. Newhouse Galleries (New York, NY) label verso. Provenance: Dr. George Kofas collection, former professor of fine arts; University of Maryland overseas division, as well as a fine arts instructor for the Department of Defense. Sight Size: 15 x 22 in. Overall Framed Size: 23 x 35 in. Framed behind glass.

Large European School Old Master Painting depicting two flower arrangements. Oil on canvas. Appears to be unsigned, has not been examined out of the frame. Sight Size: 29.5 x 39.5 in. Overall Framed Size: 37 x 47 in.

Offered from preservation within a single ownership for the past 51 years - The ex-Sir Robert Ropner/Rodney 'Connaught' Clarke/Bill Turnbull1937 Bugatti Type 57 Surbaisse 3.3-Litre Four-Seat Sports Grand Routier 'Dulcie'Coachwork by Corsica of Cricklewoood, LondonRegistration no. DUL 351Chassis no. 57503Engine no. 16S*Based from period upon the main rails of an ex-works team 1936 Bugatti Type 57G 'Tank' sports-racing car, lightweight chassis frame*The T57S - Bugatti's finest combination of performance, comfort and drivability*Only five highly capable and competent owners from new*The last known Type 57S with Corsica coachwork in remarkably original order*The vast majority of mechanical restoration complete and ready to run*The magnate's supercar based on works Bugatti 'Tank' streamliner chassis railsHere BONHAMS is delighted to offer not only one of the most significant Bugatti Type 57 Grand Routier cars to have survived from period, but also one with an outstandingly significant history.Most notably this uniquely important Bugatti has, in effect, been preserved for the past 51 years within the single ownership of an exceptionally well-qualified British-based engineer and Bugatti marque enthusiast – the late Bill Turnbull – and it has now been established that its distinctively lightened chassis – adopted as its basis by the Bugatti factory at Molsheim during the winter of 1936-37 - re-uses mainframe members of the type designed for the renowned works-entered Bugatti Type 57G 'Tank' streamlined sports-racing cars. These super-successful aerodynes dominated both the 1936 French Grand Prix and subsequent Marne GP before setting astonishingly high-speed class world records over a range of distances and durations.While this important car's long years in Mr Turnbull's ownership have seen it mechanically restored and rebuilt to his uncompromising personal standards – since he was Chief Engineer of the renowned JCB company's Hydrapower Division during this period – its British-built Corsica bodywork, dating from 1937, has been preserved virtually untouched. In fact '57503' as offered here is believed bodily to be the last surviving 'unrestored' Type 57S. Only some 42 of these Bugatti Type 57S cars were produced in their limited run at the Molsheim factory. They were powered by an unsupercharged 3.3-litre, twin- overhead-camshaft straight-8 cylinder engine with dry-sump lubrication, and magneto ignition.This power unit drove to the live rear axle via a two-plate clutch and 4-speed manual gearbox. The rear axle was mounted on the forward ends of two reversed quarter-elliptic leaf springs and, unique to this model, passed through two large apertures in the deep-section chassis side members instead of being slung beneath them. This feature lowered the car considerably, reducing its centre of gravity height and enhancing its roadholding compared to that of the far more numerous longer, taller and heavier standard Type 57 . In fact the 'S' suffix of '57S' is generally accepted to indicate 'surbaissé' – the French term for 'low' or 'lowered' - while the alternative 'Sport' is also widely applied. The hollow front axle was suspended upon two leaf springs, each passing through the axle tube in typical Bugatti fashion. However, the Type 57S front axle was built up from two halves, with a centreline joint featuring external left- and right- hand threads supported internally by a double-ended tapering mandrel. These two halves are joined by a double-threaded external collar, permitting a limited degree of independent rotation as the springs flexed.Highly efficient, sophisticated and complex De Ram shock absorbers damped suspension front and rear. Large-diameter finned brake drums housed cable-operated alloy brake shoes. Bugatti '57503's electrics were principally by Scintilla, the windscreen wiper motor a Bosch WS12. As delivered to its first owner ex-works in 1937 the car was equipped with Scintilla headlamps, Lucas front side lights, an Ace Cornercraft rear light box, and a chrome-plated Notek 'Drive Master' driving lamp. The car also featured a Ki-Gass starting system. As discussed by Turnbull correspondents (and fellow Bugattistes) Leonard Potter and Ronnie Symondson, it seems probable this system initially had only two jets adjacent to the carburetor, subsequently altered to four - as surviving on the car today.Factory records show that Colonel Sorel - Bugatti's UK agent based in Brixton, London - placed an order with the factory on November 7, 1936, to fulfil a sale just secured by Jack Barclay Ltd. A copy of the original Jack Barclay Sales Record Card survives in this car's accompanying history file – a rare provenance document indeed. Their new customer was Mr Robert Ropner (later knighted in 1959 as Sir Robert Ropner), 28-year-old scion of the Ropner shipping-line family.Bugatti shipped 'Chassis Nu' ('unbodied rolling chassis') '57503' to England on January 29, 1937, £850 being the invoiced sum paid by Jack Barclay Ltd on February 2. They took Mr Ropner's Mercedes-Benz 540K in part- exchange valued at £800, plus a balancing cheque of £450 9s 3d - Sir Robert's 1969 memory of the price having been £1,250 being correct to within a few shillings and pence.

After The Old Master (20th century), Still Life studies, pair of oils on panel, one bearing indistinct monogram lower right, 49 x 39cm (2)

An Old Master school, oil on canvas,  winged figure seated on a pedestal, with attendant figures, with clouds and foliage, 13.5ins x 17.75ins

Mostly Jazz vinyl records including 'Stardust Hoagy Carmichael 16 Classics From The Old Music Master', 'Bing Crosby Crosby Classics Volume III', 'The Andrews Sisters Story', 'The Very Best Of The Andrews Sisters', 'The Unfamiliar Nat King Cole' etc, approximately 140 - Condition Report

Rare WW2 Merchant Navy SS Dover Hill Arctic Convoys OBE and Lloyds War Medal for Bravery at Sea Medal Group of Eight, group consists of The Most Excellent Order of the British Empire O.B.E (Civil) Officers 2nd type breast badge in silver gilt, 1939-45 star, Atlantic star, Africa star, Pacific star, Italy star, 1939-45 War medal and Lloyds War Medal for Bravery at Sea “CAPTAIN W. G. PERRIN, S.S. DOVER HILL. 4TH APRIL 1943”. The medals are mounted for wear and accompanied by Merchant Navy officers cap badge. Captain W G Perrin was awarded the O.B.E in the London Gazette 12th October 1943, “For services when the ship was bombed and damaged”. The Lloyds medal appeared in the Lloyd’s List and Shipping Gazette 5 September 1944, “Captain Wilfred Geoffrey Perrin, Master, Dover Hill. For dangerous work in hazardous circumstances. The S.S. Dover Hill, was a cargo vessel of 5,815 tons. She formed part of convoy JW. 53 bound for North Russia heavily laden with a cargo of fighter aircraft, tanks, lorries, guns and ammunition. The convoy comprised of 28 merchant vessels with an escort of three cruisers, one anti-aircraft cruiser, one escort carrier, 16 destroyers, two minesweepers, three corvettes and two trawlers. Such a heavily defended convoy reflected the importance of the cargo and the expectation of trouble from enemy attack”. The convoy set off on 15 February 1943, in a gale which developed into such a severe storm that six of the merchant ships were so damaged that they were forced to return to Iceland. The S.S. Dover Hill lost much of her deck cargo overboard, including oil drums and crated lorries, but managed to save the tanks and continue her difficult passage northwards. Despite a concerted attack by Ju-88 bombers a few days later the remaining 22 merchant ships of the convoy arrived at the Kola Inlet on 27 February. A few days later S.S. Dover Hill discharged her cargo at Murmansk, still being subjected to frequent attack from enemy bombers, and afterwards moved out to an anchorage in the Kola Inlet where the ships lay about a mile apart. The German front being only about ten miles away, these ships came under frequent low-level attack by Me. 109s and the D.E.M.S. gunners were kept very busy as they patiently awaited their escort home - indeed the gunners aboard S.S. Dover Hill successfully claimed one destroyed and one shared destroyed before the incident occurred whereby the names of several members of her crew appeared in the London Gazette. The ship’s Radio Officer David Craig, who related his experiences for the online BBC archive WW2 People’s War, “I feel that the story should be told why the names of these men should appear in the London Gazette. I write the story as I remember it but I write on behalf of the nineteen men, as we all worked together and none of us did anything different from anyone else. On Sunday, 4 April we were anchored in Misukovo Anchorage a few miles north of Murmansk and I was playing chess in the Officers’ Mess when Action Stations sounded and our guns opened up at the same time. I went through the pantry, looked out of the door, and saw two Ju. 88 bombers coming up from astern, high up. Our Bofors shells were bursting below them and when they turned away I assumed we had beaten them off and stepped out on deck. This was a foolish thing to do as, unknown to me the planes had released their bombs before turning away. Four bombs exploded close on the port side and one on the starboard side and I was blown off my feet. As I got up our gunlayer came down from one of the bridge oerlikons and pointed out a large round hole in the steel deck a few yards from where I had been standing. It was obvious that the sixth bomb had gone through the main and ‘tween decks into our coal bunkers and had not exploded. We informed the S.B.N.O, Murmansk of the situation and were advised that there were no British Bomb Disposal people in North Russia. We then realised that we would have to dig the bomb out ourselves in order to save our ship. The minesweeper H.M.S. Jason was ordered to anchor astern of us and to come alongside to render assistance if the bomb should explode, although I doubt if there would have been much to pick up. Incidentally, I did enjoy talking to the Jason by Aldis lamp during this time. You must understand that though the Dover Hill was only a battered old Merchantman she was our home and no German was going to make us leave her while she was still afloat. The Captain [Perrin] lined the whole crew up on the after deck and asked for volunteers, and 19 of us including our Captain formed our own Bomb Disposal Squad. We had no bomb disposal equipment, in fact we only had a few shovels borrowed from our stokehold and 19 stout hearts when we started digging back the coal, trying to find the bomb. The bunker was full of good British steaming coal which we were saving for the homeward run so we used a derrick to bring it up on deck, hoping to replace it when we got the bomb out. When the Russian authorities heard what we were doing, although they had many unexploded bombs to deal with in the town, they kindly offered to send one of their Bomb Disposal officers to remove the detonator if we could get the bomb up on deck. When we dug about ten feet down into the coal we found the tail fins and, by their size, decided our bomb must be a 1000lb one. Unfortunately the Germans also discovered what we were up to and came back and bombed us again, hoping to set off the bomb we were digging for. Between bomb explosions and the concussion of our own guns the coal used to fall back into where we were digging and things got difficult at times. We had to dig down approximately 22 feet before we got to the bomb, but after two days and two nights hard work we finally got it up on deck. I was standing beside the bomb with two of my fellow officers as our Russian friend started to unscrew the detonator when after a few turns it stuck. He then took a small hammer and a punch and tapped it to get it moving. I can honestly say that every time he hit it I could feel the hairs on the back of my neck standing against my duffle coat hood. After removing the detonator and primer we dumped the bomb into the Kola Inlet where it probably lies to this day. We then moved back to Murmansk for repairs. Of the 15 ships which had come to Murmansk in February, one had been sunk and four damaged. On 17 May, in company with three other ships we left the Kola Inlet and set out for the White Sea. We arrived in Economia on the North Dvina River where we stayed until 18 July when we moved to Molotovsk (Severodvinsk) and finally on 26 November, with eight other ships, some damaged, we set out for home. Since it was now dark for almost 24 hours each day and we could only do seven knots maximum speed we went north to the edge of the ice. Knowing that a Russian bound convoy was coming up to the south of us we expected the Germans to attack it and leave us alone. This in fact happened and we eventually arrived in London on 14 December 1943, in time to be home for Christmas”. After returning from North Russia the Dover Hill was taken over by the Ministry of War Transport and was sunk at Arromanches on 9 June 1944 along with other ships to form an artificial port for the invasion of Normandy.

[Fables; French]. Fabliaux or Tales, abridged from French Manuscripts of the XIIth and XIIIth Centuries by M. Le Grand, selected and translated into English Verse. With a Preface and Notes, 2 volumes, London: W. Bulmer and Co., 1796-1800, [4] xxxvii [3] 280, [2] 340 pp., woodcut illustrations throughout by John and Thomas Bewick, repaired closed tear in volume 2 signature H8, modern half morocco, 8vo (22.7 x 15.2 cm), together with: [Akenside, Mark]. The Pleasures of Imagination. A Poem. In Three Books, 1st edition, London: R. Dodsley, 1744, half-title, title-page in red and black with engraved vignette, advertisement leaf, spotting and toning, contemporary calf, covers detached, 4to (25 x 20 cm), Richardson (T. M.). Memorials of Old Newcastle-upon-Tyne, 1st edition, Newcastle-on-Tyne, 1897, 42 etched plates (some mounted), original cloth, rubbed, spine defective at head, large folio, and approximately 15 others (not collated), 19th-century English literature and British topography (including odd volumes of incomplete sets), bindings worn or defective, including Dickens, Master Humphrey's Clock, 3 volumes, 1st edition, 1840-1 (original cloth, bindings worn, volume 3 binding broken); Allom, Westmorland, Cumberland, Durham, & Northumberland, 1833 (rear cover detached); Finden's Views of the Ports, Harbours & Watering Places of Great Britain, 1839; two sets of Old and New London, London: Cassell Petter & Galpin, c.1880, 6 volumes (one set bound in 3); and similarQty: (approx. 30)NOTESESTC T35124 (Fables: the first volume is in fact re-issue of the first edition of 1796, with a cancel title-page); Foxon A139 (Akenside).

Old Master and Modern Prints Catalogues. A large collection of Old Master and modern dealers' print catalogues, circa 1980-2010, including C.G. Boerner, Valeria Bella, L'Arte Antica, Libreria Antiquaria Prandi, Christopher Mendez, Paul Prouté, David Tunick, Colnaghi, etc., mostly original printed wrappers, 4to/8vo, together with various modern exhibition catalogues, and literature printed in Italian, mostly paper bound, slim 4to and 8voQty: (12 cartons)

OLD MASTER SCHOOL. PORTRAIT OF A LADY REPUTEDLY OF THE MARLBOROUGH FAMILY, EXTENSIVELY INSCRIBED ON BACKBOARD. DRAWING. 23 x 19cms.

Certificate of Registration 1844 for the famous ex american whaler Truelove, together with an extract copy of an 1813 certificate and two relevant letters. The Truelove was constructed in Philadelphia in 1764, but was captured by the British in the American War of Independence and converted to a whaling ship in 1784 registered at Hull. It made over 80 voyages catching 500 whales and was the last pure sail ship in Baltic whaling fleets. It took relief supplies in the search for the Franklin expedition, during which time she was threatened with sinking due to pack ice several times but was the only unharmed ship of the twenty trapped by ice in Melville Bay. Captained for seventeen years by John Parker, who captained various whalers for 27 years, and who campaigned on behalf of the Inuit of Baffin Island, bringing a couple to Britain. Truelove changed to a general cargo ship in 1868 and in 1873 visited Philadelphia to celebrate her 109th "birthday". She was moored as a hulk in the Thames until broken up circa 1888 after 124 years of service. The Certificate of Registration, Hull, 1844, recites its origins in Philadelphia and that it had been previously registered at Hull in 1831, that John Parker was Master and gives a detailed description of its size, burthen and characteristics. The inside pages record changes in ownership and of Masters, including a reappearance of Parker in 1860/61 and William Barron (1861/62) who had started as an apprentice on the Truelove in 1849 and published a book 'Old Whaling Days' in 1895. Also William Wells (1854/60 & 1866/68), advisor to the Arctic explorer Benjamin Leigh Smith. Together with an extract copy of 1813 registration details mentioning the owner as William Voase of Hull, presumably a relative of John Voase, wine merchant, the first owner after the Truelove fell into British hands and who used it to ship wine from Portugal before converting it into a whaler; plus two letters and envelope (1897) from a Hull resident mentioning that he knew the Ward owners listed in the registration and also one of the crew.

Italian School (mid 18th Century), landscape with figures and cattle by a river (fragment of a larger Old Master painting), 29 x 35cms, framed

Rubino Cornici of Naples, three printed silk reproductions of Old Master paintings, 10 x 14cm

ALBERT ADAM (French 1833-1900) A PAINTING, "Sketch for English Horses," watercolor on paper, signed in black ink in monogram L/R, "A.A.," above a pencil inscribed dedication, and the artist signs again with flourish, "Albert Adam." 15 1/4" x 19 1/2" Provenance: Stair-Murdock Fine Arts, Ltd., Specialists in Old Master and 19th Century Paintings, New York, N.Y. Condition: Toning to paper throughout, some drips and moisture exposure causing drips at left side, but overall in fair to good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.

Continental, 19th century, Old Master study, inscribed in pencil 'Vatican, Jan 1817', pencil and colour, 16cm x 12.5cm.

Italian School (mid 18th Century), landscape with figures and cattle by a river (fragment of a larger Old Master painting), 29 x 35cms, framed

III: Commonwealth Coins of 1651, Patterns, Pattern Halfcrown, 1651, by T. Simon and P. Blondeau, in silver, mm. sun on obv. only, shield within wreath of oak and palm, the commonwealth of england, rev. god with vs, conjoined shields, mark of value above, edge in · the · third · yeare · of · freedome · by · gods · blessing · restored · 1651 ·, 15.07g/232.8gr/6h (ESC 62 [443]; Nathanson p.17; N 2731; cf. DNW 75, 331). Very fine, old cabinet toning over lightly reflective fields, very rare £3,000-£4,000 --- Provenance: With G. Hearn 1974; W. Lothian Collection, Spink Auction 62, 19 November 1987, lot 35 [from J. Corbitt]; bt W. Lothian January 1989. Pierre Blondeau came from Paris to England in September 1649, highly recommended for both his honesty and his ingenuity. The most innovative device he had to offer was an edge-marking process which consisted of two metal strips or bars, one fixed to a bench and the second, parallel to it, moved by a wheel. Blondeau’s device offered the prospect of a major improvement in the art of coining in England because its adoption would make possible for the very first time the relatively rapid and uniform edge-marking of mass-produced coins. Wisely, Blondeau kept his method of working secret and sought to give his cause the maximum exposure by publishing, in June 1650, his proposals to Parliament of how he would like to proceed. In 1651 fortune seemed to smile on him for the Mint committee reported in his favour, but the Mint interest, which Blondeau himself claimed included master-worker Aaron Guerdain as well as the moneyers, fought back and the upshot was a competition between the two parties. Since the dozen pieces produced by David Ramage on behalf of the moneyers proved nothing, either in quantity or quality, compared to the 300 specimens edge-marked by Blondeau, there can be no doubt as to the victor in this competition was. Nonetheless, Blondeau could claim no real victory: while the Commonwealth lasted, he remained without formal employment at the Mint (cf. Challis, 1992, pp.329-30)

Chiswick Press. Sonnets, by Alfred Forman, printed for private circulation only, Chiswick Press, 1886, one or two minor spots, original limp vellum, slight soiling, small 4to, limited edition 49/50 signed by Charles Whittingham, printer, together with [Roy, William]. [Burying of the Mass - Satire on priesthood, especially Cardinal Wolsey]. Rede me and be nott wrothe for I say no thynge but trothe..., [reprinted by Charles Whittingham, Chiswick, 1845], satirical colour arms of Wolsey to title, printed in black letter, some light spotting, untrimmed, bookplates including Bernard Warrington, Pickering Collection, old bookseller cutting tipped-in at front, original cloth, chipped label to spine, loss at foot of spine, upper joint splitting, some fading, 8vo, limited facsimile edition of 100 copies (facsimile edition of the original first published in Strasbourg in 1528), plus Cuala Press. Lords and Commons. Translations from the Irish, by Frank O'Connor, The Cuala Press, Dublin, 1838, title with vignette in red, original cloth-backed boards (spine a little spotted), 8vo, with others including Happy Christmas, by E., P. and J. Gill, D., S. and M. Pepler, S. Dominic's Press, 1919, A Song about Tsar Ivan Vasilyevitch, Aquila Press, 1929, limited edition 112/750 (rebacked), and The Chorle and the Birde. Done into English from the French by Master John Lydgate, Swan Press, 1929, limited edition 97/100Qty: (19)

A collection of old master prints, prints, various sizes, (qty).

A lithograph of an old master drawing, 12.5" x 9".

HANS HYSING (SWEDISH 1678-1753)PORTRAIT OF THE HON. WILLIAM GEORGE SUTTON (D. 1713), SON OF ROBERT SUTTON, 2ND LORD LEXINGTONOil on canvasSigned and inscribed with identifying inscription lower left237 x 142.5cm (93¼ x 56 in.)The present lot depicts the young Hon. William George Sutton in an expensive red, silk tunic, wrapped with a sumptuous blue drape. The portrait was likely to have been painted after the young boy's death and inscribed with his age to the desk on which he leans. The Hon. William George Sutton depicted in the present lot was the only son of Robert Sutton, 2nd Baron Lexington and Margaret, the daughter of Sir Giles Hungerford of Coulston Wiltshire. William George Sutton passed away at the age of 15 in Madrid, whilst his father served as an ambassador there between 1712-1713. Robert Sutton and Margaret had two other children, Leonora, who also passed away in childhood and Bridget who married John Manners, 3rd Duke of Rutland. Robert Sutton was an English diplomat who supported William of Orange and was employed within his court. In 1692 he was appointed a Privy Counsellor and a Gentleman of the Bedchamber to King William between 1692-1702. The barony became extinct on the death of Robert Sutton but his estates including that of Kelham Hall descended to Lord Robert and Lord George Manners-Sutton, his grandchildren, in whose ownership this picture presumably became. Kelham HallThe Kelham estate was first acquired by William Sutton from the Foljambe family. The house was upgraded by William's son Robert Sutton, 1st Baron Lexington after the Civil War but this was destroyed by fire in the reign of William and Mary. Its replacement was built c.1730 by John Sanderson for Bridget, the Duchess of Rutland, the only surviving child of the second Lord Lexington and sister to William George. She had married John Manners, 3rd Duke of Rutland. This building was also eventually be destroyed by fire in 1857, and was again rebuilt.  Hans Hysing (1678-1753)The present lot was painted by Hans Hysing who was born in Sweden in 1678. He was apprenticed to a goldsmith before studying portrait painting under David van Krafft. Hysing left Stockholm for England in 1700 and joined artist Michael Dahl as his pupil and studio assistant. From 1715 he was working independently albeit in the manner of his master Dahl. He developed close relationships with important patrons such as George II, Sir Robert Walpole and Arthur Onslow. Condition Report: The canvas has been relined. There are old nails visible recto along the right hand edge and partially along upper edge where the work has been relined. There is associated paint loss around some of these nails. There are visible stretcher, evidence of old craquelure and patches of bitumen to the paint surface. Also evidence, visible to the naked eye of significant infilling to old craquelure. Ultraviolet light reveals retouching throughout, further infilling to craquelure and a cloudy varnish may conceal further restoration.Condition Report Disclaimer

A COLLECTION OF SIX ASSORTED PLASTER ARCHITECTURAL MOULDINGS19TH AND 20TH CENTURIESComprising; two 'masters' with bands of fruiting vine and ribbon-and-stave respectively, each inscribed HOUSE OF LORDS 38501; a very large and elaborate cavetto moulded cornice, with a recessed diapered frieze; and three further examplesCatalogue Note: The 'master' frieze panels marked House of Lords are believed to have been created as part of the post WWII restoration of bomb damage to the Palace of Westminster, London. Condition Report: Please note, the lowest moulding in the catalogue image is a duplicate. Please see additional image for details of the sixth moulding.All with marks, knocks, scratches and abrasions commensurate with age and use. Various old chips and nibbles. Some larger areas of loss - please refer to images for extent. Various fragile areas, movement of the items could result in further losses. Please refer to images online for visual reference to condition. Please note, we are unable to inspect the items off the wall. Later fixture may be applied to the backs. Condition Report Disclaimer

* Nicholson (George, 1795?-1838). Views in the vicinity of Liverpool, 1832, a sketchbook comprising 17 pencil drawings of buildings and landscapes, mostly full-page on rectos, with a number of blank leaves, the first signed to lower right, some titled, e.g. 'Ancient Hall of the Ireland family, situated behind the Gatehouse called the Old Hut, Halewood. Property of John Blackburn Esqr. Weds. July 18th 1832', 'Pemberton nr. Wigan, July 21st', 'Woodchurch Church, May 28', 'West Dingle', 'Raby', sheet size 17.7 x 26.6cm (7 x 10.5ins), all edges gilt, original burgundy morocco gilt, rubbed, oblong 4toQty: (1)NOTESGeorge Nicholson was from a family of artists, and following his father's premature death in 1814, hastened by anxieties over debt, the whole family engaged in artistic work. Mr. Nicholson, who had been a school master in Manchester and a typographer in Liverpool, was a self-taught wood engraver, and had given both George and his brother, Samuel, instruction in drawing and engraving. Their mother executed skilful copies of well-known pictures hand-embroidered on silk, and their sister, Isabella, exhibited botanical watercolours and landscapes at the Liverpool Academy of Art between 1829 and 1845. George himself also exhibited there some 50 drawings between 1827 and 1838, mostly landscapes in watercolour or pencil. In 1821 he was awarded the silver Isis medal of the Society of Arts for a drawing of Stirling Castle. In 1821 and 1824 respectively he published Twenty-Six Lithographic Drawings in the Vicinity of Liverpool and Plas Newydd and Valle Crucis Abbey, as well as a volume entitled Eight Select Views, in the County of Carnaervon, published around 1827 under the patronage of the renowned Ladies of Llangollen, Eleanor Butler and Sarah Ponsonby.

Cookery – The Old Master Cookery Book (1927) and 19 others (20)

Anonymer Altmeisterkopist des 18./19. Jh., ''Madonna del Divino amore'' nach dem in Neapel befindlichen Original von Raffael, Öl auf Lwd., doubl., rest. u. retusch., partieller Farbverlust, 72 x 58 cm, ger. 89 x 75 cmAnonymous old master copyist of the 18th/19th century, ''Madonna del Divino amore'' after the original by Raphael, located in Naples, oil on canvas, doubled, restored a. retouched, partial loss of color, 72 x 58 cm, framed 89 x 75 cm

Anonymer Altmeisterkopist um 1800, ''Lavinia Vecellio als Pomona'' nach Tizian, Öl auf Lwd., rest.-bed., zwei Risse, Farbabplatzer etc., 100 x 75 cm, ger. 125 x 100 cmAnonymous old master copyist circa 1800, ''Lavinia Vecellio as Pomona'' after Titian, oil on canvas, restored-touched, two tears, paint chipping, etc., 100 x 75 cm, framed 125 x 100 cm