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DOCTOR WHO MARK OF THE RANI PART TWO ORIGINAL SCRIPT. An original 110 page printed script plus 3 pages detailing cast and crew for the 1985 episode titled The Mark of The Rani : Part Two which was written by Pip and Jane Baker. This script has ''MASTER COPY'' written at the top and has a few pages with handwritten notes. Included are revisions pages dated 15.10.84 and 12.11.84 suggesting that this is one of the final drafts. Provenance: Consigned by a family member of husband and wife team Pip and Jane Baker.

BETTE DAVIS MEMORABILIA. Bette Davis ephemera to include: signed magazine cutting, 'Beyond The Forest' lobby card set, 'The Man Who Came To Dinner' lobby card, a Warner Brothers promotional photo, a Picturegoer with Davis cover, Madame Sin press materials, books and more.

SPORTS AUTOGRAPHS - WORLD AND BRITISH BOXERS. Approx 150+ assorted signed items from stars of the boxing world, to include cuttings and clippings, index cards, official promo images many to include handwritten letters from boxers thanking our dedicated autograph hunter for his kind words or praise. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

DOCTOR WHO MARK OF THE RANI PART ONE ORIGINAL SCRIPT. An original 57 page draft script for the 1985 episode titled The Mark of The Rani : Part One which was written by Pip and Jane Baker. This appears to be an early typewritten draft on onion skin paper. Also included are 3 Doctor Who paperback books for Mark of The Rani, Time and The Rani and The Ultimate Foe which were all written by Pip and Jane Baker. Provenance: Consigned by a family member of husband and wife team Pip and Jane Baker.

DOCTOR WHO MARK OF THE RANI PART ONE ORIGINAL SCRIPT. An original 119 page printed script for the 1985 episode titled The Mark of The Rani : Part One which was written by Pip and Jane Baker. This script includes pages of revisions dated 15.10.84 and also contains handwritten notes and annotations. Provenance: Consigned by a family member of husband and wife team Pip and Jane Baker.

SIGNED SPORTING T-SHIRTS. A collection of approx 28 assorted promotional sporting t-shirts, with many signed. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

SPORTS AUTOGRAPHS - MANCHESTER UNITED STARS PAST AND PRESENT. A collection of approximately 68 assorted autographs, to include club cards, index cards and more from an array of Manchester United stars. To include: Anthony Martial, Paul Ince, Ruud Van Nistelrooy, Lou Macari, John O'Shea, Edwin Van Der Sar, Louis Saha, David De Gea, Teddy Sheringham, Nicky Butt, Patrice Evra, Keiran Lee, Karel Poborsky, Tom Cleverley, Henning Berg, Phil Jones, Federico Macheda, Gary Pallister, Brian McClair, Steve Bruce and many more. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

DOCTOR WHO MARK OF THE RANI PART ONE & TWO SCRIPT PAGES. Original script pages for Doctor Who Mark Of The Rani Part One and Two which was written by Pip and Jane Baker. In total there are 20 pages from Episode 1 which appear to be pages that were removed from scripts (many with annotations) and 16 pages relating to Episode 2 which include both revisions pages and pages removed (some with annotations). Also included are 3 Doctor Who paperback books for Mark of The Rani, Time and The Rani and The Ultimate Foe which were all written by Pip and Jane Baker. Provenance: Consigned by a family member of husband and wife team Pip and Jane Baker.

STAR WARS - SPENCER WILDING. Three hand signed 8 x 10'' photos depicting Spencer Wilding who played Darth Vader in Star Wars - Rogue One. The winning bidder will receive a video message from Spencer thanking you for your bids.

SPORTS AUTOGRAPHS - MUHAMMAD ALI SIGNED PHOTOGRAPH. A 5 x 8'' black and white photo print bearing signature, date and inscription in black marker pen by Muhammad Ali. From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

DOCTOR WHO MARK OF THE RANI PART ONE ORIGINAL SCRIPT. An original 119 page printed script for the 1985 episode titled The Mark of The Rani : Part One which was written by Pip and Jane Baker. This script includes pages of revisions dated 15.10.84 and also contains pages of handwritten notes plus notes and annotations on the script itself. Provenance: Consigned by a family member of husband and wife team Pip and Jane Baker.

SPORTS AUTOGRAPHS - RUGBY STARS. Approx 270 +assorted signed items from a diverse selection of Rugby stars, to include index cards, newspaper cuttings, promo photos and more. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

SPORTS AUTOGRAPHS - WORLD AND BRITISH BOXERS. Approx 150+ assorted signed items from stars of the boxing world, to include cuttings and clippings, index cards, official promo images many to include handwritten letters from boxers thanking our dedicated autograph hunter for his kind words or praise. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

TV MEMORABILIA - SIGNED ITEMS AND MORE. An excellent collection of approximately 39 items mostly correspondence relating to requests for autographs from a variety of stars - to include: an autograph book with signatures from approx 19 tv and entertainment stars (inc Matthew Corbett), a piece of Granada stationery with signatures from staff circa 1970s inc Tony Wilson, two hand signed letters from Rupert Grint on personal stationery, letter on personal stationery of: Yul Brynner, Alan Freeman, Robin Williams, Shirley Bassey, Alan Rickman, Warwick Davis, Bonnie Langford, Aardman Animation, Geri Halliwell, Lily Savage and more. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

SPORTS AUTOGRAPHS - ATHLETICS STARS. Approx 75 assorted signed items from stars of track and field, to include index cards, newspaper cuttings, promo photos and more. To include: Mo Farah, Jessica Ennis, Colin Jackson etc. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

JAMES BOND OCTOPUSSY SCREENPLAY. A screenplay for James Bond - Octopussy dated 10th June 1982. Owned by a prop maker who worked on the film, with potential areas where he would be required highlighted throughout in orange e.g. ''MISSILE hits spy plane''. Good condition with age wear and some curling to pages.

DOCTOR WHO MARK OF THE RANI PART TWO ORIGINAL SCRIPT. An original 109 page printed script plus 3 pages detailing cast and crew for the 1985 episode titled The Mark of The Rani : Part Two which was written by Pip and Jane Baker. This script has ''JANES WORKING COPY'' written at the top and contains handwritten notes , annotations and crossings out throughout. This has revisions pages included dated 1.10.84 and 15.10.84 and appears to be a 2nd printed draft. Provenance: Consigned by a family member of husband and wife team Pip and Jane Baker.

A 1985 catalogue raisonee of Andy Warhol's prints (Editions Schellman, 1985) signed to first page in good size by Andy Warhol. No dust jacket, otherwise very good condition. Provenance: signature obtained by vendor's father who attended the opening of an exhibition in London in 1986 and met Andy Warhol.

ANTHONY JOSHUA SIGNED BOXING GLOVE. A Lonsdale 'M:Core' boxing glove, signed clearly in silver ink by Anthony Joshua. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

DOCTOR WHO MARK OF THE RANI PART ONE ORIGINAL SCRIPT. An original 74 page draft script for the 1985 episode titled The Mark of The Rani : Part One which was written by Pip and Jane Baker. There are 2 additional pages attached to the back of the script (Page 23 & 27) and throughout the script there are handwritten notes and annotations. This appears to be an early typewritten second draft on onion skin paper. Provenance: Consigned by a family member of husband and wife team Pip and Jane Baker.

SPORTING AUTOGRAPHS - FOOTBALL STARS - PELE. A typed letter on New York Cosmos stationary dated September 29th 1978 signed clearly in blue ink by Pele. Provenance: From the collection of Barry McDermott who started collecting autographs in 1976. Autograph hunting became a passion for Barry and he would send hundreds of letters every year coupled with meeting stars of sport and TV when they visited the Manchester area.

A pair of 18th century Continental tablespoons- Jacobite Interest indistinct marks for France, of Fiddle and Thread pattern, foliate F engraved to terminal and engraved to reverse of terminal with coat of arms for the Irving family of Boneshaw(Length: 21cm, weight: 5.3oz)Footnote: Connection to the Irvings who fled after 1945 Jacobite uprising

A late Victorian inkwell- Royal Interest Stokes & Ireland Ltd, London 1901, of oval form with gadrooned border, two globular cut glass ink wells, each engraved M surmounted by a crown for Maud of Wales, VA, CI, GCVO, GCStJ, flanking a stamp box engraved XMAS 1902(Width: 22.5cm, weight (all in): 15.9oz)Footnote: The inkwell features the crest of Maud of Wales, VA, CI, GCVO, GCStJ who was Queen of Norway through marriage to King Haakon VII. She was the youngest daughter of the British King Edward VII and Alexandra of Denmark. Maud of Wales was the first queen of Norway in over five centuries who was not also queen of Denmark or Sweden. This is believed to be a gift G S. May Esquire Private Collection.

Various Beswick Beatrix Potter figurines from the 1980s  - Mrs Tiggywinkle takes tea 1985, Timmy Willie sleeping 1986, Tomasina Tittlemouse 1981, Tailor of Gloucester 1989, Goody and Timmy Tiptoes 1986, The old woman who lived in a shoe 1983 and Peter Rabbit 1989

Map of Mauritius, 'Carte de l'Isle de France'by P A Rameau, 1763, hand-coloured,57 x 87.5cmThe island was originally colonised by France who named the island 'Isle de France'. It was seized by the British during the Napoleonic wars when it reverted to its original Dutch name, derived from Maurice, Prince of Orange. The dodo was already extinct by this time.Condition report: Central fold.

John Constable RA (1776-1837)Dedham Vale with Brantham mill and haystacks, c.1809-10oil on millboard26.8 x 43.3cm, in a gilt carved wood frameThe present view is looking south over Dedham Vale with the Church and sprawling village, and the far snaking line of the Stour against the southern higher ground.Provenance: Probably a member of the Constable family;Leggatt Brothers, London; Agnews (11510), sold 1946 to Major A.W. Allen (stock number 9159);and by descent to the vendorVerso: old label indistinctly inscribed ‘Landscape & ...’This previously unrecorded early oil sketch by John Constable is an exciting new discovery, and forms a useful new addition to the Constable literature. The fact that the picture once passed through the hands of Leggatt Brothers points towards a likely provenance direct from a member of the Constable family.During the first half of his career, when visiting the family home at East Bergholt during the summer and often sketching from nature there, Constable would tend to focus on two key landscape subjects: panoramic views overlooking the Stour valley, most especially vistas of Dedham Vale; or more enclosed views made in and around the mill at Flatford belonging to his father, Golding Constable.Constable’s paintings of Dedham Vale are usually taken from two favourite viewpoints: either (as is the case with this sketch) from the Suffolk side of the valley looking westwards across the Vale; or, as painted by him from as early as 1802, from the Essex side of the valley, from higher ground on Gun Hill, looking eastwards.The most famous representation by Constable of the former composition is the panorama of Dedham Vale, seen from the East Bergholt to Flatford Lane, which he sent to the Royal Academy in 1811 with the title 'Dedham Vale, Morning' (Proby Collection, Elton Hall; see Graham Reynolds, 'The Early Paintings and Drawings of John Constable', 1996, Yale University Press, no. 11.02). Constable made a number of preparatory oil sketches for this composition, which - like the final picture itself - show the towers of various Suffolk or Essex churches in the distance, of Stratford St Mary, Langham and Dedham (see Reynolds op.cit, R.11. 04-06). In these related sketches, Constable indicates the distant church towers with simple little white flecks of paint. This is his personal shorthand for showing their position in the landscape as well, no doubt, as to show the way they catch the light depending on the time of day and position of the sun.This previously unrecorded oil sketch shows the unmistakable tall tower of Dedham Church (and its adjacent village) in the far right hand distance. As Constable’s viewpoint here is clearly further east than the one he adopted for 'Dedham Vale: Morning', 1811, the two church towers of Stratford St Mary and Langham are no longer visible in the distance (they are out of sight on the right). Instead a windmill - apparently a weatherboarded post mill - has now come into view in the left hand middle distance. Like the towers of the local churches, Constable has rendered this mill in prominent strokes of white paint.By examining an ordnance survey map dating from the early nineteenth century, one can deduce that the windmill Constable shows here is likely to be identifiable as one situated at Brantham (see Ordnance Survey Map Sheet 64, Colchester; facsimile version of 1838 re-engraved map, on four quarter plates, based on 1805 single sheet impression of map). In fact Brantham boasted two mills in Constable’s day, both situated - a little to the south-west of Brantham village - on the river Stour where there was also a Lock - indeed Brantham Lock was the last of the 15 locks which, since the time of their construction in the eighteenth century, had rendered the River Stour navigable from Sudbury to Manningtree.Of the two windmills at Brantham, one was a wind driven postmill with sails - tentatively identified as the one Constable has painted here - and the other a tidal mill driven by water. As Ian Fleming-Williams pointed out, this was a convenient arrangement, as it meant that one could be used when the other was unable to work ('Constable and his Drawings', 1990, p.111). Both mills at Brantham are shown, sited very close to each other, in a tiny pencil sketch Constable made in 1814 ( Reynolds, op.cit, 14.23, albeit only the roof of the tidal mill is visible in this sketch). The mill shown in Constable’s oil sketch meanwhile is, as indicated above, likely to be identifiable from its sails as the wind driven post mill at Brantham (the tidal mill presumably being out of sight). Constable had made a more detailed drawing of this mill, in pencil and stump, as early as 1802 in which he showed its exact position on the river, and where the structure of the mill building can be made out in more detail ('The Windmill at Brantham', Victoria & Albert Museum, see Reynolds, op. cit, 02.8). He made a further sketch of the windmill at Brantham in the intact 1814 sketchbook in the Victoria & Albert Museum ( Reynolds, op.cit, 14.32, p.47).Windmills frequently caught Constable’s attention as potential subject matter for his art given his father’s profession as a corn (and coal) merchant. Not only did Golding Constable own mills at Flatford and Dedham, but he seems also to have owned the windmill at Brantham, and certainly had a coal-yard at the latter location (Fleming-Williams, op.cit, p. 112). The area around Brantham, then, would have been familiar territory for Constable during the first half of his career, and perhaps especially in the period 1805-8 when the young artist was involved in painting an altarpiece for the church at Brantham ('Christ Blessing the Children', 1805-8, on loan to Emmanuel College, Cambridge, Reynolds 05.2).Constable’s oil sketch of 'Dedham Vale with Brantham Mill' is painted on millboard, a support Constable is known to have taken up for oil sketching in the period around 1809, perhaps influenced by the adoption of the same support for sketching by his patron and mentor, Sir George Beaumont. Constable’s use of millboard here, together with the stylistic handling – strong tonal contrasts and a fairly even application of paint - point towards a date of c.1809-10. A view of 'Malvern Hall from the South-West' of 1809 in the Bristol Museums and Art Gallery (see right in catalogue), although executed on paper laid on canvas, is very similar in handling.I am especially grateful to John Somerville who kindly pointed out to me that the viewpoint is probably the furthest East that Constable ever painted Dedham Vale, and therefore that the mill is most likely to be that at Brantham owned by his father, Golding Constable.Anne LylesWe are grateful to Anne Lyles for her assistance in the cataloguing of this lot.Condition report: Oil on board. The board is fragile and brittle; the edges are very friable. Old tears in the support are visible at the top and bottom edges. There is a sketch on the reverse of the board with remnants of old paper tape around the edges. The oil painting on the front of the board is in a stable condition. There are losses associated with the tears and localised damages. There are scattered retouchings across the surface of the painting which are matte and are slightly mismatched to the original. The retouchings cover areas of damage and spots of wear and abrasion. In the sky the retouching gives the painting a slightly mottled appearance. The varnish is clear and glossy. The frame is in a good condition with a few scattered losses to the gilding on the sides. The painting is poorly secured in the frame with bent nails and cork spacers.

Edouard Moyse (French, 1827-1908)'La Bénédiction de l'Aïeul' (The Blessing of the Ancestor)signed 'Moyse' l.l., oil on canvas77 x 118cmEdouard Moyse was a Jewish painter from Nancy who specialised in painting scenes of Jewish life.This painting is of the Kiddush, the sanctification/benediction. Although the Sabbath comes round every week, it is nevertheless holier than most of the great religious festivals that occur during the rest of the year; it marks the end of the sixth day of Creation, when God rested from all his labours, and is sanctified with the Shabbat meal usually after synagogue on Friday evening. Shabbat, like all other religiously observed dates, begins, not on Saturday morning, but at sunset on the Friday evening, and ends with the sighting of the first star on Saturday evening.It marks the day when Jews should refrain from all forms of work, physical activity like carrying, playing a sport, entertainment and so on. The day should be spent in contemplation, enjoying family life, and religious study.The pater familias is on the left, reciting or singing the Kiddush, and when he is finished, he sips from the goblet, then pours some into each of the other persons’ glasses - that would include family as well as guests, and indeed many families today, especially Levantine Jews, still set an extra place for an unknown guest. After the wine, the father and the males older than 13 wash their hands, and return to the table to say the benediction over the bread (…and God brought forth bread from the Earth), before breaking the bread - not cutting it, because that would be an act of labour - and giving each person a piece, having sprinkled it with salt, which is to remind us that, on being banished from the Garden of Eden, we had to thereafter labour by the sweat of our brow. In the present painting, the father, while saying the Kiddush, is resting his hand on the Challa, the bread, ready for the next blessing.We are grateful to Joseph Mankowitz for his assistance with the catalogue entry.Condition report: Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layer is stable overall. There is a scuff in the paint layers and varnish at the lower right corner. Scattered across the picture are darkened spots of age cracks, these are stable but give the painting a slightly mottled appearance in some areas. There are a few localised areas of retouching, mainly located along the left edge. The varnish is clear and even but very brittle, white spots across the surface are actually abrasion in the varnish layer. There is a light layer of dust present and some fly spots. The frame is in a good condition.

A portable pressure copying machine by James Watt and Co.,c.1790, the mahogany and brass bound case, opening to reveal a folding writing desk concealing pen tray, opposite two brass rollers, detachable mahogany winding handle, the copying plate inset with maker's label, the top of the box inscribed 'Playfair' to a brass roundel,44cm wide29cm deep13cm highProvenance: Horton Lodge, Windsor, Berkshire.The owner's nameplate to the top of the mahogany box may relate to William Playfair (1759-1823), Scottish engineer, who was taken on by Boulton & Watt in Birmingham. He spent much of his tenure (1777-1781) working in James Watt's house at Harpers Hill, preparing and copying drawings of steam engines.See the link to the biography of Playfair written by Bruce Berkowitz: 'Playfair: The True Story of the British Secret Agent Who Changed How We See the World' here. Condition report: splits to the top of the box, brass tarnished and scratched, inside, the leather surface very scratched and worn, vacant recesses intimating much of the fitted contents now lost,

John Crome (1768-1821) and Robert Ladbrooke (1769-1842)A view of Sandling's Ferry and Bishop's Bridge, Norwichoil on canvas49 x 75cmProvenance: Charles Lockey; Christie's, 28 March 1859, lot 156, unsold;Sir Samuel Hoare, 1st Baronet; by descent to Viscount Templewood and to Paul Paget Esq.;Christie's, 17 October 1986, lot 150;the collection of Surgeon Vice Admiral Godfrey Milton-Thompson.It has been suggested by Dr Norman Goldberg, who saw the painting at Templewood in 1963, that it was started by Ladbrooke, but that the clouds and sky were completed by Crome, with Ladbrooke painting the foreground and all the figures, except the broad figure with his back to the viewer in the central boat.Condition report: Oil on canvas which has been lined. The canvas is in plane with good tension. The paint layer is stable and secure. A network of drying cracks has formed across the paint surface, these have been extensively retouched. The retouchings are glossy and slightly discoloured compared to the original. The varnish is matte and slightly yellowed. It is no longer adequately saturating the paint layer. The frame is in a good condition with minor wear and losses to the gilding.

*Richard Carline (1896-1980)'Palestine'signed, inscribed 'Palestine' and dated 1919 l.l., watercolour22 x 28cmBorn into an artistic family, Richard Carline studied art before joining up at the start of the First World War. He initially served in the Middlesex Regiment and was transferred to the Royal Flying Corps in 1917. Carline's artistic flair was utilised when he was asked to develop camouflage designs for aeroplanes and to paint large surveys of the front lines in France on to canvas. He nominated his brother, Sydney, who also served in the RFC, to become an official war artist, and both brothers were together sent to paint in the Middle East by the Imperial War Museum in 1919. They were instructed to depict aerial scenes and combat, of which they brought home more than 300 sketches. These they developed into paintings for the Imperial War Museum, although they were allowed to keep the collection of original sketches. After the war Carline joined the London Group and studied at the Slade. He also taught at the Ruskin School of Drawing and Fine Art, and at Oxford University. During the Second World War he continued his work on aircraft camouflage when he worked for the Air Ministry. *Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Some loss of colour and spots of foxing. Paper a little cockled.

A near pair of Indian ebony side chairs,late 17th century, Coromandel Coast, the pierced and twist-turned backs profusely carved in low relief with flowers and foliate scrolls, each with a shaped rail and bulbous finials, above a square caned seat with a carved and pierced apron, raised on twist-turned supports and stretchers punctuated by rectangular blocks, 53.5cm wide45.5cm deep95cm high, and 53.5cm wide46.5cm deep90.5cm high (2)Literature: A Jaffer, 'Furniture from British India and Ceylon: A Catalogue of the Collections in the Victoria and Albert Museum and the Peabody Essex Museum', London, 2001, pp.130-142.When similar pieces of this type began to be recorded in British collections in the 18th century, the prevailing thought was that they were surviving examples of early English furniture, owing to their dark colour, rigid square form, the use of twist-turning - which was believed to be common of Elizabethan furniture - and the often mythical decoration. Horace Walpole, who may have been responsible for this belief, asserted that this attribution, based on their physical attributes, was corroborated by the existence of such examples in houses with Tudor associations. For example, in 1748, he saw carved ebony chairs at Esher Place, Surrey, and posited that they must have belonged to Cardinal Wolsey, who had lived there after 1519.Condition report: See images.The seats have been recently re-caned, areas of restoration, repair and replacement, some splits, chips and losses, general surface wear, scratches and dirt commensurate with age.

A Martin & Co. Style 3 ukulele,c.1925, the mahogany body with seven layer binding to the front and three layer binding to the reverse, the inlaid rosewood fingerboard with 17 frets, impressed 'Made in U.S.A., C.F. Martin & Co., Nazareth, PA.' to the reverse of the headstock, and impressed 'C.F. Martin & Co., Nazareth, PA.', complete with a period fitted hardcaseThis ukulele was formerly owned by Sam McRae, who as well as being the professional golfer at the City of Newcastle Golf Club was also particularly adept at playing the ukulele. Tales are told of him sharing the stage with the legendary 'Ukulele Ike' but exactly when and where this took place has been lost in the annals of history.Condition report: Surface scratches, knocks and wear commensurate with use. The case showing similar signs of use.

An Irish carved and giltwood centre table in the manner of Del Vecchio, Dublin,19th century, the moulded white marble top supported on three mythical winged beasts, standing on a painted triform base,97cm diameter80cm highProvenance: The property of a West Country gentleman.Condition report: Rubbing and chips to gilding.It is Irish by repute by the vendor, who has always known it to be Irish in the manner of Del Vecchio.Top doesn't appear to be broken and repaired, although has a few chips and scratches.  See images.

A Martin & Co. Style 2 ukulele, c.1925, the mahogany body with three layer binding to the front and a single layer binding to the reverse, the rosewood fingerboard with dot markers to the fifth, seventh and tenth frets and having 12 frets in total, impressed 'C.F. Martin & Co., Nazareth, PA.' to the reverse of the headstock, and impressed 'C.F. Martin & Co., Nazareth, PA.' inside the body, complete with a period fitted hardcaseThis ukulele was formerly owned by Sam McRae, who as well as being the professional golfer at the City of Newcastle Golf Club, was also particularly adept at playing the ukulele. Tales are told of him sharing the stage with the legendary 'Ukulele Ike', but exactly when and where this took place has been lost in the annals of history. This instrument was the backup to the Style 3 ukulele that we are also selling (lot 405).Condition report: Surface scratches, knocks and wear commensurate with use. There is a crack to the lower bout but it is stable and does not cause any detriment to the tone of the instrument. The case is showing similar signs of use.

A marble headstone to 'Trimmer', a fox terrier,with rounded top, inscribed with lead lettering 'Trimmer / A thoroughly game fox-terrier who died Feby 4th 1901 aged 13 years / The stone is erected in remembrance of a faithful companion and the hero of many a sporting incident by his masters Captain Montgomerie, RN, Victor Montgomerie and Henry Charrington', above a dedicated poem below: 'There are men both good and wise / who [hope that] in a future state / dumb creatures we have cherished / here below /shall give us joyous greeting / when we pass the golden gate / Is it folly that we hope it may be so ?',46cm wide5cm deep101cm highProvenance: Trimmer belonged to Captain Montgomerie RN, Victor Montgomerie and Henry Charrington, the previous owners of the Hunsdon House Estate, Hertfordshire.Condition report: Old repaired crack across the width.

Scottish School, mid-17th centuryPortrait of Sir John Maxwell Bt of Calderwood, half-length, in a white slashed doublet and white ruffinscribed 'Colonel Jo. Maxwell who was killed at the Battle of Dunbar, 1650', oil on canvas, painted oval71 x 61cmCondition report: Oil on canvas which has been lined. The canvas is in plane with old stretcher bar marks present in the paint surface. The paint layers are secure but very worn and abraded in the darker paint passages, notably the hair. There are scattered retouchings across the surface which now appear very opaque and matte compared to the original paint layer. The varnish is clear and matte with a thick layer of uneven surface dirt. The gilding on the frame is worn with several small losses.

A carved marble coat of arms,19th century, probably French, the unidentified arms are probably those of a French nobleman who had the rank of a Count, as per the coronet ensigning the arms,66cm wide45cm highCondition report: Old repairs to each top corner.Please see images.

Richard Parkes Bonington (1802-1828)The Interior of Sant'Ambrogio, Milanbears a later signature l.l., oil on paper laid to panel17 x 21cmProvenance: The Bonington Studio Sale; Sotheby's, 29 June 1829, lot 61, bt. Colnaghi (£300);Captain W Webb; anon. sale, Paris, 23 May 1837, lot 15;Arthur Tooth and Sons Ltd., Bruton Street, Mayfair, London, W1 where acquired by Major A W Allan;Major A W Allan; 'Important English Pictures', Christie's London, 24 June 1977, lot 104 (sold for £1700).Literature: A Dubuisson, 'Richard Parkes Bonington', 1924, p.168.Bonington travelled to Italy for the first time in the Spring of 1826 and arrived in Milan with his companion Charles Rivet, who wrote 'We are in Milan, where at last we have unpacked and put to use our colour boxes ... I think that if Bonington can produce the paintings he has sketched his reputation will be made'. His first sketch in oil of the interior of the medieval basilica of Sant’Ambrogio, now in the Kimbell Art Museum in Fort Worth, Texas, was done on site on or around 11th April that year and was to be the basis for a highly finished watercolour, dated 1827 (Wallace Collection, no.714), with differences in the positioning of the figures. While in Milan Bonington also painted an interior, now lost, of the cathedral, before he and Rivet continued on to Verona in April 1827.The 1977 Christie’s catalogue description notes in its provenance: 'Dr Marion Spencer has kindly identified this as the picture sold in the Bonington Studio sale'.Condition report: Appears to be oil on laid card mounted onto a small panel with a cradle. There is an old tear in the upper right corner and an area of damage in the upper left with disrupted paint and darkened overpaint. There are small raised lumps cross the middle area of the painting which appear stable. The paint layer is in a good condition, there are a few scattered areas of overpaint across the surface. The painting has a thick layer of varnish which has yellowed and has some drips present in the texture. The frame has a few scattered losses.

Jacob Huysmans (Flemish, c.1630-1696)Portrait of a young nobleman as King David, playing a harp, a sheep beside him, possibly the young Winston Churchill, died 1688, aged 20oil on canvas104 x 128cm, in a gilded frameProvenance: Acquired by the vendor's late husband at Christie's, London, in 1975;from a Kensington town house.By family tradition the sitter is believed to be Winston Churchill, younger brother of the first Duke of Marlborough, who died in battle aged 20. Winston Churchill died in 1672 at the age of 20 at the Battle of Sole Bay near Southwold, Suffolk. His brother, the future Duke, was also present at the Battle.The symbols in the painting are connected to the sitter's early death and are part of an apotheosis with the Harp of the Angels, the Lamb for the virtues of innocence, purity and humility and the Heavenly Crown. References to the sitter's death in battle could be the heavenly crown with the crossed swords and his quasi Roman decorative armour which became so fashionable on church monuments of the period.Condition report: Oil on canvas which has been lined. The paint layer has a slightly uneven surface and has suffered from wear and abrasion. There are some large passages of overpaint, mainly reinforcing darker, worn areas of the background such as the green leaves. The sitter’s face has a few small touches and some reinforcement in the shadow on the neck. The varnish is thick, glossy and fairly even. There are some yellowed drip marks across the surface and light dust layer. The gilded surface of the frame is worn and darkened. Christie's stencils to the reverse - 168 TY or 16S TY (or may be a V ?) and also 34 PE to the reverse

PATCH BOX. A late 18th/early 19th century circular enamelled patch box, the lid with a couple in a rural scene & with the homily 'Who opens this Must have a Kiss.' Diameter 4cm.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

A 15th century Nottingham relief carved alabaster plaque of The Holy Family, The Virgin Mary and Joseph, holding an olive branch flanking the Christ Child, who stands holding a staff. Fragment piece with loss to bottom right and top left, where a small piece has been re-stuck, max 6.75in. x 6.5in.

Simon van den Berg (Dutch, 1812-1891) and Christiaan Immerzeel (Dutch, 1808-1886)oil on panelOpen landscape with figures, sheep, a cow, donkey and goatsigned by both hands lower left20 x 28.25in.CONDITION: Oil on panel in good original condition, possibly in need of a very light clean but no real faults noted, slight lines running through the sky in line with the grey of the panel and very minor rubbing marks around the edges, housed in probably the original gilt gesso frame which suffers from some losses, label verso for what looks to be a Christie's sale 20th June 2002 lot 113. A Director of the Mauritshuis Museum (1880-1889), Simon van den Berg, who was considered as one of Holland's leading animal-painters, often collaborated with his brother-in-law, Christiaan Immerzeel.

A large Victorian silver baluster hot water jug, by Robert Hennell IV, embossed with Scottish highland scene with figures, hunting dogs and game birds, with engraved inscription, 'In memory of The Dowr. Countess of Abergavenny, who died 19th May, 1873', London, 1872, height 29.2cm, 39.5oz.CONDITION: Quite tarnished otherwise ein good condition. Hallmarks clear.

Five pottery antiquities including South AmericanFrom a local collection who bought from various sources over the last 40 years

Three ancient Cypriot terracotta figures (at fault) and a collection of other terracotta and pottery antiquities including various items from Verulamium excavationsLocal collector who bought from various sources over the years

Extensive collection of vinyl long playing records, including: The Beatles, The Who, Queen, The Grateful Dead, Black Sabbath, Rolling Stones and Uriah HeepSome boxes are CD's.Photos are of the best albums in the boxesRoughly 370 records

LP records including The Who, Pretty Things, Emerson Lake and Palmer and Yes Together with approx. 140 singles

Im Stil von Lu Hui (1851-1920) CHINA, datiert 1885 18 x 49 cm R. Sperlinge im Bambus, datiert 1885. Fächerblatt, unter Glas gerahmt, 18 x 49 cm, Tusche und Farben auf Papier. Signatur des Künstlers: "Gewidmet dem ehrenwerten Freund Chunting, im dritten Monat des yiyou-Jahres (1885), Lianfu Lu Hui". Ein Siegel des Künstlers: "Siegel des Lu Hui" (Lu Hui zhi yin). Provenienz: Ehemals aus einer alten europäischen Privatsammlung, vor 1990 gesammelt, dann Privatbesitz Frankfurt - Kleinere Altersspuren Style of Lu Hui (1851-1920), Sparrows on Bamboo Branches, dated 1885. Fan painting, framed under glass, 18 x 49 cm, ink and colors on paper. Signature by the artist: "Dedicated to my honorable friend Chunting, in the third month of the yiyou year (1885), Lianfu Lu Hui". One seal of the artist: "Seal of Lu Hui" (Lu Hui zhi yi). Lu Hui, style name Lianfu, was from Wujiang in Jiangsu province and lived and worked in Suzhou. He was a literati painter and art connoisseur who learned from Wu Dacheng (1825-1902) and advised Pang Yuanji (1864-1949) and Sheng Xuanhuai (1849-1916) in collecting art. He mostly did bird and flower paintings, also landscapes in a traditionalist literati style - Provenance: Former old European private collection, assembled prior 1990 - Private property Frankfurt

Gebauchte Junyao-Schale mit lavendelfarbener Glasur CHINA, Yuan-Dynastie D. 11,1 cm Provenienz: Ehemals aus der Sammlung Konrad Lang (1933-2014), geerbt von seinem Vater Erwin Lang, der sie vor 1914 in China erworben hatte - Blaue Stoffkiste A FINE DEEP LAVENDER-GLAZED JUNYAO BOWL, China, Yuan dynasty - Former property from the collection of Konrad Lang (1933-2014), who inherited it from his father Erwin Lang, who was in China before 1914 - Box

Seltener vierteiliger Stellschirm JAPAN, Muromachi-Periode 138,5 x 245 cm Linker Schirm aus einem Paar. Auf jedem Paneel Portrait eines Priesters aus der Gruppe der Acht Patriarchen der Shingon-Schule, von rechts nach links der 5. Patriarch Zenmui, der 6. Patriarch Ichigyô, der 7. Patriarch Keika, und der 8. Patriarch Kobo Daishi. Auf dem Panel Topfsiegel, das zweite Schriftzeichen nobu. Provenienz: Aus einer bedeutenden süddeutschen Privatsammlung, in den frühen 1960'er-Jahren in München erworben, das abgebildete Foto wird in das Jahr 1967 datiert - Die Gruppe der Acht Patriarchen der Shingon Schule (Shingon hasso) wurde im 9. Jahrhundert kanonisiert. Während die ersten beiden Patriarchen legendär sind, haben die übrigen sechs als real existierenden Priester den esoterischen Shingon-Buddhismus in Ostasien entscheidend geprägt. Unter ihnen ist Kobo Daishi der einzige japanische Priester. Die Folge von Patriarchenbildnissen wird bei shingon-buddhistischen Initiationszeremonien zu je vieren an gegenüberliegenden Wänden der Halle aufgehängt. Anstelle von Hängerollen konnten auch zwei Stellschirme à vier Paneele dienen, die den Anwärtern die Traditionsfolge seiner Religion vor Augen führte. Die Bildhaftmachung von Überlieferungslinien von Lehrer zu Schüler wurde im Buddhismus seit jeher praktiziert. Die Achtergruppe Shingon Hasso ist in der Kunstgeschichte erstmalig belegbar in der Wandmalerei der Pagode des Daigoji bei Kyoto aus dem Jahr 952. In der Heian-Zeit ist dann ihre Darstellung kanonisch und ikonographisch festgelegt und wird seitdem mehr oder weniger unverändert fortgeführt. Die bekanntesten Sets dieser Patriarchenportraits befinden sich in japanischem Tempelbesitz oder bedeutenden japanischen Museen. Alle Dargestellten tragen einfache und immer gleiche Mönchsroben. Identifizierende Attribute sind Gebetsschnur, vajra und Handgestus (mudra). Vor der Sitzbank stehen Schuhe und Wasserkanne. Nur der chinesische Mönch Keika wird zusammen mit einem Akolythen wiedergegen. Die obere Gestaltung des Bildfeldes hingegen variiert bezüglich der namentlichen Identifizierung und den biographischen Angaben zu den Priestern. So gibt es Schriftfelder, die sich über die ganze Bildbreite ziehen, ein einzelnes Schriftfeld jeweils rechts, oder in großen Schriftzeichen geschrieben der jeweilige Name. Bei den vorliegenden Bildnissen sind die Schriftfelder frei geblieben. Buddhistische Malerei und auch solche Patriarchenportraits wurden von anonymen Werkstätten meist arbeitsteilig ausgeführt. Diese Bilder sind nicht signiert, höchstens aus einer rückwärtigen Aufschrift könnte ein Datum oder ein Name hervorgehen. Das im vorliegenden Fall ein Siegel angebracht wurde, ist ungewöhnlich. Siegel in Form eines archaischen chinesischen Bronzegefäßes wurden von den Malern der Kano-Schule und Zen-Mönchen ab dem 16. Jahrhundert verwendet. Das Siegel hier ist atypisch, da es nur ein einziges Paar Henkel gibt und diese am Hals angebracht sind und nicht wie üblich am Korpus oder auf dem Gefäßrand aufsitzen - Kleinere Alterssch. und alte Rest., etwas berieben, auf Stand montiert A RARE FOUR-PANEL SCREEN, Japan, Muromachi period, with a portrait of a Shingon patriarch on each panel, from left to right: the fifth patriarch Zenmui, the sixth patriarch Ichigyô, the seventh patriarch Keika, and the eighth patriarch Kobo Daishi ink and colours on paper, pot seal, the second character reading Nobu The group of the Eight Patriarchs of the Shingon school of Buddhism (Shingon hasso) was canonized in the ninth century. While the first two monks are considered legendary, the following six priests partook an important role in shaping orthodox esoteric Buddhism in the Far East. The eighth patriarch Kobo Daishi, also known as Kukai, is the only Japanese proponent of this school within this group. A set of paintings representing the Shingon hasso was used during initiation ceremonies and displayed on the opposing walls of a temple hall, four on each side. The monks undergoing initiation were thereby presented a visualization of the Shingon lineage of transmission of esoteric Buddhist doctrine. This explains why in this case the screen is four-panelled, while regular screens for interior decoration consist of six panels. In art history the Shingon hasso first appear on the walls of the Daigoji pagoda in the year 952. Their iconography was laid down in the Heian period and was continued through the centuries more or less without changes. The most famous sets belong to Japanese temples and are housed in the national museums of Japan. The priests are represented seated on a dais wearing simple monk's robes. They can be identifying by their age and physiognomy as well as the gestures of their hands (mudra) and their attributes vajra and prayer beads, all in varying combinations. Their shoes and a water bottle are placed before the seating bench. Only the Chinese monk Keika is represented with an acolyte. While these figural representations go unchanged, the manner of conveying the biography of these monks varies. Shikishi papers with a written biography in the upper section of the painting take up either the whole width of the painting or are pasted at the righthand corner. Other sets merely show the name of the priest in large Sanskrit syllables and Chinese characters. These Shingon hasso portraits, as Buddhist paintings in general, were produced in specialised ateliers by anonymous painters who furthermore worked on these images through a division of labour. To find a seal on such paintings is rare. The present seal in shape of an archaic Chinese bronze vessel is of a type used by the Kano school painters and Zen-Buddhist priests - Property from an important South German private collection, bought in the early 1960's in Munich, the illustrated photo can be dated to 1967 - Very minor damages due to age, minor rest., wear, mounted on stand

Yamantaka - der dem Yama ein Ende setzt TIBET, spätes 18. Jh. 59 x 43 cm Vajrabhairava ist eine der wichtigsten Meditationsgottheiten im tibetischen Buddhismus, dem eineigenes Tantra aus der Klasse der "höchsten Tantras" - das Anuttaratantra - zugeteilt ist. Aber auch als mächtige Schutzgottheit, wird er verehrt. Als Yamantaka, "der dem Yama ein Ende setzt" kämpft er gegen alle widerstrebenden Kräfte und gegen die Feinde der Religion. In dieser Gestalt ist er eine aktive Form des Manjushri, des Bodhisattva der Weisheit, der sich in eine stierköpfige Gestalt mit neun Köpfen und vielen Gliedmaßen verwandelte, um den rasend gewordenen Yama zu überwinden und ihn als Schützer des Dharma einzusetzen. Die Furcht einflößende Erscheinung Vajrabhairavas, des Überwinders des Todes, und gleichzeitig der Wiedergeburt - in dem er die Unwissenheit, die Ursache des ständigen Verharrens im Kreislauf der Wiedergeburten bekämpft, ist neungesichtig, mit vierunddreißig Armen und sechzehn Beinen. Er sieht furchterregend aus um die Feinde des Dharma abzuwehren. Der unermessliche Zorn der Gottheiten richtet sich nicht gegen den Betrachter oder Meditierenden, sondern gegen dessen Unwissenheit und Hindernisse. In diesem Sinne trägt der elfköpfige Avalokiteshvara, als vorletzten seiner elf Köpfe, ein zornvolles Gesicht, eingedenk seiner Erkenntnis, dass gegebenenfalls eine andere Energieform notwendig ist um die Achtsamkeit zu erhöhen. Gleichwie eine Mutter und ein Vater im Zorn ihr Kind zur Aufmerksam ermahnen. Dies geschieht jedoch auf der Basis von Mitgefühl und fürsorgender Liebe zur Weiterentwicklung. Das friedliche Gesicht an der Spitze, das Gesicht des Manjushri, zeugt von seiner inneren Geistesruhe, trotz seines rasenden Zornesausbruchs. Yamantakas Augen, Brauen und Bart flammen auf. Er überwältigt selbst die schrecklichsten Gottheiten. Seine Stimme gleicht dem Rollen des Donners. Die Kronen seiner Häupter bilden jeweils fünf weiße, ausgebleichte Menschenschädel. Von seinem Hals herabhängend trägt er eine Girlande aus vierundfünfzig frisch abgetrennten Menschenköpfen, zum Zeichen der Überwindung der Leidenschaften. Er ist von gewaltiger Statur, sein Bauch ist groß, und seine Nacktheit zeigt, dass alle Dinge ungeboren bleiben. Sein Penis ist stets erigiert und bedeutet die Verbundenheit mit der höchsten Seligkeit. Die linken Beine sind ausgestreckt, die rechten angewinkelt. Er trampelt auf einer Reihe von Menschen und Tieren herum, Sinnbild der von ihm überwundenen Feinde, als Symbole der Nicht-Substanz. Die Darstellungen, entsprechend der Ikonographie, unter den rechten Beinen sind: Mensch, Büffel, Elefant, Esel, Kamel, Hund, Schaf und Fuchs; unter den linken Beinen: Geier, Eule, Krähe, Papagei, Reiher, Hahn und Schwan. Die vierunddreißig Arme und die Attribute in deren Händen sind Symbole der vierunddreißig Erleuchtungsbestandteile: (rechts) Elefantenhaut, Elefantenhaken, Wurfpfeil, Totenkopfkeule, Mörserstößel,magischer Stab, Phur-ba, Blitz, Wurfspieß, Diamantszepter, Diamantaxt, Diamanthammer, Muschellanze, Schwert, Speer, Doppeltrommel, Hackmesser; (links) Elefantenhaut, Menschenhand, Brahmakopf, Schleiertuch, Rad, gepfählter Menschenkörper, Menschenbein, Herd mit Glut, Fangschlinge, menschliches Skalp, Kampfbogen, Menschenhand, Gedärm, Stab mit Bändern, Glocke, Fächer, Schädelschale. All diese Symbole stehen sinnbildlich für Waffen und Hilfsmittel der Gottheit zur Überwindung von Hindernissen der Meditierenden auf deren Weg zur Erleuchtung. (Die einzelnen Attribute und Darstellungen unter den Beinen, sind einem ikongraphischen Beschreibungstext entnommen und können von dieser Darstellung abweichen). Tempera und Gold auf Baumwollgewebe, kaschiert auf Hartfaserplatte. Provenienz: Aus einer alten deutschen Privatsammlung, zwischen 1968 und 2005 großteils von Schoettle Ostasiatica und Joachim Baader, München erworben - Publ. Thangka Kalender 2013, März, Windpferd Verlag, Oberstdorf, Dez. 2012, Text von Dr. Olaf Czaja - Berieben A THANKGA OF YAMANTAKA, Tibet, late 18th ct., mounted on board. Depicted here as Yamantaka, "who ends the Yama", Vajrabhairava is one of the most important meditation deities in Tibetan Buddhism. He is nine-faced, with thirty-four arms and sixteen legs, looking terrifying in order to ward off the Dharma's enemies, with the peaceful face of Manjushri at the top, testifying his inner peace of mind, the crowns on his multiple heads made of five white human skulls, with a festoon of twenty-four severed human heads hanging from his neck, of massive stature, trampling on several humans and animals, the thirty-four attributes in his hands all symbolise the thirty-four elements of enlightenment, such as elephant skin, throwing arrow, phur-ba, diamond sceptre etc. - Property from an important South German private collection, assembled between 1968 and 2005 mostly from Schoettle East Asian Art and Joachim Baader, Munich - Publ. Thangka Calender 2013, March, Wisdom, Dec. 2012, Description by Dr. Olaf Czaja - Wear

Zhao Zuo CHINA, 17.Jh. B. 53,8 cm Fächermalerei. Gelehrtenklause zwischen Bäumen. Tusche und leichte Farben auf goldgflecktem Papier. Siegel Wen Du. Provenienz: Aus einer alten und bedeutenden europäischen Privatsammlung Zhao Zuo, Scholar's Cottage Among Trees, China, 17th ct., Fan painting, 18 x 53 cm, ink and light colors on gold speckled paper. On the right one seal of the artist: "Wen Du" - Provenance: Old and important European private collection - A large grass thatched cottage is depicted beside a rock and above dense trees. It is empty and open to the garden and waits for the scholar to sit inside and enjoy the beautiful scenery. Only after a second look a very tiny drawn boy servant is discovered carrying a book from the cottage to his master who must sit somewhere else among the rocks and trees. A very fine painting done with broad brushstrokes and wet ink in an almost impressionistic manner

Gruppe von vier Fächerbildern auf Papier CHINA, Qing-Dynastie div. 1: Yuan Peiji, einsames Boot am Pfirsichblütenfluss, datiert 1873 oder 1933. Fächerblatt, Seidenmontierung, 18 x 52 cm, Tusche und Farben auf Papier. Aufschrift und Signatur des Künstlers: "Die Pfirsichblüten leuchten rot am ganzen Fluss, dazwischen ein Boot. Im Frühling des guiyou-Jahres (1873 or 1933), Yuan Peiji". Ein Siegel des Künstlers: "Peiji"; 2: Keting, Landschaft mit Studio unter Kiefern, datiert 1907. Fächerblatt, Seidenmontierung, 18 x 51 cm, Tusche und Farben auf Papier. Signatur des Künstlers: "Im Frühling des dingwei-Jahres (1907) habe ich hier den Stil von Lianzhou (Wang Jian, 1598-1677) kopiert". Ein Siegel des Künstlers: "Keting"; Xu Yao Wäsche waschen im Mondlicht, späte Qing-Dynastie, Fächerblatt, Seidenmontierung, 19,5 x 50 cm, Tusche und Farben auf Papier. Signatur des Künstlers: "Das Mondlicht bescheint das Klopfbrett. . gemalt von Xu Yao". Ein Siegel des Künstlers: "Malersiegel des Xu Yao" (Xu Yao hua yin); 4: Li Han, Herbstlandschaft mit heimkehrendem Fischer, späte Qing-Dynastie, Fächerblatt, Seidenmontierung, 17,5 x 50 cm, Tusche und Farben auf Papier. Signatur des Künstlers: "Zhuoyun Li Han im Alter von fünfundachtzig Jahren". Ein Siegel des Künstlers: "Zhuoyun". Provenienz: Ehemals aus einer alten europäischen Privatsammlung, vor 1990 gesammelt, dann Privatbesitz Frankfurt - Teils berieben, Altersspuren A GROUP OF FOUR FAN PAINTINGS ON PAPER, China, Qing dynasty/Republic period. 1: Yuan Peiji, A Boat on the Peach Blossom Creek, dated 1873 (1933). Fan painting, Silk Mounting, 18 x 52 cm, ink and colors on paper. Inscription and signature by the artist: "The peach blossoms shine red along the whole river, a lonely boat between them. In the spring of the guiyou year (1873/1933), Yuan Peiji". One seal of the artist: "Peiji"; 2: Keting, Landscape with Study under Pines, dated 1907. Fan painting, Silk Mounting, 18 x 51 cm, ink and colors on paper. Signature by the artist: "In the spring of the dingwei year (1907) I have copied the style of Lianzhou (Wang Jian, 1598-1677)". One seal of the artist: "Keting". There are several painters with the style name Keting which was quite popular; 3: Xu Yao, Doing the Washing in the Moonlight, late Qing dynasty, Fan painting, Silk mounting, 19,5 x 50 cm, ink and colors on paper. Inscription and signature by the artist: "The Moonlight Shines onto the Washing Board. . painted by Xu Yao". One seal of the artist: "Painting seal of Xu Yao" (Xu Yao hua yin). Xu Yao, style name Chunsheng, was from Chaoxian in Anhui province. He was a painter who was quite popular in his time; 4: Li Han, Autumn Landscape with Returning Fisherman, late Qing dynasty, fan painting, 17,5 x 50 cm, ink and colors on paper. Signature by the artist: "Zhuoyun Li Han at the age of eighty five". One seal of the artist: "Zhuoyun". Li Han, style name Zhuoyun, was a painter from Zhili (today Hebei). He went to Sichuan province and specialized in landscape painting. His copies of Song and Yuan paintings were admired - Provenance: Former old European private collection, assembled prior 1990 - Private property Frankfurt - All with minor wear or traces of age

Feines Appliqué-Thangka aus Seiden- und Brokatstoffen mit großer Yama-Darstellung TIBET, ca. 19.Jh. 200 x 143 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Kleinere Altersspuren A FINE APPLIQUE THANGKA DEPICTING YAMA, TIBET, ca. 19th ct., standing in pratyalidhasana on the bull reclining on a figure lying on a lotus base, his right hand is brandishing the khadga while the left the noose, ithyphallic, naked apart from a channavira and garland of severed heads, his bull-face displaying a wrathful expression with protruding snout, open eyes and a pair of horns, his flaming hair is secured with a tiara consisting of five skulls, flanked by his sister Yami who is offering him a skull nap filled with blood and holding a trishula, flaming halo behind, the lower section with three offerings in the form of skull naps filled with blood and the central one with various human organs - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Very minor traces of age

Li Yin (1616-1685) CHINA, datiert 1648 B. 49,1 cm Fächermalerei. Zwei Vögel auf Blütenzweigen. Tusche auf Gold pigmentierten Papier. Signiert und datiert, zwei Siegel: "Li Yin", "Jinsheng". Provenienz: Aus einer alten und bedeutenden europäischen Privatsammlung Li Yin (1616-1685), Two Birds on Flower Twigs, China, dated 1648. Fan painting, 16,6 x 48,5 cm, ink on gold pigmented paper. Signature by the artist: "In spring in the wuzi year (1648) painted for . (paper cut away) furen, Li Yin". Two seals of the artist: "Li Yin", "Jinsheng". Another seal at the upper right: "Zou". One collector's seal tingyunshi - Provenance: Old and important European private collection - Li Yin, style name Jinsheng, was a woman painter from Qiantang (Hangzhou). She was the wife of Ge Zhengqi who already died in 1645. After the dead of her husband she made her living by selling her paintings. In her paintings of flowers and birds she followed the style of the Ming dynasty master Chen Shun (1483-1544), who used fine grades of ink wash to create his images

Ludwig WindstosserBlick vom I-Punkt auf die Stadt, Berlin Vintage, C-Print auf barytiertem Agfa-Papier. 23,7 x 29,3 cm. Rückseitig mit Bleistift betitelt und beziffert, mit Photographenstempel sowie von fremder Hand mit Bleistift bezeichnet.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgLiteraturLudwig Windstosser. Fotografie der Nachkriegsmoderne, Ausst.kat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, Abb. 71.Die hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserBlick vom I-Punkt auf die Stadt, Berlin Vintage chromogenic print on Agfa baryta paper. 23.7 x 29.3 cm. Titled and numbered in pencil, photographer's stamp as well as annotated in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgLiteratureLudwig Windstosser. Fotografie der Nachkriegsmoderne, exhib.cat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, ill. 71.Windstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserOhne Titel Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,6 x 22,8 cm. Rückseitig mit Photographenstempel und von fremder Hand mit Bleistift bezeichnet.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserUntitled Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.6 x 22.8 cm. Photographer's stamp and inscribed in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Enrico VerzaschiRoma Album mit 50 Albuminabzügen. Von 25,5 x 27,6 cm bis 28,7 x 38,3 cm, Hoch- und Querformate. Die Abzüge zum Teil mit einkopierter Bezifferung. Einzeln auf Kartonseiten aufgezogen. In Ledereinband mit goldgeprägtem Dekor und TitelLiteraturBonetti 2008, S. 169 - 174 mit Abbn. (Kat. 210 - 259)Enrico Verzaschi war seit 1860 als Photograph tätig und übernahm 1870 das Atelier seines Kollegen Gioacchino Altobelli (vgl. Lot 827), der nach Francesca Bonetti auch Autor einiger Aufnahmen in dem hier vorliegenden Album ist. Aufwändig gebunden, war es für eine wohlhabende Klientel gedacht. Die Motive folgen der Choreographie, wie sie in derlei Erinnerungsalben üblich war: Den bekanntesten Baudenkmälern der Antike, der Renaissance und des Barock folgen Aufnahmen der Campagna Romana und zuletzt Bilder der Skulpturen aus den Vatikanischen und Kapitolinischen Sammlungen sowie Reproduktionen der Meisterwerke etwa von Michelangelo und Raffael. Enrico VerzaschiRoma Album containing 50 albumen prints. From 25.5 x 27.6 cm to 28.7 x 38.3 cm, portrait and landscape formats. Some of the prints numbered in the negative. Individually flush-mounted to album pages. In leather binding with gold embossed ornament and title.LiteratureBonetti 2008, ill. pp. 169 - 174 (cat. 210 - 259)Enrico Verzaschi had been working as a photographer since 1860 when in 1870 he took over the studio of his colleague Gioacchino Altobelli (see lot 827), who, after Francesca Bonetti, is also the author of some of the photographs in this album. Lavishly bound, it was intended for a wealthy clientele. The motifs follow the choreography that was typical in such commemorative albums: The most famous architectural monuments of Antiquity, the Renaissance and the Baroque are followed by photographs of the Campagna Romana and, finally, pictures of the sculptures from the Vatican and Capitoline collections as well as reproductions of masterpieces by artists such as Michelangelo and Raphael.

Ludwig WindstosserThomasbirne Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,3 x 22,7 cm. Rückseitig mit Bleistift betitelt und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserThomasbirne Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.3 x 22.7 cm. Titled in pencil and photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Giacomo Caneva, zugeschriebenDie Kirche Santa Trinità dei Monti und Villa Medici Albuminabzug vom Papiernegativ. 24,4 x 32,5 cm.ProvenienzVormals im Besitz von Jean-Baptiste Daniel-DupuisLiteraturBonetti 2008, S. 91 und S. 153 mit Abbn. (Kat. 76)Der Abzug stammt au einem Album des französischen Künstlers Jean-Baptiste Daniel-Dupuis, der sich, nachdem er 1873 den Prix de Rome erhalten hatte, zwischen 1873 und 1875 als Stipendiat in der Villa Medici aufhielt. Francesca Boneti vermutet, dass der hier vorliegende Albuminabzug posthum entstand. Giacomo Caneva, attributed toThe Church of the Trinità dei Monti and Villa Medici Albumen print from paper negative. 24.4 x 32.5 cm.ProvenanceFormerly owned by Jean-Baptiste Daniel-DupuisLiteratureBonetti 2008, ill. p. 91 and p. 153 (cat. 76)This print comes from an album by the French artist Jean-Baptiste Daniel-Dupuis who, after receiving the Prix de Rome in 1873, resided at the Villa Medici with a stipend between 1873 and 1875. Francesca Bonetti has suggested that this albumen print may have been made posthumously.