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Part built live steam loco (no tender) 4-6-0, spirit fired. Footplate, boiler, cab, chimney, safety valve and some control gear in situ. 4-wheel bogie but no driving wheels or rods. No pistons or rods. With another smaller boiler barrel part completed

10 mm scale live steam spirit fired brass model of Great Northern Railway 4-2-2 loco & tender. Built by Ian Nugent. Axleboxes not yet affixed to tender but present in box. Also present is the front bogie splasher kit. Sprung buffers. The high quality of this model is very apparent even without it being painted. In a specially built wooden carrying case.

A well-engineered freelance design vertical boiler, spirit fired with burner, hand painted in black and red, wooden clad example with sight glass and gauge, complete with weighted safety, together with 2 sections of brass a copper piping, height 41cm, the diameter of boiler 4 1/4 inchesPristine & shiny paintwork, very clean. No evidence of heavy use.

A scratch built spirit fired live steam launch, comprising of stained and hand-painted wooden hull with removable superstructure, to reveal a spirit-fired boiler with single take off point, powering a twin oscillating steam engine with single propeller propulsion, named Goa, length 78cm

A well-made stationary steam plant comprising of spirit fired horizontal boiler, with safety, filler, on/off valve and take-off point, powering a single vertical cylinder oscillating engine, powering a spoked 7.5cm flywheel, fully raised on tin base

A Wilsesco D222 stationary steam plant comprising of spirit fired horizontal boiler powering a twin cylinder stationary steam engine attached to various lineshaft pulley wheels, sold in the remains of the original box, together with one other Wilesco stationary steam plant

A Stuart Turner stationary steam plant comprising of Stuart Turner Babcock 500 spirit fired horizontal boiler of usual specification, powering a Stuart Turner S50 mill engine, fitted with single horizontal cylinder with slip eccentric and spoked 3½" flywheel, raised on wooden chequer plate base with burner and hand water pump

A copper scratch built Stuart Turner and other components spirit fired boiler, built to a good standard with a raised spirit burner on feet

A nicely made Victorian Style spirit fired live steam locomotive, 3 1/4 inch gauge, 2-2-2 configuration, hand-painted in green and black with No.3 to cabsides, nicely polished brass work with easy access to backhead controls and burner, possibly restored with Model Dockyard Parts, 17 inches long over buffers, 6 inches wide, 9 inches high

An unusual Doll et Cie spirit fired steam roller comprising of a horizontal boiler with single cylinder slip eccentric and a Marklin style flywheel, housed in a tin plate body with black and green lined canopy, red spokes and grey wheels, with original burner, length 22cm, circa 1910

Box of silver plate including: Pair of Bottle Coasters, pierced pedestal Dish, moulded glass Biscuit Barrel, Muffin Dish, Spirit Kettle on Stand, Tea Service etc. OBJECT LOCATION: DINING ROOM

Box of silver plate including: two Spirit Kettles on stands (one A/F), oval two handled Tray, pedestal Teapot, two branch Candelabrum etc.OBJECT LOCATION: DINING ROOM

A Victorian silver Spirit Kettle in the Aesthetic taste of straight tapered form, engraved strap-work border and with floral leafage scroll frieze around central vacant cartouche, raised on spirit stand with three tapered supports cast leafy scrolls and pendant bell flowers with scroll feet, the separate burner with egg and dart border and stamped with hallmark and maker’s mark, Kettle also with registration mark, London 1875, John, Edward, Walter and John Barnard, Kettle 29cm high including handle, Kettle approx. 46ozt, Stand 14ozt, Burner 4oz Condition: Scratched and wear commensurate with age; generally very good OBJECT LOCATION: DINING ROOM

"Vision of Saint Francis in the flaming chariot". Carved, gilded and polychromed wooden relief. Colonial School. 17th - 18th century.92,5 x 60 x 8 cm.Magnificent relief, the figures are almost free-standing. The scene depicts one of the episodes of the life of the saint, as told in the "Major Legend" written by Bonaventure, Minister General of the Order or Friars Minor (Franciscans) in 1260 when the Franciscan Chapter general took place and he was commissioned to write the Legend.The text describes twenty-eight episodes from the life of Saint Francis. In the episode depicted in this relief Saint Bonaventure writes: "Now while the Brethren were abiding in the place aforesaid, the holy man one Saturday entered the city of Assisi, to preach early on the Sunday, as was his wont, in the Cathedral Church. While the man devoted unto God was passing the night, after his wonted manner, in a hut within the Canons’ garden, praying unto God, and absent in the body from his sons,—lo, about midnight, while some of the Brethren were taking rest, others keeping vigil in prayer, a chariot of fire of marvellous brightness, entering by the door of the house, turned thrice hither and thither through the dwelling, and over the chariot a shining ball of fire rested, in appearance like unto the sun, making the night radiant. The watchful Brethren were astounded, they that slept were awakened and alarmed at the same moment…. For they all understood alike… that their holy Father was absent from them in body, but present in spirit, and that, transformed into such a likeness, illumined with heavenly rays, and flaming with ardent heat, he was shewn unto them of the Lord with supernatural might in a shining chariot of fire".

Exceptional piece finely carved in Ivory for the Portuguese market by Chinese artisans in the Portuguese colonies of Macao at the end of the 17th century, where we observe the Mother of God, Crowned, with hands in prayer position, at her feet, two Guardian Angels they hold a floral offering that supports the Virgin under a crescent. Meanwhile, in the upper right corner we see Christ in Blessing Position with the Cross and the Eternal Father on the upper left side. Crowning the composition, the Holy Spirit together with the Sun and the Moon, in reference to the passage from Genesis 1:14-19 of Day Four of Creation; in which God said: “Let lights appear in the sky to separate the day from the night; Let them be signs to mark the seasons, the days and the years. Let those lights in the sky shine on the earth”; And that's what happened. God made two great lights: the larger one to rule the day, and the smaller one to rule the night. He also made the stars. God put those lights in the sky to illuminate the earth, to rule the day and the night, and to separate light from darkness. And God saw that this was good. And the evening passed and the morning came, thus the fourth day was fulfilled. Reference literature: Gavin Bailey, Jean Michel Massing and Nuno Vassalo e Silva, "Marfins no Império Português", p. 277. Measurements: 16 x 8.5 cm. Certificate of antiquity of the ivory is attached. to rule the day and the night, and to separate the light from the darkness. And God saw that this was good. And the evening passed and the morning came, thus the fourth day was fulfilled. Reference literature: Gavin Bailey, Jean Michel Massing and Nuno Vassalo e Silva, "Marfins no Império Português", p. 277. Measurements: 16 x 8.5 cm. Certificate of antiquity of the ivory is attached. to rule the day and the night, and to separate the light from the darkness. And God saw that this was good. And the evening passed and the morning came, thus the fourth day was fulfilled. Reference literature: Gavin Bailey, Jean Michel Massing and Nuno Vassalo e Silva, "Marfins no Império Português", p. 277. Measurements: 16 x 8.5 cm. Certificate of antiquity of the ivory is attached.

Arthur Ambrose McEvoy ARA (1878-1927) Head of a Girlwatercolour31 x 22cmProvenance:With Beaux Arts Gallery, LondonRecognised for his artistic abilities and encouraged to pursue his talents from a young age, it is hardly surprising that Arthur Ambrose McEvoy became an artist. The son of renowned Scottish engineer, Captain Charles Ambrose McEvoy, Arthur McEvoy received early support and tuition from his father’s close friend, James Abbott McNeil Whistler. At fifteen years of age, already a proficient painter and inspired by Whistler, McEvoy enrolled at the Slade School of Fine Art.Whilst studying at the Slade, between 1893 and 1898, McEvoy became closely associated with William Orpen and Augustus John and would later engage in an unhappy affair with John’s elder sister, Gwen. Though the events of the affair remain shrouded by a veil of secrecy, comparisons between the painterly works of McEvoy and Gwen John can be easily drawn. In his early career, no doubt influenced by his period studying in Dieppe under Walter Sickert, McEvoy established himself as a painter of genre scenes and urban landscapes. By the mid-1910s, however, McEvoy’s practice became increasingly inclined towards portraiture, and it is for his depictions of society women that he would ultimately gain recognition and critical success.Praised for his ability to capture the essence and character of his sitters, McEvoy’s technical process, as demonstrated by the present lot, was remarkably radical and innovative. Using damp rags and sponges, occasionally even holding his painted canvases beneath running taps, McEvoy was able create truly modern works, animated by both the spirit of the sitter and the artist.

2 Royal Doulton horses, Spirit of the Earth and Spirit of Peace

AN ELECTROPLATE MOUNTED HEXAGONAL CLARET JUG, A SPIRIT DECANTER, A BOWL AND EDINBURGH CRYSTAL TUMBLERS

A COPPER SPIRIT MEASURE, KETTLE, TWO HANDLED SAUCE PAN AND A BOWL TOGETHER WITH A BRASS HAND BELL AND BOWL

Collection of Fashion Watches, including a Constant ladies bracelet watch, a square crystal edged watch with a red leather strap, a blue strap watch, a Timex watch with brown leather strap, a Seconda watch with date aperture and brown leather strap, two Ingersoll watches with leather strap, a Constant watch with a leather strap, a Spirit bracelet watch, a Pulsar watch, two Lotus bracelet watches, Rotary bracelet watch,and six others.

A Rolls Royce "Spirit of Ecstacy" mascot paperweight, encased in a two-tone lucite block, 11.5 cm wide x 11.5 cm deep x 17.5 cm high

26" Raleigh Spirit ladies bicycle with mudguards and carrier

METHFESSEL, Albert(1785 - 1869) "Allgemeines Commers- und Liederbuch mit Melodieen""enthaltend ältere und neue Burschenlieder, Trinklieder, Vaterlandsgesänge, Kriegs- und Turnlieder". In Commission der Hof-Buch und Kunsthandlung. Rudolstadt. (1818). 12 x 21 cm. 185 Seiten im Halbledereinband. Unter anderem mit Liedern von Methfessel und Eberwein. Handschriftliche Widmung. Altersspuren, hintere Seiten etwas fleckig. Methfessel war eng mit dem Rudolstädter Hof verbunden. Die Lieder sind u.a. geprägt vom Geist der Befreiungskriege gegen Napoleon. METHFESSEL, Albert(1785 - 1869) "Allgemeines Commers- und Liederbuch mit Melodieen""enthaltend ältere und neue Burschenlieder, Trinklieder, Vaterlandsgesänge, Kriegs- und Turnlieder". In Commission der Hof-Buch und Kunsthandlung. Rudolstadt. (1818). 12 x 21 cm. 185 pages in half leather binding. With songs by Methfessel and Eberwein, among others. Handwritten dedication. Age traces, rear pages somewhat stained. Methfessel was closely associated with the Rudolstadt court. The songs are, among other things, influenced by the spirit of the wars of liberation against Napoleon. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Großer Blech-Puppenherd. Ungemarkt. Um 1900. Blech. 20,5 x 47 x 33,5 cm (H mit Schlot 45,5 cm). Schwarzer Herd mit 5 Kochstellen, 4 Ofenklappen, Schlot und 2 originalen Spiritusbrennern. 3 originale Töpfe, 1 Kessel und 1 Wasserschiff. Stark bespielt, mit Altersspuren und Löstellen, Reling lose. Large tin doll stove. Unmarket. Circa 1900. Sheet metal. 20.5 x 47 x 33.5 cm (H with vent 45.5 cm). Black stove with 5 burners, 4 oven doors, vent and 2 original spirit burners. 3 original pots, 1 kettle and 1 water. Heavily played, with signs of age and places of loosening, railing loose. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

THOMSON, William "Praktische Anweisung zur Lackirkunst und zum Oelfarben-Anstrich""Kunst alle Arten Firnisse und Lackfirnisse, als Weingeist-, Copal-, ... zu bereiten und auf die verschiedenen Gegenstände, als: Holz, Metall, Leder, Horn, ...aufzutragen". Verlag von Gottfried Basse. Quedlingurg und Leipzig. 1828. 19 x 10,5 cm. Einband mit zeitgemäßen Altersspuren. THOMSON, William "Practical Instruction for Lacquer Art and for Painting with Oil Colors""Art all kinds of varnishes and lacquer varnishes, as wine spirit, copal, ... To prepare and apply to the various objects, as: Wood, metal, leather, horn, ...apply". Published by Gottfried Basse. Quedlingurg and Leipzig. 1828. 19 x 10.5 cm. Binding with contemporary signs of age. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Meistergeige. Markneukirchen. Innen gedruckter Klebezettel "Made by Marma Musikindustrie / Karl Bauer, Markneukirchen i.Sa. / Made in Germany". Innen Brandmarke "F.A.B.". BRÜCKNER, Fritz Arnold(1899 Markneukirchen, tätig noch in den 1980er Jahren ebd. und in Siebenbrunn ) Geteilter Boden, Zarge und Hals aus geriegeltem Ahorn, geteilte Fichtendecke, ebonisiertes Holz, Spirituslack. Bogen Fernambuk(?). Korpus 35,6 cm, Deckenmensur 19,5 cm, Bogen 73 cm. Geige nach einem Modell von Joseph Guarnerius del Gesu. Randeinlage aus 2 Fäden, Kinnstütze. Bogen mit runder Stange. Dazu Schulterstütze und verstellbares Stimmgerät. Im schwarzen Kasten. Minimale Lackschäden an Decke und Boden, sonst guter spielbereiter Zustand.Meister F. A. Brückner war Schüler von Heinrich August Brückner in Markneukirchen und machte sich 1923 selbstständig. Er baute vorzügliche Streichinstrumente in moderner wie antiker Ausführung. Er kopierte auch die Geigen Stradivaris. Dazu Gutachten des Geigenbaumeisters Bernd-Albrecht Kühne in Suhl vom 6.1.1993.Master violin. Markneukirchen. Inside printed adhesive label "Made by Marma Musikindustrie / Karl Bauer, Markneukirchen i.Sa. / Made in Germany". Inside brand "F.A.B.". BRÜCKNER, Fritz Arnold(1899 Markneukirchen, active still in the 1980s ibid. and in Siebenbrunn ) Split back, rib and neck of figured maple, split spruce top, ebonized wood, spirit varnish. Bow pernambuco(?). Body 35,6 cm, top mensur 19,5 cm, bow 73 cm. Violin after a model by Joseph Guarnerius del Gesu. Edge inlay made of 2 strings, chin rest. Bow with round stick. Comes with shoulder rest and adjustable tuner. In black box. Minimal varnish damage to top and bottom, otherwise good playing condition.Master F. A. Brückner was a student of Heinrich August Brückner in Markneukirchen and went into business for himself in 1923. He built exquisite stringed instruments in both modern and antique designs. He also copied the violins of Stradivari. In addition, expert opinion of the master violin maker Bernd-Albrecht Kühne in Suhl from 6.1.1993.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

LOUIS DE CAULLERY (Caullery, circa 1580 - Antwerp, 1621)."At the Gates of the Church.Oil on canvas. Re-tinted.It presents slight restorations.Measurements: 45 x 62 cm; 56 x 73 cm (frame).Louis de Caullery was a painter with a special mastery for the representation of crowds gathered in front of official events, congregations of all kinds, court festivities and popular meetings. This is splendidly demonstrated in this painting of a Flemish subject, in which the arrival of the kings has brought the whole city together in front of the church. Lively groups of people are seen with gestures and gestures, rich attire and humble clothes, as all social classes attend the event. We see a horse drinking from a stone fountain, royal banners announcing their arrival, courtiers at the gates of the Baroque church, boats docking in the harbour with the flag of the Netherlands unfurled.Louis de Caullery was a French painter who began his artistic training in Caullery in 1594 as an apprentice to Joos de Momper in the guild of Saint Luke, where he was enrolled as a master in 1602/1603. Despite his training alongside Momper, Caulery's work is closer to Mannerist sophistication than to Baroque naturalism. He was clearly influenced by some of the engravings of Hans Vredeman de Vries in particular, from whom he borrowed the whimsical architectural backgrounds. His work also displays similar characteristics to the painting of the artist Frans Francken II, which can be seen especially in the anatomical treatment of the figures, although in Caullery they are always represented as a volumetric aesthetic, both in the courtly and allegorical scenes, which form the most interesting part of his output. Caullery favoured genre painting and painted a wide variety of scenes: carnivals on ice, fireworks, bullfights, open-air collections, allegories of the five senses and encounters painted in the spirit of the Fontainebleau school. The height of his figures, their exquisite postures, soft faces and bare foreheads characterise his style. His colours are very sophisticated. Influenced by the Italian masters, his palette proved to be an innovation in Flanders: half-tones, yellow ochre, Veronese green and burgundy red. His depiction of buildings shows that he is concerned with great precision, while he is very skilful at presenting perspective.

Records : Nice collection of 47 albums inc Santana (7" & 1 12") & Incredible S/Band, Spirit, Star Wars etc

Two Tudor watch display stands; together with a Tudor branded mirror and a selection of catalogues to include Baselworld Brand Book 2017, sealed; Baselworld 2018; two Rolex Cellini, two Rolex Exploration Perpetual Spirit, Rolex with January 2020 Price List (11)

Boxes & Objects - a turned wooden truncheon; silver plated spirit kettle on stand; brass watering can; Victorian sarcophagus tea caddy; silver jubilee crowns, ten penny pieces, farthings, pennies etc

English School (19th/early 20th century)Man is a Spirit, Spriritualism Triumphant! End of Sectarian Differences 20th Century, an allegorical girl stands atop the mountain, lighting the ruins of the fallen templeinscribed, oil on canvas, 87cm x 112.5cmNote: The banners held by the onlooking figures appear to be inscribed with eminent names from the Spiritualist Movement in Britain and America, with 'Eglinton' referring to William Eglinton (1857 - 1933) and 'Fox' to the Fox Sisters of Rochester, New York.

A 20th century oak spirit/drinks barrel, on oak stand and having metal mounts, 39cm high, 42cm long

Assorted items including 5 books in The Observer's Pocket series, Poole, Canadian Boma Spirit box in form of a dogfish, Coalport figure etc

Tray of metalware to include: middle eastern design brass pestle and mortar, copper and brass spirit kettle on stand and a copper kettle. (B.P. 21% + VAT)

Box of metal ware to include: oil cans, blow torches, 'Pratts Perfection Motor spirit' jug, wooden boxes etc. (B.P. 21% + VAT)

Vintage stoneware flagon 'D Morgan & Co, Wine & Spirit Merchants, Merthyr', together with a slip glazed two section pottery dish. (2)(B.P. 21% + VAT) Large chip to the spout other wise ok .

A COLLECTION OF EPNS FLATWARE TO INCLUDE MUSTARD SPOONS, SUGAR TONGS, SUGAR SHAKER, TEA STRAINER, ETC PLUS A FRAMED POT LID, PENDELFIN DOGS, SPIRIT LABELS, ETC

Collection of seventy three assorted whisky miniatures, mostly blends, various age bottlings, including Johnnie Walker Black Label, Sheep Dip 8yo, Famous Grouse 1987 vintage, Old Grand-Dad Kentucky Bourbon, Dimple, Chivas Regal 12 yo, some Beneagles ceramic miniatures, Rutherford's Spirit of Scotland Vol IV miniature book, etc.

UNITED KINGDOM. Elizabeth II, 1952-. Gold 2 pounds, 2002. Royal Mint. Proof. Celebrating the Commonwealth Games in Manchester 25 July to 4 August 2002—the largest competition in the 72-year history of the Games.Fourth crowned bust of Elizabeth II within beaded circle facing right; ELIZABETH · II · DEI · GRA · REG · FID · DEF ·. Design by Ian Rank-Broadley. / Stylised representation of triumphant athlete holding a banner high, this flows to left and circles around the cross of St. George set within a circular border, denomination to right, XVII COMMONWEALTH GAMES in outer border to right. Design by Matthew Bonaccorsi. Edge milled and inscribed (incuse lettering); SPIRIT · OF · FRIENDSHIP · MANCHESTER · 2002 ·.In secure plastic holder, graded NGC PF 69 ULTRA CAMEO, certification number 6321183-030. NGC Census in this grade: 5.NGC Census in higher grade: 8Total NGC Census: 13Reference: S-K12 (was 4573)Mintage: 315.Diameter: 28.4 mm.Thickness: 2.5 mm.Weight: 15.9761 g. (AGW=0.4711 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

A Set of Six Cut Glass Tumblers, Spirit Decanter and Four Brandy Balloons

A box of ceramic table lamps, ornate gilt framed mirror, brass spirit kettle, Spanish figure Mother and daughter

A French silver-gilt spirit flask and double medicine spoon, by G. Keller, Paris, the flask with a plain glass body, pull-off drinking cup, screw-off cover, initialled, the medicine spoon with a central support, length 16.2cm, approx. weighable 3.8oz. (2)

Electroplated tea tray, cast moulded outline; plated four-piece teaset; another plated four-piece teaset; circular tray; plated pedestal mustard pot; two entree dishes; waiter; spirit kettle; and other condiments. (a small collection).Qty: one box

Approximately fifty various spirit miniatures, most with contents

3 stainless steel watches (no straps) – Spirit, Paragon and Equinox

STATUETTE DE MUSICIEN ASSIS EN TERRE CUITEDynastie Han (206 avant J-C - 220 ap. J.-C )A PAINTED POTTERY SEATED FIGURE Han Dynasty (206 BC-220 AD)Modelled as a male musician, kneeling gracefully with loose robes detailed with wide sleeves, the hair tied in a bun, stand, 30cm (11 7/8in) high; together with a painted pottery head of a male attendant, moulded with soft features and long arched eyebrows, the hair tied at the back, 12cm (4 6/8in) high, stand. (4).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) See a related pottery model of a kneeling servant, Western Han dynasty, illustrated in Spirit of Han: Ceramics for the After Life, Singapore, 1991, p.88, no.34.漢 彩繪樂人陶俑來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

COMMODE D'ÉPOQUE TRANSITION EN BOIS DE ROSE ET FILETS D'AMARANTE, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ, ESTAMPILLE DE CLAUDE-CHARLES SAUNIER, MARQUE AU FEU DU DUC DE PENTHIÈVRE À CHATEAUNEUF-SUR-LOIREVers 1770A LATE LOUIS XV ORMOLU-MOUNTED TULIPWOOD AND AMARANTH-BANDED COMMODE, CLAUDE-CHARLES SAUNIER, BRAND OF DUC DE PENTHIEVRE AT CHATEAUNEUF-SUR-LOIRECirca 1770 The rectangular moulded brèche d'Alep marble top above three drawers sans traverse framed by a contrasting veneered encadrement and rosettes and an ormolu border, with escutcheons and ring handles, the sides conformingly veneered, above slight cabriole legs terminating in upswept acanthus foliate sabots, stamped 'CC SAUNIER' and 'JME', with Châteauneuf-sur-Loire château brand 'C9' centred by an anchor. 89cm (35in) high x 131cm (51 1/2in) wide x 56cm (22in) deep.Footnotes:Provenance:Louis-Jean-Marie de Bourbon, duc de Penthièvre, Grand Amiral de France (1725-1793), at Châteauneuf-sur-LoireSotheby Parke Bernet & Co., Monte-Carlo, 15 June 1981, lot 126Published:P.Kjellberg, Le Mobilier Français du XVIIIème siècle, Paris, 1998, pp.772-773, pl.AA.Pradère, Les ébénistes de Louis XIV à la Révolution, Paris, 1989, p.369, pl.443Claude-Charles Saunier, maître ébéniste in 1752.Claude-Charles Saunier (1735-1807), brought up by a family of cabinetmakers established rue du Faubourg Saint-Antoine, obtained his master's degree (Maîtrise) at a very young age, in 1752. It is in 1765 that he took over the family workshop producing mainly luxurious and tasteful furniture predominantly in the Neoclassical style. This chest of drawers belongs to a group of furniture that Saunier was particularly fond of. He executed this very type of commode in different variations. The sober decoration, absence of breakfront and discreet-looking facade is enriched by a double framing, here as an amaranth filet delicately contrasting the horizontal veined tulipwood, and an outer ormolu frame 'encadrement' highlighting the drawers sans traverse. A practically identical commode of smaller size was sold anonymously Christie's Paris, 500 Ans: Arts Décoratifs Européens, 5 May 2011, lot 321. Another one was sold at Hôtel des ventes Piguet in Geneva on 13 June 2012, lot 1001. A related chest of drawers was sold at Cheverny in June 1990; while another closely related example was offered for sale at Christie's New York in October 1991.The Duc de Penthièvre, Grandson of Louis XIV and son of Louis-Alexandre de Bourbon, Louis-Jean-Marie de Bourbon (1725-1793) also had the title of Grand Amiral de France, a title he retains from the early age of twelve. Owner of Château de Rambouillet, which he had to give up in favour of Louis XVI in 1783, the Duke de Penthièvre, one of the richest men in Europe as a result of inheriting land from his uncle the Duke of Maine, owned the Hôtel de Toulouse (now the Banque de France) and through inheritance became the owner of various important châteaux as Sceaux, Aumale, Dreux, Gisors and of Anet. Over the years, the Duke of Penthièvre also acquired a few other prestigious properties, as Chanteloup and the Château at Châteauneuf-sur-Loire in 1784 from the Rohan-Guéméné family, with all its content. Following the Duke's death in 1793, the contents of the Château were seized during the Revolution and later sold in Paris. The brand used by the Duke of Penthièvre is that of the anchor, which refers to his title of Grand Amiral de France, with the addition of the letters specific to each castle, in this case in a very modern and original innovative spirit: 'C9' for Châteauneuf-sur Loire. Claude-Charles Saunier (1735-1807), issu d'une famille d'ébénistes établis rue du Faubourg Saint-Antoine, obtint sa maîtrise très jeune, en 1752. Il reprit en 1765 l'atelier familial produisant essentiellement de luxueux meubles de goût Néoclassique. Cette commode fait partie des meubles qu'affectionna particulièrement Claude-Charles Saunier. Il réalisa ce type même de commode avec différentes variantes. Les lignes précises, le décor sobre, la façade d'apparence discrète est enrichie d'un double encadrement discret, premièrement en filet d'amarante contrastant délicatement le bois de rose, et finalement en bronze doré soulignant les tiroirs sans traverses sans ressaut. Petit-fils de Louis XIV et fils de Louis-Alexandre de Bourbon, Louis-Jean-Marie de Bourbon (1725-1793), duc de Penthièvre et Grand Amiral de France, propriétaire du château de Rambouillet qu'il dût céder à Louis XVI, était également propriétaire de l'hôtel de Toulouse à Paris (aujourd'hui la Banque de France). Louis-Jean-Marie de Bourbon devient un des hommes les plus riches d'Europe par suite de l'héritage du patrimoine foncier de son oncle, le duc de Maine. Il sera propriétaire des différents châteaux hérités: Sceaux, Aumale, Dreux, Gisors et bien entendu Anet. De plus, dans le courant de sa vie, il fera également l'acquisition d'autres nobles propriétés, comme Chanteloup ainsi que le château à Châteauneuf-sur-Loire. La marque de château à l'ancre se réfère au titre de Grand Amiral de France, titre que Louis-Jean-Marie de Bourbon a depuis l'âge de douze ans. On ajoute à la représentation de l'ancre les lettres spécifiques à chaque château, soit dans ce cas et dans un esprit moderne : 'C9' pour Châteauneuf-sur-Loire. Châteauneuf-sur-Loire a été construit par Mansart à la fin du XVIIème siècle. Il a été racheté par le duc de Penthièvre en 1784 auprès de la famille Rohan-Guéméné, avec tout son contenu, pour la somme de 50.000 livres. Le duc est mort en 1793, et le contenu du château est saisi sous la Révolution et dispersé à Paris en vente. Une commode de forme pratiquement identique mais plus petite a été vendue chez Christie's à Paris, le 5 mai 2011, lot 321, et une autre, à l'Hôtel des ventes Piguet à Genève, le 13 juin 2012, lot 1001. Une commode similaire a été vendue à Cheverny en juin 1990, alors qu'une autre est passée en vente chez Christie's New York en octobre 1991.約1770年 路易十五晚期鬱金香木及莧紫木鑲鎏金銅斗櫃來源：路易·讓-瑪麗·德·波旁，彭蒂埃夫爾公爵，法國海軍上將 (1725-1793)舊藏，盧瓦爾河畔新堡蒙特卡洛蘇富比，1981年6月15日，編號126出版：P.Kjellberg, 《Le Mobilier Français du XVIIIème siècle》，巴黎，1998年，頁772-3，圖AA.Pradère, 《Les ébénistes de Louis XIV à la Révolution》，巴黎，1989年，頁369，圖443For further information on this lot please visit Bonhams.com

RARE ET IMPORTANTE BRIQUE FUNÉRAIRE EN TERRE CUITE ESTAMPÉEDynastie Han (206 avant J-C - 220 ap. J.-C)A RARE AND LARGE IMPRESSED 'ELEPHANT-EYE PATTERN' GREY POTTERY TOMB BRICK Han Dynasty (206 BC-220 AD)The large rectangular brick hollow and impressed with cartouches variously enclosing striding tigers, standing figures carrying spears and swords, trees, chariots, taotie mask-handles, galloping horses, all framed by cross-hatched diaper ground bands, the reverse with a central impressed and embossed diaper-ground with raised bosses surrounded by diamond and cross-hatched borders and a taotie mask-handle cartouche, the sides plain, huali stand. The brick 62.8cm (24 6/8in) high x 51.5cm (20 1/4in) wide x 14.2cm (5 9/16in) deep. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The diagonal lozenge patterns are also known as 'elephant-eye' patterns. According to Wen Zhenheng (1585-1645) in the Zhang wu zhi ('Treatise on Superfluous Things') These were considered desirable on Han or ancient bricks used as part of guqin tables to enhance the sound of the musical instrument. See a related brick on a guqin table, illustrated in C.L.Ma Collection: Traditional Chinese Furniture from the Greater Shanxi Region, Hong Kong, 1999, pp.210-211. Another related brick showing trees, tomb doorways and tethered horse, Han dynasty, is in the Victoria and Albert Museum, London (acc.no.A.13-1924).A hollow tomb impressed brick, Han dynasty, is in the Asian Art Museum of San Francisco, illustrated by He Li, Chinese Ceramics: A New Comprehensive Survey, New York, 1996, p.72, no.58. Related grey earthenware pillars with impressed designs, Han dynasty, are also illustrated in Spirit of Han: Ceramics for the After Life, Singapore, 1991, p.76.漢 灰陶畫像磚來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

VASE EN TERRE CUITE À GLAÇURE PLOMBIFÈRE VERTE, HUDynastie Han (206 av. J.-C. - 220 ap. J.-C.)A LEAD-GREEN POTTERY VASE, HUHan Dynasty (206 BC-220 AD)Of compressed baluster form with flaring neck and dish shaped mouth, the shoulder with twin moulded taotie mask and ring handles on a continuous decorative band moulded with mythical creatures amongst foaming waves. 36cm (14 1/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) See two similar green-glazed vases, Eastern Han dynasty, illustrated in Spirit of Han: Ceramics for the After Life, Singapore, 1991, p.124, nos.107 and 108.漢 綠釉雙耳壺來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

RARE BIXIE EN JADE VERT PLE ET ROUILLEÉpoque des Six Dynasties (265 -589 ap. J.-C)A VERY RARE PALE GREEN AND RUSSET JADE CARVING OF A BIXIE Six Dynasties (265-589AD)The creature resting on its front paws, the rear right haunch tucked underneath the body and the rear left extended to reach the bifurcated tail, the powerful face carved with wide bulging eyes below a pair of thick curling eyebrows and horns directed back across the head, with part open mouth and beard issuing from the lower jaw, the body delicately incised with scrolling wing motifs and scrolls to the rear haunches, three parallel incised markings to the back to simulate the fur, the softly polished stone of pale whitish hue to the back and creamy russet tone to the body and head, with russet markings to one side of the head and rear haunch. 10.5cm (4 1/8in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Bixie ('auspicious beast') were the female guardians of treasure brought back by male Tianlu who went out into the world in search of gold. the function of these lifelike sculptures made from durable materials was to embody and pacify the elemental and supernatural forces of the living world. Large stone figures of ferocious beasts including lions and tigers, and imaginary winged figures, were all placed on the spirit avenues in tombs of emperors and high ranking officials and military commanders, a tradition that flourished and reached its peak during the Six Dynasties, when immense fabulous beasts drawn from the spiritual world were produced on a grand scale outside the tombs near Nanjing. Simultaneously, an artistic tradition of creating jade animals of the highest quality flourished. In contrast to the majority of earlier two-dimensional jade carvings, made for the afterlife or to adorn the individual, these figural sculptures were created in the round as independent objects, not just as sumptuous display items for the appreciation of the elite, but also to provide the owner with a constant and concrete realisation of the powerful supernatural forces latent in the world around.Jade bixie of the Six Dynasties unlike the earlier ones made during the Han dynasty, appear to display less movement in their carving. Compare a jade fitting in the form of a bixie, Eastern Han dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6; and see also another example, Wei/Jin dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. See a related jade carving of a mythical beast, Six Dynasties, illustrated by J.Rawson and J.Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. A further Six Dynasties jade bixie from the collection of Dr and Mrs Cheng Te-k'un, is illustrated by J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12.A related beige and russet jade bixie, Han dynasty/Six Dynasties, was sold at Sotheby's New York, 21 September 2021, lot 46.Les bixie (« bêtes auspicieuses ») étaient les gardiennes (femelles) des trésors rapportés par les tianlu (mâles) qui parcouraient le monde à la recherche d'or. La fonction de ces sculptures très vivantes faites dans des matières durables était d'incarner et pacifier les forces fondamentales et surnaturelles du monde vivant. De grandes sculptures en pierre de bêtes féroces, dont des lions, tigres et bêtes ailées imaginaires, étaient placées sur les Voies des Esprits menant aux tombes des empereurs, haut-fonctionnaires et chefs militaires : cette tradition se développa et atteignit son apogée durant l'époque des Six Dynasties, lorsque d'immenses créatures fantastiques venues du monde des esprits furent réalisées à grande échelle à l'extérieur des tombes près de Nankin.Parallèlement se développa une sculpture de grande qualité d'animaux en jade. Contrairement à la majorité des sculptures en jade plus anciennes en deux dimensions, servant d'ornement personnel ou pour l'au-delà, ces sculptures étaient réalisées en ronde-bosse comme objets indépendants, non seulement en tant qu'œuvres d'apparat somptueuses, destinées à être appréciées des élites, mais aussi comme rappel concret et constant à leur propriétaire des puissantes forces surnaturelles latentes dans le monde qui l'entoure.A la différence des bixie plus anciens faits durant la dynastie Han, les bixie en jade des Six Dynasties semblent montrer moins de mouvement dans leur sculpture. Comparer avec un ornement en jade en forme de bixie, dynastie des Han orientaux, illustré dans J. Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6 ; voir aussi un autre exemple, dynastie Wei/Jin, illustré dans Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. Voir encore une sculpture proche en jade d'une chimère, Six Dynasties, illustrée dans J. Rawson et J. Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. Voir enfin un bixie en jade des Six Dynasties de la collection de Dr et Mrs Cheng Te-k'un, illustré par J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12. Un bixie comparable en jade beige et rouille, dynastie Han/Six Dynasties, a été vendu à Sotheby's New York, le 21 septembre 2021, lot 46.六朝 青玉辟邪來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏「辟邪」是一種有翼瑞獸。學界對此類肩生雙翼的神獸定名略有出入，一說「辟邪」為雌性，鎮守著雄性「天祿」外出尋找黃金所帶回的寶物。帝王將相陵墓神道兩側放置有翼石獸，起到辟邪除兇、保衛墓主人的作用，是秦漢以來流行的做法，在六朝時期蓬勃發展並達到頂峰；時南京附近的陵墓外可見大量大型神獸石像。與此同時，精巧動物、瑞獸玉雕亦隨之蓬勃發展。與較早期作為陪葬品或配飾用常見之玉牌等平面玉雕不同，此類圓雕動物神獸作為獨立個體進行創作，不再僅為身份地位象徵，更為其擁有者提供源源不斷的天地之氣... For further information on this lot please visit Bonhams.com

MASQUE BRAGAire stylistique du lagon Murik, province de l'est du Sépik, Papouasie Nouvelle-GuinéeBois, nacre, et défenses de porcs sauvages. 62cm (24 3/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021)Littérature: S.Chauvet, Les Arts Indigènes en Nouvelle-Guinée, Paris, 1930, fig.386bis, pl.98Bien que les dents porcines qui l'ornaient lorsqu'il fut photographié par F. Poncetton pour sa reproduction dans l'ouvrage de Stephen Chauvet « Les Arts Indigènes en Nouvelle-Guinée » paru en 1930 aient depuis été accidentées, ce masque historique est identifiable planche 98 de cette publication.Les masques de ce type dénommé Brag, au nez incurvé caractéristique, représenteraient un esprit guerrier spécifique ou un homme-esprit qui lors des initiations avaient la fonction symbolique d'avaler les jeunes initiés avant de les régurgiter en hommes adultes. Selon certaines sources, ces masques auraient également été consultés avant les expéditions guerrières et auraient eu un rôle dans la chasse aux têtes.Comme sur tous les masques considérés comme importants, celui-ci arbore de complexes motifs stylisés, volutes et lignes concentriques, appelés mabranarogo associés à l'araignée. Ils seraient davantage associés à la perfection et à la complexité de sa toile, plutôt qu'à l'arachnide elle-même. C'est cette même perfection que le sculpteur du masque chercherait à atteindre dans son œuvre.Cf:C.Kaufmann, « Ombres de Nouvelle-Guinée », Musée Barbier-Mueller, 2006Beier & Aris, « Sigia : Artistic Design in Murik Lakes », Gigibori, vol.2, n° 2, octobre 1975P.Peltier, « Sepik Arts de Papouasie Nouvelle-Guinée », Musée du quai Branly, 2015MASQUE BRAGAire stylistique du lagon Murik, province de l'est du Sépik, Papouasie Nouvelle-GuinéeWood, mother-of-pearl, and wild pig tusks.Although the pig teeth that adorned it when it was photographed by F.Poncetton for reproduction in Stephen Chauvet's 1930 book Les Arts Indigènes en Nouvelle-Guinée have since been damaged, this historic mask is identifiable on pl.98 of that publication.The masks of this type, called Brag, with their characteristic curved nose, are said to represent a specific warrior spirit or spirit-man who, during initiations, had the symbolic function of swallowing the young initiates before regurgitating them as adult men. According to some sources, these masks were also consulted before warlike expeditions and had a role in headhunting. As on all masks considered important, this one has complex stylised patterns, scrolls and concentric lines, called mabranarogo associated with the spider. They would be associated more with the perfection and complexity of its web, rather than with the arachnid itself. It is this same perfection that the sculptor of the mask would seek to achieve in his work. See Cf. C.Kaufmann, Ombres de Nouvelle-Guinée, Geneva, 2006; Beier & Aris, 'Sigia : Artistic Design in Murik Lakes', Gigibori, vol.2, n.2, October 1975 ; P.Peltier, Sepik Arts de Papouasie Nouvelle-Guinée, Paris, 2015.For further information on this lot please visit Bonhams.com

MASQUE BEMBERépublique Démocratique du CongoBois et pigments. 51cm (20in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935 (inv.no.1298)Jean-Pierre Rousset, Paris (1936-2021) BEMBE MASKDemocratic Republic of CongoWood and pigments.Les masques bembe de ce type auraient été liés aux représentations d'esprits de la nature et utilisés par les membres d'une société secrète qui les présentaient aux jeunes initiés. Les yeux figurés au centre de grands ovales creux peints en blanc auraient eu pour but de suggérer une capacité à voir dans le monde spirituel. Ce modèle qui porterait le nom vernaculaire d'Eluba serait associé à l'oiseau kolyulo. Cf : M.Félix, Maniema, Verlag Fred Jahn, 1989, pp.154-159.Bembe masks of this type would have been linked to representations of nature spirits and used by members of a secret society who presented them to young initiates. The eyes in the centre of large hollow ovals painted white would have been intended to suggest an ability to see into the spirit world. This model, which is said to bear the vernacular name of Eluba, would be associated with the kolyulo bird. See M.Félix, Maniema, Verlag Fred Jahn, 1989, pp.154-159.For further information on this lot please visit Bonhams.com

MIROIR EN BRONZE À DÉCOR DE CHIMÈRES ET PETIT MIROIR EN BRONZEDynastie Han (206 avant J-C - 220 ap. J.-C)A BRONZE 'MYTHICAL BEASTS' MIRROR, AND A BRONZE 'BOSSES' MIRRORHan Dynasty (206 BC-220 AD)Comprising a silvered bronze circular mirror, finely cast with striding spirit beasts alternating with four bosses, within narrow geometric pattern and inscribed bands, 14.2cm (5.5/8in) diam.; and a small bronze mirror cast in high relief with a central floral knop encircled by four bosses and scrolling foliate design with further raised decoration, within lobed border, 10.2cm (4in) diam. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Very similar mirrors to the present lot, Han dynasty, are illustrated by J.Rawson and E.Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1998, p.242, no.161 and p.254, no.173.漢 四神紋銅鏡及乳釘紋銅鏡 一組兩件來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

An antique spirit kettle

Mixed Lot: Royal Copenhagen spirit decanter, modern Chinese vase and various other small ceramics

Mixed Lot: Silver plated spirit kettle, silver plated serving tray, copper lustre teapot and sugar basin, hip flask and other assorted items

Mixed Lot: Various decorated plates, small delft spirit bottles etc

Collection of Victorian and later ceramic spirit barrels

Mixed Lot: Antique iron griddle together with a small copper spirit kettle, a chestnut roaster and a modern jelly mould

Mixed Lot: Various 19th Century and later spirit glasses