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Old Master School, Early Figural Scene. Oil on Canvas. Apparently unsigned. Has not been examined out of the frame. Sight Size: 16 x 20 in. Overall Framed Size: 19 x 23 in.

A small quantity of Royal Doulton Character Figures, to comprising Pearly Boy HN2767, Fisherman HN4511, Embroidering HN2855, The Master HN2325, Graduate (male) HN3017 and Old Meg HN2494 (6)

'Dutch painting from Van Eyck to Pieter Bruegel' folio and four other large German folios containing various colour prints of old master paintings each titled 67cm x 50cm (5)

Italo-Spanish School, late 16th CenturyChrist as Salvator Mundi, design for a title page of a book pen and brown ink and wash on paper13.1 x 7.8cm (5 3/16 x 3 1/16in).Footnotes:ProvenanceMarquis de Lagoy (L.1710)Marquis C. de Valori (L.2500)Emile Wauters (according to inscription on the verso)ExhibitedLondon, Alpine Club, Old Master to East English Drawings, 29 November 1958, no.56 (according to an inscription on the verso).The present work has a traditional attribution to Palma II Giovane (c.1544/48-1628), with an attribution to Francisco I Herrrera (1576-1656) as a suggestion.For further information on this lot please visit Bonhams.com

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which include 3x HA4101, 2x HA4402 along with 2x HA2809. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which includes 2x HA2809 Lockheed F-22 Raptor, HA1962 along with HA3501. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which includes 2x HA2809 Lockheed F-22 Raptor, HA2508 along with HA1051. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

HM Hobby Master, a boxed 1/72 scale Military Aircraft group which include 3x HA4101, HA2615, HA4402 along with HA1017. Conditions although unchecked for completeness appear generally Good in generally Good boxes with some suffering from slight crushing, scuffing, old price stickers etc. Duplication. See photos.

John Colley Nixon (1755-1818) - Study of a Chinaman, attributed and inscribed mount, pencil on paper, 15 x 8cm, mounted, six other Old Master and other drawings and works on paper, 18th c and later, including a pen-and-ink sketch of Bacchus and Ariadne attributed to Samuel Woodforde RA, another attributed to James Northcote RA, Joshua Cristall pen-and-ink, Harold John Stanley pencil on paper, etc., mixed sizes, hinge-mounted, various collector's labels to verso, (7) Mixed condition, mostly good; see online images.

Henry IV of France (1553-1610), an album of approx. 60 Old Master and other prints, 17th c and later, including two copies of Pierre-Etienne Moitte (1722-1780) after Nicolas Bernard Lépicié (1735-1784), Henri IV, the portrait in two states, one unlettered and presumably proof, etching and engraving, 26.5 x 18.5cm and 26.5 x 19cm, Pierre Duflos (1742-1816) after Jacques Louis Touzé (1747-1807), Henri IV, Roi de France et de Navare; Tiré du Ceremonial de l'Ordre du St. Esprit, s.l., s.n., n.d. [1780], copperplate engraving, contemporaneous watercolour and gouache hand-colouring, picked-out in gilt, 28 x 20.5cm, other portraits and profiles of the monarch, some medallic, three or four with images of other contemporary Bourbons, mixed medium and sizes, all mounted on wove paper leaves, 20th c limp calf wrapper, worn and stained, uncut edges, folio (34 x 25cm) The prints are in mixed condition, but generally good. The album binding worn.

After Rembrandt (Dutch, 1606-1669) Old Master ink, Landscape with kneeling figure, Erich Bretschneider, Leipzig label verso, 14.5 x 27cm Unexplained vertical line to centre affecting ink drawing and the mount; otherwise good.

Dunhill Old Master finest scotch whisky in original box. 750ml., 43% vol. Sealed.

18th century Old Master style sanguine chalk drawing, cattle and herd in landscape, unsigned, 18cm x 25cm, framedSlight paper discolouration and several small fox marks

GIOVANNI GUERRA (ITALIAN, 1544-1618)A scene from the life of Ahasuerus with inscription '23' (on the back of the old mount) traces of black and red chalk, pen and brown ink, brown wash 22 x 16cm Provenance Charles Rogers (1711-1784), London (L. 624), on his associated mount; Anonymous sale; Christie's, London, 12 April 1983, lot 12; Sale, Christie's, London, 27th July 2020, lot 8FootnoteThis drawing belongs to a series illustrating the Book of Esther. Most sheets carry extensive inscriptions on the verso, but the present drawing is an exception. Other drawings from the series are in the Ashmolean Museum, Oxford (Inv. WA 1947.189 and 190), the Musée du Louvre (Inv. 10559), the British Museum (Inv. 1975,0517.1 and 1975,0517.2; J.A. Gere and P. Pouncey, Italian Drawings in the Department of Prints and Drawings in the British Museum: Artists Working in Rome: c. 1550 to c.1640, London, 1983, nos. 191-2, pl. 181), and the Musea Brugge (inv. 2018.GRO0021.II; see V. D'haene, European Old Master Drawings from the Bruges Print Room, exhib. cat., Bruges, Brangwynmuseum, Musea Brugge, 2019, no. 10, ill.).Condition ReportThere are creases off the left border but otherwise the sheet appears sound; light surface staining in the foreground.  Under glass and held in a modern frame; unexamined out of frame.

Sydney Alex Kumalo (South African, 1935-1988)St Francis of Assisi signed and numbered 'K VII | X' (beneath the figure's tunic)bronze on wooden base 70 x 27.5 x 22.5cm (27 9/16 x 10 13/16 x 8 7/8in). (including base)Footnotes:ProvenanceEgon Guenther Gallery, purchased 3rd November 1966;By descent;A private collection.ExhibitedJohannesburg, Egon Guenther Gallery, An Exhibition of Sculpture and Drawings by Sydney Kumalo, (8 May 1962). (edition i/x).LiteratureGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), SK13, p. 143.H. Toerien & G. Duby, ed. Our Art, vol.3, (Pretoria), p. 66. (illustrated).Elizabeth Rankin, 'Sydney Kumalo', ed. E. Burroughs & K. Nel, Re/discovery and Memory: The works of Kumalo, Legae, Nitegeka & Villa,(Cape Town: ABC Press & Norval Foundation, 2018), p. 131. (different edition of the same work illustrated). S. Sack, The Neglected Tradition: Towards a New History of South African Art (1930-1988), (Johannesburg Art Gallery, 1988), p. 51. (different edition of the same work illustrated), (edition 6/10).Born in 1935 and raised in the old suburb of Johannesburg known as Sophiatown, Sydney Kumalo grew up with and became absorbed into a community that would be destroyed by the apartheid, catalysing a generation of some of South Africa's most passionate, driven, and famous artists. Being Zulu in this community meant that Kumalo grew up surrounded people of different political beliefs and cultures, developing a grounding of cohesive societal understanding that would reflect in his later works of art. Kumalo was only seventeen when he began studying at the Polly Street Art Centre in Johannesburg under the guidance of Cecil Skotnes and Edoardo Villa, before becoming a teacher there himself in 1964. Kumalo would go on to exhibit alongside the two aforementioned artists (also prominent figures in today's market) in collaborative shows. Given his background Kumalo would establish himself as a prominent figure in modern African Art who overcame challenging adversity given his position as a Black creative during apartheid, emphasising his importance. Guenther Gallery cast two terrazzos and the first bronze (edition i/x) of this sculpture for the May 1962 exhibition, An Exhibition of Sculpture and Drawings by Sydney Kumalo. Further casts were created on a basis of supply and demand; the present rendition was cast in November 1966. Evidently a popular cast, Egon Guenther Gallery sold all future editions of St Francis of Assisi from 1966 to 1971. Elizabeth Rankin notes that Carlo Gamberini of the foundry remembered 'how Kumalo used to come to the foundry to oversee the finishing of the bronze casts, and also to work on the waxes of his sculptures, often using a saw blade to introduce surface texture.' This practise can be seen on the present work, with hairline etchings of texture most notable to the head, shoulders, and back of the work. This technique would further animate the figures the artist produced and displayed the artist's continuous passionate development of his works. Figures expressing spiritual emotion is a theme that is consistent within his oeuvre. With regards to his wider body of work, Kumalo's renditions of strong semi-abstracted figures, whether they be animals or humans, are somewhat characteristic of traditional African sculptures. As Jean Kennedy notes on the artist's technique: 'The solidity and central axis of his forms convey strength, the interpretation of which ranges from protest to endurance.' (Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.). In this instance, the image of St Francis of Assisi brings to the surface notions of peace which the figure is associated with. Differing from classical descriptive reproductions of the Saint, for instance often portrayed bearing stigmata in Old Master depictions of the Saint, Kumalo portrays the essence of Assisi, focusing on compositional form rather than the imitation of Christ which older western portraits tend to have leaned towards. While most associations of an animal interaction with the Saint are more famously through the legend of Francis and the Wolf of Gubbio, doves themselves are symbols of peace and therefore contribute to the humility of the figure. St. Francis is one of Kumalo's best known works. Conceived in 1962, the sculpture depicts the Christian saint renowned for his acts of compassion. It was described by Watter in Our Art 3 contemporary critic thus:'The mask-like head radiates spiritual serenity, yet the neck is rigid with strain. The wide-legged stance asserts confidence but the arms are pathetically thin. This is a representation of a man rent by spiritual conflict, caught in his frail human body. Movement is concentrated at two points: on the saint's left hand that cuddles a dove protectively against his chest, and on the strong thrust of the right arm reaching heavenwards in a gesture that combines blessing with threat. This double significance reinforces the tension caused by the amalgam of Christian content with forms redolent of African ritual. The soft pot-belly is opposed to hard purpose. The ludicrous little legs provide a stylised base for a gesture that challenges the universe. In Sydney Kumalo's St. Francis a man is portrayed who has galvanised himself through the strength of selfless compassion and so overcomes the limitations set by his fallible human body.'Since the creation of this work, Sydney Kumalo represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the Sao Paulo Biennale. Kumalo received a number of awards throughout his career; he was invited to the Artist of Fame and Promise Exhibition in 1960 further winning the award for most promising up and coming artist. In 1967 won a bronze medal from the Transvaal Academy and a travel bursary from the US-SALEP (the United States/ South African Leadership Exchange Programme) enabling him to travel to the US in 1967. It seems appropriate, given the religious motivation behind much of the artist's work such as the present lot, that Kumalo also received commissions from religious institutions, such as a mural in the Catholic Church in Kroonstad that was completed in 1957. Therefore, we see Kumalo's career extending beyond these art circle bounds and into physical and pivotal societal structures.We are grateful to Gavin Watkins for his assistance with the above footnote.BibliographyGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), pp. 142-145.H.Toerien & G.Duby, ed. Our Art, vol.3, (Pretoria), pp. 66-68.Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Hsiao Chen. 'FA Mu-Lan on horseback', Qing Dynasty, 19th century. Watercolour, silk on card, together with an old typed letter entitled 'FA MU-LAN', image size 90 x 41cm. (2)West Cornwall private seller, by family descent. The vendor inherited items from her great grandfather Captain John Dewar (ship master). He was born in Shanghai in 1866 and died in 1950. His wife Susan Smith Oudney (1875-1967) whose father was William Oudney a master mariner owned two clipper ships including 'The Coach Inn'. John and Susan married in Shanghai in 1896.Please see the images showing the condition issues.

THEATRE, programme selection, Malvern Theatre, inc. The Apple Cart 1929, The Play of the Weather 1932, Jane Eyre 1936, Alexander 1938, Old Master 1939, Bernard Shaw Centenary programme 1956, Plays by Bernard Shaw brochure etc., staining & foxing, some tears & corner damage, FR to G, 20*

DUNHILL OLD MASTER CRYSTAL DECANTER 75CL BLENDED WHISKY 43% ABV / 75cl

2 BOTTLES OF JOHNNIE WALKER 12 YEAR OLD BLACK LABEL (70CL & 75CL) BLENDED WHISKY 40% ABV / 70cl & 75cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 15 YEAR OLD KILMARNOCK 400 75CL BLENDED WHISKY With souvenir brochure.43% ABV / 75cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

BENRIACH 16 YEAR OLD SAUTERNES WOOD FINISH SPEYSIDE SINGLE MALT 46% ABV / 70cl In the late 19th century John Duff was at the helm of a miniature whisky empire. Business was booming for his two distilleries, Glenlossie and Longmorn, so he decided to strike while the iron was hot with yet another venture. As it turned out, his optimism was misplaced. BenRiach was established in 1897, just two years before a huge downturn in the market forced it (and many other distilleries) to close.It wasn’t until 65 Years later, when it was acquired by Seagrams, that BenRiach was finally resurrected. Still, it didn’t make much of an impact on the single malt market until Master Blender, Billy Walker, took the reins in 2003. Along with the ailing Glenglassaugh, and GlenDronach, Walker reinvigorated the brand, elevating it to the position it enjoys today.

GLENLIVET MASTER DISTILLER'S RESERVE 1L SPEYSIDE SINGLE MALT 40% ABV / 1L One of the very first distilleries in Scotland to be granted an official licence, after the passing of the licencing act in 1823, Glenlivet distillery has become synonymous with Speyside whisky. So much so, that at one point 28 other distilleries in the area adopted “Glenlivet” as a suffix to their own brand in order to piggyback on the reputation Glenlivet had built for itself. Although that practise has fallen by the wayside in recent years some independent bottlers still use it. The Glenlivet brand is now one of the most recognisable in the world, and despite the distillery undergoing an expansion and upgrade (beginning) in 2010, their iconic 12-Year-Old expression still had to be discontinued for a few years before production was able to catch up with demand.

A small collection of Old Master prints by or after Dirk Stoop, Cades, Perelle and others, unframed, (6).

After the Old Master from the Borghese Gallery and Museum, Christ on the cross, oil on canvas, 31.5" x 22.5" (80 x 57cm).

Follower of Pierre Mignard (French School late 17th early 18th century), Portrait of Francoise d'Aubigne, Mme.Scarron and later Madame de Maintenon, as a young woman circa 1675, oil on oval canvas, 74x60cm, carved wood oval frame.Purchased by the vendor in 2016 from William Thuillier, Old Master and British Paintings, London.

A TABRIZ CARPET SIGNED BY MASTER WEAVER KHAYAM approximately 361 x 280cm Condition Report: Carpet with some minor wear commensurate with age and use, but generally maintains good pile overall.Some small losses to pile adjacent to bound edges in places - possibly isolated old moth. Some minor marks and discolourations. Fringing is short at both ends. They both have wear, fraying and some losses. Binding to longest edges generally tidy with just the expected wear. Please refer to additional images for visual reference to condition.Condition Report Disclaimer

Quantity of The Tudor Mint Myth & Magic Figurines Includes Sentinels Portal #3307, Reborn Dragon #3033, The Giant Sorcerer #3035, The Bell Ringer #MM4070, Old Father Time #3067, Master Wizard #3009, Queen Guinevere #3205, The Skull Master #6207, The Skull Gateway #6203 with one unnamed other. Excellent to Excellent Plus within Good to Good Plus

Alfred Leslie (American, 1927-2023). Large oil on canvas Abstract Expressionist painting titled "The Silver Thistle," painted in cool tones of blue and gray with splashes of red and yellow, 1955. Signed and dated along the lower center. Further signed and titled along the verso.Provenance: Signa Gallery, New York; B.C. Holland Gallery, Chicago; Richard Gray Gallery, Chicago; Private Minnesota Collection.Lot Essay:Alfred Leslie is well known as being one the key figures in the second generation of Abstract Expressionist artists along with Grace Hartigan, Joan Mitchell, and Milton Resnick. He took part in the landmark show "New Talent" organized by Clement Greenberg and Meyer Schapiro at Kootz Gallery in 1950 as well as the "Ninth Street Show" the following year. His first show at Tibor de Nagy Gallery in 1952 was highly praised with one critic writing that the "fresh, romantic, reckless expressionism" made the competition "seem prim and tight by comparison."By the 1960s he began moving away from Abstract Expressionism, favoring figurative paintings, often portraits. His grisaille paintings were realistic, dramatically changed from his work of the previous decade. The subjects were often dramatically lit from multiple angles. In 1966, nearly all of his monochrome works were destroyed in a fire. It was at this point that he began introducing color back into his works.While he would never return to the Abstract Expressionist works of his youth, the figural works of the present would remain influenced by his time with the movement. While the subject matter was rooted in the old master paintings of the past, he introduced modern elements that refreshed the genre and breathed new life into the act of portrait painting.Unframed; height: 78 1/2 in x width: 70 3/4 in. Framed; height: 79 1/2 in x width: 71 3/4 in.

A large Italian bronze mortar, Veneto, 17th century, of Renaissance style, cast with twin human head side handles and satyr masks, with coats-of-arms displaying a pair of bells and an oak tree within laurel garland, with borders of foliate swags and leaves above and below, 33.5cm high, 38cm diameter Provenance: Sotheby's Old Master Sculpture and Works of Art, 7 December 2010, Lot 65.Related Literature: Peta Motture, Bells and Mortars: Catalogue of Italian Bronzes in the Victoria and Albert Museum, p. 96-193, for a discussion and catalogue of other North Italian examples of bells and mortars. 

After Rembrandt Portrait miniature of the artist watercolour on ivory, in a gilt brass frame6cm diam.The present work after Rembrandt’s self-portrait of 1634 in the Uffizi, Florence, is similar in style to the numerous Old Master portrait copies executed by Giuseppe Macpherson (1726-c.1780). A work by Macpherson after the same self-portrait exists in the Royal Collection (RCIN 421156).This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 459K3CQK.

A large diamond cluster ring, a pear shaped diamond set to the centre of a large cluster mount 25x20mm, and surrounded by a further ten old cut diamonds and border of small old and rose cut diamonds, the white metal closed back setting testing as silver mounted on a 2.6mm wide band ring size P, marked 9ct J.M.Condition report:Gross weight - 7.4g. We do not ha e master stones in order to grade the diamonds but in our opinion the central stone falls into the Colour band U-W and Clarity band SI1/2, and the other diamonds into Colour band J-L and Clarity band VS1/VS2. The central diamond and several small diamonds have damage to the girdle and crown facets. Please see additional uploaded images of the back and sides of the ring.

A diamond five stone ring, the five old brilliant cut stones graduating in size and divided by four pairs of diamond chips all carved claw set in an unmarked yellow metal mount ring size W, gross weight 3.2g.Condition report:This type of ring was set using 18 carat gold. We estimate the main diamonds to be approximately 5mm x 2.9mm, 4.8mm x 3.9mm and 3.6 x 2.4mm. We do not have master stones in order to grade the diamonds but in our opinion the main diamonds fall into the Colour grade band M-O and Clarity grade band I1-I2. One of the main diamonds has some chips and surface-reaching fractures to the table and side crown facets. Please see additional uploaded images.

A diamond two stone crossover ring, the old brilliant cut stones claw set in a yellow and white metal mount ring size S, approximate size of diamonds 5mm and 5.3mm, gross weight 3.5g.Condition report:We estimate the depths of the stones to be approximately 3.3mm and 3.4mm. We do not have master stones in order to grade the stones but we estimate their Colour grade band to be K-M and their Clarity grade band to be SI1/SI2. Both stones and all claws are secure. The shank is in very good condition. Please see additional uploaded images.

A diamond and seed pearl bracelet, the yellow and white metal mount having an arched panel to the centre millegrain and pip claw set with twenty-four old cut diamonds, a two strand chain attached to each side set with diamonds and seed pearls in stylised fleur-de-lys motifs, the tongue snap fastener incorporating one motif, length 16cm.Condition report:Please see further images.Two seed pearls missing, please note the short length of bracelet, fastener is functioning. Gross weight - 12.6g. There is a bit of yellow to the diamonds. We do not have master stones in order to grade the diamonds but in our opinion the largest ones fall into the Colour band K to M and the Clarity band SI1/SI2.

A diamond five stone ring, the five old cut diamonds graduating in size, claw set in a yellow metal mount ring size P, marked 18ct, gross weight 3.6g.Condition report:Approximate diameter of largest diamond 4.6mm. Approximate depth of largest diamond - 2.7mm. We do not have master stones to grade diamonds but in our opinion they fall into the Colour grade band I to K and Clarity grade band SI1/SI2. Several diamonds have chips to the girdle. Some claws require re-tipping. Please see additional uploaded images.

A Coronation Souvenir Book 1937; an album of "Photographs from America" and an album of various Old Master photographic prints

1987 BMW R100RS Registration number D464 NAF Being sold without reserve Frame number 0160486 Engine number 51860172 Totally restored by the present owner Frame, sub frame and wheels powder coated New brakes, discs, pads, pipes, master cylinder and rear brake shoes Top end overhaul, new piston rings Speedo and volt meter overhauled New rocker box covers fitted, old ones included New seat cover New alternator and regulator, wiring checked and replaced where necessary New clutch friction plates, new Hagon shock, final drive oil seal Surefoot side stand Pannier frames re-chromed but not fitted as with the panniers Some spares Mileage unknown Previous MOT shows 63,000 recorded miles MOT expired February 2024 Currently SORN'ed All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions With V5C This lot must be collected by 12.30pm on Friday 15th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice

Royal Humane Society, small bronze medal (successful) (William Thomas Wood, 12th July 1887) with integral top riband buckle, nearly extremely fine £100-£140 --- R.H.S. Case no. 23,634: ‘Thomas Wood, professor of music, at great personal risk, rescued Frederick Ball from drowning in the Thames, at Chelsea, on the 12th July 1887.’ The following additional detail is provided by the West London Press, 16 July 1887: ‘On Tuesday a gallant act was witnessed from the Chelsea Embankment. As the steamer Redfern was proceeding from Cadogan Pier up the river to Kew, the passengers saw a boy in the water opposite the Old Church, who was evidently exhausted, and was shouting for help. Without a moments hesitation, and only leaving his hat and stick behind, Mr Wood of 3 Radnor Street, Chelsea, dived into the river, and swam to the boy. He seized hold of him, and by dint of great exertion succeeded in getting him down to the Albert Bridge. There they managed to seize a life buoy skilfully thrown from the bridge by Mr. Rusholme, who is engaged on the works, and on this they were supported until rescued by a boat promptly launched from the pier by the master, Mr. Pellatt. Mr. Wood was able to go home at once without assistance. The boy whose name is Frederick Ball, and who also lives in Radnor Street was in a very exhausted state, and says had not Mr. Wood acted so promptly he must have gone under. He has not however suffered much from his immersion. He was bathing in the river and had gone too far from the shore, and the tide which was running out strongly at the time carried him away. Mr. Wood’s hat and stick were carried by the Redfern up to Kew and were not returned to him until the next day.’ Sold with copied research, and an original cutting from the above newspaper edition.

* Legrand de Lerant (Pierre-Nicolas, 1758-1829). Study for a soldier in the 'Apotheosis of Nelson', circa 1805, black and red chalk on buff laid paper, stumping, tipped onto backing board, attribution details in pencil and Christie's auction labels to verso, sheet size 27.7 x 38.5 cm (10 7/8 x 15 1/4 ins), framed and glazed (46.5 x 57 cm) QTY: (1)NOTE:Provenance: Christie's, Old Master and British Drawings and Watercolours, 2 July 2019, lot 126; Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Legrand's Apotheosis of Nelson (c.1805-18) is held in the collection of the National Maritime Museum, Greenwich, London. The present work is a study for one of the main figures in the painting, a sergeant of marines in a red jacket, to the lower right of the composition.

* Circle of Nicolas-Bernard Lépicié (1735-1784). Study of a boy sleeping, oil on paper laid down on panel, an unusual study of a sleeping young boy with shoulder-length auburn hair, his head tilted back with eyes closed and mouth slightly open, wearing a green tunic with a white collar, 24.5 x 19.2 cm (9 5/8 x 7 9/16 ins), moulded gilt wood frame underpainted with red (35.5 x 30.5 cm) QTY: (1)NOTE:Provenance: Bonhams South Kensington, Old Master Paintings, 26 October, 2021, lot 45, estimate £3000-5000. Nicolas-Bernard Lépicié, son of the Parisian printmaker François- Bernard Lépicié, received his first lessons from his father before entering the studio of the painter Carle Vanloo. In 1769 he entered the Académie Royale, presenting Achilles and the Centaur Chiron (Musée des Beaux-Arts et d’Archéologie, Troyes), and in 1777 was appointed professor at the Académie. Popular as a portraitist and genre painter, Lépicié's work inspired critics to compare Lépicié to David Teniers (1610-1690), but it shares as much with the rustic genre interiors of Greuze and Chardin as with the ‘petites maîtres’ of the north; indeed, the artist was particularly attracted to the genre scenes of Chardin, whose works he knew intimately since his father had been Chardin’s favorite engraver. The fine detail, narrow palette, and powers of observation for which he was known made his works popular with late 18th-century French collectors drawn to the fashionable ‘goût hollandais’, and are discernible in the present study.

* Attributed to Stefano Della Bella (1610-1664). Study of a standing woman in profile, pen and brown ink on heavy laid paper, residue of mount paper to head and foot of sheet to verso, sheet size 156 x 63 mm (6 1/8 x 2 1/2 ins), window-mounted, loose in plain white paper folder bearing the date 29 June 71 and number 68QTY: (1)NOTE:Provenance: Christie, Manson & Woods, London, Important Old Master Drawings, 29 June 1971, lot 68; Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.

NATIONAL TREASURE: BOOK OF SECRETS (2007) - Production-Made President's (Bruce Greenwood) "Book of Secrets" - A production-made President's (Bruce Greenwood) "Book of Secrets" from Jon Turteltaub's National Treasure: Book of Secrets. Ben Gates (Nicolas Cage), Abigail Chase (Diane Kruger), and Riley Poole (Justin Bartha) found the Book of Secrets in the Library of Congress and used it to guide them to Mount Rushmore and the hidden City of Gold.Created by book designer Ross MacDonald based on extensive research, the leatherbound book features printed pages full of historical details and conspiracies, including the Kennedy assassination and Area 51. It includes maps and photographs, including one of the missing planks from the Resolute Desk. It is intentionally distressed to appear old, stained, and well-used, and is held closed with leather cord. Included is a hardcover copy of MacDonald's "Prop Man" featuring MacDonald's works, including the book, autographed by MacDonald in black ink. This book was created by production as a back-up, kept on stand-by in case the copies being used on set were lost or damaged, and varies from those made as gifts, as these original master copies were each hand-altered to coincide with the script and final screening, whereas gift versions were full printed copies. The book exhibits minor fraying leather along the edge from production use. Dimensions: (largest) 10.75" x 6.25" x 2.25" (27 cm x 16 cm x 6 cm)Additional Provenance: Letter of Authenticity from Ross MacDonaldEstimate: $10,000 - 20,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

LOGAN'S RUN (1976) - Hand-Painted Matthew Yuricich Capitol Building Matte Painting - A matte painting of the Capitol building hand-painted by matte painter Matthew Yuricich for Michael Anderson's Logan's Run. In the post-apocalyptic 23rd century, Logan 5 (Michael York) and Jessica 6 (Jenny Agutter) stumbled upon an Old Man (Peter Ustinov) in the dilapidated ruins of the US Capitol. To achieve the haunting shot of the building in a state of vine-covered decay, Yuricich painted over an enlarged photograph applied to masonite with shellac, a technique he had been introduced to decades earlier using black-and-white prints of photographs as a matte artist at 20th Century Fox and Metro-Goldwyn-Mayer. Yuricich received a special Academy Award® for his groundbreaking visual effects work, earning him a reputation amongst science-fiction fans and cinephiles alike as a master film artist.The painting, a complete painting without any blank space for live-action footage to be composited in, is rendered in mixed media on masonite, hand-marked "Logan's Run," "Shot 106 - SC301X17-3 Ext. Capitol-Steps," and "#2" along the borders, and signed by Yuricich. However, this being a color print per the directives of special effects visual designer L.B. "Bill" Abbott, the color ink seeped through into Yuricich's paint and affected the color, leaving the painting with a pink hue. Also included is a modern-printed "working composite" photo print that illustrates the painting as seen in the film, prior to the photo-background shifting color to red.The color photograph beneath this matte still exhibits an uncorrected red dye. The matte also exhibits a slash at the center, and the borders remain unpainted with some chipping to its right corner. Dimensions: 66" x 28" x 0.25" (167.75 cm x 71.25 cm x 0.75 cm)Sold without copyright; see notice in the Buyer's Guide.Special shipping required; see notice in the Buyer's Guide.See PDF below for a comprehensive study of this and other lots in the Matthew Yuricich matte painting collection. Estimate: $8,000 - 16,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

Marco Dente, called Marco da Ravenna (c.1486-1527) Laocoön Engraving, circa 1520, a slightly worn impression on laid paper with watermark of six-pointed star within a circle surmounted by an additional smaller six-pointed star [apparently not in Briquet], sheet 471 x 324 mm (18 1/2 x 12 3/4 in), trimmed within the platemark, some spotting, surface dirt and handling creases, with drying crease with repairs to splitting, tipped at edges onto Stirling-Maxwell's mount (unframed)Provenance: Sir William Stirling-Maxwell (1818-1878); then by descent to the present owners.Together with a group of 4 other Italian old master prints: Marcantonio Raimondi (1480–1527) The Judgement of Paris, after Raphael [B.245] and Parnasuss, after Raphael [B. 247]; Domenico Barbiere (1506-1565) The Brazen Serpent, after Michelangelo; and Cherubino Alberti (1553-1615) Mary Magdalen standing on clouds, being transported to heaven by angels, [B. 63] (5)

Lenin - Selected Works, Bernard Shaw and Karl Marx, other books:- Two Boxes and an Old Master Print.

A FOLDER OF EARLY OLD MASTER STYLE PEN & INKS AND WATERCOLOURS ON PAPER, various subjects, unsigned, unframed, average 28 x 35 cm

(XVIII-XIX). Old master style painted fan with allegorical scene, unsigned, mixed media on fan, framed and glazed, largest 50 x 26 cm

Circle of Sir Peter Paul Rubens (Flemish, 1577-1640). Four drawings of heads of bearded men. (A) Head of a Squinting Bearded Man, sanguine and black chalk on laid paper, 5 5/8 x 3 5/8in. (14.4 x 9.4cm.) (B) Head of a Bearded Man Facing Left, sanguine and black chalk on laid paper 5 5/8 x 3 5/8in. (14.5 x 9.5cm.). (C) Head of a Bearded Man Facing Right, black chalk on laid paper 4 7/8in. x 3 5/8in. (12.5 x 9.2cm.) (D) Head of Bearded Man Facing Left and Looking Up, black chalk on laid paper, 4 7/8 x 3 1/2in. (12.5 x 9cm.). Framed. (4) *Provenance: By family descent from: Baroness Gerda von Chappuis (b.1874), Lady in Waiting to Princess Marie-Louise of Schleswig-Holstein (1872-1956), granddaughter of Queen Victoria. As Lady in Waiting to the Princess, Baroness von Chappuis had close connections with the British Royal Family and when she moved to England, she was able to add the Rothschilds at Waddesdon Manor to her impressive social circle. She was painted by Sir John Lavery RHA, RA, RSA (1856-1941). **Attribution The two drawings in black and sanguine chalk, (A & B), are of a significantly higher quality than the drawings in black chalk, (C & D). The four drawings are related to an album of ninety-four drawings that the French painter, collector, art critic and diplomat Roger de Piles (1635-1709) purchased from Rubens’ nephew, Philip. The album was later described as comprising "Heads of diverse characters in black or sanguine chalk that Rubens made from nature". The album was subsequently acquired by Philip’s patron Pierre Crozat (1665-1740), one of the richest men in Europe. The drawings in the album were much copied by French artists before being divided into four parts and sold at auction in 1741 following Pierre Crozat's death the year before. Some, if not all, of the drawings remained in Paris for several years and continued to be copied by yet more French artists before being dispersed. There appears to be no reference to the album from the late 18th century to the present time and it seems that many of the original drawings from the album have disappeared. At least eleven of the original pages from the album have survived and through the copies that were made by French artists in the 18th century, around a third of the lost album can be recreated. The copies of the original Rubens drawings were made by Jean-Antoine Watteau (1684-1721), Nicolas Vleughels (1668-1737) and the printmaker Louis Marin Bonnet (1736-1793). The discovery that the four drawings discussed here are related in some way to the Roger de Piles album relies heavily upon research undertaken by Dr Martin Eidelberg, American professor emeritus of art history at Rutgers University, and published in “An Album of Drawings from Rubens' Studio”, Master Drawings, (Autumn 1997), Vol. 35, No.3, pp.234-266. Also, from comparison with drawings in the collections of the Albertina, Vienna; Louvre, Paris; and Harvard University Art Museum, Fogg Art Museum, Cambridge, Massachusetts. Dr Eidelberg is not convinced that the present four drawings came from the original Roger de Piles album and, as a consequence, that assertion is not being made here. We are grateful to Dr Eidelberg for his expert opinion. There is however an undeniable association between the four drawings discussed here and those considered to be copies of drawings from the Roger de Piles album. (A) "Head of a Squinting Bearded Man" relates to a drawing by Nicholas Vleughels (1668-1737), now in the Louvre, in itself a copy of a lost drawing by Rubens. Similarly, (B) Head of a Bearded Man Facing Left relates to another copy of a lost Rubens drawing by Nicholas Vleughels (1668-1737) also in the Louvre. Both original Rubens drawings were also copied by Antoine Watteau (1684-1721) and significantly appear on the same sheet together, now in the Harvard University Art Museum, Fogg Art Museum, Cambridge Massachusetts. (A & B) are of similar dimensions to the drawings from the Roger de Piles album. (C & D) relate to other drawings by Rubens workshop known to have come from the Roger de Piles album, such as Head of a Bearded Man, Facing Left, Head of a Bearded Man Looking Down to the Right, Head of a Bearded Man with his Hand to his Chin in the Albertina, Vienna. (D) is numbered lower right "133" in a manner very similar to other drawings described as Rubens workshop and originally from the Roger de Piles album. Many of these Rubens workshop drawings from the album are also numbered in the lower right corner. (C & D) are also of similar dimensions to the Rubens workshop drawings in the Albertina, Vienna. It is worth noting that in 1987 Elizabeth Llewellyn, expert in Old Master Drawings at Sotheby's, gave the written opinion that (A & B) were "either by Van Dyck or Rubens" and that (C & D) "are studio works". This opinion was provided ten years before Dr Eidelberg published his research in Master Drawings in 1997. Until then little scholarly attention had been given to the Roger de Piles album of ninety-four heads. Further information about the drawings can be provided upon request.

Francis Gold (1779-1832)Hagar in the DesertOil on panel116.5 x 197cm; 45¾ x 77½inProvenance:Private Collection, London, 1988;Sotheby's, London, Old Master Paintings, 2 May 2018, lot 191Literature:Eric Adams, Francis Danby: Varieties of Poetic Landscape (New Haven and London, 1973), pp.14, 16, 20, 21;Francis Greenacre, The Bristol School of Artists: Francis Danby and Painting in Bristol, 1810-1840, exh. cat. (Bristol, 1973), p.47;Francis Greenacre, Francis Danby 1793-1861, exh. cat. (London, 1988), pp.17, 38, 90Hagar in the Desert is the masterpiece of Francis Gold, a talented amateur artist who was prominent in Bristol's artistic community and a leading figure in the sketching society based in Bristol in the early years of the nineteenth century. Thomas Danby described Gold as 'a man of great genius', and it was the latter's vivid description of Gericault's Raft of the Medusa which inspired Danby to pursue his career as an artist. In 1820 both Danby and Gold decided to send large works to the British Institution in London, Danby sending up his colossal The Upas Tree of Java and Gold Hagar in the Desert. Sadly Gold lost heart, apparently after a meeting with Augustus Callcott, and the picture was never exhibited.Gold abandoned his career as an artist and went into the service of the East India Company. The quality of the present work suggests that had he persevered Gold might have become an artist of some significance. Edward Rippingille even wrote of him as someone 'whose power as an artist far transcended any I have ever known possessed by anybody' and as 'one of the most promising spirits that have ever appeared on earth'.

Paul de Vos (Flemish 1595-1678) Dogs fighting in a clearing, with a village beyond and hunters returning home Oil on canvas 174 x 245cm; 68½ x 96½inProvenance: Major John Charles Trueman Mills (1900-1975), Hilborough Hall, Norfolk; By descent to his wife, Ida Betty Mills (1900-1985), Hilborough Hall, Norfolk; Her posthumous sale, Christie's, The Contents of Hilborough Hall, Thetford, Norfolk, 21-23 October 1985, lot 1132; In the family of the present owner since at least 1989; A private collection, Oxfordshire Literature: Hella Robels, Frans Snyders: Stilleben und Tiermaler (Munich, 1989), p.460, no.A 182 (as Paul de Vos) When attributing the present work to Paul de Vos, Hella Robels suggested that the composition might derive from the work of de Vos' brother-in-law, Frans Snyders. She lists two copies of our painting, one of which later appeared on the art market as by Snyders (Christie's, London, Old Master Pictures, 9 December 2005, lot 106). The configuration of the dogs in both works is remarkably similar, although the landscape backgrounds are very different.

Gaspar Pieter Verbruggen II (Flemish 1664-1730) Still life with roses, anemones, orange blossoms, hyacinths, poppies and other flowers in a ewer on a ledge Indistinctly signed (lower right) Oil on canvas 90 x 67.8cm; 35½ x 26¾in Provenance: Bonhams, London, Old Master and British Pictures and Drawings, 11 December 1986, lot 80; Possibly Johnny van Haeften London (as Jean-Baptiste Monnoyer); Phillips, London, Important Old Master Paintings, 5 July 1994, lot 209 (as Gaspar Pieter Verbruggen I); Export Fine Arts, London, where purchased by the present private collector, September 1994 (as Gaspar Pieter Verbruggen I) We are grateful to Dr Claudia Salvi for confirming the attribution to Gaspar Pieter Verbruggen II on the basis of photographs. A copy of her full report is available on request.

Bible [Hebrew]. Robertson (William). Sefer Tehillim u-Sefer Echah. The Hebrew Text of the Psalmes and Lamentations, but Published (for to encourage and facilitate beginners in their way) with the Reading thereof in known English Letters..., by William Robertson, Master of Arts, from the University at Edinburgh, in Scotland; and now residing, and teaching Hebrew in London, London: Printed for the Author; and are to be sold by H. Robinson, A. Crook, L. Fawn, S. Thomson and G. Sawbridge, 1656, double-column text, errata leaf present at rear, old ownership signature to title obscured by two strips of paper, some light dust-soiling and occasional damp-stains, few small marginal worm holes, letterpress ownership labels of Jacobi Paterson to pastedowns (one dated 1800), early 19th-century half calf, upper joint split and lower joints split at head and foot, 8vo QTY: (1)NOTE:Wing B2742C.The dedication is to the author's patron, John Sadler (1615-1674), who was a constitutional lawyer, Member of Parliament, and Oliver Cromwell’s private secretary. He was also Master of Magdalene College, Cambridge from 1650 to 1660.

Books. One shelf of art history and photography, reference, including Knox's Catalogue Raisonné of Tiepolo, OUP, 1980, dj, hb, 4to, further Old Master reference, etc., mostly hardbacks, mixed sizes

A folio of Old Master and other prints, 18th c and later, including Giovanni Battista Piranesi (1720-1778) - Veduta dell' Arco di Costantino, e dell' Anfiteatro Flavio detto il Colosseo, from 'Vedute di Roma', n.d. [18th c], engraving, repaired, 41 x 55cm, Carlo Lasinio (1759-1838) - Napoleon's Coronation; Napoleon and his wife Marie Louise, Duchess of Parma being received at a tent, 1811, engravings, 54 x 70cm, Pierre Lombart (1612/13-1682) after Sir Anthony van Dyck (1599-1641), Penelope, Lady Herbert; Elizabeth Cavendish, Countess of Devonshire; and Anne, Countess of Bedford, a set of three, later 18th c restrikes, engravings, 38 x 27cm, tipped onto leaves, [Scotland] Smith, Elder, & Co's aquatints of Cromarty and Rothesay, n.d. [early 19th c], 43.5 x 54.5cm, mounted on card, a pair of 'Grand Tour' aquatints, 18th/19th c, trimmed within the plate-mark but with loss of all lettering, on stretchers, 45.5 x 59.5cm, Hackert's Pompeii, 1793, engraving, 44 x 60cm, Grégoire Huret, a defective 17th c map of Moravia, etc Piranesi defective. The rest in mixed condition.

Ten Edwardian and later photographs of hunting, including one entitled "Wartime 1914-18 Meet at Latimer House", a hunting journal covering seasons 1916-1919 kept by Mr R B Webber, Master of the Old Berkeley Hunt, together with a scrapbook of press cuttings of the O.B.H. (East & West), including a report on a kangaroo from Baron Rothschild's property disrupting a hunt and enabling the fox to escape, correspondence from the Earl of Lonsdale (5th), Walter Rothschild and photographs.

1969 Ford Cortina Mk.II 1600E Transmission: manualMileage:40948The second incarnation of the Cortina was designed by Roy Haynes and was launched on 18th October 1966. One of the best loved versions of that Cortina appeared in 1967, the 1600E, which was introduced at the Paris Motor Show in October of that year. The mechanical specification included an 88bhp, 1600cc Cortina GT engine which achieved a fuel consumption of 25 miles per gallon. The 1600E interior came equally well equipped and included special rear bucket seats, reclining front seats, sports steering wheel, extra instruments and wood trim. Production ended in 1970 and, despite attempts at reviving the idea of an 'Executive' version of other, later models, Ford never recaptured the original feel of the Cortina Mk. II based 1600E. For 1969, the Mk. II model was given subtle revisions with separate 'FORD' block letters mounted on the bonnet and boot lid, a blacked-out grille and chrome strips above and below the rear lights running the full width of the rear panel on the Series II.This fabulous example of the much loved 1600E is presented in white with black well-kept trim both surmountable with the age and mileage.  First registered on 6th March 1969 to the original owner who was a  lady in Dorset and  we are informed that this car spent much of its life as a local runabout before slowly becoming resigned to the garage as a new car took over. After a few years and looking sorry for itself,  we believe the owner decided to trade it to a local garage, naturally they didn't register it to themselves and decided to clean, service and give it a new lick of paint, once completed they then put it on the forecourt where by chance the lady owner drove past and saw it, fell in love all over again and insisted she purchased it back! Back in her ownership where it remained until 2012,  when in her older years the car had to be sold to our now owner and enthusiast. Naturally for a period of its life,  the car had been in little or at best, local use, so the mileage is incredibly low for a 54 year old car and in the history file is a letter from the original owner warranting the mileage on the 1st October 2013 coupled to original service and handbooks and sales brochure. More recently the car has undergone a full recommissioning and service which included new hoses, clutch master and slave cylinder, a full service and fully recommissioned brakes for which invoices can also be found in the history file. Consignor Mathew Priddy.

1989 Volkswagen Scirocco GT II Transmission: manualMileage:27600A heavily redesigned Type 2 variant (internally designated Type 53B) went on sale in 1981, although it remained on the A1 platform. The second generation Scirocco, still assembled on behalf of Volkswagen by Karmann of Osnabrück (in the same factory as the first generation Scirocco), was first shown at the 1981 Geneva Motor Show in March that year. Designed by Volkswagen's own internal design team, the new car featured increased front and rear headroom, increased luggage space and a reduction in the coefficient of drag. One feature of the Type 2 was the location of the rear spoiler midway up the glass on the rear hatch. A mid-cycle update occurred in 1984, which included minor changes over the 1982 model: removal of the outlined SCIROCCO script from the rear hatch (below the spoiler), a redesigned air conditioning compressor, and a different brake master cylinder with in-line proportioning valves and a brake light switch mounted to the pedal instead of on the master cylinder.This example was registered new on 16th December 1989 and was purchased by its one private owner from new. Offered in silver coachwork over a cloth interior this Scirocco presents very well. The paintwork is generally very good although there are some age related blemishes, and the interior is in very good order. Offered with a history file including the original service booklet and maintenance booklets, many old MoT test certificates, sundry bills, and the original sales invoice. Interested parties should note that the UK registration document that accompanies the car is showing one previous keeper (due to a family member re-registering the car in their name in more recent times). Having been dry stored at the original vendor's home from new and having covered a mere 27,600 miles this really is an opportunity not to be missed.

A LARGE POWDER BLUE FAMILLE-VERTE ‘QILIN AND PHOENIX’ CHARGER, KANGXI PERIOD 康熙粉藍釉地硬彩開光麒麟鳳凰盤Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1622-1722. The central bracket-lobed cartouche decorated in iron-red as well as green, yellow, and blue enamels with a ferocious qilin below a flying phoenix in a fenced garden with plantain leaves and wutong trees, the rim with shaped panels enclosing similarly painted alternating floral sprays and antique treasures, all against a deep powder-blue ground. The base with a lozenge mark within a double circle in underglaze blue.Provenance: Bernheimer Collection, Munich, Germany. Tove and Karl Emil Strømstad, Norway, acquired from the above. The base with two collector’s labels, ‘Strømstad 215’ and ‘Bernheimer Collection L/238B.’ The rim with a collector’s label, ‘227.’ The Bernheimer business was started by Lehmann Bernheimer (1841-1918) in 1864 with a tiny market stall in Munich, Germany, and swiftly grew into the most illustrious antique and interior decoration emporium in the world. Lehmann’s son Otto (1877-1960) took over after his father’s death in 1918. With his two brothers, Max and Ernst, Otto traveled to many European countries in search of fine art. Bernheimer's customers were European aristocrats, financiers, diplomats, and artists. They included the Krupp family and William Randolph Hearst. During the Nazi regime, the Bernheimer family emigrated across the whole world. In 1945, Otto Bernheimer returned to Munich, rebuilt his company and fought for the restitution of the family property. Konrad Bernheimer took over in 1977, aged 26, and has moved the business to Old Master Paintings. The Bernheimer Collection counts among the finest art collections in the world, reflecting the erudite quest of four generations to discover the very best of ancient art.Condition: Very good condition with some firing flaws including kiln grit, burst bubbles, and fritting to the rim. The interior of the foot with minor chips. Weight: 1,900 gDimensions: Height 40.5 cm Expert’s note: These type of dishes with a powder blue ground and white reserves in a famille verte palette were in vogue from about 1715 and 1725 and were considered as expensive pieces for display.Literature comparison:Compare a closely related famille verte-decorated powder-blue-ground charger, dated 1700-1710, 41 cm diameter, from the Salting Bequest, in the Victoria & Albert Museum, accession number C.1340-1910. Compare a related charger in Christiaan J. A. Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, The Ming and Qing dynasties, London 1997, p. 146. Compare a related charger in Robert Schmidt, Chinesische Keramik von der Han-Zeit bis zum 19. Jahrhundert, Frankfurt 1924, pl. 120 b. Compare two related chargers illustrated by Regina Krahl & John Ayers, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, A complete catalogue, part III: Qing Dynasty Porcelains, London 1986, pl. 3247 and 3249.Auction result comparison: Type: Closely related Auction: Christie’s Amsterdam, 8 May 2001, lot 316 Price: NLG 21,150 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A famille verte powder blue dish, Kangxi Expert remark: Compare the closely related form, decoration, motif, and size (40.9 cm).

JIN CHENG (1878-1926): THE AUTUMN MOUNTAIN, DATED 1923Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1923. Ink and watercolor on paper. Set inside a wood and silk frame, behind glass. Skillfully painted with a scholar riding a mule along a bridge over a meandering river in a rocky landscape with gnarled trees bearing leaves changing in color from green to red.Inscriptions: To the top-left corner, signed ‘Jin Cheng from Wuxing’ and inscribed ‘The Autumn Mountain, In the style of Yuan-period masters, in the 9th month of the Year of Guihai (corresponding to 1923)’. Two seals, ‘Gongbo’ and ‘Jin Cheng zhi yin’.Provenance: English trade.Condition: Good condition with minor wear, creasing, and foxing. The frame in excellent condition with minimal wear.Dimensions: Image size 17.2 x 26.2 cm, Size incl. frame 37.8 x 56.7 cmJin Cheng (1878-1926) was a leading painter in Beijing during the beginning of the Republic of China. Cheng held on to the traditional methods of Chinese painting despite the extreme anti-traditional sentiment of the New Culture Movement. Cheng insisted the past should be utilized for future development and elements of the old styles should be used to revitalize Chinese painting. He heavily emphasized the need to learn from Western artists, which impacted his own artistic style.Museum comparison:Compare a related folding fan mounted as an album leaf, ink and color on alum paper, depicting a landscape in the style of the tenth century landscape master Dong Yuan, by Jin Cheng, in the Metropolitan Museum of Art, accession number 1986.267.121.Auction result comparison: Type: Closely relatedAuction: Sotheby’s Hong Kong, 7 October 2013, lot 1262Price: HKD 325,000 or approx. EUR 50,000 converted and adjusted for inflation at the time of writingDescription: Jin Cheng (1878-1926), Verdant MountainsExpert remark: Compare the closely related subject and similar rendition.

A TURQUOISE MATRIX SNUFF BOTTLE, CHINA, 18TH CENTURY 十八世紀綠松石紋理鼻煙壺 Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of flattened form, well hollowed, the rounded rectangular body supported on an oval foot rising to a short cylindrical neck with a narrow mouth. The stone of variegated turquoise and green tones, some areas with a yellowish tinge, and dramatic dark blue veining of the matrix on either side.Provenance: From a prominent New York snuff bottle collector.Condition: Very good condition with expected old wear and some organic weathering. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Very minor nicks around the rim.Stopper: Sapphire with a beaded gilt metal collar, probably matching and also dating to the 18th century Weight: 83.9 g Dimensions: Height including stopper 68 mm. Diameter neck 19.5 mm and mouth 6 mm. The universal gem standard for turquoise is that the more brilliant the sky-blue color, the more valuable the stone, but in China, it is clear that both green and blue veined material was equally valued. The evidence lies in snuff bottles made from other materials that evoke turquoise. Of the entire turquoise range of Qing glass snuff bottles, many more are of a green tint than a sky-blue one. Porcelain imitations of the material are even more informative. Both the green and blue varieties were regularly copied during the mid-Qing period. One of the finest imitation turquoise bottles is in the Ault Collection (Kleiner 1990, no. 131). It probably dates from the late eighteenth century and is of a distinctly green color. In the same publication, a magnificent and unique porcelain bottle made for the Master of the Xie Bamboos, whose hall name appears on other known porcelains of the first half of the nineteenth century, simulates a turquoise-matrix bottle with panels of calligraphy in iron-red on white. Not only is the color unambiguously green, it is as riddled with black matrix markings as any of the real material carved into bottles.Expert’s note: Whatever the color of the material may have meant, this example is intriguingly marked with some well-figured matrix, unusual speckling across both faces of the bottle, and intriguing darker staining, possibly partly due to handling but too well defined to stem purely from patination. This is one of the star turquoise bottles known, of lovely color and material. It is also superbly formed, with matching perfection of finish. Therefore, this bottle can be firmly dated to the 18th century.Literature comparison:For a related snuff bottle, see Michael Hughes, The Chester Beatty Library, Dublin. Chinese Snuff Bottles, The International Snuff Bottle Society, Baltimore, 2009, page 190, pl. 151.Auction result comparison: Type: Closely related Auction: Sotheby’s Hong Kong, 25 May 2014, lot 1068 Price: HKD 237,500 or approx. EUR 34,500 converted and adjusted for inflation at the time of writing Description: A turquoise matrix snuff bottle, Qing dynasty, 18th / 19th century Expert remark: Compare the closely related color. Note the different form. Auction result comparison: Type: Related Auction: Christie’s New York, 26 March 2010, lot 1162 Price: USD 8,750 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A rare turquoise snuff bottle, 1780-1850. Expert remark: Compare the color. Note the different form and smaller size (5.5 cm).