We found 155248 price guide item(s) matching your search

MONTBLANC, ARTISAN, ONE FOUNDATION SKELETON 30 A LIMITED EDITION FOUNTAIN PEN, NO. 04/30, 2008 Cap and Barrel: The cap and barrel with 18 carat white gold skeleton lattice with a brilliant cut diamond number 1 and brilliant cut diamond bands, the cap set with a specially cut diamond in the shape of the Montblanc star emblem, stamped Au engraved MEISTERSTÜCK 149 Nib and Filling System: Medium white gold coloured nib stamped 18K and 750 and engraved with the smiling face emblem of the One Foundation, piston filling system, uninked Accessories: Original black lacquer Montblanc One Foundation box, One Foundation booklet, One Foundation outer card box and outer white card box Founded in 2007 by the Chinese-American martial arts actor Jet Li, the One Foundation is a Chinese philanthropic NGO, and is the first private charitable fundraising institution in China. The One Foundation focuses on disaster relief as well as physical and metal health, education and the environment.Jet Li is a world famous martial artist and film actor, who has appeared in both Chinese and East Asian films as well as Hollywood blockbusters including Lethal Weapon 4, Kiss Of The Dragon and The Expendables. In 2006 he became an ambassador for the Red Cross Society of China donating proceeds of his films to mental health projects in China. Through the One Foundation Jet Li has promoted his philosophy of mankind as one family.Provenance: A Single Owner Collection of Fine and Limited Edition Montblanc Pens and Accessories Condition Report: As new, uninked and unused. Packaging is in good condition, although one corner of the inner card box is torn.Condition Report Disclaimer

Y&nbspMONTBLANC, THE FORTUNE NUMBER SKELETON 88 A LIMITED EDITION FOUNTAIN PEN, NO. 41/88, 2009 Cap and Barrel: The cap and barrel with 18 carat rose gold skeleton lattice in the form of interlocking number 8s, with a brilliant cut diamond set clip, the cap set with a mother of pearl Montblanc star emblem, stamped Au 750 Nib and Filling System: Medium rose gold coloured nib stamped 18K and 750 and engraved a Yin-Yang symbol, piston filling system, uninked Accessories: Original black lacquer Montblanc The Fortune Number box, The Fortune Number booklet, The Fortune Number outer card box and outer white card box The Fortune 88 pays tribute to the number 8, one of the luckiest numbers in Middle Eastern and Asian traditions. In the Chinese tradition the number 8 symbolises wealth, prosperity and fortune. In Hinduism, many of the gods have eight forms, including the eight forms of the goddess Lakshmi, the goddess of wealth and prosperity, who grants eight different kinds of wealth. In Buddhism the number 8 is associated with good luck as portrayed in the eight petals of the lotus flower. In Islam the number 8 signifies God's mercy in the eight paradises.Provenance: A Single Owner Collection of Fine and Limited Edition Montblanc Pens and Accessories Condition Report: As new, uninked and unused. Packaging is mint.Condition Report Disclaimer

MONTBLANC, PATRON OF ARTS, SEMIRAMIS, 888 A LIMITED EDITION FOUNTAIN PEN, NO. 634/888, 1996 Cap and Barrel: 18 carat gold filigree overlay with red lacquer, the clip set with a brilliant cut diamond, stamped 750 with Swiss assay marks and common control mark Nib and Filling System: Medium yellow coloured nib, stamped 18K and 750, piston filling system, uninked Accessories: Original Semiramis red lacquer box, Semiramis International Service Certificate and Semiramis outer card box Semiramis was the 9th century BC Babylonian Queen of Assyria and founder of Nineveh, who controlled a vast empire stretching from the Caucasus to Egypt. Semiramis has been associated with many of the architectural wonders of the ancient world in Assyria, Mesopotamia and Western Persia.Provenance: A Single Owner Collection of Fine and Limited Edition Montblanc Pens and Accessories Condition Report: As new, uninked and unused. Some scuffing to the lacquer box and some minor wear to the outer box.Condition Report Disclaimer

MONTBLANC, PATRON OF ARTS, SEMIRAMIS, 888 A LIMITED EDITION FOUNTAIN PEN, NO. 035/888, 1996 Cap and Barrel: 18 carat gold filigree overlay with red lacquer, the clip set with a brilliant cut diamond, stamped 750 with Swiss assay marks and common control mark Nib and Filling System: Medium yellow coloured nib, stamped 18K and 750, piston filling system, inked Accessories: Original Semiramis red lacquer box, Semiramis International Service Certificate and Semiramis outer card box Semiramis was the 9th century BC Babylonian Queen of Assyria and founder of Nineveh, who controlled a vast empire stretching from the Caucasus to Egypt. Semiramis has been associated with many of the architectural wonders of the ancient world in Assyria, Mesopotamia and Western Persia.Provenance: A Single Owner Collection of Fine and Limited Edition Montblanc Pens and Accessories Condition Report: Almost as new, but lightly inked. Some very light storage wear to the packaging.Condition Report Disclaimer

Y&nbspMONTBLANC, PATRON OF ARTS, ALEXANDER VON HUMBOLDT, 888 A LIMITED EDITION FOUNTAIN PEN, NO 76/888, 2007 Cap and Barrel: The cap and barrel of black onyx with inlaid yellow gold panels, with a mother of pearl Montblanc rounded star in the cap, stamped with 750 with Swiss assay marks and common control mark Nib and Filling System: Medium yellow gold coloured nib, stamped 18K and 750 and engraved with sextant, piston filling system, uninked Accessories: Original blue lacquer Alexander Von Humboldt 888 lacquer box, Alexander Von Humboldt International Service Certificate, Alexander Von Humboldt 888 outer card box and white card outer boxA key intellect and thinker of the European Enlightenment, the Prussian academic Alexander Von Humboldt (1760-1859) was an explorer, geographer and naturalist who made expeditions to South America, North America & Russia in the early 19th century. He recorded the flora and fauna, as well as studying populations and the effects of human activity on the natural environment. Humboldt brought his lifelong scientific research together in the multi volume work 'Kosmos', which was published between 1845 and 1862.Provenance: A Single Owner Collection of Fine and Limited Edition Montblanc Pens and Accessories Condition Report: As new, uninked and unused. Packaging almost mint.Condition Report Disclaimer

A large late 18thc blue and white oval shaped lidded tureen in the Fitzhugh pattern, with a pineapple shaped finial and monogram initials to the lid. The base with a Crest for Admiral Sir Edward Hughes (1720-1794) and Latin motto 'Tria Juncta in Uno, Forward' (Order of the Bath)), with double strand handles and moulded leaves. 33.5cms across (handle to handle, rim 27.5cms by 23.5cms. *Admiral Sir Edward Hughes was a Royal Navy Officer who commanded the East Indies Station. Other items from this service have appeared in auction on occasion. *CR Lid, good condition Base, good condition generally and rings nicely, minor nibbles/grazes to the handles.

Guangxu mark (1875-1908) and probably period, with a flared rim, narrow neck and covered in a dark blue glaze. Guangxi character marks to the base, 34cms high *This vase has been inherited through the family, their relation Earl Granville who was a Captain in the Navy at that time was in China in the 1920's, and it was probably acquired at this time. *CR Good condition, the odd minor scratch/mark to the body and a little wear to the base over time.

the realistically cast eagle forming the bible rest, it's claws on a cup and cover, the ringed cylindrical column with bands of repeated ornament, the stepped spreading circular base, on four cast claw feet, bearing a foundry stamp for Singer & Sons, Frome and London, 185cm high ***Inscribed around the base 'To The Glory Of God And In Loving Memory Of Ethel Buchan Who Entered Into Rest January 16 1888 By Her Grandfather An Three Sisters'. *CR Tarnish and wear, otherwise generally good condition.

A large carved stone sculpture of 'The Piper', the figure crouched with the instrument reaching it's feet. With an incised signature to the reverse of the figure. Height 66cm, width 38cm, depth 43cm *This figure was exhibited at the Dorset County Museum in 1976, it was purchased from an auction in 1994, and the buyers wrote to the artist who confirmed that this and another figure they purchased were by her (see copy of a letter). In the letter she states it's possibly made in course Bathstone. *CR The figure is weathered (see images), chip to the foot, the top of the instrument has lost some of the surface and there are a few areas with similar surface loss. Small chips around the base in places, general wear and marks as you would expect with outside use.

A large early 20thc blue silk robe, embroidered with Dragon's within circular panels above waves. With various buddhist symbols and multi coloured bands to the lower section, and with a material lining (approx 145cms high). Also with a yellow silk skirt, wig, hat, and another garment. *This has been inherited through the family, it was apparently custom made for their grandfather who was a large man at 6ft 4ins. This and the other items were apparently used as a fancy dress outfit during the 1920's and worn to the Chelsea Arts Ball. *CR Gown, a little wear around the collar, some loose threads in places to the Dragon's and symbols, the hem on both sides has come undone on the sides and needs a little repair (see images), otherwise it has survived in generally good condition with colours still bright.

Medals of 3599 Private John Henry Angus of the 1st/7th Gordon Highlanders who died of wounds 13th June 1916, commemorated at Aubigny Communal Cemetery France, son of Alexander and Mary Watson Angus, of 9 Cullen Street Portsoy, Banffshire, comprising WWI war medal, victory medal and 1914-15 star [3599 PTE H ANGUS GORD HIGHRS]. (3)

Medals of 2973 Lance Sergeant Hugh Leith Lorimer of the 1st/7th Battalion Gordon Highlanders who was killed in action KIA 13th November 1916, commemorated at Y Ravine Cemetery Beaumont Hamel France, son of Hugh L. Lorimer of Clovencraigs, Peterculter, Aberdeenshire, comprising WWI war medal, victory medal [2973 CPL H LORIMER GORD HIGHRS] and 1914-15 star [2973 L-CPL H LORIMER GORD HIGHRS] .(3)

Medals of 5804/292288/9450 Colour Sergeant Major James McGregor DCM of the 2nd Battalion Gordon Highlanders comprising George V Distinguished Conduct medal [292288 C S MJR J MCGREGOR 2/GORD HIGHRS] and WWI war medal and victory medal [5804 W O CL 2 J MCGREGOR GORDONS], with research paperwork. London Gazette 11th March 1920, page 3069 (Italy) 'For conspicuous gallantry in action on several occasions. His behaviour during the crossing of the Piave River was a splendid example to his company, He is a warrant officer of outstanding ability who has done a lot of hard work in the interest of the service'.

Medals of Major James Forbes Jones (1878-1917) of the 7th Battalion Argyll and Sutherland Highlanders who was killed in action KIA aged 38 on 29th March 1917, commemorated at Staples Military Cemetery France, son of James Jones, of Towood Hall, Larbert, Stirlingshire, comprising WWI death plaque [JAMES FORBES JONES], WWI war medal and victory medal [MAJOR J F JONES] and 1914-15 star [CAPT J F JONES A&S HIGHRS], also an Argyll & Sutherland Highlanders 16th Inter Company Football Competition silver and enamel medal won by C  Company 1918. See previous lot for his nephews medals (James Forbes Jones 1911-1980 father was Peter Forbes Jones 1880-1944 whos brother was James Forbes Jones 1878-1917). An account of the history of the James Jones and Sons Timber Business was written by Nigel Watson and is titled Timber and Much More, published 2005, ISBN 0-9543782-3-7.

Medals of 6699 Sergeant Malcolm McDonald of the 2nd Cameron Highlanders who was killed in action KIA 10th May 1915 (Second Battle of Ypres), commemorated at Ypres Mennin Gate Memorial Belgium, from North Uist, comprising WWI war medal, victory medal and 1914-15 star [6699 SJT M MCDONALD CAM'N HIGHRS] .(3)

Medals of S/3190 Private Thomas Kirk of the 2nd Battalion Gordon Highlanders who was killed in action KIA aged 23 on 25th September 1915 (Battle of Loos), commemorated at Loos Memorial France, adopted son of Mr. and Mrs. Kirk, of March House, Abington, Lanarkshire, comprising WWI war medal, victory medal and 1914-15 star [S-3190 PTE T KIRK GORD HIGHRS] .(3)

Medals of S/2866 Private John Crawford of the 8th Regiment Black Watch Royal Highlanders who was killed in action 25th September 1915 (Battle of Loos), commemorated at Loos Memorial France, from Crieff Perthshire, comprising WWI war medal, victory medal and 1914-15 star [S-2866 PTE J CRAWFORD R HIGHRS] .(3)

Medal of Lieutenant Andrew Burn Hoy of the 4th Battalion Royal Scots who died aged 24 on the 2nd June 1918, commemorated at Aubigny Communal Cemetery, son of Charles and Elizabeth Hoy, of 10 East London Street Edinburgh, comprising WWI death plaque [ANDREW BURN HOY], and a photograph by Mackay of Edinburgh of the 5th Imperial Service Battalion The Royal Scots Sergeants Mess which includes Lance Sergeant A Hoy third from the left in the second row.

Medals of Second Lieutenant James Forbes Jones MC DL (1911-1980) of the Royal Artillery and Deputy Lieutenant for Stirlingshire, comprising Military cross dated 1942 (awarded in recognition of gallant and distinguished services during the Siege of Malta), WWII war medal, defence medal, 1939-1945 star and Africa star. James Forbes Jones was also a Scottish professional cricketer who was capped ten times for Scotland between 1930-39, he scored 404 runs, with a batting average of 23.76. He and his family owned and worked for the Jones & Campbell Torwood Foundry Larbert which became James Jones & Sons Limited timber merchants. An account of the history of the James Jones and Sons Timber Business was written by Nigel Watson and is titled Timber and Much More, published 2005, ISBN 0-9543782-3-7. See next lot for his uncles medals (James Forbes Jones 1911-1980 father was Peter Forbes Jones 1880-1944 whos brother was James Forbes Jones 1878-1917).

Medals of 1596 Private Kenneth Mackenzie of the 6th Battalion Seaforth Highlanders who was killed in action KIA aged 20 on 6th June 1915, commemorated at Le Touret Memorial France, son of Mrs. Margaret Mackenzie of Wardend, Altyre, Forres, Morayshire, comprising WWI war medal, victory medal and 1914-15 star [1596 PTE K MACKENZIE SEA HIGHRS] .(3)

SÈVRES; an early 20th century cobalt blue teapot and cover with gilded detail, height 12cm.Condition Report: The cover and teapot has been extensively restored, the who piece has been sprayed.

FORMULA ONE (F1) INTEREST; a leather autograph album containing various signatures, including Giuseppe Farina (the first ever Grand Prix winner, 1950 British Grand Prix, and later went on to win the first Championship), also Jean-Pierre Wimille (killed in 1949 in Buenos Aires during practice runs for the Buenos Aires Grand Prix), Robert Manzon (who raced for Ferrari and was the last surviving driver to take part in the 1950 Championship), Peter Collins, Jean Behra (who raced for Gordini Maserati and died during a race where he lost control and was thrown out of the car at approximately 110mph), etc.

† JOHN BYRNE R.S.A. (SCOTTISH 1940-2023), limited edition artist proof, ‘Valiant’, No 1/6 AP and embossed signature, 49.5 x 42cm, unframed.A gift from the Kelvingrove Art Gallery and Museum to a colleague who assisted in an exhibition of John Byrne work at the gallery. The recipient gifted it to the vendor. Condition Report: Surface wear to the bottom section, please see additional image.

A 20th century sculpted white metal figure of an elderly woman, on shaped base, unsigned, height 16cm. Provenance: Provenance: The vendors uncle was Rodney Moorhouse who attended The Cheslea School with Elizabeth Frink.

A 20th century sculpted white metal figure of a female nude in the manner of Elizabeth Frink, on shaped base indistinctly inscribed HCO 55 or HCO SS, height 31cm.Provenance: Provenance: The vendor's uncle was Rodney Moorhouse who attended The Cheslea School with Elizabeth Frink.Condition Report: No signs of breaks or repairs.

Contemporary 3-D montage 'Love who you are' - 108cm x 81cm ~ bust is coming away from the backboard

Stamps - Panama cover 1963 showing stamp of John F Kennedy cover is signed by Robert Kennedy who was the Attorney General of the USA at the time. Cover comes with letter from the USA department of Justice acknowledging the signed cover. (1 Item, plus letter)

Stamps - Postcards - USA - An assortment of ten (10) postcards dating from the 1920s. All related to President Warren G Harding. Together with a handwritten entire from Florence Mabel Harding, signed, 1920, who was the First Lady of the United States, with original purchase receipt. See photos. (11 items)

Charles François Lacroix de Marseille,um 1700 Marseille – um 1782 BerlinGemäldepaarSONNENAUFGANG AN DER KÜSTEsowieKÜSTE BEI STÜRMISCHER SEEÖl auf Leinwand. Doubliert.24 x 31,5 cm.Eines der beiden links unten signiert und datiert „DeLacroix Rom 1760“In teils à jour gearbeitetem, vergoldeten Rahmen.Lacroix de Marseille war ein französischer Landschaftsmaler, der sich von 1750-63 in Rom aufhielt, wo er sowohl die Antike als auch die Landschaftsmalerei aus dem Erbe der früheren Jahrhunderte rezipierte. Im Werk von Lacroix de Marseille gibt es jedoch keine majestätischen Häfen mit rigorosen Perspektiven, sondern eher eine Vorliebe für das Pittoreske und für eine wildere Natur. Er entwickelte einen Stil unter dem Einfluss von Claude-Joseph Vernet, den er während seines Aufenthalts in Rom 1751 kennenlernte, und von dem er lernte, Seestücke zu malen. Vernet, der gerade vom König beauftragt worden war, seine berühmte Serie der „Ports de France“ zu malen, bevorzugte eine poetische Version, während Lacroix auf Genauigkeit bedacht war. In seiner bezaubernden Vision der Welt bewegen sich die Figuren mit Natürlichkeit.Sein Werk, das von den Liebhabern des 18. Jahrhunderts sehr geschätzt wurde, variierte und lebte von seiner Wirkung von Nacht und Morgen, ob nächtlich oder morgens, ruhig oder stürmisch. Seine Werke befinden sich heute in den wichtigsten privaten und öffentlichen Sammlungen. In diesem Gemäldepaar, das aufgrund seiner identen Maße als Pendant erkannt werden kann, werden zwei gegensätzliche Stimmungen gezeigt und so eine Spannung erzeugt, welche die Kräfte der Natur an der Küste darlegt.Provenienz: Xavier Goyet, Marseille, 1992.Dort erworben von Vorbesitzer, Essone, Frankreich. (1410601) (13)Charles François Lacroix de Marseille, ca. 1700 Marseille – ca. 1782 BerlinA pair of paintings COASTAL SCENE WITH SUNRISE andCOASTAL SCENE WITH STORMY SEAOil on canvas. Relined.24 x 31.5 cm.One painting signed and dated “DeLacroix Rom 1760” lower left.In gilt frame, partly decorated with openwork. Lacroix de Marseille was a French landscape painter who lived in Rome from 1750 to 1763, where he his work was inspired by both antiquity and landscape painting of previous centuries. He developed his style influenced by Claude-Joseph Vernet, with whom he became acquainted during his stay in Rome in 1751 and who taught him how to paint seascapes. His work, which was highly regarded by 18th century enthusiasts, varied, and lived from the changing ambiences of night or morning, calm or stormy seas. His works are now held in the most important private and public collections. The pair of paintings presented in this lot can be regarded as counterparts due to their identical dimensions and presentation of two contrasting atmospheres, creating a tension that represents the forces of nature on the coast.Provenance: Xavier Goyet, Marseille, 1992. Acquired there by previous owner, Essonne, France.

Francesco Tironi, um 1745 Venedig – 1797 Bologna GemäldepaarSAN PIETRO DI CASTELLEsowieSANTA MARIA DELLA SALUTEÖl auf Leinwand.Jeweils 55 x 71,5 cm.In vergoldetem, ornamental reliefierten Rahmen.Die Autorschaft der vorliegenden Gemälde wurde von Federica Spadotta, Venedig 2017, bestätigt. Die Veduten können ihrer Ansicht nach mit gutem Recht als reife Werke von Francesco Tironi angesehen und auf das Ende des 18. Jahrhundert datiert werden. Jeweils mit einer Ansicht der Architekturen über ruhiges Gewässer hinweg, das von Gondeln mit Figurenstaffage sowie den Spiegelungen der Gebäude belebt wird. Das eine Gemälde zeigt die venezianische Insel Castello, die als die allererste befestigte Siedlung Venedigs gilt. Hier stand bereits im 7. Jahrhundert eine Kirche, und im 15. Jahrhundert wurde die erste Kathedrale der Lagunenstadt errichtet. Erst Napoleon erwirkte für die Basilika von San Marco den Kathedraltitel. Der etwas schiefe Campanile, aus istrischem Kalkstein und ab 1482 von Mauro Codussi errichtet, dominiert das Bild, ist jedoch nach rechts gerückt, bildet aber zusammen mit der Fassade den eigentlichen Bildinhalt. Andrea Palladio lieferte erste Umbauentwürfe für die Fassade, doch nach dem Tod des Auftraggebers führte Francesco Smeraldi die Arbeiten aus. Die Staffage mit Schiffen und Lastkähnen belebt die Darstellung. Das andere Gemälde zeigt die Santa Maria della Salute, die am rechten Bildrand liegt und sich keilförmig in den Bildraum hineinschiebt. Der Hauptblick gilt der Kirche Santa Maria della Salute, die von Baldessare Longhena erbaut wurde. Sie beeindruckt durch ihren hohen Zentralbau und die großen Voluten, die Tironi naturgetreu wiedergibt und dabei besonderen Wert auf die vielschichtige Licht- und Schattenwirkung legt. Einige Staffagefiguren sind beim Erklimmen der steilen Kirchentreppen zu sehen, was einen guten Größenvergleich zulässt. Tironi zählt zeitlich zu den letzten Vedutisten Venedigs des 18. Jahrhunderts.Dementsprechend setzt sein Stil bereits die Einflüsse von Canaletto und den beiden Francesco und Antonio Guardi voraus. Zeichnungen seiner Hand finden sich in der Albertina Wien, der Nationalgalerie Washington etc. Die beiden Gemälde zeigen deutlich den Einfluss von Guardi und Canaletto (1697-1768), sind aber nichtsdestoweniger als zusätzliche historische Dokumente der Geschichte Venedigs von Bedeutung. Der Maler war nahezu vergessen, bevor ihn Hermann Voss 1927/28 mit seinem Werk über die Veduten Venedigs wieder bekannt gemacht hat. Über die Biografie des Malers ist nicht viel bekannt, er stammte wohl aus einer Familie aus Friaul. Neben Gesamtansichten und Stadtveduten allgemein berühmter Plätze findet sich im Werk Tironis nicht selten die Erfassung intimerer Stadtteile oder einzelner Bauten, wobei die beige-braune Farbgebung meist typisch für seine Werke ist.(1410804) (13)Francesco Tironi,ca. 1745 Venice – 1797 BolognaA pair of paintingsVIEWS OF VENICE: SAN PIETRO DI CASTELLO and SANTA MARIA DELLA SALUTEOil on canvas.55 x 71.5 cm each.In gilt frame with ornamental relief décor. The authorship of the present paintings was confirmed by Federica Spadotta, Venice, who commented 2017 that “the vedute can rightly be considered mature works by Francesco Tironi and can be dated to the end of the 18th century.” This pair was obviously created as counterparts being compositionally matched in almost identical size, colouration, and style. Both paintings show the architecture across calm waters, animated by gondolas with figures and the reflections of the buildings. One painting shows the Venetian Island of Castello, considered to be the very first fortified settlement in Venice. The other painting shows Santa Maria della Salute, which is located on the right edge of the painting and extends wedge-shaped into the image. Tironi is one of the last vedutisti of Venice in the 18th century. Accordingly, his style already presupposes the influences of Canaletto and both Francesco and Antonio Guardi. His drawings are held at the Albertina in Vienna, the National Gallery in Washington, etc. The two paintings clearly show the influence of Guardi and Canaletto (1697 - 1768) but are nevertheless important as additional historical documents of the history of Venice.

François Boucher, 1703 Paris – 1770 ebendaDIE MÜHLE, UM 1750Öl auf Leinwand.51,3 x 62,3 cm.In geschnitztem, vergoldetem Holzrahmen mit Muschel- und Blumendekor.Wir danken Frau Françoise Joulie, die die Authentizität des Werkes nach Prüfung bestätigt hat. Die Wassermühle, die mit ihrer Giebelspitze im Zentrum der Komposition steht, ist der Mittelpunkt des Bildes, wodurch die wenigen Figuren zu Statisten werden. Im Vordergrund an einem Fluss ist gerade einen junge Frau in leuchtend rotem Rock dabei, Wäsche zu waschen. Hinter ihr am Ufer, kaum erkennbar, ein kleines spielendes Kind. Wenig fällt auch die Silhouette des Mannes auf, der sich mit seinem Rücken an das Geländer der Brücke lehnt, unter der der Fluss verläuft. Im Zentrum bleibt jedoch das Schaufelrad der Mühle. Während das an der Wand befestigte Schaufelrad halbwegs sichtbar ist, an der Flanke der Mühle, nimmt die gesamte Komposition dessen zylindrische Form auf. Angefangen mit dem schiefen Baum, der vor dem Rad platziert ist und der, zusammen mit dem stehenden Kind, dessen Kreis zu vervollständigen scheint. Weiter oben sind es die Wolken, die sich kreisförmig zu einer Lücke im blauen Himmel öffnen. Auf der linken Seite schließlich sind es die hohen gebrechlichen Stämme der Birken, um sich ihrerseits an die leuchtende Kugel anzupassen, von der die gesamte Beleuchtung des Bildes ausgeht. Die Sonnenstrahlen fallen diagonal nach unten und treffen auf den First des Ziegeldachs, dann auf den krummen Baum, der vor dem Schaufelrad liegt, und schließlich auf einen Teil des Flusses mit dem Steg, wodurch der Rest der Komposition in einem dunklen Licht erscheint. Die warmen, ocker- und rosafarbenen Farbtöne der in Licht getauchten Abschnitte stehen sich gegenüber den kalten, grünlichen und bläulichen Farben der Landschaft. Nach einem Schema, das er gerne variiert, baut François Boucher seine Landschaft auf in einer Spirale, die das Auge mit seinem Pinsel mitreißt, wobei sich Lichtstrahlen und Zonen abwechseln.Der Maler gehört zu den bedeutendsten Künstlern des französischen Rokokos, war Hofmaler Ludwigs XV, gefördert durch die Marquise de Pompadour. 1720 studierte er bei François le Moyne (1688-1737), er erhielt bereits 1723 einen ersten Preis der Académie Royale sowie den Grand Prix de Rome, der ihm eine Studienreise nach Italien ermöglichte. Ab 1755 wirkte er zudem als künstlerischer Leiter der Manufacture Royale des Tapisseries und war um 1765 bereits erster Hofmaler des Königs sowie 1761 Rektor der Königlichen Akademie.Provenienz:Privatsammlung. (1411751) (†)François Boucher, 1703 Paris – 1770 ibid.THE MILL, CA. 1750Oil on canvas.51,3 x 62,3 cm.In a gilded and carved wooden frame with shell- and floral decoration.We would like to thank Mrs Françoise Joulie, who confirmed the authenticity of the work after an examination.Provenance:Private Collection.

Christian Luyckx, auch „Christiaan Luycks“, 1623 Antwerpen – 1657 ebendaSTILLLEBEN MIT SCHMUCKKÄSTCHEN, KARTENSPIEL, KORALLE, SCHNECKEN UND EINER STATUEÖl auf Leinwand.34 x 44 cm.Für die Zuweisung an den genannten Künstler ist Dr. Fred G. Meijer zu danken.In einem Innenraum mit zur linken Seite gerafftem türkisfarbenen Vorhang sind auf einem mit malvenfarbiger Decke drapierten Tisch die prachtvollen und nuanciert wiedergegebenen Objekte sorgsam angeordnet. Zu diesen gehören auch noch eine gefaltete Urkunde mit zwei über den Tischrand herabhängenden Siegeln, ein Tintenfass mit Federkiel und die helle italienische Steinskulptur eines nackten Jungen. Die Koralle und die Schnecken deuten auf einen wohlhabenden Sammler hin, der diese Schätze sammelte und für seine sogenannte Wunderkammer wohl von den Reisen mit nach Hause brachte.Anmerkung:Carstian Luyckx, auch bekannt als Monogrammist KL war ein flämischer Maler, der sich auf Stillleben in verschiedenen Subgenres spezialisiert hatte, darunter Blumenstillleben, Fischstillleben und Prunkstillleben. Er studierte Malerei bei Philips de Marlier (ca. 1600-1668), einem Stilllebenspezialisten, 1645 unter Frans Francken III. In diesem Jahr wurde er auch Meister der Antwerpener Sankt Lukasgilde. (1410957) (18)Christian Luyckx,also known „Christiaan Luycks“, 1623 Antwerp – 1657 ebendaSTILL LIFE WITH JEWELLERY BOX, CARD GAME, CORAL, SNAILS AND A STATUE Oil on canvas.34 x 44 cm.We would like to thank Dr Fred G. Meijer for the attribution to the aforementioned artist.Notes:Carstian Luyckx, also known as the “Monogrammist KL” was a Flemish painter who specialized in still lifes in various subgenres, including flower still lifes, fish still lifes, and sumptuous still lifes. He studied painting under Philips de Marlier (ca. 1600-1668), a still life specialist, in 1645 under Frans Francken III. He became a master of the Antwerp Guild of Saint Luke in the same year.

Special Commemorative Coin. PCGS Graded and Slabbed MS69 American Heroes Edition with Jessica Lynch signature. The obverse features the profile of servicewomen representing the five branches in the U.S. Military. The reverse depicts the Women In Military Service for American Memorial. Signed by Jessica Lynch, former U.S. Army soldier who served in the 2003 invasion of Iraq. On March 23, 2003 Her convoy was ambushed during the Battle of Nasiriyah and she was captured afterwards. On April 1, 2003 she was successfully rescued. Lynch's rescue was the first successful rescue of an American prisoner of war since WWII and the first ever of a woman. The coin is in a protective case. Approximate measurement with the case: 2.5"L x 0.25"W x 3.25"H. Artist: T. James Ferrell and Thomas D. Rogers, Sr. Issued: 1994Dimensions: See DescriptionCondition: Age related wear.

A commemorative silver dollar honoring Christa McAuliffe, an American teacher and astronaut who lost her life on the Space Shuttle Challenger. The obverse side features portrait of Christa McAuliffe with a hopeful gaze. The reverse depicts her as a teacher with her high school students; McAuliffe pointing towards the sky, symbolizing the future. The coin is placed in a protective case. Approximate measurement with the case: 0.25"D x 2" dia. This item has its original US Mint box: 3.5"L x 3.5"W x 1"H. Artist: Laurie J. Musser, Phebe Hemphill, Emily Damstra and Joseph MennaIssued: 2010Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.

The Many Colours of Life. Artist: Theonie Simon-Hart.Artist Info: Theonie is a peer mentor and a language leader at a local Suffolk High School and has often contributed to the success of many art-related school projects which she has greatly enjoyed. She has also held the title of Art Ambassador in previous academic years. At her primary school leaving ceremony, she was predicted “Most likely to be an Art Gallery Owner” as a future career.This is the second year Theonie participates in the sculpture trail. She is joined by her sister and her mum who both painted two other individual pieces, as all the family admire and support the Blossom Charity in the very important community-related work it does throughout the year. Sponsor: Susan Whymark Funeral Service Ltd.Susan Whymark Funeral Service Ltd is an independent, family run business with funeral homes in Eye and Framlingham in Suffolk and Harleston and Diss in Norfolk. They offer a calm, sensitive and personal service to everyone.Sponsor website: www.susanwhymark.co.ukSponsor Facebook: Susan Whymark Funeral Service Approx animal weight (Kg): 1.Approx animal size (cm): 14 x 10 x 24.

Meercat Manor. Artist: Paul Rackham.Artist Info: Paul is very shy about his artwork, despite being incredibly talented from a very young age. He is a skilled carpenter and has spent all of his working life in the building trade with very little time to pursue his artwork, with the exception of a handful of family commissions and the bedroom walls of his three children Jack, Charlie and Emily. Paul enjoys painting in water colours and acrylics and he painted the distinctive red rose for the Rosedale logo. As well as submitting work for the Eye Art trail for many years, other work include sketches of his children, a canvas of his father who has sadly passed away, bespoke commissions for friends and family and various wildlife images.  Sponsor: Rosedale Funeral Home.We are an independent, family-run Funeral Directors focusing on the needs of bereaved families in Norfolk and Suffolk. Rosedale Funeral Home is run by Simon and Anne Beckett-Allen. We believe that providing the best bereavement support goes hand in hand with helping you arrange a funeral for your loved one. Our aim is to provide a fitting tribute for your loved one with confidence that our high quality of service and our reputation will help you through this most difficult time.Sponsor website: https://rosedalefuneralhome.co.uk/#:~:text=Rosedale%20Funeral%20Home%20is%20independent,the%20very%20best%20bereavement%20support.Sponsor Facebook: https://www.facebook.com/rosedalefuneralSponsor Instagram: https://www.instagram.com/rosedalefuneralhome?igsh=YTZjM2owOW5pOGhn Approx animal weight (Kg): 0.8.Approx animal size (cm): 14 x 12 x 26.

Harry. Artist: Paul Rackham.Artist Info: Paul is very shy about his artwork, despite being incredibly talented from a very young age. He is a skilled carpenter and has spent all of his working life in the building trade with very little time to pursue his artwork, with the exception of a handful of family commissions and the bedroom walls of his three children Jack, Charlie and Emily. Paul enjoys painting in water colours and acrylics and he painted the distinctive red rose for the Rosedale logo. As well as submitting work for the Eye Art trail for many years, other work include sketches of his children, a canvas of his father who has sadly passed away, bespoke commissions for friends and family and various wildlife images. Sponsor: Rosedale Funeral Home.We are an independent, family-run Funeral Directors focusing on the needs of bereaved families in Norfolk and Suffolk. Rosedale Funeral Home is run by Simon and Anne Beckett-Allen. We believe that providing the best bereavement support goes hand in hand with helping you arrange a funeral for your loved one. Our aim is to provide a fitting tribute for your loved one with confidence that our high quality of service and our reputation will help you through this most difficult time.Sponsor website: https://rosedalefuneralhome.co.uk/#:~:text=Rosedale%20Funeral%20Home%20is%20independent,the%20very%20best%20bereavement%20support.Sponsor Facebook: https://www.facebook.com/Rosedale funeralSponsor Instagram: https://www.instagram.com/rosedalefuneralhome?igsh=YTZjM2owOW5pOGhn Approx animal weight (Kg): 7.5.Approx animal size (cm): 42 x 30 x 49.

Keep On Dancing. Artist: Paul Rackham.Artist Info: Paul is very shy about his artwork, despite being incredibly talented from a very young age. He is a skilled carpenter and has spent all of his working life in the building trade with very little time to pursue his artwork, with the exception of a handful of family commissions and the bedroom walls of his three children Jack, Charlie and Emily. Paul enjoys painting in water colours and acrylics and he painted the distinctive red rose for the Rosedale logo. As well as submitting work for the Eye Art trail for many years, other work include sketches of his children, a canvas of his father who has sadly passed away, bespoke commissions for friends and family and various wildlife images. Sponsor: Rosedale Funeral Home.We are an independent, family-run Funeral Directors focusing on the needs of bereaved families in Norfolk and Suffolk. Rosedale Funeral Home is run by Simon and Anne Beckett-Allen. We believe that providing the best bereavement support goes hand in hand with helping you arrange a funeral for your loved one. Our aim is to provide a fitting tribute for your loved one with confidence that our high quality of service and our reputation will help you through this most difficult time.Sponsor website: https://www.rosedalefuneralservice.co.ukSponsor Facebook: https://www.facebook.com/rosedalefuneralSponsor Instagram: https://www.instagram.com/rosedalefuneralhome?igsh=YTZjM2owOW5pOGhn Approx animal weight (Kg): 1.Approx animal size (cm): 14 x 12 x 26.

Aquila. Artist: William Wallace.Artist Info: William is a designer/craftsman/artist who grew up in East Anglia, working from a young age as a harness maker. From his mid tweties he started producing one off items and designs for clients worldwide, including royal households, fashion houses and celebrities within music, fashion and film.Artist Instagram: therealwallacecollection Sponsor: Crystal Clean Services.A local family run business, specialising in; carpet cleaning, carpet dyeing and colour repair, upholstery cleaning and hard floor cleaning. We work both in domestic and commercial properties, serving all along the Waveney Valley area.Sponsor website: www.crystalclean.services Approx animal weight (Kg): 7.5.Approx animal size (cm): 42 x 30 x 49.

Compare The Meerkat.  Artist: Chrissie Poplar.Artist Info: A wildlife photographer who is inspired by Africa. Just occasionally paints especially if for the Blossom Charity Sponsor: Tudor Bakehouse.The Tudor Bakehouse, freshly baked bread and cakes, based in Harleston, Diss, Eye & Bungay.Sponsor website: www.tudorbakehouse.co.ukSponsor Instagram: @tudorbakehouse Approx animal weight (Kg): 1.Approx animal size (cm): 14 x 10 x 24.

Serenity. Artist: Caitlyn Simon-Hart.Artist Info: Caitlyn is an art enthusiast, and actively champions art as a subject at a local Suffolk High School. She is often selected to participate in school art-related projects and has held the title of Art Ambassador in previous academic years. Caitlyn has a creative mind and loves most things relating to art. She was predicted “Most likely to be an Artist” as a future career at her primary school leaving ceremony.This is the second year Caitlyn participates in the sculpture trail. She is joined by her sister and her mum; both who also love and support the very impactful community-related work the Blossom Charity does throughout the year. Sponsor: Susan Whymark Funeral Service Ltd.Susan Whymark Funeral Service Ltd is an independent, family run business with funeral homes in Eye and Framlingham in Suffolk and Harleston and Diss in Norfolk. They offer a calm, sensitive and personal service to everyone.Sponsor website: www.susanwhymark.co.ukSponsor Facebook: Susan Whymark Funeral Service Approx animal weight (Kg): 2.Approx animal size (cm): 28 x 18 x 18.

Fauna. Artist: Amy Pretty.Artist Info: Amy’s creativity comes from her passion for all forms of art. Her and her children are inspired by the natural world and conservation and this is shown in the pieces she creates. She enjoys developing joyful artwork that makes people smile. Sponsor: The Bloomers.A group of people who have all benefited from the programmes run by the Blossom Charity who now support this special charity in a variety of ways.Sponsor website: https://www.theblossomcharity.co.uk/Sponsor Facebook: theblossom charitySponsor Instagram: theblossomcharity Approx animal weight (Kg): 6.7.Approx animal size (cm): 55 x 30 x 46.

Hand painted figure of a seated brown and white rabbit with feet out, eating a carrot. The figure is inspired by Beatrix Potter's 1906 children's book, The Story of A Fierce Bad Rabbit, about a bad little rabbit who forcefully takes carrots from other rabbits. In the end he losses his tail and whiskers from a hunter. Beswick backstamp. Artist: David LyttletonIssued: 1977-1980Dimensions: 2.25"L x 1.75"W x 4.5"HManufacturer: BeswickCountry of Origin: EnglandCondition: Age related wear.

A collection of ball-bearing action plastic toys based on your Disney, Dr. Who and World Cup characters. Includes 1 Mickey Mouse, 2 White Rabbit, 2 Donald Duck, 3 Pinocchio, 2 Dalek from Dr. Who, and 1 Willie the lion for the World Cup. Only one of the White Rabbit does not have an original box. 10 of the Rolykins have original boxes. The approximate measurement of a Rolykin is 1"W x 1.5"H, and a box is 1"L x 1"W x 1.5"H. Issued: 1960sDimensions: See DescriptionManufacturer: Louis Marx & Co. Country of Origin: Hong KongCondition: Age related wear. As is.

A figure depicting an officer in the ancient Roman army who commanded a unit, dressed in armor, a crested helmet and carrying a sword. Part of the Roman Empire Collection. This item has its original box: 3.5"L x 3"W x 6"H. Royal Doulton backstamp. Artist: M. AlcockIssued: 2004Dimensions: 4.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

A figure of a female who was part of the workforce during the war, after a day of tending to the land. She holds a shovel and is standing next to a sack of carrots and potatoes. Part of the World War II Collection. Royal Doulton backstamp. Artist: UnknownIssued: 2005Dimensions: 4.75"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Gerard Dillon (1916-1971) The Music Teacher (Portrait of Thomas Davidson)  Oil on board, 51 x 37cm (20 x 14½'') SignedProvenance: Sale, Gormley's Fine Art, RDS, Dublin, 2006 where purchased by the present owner; By repute, the sitter's familyDillon was introduced to Tom Davidson, renowned BBC Radio Ulster Pianist, initially through his brother Joe, who was also a musician. Tom was an important point of contact with other Ulster artists and writers who would become close friends of Dillon in the 1950s and 60s. During this period of time in Dillon’s life and career, there is a sense that he was part of a vibrant and tightknit community, made up of literary and artistic individuals who formed enriching friendships.  Gerard’s sister Molly owned a house on Abbey Road in London and it would be become space, both physically and symbolically, for development of a community of artists and creative figures within the expat Belfast circle. Dillon lived on and off for the next 20 years in the house, a great entertainer, hosting gatherings with other Belfast artists, including George and Madge Campbell, Hugh Heanon and Arthur Armstrong. Tom came to stay in the house in the early 1950s, Molly rented him an upstairs room, and it is possible that this portrait was made during his stay.  There is great photograph taken of Gerard and Tom sitting side by side on a couch, possibly in the house at Abbey Road. Gerard is looking to the camera, while Davidson dressed impeccably in shirt and tie looks side long at him. One immediately gets a sense of their close friendship, and it is as if they were interrupted mid-sentence while chatting away to each other on the sofa.Another work by Dillon entitled Man with Keyboard (Crawford Art Gallery, Cork) shows Davidson as the professional pianist with his slender, graceful fingers poised over the keys, ready to play. In The Music Teacher, Dillon offers a more personal depiction of his friend, and it represents Tom quite faithfully. He was an incredibly striking figure, with his shock of black hair styled in a deep parting, his prominent brow over beautiful almond shaped brown eyes, and long, elegant nose. There is a wonderful depth of expression captured in the eyes, suggesting a thoughtful presence. The striking red background is softened by the impastoed brushstrokes, adding texture and movement to the paint surface. These colours are picked up in Tom’s red and yellow turtleneck, framed by the opening of the bright blue cardigan, again painted with quick and swirling brushstrokes.A single red button is visible just at the edge of the picture plane. The house at Abbey Road was depicted many times by Dillon in works such as In the London Flat , Self Contained Flat and The Red Attic, often using that same colour palette of blue and burnt red.  Portraits of male figures are quite common in Dillon’s work, depicted in a variety of forms, as strong west of Ireland farmers and labourers, as brothers including his own three siblings, as friends together in his small flat, in numerous self-portraits, and occasionally as lovers. They form an important part of his oeuvre in which he was able to celebrate their diverse and enduring role in his personal and artistic life, which in the case of Dillon, were one and the same.  Niamh Corcoran, August 2024

Jack Butler Yeats RHA (1871-1957) On the Hazard (1911) Oil on panel, 29 x 38cm (11½ x 15”) SignedProvenance: Acquired directly from the artist by Serge Philipson, Dublin, May 1948; Christie's, London, 20 May 1999, lot 132; Sotheby's, London, 6 May 2010, lot 39; Sotheby's, London, 19 November 2013, lot 81; Sotheby’s, London, 19 November, 2019, lot 32, where purchased by the present owner.Exhibited: Dublin, Royal Hibernian Academy, 1911, no.134; Dublin, National Gallery of Ireland, 'Jack B. Yeats, A Centenary Exhibition', September - December 1971, no.28Literature: Hilary Pyle, 'Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings', London, 1992, no.27, illustrated p.26This early oil by Jack B. Yeats shows a group of cabbies playing cards by candlelight on the side of a carriage. The title, ‘On the Hazard’ is a pun on the role of chance and unpredictability, and perhaps even the dangers of gambling, in the outcome of the game, and on a Dublin expression, ‘on the hazard’. This refers to the place where cabs waited for hire. James Joyce used it in Ulysses, (1922), when he wrote, ‘Mr Bloom went round the corner and passed the drooping nags of the hazard’.Four men sit around the cab, one is perched on the top, and leans over to watch the game. Two, their faces lit by the candlelight, are engrossed in their cards. A fourth sits with his back to the viewer and is shown as a dark silhouette wearing a large hat and cloak. To the right the wheels and horse trappings of the vehicle and part of the waiting horse can be deciphered. The composition is cut-off adding a modern note to the subject.Hilary Pyle has suggested the influence of Caravaggio in the dramatic use of chiaroscuro (light-dark) in the composition. But also, and more feasibly, that of the French realist and political cartoonist, Honoré Daumier.[i] Yeats, who owned few art history books, had a copy of Henri Frantz’s book on the artist, which was given to him and his wife, Cottie, by his father and sisters in 1904.[ii] Yeats shared Daumier’s interest in the lives of working class men and women and in the depiction of the impact of poverty on urban dwellers.The painting is dominated by deep brown tones which are alleviated by the bright yellow light and by flashes of intense blue and green, as seen in the neck scarf of one of the cabbies and in the design of the playing cards. To the right a dash of strong red indicates the reflection of light on the cab wheel. The light is skillfully used to delineate the poses and expressions of the cabbies who sit in a relaxed and companionable fashion. The face of the man looking down takes on a ghostly quality as its features are transformed by the shadows into a mask-like form. The two players, whose features are clearly presented, appear to be ‘poker-faced’ with clenched expressions that indicate their deep involvement and enjoyment of the game. The painting is a rare depiction of a forgotten aspect of Irish urban life, one that was also found across Europe and North America. Here Yeats’s vivid and original composition, its close-up view of the interaction results in an intense and captivating work of art.The painting was acquired from the artist by the noted collector, Serge Philipson, a Frenchman who settled in Ireland, in 1948.Dr Róisín KennedyAugust 2024[i] Hilary Pyle, A Catalogue Raisonné of the Oil Paintings, London, 1992, no.27.[ii] This is now in the Yeats Archive, National Gallery of Ireland, Y1/JY/24/1/6/66. 

Colin Middleton RHA RUA MBE (1910-1983) Girl Playing Mozart (1949) Oil on canvas, 76 x 60cm (30 x 24") Signed; Labels verso, one bearing artist mark in ink and dated 1949 and numbered '73' Girl Playing Mozart was painted in 1949, a transformative year for Colin Middleton during which he held his first solo exhibition with the Waddington Galleries in Dublin, which immediately established him as one of the leading contemporary Irish artists. The critic of the Dublin Magaine wrote that “With this show, Middleton, from being just one of the more interesting of the moderns, has become a great painter”.By the winter of 1949, when he was also working on Girl Playing Mozart, Middleton was completing some of his most ambitious canvases of this period, including Give Me to Drink(NMNI) and Isaiah: 54, and Victor Waddington was planning a group exhibition to tour the United States, which would include his work. Waddington welcomed the present painting on its arrival (“The last group of works you sent down are magnificent”), and suggested sending an image of it to those selecting the American exhibition. Female figures from this period of Middleton’s work are often depicted with a suggestion of vulnerability or extreme circumstances, often on the edges of society. Instead, the present painting implies a world of some comfort and security, with a vase of flowers behind the musician, who is dressed elegantly and wearing a bracelet or a watch. Music was, however, often used by Middleton to suggest powerful but elusive forces that run through lives, and the woman’s glance away from her sheet music, her eyes emphasised by the paint surface, hint at an inner life that is hidden from us, and perhaps only expressed through the deeper currents of the music she plays.  Dickon Hall, August 2024

Greek Coinages, Syracuse: Tetradrachm, struck under the Second Democracy, c. 406; signed work of Kimon Obverse: head of Arethusa canted slightly left, hair fluttering radially as if submerged in water, four dolphins swimming around; κιμων across ampyx Reverse: charioteer driving galloping quadriga left, the horses twisting in excited agitation; wreath-bearing Nike stepping across the reins towards driver; toppled turning post lying below the horses forelegs; corn-ear in exergue Metal: silver; Attic weight standard; 17.47g/11h References: Fischer-Bossert 81 [O29/R54]; Gulbenkian 293; Rizzo pl. XLCIII, 11 Condition: Almost extremely fine, perfectly centred with traces of residual lustre; the portrait struck in high relief and utterly captivating £100,000-£150,000 --- Provenance: CNG Triton XI, New York, 8 January 2008, lot 61 (cover coin) CNG Triton XIX, New York, 5 January 2016, lot 55 M. Gasvoda Collection, CNG Triton XXII, New York, 8 January 2019, lot 145 Of all the typological schemes to appear on Ancient Greek coinage, the front facing heads are the most celebrated. And of the facing heads, those signed by the artist Kimon at Syracuse are the most accomplished. Note the signature across Arethusa’ ampyx. It’s presence tells us to things; firstly, that the Greeks themselves saw coinage as art, as appropriate forum for competition between the greatest sculptors of the day; and secondly, that Kimon, who was quite clearly a genius, thought these dies worthy of his name. One could talk at length about the balance of the composition seen here, how the radial hair fits perfectly to the flan, and Kimon’s genius in having the dolphins play through the hair so that the whole scene appears submerged; or the remarkable depth of the engraving, and the technical mastery which this required; or the vitality of the portrait, the dreamy eyes which captivate, utterly and completely, and the slight kink of the neck which imbues the whole scene with energy and life. Indeed, many have; thousands of words have been written in attempt to capture and convey the experience one has when in the presence of such a coin. It will suffice to quote from just two. Barclay Head called called Kimon’s masterpiece ‘the finest representation of the facing human head on any coin’ while Colin Kraay ranked it ‘amongst the most delightful creations of Greek coinage’. Both were great authorities on classical numismatics, and both were right.

Greek Coinages, Mende: Tetradrachm, struck c. 430 Obverse: Ass walking right, carrying inebriated Dionysos who reclines, nonchalantly raising kantharos in his right hand and supporting a thyrsus in his left Reverse: μενδαιον: vine with five grape brunches, recessed border around containing legend Metal: silver; Attic weight standard; 17.17g/11h References: Noe 64; Kagan 10; Lockett 1347 Condition: Trifling peripheral mark on reverse, otherwise extremely fine, light golden toning over excellent metal £12,000-£15,000 --- Provenance: Probably ex Scion hoard, c. 1991 (CH IX, 4) Edward Waddell inventory, April 1999 The New York Sale XLII, 9 January 2018, lot 62

George John Pinwell (British, 1842-1875)The Elixir of Love signed and dated 'G J Pinwell/70' (lower left); further signed, titled and inscribed with artist's address 'N1. The Elixir of Love/GJPinwell/52 Adelaide Rd/NW' (on artist label attached to the reverse)watercolour and bodycolour45 x 105.5cm (17 11/16 x 41 9/16in).together with a preparatory watercolour sketch of the same subject (14.5 x 24cm) and an engraving of the subject by Robert Walker Macbeth. (3)Footnotes:ProvenanceErnest Gambart (1814–1902).His sale, Christie's, London, 31 March –1 April 1871, lot 195 (260 guineas to Tooth).Arthur Tooth & Co., London.Thomas Wood, 2 Mandeville Place, London.Ludwig Messel (1847–1915).Sharpley Bainbridge (1845–1921).His sale, Christie's, London, 10 February 1922, lot 88 (640 guineas to Thomas Agnew & Sons).Thomas Agnew & Sons, London.Frost & Reed, London and Bristol.Private collection, UK.ExhibitedLondon, Royal Watercolour Society, 1870. no.114.London, Deschamps Gallery, Exhibition of Works by the Late G. J. Pinwell, 1876, no.70 (lent by Wood).London, Royal Academy of Arts, Winter Exhibition, 1901, no. 124 (lent by Messel).Glasgow, International Exhibition, 1901 no. 1102 (lent by Bainbridge).Literature'Society of Painters in Watercolours, 5 Pall Mall East: Private View', The Era, 24 April 1870, p. 14.'Old Watercolour Society', The Times, 27 April 1870, p. 4.'Fine Arts: The Society of Painters in Watercolours', Illustrated London News, 30 April 1870, p. 458.G. C. Williamson, George J. Pinwell and His Works, London,1900, pp. 20, 40, 58, 66, 150.Donato Esposito, Frederick Walker and the Idyllists, London, 2017, pp. 62, 64, 72–73, 82, 86, 88, 89.The present watercolour was based on a poem, with the same title, about the properties of a love potion offered by an unscrupulous, but convincing, salesman. The first two verses describe its attractive qualities:'Buy,—who'll buy!' In the market-place,Out of the market din and clatter,The quack with his puckered persuasive face,Patters away in the ancient patter.'Buy,—who'll buy!' In this flask I hold,—In this little flask that I tap with my stick,sir,Is the famed infallible Water of Gold,—The One, Original, True Elixir!Set in the distant past, the medieval period judging by the clothes, Pinwell has conjured a throng of needy recipients for such a potion, and a wide variety of figures, in age and status, are depicted in this lively urban scene. Leading up the enthralled group of would-be buyers are a pair of young women who gaze at the mesmeric glass phial before them. One of these females is modelled on the artist's sister-in-law, a favourite model.Pinwell, a leading Idyllist, had begun his career as an illustrator. In 1865 he shifted tack and submitted a watercolour to the Dudley Gallery, London. Based on Oliver Goldsmith's Vicar of Wakefield, it is now in the British Museum, London (inv. PD 1967,1014.131) and was the first of many successful submissions to come. He showed work there for several more years but in 1869 sent his first watercolour to the older, more prestigious and lucrative Royal Watercolour Society. The present work came at an important time for the artist, and 1870 proved to an important year for Pinwell. The year before, on 3 April 1869, he had been elected an associate of the Royal Watercolour Society. His rise in the institution was rapid and by the following year in the wake of the success of The Elixir of Love he was elected a full member.The work was Pinwell's largest watercolour to date and was met with near universal praise. The Illustrated London News noted the 'exquisite sense of beauty and character evinced in all the faces, and the consummately delicate precision of the draughtsmanship.' The critic of The Times thought it displayed many 'uncommon merits qualified by some serious defects' but conceded that it was marked by a 'singular tenderness and beauty.' But the long column inches of The Era were unequivocal in declaring it 'the picture of all pictures.' In conclusion the same critic contended that The Elixir of Love evidenced the 'highest form of art ... and makes us live in a purer and sweeter atmosphere.' The work was one of Pinwell's best-known works and was exhibited several times after his early death. To commemorate the tenth anniversary of his passing in 1875 the dealer Arthur Tooth & Co. commissioned fellow Idyllist Robert Walker Macbeth (1848–1910) to translate the watercolour into a large etching. The print was duly published in 1885.Williamson lists an untraced reduced watercolour version of the present work as 'unfinished' and having once been owned by Edward Dalziel (1817–1905), of the celebrated firm of printmakers and publishers. It measured 11 x 25 inches and was sold at Pinwell's estate sale in 1876 for 31 guineas (to Dalziel), suggesting some level of finish. The Museum of Fine Arts, Boston has a preparatory drawing in graphite for The Elixir of Love (inv. 55.2713), and was one of several such studies for the present work, that had once belonged to the keen Idyllist art collector and bibliophile Harold Hartley (1851–1943).We are grateful to Donato Esposito for compiling this catalogue entry.Saleroom notices:Please note that since the publication of the catalogue, further research indicates that the present lot was not exhibited at The Royal Academy in 1901 and was not in the possession of Ludwig Messel, as stated.For further information on this lot please visit Bonhams.com

Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Head study of Maria Zambaco, eyes closed, looking right, for Summer, The Four Seasons (The Lapse of the Year) pencil26.5 x 21.5cm (10 7/16 x 8 7/16in).Footnotes:ProvenanceWith The Piccadilly Gallery, London, 1976.Private collection, Australia (acquired from the above).Famously, Summer is known as a portrait of Maria Zambaco, painted during the intensity of her affair with Burne-Jones; the present drawing is its source. It belongs to a series of impassioned drawings of his muse, that the artist created between 1868 and 1874. Technically, the drawing is transitional, in that it still relies on a large amount of texture but anticipates the refinement of the linear drawings that were to develop in the next few years. There is a greater skill in defining the image and mood inspired by the artist's intense feeling for Maria.The series of six paintings, the four seasons, together with day and night, follow the set of twelve signs of the Zodiac which Burne-Jones had designed in 1866. Prompted by the commission from Frederick Richards Leyland, a wealthy ship owner and patron who was decorating his new house at 49 Princes Gate, Burne-Jones decided to develop the ideas contained in the South Kensington series. Having invested a large amount of his creative energy on the decorative scheme of 14 designs for the museum, Burne-Jones ran with the concept but on a larger scale.We are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonne, https://www.eb-j.org.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jacques Emile Blanche (French, 1861-1942)Portrait of a young girl signed with initials 'J.E.B' (lower right)oil on canvas73.2 x 54.1cm (28 13/16 x 21 5/16in).Footnotes:ProvenanceDr Arthur Kauffmann (1887-1983) and by descent to his son,Professor Michael Kauffmann (1931-2023), London.Dr Arthur Kauffmann (1887-1983) was an art historian and Frankfurt director of the auction house Hugo Helbing, Berlin. From 1937, Kauffmann was prohibited from holding auctions in Frankfurt due to his Jewish ancestry, and in 1938 he emigrated to London where he continued to deal in art and received British citizenship in 1947. Kauffmann's legacy is well documented, having helped establish the E. G. Bührle Collection Foundation, Zurich. His son, Professor Michael Kauffmann FBA (1931-2023), is also remembered for his significant career as an art historian. Professor Kauffmann worked firstly at the Warburg Institute, then the Manchester City Art Gallery and for several decades at the Victoria & Albert Museum. In 1985 he was appointed Director of the Courtauld, where he successfully reunited the Gallery and its Institute at Somerset House.Saleroom notices:This lot is included in the online Catalogue Raisonné de l'oeuvre de Jacques-Émile Blanche published by Jane Roberts under no. 1541 and titled Portrait of Pouponne or Wanda Zelenska, circa 1896. Please see Roberts, J., Jacques Emile Blanche, 2012, Paris, for three other portraits of the same sitter, pp. 70-71. When he wasn't painting portrait commissions or his friends, Blanche would call upon models that he would find close to Auteuil: Lucie Esnault, his locksmith's daughter, Désirée Manfred or as here, 'Pouponne'('Baby face') Zelenska whom he painted at every age from 1892 onwards, dressing her up in all sorts of disguises which he kept in his studio. The highly feminine and charming physique of Wanda, encouraged Blanche to paint her in eighteenth century inspired costumes against a landscape reminiscent of the English painters whom he so admired, such as Thomas Gainsborough and Sir Joshua Reynolds. Other paintings of Wanda can be seen in the Musée des Beaux Arts, Caen, and the Musée Blanche at Offranville as well as in several private collections and numerous lithographs. Here, Wanda, aged about ten years old,. She came from a Polish family who lived near Blanche in Passy and grew up to be a talented violinist and cellist, often accompanying her sister, Hélène, renowned for her performances on the chromatic harp.We are grateful to Jane Roberts for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Edwin Harris, RBSA (British, 1855-1906)Not Forgotten signed and dated 'Edwin Harris 1884' (lower right)oil on canvas121.9 x 86.3cm (48 x 34in).Footnotes:ProvenancePrivate collection, UK. ExhibitedBirmingham, Birmingham Art Circle Autumn Exhibition, 1884.The simple theme is rendered with fine feeling, and the painting of the face and hands, with all the subtle modelling, is at once delicate and striking. The pathos and the poetry of humble life are here a visible poem.The much-quoted letter in the Magazine of Art of 1898, that 'it was Birmingham that first discovered Newlyn' attests to the influence that a group of Midlands artists had on the development of an artistic colony. Of these artists, Edwin Harris was among the first to discover the corner of West Cornwall that became synonymous with British Impressionism. Harris may in fact have discovered Newlyn before his great friend Walter Langley, Harris's biographer noting that while 'Langley is generally regarded as the 'artistic father' of this small Cornish fishing village ... Mr. Edwin Harris was before him in the field, and is undoubtedly one of the very first pioneers among the Newlynites'1.Born in Birmingham in 1855, Harris attended Birmingham School of Art, before attending Verlat's Academy in Antwerp with fellow artist William Wainwright in 1880; he later travelled to Brittany with William Breakspeare. Although he had already had works accepted at the Royal Birmingham Society of Artists, Harris and his contemporaries sought an alternative outlet to the more established and mainstream Academies, and co-founded the Birmingham Art Circle in 1880, intent on offering a forum for emerging artists; other founding members included Langley and Wainwright, the artists initially showing their work in their own studios, before being offered a space to exhibit by Birmingham art dealer Edward Chamberlain. Harris was mostly working in Newlyn by 1881, and in 1883, having married Chamberlain's niece Sarah, the couple settled in Newlyn. By now the colony of artists was expanding to include, as well as Langley, Ralph Todd, Fred Hall, Frank Bramley and T. C. Gotch. Harris seems to have been at times an aloof member of the colony- perhaps not aided by his regularly returning to Birmingham during his tenure in Newlyn. Stanhope Forbes, arriving in 1884, notes in his letters that 'Everybody likes them but no one seems really intimate'; Forbes does, however, also refer to a number of pleasant evenings with the Harrises, at one of which he met his future wife, Elizabeth Armstrong2. The extent of Harris's financial success seems unclear, although he remained a regular exhibitor at the RBSA, the Birmingham Art Circle and the Royal Academy, his exhibited works attracting positive reviews. The present lot is an exceptional example of Newlyn painting during its prime period of the 1880s. Painted in 1884, the work sits alongside the best of Harris's work, and arguably matches in quality the interiors painted by Langley. In a dimly lit interior, an elderly sitter, perhaps the same model used for A Pinch of snuff (Penlee House Gallery and Museum), pauses for a moment of reflection, having received a package and a letter. As Edgbastonia notes, this was a period in which, having just welcomed a son, Harris 'worked indefatigably ... his subjects were almost entirely confined to the lives and homes of the humble fisher folk around his studio, who he painted in the hours of happiness and in their hours of trouble, joyous and pathetic idylls'3. Rendered in exquisite detail, the work was exhibited at the Birmingham Art Circle, alongside Maidenhood and A fisherboy. A contemporary reviewer noted that 'these pictures show a healthy development of artistic power... good, solid, earnest work, without trick or artifice ... Not Forgotten... is a bit of homely pathos: an old woman, seated in her poor cottage, where her thoughts are often enough, no doubt, sad and anxious, had just received from some distant son a hamper ... and a letter that tells her her bairn, though far away, cherishes the good mother in his heart. The letter is outspread on her lap, as she polishes her spectacles to read it. The simple theme is rendered with fine feeling, and the painting of the face and hands, with all the subtle modelling, is at once delicate and striking. The pathos and the poetry of humble life are here a visible poem'.Recognition by the RBSA came later to Harris than to his contemporaries, Harris not being elected until 1886, some five years after Langley, Wainwright and Breakspeare. As Roger Langley notes, 'it may be that his apparent preference for exhibiting at the Art Circle rather than the RBSA caused some delay in the promotion of his cause.'4. Given the supreme quality of the present work, it is hard to argue that his loyalty to the Art Circle may indeed have slowed his Academic recognition. 1 Edgbastonia, Vol XIX, 1899, quoted in Caroline Fox & Francis Greenacre, Painting in Newlyn 1880-1930, London, 1985, pp.66-7). 2 Ibid, p.65.3Edgbastonia, quoted in Roger Langley, Edwin Harris 1855-1906, An Introduction to His Life and Art, Truro, 2008, p. 24.4 Roger Langley, Edwin Harris 1855-1906, An Introduction to His Life and Art, Truro, 2008, p. 24.For further information on this lot please visit Bonhams.com

dating: Mid 19th Century provenance: Turin, Smoothbore, octagonal, twisted barrel, 17,3 mm. cal. at the nozzle. Backward spring lock with working mechanism (but the cock does not hold the second snap); lock plate engraved with floral motifs and signed 'Lupotti / Turin'. Wooden, three-quarter stock with checkered grip. A short crack to the fore-end at the bottom and a small missing part on the right side. Partially engraved iron mounts. Trigger guard with beautiful effigy of a cornucopia. Some signs of use and time. Horn-tipped wooden ramrod. Lupotti is documented by Barbiroli (Repertorio Storico degli Archibugiari Italiani, Ed. Clueb 2012, p. 335) who has been informed of only one other weapon produced by this gunsmith. length 35,3 cm.

dating: third quarter of the 17th Century provenance: Liege, Rounded lock plate with floral decoration in relief at the tang from which an engraved flower emerges. The central segment engraved in grotesques with animals and masks between floral motifs, below the signature 'ARNOLD DAVID'. Under the spring of the batterie 'A LIEGE'. The other elements with engraved and carved decorations that reproduce the decorative themes of the lock plate, the cock with small crack at the grip. On the back, complete mechanism. Heer (Der Neue Stöckel, ed. Journal-Verlag 1978, p. 271) reports a David Arnold in Liège, who worked between 1640 and 1672. length 12,8 cm.

dating: Mid 18th Century provenance: Brescia, Slightly rounded lock plate with outline and swallow-tailed margin, with tang featuring embossed florals. In the centre the signature 'Monale' in italics. Round pan. The cock with the top jaw screw head carved with leaves, batterie worked en suite. The back with complete mechanism. Signs of time. Barbiroli reports Monale Battista, an 'azzaliniere' (gunsmith specialising in the manufacture of locks) from Brescia, who worked in the mid-18th century. See 'Repertorio Storico degli Archibugiari Italiani' Ed. Clueb 2012, p. 82. length 11,3 cm.

dating: Mid 18th Century provenance: Northern Italy, Flat lock plate with oblique borders, the tang with small leaf decoration. The lower margin with signature 'BARATELLI'. Various leaf carving and moulding decorations. Complete mechanism. The lock is for the left side of the rifle, possibly for a double-barrel. Barbiroli reports Baratelli Agostino, 'azzaliniere' (gunsmith specialising in the manufacture of locks) from Varese, who worked in the mid-18th century. See 'Repertorio Storico degli Archibugiari Italiani' Ed. Clueb 2012, p. 82. length 12 cm.

dating: mid-17th Century provenance: Venice, Parchment for Domino Oratio's appointment as Knight of St. Mark with all privileges. The upper part finely painted in polychrome with the Lion of St. Mark in the centre between roosters, floral motifs and two knightly coats of arms. With metal seal featuring the inscription 'FRANCISCUS MOLINO DEI GRA DUX VENETIAR ET C' and on the other side 'FRANC MOLINO SVM VENET'. Francesco Molino served as the 99th Doge of the Republic of Venice. His reign was marked by wars that severely strained the Republic's finances. In response, the Republic decided to allow entry into the patriciate once again, offering noble titles to those who could pay the relatively modest sum of one hundred thousand ducats. It is likely that the current appointment was one such transaction. dimensions 65 x 38.5 cm.