NADAR: (1820-1910) Gaspard-Felix Tournachon. French photographer, caricaturist and balloonist, the first person to take aerial photographs (1858). The personal Album Amicorum belonging to Nadar, and later presented to his son, containing over sixty signatures by a wide variety of famous individuals, some of whom sat for the photographer, many of the entries accompanied by sentiments of appreciation for Nadar, and some with original drawings, paintings, or musical and literary quotations. The large oblong folio album commences with an entry signed by Nadar, gifting the album to his son, Paul, ´En accord plus que parfait, a tous points de vues avec mon adoree Sainte, et en toute reconnaissance emue, je legue cet album a l´admirable enfant, qui de nous deux, nous donna toujours tout sans jamais rien recevoir, Nadar´ (Translation: ´In more than perfect agreement, from every point of view, with my beloved Saint, and with deep gratitude, I bequeath this album to the admirable child who, between the two of us, always gave us everything without ever receiving anything, Nadar´), further adding the words ´A la connaissance et reconnaissance de tous ceux qui nous ont approches´ (Translation: ´To the knowledge and gratitude of all those who have approached us´) beneath his signature. The album continues with entries by various luminaries including (in order of their appearance within the album) Anatole France (1844-1924) French poet and novelist, Nobel Prize winner for Literature, 1921, a warm appreciation, ´Nadar est le meilleur des hommes, le plus inventif et le plus courageux, le plus tendre, le plus fier, et le plus charmant. Si nous avions garde la puissance de creer des personnages mythiques. Nadar serait en France ce que Didale [Daedalus] fut chez les grecs antiques´ (Translation: ´Nadar is the best of men, the most inventive and courageous, the most tender, proud and charming. If only we had kept the power to create mythical characters. Nadar would be to France what Didale [Daedalus] was to the ancient Greeks´), dated at Paris, 14th December 1903; Elie Metchnikoff (1845-1916) Russian zoologist and immunologist, Nobel Prize winner for Physiology or Medicine in 1908, ´Hommage bien devouee a Monsieur Nadar a qui je souhaite une bonne et heureuse nouvelle annee´ (Translation: ´A well-deserved tribute to Monsieur Nadar, to whom I wish a happy new year´) dated 31st December 1909; Jules Arsene Arnaud Claretie (1840-1913) French journalist, drama critic and director of the Théâtre-Français, ´A Nadar la Bonte, Vieille affection devouee, On parle tant des "professeurs d´energie" Nadar, mon ami de toujours, ne professa pas, il prouva et il agit-il agirait encore´ (Translation: ´To Nadar the Good, Old devoted affection, We talk so much about "professors of energy" Nadar, my lifelong friend, did not profess, he proved and he acted - he would act again´); his son Georges Claretie (1875-1936) French lawyer and man of letters, ´A Monsieur Nadar, que j´ai aime depuis que mon pere m´a parle de sa bonte, de son courage, de son energie, c´est a dire depuis toujours, et que j´aime encore plus depuis que je le connais davantage´ (Translation: ´To Monsieur Nadar, whom I have loved ever since my father told me about his kindness, courage and energy, in other words since I can remember, and whom I love even more now that I know him better´);Paul Rolier (1844-1918) French engineer and aeronaut, pilot of the balloon La Ville d´Orleans which inadvertently made the first flight across the North Sea from France to Norway on 24th November 1870 during the Siege of Paris,´Souvenir reconnaissant d´un aeronaute du Siege a son illustre collegue, le fondateur des Ballons de Paris....´ (Translation: ´A grateful souvenir from a Siege aeronaut to his illustrious colleague, the founder of the Ballons de Paris....´); and his fellow aeronaut Henri Bergeron, ´Deux mots d´admiration a mon maitre, Nadar! qui est pour moi l´eternel ideal que je ne saurai jamais attiendre´ (Translation: ´Two words of admiration for my master, Nadar! who is for me the eternal ideal that I will never be able to attain´); Victor Hugo (1802-1885) French novelist, poet and dramatist, ´Et s´il n´en reste qu´un, je serai celui-la´ (Translation: ´And if there's only one left, I'll be the one´); Charles Garnier (1825-1898) French architect of the Opera de Monte Carlo, the Palais Garnier in Paris, and other buildings, three amusing passages of text signed by Garnier, adding a simple ink drawing of a house and trees beneath his signature, 27th August 1877; Aime Laussedat (1819-1907) French scientist, astronomer and photographer, ´J´ai connu, au cours de ma longue existence beaucoup de braves gars. Je n´en ai connu nide meilleur nide plus charmante que mon vieil ami Nadar´ (Translation: ´I've known a lot of good guys in my long life. I have known none better or more charming than my old friend Nadar´), the same page also featuring an entry by Nadar himself, signed with his initial N, being a Rime batelée, and at the foot writing 'Je transcris de memoire, par a peu pres, cet exercice prosodique en souvenir de son auteur, notre bon et modeste Eug. [Ernest] Prarond, poete Abbevillois.....´ (Translation: ´I am transcribing this prosodic exercise from memory, more or less, in memory of its author, our good and modest Eug. [Ernest] Prarond, poet from Abbevillois.....´); Theophile Steinlen (1859-1923) Swiss-born French Art Nouveau painter and printmaker, a wonderful original pencil drawing of a happy, content black cat, lying in profile, signed by Steinlen in pencil and further inscribed ´A mon cher grand et bon Nadar, Beaux - indifferents - egoistes et tranquilles il y a des jours on l´on se prend a desirer - presque - d´etre comme eux´ (Translation; ´To my dear great and good Nadar, Beautiful - indifferent - egotistical and quiet, there are days when you find yourself wishing - almost - that you were like them´); and others. A remarkable album containing an impressive selection of signatures by a fascinating range of individuals, all of whom held Nadar in high esteem. All of the signatures are to the rectos of the pages (which measure approximately 50 x 36 cm each, and are paginated 1-44, 46-51, and 53-65, including some blank pages and an incomplete table of contents) and a number of pages bear multiple entries. The album is attractively bound in half-red shagreen with Nadar´s decorative gilt stamped initial N to the front board and spine, the latter of which is also gilt stamped Album., also featuring silk moire endpapers (some dampstaining to the edges) and all edges gilt. Contained in the attractive original dark red decorative slipcase. A few minor tears to the edges of some of the pages and with light overall age wear, generally about VGOWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
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A COLLECTION OF ITEMS FROM CAPTAIN MUDDLE'S CABINETTo include: A jam spoon from constantinople (with old label), a bead serpent dated 1911 purchased from Constantinople, a sandal wood rosary dated 1911 from Sainte Sophie in Constantinople, old marquetry inlaid box, a shoe buckle, lace, hat pins and more.From the Captain Muddle collection cabinet, but most items probably collected by his ancestors.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
A COLLECTION OF CURIOSITIES COLLECTED BY CAPTAIN JAMES MUDDLE TO INCLUDE HANDWRITTEN LABELS:Porphyry taken from the Ruin of the Flavian Amphitheatre at Rome.A cross made from a shell-fish caught in the Dead Sea at Jerusalem. Given to J.G. by a respectable Mamluke Interpreter, 1800.A small box of gold from Australia. Manna picked from a tree in New South Wales, by Captain Muddle, 1826Lava taken up from the base of the Isle of Strombolo when it was burning hot, June 1803.Alabaster ruins of old Alexandria.Lava from the side of the Grand Crater, taken by J.C. Dec 1802.Yellow Ochre from Van Diemens Land, 1833.Rock found among the Rubbish of theh Foundant of Pompey's Pillar, Alexandria, Egypt.Agate from the ruins of Old Alexandria.Muscle...from the Island of Sardinia.A piece of Cleopatras Needle at Alexandria, taken off by J.G. 1802 (this label does not have an associated specimen, but may match a specimen elsewhere in the lot or indeed the collection)Mosaic pavement from Pompei, taken out by J.C. Dec 1802.Pieces of the mount near our Saviours Ascension to Heaven, present from a Mameluke Interpreter,Lava takaen while burning hot from the inside of the Grand Crater of Vesuvius by J.C. Dec 1802.Pieces of coral and stone, taken off Bona Beach by R. Stephenson 1824.Shells and mosaic pavement found among the Ruins in Ancient Baix, near Naples, by J.C. Dec 1802.Parts of a Sea Egg which are very musical, brought by James (no associated specimen).Pavement of the Isle of Serapis near Naples, taken by J.C. May 1803.This article comes from Perang. It is taken from the leaf of the Pine apple and is used by the Natives of that Island as thread to sew with. Sept 30th 1838, J Muddle (no associated specimen).Alexandrian pebble.Sea weed picked up on the East Coast of Tasmania. Given to me by Mrs Edward Butler on the 29th May 1850; she told me she had forgot the name of it, but is was what shell fish deposited their spawn in and afterwarrds closed it up, and when it came to Maturity, the weed burst and the fish came out (no associated specimen).Taken from the shell of a sea egg at Ocean Island in June 1835 (no associated specimen).A fantastic handwritten label 'J.M wrote this on the 2nd of February 1835 from the ink of a flying squid. The otherside was ink taken or discharged from a flying squid circumflex on the otherside was not ink from the squid'.Petrified wood from Essex.Various items to include treen letter opener, mother of pearl letter opener, rope, a paddle, glass bottle, tribal carved nut, various minerals some with handwritten labels.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
The icon depicts a waist-length image of the Lord Almighty in traditional iconography: Christ holds an open book in his left hand and blesses with his right. The image was created by a professional master in the academic style typical of Moscow workshops of the 19th century. The massive silver frame is decorated with high-relief gilding, shining enamels of the Gospel and decorative inserts with inscriptions in the Old Russian language, made in the technique of enamel. The chamber and solemn image of the Savior carries a spiritual message to people, recorded in the Gospel of Matthew: Come unto me, all ye that labour and are heavy laden, and I will give you rest. Take my yoke upon you, and learn of me, for I am meek and lowly in heart (Matthew 11:28-29). Hallmarks: 84 assay value with the Moscow coat of arms St. George the Victorious slaying the serpent, the initials of the assay master I.A. and the date 1859 corresponding to the assay master I. Avdeev, as well as the name of an unknown master monogrammist with capital letters DT in a rectangular shield. Materials: wood, gesso, tempera. The frame is made of silver using the techniques of forging, chasing, graver engraving, finishing and gilding. Dimensions of the icon: height - 31.5 cm, width - 27 cm. The weight of the frame is about 430 grams. Width: 27cm, Height: 31.5cm, Depth: 3.5cm, Weight: 2kg, Condition: Signs of wear commensurate with age, Material: Enamel, ID: ID-ANTQ-11532
Circle of Guido Reni (Italian, 1575-1642) Study of a woman Sanguine and black chalk Inscribed 'Guido' verso With collector's mark R. Johnson - 'R.J.' in Gothic script within belt inscribed 'VIRTUS PATIENTIA VERITAS' verso Richard Johnson was a merchant and collector of drawings and prints. His collection was formed c.1850-75 and passed after his death to his grandson Richard Johnson Walker. Sales: Christie's, 30.v.1895 (British watercolours); Platt, 23-26.iv.1912 (old master drawings and prints, mezzotints, 19th-century prints, British Watercolours). (Lugt 2216). Dimensions: 16 in. (H) x 11.5 in (W)
Circle of Girolamo Francesco Maria Mazzola (Parmigianino), (Italian, 1503-1540), ink sketch of a bearded man on paper, bears indistinct signature lower right and ink inscription on back board verso attributing the work to the Chatsworth Old Master Drawings catalogue (London, 1973), remainder of a Rowley Gallery label present on back board, unframed, unglazed, laid on black card.Note: small loss to paper surface and minor spotting.
Rembrandt Harmensz. van Rijn -- Medea oder die Hochzeit des Jason und der Creusa. Radierung mit Kaltnadel. 24 x 17,4 cm. 1648. B. 112, White/Boon (Hollstein) 112 IV (von V), Nowell-Usticke 112 IV (von V), Hinterding/Rutgers (New Hollstein) 241 IV (von V). Jan Six schrieb 1648 eine Tragödie über Medea und bat seinen Freund Rembrandt die Ausgabe zu illustrieren. Nowell-Usticke: "C1+ A rather uncommon print". Noch mit Signatur, Datum und dem Monogramm von Jan Six, vor Verkleinerung der Platte um den unteren Schriftrand. Prachtvoller, wunderbar kräftiger und dabei prägnanter Druck, mit zartem Plattenton und Spuren von Grat in Junos Krone, die feinen Kaltnadellinien sämtlich gut lesbar. Mit gleichmäßig feinem Rändchen ringsum. Minimal altersspurig, am Geländer winziges Braunfleckchen, unten links im schwarzen Grund winziges Löchlein sowie zwei im Vorhang weiter oben links, verso kleine Montierungsreste und vereinzelt dünne Stellen, die obere linke weiße Ecke fehlt, verso zarte Spuren eines Buchdrucktextes, weitere Gebrauchsspuren, sonst in ganz vorzüglicher Erhaltung. Aus der Sammlung Graf Plessen, Nehmten (auf dessen Untersatzkarton) sowie Christie's, London, Auktion Old Master Prints from a German Collection of Title, am 18. Juni 1992, Los 150 mit Abb. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Joseph Nollekens (British, 1737-1823): A carved marble portrait bust of William Pitt the Younger (British, 1759-1806)The sitter looking slightly to dexter, signed and dated to the rear Nollekens Ft. 1810, the waisted circular socle inscribed to the front R.T HON. BLE WILLIAM PITT, BORN MAY 28.TH 1759, DIED JAN.Y 23. D 1806, 71cm high overall, 43.5cm wide, 28cm deep approximatelyFootnotes:ProvenanceChristie's, South Kensington, London, 9 April 2003, Lot 492.Private collection.Sotheby's, London, Old Master Sculpture & Works Of Art, 4 December 2018, Lot 113. William Pitt the Younger (1759-1806) became Prime Minister at the age of 24 in 1783. Critical of King George III's influence on Parliament, he sought to limit the monarchy's authority. His greatest opponent was Charles James Fox, with whom he shared a common goal of promoting parliamentary reforms that would enhance freedom. He served in office for nearly half his life and led the nation through the most tumultuous years of the Napoleonic Wars, dying at the age of 46. However the constant stress of his years in power exacerbated by copious amounts of port (ironically recommended by his own doctor for ill health) left him utterly drained. Those who saw him in his final weeks described him as a frail and worn-out man with lifeless eyes and a hollow voice. This was undoubtedly because although Lord Nelson's triumph at Trafalgar had averted an imminent invasion, Napoleon's decisive victory at the Battle of Austerlitz made him supreme ruler of continental Europe. This devastating defeat shattered the fragile alliance that Pitt had spent years carefully crafting. The news of Austerlitz was widely perceived as the final fatal blow to Pitt's political career and he reputedly uttered the immortal words, 'Oh my country! How I leave my country...' just prior to his untimely death in early 1806..Nollekens's sculpture of Pitt, who became Britain's youngest prime minister, remains one of his most renowned works, despite being created during an unflattering period in Pitt's life. During the Premier's lifetime, Pitt and Nollekens had a disagreement over the inscription on a sculpture commemorating three naval captains: William Bayne, William Blair and Lord Robert Manners. The monument remained unveiled for several years after its completion because Pitt refused to supply the eulogy. In frustration, Nollekens turned to the monarch for help, enraging Pitt, who refused to pose for the artist. As a result, Nollekens's portrait of Pitt, which was ultimately created using a death mask, was completed posthumously. The original sculpture, created in 1806, can be found in the possession of the Earl and Countess of Rosebery at their residence, Dalmeny House, located just outside Edinburgh. The offered bust exhibits similar characteristics to this bust, including finely carved locks of hair to the sitters' head. Nollekens and his workshop are thought to have produced over seventy replicas of this celebrated bust, providing the sculptor with a steady income in the later part of his life.A comparable bust of William Pitt was sold Christie's London, 7 December 1993, lot 88, signed and dated 'Nollekens Ft. 1807'. Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).Related LiteratureAileen Dawson, Portrait Sculpture, A catalogue of the British Museum Collection c.1675-1975, British Museum Press, 1999.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A collection of four second half 18th century carved and pierced mother of pearl folding fansProbably Frenchthe first with vellum leaf, the obverse decorated in black/red grisaille and colours with a trompe l'oeil subject of three old master style engravings and a fly on a lace ground with fine trellis border, the reverse with a trompe l'oeil oval of further folded engravings on a lace ground flanked by colourful flower sprays, the carved and pierced sticks heightened in gilt with figural, trellis and floral vase ovals and smaller profile portrait, bird, pagoda and floral canted rectangular medallions, the guard sticks similarly decorated, the second fan with vellum leaf painted in colours, the obverse with a figural pastoral scene depicting courtiers at leisure and play and rustics at their various labours before an extensive landscape with ruins and extensive fields and hills, the reverse with a sparser scene of a courtly couple in a garden parkland, the carved and pierced sticks with putto cartouches and foliate scrolls heightened with gilt, the guard sticks similar decorated, the third fan with vellum leaf painted in colours, the observe depicting a old testament figural scene, probably Mordecai in royal apparel with the Tribe of Benjamin, the reserve with an extensive landscape with figures before a ruined building, the elaborately carved and pierced sticks with figural cartouche decoration of a courtly couple, and putti heightened and flowers and scrolls heightened with gilt and polychrome enamels, the guard sticks similarly carved and decorated with putti and scrolls, the fourth fan with painted vellum leaf, the obverse depicting a pastoral figural scene with courtly figures at leisure and grazing sheep, within a fruiting vine and shell border, the reserve with a central figural vignette of a courtly couple in a landscape with sinuous flowering boughs, the carved and pierced sticks with cartouches of figures and putti and scrolls, the guard sticks with similar pierced decoration revealing red foil grounds, the first fan 50cm wide, 27.5cm long overall, the second fan, 43cm wide, 26cm long overall, the third fan, 47cm wide, 29cm long overall, the fourth fan, 41cm wide, 26cm long overall (4)Footnotes:ProvenancePrivate UK Collection.For further information on this lot please visit Bonhams.com
Joseph Nollekens (British, 1737-1823) A carved white marble bust of Samuel Bateman DashwoodThe sitter with curling hair looking to dexter, his shoulders clad in classical folded drapery, signed and dated to the rear Nollekens Ft./1812, raised on turned circular socle, 68cm high overall, 45cm wide, 27cm deep approximatelyFootnotes:ProvenanceChristie's South Kensington, 18 September 2002, lot 568;Private UK collection.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 110.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).LiteratureI. Roscoe, E. Hardy and M. G. Sullivan, 'A Biographical Dictionary of Sculptors in Britain, 1660-1851', London, 2009, p. 909, no. 306This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Joseph Nollekens (British, 1737-1823) A carved white marble bust of Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834)The sitter looking slightly dexter, his shoulders clad in folded classical drapery, raised on a turned circular socle, 67cm high overall, 47cm wide, 23.5cm deep approximatelyFootnotes:ProvenanceProbably commissioned by the sitter Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834), 1812;Then by descent to his son William Cavendish, 7th Duke of Devonshire (1808-1891);Then by descent to Peregrine Andrew Morny Cavendish, 12th Duke of Devonshire (b. 1944), Chatsworth House, Derbyshire;Sold Sotheby's, Chatsworth: The Attic Sale, 5-7 October 2010, lot 364.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 109. ExhibitedLondon, Royal Academy of Arts, 1813, no. 925.LiteratureDevonshire House Inventory, 1892, possibly p. 37, in the South Sitting Room 'Bust of Cavendish';Chatsworth Handlist of Paintings and Sculpture, nd, 28;A. Graves, The Royal Academy of Arts, A Complete Dictionary of Contributors and their work from its foundation in 1769 to 1904, London, 1905, p. 382;S. Upton, 'Private Chatsworth', The World of Interiors, October 2001, p. 248;I. Roscoe, E. Hardy and M. G. Sullivan, A Biographical Dictionary of Sculptors in Britain, 1660-1851, London, 2009, p. 909, no. 314George Cavendish was the third son of William Cavendish, 4th Duke of Devonshire and his wife the former Lady Charlotte Boyle, daughter of Richard Boyle, 3rd Earl of Burlington. He later became Earl of Burlington of the second creation, a title held by his maternal forebears. Famously wealthy, Burlington purchased Burlington House from his nephew, the 6th Duke of Devonshire, and constructed London's Burlington Arcade along the west side of his residence, which itself was significantly elaborated.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233)This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A silver and moonstone pendant, design No. 17, by Georg Jensen, 1915-1927, of openwork foliate design, suspending three oval moonstone cabochon drops, the central drop with leaf detailing below, to a cable-link chain of alternating circular and oval-shaped links, set with a similarly-cut moonstone to either side, stamped ‘GEORG JENSEN’ and ‘GJ 830 S’, both in an oval punch, ‘COPENHAGEN’, numbered ‘17’, pendant length 4.7cm, chain length 61.5cm. £500-£700 --- This pendant, design No. 17, was designed by Georg Jensen ca. 1912. Georg Jensen (1866-1935) Georg Jensen initially studied sculpture at the Royal Danish Academy of Arts before working as a ceramicist. In 1902 he moved away from ceramics into silver, working for master silversmith Mogens Ballin. His designs proved popular and in 1904 he took the bold step to open his own silversmithy in Copenhagen, creating silver jewellery. Having grown up in the countryside north of Copenhagen amidst lakes and forests, Jensen drew his inspiration from nature. Symbols of the natural world weave a common thread throughout his designs: fruits, blossoms, leaves and organic shapes, introducing a stylised vision of nature, with smooth surfaces and sculptural forms. Using enamel and semi-precious stones, his jewellery was affordable and accessible to all levels of society and quickly achieved popularity and commercial success. Jensen exhibited at several major foreign exhibitions, winning a gold medal at the Brussels Exhibition in 1910, and building a reputation as an outstanding and highly original silversmith. By 1924 he was producing silver jewellery and homewares within retail outlets in Paris, London and New York, and bringing in talented designers, whose names he actively promoted to design for the brand. By 1935 the firm had branches worldwide and carried more than 3,000 patterns in open stock. Unlike other manufacturers, Jensen refused to discontinue old patterns. After his death the business was carried on by his son, Søren Georg Jensen. In 1973 the company became part of the Royal Scandinavia Group. Noonans are delighted to offer for sale this significant Private Collection of Georg Jensen jewellery, including early examples that rarely come to the auction market. Condition Report Gross weight 19.7gm.
![Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; Various studies including a](https://cdn.globalauctionplatform.com/c483b3c4-d107-43a9-8060-b220009a498e/f85e4dd9-ee71-4aff-a62e-b220009b29ba/468x382.jpg)
Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; Various studies including a seated boy in an interior [verso], double-sided drawing, numbered '44' verso, pen and brown ink, red chalk, brown wash, on laid paper without watermark, sheet 210 x 148 mm (8 1/4 x 5 3/4 in), under glass, framed, [17th century]Provenance:Collection of John and Eileen Harris*** Faint pencil inscription to reverse of frame suggests an attribution to 'Sabbatini', Nicola Sabbatini (1574-1654), however the sheet appears to be by Tassi, with another numbered drawing by the same hand sold at Christie's New York in 1996, (Old Master Drawings, January 10, 1996, lot 57], and fully given to the artist.
A diamond three stone ring, the old brilliant cut stones graduating in size claw set in an all white metal mount ring size K, shank marked 18ct Plat, 2.7g, vintage ring box Fenton Russell & Co. George IV Bridge Edinburgh.Condition report:We cannot grade stones as we do not have Master Stones but in our opinion the central stone falls into the Clarity bracket P1/P2 and the Colour bracket L to N, and the two side stones into the Clarity bracket SI1/SI2 and Colour bracket M to O.
![[WHISKY]. DUNHILL OLD MASTER BLENDED WHISKY bottle no. E38612, one bottle (43%, 75cl), boxed.](https://cdn.globalauctionplatform.com/4ef37694-deb9-445d-9889-b1d400cb6de4/325d6e26-f76b-4673-88ad-b228009e35bd/468x382.jpg)
Registration - GUU 446JChassis No. - 1112786968M.O.T. - ExemptOdometer - 60,000This gorgeous 1971 Volkswagen Beetle 1300 is being offered at No Reserve. It is described as a well looked after car, one that comes with plenty of paperwork from acclaimed VW experts. The full service history is combined with an odometer reading just 60,000 miles. The Cremeweiss paintwork adorns a solid body, says the vendor, which they describe as in ‘good’ condition. It is a “real head-turner” and has formed part of their wedding car fleet, making it a truly well-loved car over the years. ‘GUU446J’ boasts staggered alloy wheels with 205/65 R15 rears and 175/55 R15 at the front, all with tyres still with plenty of life left. It has twin stainless steel exhaust pipes, stainless steel polished bumpers and a cream metal dashboard. A period push-button Blaupunkt radio is another retro touch. The vendor says it had a pre-MOT test in November, with master cylinder, horn, lights and wheel alignment rectified. They also rate the 1300cc flat-four engine, four-speed manual gearbox and electrics as all being in ‘good’ condition. The car has only had 10 pervious keepers, more than half the number that is usual for a 53-year-old vehicle. The vendor has owned it for more than a decade. They add that they have applied for a new V5, too. Of course, the Volkswagen Beetle needs no introduction. Designed before WWII, production was restarted by the Allies, and it quickly developed into an export sensation. Brilliant marketing and advertising in America during the 1960s saw it become particularly popular over there, and this cool, friendly image helped the Beetle endure for many decades. Today, an entire community thrives around it, and running a classic Beetle is both affordable and straightforward. As they say, once you’ve got the bug… · 1971 Volkswagen Beetle offered at No Reserve· Odometer reads just 60,000 miles with full service history· Original period look includes a push-button Blaupunkt radio
The history of Aston Martin’s V8 saloon is well documented but what is less known perhaps is the final series, or Oscar India (October Introduction), especially when specified with the extremely rare (and in this instance original) dogleg ZF manual gearbox which sets itself in a league of its own with, according to the AMHT, 26 being built and only 15 of which were right hand drive. It should thus be noted that this is a genuine factory manual example and not mistaken for a later conversion.Still on the original 1983 registration and with matching numbers as confirmed by the enclosed Heritage Certificate, the factory options at the time were a manual gearbox, two rear fog lamps, Cibie headlights in the front grille and, interestingly, a rear silencer delete.Also enclosed is a large history file going back to delivery in the early eighties including the original stamped service book, owner’s manual, warranty card, old MoT’s and numerous invoices. The registration document shows only three owners and is probably the lowest produced configuration of the Oscar India with only twelve right hand drive examples complete with a manual gearbox ever made.Originally purchased through Victor Wilson Ltd. in Edinburgh by Robertson Baxter Ltd, (Distillers) in the original and present colour scheme of Raven Black with a contrasting burgundy leather interior. There then follows a comprehensive service history as well as a number of period upgrades including a complete engine rebuild to 5.7 Vantage capacity and X-Pack specification with new liners, pistons, valves, high-profile cams and larger carburettors and inlet manifold. Additionally, the correct ZF five-speed gearbox has been rebuilt with a short-shift added and new clutch. A full-flow, oil-cooler with thermostat has also been fitted as well as a Harvey Bailey handling kit offering a much-improved handling and roadholding driving experience with lower & stiffer suspension, rebuilt dampers, stiffer front anti-roll bars as well as the additional of a rear anti-roll bar. Also included is the original black leather owner’s manual (with pencilled notes), the original Aston Martin warranty and service voucher booklet as well as receipts for all work in current ownership which includes numerous works such as a gearbox rebuild by noted specialist Rikki Cann, an upgraded Powerlite high-torque starter motor, restored leather interior, re-lacquer of all interior woodwork and fresh carpets and door cards and finally, the engine rebuilt to Vantage X-Pack specification by Aston Martin specialists Oselli to the tune of £45,000 bringing works in recent years to over £67,600 since it was purchased by the current owner. This really does represent one of the most special and thoroughbred Aston Martins currently on offer. Consigned by Edward Bridger-StilleService history06/09/1983 (0 miles) Robertson Baxter Ltd, Distillers 27/10/1983 (807 miles) Victor Wilson Ltd, Edinburgh 12/03/1984 (4,834 miles) Victor Wilson Limited, Edinburgh 21/08/1984 (9,275 miles) Aston Martin Lagonda Ltd, Newport Pagnell (New Power Steering unit fitted) 09/04/1985 (13,983 miles) Doug Niven Cars, Berwickshire 22/08/1985 (19,054 miles) Aston Martin Lagonda Ltd, Newport Pagnell 15/09/1986 (26,832 miles) Stratton Motor Company, Norfolk 26/06/1987 (29,718 miles) Stratton Motor Company, Norfolk 03/03/1988 (35,307 miles) Stratton Motor Company, Norfolk 07/10/1988 (40,580 miles) Stratton Motor Company, Norfolk 21/02/1989 (42,429 miles) Romans, Surrey 05/11/2015 (48,515 miles) CCCR (oil and filter change plus extensive works) 27/02/2020 (49,862 miles) Oselli (Engine rebuild to Vantage X pack specification including new a/c system & new brake servos.Work undertaken during current ownership01/05/2015 New bonnet gas struts fitted 03/07/2015 Harvey Bailey handling kit front & rear anti-roll bars, all lowered springs. 28/08/2015 Gearbox removed Cotswold Classic Cars) 28/08/2015 Gearbox rebuilt (Rikki Cann) 30/09/2015 Patch box section above exhaust (not visible without removing exhaust and shields) Replace oil coolers and hoses, fit oil temp regulator, dismantle and grease prop, machine flywheel, replace clutch, refit gearbox, fit front anti-roll bars 23/10/2015 Recondition dampers, fit new suspension kit and rear anti-roll bars 05/11/2015 Convert to full flow oil system, replace oil/oil filter 07/12/2015 Jacking points, plugs fitted as per standard spec 18/08/2016 Electrical work (lighting) 12/09/2016 Hazard warning switch & boot interior lamp 10/03/2017 New number plate lens 17/03/2017 Supply of clutch fluid tank 18/04/2017 Petrol tank removed plus new sender. Fit new clutch slave cylinder plus gearbox removed 23/08/2017 Gearbox rebuild (BPA Eng Ltd plus fiting of R.S. Williams short shift 06/09/2017 Upgraded Powerlite high-torque starter motor 14/09/2017 Starter motor fitted. New reverse switch supplied and fitted. Gearbox refit 06/10/2017 New Clutch master cylinder 31/01/2018 Restore leather interior 14/03/2018 New Battery 22/05/2008 Remove all woodwork and send for re-lacquer 16/11/2018 CCCR re-carpet boot 07/12/2018 CCCR re-carpet and replace door cards 12/04/2019 Electrical works to hazard switch and windows 27/02/2020 Engine rebuild to Vantage X-Pack specification including new a/c system & brake servos (Oselli) COMPLETE ENGINE REBUILD TO 5.7 VANTAGE X-PACK SPECIFICATIONGEARBOX REBUILT WITH ADDED SHORT-SHIFTHANDLING KIT, LOWER/STIFFER SUSPENSION & REBUILT DAMPERS
ANTIQUARIAN (THEOLOGY): Howels (Rev. William). Sermons On Some Types of the Old Testament, Longacre Chapel, 1829, some pencil annotations to fly leaf and Contents, 554pp some middle and last pages blank; and Sermons III, two autograph manuscript books written in brown ink, calf with tooled gilt spines. 8vo. (2)Provenance: sold on behalf of Gregynog Hall, surplus to the collectionAuctioneers Notes: Rev. William Howels (1778–1832) was a Welsh priest of the Anglican Church, known as an evangelical preacher. The eldest of 12 children of Samuel Howells, he was born at Llwynhelyg, a farmhouse near Cowbridge in Glamorgan. After some years' study under the Rev. John Walton and Dr. Williams, the master of Cowbridge school, he went in April 1800 to Wadham College, Oxford leaving three years later without a degree. An elegy by Howels on his tutor Walton in 1797, published in the Gloucester Journal, was noticed by Robert Raikes, who offered him journalistic work. At Oxford he was under Baptist influence; but he was ordained by Richard Watson, Bishop of Llandaff in 1804 to the curacy of Llangan in Glamorgan. Both he and his vicar drew adverse comment by preaching at Methodist chapels. In 1812 Howels became curate in the united London parishes of St. Andrews-by-the-Wardrobe and St Anne, Blackfriars, to William Goode, who died in 1816. In 1817 he moved on as the lessee of the episcopal chapel in Long Acre, where he gathered together an audience. His strongly evangelical sermons were popular, and his self-denying life, though with eccentricities, baffled critics. Howels died on 18 November 1832, and was buried in Islington. His views were taken at the time to be Calvinistic Methodist, and he strongly opposed those of the Irvingites.Comments: edges rubbed, contents appear complete, inspection advised.
Wenceslaus Hollar, Czech 1607-1677- Merchant's Wife from London; Irish Woman; and Bearded man with chain necklace; etchings, 10.3 x 7.6 cm., together with a collection of nine further Old Master prints, including: After Rembrandt Harmensz. van Rijn, 1606-1669, the Raising of Lazarus, with reverse signature in the plate, etching on wove paper; an interior scene with figures by Adriaen van Ostade, etching; After Abraham Bloemaert, 'Avarice', engraving, several figures by Salvator Rosa, and other hands, 24.4 x 20 cm and smaller, twelve (12). (unframed). Provenance: Private Collection, UK.
Old Master Drawings Art Reference: a quantity of books relating to Old Master Drawings, to include: Marcel Roethlisberger, Claude Lorrain: The Drawings, two volumes, Berkeley and Los Angeles: University of California Press; and various others including volumes on mainly Italian masters and subjects, including Guercino, Tiepolo, Michelangelo and Florentine drawing (qty)
Offiziersdegen, aus alten Teilen zusammengestellt, deutsch, um 1650 Kräftige Klinge mit abgeflachtem Mittelgrat, im unteren Drittel durchbrochen gearbeitet und mit Inschriften versehen. Eisernes Gefäß mit spiralig geschnittener Parierstange (ein Arm repariert) und Knauf, das terzseitige Stichblatt ebenfalls mit spiraligem Dekor und zentralem, durchbrochen gearbeitetem Reichsadler zwischen Rankenwerk (das quartseitige Stichblatt wg. des Tragekomforts entfernt), Hilze mit feiner Messingdrahtwicklung und Türkenbünden. Länge 116 cm. Gut zusammengestellte, handwerklich meisterhaft gearbeitete Waffe. A German officer's sword, assembled from old parts, circa 1650 A German officer's sword, assembled from old parts, circa 1650 Sturdy blade of flattened hexagonal section, the lower third with openwork and carved with inscriptions. Iron hilt with a spirally fluted quillons (one arm repaired) and pommel, the guard plate on the obverse also with spiral décor and a national eagle in openwork at the centre surrounded by tendrils (the reverse guard plate has been removed for ease of wear). The grip wrapped with fine brass wire and embellished with Turk's heads. Length 116 cm. The sword has been assembled and wrought with consummate skill by a master craftsman. Condition: II -
g Victoria (1837-1901), gold Sovereign, 1893, London mint, older crowned and veiled bust left, T.B. below for designer Thomas Brock, Latin legend and toothed border surrounding, VICTORIA. DEI. GRA. BRITT. REGINA. FID. DEF. IND. IMP., rev. St. George and the Dragon right, broken lance to left on ground-line, tiny WWP under lance, initials of William Wellesley Pole, Master of mint, date in exergue, initials B.P to upper right, for engraver Benedetto Pistrucci, edge milled, 8.00g (Bentley 337; Hill 145; S.3874). Toned, surface marks, otherwise approaching extremely fine, first year of issue for the old veiled portraitCalendar year mintage 6,898,260The Latin legends translates on obverse as "Victoria by the Grace of God, Queen of the Britons, Defender of the Faith, Empress of India."
g George III (1760-1820), gold Sovereign, 1820, second laureate head right, date below with open 2, legend commences lower left, GEORGIUS III D: G: BRITANNIAR: REX F:D:, rev. St. George and the Dragon right, incuse BP below broken lance at lower left for designer and engraver Benedetto Pistrucci, garter motto surrounding, buckle with incuse WWP for Master of the mint William Wellesley Pole, French motto HONI. SOIT. QUI. MAL. Y. PENSE., edge milled, 8.00g (Bentley 7; Bull EGC 906 R2; Marsh 4; S.3785C). Toned, the usual hairlines, otherwise a pleasing extremely fine.Calendar year mintage 2,101,994The Latin legend translates as "George the Third by the Grace of God, King of the Britons, Defender of the Faith." The Old French motto on the reverse garter translates as "Shame on he who thinks ill of it."
Chris Barber / Professional 10½ Audio 2" Tapes, Seven Professional 10½ Audio 2" Tapes featuring Chris Barber, Marquee Studios recordings dated 17th December 1974, 19.5.71 two tapes dated 29.5.1975 with track lists, one dated 7.1.71 box in poor condition, one dated 8.1.71 plus one titled 'Old Fashioned Swing' undated some indicated as Master Copies, John Ryan producer, appear good condition all untested - from the personal collection of Chris Barber
A BUCKINGHAM PEWTER LIMITED EDITION TOWER OF LONDON 900TH ANNIVERSARY CHESS SET, comprising set number 2 in a guaranteed edition of 500, designed and crafted by master painter and sculpture Chas Stadden, with certificate of authenticity signed by the Constable and Governor of Her Majesty's Tower of London, receipt dated 1978, each figure is hand painted, principal figures are 90mm high, the pawns 54mm, the pieces are complete in every detail, the solid oak table is a replica of an old English design, with a hand tooled gold embossed calf leather inlay playing board, with a drawer on each side (Condition report: the board and table have slight surface scratches and wear to leather, Elizabeth I has become separated from the base, both White Towers are separated from the base, one Bloody Tower has become separated, one Edward III archer (Pawn) has become separated from base, one Edward III archer has a broken bow, all white pieces have signs of wear to the base)
History of Art & Old Masters. A collection of approx. fifty-two vintage Sothebys auction catalogues, regarding house contents sales & paintings auctions. The lot to include four volume hardback Robert van Hirsch collection, the Leverhulme collection in two volumes, The Duchess collection, Tyninghame, Hadspen House at Castle Cary, the Henle Collection of Old Master Paintings, the Tristram Jellinck Collection, the Mentmore collection in five volumes, Noseley Hall, the Price Collection, Benacre Hall, the contents of Wilsford Manor, Stokesay Court, Carlton Hobbs vol IV, the contents of Littlecote House, etc. Approx. fifty two volumes in collection.
JEAN BAPTISTE CARPEAUX (1827-1875), LE JEUNE PÊCHEUR À LA COQUILLE (NEAPOLITAN FISHER BOY). the bronze modelled as a figure of a crouching nude with head turned down and slightly to the right, holding a conch shell up to his left ear, wearing a cloth cap and with a small fishing net in his lap, on a naturalistic canted rectangular moulded integral base, signed "JB Carpeaux Rome 1857" and with "propriete Carpeaux" and eagle mark, 34.5cm high Footnotes: Carpeaux was a student at the École des Beaux Arts and won the Prix de Rome in 1854. Inspired by the old master sculptors of the Italian Renaissance and influenced by his master Francoise Rude (1784 -1855), he moved to Rome in 1854 where he worked until 1861. It was in Rome that he developed his signature style utilising the principles of baroque art while depicting everyday subject matter.
BUNNAHABHAIN 1976 MISSION CASK STRENGTH SERIES 31 YEARS OLD | Distilled: 1976 | Stated age: 31 years old | ABV: 47% | Region: Islay | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Bunnahabhain is a Scottish distillery located on the remote northeast coast of Islay. It was founded in 1881 by William Robertson (of Robertson & Baxter) in partnership with Greenlees Bros on a site with access to water from the River Margadale, which provided ideal conditions for whisky production. The name "Bunnahabhain" comes from the Gaelic word for "mouth of the river." Unlike other Islay distilleries that focus on single malts, Bunnahabhain's still was primarily used for blended whiskies, including Famous Grouse, Cutty Sark, and later Black Bottle. The distillery was closed between 1982 and 1984, but when it reopened, it launched its first official 12-year-old single malt. Bunnahabhain's distillate is smooth, malty, and has a maritime influence due to its proximity to the coast. Unlike most Islay distilleries, Bunnahabhain uses unsmoked malt for its regular single malt production, setting it apart from the peaty whiskies typical of the area. Since 2013, Bunnahabhain has been part of the Distell group. | Bottle description | Bunnahabhain 1976 is a single malt whisky that was bottled by independent distillery Murray McDavid as part of their prestigious Mission Cask Strength series. This range focuses on limited bottlings of exceptional and rare whiskies, often from closed distilleries or very old stocks. Distilled in 1976, this whisky has been matured for 31 years in Oloroso Sherry casks, giving it a complex and deep flavor profile with rich notes of dried fruit, chocolate, and spice.The bottle bears the signature of the legendary Jim McEwan, who played a vital role in the restoration and reopening of the Bruichladdich distillery in 2001 and held the position of master distiller until 2015. His signature appears only on truly exceptional bottlings that are still prized among whisky connoisseurs and collectors today.Nose: Intense and rich with notes of dried fruit, especially raisins and plums, complemented by spices, chocolate, and nuts, typical of Oloroso sherry casks.Taste: Full and balanced, with rich notes of dried fruit, chocolate, honey, and spices, harmoniously combined with light woody notes.Finish: Long and warm, with lingering notes of dark fruit and subtle spice.The auctioned bottle is numbered 511/1025 and comes in a stylish wooden box.Size: 700 ml | Duty stamp: CZ | Packaging: wooden box
GLENLIVET 1975 CELTIC HEARTLANDS 33 YEARS OLD | Distilled: 1975 | Bottled: 2008 | Stated age: 33 years old | ABV: 51,2% | Region: Speyside | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Glenlivet is an iconic Scottish distillery located in the Speyside region, with a rich history dating back to 1824 when it was founded by George Smith. It was among the first distilleries to obtain a legal license following the Excise Act of 1823, enabling it to produce whisky legally. This move faced resistance from local illegal producers, but Glenlivet quickly established itself as a model for other distilleries. Known for its exceptional spirit, Glenlivet features delightful notes of apples and malt. Its quality soon made it one of the most popular whiskies, not only in Scotland but also internationally. By the 1830s, it had gained popularity in London, particularly among the upper classes. The prestige of the Glenlivet name became so significant that other Speyside distilleries began to use it, leading to a legal battle that George Smith ultimately won, securing exclusive rights to the name "The Glenlivet." In 1978, Glenlivet became part of the Seagram Company. When Pernod Ricard acquired Seagram's whisky portfolio in 2001, Glenlivet emerged as a key brand within the global group. Under Pernod Ricard's leadership, Glenlivet has grown to be one of the best-selling single malt whiskies worldwide. Today, Glenlivet offers an extensive range of bottlings, including the renowned 12-year-old, 15-year-old, 18-year-old, 21-year-old, and 25-year-old whiskies. The distillery also releases limited editions and vintage bottlings that are highly sought after by whisky enthusiasts around the globe. | Bottle description | Glenlivet 1975 is a single malt whisky bottled by independent bottler Murray McDavid. Distilled in 1975 and bottled in 2008, it spent 33 years aging in bourbon casks as part of Jim McEwan's Celtic Heartlands series. This exclusive series features whiskies from notable or closed distilleries, personally selected by the legendary master distiller Jim McEwan, whose signature can be found on the back vignette. Bottled at cask strength without chill filtration or coloring, it guarantees an authentic flavor profile. Nose: Fine notes of ripe fruit, vanilla, and light wood, with floral and spicy hints. Taste: Smooth and rich, with notes of fruit, vanilla, and subtle spices that transition into oak sweetness. Finish: Long and balanced, with hints of vanilla and soft woody notes.The auctioned bottle is numbered 302/474 and comes in a luxurious leather-covered box. Bottles from this series are highly sought after by whisky connoisseurs and collectors, as they represent a significant chapter in whisky history.Size: 700 ml | Condition: cracks in the covering plastic tape | Duty stamp: CZ | Packaging: wooden box covered with leather
DALLAS DHU 1979 MISSION SELECTION NUMBER ONE 23 YEARS OLD | Distilled: 1979 | Stated age: 23 years old | ABV: 46% | Region: Speyside | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Dallas Dhu is a Scotch distillery in Speyside, founded in 1899 by Alexander Edward, with architecture by Charles Doig. It began full production a year later, producing a distillate known for sweet fruit, honey, oiliness, and subtle peat smoke. The distillery closed in the 1930s, suffered fire damage in 1939, and resumed operations in 1947 until its closure in 1983. Sold to Historic Scotland in 1986, it became a whiskey museum. Recent discussions about resuming operations could renew interest in its historical bottlings. | Bottle description | Dallas Dhu 1979 is a single malt whisky, bottled by independent bottler Murray McDavid as part of their prestigious Mission - Selection Number One series. The whisky was distilled in 1979 and bottled in 2002 after 23 years of aging in first-fill American oak casks.The bottle bears the signature of Jim McEwan, who was instrumental in the restoration and reopening of Bruichladdich Distillery in 2001 and held the position of master distiller until 2015. His signature appears only on exceptional bottlings, which are still valued among whisky connoisseurs and collectors.Nose: Rich with notes of vanilla, honey, and delicate fruit, typical of first-fill American oak barrels.Taste: Full and creamy with notes of vanilla, honey, fruit, and subtle spices.Finish: Medium-long with hints of sweetness and subtle woodiness.The auctioned bottle is numbered 4/600 and is an attractive collector's item due to its origin from the closed Dallas Dhu Distillery.Size: 700 ml | Duty stamp: CZ | Packaging: wooden box
KNOCKANDO 1985 MASTER RESERVE 21 YEARS OLD | Distilled: 1985 | Stated age: 21 years old | ABV: 43% | Region: Speyside | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Knockando Distillery is located in the Speyside region of Scotland, near the River Spey. Founded in 1898 by John Thomson during the whiskey boom, its name comes from the Gaelic term Cnockan Dhu, meaning "little black hill." Knockando is renowned for its smooth, slightly nutty, and malty whisky, making it suitable for both blended and single malt expressions. For many years, it served as a key component in blended whiskies, particularly J&B Rare (Justerini & Brooks). While a significant portion of its production is used in blends, Knockando also offers its own bottlings, which proudly display the year of distillation (vintage). Today, Knockando is part of the Diageo portfolio, and its single malt whisky is highly regarded among connoisseurs for its lightness, freshness, and versatility. | Bottle description | Knockando 1985 Master Reserve Aged for a minimum of 21 Years is a single malt whisky from the Master Reserve series, distilled in 1985 and bottled in 2006. This whisky has been aged for at least 21 years in a combination of bourbon and sherry casks, resulting in a rich and complex flavor profile.Nose: Rich notes of dried fruit, soft spice, and honey, balanced with hints of sherry and sweet oak.Taste: Full and sweet with caramel, dried fruit, and light nuttiness, providing smoothness and depth.Finish: Long, with lingering notes of fruit, spice, and subtle sweetness for a balanced finish.Size: 700 ml | Duty stamp: CZ | Packaging: paper box, traces of mold inside the box | Bottle code: L6137DR000 01646158
GLENGLASSAUGH 1965 MISSION CASK STRENGTH SERIES 40 YEARS OLD | Distilled: 1965 | Stated age: 40 years old | ABV: 47,8% | Region: Highland | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Glenglassaugh is a Scottish distillery located in the Highlands, near Portsoy on the coast of the Moray Firth. It was founded in 1874 by businessman James Moir, but its operation was interrupted several times. The distillery closed in 1907 due to a drop in demand for whisky and remained out of business until 1960 when it reopened as the market began to grow again. However, Glenglassaugh faced challenges; its distinctive spirit was difficult to blend, greatly limiting its use. This ultimately led to its closure in 1986, and many assumed that the distillery would remain closed permanently. In 2008, however, production surprisingly resumed. In 2013, Glenglassaugh was incorporated into the BenRiach Distillery Co. group, joining the BenRiach and Glendronach distilleries. Although there was a 22-year gap in the distillery's stock, good cask management has allowed it to combine older whiskies with modern production to launch new bottlings. Today, Glenglassaugh's distillate is known for its distinctive fruit and honey notes, with some of the production also being peaty. | Bottle description | Glenglassaugh 1965 is a single malt whisky bottled by independent distillery Murray McDavid as part of their prestigious Mission Cask Strength series. This range focuses on limited bottlings of exceptional and rare whiskies, often from closed distilleries or very old stocks. The whisky was distilled in 1965 and bottled after 40 years of aging in a combination of sherry casks, with a subsequent finish in Rivesaltes wine casks, imparting a rich and complex flavor profile.The bottle bears the signature of the legendary Jim McEwan, who was instrumental in the restoration and reopening of Bruichladdich Distillery in 2001 and held the position of master distiller until 2015. His signature appears only on truly exceptional bottlings, which are still valued among whisky connoisseurs and collectors.Nose: Fresh, with notes of grapefruit, grapes, heather, and tangerines.Taste: Light, fresh, grassy, slightly floral, with hints of marzipan, vanilla, sweet grapes, and a touch of honey.Finish: Medium-long, syrupy and sweet with hints of grapes and a rounded texture.The auctioned bottle is number 380/411 and is delivered in a stylish wooden box.Size: 700 ml | Duty stamp: CZ | Packaging: wooden box
GLEN LOSSIE 1975 MISSION SELECTION NUMBER TWO 27 YEARS OLD | Distilled: 1975 | Stated age: 27 years old | ABV: 46% | Region: Speyside | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Glenlossie is a distillery located in the Speyside region, built in 1876 by John Duff (later also associated with the Longmorn and Benriach distilleries), Alexander Allen, H.M.S. Mackay, and London blender John Hopkins. Glenlossie (also known as Glen Lossie) is known for its smooth, grassy, and slightly oily spirit. Glenlossie whisky has always been a significant component of blended whisky. Since 1971, it has shared the distillery site with the Mannochmore distillery, which is also a major producer of blended whisky within the Diageo company. The complex contains 14 warehouses that hold up to 250,000 casks of maturing whisky. Although most of Glenlossie's production goes into blends, some is available as a single malt through Diageo's Flora & Fauna range, where it appears as a 10-year-old whisky. Otherwise, single malts from Glenlossie are rarely seen, even among independent bottlings. | Bottle description | Glenlossie 1975 is a single malt whisky bottled by independent bottler Murray McDavid as part of their Mission - Selection Number Two series. However, this series also includes the Cask End Bottling, which represents the remaining bottles, in a quantity of dozens, and is considered a rarity. The whisky was distilled in 1975 and bottled in 2003 after 27 years of aging.The bottle is adorned with the signature of the legendary Jim McEwan, who played a crucial role in the restoration and reopening of the Bruichladdich Distillery in 2001 and held the position of master distiller until 2015. His signature appears only on truly exceptional bottlings that are still valued among whisky connoisseurs and collectors today.Nose: Rich with notes of dried fruit, caramel, and sweet spices, complemented by a touch of oak and a hint of spice.Taste: Full with notes of toffee, dark fruit, and slight nuttiness, harmonized by light oak and spices.Finish: Medium-long, leaving a warm, lingering sweetness.Glenlossie whiskies, particularly those from Murray McDavid, are highly regarded among collectors for their quality and unique flavor profiles. The auctioned bottle is no. 17/66 from the rare Cask End Bottling edition.Size: 700 ml | Duty stamp: CZ | Packaging: wooden box
BRUICHLADDICH 1970 125TH ANNIVERSARY 35 YEARS OLD | Distilled: 1970 | Bottled: 2006 | Stated age: 35 years old | ABV: 40,1% | Region: Islay | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Bruichladdich is a Scottish distillery on the island of Islay, founded in 1881 by the Harvey brothers, who owned the Dundashill and Yoker grain distilleries in Glasgow. Like all late Victorian distilleries, its fate was inextricably linked to the production of blended whisky from the beginning. As a single malt, its whisky was virtually non-existent. It was closed in 1995 due to redundancy and remained dormant until 2001, when it was acquired by Murray McDavid, led by Mark Reynier and Simon Coughlin. The team was joined by the legendary Jim McEwan, who left Bowmore to become Master Distiller and help revive the distillery. McEwan played a key role in experimenting with different types of casks, local barley, and levels of malt smoking. This led to the launch of Port Charlotte peat whisky and the revolutionary Octomore, as well as The Botanist gin, which uses Islay herbs. In 2012, the distillery was bought by Remy Cointreau, which still owns it today. | Bottle description | Bruichladdich 1970 is a single malt whisky, released on the occasion of the 125th anniversary of this famous distillery. The whisky was distilled in 1970 and bottled in 2006 after 35 years of aging in bourbon casks, with an additional finish in Pinot Gris casks from the renowned Zind Humbrecht winery.The bottle and box are decorated with the signature of the legendary Jim McEwan, who played a crucial role in the restoration and reopening of the Bruichladdich distillery in 2001 and held the position of master distiller until 2015. His signature appears only on truly exceptional bottlings that are still prized among whisky connoisseurs and collectors today.Nose: Tropical fruit, citrus, vanilla, and soft oak, with hints of flowers and fruit from the vinous finish.Taste: Rich, juicy, and smooth, with notes of honey, fruit, vanilla, and soft wood, accentuated by sweetness and mineral notes from the Pinot Gris finish.Finish: Long, harmonious, with lingering notes of fruit, wood, and sweetness.The auctioned bottle and its certificate are numbered 2140/2502 and come in a luxurious wooden box, making it an exclusive collector's item.Size: 700 ml | Duty stamp: CZ | Packaging: wooden box, scratch on the top of the case
CAPERDONICH 1968 MISSION CASK STRENGTH SERIES 37 YEARS OLD | Distilled: 1968 | Stated age: 37 years old | ABV: 46,2% | Region: Speyside | Country: Scotland | Type: Single malt Scotch whisky | Distillery description | Caperdonich was a Scottish distillery in Rothes, Speyside, founded in 1898 as Glen Grant No. 2. Initially aimed to produce whisky similar to Glen Grant, it developed a distinct character with softer notes of pears, creaminess, and fresh mint. Closed in 1902, it reopened in 1965 and expanded in 1967, producing both lighter fruit spirits and later smoked variants. After its closure in 2002, equipment was sold to Belgian Owl and Falkirk distillery. Although demolished in 2011, Caperdonich remains cherished among collectors and whisky enthusiasts as a hidden Speyside treasure. | Bottle description | Caperdonich 1968 is a single malt whisky bottled by independent bottler Murray McDavid as part of their prestigious Mission Cask Strength series. This range focuses on limited bottlings of exceptional and rare whiskies, often from closed distilleries or very old stocks. The whisky was distilled in 1968 and bottled in 2006 after 37 years of aging. Aged in a combination of sherry casks with a subsequent finish in fortified Madeira casks, this gives it a rich and complex flavor profile.The bottle is decorated with the signature of the legendary Jim McEwan, who was instrumental in the restoration and reopening of the Bruichladdich distillery in 2001 and held the position of master distiller until 2015. His signature appears only on truly exceptional bottlings that are still prized by whisky connoisseurs and collectors.Nose: Rich and complex, with notes of dried fruit, spice, and dark chocolate, complemented by subtle notes of wood and honey.Taste: Full, with notes of raisins, caramel, dried fruit, and vanilla, with the presence of light spicy and woody notes.Finish: Long and elegant, with hints of fruit, chocolate, and fine spices.The auctioned bottle is numbered 511/1025 and comes in a stylish wooden box.Size: 700 ml | Duty stamp: CZ | Packaging: wooden box
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