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1 bt Ch. De Lidonne 1982 Côtes de Bourg 1982 vts, sl bs 1 bt La Cour Pavillon 1982 Bordeaux ms, bs/cdl/pt dis, foil sl crusted 1 bt Ch. Cap de Mourlin 1983 St-Émilion Grand Cru Classé hf/i.n, bs, sl glue banded 1 bt Ch. Coudert 1983 St-Émilion Grand Cru Classé hf/i.n, sl bs 1 magnum Ch. Haut-Batailley 1983 Pauillac Grand Cru Classé i.n, bs 1 bt Ch. Kirwan 1983 Margaux Grand Cru Classé ts, sl bs 1 bt Ch. Le Gardera 1983 Bordeaux Superieur us, bs/sl cdl 1 bt Ch. Rousset, Côtes de Bourg 1983 ts, sl bs, pt dis, foil shortened (by JSC) ID from cork 1 bt Ch. Talbot 1983 St-Julien Grand Cru Classé i.n, vsl bs Above one magnum and eight bottles

2 bts Ch. d'Angludet 1994 Cantenac (Margaux) Cru Bourgeois Exceptionnel 2 bts Ch. De Valois 1996 Pomerol i.n, sl bs 1 bt Ch. Ducru Beaucaillou 1996 St-Julien i.n 1 bt Ch. Phélan Ségur 1999 St-Estephe i.n, foil top removed 1 magnum Ch. La Tuilerie du Puy Cuvée Tradition 2006 Bordeaux Superieur i.n Above one magnum and six bottles

4 bts Ch. Hautes Graves 1986 Bordeaux Superieur 2 i.n, 1 ts, 1 us, bs, capsules removed 1 bt Ch. Gandoy-Perrinat 1998 Bordeaux Superieur ts 1 bt Ch. Le Roc Premières Côtes de Blaye 2000 i.n, sl dstl 2 bts Ch. Malbec 2001 Bordeaux i.n, vsl bs 1 bt Ch. Combe-Longue Premières Côtes de Blaye 2006 ts, vsl bs, sl torn label Above nine bottles

2 bts Marquis de Seillan Cuvée Excellence Côtes de Saint-Mont 2001 ms bs 1 bt Ch. Gravelines 2002 Bordeaux Blanc Sec i.n, sl stl 1 bt Ch. Bellevue Entre-Deux Mers 2002 ts, sl stl Above four bottles

12 bts Ch. Gigault Cuvée Viva 2009 owc Blaye, Côtes de Bordeaux

12 bts Ch. Gigault Cuvée Viva 2009 owc Blaye, Côtes de Bordeaux

12 bts Ch. Gigault Cuvée Viva 2016 owc Blaye, Côtes de Bordeaux

10 bts Le G de Ch. Guiraud 2018 Bordeaux Blanc Sec

1 bt Ch. Cissac 1990 Haut-Médoc Cru Bourgeois i,n, sl bs 1 bt Ch. Pauillac 2013 Doms Peyronie 1 bt Ch. Grand Tertre La Côte 2015 Castillon-Côtes de Bordeaux Above 3 bottles

4 bts Ch. Chatard 1982 Bordeaux 2 ts, 2 us, sl bs

6 bts Ch. Du Bourdieu 1982 Bordeaux Superieur 5 ts, 1 us/ts, sl bs

Two (2) 750ml / 75cl bottles of 1978 Chateau Longueville Pauillac-Medoc Baron de Pichon-Longueville Grand Cru Classe French Bordeaux red wine. Good seals and labels.

A selection of assorted bottled red and white wines to comprise of; x3 750ml / 75cl bottles of 2017 Villa Maria Sauvignon Blanc, a 750ml / 75cl bottle of Hassagne-Montrachet La Romanee, a 750ml / 75cl bottle of 1983 French Mouton-Cadet Bordeaux Blend, a 750ml / 75cl bottle of Cabernet d'Anjou, a 750ml / 75cl bottle of 1991 Chateau de Dinzelles, a 750ml / 75cl bottle of New Zealand Crux Marlborough, a 750ml / 75cl bottle of Chateau Les Marcottes, a 750ml / 75cl Italian bottle of 2015 Chianti Classico , a 750ml / 75cl bottle of Lustau Almacenista, a 750ml / 75cl bottle of Chateau Rouquette, a 750ml / 75cl bottle of 2016 Valhalicella Ripassea 750ml / 75cl bottle of Spanish Sierra Almiron, x2 750ml / 75cl bottles of Gonzalez Byass La Concha Medium Dry Sherry, a 75lml / 37.5cl bottle of Canadian Southbrook Dessert Wine, a 750ml / 75cl bottle of Chais Baumiere, a 750ml / 75cl bottle of 1993 Cotes De Rhone, a 750ml / 75cl bottle of Blandy's Madeira, a 750ml / 75cl bottle of 2001 Ruffino Riserva Ducale, a 750ml / 75cl bottle of 1983 Chateau Rouquette, a 750ml / 75cl bottle of Lustau Almacenista and a 500ml / 50cl bottle of Moscatel De Chipiona. All seals appearing to be in good condition and labels ranging from tatty to very good. 

A mixed case of vintage wines, comprising a magnum of 2003 Chateau Bonneau Livran Haut-Medoc, two standard bottles of the same, three bottles of Paul J Evans M M Cuvee 1996 Bordeaux and others.

Twelve bottles of assorted wine, to include 2001 Cuvee-Prestige Evans-Flagg Sauternes (x4), 2009 Chablis, 1998 Baron des Tours Bordeaux Superieur and others.

Burret, Léonce: (1865 Bordeaux - Paris 1915) nach. La vache enragée (1897). Zart kolor. Tuschfederzeichnung über Bleistift v. G.Bronner, wohl 1.H. 20. Jh. Blgr. 39,5 x 30 cm. Unt. li. sign. u. dat. u. mi dem Namenszug v. L.Burret. - Gebr., stärker randrissig. R

DARÍO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913)."Sant Genís dels Agudells".Oil on panel.Signed in the lower right corner.Size: 22 x 30 cm; 30 x 37 cm (frame).Darío de Regoyos is considered one of the great representatives of Spanish Impressionism. Within his themes, landscape painting was the most worked and explored field, feeling attracted by the luminous treatment inherited from the impressionists. This landscape, which depicts the parish church of Sant Genís dels Agudells in Barcelona, reveals a scene of great stillness enveloped in a warm, vitalistic aura.The son of a prominent architect then active in Asturias, Darío de Regoyos trained in Madrid at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he became a pupil of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, a movement in which he himself would play an eminent role. He was a member of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never settled anywhere; even during his Belgian period he frequently returned to Spain. During the 1980s he lived in the Basque Country, where he revitalised the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip around Spain (he had already done so before with other Belgian companions), which was to be the seed of his famous "España negra" series, published in Barcelona in 1899. With this work, Regoyos was a pioneer in Spain of the so-called neoxylography or creative woodcut. While in the 1880s he only took part in exhibitions in Belgium and Holland, in the 1890s he also exhibited in Paris, taking part regularly in the Salon des Indépendants. From these years onwards he also exhibited his work in Madrid, Munich and Barcelona, the latter being the city where his painting was honoured in 1894 by the leading figures of Art Nouveau. However, his work, marked by an Impressionism of which he himself was one of the main proponents, was not well accepted in the more conventional circles. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its beginnings (1894), an association that gathered in this country the heritage of artistic modernism. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, was held at Els Quatre Gats in Barcelona, where he was artistic director of the magazine "Luz". From 1900 onwards the range of his exhibitions expanded, and his work was shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastián, London, Mexico City, Bordeaux and Buenos Aires, among other cities. At the beginning of the 20th century Regoyos intensified his travels, living between Granada and Bilbao. In 1911 he settled in Barcelona, where he died two years later. He is represented in the Museo del Prado, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions, as well as in leading private collections all over the world.

ANTONIO FILLOL GRANELL (Valencia, 1870 - Castellón, 1930)"Valencian Costumbrista Scene".Oil on panel.Signed in the lower left corner.It has a Barrachina & Ramoneda label on the back.Measurements: 19 x 32 cm, 34,5 x 47,5 cm (frame).Antonio Fillol trained as a disciple of Ignacio Pinazo Camarlench and at the San Carlos School of Fine Arts, where he was also a full professor and promoter of educational reforms. As president of the Círculo de Bellas Artes de Valencia he contributed to revitalising cultural life and improving the situation of Valencian artists. He was one of the most awarded artists of his time, winning first medals and numerous awards in the competitions and exhibitions he took part in, both in Spain and abroad, despite the controversy that arose with some of his works, which deprived him of greater official consideration. His awards include those obtained at the National Exhibition of Fine Arts (first medal in 1901, decorations in 1904, 1908 and 1912), a single medal at the Chicago Universal Exhibition of 1893, first medal at the Panama Exhibition of 1916 and a gold medal at the San Diego International Exhibition of 1916. He was also made a knight of the Royal Order of Isabella the Catholic and had exhibitions of his work in New York, Paris, Bordeaux and Berlin. Fillol is represented in the Museum of Modern Art in Madrid, the Fine Arts Museums of Valencia and Chicago, the Provincial Museum of Jaén and the Museum of the City of Valencia, among others.

Collection of boxed Hornby 0 gauge Trains rolling stock, 6xPortland Blue Circle Cement wagons, No.1 LMS Refrigerator van, No.1 LMS Cattle wagon, BR Goods Brake van, 2xHopper wagons, 2xNo.1 Timber wagons, LMS No.1 wagon, NE wagon with sheet rail, 2xFlat trucks, No.50 Trinidad Lake Asphalt Rotary tipping wagon, Goods van and Saxa Salt wagon and a French Bordeaux double wine barrel wagon, generally good condition some fair, boxes good to fair, one hopper box lacks end flap, (21 items).

Large quantity of mixed wines, ales and spirit miniatures including vintage Chablis and Bordeaux. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Dibuixant pintat" (Painted draughtsman), 20.2.1980.Mixed media (paint, gouache and charcoal) on paper.Signed, dated and titled in the lower margin.Work published in the artist's catalogue.Measurements: 37 x 27 cm; 53 x 39 cm (frame).A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. Together with him and the photographer Antoni Catany, as a member of the group "Neón de Suro", he takes part in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career with his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most important awards, such as the Prince of Asturias Prize for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

MIXED WORLD; twelve assorted bottles of rosé wine including one bottle of Château Roc de Minvielle, Bordeaux rosé 2007, 750ml, 12.5%, etc (12).PLEASE NOTE: These items are loose and without boxes, so the buyer will have to bring the appropriate packaging materials for collection from the saleroom

12 BOTTLES FRENCH WHITE WINESpar Languedoc 2020; Silene Chardonnay 2020; Paul Mas Languedoc 2020; Tesco Premieres Côtes de Bordeaux; Cave de Ribeauville Alsace Pinot Blanc 2019 and Alsace Pinot Gris 2019; Aldi Pierre Jaurant Alsace Pinot Blanc 2019; Vieil Armand Tradition Pinot Gris 2020 and Cuvée Happy 2020; Domaine Kirrenbourg Pinot Gris 2018; Pfaff 1957 Pinot Gris 2020 and Black Tie Pinot Gris 2020

Bonheur, Francois Auguste (1824 Bordeaux, Frankreich-1884 Paris) "Ruhender Schäfer mit zwei Schafen", Öl/Holz, sign. u.r., 22x41 cm, Rahmen

Chateau Le Mayne 19853 Flaschen in Holzkiste, Bordeaux De Luze, Füllstand normal, 0,75 l

BORDEAUX Herrenarmbanduhr mit Vollkalender, Schweiz um 2000, Automatik, beids. vergl. Edelstahlgeh., Boden 4-fach verschr., Korrekturdr. im Geh. eingelassen, silb. Zifferbl. m. aufges. Std.-Ind., silb. Zeiger, rhod. Werk Kal. ETA 2892A2, 21 St., Feinreg., D. ca. 37 mm, EZ 2BORDEAUX gents wristwatch with complete calendar, Switzerland around 2000, self winding, on both sides glazed stainless steel case, case back screwed-down 4-times, correction pusher in case inserted, silvered dial with applied hour-indices, silvered hands, rhodium plated movement calibre ETA 2892A2, 21 jewels, precision adjustment, diameter approx. 37 mm, condition 2

Marseille.- Bellaudiere (Louis Bellaud de la) Obros et Rimos Provenssalos, 4 parts in 1, first edition, collation: A-Y4 Z2; Aa-Rr4 Ss2; A-H4 I2, first 3 part-titles with woodcut device, part 4 with woodcut arms of author on title, woodcut portrait to verso of Table des Sonnets (at end of part 3), first 4 leaves to part 1 (including title with portrait to verso) and ff.A2-3 in part 4 supplied in facsimile, occasional foxing and marginal water-staining, later calf, gilt in imitation of a contemporary binding, 4to (228 x 144mm.), Marseille, Pierre Mascaron, 1595.⁂ The first edition of the first book printed in Marseille, extremely rare. Bellaud de la Bellaudiere was born in Grasse and spent most of his youth in Provence. In 1572 on his way back from Bordeaux to Provence he was arrested and imprisoned in Moulins where he stayed for about 18 months and wrote poetry, much of which was only published after his death in 1588. The preface is written by Cesar de Nostredame, son of Michel. Only two other copies have appeared at auction over the last 60 years.

A collection of red Bordeaux wines,comprising Calvet Resreve, 2000 (1); Chateau Ribeyrolles, Bordeaux Superieur, 2005 (1); Chateau Luxeuil, Cotes de Castillon, 2005 (1); Chateau Dufort-Vivens, Margaus, 1997 (1); Chateau de Pic, 2010 (1); Cheatu Lapelletrie, Saint-Emilion Grand Cru, 2005 (1); Cheatu Mazeyres, Pomerol, 1996 (1); Chateau Gravieres de la Madeleine, Bordeaux Superieur, 2006 (1); Chateau Florie Aude, 2010 (1); Chateau Pierrousselle, 2003 (1); Chteau Martin, Graves, 2000 (1) and Chateau Gopuinet, 2003 (1), (12 bottles in total)

A collection of red Bordeaux wines,comprising Les Allees de Cantemerle, Haut-Medoc, 1998 (1); Chateau Haut-Canteloup, Medoc, 2001 (1); Chateau Morillon, Saint-Emilion, 2000 (1); Reserve Saint-Clair, Lussac Saint-Emilion, 2006 (1); Chateau La Vielle Ccure, Fronsca, 1999 (1); Chateau Tranon, Saint-Emilion, 1998 (1) and Chateau Lagrange, Saint-Julien, 1978 (2), (eight bottles in total)

A collection of red Bordeaux wines,comprising Chateau Cissac, Haut-Medoc, 1997 (1): Chateau Gruaud Larose, Grand Cru Classe, 1983 (1); Reserve de la Comtesse, Pauillac, 1998 (1); Chateau Les Alberts, Lussac Saint-Emilion, 2005 (2); Chateau Frederic, 2004 (1); Chateau Rousset Caillau, 2009 (1); Chateau Finet, 2012 (1); Chateau Bertin, Montagne-St-Emilion, 1989 (1); Chateau Graves du Bert, Saint-Emilion Grand Cru, 2003 (1) Chateau Ponet Barrail, Medoc, 2005 (1) and Chateau Dauzac, Margaux, 2013 (1), (12 bottles in total)

Twenty six bottles of assorted French white table wine, including Louis Chevallier Macon Villages, 2002 (x6) and 1996 (x5), other chablis, Pouilly-Vinzelles, Bordeaux, and a half bottle of Clos L'Abeilley Sauternes, 2009.

Seventeen bottles of French red wine:Ch Cotes de Martet, 2016, Bordeaux (x6)Ch de la Terriere, Moulin-a-Vent, 2008 (x2)Ch de Raousset, Fleurie, 2007Georges de Beouf, 2002 Fleurie and 2006 BrouillyCuvee du Marquis de Queyradel, Cotes du Rhone, 1996 (x5)

Twenty bottles of assorted French red wine, including:Ch Baron, Bordeaux, 1978, Raymond LagrezeCh Greysac, Medoc, 2009Louis Jadot Beaujolaid Villages, 2003Louis Jadot Cote de Beaune-Village, 1998Beaujolais-Villages, Maison Thomas Bassot, 2011,etc.

Twenty bottles of assorted French red wine, including:Chateau de la Tour, Bordeaux, 1999Ch Cadillac, Bordeaux, 2003other Bordeaux wines, supermarket labels, etc

Seven bottles of French wine, red and white, including:Ch de Segure, Fitou, 1993Legat du Pape, Chateauneuf-du-Pape, 2004Auguste Bessac, Chateauneuf-du-Pape, 2008Les Courlandes, Chateauneuf-du-Pape, 2012Domaine de l'Arlot, Nuits Saint Georges, 1997De Martimont, Bordeaux Rouge, NVMoulin Touchais, Coteaux du Layon, 1983.

Nine assorted bottles of French red wine:Ch de Frimont, Bordeaux, 2009 (x2)Ch Queyret-Pouillac, 2015Ch Haut-Canteloup, Medoc, 2000Ch le Plantier, Bordeaux, 2001CH Le Coin, 2013Ch Haut Blagnac, 1999Ch La Becade, Medoc, 1995

4 bottles of white wine Mouton-Cadet-Bordeaux 1986, 3 bottles Mercury 1983 and 10 bottles Beaujolais Villages 1994/1997/1998 and 1999

A quantity of mixed French Burgundy and Bordeaux and other red wines from 1969 and later, 33 in total, including one Château Cissac Cru Bourgeois 1969,

Three owners from new1935 Bugatti Type 57 CabrioletCoachwork by VanvoorenChassis no. 57287Engine no. 213• Construite en 1935 avec une carrosserie Fernandez et Darrin• Recarrossée par Vanvooren et vendue neuve en 1938• Un premier propriétaire (français) de 1938 à 1953• Un deuxième (américain) de 1953 à 2006 environ• Restauration professionnelle effectuée en 2019• Built in 1935 with a Fernandez et Darrin body• Re-bodied by Vanvooren and sold new in 1938• First (French) owner from 1938 to 1953• Second (American) owner from 1953 to circa 2006• Professional restoration completed in 2019Footnotes:Bugatti Type 57 Cabriolet – 1935Carrossée par Vanvooren en 1938Châssis n° 57287Moteur n° 213L'histoire de ce châssis Bugatti Type 57, moteur 213, commence en juin 1935, de même que celle des châssis portant les moteurs 215 et 216. L'état mensuel des livraisons de châssis indique pour juillet 1935 : '18 juillet 1935 : Châssis 57265 / moteur 213 en dépôt chez Fernandez.' Ce châssis est le seul livré nu en juillet 1935, les douze autres ayant été livrés carrossés. On remarquera qu'un châssis numéroté 57287 mais équipé du moteur 193 fut livré le 14 septembre 1935 chez Vanvooren, à Courbevoie. Il n'a pas de rapport avec la voiture en objet.Le moteur 213 a ainsi commencé sa carrière sur le châssis 57265. Une liste confidentielle des voitures en stock remise à Jean Bugatti le 15 janvier 1936 mentionne : 'Montaigne 57265/213 Fx Cabriolet Fernandez, capote grise. 59 000 Francs, sortie en 1935.' Le carrossier Fernandez et Darrin habilla cette voiture fin 1935, mais ne lui trouva pas d'acheteur. Il faudra attendre pas moins de deux ans, jusqu'en janvier 1938, pour que la liste des commandes du mois indique : '26 janvier 1938 : Agent Pierron - Client Paille - 57 ex-dépôt Fernandez - 57287 / mot. 213 – Châssis commandé le 26 janvier et livré le 10 février 1938.' Il s'agit là sans doute aucun de l'ancien châssis 57265/213. La raison pour laquelle cette voiture reçoit en 1938 le numéro de châssis 57287 ne nous est pas connue et ne relève apparemment d'aucune logique.Le 10 février 1938, cette voiture fit en train le trajet depuis Molsheim jusque chez Vanvooren, à Courbevoie. Le premier propriétaire de la 57287 était un industriel bordelais du nom de Pierre Paille-Vinatié. Il en sera le seul propriétaire français de 1938 à 1953 ! Il était né le 15 octobre 1895 à Saint-Sulpice-et-Cameyrac, en Gironde, de Félix-Auguste Paille et Marie-Jeanne Vinatié. La fiche d'état-civil des deux parents relève qu'ils sont sans profession, ce qui suggère qu'ils sont entretenus par leur riche beau-frère. Il semble qu'ils habitent le Château de Leu, propriété de Pierre-Fréjus Vinatié, manifestement l'oncle de l'enfant. Pierre-Fréjus Vinatié était un industriel qui avait fait fortune dans la fabrication de boîtes en métal, leur confection et leur impression. Il avait créé sa première usine à Bordeaux en 1885. Lors d'un incendie qui avait ravagé le site en 1915, on avait dit que celui-ci s'étendait sur 4 000 mètres carrés et employait 400 personnes. L'entreprise possédait cinq usines en France. Elle importait par ailleurs d'Algérie et de Tunisie des dattes, qu'elle revendait partout en Europe, ainsi qu'aux Etats-Unis et en Amérique du Sud.Pierre Paille, ainsi qu'il s'appelait alors, fut incorporé la veille de Noël 1914, alors qu'il n'avait pas vingt ans. Il termina la guerre dans l'armée de l'air avec le grade de Maréchal des logis, chargé de diriger un groupe d'ouvriers de l'aéronautique. En juin 1919, il épousa Marcelle Vinit, dont il eut deux filles, nées la même année, Elyane et Christiane. Pierre-Fréjus Vinatié et son épouse, née Jeanne-Marthe Bedel, l'adoptèrent officiellement le 8 octobre 1929, ce qui lui permit de prendre le nom de Paille-Vinatié. C'était un passionné de Bugatti, qui acheta quatre voitures neuves entre 1927 et 1938. La première était une Type 40, acquise en juin 1927 et suivie en avril 1929 d'une Type 44. Ces deux voitures étaient immatriculées au nom de Paille et à l'adresse de l'usine, au 14 de la rue Barrau, à Bordeaux. En août 1933, il troqua sa Type 44 contre une Type 49 neuve carrossée en quatre-places décapotable par Vanvooren, qu'il conserva jusqu'à l'été 1937.Sa quatrième, la Bugatti 57 Cabriolet châssis 57287 carrossée par Vanvooren, fut immatriculée neuve le 25 mars 1938 sous le numéro 6596 GA 9, au nom de Paille-Vinatié, 14 rue Barrau, Bordeaux. A la mort de Pierre-Fréjus Vinatié, survenue en 1934 à son domicile parisien du 42 Cours Albert 1er, Pierre Paille-Vinatié devint maire de Saint-Sulpice, fonction qu'il conserva jusqu'en 1946. Il avait par ailleurs repris la direction de l'entreprise familiale. Il s'était remarié à Paris en novembre 1942 avec la jeune Simone Garrigues et se partagea dès lors entre la capitale et la Gironde. Une lettre de l'usine signée de sa main montre qu'il continua à la diriger jusqu'à son décès, survenu à Bordeaux le 10 mars 1967, alors qu'il avait 71 ans.Pendant la guerre, cette Bugatti fut cachée à l'occupant allemand puis, une fois les hostilités terminées, envoyée à Molsheim pour une remise en état complète. En mars 1953, Pierre Paille-Vinatié décida de vendre sa chère Type 57 à un passionné américain du nom de Grover Berryman. Ce dernier l'immatricula le 5 mai 1953 sous le numéro 8648 V 33. Sa carte grise indique : 'Propriétaire : Grover C. Berryman, capitaine de l'armée américaine, base aérienne de Mérignac'. Berryman utilisa sa voiture à Bordeaux pendant son temps de service dans l'US Air Force. C'est à Bordeaux qu'il rencontra Mary Ann Malicki, une jeune compatriote professeur à l'Université de Pennsylvanie. Une période de cour puis un long voyage en Bugatti dans les Alpes suisses, françaises et italiennes furent suivis d'une année passée en Arabie saoudite et, pour finir, d'un mariage célébré en Pennsylvanie en 1954. La Bugatti fut quant à elle envoyée par bateau à New-York.Grover Clinton Berryman (1923-2015) était lieutenant-colonel dans l'US Air Force. Il avait été affecté pendant la guerre à la 5ème armée basée en Italie et avait pris part pendant le conflit à vingt-trois missions en Allemagne et en Europe occupée. A son arrivée sur le sol américain, la Bugatti fut prise en charge par un passionné de la marque, Ken Purdy, qui la conserva chez lui à Wilton, dans le Connecticut, jusqu'au retour de Berryman. En attendant, Purdy fit en sorte que le moteur et la boîte de vitesses soient remis en état par Bill Frick Motors, à Long Island. Ce dernier est surtout connu pour avoir participé, aux côtés de Phil Walters, à la création de la Cadillac 'The Monster' de Briggs Cunningham et pour avoir été pendant des années l'un des principaux mécanos de Cunningham.En 1954, à son retour aux Etats-Unis, Berryman fut affecté à la base aérienne de Dover, da... For further information on this lot please visit Bonhams.com

Most likely the highest-mileage Turbo S in the world2016 Porsche 911 Type 991.2 Turbo S CoupéChassis no. WP0ZZZ99ZHS161323• Livrée neuve en Hollande• Un seul propriétaire• 333 300 kilomètres d'origine• Nombreuses options d'usine• Vendue 175 000 € neuve• Historique d'entretien complet• Delivered new to the Netherlands• One owner from new• 333,300 kilometres from new• Numerous factory options• €175,000 list price new• Full service historyFootnotes:Porsche 911 Turbo S (type 991.2) Coupé 2016Châssis n° WP0ZZZ99ZHS161323De façon étrange, la septième génération de l'éternelle sportive 911 de Porsche qui succédait à la type 997 était désignée « type 991 ». Dévoilée au Salon de Francfort en septembre 2011, la type 991 est seulement la troisième plate-forme entièrement nouvelle pour la 911 depuis l'originale de 1963, la seconde étant la type 996 de 1999. Dessinée sous la direction du directeur du style de Porsche, Michael Mauer, la type 991 représente une évolution logique du type 997 et était légèrement plus grande que sa devancière immédiate tout en retenant l'apparence classique de la 911. La modification la plus importante du châssis était l'empattement, allongé de 100 mm, avec un nouvel ensemble transaxle qui avait permis de déplacer les roues de 76 mm vers l'arrière par rapport au moteur, améliorant à la fois la distribution des masses et la tenue de route. Les options de transmission proposées étaient des boîtes manuelles à six ou sept rapports, avec le double embrayage (PDK) de Porsche, à palettes en option sur cette dernière. On trouvait trois cylindrées du traditionnel « flat-six » de Porsche sur la type 991 (3,4 litres, 3,8 litres et 4,0 litres) avec des puissances allant de 345 ch sur la Carrera d'entrée de gamme à 552 ch sur la Turbo S. Selon sa pratique habituelle, Porsche la déclinait en versions cabriolet, Targa, GT3 et GT3 RS pour satisfaire les demandes allant de la décapotable de tourisme au missile de croisière pour circuit. En septembre 2015, la type 991 recevait un lifting pour l'année-modèle 2016, type 991.2 selon la nomenclature d'usine. Au grand dam de certains traditionalistes, les moteurs turbocompressés étaient étendus à toute la gamme, du 3 litres des Carrera et Carrera S au 3,8 litres des Turbo. Cette Porsche 911 Turbo S a été commandée par le propriétaire actuel chez Porsche Pon en Holland au prix de 160 000 €. Aujourd'hui avec 333 000 kilomètres au compteur, il s'agit probablement de la Turbo S au kilométrage le plus élevé au monde ! La voiture n'a connu qu'un propriétaire d'origine, un homme qui voyageait beaucoup, comme on peut s'en rendre compte. Dans une rare livrée British Racing Green avec intérieur en cuir bordeaux, elle est dotée de nombreuses options d'usine, des sièges sport, un toit ouvrant et une suspension plus haute, cette dernière à la requête du propriétaire qui désirait plus de confort pour ses longs voyages. Elle a été bien entretenue, sa dernière révision remontant au début de 2021 pour un coût de 7 000 €. La voiture est vendue avec ses papiers d'immatriculation Slovaques, son certificat de conformité (2016), de nombreuses factures d'entretien, la facture d'achat, et sa pochette d'origine contenant tous les livrets.Veuillez noter que ce lot sera soumis à une TVA supplémentaire sur le prix d'adjudication.2016 Porsche 911 Type 991.2 Turbo S CoupéChassis no. WP0ZZZ99ZHS161323Somewhat confusingly, the seventh generation of Porsche's perennial 911 sports car was designated 'Type 991', succeeding the Type 997. Introduced at the Frankfurt Motor Show in September 2011, the Type 991 is only the third all-new platform for the 911 since the original of 1963, the second being the Type 996 of 1999. Its development overseen by Porsche's Chief Designer, Michael Mauer, the Type 991 represented a logical progression from the Type 997 and was slightly larger than its immediate predecessor while retaining the classic 911 look. The most important chassis change was to the wheelbase, which increased in length by 100mm, while a new transaxle enabled the rear wheels to be relocated 76mm rearwards relative to the engine, improving both weight distribution and cornering performance. Transmission options comprised six-speed or seven-speed manual gearboxes, with Porsche's dual-clutch (PDK) shift optional on the latter. Porsche's signature 'flat-six' engine was available in three different capacities in the Type 991 (3.4 litres, 3.8 litres, and 4.0 litres) with power outputs ranging from the entry-level Carrera's 345bhp up to the Turbo S's 552 horsepower. Following its established practice, Porsche also offered Cabriolet, Targa, GT3 and GT3 RS variants to cater for all customer demands ranging from soft-top boulevard cruiser to track-day assault weapon. In September 2015, the Type 991 was introduced in revised and restyled form for the 2016 model year, becoming the '991.2' in factory parlance. To the concern of some traditionalists, turbo-charged engines were now standardised throughout the range: a 3.0-litre unit in the Carrera and Carrera S, and a 3.8-litre in the Turbo models. This Porsche 911 Turbo S was ordered new by the current owner from Porsche Pon in the Netherlands at a cost of €160,000. Now with 333,000 kilometres showing on the odometer, this is most likely the highest-mileage Turbo S in the world! The car has had only one owner from new: a man who travels a lot, as you can tell. Finished in the rare colour scheme of British Racing Green with Dark Burgundy interior, it boasts numerous factory-fitted options including sports seats, a sunroof, and higher-than-standard suspension, the latter requested by the owner who wanted greater comfort on long journeys. Well-maintainted, the last service was carried out at the beginning of 2021 at a cost of over €7,000. The car comes with Slovakian registration documents; Certificate of Conformity (2016); numerous service invoices; the original purchase invoice; and its original pouch containing all books.Please note this lot will be subject to additional VAT on the hammer price.Lot to be sold without reserve.This lot is subject to the following lot symbols: †† The prevailing rate of TVA at the time of going to press is 20% but this is subject to government change and the rate payable will be the rate in force on the date of the Sale.Le taux en vigueur de la TVA au moment de l'impression du catalogue est de 20% mais il peut être sujet à des changements de la part du gouvernement et le taux prélevable sera celui en vigueur au jour de la vente.For further information on this lot please visit Bonhams.com

2001 Aston Martin Vanquish CoupéChassis no. SCFAC23301B500048• La 48e Vanquish construite• Aux mains de l'actuel propriétaire depuis 2011• Révisée par Aston Martin Paris avant la vente• The 48th Vanquish completed• Present ownership since 2011• Serviced by Aston Martin Paris prior to saleFootnotes:Aston Martin Vanquish coupé 2001Châssis n° SCFAC23301B500048Première Aston Martin entièrement nouvelle du 21e siècle, la Vanquish coupé à moteur V12 a été dévoilée au salon de Genève en mars 2001, les livraisons débutant quelques mois plus tard. Dessinée par Ian Callum, déjà créateur de la DB7, la Vanquish a été conçu avec l'assistance de la marque mère d'Aston Martin, Ford, en utilisant des techniques de construction plus évoluées que celles de n'importe quelle voiture contemporaine. Le berceau monocoque était constitué d'aluminium collé à chaud, renforcé par un tunnel central en fibre de carbone, afin de créer une structure légère d'une exceptionnelle rigidité qui a permis aux ingénieurs châssis de mettre au point une suspension combinant une tenue de route et un comportement excellent avec un confort de conduite inégalé. Premier moteur de ce type chez Aston Martin, le V12 6 litres à 48 soupapes développait 460 ch à 6 800 tr/min, avec un couple de 55 mkg (400 lb/ft) disponible dès 5 500 tours. La boîte à 6 rapports était commandée par des palettes au volant de type F1 selon deux modes, entièrement manuelle ou gérée automatiquement avec une commande sport sur les deux modes. L'inventaire des équipements de série comprend tout ce que le connaisseur averti pouvait souhaiter et les performances – 305 km/h et le 0 à 100 km/h en 4,5 secondes – plaçaient sans conteste la Vanquish dans la catégorie des supercars.La Vanquish était commercialisée en deux versions, soit en coupé 2 places, soit en 2+2. L'intérieur, un agréable cocktail de technologie dernier cri et de matériaux traditionnels, dominé par une imposante console centrale en aluminium, offrait une sellerie en cuir Connolly et des moquettes Wilton, et mettait en avant la tradition Aston Martin, car malgré leurs caractéristiques de pointe, les Vanquish, comme toutes les Aston qui les avaient précédées, étaient construites une par une à la main. Comme nombre de ses illustres devancières, la Vanquish connut la distinction d'être l'une des Aston Martin de James Bond dans le film Meurs un autre jour avec Pierce Brosnan dans le rôle de 007. L'exemplaire proposé ici est la 48e Aston Martin Vanquish construite qui a quitté l'usine le 29 octobre 2001 (la numérotation des châssis a commencé à 500001). Quatre années plus tard, en 2005, la voiture fut immatriculée chez Aston Martin Salamanca à Marbella, en Espagne. Le vendeur a acheté la voiture en juin 2011 chez Thomas Exclusive Cars (agent Aston Martin de Dresde) en Allemagne avec 8 872 kilomètres. Jamais repeinte ou modifiée de quelque façon que ce soit, la Vanquish conserve sa peinture originale Stronsay argentée et son intérieur Bordeaux moitié cuir, moitié Alcantara, une livrée rare. Affichant un total de 17,500 kilomètres au compteur, la voiture sera révisée chez Aston Martin Paris en janvier 2022 avant d'être présentée à la vente.2001 Aston Martin Vanquish CoupéChassis no. SCFAC23301B500048An entirely new Aston Martin for the 21st Century, the V12-engined Vanquish coupé debuted at the Geneva Auto Show in March 2001 with deliveries commencing a few months later. Styled by Ian Callum, the man responsible for the DB7, the Vanquish was developed with assistance from Aston Martin's parent company Ford using constructional techniques more advanced than those of any contemporary road car. The monocoque tub was made of heat-cured bonded aluminium, braced by a central tunnel of carbon fibre to create a lightweight structure of exceptional rigidity, thus enabling the chassis engineers to develop suspension combining excellent handling and roadholding with unrivalled ride quality. Aston Martin's first power unit of its type, the 6.0-litre, 48-valve, V12 engine developed 460bhp at 6,800rpm, with 400lb/ft of torque available at 5,500 revs. The six-speed gearbox was controlled by F1-style paddles and could be operated in either of two modes: fully manual or computer-controlled automatic, with a 'sport' setting available on both. The inventory of standard equipment included almost everything the discerning connoisseur could wish for, while the performance - 190mph and 0-60mph in 4.5 seconds – placed the Vanquish firmly in the supercar class.The Vanquish was built in two versions: two-seater and 2+2. A pleasing blend of up-to-the-minute technology and traditional materials, the interior was dominated by an imposing aluminium centre console while also featuring Connolly leather upholstery and Wilton carpeting, emphasising the Aston Martin heritage, for despite its advanced specification, the Vanquish was built like all other Astons before it: one at a time and by hand. Like many of its illustrious forebears, the Vanquish enjoys the distinction of being a 'James Bond' Aston Martin, featuring in the movie Die Another Day starring Pierce Brosnan as '007'. The example offered here is the 48th Aston Martin Vanquish completed, leaving the factory on 29th October 2001 (the chassis numbering commenced at '500001'). Some four years later, in 2005, the car was registered at Aston Martin Salamanca in Marbella, Spain. The current vendor bought the car in June 2011 from Thomas Exclusive Cars (Aston Martin Dresden) in Germany at 8,872 kilometres. Never refinished or changed in any way, the Vanquish retains its original Stronsay Silver paintwork and has a half leather/half Alcantara interior in Claret Red, a very rare combination. Currently displaying a total of 17,500 kilometres on the odometer, the car will be serviced at Aston Martin Paris in January 2022 to make it ready for the sale.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Six 75cl bottles of red wine, to include: a Chateau La Tour De Mons, 1992, Margaux; and three other Grand Vins de Bordeaux. (6)

Nine 75cl bottles of wine, to include Merlot and Bordeaux. (9)

A 75cl bottle of Chateau Haut Bages Monpelou, 1961, bottled by Army & Navy Stores; together with a 75cl bottle of Cuvee de la Commanderie du Bontemps, Bordeaux, bottled by Barton & Guestier, (each with levels below shoulder). (2)

Six bottles of Chateau L'Escadre red wine, Grand Vin Du Bordeaux, 1st Cotes De Blaye, dated 1978, levels appear OK but some corks perishing

Five bottles of Marquis de Calon Saint-Estephe Grand vin de Bordeaux 2011, two bottles of Chateau La Pointe Pomerol, 2006 and five other miscellaneous French red wines

After KEITH HARING 'Château Mouton Rothschild', lithograph in colours, with the artist's stamped singnature in gold ink, published by Chateau Mouton Rothschild, Bordeaux, on Arches paper, 55cms x 45 cms, framed

Bordeaux metal floor lamp H 181 cm, l 30 cm

Robert Cami - André Demaison. Bêtes sur la terre et dans le ciel. Burins de Robert Cami. [Paris], Les amis bibliophiles 1961. Mit 40 Radierungen, davon zwölf blattgroß. Lose Doppelblätter in Originalumschlag, zusammen in Chemise und Schuber.Exemplar 138 von 170 (Gesamtauflage 186). - Mit einem signierten Vorwort von Félix Houphouet-Boigny. - André Demaison (1883-1956) debütierte 1903 bei Maurel et Prom, einem Handelshaus in Bordeaux mit Sitz in Französisch-Westafrika. Er beherrschte mehrere afrikanische Sprachen und wurde als Dolmetscher im senegalesischen Infanteriekorps eingesetzt. 1929 erhielt er den Grand Prix du roman de l'Académie française. Er gilt als typischer Schriftsteller der französischen Kolonialzeit auf dem afrikanischen Kontinent. - Beiliegend zwei Menükarten von Treffen der Vereinigung »Les amis bibliophiles« von 1959 und 1960. Jeweils mit einer signierten Radierung von Robert Cami (1900-1975), der auf der »Exposition universelle de 1937« mit einer Goldmedaille ausgezeichnet wurde.33,0 : 25,8 cm. [2], 118, [8] Seiten.Monod 3598

Wine: Twelve bottles of 1971 Chateau la Croix Blanche, Bordeaux Superieur (L. Danglade et Fils & Cie). [Levels: please see images but appear as follows - 4 x bottom of neck, 5 x top of shoulder, 2 x just above mid-shoulder, 1 x mid-shoulder].

Wine: Ten bottles of 1971 Chateau La Croix Blanche, Bordeaux Superieur (L. Danglade et Fils & Cie). [Levels: please see images but appear as follows - 1 x bottom of neck, 5 x top of shoulder, 2 x just below top of shoulder, 2 x just above mid-shoulder].

Wine: Ten bottles of 1971 Chateau La Croix Blanche, Bordeaux Superieur (L. Danglade et Fils & Cie). [Levels: please see images but appear as follows - 1 x bottom of neck, 5 x top of shoulder, 2 x just above mid-shoulder, 2 x mid-shoulder].

CARTIER Damenhandtasche, bordeauxfarb. Leder, eine Seite mit geprägtem CC-Zeichen, eine Seite mit RV-Fach, Zipper mit CC-Zeichen,beigefarb. Stofffutter, 2 Tragegriffe, starkerGebr.-Sp., ca. 23 x 43 x 14 cm, CARTIER-Dust- bagCARTIER ladies' handbag , bordeaux coloured leather, one side with minted CC-sign, one side with zip-compartment, zipper with CC- sign, beige lining, 2 handles, signs of usage,approx. 23 x 43 x 14 cm, CARTIER-Dustbag

JEAN BAPTISTE FAUVELET (Bordeaux, 1819-Chartres, 1883)."The Lesson".Oil on panel.Signed in the lower right corner.Size: 20 x 16 cm; 43 x 39 cm (frame).French painter and lithographer and pupil of Pierre Lacour, Jean Baptiste Fauvelet made his debut at the Paris Salon of 1845, where he exhibited until 1870. He was awarded a 2nd class medal at the 1848 Salon. In this work Fauvelet reveals himself to be a remarkable draughtsman, with a precise and sure stroke, an aspect which is complemented by the delicacy of the chromatic intonation. A courtly interior, of a gallant type, is chosen by a lady for her daily lesson. The young woman writes in her notebook, which she rests on a high wooden table in front of a thick greenish curtain. Next to the table leg she rests a closed book. Attentive to the teacher's lesson, who remains out of sight, the woman lifts her head from the book and directs a somewhat melancholic, pensive gaze towards the horizon, which seems to convey a serene and reflective personality. The woman is wearing a voluptuous dress, with a red corset and a wide skirt.

ABRAHAM DE VRIES (ca.1590- ca. 1650)"Portrait of a gentleman.Oil on oak panel.With label on the back.Measurements: 66 x 56 cm; 80 x 64 cm (frame).This work has great aesthetic similarities with the painting by Abraham de Vries, "Portrait of an unknown nobleman" which belongs to the collection of the Het Stadmus Museum in Belgium. In both cases the composition, the treatment of the lace on the body, the fabrics of the costume and the tones used are similar. However, in the present painting the sitter is a younger man with a much more defined flesh tones that add a high degree of detail to the portrait, although he turns his face in order to establish eye contact with the viewer.Abraham de Vries was one of the leading portraitists of his day. Due to an itinerant lifestyle that took him to countries such as France, Antwerp and the Dutch Republic, his stylistic qualities are difficult to pinpoint. Little is known about Abraham de Vries' early life and training. It is now generally believed that the artist was born in The Hague because when he joined the Guild of Saint Luke in The Hague in 1644 he paid the fees of a native son of the city. In the past, he was believed to be from Rotterdam. In 1617 the artist was registered in the Rotterdam church administration. De Vries travelled to the south of France in the 1620s. During his period of residence in Aix-en-Provence around 1623-1624 he was the teacher of the Flemish artist Jan Cossiers, who had travelled from his native Antwerp to the south of France. De Vries also spent time in Toulouse, Montpellier (1625), Bordeaux (1626) and Paris (1627-1628). During his stay in France he met the prominent French scientist and humanist Nicolas-Claude Fabri de Peiresc, a close friend of Rubens, and De Vries met Rubens in person in 1629 during a stay in Paris. After his return to the north, he made several trips to Paris and Antwerp. He registered in Antwerp in 1628 and again in 1634 when he became a member of the local guild of Saint Luke in July 1634. Cardinal-Infante Ferdinand of Austria, who was the governor of the Spanish Netherlands, saw a portrait by De Vries during his visit to Antwerp. This led to an invitation to work at the court city of Brussels, where his work was considered superior to that of Anthony van Dyck. In 1639-1640 there are records of De Vries' presence in Rotterdam. Abraham de Vries is primarily known for his portraits although he also produced a number of landscapes. His early works recall the works of contemporary Amsterdam and Hague artists such as Thomas de Keyser and Jan van Ravesteyn. From the late 1620s to the 1630s his painting possessed a clear Flemish influence that is recognisable in his portraits. By the 1640s the Amsterdam art scene had fallen under the spell of Rembrandt's artistic portraiture. Rembrandt's portraits emphasised the character and personality of his models through their physiognomy rather than through symbols and iconography. Abraham de Vries was also unable to resist the influence of this new pictorial style in his portraits.

Postcard, Advertising, Gaillard Bitter of Bordeaux, continental size (unused, gd) (1)

MIGUEL BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Suite Almogávares", 1988.Folder composed of 6 engravings, copy 30/100.Hand signed and numbered.Measurements: 56 x 76 cm.Berrocal began his training at the School of Arts and Crafts in Madrid, as a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to various architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His first works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

° Guillier, Henry. Les Vins de La Gironde par Henry Guillier Libourne Bordeaux. Oblong folio, n.d. (c.1910). Printed photographic title page and 168 printed photographic views of wine chateaus, producers and negotiants in the Bordeaux region.All but eight with descriptive texts on their versos. One plate (Chateau La Pointe, p. 86) has a trimmed replacement (printed) photograph at the top right-hand corner. Original cloth binding, gilt. Some damp staining to the upper covers and spine which slightly affects the endpapers.* It is difficult to accurately date the publication of this collection as the text on the back of the title page states that copies of the book would be available at the 1908 Franco-British Exhibition in London and the errata at the bottom of the three ‘pages of contents’ at the end bears the date 1909.

A collection of nine volumes relating to French silver, comprising: Cartier, N., Les Orfèvres des Lille, volumes I and II, hardbound, Clarke de Dromantin, J & J., Les Orfèvres de Bordeaux et la Marque du Roy, Cassan, C. G., Les Orfèvres des Normandie, and by the same author Les Orfèvres de L'Auvergne, and four other volumes. (9)

LES LAURIERS 1961 (2)Bordeaux, France.Full sized bottle, no strength stated.CLOS DES PAPES 1994Chateauneuf Du-Pape, France.750ml, 14% volume.Three bottles