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Three Indian / Middle Eastern gouache paintings - one a leaf from an illustrated book, painted on laid paper, with text above and below, depicting a nobleman on horseback with his hunting dog and attendants, the leaf 30.5 x 21cm overall, in a clip frame; the second on a sheet of ivorine, depicting a battle scene, 19.5 x 12.2cm, within a Khatam mosaic frame, 31 x 24.5cm; and a third with figures in a landscape with text to the borders and reverse, on wove paper, 30 x 19cm, gilt frame.

Betty Stocker (British, contemporary) - three fox hunting photographic prints on canvas, titled 'The English Countryside' (12 x 18in); 'Buckland' (12 x 18in); and 'The hills above Chipping Campden' (10¼ x 14in), each signed and titled verso.

A set of eight hand painted silk napkins with humorous hunting scenes - second quarter 20th century, each painted in pen and ink, watercolour and body colour, 14.5 x 15.25cm.

A George Parker & Sons hunting crop - 6in staghorn hook, the upper silver collar engraved with the presentation inscription. 'R.P. Spashett - Christmas 1938' (the Bengal teaplanter, Raymond Paul Spashett (1902-1984), the matching lower collar also hallmarked. Condition - appears to have had very little use, slight wear to keeper, otherwise very good.

Celia Mora Secret Hunting, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Celia Mora is a Spanish painter living and practicing painting in London. She completed her studies in Fine Arts at the Complutense University of Madrid (2013). She was awarded an Erasmus Scholarship to study at the University of Arts London (2017), establishing her residence in the UK. She finished her studies in 2018, receiving an award on graduation. Her works are held in private collections, including The Four Seasons Hotel, in Madrid. She was awarded the Elizabeth Greenshields Foundation grant to pursue her Master studies at Royal College of Arts in 2022. She has again received the support from the foundation with a second grant to carry on with her studies at Turps Art School 2023/2024. She has currently got Zsuzsi Roboz Scholarship by Morley College to support her practice. Also, a three-month studio residency at Soho Revue Studios in London.   Education 2023 MA Painting, Royal College of Arts, London 2018 BA Fine Arts, Complutense University, Madrid 2013 BA Advertising and Public Relations, Complutense University, Madrid   Group Exhibitions 2024 The Eve Principle, Norito Gallery, London Startled, Lychee one Gallery, London Southpark Gallery, London Soma, Duo show, Outhouse Gallery, London Walk while you have the light, Safe House, London Vessel, OHS Projects Jackson's Art Prize, Bankside Gallery, London Leavers show, Turps studio program, London Contemporary British Portrait Painters, The Department Store, London Boundaries, Outhouse Gallery, London Nausea, Playground 72, London Jackson's Art prize, Bankside Gallery, London Slip Slap Slop, Turps studio program, London A room of one's own, Irving Gallery, Oxford   2023 Road of excess, Safe house 2, London Crème Fraiche, ICA, London MA Graduate Show, RCA Battersea, London Figurativas Prize, European Museum of Modern Art Barcelona, Spain Miradas insumisas, Flippa Gallery, Barcelona, Spain Unladylike, D Contemporary, London   Awards 2025 Soho Revue Studio Residency Program, London   2024/25 Morley College, Zsuzsi Roboz Scholarship   2024 Turps Studio program, London Elizabeth Greenshields Foundation Grant   Statement about AOAP Submitted Artwork From a genuine interest in the depiction of the human figure, through my taken inspiration in the old masters, I redefine the visual codes that configure our interpretation and given unconscious understanding of the images. Taking the male body as a subject and my partner as a model, I place myself in the empowered position of the painter, redefining the idea of the "muse" from the first act of painting. I play with the depiction of the male body as an attempt to subtly challenge notions of beauty and masculinity, exploring its representation through the classical painting aesthetics of figuration and still life. Each work is an attempt to question the subjectivity of the body in relation with the stereotypes of the gender, by pushing the visual boundaries on the depiction of its shapes, cropping, submitting or objecting the body. Concepts of love and control, agency, and intimacy come across my practice creating and entangled web of images directly related to my lived experiences. By exploring the male figure, I get to experiment with all the decisions that depicting someone else's body implies, and to get a deeper understanding on my own power role in the process. In the work, I seek to analyse the ways in which we experience the other's body, playing with the nuances in between comfort and consent. From extreme body positions to the juxtaposition with other elements used as symbolic prompts, I have been producing images that deliberately challenge normative ideas of what masculinity might be, as well as purposely complicating and undermining them. In my most recent practice, I am interested on how male-gazed narratives have limited our perspective and understanding of the world. By visually prioritizing seemingly insignificant objects, I aim to give voice to the untold and break away from a singular worldview. The vases-objects that can be filled, carried, or destroyed- act as symbols to re-signify the male form just by placing them together. Reclaiming the classical painting language, I depict these elements to question the gaze and examine the given narratives that shape our visual perception of gender. These objects reformulate the compositional aspects of each image, distorting the human form and pushing toward abstraction when viewed from a close distance. Through this process, I aim to question conventional representation norms, satirizing gender stereotypes challenging their biased construction.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.  

SPEARTHROWER, WOOMERA VICTORIA, AUSTRALIA carved wood, of relatively narrow and elongated form, with a curved, teardrop shape tapering into a rounded handle, an integral wooden hook at the opposing end 77cm long Property from Penicuik House, Midlothian Spear throwers originating from southeastern Australia are significantly rarer than those from other regions of the country. These tools were used both in hunting and warfare.For a comparable example, refer to the British Museum, London, accession number Oc1921,0616.23.

HOOKED BOOMERANG LIKELY WARLPIRI PEOPLES, NORTHERN TERRITORY, AUSTRALIA, LATE 19TH - EARLY 20TH CENTURY carved wood and ochre, adorned with incised grooving, raised on a bespoke mount 78cm tall Clive Loveless, LondonPrivate collection, United Kingdom, acquired from the above Boomerangs such as the present example (known as a “number seven” on account of the shape), were primarily crafted by the Tanami desert peoples but circulated widely across central and northern Australia through extensive inland trade networks. While mainly used in combat, they were also effective for bird hunting, as they could knock birds from flocks in flight, making them easier to catch. Like most Aboriginal boomerangs, they did not return when thrown. For similar please see: The Metropolitan Museum, New York, accession number 1979.206.1667.

Africa.- Hamilton (Lady Grizel) A Sportsman's Paradise, typescript, 40 f. typed on recto only, faint spotting to endpapers, bookplate of the Master of Belhaven & Stenton, contemporary blue calf, g.e., 5 raised spine bands, lightly sunned spine, slight rubbing to corners and extremities, 8vo, [1907]. *** An unpublished memoir of big game hunting in British East Africa, by Lady Grizel Hamilton, née Cochrane (1880-1976), describing both safari and hunting during this period. "While things were being got ready, my husband did a little shoot himself on the Athi plains ... he shot eight or nine different species, including a lioness. He was fortunate enough to secure the cubs, which were brought back to Nairobi. They were delightful little beasts, but not an unqualified success as pets. One ate my foot ..." 

Africa.- Jessen (Burchard Heinrich) W. N. McMillan's Expeditions and Big Game Hunting in Sudan, Abyssinia, & British East Africa, first edition, frontispiece, plates and illustrations, large colour map in pocket at end, split into several pieces at foldlines, occasional very faint spotting, new endpapers, original cloth, rebacked retaining original backstrip, [Czech p.84], 8vo, privately printed, 1906. *** Jessen, a Norwegian, writes about four hunting expeditions to Africa, taken with the McMillans of St. Louis, Missouri.

Takahashi Shotei, (Japanese, 1875-1945) - Three woodblock prints, circa 1936, comprising: Fireworks at Shubinomatsu; A Spring Evening; and Hunting Fireflies in a Cool Breeze, each 36.5cm x 15.5cm, each framed and glazed (3)

Collection of Four Fox hunting plates engraved by Sunderland, printed by Wolstenholme, 17 x 34 inches .Not suitable for postage, courier or collection only.

* Calendar Fan. A chromolithographed almanac fan for 1875, published by B. Sulman, [1874], 6 double-sided card sections, each with the dates for a month illustrated with a seasonal pastime: racing, skating, sailing, croquet, bicycling, cricket, rowing, hunting, dancing, shooting, steeplechasing and fishing, slightly dusty in places and a trifle rubbed at tips, a little creased around pivot, 10.5 cm (4 ins)QTY: (1)

* Wallpaper. Six matching rolls of Toile de Jouy wallpaper, probably French, 20th century, colour woodblock printed, in shades of pink on a cream ground, with hunting scenes of wild boar, stags, hounds, horsemen, and unmounted figures, beginning of rolls with varying degrees of tears, losses and small stains, width 79 cm (31 ins)QTY: (6)

James II (1685-88), silver Crown, 1687 TERTIO, second laureate and draped bust left, legend and toothed border surrounding, IACOBVS. II. DEI. GRATIA, rev. crowned cruciform shields, seven strings to Irish harp, garter star at centre, date either side of top crown, MAG. BR. FRA. ET. HIB REX., edge inscribed in raised letters, +.DECVS. ET. TVTAMEN. . ANNO. REGNI. TERTIO.+, 30.19g (Bull 743; ESC 78; S.3407). Attractively toned and well struck on a broad flan for this issue, has been slabbed and graded by NGC as AU58.NGC certification 8368384-001.A major influx of silver came into the mint for coinage during 1687, as a successful sea salvage operation of a treasure from the Spanish ship the Nuestra Señora de la Concepcion had occurred off the East Coast of North America. Remarkable in that the ship had sank some forty years before and had broken up over the Ambrosia Bank Shoal. William Phips was in charge of the successful recovery and delivery of some 25 tonnes of silver, which was made to the Mint in June 1687. Two commemorative medallions were produced in connection with the event, the "Silver Shoals" medal depicting on the reverse the wrecked hull of the ship and the salvagers approaching, and a second medal depicting Lord Albemarle whose Treasure hunting company had financed the expedition, with Neptune on the reverse. Perhaps this is why much of the silver coinage of James II often shows haymarking and flaws, as the silver used had been immersed in saltwater for some 40 years before refining, annealing, and striking.The coins were also rushed in their production as 25 tonnes of silver amounting to £205,536 of coin, was to be processed making weaknesses prevalent across the larger denominations. This input from the salvage was four fifths of the silver output in coin for 1687.The Latin legends translate as on the obverse "James the Second by the Grace of God," and abbreviated on the reverse as "King of Great Britain, France and Ireland." Additionally on the edge as "An ornament and a safeguard, in the third year of the reign."

A pair of 100% wool hunting trousers, Size 48 inch waist, 31 inch inseam length in Derby tweed.

Framed print of hunting dogs, horses and huntsman entitled Found

Mixed lot of ceramic items including lustre style tea-pot, milk and sugar, various hunting scene plates

3 glass vases together with glass table mats with hunting scene

Set of 5 framed prints by Pearce showing various comical fox hunting scenes

Capo di Monte - three Hunting related figures to include; The Hunter with certificate, and two others with guns, one sleeping, other with dog, these two with no certificates. (3) Loss to flowers of one sleeping; minor loss to extremities; wear.

A 19th Century blue and white large Derby porcelain comport along with a Royal Crown Derby mug with hand painted hunting scene by J. Barlow for the international air rally in 1947.

Set of five 19th Century slender framed hunting prints, in black and gilt frames.

SILVER TANKARD WITH FINE REPOUSSE HUNTING SCENE AROUND BODY, 1751 WILLIAM PARRY, WEIGHT APPROX 400g AND APPROX 12.5cm HIGH

Sundry ceramics Inc. Royal Doulton The Hunting Man plate, TG green Cornish butter dish with cover, Super Lamb Banana, etc all used unchecked mostly reasonable

Royal Dux. An Early 20th Century 2 hunting dogs modelled sculpture. By Royal Dux. 25x12x21cm.

Royal Dux. An Early 20th Century 2 hunting dogs modelled sculpture. By Royal Dux. 28x11x20cm

Royal Dux. A large Early 20th Century 3 hunting dogs modelled sculpture. By Royal Dux. 33x16x23cm

Royal Dux. A large Early 20th Century 2 hunting dogs modelled sculpture. By Royal Dux. 35x14x19cm

A Crown Devon hand-painted ceramic tankard designed by Walter Lamonby, featuring a relief portrait of John Peel, the famed English huntsman, alongside a verse from the traditional hunting song. The tankard is adorned with hunting motifs, including a fox head entwined with a whip, leafy accents, and a bamboo-style handle. Marked on the base with the Crown Devon Fieldings backstamp, this vintage piece captures the charm of English sporting heritage.Artist: Walter LamonbyIssued: 20th centuryDimensions: 4.5"HCountry of Origin: EnglandCondition: Age related wear.

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ⊕ A MEDIEVAL HUNT, DUDLEY TOWN HALLsigned and dated Hans Feibusch 1948 lower right; dedicated For Hilda lower leftcoloured lithograph 48 x 71.5cm; 19 x 28in63 x 85.5cm; 24 3/4 x 33 3/4in (framed)Executed as a study for Feibusch's mural at Dudley Town Hall depicting the medieval baron Roger de Somery stag hunting in Kinver Forest.

A cased triple hunting decanter & shot glasses set, the upper section containing three gilt topped decanters with separate compartment containing four monogramed cups.

French Chassepot bayonet with steel scabbard (overall length 71cm) a Kukri with leather scabbard, hunting knife with leather scabbard and Indian dagger with scabbard. (4)

HENDRIX JIMI: (1942-1970) American rock guitarist and singer. A rare and highly attractive vintage signed 19.5 x 30 concert poster promoting a performance by the Jimi Hendrix Experience at the Fillmore Auditorium, 20th to 26th June (1967), the psychedelic screenprint poster, printed in blue, pink and orange against a metallic gold background, was designed by the British graphic design artists Michael English and Nigel Waymouth (Hapshash and the Coloured Coat) and features an image of Hendrix as a Native American chief with a hunting bow in one hand and a peace pipe in the other. Printed in England and published by Osiris Visions Ltd. of Westbourne Terrace, London (OA103; understood to be the third of four editions issued in the United Kingdom, with Yarrowstalks also obtaining a license to reprint the poster in America). Signed by Hendrix in black ink with his name alone to the base of the poster. A contemporary printed label from the art gallery Galerie de la Gravure (Malmo, Sweden) is neatly attached to the upper left corner and bears a handwritten note, in Swedish, indicating that Mrs. Platerud will collect it in hand. Rolled and with light overall surface creasing and a couple of small, minor tears to the edges. A very light, extremely minor stain only very slightly affects the conclusion of the signature, GProvenance: The poster was originally acquired by the Swedish collector of rock and pop posters, Ingeborg Platerud. In the late 1960s Platerud worked at the Sergelbokhandeln, a bookstore, and is understood to have obtained the signature when she met Hendrix at a nearby record store (Hendrix is known to have performed in Sweden in May and September of 1967, as well as January of both 1968 & 1969, and August 1970, just 19 days before his tragic death).

ACADEMY AWARD NOMINEES: A good, small selection of signed 8 x 10 photographs by various actresses, each of them Best Supporting Actress Oscar nominees of the 1990s comprising Juliette Lewis (for her performance as Danielle Bowden in Cape Fear, 1991), Kate Nelligan (for her performance as Lila Wingo-Newbury in Prince of Tides, 1991), Joan Cusack (for her performance as Emily Montgomery in In & Out, 1997), Minnie Driver (for her performance as Skylar in Good Will Hunting, 1997), and Gloria Stuart (for her performance as Rose Dawson-Calvert in Titanic, 1997). All are boldly signed by the actresses in blue or black inks, largely to lighter areas of the images, and none are inscribed. Colour (4). VG to EX, 5

PUCCINI GIACOMO: (1858-1924) Italian Composer. A.L.S., `G.Puccini´, one page, to an Italian postcard, Cartolina Postale, 5.5 x 3, Torre del Lago, 14th October 1897, to his brother-in-law Raffaello Franceschini, Pescia, in Italian. Puccini refers to his hunting great days and states `Caro Raff. Torno adesso... 4 folaghe 2 fistioni e 1 moriglione! Tutti gridono che c´ho culo! è la rabbia che gli fa parlare. Se tu non vieni presto la pecorina muore... pazienzia...´ (Translation: “Dear Raffaello, I am on my way back now...4 coots, 2 pochards and 1 wild duck! They all shout that I have luck! It's the anger that makes them talk. If you don't come soon the sheep will die... be patient...") Overall staining, otherwise about GRaffaello Franceschini (1854-1942) husband of Puccini´s one-year younger sister, Ramelde Puccini (1859-1912). Franceschini was working as tax collector in Pescia. Puccini and his brother-in-law maintained a long-time friendly relationship, and used to share the hunting journeys.

WILLIAMS ROBIN: (1951-2014) American actor and comedian, Academy Award winner for Best Supporting Actor in 1997 for his role as Dr. Sean Maguire in Good Will Hunting. Signed 8 x 10 photograph of Williams in a head and shoulders pose in costume as Jack Dundee from the American sports comedy-drama film The Best of Times (1986). Signed by the actor in blue ink with his name alone across a light area at the base of the image. EX

MUNNINGS ALFRED: (1878-1959) English painter, a member of the Newlyn School from 1912-14, and regarded as one of the finest painters of horses. A good collection of A.Ls.S. (5; one a brief illustrated message on a postcard), a T.L.S., five original pencil drawings, and a few pieces of printed ephemera. The autograph and typed letters signed Alfred Munnings, A. J. Munnings, and with his initials AJ, twelve pages (total), 4to and smaller, various places (Dedham, Essex & Withypool, Somerset), early to mid-1940s, to various correspondents including the portrait painter Maurice Codner. Munnings states, in part, ´I am not sure about the Tissot, as I told that secretary to remove the pictures if the raids started & they should have done so. How awful, that lovely [painting?] which nobody really cared for & which as Lutyens said was ruined by the overlighting of the chandeliers. What a hateful lot of buggers used that room.....& what a disagreable rascañ that Drysdale was wo stood in the way of everything. Damn him, what a pity he wasn´t in the drawing room when the bomb fell. My place in Chelsea has had it - windows out & all glass in frames broken......Winston in chair first dinner. Next Thursday Lord Gort in chair & they all give Winston a snuff box´ (to Maurice Codner, 30th September 1940, accompanied by the original envelope), ´I can´t tell you how glad I was to see that good notice of your work in The Times on Friday. You couldn´t want better and who ever the present (sic; President) is he is a more sane fellow than the last & I find him very good. Far better than the other old blighter - well - I was glad I read it out to Violet who never cares much about critics, & she was delighted. I´ve always seen you gradually gaining & burrowing in. You´re as undefeatable as the Hun. And to think you´re doing this in spite of the bombs & with only one eye......I´ve just written a line to Oswald Birley, poor fellow......I´m losing the will to work´ (to Maurice Codner, 4th November 1941, in pencil), ´What a pity that you could not remain at such a stage of brilliance for the rest of your natural life - or unnatural life, or whatever your present existence may be - Can´t you buy up a quantity of that same sherry & consume at intervals & go on flying through the air like a blazing comet?......Hunting all over England should be stopped. That´s my opinion. People who go wouldn´t if the hounds didn´t. Absolute not. Have you had time to go & see the exhibition of under 20 guinea pictures yet at Trafalgar Square? If not, go & let me know......You & I should go & stay at Bradley Farm up in the woods & hills near here for a month & live on cream & stuff & work.....trees galore & stone buildings & the rest & when it rained we´d do masterpieces indoors - big sitting rooms......write again my lad of wax - any f - g lately?´ (to Maurice Codner, n.d. [c. September 1942], in pencil), ´One day I´ll be round there. On Exmoor now, Army took my house at Dedham´ (to A. R. Blundell, 22nd March 1944), ´The man who did that plate of an old poplar tree is [a] great artist. If you can do such a thing as that although it is uncared for by the crowd is someone to be reckoned with. If only you could [do] an oil like that & as well!! It is superb. I saw it in Emmons´ house at Flatford Mill & looked & looked [at] it again having seen it in the R.A. It is equal to anything of its kind I know´ (to Blundell, 3rd January 1946; actually 1947), the postcard featuring an ink drawing by Munnings of a skier lying face down in the snow, with a mountain, trees and sun in the background, wishing the recipient a Happy Easter and hand addressed by Munnings to Mr. and Mrs. John Napper, April 1956. Together with five original pencil sketches by Munnings, one signed in full, three with initials, and one unsigned, the largest measuring approximately 20.5 x 16.5 cm, the majority depicting horses and one of a cow feeding her calves. All are matted and framed. Also including a small collection of ephemera etc. including printed illustrated 8vo booklets advertising new signed artist´s proofs of the works Going to the Meet, The Whip and A Little Piece of England, a catalogue for a Loan Collection of Pictures by Alfred Munnings exhibited at the Art Galleries of the Norwich Castle Museum, August - September 1928, etc. One letter with some tears and staining (only FR), generally G to about VG, Sml Qty.

ACADEMY AWARD NOMINEES: An excellent selection of signed 8 x 10 photographs and slightly smaller (1) by various actors, each of them Best Actor Oscar nominees of the 1990s comprising Warren Beatty (for his performance as Benjamin ´Bugsy´ Siegel in Bugsy, 1991), Stephen Rea (for his performance as Fergus in The Crying Game, 1992), Nigel Hawthorne (for his performance as King George III in The Madness of King George, 1994; the image showing him in costume as the British monarch), John Travolta (for his performance as Vincent Vega in Pulp Fiction, 1994), Matt Damon (for his performance as Will Hunting in Good Will Hunting, 1997), Peter Fonda (for his performance as Ulysses ´Ulee´ Jackson in Ulee´s Gold, 1997), and Richard Farnsworth (for his performance as Alvin Straight in The Straight Story, 1999). All are boldly signed (Beatty in fountain pen ink) in blue or black inks to largely lighter areas of the images and none are inscribed. Colour (4). VG to EX, 7

FORSTER E.M.: (1879-1970) English author whose works include A Room with a View (1908), Howards End (1910) and A Passage to India (1924), all of which were made into films. Small correspondence collection of four A.Ls.S., E M Forster, and one with his initials EMF, eight pages (total), 8vo, Cambridge, 1948-52, to an unidentified correspondent, each on the printed stationery of King´s College. Forster writes a series of largely social letters, making arrangements to meet his correspondent, mentioning mutual acquaintances, briefly referring to his work etc., in part, ´I am so annoyed with myself. I have lost your letter containing your address and must send this through Jack Sprott, after vain hunting.....I am very sorry to have been so unbusinesslike. I should like to see you, and hear the (lamentable) news. I gathered....that the Czechs are unlikely to attend the P.E.N.....´ (20th March 1948), ´Do let me know when you reach London so that I may have the pleasure of a meeting, I have been away at Aldeburgh trying to make a friend convalesce there. Have made, at Cambridge, the acquaintance of Edwin and Edwina in their Hermitage Rest House. How very nice he is! How prepotent she!.....Do hope your novel - and your other work - fares well. I am struggling still with family letters - 12 boxes have now been reduced to 3´ (5th October 1948), ´I am getting a wretched correspondent. This is to say I shall be in town part of next week. Will you be there, and could you perhaps come for a cup of tea to my flat....Jack Sprott will be stopping with me....I am here till Tuesday morning. After that the best address is the Reform Club S.W.1. and the best phone (but it is a very hard one) the flat.....The flat´s address is worse than its phone - 9 Arlington Park Mansions, Chiswick, W.4. That is to say, human beings can arrive there, via Chiswick Park Station, but letters are very slow´ (1st July 1949), ´What a noble and exquisite gift!.....I have eaten masses of it.....Right to the end it was delicious - not that coquetting with cheese which some Devonshire creams used to indulge in in the past......An old and excellent film (Little Foxes) has reached the Arts Cinema, and the younger generation are flocking. I hope your work is going ahead. There is much that I ought to do.....but I do not start´ (19th January 1952). A few minor paperclip rust stains and light, occasional foxing, G to VG, 4W. J. H. Sprott (1897-1971) British psychologist and writer, a member of the Cambridge Apostles who was also acquainted with members of the Bloomsbury Group, becoming romantically involved with John Maynard Keynes.

Harry Elliott (pseudonym for Charles Edmond Hermet 1882-1959, French) after, set of four, Hunting Scenes, Outside The White Heart Inn, Into the Fields, Giving Chase and Crashing Fruit, lithograph prints. 26.5cm x 71cm, matching oak frames (4)

Two oil paintings on canvas to include a painting of a hunting scene depicting a dog and bird in a wooded area, together with a country oil painting, signed GilbertLocation:If there is no condition report shown, please request

Third Reich Deutsche Jagdschaft Hunting Hanger / Cutlass by maker Clemen & Jung, Solingen, polished steel blade with stamped maker's logo, etched hunting scenes on both sides. Silver-plated metal fittings, clamshell below recurved crossguard featuring animal hooves at each end. Silver metal Hunting Association insignia affixed to center of stag antler handle grip. Dark green leather wrapped scabbard with silver-plated fittings.

A glass vase depicting Hunting Scenes and a brass top table

A set of four framed early 19thC coloured engravings of fox hunting scenes, frame 73 x 39cm.

Sampson Mordan Victorian silver combined novelty vinaigrette and whistle modelled as a hunting horn or cornucopia, with gilt pierced inner cover, the inside of the lid similarly gilt and with maker's name and kite mark registered design mark, length 5cm, weight 13g

Cecil Charles Windsor Aldin, RBA,  British 1870-1935- A huntsman on horseback, approaching a ditch; pen, ink, and colour wash on ivorine, signed 'CECIL ALDIN' (lower right), 14 x 18.8 cm. Provenance:  Private Collection, UK. Note:  Aldin was a prominent sporting and animal artist best known for his hunting scenes and endearing portrayals of dogs, as well as his prolific work as an illustrator for publications such as 'The Illustrated London News'. 

Delft-style jar and cover 41cm with a similar dish 29.5cm diameter, hunting subject jug 18cm high, Hammersley Strawberry server three-piece tray set, and six frosted glass blue bowl wine glasses. (10)

* Attributed to John Linnell (1792-1882). Couple admiring the crenellated round tower at Bruce Castle, Tottenham, London, oil on board, depicting a lady and gentleman walking down a path beside a picket fence, whilst admiring the round tower, modern manuscript attribution label to verso, 22.5 x 17.5 cm (8 7/8 x 7 ins), modern painted moulded frame 27 x 22 cmQTY: (1)NOTE:The painting depicts the Tudor brick tower, part of Bruce Castle, Tottenham, London, constructed in 1514 from locally made bricks. Sir William Compton (1482-1528), Groom of the Stool and a royal favourite of Henry VIII, was Lord of the manor and during his upgrades of Bruce Castle added this tower to the estate. The original use of the tower is unknown, but suggestions have been made that it was possibly a hawks’ mews (a home for keeping hawks for hunting) or part of a structure supplying water to the house.

* Breenbergh (Bartholomeus, Deventer 1598-1657 Amsterdam). Italianate Landscape with soldiers and hunting dogs going, early morning, oil on wood panel, showing a group of soldiers and hunting dogs on a path, with buildings on a rocky outcrop and distant view of the Apennine mountains, with printed red label to verso of Thos. Agnew & Sons Ltd. bearing the number W.O. 0668-73, and printed label for Christie's Old Master Paintings and Sculpture sale, December 2019, lot 208, the wood panel with chamfered edges to verso, 26 x 38.5 cm (10 1/4 x 15 1/8 ins), old ebonised wood frameQTY: (1)NOTE:Provenance: with E. T. Parker & Co., Bristol by 1914; with Thos. Agnew & Sons Ltd.; Professor Michael Jaffé (1923-1997); thence by descent; Christie's, London, Old Master Paintings and Sculpture, December 2019, lot 208. The printed catalogue note for this lot states 'We are grateful to Professor Marcel Roethlisberger for confirming this attribution on the basis of a photograph'.Bartholomeus Breenbergh lived and worked in Rome from 1619, where he was influenced by the Italian landscapes of his older compatriot Cornelis van Poelenburgh. He was one of the founder members of the society of Dutch and Flemish artists in Rome, the Bentvueghels (Birds of a Feather), or Schildersbent (Band of Painters), by whom he was nicknamed Het Fret (The Ferret). Breenbergh's use of the panoramic landscape with dramatic contrasts of light and shade, and buildings drenched in sunlight (as in the present work) influenced the French landscape painter Claude Lorrain, who arrived in Rome around the same time.

2 Pairs of framed & glazed horse pictures including 1 pair of hunting scenes, the other pair of horses & horse and jockey

A George VI silver mounted circular glass stand, the silver silhouette depicts a mounted huntsman jumping a fence amongst trees within a band of foxes and hounds punctuated by thistles., hallmarked by Goldsmiths & Silversmiths Co., London, 1934 and an Edwardian silver mounted photograph frame, hallmarked London, 1906 and a Silver and glass Hunting Teapot Stand and a silver photo frame (2)

After Henry Thomas Alken (British 1785-1851). Hunting Discoveries, a set of six coloured engravings, 20cm x 26cm.

A loaded silver desk clip weight, the clip formed as a hunting horn and riding crop, hallmarks worn, 8.84oz all in.

The outstanding Victorian gold K.C.B. group of five awarded to Admiral Sir Edward Sotheby, Royal Navy, who was awarded the C.B. and mentioned in despatches on 13 occasions for his protracted command of Pearl’s Naval Brigade in the Indian Mutiny; he further received the Thanks of both Houses of Parliament, the Governor-General of India and the Admiralty and was appointed an Extra A.D.C. to Queen Victoria The Most Honourable Order of the Bath, K.C.B. (Military) Kinght Commander’s set of insignia, comprising neck badge, 18 carat gold and enamels, hallmarked London 1862, and breast star, silver, with gold and enamel appliqué centre; Naval General Service 1793-1840, 1 clasp, Syria (E. S. Sotheby, Lieut. R.N.); Indian Mutiny 1857-58, no clasp (Capt. Edwd. S. Sotheby, C.B. Pearl.); St Jean D’Acre 1840, silver, some minor chipping to wreaths of the Bath insignia, otherwise generally good very fine (5) £9,000-£12,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- K.C.B. Queen’s Birthday Honours, May 1875. Edward Southwell Sotheby was born in Clifton on 14 March 1813, second son of Admiral Thomas Sotheby (1759-1831) by his second wife, Lady Mary Anne, fourth daughter of Jospeh Deane Bourke, 3rd Earl of Mayo. After attending the Royal Naval College, Portsmouth, he first went to sea in 1828 and was promoted to Lieutenant in October 1835. A tour in the flagship Caledonia in the Mediterranean having ensued, he next joined, as First Lieutenant, the corvette Dido, in which capacity he saw action in the Syrian operations of 1840 and was advanced to Commander in October 1841. In June 1846, he was appointed to command the sloop Racehorse, in which he participated in operations in the disturbances in China and New Zealand, followed by a tour of duty in command of the Sealark in the suppression of the slave trade off the coast of Africa. As observed by W. E. F. Ward in his history of the suppression of the Atlantic slave trade, The Royal Navy and the Slavers, ‘the Navy found close inshore patrolling was a much more effective way of throttling the slave trade than making wide sweeps on the sea lanes.’ It was a challenging business, investigating estuaries blocked by sand bars and peering into countless swampy creeks and lagoons, a business which led to numerous, sometimes fatal, cases of fever and malaria. As recounted by Ward, Sotheby and the Sealark undertook just such activities and, in March-April 1852, the former’s persistence paid off when he captured a Spanish slave brigantine, but only after intense investigation of possible hideouts on the Rio Grande in Portuguese Guinea. It transpired a Spanish trader, who had an operational pseudonym, was covertly involved in slavery activity with local chiefs. Having carried out no less than 14 thorough but fruitless searches of creeks, Sotheby decided to interrogate the Spaniard and search his lodgings. Nothing appeared to be untoward, but Sotheby remained convinced of the Spaniard’s guilt and, remaining in the area, offered a 100-dollar reward for further information. His enticement did the trick, an African reporting he had knowledge of a slave brigantine and its whereabouts. And so it proved, the ‘fully equipped’ camouflaged vessel being located in a narrow side creek: unable to shift it from its anchorage, Sotheby blew it up. As it transpired, the African informant gave good value for his money, for he then took Sotheby to a hut which he said belonged to a local chief. Inside, the naval party found a hoard of muskets and assorted slave shackles, a discovery that was quickly followed by the appearance of a native on the scene. He had escaped captivity but said 19 of his tribe were still being held in the chief’s village, about three miles distant in the bush, held in readiness for an exchange with the Spaniard and his fellow slavers. Sotheby sent word to the chief that the remaining captives were to be brought down to him the following day, failing which he would burn down his village. The slaves were indeed released the following day, for the chief had decided the game was up, and with them he turned over another Spaniard. The freed slaves also identified two other local chiefs as being equally guilty, even though each of them had signed a treaty abjuring the slave trade for ever. Suffice it to say, the slaves were taken to Freetown for liberation, and the Spaniards sent for trial. As far back as 1816, the West African Squadron had been ordered to ‘diligently look into the bays and creeks’ in hunting down slavers. Over 35 years later, Sotheby did just that, thereby highlighting the Royal Navy’s unrelenting commitment to ending the abhorrent slave trade. He was commended for his actions and advanced to Captain in September 1852. He next took command of the corvette Pearl on the East Indies station and, in July 1857, on the receipt of news of the outbreak of the Indian Mutiny, the Pearl, together with the frigate Shannon, under Captain William Peel, was sent from Hong Kong to Calcutta. Sotheby subsequently took command of the Pearl’s Naval Brigade, which was landed in September and for the following 15 months lent valuable service in the operations in the Oudh. The extent of those operations is recorded in the pages of The Naval Brigades of the Indian Mutiny 1857-58, by Commander W. B. Rowbotham, R.N., Navy Records Society, Vol. 87, 1947. But by way of summary, the following major actions are worthy of note, Sotheby having described them at length in his official reports: The attack on Sohunpore on 20 December 1857, when the rebels were ejected from their entrenchments; the capture of the fort at Chanderpur on 16 February 1858, when the bluejackets went into action with the Sikhs and Gurkhas; the capture of the fort at Nourainie Ghat on the Oudh side of the river on 18 February 1858 and the attack on the rebels at Phoolpur on 20 February 1858, when three guns were captured. Such engagements were often of a hotly contested nature, with resultant casualties, Pearl’s 250-strong force of bluejackets eventually suffering a loss of one officer and 17 men killed, and a further 16 wounded. By way of example of such actions, the following account of the capture of the fort at Nourainie Ghat on 18 February 1858 is quoted: ‘At 10 p.m. [on 19 February 1858], I crossed over to the opposite bank, with the force as per margin, to occupy the village and fort of Narinee, the men wading up to their waists, had much difficulty in landing the guns. Not having any spy, or knowing the precise position, and it being very dark, it was midnight when the marines and a party of seamen, under Lieutenant F. G. Pym and Mr. Ingles, got round to the right, through thick jungles, and passing the outer breastworks and other defences found the fort evacuated, whilst the other party with the guns under Lieutenant Turnour, had crept round to the left; we then bivouacked for the night, and conveyed over our baggage and ammunition the following forenoon, under the direction of that enterprising officer Lieutenant H. D. Grant. Being joined by 1,000 Goorkhas and six guns, the force named in the margin, all under Colonel Rowcroft, left their encampment at two p.m. the same day, to attack the enemy, who had advanced in the morning to retake their abandoned positions. Having passed over a tract of very heavy country, through several thick topes of trees and deserted villages, at five p.m. we discovered the enemy's position, by their opening a fire from their guns as we came over the hill; ours were immediately got into position, and l returned shrapn...

The Second War submariner’s D.S.M. group of five awarded to Engine Room Artificer A. J. Cooper, Royal Navy, who was decorated for his gallant deeds in H.M.S. Snapper, prior to her loss with all hands in the Bay of Biscay in February 1941 Distinguished Service Medal, G.VI.R. (M.35070 A. J. Cooper., E.R.A.1. H.M.S. Snapper.) impressed naming, small correction to ship’s name; 1939-45 Star; Atlantic Star; Defence and War Medals 1939-45, mounted as worn, extremely fine (5) £1,400-£1,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.S.M. London Gazette 9 May 1940: ‘For daring, endurance and resource in the conduct of hazardous and successful operations in His Majesty’s Submarines against the enemy.’ Arthur John Cooper was born in Sheerness, Kent, on 1 December 1903, and entered the Royal Navy as a Boy Artificer in August 1919. Having volunteered for submarines in the summer of 1926, he was awarded the L.S. & G.C. medal in December 1936 and joined H.M.S. Snapper as an E.R.A. 1 in the following year. He was to remain likewise employed up until her loss in February 1941. Snapper was commanded by Lieutenant W. D. A. King, R.N., on the outbreak of hostilities, and commenced her operational career with a series of patrols off the Dutch coast. As related by King in his wartime memoir The Stick and The Stars, it was not until her transfer to Norwegian waters in April-July 1940 that Snapper fired her first shots in anger. ‘We planted one round of high explosive from the 3-inch gun into her forepeak. The result could hardly have been more spectacular. She was carrying aviation spirit and went up in a sheet of flame. Half a dozen figures raced to the side and hurled themselves into the still, ice-blue, ice-cold water which had just thawed and poured out from the frozen Baltic. As they swam towards us a mast appeared on the horizon and I reckoned the hour for enemy aircraft was nigh. I hesitated between my desire to rescue the swimmers and fear of risking my crew and ship. We nosed gently from one survivor to another, with two men hauling them in over the saddle-tanks and lowering the exhausted wet bodies down the forehatch, which is about 20 ft. lower than the conning tower and a dangerous place for the crew to be when there is a likelihood of an emergency dive. The last swimmer was dragged over our casing just as the first aircraft appeared. Deciding to abandon this one man and get the vital forehatch closed, I ordered, “Clear the foredeck and dive.” But Geoffrey Carew-Hunt, my third officer, begged, “Let me get him down, sir.” Weakly I snapped, “Do it quick.” Looking back, I think I should have been heartless. The risk to my ship was unjustifiable. While perhaps fifteen seconds ticked by, Carew-Hunt bravely dragged the wet German down the steep cluttered forehatch and shut it. I waited with my eyes fixed on that approaching black dot in the pale sky, then we gurgled under the translucent sea, urgent to slink away from the huge column of smoke which must draw attention for miles.’ Of the six Germans dragged aboard, two succumbed to their icy ordeal. Snapper went on to sink several other German ships in her favoured hunting grounds of the Skagerrak and Kattegat, among them the merchantman Florida, the auxiliary minesweepers M 1701 H.M. Behrens and M 1702 Carsten Janssen and the armed trawler V 1107. She also attacked the armed merchant cruiser Widder but her torpedoes on that occasion were wide of the mark. Command of Snapper having then passed to Lieutenant G. V. Prowse, R.N. on Christmas Eve 1940, she was ordered to patrol the Bay of Biscay off Ushant in February 1941. Nothing further was heard from her, and it is possible she fell victim to a minefield. Another possibility is that she was sunk by a depth-charge attack delivered by the German minesweepers M-2, M-13 and M-25 on the night of the 10th-11th, west-south-west of Brest. Either way, there were no survivors. The son of Lieutenant-Commander A. J. Cooper and his wife Ada, and the husband of May Katheleen Cooper of Weymouth, Dorsetshire, Arthur is commemorated on the Chatham Naval Memorial. The whereabouts of his L.S. & G.C. medal remains unknown, but it may have been among his possessions at the time of Snapper’s loss. More certain is the fact he never received his D.S.M., the award being sent to his next of kin. Sold with copied war patrol reports for April-May 1940, extracts from The Stick and the Stars by Commander William King, R,N., who had moved to the command of another submarine before Snapper was lost, and several copied photographs of Snapper.

A large mid to late 19th century Thüringen pull-along hunting hound bitch with puppy, with brown painted eyes and nose, grey textured body with white belly and lower legs, lead collar and puppy sleeping at feet, walking mounted on a wooden platform with wooden wheels —13in. (33cm.) long (slight wear and tail neatly repaired) - a paper label on the base ‘papier-mâché painted dog by Heubach bros, Sonneberg, Germany, an identical version is illustrated in their 1880 catalogue’

A mid 19th century ‘Mechanical Box’ picture of a physician sand toy, a hand coloured printed scenic back drop with moving physician on galloping white horse with wig and hat flying off and medicine bottle poking out of bag, a ragamuffin boy is seated on the roadside with milestone for ‘VIII Miles to Melton’ and a quote ‘Throw Physic to the Dogs’ and ‘Whoy! Whoy! Whoy! I don’t want to hunting if you do’ , sand operated, glazed orange paper-covered box with instructions and J.D. and sun maker’s logo —6 ½in. (17cm.) wide - the first line is a Shakespeare quote from Macbeth and the miles stone location is Melton Mowbray a well known place of hunting

Two mid 19th century German carved wooden hunting figures, a man riding a white horse with black speckles, in green tail coat, top hat and white trousers —3 ¼in. (8cm.) high (missing arm, front leg of horse, rear two hooves and maybe base); and another standing shooting in green jacket, yellow hat and trousers (missing rifle)

A mid 19th century Sonneberg huntsman dolls’ house or theatre doll, so called ‘alien’ head with black painted moustache, green conical hat, flat top with loop to hang and red feather, jointed wooden body, original hunting outfit with lederhosen, soft metal gun and green painted wooden stand —5in. (13cm.) high

A late 19th century Thüringen boy rabbit hunting squeak toy, papier-mâché boy in hunting outfit, scared by giant brown rabbit leaping out of a tree stump on green painted wooden base with squeaker —5 ¾in. (15cm.) long (missing gun from right hand)