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A Royal Doulton Art Pottery brown ribbed vase, impress mark to base, 17cm (This item comes from the estate of Irene Woodings who worked for Charles Noke at Doulton during the 1930's and 1940's)

A Royal Doulton Art Pottery vase, the ribbed body with purple to red speckled lustre glaze, unusual square mark to base Royal Doulton Burlsem, impressed no. 7168, 18cm tall (This item comes from the estate of Irene Woodings who worked for Charles Noke at Doulton during the 1930's and 1940's)

A Royal Doulton Art Pottery large studio pottery dish with Raku style grey glaze 32cm diameter (This item comes from the estate of Irene Woodings who worked for Charles Noke at Doulton during the 1930's and 1940's)

A Royal Doulton Art Pottery bowl with experimental glaze in shades of blue, 30.5cm diameter with FM mark to base (This item comes from the estate of Irene Woodings who worked for Charles Noke at Doulton during the 1930's and 1940's)

A COLLECTION OF NOVELTY CHARMS, consisting of hallmarked gold and unmarked yellow metal examples, marked examples are a pierced ewer, set of gardening tools including a lawn mower, a stork and a wheelbarrow, approx combined weight 14.7g the unmarked examples are a mantle clock with moving hands function and the old woman who lived in a shoe, approx weight 14.3g

Ten Beswick Beatrix Potter ornaments, to comprise Mrs Rabbit and Bunnies, Mr Jackson, Benjamin Wakes Up, The Old Woman Who Lived in A Shoe, Tomasina Tittlemouse, Tommy Brock, Lady Mouse, Hunca Munca, Diggory Diggory Delvet and Timmy Willy, all with brown writing

Four boxes of LP's - Neil Young, The Beatles, Carol King, Blue Oyster Cult, the Who, David Bowie etc

A Whitehurst of Derby 8 day Longcase clock with 13" round brass silvered dial eight-day movement striking on a bell. Contained in an oak case with walnut cross-banding.Condition report.Movement and dial look to be original. The seat-board is new and there are unsympathetic restorations to the case.The Whitehurst family were famous Derbyshire clockmakers, starting with John Whitehurst in the 18th century and carrying on with a succession of family members who produced fine clocks into the 19th century.

Edward Seago RBA, ARWS, RWS (1910-1974) British, a head and shoulders portrait of John Gregory (1914-1996), painted in 1938, oil on board, signed to lower left corner, 32 cm x 24.5 cm in a gilt frame. Seago was a close friend of the ballet dancer John Gregory.Private collection, purchased circa 2000 from The Taylor Gallery, London SW7 (label verso). Seago was a close friend of the ballet dancer John Gregory, who owned a number of his paintings

Josep Bofill, geb. 1942 BarcelonaVIER SKULPTUREN Maximale Höhe: 14,1 cm. Jeweils signiert und nummeriert.Bronze, Eisen, Beton, Patinierung. In Holz- bzw. Kartonummantelung. Teils etwas korrodiert. (13100340) (1) (13)Bedeutender spanischer Bildhauer, der 1958 die Arts and Crafts-Schule besuchte, 1983 erstmals seine Werke ausstellte. 2016 kreierte er die „Sculptures à porter“ und war damit der Erfinder der sogenannten Juwelen-Miniatur-Skulpturen. Seine Arbeiten wurden und werden in allen Galerien weltweit gezeigt. Auch für seine Monumente, wie etwa in Girona, Barcelona, Zaragoza, in der Schweiz oder Hong Kong, erhielt er vielfach hohe Auszeichnungen, wie den „Communication Award“, den „ISS Top Management Award“ oder den „Sant Lluc“-Preis des Magazins Arte y Joya. Bekannt wurde er zudem für seine Szenen-Gestaltungen für Bühnen, etwa der "Dart Dance Comany".         Josep Bofill,born 1942 BarcelonaFOUR SCULPTURES Max. height: 14.1 cm.Each signed and numbered.Bronze, iron, concrete, patination. In wood and card cover. Partially corroded in places.Important Spanish sculptor who attended the Arts and Crafts School in 1958 and exhibited his work for the first time in 1983. In 2016 he created the so called “Sculptures à porter”, a collection of miniature jewel-sculptures. His work has been and still is exhibited in galleries worldwide. He was also awarded many high awards for his monuments, such as in Girona, Barcelona, Zaragoza, in Switzerland or Hong Kong. His awards include the “Communication Award”, the “ISS Top Management Award” or the “Sant Lluc” prize, an award from the magazine Arte y Joya. He was also known for his stage designs, such as for the “Dart Dance Company”.)

Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel APOSTEL ODER EVANGELIST Öl auf Leinwand. 50 x 49 cm.Dem Gemälde ist eine ausführliche Expertise von Nicola Spinosa, Napoli, 12. Mai 2022 beigegeben. Das Gemälde wird im kommenden Jahr aufgenommen in der Monographie: Nicola Spinosa, Aniello Falcone e i pittori influenzati da Ribera e attivi a Napoli. Spinosa weist in seiner Expertise eine Reihe von Vergleichsbildern auf, die dem hier vorliegenden Bildnis nahestehen. So etwa „Hl. Petrus als Büßer“, „Mathäus und der Engel“ oder der „Hl. Andreas im Gebet“. Was die Datierung des vorliegenden Werkes betrifft, so verweist Spinosa auf die Schwierigkeit der Feststellung, ob es noch zu den letzten Monaten von Riberas Aufenthalt in Rom (1614/15- bis 1615) gehört, oder in den Beginn seines letzten Aufenthaltes in Neapel von 1616-1618 zu setzen ist, als Ribera in der Stiftskirche in Osuna malte. Letztendlich scheint dem Experten eine Datierung zwischen 1615 und 1616 als überzeugend. Damit zählt das vorliegende Werk zu den wenigen erhaltenen dieser von Spinosa genannten Schaffungsperiode. Das bisher unveröffentlichte Gemälde kann hier als eine sensationelle Neuentdeckung für das Werk des bedeutenden Malers Ribera vorgestellt werden. Dementsprechende gut dokumentierte, jüngste Forschungsergebnisse des zuständigen Experten Nicola Spinosa belegen die Autorschaft des Künstlers (s. u). Es liegt uns hier ein Gemälde vor, das den Kopf eines kräftigen bärtigen Mannes in brauner Kutte zeigt. Das Haupt kahl, dem Betrachter nahe, schräg nach rechts ins Bild gesetzt. Nachdenklich blickt er von seinem offenen Buch auf. Von der Hand, die das Buch hält, ist am unteren Bildrand ein Finger zu sehen. Mit den geöffneten Seiten, die eine Abbildung erkennen lassen, fügt sich das Buch mit hochgeschlagener Seite kompositionell überlegt in die rechte untere Ecke ein. Das Bildnis zeigt die meisterliche Handschrift des genannten Malers, mit allen Aspekten, die seine malerische Charakteristik ausweisen, wie die bräunlich-goldene Farbgebung, die Lichtreflexe, bis hin zur überzeugenden psychologischen Erfassung, Die Identifizierung des Dargestellten stößt an Grenzen, da eindeutige Attribute fehlen und man auf Ähnlichkeiten mit weiteren Bildnissen von Heiligen, Aposteln oder Evangelisten im Werk Riberas zurückgreifen muss. Das Buch mag vornehmlich an einen Evangelisten denken, etwa Matthäus oder Markus, die ebenfalls in vorgeschrittenem Alter und kahlköpfig gezeigt wurden. Möglicherweise haben wir es hier mit einem Gemälde der kastilianisch genannten Serie der „Apostolado“ zu tun, die Ribera in seiner langen Karriere zu verschiedenen Zeiten schuf. Erstmals zwischen 1609 und 1610 zu Beginn seines Aufenthaltes in Rom (Spinosa 2008, S. 303 f.). Eine zweite Serie entstand im Auftrag von Pedro Cosida von Saragossa, den Vertreter des spanischen Königs beim Papst. Vier Bilder dieser Serie finden sich in der Fondazione Roberto Longhi in Florenz. Weitere Serien entstanden bis in die späten 1630er Jahre. Wie durchdacht die Komposition insgesamt ist, zeigt die Beobachtung, dass der Lichteinfall von links oben in einer nach rechts unten führenden Diagonale - über Kopf, Nase und Bart hinweg - auf die Buchseite weist. Als Gegen-Diagonale sind die Mantelfalte und die Schrägstellung des Buches zu sehen. Dies und der malerische Duktus liegen Riberas „Hieronymus“-Themen nahe, auch, weil hier wie dort erkennbar wird, wie Ribera in den Armenvierteln Roms seine Charaktermotive suchte. Nahezu identisch zeigt sich ein Petrus-Bildnis, Teil der erhaltenen Serie in den „Girolamini“, die sich in Neapel befinden. A.R.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhoben ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der Neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur: Nicola Spinosa und A.E. Perez Sánchez, Jusepe de Ribera 1591-1652, Ausstellungskatalog; Napoli – Madrid – New York 1992. G. Papi, Ribera a Roma. Soncono/Cremoa, 2007. J. Milicua und J. Portús (a cura) Il giovane Ribera tra Roma, Parma e Napoli, Ausstellungskatalog, Madrid – Napoli 2010-2011. (1321691) (11)Jusepe de Ribera, also known as "lo Spagnoletto",1588/91 Xàtiva/ Valencia – 1652 NaplesAPOSTLE OR EVANGELIST Oil on canvas.50 x 49 cm.Accompanied by a detailed expert’s report by Nicola Spinosa, Napoli, 12 May 2022. Next year, the painting will be included in the forthcoming monograph: Nicola Spinosa, Aniello Falcone e i pittori influenzati da Ribera e attivi a Napoli. In his expert’s report, Spinosa points to a series of comparable paintings very similar to the present portrait such as “The Penitent Saint Peter Matthew and the Angel” or “Saint Andrew in Prayer”. With regards to dating the present work, Spinosa finds it difficult to determining whether the painting was created in the last months of Ribera’s stay in Rome (1614/15- to 1615) or at the beginning of his last stay in Naples in 1616-1618 when Ribera was painting in the collegiate church in Osuna. Ultimately, a dating between 1615 and 1616 seems convincing to the expert. This makes the present work one of the few surviving works from this creative period. The previously unpublished painting can thus be presented as a sensational new discovery for the work of the important painter Ribera. It is accordingly well-documented and recent research results of the responsible expert Nicola Spinosa prove the authorship of the artist (see below).The present painting shows the head of a strong, bearded man in a brown robe. The bald head, close to the viewer, is placed diagonally to the right in the picture. He looks up thoughtfully from his open book. One finger of the hand holding the book can be seen at the bottom of the painting. In a considered composition the open pages reveal an illustration and the book with the page turned up fits into the lower right corner. The portrait shows Ribera’s mastery and typical painterly characteristics such as the brownish-golden colouration, the light reflections, and the convincing psychological assessment.It is difficult to identify the depicted, since there are no clear attributes, so one must revert to similarities with other portraits of saints, apostles, or evangelists in Ribera’s oeuvre. The book suggests an evangelist, such as Matthew or Mark, who are usually also depicted as advanced in age and bald. It is possible that we are dealing here with a painting from the Castilian series called “Apostolado”, which Ribera painted at various times during his long career. For the first time between 1609 and 1610 at the beginning of his stay in Rome (Spinosa 2008, p. 303 f.). A second series was commissioned by Pedro Cosida of Zaragoza, the Spanish king’s representative to the Pope. Four pictures from this series are held at the Fondazione Roberto Longhi in Florence. Other series continued into the late 1630s.The painting’s sophistication is obvious when following the ...

Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel SAN PIETRO IN LACRIME Öl auf Leinwand. 138 x 98 cm.Beigegeben eine Expertise von Prof. Vincenzo Paccelli, Neapel, der in dem Gemälde ein Werk von Jusepe de Ribera sieht; zudem ein technischer Untersuchungsbericht von Ing. Claudio Falcucci „Pentimenti“ unter der Malschicht feststellend (beides in Kopie vorliegend). Das Bildthema geht an die Stelle des Neuen Testaments zurück, wonach der Heilige Petrus in schuldhafter Reue seines Verrats an Jesus gedenkt. Diese Bibelstelle wurde von mehreren bedeutenden Malern aufgegriffen. Der Blick ist, wie auch hier, zumeist nach oben gerichtet. Hier sitzt der Heilige an einem Tisch, den Kopf auf den rechten Arm gestützt. Die Qualität der Oberflächen des Heiligen lässt keinen Zweifel an der vollen Eigenständigkeit des Gemäldes durch Ribera, in dem die charakteristische Rauheit der Hände und die Falten der Stirn, die verwelkte Haut und die Rötung um die Augen, verursacht durch Weinen und Alter, deutlich wahrnehmbar sind. Das Motiv finden wir auch in Darstellungen des Guido Reni oder Diego Velázquez. Für das Gemälde hat Prof. Vincenzo Pacelli, Autor des Werkes „Pittura del'600 nelle collezioni napoletane“, Vergleichsbeispiele genannt, wie etwa ein Werk in einer Londoner Privatsammlung, signiert „Jusepe R“ (Spinosa 2003, S. 272, Nr. A. 67), ebenfalls dargestellt in einem intimen und bußfertigen Gespräch mit der Gottheit, sowie die halbfigurige Interpretation desselben Modells, dargestellt in der identischen physiognomischen Haltung, aufbewahrt in der Eremitage von Sankt Petersburg (Spinosa 2003, S. 276, Nr. A80). Durch die diagnostischen Untersuchungen von Claudio Falcucci wurde bestätigt, dass die Leinwand des untersuchten Werks, das „d‘imperatore“ genannt wird, eine in der Malerei von Caravaggio und seinen ersten römischen Nachfolgern sehr verbreitete Malart aufweist; durch die dokumentarischen Hinweise ist es zudem nicht ausgeschlossen, dass das fragliche Gemälde mit der Leinwand „San Pietro in d'imperatore“ identifiziert werden könnte, die im Giustiniani-Inventar von 1638 von Spagnoletto erwähnt wird (Danesi Squarzina 2003, S. 325). Kopien aus dem Inventar des Conti Gonzaga di Novellara liegen vor. Kehrt man zu den Erkenntnissen zurück, die aus Falcuccis diagnostischen Untersuchungen hervorgehen, so offenbaren sie ein weiteres entscheidendes Datum für die Zuschreibung des Heiligen Petrus an Ribera, nämlich das Vorhandensein von Pentimenti, die den Finger der vorgelegten und anschließend bewegten Hand betreffen. Bekanntlich beweist das Vorhandensein von Pentimenti die Originalität eines Werkes und im vorliegenden Fall ist somit klar, dass es von dem genannten Künstler Jusepe de Ribera stammt. A. R. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostinos (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhoben ihn zum Hofmaler des Herzogs von Ossuna sowie des Königs von Neapel. Im Jahr 1644 wurde er zum Ritter des Christusordens durch den Papst. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der Neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz: Privatsammlung, Barcelona. Anmerkung: Pentimenti sind Veränderungen, die während des künstlerischen Schaffensprozesses an Gemälden vorgenommen werden. Literatur: Nicola Spinosa, Ribera. L‘opera completa, Mailand 1979. Silvia Danesi Squarzina, La collezione Giustiniani, 3 Bde., Turin 2003. James Hall, Dizionario dei soggetti e dei simboli nell'arte, Mailand 2003. Nicola Spinosa, Ribera, L‘opera completa, Neapel 2003. (1270713) (2) (11)Jusepe de Ribera,also known as “lo Spagnoletto”, 1591/91 Xàtiva/ Valencia – 1652 NaplesSAINT PETER'S TEARSOil on canvas.138 x 98 cm.Enclosed is an expert’s report by Prof Vincenzo Paccelli, Naples, who considers the painting to be a work by Jusepe de Ribera; also a technical examination report by engineer Claudio Falcucci, who found “pentimenti” beneath the painting surface (both available as copies).Provenance:Private collection, Barcelona.Literatur:Nicola Spinosa, Ribera. L’opera completa, Milan 1979.Silvia Danesi Squarzina, La collezione Giustiniani, 3 vol., Turin 2003.James Hall, Dizionario dei soggetti e dei simboli nell'arte, Milan 2003.Nicola Spinosa, Ribera, L’opera completa, Naples 2003.

Jacob Rotius, 1644 Hoorn – 1681/82 ebendaFRÜCHTESTILLLEBEN MIT VOGEL UND SCHMETTERLINGEN Öl auf Leinwand. Doubliert. 61 x 50 cm. Rechts auf Säulensockel signiert und datiert „JRotius f. 1681“, verso Etikett mit Inventarnummer „537“. In dekorativem Rahmen.Beigeben eine Korrespondenz mit Fred Meijer vom RKD, Den Haag, vom 03. Juli 2014, der darin berichtet, dass ihnen das vorliegende Gemälde bereits bekannt ist durch eine Ausstellung im Palais des Beaux-Arts, Brüssel vom 25. Februar 1969. Er verweist auf Gemälde des Künstlers im RKD. Auf den rot bezogenen Stufen vor einer Säule und Ruinen im linken Hintergrund mit Blick auf den grau-blauen Himmel hat der Künstler, der laut Houbraken ein Schüler von Jan Davidsz de Heems (1606-1683) war, ein Früchtestillleben mit dreierlei Weintrauben, zwei samtigen Pfirsichen, Aprikosen, Mispeln, Granatapfel und Himbeeren drapiert. Zwischen diesem sommerlichen und saftig-frischen Obst tummeln sich vier Schmetterlinge, ein Vogel, wohl ein Gimpel, und eine kleine Schnecke. Qualitätvolle Malerei bei der durch die Farbgebung die Früchte besonders hervorgehoben werden. Das Gemälde entstand im letzten Lebensjahr des jung verstorbenen Künstlers, was durch die Datierung am rechten Bildrand bestätigt wird. Die Kombination aus Früchten und Architektur findet sich auch in einem anderen, dem Künstler zugeschriebenen Gemälde (RKD Image Archiv Nr. 0000048445). Teils Retuschen. Provenienz: Van Herck, Antwerpen, 14. und 15. Mai 1934 (Hofstede de Groot fiche Nr. 1444343). Versteigerung Christie´s, London, 19. März 1954, Nr. 37 (irrtümlich als Jan Albertsz. Rotius) Versteigerung Palais des Beaux-Arts, Brüssel, 25.-27. Januar 1969, Nr. 20 mit Abb. (in Kopie vorliegend). Privatsammlung, Europa. Versteigerung Christie´s, London, 19. März 1954, Nr. 37. Anmerkung: Laut Fred Meijer war Rotius‘ Themenwahl vielfältig, und es sind nur wenige Stillleben mit einer solchen Komposition von ihm bekannt. Ein ähnliches, aber größeres Gemälde, signiert und datiert „1674“, wurde am 26.9.1980 in München (Weinmüller) versteigert, Kat.Nr. 261. Ähnliche Motive finden sich auch in anderen Stillleben von seiner Hand. Literatur: Vgl. Hendrik Fredrik Wynman, De stillevenschilder Jacob Rotius, in: Oud Holland, Nr. 47, 1930, S. 60-67 (in Kopie vorliegend). Vgl. Invar Bergström, Dutch Still-Life Painting in the Seventeenth Century, London 1956, S. 220. Vgl. Laurens J. Bol, Holländische Maler des 17. Jahrhunderts nahe den großen Meistern. Landschaften und Stilleben, München 1982, S. 301. Vgl. Peter Mitchell, European Flower Painters, London 1973, S. 2, 18, 19. Vgl. Walther Bernd, Die Niederländischen Maler des 17. Jahrhunderts, München 1969-1970. Vgl. Erika Gemar-Koeltzsch, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, Bd. III, S. 831f. Vgl. Adriaan van der Willigen, Fred G. Meijer, A Dictionary of Dutsch and Flemish Still-Life Painters Working in Oils. 1525-1725, Leiden 2003, S. 171. (1320571) (1) (18)Jacob Rotius,1644 Hoorn – 1681/82 ibid.FRUIT STILL LIFE WITH BIRD AND BUTTERFLIES Oil on canvas. Relined.61 x 50 cm.Signed and dated „JRotius f. 1681“ on column base on the right, verso label with inventory no. “537”.Accompanied by correspondence by Fred Meijer from the RKD, The Hague, dated 3 July 2014, who reports that he is already familiar with the present painting from an exhibition at the Palais des Beaux-Arts, Brussels from 25 February 1969. He references paintings by the artist at the RKD. The painting was created in the last year of the artist‘s life, which is confirmed by the date on the right edge of painting. The combination of fruit and architecture can also be found in another painting attributed to the artist (RKD Image Archive no. 0000048445).Provenance:Van Herck, Antwerp, 14 and 15 May 1934 (Hofstede de Groot fiche no. 1444343).Auction Christie‘s London, 19 March 1954, no. 37 (erroneously described as Jan Albertsz. Rotius)Auction Palais des Beaux-Arts, Brussels, 25 - 27 January 1969, no. 20 with ill. (copy enclosed).Private collection, Europe.Auction Christie‘s London, 19 March 1954, no. 37.Literature:cf. Hendrik Fredrik Wynman, De stillevenschilder Jacob Rotius, in: Oud Holland, no. 47, 1930, p. 60-67 (copy available).cf. Invar Bergström, Dutch Still-Life Painting in the Seventeenth Century, London 1956, p. 220.cf. Laurens J. Bol, Holländische Maler des 17. Jahrhunderts nahe den großen Meistern. Landschaften und Stilleben, Munich 1982, p. 301.cf. Peter Mitchell, European Flower Painters, London 1973, p. 2, 18, 19.cf. Walther Bernd, Die Niederländischen Maler des 17. Jahrhunderts, Munich 1969-1970.cf. Erika Gemar-Koeltzsch, Holländische Stillebenmaler im 17. Jahrhundert, Lingen 1995, vol. III, p. 831f.cf. Adriaan van der Willigen, Fred G. Meijer, A Dictionary of Dutsch and Flemish Still-Life Painters Working in Oils. 1525-1725, Leiden 2003, p. 171.

Peter Paul Rubens,1577 Siegen – 1640 Antwerpen, zug.SCHWEBENDER PUTTO Schwarze, rote und weiße Kreide auf Büttenpapier, verso von feinem Japanpapier restauratorisch unterlegt. Maße des Blattes: 27,2 x 13,5 cm (links Anstückelung zu 16,1 cm). Im Passepartout, hinter Glas gerahmt.Rubens hat diese Studie in schwarzer und roter Kreide auf Büttenpapier gezeichnet, das Weiß im Sinne einer Glanzhöhung eingesetzt. Das Alter des Papiers ist durch Untersuchung für die Zeit um 1618 gesichert. Dies gilt als ein umso wichtigeres Indiz, als die Ausführung des großen Altarblattes „Die Hl. Jungfrau umgeben von den Unschuldigen Heiligen Kindern“ auch im Jahr 1618 gemalt wurde. Dabei sind für die Bedeutung unseres Blattes mindestens zwei Kriterien zu nennen: zum einen findet sich unser Putto in nahezu exakter Wiederholung im genannten Gemälde, nämlich links oben, neben den weiteren Kinderfiguren, zum anderen ist das Grundthema des Puttenreigens ohnehin ein ausgesprochen eigentypisches Phänomen in der Bilderfindung des großen Flamen. Damit ist auch unser Blatt in der Bedeutung für das Rubensschaffen als ein Werk von Rang zu sehen. Der Zeichnung ist die entsprechende Virtuosität und Reife der Blütezeit des Rubens´schen Wirkens eigen. Selbst als Darstellungsdetail für das Altarblatt zeigt sich die Zeichnung bereits in der künstlerischen Wirkung als eigenständiges, autonomes Kunstwerk. Die Verwendung dreier Farbstifte, die Hintergrundschattierung links, vor allem aber auch die Weißhöhung, verleihen dem Blatt diese Wirkung. Auf die Wiedergabe der Arme hat Rubens hier bewusst verzichtet, sehen wir sie doch in der Gemäldeausführung etwa von der Kinderfigur daneben überdeckt. Dass unser Putto im Altarbild nicht völlig exakt wiederholt wurde, ist etwa an der Form der Haarlocke zu sehen, auch darin, dass das Gesicht dort weiter abgewandt erscheint. Solche Beobachtungen lassen sich zurecht auch als Indiz der Echtheit sehen – schließlich wurde unser Blatt von keinem der Experten der Rubensforschung in Frage gestellt. Es würde zu weit führen, für die zahllosen Kinderdarstellungen, die im Altarbild die Marienfigur umschweben, lebende Modelle im Rubensumfeld zu suchen. Jedenfalls aber wissen wir, dass Rubens nicht selten seine eigenen Kinder, wie etwa den Sohn Albert (geb. 1614) als Modell zum Vorbild hatte, wie wohl auch in jenem Werk in der Albertina, Wien, (Inv. Nr. 17639). Jedenfalls erweckt auch unser Blatt eher den Eindruck einer Zeichnung nach einem lebenden Kindervorbild, als nach idealisierter Idee. So ist auch das Gesicht weit realistischer gegeben, als dann im Ölbild, was zudem für die Authentizität spricht, von sämtlichen namhaften Rubensexperten bestätigt. So handelt es sich bei unserem vorliegenden Werk nicht zuletzt auch um eine bedeutende Ergänzung des graphischen Oeuvres für Rubens.Provenienz: Georges Bourgarel, Paris. Gutekunst & Klipstein, Bern, 22.11.1956, Lot 272. Privatsammlung, England. Angeboten bei Christie‘s, New York, 28.01.2015, Lot 62.Literatur: A.-M. Logan and M. C. Plomp, Pieter Paul Rubens, The Drawings, exh. Cat. New York, Metropolitan Museum of Art, 2005, pp. 192-3, Nr. 59., S. 237-238, Nr. 81, Fig. 126, Inventar Albertina, Wien, Nr. 8296, Logan – Plomp op .cit. S. 204 f. N. 65. (1321992) (11)Peter Paul Rubens,1577 Siegen – 1640 Antwerp, attributedFLOATING PUTTOBlack, red and white chalk on laid paper. Mounted on card.Dimensions of the sheet: 27.2 x 13.5 cm (Sheet added to 16.1 cm.).Mounted and framed with glass.The present drawing in swift lines probably shows a live drawing of a figure of a small child. Pentimenti on the left foot, the realistic rendition of the head and a few single outlining lines suggest that this is a sketch. A comparison with Rubens´ work quickly reveals similarities: a painting titled “The Virgin and Child Surrounded by the Holy Innocents” held at the Louvre was created ca. 1618. A young child can be made out in the top left which is identical to the child in the drawing in this lot, particularly its posture and expression. Rubens created numerous sketches for his paintings and children often acted as models. These sketches were incorporated into paintings at various times. In this instance, it could be assumed that Rubens drew his own son Albert, who was born on 5 June 1614 and this seems to also be the case for a drawing held at the Albertina Museum, Vienna (inventory no. 17639). According to the description at Sotheby´s no relevant Rubens expert doubts the authorship of the sketch in this lot. According to the paper expert Pieter Bower the paper dates to ca. 1618. The paper was extended on the left by ca. 23 mm, with slight foxing and darkened within the mount, especially around the edges. However, overall it is in a beautiful and crisp condition.Provenance:Georges Bourgarel, Paris.Gutekunst & Klipstein, Bern, 22 November 1956, lot 272.Private collection, England.Offered at Sotheby´s, New York, 28 January 2015, lot 62.Literature:A.-M. Logan and M. C. Plomp, Pieter Paul Rubens, The Drawings, exh. Cat. New York, Metropolitan Museum of Art, 2005, pp. 192-3, Nr. 59, S. 237-238, Nr. 81, Fig. 126.Inventar Albertina, Wien, Nr. 8296, Logan – Plomp op .cit. S. 204 f. N. 65.

Francesco Albotto, 1721/22 Venedig – 1757 ebendaPIAZZA SAN MARCO MIT BLICK AUF DIE BASILIKA Öl auf Leinwand. 87 x 135 cm. In vergoldetem Rahmen.Beigegeben ein Gutachten von Dario Succi, Gorizia, ohne Datum, in Kopie. Albotto, von dem bekannt ist, dass er der erste Schüler Marieschis war, übernahm nach dessen Tod nicht nur die Werkstatt, sondern heiratete auch dessen Witwe. Seine Gemälde folgten dem Stil seines Lehrers und waren nur schwer von dessen Werken zu unterscheiden; erst ein 1972 im New Yorker Kunsthandel aufgetauchtes Gemälde bot die Basis zu weiteren Händescheidungen, sodass Dario Succi auch das hier angebotene Meisterwerk in musealem Format sicher Albotto zuschreiben kann. Succi zeigt in seinem Werkverzeichnis Michele Marieschi, Opera completa, Treviso 2016, Nr. 2-3 ein Gemäldepaar, von dem das eine Gemälde das gleiche Motiv zeigt. Das Gemäldepaar wurde am 6. Dezember 1962 als Lot 9 bei Sotheby‘s, London, verkauft und entstammte der Sammlung M. Milburn-Foster. Das Paar wurde von Richard Green, London, erworben und war zuletzt am 16. Dezember 1999 als Lot 92 auf einer Auktion; die Maße sind mit 54,6 x 82,5 cm jedoch deutlich geringer als das hier angebotene Einzelwerk, das Succi auf ca. 1738 datiert. Albotto‘s Malstil zeigt sich im Gegensatz zu den Vorgängern weit glatter in der Peinture, was dem Anspruch einer exakteren Wiedergabe gewidmet ist. Werke seiner Hand befinden sich in privaten wie öffentlichen Sammlungen, darunter in Berlin, Gemäldegalerie, Neapel, Museo e Gallerie Nazionali di Capodimonte, Vicenza, Gallerie di Palazzo Leoni Montanari etc. Literatur: Vgl. Gregorio (Rosolino) Gattinoni, Storia del Campanile di San Marco in Venezia, Venedig 1912.Vgl. Pierre-Jean Mariette, Abe´ce´dario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes (ante 1774), in: Archives de l'Art Français, Paris 1854.Vgl. William G. Constable, Canaletto. Giovanni Antonio Canal. 1697-1768, Oxford 1962.Vgl. R. Pallucchini, Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, Nr. XXVI, 1972.Vgl. Mario Manzelli, Ulteriori notizie su Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, Nr. XXXVIII, 1984.Vgl. Mario Manzelli, Proposta per l'identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto, in: Arte veneta, Nr. 41, 1987(1988).Vgl. Dario Succi, Marieschi. Tra Canaletto e Guardi, Ausst.Kat., Turin 1989, S. 26ff. und 1165ff.Vgl. Ralph Toledano, Michele Marieschi. Catalogo ragionato, Mailand 1995. Vgl. Filippo Pedrocco, Michele Marieschi. La vita, l‘ambiente, l‘opera, Mailand 1999.Vgl. Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venedig 2002. (1320361) (13)Francesco Albotto,1721/22 Venice – 1757 ibid.PIAZZA SAN MARCO WITH VIEW OF THE BASILICA Oil on canvas.87 x 135 cm.Accompanied by a copy of the expert‘s report by Dario Succi, Gorizia, n.d. Albotto, who is known to have been Marieschi‘s first student, not only took over the workshop after his death, but also married his widow. His paintings followed the style of his teacher and were difficult to distinguish between; a painting that appeared in the New York art trade in 1972 at last provided the basis to distinguish between the two, so that Dario Succi can now identify the present masterpiece dimensions fit for a museum with certainty to Albotto. In his catalogue raisonné (Michele Marieschi, opera completa, 2016) Succi shows a pair of paintings (nos. 2 and 3), one of which depicts the same motif. The pair of paintings were sold on 6 December 1962 as lot 9 at Sotheby‘s, London and came from the M. Milburn-Foster Collection. The pair was acquired by Richard Green, London, and was last at auction on 16 December 1999, lot 92; However, the dimensions of 54.6 x 82.5 cm are significantly smaller than the single work offered here, which Succi dates to ca. 1738.Literature:cf. Gregorio (Rosolino) Gattinoni, Storia del Campanile di San Marco in Venezia, Venice 1912.cf. Pierre-Jean Mariette, Abe´ce´dario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes (ante 1774), in: Archives de l‘Art Français, Paris 1854.cf. William G. Constable, Canaletto. Giovanni Antonio Canal. 1697-1768, Oxford 1962.cf. R. Pallucchini, Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, no. XXVI, 1972.cf. Mario Manzelli, Ulteriori notizie su Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, no. XXXVIII, 1984.cf. Mario Manzelli, Proposta per l‘identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto, in: Arte veneta, no. 41, 1987(1988).cf. Dario Succi, Marieschi. Tra Canaletto e Guardi, exhibition catalogue, Turin 1989, pp. 26 and pp. 1165.cf. Ralph Toledano, Michele Marieschi. Catalogo ragionato, Milan 1995. cf. Filippo Pedrocco, Michele Marieschi. La vita, l‘ambiente, l‘opera, Milan 1999.cf. Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venice 2002.

William James, tätig 1730 – 1780 GemäldepaarVEDUTE MIT DER CHIESA S. GEREMIA UND DER PONTE DELLE GUGLIE A CANNAREGIO sowie VEDUTE MIT DEM CANAL GRANDE MIT DER SANTA MARIA DELLA CARITÀ Öl auf Leinwand. 46,2 x 76,3 cm. Jeweils in vergoldetem, vegetabil verziertem Rahmen.Beigegeben eine Expertise von Dario Succi, Gorizia.Die beiden hier gezeigten Ansichten, die 1956 bei Christie‘s als autografe Arbeiten von Canaletto versteigert wurden, stellen zwei der beliebtesten Ansichten der Lagune dar: Das erste zeigt den Palazzo Labia mit der Ponte delle Guglie, die ihren Namen den vier Obelisken an ihren Enden verdankt. Die Balustrade und die Statue des Heiligen Johannes von Nepomuk, des in der Moldau ertrunkenen Märtyrers, des Bildhauers Giovanni Marchiori, sind auf dieser Darstellung noch nicht vorhanden. Dieses Detail ist entscheidend für die Datierung des Gemäldes, das daher vor 1742 anzusiedeln ist. Der Palazzo, der von der Kirche San Geremia flankiert wird, deren romanischer Glockenturm zu sehen ist, wurde mit einem Freskenzyklus geschmückt, der einen der Höhepunkte der Kunst Tiepolos (ca. 1743-1750) darstellt. Wenngleich sich beide Gemälde auf Kupferstiche von Visentini beziehen und stilistisch an Canaletto angelehnt sind, erzeugt James doch einen eigenwilligen Stil. Das zweite Gemälde stellt Santa Maria della Carità dar, eine entweihte Kirche im Stadtteil Dorsoduro, die zum gleichnamigen Klosterkomplex gehört. Die Kirche wurde im 12. Jahrhundert anstelle einer älteren Holzkirche erbaut, zusammen mit dem Kloster der Regularkanoniker, denen sie anvertraut wurde; dank der Unterstützung des venezianischen Papstes Eugen IV konnten die Mönche sie Mitte des 15. Jahrhunderts im gotischen Stil unter Verwendung der Werke von Bartolomeo Bon umbauen. Das Gemälde zeigt die gotische Fassade der Kirche, die in den Himmel ragt. William James war zwischen 1746 und 1771 als Vedutist tätig; die einzigen Informationen über seine künstlerische Persönlichkeit finden sich in Edward Edwards' „Anecdotes of Painters“ von 1808, in dem James als „Schüler“ oder Mitarbeiter von Canaletto während dessen Aufenthalt in England zwischen 1746 und 1755 erwähnt wird. Sein künstlerischer Werdegang wurde teilweise durch eine Reihe von Londoner Ansichten rekonstruiert, die sich im Besitz des Ashmolean Museums in Oxford und der British Royal Collections befinden. Im Text des oben genannten Edwards findet sich jedoch die einzige Erwähnung seiner Malerei venezianischer Sujets, die der Biograf selbst als stark mit Canaletto verwandt ansieht. Die Zuschreibung einiger Ansichten, die auf den internationalen Markt gelangten, an William James und vor allem das Vorhandensein einiger Gemälde, auf denen sein Name vollständig auf einer an den Originalrahmen angebrachten Plakette steht, lassen auf eine reiche Produktion von Stadtpanoramen schließen, die im Allgemeinen dem malerischen Repertoire von Antonio Canal entnommen sind, Werke, die es dem englischen Maler ermöglichten, zu den „vedutisti di Venezia“ (Vedutenmalern von Venedig) gezählt zu werden, obwohl seine biografische Abfolge keinen Hinweis auf einen möglichen Aufenthalt in der Lagunenstadt gibt. Aus der von Antonio Visentini zusammengestellten Sammlung „Prospectus Magni Canalis Venetiarum“ gibt es zahlreiche Gemälde, die ihm zugeschrieben werden. James war einer der bekanntesten Schüler Canalettos, der den Geschmack der venezianischen Stätten indirekt aufnahm, indem er die Werke betrachtete, die der Meister mit nach England gebracht hatte, und indem er an seiner Seite arbeitete, als er die große Nachfrage seiner Auftraggeber nach Ansichten der von ihnen so geliebten Lagunenstadt befriedigte. Dieses Gemälde kann als eines der Meisterwerke des Malers betrachtet werden: Inspiriert von einem Prototyp von Canaletto, hat das Gemälde eine fast unwirkliche atmosphärische Stabilität und einen typisch englischen Geschmack in der festen, schillernden Farbgebung, ohne die verblassende Wirkung der Sonne. Die lebhaften, kräftigen Farben und die Verwendung eines sehr starken, kristallinen Lichts, das dazu beiträgt, jedes minimale Element der Architektur analytisch zu erfassen, sind Konstanten in seinen Bildern. (†)Biografische Angaben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards' „Anedoctes of Painters“, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der – abgesehen von einer kurzen Unterbrechung im Jahr 1751 – zehn Jahre lang von 1746 bis 1756 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten. (1320125) (13)William James,active 1730 – 1780A pair of paintings VEDUTA OF THE CHURCH OF SAN GEREMIA AND PONTE DELLE GUGLIE A CANNAREGIO and VEDUTA WITH GRAND CANAL AND SANTA MARIA DELLA CARITÀOil on canvas.46.2 x 76.3 cm.Accompanied by an expert’s report by Dario Succi, Gorizia.The two vedutas on offer for sale here, auctioned at Christie’s in 1956 as works by Canaletto himself, depict two of the most popular views of the lagoon: the first shows the Palazzo Labia with the Ponte delle Guglie, which owes its name to the four obelisks at its ends. The balustrade and the statue of Saint John of Nepomuk, the martyr who drowned in the Vltava River, by the sculptor Giovanni Marchiori, are not yet present on this painting. This detail is crucial for dating the painting, which must therefore have been created before 1742. The palazzo, flanked by the Church of San Geremia, whose Romanesque bell tower can be seen, was decorated with a cycle of frescoes representing one of the pinnacles of Tiepolo's (ca. 1743 -1750) art. This painting can be considered one of the painter's masterpieces: inspired by a paragon by Canaletto, the painting has an almost unreal atmospheric stability and a typically English flavour in the solid, iridescent colouring without the fading effect of the sun. The vivid, bold colours and the use of a very strong, crystalline light, which helps to analytically capture every minute element of architecture, are constants in his paintings. (†)

Meister der Groteskenvasen des 17. JahrhundertsBLUMENSTILLLEBEN Öl auf Holz. 90 x 78,5 cm.Vor dunklem Hintergrund auf einer Tischplatte ein prachtvoller Blumenstrauß in einer grünen Keramikvase, am oberen Ende mit runden hellbraunen Ornamenten, im unteren Bereich drei liegende hellbraune Delphine mit großen Augen. Im manieristischen Stil ahmt die Vase Formen bekannter italienischer Kunsthandwerker nach. Das Blumenarrangement besteht aus weißem Schneeball, Narzissen, Rosen, Chrysanthemen, Anemonen, Tulpen und einigen Gräsern. Malerei, bei der neben der besonderen Vase die Blumen durch ihre überwiegend weiß, rosa und rote leuchtende Farbigkeit herausgestellt werden.Anmerkung: Unter diesem Künstlernamen werden einige italienische Maler des beginnenden 17. Jahrhunderts zusammengefasst, deren gemeinsames Merkmal Stillleben in Vasen mit Groteskenornamentik sind. Zu diesen zählt auch der junge Giacomo Recco. (1270096) (18)Master of the grotesque vases of the 17th centuryFLOWER STILL LIFEOil on panel.90 x 78.5 cm.Notes:The nomenclature “Master of the Grotesque vases” refers to a group of artists who were painting still lifes in grotesque vases at the beginning of the 17th century. One of them is thought to be the young Giacomo Recco.

Guilliam Gabron, 1619 Antwerpen – 1678 ebendaSTILLLEBEN MIT FRUCHTGIRLANDE Öl auf Holz. Parkettiert. 48 x 64 cm. Links unten signiert. In ebonisiertem, durch Goldleiste akzentuiertem Rahmen.Beigegeben eine schriftliche Stellungnahme von Dr. Fred Meijer, in Kopie, der die Autorschaft des vorliegenden Gemäldes bestätigt. Vor unbestimmtem Grund eine zu den Seiten nach oben gebundene Fruchtgirlande, innerhalb welcher Äpfel, Trauben, Pflaumen, Kirschen und Beeren prangen, die durch fein aufgefasstes Weinlaub begleitet werden. Vergleichbare Gemälde werden beim RKD in Den Haag dokumentiert unter der Inv.Nr. 16391 und 20805.Provenienz: Auktion, Kettner, Berlin, 12. September 1962, Lot 473. Auktion, Leo Spik, Berlin, 27./ 29. Juni 2002, Lot 324. (1290278) (13)Guilliam Gabron,1619 Antwerp – 1678 ibid.STILL LIFE WITH FRUIT GARLANDOil on panel. Parquetted.48 x 64 cm.Signed lower left.Accompanied by a statement in writing by Dr Fred Meijer, who confirms Gabron as the creator of the present painting.Comparable paintings are listed at the RKD in The Hague with numbers 16391 and 20805.Provenance:Auction, Kettner, Berlin, 12 September 1962, lot 473.Auction, Leo Spik, Berlin, 27/ 29 June 2002, lot 324.

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Frank Bruno signed 8x6 colour photo. Franklin Roy Bruno, MBE (born 16 November 1961) is a British former professional boxer who competed from 1982 to 1996. He had a highly publicised and eventful career, both in and out of the ring. The pinnacle of Bruno's boxing career was winning the WBC heavyweight title from Oliver McCall at a packed Wembley Stadium in 1995, in what was his fourth world championship challenge. Bruno faced multiple top-rated heavyweights throughout his career, including two defeats against Mike Tyson in 1989 and 1996, and a defeat against fellow Briton Lennox Lewis in 1993. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Doctor Who 8x10 photo signed by TWENTY TWO stars of the series Gabriel Woolf, Jeremy Gittins, Francois Pandolfo, David Bulbeck, Barry Noble, Cheryl Rowlands, Velile Tshabalala, Colin Spaull, Louise Jameson, Paul Lavers, David Gooderson, Caroline Munro, John D Collins, Bernard Cribbins, Philip Jackson, Prentis Hancock, Isla Blair, Julian Glover, Derren Nesbitt, Michael Jayston, Christopher Ryan and John Leeson. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Edward Heath signed 6x4 black and white photo. Sir Edward Richard George Heath KG MBE (9 July 1916 - 17 July 2005) was a British politician who served as Prime Minister of the United Kingdom from 1970 to 1974 and Leader of the Conservative Party from 1965 to 1975. Heath also served for 51 years as a Member of Parliament from 1950 to 2001. Outside of politics, Heath was a yachtsman, a musician, and an author. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Allen Jenkins signed 10x8 sepia vintage photo dedicated comes with original Warner Bros personalised envelope dated 17th Aug 1938. Allen Curtis Jenkins (born Alfred McGonegal; April 9, 1900 - July 20, 1974) was an American character actor and singer who worked on stage, film, and television. Contemporary of James Cagney in the 1930's and, more interestingly, the voice of Officer Dibble in Top Cat. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

HMS Hood. 8x10 inch photo hand signed by Ted Briggs, who at the time of signing was the last living of only three men to survive the sinking of HMS Hood by the German battleship Bismarck. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Nelson Eddy signed 7x5 vintage sepia photo with original MGM studios personalised mailing envelope dated 28 Jan 1937. Nelson Ackerman Eddy (June 29, 1901 - March 6, 1967) was an American singer, baritone and actor who appeared in 19 musical films during the 1930s and 1940s, as well as in opera and on the concert stage, radio, television, and in nightclubs. A classically trained baritone, he is best remembered for the eight films in which he co-starred with soprano Jeanette MacDonald. He was one of the first crossover stars, a superstar appealing both to shrieking bobby soxers and opera purists, and in his heyday, he was the highest paid singer in the world. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Jeremy Thorpe signed 6x4 black and white photo. John Jeremy Thorpe (29 April 1929 - 4 December 2014) was a British politician who served as the Member of Parliament for North Devon from 1959 to 1979, and as leader of the Liberal Party from 1967 to 1976. In May 1979 he was tried at the Old Bailey on charges of conspiracy and incitement to murder, arising from an earlier relationship with Norman Scott, a former model. Thorpe was acquitted on all charges, but the case, and the furore surrounding it, ended his political career. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Sylvester Stallone signed Rocky 10x8 colour photo. American actor, screenwriter, director, and producer. After his beginnings as a struggling actor for a number of years upon arriving to New York City in 1969 and later Hollywood in 1974, he won his first critical acclaim as an actor for his co-starring role as Stanley Rosiello in The Lords of Flatbush. Stallone subsequently found gradual work as an extra or side character in films with a sizable budget until he achieved his greatest critical and commercial success as an actor and screenwriter, starting in 1976 with his role as boxer Rocky Balboa, in the first film of the successful Rocky series (1976-present), for which he also wrote the screenplays. In the films, Rocky is portrayed as an underdog boxer who fights numerous brutal opponents, and wins the world heavyweight championship twice. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

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Christian Barnard two 5x2 signed white cards. Christiaan Neethling Barnard (8 November 1922 - 2 September 2001) was a South African cardiac surgeon who performed the world's first human-to-human heart transplant operation. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

007 James Bond 8x10 The Spy Who Loved Me photo signed by Bond girl Caroline Munro. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Jeff Lynne signed 10x8 black and white photo. Jeffrey Lynne OBE (born 30 December 1947) is an English musician, singer-songwriter, and record producer who co-founded the rock band Electric Light Orchestra (ELO). The group formed in 1970 as an offshoot of the Move, of which Lynne was also a member. Previously, Lynne had been involved with the Idle Race as a founding member and principal songwriter. Following the departure of Roy Wood in 1972, Lynne assumed sole leadership of ELO and wrote, arranged, and produced virtually all of its subsequent records. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Jack Nicholson signed 10x8 black and white photo. John Joseph Nicholson (born April 22, 1937) is an American retired actor and filmmaker whose career spanned more than 50 years. He is known for having played a wide range of starring and supporting roles, including comic characters, romantic leads, anti-heroes and villains. In many of his films, he played the eternal outsider, the sardonic drifter, someone who rebels against the social structure. He is the recipient of numerous accolades, including three Academy Awards. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

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James Caan signed 10x8 colour photo. James Edmund Caan born March 26, 1940) is an American actor who has been nominated for several awards, including four Golden Globes, an Emmy and an Oscar. Caan was awarded a motion pictures star on the Hollywood Walk of Fame in 1978. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

007 James Bond 8x10 The Spy Who Loved Me photo signed by Bond girl Caroline Munro. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

007 James Bond 8x10 The Spy Who Loved Me photo signed by Bond girl Caroline Munro. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Carly Simon signed 10x8 Warner Bros black and white promo photo. Carly Elisabeth Simon (born June 25, 1945) is an American singer, songwriter, musician, and children's author. She rose to fame in the 1970s with a string of hit records; her 13 Top 40 U.S. hits include Anticipation (No. 13), The Right Thing to Do (No. 17), Haven't Got Time for the Pain (No. 14), You Belong to Me (No. 6), Coming Around Again (No. 18), and her four Gold-certified singles You're So Vain (No. 1), Mockingbird (No. 5, a duet with James Taylor), Nobody Does It Better (No. 2) from the 1977 James Bond film The Spy Who Loved Me, and Jesse (No. 11). She has authored five children's books as well as two memoirs. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Anton Walbrook signed 7x5 vintage black and white photo with original 1930s mailing envelope. Adolf Anton Wilhelm Wohlbrück (19 November 1896 - 9 August 1967) was an Austrian actor who settled in the United Kingdom under the name Anton Walbrook. A popular performer in Austria and pre-war Germany, he left in 1936 out of concerns for his own safety and established a career in British cinema. Walbrook is perhaps best known for his roles in The Life and Death of Colonel Blimp and The Red Shoes. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Oliver! 8x10 inch photo from one of the great British musicals, signed by actor Mark Lester who has added the immortal line Can I have More Please to his signature!. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Deanna Durbin signed 10x8 sepia vintage photo comes with Universal Studios biography sheet dated January 1938. Edna Mae Durbin (December 4, 1921 - April 17, 2013), known professionally as Deanna Durbin, was a Canadian-born actress and singer, who moved to the USA with her family in infancy. She appeared in musical films in the 1930s and 1940s. With the technical skill and vocal range of a legitimate lyric soprano, she performed many styles from popular standards to operatic arias. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Chris Eubank signed 8x6 colour photo. Christopher Livingstone Eubank (born 8 August 1966) is a British former professional boxer who competed from 1985 to 1998. He held the WBO middleweight and super-middleweight titles between 1990 and 1995, and is ranked by BoxRec as the third best British super-middleweight boxer of all time. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

007 Bond girl Caroline Munro signed and physically kissed The Spy Who Loved Me photo to leave a lipstick mark upon it. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Tom Baker signed Dr Who 10x8 black and white photo. Thomas Stewart Baker (born 20 January 1934) is an English actor and writer. He is well known for his portrayal of the fourth incarnation of the Doctor in the science fiction television series Doctor Who from 1974 to 1981,a longer tenure than any other actor in the title role. He also provided narration in the television comedy series Little Britain (2003-2006) and Little Britain USA (2008). His voice, which has been described as sonorous, was voted the fourth-most recognisable in the UK in 2006. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Cyril Edward Power (1872-1951)The Merry-Go-Round (Coppel CEP.16) Linocut printed in a mixture of Chinese orange and chrome orange and Chinese blue, circa 1930, on buff oriental laid tissue, a very good, richly inked impression, signed and numbered 13/50 in pencil, with wide margins, a tiny paper split at the lower edge of the image, soft creasing at the corners, otherwise in good condition, framedBlock 305 x 304mm. (12 x 12in.); Sheet 398 x 382mm. (15 5/8 x 15 1/8in.)Footnotes:ProvenanceGifted by the artist to his nephew Thomas Champness (1901-1997).Thence by descent to the current owner.Amusement parks were a popular form of entertainment in the 1920s and were a great source of inspiration for the Grosvenor School artists, who sought to express the speed and innovation of the modern age via the imagery of racing cars, amusement rides and new machines. The linocut was well suited to expressing ideas of speed and movement. Its soft malleable surface was easy to carve and the fluid lines, repeating rhythmic patterns and simple bold colour combinations were employed to convey this dynamism.The inspiration for this particular image was taken from the Merry-Go-Round at the Wembley Exhibition Fun Fair in London, close to the artist's home in Brook Green. It is a dazzling display of technical skill and compositional flair. Power's intricate design uses a series of sweeping and tapering curved lines for the apparatus of the Merry-Go-Round and zig-zag shapes for the figures which gradually become more abstract, giving a sense of gathering momentum. The central column is set at an angle, adding to the illusion of propulsion and the vibrant orange and blue enhance the overall dynamic effect. The Merry-Go-Round is transformed into a whirlwind of energy, perfectly capturing the thrill of the ride, both for the riders and the spectators.We have found only four other impressions of this linocut appearing at auction in the last twenty-six years.For further information on this lot please visit Bonhams.com

Lynette Yiadom-Boakye (born 1977)The World for a Wilderness Etching, 2020, on Somerset wove paper, signed, dated, titled and numbered 16/50 in pencil, published by Tate, London, the full sheet, in very good, original condition, within the original wrappingPlate 332 x 300mm. (13 1/8 x 11 3/4in.); Sheet 506 x 461mm. (19 7/8 x 18 1/8in.)Footnotes:I've never liked being told who I am, how I should speak, what to think and how to think it... But the idea of infinity, of a life and a world of infinite possibilities, where anything is possible for you, unconstrained by the nightmare fantasies of others, to have the presence of mind to walk as wildly as you will, that's what I think about most. Lynette Yiadom-BoakyeThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com 

Tracey Emin (born 1963)These Feelings Were True The complete set of eight lithographs, 2020, five printed in blue and black, three printed in black, on Somerset Velvet wove paper, each signed, titled, dated and numbered 21/50 in pencil, printed at Counter Studio, Margate, published by Counter Editions, London, the full sheets, in very good condition, within the Counter Editions cardboard portfolioSheets 655 x 555mm. (25 7/8 x 21 7/8in.)(and smaller)Footnotes:Tracey Emin came to the forefront of the British art scene in the 1980s and 1990s, graduating from the Royal College of Art and achieving success and acclaim as a prominent member of the Young British Artists, who pioneered a new era of art which was innovative, irreverent and provocative. Emin is well-known for the autobiographical nature of her work, with its confessional and often shocking elements. In 1997 she produced Everyone I have ever slept with, a tent appliqued with the names of people with whom she had shared a bed and in 1999 My Bed was exhibited at the Tate Gallery, causing a sensation with its uninhibited and searingly honest presentation of her unmade bed surrounded by discarded personal items. Such personal works expressed the emotions which surfaced during particularly difficult periods in her life and these were used to make a commentary on the wider world with regards to love, sex, abandonment and death. Emin works in a variety of media, including drawing, painting, photography and sculpture. However, it is printmaking in which she specialized, citing an appreciation for the variety of techniques which allow for experimentation throughout the printmaking process. These feelings were true continues the artist's self-exploration in a series of eight self-portraits. They are small-scale intimate portraits produced in 2020 when the artist was dealing with a serious illness and can be viewed almost as a visual diary. As ever, her emotions are candidly revealed, with each portrait facing and engaging the viewer, each with its own expression. Emin says that there is a definite division between the works produced before her diagnosis, which have a sense of calm and innocence, and afterwards, where there is more visible turmoil. In previous self-portraits she has often obscured her face, but now feels it is time for her 'to make an entrance into her work', because she is grateful to be here and celebrate who she is. Emin has said of the series 'when I saw that these portraits did not look like me, I then realized I was actually drawing how I felt inside my head. An expression of myself in different moments, and this idea doing a few of them would be very honest and will be really free... the idea is how I am feeling'.This sense of freedom is conveyed through the fluid brushstrokes resulting in direct, visceral images. Emin follows in the footsteps of many artists who have become their own subjects, and who have used the nude to convey powerful emotions, but she stands apart in the sheer intensity and self-revelation of her work. This series is a testament to her continued pursuit of artistic experimentation and determination to be absolutely true in her portrayal.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Boxed set of Jack and Jill building blocks, the block also with scenes of Little Bo-Peep, Baa-Baa Black Sheep, There was an old woman who lived in a shoe and Humpty Dumpty, with posters, in original box

1925 Ner-A-Car Model CRegistration number BF 5895Frame number 4747Engine number PB2153Original machine purchased from Holland in 2009/10The Model C was made for one year only by Sheffield Simplex company utilising a Blackburne 348cc four stroke side valve engine Restored in 2011 by the previous owner using all correct parts and registered in the UK in October the same year It won ?Best in Show ?at the Bristol Classic Bike Show in 2012Also the Most Technically Interesting Machine at the Stafford Show Completed the Banbury Run in 2012Purchased by the present owner who competed in the 2018 and 2019 Graham Walker Memorial RunNot used since that time With V5C, list of surviving examples, two information booksPhotos before restorationFor sale due to a leg injuryWill need light re-commissioning before use Only 16 examples are known to exist two of which are in USA A very rare model in extremely nice condition

A JAPANESE SHIN-GUNTO: SHŌWA PERIOD (1926-1945)sugata (configuration): shinogi-zukuri (longitudinal ridgeline) with shallow tori-zori (even curve); hamon (tempering pattern): gunome midare (~horse-tooth~ pattern of small repeated irregular semi-circles) becoming sanbon-tsugi (three cedar tree pattern) in places; boshi (tip): iri-yama-gata (one side rises above the other); nakago (tang): ubu (unaltered) with a single mekugi-ana (peg hole), signed on the omote (front side) Nôshû Ju Kaneaki saku, koshirae (mounting): tsuka (handle) with brown silk ito (braiding) over white same (ray skin), standard copper alloy military fittings, parts gilded, with full officer~s leather covered mounts, including leather foul weather tsuka (handle) cover; 66 cm; 26 in bladeThe blade was made by Kuriyama Kaneaki (1888 - 1966) who worked as a military swordsmith having studied under Watanabe Kanenaga.;

AN AIGUCHI TANTŌ IN THE FORM OF A FOLDED FANthe blade with indistinct forging details and securely fitted into the tsuka (hilt) with a gilt copper habaki (collar), scabbard and hilt of lacquered wood in the form of a closed folding fan, together with a Japanese fan, 19th Century, with paper leaf, stained bamboo ribs and metal guards15 cm; 6 in bladeIt has been suggested that this form of dagger mounting was perhaps used by women and retired samurai as well as by doctors, monks and others who were not permitted to carry a sword. Daggers in the form of folded fans were also widely produced in the late nineteenth century as tourist items.

A JAPANESE SHINGEN JINGASA (WAR HAT), 1750-1850the wood with alternating vertical panels of black and mottled dark grey lacquer giving the appearance of a suji kabuto (ridged helmet) with an applied tehen kanamono (covering at the top of the helmet) and rear ring for an agemaki (decorative bow); the front with a gold mon (family crest) of the Tachibana family in the form of a citrus tachibana flower. The interior lacquered in red with gold flakes and with padded silk ties; ; The Tachibana family were one of the most powerful kuge (court nobility) families in early periods of Japan~s history.; ; The jingasa is a lighter form of headgear worn by lower-ranking samurai retainers and the ashigaru (foot-soldiers). They were also increasingly worn for ceremonial parades and for the sankin-kôtai processions from regional domains to the shogun~s court in Edo (Tokyo). The name of this style of jingasa is believed to trace back to the samurai warlord Takeda Shingen (1521-1573), who is said to have favoured this shape.

A FINE AND RARE ENGLISH SMALLSWORD WITH CUT-STEEL HILT, CIRCA 1775-1785, PROBABLY WOODSTOCKwith slender tapering blade of hollow-triangular section, etched with scrolls over the forte, burnished steel hilt comprising pierced petal-shaped shell-guard centring round a star, a pair of slender pas d~ âne, knurled quillon, waisted quillon-block, slender knuckle-guard with a pierced central moulding, and tall ovoid pommel chiselled with a flowerhead front and back, the entire hilt enriched with a profusion of faceted beads in imitation of brilliants and retaining its original grip of plaited copper wire and ribband, the latter decorated en suite with the hilt (the beads with very small losses), and retaining much of its original bright polish throughout, in its white vellum-covered wooden scabbard with burnished steel mounts comprising locket, chape and middle-band, the former two each fitted with a ring for suspension83.0 cm; 32 5/8 in bladeThe design of the present sword is perhaps inspired by those of Matthew Boulton and James Watt. The former went on to develop mechanised production techniques, including steam powered polishing wheels, that would see the decline of the Woodstock Manufactory. The production of steel goods near Woodstock can be traced back to 1643 with the establishment of a sword mill at nearby Wolvercott. The following century the area became well known for the high quality of its work, Count Frederick Kielmansegge wrote in his diary of 1761-2 that ~.....the best steel goods in London come from Woodstock and there is hardly a steelworker who does not employ several workmen~. For an account of Woodstock hilts see Norman 1980, pp 409 - 410.

AN ITALIAN MORION IN THE ~SPANISH~ FASHION, CIRCA 1580formed in one piece with an almond-shaped crown rising to a short ~stalk~ and a flat integral brim projecting to an obtuse point front and rear (the former pierced with a later wiring-hole), its edge formed with a plain inward turn accompanied by a narrow recessed border, the base of the crown encircled by fourteen holes for lining-rivets, and its surface retaining a black from the hammer finish overall19.0 cm; 7 ½ in highProbably from the group described by a workman as |stacked like flowerpots| in the basement of a store in Oxford Street, London in the 1960s. The shop concerned had been owned by the distinguished arms and armour dealer Fenton and Sons who had reportedly acquired a large number of these morions from Ireland between the wars. They were offered for sale at £2, 12s 6d a piece. It is fair to speculate that they are relics of the Elizabethan wars in Ireland, though this cannot be claimed with absolute certainty.

THE D.B. 16 BORE PERCUSSION SPORTING GUN OF ARTHUR WELLESLEY, 1ST DUKE OF WELLINGTON KG, GCB, GCH, PC, FRS (1769-1852) BY JOSEPH LANG, LONDON, CIRCA 1840with sighted barrels, platinum plugs, engraved tang, signed scroll-engraved locks (defective), figured walnut half-stock, chequered fore-end and grip, engraved iron mounts including trigger-guard with lever safety behind, and silver escutcheon engraved with the owner~s crest beneath a Ducal coronet (rubbed) and brass-tipped ramrod (worn throughout)73.2 cm; 28 7/8 in barrelsThe Duke of Wellington~s success on the battlefield was apparently not matched by his ability as a sportsman. Lady Frances Shelley recalled a shooting party at Maresfield Park, Sussex in October 1819 where ~…..the Duke shot far better than he had done in the morning. Bad was the best, however; for he had contrived to empty two powder horns and a half, with very little to show for it. If truth be told, the hero of Waterloo was a very wild shot. After wounding a retriever early in the day, and, later on, peppering the keeper~s gaiters, he inadvertently sprinkled the bare arms of an old woman who chanced to be washing clothes at her cottage window! I was attracted by her screams, and the fearful ejaculations caused by pain and fear. I took in the situation at a glance, and went to the cottage door. ~I~m wounded, Milady!~ she cried. ~My good woman!~ said I, ~this ought to be the proudest moment of your life. You have had the distinction of being shot by the great Duke of Wellington!~ ~Oh! La!~ exclaimed the old woman, as she glanced towards the Duke with eyes full of tears, not knowing whether to be proud or angry. Then suddenly her face was wreathed in smiles, as the contrite Duke slipped a golden coin into her trembling hand! This incident was apparently not an isolated one, four years later in January 1823 at Wherstead Park in Suffolk, The Morning Post recorded ~…..the Duke of Wellington was so intent on his game, that he lost sight of the party, and in firing his double-barrelled gun, his Grace unfortunately lodged a part of the contents in the face of his Noble Host; seven swan shot entered the cheeks, and one the nose. His Grace, hearing an exclamation of ~I am shot,~ threw down his piece and hurried to the spot, where he found his friend leaning against a tree, the face streaming with blood. One of the party galloped off to Ipswich for medical aid, whilst the others carried the wounded Nobleman to the lodge. A surgeon in less than an hour attended, extracted the shot, and pronounced the Noble patient to be not in any danger…..~ Edgcumbe 1913, pp. 73-74 and Selin 2019.All proceeds to be donated to the British Red Cross Ukraine Crisis Appeal

A FINE AND RARE PAIR OF 18 BORE SILVER-MOUNTED FLINTLOCK OVER-AND-UNDER DOUBLE TRIGGER HOLSTER PISTOLS MADE FOR ALEXANDER MONTGOMERIE, TENTH EARL OF EGLINTON (1723-1769) BY GRIFFIN, BOND STREET, LONDON, CIRCA 1750with swamped barrels formed in two stages, struck with London proof and |Foreigners| mark within a linear frame with rococo ornament at each end of the breeches, signed on a rococo scroll on the left hand side at the breeches and inscribed |Bond Street, London| on the right, border-engraved breech tangs decorated with scrolling foliage, border-engraved rounded locks flattened to fit and en suite with the breeches, each signed on a rococo scroll on the tail and fitted with border-engraved cocks with in-stepped bellies to engage external mainsprings, highly figured walnut half-stocks carved with shell ornament about the tang, silver mounts cast in low relief, comprising spurred pommels with grotesque mask caps and escutcheons with the owner~s crest, iron trigger-guards engraved with rococo shell and scroll ornament, and each with wooden ramrod with long two-stage iron tip with threaded terminal25.4 cm; 10 in barrelsProvenance; Alexander Montgomerie, 10th Earl of Eglinton; Christie, Manson & Woods Ltd, 23rd October 1974, lot 137; ; Literature ; Eric Griffin, Griffin of Bond Street, 1993, pp. 180-181; ; Alexander Montgomerie, tenth earl of Eglinton (1723-1769) was a politician, reformer and close friend of James Boswell who records his time with Doctor Johnson in his London Journal 1762-1767. Eglinton took considerable interest in national and local affairs, particularly in the welfare of his tenants, and was described as the reviver of agriculture in Ayrshire. In the family archives there is a letter to his brother stating that a duel took place between him and a Mr Bathurst with apparently no consequence of note. His life came to an untimely end when he was accidentally shot by Mungo Campbell, an excise officer on Ardrossan beach. Eglinton saw Campbell with a musket, having already warned him against carrying a weapon on his land. The earl rode up with some servants and challenged Campbell to hand over his piece, while chiding him for suspected poaching. Campbell refused and backed away from the earl, who continued to demand the weapon. The stand-off continued, Campbell stumbled and discharged his weapon as he fell. The ball struck the earl in the stomach, inflicting what he himself immediately recognized as a fatal wound, he died in the early hours of 25 October. Campbell was found guilty of murder at the high court of justiciary in Edinburgh on 27 February 1770, but escaped execution by hanging himself in his cell on the night of 1 March. ; ; The 10th Earl of Eglinton was one of Griffin~s most important clients. A few pieces were sold from the armoury, 25th July 1922 but the whole contents were sold by Messrs Dowells of Edinburgh 1st to 5th December 1925. The sale included ten sporting guns and one pair of double barelled holster pistols by Griffin, the pistols, lot 853, are probably the present pair. ; ; A single pistol of this type was sold in this room 30th June 2021, lot 413. A similar pistol, attributed to Benjamin Griffin, is illustrated Griffin 1993, p. 184.

AFTER JOSEPH NOLLEKENS (1737-1825), A MARBLE GROUP 'CHILD BEING CARRIED BY A DOLPHIN' LATE 18TH/EARLY 19TH CENTURY Carved marble after the original model by Bartolomeo Cavaceppiapproximately 51cm high, 62cm wideProvenance:Formerly in Dodington ParkThe Hermitage museum holds in its collections what was probably the principle inspiration for this group- a large work in marble catalogued in 1768 as a work by Rafaello executed by Lorenzetti and 'restored' by Bartolomeo Cavaceppi. However, smaller versions by Joseph Nollekens, who had access to Cavaceppi's studio in Rome, were already recorded from as early as 1764 when a version was purchased by Lord Palmerston for Broadlands. Seymour Howard records other versions of these groups by Nollekens and his workshop: one for the 9th Earl of Exeter at Burghley, one at Althorp, another for the Earl Bishop, the fourth earl of Bristol and now at Ickworth and a fourth in terracotta for David Garrick. LiteratureS. Howard, 'Boy on a dolphin: Nollekens and Cavaceppi' in The Art Bulletin, June 1964, vol.XLVI, no.2, pp.177-189 mentioned in the note on p.188Condition Report: Restorations and repairs to old damages including: left ankle, feet and toes, right toes and section of ankle, left hand (now with further losses to three fingers), section of end of dolphin tail, area around wound to torso, possibly area of knee, top of pedestal. Brass or bronze pin stem possibly moved- as is receptacle slot to underside of child's bodyLoss to tip of child's nose.Overall dirty in areas- some extremity abrasions and scuffsPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A GEORGE I WING ARMCHAIR FRAMECIRCA 1720 118cm high, 84.5cm wide, 81cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The front legs appear to be walnut, the back legs elm, oak elements including the wings.There are losses, restorations and observations including: two spliced uprights of the back; there are old upholstery tack marks to the whole frame; there are some later screws; there is evidence of worm; some ears to the front legs later; later low blocks to the front legs with holes from previous casters. It is possible that elements of this chair are from various dates, but it is difficult to conclude.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer

A GEORGE II CARVED PINE AND PAINTED WALL BRACKET CIRCA 1750 75cm high, 30cm wide, 32cm deep overallProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: Bracket with the marks, knocks, scratches and abrasions commensurate with age and use. Some old chips, splits and minor losses. Painted surface is later. Some old glued repairs to carved elements - see images for details. Please refer to additional images for visual reference to condition. Condition Report Disclaimer