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A collection of film and photography theory books, late 19th century and later, photography and picture books on various photographic and film-making theory, including:'Un Siècle de photographie de Niepce a Man Ray' by Andre Jammes and Laurent Roosens, published by Musée des Arts Decoratifs, Paris in 1965,'The Magic Image: The Genius of Photography from 1839 to the Present Day' by Cecil Beaton and Gail Buckland, published by Weidenfeld and Nicolson, London in 1975,'Wild Life at Home How to Study and Photograph it' by R Kearton FZS, published by Cassell and Company Limited in 1898,together with a quantity of 'Today' photographic periodicals,c.1945-1953 (qty.)Condition ReportMost examples in good order with some signs of wear to the covers. 'Wild Life at Home' with foxing to edge of the pages and scratches and minor tears to the cover.

John Ruskin (1819-1900), a group of five signed letters, comprising:a letter address to 'Rev R. Brown Borthwick', thanking the recipient for his letter and a drawing 'but it has not yet come; and I leave home tomorrow for about ten days', complete with envelope,a letter addressed to Clifton Ward, discussing geological matters,a letter to Rev F Murray, stating he would 'be most happy to see the carpenter whose name - Mullender! I am not quite sure of - and I don't exactly know where Southfleet is',a letter addressed to Mr Th S. Roberts, appearing to apologise for being 'too nervous and sad to take my lesson today', referring to himself as 'your dull pupil - and that I may be able to give better account of myself on Tuesday', anda letter to Mr Adams, discussing 'Allen's (unfinished) diagram - not of Rouen but of Abbeville, (the Rouen has been mislaid somehow)', signed 'JR', one letter stuck over the other (5)

John Ruskin (1819-1900), a signed letter, addressed to Mrs Collins, Paris 21st September 80, encouraging her in her writing: 'tell me what your new children's book is to be about, and write it as you would like to write it - not consulting the Christian Knowledge people's notions more than you choose to' and offering sympathy in her troubles: 'I have not forgotten you, although more often as I remembered, -- the thought of your difficulties and their cruel causes, make me still helplessly silent. Indeed I don't, and never have thought, that our wills can conquer anything, and I am the last to tell any delicate woman she ought to live hardly - many things I may have said against common idlers and useless luxury, -- but nothing [?] of severe in expectation from people who are in hundreds of cases, already living an anchorites life, compared to mine', adding that her letters deeply touch and interest him and that he will assuredly 'keep you at present from feeling yourself in servitude for the sake of fifteen pounds', in a postscript, he offers to send a cheque for £20, with further instalments of money, although he is not sure that she would like that kind of help often ('...But there are times for it...), anda letter addressed to Mr Ruskin, from J R Lowell, 22nd Nov 1859, expressing his delight that Ruskin should admire his work: 'My dear Mr Ruskin,/ to have made one man happy in a lifetime is worth living for, & you have made me happy and proud too in writing to Norton that you counted me among your friends. That you may take for granted, but I must go farther & say, among your debtors as well. My proportion of a debt which I share with all who speak or read the English tongue may be small as far as it concerns you, but to me it is great & lifelong. We all quarrel with you sometimes, but what good could we get from a man who prophesied smooth things? & I am sure that I am not assuming too much when I say that in giving you my hearty thanks for what you have done, I am only doing what all the men whose opinion you would care for in America would gladly do if they had the same pretext for it that I have. I offer you my hand with all my heart, & I pay you my fealty also as to the man who has done for Art what Wordsworth wished to do for Poetry', and asking him if he could contribute an article to the Atlantic Monthly, ending in the persona and feigned hand of Hosea Biglow: 'i go in for the A buv like all git eout/ Hosea Biglow' (2)

John Ruskin (1819-1900), a group of fourteen signed letters, recipients to include Dr Attwell, Mr Learoyd, Butler, Miss Miller, Woodd, Dixon, Mr Stowe, with subjects to include discussing agates, pearls, and Christmas, together with six envelopes addressed to Samuel Learoyd, and an envelope addressed to Mrs S H Holder (qty.)For a comprehensive transcription, please see the condition report.Condition ReportTranscription of letters:'Brantwood, Coniston, LancashireDear Dr AttwellI was so much interested in looking out those stones for you that I’m ready to lend you another lot directly – if you’ve room and care for them. I hope the new lot sent you yesterday are better than those sent to Whiteland’s – but these others won’t be lost, there either.That’s so interesting and so right – about the moral of monsters – but I hav’nt''Brantwood, Coniston, Lancashire. AmblesideDear Mr LearoydPlease let the agates be sent here, and with thanks for your care and best Christmas wishes believe me your faithful servant John Ruskin Samuel Learoyd Esq.''Brantwood, Coniston, Lancashire.28th April 83My dear SirI am so ashamed of myself for not having answered your kind letters of question about showing the agates – but I have been thinking of several things about them. It seems to me that with your good help, they might be arranged for a loan collection, belonging to the Sheffield Museum, and – when long enough at one place taken to another.You will at once see at looking over them that all have separate phenomena. Several are ,(in my experience unique) and all are chosen for things which need notice in each specimen ‐ If you will at present number and shortly describe each – and show just as you think best. I would afterwards consult with you on what more might be said, with secure basis of science, of the possible mode of production of each – and print the catalogue so settled.This cannot be till after our Oxford work is done – but for the present exhibition please take all authority. I think my stones usually look best on white silk or deep red or purple velvet – in which when the collection is finally arranged you might have niched places for each stone Ever most truly Yours J Ruskin''Brantwood, Coniston, Lancashire.27th Dec. 84Dear Mr. LearoydNo. I could not take up pearls. – they are a result of disease. And would never interest me, but I should like to see an exhaustive book on them – Silica is more than ever I shall manage, ‐ but please tell me of any points of new interest that occur to you in it at any time Ever faithfully yours J Ruskin''Brantwood, Coniston, Lancashire.3rd MayDear Butler,I’m quite delighted with all the small silvers ‐ and all the besicas – and the rest are very nice I return a pound’s worth of what I don’t want – see accounts and enclose cheque for £5 with hearty thanks. The 15/‐ chlorite is superb – quite worth £1 to me – the largest indescent Madagascar, the best I ever saw.I’m not well, stomach out of sorts – or that metal‐book would have been done by this time – I Don’t know what you could have got out of my talk – you said you should like to know things – And I said – so should I! I think that was about all. But I’ll write and print the catalogue of collections for you directly. Ever affectionately yours JR''Brantwood, Coniston, Lancashire.17th April 83My dear SirI will look out the stones directly – but your own arrangement will be entirely satisfactory to me – it will be a delight to think of your seeing them. – I will wait on Col. R; the moment I’m in town againEver faithfully yoursJ Ruskin''Brantwood, Coniston, Lancashire18th May 86My dear SirI accept your Companionship very gladly, having at last given up the idea of the Guild’s being a monied power; and contenting myself with making it a bond and an influence for assured good.Do not hasten to leave your position under Dr. Gore. You could not be in a more useful one that of a practical experimental philosopher – as you grow in years – holding yet the faith you have now signed Ever faithfully yours John Ruskin''Brantwood, Coniston, Lancashire. Christmas 86My dear SirI find nothing so uselessly wasteful of my time as lending either drawings or minerals, and have vowed to trouble myself no more, in that kind – but if I would – assuredly not for Manchester. Even at Xmas time I forgive them not their Thirlmere theft. Ever faithfully yours John Ruskin''Herne Hill, S.E. London20th June 77Dear Miss Miller,I have been twenty times of the edge – never yet well over the edge –of answering your mostvaluable letters – but you will see in next days I have not forgotten them.Is Eastover House an established and permanent school – and would its trustees like me to lend Some agates and other stones for her pupils to play with and think of? Ever gratefully Yours J. Ruskin''Brantwood, Coniston, Lancashire.12th Feb. 85Dear Woodd,Many thanks. The Phots are beautiful. I had taken good ones myself, of course; but these beat them considerably. I’ve ordered a report of St. George to be sent to you. I shall expect a grand subscription to my Museum. Ever affectionately yours J Ruskin Charles H. Woodd, Esq.''I have not read the slips yet they seem most interesting.Venice, 6th MayDear DixonI have been terribly neglectful of you. I was very glad to see your hand today, but what to know how you are.I must really organize this St. George’s company by drawing up some legal documents myself which the Companions shall sign. I am sick of the lawyers’ delays and the Trustees are shy of acting for want of clearly knowing to whom they are responsible.‐ So you will have to declare that you they have no business with the matter – but that you only hold the Master responsible for the management. Ever affectionately yours J Ruskin' 'Denmark Hill23rd AprilMy dear Mr StoweI’ve had this returned letter by me ever so long and always forgotten to ask you to forward it – and now I’m leaving town – but I shall be back D.V. early in the summer – and most happy then to see your friend. Yours very truly J Ruskin''Denmark Hill, CamberwellMonday 1st OctoberMy dear SirI could not earlier reply to your letter – having left several days of this week open to choice to different friends whom I wanted to see – having only just come home from Switzerland – I have no forenoon time open just now – could you & Mr. Gregory favour me by coming some evening? Friday or Saturday? If not I shall have forenoon time next week. Truly yours, J Ruskin It is a long way for you to come – if Mr Gregory could be at Queen Sq. on Saturday, or Friday at one o’clock, I would come there.''Denmark Hill, S.7th Oct.My dear Sir.In this fine weather I am out all day my business goes to the dogs. I am heartily obliged to you for your letters and for the kindness of sending me an account of Mr. Stevenson – Forgive me, as well as him, the trouble we have caused you and believe me yours faithfully and obliged J Ruskin'

A collection of European photography books, 20th century and later, a quantity of photography and picture books on various European photographers, authors and visual artists, to include:two copies of 'Polaroids' by H R Giger, published in 2014,'The Photographs of Henri Cartier-Bresson' by Lincoln Kirstein and Beaumont Newhall, first edition published by the Museum of Modern Art in 1947,'Paris tel qu'il fut 104 photographies anciennes', published by Éditions Tel in 1951, and'Salerno Documentari Fotografici delle Provincie d'Italia', published by Ferrovie dello Stato in 1960 (64)Condition ReportWith wear to most examples, with creases and tears to some of the pages. 'Salerno' with heavy yellowing to the pages and tears to the cover commensurate with use. 'Paris tel qu'il fut' with a large tear to the left of the cover and general yellowing and surface marks commensurate with use and age.

Part of the Dance Theme series. Sitting pretty on her 19th century couch, she is truly the Belle of the Ball in her gorgeous red dress. Royal Doulton backstamp. Artist: R. AsplinIssued: 1947-1979Dimensions: 4"L x 8.25"W x 6.5"HCountry of Origin: EnglandCondition: Age related wear.

Pierre Jeanneret (Swiss, 1896-1967), a set of four floating-back armchairs, 1950s, designed for Chandigarh administrative buildings, each of teak with a cane seat and back, two inscribed 'Pb. N. R.' and numbered '35' and '56',52cm wide53cm deep82cm high, 46cm high to seat (4)Provenance: From a private collection, purchased in India during the 1980s.

[4.66g, R] - an antique 18ct gold ruby and diamond ring, three central rubies assessed as 0.35ct flanked by two of 0.15ct (0.65ct total weight) surrounded by 24 smaller diamonds, marked 18ct and XRF confirmed

Qty of vintage and later photographic equipment to incl Polaroid PoGo, Olympus Shoot & Go R, tripod, flashes, etc

Qty of antique and later tiles, many hand painted to incl examples by Maw & Co, Art Nouveau glazed tiles by T&R Boote etc

Hammered silver coins - Charles I (1625-1649) silver half crown, believed to be a (R) mint mark for Tower mint 1644-45, 13.86g, 34mm in diameter, XRF confirmed as silver, some good details

An elaborate 91-piece porcelain dinnerware set combining Schumann Arzberg (Bavaria, Germany) and Empress Dresden Flowers porcelain, each piece showcasing fine floral decorations in vivid colors with rich gold accents. The set features a harmonious blend of embossed lattice borders and botanical bouquets in the classic Dresden Flowers pattern, exemplifying German craftsmanship and Rococo revival elegance. Marks on the reverse include the Schumann Arzberg green crown and shield hallmark as well as the Empress "Golden Crown E&R 1886" stamp, confirming authenticity and origin. The collection includes a wide array of service pieces such as 16 dinner plates, 18 saucers, 16 soup bowls, 15 fruit bowls, 17 teacups, 2 platters, creamer, lidded sugar bowls, coffee and teapots, sauce boat, and 2 covered tureens - offering a complete and refined formal dining experience.A richly appointed set ideal for collectors of fine European porcelain or for elevating elegant entertaining. A rare opportunity to acquire a coordinated and expansive service with historical appeal and decorative brilliance. Largest piece 16"L x 1.5"H.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: GermanyCondition: Age related wear.

This 34-piece reticulated porcelain dinnerware set by Schumann Arzberg of Bavaria, Germany, showcases the classic Dresdner Flowers pattern, produced under the "Empress" line by E&R Golden Crown. Each piece is adorned with colorful floral sprays and intricate gold trim, with pierced openwork lattice borders adding a refined decorative touch. The set includes 14 dinner plates, 14 salad plates, 2 shallow bowls, 2 serving bowls and 2 compote stands, each stamped with both Schumann Arzberg and E&R backstamps, indicating high-quality German craftsmanship. The vibrant floral motif and delicate latticework reflect the Rococo Revival style that made Schumann pieces highly collectible throughout the 20th century. Largest piece 5"H x 10" dia.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: GermanyCondition: Age related wear.

Two matched pairs of silver salt & pepper grinders. Including one by John Bull Ltd, London 1992 and C S R Ltd, London 1978; another grinder stamped 'STERLING', G.M.T. CO., and another stamped 'STERLING', MADE ITALY. Gross weight 583.90g.

10ct yellow gold ring fitted with an oval cut purple Tourmaline gem stone. Shoulders are fitted with round cut white sapphires, gallery fitted with three round cut sapphires to each side. Marked 10K. 2.76Grams. Ring size R 1/2.

Selection of boxed Scalextrics car models; Caterham Superlight, Ford XB Falcon, Mercury Cougar XR7, ELF Renault RS-01, Ford Mustang, Nissan Skyline GT-R R32.

Two Foreign yellow gold rings; Gold ring fitted with a cluster of garnet gem stones- Ring size R. Together with gold ring fitted with Pearls- ring size M. 7.24Grams.

9ct yellow gold band ring. 3Grams. Ring size R.

9ct yellow gold and diamond stone ring. 0.10cts diamonds. 2.08grams. Ring size R.

Three gold band rings; Two 9ct yellow gold band rings - ring size R. 7.45grams. Together with 18ct yellow gold band ring- damaged. 2.58grams.

9ct yellow gold, CZ and Sapphire stone ring. 3.39grams. Ring size R.

A 19th century leather hat box, stencilled R S O, 38 cm wide

A late 19th century diamond set ring - the central stone set within bands of further stones in a circular setting with leaf shoulders, size R, 6.9g, in a vintage box.

A 9ct gold diamond set signet ring - the vacant matrix engraved with sun burst, size R, 6.3g.

A 9ct gold wedding band - size R, 3.3g.

A 9ct gold amethyst dress ring, London 1977, R 1/2, 2.7g

A 9ct gold sapphire and diamond cluster ring, R 1/2, 1.8g

A 9ct gold amethyst signet style ring, Birmingham 1974, 6mm amethyst, R, 3.2g

An 18ct gold gents wedding band, 10mm wide, R 1/2, 10g

A 9ct gold single cut diamond cluster ring, stated 0.20ct, R, 2.1g

A 9ct gold garnet cluster ring, R, 3.1g

A 9ct gold emerald and brilliant cut diamond cross over ring, R, 2.1g

A 9ct gold brilliant cut diamond five stone ring, hallmarks removed possibly due to resizing, R, 2.2g

A 9ct white gold morganite and diamond cluster ring, with diamond set shoulders, R 1/2, 3.9g

A 9ct gold brilliant cut diamond half eternity ring, R, 3g

René Lalique (French 1860 - 1945), a Lievre opaque glass vase, engraved R Lalique, 14 cm high

An R Lalique glass pin dish decorated a bird, engraved R Lalique to base, 12 cm diameterA hairline crack to the base, some light scratches, rough area to touch at the base of the birds tail, but no other obvious or major faults found

An R Lalique glass pin dish decorated a mouse, engraved R Lalique to base, 10 cm diameterA rough area to touch on the top of the ear, no major loss but there is a slight knock. but overall in good condition, no other major faults found, as free as one can expect from scratches

Assorted studio pottery (box)Bird bowl no major faults found, Stamped R with 'Design taken from Rowlstone Church - 26.5 cm wide

An R Lalique Coat d'Or Bacchantes plate, decorated figures, engraved R Lalique, 40 cm diametergood condition, no visible chips or cracks

René Lalique (French 1860 - 1945), an opalescent glass Rampillon vase, engraved R Lalique, 13 cm highSome very small chips to the rim, some glazing faults to the lustre, a small chip the the baseno cracks or repairs found

VARIOUS PRODUCTIONS - Album Containing Extensive Collection of Autographs Including The Beatles, Clint Eastwood, Charlie Chaplin, Lawrence Olivier and Peter O’Toole - An extensive album of autographs from A-listers and eminent individuals within the Sports and Entertainment industries.Some of the notable inclusions are Frank Sinatra, Charlie Chaplin, Elton John and Clint Eastwood. Each autograph is hand-signed in blue or black ink onto a postcard or paper. The autographs are contained within a binder album made of faux leather. Dimensions: 32 cm x 32 cm x 4 cm (12.5" x 12.5" x 1.5")The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.The full list of signees include:Ursula Andress, Tito Gobbi, Donald Pleasence, Gene Barry, Carol White, Sir Richard Attenborough, Eva Gabor, Frank Howard, Diana Rigg, Des O'Connor, Jacques Tati, Michael Medwin, Dick Van Dyke, Sir Lawrence Olivier, James Whitmore, Johnny Mathis, Hughie Green, John Alderton, George Harrison, Paul McCartney, John Lennon and Ringo Starr, Jerry Lewis, Alberto Semprini, Rock Hudson, Burt Reynolds, Irene Ryan, Jeffrey Hunter, Arthur Mullard, Charles Gray, Adam Faith, Albert Salmi, Andrew Faulds, Myrna Loy, Esther Ofarim and Abi Ofarim, Domenico Modugno, Diana Dors, Franco Zeffirelli, Albert Finney, Alberto Sordi, Vic Damone, Christopher Lee, Gordon Jackson, Leonard Bernstein, Vincent Price, Jeremy Kemp, John Denver, Jon Voight, Juliet Prowse, Joan Collins, Jack Palance, Clint Eastwood, John Ireland, Kenneth More, Leslie Phillips, Lulu & Maurice Gibb, Leslie Caron, Albert R. Broccoli, Laurence Harvey, Henry Cooper, Jay Bernstein, Linda Hayden, Little Tony, Luc Merenda, Peter Sellers, Giuliana Lojodice, Giulietta Masina, Lilly Palmer, Michael Caine, Tony Bennet, Arthur Mullard, Charles Gray, Twiggy, Shirley MacLaine, Peter Ustinov, Ken Buchanan, Benny Goodman, Bruce Forsyth, Romy Schneider, Caterina Valente, Norman Vaughan, Mick McManus, Omar Sharif, Neil Sedaka, Peter O'Toole, Francis Bacon, Perry Como, Patrick Wymark, Glen Campbell, Nicola Pietrangeli, Petula Clark, James Mason, Pierre Brousseau, Pietro Annigoni, Jean-Paul Belmondo, Peter Falk, Oliver Reed, Pat Phoenix, Rossano Brazzi, Jack Lemmon, Rod Stewart, Robert Vaughn, Richard Widmark, Raimondo Vianello, Rosemary Clooney, Charlie Chaplin, Richard Harris, Roger Moore, Robert Morley, Renato Rascel, Ryan O'Neal, James Stewart, Rudolf Nureyev, Shirley MacLaine, Steve McQueen, Sandie Shaw, Stirling Moss, Stanley Holloway, The Scaffold Comedy Trio, Sheila Ferguson, Ugo Tognazzi, Tom Jones, Terence Stamp, Brigitte Bardot, Burt Lancaster, Harry Secombe, Roy Castle, Bernard Braden, Bo Svenson, Wilfrid Brambell, Elton John, Tennessee Williams, Michael Crawford, Su Pollard, Frank Carson, Russell Grant, Trevor Howard, Eli Wallach, Anne Jackson, Annie Ross, Tommy Steele, Ann Bell, Eddie Albert, James Fox, Dick Shawn, Sammy Davis Jr., Alan Bates, Eddie Byrne, Buddy Greco, Deborah Kerr, Frank Sinatra, Eamonn Andrews, Terry Downes, Christopher Plummer, Eduardo De Filippo, Charlton Heston, Miss World 1971, Miss World 1972 and Miss World 1973VAT Status: M

ALIEN (1979) - US One-Sheet Teaser, 1979 - The worldwide marketing campaign for Ridley Scott's Alien (1979) is instantly recognisable by the (now) iconic alien egg imagery designed by the creative agency Bemis Balkind. But before that, the much-respected poster artist Bill Gold was commissioned by American distributors to create a 'teaser' poster which began to appear in late 1978. H. R. Giger's iconic xenomorph design was to be kept secret for audiences so Gold instead played with the title by having it repeat to form the substance of the poster.This scare example is unrestored with minor fold line wear, some nicks and tears around the borders as well as a small area of paper loss in the top left corner. Dimensions: 104 cm x 69 cm (41" x 27")Condition: FineArtist: Bill GoldVAT Status: M

‡ ATTRIBUTED TO DOMENICO ZAMPIERI, KNOWN AS DOMENICHINO (ITALIAN 1581-1641)LANDSCAPE WITH A HERMIT Oil on canvas 41 x 54cm (16 x 21¼ in.) Provenance: Everhard Jabach, Paris, no. 582, by 1696 Manor House Antiques, The Square, Stow-on-the-Wold, Gloucestershire, March 1973 There acquired by Richard L. FeigenLiterature: Vicomte de Grouchy, Everhard Jabach, collectionneur parisien (1965) in Memories de la Societe de l'Histoire de Paris et de l'lle de France. XXI, 1984, p.278, no. 582 G. Gent, Lost Domenichino is Found and Bought for $392, New York Times, 19 June 1973, p.32 L. Salerno, Pittori di paesaggio del seicento a Roma, vol. I, Rome, 1976, I. pp. 81,120, cat. no. 19.3 R. E. Spear, Domenichino, New Haven, 1982, vol. I, p.317 (as a copy after Pietro Paolo Bonzi) L. Salerno, Review of Domenichino by Richard Spear, in 'Storia dell arte', L. 1984, p.88 A. Brejon de Lavergnee, L'inventaire Le Brun de 1683; La collection des tableaux de Louis XIV, Paris, 1987, p. 297 (as a copy after Domenichino) C. Whitfield, Les paysage du Domenichio et de Viola in Monuments et memories, LXIX, 1988, p.106, no. 92 (as Grimaldi?) R. E. Spear, Domenichino addenda, in Burlington Magazine CXXXI, 1989, p.11. no.44 (as a copy after Pietro Paolo Bonzi) S. Loire, Ecole italianne XV/le siecle. I. Bologne. Musee du Louvre. Department des Peintures, Paris, 1996. pp.214. 216 (as a copy after Domenichino)Exhibited: Amherst, Massachusetts, Mead Art Museum, Major Themes in Roman Baroque Art from Regional Collections, 1974, no.83 New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May - 12 September 2010, no. 45 (as Domenichino)The present work is known in three versions; the lot offered here, a reduced painting in the Louvre (30 x 37cm), and a third larger example (47 x 59cm) in the Galleria Doria-Pamphilj, Rome. The latter example is now generally attributed to Domenichino's follower Pietro Paolo Bonzi. Whilst the present work has been put forward as the prime version by Luigi Salerno and others (see literature), Stephane Loire and Dennis Mahon both argued that the Louvre version is the original. Condition Report: Canvas appears to have a wax relining and presents a subtle craquelure. In addition, there are a few slight superficial scratches in the varnish in the tree in the upper right corner and the lower left corner UV light reveals and evenly applied varnish a few retouches in the lower section of the waterfall as well as meticulous restoration in the sky with two patches of approx 4cm in width. In addition, there are a few small meticulous restorations in the foliage of the tree to the right. Finally, there is extensive restoration to the right border such restoration if of crosses the whole right border and is of about 4cm in width.Condition Report Disclaimer

‡ ATTRIBUTED TO PIERRE ANDRIEU (FRENCH 1821 - 1892), AFTER EUGÈNE DELACROIX L'EDUCATION D'ACHILLES Oil on canvas 35 x 44cm (13¾ x 17¼ in.) Provenance: P. Andrieux, Paris Durand-Ruel, Paris, by 1900 Edward W. Hooper, Cambridge and Boston, by August 1900 Mabel Hooper Lafarge, Connecticut L. Bancel Lafarge, Nantucket, by descent Sale, Christie's, New York, 6 February 2007, lot 1 (as Eugène Delacroix, withdrawn) Literature: L.R. Bortolatto, L'Opera Completa di Delacroix, Milano, 1972, no. 409 R. Escholier, Delacroix: Peintre, Graveur, Ecrivain, Paris, 1929, Vol. III, p. 39 J. Meier-Graefe, Eugène Delacroix. Beiträge zu einer analyse, Munchen, 1922, p. 156 L. Johnson, The Paintings of Eugène Delacroix, Oxford, 1989, V, p. 56, no. L222 (as a sketch after Delacroix, possibly by Pierre Andrieu) A more complete version of this image is in the Getty Museum, Los Angeles Condition Report: The canvas has been lined and there is some undulation as a result. Spots of surface dirt and spotting throughout (see online images). Craquelure and superficial surface scratching. Some light discolouration, largely caused by dirt commensurate with age. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no obvious signs of restoration or repair.Condition Report Disclaimer

‡ MAX BECKMANN (GERMAN 1884-1950) GROSSER STEINBRUCH IN OBERBAYERN (LARGE QUARRY IN UPPER BAVARIA) Oil on canvas Signed and dated 0.34 (upper left) 86.5 x 119cm (34 x 46¾ in.)Painted in Ohlstadt in 1934.Provenance: Studio of the artist Private Collection, Alfred Eisenlohr, Munich (1941-1952) Thence by descent to Marie Louise Eisenlohr, Munich (1952) Private Collection, Walter Feilchenfeldt, Zurich, (acquired from the above in 1971) Kunsthandel Franz Resch, Gauting, (acquired from the above in 1973) Richard L. Feigen, New York, (acquired from the above in 2001)Exhibited: Bern, Kunsthalle Bern, Max Beckmann, Marguerite Frey-Surbek, Martin Christ, Fernand Riard, 1938, no. 19 (as Steinbruch in Bayern) Pforzheim, Kunst und Kunstgewerbeverein Pforzheim, Max Beckmann Ausstellung, March 1954, no. 24 Karlsruhe, Staatliche Kunsthalle (on loan from 1956-1971) Tübingen, Tübingen Kunstverein, Max Beckmann Landschaften und Graphik, June-July 1958, no. 4 Hamburg, Hamburger Kunsthalle: Bielefeld Kunsthalle, Bielefeld; Vienna, Kunstforum Wien, Max Beckmann: Landschaft als Fremde, 1998-1999, no. 34 Paris, Centre Georges Pompidou; London, Tate Modern; New York, Museum of Modern Art, Max Beckmann, 2002-2003, no. 96 New York, Richard L. Feigen & Co, Max Beckmann from Private Collections, 2018Literature: H. Klinkel in Stuttgart Zeitung, Stuttgart, 26 June 1958, n.p. E and B. Göpel eds., Max Beckmann, Katalog der Gemälde, Bern 1976, vol I, cat. no. 392, pp. 265-266, vol II. cat. no. 392, pl. 131 Max Beckmann, Abseits der Großstadt-oberbayerische Landschaft, exhibition catalogue, Schlossmuseum, Murnau, 1998, p.56 Industrie und Natur: Zur Geschichte des Hartsteinwerkes Werdenfels im Murnauer Moos, exhibition catalogue, Schlossmuseum, Murnau 2000, pp.9-10 in detail on the front and back cover Ich kann wirklich ganz gut male: Fredrich August von Kaulbach - Max Beckmann, exhibition catalogue, Schlossmuseum, Murnau, 2002 R. Smith, Max Beckmann, in the New York Times, 6 June 2018, p. CI6 A. Tiedemann, ed. Max Beckmann Catalogue Raisonné der Gemälde, no. 392 https://beckmann-gemaelde.org/392-grosser-steinbruch-oberbayern (accessed on 7 May 2025) For more details on this work, please follow the below link: https://www.dreweatts.com/news-videos/large-quarry-in-upper-bavaria-the-political-expressionism-of-max-beckmann-tales-from-the-art-crypt-works-from-the-richard-feigen-collection-14815/ Condition Report: Please refer to the department for condition report on this lot. Condition Report Disclaimer

ATTRIBUTED TO CHARLES MELLIN (FRENCH 1597-1649) PIETÀ Oil on canvas 106 x 77.5cm (41½ x 30½ in.)Provenance: Sale, Ader Tajan, Paris, 26 April 1993, lot 18 (as Attributed to Johann Heinrich Schonfeld, for FF 200,000) A photograph of the painting was requested in a letter dated 7 November 2006 for possible inclusion in the catalogue of the exhibition held at the Musée des Beaux-Arts de Caen from 21 September to 31 December 2007, Charles Mellin: un Lorrain entre Rome et Naples, curated by Mr. Philippe Malgouyres. However, the photograph ultimately did not appear in the published exhibition catalogue. Condition Report: The canvas appears to be relined relined. UV light reveals an approx. 15 cm patch of restoration to the dark section of the right arm of Christ, further scattered retouching is present to the torso. Further extensive retouching is present to the dark section of the drapery of the Madonna, as well as to her shoulder. Finally, further retouching is present to the visage, and a 'R' shaped restoration is present above her head - possibly a restoration covering a past tear. Condition Report Disclaimer

A vibrant 6-piece set of E&R Golden Crown hand cut crystal wine goblets featuring a striking array of colors including red, amber, green, cobalt blue, emerald, and purple. Each goblet boasts a finely faceted stem with a footed base showcasing a fluted pattern. The hand cut designs vary across the set, showcasing elegant floral and geometric lattice patterns. The craftsmanship highlights both the clear and colored crystal, creating a striking contrast that elevates the beauty of these goblets. Retaining the original E&R Golden Crown Germany label, these goblets are a testament to classic European glass artistry, perfect for adding a touch of color and refinement to any collection or table setting. This item has its original box. Issued: 20th centuryDimensions: Box dimensions: 19.25"LCountry of Origin: West GermanyCondition: Age related wear.

A vibrant 6-piece set of E&R Golden Crown hand cut crystal wine goblets featuring a striking array of colors including red, amber, green, cobalt blue, emerald, and purple. Each goblet boasts a finely faceted stem with a footed base showcasing a fluted pattern. The hand cut designs vary across the set, showcasing elegant floral and geometric lattice patterns. The craftsmanship highlights both the clear and colored crystal, creating a striking contrast that elevates the beauty of these goblets. Retaining the original E&R Golden Crown Germany label, these goblets are a testament to classic European glass artistry, perfect for adding a touch of color and refinement to any collection or table setting. This item has its original box.Issued: 20th centuryDimensions: Box dimensions: 19.25"LCountry of Origin: West GermanyCondition: Age related wear.

This exquisite set of six hand-cut lead crystal wine glasses from E&R Golden Crown Crystal, made in West Germany, features a stunning cut-to-clear design in an array of vibrant colors including red, orange, green, purple, blue, and teal. Each goblet boasts intricate floral and geometric patterns that highlight the exceptional craftsmanship of this collectible mid-century glassware. The elegant faceted stems and the precise, deep cuts create a brilliant play of light, making these glasses a standout addition to any table setting or glassware collection. The original E&R Golden Crown labels are present, affirming the authenticity and origin of the set. This item has its original box.Issued: 20th centuryDimensions: Box dimensions: 19.50"LCountry of Origin: West GermanyCondition: Age related wear.

This vibrant pair of Boehm porcelain roses features a soft pink bloom (model 200-55-P) and a rich dusty red bloom (model 200-55-R), both resting on sculpted branch bases with budding stems and finely detailed foliage. Expertly hand-painted and modeled in Boehm's signature botanical style, these elegant florals exemplify the studio's commitment to realism and refinement. Undersides are marked with the official Boehm backstamp. Approximately 6"L x 2.5"H.Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

This 10-piece assortment of fine porcelain from Schumann Arzberg Germany features the Empress Dresden Flowers pattern, a richly detailed and colorful floral motif with gold trim. The lot includes two dinner plates, four reticulated-edge dessert plates, two soup bowls, and two fruit bowls. Each piece is adorned with vibrant hand-applied floral bouquets and scrolling gilt embellishments, typical of the Empress line. The mix of openwork rims and traditional edging adds a dynamic visual contrast while preserving elegance and continuity throughout the set. Each piece bears the Schumann Arzberg and Golden Crown E&R marks on the underside, ensuring authenticity. A refined ensemble for collectors of German porcelain or those looking to add classical floral charm to their tableware collection. Largest piece 10" dia.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: GermanyCondition: Age related wear.

A vibrant 6-piece set of E&R Golden Crown hand cut crystal wine goblets featuring a striking array of colors including red, amber, green, cobalt blue, emerald, and purple. Each goblet boasts a finely faceted stem with a footed base showcasing a fluted pattern. The hand cut designs vary across the set, showcasing elegant floral and geometric lattice patterns. The craftsmanship highlights both the clear and colored crystal, creating a striking contrast that elevates the beauty of these goblets. Retaining the original E&R Golden Crown Germany label, these goblets are a testament to classic European glass artistry, perfect for adding a touch of color and refinement to any collection or table setting. This item has its original box.Issued: 20th centuryDimensions: Box dimensions: 19.25"LCountry of Origin: West GermanyCondition: Age related wear.

This exquisite set of six hand-cut lead crystal wine glasses from E&R Golden Crown Crystal, made in West Germany, features a stunning cut-to-clear design in an array of vibrant colors including red, orange, green, purple, blue, and teal. Each goblet boasts intricate floral and geometric patterns that highlight the exceptional craftsmanship of this collectible mid-century glassware. The elegant faceted stems and the precise, deep cuts create a brilliant play of light, making these glasses a standout addition to any table setting or glassware collection. The original E&R Golden Crown labels are present, affirming the authenticity and origin of the set. This item has its original box.Issued: 20th centuryDimensions: Box dimensions: 19.50"LCountry of Origin: West GermanyCondition: Age related wear.

A magnificent set of six E&R Golden Crown wine goblets crafted in Western Germany, each featuring the highly collectible cut-to-clear design. These lead crystal goblets exhibit vibrant colors including blue, red, green, amber, teal, and purple, showcasing intricate geometric and floral patterns masterfully cut to reveal the clear crystal beneath. Each goblet stands on a clear stem with hexagonal detailing, rising to a finely faceted base, while the bowls display dazzling crosshatch and floral motifs. Retaining their original E&R Golden Crown labels, these glasses highlight the luxurious craftsmanship of traditional hand-cut crystal. This item has its original box.Issued: 20th centuryDimensions: Box dimensions: 19.25"LCountry of Origin: West GermanyCondition: Age related wear.

A 9ct gold five stone emerald ring, five oval faceted emeralds, flanked by a trio of diamonds either side, width 5.3mm, size R, hallmarked 9ct gold, weight 2.5g, cased

A garnet cluster ring, head diameter 8.2mm, size R½, unhallmarked, stamped 18ct, weight 2.3g

H.M. Queen Elizabeth II and H.R.H. The Duke of Edinburgh, signed presentation portrait photograph of the Royal couple taken at Buckingham Palace, signed in ink 'Philip 1958 Elizabeth R' in original black Morocco leather frame with easel back 33 x 25.5cmProvenance: presented to Admiral of the Fleet The Lord Lewin KG, GCB, LVO, DSC (1920-1999) by Her Majesty when he was Commander of The Royal Yacht 'Britannia' in 1957-58. He went on to become the First Sea Lord and Chief of the Defence Staff during the Falklands War. He served with Prince Philip during the Second World War and became lifelong friends.

Edwardian diamond five stone ring with five old cut diamonds in claw setting on gold shank, ring size R½, together with a 1930s sapphire and diamond three stone cross-over ring in platinum setting on 18ct gold shank, ring size M. (2)

Rare H.M. Queen Elizabeth II signed photograph of Her Majesty seated with her Maids of Honour at her Coronation in1953, signed in ink 'Elizabeth R 1953', inscribed in ink on the reverse 'To Ethel wishing you a Happy New Year and Christmas from Lady Anne' in period frame with easel back. 14.5 x 12cmProvenance: given by Lady Anne Coke (now The Dowager Lady Glenconner LVO) who was a Maid of Honour at the Coronation to a favoured servant from her family home in Norfolk Good overall condition, the border of the photograph mount ( which is covered by another mount) has some water damage . Please see the extra images