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A George III Irish silver cream ladle, with a scalloped bowl, the terminal with bright cut engraving, reserve crest engraved, Michael Keating, Dublin, 1.33oz.

A pair of Georgian silver sugar tongs, with bright cut engraving, and a pair of plain, initial engraved sugar tongs, 2.39oz.

Two pairs of Georgian silver sugar tongs, with bright cut engraving, 2.09oz.

Two pairs of Georgian silver sugar tongs, with bright cut engraving, and foliate engraving, 1.95oz.

Three Georgian silver teaspoons, with bright cut engraving, and a Georgian silver salt spoon, 1.43oz. (4)

A pair of Georgian silver sugar tongs, with bright cut engraving, oval reserve monogram engraved, 0.87oz, together with a silver plated baluster cream jug, foliate engraved. (2)

A pair of George V silver napkin rings, with engine turned decoration, rectangular reserve, Birmingham 1933, further napkin ring with pierced decoration, Birmingham 1920, and a Victorian silver napkin ring, with foliate engraving, shield reserve, initial engraved Birmingham 1888, 1.68oz. (4)

Robert De Vaugondy (French, 1723-1786). La Judee, two maps of the Holy Land, with plans of the city of Jerusalem, engraving, 48cm x 59cm.

A Victorian silver vesta case, with foliate engraving, oval reserve monogram engraved, Birmingham 1898, and an Edward VII silver vesta case, foliate engraved, shield reserve monogram engraved, Birmingham 1903, 1.85oz.

A lady's silver cased pocket watch, open faced, key wind, silvered dial with chapter ring bearing gilt Roman numerals, the case with floral and foliate engraving, vacant shield reserve, on a leather strap with two watch keys.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)The Adoration of the Shepherds: a Night Piece (Bartsh 46; New Hollstein 300) Etching with drypoint and engraving, circa 1657, on laid paper, a good impression of New Hollstein's eighth state (of eleven), with small margins, framedPlate 148 x 198mm (5 7/8 x 7 3/4in)Sheet 153 x 201mm (6 x 7 7/8in)Footnotes:ProvenanceChristie's, Old Master, Modern and Contemporary Prints, London, Tuesday 28 November 1995, lot 245.Purchased from the above sale by Bernard Levin.Thence by descent to the current owner.The Adoration of the Shepherds was a common motif during the Dutch Golden Age. It provided artists with the opportunity to create tender, private devotional compositions, which were well aligned with the personal approach to religion in the Lower Countries in that period. Painters and printmakers alike experimented with the stylistic tools offered by Caravaggism, such as the theatrical use of light and intimate framing of the image, to draft ever more expressive and moving representations. This etching depicts the Holy Family with an immediate, touching naturalism. Joseph is reading, whilst Mary and the Christ child rest, swaddled in blankets in the cold stable. Rembrandt's skilful use of etching and drypoint to delineate the figures and subtle illumination conveys the wonder of this moment, evoking compassion and empathy for the protagonists.For further information on this lot please visit Bonhams.com

Attributed to Girolamo Faccioli (Italian, 1530-1573) after Perino Del Vaga (Italian, 1500-1547)Jupiter defeating the Giants (Bartsch XV.45.16) Engraving, circa 1530-47, on laid paper, an impression of the second (final) state, published by Antoine Lafréry, Rome, his name printed on the plate, unevenly trimmed to or inside the platemark but outside the borderline on all sides, framedSheet 349 x 576mm (13 3/4 x 22 3/4in)Footnotes:The Bolognese printmaker Girolamo Faccioli drafts this Gigantomachy after Perino del Vanga's design for the ceiling fresco in the Sala dei Giganti in the Genoese Palazzo Doria. The artist follows Ovid's account and represents Jupiter as the sole warrior against the giants, who try to ascend Mount Olympus and usurp his throne. Faccioli also drew inspiration from Apollodoro's rendition, supplying the giants with boulders and trees as weapons. This mythological representation was often commissioned by Italian Lords as a symbol of allegiance to the Holy Roman Emperor and as an allegory for Charles V's victories over the Turks and the Protestants – the epitome of this iconography being Sala dei Giganti in Palazzo Te, painted in Manua after the emperor granted Federico II Gonzaga the ducal title in 1530. The link between this commission in Genoa and the Imperator Romanorum is equally direct and explicit. In 1533, Charles V was hosted by Andrea Doria, the master of the palace, and used this newly decorated room as an interim throne room.For further information on this lot please visit Bonhams.com

A SILVER-MOUNTED GLASS CLARET JUG, MAPPIN & WEBB with bulbous Dartinton glass body, hall marked with presentation engraving to front

A Collection of George III SilverVarious dates and makers Comprising a teapot and stand, John Langlands I & John Robertson I, Newcastle, 1787, of shaped oval section and decorated with bright-cut engraving, with matching stand, an oval pedestal sugar basket with swing handle, London, 1790, a sauce boat, London, 1749, chased with scrolls and flowers, and a helmet-shaped cream jug, marks obscure, with later bright-cut engraving, loaded, 30 oz gross weighable silver. (5)For further information on this lot please visit Bonhams.com

Salmon (Wm.) Polygraphice; or, The Arts of Drawing, Engraving, Etching Limning, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming, 8vo Lond. (Thos. Passinger) 1685. Fifth Edn. Port. plate of author, add. engd. title, 23 engd. plts. cont. full calf, blind tooled panels, raised bands, lacks label. Good copy. (1)

Irish Musical Interest: A group of three Irish Harpers Portrait Engraving, to include: * Carolan - The Celebrated Irish Bard, engraved by J. Martyn, published Nov. 12th, 1822, Dublin, approx. 44cms x 31cms (17'' x 12'') unframed; * Edward Bunting, author of the General Collection of the Ancient Music of Ireland, engraved by James Sidebotham, Dublin, Sept. 1st, 1811, approx. 40cms x 28cms (16'' x 11''), unframed; * Hempson - The Harper of Magilligan, County of L'Derry, after E. Scriven, published by E. Bunting, No. 1809, approx. 43cms x 32cms (17'' x 12 1/2''), unframed. As a lot. (3)

After James Malton (1761-1803)  View of the Law Courts, Dublin, approx. 41.5cms x 61cms (16 1/2" x 24") This impressive sepia and watercolour painting of the Four Courts in Dublin, by an unknown artist, is closely based on James Malton’s engraving of the same subject. The painting appears to date from around 1800, and so would have been done not long after Malton's aquatint view was published, in the 1790’s. Although signed ‘Malton’ it is probably by a follower of the artist. * An English-born engraver and watercolourist, James Malton moved to Ireland as a child in the 1780’s, and following his father in taking up the profession of architectural draughtsman, working for a time in the offices of architect James Gandon. Leaving this employment, he began working as an artist, and in 1790 submitted two drawings to the Society of Artists in London. He is best known for a series of twenty five aquatint and etching prints entitled A Picturesque and Descriptive View of the City of Dublin, published in the 1790’s. Several of the buildings he drew, including the Law Courts, had been designed by his former employer James Gandon. Although Malton hoped to capitalise on the growth in prosperity of Dublin, the passing of the Act of Union reduced the importance of the city, and he was obliged to maintain his ties with London, exhibiting frequently there, at the Royal Academy. Among the works he showed at the RA were seventeen views of Dublin in Indian ink and watercolour, mostly depicting the same subjects as his published prints. Larger than the original plates, they also differed in detail, with some figures removed and other added. While it is tempting to see this sepia and watercolour painting of the Law Courts as an autograph work by Gandon, it lacks his firm grasp of architectural perspective and his ability to include figures and carriages rendered with elegance and flair, as exemplified in his book Designs for Rural Retreats, published in 1802. He died the following year, 1803. Dr. Peter Murray, 2023

A pair of George III silver chambersticks, by Walter Brind, of oval form, with reeded border and engraved armorial, London, 1796, both with later associated extinguishers, one dated London, 1817, the other unmarked, base length 16.3cm, gross weight 19.4oz.***CONDITION REPORT***Armorials quite tired. One sconce has a small dent. The other sconce is unmarked. Minor nicks and surface scratches to both in places. Both bases are quite scratched. Hallmarks clear. Both extinguishes have small dents in places and tired engraving. Hallmarks on one a little rubbed.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Victorian 18ct gold and cabochon watermelon tourmaline set dress ring, with engraved setting and stone with central diamond set star motif, size K, gross weight 11.4 grams.***CONDITION REPORT***Wear to the engraving around the setting. Numerous nicks, scratches and surface abrasions to the tourmaline in places.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

BUCK (SAMUEL & NATHANIEL) hand coloured engraving, 1748 - panorama of 'The South View of Wrexham in the County of Denbigh', 36 x 86cmsProvenance: private collection WrexhamComments: framed and glazed

French Napoleonic Cuirassier Troopers sword, the blade engraved Klingenthal 181*, three bar guard with one split, no scabbard.Condition report:Please see additional uploaded images of the engraving to the blade and the split to the hilt.

A Pair of Gilt Framed Watercolour Prints, Rural Scenes Together with a Framed Engraving of a Church

A Gilt Framed 19th Century Coloured Engraving, Fair Traders Going to Change, Published 1810 Together with a Framed Portrait of the Earl of Liverpool, the back with Details and Christies lot Sticker 185/8

An impressive Victorian Gothic Revival carved oak bracket clock, the 23cm arched silvered Roman dial signed Robert H. Halford, 43 Fenchurch Street, London, with chime/silent, regulation and chime on 4 bells/chime on 8 bells to the arch, the triple fusee movement with signed back plate ‘Robert H Halford, 43 Fenchurch Street, London’, striking to 8 bells and a gong, 74cm high by 46cm wide by 27cm deep. CONDITION REPORT: There are two breaks to the Gothic hanging columns found on each corner of the upper case. One of these losses is to the front-right group of columns, the other is to the back-left. Each of the broken pieces is present and could be restored. The front door is in good order with a working key. The dial is quite clean, all the steel hands are in good order and look to be modern replacements. All dial engraving, numerals, signature etc are in good order. There is a visible repair to part of the stepped carving on the upper-left of the clock case at the front. The spire at the back of the centre of the case has a chipped base. The metal and fabric cover of the back door is bent inwards slightly but is otherwise stable. The movement appears clean. Mechanically the clock seems to be in very good order. It winds very smoothly and strikes without issues on the hour and each quarter. The chime/silent, speed regulation and the chime on 8 bells/chime on 4 bells adjustments all seem to be working correctly. The clock strikes with a good tone on the gong and all hammers are striking the bell correctly.

After John Wilson Carmichael : Ascension Day, a re-strike engraving, published by The Tyne and Wear Museums Service and with the publisher's blindstamp, with full margins, platemark 16 cm x 20 cm, together with a pair of signed topographical etchings by Margaret M. Rudge depicting St. Giles Cathedral and Holyrood Palace, an embroidery on silk depicting a dragon and finally a signed colour lithograph after James Alder depicting two grouse, all parts in the lot framed. (5)

A 19th century French hand coloured engraving depicting Estelle and Nemorin, 42 cm x 37 cm

9ct rose gold curb link bracelet with floral engraving and padlock clasp, 17.3g 

A 14ct gents Longines calendar wristwatch, quartz movement, the case-back with presentation engraving, in branded box

An 18th century map engraving by William Blaeu, 'Danubius Fluvius Europae Maximus', 41.5 x 96.5 cm, mounted framed and glazed

G Hunt after J Moore, a 19th century engraving 'Scene Upon the Terrace of the Great Dagon Pagoda at Rangoon, taken near the Great Bell' published 1826 Thomas Clay, London, 32 x 39 cm

A loaded silver inkwell of eccentric capstan form, A.& J. Zimmerman, Birmingham 1928/Dublin import 1928, 18cm diameter (presentation engraving), to/w an epns butter-dish cover and stand with cow finial (2)

A 17th century county map engraving by Johannes Blaeu, Nottinghamshire, 39 x 50.5 cm, framed with text to reverse (stain and mould)

A 17th century county map engraving by John Speed after Jacob Hondius, Bedford Shire, 39 x 51.5 cm, mounted framed and glazed

A 17th century county map engraving of the shires of Lothian and Linlitquo (sic), by Timothy Pont after Jacob Hondius (uncoloured), 37.5 x 54.5 cm, mounted framed and glazed

A 17th century County map engraving of Lincolnshire, Jacob Hondius 1610, mounted framed and glazed (trimmed)

A Victorian silver Christening mug of tapering form with engraved decoration, London 1875 (1910 presentation engraving), to/w an Art Deco toast rack, Mappin & Webb, Sheffield 1933, two engine-turned napkin rings, a curb-chain bracelet with padlock clasp, London 1961, 9.9oz total, to/w a novelty trowel bookmark with mother-of-pearl handle, Birmingham 1923, a Yard-O-Led pencil, London 1947 and a modern floral-cut cranberry glass scent bottle with silver top, London 2001 (8)

After Robert Bowyer - ‘The Right Honourable Lord Viscount Nelson’, engraving, published by R. Bowyer, Pall Mall, London, 1809; and ‘His Grace the Duke of Wellington’, engraved by James Scott, after John Lilley, each in gilt frame, 52 x 74cms high. (2)

Rost,J.L.: Atlas portatilis coelestis. Oder Compendiöse Vorstellung des gantzen Welt-Gebäudes, in den Anfangs-Gründen der wahren Astronomie. Nürnberg, J. E. Adelbulner für J. Chr. Weigel 1723. 8°. Dplblgr. Titel in Rot u. Schwarz, 6 Bll., 362 S., 11 Bll., mit 30 (st. 38; 1 dplblgr.) kolor. Kupfertafeln. Spät. Ldr. (Rckn. fleckig). Warner, Sky explored 212: "Strongly influenced by Hevelius". Brown 195. Poggendorff II, 701. Nicht in Houzeau-L. Erste Ausgabe. - Der Nürnberger Astronom Johann Leonhard Rost (1688-1725) brachte 1718 ein "Astronomisches Handbuch" heraus, "das erste streng wissenschaftliche Compendium in deutscher Sprache ... Recht tüchtige Leistungen sind auch der Atlas coelestis portativus ..." (ADB XXIX, 274).- Die schön kolorierten Tafeln zeigen Diagramme und Konstellationen sowie eine Mondkarte; am Schluss 14 Kupfertafeln mit Darstellungen der Tierkreiszeichen. - Kaum fleckig. - First edition. Astronomical atlas with double-page title printed in red and black, 38 engraved, contemp. coloured plates (1 double-page). The plates with astronomical diagrams and constellations. The double-page engraving XVI shows the full moon after Hevelius; the last 14 plates with Zodiac signs.

Humiliation of Our Lord with the placement of the crown of thorns and the green cane, with a cross at the side, mannerist, oil on canvas, Portuguese school, 17th C. (1st half), some restoration, some faults and defects. Notes: it may have been produced from a Flemish engraving, possibly by Peter Van der Borcht (c. 1530–1608). It was to be part of a series of paintings depicting several steps of the Passion of Christ, eventually of a Santa Casa da Misericórdia (Holy House of Mercy). Cabral Moncada Leilões acknowledges and thanks Professor Doutor Vítor Serrão for his availability in identifying and framing this painting., Dim. - 78,5 x 61 cm

FORTES, Manuel de Azevedo.- O engenheiro portuguez: divido em dous tratados. [...] Obra moderna, e de grande utilidade para os engenheiros, e mais officiaes militares.- Lisboa Occidental: Na Officina de Manoel Fernandes da Costa, 1728-1729.- 2 vols.: 1 retrato, 1 portada grav., [1], 11, 22 gravuras; 20 cm.- E, The most important treaty on fortification published by a Portuguese, considered masterful and as complete as the best that had been published in Europe to date. Manuel de Azevedo Fortes (1660-1749), military engineer and chief engineer of the Kingdom (1729), was a member of the Royal Academy of History and author of a treatise on rational, geometric and analytical logic, printed in Lisbon in 1744. The collation of the two volumes is as follows: I - [63, 1 br.], 537, [1 br.] p.: 1 portrait, [1], 11 unfolded engravings; II - [16], 492 p.: 1 engraved title, 22 unfolded engravings. The unnumbered engraving placed between pages. 24 and 25 of the first volume, represents a «Taboada dos reductadores». Copy slightly cropped, with slight marginal stains on the first five leaves of volume I; portrait slightly cropped to the head; occasional marginal and minor wormholes in some engravings. Remarkable contemporary bindings, fully “vieux rouge” shagreen, very fresh, profusely worked in gold on identical covers (in loose tooling), with central polygonal ornamental borders and reserves; panels gold closed on the spines, with allusive tool (castle) between the sections; it retains the marbled paper endpapers (from the 19th century?), added with a pair of modern laid paper endpapers. Provenance: Library of Aníbal Fernandes Thomaz (ex-libris in both volumes), lot nº 410, from the catalogue of his “Preciosa Livraria” (Lisbon, 1912). Inocêncio, V, p. 370.

CARDIM, Pe. António Francisco, S.J.- ELOGIOS, | E RAMALHETE | DE FLORES BORRIFADO | COM SANGVE DOS RELIGIO- | sos da Companhia de Iesu, a quem os | tyrannos do Imperio do Iappaõ | tiraraõ as vidas por odio | da Fé Catholica. | COM CATALOGO DE TODOS | os Religiosos, & seculares, que por odio da mes- | ma Fè foraõ mortos naquelle Imperio, | atê o anno de 1640.- Em Lisboa: Por Manoel da Sylua, anno 1650.- [12], 380 p.: [87 (i. e. 86)] gravuras, 1 mapa desdobr. [em falta]; 20 cm.- E., Father Cardim SJ (1596-1659), Jesuit missionary, born in Viana do Alentejo, joined the Society of Jesus in 1611, having finished his studies in Goa. Cardim, one of the great travelers in the East, chronicler of the Society of Jesus in China and Japan and attorney general of the province of Japan, ended his days in Macau, aged 63, after having lived 15 years between China and the Japan. The text of the work (translated from Latin by the author himself, from the Rome edition of 1646) consists of 87 eulogies of Jesuit martyrs from Japan, accompanied by the respective representations of the martyrdoms, in 87 copperplate prints, printed separately (with blank verso); From page 261 until the end, there is the “Catalogo dos religiosos, e seculares, que nos Reynos do Iappão forão mostoe em odio de nossa fé...”, with its own title page but followed pagination. Incomplete copy, with the following missing: fold-out map of Japan (replaced by a reproduction), engraving nº 83 (martyrdom of Father Mastrilli) and four pages (Ss4, Tt1, Tt2 and Tt3, pages 327 to 334) of “ Catalogo dos mortos pela fé”; the six preliminary pages with some restorations and slight stains. Otherwise, a clean copy, with all the engravings very fresh and with good margins. Recent binding, full flexible parchment (with ties), with patina and gold decoration on the covers and spine, the manner of the time. Sommervogel, II, p. 740. Reiss & Auvermann (Auction 40), 445. Cordier (Japonica), coll. 362.

VIEIRA, Pe. António.- SERMOENS.- Em Lisboa: na Officina de Ioam da Costa [e outros], 1679-1748.- 15 vols.: 1 gravura; 21 cm, Complete set consisting of 15 volumes, in first editions, of the sermons of the great Portuguese orator of the six hundredth century (1608-1697), with the following dates and printers: I - Primeyra parte (Na Officina de Ioam da Costa, 1679); II - Segvnda parte. (Na Officina de Migvel Deslandes, 1682); III - Terceira parte. (Na Officina de Migvel Deslandes, 1683); IV - Qvarta parte. (Na Officina de Migvel Deslandes, 1685); V - Qvinta parte. (Na Officina de Miguel Deslandes, 1689); VI - Sexta parte. (Na Officina de Miguel Deslandes, 1690); VII - Septima parte. (Na Officina de Miguel Deslandes, 1692); VIII - Oitava parte. Xavier dormindo... (Na Officina de Miguel Deslandes, 1694); [IX] - Maria Rosa Mystica...: I parte. (Na Officina de Migvel Deslandes, 1686); [X] - Maria Rosa Mystica...: II parte. (Na Impressaõ Craesbeeckiana, 1688); XI - Undecima parte. (Na Officina de Miguel Deslandes, 1696); XII - Parte duodecima. (Na Officina de Miguel Deslandes, 1699); [XIII] - Palavra de Deos. (Na Officina de Miguel Deslandes, 1690); XIV - Tomo XIV. (Por Valentim da Costa Deslandes, 1710); Tomo XV. (Na Officina de Manoel da Silva, 1748). Volume I lacks the author’s portrait; volume XI includes an engraving representing the coat of arms of D. Catarina of Braganza, to whom the work is dedicated. Volume II with serious flaw (scissor cutting), on the title page (certainly to extract ownership), without affecting the printed part; IV volume with some wormholes, mostly marginal; volume XV with signs of handling. Eleven volumes with contemporary bindings, full identical flexible parchment; four volumes with recent bindings, full parchment, similar to the originals. Inocêncio, I, p. 289. Samodães, 3516. BN (Padre António Vieira, Bibliografia), 990 a 1028.

PINTO, Cesário Augusto.- As margens do Douro: album de doze vistas.- Porto: s.n., s.d. [1848-1849].- 13 litografias; 26x34 cm.- E., Rare collection of eight views of Vila Nova de Gaia and four of Porto (plus a frontispiece), by Cesário Augusto Pinto de Araújo Cardoso de Mendonça (1825-1896). Complete set, consisting of the following non-coloured lithographs: album de doze vistas por Cesario Augusto Pinto (frontispício); I - Castello de S. João da Foz; II - A Cantareira; III - Sampaio (Caza do Snr. Anthero); IV - Gaya; V - Porto; VI - Villa Nova; VII - Serra do Pilar; VIII - Seminario; IX - Perspectiva do Seminario; X - O Freixo; XI - A Pedra Salgada; XII - Arnellas. All prints have the same subscription: C. A. Pinto del. —Lith. by J.C.V.Vª Nova Porto 1848 [the last one 1849]. Of particular note are the eight views of Vila Nova de Gaia, which historian António Conde considers “ o melhor e mais harmonioso e fidedigno conjunto que conhecemos de imagens antigas gaienses” (the best and most harmonious and reliable set of ancient images from Gaia that we know). Very clean set (no booklet covers), covered in a recent binding, full red morocco (signed Victor Santos), with engraving on the front cover and protective case. Not mentioned in the bibliographies consulted.

[MONTANUS, Arnoldus].- AMBASSADES | MÉMORABLES | De la Compagnie des Indes Orientales | DES | PROVINCES UNIES, | Vers les | EMPREURS | DU | JAPON. | Contenant | Plusieurs choses remarquables arrivées | pendant le voyage des Ambassadeurs; | Et deplus, la Description | Des Villes, Bourgs, Châteaux, Forteresses, Temples & | autres bâtimens: Des animaux, des Plantes, Montagnes, Rivieréres, Fon- | teines; Des moeurs, coutumes, Religions & habillemens des Japo- | nois: Comme aussi leurs exploits de guerre, & les révolutions | tant anciennes que modernes que ces peuples ont essuyées...- A Amsterdam: Chés Jacob de Meurs, Marchand Libraire. M. DC. LXXX. [1680].- [8], 227, [9], 146, [6] p.: il., 1 mapa desdobr., 14 [i. e. 13], 11 [i. e. 12] gravuras desdobr.; 34 cm.- E., First French translation of this important description of Japan, published without the author's name, Arnoldus Montanus (ca. 1625-1683), theologian, writer, historian and professor, born in Amsterdam (Montanus is the Latinized form of the surname van den Berg or van Bergen). The work, composed of two parts with independent pagination, consists of a collection of writings by Jesuit missionaries, published between 1649 and 1661 for the East India Company, standing out for its rich iconography. The edition is illustrated with an engraved allegorical frontispiece, a large fold-out map (Route d’Osaca à Iedo), 4 fold-out engravings and 21 double engravings; It also includes 70 copperplate print illustrations (±135x170 mm), alongside the text. Copy apparently treated and washed, missing the last engraving of the first part: “Le Temple de Dayro” (p. 222/223 or 224/225); the second part includes an engraving not recorded in the index: “Grand temple proche de Saccai” (p. 92/93). Extensive ownership on the free endpaper: “Ce livre appartient à Jean-Baptiste Cavernier Aubergiste Ala(?) Petit Allonville Grande Route Domaine à Albert... Le 18 février 1834, Cavernier”. 19th century (?) binding, reconstructed, with parchment spine (?) and new endpapers. Cordier (Japonica), 385.

POZZO, Pe. Andrea, S.J.- Prospettiva de pittori e architetti. / d'Andrea Pozzo della Compagnia di Giesú: parte prime [e parte seconda] In cui s'insegna il modo più sbrigato di mettere in prospettiva tutti i disegni d'Architettura = Perspectiva pictorum, et architectorum / Andreæ Putei e Societate Jesu.- Roma: Nella Stamperia di Gio: Giacomo Komarek Boëmo, 1693-1700.- 2 vols.: il.; 42 cm.- E., First edition of this treatise, a monumental work by the famous Italian Jesuit painter and architect, born in Trento, who lived between 1642 and 1709. The collation of the two volumes (or parts) is as follows. Pars prima: [6 f.], [100, 6, 1 br.] p.: 1 engraved title, 1 engraving (verse f. prel. [5]), 100 engravings; second part: [8] f., [130, 1 br.] p.; 1 engraved title, 1 engraving, [119] engravings. The two volumes, with title pages and text in Italian, Latin and German, are illustrated with a total of 224 engravings (in fact 223), two are titles, two allegorical engravings, one with the five orders, the other on fresco painting , at the end of the second volume and 218 architectural engravings, all numbered. The first volume lacks engraving No. 71, which should have contained, on the verso, the text of engraving No. 72. In the second volume, the descriptions of engravings No. 112 and 113 are missing, but there is no gap in the sequence of engravings. Ex-libris and white seal of the Salema Garção bookstore. Some stains and handling. Contemporary bindings, full rigid parchment, very worn, but recoverable. Provenance: Auction nº 35 de Silva’s/Pedro de Azevedo (March 2000), lot nº 720.

CRASSET, Pe. Jean, S.J.- Historia da Igreja do Japaõ, em que se dá noticia da primeira entrada da Fé naquelle Imperio, dos costumes daquella Naçaõ, gentes, suas terras, e couzas muito curiosas, e raras, para os Eruditos estimaveis, e para todos gratas. / escreveo-a em francez o P. Joaõ Crasset da Companhia de Jesus. [...] vertida em portuguez por D. Maria Antonia de S. Boaventura e Menezes.- Lisboa: Na Officina de Manoel da Sylva, 1749-1755.- 3 vols.: il.; 20 cm.- E., The Jesuit Jean Crasset (1618-1692), French theologian and ascetic writer, born in Dieppe, published his “Histoire de l’Église du Japon” in Paris, in 1689; although it was considered controversial, the work was soon translated and had three editions in the first half of the 18th century, in addition to the Portuguese one. The collection of the three volumes is as follows: I - [40], 642 p.: 1 unfolded map, 4 unfolded engravings; II - [12], 560 p.; III - [4], 643, [1 br.] p.: 1 unfolded engraving. The third volume was printed at Oficina de Miguel Soares. First and only Portuguese translation by D. Maria Antonia de S. Boaventura e Menezes (fl. 1750), illustrated with a fold-out map of Japan and four fold-out engravings in the first volume, another (martyrdom of missionaries) in the third, in facsimile in this copy; the second volume does not include any engravings. The map and engravings are by Michel Le Bouteux (Ernesto Soares, page 136 r sec.). Copy a little cropped, with some moisture stains (from the tide) on the first leaves of the three volumes, but overall clean.19th century bindings, with morocco spines (the first volume is almost detached from the body). Inocêncio, VI, p. 135. Sommervogel, II, 1642. Cordier (Japonica) coll. 401/402.

[L'EVEQUE, Henry].- Campaigns of the British Army in Portugal, under the command of General The Earl of Wellington.- London: Published by W. Bulmer & Co., and published (for the proprietor) by Messrs. Colnaghi and Co., 1812.- [8], 18 p.: 1 retrato, [1], 17 gravuras; 57 cm.- E., Henry l'Évêque (1769-1832), painter, miniaturist, watercolorist and above all engraver, born in Geneva, was part of a group of artists who, following the French Revolution, wandered around Europe accompanying armies on campaign, recording for the posterity the most famous battles of the Napoleonic Wars. Complete copy, consisting of a title page, a portrait of Wellington next to the title page (Field Marshal Arthur Duke of Wellington..., with the inscription: Painted and engraved by H. L'evêque — Pubd. 1815 for the proprietors by Messrs. Colnaghi & Co. ), two preliminary leaves (author's dedication to Wellington and list of subscribers), a leaf with the description of the Prince Regent's departure to Brazil, in 1807, and respective engraving (with the letter B), 18 pages of text (numbered) with descriptions of the 17 engravings that are found at the end of the volume. The 17 large-format (41x57 cm) copperplate prints (numbered 1 to 17) represent scenes of battles and troop movements during the Peninsular War. Prints with slight browning, almost always confined to the margins; Portrait with light handling. Recent binding (with protective case), full red shagreen (signed Império Graça), with ornamental gold borders on the covers, closed panels in gold on the smooth spine, double fillet in the thickness of the boards (filets de coupe) and roll on the squares . Duarte de Sousa, 139.

Mixed Lot: Various coloured prints, engraving of Wymondham Church, another of The North Gate, Great Yarmouth etc

The Fern Gathering, coloured engraving, framed

Japanese Katana Sword with single edged blade 715mm in length with good Hamon line to the cutting edge. Blade is decorated to both sides, one side with a deep engraving of a Dragon. Tang is signed. Copper habaki & Oval Shibuichi Tsuba with Bird and Floral decoration, unsigned. Samegawa Shagreen Ray Skin grip with brown Tsuka-ito cloth binding with gilt Dragon Menuki. Overall length 900mm. Complete with brown laquered finish Saya scabbard.

AN ANTIQUE FLINTLOCK BLUNDERBUSS, fitted with a 30'' steel flared muzzle barrel, the lock bears the makers name Wogdon (Robert Wogdon was a renowned London gunmaker who was born in 1734 and died in 1813. He is best known for his production of duelling pistols), the butt plate, lock side plate and trigger guard are brass bearing sections of engraving, the trigger guard finial is in the shape of an acorn which dates its production to the last quarter of the 18th century when the acorn design was replaced by the pineapple which first appeared on small arms in 1772, the barrel bears raised London proof marks, its lock is in correct working order and the walnut stock is in excellent condition with only evidence of a minor crack just forward of the lock

A BOX OF WHITE METAL AND SILVER PLATE WARE, to include a large rectangular tray, an oval tray, a pair of silver plate on copper tapered candlesticks on weighted square bases, with personal engraving around the rim of the base, basket trays, condiment pieces, coffee pot, milk jug, ladle, loose pieces of cutlery and a cased set of 'Walker & Hall' fish servers etc

A 9CT GOLD SIGNET RING AND A 9CT GOLD NECKLACE, a rectangular form signet with monogram engraving, hallmarked 9ct Birmingham 1956, ring size U, together with a rectangular form St Christopher pendant, suspended from an AF fine box link chain, both hallmarked 9ct, approximate gross weight 6.1 grams, (condition report: general moderate wear, chain broken, overall condition good)

A GROUP OF SILVER ITEMS, to include a trophy cup hallmarked 'Wilmot Manufacturing Co' Birmingham 1923, a smaller trophy cup with engraving, hallmarked 'S Blanckensee & Son Ltd' Chester, a miniature trophy cup, raised salts, napkin ring, food pusher etc approximate gross weight 458.9 grams, 14.7 ozt, also including a cased 'Johnson Matthey Bankers Limited, 'One Ounce Troy 999 Fine Silver Bullion' ingot stamped 506093

A SILVER CIGARETTE BOX AND ASHTRAY, rectangular engine turned pattern cigarette box with engraved initials, on four raised feet, personal engraving to the front reads 'From Staff of Nakuru Branch November 1952', hallmarked 'Harman Brothers' Birmingham 1947, together with a polished ashtray, personal engraving to the centre reads 'Lt.M.E.Develin 6-12-1974' hallmarked 'Frank Hawker Ltd' Birmingham 1973, approximate gross weight 2.31 ozt, 71.8 grams (condition report: small dinks in places to the cigarette box, light tarnishing)

AN 18TH CENTURY HAND COLOURED SPORTING ENGRAVING. 40 X 29 cm

JACQUELINE MESMAEKER (born 1929)La Mer 2013Installation composée de plusieurs éléments: - un tirage photographique argentique unique d'une chromolithographie du peintre de marine Karl Wilhelm Hugo Schnars Alquist disposé sur une planche en mdf posée sur des tréteaux et maintenu à plat par 6 morceaux de marbre - une peinture à l'acrylique sur papier avec des annotations au crayon - un extrait d'un texte de Paul Claudel imprimé au jet d'encre sur feuille A4 On y joint aussi une gravure et le texte explicatif de l'oeuvre Installatie die uit verschillenden elementen bestaat: - een uniek zilvergelatinedruk van een kleurenlitho door de marineschilder Karl Wilhelm Hugo Schnars Alquist, geplaatst op een mdf-plaat op schragen en platgehouden door 6 stukken marmer - een acrylschilderij op papier met aantekeningen in potlood - een uitreksel van een tekst van Paul Claudel gedrukt met een inkjet op een A4. Een gravure en de verklarende tekst van het werk zijn ook bijgevoegdInstallation composed of several elements: - a single silver gelatin print of a chromolithography by the maritime painter Karl Wilhelm Hugo Schnars Alquist, placed on a mdf board on trestles and held flat by 6 pieces of marble - an acrylic painting on paper with annotations in pencil- an extract from a text by Paul Claudel printed with an ink jet on an A4 sheet An engraving and the explanatory text of the work are also includedDimensions variables106,2 x 192,8 cm (bache)21 x 29,7 cm (gouache)Footnotes:Provenance / Herkomst Collection privée / Privécollectie, BruxellesExposition / Tentoonstelling 11/1-4/3/2020: 'Enkel Zicht Naar Zee, Naar West', Cultural Centre Strombeek, Grimbergen 19/5-21/7/2020: 'Ah, Quelle Aventure!', Bozar, Bruxelles. Reproduit dans le catalogue pp. 76-77Un certificat d'authentificité sera remis à l'acheteur.This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

THE GREAT EXHIBITION HALLS, engraving by E. Challis from a drawing by E. Walker published by Ackerman & Co 1850, 44cm x 72cm overall, framed.

AFTER RICHARD CANTON WOODVILLE, 'Napoleons Old Guard 1815, coloured engraving, 113cm x 79cm overall, framed.

A GROUP OF BRUNEI SILVER WARE Brunei, circa Early to Mid 20th Century, includes 13 pieces in total, a set of six small finger bowls, lobed sides, repoussed and chased foliate borders, a set of five miniature spoons with similar engraving to handles, both sets with Jawi script makers mark to underside, together with a pair of serviette rings in pierced 'bunga air muleh' scrolling vine design (13 total) 5cm diameter 199g Condition: 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.