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Ɵ  Poetry.- Custance (Olive, Lady Alfred Douglas) Rainbows, first edition, presentation copy inscribed by the author 'For dear Mrs. Bupton with much love from Olive, Weston, August, 1902', browning to preliminaries, half-title, original boards with paper label to spine, boards marked and rubbed, lower spine chipped, spine ends and corners bumped, edges uncut, The Bodley Head, 1902 § Tennyson (Alfred, Lord) The Poems 1830-1856, Oliver Messel Association copy, inscribed on front endpaper 'To Oliver, from Vivian, 25 June, 1941', red morocco, gilt, rubbed, extremities bumped with loss top of spine, 1919 § Milton (John) Paradise Lost. A Poem in Twelve Books, 2 vol., Oliver Messel Association copy, half-titles, engraved titles dated 1822 loosely inserted in vol. 1, 12 engraved plates after Richard Westhall, foxed, tissue guards, printed titles, foxed, vol 1. inscribed to Oliver Messel on front endpaper 'Oliver Messel, with gratitude for many kindnesses, Peter, July 8, 1941', toning, occasional light foxing, purple morocco, gilt, rubbed, decorative tooled spine, gilt, spine ends and corners bumped, g.e., John Sharpe, 1825; and others related, 8vo, 12mo, (40)*** Olive Eleanor Custance, Lady Alfred Douglas (1874-1944) was an English poet and part of the aesthetic movement of the 1890s. Custance spent her childhood at Weston Old Hall, the family seat in Weston Longville, Norfolk.She instigated a courtship with Lord Douglas by writing to him in June 1901, six months after the death of Oscar Wilde. Lord Alfred Douglas (1870-1945) also known as Bosie Douglas, was an English poet and a lover of Oscar Wilde. Oliver Hilary Sambourne Messel (1904-1978) was an English artist and one of the foremost stage, costume, interior and architectural designers of the twentieth century.           Condition Report: Others Include - Milton (John) Todd (Henry John, Editor} The Poetical Works of John Milton In Six Volumes, 6 vol., first edition, half-title, engraved portrait frontispiece, light foxing, browning, armorial bookplates of Leonard Charles Rudolf Messel, full calf, gilt, rubbed, upper board detached to vol. 5, spines worn (with loss) extremities scuffed and bumped, marbled edges and e/ps., 1801 § Crabbe (George) Life and Poems, 5 vol., vol. 2-6 only (of 8) engraved frontispieces and titles after C. Stanfield and E. Finden, foxing and browning with damp-staining to vol. VI, toning, bookplates of Leonard Charles Rudolf Messel, contemporary calf, gilt, rubbed, decorative spines, extremities bumped, marbled e/ps., marbled edges, 1834 § Scott (Walter) Poetical Works, 11 vol. only (of 12) New Cadell edition, lacking vol. 7, engraved frontispieces and titles after J.M.W. Turner, browning, occasional foxing, toning, armorial bookplates, contemporary calf-backed maroon leather, gilt, marked and rubbed, gilt-blocked leather spine labels, lacking on some vol., extremities bumped and rubbed, 1833 § Adams (W.H.) The Golden Book of English Song, additional engraved title, damp-stained, in-text illustrations, contemporary inscription for the College music prize gained by Clarissa Hazlewood, rebound, contemporary tooled calf with Leam House College gilt design to upper cover, rubbed, extremities scuffed and bumped, all edges red, 1875 § Willmott (Robert Aris, Rev. Editor) The Poets of the Nineteenth Century, New edition, portrait frontispiece of Wordsworth, Illustrated throughout, vignette engravings, toning, light marks, occasional light foxing, original decorative cloth, gilt, g.e., 1869 § Percy (Thomas) Reliques of Ancient English Poetry, 2 vol., fourth edition, armorial bookplate of Charles Searle, browning, occasional foxing, contemporary calf, extremities bumped, lacking upper board to second vol.; with a duplicate copy of vol.1, 1794 § Ruskin (John) Works, Sesame and Lillies, Vol. 1 only (of 12) seventh edition, blue leather, decorative spine, gilt, rubbed, g.e,. extremities bumped, 1891; and 8 others similar.   Condition Report Disclaimer

A SET OF EIGHT GEORGE II WALNUT AND PARCEL GILT DINING CHAIRSCIRCA 1730With repeating eagle motifs, each vertical splat with the Altieri crest, the six stars surmounted by a galero, mantle and tassels, each with drop in seats and cabriole legs terminating in claw and ball feeteach 104cm high, 53cm wide, 49cm deep; together with a pair of later chairs to match, 19th century(10) Provenance:Possibly commissioned by Vincenzo Maria Altieri for Palazzo Altieri, Rome Formerly the Messel family collection in the Dining Room at their 104 Lancaster Gate residenceThence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyLiterature: J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2, The Entrance Hall. Sale Room notice: One of the drop in seats are missing from the chair   J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134 and fig. 5. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, pp. 122-123, 'the entrance hall'. This set of ten walnut and parcel-gilt dining chairs together with two mahogany examples en suite bear the arms of the Altieri family from Rome. They were originally at 104 Lancaster Gate, the London family of Britain's greatest stage director and artist, Oliver Messel (1904-78). When Nymans burnt down in 1947, Oliver and his two siblings received some of the remaining contents, and after the death of their mother, Maud (née Sambourne), in 1960, Oliver inherited more of the furniture from Lancaster Gate and Holmstead Manor. The chairs were subsequently sold by Oliver to his clients, Frederick and Phyllis Watkins, for Flaxley Abbey, Gloucestershire, almost certainly around 1960 when he was assisting them with the renovation and refurbishment of the abbey; a project that he worked on sporadically until 1973. Frederick Baden Watkins wrote how very gifted Oliver was: 'Once he had an inspiration, he'd get a piece of paper and sketch it out. What could have taken me five years, would take him five minutes' (C. Castle, Oliver Messel: A Biography, London, 1986, p. 216). When a room was completed, Oliver would look to his own collection for furniture: 'I've got a pair of mirrors at Nymans that would look right there', and Watkins would buy them (ibid., p. 217). Furniture probably also came from Oliver's London house, Pelham Place, as he wrote: 'Poor Pelham Place, I gather, is now striped to the bone. George has gone down to Flaxley with another load' (ibid., p. 226). Two of these chairs were photographed in the Entrance Hall at Flaxley in 1973 (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2). The chairs with their Italian Altieri coat-of-arms complimented Oliver's large mural painting of an Italianate urn. A central arcaded recess with a Robert Adam-style doorway led from the entrance hall to the dining room where presumably the remainder of the suite was situated. Oliver's nephew Thomas Messel made a contemporary set of chairs modelled on the Altieri set for his own home at Bradley Court, Gloucestershire (J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134, fig. 5). In 1986, Thomas included this model of chair, both side and armchairs, in his firm's furniture range, which he named the 'Venetian' Cardinal Chair' (National Art Library, TL.Thom 1.1). The papal family of Altieri became extinct in 1955, with the death of the last prince, Prince Ludovico Altieri (1878-1955). It is not known how this set became part of the Messel collection but it is possible that they were collected by either Ludowig Messel or Leonard Messel- both enthusiastic collectors- in the early 20th century. The broad proportions of these chairs with their waisted upright back posts, solid shaped baluster splat, compass seat and cabriole legs are typical of high quality 'banister back' chairs of the 1730s. The arched crest rail has evolved from the milkmaid's yoke found in Chinese prototypes. The chair-back is slightly bent to ergonomically fit the back of the sitter. The introduction of the 'India back' - India or Indian being used to denote all of South and South East Asia - also sometimes called a 'bended', 'crook'd' or 'sweep' back chair is considered 'the most radical and far-reaching design innovation of the eighteenth century' (A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, p. 156). Related crest rails and splats can be found on a set of walnut chairs, 1734, supplied by Daniel How and Thomas Moore in the Lady Lever Art Gallery, Port Sunlight (ibid., p. 180, plate 4:73). Another example made in giltwood, 1730-40, was probably made for Richard Temple, 1st Viscount Cobham, for Stowe House, Buckinghamshire (ibid., p. 181, plate 4:75). The back of the splats of the present chairs have been chamfered to 'lighten' their appearance. These chairs are highly unusual for the carved decoration on the 'shoe' (where the splat joins the back of the drop-in seat) and the stylised claw and ball feet. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: missing one of the drop in seats; one of the drop in seats with a hand written label in ink 'Col. Messel'; there is evidence of worm; the parcel gilt rubbed and knocked revealing in some places the underlying washes, gesso or wood; some damage and restorations including split vase shaped splats, leg and seat rail joints, dowelling repairs, metal braces, inset wood repairs, repairs with screws. The red silk damask worn, marked and some torn, the hessian webbing visible to the undersides.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

Chris Calle (American, B. 1961) "Art Deco Eagle" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 55c Art Deco Eagle Mail Box stamp issued February 22, 2001. America's beloved national emblem, the eagle has appeared as a featured decorative ornament in American folk art almost since the birth of the nation. This popular symbol is seen on such diverse items as wallpaper, musical instruments, pottery, glassware, china, cookie jars, playing cards, canes, bookends, posters, picture frames, whiskey bottles, ship figureheads and flags. During the Revolutionary War, General George Washington chose the eagle as the motif for the buttons on his uniform. In 1782, it became the central figure of America's Great Seal and, in 1789 when Washington was inaugurated the first President of the United States in New York City, he proudly stood beneath a magnificent eagle that adorned the pediment of Federal Hall. The eagle first appeared on American coinage when New Jersey issued a copper coin in 1786. Silver dollars, half dollars and dimes displaying the eagle entered circulation in 1794. The nation's first gold coins were minted in 1795, and were known as eagles and half eagles -- ten and five dollar pieces respectively. Many 19th century American coins featured an eagle in flight or perched upon a branch or rock. Other designs portrayed the eagle in a heraldic pose with a ribbon or banner held in its beak. Eagles are also a popular design for weather vanes made from sheet copper, brass or tin. Eagles were featured motifs in fabrics, beautifully stitched into quilts, draperies and rugs -- often elaborately ornamented with stars, flowers, sun rays, trees and houses. Image Size: 13.5 x 11.5 in. Overall Size: 20 x 14.5 in. Unframed. (B16900)

A group of New Hall porcelain "Boy and the Windmill" (pattern no. 20) tea wares, comprising a 15cm bowl, two tea bowls and three saucers, (one tea bowl and one saucer with hairline crack). (6)

A PALE-YELLOW GLASS 'IMITATION JADE' DOUBLE SNUFF BOTTLE, POSSIBLY IMPERIALChina, 1770-1830. Superbly carved, one section in the form of a leaping fish with lipped mouth, neatly incised fins, and large round eyes, the other section of cylindrical shape, supported on a short spreading foot and with an elegant waisted neck and flared mouth. The translucent glass is of an even pale-yellow tone imitating 'mutton fat' nephrite.Provenance: French private collection. Robert Kleiner & Co. Ltd., London, 23 April 2013. A British private collection, acquired from the above. A copy of the original invoice from Robert Kleiner, dated 23 April 2013, confirming the dating and “possibly Imperial” attribution above, accompanies this lot. Robert Kleiner (1948-2014) was an important expert on and dealer of Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles.Condition: Very good condition with minor wear and minimal manufacturing irregularities, few light surface scratches, minor nibbling to mouth.Stopper: Red and white coral branches with silver collarsWeight: 59.2 gDimensions: Height including stopper 70 mm, Diameter neck 16 mm and mouth 6 mm (each section)According to Robert Kleiner, “only one other bottle of this type has been recorded, in The Baur Collection, Geneva, which was acquired in 1925.”Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2017, lot 274 Price: USD 5,625 or approx. EUR 6,800 converted and adjusted for inflation at the time of writing Description: An enameled white glass double snuff bottle, Yangzhou, Qianlong four-character marks in iron-red Expert remark: Compare the related double snuff bottle typeAuction result comparison: Type: Related Auction: Sotheby's Hong Kong, 26 May 2013, lot 142 Price: HKD 23,750 or approx. EUR 3,600 converted and adjusted for inflation at the time of writing Description: A sapphire-blue glass double snuff bottle, Qing dynasty, mid-18th / mid-19th centuryExpert remark: Compare the related double snuff bottle type仿玉青黃色料器鼻烟壺，或爲御製中國，1770-1830年。雕刻精美，一半為躍魚形，唇口，魚鰭清晰，大圓眼；另一半為寶瓶形，口外撇，束頸，圓柱體瓶身，短平足。半透明料器呈現出均勻的淡黃色調，模仿“羊脂玉“。 來源：法國私人收藏；倫敦Robert Kleiner & Co. Ltd.藝廊，2013年4月23日；英國私人收藏，購於上述藝廊。隨附一份Robert Kleiner于2013年4月23日出具的發票副本，描述爲 “possibly Imperial” （或爲御製）。Robert Kleiner是一位重要的中國鼻煙壺專家和經銷商，起初，他在倫敦蘇富比中國藝術部工作，與 Hugh Moss 和 Bob Hall 一起，Robert Kleiner 成為 Mary 和 George Bloch 收藏的重要顧問，他編寫並製作了他們的第一個鼻烟壺目錄。 品相：狀況極好，輕微磨損，製造瑕疵，表面少量劃痕，壺口有輕微的磕損。 壺蓋：分別為紅色和白色珊瑚，鑲銀 重量：59.2 克 尺寸：總高70毫米，頸部直徑16毫米，壺口直徑 6毫米 (分別) 根據Robert Kleiner所寫，“only one other bottle of this type has been recorded，in The Baur Collection，Geneva，which was acquired in 1925.” （目前只有1925年日内瓦的Baur收藏中層提過這樣一件鼻烟壺） 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年9月13日，lot 274 價格：USD 5,625（相當於今日EUR 6,800） 描述：清乾隆揚州作玻璃胎畫琺瑯山水高士圖雙聯式鼻煙壺，四字篆書款 專家評論：比較相近的雙鼻烟壺形制。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2013年5月26日，lot 142 價格：HKD 23,750（相當於今日EUR 3,600） 描述：清十八世紀中葉至十九世紀中葉透明藍料雙聯瓶式鼻煙壺 專家評論：比較相近的雙鼻烟壺形制。

A PARCEL GILT BRASS SNUFF BOTTLE, 1860-1940Japan. Of flattened shield form, with a pendent ruyi-head at the base, short waisted neck, and tall cylindrical mouth, the body patinated to a warm copper tone and parcel-gilt, the front and back bearing the same design of a central recessed panel with an array of chrysanthemum and other blossoms, encircled by eleven butterflies, flanked by two handles in the form of sinuous serpents with furcated tails as handles, with a chain strap. Provenance: From an English private collection. Condition: Excellent condition with minor old wear, microscopic nicks, shallow surface scratches.Stopper: Green jadeiteWeight: 16.7 g Dimensions: Height including stopper 63 mm. Diameter neck 6 mm and mouth 4 mmThis bottle belongs to a limited number of high-quality objects made during or shortly after the Meiji period (1868-1912) in Japan and more than likely created for export to China. The Japanese excelled with their highly creative and intricate works of art especially involving ivory, bronze, and lacquer.Literature comparison: Compare two closely related brass snuff bottles, one illustrated by Robert Hall, Chinese Snuff Bottle IV, London, 1991, page 6, no. 6, and the other illustrated by Bob Stevens, Snuff Bottles, New York, 1976, page 218, no. 812.1860-1940年鎏金銅鼻烟壺日本。扁平盾形，底部下飾如意，束頸，高筒口，通體為暖銅色包金，正反同為開光，内飾菊花和其他花卉，十一隻蝴蝶環繞，兩側有兩條蜿蜒曲折的蛇形耳，並帶有鏈帶。 來源：英國私人收藏 品相：品相優良，小磨損、刻痕，表面有淺劃痕。 壺蓋：翡翠 重量：16.7 克 尺寸：高 （含蓋）63 毫米，頸部直徑6 毫米及瓶口直徑4 毫米 此瓶屬於日本明治時期（1868-1912）或之後不久製造的可能是為出口到中國的，數量有限。日本人以其極富創意和復雜的藝術作品而著稱，尤其是象牙雕刻、青銅造像和漆器。 文獻比較：比較兩件非常相近的銅質鼻烟壺，一件見Robert Hall，《Chinese Snuff Bottle IV》，倫敦，1991年，頁6，編號6；另一件見 Bob Stevens，《Snuff Bottles》，紐約，1976年，頁 218，編號812。

A FAMILLE ROSE PORCELAIN 'ELEPHANT' SNUFF BOTTLE, 1770-1790Published: Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 98-99, no. 310. An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, Tokyo, 1978, p. 37, no. 65. Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 142-143, no. 58. Bob C. Stevens, Collection of Fine and Important Chinese Snuff Bottles, Part I, 1981, no 60. Exhibited: Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 65. China, Jingdezhen kilns. Well-modeled in the form of a recumbent caparisoned grayish-pink elephant with an iron-red and gilt-decorated zun set atop its back on a saddle with a howdah decorated with the ying-yang symbol above crested waves, framed by a diapered gilt border. The gilt copper stopper decorated with five bats encircling a shou symbol with beaded border.Provenance: From the collection of Bob C. Stevens, California. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 60. Rachelle R. Holden Collection, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life. Condition: Fine condition with old wear, mostly to the gilt, and some manufacturing flaws. Minor old repair to mouth rim.Stopper: Gilt copper stopperWeight: 41.6 gDimensions: Height including stopper 47 mm. Diameter neck 15 mm and mouth 6 mm.A good many molded porcelain bottles from the mid-Qing period are of animal, vegetable, or figural forms, and many of these were not reign marked. Several of them would have been inventions of the late Qianlong, and this elephant is likely to be one of them, although an early Jiaqing date is equally plausible. Because of their auspicious symbolism, elephants were moderately common subjects in the Qing palaces. They are known from the eighteenth century in nephrite and from late in the Qianlong reign in imperial yellow glass; it seems highly unlikely that the emperor would not have thought of molding them in porcelain the moment the art form evolved to the point of producing free-standing animal forms.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2014, lot 1171Price: HKD 93,750 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A Famille Rose Porcelain 'Elephant and Vase' Snuff Bottle Qing Dynasty, Qianlong PeriodExpert remark: Compare the near identical form, and closely related design and enameling.1770-1790年粉彩“太平有象”鼻烟壺中國，景德鎮。器身塑造為臥象造型，象頭俯臥向後看去，周身裝飾得珠光寶氣，身上蓋著波上滾珠紋毯子，背上有鐵紅色描金尊。 壺蓋鎏金銅，飾五隻蝙蝠，圍成壽字。 出版： 1. Bob C. Stevens，《The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》）》，紐約，1976年，頁98-99，編號310。 2. An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection，東京，1978年，頁37，編號65。 3. Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁142-143，編號58。 4. Bob C. Stevens，《Collection of Fine and Important Chinese Snuff Bottles》，第一部分，1981年，編號 60。 展覽： 1. Tokyo，Mikimoto Hall，An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection，1978年10月22-31日，畫冊編號 65。 來源：Bob C. Stevens舊藏，加利福尼亞；火奴魯魯蘇富比，Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part I，1981年11月，lot 60；紐約Rachelle R. Holden 舊藏，購於上述拍賣。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相良好，鎏金部分磨損較多，有製造瑕疵，壺嘴邊有小修補。壺蓋：鎏金銅 重量：41.6 克 尺寸：高 （含蓋）47 毫米，頸部直徑15 毫米及壺口直徑6 毫米 由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

JEAN COCTEAU (1889-1963)Quatre-profils signé à la main Jean Cocteauplat en terracotta avec feutre noir et pasteldiamètre 39 cm. (15 3/8 in.)Exécuté en 1958.hand signed Jean Cocteaupastel and black felt-tip pen on terracotta plateConceived in 1958.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, cf n° 6Jean Cocteau rencontre la poterie dans les dernières années de sa vie. Alors qu'il s'est illustré dans de nombreux champs artistiques, il se tourne en 1957 vers ce nouvel art dans lequel il trouva un réconfort salvateur et une source d'inspiration infinie. En 1956, alors qu'il est promu Dr Honoris Causa par l'Université d'Oxford, il entreprend les fresques de la mairie de Menton et de la chapelle St-Pierre à Villefranche-sur-mer. C'est dans cette petite commune de côte d'Azur entre montagne et mer qu'il rencontra un an plus tard le couple de céramistes Philippe Madeline et Marie -Madeleine Jolly. Ce sera le début d'une émulation artistique fructueuse et d'une profonde amitié qui dureront jusqu' à la mort de Jean Cocteau en 1963. « La poterie m'a sauvé la vie ! Elle m'évite d'utiliser l'encre qui est devenue trop dangereuse car tout ce qu'on écrit est systématiquement déformé par ceux qui le lisent...... Picasso m'avait dit que si je mettais une céramique au four, j'étais perdu. Mais j'ai toujours eu le goût de me perdre avec délice. »En 1946, Philippe Madeline ingénieur de formation épouse Marie-Madeleine Jolly faisant carrière dans la publicité après avoir fait l' Ecole des Arts-Décoratifs de Paris. Ils ouvrent leur atelier surplombant la mer à Saint-Michel de Villefranche-sur-mer. Marie-Madeleine crée des bijoux, et Philippe est en charge de la technique et de la fabrication des moules. Philippe admirait le travail de Cocteau et espérait pouvoir le rencontrer par le biais de connaissances communes. Lassé d'attendre, il décida de provoquer le destin.« J'avais envie de faire un essai et grand scrupule à le faire sans autorisation. (...) Pourtant un jour la tentation a été trop forte (...) J'ai mis trois pièces au four... J'en ai cassé une de suite (...) J'ai fait porter les deux autres à Santo-Sospir comme on jette une bouteille à la mer... Trois heures après Jean était là, mes plats sous le bras, m'interpellant comme s'il m'avait quitté la veille. »C'est ainsi que Jean devint « apprenti » et commença sa formation à raison d'un après-midi sur deux à l'atelier. « Jean Cocteau travaille dans une tension extrême. Il a pris comme dit Jean Marais « sa tête d'assassin ». Il est devenu impossible de poursuivre sa propre besogne à côté de lui. Personne ne parle. On marche sur des « pieds de silence ». Lui est comme un chirurgien au milieu de son équipe. » Jean Cocteau, « grand Maître du trait », ne retient que l'essentiel, le style est net, dépouillé. Philippe Madeline déclara « Comment ne pas être subjugué par son graphisme équilibré, rigoureux sans être géométrique, tendre sans mièvrerie... » Jean Cocteau et le couple Madeline Jolly créèrent jusqu' à la mort de l'artiste en 1963. De cette collaboration naitra 300 céramiques. Cette vente raconte cette synergie exceptionnelle entre l'art et l'artisanat en mettant en lumière le processus de création : des dessins préparatoires aux modèles originaux en passant par les pièces d'essai. Ces œuvres, qui reprennent les inspirations chères à Cocteau lui ont valu le surnom de « Poétier de Villefranche ». Elles sont aussi les témoins d'une rencontre prodigieuse entre Cocteau et Madeline Jolly et de leur amitié sans faille. Jean Cocteau comes to pottery in the final years of his life. Having distinguished himself in many artistic fields, in 1957 he turned to this new art in which he found both solace and an infinite source of inspiration.In 1956, after being awarded Doctor Honoris Causa by the University of Oxford, he undertook the frescoes of Menton town hall and the chapel of St-Pierre in Villefranche-sur-Mer. It was in this small town on the Côte d'Azur between the mountains and the sea that he met a year later the ceramist couple, Philippe Madeline and Marie-Madeleine Jolly. It would be the beginning of a fruitful artistic exchange and a deep friendship that would last until the death of Jean Cocteau in 1963.'Pottery saved my life! It saves me from using ink which has become too dangerous because everything we write is systematically distorted by those who read it...... Picasso told me that if I put a ceramic in the oven, I was lost. But I've always taken great delight in losing myself.'In 1946, Philippe Madeline, an engineer by training, married Marie-Madeleine Jolly, who was pursuing a career in advertising following her studies at the School of Decorative Arts in Paris. They open a workshop overlooking the sea in Saint-Michel de Villefranche-sur-mer. Marie Madeleine creates jewelry, with Philippe in charge of the technique and mould-making.Philippe admired the work of Cocteau and hoped to meet him through mutual acquaintances. Tired of waiting, he decided to take things into his own hands.'I wanted to try something yet had great qualms about doing it without permission. (...) Yet one day the temptation was too strong (...) I put three pieces in the oven... One broke right away (...) I had the other two sent to Santo-Sospir, just as one might throw a bottle into the sea... Three hours later Jean was there, my pottery plates under his arm, calling out to me as if we had just seen each other the day before.'This is how Jean became an 'apprentice' and began his training every other afternoon in the workshop. 'Jean works under great tension. He starts to take on, as Jean Marais says, 'the look of an assassin'. It has become impossible Cocteau to pursue one's own work beside him. No one is speaking. We walk on 'silent feet'. He is like a surgeon surrounded by his team. »Jean Cocteau, 'grand Master of the pencil stroke' retains only the essential; the style is clean, minimal. Philippe Madeline declared: 'How not to be captivated by its harmonious graphism, rigorous without being geometric, tender without sentimentality...'Jean Cocteau and the couple Madeline-Jolly worked together until the artist's death in 1963. From this collaboration were born 300 ceramics. This sale recounts this exceptional synergy between art and craftsmanship by highlighting the creative process: from sketches to original models and working proofs. These works, which drew on inspirations dear to Cocteau, earned him the nickname 'Poetter of Villefranche'. They are also witness to the exceptional encounter between Cocteau and the Madeline-Jolly couple and to their unfailing friendship.'Combien de mois a duré ce travail pour réaliser toutes ces poteries ?Jean Cocteau : ʻJe ne sais plus, mais... voilà il faut en effet une collaboration étroite, je dirais qu'il faut le feu de l'amitié et l'amitié du feu... ʼ ''How many months of work were needed to make all this pottery?Jean Cocteau: ʻI don't know anymore, but... indeed it requires a close collaboration, I would say that it requires both the fire of friendship and the friendship of fire...ʼ '... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A SLIP-DECORATED AND ENAMELED 'DOVES AND PEKINGESE DOG' SNUFF BOTTLE, YIXING, 1820-1850Published:Hugh Moss, Chinese Snuff Bottles Four: A Magazine for the collector and student of Chinese Snuff-Bottles, London, 1966, p. 45, fig. 11Arts of Asia, September-October 1973, p. 45, fig. 11Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, no. 336JICSBS, December 1979 and March 1980, p. 13, fig. 4Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 126-127, no. 50Exhibited:Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 92.China. The stoneware bottle of rounded rectangular form, with a cylindrical neck, and tapering to a recessed oval foot, enameled in blue and reserved on each side with a recessed panel, finely carved and decorated in opaque colored slips, one side depicting a pair of Pekinese dogs, and on the other a pair of doves. The coral stopper finely carved with a bat.Provenance: From the collection of Bob C. Stevens, no. 336. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 69. Rachelle R. Holden, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Magnificent condition with minor old wear, light surface scratches, very few touched-up glaze flakes and microscopic pits.Stopper: Carved coral (minuscule age cracks and chips to stopper)Weight: 44.1 gDimensions: Height including stopper 71 mm. Diameter neck 16 mm and mouth 6 mm.The Daoguang Emperor and his consort were fond of doves and small dogs, respectively, as subjects of paired doves and Pekingese dogs became popular during this period. The symbolism imbued in the pairs of dogs and doves implies a wish for happy marriage.The dove-and-dog Yixing bottles were made in sets and in several different series. One of the finest versions of all is seen in the present lot, with its rounded rectangular shape, blue surround and multi-colored slip decoration. The slip is both painted with a brush and plastered on and carved, or at least manipulated with a blade of some sort. This is the same technique as that of the Slip Master (see for example Moss, Treasury 6, lots 1448-1451), but it is a quite different, more evolved style, with a number of different colors of slip used almost like enamels. This is typical of artistic evolution in the snuff-bottle arts, where a simple idea, drawn initially from the painting style of the literati with its predominance of monochrome ink painting, evolves to a more complex style as the possibilities of the medium are explored. These bottles with their more intriguing designs and multiple colors may be the later wares by the Slip Master, perhaps with a son taking over, or they may be from a different workshop, although we are inclined towards the first option. The bulk of the known examples probably date from the earlier part of the Daoguang reign, although the type may have remained popular throughout the reign. As a rule, however, it is not likely that an Imperial type remained fashionable for thirty years without noticeable changes in style.The dogs and doves on this series are always extremely well depicted, full of life, and the limited range of colors of slip available to the carvers are very thoughtfully and effectively used. While the form remains reasonably constant, and the subject matter is always the same, there are several different compositions within the series. Either each was made as an individual composition of the same theme, or each series was redesigned. Two more are illustrated in Stevens 1976, as nos. 334 and 336, both equally well worked. Between them, however, is a rare example (no. 335) with an enameled design of the same subject, still with the blue surround, that is quite poorly painted, even by the decorative standards of Yixing. The painted version may come from a time later in the reign when the enamel workshop responsible for so many earlier bottles was beginning to show signs of decline.Yixing in Jiangsu province gives its name to this distinctive stoneware. In production for nearly a thousand years in the same place, Yixing ware only came into artistic prominence in the later Ming dynasty, when it was adopted by the literati class as a suitable material for teapots and thence for other items for the scholar's studio. Slip-decorated snuff bottles constitute a considerable portion of the known output. Slip is simply liquid clay which can be applied like a thick paint or used for gluing segments together.Literature comparison: Compare a Yixing bottle decorated with landscape scenes set within a blue-enameled surround, and impressed with a cyclical date, jiyu (1849) is illustrated in An Imperial Qing Tradition, Chinese Snuff Bottles from the Collections of Humphrey K. F. Hui and Christopher C. H. Sin, no. 46. Others of the slip-decorated versions with a blue surround are in Sotheby Parke Bernet, New York, 17 March 1977, lot 44, and Jutheau 1980, p. 94, no. 4, and Robert Kleiner & Co. Ltd. 1994, no. 75 (the designs as a mirror image of the present example), and Parke-Bernet Galleries, New York, 2 December 1969, lot 43 (from the Claar Collection).Auction result comparison:Type: Near identicalAuction: Christie's New York, 22 March 2007, lot 38Price: USD 33,600 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: An unusual slip-decorated stoneware snuff bottle, Yixing, 1820-1850Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 16 March 2015, lot 1028Price: USD 37,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: An enameled and slip-decorated, Yixing snuff bottle, 1800-1880 1820-1850年宜興紫砂掛釉加彩雙犬鼻烟壺 由於字數限制，完整中文敘述請至www.zacke.at查看。

A CARVED CELADON AND RUSSET JADE SNUFF BOTTLE, MASTER OF THE ROCKS SCHOOL, 1740-1850Published:Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 118-119, no. 407.Sotheby's Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part III, New York, 1982, no. 156.China. Of rounded rectangular form, finely carved through the russet-brown skin on one side with a scene of pine, lingzhi, rocks and a brick wall, the reverse with a pavilion encircled by swirling clouds which rise from the waves extending around the base. Superb manual polish with an unctuous feel overall.Provenance: From the collection of Bob C. Stevens, California. Sotheby's New York, 25 June 1982, lot 156. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '78' to the base. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor old wear, a minuscule chip to the rim.Stopper: Jadeite stopperWeight: 70.6 g Dimensions: Height including stopper 66 mm. Diameter neck 16 mm and mouth 5 mm.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1563Price: USD 30,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A well-carved greenish-yellow and brown jade snuff bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2002, lot 258Price: USD 22,325 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A rare and fine carved yellowish-green and russet jade bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.1740-1850年青玉留皮雕鼻烟壺中國。扁平長方削肩，一面棕褐色留皮精雕細刻松樹、靈芝和假山，另一面有一個亭台樓閣，周圍祥雲環繞。精湛的工藝，整體瑩潤。 出版：Bob C. Stevens，The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），紐約，1976年，頁118-119，編號407。 蘇富比Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part III，紐約，1982年，編號156。 來源：Bob C. Stevens舊藏，加利福尼亞；紐約蘇富比1982年6月25日 lot 156；紐約Rachelle R. Holden 舊藏，購於上述拍賣。底部可見Rachelle Holden 收藏標籤“78“。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，有輕微磨損，邊緣有微小的磕損。 壺蓋：翡翠 重量：70.6 克 尺寸：高 （含蓋）66 毫米，頸部直徑16 毫米及壺口直徑5 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1563 價格：USD 30,000（相當於今日EUR 36,500） 描述：1740-1850年青玉留皮雕鼻烟壺 專家評論：比較非常相近的雕刻風格，棕褐色留皮精雕細刻，並將青玉部分留白。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CARVED CINNABAR LACQUER ZHADOU AND COVER, 18TH CENTURYChina. The zhadou has a wide everted rim carved on top with lotus flowers within a ruyi-head border and incised on the underside with leafy lotus sprays below ruyi heads, all above the slightly rounded sides carved with hexagonal floral diaper. The domed cover is carved en suite around a circle of petal lappets at the base of the semispherical imitation-amber glass finial. The interior and base are entirely covered in black lacquer. Provenance: From a noted French private collection. Condition: Good condition with old wear, expected age cracks, few losses, some nicks here and there. Fine, naturally grown patina overall.Weight: 174.0 gDimensions: Diameter 14.6 cmExpert's note: The Sanxitang (Three Treasures Hall) was a private study of the Qianlong Emperor. It was so named because it was used to house his favorite three pieces of calligraphy, “Timely Clearing after Snowfall” by Wang Xizhi, “Mid-Autumn” by Wang Xianzhi, and “A Letter to Boyuan” by Wang Xun. The hall also houses a closely related zhadou along with a number of other important scholar's objects made during the period.Literature comparison:Lacquer zhadou with covers of this type appear to have been carved with various decorations, and have rims of various shapes. One carved with the sanduo and dated to the Qianlong period is illustrated by S. Kwan in Chinese Lacquer, Hong Kong, 2010, pp. 290-91, no. 103. Also illustrated, page 290, is a photograph from the Sanxitang in which a similar zhadou and cover are shown. Another related example carved with flower scroll, dated 18th century, in the Shenyang Palace Museum, is illustrated by R. L. Thorpe in Son of Heaven: Imperial Arts of China, Seattle, 1988, page 96, no. 28.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2012, lot 1710 Price: USD 10,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A carved red lacquer zhadou and cover, 18th century Expert remark: Compare the closely related form and manner of carving with similar lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15.3 cm) and lack of a finial.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 16 October 2021, lot 454 Price: EUR 12,008 or approx. EUR 13,000 adjusted for inflation at the time of writingDescription: A carved cinnabar lacquer zhadou and cover, mid-Qing Expert remark: Compare the closely related form and manner of carving with similar ruyi-head rim, lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15 cm) and gilt bronze finial.十八世紀剔紅纏枝蓮紋渣斗中國。渣斗寬邊折沿如意紋，蓋上剔紅纏枝蓮紋，渣斗外壁錦地紋。蓋上仿琥珀琉璃鈕。渣斗內黑漆。 來源：法國知名私人收藏。 品相：狀況良好，有磨損和年齡裂縫，邊緣有缺損，大面積刻痕，整體包漿細膩。 重量：174.0 克 尺寸：直徑 14.6 厘米 專家注釋：三希堂，古時是清高宗弘曆即乾隆帝的書房。 “三希”即“士希賢，賢希聖，聖希天”，士人希望成為賢人，賢人希望成為聖人，聖人希望成為知天之人，也就是鼓勵自己不懈追求，勤奮自勉。書房名為“三希堂”，乾隆十一年（公元1746年）間在此收藏了晉朝大書法家王羲之的《快雪時晴帖》、王獻之的《中秋帖》和王珣的《伯遠帖》。在乾隆帝的三希堂裏曾存放了一件相似的渣斗和其他文房用品。 文獻比較： 這種類型的帶蓋渣斗，有各種雕刻和裝飾，並有各種形狀的邊框。一件乾隆時期三多渣斗，見S. Kwan，《Chinese Lacquer》，香港，2010年，頁290-91，編號103；也見頁290，一張三希堂的照片裡有相似的渣斗。 另一件相近的十八世紀花纏枝渣斗，收藏於瀋陽博物館，見R. L. Thorpe，《Son of Heaven: Imperial Arts of China》，西雅圖，1988年，頁96，編號28。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1710 價格：USD 10,000（相當於今日EUR 12,500） 描述：清十八世紀剔紅花卉紋渣斗 專家評論：比較非常相近的外型和花卉雕刻、寬邊折沿如意紋、六邊形花紋。請注意相似的尺寸(15.3厘米) ，但蓋上沒有鈕。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN INSIDE-PAINTED ROCK CRYSTAL 'TROMPE L'OEIL' SNUFF BOTTLE, BY MA SHAOXUAN (1867-1939), DATED 1898Published:Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 314-315, no. 139 (erroneously stating the bottle was once in the Mary and George Bloch Collection)China. Of flattened form, with slightly concave top, finely painted on the interior on one main side with a collection of old, tattered and inscribed paper items, including envelopes, books and rubbings, the reverse painted with an excerpt from a Tang dynasty historical chronicle.Inscriptions: Signed 'Ma Shaoxuan', one seal, and dated to the third month of the Wuxu year (corresponding to 1898) Provenance: Robert Kleiner, London, 1992. Rachelle R. Holden Collection, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '244' to the base. Robert Kleiner (1948-2014) was an important expert on Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with only minor old wear. A few small scattered inclusions in the crystal.Stopper: Pink tourmaline stopper, black plateletWeight: 66.6 g Dimensions: Height including stopper 75 mm. Diameter neck 19 mm and mouth 6 mm.The calligraphy on the reverse side of this bottle is transcribed from the famous Tang stele by Ouyang Xun called Jiu Cheng Gong li quan ming (The Sweet Spring of Jiucheng Palace). Ouyang Xun (AD 557-641) was one of the four masters of the early Tang. The paintings on the other side include burnt and torn examples of the Jin Hui Dui and a fan-shaped painting by Yun Shouping, calligraphy from the book entitled Zuo Zhong Tang (a famous general), a torn book entitled Si Shu (essential reading for scholars), and an envelope inscribed You Shanghai Ji (posted from Shanghai).Ma Shaoxuan (1867-1939) was one of the most technically accomplished artists of the Beijing school of painting, which was first started by Zhou Leyuan and included other leading artists such as Ding Erzhong, Ye Zhongsan and Ziyizi. Ma's famous monochromatic portrait bottles of leading Qing officials and personalities were highly sought after among the influential minority of his day and continue to be among the most coveted of all inside-painted bottles. Executed only in black ink, with the use of vermillion solely for seals, each portrait is a technically impeccable, photographic likeness of the sitter. Ma's extraordinary renown led to his being commissioned in 1911 to paint two portraits of the young Xuantong Emperor.Literature comparison:Compare a closely related rock crystal snuff bottle by Ma Shaoxuan, illustrated by Nancy Berliner, The 'Eight Brokens'. Chinese Trompe-l'oeil Painting, Orientations, February 1992, p. 70.Auction result comparison:Type: Near identicalAuction: Christie's New York, 24 March 2011, lot 1578Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted glass snuff bottle, signed Ma Shaoxuan, dated start of the hot season in the jihai year, corresponding to 1899Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2013, lot 1088Price: USD 40,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writingDescription: A rare inside-painted rock crystal snuff bottle, Ma Shaoxuan (1867-1939), Beijing, probably 1905 1898年馬少宣款水晶内畫鼻烟壺中國。壺直口，豐肩，長方扁圓腹，橢圓形圈足。壺體為無色透明水晶為材，施以內繪技法，一面內畫彩色字畫殘片 。另一面楷書節錄唐歐陽詢書《九成宮醴泉銘》：“維貞觀六年孟夏之月，皇帝避暑乎九成之宮，此則隨之仁壽宮也，冠山抗殿，絕壑為池。節錄”。書法字體挺拔剛健，工整俊秀。 出版：Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁314-315，編號139 (錯誤認爲瓶子曾經在瑪麗和喬治布洛赫收藏中) 。 款識：馬少宣作；鈴印「少宣」 來源：1992年紐約 R. Holden 收藏購於購於倫敦Robert Kleiner & Co. Ltd.藝廊。底部可見Rachelle Holden 收藏標籤，上有編號 '244'。英國私人收藏，購於倫敦Robert Kleiner & Co. Ltd.藝廊。隨附一份2000年11月20日開具的發票副本，確認了相關描述和斷代。由於字數限制，完整中文敘述請至www.zacke.at查看。

A VERY LARGE AND EXTREMELY RARE CIZHOU PAINTED ARROW VASE, TOUHU, MING DYNASTYPublished: Michael B. Weisbrod, Inc., From Kilns of Kings and Commoners, 1990, New York, page 68, catalog number 27.Opinion: Except for a similar yet smaller example in the British Museum, the present lot seems to be the only surviving example of a group of Cizhou Touhu vases, probably made for Imperial use during the mid-15th to mid-16th century. The curator of the British Museum, Rebecca Harrison-Hall, comments on the rare vessel as follows: “Two earlier arrow vases of this shape, made of bronze, were excavated from a tomb (M.13) in Pinghu county, Sichuan province. Archaeologists believe that the tomb belonged to the father of the scholar Wang Xi (1405-52) or to one of Wang Xi's father's wives. A number of bronze and iron arrow vases have been collected by Professor Jessica Rawson for the British Museum for future publication. The style of figure painting relates closely to that of blue-and-white wares of the Jiajing period, which were made at Jingdezhen.”China, 15th-16th century. The compressed globular body supported on a low, thick foot and rising to a tall, slightly waisted neck, flanked at the top by two tubular arrow holes, the mouth and each of the arrow holes with thick lipped rims. The exterior densely decorated in brown and black painting above a cream-colored slip.Provenance: Warren E. Cox (1895-1977), New York, USA. A private collection in New York, USA, acquired from the above after 1977. A private collector in Toronto, Canada, acquired from the above. Michael B. Weisbrod, Inc., New York, acquired from the above in 1990. An important North American collection, acquired from the above. Warren Earle Cox (1895-1977) was an important New York antiques dealer and an authority on porcelain and pottery from around the world. His two-volume work “The Book of Pottery and Porcelain” became a standard reference in the field.Condition: Superb condition commensurate with size and age. Some old wear and firing flaws, including open bubbles, firing cracks, pitting, and dark spots, all as expected for Ming dynasty Cizhou wares. Minor glaze flaking along the rims and base with associated small touchups. Minuscule losses, nicks and shallow surface scratches.Weight: 6,386 gDimensions: Height 43.6 cmThe neck masterfully painted with shaped reserves enclosing sages dressed in loose-fitting robes seated amid trees, clouds, and lotus, all below scholar's rocks and plantain leaves as well as a band of ruyi-heads and above bands of key-fret and scroll. The body with a band of lotus petals at the shoulder, above a band of peony blossoms and scrolling vines, and a band of Buddhist lions striking different poses and divided by their ribboned brocade balls, with a scroll band above the foot. The arrow holes with floral diaper.Arrow vases were made for a drinking game called 'touhu', which had been popular among elite men and women from the Spring and Autumn period (770-476 BC). Players threw arrows into bronze or ceramic vases with narrow tubular necks at prescribed intervals, each player equidistant from the vase. The winner successfully projected all his arrows into the vase and the loser was forced to drink at each miss. Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Literature comparison: Compare a closely related Cizhou painted touhu, 40 cm high, dated to the Ming dynasty, circa 1522-1566, in the collection of the British Museum, museum number 1937,0716.74.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2017, lot 1174 Price: USD 68,750 or approx. EUR 77,500 converted and adjusted for inflation at the time of writingDescription: A painted Cizhou jar, Yuan dynasty Expert remark: Compare the related manner of painting showing similar figures within shaped reserves. Note, however, that the present arrow vase is much rarer, of more elaborate form and decoration, and slightly larger than this jar (35 cm). 明代罕見磁州窯彩繪投壺中國，十五至十六世紀。長直頸、兩側貫耳，圓鼓腹，足底露胎，刮痕粗顯，胎質堅硬，色呈淺灰。唇口、内壁和外壁罩白釉，色澤乳白微黃。外壁彩繪人物、神獸以及纏枝花卉等紋樣。 出版：Michael B. Weisbrod，Inc.，From Kilns of Kings and Commoners，1990年，紐約，頁68，畫冊第27號。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE FRAGMENTARY BUST OF A FEMALE DEITY, GILT COPPER-ALLOY, PROBABLY DENSATIL, TIBET, 14TH-15TH CENTURYOpinion: The particularly well-proportioned female image, possibly Prjanaparamita, with its simple yet sensuous appearance is - at first glance - evocative of high Newari craftsmanship, popularly commissioned by wealthy Tibetan monastic patrons during the 14th and 15th centuries. However, after looking at some of the characteristics more closely, several distinct features make an attribution to the Densatil monastery seem more appropriate. Chief among the diagnostic traits that can identify a work from the Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. The oval pinna, remotely signifying a lotus-petal, from which the lavish hairbands issue seamlessly, is another unequivocal feature, as are the extra-thick and heavy casting overall and the leaning head, which indicates that the present lot may once have been part of a larger supporting structure. For example compare a gilt bronze support, Densatil, 15th century, at Christie's New York, 27 March 2003, lot 105.Finally, the harrowing brutality to which this image was evidently exposed is a silent monument to the destruction of Densatil during China's Cultural Revolution (1966-1978), where one of the most inspiring cultural heritages of mankind became victim to an unconscionable mob.Superbly cast, richly adorned with a beaded and a floral necklace above her voluptuous breasts as well as lotiform armlets, the face with a serene expression, the eyes with distinct sinuous lids and raised brows, both heightened with subtle incision work, as well as full lips forming a calm smile, the neatly incised hair parted in the middle and secured by a tiara.Provenance: From a private collection in Paris, France.Condition: Condition overall as expected and commensurate with age. Extensive wear and losses. Dents, nicks, scratches and battering. Wear to gilt. All semi-precious stone inlays are now lost. Several distinct ritual patches.Weight: 3,472 g Dimensions: Height 33 cmHeavily cast gilt copper-alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, that has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning "many doors of auspiciousness," and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the Monastery's main hall.Followers of the charismatic Phagmo Drupa Dorje Gyalpo (1110-1170) constructed the Densatil Monastery. His school, which came to be known as Phagmo Drupa Kagyu, was one of the four primary schools of the Kagyu lineage of Tibetan Buddhism. Its noble house became so powerful that their dynasty ruled from the mid-fourteenth to the mid-fifteenth century. Eventually it had died out by the end of the seventeenth century, but the Densatil Monastery survived intact under the control of other Tibetan Buddhist schools until it was eventually destroyed. Today the monastery is undergoing reconstruction thanks to the efforts of the Tibetan Autonomous Region Ministry of Culture and the Drigung (Drikung) Kagyu school.Literature comparison: Compare with a statue of Prajnaparamita from tier 3 of the tashi gomang stupas, dating to 1370, in About the 18 stupas and other treasures once at the Densatil monastery, by Jean-Luc Estournel, September 2020.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2014, lot 1016 Price: USD 617,000 or approx. EUR 731,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a Nagaraja, Densatil Style, 15th century Expert remark: Compare the heavy and massive casting as well as the similar treatment of the eyes, lids, brows, breasts and pinna.十四至十五世紀西藏大型銅鎏金女神半身像專家注釋：特別勻稱的女性形象，可能是般若菩薩，其簡單而感性的外觀 - 乍一看 - 令人回想起十四世紀和十五世紀西藏寺院富有的贊助人經常委託的紐瓦里工藝。然而，在更仔細地研究了一些特徵之後，幾個不同的地方，讓人更能確定，這座半身像可能來自丹薩替寺，比如她凸出的階梯式眉毛和清晰的雙眼皮和嘴唇。橢圓形耳廓，蓮花髮帶，是另一個明確的特徵。整體厚重，包括傾斜的頭部，這表明本拍品可能有更大的支撐結構。例如，比較一個鎏金青銅支架。丹薩蒂爾寺，15世紀，紐約佳士得，2003年3月27日，編號105。 丹薩替寺在中國文化大革命（1966-1978）期間被毀，實在令人痛心。 來源：法國巴黎私人收藏。 品相：整體狀況符合預期，大面積磨損和缺損。凹痕、刻痕、劃痕，鎏金磨損。很多寶石遺失，幾個修補。幾個儀式留下來的明顯斑塊。 重量：3,472克 尺寸：高33厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

* CAROLA GORDON (SCOTTISH b. 1940),WINTER - ANN STREET (Edinburgh)oil on canvas, signed, titled labels versoimage size 19cm x 19cm, overall size 28cm x 28cm Framed. Label verso: The Open Eye Gallery, Edinburgh.Note: Carola Gordon was born in Lucknow in India in 1940 and was educated between 1948 and 1961 at school and university in Pietermaritzburg, South Africa where she graduated in English and Fine Art. Between 1961 and 1963 she studied for English Tripos at New Hall, Cambridge and from 1963 to 1965 she attended Edinburgh College of Art where she studied Drawing and Painting. In 1966 she returned to South Africa, but then moved to Scotland and settled in 1977 when she began to work full time as an artist producing watercolours and oil paintings. She exhibits regularly in Scotland at the Open Eye Gallery and with the Royal Scottish Academy, the Royal Glasgow Institute of the Fine Arts, the Royal Scottish Society of Painters in Watercolour, the Society of Scottish Artists and Craftsmen and Visual Arts Scotland. Her work is held in private collections in Scotland, England, USA, Canada, Australia, Germany and South Africa and her awards include the Lily MacDougall Award and Martin and Frost Award. Public collections include the City Art Centre in Edinburgh, the New Hall in Cambridge and Tatham Art Gallery in Pietermaritzburgh, South Africa.

SIX NEW MINTON HADDON HALL MUGS

28 assorted ticket stubs for Bowie / Tin Machine concerts c 1970s - 00s. To include rare Japanese examples, a 1978 New Bingley Hall stub. Most in very good condition.

JESÚS RAFAEL SOTO (Venezuela, 1923 - France, 2005).Untitled, ca. 1992, from the Suite Olympic Centennial.Silkscreen on Vélin d'Arches paper, copy 110/250.Signed and dated in pencil in the lower right corner.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Size: 63 x 90 cm.A Venezuelan artist trained at the Escuela de Arte de Caracas, Jesús Soto was an outstanding representative of kinetic art, which he began and developed in the late 1950s. Between the seventies and the nineties, already fully established internationally, he held important exhibitions in places such as the MOMA and the Guggenheim in New York, the Centre Georges Pompidou in Paris, etc. He also took part in the Venice Biennale in 1966 and the São Paulo Biennale in 1996. Particularly famous for his penetrable sculptures, he also carried out projects such as the decoration of the main hall of the Teatro Teresa Carreño in Caracas. Soto was awarded the Premio Nacional de Artes Plásticas de Venezuela, and in 1973 the Venezuelan government inaugurated a museum in his honour in his native Ciudad Bolívar. He is currently represented in important collections such as the Guggenheim Museum in New York.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial trends, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov which concentrates on the human figure, intensely expressive and treated with forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

13 Hornby Skaledale. NER Goods Shed. NER Weigh Bridge. Village Hall. Low Relief The Chapel. Coal Drop Ramp 2. Coal Stage. Butterley Waiting Room. Shiplap Lean To. Platform Ramp x2. Curved Pavements. 2x Cotswold Stone Wall Pack No.2 Plus a Loading Stage & Crane. All boxed, minor wear. Contents Mint, as new. £100-150

13 Hornby Skaledale. Hight Street Dental. Maestro Market. Bungalow. Low Relief County Hall. Bungalow unpainted. Garage Outbuilding. Coal Stage. Platform Ramp x2, Loading Stage & Crane. 2x Cotswold Stone Wall Pack No.2 Bridge Ramp Adaptor. Plus Curved Pavements. All boxed, minor wear. Contents Mint as new. £100-150

A Staffordshire earthenware soup tureen on stand, meat plate and two dinner plates, Charles Meigh & Son, Old Hall Pottery, perhaps from the International Exhibition, Manchester, 1862, each piece designed with angels, saints within painted niches and entwined leafy swags against a gold ground, tureen height 31cm.Qty: 5Footnote:The overpainted Opaque Porcelain blind stamp together with the printed Royal Arms mark (Godden 2622) suggests that these pieces were manufactured at the time when Charles Meigh & Son was renamed The Old Hall Earthenware Company (1861-62). It was under the new name that "Specimens of earthenware" were exhibited at the Manchester exhibition, these included "Dinner, dessert, tea, breakfast and toilet services, from the most costly to the cheapest kind, both for home and foreign markets ..." (The International Exbibition of 1862 - The Illustrated Catalogue of the Industrial Department, no. 6875)

Bindings Bunyon, John "The Pilgrims Progress ...", George Routledge 1867, full leather binding with blind rules and decorations, gilt titles, a central cartouche which is plain, raised bands, gilt decorations to backstrip and red pastedown title, all edges redMr Le Clerc...Second Edition...' Printed for J.Knapton 1719, full contemporary leather, worn and bumped M'Gregor-Robertson, J "The Householder Physician ...", New Edition in two vols, quarter leather with gilt decs. to back strip, The Gresham Publishing CompanyDickens Charles ' Martin Chuzzlewit' and 'Hard Times'  the Works Household Edition, Chapman and Hall, green pictorial cloth, gilt titles. Scott Sir Walter ' Ivanhoe - A Romance'  Walter Scott Limited - ills  , maroon pictorial cloth, Sunday School prize label inside front board and 'Life of General Gordon' , Walter Scott Limited, ills, maroon pictorial cloth and vol III only of Shakepeare  'Histories'.  half leather, marbled boards, folio, Grotius Hugo ' The Truth of the Christian Religion ...................corrected...by (1 box) 

Coins - The Royal Mint - a collection of x6 Royal Mint issued commemorative £5 Brilliant Uncirculated commemorative coins. Includes; The Unknown Warrior, 150 Years Of The Royal Albert Hall, 150 Years Of British Red Cross, David Bowie, Victoria, and Year Of The Rat. All contents mint / as new. 

An early 19th century pair of Coalport coffee cups and saucer painted with pattern 793 and a New Hall Coffee cup, teacup and saucer, See M. Messanger, Coalport, page 168, plate 114 for pattern 793,New hall cup 6.5 cms high,

A Newhall saucer dish painted with pattern 85, octagonal Newhall-type spoon tray, clip-handled coffee cup painted with flowers, two ridge handled coffee cups, New Hall pattern 430 coffee cup, Newhall teapot and eight other teawares

A SMALL PARCEL OF LATE 18TH, 19TH AND 20TH CENTURY SPOONS, NAPKIN RINGS, ETC, comprising an Old English pattern tablespoon, maker Thomas Northcote, incuse duty mark, London 1785, a set of four Victorian Fiddle pattern teaspoons, engraved initials 'HEH' to handles, Josiah Williams & Co, Exeter 1878, seven assorted napkin rings, all engraved with initials and name, includes one oval pair, an Elizabeth II silver framed easel back quartz clock, the dial with Roman numerals and named Rudell & Co, sponsor mark Kitney & Co (Gordon & Christopher Kitney), London 1997 and a George V glass dressing table tidy with pull off silver cover, Birmingham 1919, together with a copy of Banister's 'English Silver Hall Marks' , gross weight of weighable silver 8.41ozt, 261.8 grams (15) (Condition report: the tablespoon has a slight crease towards the back of the bowl, teaspoons are in fair condition, napkin rings are in good to poor condition, the clock is in good condition but requires new battery, dressing table tidy cover is dented and the glass has been broken and glued)

Books, to include: Frank Brangwyn, 'Belgium', London, Kegan Paul, 1916, with text by Hugh Stokes; W. Shaw Sparrow (ed.), 'The Spirit of the Age: The Work of Frank Brangwyn', London, Hodder and Stoughton, 1905; Brendan Behan, 'Brendan Behan's Island, An Irish Sketch-book', London, Hutchinson, 1962, with illustrations by Paul Hogarth; 'Brendan Behan's New York', London, Hutchinson, with drawings by Paul Hogarth; Paul Hogarth, 'Creative Pencil Drawing'; Eadweard Muybridge, 'The Human Figure in Motion', London, Chapman and Hall, 1913. (6)

Washington Irving, 'The Sketch Book of Geoffrey Crayton', New York and London, Putnam's, 1895, 2 volumes, with Irving, 'Bracebridge Hall or The Humourists', New York and London, Putnam's, 1896, Surrey edition, 2 volumes, all bearing gilt decoration to blue boards. (4)

FEDERICO BRANDT (Caracas, Venezuela, 1878-1932)."Interior.Oil on canvas.Signed with initials in the upper left corner.Measurements: 79 x 66 cm.; 100 x 87 cm.(frame).Federico Brandt was a versatile artist, but where his most special sensitivity would become evident would be in the painting of domestic interiors. Here we have an outstanding example of his ability to compose intimate, intimate atmospheres. This interior tells us much, with great economy of means, about the people who live in it: their religiosity, their high social status and their refined but not ostentatious taste. A Persian rug is cut out of the frame, which offers a partial view of two rooms: a leather upholstered chair, a devotional painting with a baroque frame... everything is depicted with careful drawing and an accurate, post-Cezannian colour treatment. A small icon rests on a Louis XVI style hall table, illuminated by two candlesticks.Federico Brandt began painting in 1896 as a pupil in Arturo Michelena's studio. Brandt then attended the Academy of Fine Arts in Caracas, where he was a pupil of the painters Emilio Mauri and Antonio Herrera Toro. In 1899 he received his first academic recognition: he won the Painting Prize of the Academy of Fine Arts of Caracas. The prize consisted of a scholarship to study in Europe. In Paris he attended classes at the private academies "La Colarosi" and "La Grande Chaumiere" and was enrolled in the course of Jean-Paul Laurens and studied with the great painter Antonio de la Gandara. As a student he spent some time in Belgium and painted his first Impressionist-influenced works in Bruges in 1903. In 1913 and 1914 two important exhibitions were held at the Círculo de Bellas Artes in which Federico Brandt took part, and he continued to execute commissions for El Cojo Ilustrado, now depicting the tragedies of the First World War. In 1922 Brandt travelled to the United States and, together with Luis Alfredo López Méndez, also a Venezuelan painter, painted the docks of New York. Back in Venezuela, in 1925 he began a new series of landscapes, this time of the Izcaragua hacienda near the capital. In 1928 he painted the surroundings of his brother Alfredo's residence, the Quinta de la Casona. His first individual exhibition was held at the Ateneo de Caracas the year after his death. In 1950 the Museo de Bellas Artes in Caracas presented an exhibition of works by Brandt and his daughters, Julia and Mary. An exhibition was also organised at the Sala Mendoza in 1956, a general retrospective of his work at the Museo de Bellas Artes in 1972, and at the Galería de Arte Nacional in Caracas in 1978.

MOSELY M. E. & KIMMINS B. E.  The Trichoptera of Australia & New Zealand. Illus. Quarto. Orig. green cloth. British Museum, 1953; also Birds of the Harold Hall Australian Expeditions, 1974 & 1 other.  (3).

2 New Hall Slop Bowls. 1 pattern 1045

2 New Hall 18th Century Tea Bowls

Six pairs of 1950s/1960s ladies flat shoes makers to include ‘New Hall Shoes of quality’, ‘Skeldale footwear’, ‘Geo Ward Her Grace’ and ‘Air-Lyne’, sizes 3 to 6. (6)

Four pairs of 1950s/1960s ladies stiletto shoes comprising a pair of ‘Skyline by Clarks’ in brown lace, size 5, a pair of ‘Fashion Wise by Barratts’ in black, size 5.5, a pair of ‘Lotus Highlights’ in cream stain with a gold weave asymmetric bar, size 6, and a pair of ‘New Hall Shoes of Quality’ in black, size 6, together with two pairs of round toe court shoes, both size 5. (6)

Portrait of Charles Chadwick (1753-1829) half length, in brown, wearing a mortar board and gown, a view of Emmanuel College, Cambridge beyondsigned and dated 'J. Downman / Pinxt / 1779' (lower right)oil on copper23.3 x 19.4cmProvenance:By descent in the family of the sitter until an unknown date;The Rev. Henry Madan Pratt, MP, JP (1856-1934) Southern House, Cheltenham;His sale, Christie’s London, 23rd May 1930, lot 144 (26gns to Jones);H Burton-Jones, London;Mrs K Gifford Scott,Her sale, Sotheby’s London, 14th March 1984, lot 54 (£5,280),When acquired by Spink, London;Anonymous sale, Christie's London, 8th July 2016, lot 185, When acquired by the present ownerThe present portrait was painted during the brief period when Downman resided in Cambridge. He reputedly set up his easel in college gardens to attract custom (see G C Williamson, John Downman ARA High Life and Works, London, 1907, p. xiv).The sitter, son of Colonel John Chadwick (1720-1800) of Healey Hall, was admitted to Emmanuel College in 1771. He is shown here outside the long facade of Emmanuel College where he had his lodgings, the new college building which was still being completed when he was there. He was later admitted to the Middle Temple in 1775 and attained his Bachelor of Law in 1778, he already being JP for the West Riding of Yorkshire from 1775. He was the same for Lancashire from 1785 and for Staffordshire from 1792 having succeeded to the family estates at Mavesyn Ridware in Staffordshire in 1784; Callow in Derbyshire and New Hall in Warwickshire in 1793 and to that of Healey Hall in Lancashire in 1800. He served also as a Deputy Lieutenant for Lancashire from 1777 and for Staffordshire from 1796. In 1788, he married Frances Green of Leventhorpe Hall in Yorkshire. In 1803, he went to reside at New Hall, his Warwickshire estate. He became a member of the Antiquarian Society in 1807 and after the fire at Emmanuel College in 1811, he contributed a substantial sum towards its rebuilding.The Chadwick family had a long association with Emmanuel College. The sitter’s kinsman, Charles Chadwick (d. 1627) was Chaplain to Queen Elizabeth I, James I and Thomas Howard, Earl of Suffolk, and was among the first three Fellows at Emmanuel College at its founding in 1584 where he became President in 1588 (see Remains, Historical and Literary, Connected with the Palatine Counties of Lancaster and Chester, Published by the Chetham Society, vol. XXXI, 1853, p. 183).A preparatory chalk drawing of 1778 of this sitter is in Downman's sketchbooks in the Fitzwilliam Museum (inv. no. 1894, Downman Sketchbooks from Butleigh Court, Second Series, vol. IV, no. 2). This portrait was almost certainly from its date commissioned from Downman to commemorate Chadwick receiving his law degree.We are grateful to Amanda Goode, Archivist at the Emmanuel College, for her assistance with this catalogue entry.The painting is executed in oil on an oval copper support. The support and paint layers are in a good, stable condition overall. The paint layer has a slightly mottled surface, visible in the upper half which is due to application of the paint layer as well as the interaction between the oil and copper support. There are a few localised areas of retouching which are generally well matched to the original. The varnish is clear and even.

Portrait of The Right Honourable Mark Lemon Romer, Baron Romer, PC (1866-1944)signed and dated "J Crealock / 1933" (lower left)oil on canvas125 x 100cmBorn in Crawley, Sussex, Romer was the son of Sir Robert Romer and Bettey, née Lemon, daughter of Mark Lemon the founding editor of Punch. Following his early education at Rugby, Romer went to Trinity Hall, Cambridge where he read mathematics. He was called to the Bar in 1890 and was made King's Council in 1906.Romer was appointed to the Chancery Division of the High Court in 1922 and received the customary knighthood the same year. In 1929, he was made a Lord Justice of Appeal and sworn into the Privy Council. He was appointed a Lord of Appeal in Ordinary in 1938 and was made a life peer with the title Baron Romer, of New Romney in the County of Kent.The painting is executed in oil on canvas support which is unlined. The canvas tension is slack and there are general undulations across the surface and deformations following the tacks at the edges of the painting. There is a puncture to the canvas at the upper right corner. The paint layers are in a good condition overall. There is a thin varnish layer which is slightly yellowed but generally even and acceptable. There is a layer of surface dirt including white accretions. There are a few scuffs to the surface. 145 x 118cm framed

The Beatles - Beatles Bar neon from Latham Hall where The Beatles played in 1961, in Liverpool this Bar had the Beatles perform there around eleven times, this sign dates from the mid 1960's, recently restored with new electrical wiring to code, it measures 122 x 72 cms approx, on wood support

A collection of vintage 20th century LP vinyl records to include the genres rock n' roll, rock, pop, Jazz, pop rock, pop, folk rock, synth pop, blues, new wave, progressive rock. psychedelic rock. Artists comprising of Gene Pitney, The Seachers, Jimmy Dorsey, Emotions, Billie Holiday, Phil Collins, Edmond Hall, Ruby Braff, Johnny hates, Crystal Gayle, Leo Sayer, Al Stewart, Simply Red, Pete Townsend, Lionel Hampton, Alison Moyet, London Town, Elvis, Paul Young, Mike Oldfield, Rick Wakeman, Herb Ellis, Status Quo, Hair, Pitney 75, Louis Armstrong, Bing Crosby, Muggsy Spaniers, Jerry Lee Lewis, Benny Goodman, Brenda Cochraine, Bob Seger, Chris De Burgh, The Shadows, Leather & Lace and Bob Brookmeyer, 

ANDREW LANYON Two books by Andrew Lanyon: 'Circular Walks Around Rowley Hall, 1,000 limited edition with slipcase 2006 & 'The Only Non-Slip Dodo Mat In The World' 2013, both signed. Condition: each very good, as new

Bob Dylan/The Band, a collection of LP's to include New Morning, The Basement Tapes, Before The Flood, More Bob Dylan Greatest Hits, S/T, Blood On The Tracks, Planet Waves, John Wesley Harding, Highway 61 Revisited, Blonde On Blonde, Another Side Of, Bring It All Back Home, Street Legal, Greatest Hits, Chicago, The Royal Albert Hall Concert 1966, The Freewheelin', Nearer To The Fire, Great White Wonder One (GWW LP 1 A / 1 B white label with typed track list to inner) and While The Establishment Burns (Winklhofer 1848 blue vinyl.) (20)Lots 1001-1043 have been consigned by Steve Harley, singer and frontman of 1970s group Cockney Rebel, whose number one hit ‘Make Me Smile (Come Up and See Me)’ has been covered at least 120 times and appears on soundtracks as diverse as The Full Monty, Lego Rock Band, and a Marks & Spencer’s advert.The collection includes stage costumes, vinyl, backstage passes, souvenir brochures and Harley's own script for the 1986 Andrew Lloyd Webber musical of The Phantom of The Opera.

Bob Dylan, a collection of thirteen LP's, to include Blood On The Tracks Canadian pressing PC 33235, Planet Waves Promotional Broadcast and Review Not For Sale 7E-1003, Before The Flood IDBD 1, Self Portrait 40AP 279~80, The Real Royal Albert Hall Concert 88985361441, Nashville Skyline 63601, John Wesley Harding S 63252, New Morning 69001, More Greatest Hits 67239, Greatest Hits II 40AP 282-3, Greatest Hits III S 63 111, Seventy Dollar Robbery bootleg 3512 and The Best Of A Rare Batch Of Little White Wonder Italian pressing LPUP 5122. (13)

POSTCARDS - READING, BERKSHIRE Sixty-five cards, comprising real photographic views of Broad Street; Oxford Street; Reading Bridge Opened Oct. 3rd 1923; Roebuck Hotel, Tilehurst; New Hall, Reading College; Entrance to Palmer Park, Wokingham Road; Coley Avenue; Christ Church; and the Abbey Gateway; with printed views of Forbury Road; West Street; St. Mary's Butts; London Road showing Hspital; Broad Street; Bath Road; Reading from the Air; Kings Road; Palmer Park; Forbury Gardens; Junction of Kings Road and London Road; Municipal Buildings and St. Lawrence's Church; and others, (loose).

5 assorted vintage Jazz records to include Paul Barbarin's Bourbon Street Beat, signed to reverse with names from the performers at Dixieland Hall, New Orleans. And 2 George Lewis 7" singles, signed to covers "To The Jazz Journal, Geo Lewis".

Three early 19th century tea bowls to include a New Hall example Location:

18th and 19th century ceramics to include four Chinese 18th century tea bowls and saucers, New Hall Boy in the Windows, patter tea bowl and saucers and two Japanese porcelain saucers, Location: 2:3

A collection of 19th century teacups, saucers and trios, various manufacturers including New Hall, Coalport, Derby, etc, including two cups painted with farmers in landscape settings, examples with floral decoration, and a cup, can and saucer decorated with travellers in a landscape, possibly Clews, a trio with label for the Zorensky Collection, etc.  Additional InformationLight scratches, scuffs and crazing throughout, two saucers are flat when flicked but no cracks are evident, the teacup with cobalt blue and gilt decoration with landscape detailing sounds flat when flicked, the smaller turquoise teacup decorated with fruit again sounds flat when flicked, two further teacups sound flat when flicked but again no cracks evident.

WORCESTER; an 18th century Flight Barr & Barr blue and white teapot of bulbous form, the cover with flower finial, decorated with butterflies and floral sprays, crescent mark to the underside, height 15cm,  a late 18th/early 19th century New Hall porcelain commode shaped tea pot, no.NI95 and an 18th century Chinese Famille Rose teapot and cover, decorated with figures in landscape setting (3).Additional InformationThe Chinese example with numerous glaze chips, there is also a crack to the handle and spout, sellotape residue to each, minor chipping to each of the rims and spout, the Worcester example with chipping to the rim spout.

New Zealand 1845-66, reverse dated 1864 to 1865 (1082 Wm. Hall, 70th. Regt.) very fine £400-£500 --- William Hall attested for the 70th Foot and served with them in New Zealand from 1864 (the Regiment as a whole had arrived the previous year), being present at the actions Waikato, Waughani, Taranaki, and Koheroa. Sold with copied medal roll extract.

A SET OF EIGHT PRINTS OF LADIES DANCING IN COSTUMEMounted, framed, and glazed Some with label for CHRISTIES NEW HALL VAULT28 x 23cm overall

The Mildmay Service – A pair of George I Britannia standard dinner plates Paul de Lamerie, London 1725, each of circular outline with a moulded border, engraved with armorial and crest to border, the reverse engraved with numbers 14 and 34 and with scratch weights 20:18 and 20:15 respectively Dimensions:Diameter: 24cm, combined weight: 35ozProvenance:Provenance:The Estate of Ray Slater Blakeman; Christie's, New York, 15 October 1985, lot 313 and 314 with Sandra Lipton, London, May 1989.Sotheby’s Auction, 17th November 2010, Fine Furniture, Tapestries, Silver, Ceramics, Clocks and Rugs, Lot 15Note: Heraldry:The arms are those of Mildmay quartering Fairfax with Schomberg in pretence for Benjamin Mildmay, 19th Baron FitzWalter and 1st Earl FitzWalter.Note:Benjamin Mildmay, Baron and later Earl FitzWalter (1672-1756) The rapid social ascendancy of the 1st Earl of FitzWalter is an example of the nature of Georgian wealth and is visible in his commissions and the alterations to his stately home, Moulsham Hall in Essex.In 1724, at the age of 51, Mildmay married the widowed Lady Frederica Susanna, daughter of the 3rd Duke of Schomberg, who was famed for his role in the Battle of the Boyne. This consequently gave Mildmay access to Schomberg House, on Pall Mall, and therefore also to the heart of London society. Soon after, in 1728 he inherited the Barony of FitzWalter from his elder brother, who had died without issue, and then in 1730 he was given the title of Viscount Hardwich, in the county of Essex, and Earl FitzWalter; all in a mere six years.Moulsham Hall in Essex, formed part of the estate he inherited from his late brother. The hall was originally built in 1540 by Thomas Mildmay, and it would remain in the family for over 300 years. Indeed, it was esteemed enough to host Elizabeth I for four days on her annual progress in 1579, before being refashioned in 1591 into a grader Tudor home.In 1728 as soon as Mildmay inherited the property, he, along with the architect Giacomo Leoni, transformed the house into a Neo-Classical mansion in the Palladian style. Together they were extremely methodical about keeping records for each purchase and transaction. These records are now archival material held with Essex record office, and they show the wealth and investment for both the exterior and interior of the house.Mildmay himself had established a successful government career, from 1720-28, he was Commissioner of the Excise and was later promoted to Treasurer of the Household in 1737. The fusion of his career, his inheritance and his marriage meant that Mildmay was able to commission only the best and most fashionable craftsmen of the time.In 1725, he ordered ‘12 Dishes & 3 Dozen of plates’ from the well-respected Huguenot silversmith Paul de Lamerie, as detailed in the Essex Record office. It is most likely that these plates, dated 1725, were commissioned to mark his marriage with the engraved armorials enforcing this. The Essex Record Office hold invaluable account details and show that a further service of dinner plates was commissioned in 1737 and this is most likely linked to his appointment as Treasurer of the Household as he had an entitlement of 1000oz of plate for his own use from the Jewel House.Furnishing one’s abode with plate was the ultimate Georgian display of wealth, contemporary peers of Mildmay also chose to display their wealth by investing in plate. George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years also invested in a silver service and also chose Paul de Lamerie to craft his wares. Lyon & Turnbull offered one serving dish from his service in March of 2022, Lot 130, achieving £7,800.De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his mark in 1712. The continent was to continue to inspire his work, from the 1730s he was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided by his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commissioned a wine cistern in 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold.Mildmay died without issue, leaving the house and contents with no viable heir. The house was later occupied by defensive forces fearing an invasion during the Napoleonic Wars and eventually demolished, but the furnishings are unaccounted for. Whenever items do appear at auction, there is always much anticipation. Twelve similar plates, also marked for 1725, are currently housed in the Sterling and Francine Clark Art Institute in Massachusetts (acquisition number 1955.405).

A George III double-ended marrow scoop- New Club interest Edinburgh 1801, with threaded detail and engraved garter with New Club and the number 4; together with a punch ladle, Patrick Cunningham, Edinburgh 1811, of traditional form, baleen twisted handle and coin inset to bowl; a pair of Victorian servers, Martin, Hall & Co, Sheffield 1856, each with pierced foliate blades and prongs, the handles with ornate decoration and budding floral finials and a pair of shell and foliate scroll asparagus tongs, Goldsmiths & Silversmiths Co Ltd, London 1901Dimensions:Length: 24.5cm, weighable silver: 7oz

A Collection of 18th/9th Century English Porcelain to Comprise New Hall Sugar Box, Circa 1810, Georgian Creamer and Matching Sugar Bowl, Chinese Lowestoft Cup, Two Tea Bowls and an Encrusted Tea Bowl with Teal Bowl

FOLK/ FOLK ROCK/ SINGER-SONGWRITER - LPs. Another fantastic collection of around 70 LPs. Artists/ titles include Magna Carta inc S/T (20166SMCL), In Concert (6360 068). Crosby, Stills Nash & Young inc Deja Vu (2401001), 4 Way Street, American Dream, CS&N, Daylight Again, Whistling Down The Wire, Live. Stephen Stills - Illegal Stills, Robin Williamson - Myrrh, Scaffold LP, Strawbs inc Grave New World, Bursting At The Seams, Nomadness, Live At The Queen Elizabeth Hall, From The Witchwood, Hero And Heroine. Sweeny's Men. Rosie Hardman, Angelo Branduardi, Dave Cartwright, Arlo Guthrie, Nutshell, Cat Stevens, Various - Listen Here, Jack Elliott, Van Morrison, The Oyster Band. Condition is generally VG+ to Ex+.

NEW WAVE/ ART ROCK/ COOL POP - LPs. A quality collection of 39 LPs. Artists/ titles include Kate Bush inc Hounds Of Love (KAB1), Lionheart (EMA 787), The Sensual World (EMD 1010), The Kick Inside (EMC 3223). The Jam - Snap (SNAP1), George Michael - Faith (EPC 4600001), Dr Feelgood - Singles: The UA Years. Blondie inc PLastic Letters, The Huter (picture disc). Debbie Harry - Def, Dumb & Blonde. Japan - Tin Drum, The Stranglers - The Collection 1977-1982, Steely Dan inc Can't Buy A Thrill, Countdown To Ecstasy, Katy Lied. The Police inc Ghost In The Machine, Outlandos d'Amour, Reggatta de Blanc. Tom Robinson, INXS, Hall & Oates, Godley & Creme, The First Class, Black, Mink DeVille, The Cars, Level 42, The Kursaals, Howard Jones, U2. Condition is generally VG+ to Ex+.

1931 Aston Martin 1½-Litre Le Mans / International 'Team Car' 2/4 Seater Sports Tourer Coachwork by Bertelli Registration no. JO 3999 Chassis no. J1/111•One of only four Le Mans 'Team Car' replicas•Unique coachwork•In-period Brooklands race history•First purchased by the vendor's father in 1955•Mechanically maintained but cosmetically un-restoredFootnotes:Please note the chassis no is I1/111 and not J1/111.Manufactured by Robert Bamford and Lionel Martin, the first Aston-Martins (the hyphen is correct for the period) rapidly established a reputation for high performance and sporting prowess in the immediate post-WWI years. Unfortunately, the management's concentration on motor sport, while accruing invaluable publicity, distracted it from the business of manufacturing cars for sale, the result being just 50-or-so sold by 1925 when the company underwent the first of what would be many changes of ownership. The foundations were laid for the commencement of proper series production with the formation of Aston Martin Motors Ltd in 1926 under the stewardship of Augustus 'Bert' Bertelli and William Renwick. Built at the firm's new Feltham works, the first 'new generation' Aston Martins were displayed at the 1927 London Motor Show at Olympia. Like his predecessors, 'Bert' Bertelli understood the effect of competition success on Aston Martin sales and sanctioned the construction of two works racers for the 1928 season. Based on the 1.5-litre, overhead-camshaft road car, the duo featured dry-sump lubrication and this feature was carried over to the International sports model, newly introduced for 1929. Built in two wheelbase lengths (102' and 118'), the International was manufactured between 1929 and 1932, mostly with bodies by Augustus's brother Enrico 'Harry' Bertelli. Aston Martin built 136 cars between 1927 and 1932: 14 on the long chassis and 122 on the short International chassis. A contemporary road test of an International recorded a top speed of 81mph with up to 90mph attainable, depending on the back-axle ratio. The new Aston was soon making its mark on the racetrack, 'Bert' Bertelli and Pat Driscoll winning the Biennial Cup at Le Mans in 1932, one of many competition successes achieved before the International was superseded by the Le Mans and Ulster models. Private owners entered all kinds of competitions, while team drivers included Sammy Davis, Eddie Hall, Cyril Paul and George Eyston. The 'Le Mans' label was first applied to the competition version of the (1st Series) International following Aston's class win and 5th place overall in the 1931 Le Mans race. This conceit was fully justified when the model placed 5th and 7th in the 1932 race and collected the Rudge-Whitworth Biennial Cup. It may, in fact, be the first car named after the Le Mans Race, although many others have since followed Aston Martin's example.'JO 3999' is one of four International-based Le Mans models built in 1931 as Team Car replicas (these should not be confused with the Le Mans model of 1932). Original owner George Hartwell first saw the new two-seater Le Mans on Aston's stand at the London Motor Show in October 1931. However, he wanted a 2/4 seater and asked the Bertellis to copy the slab-tank rear of the '100mph Invicta' to create the required accommodation. In Inman Hunter's book, Aston Martin 1913-1947, Hartwell is quoted as saying: 'After the Show the Bertelli brothers drew out full size the side and rear elevations, which satisfied me and the car was produced.' Clearly displaying its bespoke derrière, 'JO 3999' is pictured in Hunter's book (page 133) and Hartwell's unique Le Mans was also illustrated in The Autocar described as a 'Le Mans four-seater', priced at £675. The AMOC Register records 'JO 3999' as winning the Inter-Varsity Hill Climb in 1931 with George Hartwell, who followed that up by finishing 2nd in the JCC Members' Day handicap at Brooklands in 1932 (his fastest lap at Brooklands was 88.6mph). The Aston appears to have changed hands soon after, the next entry being for 'Laing' in 1933 (3rd in the Inter-Varsity Speed Trial) while later that same year Laing finished 7th overall in the LCC Relay Race at Brooklands. 'JO 399' first came into the current family's ownership when the vendor's late father purchased the car in 1955 for £200. Sold a few years later, the Aston was reacquired in August 1969, just in time to be given to the vendor on his 19th birthday in September '69. Owned by the vendor since then, the car has been kept in good order mechanically but not refurbished cosmetically, so it has a wonderful well-used patina. Ecurie Bertelli fitted a new Laystall crankshaft in the 1980s, and more recently the car has been maintained by Morntane Engineering. A unique example of the rare Le Mans Team Car replica, this well documented, unique and highly desirable pre-war Aston Martin is Eligible for both VSCC and AMOC events.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Dancer. 1973.Ink drawing on inside page of the signature book of the hall of La Paloma, Barcelona.Authenticity certified by the Dalí Foundation in Figueres.Signed and dated at the bottom.Measurements: 28 x 20 cm.Original drawing by Salvador Dalí, dated 1973, of the legendary La Paloma nightclub, located in the Raval district of Barcelona. Dalí spent long hours sitting in one of the boxes, taking notes of the dancers. This unique testimony remains, one of his drawings sketched directly in one of the hall's signature books, together with period photographs of the Modernista-inspired interior.Salvador Dalí is undoubtedly one of the most important artistic personalities of the 20th century. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that would become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache that imitated Velázquez's and would become his personal hallmark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which showed scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

A MAHOGANY SILVER TABLE IN GEORGE III STYLE, IN THE MANNER OF THOMAS CHIPPENDALE, LATE 19TH CENTURYThe pierced gallery above the rectangular top, on blind fretwork legs72cm high, 81cm wide, 55cm deep Provenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.There are losses and restorations including some cracks and repairs to the pierced gallery; the underside with some later blocks to minimise the cracks to the top and with later brown wash to the underside; some cracks to the frieze; The casters are leather disc casters. The inside measurement of the top is 78.5cm x 52.5cm.Please refer to the additional photographs as a visual reference of condition.Condition Report Disclaimer

IRELAND, Mr and Mrs S.C. Hall - Ireland its Scenery and Character. A new edition. London, Hall & Virtue, lge. 8vo, 3 vols, red cloth gilt. Armorial bookplate, 100's of illustrations and full page plates. Lot number pasted to spine of Vol. I, maps

HALL, MR & MRS.S.C THE BOOK OF THE THAMES from its rise to its fall. New Edition. London, J.S. Virtue, 4to red cloth, gilt, bevelled edges. Repair to top of spine, a.e.g, many illustrations

Basil Ivan Rákóczi (British/Hungarian, 1908-1979)Still life with a classical bust signed 'Rákóczi' (lower left)watercolour and gouache 54.3 x 44.4cm (21 3/8 x 17 1/2in).Footnotes:Basil Ivan Rákóczi along with Kenneth Hall was one of the leading members of The White Stag group. The group was founded in London by Rákóczi and Hall in 1935 and gained several new members in 1939 when they moved to Ireland. The aim of The White Stag group was to encourage the exploration of psychology in painting and modernist ideas.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com