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[MECCA]: MATRA JAMES: (1746-1806) American Sailor and Diplomat who had accompanied James Cook on his voyage to Botany Bay in 1770. Matra served as His Majesty's Consul General at Tangier from 1786-1806. Manuscript draft (retained copy) of an A.L., unsigned, nine pages, folio, Tangiers, 28th March 1789, to Lord Sydney. Matra's diplomatic letter is written in response to a request of intelligence from his correspondent and states, in part, 'The Caravan to Mecca is composed of Merchants of Pilgrims, subjects of the Emperor of Morocco who go to Mecca - and of Merchants belonging to the States of Algiers, Tunis & Tripoly who carry on a regular trade with the Emperor of Morocco and follow its Caravans for safety. The articles which the Moorish Caravans take from Morocco are - Money, Al-haiques (the common Moorish Garment), Slippers & old red Bonnets which they very advantageously exchange with the Arabs on the road for Provisions for themselves & their beasts…….They who wish to stop at Algiers or Tunis turn off with the Merchants to those Places, and join their party again at the Salt Pits which are distant about half a days journey from Tripoli where the general Caravan is considerably increased by the Pilgrims from the three Eastern States of Barbary…….At this place (Tripoli) they provide themselves with all the necessaries for their Journey to Alexandria, which they perform in about fifty days…..The united Caravan carry on a petty commerce from place to place…..At Egypt they invest their money in Persian & Levant silks, Silks manufactured in Cairo, Raw Silk, muslins, fine Cottons, Amber, Essence of Roses, Musk & Storax…..Mules are also bought, they are purchased with 20 or 25 Dol[lar]s by the vendors who sell them for Sixty or Seventy. The Emperor checks the Caravan Trade to and from Mecca, by every possible discouragement…….Frequently too, when they are assembled at one of his Ports and ready to embark he picks a Quarrel with the richest of them and extorts money from them for a permission to proceed. These poor people thus wounded in their vitals when they return by land frequently disperse near the Frontiers and reach their own country by private Roads, by doing of which they risk both Life & Property: in the year 1786 140 of them were murdered by the mountain Arabs……The value of the Trade however which I am now representing is estimated at the annual amount of two Millions of Spanish Mexicos……The Caravan Trade from Morocco to Guinea proceeds no farther south than to Tambuctoo, the Capital of Negroeland……The Caravans consist of from one to three hundred persons…..they are convoyed and protected by the Arabs…..till they arrive at Tambuctoo: the Arabs are rewarded for the Protection which they give in proportion to the number of each Caravan & the value of its merchandize…..two Deserts must be passed, one in four days, the other in nine, and on this account a sufficient number of camels to carry water must be provided. The principal articles of commerce of these Caravans are tobacco & salt……The European Merchandize conveyed by these Caravans consists of……Fine Scarlet & Crimson cloths…..Fine Irish Linnen, but not in a great quantity…..Cloves, Nutmegs, Coral Beads, Large Amber Beads, Venetian Beads of various sorts…..Olando paper…..Brass wire, Needles & Dutch or Nuremberg gilt Paper looking Glasses. The Returns from Tambuctoo are Gold Dust, Slaves & Gum - the Gum is the same sort as that from Senegal……The number of Slaves annually imported in this Empire from Tambuctoo is estimated at 3, or 4,000…..Eunuchs are brought by these Caravans…..The King…..I am informed will give from Twelve to Twenty Eunuchs for one Horse. No Eunuchs are made in this Country, a few are brought occasionally from Turkey, or Egypt, as presents for the Emperor……It has not yet been in my power to procure any probable information of the annual amount of this commerce…..The Moors keep no Books, a dark and misterious veil is drawn over all pecuniary Property in this Country……I am afraid it will be impracticable for me to Procure Your Lordship an account of the least accuracy of the Population of the interior parts of this Country…..you may travel by a road each side of which is crowded with Arab Villages: if you pass the same way a month after not a vestage of them may remain. The Towns of the Empire are in a state not less precarious; their inhabitants are in a moment removed from their fixed Habitations by the jealousy or caprice of their master…….The Arabs…..acknowledge him [The Emperor] as the Descendant of Mahomet, as Chief of their Religion; but they will not surrender to him their Liberty…..' A letter of fascinating content relating to Morocco and its trade between Tangier and Mecca. Some light overall age wear and a lengthy horizontal split to the central fold of the final page, only just affecting a few words of text, G Thomas Townshend (1733-1800) 1st Viscount Sydney. British Politician who served as Home Secretary from 1783-89.

[VICTORIA]: (1819-1901) Queen of the United Kingdom Great Britain & Ireland 1837-1901. COWELL GEORGIANA ELIZABETH (1846-1927) Wife of Major-General Sir John Clayton Cowell (1832-1894) Master of the Queen's Household and Lieutenant-Governor of Windsor Castle. A fine, interesting small series of four A.Ls.S., G. E. Cowell, twenty-nine pages (total), Windsor Castle, 4th - 7th April 1884, each to her mother, on black bordered mourning stationery. Cowell's social letters largely focus on events in and around Windsor Castle following the untimely death of Queen Victoria's son, Prince Leopold, Duke of Albany, on 28th March 1884 and state, in part - 'Such a beautiful day & everything has been beyond words touching & imposing…..the music was divine as the…..bands played Beethoven's Funeral March, Chopin's & the Dead March in “Soul” as our dear Prince's coffin passed into the Albert Chapel, shouldered by the Highlanders & with the Queen immediately behind it - How she nerved herself is beyond humankind - not a tear or a quivering muscle & she drove in the procession right thro' the town, with the four grey ponies & scarlet liveries. The full sunshine & the tender green of the early spring all combines to make it simply beautiful. The grey Castle & Chapel all so peaceful & quiet' (4th April 1884; the day of Prince Leopold's funeral), ' “His Body is buried in peace”, we have all laid Him at rest, with the most beautiful , most touching & loving ceremony that human hearts could render……never, as long as life lasts, can one forget the……solemnity of everything, all so reverent & quiet……The only thing I sadly missed was our dear old Dean's tender, quavering tones, which made a great difference in the way the Service was read. Tomorrow I will try & write you a more full account of it all' (5th April 1884), 'As none of the papers seem to me to convey a full idea of the intensely pathetic ceremonies of the past two days (the Daily Telegph. is by far the best) I must try & write some faint description - In the first place the matter was singularly propitious…..By the Queen's particular wish we ladies all assembled on the Guard Room roof to witness the procession passing up the street……the only sound were the tolling bells of St. George's…..the big Royal Standard floating over all from the top of the Round Tower so we paused; until just as one o'clock struck, came the first boom of the minute guns, announcing that the train had arrived & in the distance below us we could catch the lamenting wail of the Pipes - in a few minutes this changed for the soft full chords of the opening bars of Chopin's Funeral March, sounding marvellously strange with the deep accompaniment of the muffled drums, & then we knew they had started! Presently came in sight……the gun carriage drawn by eight splendid dark brown gun horses…..adorned by an enormous wreath of Imperial Violets sent by the Empss. Eugenie (Her boy was a Gunner!) the coffin covered…..& on it laid the Black feather bonnet with the 'white hackle'……the Princes marched on either hand & immediately behind the Prince of Wales with the Crown Prince & the Gd. Duke of Hesse…..following them, saddest sight of all, the riderless horse……then the Queen's carriage with the white ponys “in Review Order”, scarlet grooms & outriders followed by……The Prince's Household & the rest of the Househd. in Waiting & the long procession closed with the Guard of Honour…….perhaps the most striking moment of all was when the gun-carriage wheeled under Henry VIII's gate into the Castle yard……where the Highlanders took possession of their honoured burden - not to leave it again until laid in the last earthly resting place. The Queen followed them into the Chapel & so ended the first part of the ceremony - more impressive & more beautiful in its simple grandeur than any words can express. In the evg……we went into the Meml. Chapel & I cannot tell you of the beauty of the flowers, the whole place was perfumed by the masses of violets, gardenias, roses, lilies & white lilac, the floor had been laid with black cloth & the wreaths were spread on this……At 8pm the tapers (in Charles I & Queen Anne's own silver candlesticks) were lighted, & the Chapel was left in charge of Captn. Brooke Hunt & 8 of the soldiers…..at a ¼ to 11 I went into Chapel, Lady Ponsonby & I were the only two invited ladies…..gradually the Chapel filled…..The Queen & Princesses filed into their seats……& then occurred one of the most striking & strangest effects of all - in the profound hush & silence……the precious load was gradually lowered to the level of the floor & then…..they finally adjusted the Union Jack around the coffin……& then the Dean read the service & it seemed as if the Anthem was a requiem for all the Holy Dead……whilst the final hymn was being sung, the Queen glided away in the shadows & in the immediate pause which followed, we could hear distinctly the Pipers outside……I think nothing could have been more infinitely touching or solemn for it was all so simple, so reverent, so orderly……& yet by the beauty of surroundings, the richness of colour & the perfect stillness, the scene was impressive beyond measure. The foreigners were very much struck by the way everything was carried out & all present were very much impressed by the splendid way in which the soldiers did their work' (6th April 1884), 'It was settled yesterday that the Queen & Princess Beatrice will go to Darmstadt next week for about a fortnight…….& everyone thinks it is a very good thing, especially for poor Prss. Beatrice who sorely needs a little change……The Queen is wonderfully well; marvellous, in many ways, as I have often thought Her - the courage & determination with which she has gone through everything has been beyond anything one cd. have imagined……We had a most touching sermon from our most excellent Dean yesterday. He has managed everything this week so well…..The Queen has got two most efficient & excellent young servants. The poor Dean has been nearly torn to pieces in many ways, but his quiet tact & judgment have never failed……Indeed I do not think any Sovereign cd. be more loyally served than She is by many. The Prince of Wales has said that he does not know how he cd. have managed….' (7th April 1884). A good series of letters with interesting content providing a first hand account of the funeral of Prince Leopold. Some very light, extremely minor age toning to a few pages of the letters. VG, 4Prince Leopold (1853-1884) Duke of Albany. The youngest son of Queen Victoria and Prince Albert, the Duke of Albany suffered from haemophilia which contributed to his untimely death at the age of 30 whilst staying in Cannes on 27th March 1884. He was buried in the Albert Memorial Chapel at Windsor.

An early 19th century German titled papier-mâché circular table-top snuff box, by Stobwasser of Braunschweig, of Joseph and Potiphar's Wife, after the Italian Old Master Carlo Cignani, titled in red script only, 9.6cm diam, c. 1825

Conan's (Arnold Schwarzenegger) Atlantean sword and four behind-the-scenes photos from John Milius' fantasy film Conan the Barbarian. Conan stumbled upon the Atlantean sword in an ancient tomb and used it throughout his adventures.The swords in the film were designed by legendary artist Ron Cobb and made by master bladesmith Jody Samson. This sword features Atlantean runes running along the section of blade nearest its handle, and has an interesting design quirk: the handle continues past the guard, so the weapon can be held further up. This version is made of resin and is painted silver to look like steel, with cord wrapped around the handle as a grip. The sword is intentionally distressed to look old and battle-worn, and comes with a protective, foam-padded case for transport.The sword is accompanied by four behind-the-scenes photographs showing Schwarzenegger on set in his Conan costume; Schwarzenegger relaxing in a chair; Schwarzenegger posing with an extra; and a large group of crewmembers sitting on the steps of the Temple of Set. The sword has some wear from production use and age. The paint has worn away in various places, exposing the resin underneath, and the resin has chipped away in places, most notably at the tip of the blade and on one side of the guard. The photos display only minor wear. Dimensions (sword): 96 cm x 17 cm x 4.5 cm (37 3/4" x 6 3/4" x 1 3/4"); (largest photo): 12.5 cm x 17 cm (5" x 7"); (smallest photo): 9 cm x 11 cm (3 1/2" x 4 1/4") Payment plans are not available for this lot. Please contact us for further information.Estimate: £30,000 - 50,000 M

Old Master, ink and wash, Figures kneeling beneath a flying chariot, 31 x 20cm

Old Master, sanguine chalk on buff coloured paper, Angel emerging from a tomb with onlooking figures, initialled EP in ink, 24.5 x 20.5in.CONDITION: Overall faded to a dull beige toned with more acid staining showing across the top, scuffs into the paper particularly above the central figures head and some scattered foxing, later washline mount and gilt frame no labels verso.

Italo-flämischer Meister tätig um 1600 Der Raub der Europa Öl/Lw., 59,5 x 85 cm, auf dem Keilrahmen alter Christie's-Blockstempel, etw. rest., doubl. - Das in den prachtvollen Stoffen der Kleidung deutlich an Veronese erinnernde Motiv zeigt die Entführung der Götting Europa durch den Göttervater Zeus, der dafür die Gestalt eines Stieres angenommen hatte. - Der namentlich nicht bekannte Meister dieser heiteren Komposition stammt wohl aus Nordeuropa, wahrscheinlich aus Flandern, wie die Auffassung von Figuren und Pflanzen nahelegen. Die Kenntnis venezianischer Malerei, namentlich der von Paolo Veronese, ist aber in den reich gestalteten Stoffen unübersehbar. Der Künstler wird im großen Kreis der Flamen zu suchen sein, für die eine Reise nach Italien oder ein längerer Aufenthalt im Sehnsuchtsland der Künstler obligatorisch war. Italo-Flemish Master active around 1600 The Rape of Europe Oil/canvas, 59,5 x 85 cm, on the stretcher old Christie's block stamp, some rest., relined. -

Französischer Meister tätig 2. Hälfte 18. Jh. Der blinde Belisar empfängt ein Almosen Öl/Lw., 62,5 x 69,5 cm, auf dem Keilrahmen alter Christie's-Blockstempel, etw. rest., doubl. - Belisar war ein oströmischer Feldherr des 6. Jhs. Seine bewegte Laufbahn regte die Fantasie seiner Zeitgenossen und späterer Jahrhunderte an und führte zu der Legende, er sei als blinder Bettler in Rom gestorben. Berühmte Darstellungen der Neuzeit stammen von Anthony van Dyck and Jacques-Louis David. - French Master active 2. half 18th cent. The blind Belisarius receiving Alms Oil/canvas, 62,5 x 69,5 cm, on the stretcher old Christie's block stamp, some rest., relined. -

Die Marter der Zehntausend Niederlande, A. 16. Jh. Nach der Legende die Hinrichtung von 1000 römischen, sich zum Christentum bekehrten Soldaten sowie Teilen des Barbarenheers. Öl/Nadelholz, parkettiert. 106 x 33 cm. - Teil eines Altars. Altmeistergemälde, Deutscher Maler, Gotisches Tafelbild The torture of the ten thousand The Netherlands, beginning of the 16th century According to legend, the execution of 1000 Roman soldiers who converted to Christianity and parts of the barbarian army. Oil on craddled panel. 106 x 33 cm. Old Master Painting, german painter, gothic panel painting

Blick auf den Markusplatz in Venedig mit dem an der Mole angelegtem Bucintoro Venezianischer Maler des 18. Jahrhunderts Öl/Lwd. 51 x 69 cm. Altmeistergemälde, Biblioteca Marciana, Bucentaur, Campanile, Dogenpalast, Festa del'Ascensione, Goldene Barke, Markuskirche, Stadtansicht, Vedute, Venezianische Ansicht, Zecca View of St. Mark's Square in Venice with the Bucintoro moored at the pier Venetian painter of the 18th century This was probably in preparation for the Festa della Sensa, in which the Doge symbolically married the sea on the day of Christ's Ascension by sailing out to sea with the magnificent ship of state and throwing a ring into the water. Oil on canvas. 51 x 69 cm. Old Master Painting, townscape, veduta, Venetian view

Hannot, Johannes (Attrib.) Opulentes Früchtestillleben (Leiden 1633-1684 ebd.) Auf einem Tisch eine Platte voll mit Weintrauben, Pfirsichen, Kirschen, Johannisbeeren und weiteren Früchten und ein Glaspokal, dahinter auf einer Koffertruhe ein Granatapfel. Öl/Lwd., doubl. Rechts unten auf der Tischplatte monogrammiert "JDH" bzw. "IDH". 66,5 x 80 cm. - Das Gemälde ist in der Datenbank des "Rijksbureau voor Kunsthistorische Documentatie (RKD)" (Den Haag) unter der Nummer 1001091485 registriert und nach Einschätzung von Herrn Dr. Fred G. Meijer (RKD) in den 1670er Jahren entstanden. Altmeister, Altmeistergemälde, Holländischer Maler, Niederländischer Stilllebenmaler, Obststillleben Hannot, Johannes - Attributed to Opulent fruit still life (Leiden 1633-1684 ibid.) On a table a plate full of grapes, peaches, cherries, currants and other fruits and a glass goblet, behind it on a trunk a pomegranate. Oil on canvas, relined. Monogrammed ''JDH'' and ''IDH'' on the lower right of the table top. 66.5 x 80 cm. - The painting is registered in the database of the ''Rijksbureau voor Kunsthistorische Documentatie (RKD)'' (The Hague) under number 1001091485 and was painted in the 1670s according to the estimate of Dr. Fred G. Meijer (RKD). Old Master, Old Master Painting, Dutch painter, Dutch still life painter, fruit still life

Kleines Tondo mit Engel Italien, 17. Jh. Öl/Lwd., auf Karton aufgezogen. Ø 18 cm. Altmeistergemälde, Rundbild Small tondo with angel Italy, 17th century Oil on canvas, mounted on cardboard. Ø 18 cm. Old Master Painting, tondo

Piazzetta, Giovanni Battista - Umkreis oder Attrib. Büste des heiligen Matthias mit Beil (Venedig 1682-1754 ebd.) Öl/Holz. 35,5 x 26,5 cm. - Kleinere Bestoßungen. Altmeistergemälde, Heiligendarstellung, Italienischer Barockmaler, Sakrales Motiv, venezianischer Maler Piazzetta, Giovanni Battista - cercle of or attributed to Bust of St. Matthew with axe (Venice 1682-1754 ibid.) Oil on panel. 35,5 x 26,5 cm. - Minor bumps. Old Master Painting, depiction of saints, Italian baroque painter, sacral theme, Venetian painter

Goyen, Jan van - Kreis des Blick auf einen befestigten Hafen mit Fischer- und Segelbooten (Leiden 1596-1656 Den Haag) Öl/Holz. 48 x 69 cm. - Zwei schmale, horizontale Schwundrisse. - Lit. Thieme/Becker 14. Altmeistergemälde, Burg, maritime Landschaft, Niederländischer Landschaftsmaler, Nijmegen Goyen, Jan van - cercle of View of a fortified harbour with fishing and sailing boats (Leiden 1596-1656 The Hague) Oil on panel. 48 x 69 cm. - 2 narrow, horizontal shrinkage cracks. - Lit. Thieme/Becker 14. Old Master Painting, maritime landscape, Dutch landscape painter

Dürer, Albrecht - Kopie des 20. Jh. Maria mit der Birnenschnitte Als Tondo gemalt. Öl/Holz. Rechts unten bez. "nach Dürer cop. A. Benkö". 55 x 54 cm. Altmeisterkopie Dürer, Albrecht - Copy of the 20th century Mary with the pear cut Painted as tondo. Oil on panel. Inscribed ''nach Dürer cop. A. Benkö''. 55 x 54 cm. Old Master copy

Grimmer, Abel Der Monat Mai (Antwerpen 1570-nach 1620) Flusslandschaft mit Architektur und eleganter Gesellschaft beim Picknick im Vordergrund. Öl/Holz (Tondo). Auf dem Rahmen betitelt "Maius". Ø 16,5 cm. - Ausführliches, aktuelles Gutachten von Dr. Luuk Pijl, der das Gemälde in die Zeit um 1600 datiert und es als neue Entdeckung betitelt. Er verweist darin auf einen Monatszyklus, von dem heute noch sieben bekannt sind (vgl. Reine de Bertier de Sauvigny, Jacob et Abel Grimmer, Catalogue Raisonné, Paris 1991, ca. XL, pl. 64-65, figs. 101-104). Altmeistergemälde, Flämischer Maler, Monatsbild Grimmer, Abel The month of May (Antwerp 1570-after 1620) River landscape with architecture and elegant company at a picnic in the foreground. Oil on rounded panel (Tondo). On the frame titled ''Maius''. Ø 16,5 cm. - Detailed, recent expert opinion by Dr. Luuk Pijl, who dates the painting to about 1600 and calls it a ''new discovery''. He refers to a series of month, seven of which are still known today (see Reine de Bertier de Sauvigny, Jacob et Abel Grimmer, Catalogue Raisonné, Paris 1991, ca. XL, pl. 64-65, figs. 101-104). Old Master Painting, flemish painter

Bildnis eines Adeligen in Prunkrüstung Frankreich, 18. Jh. Öl/Lwd. 40,5 x 31,5 cm. Adelsportrait, Altmeistergemälde, Portraitmalerei Portrait of a nobleman in splendid armour France, 18th century Oil on canvas. 40,5 x 31,5 cm. portrait of a nobleman, Old Master Painting, portrait painting

Einführung Marias in den Tempel Süddeutschland, 18. Jh. Öl/Lwd., randdoubl. 81,5 x 66 cm; unger. - Einige Flickstellen. Altmeistergemälde, Deutscher Maler, Sakrales Motiv Introduction of Mary to the Temple Southern Germany, 18th century Oil on canvas, relined at margins. 81,5 x 66 cm; not framed. - Some patches. Old Master Painting, german painter, sacral theme

Das Gastmahl des Belsazar Niederländischer Meister des frühen 17. Jahrhunderts Großer Saal mit zahlreichen Gästen an einem langem, fein gedecktem Tisch, umgeben von vielen Dienern, auf einer Empore spielen Musikanten, links auf einen Tisch wird der von dem Vater des Gastgebers erbeutete Jerusalemer Tempelschatz präsentiert und zum Ausschank verwendet. Öl/Holz, parkettiert. Monogrammiert "CH". 36 x 58,5 cm. - Randmängel. Altes Testament, Altmeister, Altmeistergemälde, babylonischer Regent, Biblische Erzählung Belshazzar's Feast Dutch Master of the early 17th century Large hall with numerous guests at a long, finely laid table, surrounded by many servants, on a gallery musicians play, on the left on a table the Jerusalem temple treasure captured by the father of the host is presented and used for serving. Oil on cradled panel. Monogrammed ''CH''. 36 x 58.5 cm. - Losses of colour on the margins. Old Testament, Old Master, Old Master Painting, biblocal story

Krodel d. Ä., Wolfgang - Nachfolge Das ungleiche Paar (Um 1500-1563) Öl/Kupfer. Rechts unten apokryph monogrammiert "AD". 36 x 26 cm. Altmeistergemälde Krodel the Elder, Wolfgang - Successor of The unequal couple (Around 1500-1563) Oil/copper. Apocryphal monogram at lower right ''AD''. 36 x 26 cm. Old Master Painting

Gryeff, Adriaen de (Attrib.) Zwei Jagdhunde mit erlegtem Fuchs und toten Vögeln (Antwerpen 1670-1715 Brüssel) Landschaft mit Ruine und Anwesen im Hintergrund. Öl/Lwd., auf Holz aufgezogen. 25,2 x 29 cm. Altmeister, Altmeistergemälde, Flämischer Maler, Goldenes Zeitalter, Jagdstillleben, King Charles Spaniel Gryeff, Adriaen de - Attributed to Two hunting Dogs with killed Fox and dead Birds (Antwerp 1670-1715 Brussels) Landscape with ruin and estate in the background. Oil on canvas, mounted on panel. 25.2 x 29 cm. Old Master, Old Master Painting, flemish painter, Dutch Golden Age, Still Life with Game

Acht Kupferstiche nach Albrecht Dürer Franz Hanfstaengl, München - um 1900 Reproduktionen. Je 11,4 x 7,4 cm; unter Glas in einem Rahmen. Altmeisterkopie Eight copper engravings after Albrecht Dürer Franz Hanfstaengl, Munich - around 1900 Reproductions. Each 11.4 x 7.4 cm; under glass in a frame. Old Master copy

Vanitas-Stillleben Italien, 18. Jh. Arrangement mit lorbeerbekränztem Totenschädel, Violine und Bogen, Bibel, Notenblatt, Sanduhr sowie Kerzenleuchter. Öl/Lwd., doubl. 34,5 x 42 cm. Altmeistergemälde, Italienischer Maler Vanitas Still Life Italy, 18th century Arrangement with laurel wreathed skull, violin and bow, bible, sheet of music, hourglass and candlestick. Oil on relined canvas. 34,5 x 42 cm. Old Master Painting, Italian painter

Portrait des Offenburger Reichsschultheißen Franz Georg von Rienecker. Bildnismaler des 18. Jahrhunderts Links oben mit dem Wappen und der Dat. "1754". Öl/Lwd. Verso auf einem Etikett mit den Lebensdaten 1719 Offenburg -1800 ebd. beschriftet. 81 x 63 cm. Altmeistergemälde, Portraitmalerei Portrait of the "Reichsschultheiß" from Offenburg Franz Georg von RieneckerPortrait Painter of the 18th century .Top left with the coat of arms and the date ''1754''. Oil on canvas. On verso on a label inscribed with the dates 1719 Offenburg -1800 ibid. 81 x 63 cm. Old Master Painting, portrait painting

Kalraet, Barend van Paar kleine, ovale Bataillenszenen (Dordrecht 1649-1737 ebd.) Vielfigurige Reitergefechte. Öl/Blech. Sign. Verso mit alter Inventarnummer. Je 14 x 16,5 cm. Altmeistergemälde, Goldenes Zeitalter, Holländische Schule, Pferde Kalraet, Barend van Pair of small, oval battalion scenes (Dordrecht 1649-1737 ibid.) Many-figure horse fights. Oil on metal plate. Signed. At the back side with an old inventory number. Each 14 x 16.5 cm. Old Master Painting, Dutch Golden Age, Dutch school, horses

Landschaft mit Wäscherin und Hirte Italienische Schule des 18. Jahrhunderts, nach Francesco Zuccarelli Im Hintergrund an einem Fluss liegendes Dorf. Öl/Lwd. 45 x 60,5 cm. - Altersspuren. Altmeistergemälde, Italien, Landschaftsmalerei Landscape with Washerwoman and Shepherd Italian School of the 18th century, after Francesco Zuccarelli In the background, a village lying on a river. Oil on canvas. 45 x 61 cm. - Traces of age. Old Master Painting, Italy, landscape painting

Querfurt, August - Umkreis Pendants mit Bataillenszenen (Wolfenbüttel 1696-1761 Wien) Truppen ziehen durch die Berge und Reitergefecht. Öl/Lwd. 34 x 42,5 cm. - Altersspuren. Altmeistergemälde, Schlachtenbild Querfurt, August - circle of Pendants with battalion scenes (Wolfenbüttel 1696-1761 Vienna) Troops are marching through the mountains and horse fights. Oil on canvas. 34 x 42,5 cm. - Signs of age. Old Master Painting, battle painting

Bildnis eines Kleinkindes Frankreich, um 1800 Öl/Lwd. 39,5 x 33 cm. Altmeister, Kinderbild, Portraitmalerei Portrait of a Toddler France, ca. 1800 Oil on canvas. 39,5 x 33 cm. Old Master, portrait of a child, portrait painting

Heemskerk (Heemskerck) II., Egbert van (Attrib.) Bäuerliche Gerichtsszene (Haarlem 1634/35-1704 London) Öl/Lwd., doubl. Monogramm. 77 x 91 cm.- Lit. Thieme/Becker 16. Altmeistergemälde, Interieur, Niederländischer Maler Heemskerk (Heemskerck) II., Egbert van - attributed to Bäuerliche Gerichtsszene (Haarlem 1634/35-1704 London) Oil on canvas, relined. 77 x 91 cm.- Lit. Thieme/Becker 16. Old Master Painting, interior, Dutch painter

Raffaello Sanzio da Urbino - Kopie des 19. nach Madonna della Seggiola Öl/Lwd. 68 x 55,5 cm. - Altersschäden, Flickstellen, Löcher. Altmeisterkopie, Religiöse Darstellung Raffaello Sanzio da Urbino - Copy of the 19th c. Madonna della Seggiola Oil/canvas. 68 x 55.5 cm. - Damage due to age, patches, holes. - The original from 1514 is in Palazzo Pitti in Florence. Old Master copy, religious depiction

Zwei Seitentafeln eines Flügelaltars mit Verkündigung und Heiligen Deutschland, 18. Jh. und Niederlande 16. Jh. Verkündigungsszene mit Engel und Maria in einem Interieur mit Goldranken im oberen Bereich, Arbeit eines niederländischen Meisters des 16. Jh.; auf den Rückseiten in Landschaften der an einen Baum gefesselte und von Pfeilen durchbohrte Sebastian sowie ein Bischof, seinen abgeschlagenen Kopf auf einem Buch tragend, wohl Alban von Mainz oder Dionysius von Paris, diese Süddeutschland, 18. Jh. Öl/Holz. 88 x 24,5 cm, Außenmaß 99 x 35 cm. - Restauriert. Altmeistergemälde, Sakrales Motiv Two side panels of a winged altar with Annunciation and Saints Germany, 18th C. and Netherlands 16th C. Annunciation scene with angel and Mary in an interior with gold vines in the upper part, work of a Dutch master of the 16th C.; on the reverse in landscapes Sebastian bound to a tree and pierced by arrows as well as a bishop, carrying his severed head on a book, probably Alban of Mainz or Dionysius of Paris, this southern Germany, 18th C. Oil on wood. 88 x 24.5 cm, outer dimensions 99 x 35 cm. - Restored. Old Master Painting, sacral theme

Gleichnis vom reichen Mann und vom armen Lazarus Flämischer Maler des 17. Jh. nach Leandro Bassano Vielfigurige Küchenszene mit Blick in die weite Landschaft, rechts am Tisch der reich bewirtete Mann und Musizierende, vorne an die Säule gelehnt der Bettler Lazarus. Öl/Eichenholz. 100 x 127 cm. - Horizontale Trocknungsrisse. Altmeistergemälde, Biblische Erzählung, Italienischer Maler, Lukasevangelium Parable of the rich man and the poor Lazarus Flemish painter of the 17th century after Leandro Bassano At the right side of the table the richly entertained man and musician, at the front the beggar Lazarus is leaning against the column. Oil on oakwood panel. 100 x 127 cm. - Horizontal drying cracks. Old Master Painting, biblocal story, Italian painter, Gospel according to Luke

The Dalmore 40 year old 1x70cl The Dalmore is a 'triple-matured' 40-year-old single malt, to celebrate master distiller Richard Paterson's 50th anniversary in the whisky industry. Matured in ex-bourbon casks before spending seven years in sherry butts used to age González Byass' 30-year-old Matusalem Oloroso, and finally returned once again to first-fill ex-bourbon barrels. It is presented in a decanter designed by French crystal house Baccarat, featuring Dalmore's 12-point Royal Stag emblem. Richard Paterson believes he has created something 'very special indeed'. 'It has been a great privilege to release two of our greatest ever aged expressions - first the Champagne-finished 50-year-old and now this exceptional 40,' he said. 'It takes time, effort and vision to create an expression as complex as the Dalmore 40, moving the rare stocks of whisky between casks to build layer upon layer of character.' Up to 750 bottles of Dalmore 40 will be released over the next four years through selected specialist whisky retailers.

[^] Moreau, Gustave: Kostümstudie für Phaon aus der Oper "Sapho" von Charles Gounod Kostümstudie für die Figur des Phaon aus der Oper "Sapho" von Charles Gounod. Gouache über Bleistift, braun laviert, mit Gold gehöht auf hellbraunem Papier. 22,5 x 15,4 cm. Unten rechts bezeichnet "-PHAON-" und "-G-M-". Um 1883. Am 2. April 1884 nahm die Opéra de Paris Charles Gounods Oper Sapho, die bereits 1851 dort uraufgeführt wurde, wieder auf. Der damalige Verwalter der Oper, François-Pierre Régnier, bat Gustave Moreau vier von insgesamt fünf Kostümen für die Hauptprotagonisten zu entwerfen (siehe Archiv, Musée Gustave Moreau, zitiert in Mathieu 1976, op. cit., Nr. 302). Moreau präsentierte Régnier schließlich 27 Aquarelle und Zeichnungen mit Kostümentwürfen, unter anderem für die Figur des Phaon, des schönen Fährmanns, den die Dichterin Sappho unglücklich liebte. Eine weitere bezeichnete Version befindet sich in der Sammlung von Louis-Antoine Prat (siehe Pierre Rosenberg: De main de maître, trois siècles de dessins français dans la collection Prat, Ausst. Kat. Ottawa, Musée des beaux-arts du Canada, 1990, Nr. 108). Der Auftrag für die Kostümgestaltung ging letztlich jedoch an Eugène Lacoste, der im Dezember 1883 zum Chef-Designer der Oper ernannt wurde. Lacoste gestaltete alle 56 Kostüme für die Aufführung. Aber schon weit vor diesem Auftrag ging für Moreau von der griechischen Dichterin Sappho eine große Faszination aus. In zahlreichen Gemälden und Aquarellen behandelte er ab 1849 dieses Ovid‘sche Sujet der Dichterin, die durch die Zurückweisung des Fährmanns Phaon unglücklich liebend verzweifelt. Mit dem Blick auf das offene Meer springt sie schließlich von einem Felsen in den Tod. Moreaus Kostümentwürfe für die Oper waren von orientalischen und griechischen Gewändern und Mustern in kräftigen, leuchtenden Farben, mit Gold verzierten Bordüren und schimmernden Pailletten beeinflusst. Als Wegbereiter des Symbolismus ließ sich Moreau in seinen Werken von mythologischen, literarischen und biblischen Sujets inspirieren. Seine Gemälde wurden von Marcel Proust bewundert und von den Symbolisten der 1880er Jahre gefeiert. Provenienz: Wohl Sammlung Roger Marx (dessen Auktion am 11./12. Mai 1914, Los 180, als "Étude du personage de Phaon, pour l’Opéra de Sapho". Christie's, New York, Old Master Drawings, Auktion am 25. Januar 2007, Los 98. Privatsammlung Schweiz. Literatur: Pierre-Louis Mathieu: Gustave Moreau, Sa Vie, Son Œuvre, Fribourg 1976, S. 343, Nr. 303 (ohne Abb.). Pierre-Louis Mathieu: Gustave Moreau, Monographie et Nouveau Catalogue de l'Œuvre achevé, Paris 1998, Nr. 339 (ohne Abb.). Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Veneto-Cretan School (17th century)The Baptism of ChristOil on panel 39.5 x 31cm (15½ x 12 in.)Provenance:Sale, Sotheby's, Olympia, Old Master Paintings, 20 April 2004, Lot 208 Condition Report: Fine craquelure, surface dirt and abrasions throughout the panel. There are also areas of visible retouching throughout but particularly to the sky. There are a number of areas with small losses or cupping but these are only noticeable when up close to the work. The panel has bowed slightly but there are no signs of cracking. Inspection under UV reveals scattered retouching and in-filling throughout together with traces of a green cloudy varnish.Condition Report Disclaimer

Ø A RARE 1:24 SCALE EAST INDIA COMPANY BUILDER'S HALF MODEL FOR THE 16-GUN BRIG TERNATE, BUILT FOR THE BOMBAY MARINE BY BOMBAY DOCKYARD, CIRCA 1801 the 30in. hull carved from the solid and planked with teak below ebonised wale, ebony gun ports interspersed with satinwood veneers, detailed fully-carved ivory figurehead in the form of a Ternate warrior, scored main deck with fittings including windlass, ship's boat carved from the solid, hatch covers, binnacle housing, deck lights and deck rails, mounted on a wooden backboard with bowsprit piercing edge and heavy brass suspension loops behind -- 10½ x 38½in. (26.5 x 98cm.)Footnote: When the splendid 56-gun frigate Marquis Cornwallis, named for the Governor-General, was launched at Bombay in 1800, she attracted a great deal of attention and resulted in the first recognition of the Bombay Dockyard in the wider history of shipbuilding. Although some ships-of-War had been built there previously, they had all been small fry but this changed rapidly after the turn of the new century and the launch of the new Cornwallis. Almost immediately, in fact, the Bombay Council [of the Honourable East India Company] ordered a new 16-gun brig to be called Ternate. Named for the fearsome legendary warriors of Ternate, in the Maluku Islands [in modern Indonesia], she was built by Jamsetjee Bomanjee (1756-1821), probably the foremost Master Builder in the dockyard at that time. He was a born naval architect and, as the years passed, became so well regarded that in 1813 the Lords of the Admiralty sent him a presentation silver cup valued at £120 to mark their appreciation of the numerous fine ships he had built for the Royal Navy, quite separate from those completed for the Bombay Marine. Ternate herself was constructed of teak throughout, mounted 16-guns and was measured at 237 tons, although there appears to be some doubt as to her rig. Most sources refer to her as a ‘brig’, but one calls her a ‘sloop’ and a painting of her clearly sporting three masts and titled “The H.C.S. [Hon. Company’s Sloop] Ternate off Mangalore” is reproduced in The Bombay Dockyard and the Wadia Master Builders, by R.A.Wadia, Bombay, 1957, facing p. 242. It is likely therefore that she was officially rated as a ‘brig-sloop’, which would account for the apparent discrepancy. Like all the vessels of the Bombay Marine during the early 19th century, Ternate was constantly cruising the waters of the Arabian Sea and the Persian Gulf hunting down pirates or dealing with local rulers attempting to interrupt the East India Company’s trade routes to their own advantage. However, there were two incidents of particular note in which Ternate figured prominently and the first occurred in 1829. On 31st May that year, the British ship Oscar was wrecked on the Jaalan coast [modern Oman] and then boarded by some Beni-Boo-Ali Arabs who plundered her cargo valued at £80,000. Commodore Collinson in Ternate, and accompanied by the schooner Fly, made first for Muscat to rendezvous with three other ships-of-War and, after recovering a portion of the cargo consisting of valuable cashmere shawls there, sailed on to Sohar [Oman] and thence to nearby Khor Jerameh, a known harbour of refuge for local pirate craft. In the event, only a small portion of the remaining cargo was ever recovered as the tribesmen who had taken it had already disappeared into the vastness of the desert. Nevertheless, the very presence of the naval force led by Ternate proved decisive in restoring order to the region, albeit temporarily as was often the case. Three years later, in 1832, the Sheikh of Ejman [modern Ajman, in the United Arab Emirates] committed the “most daring outrages…upon the commerce of Muscat”. Ternate and her consort Tigress were despatched to resolve the situation and it was soon reported that “Entire compliance was yielded…and the boats, money, and jewels, the property of the passengers, were yielded up”. This was just the sort of exploit for which Ternate had been built although, by now, her service career was coming to an end and she is last recorded as being “sold at Public Auction (before 1840)”.Condition report: fine overall condition with some old losses including part of the cathead, deadeyes

After The Old Master, Winter landscape, 65cm diam

ITALIENISCHER MEISTER ITALIENISCHER MEISTER 16. Jh. Titel: Portrait eines jungen bärtigen Herren. Technik: Öl auf Holz. Montierung: Parkettiert. Maße: 49 x 36,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Italienischer Meister Italien Italienische Schule Originale Porträt Malerei ITALIENISCHER MEISTER ITALIAN MASTER 16th / 17th C. Title: Portrait of a Young Bearded Gentleman. Technique: Oil on wood. Mounting: Parquetted. Measurement: 49 x 36,5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Italian Master Italian School Old Masters Portrait Painting

TOSKANISCHER MEISTER TOSKANISCHER MEISTER Titel: Madonna mit Kind. Datierung: 1370-1400. Technik: Tempera auf Holz. Maße: 75 x 39,5cm. Rahmen/Sockel: Tabernakelrahmen. Provenienz: Privatbesitz, Schweiz. Das Vorbild des vorliegenden Gemäldes mit der Madonna mit Kind geht auf toskanische Kompositionen des frühen 14. Jahrhunderts zurück. Die Weichheit der Modellierung und die intimere und liebevollere Interpretation der Beziehung zwischen der Madonna und dem Jesuskind legen jedoch ein Datum am Ende des Jahrhunderts nahe. Es handelt sich wahrscheinlich um ein Gemälde, das für die persönliche Andacht bestimmt ist, ausgestattet mit dem typischen flammenden Spitzbogenrahmen, der für toskanische Tafeln dieser Zeit charakteristisch ist. Die Qualität der Arbeit zeigt sich auch in der Ausführung der raffinierten Stanzungen, die sowohl die Heiligenscheine als auch den Rand der Tafel verschönern. Erläuterungen zum Katalog Toskanischer Meister Italien Originale Religiöse Darstellung Altargemälde Marienleben TOSKANISCHER MEISTER TUSCAN MASTER Title: Madonna with Child. Date: 1370-1400. Technique: Tempera on wood. Measurement: 75 x 39,5cm. Frame/Pedestal: Tabernacle frame. Provenance: Private ownership, Switzerland. The example of the present painting of the Madonna with Child goes back to Tuscan compositions of the early 14th century. However, the softness of the modelling and the more intimate and loving interpretation of the relationship between the Madonna and the Child suggest a date at the end of the century. It is probably a painting destined for personal devotion, equipped with the typical flaming ogival frame characteristic of Tuscan panels of the period. The quality of the work can also be seen in the execution of the refined punching that embellishes both the halos and the edge of the panel. Explanations to the Catalogue Toskanischer Meister Old Masters Religious Art Altar piece Life of Virgin Mary

FLÄMISCHER MEISTER FLÄMISCHER MEISTER um 1600 Titel: Heilige Familie. Technik: Öl auf Holz. Maße: 65,5 x 51,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Die Komposition der vorliegenden Tafel geht zurück auf eine heute verlorene Arbeit des Flamen Gerard David (um 1460 - 1523). Sie ist durch eine Zeichnung in der Wiener Albertina bekannt, die wiederum als Vorlage für eine kleine Reihe verschiedener Fassungen diente. Catheline Périer-D'Ieteren erwähnt in ihren Publikationen im Rahmen der Ausstellung in Genua "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro" (2008) sowie in der Revue Belge d'Archéologie et d'Histoire de l'Art insgesamt fünf bekannte Versionen: neben der Wiener Zeichnung auch zwei Arbeiten in Museen in Genua und zwei weitere Fassungen, eine im Haggerty Museum of Art in Milwaukee, eine andere in Privatbesitz, welche 1902 in Brügge ausgestellt war und 2006 bei Christie's angeboten wurde. Allen gemeinsam ist der Bildaufbau mit der zentralen Madonna mit dem Kind auf dem Schoß, der Architektur im Hintergrund. Im linken Bereich ist dabei immer der schreinernde Joseph in einem Durchgang zu sehen; im Gegensatz zu den zitierten Versionen erscheint bei der hier vorliegenden Tafel Joseph vor einem Landschaftshintergrund und nicht vor einer Stadtansicht. Stilistisch dürfte die Tafel etwas später entstanden sein, so dass sich hier die Freiheit der Variation erklärt. Vgl. Literatur: C. Périer-D'Ieteren: Production d'Atelier et Exportation. Cinq Versions de Sainte Famille de l'Entourage de Gérard David. In: Revue Belge d'Archéologie et d'Histoire de l'Art LXXVII, Brüssel 2008, S. 27ff; C. Périer-D'Ieteren: Sainte Famille, Etourage de Gérard David - Prototype et Variantes. In: Ausst.Kat. "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro", Museo Diocesano, Genua 2008, S. 9ff. Wir danken Peter van den Brink, Aachen, und Catheline Périer-D'Ieteren, Brüssel, für ihre freundliche Unterstützung bei der Katalogisierung der vorliegenden Arbeit. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Religiöse Darstellung Altargemälde Madonna mit Kind FLÄMISCHER MEISTER FLEMISH MASTER ca. 1600 Title: Holy Family. Technique: Oil on wood. Measurement: 65,5 x 51,5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The composition of the present panel goes back to a work by the Flemish artist Gerard David (ca. 1460 - 1523), which is lost today. It is known from a drawing in the Vienna Albertina, which in turn served as the model for a small series of different versions. Catheline Périer-D'Ieteren mentions "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro" (2008) as well as in the revue Belge d'Archéologie et d'Histoire de l'Art a total of five known versions: in addition to the Viennese drawing, two works in museums in Genoa and two additional versions, one in the Haggerty Museum of Art in Milwaukee, another in private ownership, which was exhibited in Bruges in 1902 and was offered for sale at Christie's in 2006. What they all have in common is the composition of the image with a central Madonna and Child on her lap, and architecture in the background. In the left-hand area, the carpenter Joseph is always seen in a passageway; in contrast to the versions quoted, Joseph appears in this panel against a landscape background rather than a city view. Stylistically, the panel was probably created somewhat later, so that the scope for variation is explained here. Cf. Literature: C. Périer-D'Ieteren: Production d'Atelier et Exportation. Cinq Versions de Sainte Famille de l'Entourage de Gérard David. In: Revue Belge d'Archéologie et d'Histoire de l'Art LXXVII, Brussels 2008, p. 27ff; C. Périer-D'Ieteren: Sainte Famille, Etourage de Gérard David - Prototype et Variantes. In: exhib. cat. "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro", Museo Diocesano, Genoa 2008, p. 9ff. We are grateful to Peter van den Brink, Aachen, and Catheline Périer-D'Ieteren, Brussels, for their kind support in cataloguing the present work. Explanations to the Catalogue Flemish Master Flanders Old Masters Religious Art Altar piece Madonna with child

FLÄMISCHER MEISTER FLÄMISCHER MEISTER 1. H. 17. Jh. Titel: Jesus und der Apostel Johannes. Technik: Öl auf Leinwand. Maße: 47,5 x 58cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Hans Vlieghe weist auf eine mögliche Nähe zur Malerei von Jan van den Hoecke (Antwerpen 1611-1651) hin. Wir danken Hans Vlieghe, Antwerpen, für seine Hilfe bei der Katalogisierung dieses Gemäldes.Ergänzung, 2.11.2020: François Marandet, London, weist darauf hin, dass der Autor dieses Gemäldes möglicherweise in der Werkstatt von Charles Le Brun (Paris, 1619 - 1690) tätig war, der Maler verschiedener Nationalitäten angehörten. Die beiden Köpfe könnten angefertigt worden sein, als der Meister um 1650 das Abendmahl in Simons Haus für die Kirche des Karmeliterklosters in der rue Saint Jacques in Paris malte. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Leben Christi Malerei FLÄMISCHER MEISTER FLEMISH MASTER 1st half of the 17th century Title: Jesus Christ and St. John the Evangelist. Technique: Oli on canvas. Measurement: 47,5 x 51cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Hans Vlieghe points out a possible affinity with the painting from Jan van den Hoecke (Antwerp 1611-1651). We are grateful to Hans Vlieghe, Antwerp, for his help in cataloguing the present painting.Addition, 2.11.2020: François Marandet, London, points out that the author of this painting may have been active in the workshop of Charles Le Brun (Paris, 1619 - 1690), which included painters of various nationalities. The two heads may have been painted while the master was making the Dinner at Simon's house around 1650 for the church of the Carmelite convent in rue Saint Jacques in Paris. Explanations to the Catalogue Flemish Master Flanders Old Masters Life of Christ Painting

FLÄMISCHER MEISTER FLÄMISCHER MEISTER 16. Jh. Titel: Maria lactans. Technik: Öltempera auf Holz. Maße: 64,5 x 45cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Tafel verschiedene Aufschriften, u.a. Inventarnummer des Wallraf-Richartz-Museums: W.R.M. 420, sowie maschinenschriftliche Notiz mit Zuschreibung an Dirck Bouts und Angaben zu Vorbesitzern. Provenienz: Sammlung Franz Ferdinand Wallraf, Köln; ab 1824 im Besitz der Stadt Köln; Verkauf 1926 über die Berliner Galerie Rochlitz; Privatbesitz, Deutschland. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Religiöse Darstellung Andachtsbild Marienleben FLÄMISCHER MEISTER FLEMISH MASTER 16th C. Title: Maria Lactans. Technique: Oil tempera on wood. Measurement: 64,5 x 45cm. Frame/Pedestal: Framed. Verso: On the panel various inscriptions, including inventory number of the Wallraf-Richartz-Museum: W.R.M. 420, as well as typewritten note with attribution to Dirck Bouts and details of previous owners. Provenance: Franz Ferdinand Wallraf collection, Cologne; from 1824 property of the city of Cologne; Sold 1926 to the Berliner Galerie Rochlitz; Private ownership, Germany. Explanations to the Catalogue Flemish Master Flanders Old Masters Religious Art Devotional painting Life of Virgin Mary

DEUTSCHER MEISTER DEUTSCHER MEISTER 18. Jh. Titel: Allegorie der Poesie. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 83 x 83cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Deutscher Meister Deutschland Originale Allegorie Malerei Künstler DEUTSCHER MEISTER GERMAN MASTER 18th C. Title: Allegory of Poetry. Technique: Oil on canvas. Mounting: Relined. Measurement: 83 x 83cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue German Master Germany Old Masters Allegory Painting Artist

NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER um 1700 Titel: Herrenportrait. Technik: Öl auf Holz. Maße: 46 x 37cm. Rahmen/Sockel: Rahmen. Proveniez: Privatbesitz, Deutschland. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Porträt Malerei Holland NIEDERLÄNDISCHER MEISTER DUTCH MASTER ca. 1700 Title: Man's Portrait. Technique: Oil on wood. Measurement: 46 x 37cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Portrait Painting Netherlands

RÖMISCHER MEISTER RÖMISCHER MEISTER um 1650 Titel: Homer. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 115 x 141cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Belgien. Erläuterungen zum Katalog Römischer Meister Italien Originale Historische Personen Malerei Musikinstrument RÖMISCHER MEISTER ROMAN MASTER ca. 1650 Title: Homer. Technique: Oil on canvas. Mounting: Relined. Measurement: 115 x 141cm. Frame/Pedestal: Framed. Provenance: Private ownership, Belgium. Explanations to the Catalogue Roman Master Old Masters Historical people Painting Musical instrument

DEUTSCHER MEISTER DEUTSCHER MEISTER 19. Jh. Titel: Köln. Blick von der Deutzer Seite auf die Stadt vor der Erweiterung des Doms. Technik: Aquarell auf Papier. Montierung: Montiert. Maße: 56 x 91cm. Rahmen/Sockel: Rahmen. Provenienz: Geschenk der Stadt Köln an den Dombaumeister Ernst Friedrich Zwirner (1802-1861); seitdem im Familienbesitz. Bei der hier gezeigten Kölnansicht führt eine imposante Hängebrücke über den Rhein, die so niemals gebaut wurde. 1855-59 wurde die später "Dombrücke" genannte erste (Eisenbahn-) Brücke nach den Entwürfen von Johann Heinrich Strack gebaut; die Vorbilder der Portal- und Pfeilerbauten finden sich im Gürzenich und alten Festungsbauten wieder. Diese seinerzeit innovative Brückenkonstruktion war der Vorgänger der heutigen Hohenzollernbrücke. Die Hängebrücke auf unserem Aquarell gilt als Vorentwurf, ebenfalls von Johann Heinrich Strack und Karl Lentze, der um 1850 entstanden sein muss. Eine weitere Version dieses Entwurfts mit Variationen in der vorderen Uferbebauung und Vegetation findet sich in einer Veröffentlichung von 1981, siehe: J. Breuer: Die Kölner Domumgebung als Spiegel der Domrezeption im 19. Jahrhundert. Rheinland-Verlag 1981. Landeskonservator Rheinland, Arbeitsheft 10, S.68. Wir danken Ulrich Krings, Köln, für seine freundliche Unterstützung bei der Katalogisierung der vorliegenden Arbeit. Erläuterungen zum Katalog Deutscher Meister Deutschland Handzeichnungen Stadtansicht Aquarell Köln DEUTSCHER MEISTER GERMAN MASTER 19th C. Title: Cologne. View from the Deutzer side to the city before the extension of the cathedral. Technique: Watercolour on paper. Mounting: Mounted. Measurement: 56 x 91cm. Frame/Pedestal: Framed. Provenance: A gift from the city of Cologne to the cathedral master builder Ernst Friedrich Zwirner (1802-1861); since then in family possession. In the view of Cologne shown here, an imposing suspension bridge, which was never built like this, crosses the Rhine. In 1855-59 the first (railway) bridge, later called the "Dombrücke", was built according to the designs of Johann Heinrich Strack; the models of the portal and pillar buildings can be found in the Gürzenich and old fortress buildings. This then innovative bridge construction was the predecessor of today's Hohenzollern Bridge. The suspension bridge on our watercolour is considered a preliminary design, also by Johann Heinrich Strack and Karl Lentze, which must have been created around 1850. A further version of this design with variations in the front bank development and vegetation can be found in a publication from 1981, see J. Breuer: Die Kölner Domumgebung als Spiegel der Domrezeption im 19. Jahrhundert. Rheinland-Verlag 1981. Landeskonservator Rheinland, Arbeitsheft 10, p.68. We are grateful to Ulrich Krings, Cologne, for his kind support in cataloguing the present work. Explanations to the Catalogue German Master Germany Watercolour / Drawings Cityscape Water color Cologne

NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER 17. Jh. Titel: Portrait einer Dame. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 55,5 x 48cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Italien. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Porträt Malerei NIEDERLÄNDISCHER MEISTER DUTCH MASTER 17th C. Title: Portrait of a Woman. Technique: Oil on canvas. Mounting: Relined. Measurement: 55,5 x 48cm. Frame/Pedestal: Framed. Provenance: Private ownership, Italy. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Portrait Painting

FLÄMISCHER MEISTER FLÄMISCHER MEISTER 1. H. 17. Jh. Titel: Ecce Homo. Technik: Öl auf Kupfer. Maße: 40,5 x 29,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Leben Christi Malerei Religiöse Darstellung FLÄMISCHER MEISTER FLEMISH MASTER 1st half of the 17th century Title: Ecce Homo. Technique: Oil on copper. Measurement: 40.5 x 29.5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. We are grateful to Guido de Werd, Cologne, for his kind support. Explanations to the Catalogue Flemish Master Flanders Old Masters Life of Christ Painting Religious Art

SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra um 1700 Titel: Portrait eines Ritters von Malta (angeblich Antoine Manoel de Vilhena). Technik: Öl auf Leinwand. Maße: 106 x 87,5cm. Rahmen/Sockel: Rahmen. Gutachten: S. Causa, Neapel, nach Begutachtung des Originals im August 2020. Provenienz: Privatbesitz, Italien. Das vorliegende halbfigurige Portrait beeindruckt durch die ungeheure Präsenz des dargestellten Mannes in einer Prunkrüstung. Die linke Körperhälfte, Schulter und Arm sind dem Betrachter zugewendet, den Kopf hat der Dargestellte aber so gedreht, dass sein Gesicht nahezu en face zu sehen ist. Sanft und gleichzeitig selbstbewusst schauen die großen Augen unter der weißen Allonge-Perücke den Betrachter an. Der Orden, der an einem Samtband auf dem Harnisch hängt, weist ihn als Malteser-Ordensritter aus. Möglicherweise handelt es sich um den Portugiesen Antoine Manuel de Vilhena (1663 - 1736), der von 1722 bis zu seinem Tod Großmeister des Malteserordens war. Der Künstler dieses Werkes ist Francesco Solimena. Er war in der ersten Hälfte des 18. Jahrhunderts einer der berühmtesten und begehrtesten Maler seiner Zeit. Solimena lebte und arbeitete fast ausschließlich in Neapel, das zunächst zur spanischen Krone gehörte, nach den spanischen Erbfolgekriegen dann Österreich zugeschlagen wurde. Die führenden Herrscherhäuser und der Hochadel Europas hatten durch diese politischen Wendungen Zugang zu Solimena, der vor allem durch seine vielfigurigen sakralen und profanen Gemälde und Fresken Berühmtheit erlangt hatte. Und er begegnete den Auftraggebern auf Augenhöhe: Sein Zeitgenosse, der Künstler-Biograph Bernardo de Dominici, bezeichnete ihn als "principe di tutti i pittori viventi" ("Fürst unter allen lebenden Malern"). Der ovale Bildausschnitt des Portraits kontrastiert nur wenig zu den Winkeln des Gemäldes. Brauntöne herrschen vor, das Rot des flatternden Umhangs und die wenigen Blautöne in der Rüstung und im Hintergrund sind die einzigen zurückhaltenden Farbakzente. Dagegen setzen die hell und weiß gemalten Partien kontrastreiche Betonungen: Das von weißen Locken und dem Kragen gerahmte, ausdrucksvolle Gesicht, die mit trockenem Pinsel souverän gemalten, breiten Lichter, die die Rüstung reflektiert, der Orden an der Brust aber vor allem die weiß behandschuhte linke Hand des Portraitierten am unteren Bildrand, die den gemalten ovalen Bildausschnitt überdeckt und gleichsam in den Raum des Betrachters hineinzuragen scheint. Solimena steigert so, in subtiler Weise die Präsenz des Portraitierten. Erläuterungen zum Katalog Francesco Solimena Italien 17./18. Jh. Originale Porträt Malerei Historische Personen SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra ca. 1700 Title: Portrait of a Knight of Malta (presumably Antoine Manoel de Vilhena). Technique: Oil on canvas. Measurement: 106 x 87,5cm. Frame/Pedestal: Framed. Certificate: S. Causa, Naples, after examination of the original in August 2020. Provenance: Private ownership, Italy. This half-figure portrait impresses by the enormous presence of the man depicted in magnificent armour. The left half of the body, shoulder and arm are turned towards the observer, but the sitter has turned his head so that his face is almost en face. The large eyes under the white allonge wig look at the observer gently and at the same time confidently. The order hanging on a velvet ribbon on the armour identifies him as a knight of the Maltese Order. Probably the Portuguese Antoine Manuel de Vilhena (1663 - 1736), who was Grand Master of the Order of Malta from 1722 until his death. The artist of this work is Francesco Solimena. In the first half of the 18th century he was one of the most famous and sought-after painters of his time. Solimena lived and worked almost exclusively in Naples, which initially belonged to the Spanish Crown, but after the War of the Spanish Succession was annexed to Austria. The leading dynasties and the high nobility of Europe had access to Solimena through these political turns of events. Solimena became famous mainly for his multi-figured sacred and profane paintings and frescoes. And he met his patrons at eye level: his contemporary, the artist biographer Bernardo de Dominici, described him as the "principe di tutti i pittori viventi" ("prince among all living painters"). The oval framing of the portrait contrasts only slightly with the angles of the painting. Brown tones predominate, the red of the fluttering cloak and the few shades of blue in the armour and background are the only restrained colour accents. In contrast, the light and white painted areas set high-contrast accents: The expressive face, framed by white curls and the collar, the broad lights painted with a dry brush in a sovereign manner, which reflect the armour, the medal on the chest but above all the white-gloved left hand of the sitter at the lower edge of the image, which covers the painted oval section of the image and seems to project into the space of the viewer, as it were. Solimena thus subtly heightens the presence of the portrayed person. Explanations to the Catalogue Francesco Solimena 17th/18th C. Old Masters Portrait Painting Historical people

DEUTSCHER MEISTER DEUTSCHER MEISTER um 1600 Titel: Christus an der Geißelsäule. Technik: Öl auf Holz. Maße: 27 x 19,5cm. Bezeichnung: Monogrammiert und datiert unten rechts: SZ 1603. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Deutscher Meister Deutschland Originale Religiöses Thema Andachtsbild Leben Christi DEUTSCHER MEISTER GERMAN MASTER ca. 1600 Title: Flagellation of Christ. Technique: Oil on wood. Measurement: 27 x 19,5cm. Notation: Monogrammed and dated lower right: SZ 1603. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue German Master Germany Old Masters Religious Theme Devotional painting Life of Christ

DEUTSCHER MEISTER DEUTSCHER MEISTER 18. Jh. Titel: Allegorie der Malerei. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 82 x 82cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Deutscher Meister Deutschland Originale Allegorie Malerei Künstler DEUTSCHER MEISTER GERMAN MASTER 18th C. Title: Allegory of Material. Technique: Oil on canvas. Mounting: Relined. Measurement: 82 x 82cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue German Master Germany Old Masters Allegory Painting Artist

NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER 17. Jh. Titel: Das Wunder von Haarlem. Mönch und Nonne. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 106 x 83cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Eine mögliche Deutung der Darstellung verweist auf die Legende, nach der in Haarlem eine Nonne einer verborgenen Schwangerschaft beschuldigt wurde. Der Mönch, der mit der Überprüfung beauftragt wurde, betastete die Brust der Frau; doch anstatt Milch floss Wein, der das jungfräuliche und fromme Leben der Nonne bewies. Das hier gezeigte Gemälde geht auf die seitenverkehrte Darstellung von Cornelisz van Haarlem aus dem Jahr 1591 zurück, die heute im Haarlemer Frans-Hals-Museum ausgestellt ist. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Religiöse Darstellung Malerei Paare NIEDERLÄNDISCHER MEISTER DUTCH MASTER 17th C. Title: The Wonder of Haarlem. Monk and nun. Technique: Oil on canvas. Mounting: Relined. Measurement: 106 x 83cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. A possible interpretation of the depiction refers to the legend that a nun in Haarlem was accused of a secret pregnancy. The monk who was charged with the investigation palpated the woman's breast; but instead of milk, wine flowed, proving the nun's virgin and pious life. The painting shown here dates back to the laterally reversed depiction by Cornelisz van Haarlem from 1591, which is now exhibited in the Frans-Hals Museum in Haarlem. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Religious Art Painting Couples

EISMAN, JOHANN ANTON EISMAN, JOHANN ANTON 1604 Salzburg - 1698 Venedig Umkreis Titel: Weitläufige Hafenszene. Englische Kriegsherren, verankert vor der Küste. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 148,2 x 212,5cm. Rahmen/Sockel: Rahmen. Provenienz: Unternehmensammlung, Deutschland. Aus der Tradition Salvator Rosas und der Bambocchanten um Jan van Ossenbeek und Jan Asselijn kommend, entwickelt sich der aus Österreich stammende Johann Anton Eismann zu einem Vedutenmaler, der die Themen des 18. Jahrhunderts vorausgreift. Während seines längeren Romaufenthalts in den 1650er Jahren sind große Schlachtenszenen sein hauptsächliches Metier. Ab 1663 lebte er in Venedig; dort entstehen zuerst Landschaften mit antikisierende Elementen, bevor er dann mit Seestücken, Veduten und Capricci zu dem Thema findet, für das er zeitgenössisch anerkannt ist. Die hier gezeigte große Ansicht mit Hafen, Reederei und zahlreichen Seglern spricht in ihrem Detailreichtum für einen eher nordischen Künstler, welcher sich an Werken von Eisman geschult hat und diese mit einer typisch transalpinischen Genauigkeit in der Malweise umsetzte. Möglicherweise hat der Künstler des vorliegenden Gemäldes in der Werkstatt Eismans gelernt und sich dort von der Malerei "en vogue" beeinflussen lassen. Wir danken Enrico Lucchese, Triest und Dario Succi, Treviso, für Ihre Hilfe bei der Katalogisierung des vorliegenden Gemäldes. Erläuterungen zum Katalog Johann Anton Eisman Österreich 17.Jh. Originale Hafen Malerei Marine EISMAN, JOHANN ANTON EISMAN, JOHANN ANTON 1604 Salzburg - 1698 Venice Circle Title: Extensive Port Scene. English warlords, anchored off the coast. Technique: Oil on canvas. Mounting: Relined. Measurement: 148,2 x 212,5cm. Frame/Pedestal: Framed. Provenance: Corporate collection, Germany. Coming from the tradition of Salvator Rosa and the Bamboccianti like Jan van Ossenbeeck and Jan Asselijn, the Austrian-born artist Johann Anton Eisman developed quickly into a veduta-painter anticipating the themes of the 18th century. During his longer stay in Rome in the 1650s, he specialized and distinguished himself for the large-scale production of battle scenes. Since 1663, he settled in Venice; in the Venetian lagoon, he first painted landscapes with ancient elements and ruins; then he created his trademark by painting marinas and capricci, the themes for which he emerged on the art market and became famous. The present large port scene, with the cove, the shipping company and numerous sailors, suggests a Nordic artist, who trained on Eisman's workshop and realized the subjects of his master with a typically transalpine precision. We are grateful to Enrico Lucchese, Trieste and Dario Succi, Treviso, for their kind support in cataloguing the present painting. Explanations to the Catalogue Johann Anton Eisman 17th C. Old Masters Harbour Painting Navy

FLORENTINER MEISTER FLORENTINER MEISTER um 1550 Titel: Madonna mit Christusknaben. Technik: Öl auf Holz. Montierung: Parkettiert. Maße: 55,5 x 46cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Wir danken Antonio Geremicca, Lüttich, für seine Unterstützung bei der Katalogisierung des vorliegenden Gemäldes. Erläuterungen zum Katalog Florentiner Meister Italien Originale Religiöse Darstellung Andachtsbild Marienleben FLORENTINER MEISTER FLORENTINE MASTER ca. 1550 Title: Madonna with Christ Child. Technique: Oil on wood. Mounting: Parquetted. Measurement: 55,5 x 46cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. We are grateful to Antonio Geremicca, Lüttich, for the kind support in cataloguing the present painting. Explanations to the Catalogue Florentine Master Old Masters Religious Art Devotional painting Life of Virgin Mary

FLÄMISCHER MEISTER FLÄMISCHER MEISTER 16. Jh. Titel: Der Heilige Hieronymus im Gehäus. Technik: Öl auf Holz. Maße: 62 x 48,5cm. Rahmen/Sockel: Rahmen. Provenienz: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Religiöses Thema Gemälde Heiligendarstellung FLÄMISCHER MEISTER FLEMISH MASTER 16th C. Title: St. Jerome in his Study. Technique: Oil on wood. Measurement: 62 x 48,5cm. Frame/Pedestal: Framed. Provenance: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Flemish Master Flanders Old Masters Religious Theme Painting Saints

NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER um 1700 Titel: Dreimaster vor der Küste. Am Ufer Fischer, die ein kleines Boot an Land ziehen. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 54 x 69cm. Bezeichnung: Signiert und datiert unten links der Mitte: L. Bakh / 1697. Rahmen/Sockel: Rahmen. Rückseitig: Auf dem Keilrahmen altes Klebeetikett. Literatur: C. Hofstede de Groot: A Catalogue Raisonné of the works of The Most Eminent Dutch Painters of the Seventeenth Century. London 1923, Vol. VII, S. 259, Nr. 184, als Ludolf Bakhuizen (1630-1708). Provenienz: Sammlung William Rome, England; Sammlung G. von Mallmann, Berlin, seit 1907; Aukion Berlin 06.12.1918, Lot 141 mit Abb.; Privatbesitz, Deutschland. Das Gemälde ist als eine Arbeit von Ludolf Bakhuizen in der Datenbank des RKD, Den Haag, unter der Abb.Nr. 34248 verzeichnet. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Marine Malerei Küste NIEDERLÄNDISCHER MEISTER DUTCH MASTER ca. 1700 Title: Three Masters off the Coast. On the shore fishermen pulling a small boak to shore. Technique: Oil on canvas. Mounting: Relined. Measurement: 54 x 69cm. Notation: Signed and dated lower left in the centre: L. Bakh / 1697. Frame/Pedestal: Framed. Verso: On the stretcher old adhesive label. Literature: C. Hofstede de Groot: A Catalogue Raisonné of the works of The Most Eminent Dutch Painters of the Seventeenth Century. London 1923, Vol. VII, p. 259, no. 184. The painting is registered in the databank of the RKD, The Hague, under the ill. no. 34248. Provenance: William Rome collection, England; Collection G. von Mallmann, Berlin, since 1907; Aucion Berlin 06.12.1918, lot 141 with ill.; Private ownership, Germany. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Navy Painting Coast

[Wandesford (Christopher, politician and administrator, 1592-1640)] Sir Christopher Wandesforde's Instructions To his Eldest Son, title and 105pp., York, 1768 bound with [Bramhall (John, as Bishop of Derry, Church of Ireland Archbishop of Armagh, bap. 1594, d. 1663)] A Funeral Sermon. Preached at the Burial of [Christopher Wandesford]... Master of the Rolls, Lord Deputy of Ireland..., title and 22pp., York, 1768, manuscript, General title at beginning, some staining affecting some ff., browned, two 20th century bookplates on front pastedown, original calf, gilt, rebacked with the original gilt morocco label laid down, transcribed by H.S., York, 1768.⁂ First mentioned, original written in 1636 and published in 1777 as A book of instructions, written by the Right Honourable Sir Christr. Wandesforde, Knt. Lord Deputy of Ireland, First Master of the Rolls... to his Son and Heir, George Wandesforde, Esq; in order to the Regulating the Conduct of his Whole Life. Second mentioned unpublished.Provenance: (1). "The following papers were transcribed by from an old Manuscript which I accidently met with at B⁂**p a little while before I left that place." Later he suggests he has copied it from a copy of the original made shortly after Wandesford's death in 1640, and that copy was in the possession of a descendent, Mrs J⁂**'s family whose mother was a distant relative of the Wandesford family. (2). H.S. of York, 1768.

Old master prints.- Chatto (William) Gems of Wood Engraving, extra illustrated with over 200 prints, including a small group of old master prints by Albrecht Dürer [further details below], Nicoló Boldrini after Titian, Hans Burgkmair the Elder, and a group of five chiaroscuro woodcuts by John Baptist Jackson and John Skippe, with the remaining extra illustrations mainly being book illustrations, titles, and border decorations from 16th to 19th century, most neatly mounted at edges onto album leaves, some loose, occasional splitting, tears, spotting and surface dirt throughout, contemporary red morocco, gilt, g.e., spine gilt with five raised bands, spine split and coming loose, upper cover coming loose, bound by A.W. Bain, very rubbed and worn, folio, 1849⁂ Extra-illustrated works of note include: Albrecht Dürer's The Martyrdom of Saint Catherine of Alexandria, woodcut, a Meder c impression with small watermark of three mounds and cross within a shield [datable to circa 1560-1580], with restoration, c. 1498; Dürer's The Holy Family in Egypt, from: The Life of the Virgin, woodcut, a Meder f impression, after the Latin text edition with watermark of an eagle [datable to circa 1590-1600], with losses and restoration, c. 1502; a very compromised impression of 'The Assumption of the Virgin'; Nicoló Boldrini's Venus Seated embracing Cupid, circa 1566, and a compromised impression of St Jerome in the Wilderness, circa 1525-1530, both after Titian; two woodcuts by Hans Burgkmair the Elder, from the Triumph of Maximilian, probably 18th century impressions; John Baptist Jackson's Christ on the Mount of Olives, after Franceso Bassano, 1743, Antique Bust of a man, 1754, and Apollo Belvedere; John Skippe's Standing man, after Andrea del Sarto, and Seated man in a cloak, after Bandinelli, 1782; and Simon Watts' Venus Lamenting over Adonis, after Cambiaso, 1763.

15TH/16TH CENTURY OLD MASTER SCHOOL DOUBLE SIDED DRAWINGS OF ANGELS pen and ink(16cm x 8cm (6.25in x 3.25in))Footnote: Note: Collectors marks for C and R Rudolph and Giuseppe Balani Provenance: By repute from a Chatsworth 'Attic' sale in the early 20th century

ITALIAN GILT BRONZE 'NEPTUNE' SALT CELLAR 18TH CENTURY/ EARLY 19TH CENTURY the central figure of Neptune sitting astride a dolphin whilst holding a shell with a hinged cover and flanked by further shells, on a rococo style rocaille base(26cm long, 16.5cm high, 17.5cm deep)Footnote: Note: The central figure of Neptune holding an opening shell and riding a dolphin, was an immensely popular late Renaissance subject. Multiple examples exist in private and public collections including the Thyssen-Bornemisza collection, Madrid, and the Kunsthistorisches Museum in Vienna. Anthony Radcliffe has proposed an attribution of the model to Francesco Fanelli, but this has recently been questioned in favour of an unknown master active in the late 16th or early 17th century. The rocaille base on the present lot clearly provides a terminus post quem to the 18th or possibly 19th century. For a similar example see Sotheby's 3 December 2008, lot 72, The Studiolo: Old Master Paintings and Works of Art from the London Residence of Luigi Koelliker.