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A most unusual “Stanhope Stick”. This is a simple modern stick made in 1980.The handle is a bronze casting of a Labrador’s head. Overall length 37”/940mm. What makes this special is just below the handle are five holes small holes at regular intervals. Close inspection reveals each are fitted with a Stanhope Lens, each showing a view of London. A Stanhope Lens is a high powered magnifier that contains a microscopic photograph or drawing, that when viewed closely reveals a picture with amazing detail. These lenses are tiny! They measure 3.0 mm x 6.8 mm. and were fitted in a standard drilled 3 mm or 1/8" hole. Typical photographs from an advertising feature are shown here. The actual images mounted in the Stanhope Lenses in this stick, from top to bottom, are- 1)The Steam Ship Queen Elizabeth2)A Jaguar racing car 3) St Paul’s Cathedral 4) Views of London:- (Five images in one lens.) The Strand London Bridge Tower Bridge St Paul’s’ Cathedral The Law Courts London5) West Minister Abby. Background to Stanhope LensesThese novelty souvenirs that became popular during the 19th century, these objects (ranging from pens to sewing accessories to jewelry) are unique because of the tiny hidden image placed somewhere inside the object. The image can be found by holding the item up to the light and looking into a tiny hole where the magnified image becomes visible. These images range from landscapes to portraits and are about 1/10th an inch in diameter and 1/4 an inch long. The term “Stanhope” comes from the inventor of the Stanhope Lens, Lord Charles Stanhope (1753-1816) (Note: Lord Charles died before photography had been invented). In 1839, John Benjamin Dancer (1812-1887) attached a microscope lens to a daguerreotype camera and produced microphotographs. This new technology influenced Rene Dagron (1819-1900), a portrait maker in Paris, to invent the Stanhope by affixing a micro-image to a lens. After these new developments, Dagron manufactured novelties with tiny photographs in them beginning in the early 1860’s. Eventually Stanhope novelties began to lose their popularity as souvenirs and the last true Stanhopes were made in 1972 by Roger Reymond.The Stanhopes mounted in this stick originated from a house clearance in 2010. These are genuine antique glass lenses and the label on the box indicated them made in France in the 1960's. (The Stanhopes in this stick were mounted by collector B. J. Morrice in 2012. The stick,including the bronze handle, was made by a friend of Julia, his daughter, around 1980 and given to him by her as a present in 1981).

Naipaul (V. S.) A House for Mr Biswas, first edition, light spotting to first few pages, original boards, very light strip of fading to spine head, otherwise excellent, dust-jacket, small portion of loss to spine head, light nicks and fraying to extremities, spine very lightly faded, 8vo, 1961.⁂ Naipaul's post-colonial novel which received world-wide acclaim and remains his most loved work. Scarce in such bright and unrestored condition.

Important Irish Family Sketch Book Co. Wicklow [Wynne Family Sketchbook] An extensive folio Scrapbook of Watercolours, Photographs and Postcards relating to the Wynne Family of Tigroney, Co. Wicklow. The Album begins with watercolours of Views of Killucan, (Rectory, Ruins etc.) Continental Scenes, Botanical Studies, Newscuttings, Photographs, Caricatures, Animal Studies (Signed with initials A.B.W. and E.C.W.) some loosely inserted, some Naive or charming childish Sketches, approx. 140 original sketches and watercolours (of varied sizes) approx. 50 photographs & newscuttings. In hf. leather, buckram binding. Emily Adelaide Wynne (1872-1958) Irish textile artist at Avoca Woollen Mills, was born in Germany in 1872. Her parents were Albert Augustus Wynne, a civil and mining engineer, and Alice Katherine (nee Wynne). She was the eldest of five children, with three sisters, Winifred Frances (1873-1969), and Alice Clara ‘Veronica’ (1890-1969), and two brothers John Brian (1877-1977) known as Jack and Charles (1895-1917). The Wynne family were originally from Hazelwood or Annagh, County Sligo, and were related to Dr. Kathleen Lynn and Constance Markievicz. Their family home was the Georgian Tigroney House, beside the Avoca Woollen Mills in the village of Avoca, County Wicklow. Along with his brother, Wyndham, their father held mining interests in Germany, with the family frequently visiting the country.   Following the collapse in value of their mining investments, the Wynne brothers pulled out of German mining in 1908, and refocused on local Irish projects. This focused Wynne’s mother on her daughters' need to develop a vocation to support themselves, encouraging them in intellectual and creative pursuits. The Wynne sisters were most likely educated at home by governesses. Frances trained in designing patterns for damask work from around December 1901 to March 1902 at Andrew S. Robinson Designing Rooms, Wellington Place, Belfast. Having attempted to sell her designs to some Belfast linen mills, she learnt the practical and economic realities of creating a design suitable for production. Wynne, her sisters and her mother ran a lace repair and sales business from around 1905 to 1916, to supplement the family’s income.  Wynne ran the business again after World War I using her contacts in Europe. Both of Wynne’s brothers fought in the war, with Charles dying in France from injuries he sustained. Wynne also wrote a novel with her sister Alice Clara Veronica, “Every Dog” (1929), published under the pseudonyms E. and B. Pringle-West.  The sisters took over the running of the Avoca Woollen Mills in 1927, which was originally founded in 1723. The mill became known for its strong and unusual colours, which at the outset are reported to have been by accident. The Wynne’s capitalised on this reputation, using unusual colours in their cloth with new lines, which proved a success overseas. The mill was soon supplying fabrics to fashion designers in France and woollen items to the United States. Wynne developed her own signature pink, along with other colour derived from her botanical knowledge allowing her to source and grow plants in their large walled garden for dyes. She became known for cultivating primulas including one named “Julius Caesar”.  The Avoca Woollen Mills products were sold through the Country Shop on 23 St. Stephen’s Green, Dublin, and supplied tweed to the designer Elsa Schiaparelli. Wynne visited Schiaparelli in Paris in 1933 and 1937. She also made a trip to New York and Boston in 1935 with the American agent Carol Brown. They opened a shop in London in the 1930s, overseen by Wynne’s cousin, Barbara Donovan, acting as the mill’s English agent. The company was at its peak in the 1940s, employing 70 men and producing 500 yards of cloth a week. Papers, diaries and other archival material from Wynne and her sisters are held in the Manuscript collection of the Library of Trinity College, Dublin. As an Album, w.a.f. A unique and interesting item.  (1)

Attractive Volume Irish Botanical Sketch Book Northern Ireland: Richardson (Anne Wakefield) A.W.R. & S.E.R. Richardson (Sarah Edith), Album of approx. 46 extremely attractive and competent botanical watercolours, mostly completed in N. Ireland, (a few from localities in England). They are mostly native wild flowers, from around their home, Moyallen, Newcastle, Drumlin, Knockbridge, Burtown etc., all circa 1874/1875, each approx. 14cms x 11cms (5 1/2" x 4 1/2"). All in good condition cont. hf. crimson mor. as an Album, w.a.f. (1)  * Anne Wakefield, & Sarah Edith, were twin sisters, two of eight children of Jane & John Grubb Richardson of Moyallon House, near Gildford in Co. Down. He was a prosperous linen merchant as well as being the founder of a major trans-Atlantic steamship company that served to bring many Irish emigrants to North America, fleeing the Great Hunger in the late 1840's. He was also a philanthropist, and the founder of the model village of Bessbrook, near Newry.

Michael Angelo Hayes (1820-1877) A View of Sackville Street  (1854), watercolour and ink on paper, approx. 49cms high x 67cms wide (19" x 26"), heightened with gouache, framed. (1) In 1854, Michael Angelo Hayes painted A View of Sackville Street, showing the Post Office, Nelson’s Pillar, and the palatial Mart of the Messrs. McSwiney and Co. The view shows Sackville Street (now O’Connell Street) with, on the right, the new department store ‘McSwiney, Delaney & Co’, due to open in May the following year. A business venture by George Delaney and Peter Paul McSwiney, some thirty years later it was re-named Clery & Co., but continued in business. In the mid 1860’s, when McSwiney was elected Lord Mayor of Dublin, Hayes, who was his brother-in-law, worked for him as secretary. He evidently regarded this watercolour as one of his finest and in 1888, a highly-finished watercolour entitled Sackville Street, Twenty-Five Years Ago, was shown at the Irish Exhibition in London--that painting is likely the version now in the National Gallery of Ireland. The present painting appears to be an earlier work by Hayes, and is full of the incidental detail he observed in the busy street, including a man in the foreground holding a sign, “Summer Goods - McSwiney Delaney & Co’. The pavements are crowded with people, dressed in the latest fashions, the men in top hats and the women wearing crinoline dresses. Horse-drawn omnibuses, carriages, jaunting cars and drays traverse the cobblestones. The painting is an important record of Dublin’s main thoroughfare in the mid-nineteenth century; today Nelson’s Pillar is no longer there, while Clery’s Department Store was destroyed in 1916 and rebuilt six years later. While it closed its doors in recent years, there are plans to renovate the building as offices and a hotel. Born in Waterford in 1820, Michael Angelo Hayes was given his first lessons in art by his father Edward Hayes (1797-1864), a portrait and equestrian painter. Around 1831, the family moved to Dublin, and having begun to exhibit at the Royal Hibernian Academy, aged seventeen, Hayes went on to specialise in equestrian and military subjects. He is perhaps best known for his illustrations Car-Driving in the South of Ireland in the Year 1836 which were published as aquatint prints by Ackerman. He painted many scenes of horse racing and hunting, including The Race for the Corinthian Cup at Punchestown (1854). In 1842 he was appointed “Military Painter-in-ordinary” to the Lord Lieutenant, and painted a watercolour of troops parading at Dublin Castle. He also depicted the Yorkshire Hussars in 1840, and The Charge of the 3rd King’s Own Light Dragoons at Moodkee, an engagement in 1845 during the First Sikh War. In 1846 he painted 16th Lancers Breaking the Square at Aliwal and nine years later, The Heavy Cavalry Charge at Balaclava. Hayes’s paintings were based on direct observation and he made a detailed study of equestrian anatomy, writing a paper in 1876 entitled The Delineation of Animals in Rapid Motion. He also painted early animations, called ‘phenakistoscopes’ of people dancing. In the late 1840’s Hayes was in London, where he became an Associate Member of the New Society of Painters in Water Colour. However most of his career was spent in Dublin; he became a member of the RHA in 1854, and was elected Secretary two years later, when George Petrie was President. The two men quarrelled and over the years following the Academy’s activities were marred by bitter disputes. Many of Hayes’s works were published as engravings and lithographs, including a series illustrating the ballad “Savourneen Deelish” (his sweet love). He died in 1877, having fallen into a water tank on the roof of his house and drowned. Dr. Peter Murray, 2023

A Truly Magnificent Copy of This Rarity Binding: Burke, Thomas O.P. (de Burgo) Hibernia Dominicana, Sive Historia Provinciae Hiberniae Ordinis Praedicatorum, ... 4to Coloniae Agrippinae (Ex Typographia Metternichiana sub Signo Gryphi) 1762. First Edition. List of subscribers, this copy also contains Pages 137-147, part of Seventh Chapter, dealing with the State of the Protestants of Ireland under the Reign of James II, which is cancelled in most copies. Bound in contemporary reddish-brown morocco and lavishly tooled in gold in both covers by the Vatican Bindery : See A.R.A. Hobson, 'French and Italian Bindings in the collection of Major Abbey,' (privately printed in 1950) for a full account of this workshop. Lacks both free marble ends, all fore-edges gilded and gauffred. Spine lettered De Burgo / Hibernia / Dominicana.  A later professional reback has the original spine laid down. Ex. Libris: Fr. Thomas Bonnet, O.P. (1825-1895) a noted Dominican scholar who lived in Marseilles, with his book label. The Title also bears two small oval stamps of the Dominican mother - house in Rome. (1) * Thomas Burke was born in Dublin in 1709/10 and sent to Rome in 1724 to study for the priesthood with the Dominican Order. After ordination he taught in S. Clement's in Rome and met distinguished scholars and cardinals of the Curia, including the papal nephew Cardinal Neri Corsini, Secretary of State and patron of the architect Allesandro Galilei, the builder of  the façade of St. John Laterano in Rome (and also responsible for the design of Castletown House). Fr. Burke was commissioned to write the history of the Dominican Order after he returned to Ireland in 1743 and worked in the Dominican House in Dublin. In 1759 he was appointed Catholic Bishop of Ossory, no doubt his advancement was helped by his connections with the Roman Curia. Interestingly the Protestant Bishop of Ossory at the time was the famous traveller and writer, Richard Pococke (1756-1765) with whom Burke developed friendly relations. Bishop Burke's book Hibernia Dominicana came out in 1762 and dedicated to Cardinal Neri Corsini, but the imprint was given to the Cologne printing house of Metternich, while it is now generally accepted that it was actually printed in Ireland. The use of a fictitious imprint was occasionally resorted to because of fear of the Penal Laws. However the only harm to Burke came, not from the government, but from his fellow Irish Bishops when they ordered that certain pages from Hibernia Dominicana be ripped out because of the perceived offence they caused, thus ensuring the book's lasting fame.  Some time after the book's appearance the author sent fifty copies to Rome for sale and presentation to colleagues and friends. A small number were specially bound up in the Vatican bindery for presentation to high ranking cardinals in the Curia, including the dedication copy to Nerio Corsini, the Papal Nephew and "Protector of Ireland." About four or five copies survive in de luxe bindings of which the present copy is the only one in a private collection. * An incredible survivor in the finest state.

A Charles I oak court cupboard,c.1630, of joined construction, carved in the North Yorkshire manner, the upper section with turned cup-and-cover supports, flanking an angled cupboard, stamped 'S P',117cm wide56cm deep130cm highProvenance: Suffolk House Antiques;a private collection, Middleton Hall, Mendham, Suffolk.

Collection of 0-16.5 and 0 Gauge unmade Wagon Lineside and Accessory kits by various makers (40+), Duncan Models Corrugated Lamp Hut (2), Chicken House with Chickens and other items, Corrugated sheets, Rabbits, Sash Windows (2), Station Door and Frame, Port Wynnstay Trent Valley Full Brake Coach and seating detail pack, Wrightlines W033 Box Van and Barrels, Mercian Cattle wagon and Quarry wagon, NNB GWR Platform End Ramps (3 packs), MSE Level Crossing, Phoenix Horse and Rider, Station Staff (3), Knightwings Boxes and Crates (N Gauge), ABIS and Auzzie Tin Corrugated Strips (2), ABS People Packs Station Staff, Ten Commandments wagon load, PLM Cows, S&D, Ladder, Tools, Painter, Dog, Seated Gent, Buckets (5 packs , two per pack), Narrow Gauge Association HandLamps (2 packs), Tool Set (2 packs), almost all in original packaging, VG-E, packaging G-VG (40+)

A range of seven charms, five fully hallmarked 9ct gold, two (globe and cannon unmarked). Also includes a cat with dustbin, horse, camera, boot with bride and groom inside and a house. Please see the buyer's terms and conditions for purchasing diamonds and coloured gemstones. If further detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect, nor does the mention of one fault preclude the presence of another. Griffin's does not guarantee the working order or accuracy of any watches sold.

Meurer,P.H.: The Strabo Illustratus Atlas. A unique sixteenth century composite atlas from the House of Bertelli in Venice. Bedburg-Hau (2004). Fol. Mit zahlr. Abb. 206 S. Illustr. Olwd. (Angestaubt). Guter Zustand. - ╔Dabei: Zacharakis,C.G.╗ A catalogue of printed maps of Greece 1477-1800. Athen 1992. 4°. Mit zahlr. Abb. Obrosch. (Etw. Gebrauchssp.). - Zus. 2 Bde.

Doyle,R.: Manners and Customs of ye Englysne. To which be added some extracts from Mr. Pips hys Diary. Contrybuted by P. Leigh. London, Bradbury & Evans (1849). Qu.4°. Mit 40 ganzs. Holzstich-Illustr. von Richard Doyle. Nicht pag. Hldr. d. Zt. mit Rverg. (Stärkere Gebrauchsspuren). House S. 288. Ray 141. - Tls. etw. fleckig. Vord. Innengelenk verstärkt. - ╔Dabei:╗ 8 weitere Schriften Lit. in engl. Sprache, zus. 9 Bde.

Religion & Theology. A collection of three antiquarian books comprising: A Journal or Historical Account of the Life, Travels, Sufferings, Christian Experiences, and Labour of Love, in the Work of the Ministry of George Fox, by [George Fox], third edition, folio, London: W. Richardson & S. Clark, 1765; The Tryal of Dr. Henry Sacheverell, Published by Order of the House of Peers, folio, London: Jacob Tonson, 1710; The Practice of Piety, by [Lewis Bayly], 60th edition, 8vo, London: Daniel Midwinter, 1743. All recently rebound, sold with all faults (3)

Limited Edition Prints - Mirror. Three limited edition prints appearing in Excellent condition, One framed and One in-between Two thick cards boards. Lot consists of: Cartmel, Market Cross Signed S. Buckley 65/500 printed at the Curwen Press Ltd. London. . A framed Steve Ridgway Vulcan Bomber signed 20/150 and a mirror. (This does not constitute a guarantee). [MP] (3) NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE. PLEASE NOTE: ALL ITEMS MUST BE PAID FOR AND COLLECTED OR DESPATCHED BY WEDNESDAY THE 13TH DECEMBER DUE TO THE HOLIDAY PERIOD.

1950's celluloid doll and vintage building bricks. Not available for in-house P&P

Bladnoch 1987 Bladnoch 1987 Lowland Malt Cask strength 58.4% Gordon & MacPhail Distilled 1987 - Bottled 1998 (Cask No.'s 4193 - 4194). Our in-house postage team can ship this lot to a UK address for £21.76

The Macallan Single Highland Malt Scotch Whiskey. The Definitive Guide to Buying Vintage Macallan Firts Edition together with, BUXRUD Ulf, Rare Malts Facts, Figures and Taste hardback first edition 2006, BUXTON Ian 101 Whiskies to Try Before You Die 2010, ARTHUR Helen The Single Malt Whisky Companion with many The First Cask Malt Whisky Circle pamphlets and a HUME John. R & MOSS Michael S. The Making of Scotch Whisky. Our in-house postage team can ship this lot to a UK address for £19.76.

Ormond Gigli 1925 New York - 2019 West Stockbridge, Massachusetts Girls in the Windows. 1960. C-Print. Verso signiert, datiert und nummeriert. Aus einer Auflage von 100 Exemplaren. Auf Fujicolor Chrystal Archive Papier. 50 x 50,8 cm (19,6 x 20 in). Papier: 60,7 x 63,4 cm (23,8 x 24,9 in). Das Foto entstand 1960, die Auflage wurde erst später gedruckt. [AR]. • Ikonisches Bild des amerikanischen Fotografen Ormond Gigli. • Versammelt sind 43 Frauen in den Fenstern eines in der Renovierung befindlichen Hauses, die Aufnahme entstand spontan während der Mittagspause der Handwerker. • Zu sehen sind Models und Freundinnen Ormonds wie auch seine Frau und die Frau des Hausverwalters. • Bekannt wurde der Fotograf bereits Anfang der 1950er Jahre mit Aufnahmen von Prominenten wie Sophia Loren oder Anita Ekberg. • 'Girls in the Windows' zählt zu seinen bekanntesten und gefragtesten Arbeiten. PROVENIENZ: Firmensammlung Ahlers AG, Herford (seit 2013). AUSSTELLUNG: #DepictingWomen - beauty, goddess, motherhood, bathing, soliciting, fulfilling, fragment, Stiftung Ahlers Pro Arte, Herford, 15.9.-9.12.2018, Kat. S. 86 u. 48 (Abb.). LITERATUR: Villa Grisebach, Berlin, Auktion 216, Moderne und Zeitgenössische Photographie, 27.11.2013, Los 2059. Aufrufzeit: 08.12.2023 - ca. 13.56 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONOrmond Gigli 1925 New York - 2019 West Stockbridge, Massachusetts Girls in the Windows. 1960. Chromogenic print. Signed, dated and numbered on the reverse. From an edition of 100 copies. On Fujicolor Chrystal Archive Paper. 50 x 50.8 cm (19.6 x 20 in). Sheet: 60,7 x 63,4 cm (23,8 x 24,9 in). The photo was shot in 1960 while the edition was printed at a later point. [AR]. • Iconic photo by the American photographer Ormond Gigli. • The work shows 43 women in the windows of a house under renovation, and was taken spontaneously during the workers' lunch break. • It shows models and friends of Ormond, as well as his wife and the wife of the house's manager. • The photographer became known in the early 1950s through photographs of celebrities such as Sophia Loren and Anita Ekberg. • 'Girls in the Windows' is one of his most famous and sought-after works. PROVENANCE: Corporate Collection Ahlers AG, Herford (since 2013). EXHIBITION: #DepictingWomen - beauty, goddess, motherhood, bathing, soliciting, fulfilling, fragment, Foundation Ahlers Pro Arte, Herford, September 15 - December 9, 2018, cat. pp. 86 and 48 (illu.). LITERATURE: Villa Grisebach, Berlin, auction 216, Moderne und Zeitgenössische Photographie, November 27, 2013, lot 2059. Called up: December 8, 2023 - ca. 13.56 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Andy Warhol 1928 Pittsburgh - 1987 New York Shoe. 1955/1957. . Tempera auf Holz. 13,4 x 22,5 x 7 cm (5,2 x 8,8 x 2,7 in). [JS]. • Äußerst seltenes frühes Zeugnis der amerikanischen Pop-Art. • Im Kontext von Warhols berühmter Werbekampagne für das Schuhhaus I. Miller, New York, entstanden. • Mitte der 1950er Jahre erhält Warhol als junger Werbegrafiker von dem mondänen New Yorker Schuhgeschäft I. Miller den Auftrag für eine Werbekampagne: Neben seinen legendären Schuhzeichnungen entstehen auch in knalligen Farben und Mustern handbemalte Holzleisten. • Sehr selten. In den letzten 20 Jahren wurden lediglich 4 weitere Unikate aus diesem Werkkomplex auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). • Warhols naiv-linearer Stil der 1950er Jahre sowie seine frühe Verschmelzung von Kunst und Kommerz gilt heute als in besonderer Weise wegweisend für die amerikanische Pop-Art. PROVENIENZ: I. Miller and Sons, New York (wohl bis 1989). Firmensammlung Ahlers AG, Herford (seit 1989, Christie's, New York, 14.2.1989, Los 50). AUSSTELLUNG: Christie's, New York, Auktion 6780, Contemporary Art, 14.2.1989, Los 50). Fetische des Blicks. Mode und Verführung, Stiftung Ahlers Pro Arte, Herford, 11.9.2021-16.1.2022, S. 79. “I see art in everything. Your shoes. That car. This coffee cup. It's art if you see it as art. [..] They're beautiful. And for everyone. That's how I want my art to be.” Andy Warhol Aufrufzeit: 08.12.2023 - ca. 15.08 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Shoe. 1955/1957. Sculpture. Tempera on panel. 13.4 x 22.5 x 7 cm (5.2 x 8.8 x 2.7 in). [JS]. • Extremely rare early document from American pop art. • Created in the context of Warhol's famous advertising campaign for the I. Miller shoe house, New York. • In the mid-1950s, as a young commercial artist, Warhol received a commission for an advertising campaign from the fashionable New York shoe store I. Miller: In addition to his legendary shoe drawings, he also created hand-painted wooden strips in bright colors and patterns. • Very rare. In the last 20 years, only 4 other unique pieces from this complex of works have been offered on the international auction market (source: artprice.com). • Warhol's naive, linear style of the 1950s and his early fusion of art and commerce are now considered to be particularly groundbreaking for American pop art. PROVENANCE: I. Miller and Sons, New York (presumably until 1989). Corporate Collection Ahlers AG, Herford (since 1989, Christie's, New York, February 14, 1989, lot 50). EXHIBITION: Christie's, New York, auction 6780, Contemporary Art, February 14, 1989, lot 50). Fetische des Blicks. Mode und Verführung, Foundation Ahlers Pro Arte, Herford, September 11, 2021 - January 16, 2022, p. 79. “I see art in everything. Your shoes. That car. This coffee cup. It's art if you see it as art. [..] They're beautiful. And for everyone. That's how I want my art to be.” Andy Warhol Called up: December 8, 2023 - ca. 15.08 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.

Edward Cucuel 1875 San Francisco - 1954 Pasadena Im Schatten. Um 1920. Öl auf Leinwand. Rechts unten signiert. Verso auf der Leinwand erneut signiert. Verso auf dem Keilrahmen zweifach signiert sowie betitelt. Zwei alte handschriftlich und typografisch nummerierte Etiketten sowie Metallplakette Kunsthaus Banger. 90 x 101 cm (35,4 x 39,7 in). • Aus der Reihe der im Sommerhaus des Künstlers am Starnberger See entstandenen Gartenbilder. • Cucuels impressionistische Szenen sind Embleme des Lebensgefühls der damaligen Münchner Hautevolee. • Farbintensiv und schwelgerisch inszeniert Cucuel sommerliche Wärme und Trägheit. PROVENIENZ: Kunsthaus Banger, Bad Nauheim (verso mit der Plakette). Privatsammlung. Die Jahreszeit der Gemälde Cucuels ist der Sommer, den er seit seiner endgültigen Übersiedelung nach München im Jahr 1907 immer wieder in längeren Aufenthalten an den oberbayerischen Seen verbringt. Ursprünglich aus San Francisco im sonnigen Kalifornien stammend, führt ihn der Weg über die Pariser Académie Julian und die Tätigkeit als Zeitungsillustrator in New York und Berlin, Reisen durch Frankreich und Italien schließlich nach München, wo er sich der Künstlergruppe 'Die Scholle' um Leo Putz anschließt. Dessen Verbindung von Landschaftsmalerei mit weiblichen Figuren wird für seinen Stil prägend sein. Cucuel beteiligt sich an den Ausstellungen der Münchner Sezession und präsentiert dort vor allem Frauenporträts und Akte in lichtdurchfluteten Interieurs, Plein-air-Darstellungen mit Gesellschaftsszenen und reizvolle bayerische Landschaften. Der zunehmende Erfolg ermöglicht ihm den Erwerb eines größeren See-Anwesens am Ammersee, wo in den Sommermonaten zahlreiche Badeakte und die ersten 'Kahnbilder' mit den Cucuel-typischen, mondän ge- und entkleideten jungen Frauen entstehen. Ab 1918 gehört ihm ein Atelierhaus mit großem, malerischen Garten und Anlegestelle am Starnberger See, in das er sich ebenso während des Sommers begibt, um seine lichtvollen, von der Spontaneität des französischen Impressionismus und der unmittelbaren Plein-air-Malerei beeinflussten Motive einzufangen. Fritz von Ostini schildert Cucuels idyllisch-eleganten Arbeitsplatz mit lyrischen Worten: 'Hier hat er seinen Studienplatz in einem großen, etwas verwilderten Ufergarten des südlichen Starnberg selbst, einem Garten mit vielen alten und merkwürdigen Baumgruppen, mit Bootshütte, einem kleinen Hafen, Landungssteg und Gebüschen, die es möglich machen, Modelle, unbelästigt von Lauschern, zu stellen. Nicht weit davon hat ein Yachtclub Hafen und Klubhaus und auf dem blausilbernen Wasser kreuzen zu jeder Tageszeit ungezählte Boote mit weißen Segeln. Die Pracht des Lichtes auf diesem See ist bei nur einigermaßen hellem Wetter einzig, die Fernsicht mit dem zartblauen Kranz der Alpen bezaubernd und die Bergsilhouette, abgeschlossen durch das charaktervolle Massiv von Deutschlands höchstem Berge, der Zugspitze, könnte keine Phantasie, die Großartiges und Liebliches vereinigen will, schöner finden [..]. Kein Platz, der sich besser für Edward Cucuels Arbeit eignete.' (zit. nach: Fritz von Ostini, Der Maler Edward Cucuel, Zürich u. a. 1924, S. 35f.). Unser Werk zeigt eines seiner Modelle gedankenversunken am eleganten Gartenmobiliar der 1920er Jahre, in weißer, luftiger Sommerkleidung, umgeben vom intensiven Blaugrün der üppigen Vegetation und den im Hintergrund hell leuchtenden Blumen. Es vermittelt so die Wärme, Trägheit und Leichtigkeit dieser sorglosen Zeit. Während der Wintermonate hält sich Cucuel bis 1934 bereits immer wieder in New York auf, bis er sich gezwungen sieht, zu Kriegsbeginn 1939 Deutschland endgültig den Rücken zu kehren. Er lässt sich wieder im sonnigen Kalifornien in Pasadena nieder, wo er bis zu seinem Tod zurückgezogen lebt. [KT] Aufrufzeit: 09.12.2023 - ca. 14.59 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEdward Cucuel 1875 San Francisco - 1954 Pasadena Im Schatten. Um 1920. Oil on canvas. Signed in lower right. Once more signed on the reverse. Twice signed and titled on the stretcher. With two old labels, numbered by hand and in typography as well as with a metal plate of Kunsthaus Banger. 90 x 101 cm (35.4 x 39.7 in). • From the series of garden paintings created in the artist's summer home on Lake Starnberg. • Cucuel's impressionistic scenes are emblems of the attitude to life of the Munich haute volée at that time. • Colorful and indulgent, Cucuel stages summer warmth and idleness. PROVENANCE: Kunsthaus Banger, Bad Nauheim (with the plate on the reverse). Private collection. Summer is the season of Cucuel's paintings, which he repeatedly spent in longer stays at the Upper Bavarian lakes since he had finally moved to Munich in 1907. Originally from San Francisco in sunny California, his path led him via the Académie Julian in Paris and a job as a newspaper illustrator in New York and Berlin, over journeys through France and Italy, finally to Munich, where he joined the artists' group 'Die Scholle' around Leo Putz. The latter's combination of landscape painting with female figures would be formative for his style. Cucuel participated in the exhibitions of the Munich Secession, where he mainly presented portraits of women and nudes in light-flooded interiors, plein-air depictions with social scenes and charming Bavarian landscapes. His increasing success enabled him to acquire a large lakeside estate on Ammersee, where he painted numerous bathing nudes and the first 'Kahnbilder' (barge pictures) with the typical fashionably dressed and undressed young women. From 1918 he owned a studio house with a large, picturesque garden right Lake Starnberg, where he also went during the summer to capture his light-filled motifs influenced by the spontaneity of French Impressionism and the immediacy of plein-air painting. Fritz von Ostini described Cucuel's idyllic and elegant workplace in lyrical terms: 'Here he has his place of study in a large, somewhat overgrown riverside garden south of Starnberg, a garden with many old trees, with a boat hut, a small harbor, landing stage and bushes that allow models to pose unmolested by eavesdroppers. A nearby yacht club has harbor and clubhouse and there are countless boats with white sails on the blue-silver water at any time of the day. The splendor of the light on this lake is unique in only reasonably bright weather, the distant view with the pale blue wreath of the Alps enchanting, and the mountain silhouette, completed by the characterful massif of Germany's highest mountain, the Zugspitze [..]. No place more suitable for Edward Cucuel's work.' (quoted from: Fritz von Ostini, Der Maler Edward Cucuel, Zurich et al. 1924, pp. 35f.). Our work shows one of his models lost in thought in white, airy summer clothes, surrounded by the intense blue-green of the lush vegetation and the bright flowers in the background. It conveys the warmth, idleness and lightness of that carefree time. During the winter months, Cucuel from time to time stayed in New York and was forced to turn his back on Germany for good at the beginning of the war in 1939. He settled again in sunny California in Pasadena, where he lived in seclusion until his death. [KT] Called up: December 9, 2023 - ca. 14.59 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

PAUL DE LAMERIE (1688-1751): A GEORGE I SILVER SHAVING MIRROR makers mark of Paul de Lamerie, London 1727, of shaped oval form retaining the original mirror plate, in a moulded border, on simple scroll feet, the top of the frame engraved with the crest of James Medlycott (died 1731) the back in walnut with a simple silhouette baluster strut secured by the original shaped silver hinges, 33cm high Provenance: James Medlycott (1658-1731) of Ven House, Milborne Port, SomersetThomas Medlycott, son of the aboveThomas Hutchings, nephew of the aboveSir William Coles Medlycott (1767-1835), son of the aboveSir William Medlycott (1806-1882)Sir William Medlycott (1831-1887)Sir Edward Medlycott (1832-1902)Sir Mervyn Medlycott (1837-1908)Sir Hubert Medlycott (1841-1920)Sir Christopher Medlycott (1907-1986)Sir Mervyn Medlycott (1947-2021)and thence by descent.Note: It is fitting that Medlycott employed the leading silversmith of his generation for his personal shaving mirror. Having made a fortune as a lawyer and Master in Chancery, Medlycott purchased a seat in Parliament and set about building one of the most beautiful late Baroque houses in the kingdom, Ven House at Milborne Port. The house remained in the Medlycott family until the mid-20th century when many of the contents were transferred to the Medlycott's other seat at Sandford Orcas Manor.Paul de LameriePaul de Lamerie's parents were Huguenots, who probably left France for religious reasons in the early 1680's. After serving as an apprentice to a London goldsmith, Pierre Platel, de Lamerie registered his mark and established his own workshop in 1712. The wide range of styles represented during de Lamerie's 40 year career could not have been made, or even designed, by one individual, but there are some consistent features in quality and "trademarks", such as the fact that his workshop continued to use the higher Britannia standard of silver alloy for some 12 years after it ceased to be compulsory. He supplied clients as far afield as Russia and America, but for the most part his clients at home were not members of the aristocratic elite. Although he was appointed Royal Goldsmith in 1716, his mark does not appear on any Royal plate. Indeed, most of his clients were prosperous landowners and members of the Whig ascendency, much like James Medlycott. After his death in 1751, the obituary which appeared in the "London Evening Post" spoke of de Lamerie as "particularly famous in making fine ornamental Plate, and .... very instrumental in bringing that Branch of the Trade to the Perfection it is now in".

AN IMPORTANT CHARLES II 'CHINOISERIE' SILVER MONTEITH makers mark of John Tassell, London 1685, with a scalloped and indented moulded rim, the body composed of six panels, one engraved with the armorial and crest of Ralph Grey, later the 4th Baron Grey of Werke enclosed by a mantling of feathery leaves, the remaining five panels flat-chased and engraved with chinoiserie including a guard with a spear beside a pavilion, a peacock amidst flowering foliage, a figure wearing a wide-brimmed hat standing beside a palm tree, an elegant building with an arcaded wall surmounted by an obelisk and a striding figure in floral robes with a scarf flowing in his wake, 29cm diameter x 14.5cm high (c.32 tr. ozs)Provenance: Ralph Grey (1661-1706), later 4th Baron Grey of WerkeProbably acquired by Sir Hubert Medlycott (1841-1920) for Sandford Orcas Manor during the latter part of the 19th centurySir Christopher Medlycott (1907-1986)Sir Mervyn Medlycott (1947-2021)and thence by descent.Note: Ralph Grey, 4th Baron Grey of Werke, was an English peer who served as Governor of Barbados and was one of the English Commissioners for the negotiations for the Treaty of Union between England and Scotland. He was a Whig and a member of parliament for Berwick from 1679-1681. He attended King William III following the Glorious Revolution of 1688 and continued as a member for Berwick from 1695-1698 and briefly in 1701. He was Auditor of Wales from 1692-1702 and Governor of Barbados from 1698-1701. On the death of his brother, Ford Grey, the First Earl of Tankerville, on 24th June 1701, he succeeded as Baron Grey of Werke, taking him from the House of Commons into the House of Lords.Grey died without issue and his Estates were inherited by a nephew, Henry Neville, who then changed his name to Grey by a private act of Parliament.The vivid depiction of exotic chinoiserie scenes on silver produced in the 1680's must have been compelling to the elite of the period depicting cultures of the East and the Orient, which were only a dream in the mind's eye. Knowledge of China and Japan for the wealthy citizens of 17th century London was formed from travellers accounts and engravings, together with lacquer and porcelain shipped to London by The East India Company. At the same time, fashionable society became obsessed by tea, which was imported at vast expense. Contemporary sources for chinoiserie flat-chasing are a varied mélange, but it was John Nieuhoff 's "An Embassy from the East India Company of the United Provinces", translated into English by the bookseller John Ogilby in 1669, which was, arguably, the most important source.

*OSCAR NEMON (1906-1985) 'Married Love' A bronze study of Sir Winston Churchill, KG, OM, CH, TD, DL, FRS, RA (1874-1965) and Clementine Ogilvy Spencer Churchill, Baroness Spencer-Churchill, GBE (1885 - 1977), modelled after the full-scale work now in situ in the grounds of Chartwell, the Churchill's home in Kent, circa 1978, number three from the edition of 15, signed "Nemon FN5" to the reverse, 44.5cm wide x 24cm high x 23cm deepProvenance: The Collection of Peter AB Johnson, Trustee of the Churchill Statue Fund.Oscar Nemon had approached Peter Johnson to find a suitable home for the monumental work. The first suggestions were Hyde Park and the Cabinet War Rooms, but it was decided, with the agreement of the National Trust, that the sculpture should sit in the grounds of Churchill’s beloved Chartwell. A charity was established, the Churchill Statue Fund, to sell the reduced size bronzes for £5,000 each, to raise the necessary amount for the esteemed Morris Singer Foundry of Basingstoke to cast the monumental bronze. This was a great success, with examples sold to the likes of Michael Heseltine and Jonathan Aitken. The endeavour was so successful in fact, that the organisers could afford to present one copy to Margaret Thatcher and another to Lady Soames, the daughter of Sir Winston and Lady Churchill. In fact, it was Peter Johnson that personally delivered the bronze to Lady Soames, remarking “When I arrived at Sloane Court West, a voice from above, that could only be the daughter of the great Sir Winston Churchill called out “The lift has broken down, but there is a glass of champagne waiting for you” after carrying the 8lb maquette up several flights of stairs, I certainly needed that glass”.Oscar NemonOscar Nemon was born in Osijek, a small market town in Croatia, in 1906. While at secondary school he demonstrated exceptional talent as a draughtsman and was advised to specialise in drawing and painting. However, the young Nemon found the approach to art at his gymnasium too formulaic, and did not want to conform to its structured way of teaching.At the age of fourteen, Nemon began to experiment with sculpture, having developed a fascination with a piece encountered on his travels. Inquiring how it was made, he was advised to “Go to the brickworks, where you will find plenty of clay, and make something.”After taking his baccalaureat in 1923, Nemon left Osijek for the greater opportunities and challenges of Vienna, where he continued to sculpt and study, and develop his innate talent for portraiture. During this initial period his work was both inspired and influenced by Ivan Mestrovic, who later became both a friend and mentor.In Vienna Nemon’s uncle owned a bronze factory, enabling him to cast his work as it was completed. Already an admirer of Sigmund Freud, whose writings would profoundly influence Nemon’s own thinking, he was able to persuade Freud to sit for him, becoming the first and only person to sculpt the analyst from life.From Vienna Nemon moved to Paris, and then to Brussels in the early 1930’s. Here, while studying sculpture at the Académie des Beaux Arts he won the Gold Medal for Sculpture, and shared a house with René Magritte. Continuing to develop his more personal figurative work, Nemon also established a style of portraiture that was powerful and intensely evocative of the character of the sitter. An exhibition of Nemon’s sculptures was held at the Palais des Beaux Arts in Brussels in 1932, the success of which led to a series of distinguished commissions, his sitters including King Albert I and Queen Astrid, the then Belgian Prime Minister Van de Velde, and future Prime Minister Henri Spaak, who also became a close friend. Nemon then moved to England in 1938, intending to go to America, but the war intervened. Based in London and Oxford, Nemon rapidly established himself as an artist of distinction. Here H.M. the Queen, H.M. the Queen Mother, and Prince Phillip all modelled for Nemon, who was granted a studio in St James’s Palace, and whose last sitter at the time of his death in 1985 was Diana, Princess of Wales.Other distinguished sitters included General Eisenhower, President Truman, Lord Beaverbrook, Field Marshal Montgomery, Ernst Chain, Lord Alexander and Earl Mountbatten, together with Lord Shinwell, Harold Macmillan and Lady Thatcher. There were few from this post-war period to whom he devoted more attention than Sir Winston Churchill, whom he admired deeply, and sculpted from life on numerous occasions.Nemon modelled in clay, directly from life, subsequently casting his work first in plaster and then in bronze or occasionally marble. Gifted with immense personal charm and delicacy, he would amuse and draw out his sitters with a series of stories and anecdotes which helped produce the extraordinarily animated and revelatory impressions which characterise his portraiture. Although Churchill originally warned Nemon “If you want to lose a friend, do his portrait”, during the course of their many sittings, Churchill and Nemon established a close relationship, becoming personal friends, to the extent that Churchill resolved to attempt Nemon’s head while the sculptor was working on his own. Nemon later remembered how.“When he (Churchill) became excited about the difficulties in which he found himself, his cigar began to come to pieces in his mouth and soon he was roaring like a lion over its prey. He shouted at me ‘How on earth can I work when you keep moving?’ In the interest of continuing peace between us, I kept still after that and, by doing so, I lost an opportunity of making a real study of him - a sad loss but almost inevitable because he was a restless and most unwilling sitter.”Nemon had Churchill’s image of him cast in bronze, and wrote to Churchill “I beg you not to underrate the artistic value of this work which would be considered by any expert as outstanding for the first attempt.”Nemon’s statues of Churchill stand in the Members’ Lobby of the House of Commons, the Guildhall, Blenheim, the National Portrait Gallery and the Cabinet War Rooms. One of his marble busts of Churchill is at Windsor Castle. Other of Nemon’s Churchill sculptures and busts can be found in over twenty capital and major cities round the world from Moscow to Washington. 

1970's Plywood Dolls House complete with furniture & dolls, height of house 39cm

1970's Plywood Dolls House complete with furniture & dolls, height of house 39cm

HOOKER, William Jackson (1785-1865). Pomona Londinensis, London, [1813]-18. Volume one only [all published], 4to, 49 exceptionally fine hand-coloured aquatint plates of fruit, contemporary half morocco (rubbed). FIRST EDITION.HOOKER, William Jackson (1785-1865).  Pomona Londinensis: Containing Colored [sic] Engravings of the Most Esteemed Fruits in the British Gardens with a Description of Each Variety. By William Hooker, F. H. S. Assisted in the Descriptive Part by the President and Members and Sanctioned by the Patronage of the Horticultural Society of London. London: "Published by the Author ... And sold by J. Harding ... J. and A. Arch ... and Rodwell and Martin," [1813-]18. Volume One only [all published], 4to (332 x 250mm). 49 exceptionally fine hand-coloured aquatint plates of fruit by William Jackson Hooker (some light spotting and staining to the text, some mainly marginal very light spotting and staining to the plates). Contemporary half morocco, top edges gilt, others uncut (lacking the top compartment of the spine, heavily rubbed and scuffed, inner hinges broken). Provenance: "From Sir Thomas Branston to his much esteemed friend Mrs William Shuttleworth as a small token of his affection & regard, Liverpool, 4th August 1848" (inscription on front free endpaper). FIRST EDITION of this work of which only the first seven parts were published between 1813 and 1818. "In 1827 Hooker became editor of Curtis's Botanical Magazine, where several of his illustrations appeared, and in 1841 he became the first director of the Royal Botanic Gardens at Kew. As director of Kew Gardens, Hooker's first moves were to open the gardens to the public and to establish an arboretum, museum and library. More greenhouses were added and the magnificent Palm House was completed [under his direction] in 1848" (Jack Kramer, The Art of Flowers, New York, 2002, p.154). It is not known why the present work was abandoned, and, despite the ravishing beauty of its plates, it is not listed among his works in DNB. Brunet II, 626; Dunthorne 139: "... among the best of all fruit prints"; Nissen BBI 913; Raphael An Oak Spring Pomona 42: "... no more parts were published after the end of Volume I, which described thirteen apples, eight pears, seven plums, five peaches, four nectarines, four cherries, and one or two examples of several other fruits"; Sitwell Great Flower Books 1700-1900 p.60. 

[EDEN, Anthony (1897-1977)] - Alice ACHESON (1895-1996). Two Views of the Villa Nova, Barbados, signed "Alice Acheson" lower right, one watercolour on paper, the other pen on paper, framed and glazed. Provenance: ANTHONY EDEN, 1st Earl of Avon. (2)[EDEN, Anthony (1897-1977), 1st Earl of Eden] - Alice ACHESON (1895-1996, artist).  Two Views of the Villa Nova, Barbados, signed "Alice Acheson" lower right, one watercolour on paper (355 x 490mm), the other pen on paper (210 x 290mm), both framed and glazed. Alice Acheson was an American painter, illustrator and print-maker. Her works are held in many important collections including the Hirshhorn Museum, the Smithsonian and the Harry S. Truman Presidential Library and Museum. Born into an artistic family, her grandfather was the artist John Mix Stanley. She married the statesman Dean Acheson in 1917. He served as the 51st U.S. Secretary of State under Harry S. Truman and became a lifetime friend of Anthony and Clarissa Eden, often staying with them in Barbados at the Villa Nova, the house the Edens purchased in 1965. Provenance: ANTHONY EDEN (1897-1977), 1st Earl of Avon. (2)

◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) LUXEMBOURG GARDENS, PARIS Signed, oil on board Dimensions:26cm x 21cm (10.25in x 8.25in) Provenance:Provenance: The Scottish Gallery, Edinburgh, where purchased by Ion R. Harrison and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Paintings and Drawings by S. J. Peploe RSA, 18 August - 13 September 1947, no.68 (as 'Paris')McLellan Galleries, Glasgow, Pictures from a Private Collection, 2 - 27 March 1951, no.15 (as 'Luxembourg Gardens with Figure') Note: Luxembourg Gardens, Paris reveals Peploe’s love of the French capital, which began as a student attending the Académie Julian in the 1890s, continued whilst a resident between 1910 and 1912 and was the location of inter-war group exhibitions which resulted in the acquisition of the paintings Paysage – Iona and La Forêt for the French national collection in 1924 and 1931.As Frances Fowle has explained: ‘Peploe had a lifelong love of France…we can tell from Peploe’s letters that in his own mind he associated France and the French with creativity, openness and flair…Peploe firmly believed that France somehow unlocked the creative, expressive side of his temperament. Above all, he adored Paris.’ (Frances Fowle, ‘Peploe in France: A Suitable Milieu’ in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.43)This image of Paris’s celebrated Jardin du Luxembourg encapsulates the affection Peploe felt for the city, its chic citizens, sophisticated lifestyle and outstanding beauty. In a sun-dappled leisurely scene, an elegant lady is observed strolling along a path, surrounded by trees and carefully cultivated plants. The free application of paint, by way of a thickly-loaded brush, expresses areas of indicative form, shadow and perspective. A palette of mainly unmixed colours is based on tones of green and brown, with highlights of colour used to pick out the flowers and to provide structure when used in single, defining brushstrokes.Luxembourg Gardens, Paris is painted on an intimate scale, on a board which was easy to transport and to use whilst working en plein air. This approach allowed for an immediacy and freshness of response to subject matter which Peploe was to maintain to the end of his career. It was acquired by the celebrated collector of the Scottish Colourists’ work, the Glasgow ship-owner Ion Harrison. In 1950 he recalled ‘It was through Cadell that I first met Peploe and it was when Cadell was starting to paint a portrait of my wife that Peploe joined us at Croft House for a weekend. This was a very great privilege for us, for Peploe did not care for visiting people unless he knew them very well. It was a very happy weekend indeed and Peploe was pleased to see his pictures hanging together in their surroundings.I held him in great esteem and regarded him as a very great artist.’ (Ion Harrison, ‘As I Remember Them’ in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, Faber and Faber Ltd, London, 1950, p.123)

Jacobsen, Arne (1902 Kopenhagen 1971), nach Stehleuchte Modell "Royal", zweiflammig. Metallgestell (teils verchromt) mit ovalem, grauen Stand und heller Pagode. L. Gebrauchsspuren. Entwurf für SAS Royal Hotel, 1958. Hersteller gem. Santa & Cole, wohl ab 70er Jahre. H. ca. 180 cm. Lit.: M. Sheridan, "Room 606: The Sas House and the Work of Arne Jacobson", Phaidon Press, S. 64.

An Egyptian limestone statue of Sekhemankhptah Old Kingdom, 5th Dynasty, circa 2389-2255 B.C.Statue: 121cm high x 51cm wide x 40cm deep; plinth: 91cm x 71cm x 61cmFootnotes:Provenance:Tomb G7152 at Giza, excavated by George A. Reisner and the Harvard University-Boston Museum of Fine Arts Expedition, during the digging season of 1926-1927.This statue is referenced in Reisner's diary entry of 29 January 1927 (vol. 20, p. 667): 'uncovered the two seated statues at door of G 7152, and a broken standing statue at north side of door, fallen in several pieces'.Vincent (1886-1967) and Olga (1906-2000) Diniacopoulos collection, Canada, acquired from the Khawam Brothers, Cairo and likely brought to Canada in 1951.Property from a Canadian Private Collection, a portion of the proceeds intended for the benefit of Concordia University, Montreal; Sotheby's, New York, 5 June 1999, lot 25.Private collection, New York, acquired at the above sale, until 2018.Published: La Presse, Montreal, 15 May 1954 (illus.).V. and O. Diniacopoulos, Collection Monsieur et Madame D., Vincent et Fils, Valleyfield, 1954, p. 5, no. 6.R. Belle-Isle, Exposition d'art antique, Chambly, Quebec, 1965, p.5.J.E. Francis and G.W.M. Harrison, Life and Death in Ancient Egypt, The Diniacopoulos Collection, Montreal, 2004, p.59, fig. 5.6.J.M. Fossey and J.E. Francis, The Diniacopoulos Collection in Quebec: Greek and Roman Antiquities, Montreal, 2004, p. 22, fig. 1.4 for a photograph of Vincent and Olga unboxing pieces including Sekhemankhptah at the Séminaire de Valleyfield in 1955.Exhibited: Séminaire de Valleyfield, Quebec, Diniacopoulos Collection, from 1954. Ecole Gérard Filion, Chambly, Exposition d'art antique, 1965.The tomb of Sekhemankhptah is dicussed in the following publications:G.A. Reisner, A History of the Giza Necropolis I, Cambridge, 1942, pp. 210, 312. W.H. Smith, A History of Egyptian Sculpture and Painting in the Old Kingdom, London, 1946, p.200 (recording the decoration of the interior of the offering-room of the tomb: 'The east wall retains a fragment of an agricultural scene, and the north wall is decorated with scenes showing the care of cattle. The west wall has a presentation of animals').B. Porter & R.L.B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings 3: Memphis, 1974, p. 191.A. Bedawy, The Tombs of Iteti, Sekhem'ankh-Ptah and Kaemnofret at Giza, Berkeley, 1976, pp.15-24, figs. 18-24, pls. 14-23, including detailed description of the decoration of the tomb and drawings of such. Sekhemankhptah's titles are listed on p.22.N. Strudwick, The Administration of Egypt in the Old Kingdom: The Highest Titles and Their Holders, London, 1985, pp.134-5. V.G. Callender, 'A Contribution to the Burial of Women in the Old Kingdom', in F. Coppens (ed.), Abusir and Saqqara in the year 2001. Proceedings of the Symposium, Prague, September 2001, Archiv Orientálni 70, no. 3, 2002, p. 303, no. 15.Sekhemankhptah was a highly important Egyptian official during the 5th Dynasty of the Old Kingdom. His mastaba tomb is located southeast of Khufu's pyramid in Giza, one of 'the most important necropolises for Egyptian royalty and the upper echelons of officialdom during the Old Kingdom' (P. Der Manuelian, 'Excavating the Old Kingdom, the Giza Necropolis and Other Mastaba Fields', in Egyptian Art in the Age of the Pyramids, New York, 1999, p. 139). It was excavated in 1926 by George Reisner, and the hieroglyphic texts on the interior demonstrate the pre-eminent role Sekhemankhptah played in the royal court. Sekhemankhptah is named as 'Count; Sole companion of Pharaoh; Chief judge, vizier; Staff of the people; Mouth of all the people of Pe; Royal chamberlain; Privy to the secret; Overseer of the scribes of the documents of the king; Scribe of the documents of the king; Overseer of all the works of the king; Overseer of the embalming house of Pharaoh; Overseer of the embalming house'. These titles suggest that Sekhemankhptah was second only to the king himself. His wife, Bwnefer, is named as 'Real royal daughter', suggesting she was the daughter of a Pharaoh (Reisner refers to Sekhemankptah as 'husband of a princess'). They had two children, a son named Seshemnefer and a daughter named Meritites.The extraordinary, monumental, size of this statue, highly unusual for a non-royal sculpture, is further testament to Sekhemankhptah's high status. It is also an exceedingly rare example of an unfinished Old Kingdom sculpture of a non-royal personage, which offers a fascinating insight to the technique and skill of the earliest sculptors of Pharaonic Egypt. Sekhemankhptah retains original chisel marks, and the carving of the wig and kilt are clearly unfinished. The surface has also not been polished to the typical degree. It has been suggested that the figure was coated in plaster, with the finer details rendered in paint, though it seems more likely that the statue was placed in front of the tomb prior to being finished (as no traces of plaster or pigment remain). The group of statuettes of King Menkaura of the 4th Dynasty at the Museum of Fine Arts, Boston (acc. no. 11.732), each in varying degrees of completion, further elucidate how these figures were finished after being installed in their final locations. Artists began by hammering out the approximate shape of the statue from a large block of stone, before refining details of the head and limbs with chisels in a series of stages of increasing refinement. After this carving and refining, rubbing stones and powdered abrasive were used to polish the surface, before an inscription was added to identify the owner. These last stages had not been completed before work on this statue of Sekhemankhptah seems to have ceased.The Diniacopoulos Collection of Ancient ArtVincent and Olga Diniacopoulos amassed one of the largest and most impressive private collections of antiquities in Canada during the 20th Century, of almost unparalleled breadth and quality. Vincent Diniacopoulos (1886-1967) was born in Constantinople to a Greek family, and was enamoured by the ancient world from childhood. From the 1920s he was participating in archaeological digs across the Middle East and undertaking art restoration, living between Paris and Cairo. His wife Hélène Olga Nicholas (1906-2000), was also Greek, and was born in Cairo. After moving to Paris in 1923 she studied archaeology at the Louvre and Sorbonne and met and married Vincent. In the late 1920s and 1930s the couple travelled extensively throughout the Middle East and Egypt, building their collection of antiquities as well as acquiring objects for major institutions including the British Museum, Louvre and Metropolitan Museum. During these formative years, they built up an extensive collection including ancient Egyptian, Babylonian, Assyrian, Hittite, Cypriot, Greek and Roman objects, ranging from sculpture and coins to ceramics, glassware and bronzes.For further information on this lot please visit Bonhams.com

Box of soft toys, children's books, doll house furniture etc

A 1920's/30's doll's house by Lines Brothers with hinged opening front and a small selection of furniture, 24" high

Andrea Pozzo, 1642 Trento – 1709 WienCHRISTUS IM HAUS DES PHARISÄERS SIMONÖl auf Leinwand. Doubliert.97,5 x 128,5 cm.In vergoldetem Profilrahmen.Beigegeben ein Gutachten von Alessandro Morandotti, Mailand, 14. Dezember 2010, in Kopie.Das Lukas-Evangelium (Lk7,36-50) berichtet, dass der Pharisäer Simon Christus einst zu sich bat, um ihn in seinem Haus zu bewirten. Während des Mahles erschien eine in der Stadt wohlbekannte Sünderin, die der Evangelist nicht mit Namen nennt, die jedoch später stets mit Maria Magdalena, der Schwester des Lazarus, gleichgesetzt worden ist. Zum Befremden des Gastgebers kniete sie vor Christus nieder und weinte, netzte seine Füße mit ihren Tränen, trocknete sie mit ihrem Haar, küßte und salbte sie.Anmerkung:Andrea Pozzo fertigte auch ein Gemälde mit Jesus im Tempel unter den Ärtzten in der Basilika di San Defendente in Romano di Lombardia.Literatur:Susanna Gualazzini, Fabio Obertelli, Carlo Scagnelli (Hrsg.), Barocco spaziale. Dialoghi di luce, forma, colore fra pittura barocco e spazialismo, Mailand 2021, S. 102. (13803133) (13)Andrea Pozzo, 1642 Trento – 1709 Vienna CHRIST IN THE HOUSE OF THE PHARISEE SIMON Oil on canvas. Relined. 97.5 x 128.5 cm. In gilt profile frame. Accompanied by an expert’s report by Alessandro Morandotti, Milan, 14 December 2010, in copy. Notes:Andrea Pozzo also produced a painting of Jesus in the temple among the doctors in the Basilica di San Defendente in Romano di Lombardia.Literature: Susanna Gualazzini, Fabio Obertelli, Carlo Scagnelli (eds.), Barocco spaziale. Dialoghi di luce, forma, colore fra pittura barocco e spazialismo, Milan 2021, p. 102.

Lucas van Uden, 1595 Antwerpen – 1672 ebenda, zug.BELEBTE WALDLANDSCHAFT MIT TEICHÖl auf Leinwand.57 x 80 cm.Der Maler lernte vermutlich bei seinem Vater Artus van Uden und war Enkel des Pieter van Uden, der eine Weberei für Seidentapisserien unterhielt. 1626 wird er in der Lukasgilde seiner Stadt genannt. Seinen Ruhm begründete seine Mitarbeit an Landschaften für David Teniers d. J. und für Rubens. Der überwiegende Teil seiner Landschaftsbilder beinhaltet thematisch narrative Figurenstaffage, zum Teil mit biblischen Themen, aber auch Erinnerungen an gesellschaftliche Ereignisse. Dies dürfte auch hier der Fall sein, wenn wir beobachten, dass sich links am Ufer des Waldteiches eine höfische Gesellschaft mit einem Reiter und einem rot gekleideten Herrn zwischen bäuerlichen Figuren findet. Möglicherweise steht dies im Zusammenhang mit einem weiteren Gemälde mit Darstellung des „Einzugs des Gaston d‘Orléans“ (gleiche Abmessungen), das sich im Petworth House, West Sussex befindet. Werke seiner Hand finden sich in mehreren bedeutenden Sammlungen und Museen, wie etwa zu Brüssel, Dresden, München, Wien, Petersburg, Berlin usw. und natürlich in seiner Heimatstadt Antwerpen. A.R.Literatur: Vgl. Ulrich Haussmann, Lucas van Uden: Blick auf eine weite Landschaft, Lucas van Uden: Baumreiche Küstenlandschaft, in: Rolf Bothe (Hrsg.), Ulrich Haussmann (Hrsg.), Goethes „Bildergalerie“. Die Anfänge der Kunstsammlungen zu Weimar, Berlin 2002, S. 218-220. (1381363) (11)Lucas van Uden,1595 Antwerp – 1672 ibid., attributedLIVELY FOREST LANDSCAPE WITH POND Oil on canvas.57 x 80 cm.Works by van Uden’s hand are held in several important collections and museums, such as those in Brussels, Dresden, Munich, Vienna, Saint Petersburg, Berlin, etc. and naturally also in his hometown Antwerp.

Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLANDSCHAFT IM LICHT EINES SPÄTEN NACHMITTAGS MIT ANTIKEM TEMPEL DER SIBYLLEÖl auf Leinwand.57 x 65 cm.Rechts unten auf einem Stein signiert „N Berchem“.Dieses Gemälde gehört zu einer Gruppe von Bildern im italienischen Stil, die kurz nach der Mitte seiner Laufbahn entstanden. Deutlich inspiriert von den südlichen Landschaften seiner Kollegen und unter Vorbild früherer holländischer Italianisten, insbesondere Jan Asselijn und Jan Both, in Berchems eigener reifer italienischer Manier entstanden. Die Landschaft ist typisch für diesen neuen Stil, vor allem in der Verwendung von Licht und Farbe. Die allgegenwärtigen bernsteinfarbene und braune Tonalität von Berchems Werken aus den 1640er-Jahren wurde durch eine vielfältigere, buntere und hellere Palette mit reich gesättigten Farbtönen und einer größeren Klarheit der Details ersetzt. Die Verwendung von starken Kontrasten von Licht und Schatten evoziert die Intensität des abendlichen Sonnenlichts und lenkt die Aufmerksamkeit des Betrachters auf die Figuren- und Tiergruppe im Vordergrund. Diese Landschaft ist eine unbekümmerte Welt der pastoralen Glückseligkeit, die ein Ideal des Landlebens verkörpert, wie es sich in der zeitgenössischen niederländischen Literatur wiederfindet. Der Anschlag ist schnell und lebendig; bei den Tieren ist eine gewisse Unterzeichnung erkennbar.Das vorliegende Gemälde ist wohl um 1660/70 zu datieren (nach Berchems eventueller Italienreise). In der Mitte seiner Laufbahn hatte er eine Vorliebe für porzellanblaue Himmel und Horizonte, die von einem goldenen Schimmer durchdrungen sind. Später arbeitete er mit seinem Sohn zusammen.Eine Federzeichnung in Verbindung mit ähnlichen Figuren in einer anderen Position wie auf dem vorliegenden Gemälde, befindet sich in der Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, Nr 33).Um eine ähnliche Komposition zu studieren, aber mit Figuren in einer anderen Position, siehe die Zeichnung aus der Sammlung Abrams, Boston (150 x 195 oder 15,7 x 20,1 cm, Soth, 09/07/1968, Nr. 33).Es gibt fünf weitere bekannte Versionen (nicht-autografisches Atelier) oder Kopien:1. Eine alte Kopie nach dem vorliegenden Gemälde (mit einer späteren Signatur unten links) befindet sich in der Glasgow Art Gallery, Graham-Gilbert-Nachlass, 1877 (HdG 118, Öl auf Leinwand, 53 x 64 cm, Kat. 1961, Nr. 569).2. Hofstede de Groot als „autre version“ erwähnt, kopiert nach dem vorliegenden Gemälde mit kleinen Abweichungen: war bei Sotheby‘s, London, 19. April 1972, Nr. 54 (Öl auf Leinwand, 21 ¾ x 25 ¼ inch; 56 x 61,5 cm), Landschaft mit Bauern und Vieh, aus der Sammlung Baronne de Rotschild; zuvor in der Versteigerung Sedelmayer, 1897, 16. November Berlin.3. Lempertz-Auktion, Köln, 3./8. Juni 1959, Nr. 11, Repro, 57 x 63 cm, signiert unten rechts, „Berchem f“. Diese Version weist kleine Unterschiede im Himmel und in den Bäumen auf.4. Dieselbe Gruppe von zwei Frauen und vier Ziegen in einer anderen Landschaft mit Kühen in einer anderen Position, rechts von der stehenden Frau, erscheint auf dem Gemälde im Nationalmuseum in Warschau.5. Sammlung Holscher-Stumpf, Berlin (Verkauf am 05.07.1918 bei Lepke Nr. 88, Taf. 30), signiert unten links auf Felsen im Wasser, Berchem (Öl auf Leinwand, 53,5 x 61 cm)- prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London- Ausgestellt. Burlington Haus, 1871.Provenienz:Wahrscheinlich Sammlung Linart de Neuville, 1765.Sammlung Charles Offley Esq., 1809.Sammlung Artis Esq., Ramsgate, Esq.Sammlung Dr Max Wassermann, Paris, 1834.Privatsammlung, Gent.Privatsammlung, Luxemburg.Literatur:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, Bd. 5, London 1834, S. 48, Nr. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting) n° 118.WAAGEN, suppl., p. 291.Bildarchiv Foto Marburg, F 4017, Negativ Nr. 1069426. (13814015) (18)Nicolaes Berchem,1620 Haarlem – 1683 AmsterdamLANDSCAPE IN LATE AFTERNOON LIGHT WITH ANCIENT TEMPLE OF SYBILOil on canvas.57 x 65 cm.Signed “N Berchem” on stone lower right.This painting is one of a group of Italian-style paintings created shortly after the artist’s mid-career. Clearly inspired by the southern landscapes of his colleagues and modelled on earlier Dutch Italianates, notably Jan Asselijn and Jan Both and executed in Berchem’s own mature Italian manner. The present painting can probably be dated to ca. 1660/70 (after Berchem’s possible trip to Italy). Midway through his career he preferred porcelain blue skies and horizons steeped in a golden glow. He later worked with his son. A pen and ink drawing associated with similar figures in a different position from the present painting is held at the Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, no. 33).To study a similar composition, but with figures in a different position, see a drawing from the Abrams Collection, Boston (150 x 195 or 15.7 x 20.1 cm (Soth, 09/07/1968, no. 33).There are five further known versions (non-autograph workshop) or copies:1. An old copy after the present painting (with a later signature lower left) held at the Glasgow ArtGallery, Graham Gilbert Estate, 1877 (HdG 118, Oil on canvas, 53 x 64 cm, cat. 1961 no. 569).2. A version mentioned by Hofstede de Groot as “autre version”, copied from the present painting with minor alterations: was at Sotheby’s London, 19 April 1972, no. 54 (oil on canvas: 21 ¾ x 25 ¼ inch; 56 x 61.5 cm), Landscape with Peasants and Cattle, from the Baronne de Rotschild Collection; previously in the Sedelmayer auction, 16 November 1897, Berlin.3. Lempertz auction, Cologne, 3/ 8 June 1959, no. 11, reproduction, 57 x 63 cm, signed lower right, “Berchem f”. This version shows minor differences in the sky and trees.4. The same group of two women and four goats in another landscape with cows in a different position, to the right of the standing woman, appears in the painting held at the National Museum in Warsaw.5. Holscher-Stumpf Collection, Berlin (sold on 5 July 1918 from Lepke no. 88, plate 30), signed lower left on rock in water, Berchem (oil on canvas, 53.5 x 61 cm) – prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London-exhibited, Burlington House, 1871.Provenance:Probably Linart de Neuville collection, 1765.Charles Offley Esq. collection, 1809.Artis Esq. collection, Ramsgate, Esq.Dr Max Wassermann collection, Paris, 1834.Private collection, Ghent.Private collection, Luxemburg.Literature:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, vol. 5, London 1834, p. 48, no. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting), no. 118WAAGEN, suppl., p. 291.Photo Bildarchiv Marburg, F 4017, negative no. 1069426.

A late 19th century Italian green patinated bronze figure of The Dancing Faunprobably Naples the mythological horned male creature with upheld hands standing on a square plinth, 80cm high approximatelyFootnotes:The original statue of The Dancing Faun was discovered in 1830 in the ruins of the most impressive and opulent Roman home at Pompeii, later known as the House of the Faun. Thought to be a copy of Hellenistic work it was removed to the Museo Borbonico (later the Museo Nazionale) and its fame was such that by 1838, an English traveller declared it 'the Venus de Medicis of Sylvans' Its smaller size made copies of the piece particularly attractive for the interiors and gardens of modest houses and it was hugely popular model for the catalogue of the Naples Museum by the early 20th century.The model, available in a number of edition sizes, was listed as number 5002 on page 217 of the 1910 edition of the J. Chiurazzi & Fils - S. De Angelis & Fils Naples foundry.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Sèvres plate (assiette unie), dated 1773Painted by Charles-Louis Méreaud (le jeune) and Pierre-Antoine Méreaud (l'aîné) with a turquoise ribbon edged with gilt dots intertwined with a floral garland, the well with a rose spray surrounded by a similar circular flower garland, 25.2cm diam., interlaced LL monogram enclosing date letter u in blue, painter's marks ' and S, gilder's mark # for Chauvaux (l'aîné), incised marks (very minor wear)Footnotes:Provenance:Purchased by Le Chevalier Lambert as an intermediary for George O'Brien Wyndham, 3rd Earl of EgremontA large part of the service with date letters 1773, 1774 and possibly 1775 is still in the collection of the Earls of Egremont at Petworth House, although only 17 of the originally 60 assiettes unies still remain there. See David Peters, Sèvres Plates and Services (2005, revised edition 2015), vol. II, no. 74-5, p. 523, for a full list of the service.For further information on this lot please visit Bonhams.com

Attributed to Gabriel Guardia (active Manresa 1482-1501)God the Father surrounded by the celestial hierarchy tempera, oil and gold on panel136.5 x 133cm (53 3/4 x 52 3/8in).Footnotes:ProvenanceProbably Foresti Collection, MilanSale, Galerie Fischer, Lucerne, 23-26 August 1939, lot 1592 (as Catalonian School, 15th Century, unsold)Private Collection, Milan, before 1947Ludwig Losbichler Gutjahr, Barcelona, by 1955 (according to a photograph in the Amatller Archive, Barcelona)Sale, Berkowitsch, Madrid, 15-16 February 1983, lot 159Private Collection, MadridSale, Sotheby's, Madrid, 11 November 1997, lot 4, where acquired by the present ownerLiteratureC. R. Post, A History of Spanish Painting, IX, part II, Cambridge, Massachusetts, 1947, pp. 862-864, fig. 369J. Gudiol and S. Alcolea I Blanch, Pintura Gótica Catalana, Barcelona, 1986, p. 210, no. 696, ill. p. 464, fig. 1051 (as Catalan, second half of 15th Century)This impressive panel very likely formed the central part of a large altarpiece or polyptych. God the Father sits at the very centre and behind him he is surrounded by the red Seraphim, at His feet are the blue Cherubim and the Thrones, or Ophanim, with each group identified by a scroll inscribed with their names in Catalan. Those closest to Him represent the highest order of angels in the hierarchy, according to the 5th century text De Hierarchia Celesti. Beyond these are further registers of angels, again, each identified in Catalan – to God's right the Dominations, the Powers and the Virtues and the Principalities, the Archangels and Angels to His left.The rigid frontality of the figure of God the Father in the present work compares very closely with the analogous figure in Guardia's only documented work, the Altarpiece of the Trinity, painted in 1501 for the Collegiate Basilica of Santa Marta, in the artist's native town of Manresa.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Collection of books on Chinese ceramics and porcelainAYERS, John, 'Chinese Ceramics. The Koger Collection', Sotheby's Publications, London, 1985 (Copyright); CORT, Louise Allison; STUART, Jan, 'Joined Colors. Decorations and Meaning in Chinese Porcelain: Ceramics from Collectors in the Min Chiu Society, Hong Kong', Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., 1993 (Copyright); LAM, Peter Y. K. (Ed.), 'Ethereal Elegance. Porcelain Vases of the Imperial Qing. The Huaihatang Collection', Art Museum, The Chinese University of Hong Kong, Hong Kong, 2007 (Copyright); Tsui Art Foundation, 'Gems of Chinese Art. Selections of Ceramics and Bronzes from the Tsui Art Foundation', Tsui Art Foundation, Hong Kong, 1992; The Tsui Museum of Art, 'The Tsui Museum of Art', The Tsui Museum of Art, Hong Kong, 1991; VV.AA., 'Chinese Porcelain. The S. C. Ko Tianminlou Collection (Vols. I & II)', The Urban Council, Hong Kong, 1987; VV.AA., 'Imperial Taste. Chinese Ceramics from the Percival David Foundation', Chronicle Books, San Francisco, 1989 (Copyright); VV.AA., 'Oriental Ceramics. Percival David Foundation of Chinese Art, London', Vol. 6, Kodansha International Ltd., Tokyo, New York, San Francisco, 1982; YI-HUA, Li (Ed.), 'Kangxi - Yongzheng - Qianlong. Qing Porcelain from the Palace Museum Collection', Forbidden City Publishing House and The Woods Publishing Co., Beijing, 1989 (Copyright); YU-CHANG, Wu (Comp.), 'Masterworks of Chinese Porcelain in the National Palace Museum', National Palace Museum, Taipei, Taiwan, 1969.SPECIAL SALE NOTICERestricted BiddingTo register and bid at this auction you will need to provide proof of identity and of address and provide photographic ID. You may be asked to pay a deposit of €5.000. Fund must be cleared in VERITAS Art Auctioneers account no later than 11am on Monday, December 4th, 2023. If you are not the winning bidder, you will be refunded within seven working days. Online bidders may be required to pay a €5.000 deposit, which will allow the online bidder to bid up to a maximum of €50.000 in total. For higher bids, different deposits apply.Bank Transfers should be sent to: Beneficiary PERIHASTA Bank BPI Branch Saldanha IBAN PT 50 0010 0000 4626 3080 0018 2 SWIFT/BIC BBPIPTPLCondition of LotsPlease note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.

An early 20th century British lithographed tinplate perambulator biscuit tin, the light blue and mid blue striped body with two large and two printed spoked wheels, the lid with a baby holding a rattle and Golly lying on the covers —7in. (18cm.) long (some wear and fading, scratching and speckling loss to lid); and a painted bisque dolls’ house doll chef These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

A 19th century composition shoulder-head dolls’ house doll, with blue painted eyes, black painted and moulded centre-parted hair, kid rigid body with wooden arms and legs with red painted slippers, purple and white striped dress with lace trim, probably expertly redressed —6in. (15cm.) high (restored ankles)

A small Grodnerthal painted wooden dolls’ house doll, with painted black centre-parted hair, peg jointed limbs, original blue silk stuffed skirt and apron —1 1/2in. (4cm.) high (silk perished, no access to legs to see if complete)

Five dolls’ house dolls, an all bisque with glass eyes —3 3/4in. (9.5cm.) high (restored feet); two Grecon girls with labels; a china shoulder head made up as a nanny with recent baby; and a recent miniature wooden doll

An all-bisque dolls’ house doll, probably Horn, with blue painted eyes, blonde painted hair, crochet dress and hat —1 3/4in. (4.5cm.) high; a black painted doll; and a Horn baby in crochet papoose with wooden cot

Doll or dolls’ house glassware, a French blue and white latticino flared foot vase —2in. (5cm.) high, an English carafe engraved with a band of foliage, circa 1800; a miniature amethyst flared goblet (chipped); a two other latticino bottles and others

Dolls’ house and doll accessories, two cast-metal steins with lids —1 1/2in. (4cm.) high, three irons on trivets, kettles and saucepans, a lead huntsman on horse and another on foot with hounds, and other items (slight damage)

Doll and Dolls’ House porcelain ornaments, two Herend dolphins painted grey and orange —1 1/4in. (3cm.) high; a traveller, a seated lady playing string instrument (head glued); two recent parrots on stumps; an owl on book and a Chinese cock

Two all-bisque dolls’ house dolls, the larger with blue glass eyes, closed mouth, blonde mohair wig, jointed at shoulder and hips with moulded socks and shoes, blue cotton dress, apron and underclothes —3 1/2in. (9cm.) high (remade foot); and similar smaller doll with painted eyes

A Steiff limited edition Doll House Southern Jackie Bear teddy bear, 440 of 1000, made exclusively for My Doll House of Hilltop in 1990, with light pink mohair (no certificate)

An all-bisque dolls’ house doll, with fixed head, blue glass eyes, pin-jointed at shoulders and hips and green micro-knitted outfit —3 3/4in. (9.5cm.) (neatly glued ankle); a replica all-bisque doll; and a hamper of micro-knitted clothes comprising a dress, pinafore and hat, to accompany first doll; and a baby’s outfit

A tiny mid 19th century dolls’ house Grodnerthal wooden doll, with black painted hair held with yellow comb, peg jointed body with red painted shoes, original striped dress and lying in a straw basket —1 1/4in. (3cm.) high (missing one foot)

SALEROOM ANNOUNCEMENT - please note that there are now only three dolls in this lot, as shown in photo, the doll in the black hat has been reunited with her family in lot 812. - new estimate £60-80.Four Horn all-bisque dolls’ house dolls, the largest a girl in red crochet coat and bonnet —1 3/4in. (4.5cm.) high; and three others including probably a Chinaman

Dolls’ house and doll items; dolls’ house - a soft metal desk inkwell with seated dog —1 3/4in. (4.5cm.) wide; three wood flower pots, a large step for a Gottschalk house and a part set of cutlery on card; doll - Marklin painted tinplate dustpan and crumb tray and wooden brush; a tinplate toy pocket watch and other items

A tiny late 19th century dolls’ house Grodnerthal wooden doll, with black painted hair and peg jointed body —1 1/4in. (3cm.) high (missing leg)

A German bisque headed dolls’ house doll, with blue sleeping eyes, blonde mohair wig, jointed composition body with painted socks and shoes and cotton chemise —4 3/4in. (12cm.) high; and an all-bisque baby

A 19th century pink-tinted china shoulder head dolls’ house doll, with blue painted eyes, black painted and moulded centre-parted hair in ringlets, stuffed body, china limbs and underclothes —6 3/4in. (17cm.) high

An all-bisque black dolls’ house doll, Mignonette type with closed full mouth, black glass eyes, black curly mohair wig, socket head and pegged jointed at shoulders and hips —3 1/2in. (9cm.) high (missing arm and stringing slack) - being sold in aid of Cancer Research UK

An all-bisque dolls’ house doll or Mignonette, with dark blue eyes, closed mouth, blonde mohair wig, socket head impressed 4, peg jointed at shoulders and hips, blue painted and moulded heeled shoes and white socks, grey silk dress with lace and ribbon trim and straw hat —4in. (10cm.) high

SALEROOM ANNOUNCEMENT - please note we have now reunited the mother of the family into this lot (previously in lot 813), the middle doll with the black hat.A Horn all-bisque dolls’ house family in original box base five pin-jointed dolls with blonde painted hair and original crochet outfits, including a mother with baby in papoose —4 1/2in. (11.5cm.) width of box base (some damage to box)

Late 18th century English blue and white Toy porcelain, Caughley Salopian - a large scale dolls’ house sauce boat —2 1/4in. (6cm.) long (broken down the middle of body and glued) and a meat platter, marked S (chip to back of rim); and a Lowestoft jug —2 1/4in. (5.5cm.0 high (missing handle and repaired spout); and a Lowestoft small tea bowl (cracked and chipped)

A German bisque headed dolls’ house doll in Easter egg, with blue sleeping eyes, blonde mohair wig, composition body with moulded and painted socks and shoes, blue dress with white cotton apron —5 1/2in. (14cm.) high, in red cardboard egg printed with children, two card and liners, probably for clothing and a quilted pad (egg needs some repair); and a composition child in mica covered papoose