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A Caldas da Rainha glazed pottery moringueIn glazed pottery_x000D_Bulbous form with semi-circular handle and monochromatic decoration_x000D_Caldas da Rainha manufacture, marked on base_x000D_833/000 silver mount_x000D_Pierced decoration with foliage elements and inscription "NINGUEM DIGA DESTA AGUA NAO BEBEREI" and coat of arms_x000D_Oporto hallmark (1887-1937) and maker's mark of Custódio Bernardo Lopes (1917-1940)H.: 32 cmVIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 73 e 1529

A pair of large armorial scalloped plattersChinese export porcelainPolychrome and gilt decorationScalloped border with floral garland and spearhead frieze rimCentre with the arms of António de Sousa Falcão de Saldanha Coutinho, nobleman of the royal householdQianlong period, circa 1760(chips and minor defects)35.5×44 cmCalvão (cood) João Rodrigues "Caminhos da porcelana Dinastia Ming e Qing" Fundação Oriente p. 228. Nuno de Castro " A porcelana ao tempo do Império", p.148

A silver toothpick holderSilver, fineness .833Modelled as a deer with leaf branchesCircular base raised on three feetPorto hallmark (1887-1937) and Júlio Ernesto da Silva maker's mark (reg. 1896)(signs of wear)H.: 19 cm100.5 g

The Last Supper.833 silver wall plaqueLow relief sculpture depicting Leonardo da Vinci's Last SupperFrame with relief decoration of foliage elementsPorto hallmark (1938-1984) and maker's mark of Adão Alves Rodrigues (reg. 1956)35×47 cm1435 g

Jaime Murteira (1910-1986)View of Cabo da RocaOil on hardboardSigned24×33 cm

A silver chamberstickSilver, fineness .833Pierced decorationPorto hallmark (1887-1937), silversmith's mark of António Augusto Lopes da Cunha (1901-1915) and retailer's mark of REIS JOALHEIROS(dents)7.5 × 16 × 15 cm138.9 g

A HorseBronze sculpture.925 silver mountsPorto hallmark (1985-2020), silversmith's mark of Virgílio da Costa Barroca (reg. 1983)(minor signs of wear)27×35×8 cm

A pair of candlesticksSilver, fineness .835Conical stem with polished decorationFloral motif decorationOn four ball-and-claw feetPorto hallmark (1985-2020) and maker's mark of Manuel da Silva Sousa Oliveira (reg. 1952)(signs of wear)H.: 24 cm840 g

A pair of neoclassical style candelabraSilver, fineness .833_x000D_Turned and part faceted and fluted shaft_x000D_Square, raised, grooved and stepped stand resting on feet of zoomorphic finials_x000D_Porto hallmark (1985-2020) and maker's mark by Manuel da Silva Sousa Oliveira (reg. 1952)H.: 23 cm1352 g

A bread tongsSilver, fineness .833Pierced and relief decorationPorto hallmark (1887-1937) and silversmith's mark of Júlio Ernesto da Silva (1896-1973)L.: 28.5 cm165 g

An armorial oval platterChinese export porcelainWith polychrome and gilt decoration featuring the coat of arms of José Dionísio Carneiro de Sousa e Faro Corte-Real de SampaioJiaqing period (1796-1820)34x40.5 cmA. Varela Santos, "Portugal na Porcelana da China - 500 anos de comércio", v. 4, Arte Mágica, pp. 1283 a 1287.

A Louis XVI covered tureen with standSilver, fineness .958_x000D_Oval tureen with projecting handles, raised on a pedestal foot_x000D_Relief decoration depicting a frieze of scrolls, flowers and eagle heads surrounding two oval medallions decorated with the figure of young Bacchus playing with putti and a goat_x000D_Plain interior with silver lining_x000D_Cover with chiseled decoration featuring a water leaf frieze and a Greek key frieze surrounding rosettes_x000D_Fruit basket-shaped finial_x000D_Oval stand with polished decoration, engraved at the center with a European Family Coat of Arms_x000D_Border with chiseled decoration depicting a laurel leaf garland_x000D_Raised on four double-sphere feet_x000D_Foreign guarantee mark, Paris city charge mark (1789), maker's mark attributable to Louis Cartier (reg.1779) or Louis-Jean-Baptiste Cheret (reg. 1759) and Paris city export mark (1781-1789)_x000D_(minor oxidation marks, signs of wear)36.5x43.5x25.5 cm (covered tureen)_x000D_8x43.5x32.5 cm (stand)6093.5 gThis piece is likely one of the pairs from lot 416 or 416a of the auction held in March 1941, in Lisbon, by the auction house Leiria & Nascimento, where pieces belonging to the dinner service of the 3rd Count of Porto Côvo, Alberto Júlio da Costa Lobo da Bandeira, were sold.Pieces from this dinner service were presented at the Exhibition of Portuguese and French Silverware held at the Ricardo Espírito Santo Silva Foundation in 1955. In the respective catalogue they were listed as works by the silversmith Louis-Jean-Baptiste Cheret (1760-1832). At the 1934 exhibition of Ricardo Espírito Santo there was a sauce boat identical to this one by Bustorfe Silva as being Henri Cartier.

A Caldas da Rainha glazed figure of a priestMovement figure in glazed and polychrome terracottaCaldas da Rainha manufacturePortugal, 20th centuryH.: 23 cm

A silver salverSilverBorder with pierced foliage motif decorationCenter depicting a view of Goa and inscription "RECORDAÇÃO DA DIRECÇÃO FISCAL GÔA. 16-12-1935"India, 20th century (1930s)Unmarked(signs of wear)28x21.5 cm321 g

A glass compoteEngraved glass.833 silver footPorto hallmark (1887-1937) and Maria da Silva maker's mark (reg. 1910)(minor signs of wear, spoon missing)H.: 28.5 cm

A pair of Rafael Bordalo Pinheiro bottlesIn faience with dripped green glazeOf rounded and flattened body, with tall neck and flattened mushroom-shaped coverCaldas da Rainha Faience Factory, Rafael Bordalo PinheiroWith factory marks F.F.C.R., year 1888 and no. 40 impressed in the pasteH.: 24.5 cm

A Medal of Our Lady of the ConceptionGold 800/000Porto hallmark (1938-1984), signed João da SilvaH.: 3.5 cm7.7 g

A silver bottle coasterSilver, fineness .833Chiseled, relief and pierced decoration depicting grape clustersPorto hallmark (1938-1984) and maker's mark of Florêncio José da Costa (1903-1991)8.5×10.5 cm243 g

A Caldas da Rainha faience tobacco boxPortuguese faienceCaldas da Rainha manufacturePolychrome decoration(signs of wear and defects)H.: 11 cm

A silver chicken-form toothpick holderSilver, fineness .925Modelled as a chicken wearing a dress, holding a basket and broomCircular base with pierced gallery, raised on three zoomorphic feetPorto hallmark (1985-2020) and maker's mark of Manuel da Silva Sousa Oliveira (reg. 1952)H.: 14.5 cm310 g

An oval fruit bowlSilver, fineness .833Gadrooned decorationApplied pierced galleryOn four feetPorto hallmark (1938-1984) and maker's mark of António da Silveira (reg. 1962)6.5×28×21.5 cm492 g

A scalloped salt cellar "The Gallant Hunter"Chinese export porcelainDecorated in Famille rose enamels and gilt, the centre depicting a landscape with figures after an engraving by Jean Michel Moreau le Jeune (1741-1814)Qianlong period, c. 17653.5x9x7 cmFrançois et Nicole Hervouet et Yves Bruneau "La Porcelaine des Compagnie des Indes à décor Occidental" p. 72 il 3.18;_x000D_A. Varela Santos, "Portugal na Porcelana da China - 500 Anos de Comércio", vol. III, pp. 920-921_x000D_Filomena Cunha Alves e Paulo Cunha Alves, "Do Oriente ao Ocidente - A aventura da porcelana chinesa de exportação com decoração ocidental (1695-1815), p.174.

A large Chinese export armorial oval platterChinese export porcelainPolychrome decoration with the arms of Luís Pinto de Sousa Coutinho, 1st Viscount of Balsemão (1st service)Jiaqing period, c. 180045x55.5 cmNuno de Castro, “A Porcelana Chinesa ao Tempo do Impérioâ€, p. 205; Pedro Dias, "Heráldica Portuguesa na Porcelana da China Qing". Lisboa: Fundação Macau, 2014, pp. 238-241.

A bear and fishCoral sculptureSilver 835/000 standOporto hallmark (1985-2020), goldsmith's mark Virgílio da Costa Barroca (reg. 1983) and commercial mark LUIZ FERREIRA(restoration)H.: 6,5 cmWith the CITES cerificate no. 24PTLX08209CLiterature:VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 4107 e 5025

Local interest* Judith Da Fano (Manby) (British 1919-2000) oil on board, Silecroft, Tide in (2), unsigned, attribution verso, within a moulded gilt frame, 22cm x 29cm & 33cm x 41cm overall. * Judith Da Fano was a versatile painter, draughtswoman and sculptor and mother of the artist Simon Manby, her father was a research doctor Carrado Da Fano, her mother Dorothea Landau, a painter in the late Pre-Raphaelite manner.

LEONARDO DA VINCI: THE COMPLETE PAINTINGS AND DRAWINGS - TASCHEN By Frank Zollner, in slip case Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A Chinese cinnabar lacquer rectangular box and cover. Applied imortal figures, pagoda and trees are arranged over a geometric ground. A six character ming dynasty seal moulded to the cover - "Da Ming Chenghua Nian Zhi" - though possibly 18th century.

A framed and mounted Print of Cattle in the snow after Winston Churchill, a sepia print entitled "Battle of Anghiar 2" after Da Vinci and a mounted print of a Nude.

THREE JAPANESE BRONZE VASES, PROBABLY MEIJI PERIOD, 19/20TH CENTURY. To include a pair of ovoid jars cast in relief with birds and landscape scene, with makers mark to base reading 'Da Nippon'. Together with a baluster form vase on cast in relief with insect on a leafy vine. 19cm and 28cm tall. (3) Crack to the foot which is misshapen. Section of loss to the foot of one other vase.

A Pentax K200D digital SLR camera with Pentax-DA f/3.5-5.6 18-55mm lens, in original box.

A Pentax K-50 digital camera with a Pentax DA L f/3.5-5.6 18-55mm lens, in original box.

A Pentax K-S1 digital camera with two lenses, a Pentax DA L f/3.5-5.6AL 18-55mm and Pentax DA L f/4-5.6 50-200mm, in original box.

Royal Doulton Limited Edition Set of Six Explorer Collection Tiny Character Jugs Columbus D7081, Scott D7082, Da Gama D7083, Marco Polo D7084, Dr Livingston D7085 and Cook D7086, with wooden display stand. (6)

World.- Lafreri School (Italian, 16th century) Four battle plans and views of sieges, including 'Bologna in Francia', Siege of Guines, 1558, Plan of the Battle of Djerba, Tunisia ' Disigno dell'Isola de Gerbi', and the Siege of Vicovaro 'Il Vero Disegno di Vicovaro Occupato da Imperiali', engravings, on various 16th century laid papers, platemarks various sizes, each sheet approx. 360 x 505 mm (14 1/4 x 19 3/4 in), some minor splitting, occasional light spotting and surface dirt, unframed, [late 16th century] (4)

CHARLES III TRISTAN DA CUHNA 2023 9ct GOLD CROWN (1g), together with a 22ct gold 1/8 sovereign (1g) (2)

Eadberht Praen (796-798), King of Kent, silver Penny, "Boeotian Shield" type reverse, Canterbury Mint, moneyer Dudda, three line obverse within linear and outer beaded circles, .:EAD. / BEARH / REX, rev. moneyer name in two lines, DV / DA surrounded by pellets on shield like device, cross with pellet in each angle either side of shield in the incurved sides, weight 1.37g (cf. BMC 2-3; Naismith CSE C5.1; N.202/1; S.875). Darkish tone of contrasting colour emphasising the lettering and design, extremely fine and of the highest rarity with only one other example recorded by Naismith, this coin being found since his publication. Eadberht was a member of priestly orders by 796 and had taken exile in Francia either to avoid execution or upon order of Offa who had tried to extradite him around 795, however Charlemagne sent him with other exiles to Pope Leo in Rome to ensure Leo did not listen to the requests of the then visiting Archbishop Aethelheard of Canterbury who wanted them sent home. Upon Offa's death in 796 Eadberht renounced his priestly vows and with a possible dynastic connection to the male line of the Royal House of Kent he led a rebellion in the county causing Aethelheard to flee rather than consecrate him King of Kent, leading to a rift with the church in which Pope Leo refused to recognise his actions. King Coenwulf of Mercia did obtain the backing of the Pope and invaded Kent in 798 and Eadberht Praen was captured, blinded and had his hands cut off then imprisoned. The succeeding King of Kent Cuthred felt safe enough to release Eadberht by 805 and it is thought he lived out his final days as a monk possibly in the Winchcombe area. The obverse legend translates as "Eadberht King" and the reverse with moneyer name "Duda" Provenance: Found near Maidstone, Kent, August 2016, EMC 2016.0254. Ex Timeline Auction, Essex, 10th December 2016, lot 3000. Ex Spink Coin Auction, 15th September 2020, lot 5.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), LOOKING OUT FROM THE CASTLE oil on board, signed and dated '99framed and under glassimage size 43cm x 39cm, overall size 56cm x 52cm Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

BILL BLACKWOOD DA PDA RIPTIDE AT LOCH EWE acrylic on canvas, signedframedimage size 100cm x 100cm, overall size 105cm x 105cm

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), STORM BEACH watercolour on paper, signed, titled label versomounted, framed and under glassimage size 25cm x 33cm, overall size 47cm x 53cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), BROKEN EDGE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 43cm x 59cm, overall size 70cm x 85cmNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WHITE SANDS OF THE WESTERN ISLES oil on canvas, signedframedimage size 67cm x 67cm, overall size 78cm x 78cm Note 1: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Note 2: Having lectured part-time for many years at Falkirk College, Pam retired and painted full-time from her studio in Torrance until her death in 2022. She was mostly influenced by the bright colours of the Scottish landscape. The white sands of the west coast are set against dramatic skies and the silhouettes of outlying islands stand like sentinels. Her interest in the use of strong colours may come from her origins in Africa. However, art school also taught her to see the colour and the work of the great colourists, from Titian to the Impressionists and has influenced her painting style over the years since graduation. Pam once said “Walking on empty beaches, alone with your thoughts, embracing the elements and hearing the sounds of the rhythm of nature can touch our souls. These are deeply spiritual moments when we often stop to consider the grand design of life itself. At these times it is easy to believe that there is a God and that the intention of life was to be all good. I love the Scottish landscape - it has all the form and textures that visually stimulate the senses. I am inspired not only by the scene but search out that "divine proportion"- aptly called and indeed the most pleasing to the eye. These thoughts follow me to the studio where I try to recreate not only the landscape but that spiritual moment. I take a long time to consider the design of my paintings and through the different stages correct and re-correct until, if not the "golden section" is reached, it has at least that same effect on my deep inner being. In my paintings you can feel the presence of mankind but rarely see them - the washing is hung, the lum is reeking, and the telegraph poles are talking. I pay tribute to the cultural past through the ancient dyke wall, the little harbours and the quaint crofts which are happily standing side by side with the grazing sheep. I use strong colour to interpret the drama of light in the landscape. I am inspired by the changing light sequences of the Western Isles and I have often been awestruck at witnessing what feels like a heavenly scene. Light features strongly in my work. Whether it be light bouncing off the waters of the Hebrides or the sunlit sands before an encroaching storm or sunlight moving across the landscape. It is ever changing, ever travelling. Light is synonymous with hope, a feeling of well being, joy and with God. I find myself always being drawn to the light in both my paintings and my life. That is my strength and my inspiration.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), SPANISH LANDSCAPE oil on board, signed and dated '99framed and under glassimage size 37cm x 44cm, overall size 52cm x 60cm Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), ARRIVING TIDE watercolour on paper, signed, titled label versomounted, framed and under glass image sie 36cm x 47cm, overall size 61cm x 71cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), KILCHATTAN BAY, ISLE OF BUTE oil on board, titled versoframed and under glassimage size 20cm x 29cm, overall size 34cm x 44cmNote: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

AFTER LONRENZO LOTTI, oil on canvas – portrait of 'Laura da Pola', signed G. Thompson, 120 x 90cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoPlease note that images of items taken at Plas Teg might not be representative of the current condition of the object. Please enquire. Note: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

Collection of 5 Walt Disney British Quads for: The Jungle Book (1967 RR), The Rescuers (1977), The Cat From Outer Space (1978), The Shaggy DA (1976), Bedknobs and Broomsticks (1971), all folded, all approx. 30 x 40 inches (5 items) Condition Report: Good to poor conditions

6 Speiseteller "Blaue Blume geschweift" im Stil von Royal Copenhagen, unbekannte Porzellanmanufaktur, 19./20. Jahrhundert Weißporzellan mit unter Glasur blauer "Blaue Blume" Malerei auf einer Geschirrform wie Royal Copenhagen "Blaue Blume geschweift"; deutliche altersbedingte Gebrauchsspuren (Bereibungen, winzige Bestoßungen, 2 x stärkere Bestoßungen am Standring), wohl alles 2. Wahl, da zahlreiche kleine Glasureinschlüsse, 1 Teller stark gewellt, 1 x feiner Brandriss; Durchmesser: ca. 24,5 - 25,5 cm; im Boden ungedeutete Marke (3 Linien, nicht 3 Wellen!) und weitere Beizeichen; Gewicht ca. 3,2 kg.

SIVORI CAMILLO: (1815-1894) Italian virtuoso Violinist and Composer. Sivori was the only known pupil of Paganini. A good A.L.S., `Camillo Sivori´, two pages, 8vo, San Martino d´Albaro, Genoa, 6th October 1883, to Signora Fiorentino, in Italian. Sivori thanks his correspondent and explains the reason of his renounce, stating in part `Stimatissima Signora, Ho ricevuto troppo tardi la gentile sua lettera per potermi occupare del suo Concerto ed altronde anche fossi stato in tempo le persone che avrei potuto raccomandarle si trovano ancora assenti da Parigi e son dolente di non poterle essere utile... Spero nondimeno che il suo Concerto sará riuscito a secondo del suoi desideri, e glielo auguro di cuore...´ (Translation: "Dear Madam, I received your kind letter too late to be able to take care of your Concert, and even if I had been in time, the people I could have recommended to you are still absent from Paris and I am sorry that I cannot be of any help to you... I hope, however, that your Concert will succeed according to your wishes, and I wish it with all my heart...") Paper with watermark. G to VG

MARIE CASIMIRE QUEEN OF POLAND: (1641-1716) Marie Casimire Louise de la Grange d´Arquien, also known as Marysienka. Queen consort of Poland 1676-96 as spouse of King John III Sobieski, and Grand Duchess of Lithuania. L.S., `Maria Casimira Regina´, one page, 4to, Bois, 6th January 1715, in Italian. The Queen sends her war and best wishes and greetings to a Cardinal, stating in part `Emin[enetissi]mo e Rev[erendissi]mo Sig[no]re, Le nove espressioni del suo affetto, che mi ha fatto giungere nelle scorse feste del S[anto] Natale, mene hanno accresciuto l´obbligo, ma non gia la certeza havendome io tante altre riprove, che non posso piu dubitare. Vorrei solo poter meglio corrisponderle con farle conoscere qual sia anche mio verso V[ostra] E[xcellenza] in ognei occasione che mi si presentasse: In mancanza.... et assicurarla insieme che e sempre piu grande la stima, che io conservo per il suo merito, al quale prego da Dio benedetto ogni piu ver e desiderata prosperita´ (Translation: "Most Eminent and Most Reverend Sir, The new expressions of your affection, which you sent me during the last Christmas holidays, have increased the obligation, but not the certainty, as I have so many other proofs that I can no longer doubt. I would only like to be able to correspond better by letting you know what I also feel towards Your Excellency on every occasion that it presents itself to me: Failing that.... and to assure you at the same time that the esteem which I hold for your merit, to which I pray God for every true and desired prosperity") Overall age wear, with two stains not affecting the signature and only few words to the first two lines, although remaining perfectly legible. Right edge slightly trimmed affecting to the conclusion of few words. F to G Fulvio Astalli (1655-1721) Italian Cardinal He voted in three conclaves where Popes Alexandre VIII (1689), Innocent XII (1691) and Clement XI (1700) were elected. ​

[THE MAN IN THE IRON MASK]: MATTIOLI ERCOLE ANTONIO (1640-1694) Italian politician, a minister in the service of Charles IV, Duke of Mantua. Mattioli was kidnapped and imprisoned by King Louis XIV of France, and during much of the 19th century a popular theory abounded that Mattioli was the Man in the Iron Mask. A.L.S., Ercole Mattioli, three pages, folio, Venice, 12th December 1676, to the Duchess of Savoy (´Madama Reale´), in Italian. Mattioli writes a largely social letter to his correspondent, regarding current visitors to Venice, including the Duke of Mantua, measures against the Turks on Zante and the provisioning of the army, the death of some hunters on the mainland from the cold, appointments to ambassadorial posts by the Venetian state, and the work starting on the two opera houses, in part, ´Sono alcuni giorni chi e qui il S. di Mantova; che ha prego ad affitto per Quattro mesi il Pallazzo a Santa Marias Formosa, che gli anni addietro godena il Signore Marchese. Colli continui disordini, che fa e per li infelice sanita che ha, fa molto temere che non sia per perderti......Li quattro Ambasciatori d´obbedienza puo essere che andarano a Roma, se restara stabilito il loro reticcimento nella sala Reggia di S. Pietro conformi qui si pretende.......…essendo in questo porto capitata la galera Morosini sallo che ha condotto... delli armi e di ingegnere sopra la fabrica di quelle fortificazioni... tutti li piu importanti e fortificando quelli che sono piu vicini alli ottomano. La pace di Collonia da molto da temere. Con tall´ocaasione si e inbefo che li indisposizione de Visir e riconoscuita non haver rimedio. Si perdera un gran soggesto di non ordinaria stimo tanto appresso il Sultano, quanto appresso li essercito......…per la prossima settimana si dara principio alla .. dell´opera del teatro di S. Luca e doppo a quella nel teatro Primani a S. Giovanni e Paolo´ (Translation: ´For some days now the Saint of Mantua has been here; he has kindly rented the Palace in Santa Maria Formosa for four months, which years ago was enjoyed by the Lord Marquis. With continuous unrest, and due to his poor health, there is great fear that he will not survive......The four ambassadors may have to go to Rome, if their refusal to enter the hall of St Peter's Palace as requested is upheld.......…as the Morosini galley that he led has arrived in this port... of the weapons and engineer in charge of the construction of those fortifications... all the most important ones and fortifying those that are closest to the Ottomans. The Peace of Cologne is to be feared. On that occasion it was understood that the indisposition of the Vizier was recognised as having no remedy. A great subject of no ordinary esteem, both with the Sultan and with the army, will be lost... ...next week work will begin on the ... of the work of the theatre of S. Luca and after that in the theatre Primani in S. Giovanni e Paolo´). Some very light, extremely minor age wear, and with a small, neat tear to the lower edge of the first page, only very slightly touching a few letters of text, otherwise VGMarie Jeanne Baptiste of Savoy-Nemours (1644-1724) Duchess consort of Savoy 1665-75 and Regent of Savoy 1675-84.

WLADYSLAW IV VASA: (1595-1648) King of Poland 1632-48. A renowned Patron of the Arts. Wladyslaw gained fame when he defeated the Ottoman Empire and was elected Tsar of Russia by the Seven Boyars in 1610, although he did not accept the Russian throne. An extremely rare L.S., `Vladislaus Rex´, one page, folio, Royal Palace, 8th March 1635, to Archbishop of Larissa, in Italian. The King of Poland refers to `Your Holiness´ and to funds he is expecting to receive from the Pope, stating in part `...Si compaccia Vostra Signoria consegnar al segretario nostro..., de tre continenti la remessa... da Su Santita de dieci mila florini. Che venendo il detto per denarle di nostra commission... di darle in sicura mano a nostro segretario...´ (Translation: "...May Your Lordship be pleased to deliver to our secretary..., from the three continents the remittance... from His Holiness of ten thousand florins. That the said one has come to inform you of our commission... to deliver them into the safe hands of our secretary...") The document bears to the front a small red wax seal partially damaged alongside the King´s signature. With address leaf to the verso. Overall age wear, creasing and staining. Letter professionally restored with paper reinforced. About GNuncio Honorato Visconti (?-1645) Archbishop of Larissa.

RANDOLPH DA´VINE JOY: (1986- ) American actress, Academy Award winner for Best Supporting Actress in 2023 for her role as Mary Lamb in The Holdovers. Signed colour 8 x 10 photograph of Randolph seated in a full-length pose. Signed in blue ink with her name alone to the image. A printed label neatly affixed to the verso indicates that the signature was obtained in person at a screening of Dolemite Is My Name at the Whitby Hotel on 7th December 2019. Together with two signed 8 x 10 photographs (one colour) by two of the other Best Supporting Actress Oscar nominees of 2023 comprising Emily Blunt (for her performance as Katherine ´Kitty´ Oppenheimer in Oppenheimer) and Danielle Brooks (for her performance as Sofia in The Color Purple). Both are signed by the actresses in blue inks with their names alone to the images. EX, 3

Elizabeth II, 2016, Jubilee mint, Tristain da Cunha, 9ct gold 'The Royal Birthdays Solid gold coin collection' to include two ERII 90th birthday gold crowns, and ERII and Prince Philip 90th and 95th Birthdays gold crown, together with Hattons of London ERII 2021 Gold St. George and the Dragon 1/8th Sovereign

Three miniature gold coins comprising 2024 Charles III Tristan Da Cunha 1/8 gold sovereign, 2021 Elizabeth II Solomon Islands proof limited edition (of 9,500) gold $10 gold coin (0.5g 24ct gold) and 2018 Elizabeth II Niue $2 and 50 cents gold coin (0.5g 24ct gold)

Seven 1980 Queen Elizabeth the Queen Mother proof silver coins comprising Gibraltar, Tristan Da Cunha, St. Helena, Tuvalu, Falkland Islands, Gibraltar and two United Kingdom, all 28.28g (total 198g), one in original Royal Mint box with certificate

including 9 cards showing 'The International Exhibition 1862' images include canons & artillery, items from Japan, Telescopes, and a card showing another exhibition with lighthouse Fresnel LensesThe International Exhibition of 1862, officially the 'London International Exhibition of Industry and Art', was a grand world's fair held in South Kensington, London, from 1 May to 1 November 1862. Often referred to as the Great London Exposition, it followed the celebrated Great Exhibition of 1851, showcasing the technological, industrial, and artistic advancements of the Victorian era.Housed in a massive iron and glass structure designed by Captain Francis Fowke, the exhibition covered over 23 acres, displaying innovations from 36 nations. Among its highlights were early examples of telegraphs, steam engines, and industrial machinery, as well as artistic masterpieces, including works by Raphael and Da Vinci

After Annibale Carracci,  Italian 1560-1609- Cacciatore da lepri; pencil on card, 28.1 x 17.2 cm. (unframed). Provenance:  The collection of Peter and Ann Mactaggart: https://www.theguardian.com/artanddesign/2020/jun/22/peter-mactaggart-obituaryNote:  The present work is a copy after Simon Guillain's (1581-1658) engraving, produced c.1646, after an original drawing by Carracci in the collection of the Louvre [INV 7292]. 

Giuseppe Zocchi, after Pietro da Cortona,  Italian 1711/17-1767, and Italian 1596/97-1669- The Judgement of Hercules; etching and engraving printed in dark brown ink, 1764, on laid paper, apparently without watermark, a very fine, strong impression, with great contrasts and much inky relief, with margins 38.8 x 28 cm. (unframed / mounted). Provenance:  Private Collection, UK. Note:  See British Museum no.1989,1209.21.121. 

Giovanni Antonio da Brescia,  Italian fl.1490-1519- The Presentation of the Virgin at the Temple; engraving on laid paper, with watermark of a galloping horse, 29.8 x 20.4 cm. Provenance:  Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).

Jan Saenredam, after Polidoro da Caravaggio,  Dutch c.1565-1607, and Italian c.1499-c.1543- The wounded Scipio carried from a battle by his sons; engraving on laid paper, signed and dated 'J. Sanredam. Ao. 1593' (within the plate, lower right), inscribed 'Per Polidorum dilucide et subobscure depictum Romae, extra portam, iuxta castrum S. Angeli, et per HGoltzium evulgatum' (within the plate, lower margin), with watermark of a fleur-de-lys below a crown, bears various later indistinct inscriptions in pencil verso, 25.4 x 34.5 cm. (unframed / mounted). Provenance:  Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).