We found 5655 price guide item(s) matching your search

Old Master type, pen, ink and wash drawing on woven paper - The Adoration, 20cm x 13cm, in glazed frame, gallery labels verso

Three Old Master Oval Prints in Gilt Frames (3).

Sold by Order of a Direct DescendantThe unique and superbly well-documented 'Far East Communication Squadron 1950' A.F.M. group of seven awarded to Master Signaller J. B. C. Browne, Royal Air Force, who was awarded his Nuclear Test Medal for the 'Christmas Airways' flights to Christmas Island during Operation GrappleBrowne's remarkable career saw him flying during the Second World War, earning his A.F.M. in the east for flights which included missions to China redacted from his service papers and flying the Royal Couple during their 1961 Royal Tour of NepalAir Force Medal, G.VI.R. (571907 Sig. I. J. B. C. Browne. R.A.F.); 1939-45 Star; Defence and War Medals 1939-45; General Service 1918-62, 2 clasps, Malaya, Arabian Peninsula (571907 Sig. I.A. J. B. C. Browne. R.A.F.), the second detached in its named box of issue; Royal Air Force L.S. & G.C., E.II.R. (M. Sig. J. B.C. Browne. (571907) R.A.F.); Nuclear Test Medal, unnamed as issued, the first six mounted as worn, the last in its named box of issue, sold together with a large archive including the recipient's flying log books, minor contact wear to sixth, overall good very fine (7)A.F.M. London Gazette 8 June 1950, the original recommendation states:'Signaller I Browne joined the Squadron in October, 1948, having been in Japan from October, 1947, and has been employed as a V.I.P. Signaller. He is a first class non-commissioned officer with exceptional technical ability, having consistently held an 'A' category since August, 1946. During the last six months he has completed 300 flying hours on some of the most important flights assigned to this Squadron, and he has also extended his 'A' category to cover York aircraft as well as the Dakota, the type in which he is primarily signaller and, on numerous long distance flights during his tour of duty in the Far East Communication Squadron, he has carried out his duties in an exemplary manner. He has shown ability, coolness and enthusiasm and is an outstanding non-commissioned officer.'Note the Recipient's Flying Log Book for the period of 1947-1952 is missing, it is believed to have been recalled owning to a redacted mission in China rather than misplaced or lost.John Blake Cameron Browne (who later changed his surname to Howard) was born in Kensington, London on 19 February 1922, the son of Andrew and Wilhelmina 'Billy' Browne. His father was a former professional soldier who served as a Sergeant-Major with the Essex Regiment and was seriously wounded in the leg at Gallipoli. He appears to have suffered from post-traumatic stress disorder and left the family in 1929 leaving his wife to raise the children herself. The young Browne received only a basic education however this was enough for him to pass the entrance tests for an apprenticeship at R.A.F. Halton on 24 August 1937.He was initially posted to the Electrical and Wireless School before transferring to No. 2 Wireless School on 26 March 1938. He must have proven himself a quick learner as he was soon selected to leave Halton for Cranwell, where he specialised as a Signaller. He was still there on the outbreak of the Second World War on 3 September 1940, they spent the day dispersing the aircraft around the perimeter of the airfield in case of air raids.The Second World WarQualifying as Wireless Electrical Mechanic on 29 January 1940, Browne reached his majority the next month on 19 February and was appointed Aircraftman Class I the same day. Posted first to No. 29 Squadron and advanced Leading Aircraftman on 1 April 1940 he served with them at R.A.F. Digby. Here he was on the receiving end of several bombing raids, being promoted Corporal on 31 December 1940. The Squadron re-equipped with Bristol Beaufighters to replace their old Blenheims not long later.Transferring to R.A.F. Pembury he undertook an air gunner's course, becoming qualified on 6 January 1943 and advanced Sergeant on 7 January. Joining No. 10 Radio School Carew Cheriton, he served there until 17 February 1943 when he was posted to Coastal Command's 131 Operational Training Unit which was located on Loch Erne in Northern Ireland. There he had his first flight on a Catalina flying boat on 18 February.Having qualified, Browne was posted to the newly formed 265 Squadron based in Northern Madagascar. After a gruelling journey across Africa, he finally reached the posting in early June and began to undertake fleet escort and search and rescue missions as Wireless Operator/Air Gunner. Racking up increasing Operational flying time in December he had 250 hours and was advanced Flight Sergeant on 6 January 1944.Over the next year he was to continue in this role, adding Meteorological Flights to his duties. The last of Browne's wartime flying was with 265 Squadron having undertaken 562 hours of Operational flight with them and an impressive 1076 hours in total. Posted to R.A.F. Wymeswold on 5 May 1945, he arrived on 8 May - V.E. Day - to discover the station all but deserted, the guard on the front gate informed him that everyone was celebrating in the pub.V.I.P. Flying, a Redacted Mission and a Crash LandingBrowne retrained with Douglas Dakotas and was soon posted to 147 Squadron, flying for Transport Command. This Squadron flew from Britain to Europe allowing Browne to assemble a collection of European banknotes which he stuck into his log books.Joining 24 Squadron for V.I.P. transport flights in October 1946 he was posted to the British Commonwealth Air Force in Japan the following year. The next year Browne again moved, this time to the Far East Communications Squadron. Two months after he joined them a period of one week on his service records is redacted, this combined with his missing log book covering this period is suggestive of a clandestine mission. The cataloguer must leave it to the reader to imagine the nature of this work however it occurred at a time that Browne was known to have been flying to China, then embroiled in the Civil War.Returning to Britain in April 1950 he was awarded the Air Force Medal at R.A.F. North Luffenham for his work with the Far East Communication Squadron. His work there had also entitled him to the Malaya bar for his General Service Medal however this would not be issued at the time and Browne was to receive the G.S.M. for a separate campaign. Joining 242 Operational Conversion Unit as a Trainer and he was recommended a Commission at that point however he rejected the offer, feeling that he preferred his role as a Warrant Officer.Returning to No. 24 Squadron on 6 December 1953 he rang in the new year with a promotion to Master Signaller on 31 December. One of his early flights here on 22 May 1954 was transporting Anthony Eden (then Foreign Secretary) and Lord Ismay (then Secretary General of Nato) from Geneva to Paris and thence to Britain. A further flight in July almost led to disaster as the crew lost their way between Suffield, Alberta and Britain. An S.O.S. signal was sent out and after a tense period of waiting were picked up by a passing liner which was able to give them their co-ordinates, with their available fuel they were just able to make an emergency stop at the Azores Islands.That same year he performed trips to Australia which included the transport of material and personnel involved in the developing Nuclear programme. During one routine training mission the next year out of R.A.F. Abingdon the Hastings aircraft Browne was flying in crashed on landing. Fortunately the crew were all unharmed although the aircraft itself lost a wing. The next year he transferred to No. 47 Squadron flying mostly to the Middle East, Cyprus and Malta.Christmas Island Airways and Operation GrappleBrowne had alr…

THE WATCHES & ARCHIVE OF SHEILA SCOTT O.B.E. (1922-88), 'BRITAIN'S QUEEN OF THE AIR'Given all that could be written about this remarkable aviatrix, the cataloguer turns firstly to Encyclopedia Britannica:'Sheila Scott was born on 27 April 1922 at Worcester, Worcestershire and was a British aviator who broke more than 100 light-aircraft records between 1965 and 1972 and was the first British pilot to fly solo around the world.After attending a Worcester boarding school, Scott became a trainee nurse at Haslar Naval Hospital (1944), where she tended the wounded during World War II. In London she appeared in small roles for theatre, film, and television and worked as a model (1945–59). In 1960 she earned her pilot’s license, bought an old biplane from the Royal Air Force, and won several races, capturing the De Havilland and Jean Lennox Bird trophies for that year. To pay for her flying, she became a demonstrator for Cessna and Piper aircraft.Scott first flew around the world in 1966, covering about 31,000 miles (50,000 km) in 189 flying hours. She set world records when she flew between London and Cape Town (1967) and across the North Atlantic Ocean (1967), the South Atlantic Ocean (1969), and from the Equator to the Equator over the North Pole (1971). After her record polar flight, she made a third around-the-world solo flight, earning her 100th world-class record. She wrote I Must Fly (1968) and On Top of the World (1973; U.S. title Barefoot in the Sky, 1974). Scott was made an Officer of the Order of the British Empire (OBE; 1968), and she received the Royal Aero Club’s Gold Medal (1972). She died at London on 20 October 1988.'Further notice should be made the fact that Scott was likely the inspiration to Ian Fleming for the alluring 'Pussy Galore' in Goldfinger, played by Honor Blackman in the 1964 movie.Her flights with NASA in 1971 are also worth mention:'Sheila Scott is pictured here with her Piper Aztec 'Mythre', in which she made her world and a half flight in 1971. On this flight, she became the first person to fly over the North Pole in a single engine plane. She carried special NASA equipment for a communications experiment testing the Interrogation Recording and Location System (IRLS) of the Nimbus polar orbiting satellite. The IRLS equipment, a Balloon Interrogation package, transmitted data on Scott’s location during the 34,000 mile (~55,000 kilometer) flight to the Nimbus satellite, which relayed it to NASA’s ground station at Fairbanks, Alaska and then to a computer center in Greenbelt, Maryland. Sheila Scott’s record-making, historic flight confirmed the satellite’s ability to collect location data from remote computerized and human-operated stations with a unique “mobile platform” location test.'She was Roy Plomley's castaway on Desert Island Discs in January 1967, her luxury being tobacco seeds to ensure a never-ending supply of smokes. Scott was always seen as a somewhat quirky individual and flew barefoot, claiming she could feel the controls better. She always signed of 'Happy Landings!' and we hope these treasures will find much the same.Sheila Scott's famous Rolex GMT-Master 'Pepsi' stainless steel automatic dual time wristwatch, first worn on her famous 1966 record-breaking long-distance flightRolex, stainless steel automatic dual time wristwatch with date and leather bracelet, this rather worn, Ref. 1675, GMT-Master 'Pepsi', with bakelite bezel, stainless steel Oyster case, screw-down crown and back the reverse engraved 'SHEILA SCOTT', blue and red 24-hour calibrated bezel, No. 1255812, the applied triangular and dot indexes upon the face 'factory' luminated with radium marker, 40mm, in running condition at time of cataloguing but would likely benefit from a service, a most historic object, very fineProvenance:Philips, December 1989 (Sold by Order of Sheila Scott O.B.E.).Scott wore this very watch on her famous flights. Her image - and this watch - was the first to ever market sports watches for wear by women. Scott commented that it was '...a marvelous watch.'It is no surprise that 'Pussy Galore' also wore a 'Pepsi' in Goldfinger.…

Louis Icart (French, 1888-1950) 'Vitesse' (Speed II), 1933etching with aquatint and drypoint in colours, signed 'Louis Icart' in pencil and inscribed '105', with artist's blind stampplate 39.5 x 65.5cmProvenance: Bonhams, Knightsbridge, 'Old Master, Modern and Contemporary Prints', 21 September 2011, lot 298.Condition ReportFramed: 66.5 x 89cmA little time staining. Some small spots of foxing starting to emerge. Two small black spots in the margin in the lower right corner. An extremely faint, small brown mark to the margin in the upper right. Not viewed out of glazed frame.

An U'u war club style, carved in heavy hardwood, the double sided top carved to resemble a human face, the shaft with intricate finely carved tiki figures by the master artist. Provenance: From a British estate collection. Comes with the email opinion from Anthony JP Meyer owner of Gallery Meyer Oceanic art - Eskimo Art: Thank you for the email. Indeed your UU is very unusual - first of all it was not made in the traditional period for these weapons or staffs of office. It was made much later and secondly it was carved in a very unusual and idiosyncratic style, possibly there are others by this artist but I have not so far seen any. The arrangement of the motifs is completely non traditional but shows a very pronounced aesthetic organisation and while I consider it to be a commercial curios ,it certainly is very beautiful and compelling in its style. I would presume that it was made within the last 60/70 years, thus in the second half of the XXth century. The more classical so called gauguin type of UU made after 1900 are simply unpleasant renditions or exaggerations of the early UU. They are usually evaluated at less than 1000 euros. Yours ought to fit within this price limit. For objects with similar decoration, see the French museum: Mus??e du quai Branly, which dated them from the 19th to early 20th century. inventory numbers 71.1962.0.3 X Oc 71.1930.44.13 71.1888.46.1 82cm tall. Good overall, with some drying cracks, scuffs, and with remains of old patina. From a UK estate collection. Ex UK private collection.

A luxurious Taylor Fladgate Tawny Port vertical tasting set featuring four bottles of aged tawny port: 10, 20, 30, and 40-year-old expressions. Taylor Fladgate, one of the oldest and most esteemed Port houses, has been producing exceptional fortified wines since 1692. This set offers a rare opportunity to experience the progressive complexity and depth of flavors that develop with extended barrel aging. Each bottle is elegantly presented in a custom wooden display box, which features a quote from William Shakespeare: "Let every man be master of his time." A perfect addition for collectors, connoisseurs, or as a distinguished gift.Issued: 2019Dimensions: 12.25"L x 3.25"W x 11.5"HCountry of Origin: PortugalIn-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear. Bottles appear unopened with intact seals. Wooden box in excellent condition.

CIRCLE OF JONATHAN RICHARDSON (c. 1665-1745) oil on canvas - Portrait of Arthur Williams of Meillionydd (1681-1723), inscription top left added by the Welsh artist William Parry in 1783/4, 76 x 63.5cmsNote: The arresting visual impact of this unusually prodigious Caernarfonshire squire is enhanced by his vibrant scarlet robe and a florid complexion suggestive of an early familiarity with port. When John Steegman compiled his list of the portraits at Nannau, he noted that this picture was so dirty that the inscription was ‘barely legible’. However, recent cleaning has revealed the canvas to be in excellent condition. The early decades of the 18th century present particular challenges with regard to the attribution of British portraits. This is a production of considerable quality which owes a good deal to the style of Jonathan Richardson. As the Penllyn squires were often more familiar with Dublin than with London, it is as likely to have been painted in Ireland as in Wales. Meillionydd lies east of the village of Rhiw in the remotest reaches of Penllyn. The original plas was much altered in the 19th and 20th centuries but part of the old house, dating from around 1600, remains intact. The Williams family were descended from the Cochwillan branch of the powerful Griffith family of Penrhyn and by the time Arthur Williams succeeded they had accumulated an extensive and productive estate. He served as High Sheriff in 1702 and the following year he further enhanced his family’s fortunes when he married Meriel Williames, the heiress of the Ystumcolwyn estate at Meifod in Montgomeryshire. Judging by his apparent youth, it seems likely that Arthur’s portrait was painted during this significant period of his life. In 1765, Arthur’s grand-daughter Ann, the heiress to Meillionydd, was betrothed to Robert Howel Vaughan. Their early married life was spent in and around Chester where Vaughan was working as a surgeon. However, in 1783 he succeeded his unmarried brother Hugh to become owner of four estates: Nannau, Hengwrt, Meillionydd and Ystumcolwyn. Robert Howel Vaughan was a major patron of the Welsh portrait painter William Parry, who, in 1784, painted both husband and wife and included their coats-of-arms and identifying inscriptions. It is clear from the matching script that he also added identifying inscriptions to the Williams family portraits which Ann Vaughan brought to Nannau following her marriage.Nannau was sold by the Vaughans in 1966, but they retained all their family portraits and associated relics. These were later distributed amongst their daughters who, in turn, began a long process of disbursal from the late 1980’s until 2008. In 1990, Arthur Williams’ picture was included in a sale of British and Old Master Paintings at Sotheby’s when it was bought by an Irish dealer, and it subsequently entered a private collection in Ireland.Provenance: By descent at Nannau, Dolgellau; Sotheby’s, 28 February 1990, lot 235 (Hammer price £2800, with a portrait of an unknown lady c. 1720); Private Collection, IrelandComments: framed, ready to hang

Three engravings by Wm Wilson of old master paintings by George Lambert, Zuccarelli and Claud Lorrain, 31 x 38 cm (3)

Antonio Jose Landaeta (active in Caracas, Venezuela, 1748 - 1799)“Immaculate Conception”Oil on canvas.51 x 40 cm.The Immaculate Conception, attributed to Antonio José Landaeta, master painter and gilder active in Caracas between 1748 and 1799, is an oil on canvas of small dimensions, characteristic of the Venezuelan school of the 18th century.At first sight, we observe an exquisite image of a young woman, dressed in a white tunic and with a blue mantle superimposed with her hands together almost subtly crossed over her chest against a background or sea of clouds of golden tones, and a cascade of cherubs and angels.Compared with other works by Landaeta and with the portrayals of the Immaculate Conception in the Cisneros and Santaella Garrido collections, this painting shares a similar approach to composition and symbolism. However, there are differences in the tones and distribution of the decorative elements, suggesting a stylistic evolution within the Landaeta workshop. When analyzing the other two comparative paintings, we observe that the curtains and the backgrounds have similarities in the brocade technique and in the depiction of the cherubs, which reinforces the stylistic coherence within the artist's work.Likewise, we observe a delicacy in the handling of proportions and an attention to detail that denotes academic influences and that locate the work in the late Venezuelan baroque, with aspects that stand out in much of Landaeta's work, such as the use of soft tones and the fluidity in the folds of the clothing, which reflect an interest in naturalness and movement. In addition, the chromatic palette of soft tones, with a predominance of ochers and pinks in the backgrounds, is a distinctive characteristic of Landaeta and the school that bears his name. This treatment, together with the expert handling of the drawing and the decorative details, underlines the mature style of his work. All this reaffirms the attribution of this painting of the Immaculate Conception to the artist.Landaeta was part of a historical context in which the Catholic Church promoted intense devotion to the Virgin Mary, reflected in this painting. In Caracas, artistic activity was linked to both religious orders and local elites, who commissioned artworks that reflected their faith and social status. Landaeta, as a painter and gilder, contributed to this tradition not only with highly symbolic paintings, but also with decorative commissions for churches and confraternities. His workshop, shared with his brother Juan José, produced art that combined local influences with European models, adapting engravings and compositions spread from Spain and other parts of the American continent.Iconographically, this portrayal of the Immaculate Conception follows a European model widely disseminated in Latin America, inspired by engravings such as those of J. Salvador Carmona, based on paintings by Mateo Cerezo. However, Landaeta's version introduces local elements, such as warmer tones and the dynamic arrangement of the cherubs. These details reinforce the connection between the Virgin and the faithful, highlighting her role as intercessor and protector in a context of religious fervor.The painting was intended to spread the dogma of the Immaculate Virgin, much more complex than the simple virginity before, during and after the birth of Jesus; and that throughout history has been the cause of controversies and disputes, of defenders and detractors. The former, led by Franciscans and later by Jesuits, ardent supporters of this dogma who based their defense on texts by John Duns Scotus (13th century). Among the detractors, the Dominican order stands out, with a more erudite theological base that made its main philosopher Thomas Aquinas (13th century) reject this concept. To highlight the painting, two of the large angels, to the right and left of the Lady, hold four symbolisms of the Lauretan Litanies: a palm of martyrdom, symbolizing Mary as Queen of martyrs; and a rose held in the other hand, referring to Mary as a mystical Rose; the other angel carries a lily of the field and a mirror, projecting Mary as a mirror of justice. The Lauretan Litanies present here are a compilation of metaphors, taken from sacred texts, mainly from the Song of Songs in the Old Testament, which were used to praise the Virgin Mary and as a means of prayer, based on constant repetition. We see, therefore, a perfectly defined image, the image of the Virgin, at the same time as a concept as elusive as that of the virginal Conception. We see her reflected in the baroque artistic style that envelops her, full of rapture, movement, exuberance, flying drapery and details, even the air that keeps everything moving. Reference bibliography:- Boulton, Alfredo. (1975). “Historia de la pintura en Venezuela. Época colonial, vol. I”. Ernesto Armitano Editor.- Duarte, Carlos (2000). “Diccionario biográfico documental. Pintores, escultores y doradores en Venezuela”. Fundación Galería de Arte Nacional, Fundación Polar.- Galería de Arte Nacional. (1982). “Diccionario de las Artes Visuales en Venezuela”, vol. I. Monte Ávila Editores.

Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition,  Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.

HEATH ROBINSON (William, illustrator): 'Old-Time Stories told by Master Charles Perrault..': London, Constable & Co, 1921: FIRST EDITION: tipped-in colour illustrations, publishers red cloth gilt, slightly damp marked to fore edge, short fray to head of hinges and minor wear but a good bright copy: with 4 other books, illustrated by Dulac or Rackham. (5)

A collection of Old Master prints, predominantly of religious, figurative subjects, after Italian 16th-17th hands, including Titian, Veronese, Barocci, Guercino etc, various sizes (approx. 30)

Literature, various. FIELDING (Henry) The History of Tom Jones, a Foundling, 4 vols., 1808, 12mo, uncut, boards; PEARSALL (Richard) Contemplations on Butterflies, on the Full Moon and in a Walk through a Wood, Vol. II only, 1758, 8vo, 3 parts in one, 3 frontispieces, calf; Fragments of Original Letters of Madame Charlotte Elizabeth of Bavaria, 2 vols. in one, 1790, 8vo, calf; HERBERT (Edward, Lord Herbert of Cherbury, The Life of ---, 1770, double page frontis portrait, calf, front board detached; STEVENS (George A) The Dramatic History of Master Edward, Miss Ann and others, 1786, 12mo, plates, worm track to a few leaves, calf; A Collection of Old Ballads, 3 vols, 1723-25, small 8vo, 41 (of 47) plates, calf; SPENSER (E) The Works, vols. 1-4 & 6, 1715, 8vo, calf; GAY (John) Fables, 1793, 8vo, illustrated, half calf, worn; another copy, 5th edition 1737, 8vo, calf; with various others including odd or incomplete volumes. Sold not subject to return

A PAIR OF GILT COPPER PLAQUES WITH MARTYRS, PROBABLY SAINT PLACIDUS AND SAINT MAURUS SOUTHERN NETHERLANDISH, LATE 17TH/ EARLY 18TH CENTURY Of arched rectangular form, set on red velvet lined faux tortoiseshell frames Plaques 23cm high, 17cm wide Frames 35 by 29cm Provenance: Sir William Aykroyd Philip Hewat-Jaboor Sotheby's Old Master Sculpture & Works of Art, 6th December 2022, lot 27

THE TRIAL OF FRANCIS CHARTERIS The Proceedings at the Sessions of the Peace, and the Oyer and Terminer, for the City of London, and County of Middlesex Held At Justice-Hall in the Old Bailey, on Friday the 27th of February last, before the Right Honourable Sir Richard Brocas, Knt. Lord Mayor of the City of London; the Honourable Mr. Justice Price, Mr. Justice Probyn, and Mr. Baron Thomson, upon a Bill of Indictment found against Francis Charteris, Esq; for commiting a Rape on the Body of Anne Bond, of which he was found Guilty. London, Printed for T. Payne, 1730, later bound in half tan calf with marbled boards and gilt-titled spine, having additional pages for notes (partially filled by former owners George Dempster and latterly J. MacCallum), armorial bookplate of George Dempster inside front cover and an inscription in MacCallum's hand reading "Purchased at the sale of G. Dempster's Library 2nd December 1850. Edinburgh. See notes at the end of the letter press", 16mo Colonel Francis Charteris (C1675-1732), notorious rake, so-called "The Rape-Master General of Great Britain". His trial in 1730 was a popular sensation, concluding with his being sentenced to death by hanging. Charteris was subsequently pardoned and died in ignominy of natural causes. In his final moments, he is said to have offered £150,000 to anyone who could prove to him that there was no hell. He inspired characters in Hogarth's A Rake's Progress and Harlot's Progress and in the novel Fanny Hill. Condition Report:Available upon request

* Classical and Old Master Prints. A collection of approximately 80 prints, 17th - 19th century, etchings and engravings of classical and religious scenes, genre, landscapes and portraits, including examples by or after R. Earlom/ Claude Lorraine (including plates from Earlom's 'Liber Veritatis'), G. Poussin, J. Wood, P. C. Canot, Vivares, C. Schut, J. Mason, J. Callot, D. Teniers, J. Powell, C. David, G. Mitelli, A. Lafreri, A. Waterloo, W. Hollar, F. Barlow and N. Visscher, various sizes and condition QTY: (approx.80)

* Classical and Old Master Prints. A collection of approximately 170 prints, 17th - 19th century, etchings, mezzotints and engravings of classical and religious scenes, genre, landscapes and portraits, including the twelve apostles by Henry Overton, with examples by or after J. Smith, P. Canot, R. Earlom, F. Bartolozzi, J. Mason, P. Chenn, E. Cooper, W. Walker, J. Fitler, J. Scott, F. van Hoven, P. Angier, J. Reidinger and A. Durer, various sizes and conditionQTY: (approx. 170)

* Classical and Old Master Prints. A collection of approximately 25 prints, 17th - 19th century, etchings and engravings of classical and religious scenes, genre, landscapes and portraits, including examples by or after Rubens, Veronese, Sadeler, Vorstermann and others, various sizes and conditionQTY: (approx.25)

Sotheby's and Christie's catalogues, including jewellery, Old Master drawings, country furniture, books, fine art and silver. (a quantity)

North European School, early-mid 19th century - Portrait of a Gentleman, after the 16th c Old Master, oil on panel, 25 X 16cm Generally good condition, one or two dormant wormholes. Signs of further but stable worming to verso, its margins with stable split.

Corgi & Creative Master Northcord, a boxed bus group to include Creative Master Northcord UKBUS5102 Mercedes-Benz Citaro, Corgi Original Omnibus OM45505 Midland Red, Corgi  35008 (The Connoisseur Collection) RM560 AEC Routemaster "Stagecoach" and others. Conditions all appear Fair to Good with some being re-packaged and therefore may have pieces missing in generally Fair to God boxes with some scuffing, crushing, old price stickers etc. See photo.

An 18th century Dutch Old Master pen, ink and wash study attributed to Abraham Rademaker (1675-1735) depicting sawyers and carpenters at work in a rural continental setting, framed and glazed with an inscribed label to the reverse. H.30.5 W.37cm

18th century, Old Master ink and wash on buff paper, Full length study of a figure playing a violin, unsigned, 18 x 11.5cm. Condition - fair for age

An early bound edition of Charles Dickens's Master Humphrey's Clock, published in 3 volumes (1840) by Chapman and Hall, London with illustrations by Cattermole and Browne. This features the first publication of The Old Curiosity Shop (at page 37)

JAN HARMENSZ MULLER: AN OLD MASTER PRINT ON PAPER50cm x 33cmFramed and glazed 73cm x 61cm

OLD MASTER PEN AND INK DRAWING, ALLEGORY OF WINTER24cm x 17cm

VARIOUS PRINTS AND A WATERCOLOUR, TO INCLUDE OLD MASTER REPRODUCTION, PETER SCOTT ETCEach framed and glazed.

OLD MASTER: A SEPIA WASH DRAWING, DIANE AND ACTAEON26cm x 20cmTudor Rose stamp to bottom right.

Pair of coloured prints of Old Master paintings in oak and ebonised frames 18" x 15"

Microsoft Xbox One Hundred and One Games - "Star Wars Battlefront", "Magic the Gathering: Battlegrounds", "Sonic Riders", "Need for Speed Underground", "Alter Echo", "Championship Manager 01/02", "Beyond Good And Evil", "Max Payne 2", "Ghost Master: The Gravenville Chronicles", "SSX3", "Halo 2", "The Elder Scrolls 3: Morrowind", "Shenmue II", "Star Wars: Nights of the old Republic", "Crash Twin Sanity" and 86 others, various, all in original boxes and most with instruction manuals

Hebborn (Eric) The Language of Line: A Modern Drawing Manual, draft typescript with author's extensive autograph corrections, 288pp., creasing to last few leaves, damp-staining to front endpapers, slightly affecting title and dedication, very occasional small stains, slightly cockled, autograph corrections in pencil, green cloth, lettered in gilt, small stain to upper cover, small folio, [Anticoli] [preface dated 1980].*** Eric Hebborn, known as one of the greatest art forgers, sold thousands of fake Old Master paintings and drawings throughout his life. It was not until 1984 that Hebborn admitted to creating forgeries. Provenance: Webbs of Wilton, The Eric Hebborn Studio Collection, 22 October 2014, Lot 396.

A selection of framed and glazed prints to include caricatures and Old Master style examples

2020 Bunnahabhain Limited Edition 40 Year Old Single Malt Scotch Whisky, handfilled, signed by Juileann Fernandez (Master blender), and Stephan Woodcock (Master distiller), 41.9 % volume, 70 cl, with original protective bag.

Gaspar van Wittel, genannt "Gaspare Vanvitelli", 1653 Amersfoort bei Utrecht – 1736 RomFLORENZANSICHT VOM UFER DES ARNO – PESCAIA DI SAN NICOLOÖl auf Leinwand, auf original Spannrahmen.42 x 53 cm.Links unten mittig signiert „G.V.W.“, verso alte Beschriftung sowie rotes Lacksiegel auf der Leinwand.Das Bildsujet gehört zu den Seltenheiten bekannter Florenzansichten. Aus leicht erhöhter Kavaliersperspektive wird hier der Blick vom jenseitigen Ufer des Arno über den Fluss hinweg auf die mit Mauern und Türmen befestigte Hügelerhebung der Stadt Florenz geboten. Als Repoussoir fungiert rechts eine hohe Pinie vor einer verschatteten Gebäudegruppe mit Turm. Im tieferliegenden Vordergrund zahlreiche Figurenstaffage – Arbeiter mit Maultieren, ein Wasserträger und Fischer in Kähnen mit Netzen. Die jenseitige Uferbebauung hinter einem festen Mauerring. Die Silhouette des Stadthügels wird von einem Streifen rötlichen Abendlichts hinterfangen, unter noch blauem Wolkenhimmel. A.R.Der Maler, dessen Werk überwiegend in Italien entstand, erhielt seine Ausbildung noch in den Niederlanden. Doch 22-jährig war er bereits in Rom beim Bau der Flussregulierung des Tibers beschäftigt. Wie sein als Architekt in Neapel berühmt gewordener Sohn Luigi war also auch er mit stadtarchitektonischen Aufgaben befasst. Dies erklärt auch die in vorliegendem Gemälde erkennbare Dokumentierung der Stadtbefestigung von Florenz. Das bedeutet, dass die Darstellung weit weniger dem touristischen Interesse galt, als andere von ihm bekannten Veduten, wie etwa von Rom, Neapel oder Venedig. Auch die Exaktheit der Detailwiedergabe resultiert aus seiner Kenntnis der Architektur. Ab 1700 wirkte er längere Zeit in Neapel, wo auch sein Sohn Luigi geboren wurde. Die letzten Jahre verbrachte er allerdings überwiegend in Rom, jener Stadt, in der er bereits der gefragteste Vedutenmaler für die Adelshäuser der Colonna, Ottoboni, Albani oder Odescalchi war, deren Villen und Paläste er in Ölbildern dokumentierte. In der Kunstgeschichte wurde sein Werk lange nicht genügend beachtet. Erst eine erste Ausstellung seiner Bilder im Museo Correr in Venedig, 2006, hat die Bedeutung des Malers zu würdigen verholfen.Literatur:Maestro Van Wittel. Dutch Master of the Italien Cityscape, Kunsthal KAdE Amersfoort Niederlande, 25. Januar-5. Mai 2019, Ausstellungskatalog, Nr. 65, Abb. S. 102.Vgl. Heidrun Ludwig, Die Gemälde des 18. Jahrhunderts im Landesmuseum Mainz, Verlag Philipp von Zabern, Mainz 2007.Vgl. Giuliano Briganti, Gaspar van Wittel, Mailand 1996, S. 409-410, Kat. Nr. D349, Abb. S. 412.Ausstellungen: Kunsthal KAdE Amersfoort, Niederlande, Maestro Van Wittel. Dutch Master of the Italien Cityscape, 25. Januar-5. Mai 2019. (14303510) (11) (†)Gaspar van Wittel,also known as “Gaspare Vanvitelli”,1653 Amersfoort near Utrecht – 1736 RomeVIEW OF FLORENCE FROM THE BANKS OF THE ARNO – PESCAIA DI SAN NICOLO Oil on canvas, on original stretcher.42 x 53 cm.Signed “G.V.W.” at lower left centre, old inscription, red lacquer seal on the back of the canvas. Literature:Maestro Van Wittel. Dutch Master of the Italian Cityscape, Kunsthal KAdE Amersfoort Netherlands, January 25-May 5, 2019, exhibition catalog, no. 65, ill. p. 102.Cf. Heidrun Ludwig, Die Gemälde des 18. Jahrhunderts im Landesmuseum Mainz, Verlag Philipp von Zabern, Mainz 2007.Cf. Giuliano Briganti, Gaspar van Wittel, Milan 1996, pp. 409-410, cat. No. D349, ill. p. 412.Exhibitions: Kunsthal KAdE, Amersfoort, NL, Maestro Van Wittel. Dutch Master of the Italien Cityscape, 25 January - 5 May 2019.

OLD MASTER SCHOOL (17TH/18TH CENTURY), ADORATION OF THE MAGI oil on panel framedimage size 53cm x 42cm, overall size 66cm x 56cm

ITALIAN OLD MASTER SCHOOL (18TH CENTURY), TOBIAS AND THE ANGEL oil on canvas, inscribed 'Tobit & Angel' and 'Vischi' versoframedimage size 70cm x 56cm, overall size 90cm x 76cm

Glenfiddich Whisky 30 years old, is a pure malt Scotch whisky from Speyside, a real gem that shows the expertise of Glenfiddich. A whisky distilled, matured and bottled by the owners William Grant & Sons, Glenfiddich is the best-selling single malt whisky in the world and also the most awarded in the International Spirits Challenge. Gold Medal, (Best in Class) International Wine & Spirit Competition (IWSC) 2007.Gold Medal, International Spirits Challenge (ISC), 2008.Master Award, Best Speyside Malt Whisky over 30 years, Scotch Whisky Masters, 2009.Master Award, Scotch Whisky Masters, 2010. Presents amber color.Alcohol content: 40%.Size: 700 mlSize: 30,5 cm. 

Y A GEORGE III KINGWOOD, AMARANTH, TULIPWOOD PARQUETRY AND LACQUERED GILT BRONZE MOUNTED BUREAU PLAT PROBABLY BY AN EMIGRE CRAFTSMAN IN THE MANNER OF PHILIPPE-CLAUDE MONTIGNY AND RENE DUBOIS, LAST QUARTER 18TH CENTURY The gilt-brass banded rectangular top inset with a gilt-tooled blue leather writing surface, above a panelled frieze inlaid with Greek-key motif with two frieze drawers centred by masks headed by acanthus flanked by rosettes and opposing false drawers, with lateral writing slides, the lower border with a ribbon-twist mount, the brass reeded incut square tapering legs headed by laurel swags with square sabots terminating in castors, with a paper label to the pine panelling to underside inscribed in ink 'Brynkinalt RM' 72.5cm high, 122cm wide, 63cm deep Provenance: Possibly supplied to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) or acquired by Arthur Hill-Trevor, 3rd Viscount Dungannon (1798 - 1862) for 3 Grafton Street, London, thence by descent at Brynkinalt Hall, Denbighshire until sold, Of Royal And Noble Descent; Sotheby's, London, 19 January 2017, lot 382, where acquired by present owner. Although this sophisticated desk, with its 'Etruscan' decoration and interlaced key frieze, has the outward appearance of a French bureau à la grec, a number of constructional idiosyncrasies help to identify it as an unusual example of English craftsmanship. Until recently the bureau plat formed part of the resplendent Hill-Trevor collections at Brynkinalt Hall in Denbighshire and is most likely the output of an émigré ébéniste working in London in the last quarter of the 18th century. London had long tradition of attracting émigré craftsman with the perpetual cycle of European political and religious turbulence of the 17th and 18th centuries spurring their arrival. The lure of the capital reached new heights following the favourable conclusion of The Seven Years' War (1756-1763), a pan-European conflict which did little to dampen the appetite for French fashions in Britain. The maker of the present bureau plat would certainly have had excellent knowledge of French workshop practices and prototypes, namely the output of the celebrated Parisian cabinet-makers Phillippe-Claude Montigny (1734-1800) and René Dubois (1737-1799). The goût grec style swept to popularity in France from the mid-1750s with the celebrated suite of furniture supplied for the collector and financier Ange-Laurent Lalive de Jully. Veneered in kingwood, amaranth and tulipwood and decorated with rosette and laurel swag mounts, the Brynkinalt bureau plat closely follows a well-documented group of bureau à la grec by Montigny and Dubois. However, the Brynkinalt bureau plat diverges in several distinct ways which preclude the possibility of a French origin. Whereas French-made bureau plat use oak, the present desk employs pine in the construction. Further, the oak-lined drawers have front-to-back oak drawer bottoms, where French antecedents would have the grain running side-to-side. The dovetails, with the pronounced fan-shaped tails, are distinctly un-French and quite idiosyncratic being covered by a very thin veneer. The original locks are English, and the lacquered-gilt-brass banding to top, mounts, capping and castors (French models typically employ sabots without castors) all present as English derivatives or casts taken the originals. The presence of a distinctly English 'rococo' influenced ring-pulls to the writing slides further anglicises the French character of the present lot. Interestingly, an almost identical version of this model, sharing the same constructional traits but lacking brass reeding to the legs, is preserved in the collections of the Marquesses of Bute at Mount Stuart, Scotland. The Bute bureau plat is almost certainly from the same émigré workshop and points to a definitive group made for the most prominent families of the day. The present desk formed part of the collections of the Hill-Trevors at Brynkinalt Hall, Denbighshire, on the English-Welsh borders. The family fortune was built at first by Sir John Trevor (1637-1717), an unscrupulous lawyer-turned-politician, who twice held the position of Speaker of House of Commons before being unseated because of a bribery scandal involving the East India Company. He also served as Master of the Rolls 1685 to 1689 and from 1693 until his death in 1717. The financial gains Sir Trevor accrued in these prominent positions allowed him to acquire two London houses on St Clements Lane and Trevor Square, Knightsbridge. All four of his sons predeceased him and his estates, including Brynkinalt, passed to his daughter Anne who married Michael Hill of Hillsborough in Ireland.Arthur Hill, 1st Viscount Trevor (1694-1771), later Arthur Hill-Trevor, 1st Viscount Dungannon, was the second son and also pursued a political career, this time in Ireland as Chancellor of the Irish Exchequer and Commissioner of Irish Revenues. Arthur built Belvoir house in Ireland to designs of Christopher Myers in circa 1750. His son, the Hon. Arthur Hill Trevor (1738-1770), predeceased him also, making him an unlikely candidate for the acquisition of the present bureau plat. Instead, the Dungannon estates, including Belvoir and Brynkinalt, passed to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) who inherited the title at the age of eight. In 1795, at the age of thirty-two, he married the Hon Charlotte Fitzroy, daughter of General Charles FitzRoy, 1st Baron Southampton (1737 -1797) and grand-daughter of Charles FitzRoy, 2nd Duke of Grafton (1683-1757), and consequently sold Belvoir Park choosing to live between No. 3 Grafton Street, London (built by the Augustus Henry FitzRoy, 3rd Duke of Grafton (1735-1811) to designs of Robert Taylor in 1767) and Brynkinalt Hall. It is conceivable to bureau-plat was acquired before or during this phase of ownership as the Viscountess was a woman of highly cultivated taste and oversaw the significant re-modelling of Brynkinalt which had not been altered since the early 18th century. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.Observations include: the leather to the top has a different gilt tool edging and is either different to the leather on the sliding ends or is faded; the leather to the top also has cracks along the underlying constructions joints; some ormolu mounts are slightly loose eg the edging to to the top of the desk, one of the swags (with a later screw), some of the ribbon edging has vacant holes from missing pins, one brass inlay to one leg is sprung; it is not possible to remove the right frieze drawer as there is a fixed peg/screw preventing it from sliding out; there are two keys that operate the two different locks that suggest one is a later replacement; there is some evidence of old worm; some fading to the back.The Greek key parquetry and ormolu mounts to all sides.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

Of legal interest. An Old English pattern silver tablespoon.Richard Sibley,London, 1837. The terminal engraved 'Lincoln's Inn, 1838', and T over the initials TCT suggesting that this spoon was formerly the property of Thomas Crosby Treslove (1775-1841), Treasurer of Lincoln's Inn in 1838,  22.1cm long, approx. weight 2.3ozt Footnotes: Lincoln's Inn, one of the Inns of Court to which British barristers belong, was founded around 1310. In 1838 the Treasurer was Thomas Crosby Treslove (1775-1841). Treslove was called to the Bar in 1803, appointed a King's Council and a Bencher of Lincoln's Inn in 1827. Within the Inn he also attained the posts of Master of the Walks in 1842, Keeper of the Black Book in 1843 and Dean of the Chapel in 1844.

PABLO PICASSO (SPANISH 1881-1973) MÈRE ET ENFANTS (B.737) - 1961 Etching with aquatint on Arches laid paper, un-numbered impression aside from the edition of 50, signed in pencil to margin, published by Galerie Louise Leiris the plate 25.4cm x 30.5cm (10in x 12in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 535; Private Collection, U.K.

Registration No: N448 HGP Frame No: 1HD1CAP17SY225969 MOT: NoneHarley XLH1200 Sportster based Cafe RacerMany parts supplied by Red Max Speed shopA real crowd puller, supplied with a current V5CHarley Davidson was established in Milwaukee in 1903 and has gone on to become one of the world's most iconic and longest-running motorcycle manufacturers. Harleys epitomise large-capacity cruisers; many have tried to copy them but have never quite managed to match the Harley image and prestige. The Sportster range has been produced continuously since 1957, powered by the classic air-cooled V-twin engine in a simple chassis, the model has formed the basis of many custom specials over the years. This XLH1200 Sportster was converted into Cafe Racer trim by the vendor in 2019 using many parts supplied by Red Max Speed Shop. This rebuild included a race-style Lyta fuel tank, a single sports seat with a custom-made pad, alloy front mudguard, ARH custom chrome switchgear, chrome clutch and brake master cylinders, new brake disc and Venhill stainless hoses. The wheels have been rebuilt using Morad alloy rims with stainless spokes shod with a pair of Avon Roadrunners. As a finishing touch, it is fitted with a chrome Kuryakyn Hypercharger air filter. A more unusual take on the popular Cafe Racer style special, the vendor reports that this stand out machine always draws attention at bike meets. It's offered with old MOTs dating back to 2013 and current V5C. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189

Ɵ HOROLOGICAL REFERENCE BOOKS MAINLY ON ENGLISH CLOCKSTHIRTEEN PUBLICATIONS:Symonds, R.W, THOMAS TOMPION HIS LIFE AND WORK The Hamlyn Publishing Group Limited, London 1969, dj; Cescinsky, Herbert and Webster, Malcolm R. ENGLISH DOMESTIC CLOCKS The Hamlyn Publishing Group Limited, London 1969, dj; Cescinsky, Herbert OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS George Routledge and Sons Limited, London 1938; Dawson, P.G., Drover, C.B. and Parkes D.W. Early English Clocks Antique Collectors' Club, Woodbridge 1982, binding incomplete; Royer-Collard, F.B. SKELETON CLOCKS N.A.G. Press Limited, London 1969, dj; Roberts, Derek BRITISH SKELETON CLOCKS Antique Collectors' Club, Woodbridge 1987, dj; Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING Published by the author, Sydney 1975; Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their History and development Antique Collectors' Club, Woodbridge 1974, dj; Beeson, C.F.C. ENGLISH CHURCH CLOCKS 1280-1850 Brant Wright Associates Limited, limited first edition numbered 207, Ashford 1977; Edwards, Ernest L. The Grandfather Clock John Sherratt and Son Limited, Altrincham 1974, dj; Clutton, Cecil; Baillie, G.H. and Ilbert, C.A. BRITTEN'S OLD CLOCKS & WATCHES AND THEIR MAKERS ninth edition, Bonanza Books, New York 1956; Howse, Derek THE TOMPION CLOCKS AT GREENWICH AND THE DEAD-BEAT ESCAPEMENT reprint from December 1970 and March 1971 issues of 'Antiquarian Horology', The Antiquarian Horological Society, London undated, staple bound, and Roberts, Derek An Exhibition of:- PRECISION PENDULUM CLOCKS, JUNE 1986 Derek Roberts Antiques, Tonbridge 1986, softbound, (13). 

A WILLIAM III WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK WITH TEN-INCH DIALJAMES MARKWICK, LONDON, CIRCA 1695The six finned and latched pillar inside countwheel bell striking movement with slender tall plates measuring 7.375 by 5 inches and anchor escapement regulated by seconds pendulum, the 10 inch square gilt brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the finely matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, small Arabic five minutes beyond the outer minute track and signed Jacobus Markwick, Londini to lower margin, with fine sculpted scroll-pierced steel hands and applied gilt winged cherub mask and scroll cast spandrels to angels incorporating leafy trail engraved infill to margins between, the case with ogee moulded cornice and fretwork frieze over floral marquetry trail decorated hinged glazed dial surround applied with Solomonic twist-turned three quarter columns to front angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 42 inch rectangular door centred with a circular brass-framed lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground within applied half-round crossgrain edge mouldings, the sides veneered with two line-outline panels, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on bun feet.197cm (77.5ins) high, 46cm (18ins) wide, 27cm (10.5ins) deep. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1656 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. Condition Report: Movement is in fine clean fully working condition having been given a gentle service prior to consignment. There is no visible evidence of alteration or noticeable replacements and there is minimal pinion wear evident. Some of the pivot holes have slight punching (historic repair to counter wear) and the top left of the backplate has two vacant threaded holes for a bracket to secure the movement into the case - the bracket is no longer present although there is a steel counterpart secured to the case backboard at the appropriate height. The bottom two pillars are very slightly bent in a downward curve from tightening the movement onto the seatboard. The front of the dial plate has been regilded however appears free form any visible evidence of alteration or noticeable replacements and faults limited to some oxidation spotting and light patchy discolouration to the chapter ring, and a repair to the minute ring. The movement rests on an old seatboard which sits directly on the cheek uprights of the case with no apparent evidence of alteration and in-line with a scribed-line to the case backboard. This would suggest that the movement and dial are original to the case. The case is generally in very good original condition with no visible evidence of alteration or significant restoration/replacements. The hood top board may be an old replacement and the fret to the frieze is most likely a restoration, otherwise the hood appears to be in fine original condition with faults limited to historic movement and shrinkage to the cross-grain mouldings and veneers. The hood appears to have been originally made with a front door - there is no evidence to suggest that it has been converted from a rising hood with fixed front. The trunk and base are in similar condition with the backboard retaining its original height with splitting to both the upper and lower sections which may benefit from being secured. The trunk door has had fillet repair to hinge side of the panel at the rear which continues for the full height between the upper and lower 'clamps'. This in most likely to address historic worm damage to the edge of the board as evidence some of this is visible just beyond the join in places. The door veneers are in good condition having only one small loss (to the ebonised ground only) towards the lower margin at the join between the clamp and the vertical section of board forming the trunk door. There is also some small localised repairs to the marquetry along the rest of this joint and to the corresponding joint at the top of the door (but to a much lesser degree). The sides have noticeable slight bowing, a few minor veneer patch repairs to rear edge and some cracking/movement to the veneers. The case appears to retain its original structure veneers except for some replacement to the fascia crossbanding to the lower left-hand corner. The right-hand side has a horizontal crack and there are small patch repairs to the lower front corners. The carcass of the box has horizontal joins in the front and side panels about an inch up from the lower surface - however the backboard continues down past these joints and the veneers appear largely undisturbed hence we are inclined to believe that the slips forming the lower edge of the front and sides of the box carcass are an original feature. The bun feet are replacements and there is historic evidence of past minor worm infestation which has long gone. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age, The colour is generally good but would benefit from a little attention from a furniture finisher to revive it a little.Clock is complete with pendulum, two brass-cased weights, two case keys and a winder. Condition Report Disclaimer

Harrison, (John L.) [Captain,18th Century] Manuscript Miscellany books of letters and poems, [London, circa 1771-75], small 4to, one volume in contemporary vellum, the other marbled paper boards and leather spine, approximately 80 text pages (not including blanks), some leaves excised (stubs remaining)Pencilled note to paste-down states “MSS book of Capt. J. L. Harrison. London”The two books show the ambitions of its author to be a wit and a poet and captures friendships built through letters and exchange of verse. Among the extracts from published works and occasional jokes, Captain Harrison of Bishop’s Hall in Bethnal Green, has copied letters sent and received, the majority of which are in verse form. Several names occur in the manuscript, but one appears multiple times, a “Mr A-m M-t”. In a prefatory note to a poem he sends to A. M., he writes: “I beg you’ll point out the faults it contains of which I’m conscious there are many and communicate them and your opinion of the whole to me” (ff. 25). Harrison records verse he receives in return, with both men using the medium of poetry to foster their friendship and affirm each other’s work. In a series of letters to and from “A M—t”, he asks his friend to help settle “A controversy [which] arose between two young lady’s and myself: I held that in the marriage state the man is the better half, they that the woman is which we left to be undecided…” A.M. does not fully agree, so Harrison replies, “I wonder sir you should give the preference to the Lady’s for I think the man is certainly the better half for he has the care of his business the getting of money to support his family and sundry other things I might mention” and marshals quotations from Virgil, Ovid, William Shenstone, Elizabeth Rowe, and John Milton. A.M. responds with allegory which tells of a man (aptly named “John”) who fails to understand the meaning of things: On discovering a leather purse he thinks: “Leather says he can serve some end / Old shoes perhaps may patch and mend […] Regardless of the luck thus gain’d / Concerned him not what it contain’d” Harrison pens a “jocular” verse regarding women (including the line “As he the Master she should Mistress be”), then after a confused defence of his position, protests that it “was A jocular Piece of raillery and as such I apprehended it would have been taken”. He concludes his apologetic letter, “This sir I hope will Atone for the misapprehensions of my former. I conclude With saying I entertain the most sincere and unfeign’st respect for them [women] and all those that defend them And remain your sincere Friend.” (ff. 17-18). On the next page we see Harrison’s “jocular” verse in action again in a rebuke to an unresponsive servant (we are given only their initials “C. B”) whose door he has been “thumping” to no avail: “But all my labour’s been in vain / And you have laid reclin’d till eight / Beneath your drowsy sluggish weight […]”. When not attempting to assert the superiority of men or berating servants, he shares an “Acrostic to Miss E.H on having the toothache”, and there are several letters and verse to his sister, which he signs “your ever loving Brother”. There are also a handful of pages detailing accounts relating to millinery.

COLLECTION OF OLD MASTER ETCHINGS, Nicholas Berghem (1624-1683) peasant with cattle, 25 x 20cms, and unknown classical landscape, 19 x 25cms (2)Provenance: private collection DenbighshireComments: both framed and glazed

Very early DeLuxe with unique 1959 production features and celebrity provenance. #485 built of the Morris model of the Mini Minor. Pre-Mini launch date - built between 9-17/07/1959, the Mini was launched on 26/07/1959It's a home-market DeLuxe finished in Clipper Blue with Grey Fleck trimTDL334 was the first Mini to arrive on the Isle of Wight, bought by Mrs Margaret Flux who was 55 years old and couldn’t drive at the time. After many lessons she passed her driving test and was able to enjoy the Mini at lastShe was the grandmother of the 1980s band Level 42’s lead singer and slap bass player, Mark King. She gave him the car and he also learned to drive in it Running in the Family was a 1987 hit for Level 42 who start their '40th' Anniversary Tour this year Correct parts unique to the 1959 cars include; glass washer bottle (very rare), correct spark plug caps, rubber boot liner, correct hexagonal headed master cylinders, brass top carb, straight gear stick etc.Original engine, Gold Seal gearbox in the late 1970s. Carpets been replaced but the original seat upholstery remainsIt has benefited from a recent front brake overall, new shoes, wheel cylinders and rubber hosesMagazine featured by Mini World Very sensibly guided considering it's rarity and celebrity provenanceSpecification Make: MORRIS Model: MINI MINOR Year: 1959 Chassis Number: MA2S4585 Registration Number: TDL 334 Transmission: Manual Drive Side: Right-hand Drive Odometer Reading: 59123 Miles Make: RHDClick here for more details and images

After Michiel van Mierevelt (1566-1641) - half-length portrait of Willam de Zwijger (William I of Orange 'the Silent'), oil on panel, 24 x 19cmCopy of an Old Master; probably done in the 18th century.

Five various oil paintings including study of a cat, a portrait in the old master style, boats in harbour, and two landscapes.

REMBRANDT HARMENSZOON VAN RIJN (DUTCH 1606-1669) THE THREE TREES (B., HOLL. 212; NEW HOLL. 214; H. 205), 1643 etching with engraving and drypoint, on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A-a-a), New Hollstein's only state, a brilliant, early impression of this highly important subject, printing very richly and darkly, with intense contrasts and bright highlights, the burr and sulphur tinting in the sky very pronounced, with small margins the sheet 21.8cm x 28.3cm (8 ½in x 11in) Christiaan Josi (1768-1828), Amsterdam and London (see Lugt 573, without mark); his posthumous sale, Christie's, London, 18-21 March 1829, lot 83 'Most Brilliant Impression' (£12; to Seguier)William Seguier (1771-1843), London (Lugt 2277), acquired at the above sale, with his pencil signature verso; his posthumous sale, Christie's, London, 29 April - 3 May 1844, lot 431 (£23-12-6; to Hawkins)John Heywood Hawkins (1803-1877), London and Bignor Park, Sussex, his purchase price inscribed in Greek letters (see Lugt 3023); acquired at the above saleProbably with Colnaghi & Co., London; acquired from the aboveWalter Francis Duke of Buccleuch (1806-1884), London and Dalkeith, Scotland (Lugt 402); probably acquired from the above, with his collection ink mark verso; his posthumous sale, Christie's, London, 19-22 April 1887, lot 1954 ('from the Seguier and Hawkins Collections') (£165; to Meder)With Louis Gerhard Meder (1848-1924) (of Amsler & Ruthardt), Berlin; presumably acquired on behalf of the belowSammlung der Königlichen Museen, Berlin, dated 1887 (Lugt 1610); presumably acquired from the above; with their de-accession stamp verso (Lugt 2482); their sale, Amsler & Ruthardt, Berlin, 6 March 1899 (and following days), lot 1600 ('Die Gewitterlandschaft mit den drei Bäumen. S. 212. Des Meisters Hauptblatt unter den Landschaften; das prachtvolle Exemplar der Sammlung Buccleuch, auf Schellenkappenpapier und mit 3 mm Rand ringsum. Exemplare von der Schönheit und vortrefflichen Erhaltung des vorliegenden sind von höchster Seltenheit und Kostbarkeit.')Dr Julius Elischer von Thurzóbánya (1846-1909), Budapest (Lugt 824, stamped twice); probably acquired at the above saleWith Kennedy Galleries, New York, with their stock number a48042 in pencil versoRobert Woods Bliss (1875-1962) and Mildred Barnes Bliss (1879–1969), Dumbarton Oaks, Washington, D.C. (Lugt 2004a); presumably acquired from the aboveDumbarton Oaks Research Library and Collection, Washington D.C; presumably part of the donation from the aboveWith R. M. Light & Co., Santa Barbara, CaliforniaPrivate Collection, acquired from the above on 31 January 1980; then by descentChristie's London, Old Master Prints, 9 December 2021, lot 126Acquired from the above by Hugo Burge Literature: Bartsch, Hollstein 212; New Hollstein 214; Hind 205Cynthia P. Schneider, Rembrandt’s Landscapes – Drawings and Prints, National Gallery of Art, Washington, D.C. (exh. cat.), 1990, no. 75, pp. 240-42 (another impression illustrated)Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 167, pp. 390-93 (another impression illustrated)Nicholas Stogdon, A Descriptive Catalogue of the Etchings by Rembrandt in a Private Collection, Switzerland, privately printed, 2011, no. 93, pp. 158-9 (another impression illustrated)The Three Trees is Rembrandt’s largest and most elaborate landscape etching and is considered a masterpiece within his oeuvre.  

FRANCIS TOWNE (BRITISH 1739-1816) IN PEAMORE PARK signed and dated 'Fr. Towne delt./1778' lower left, pencil, pen and grey ink and watercolour on paper 28cm x 43.5cm (11in x 17in) Bequeathed by the Artist to James White of Exeter (1744-1825)His bequest to John Herman Merivale (1779-1844)By descent from the above to the Misses Maria Sophia and Judith Ann Merivale, by 1915Sold by the above to Catherine Lambert, October 1932 (£25)By descent from the above to the previous ownersTheir sale, Christie's London, Old Master & British Drawings, 5 July 2016, lot 87 Exhibited: 20 Lower Brook Street. Grosvenor Square, London, Exhibition of Original Drawings by Francis Towne, 1805, no. 10 (as ‘A Study of a tree blown down in Peamore Park’)Burlington Fine Arts Club, London,. A Collection of Pictures, Drawings, Furniture and Works of Art of the Empire and Regency Period: Select Examples of Romano-British Art, 1929, no. 12Literature: Paul Oppé, 'Francis Towne Landscape Painter', The Walpole Society, VIII, London,1920, pp. 104-05Henri Lemaitre, Le paysage anglais à l'aquarelle 1760-1851, Bordas, Paris, 1955, p. 148Adrian Bury, Francis Towne, Lone Star of Watercolour Painting, Charles Skilton, London, 1962, p. 118Richard Stephens, A Catalogue Raisonné of Francis Towne (1739-1816), online edition, no. 144 (accessed 29 January 2025) As per Christie's cataloguing of 2016, this work is also said to be inscribed 'In Peamore Park on the verso of the original mount and with inscription '178 B.P.' verso in the hand of Paul Oppé, to be laid down onto the original mount and to be on a double sketchbook page'.

JOSEPH FARINGTON (BRITISH 1747-1821) STUDY OF A TREE indistinctly signed lower left, pen, ink and watercolour on paper 48.5cm x 35cm (19in x 13 ¾in) Bonhams Knightsbridge, Old Master Paintings, 29 April 2015,  lot 282

JOHN RUSKIN (BRITISH 1819-1900) MOUNT PILATUS FROM LAKE LUCERNE signed with monogram lower right, watercolour and pencil with bodycolour on paper 13cm x 27cm (5in x 10 ½in) Sotheby's London, The British Sale: British Paintings, 21 March 2002, lot 264Sotheby's London, Old Master & British Drawings, 8 July 2015, lot 241

JOHN WHITE ABBOTT (BRITISH 1763-1851) THE LOWER PART OF CORRA LINN, FALLS OF CLYDE watercolour, pen and ink on paper 23cm x 18cm (9in x 7in) The Artist's great, great, grandsonwith The Fine Art Society, London, 1946 Loyd CollectionChristie's, London, British Art on Paper, 5 June 2007, lot 3Christie's South Kensington, Old Master and British Drawings and Watercolours, 5 December 2013, lot 105 Exhibited: Newbury, Newbury Spring Festival, The Development of English Landscape Painting in Watercolours and Drawings, 1984, no. 9Literature: Leslie Parris, The Loyd Collection of Paintings, Drawings and Sculptures, Bradbury Agnew, 1967, no. 67, p. 30, pl. 59.Francis Russell et al, The Loyd Collection of Paintings, Drawings and Sculpture, privately published, 1991, no. 67, p. 30, pl. 67According to Christie's cataloguing in 2013, the original mount bore the inscription 'The lower part of Corriag... Lynn - one of the Falls of the Clyde./JWA. July 6.1791' and was numbered 'No 42' (on the verso of the mount)The lot was further footnoted: Abbott's earliest known watercolours date from 1791, when he undertook a tour of Scotland and the Lake District, through Lancashire, Derbyshire and Warwickshire. There is another drawing of Corra Linn, from the same tour, numbered 47, in the Victoria & Albert Museum, London (E.324-1924).

Coins And Tokens to include: 1794 Kendal Halfpenny Obverse Cypher RD, KENDAL, Reverse Man O War sailing Ship THE WOODEN WALLS OF OLD ENGLAND VF: Middlesex Richardson's Fortune Obverse View of Lady Fortune NOTHING VENTURE NOTHING HAVE 1795, Reverse Legend in eight lines AT THE OFFICES OF RICHARDSON GOODLUCK & Co No 12807 THE LAST PRIZE OF £30000 SHARED WAS SOLD IN SIXTEENTHS VF: 1788 Anglesey Parys Mines Company Halfpenny Obverse Druids Head, Reverse Large central monogram PMC, THE ANGLESEY MINES HALFPENNY 1788 P M Co VF: Warwickshire Obverse John Wilkinson's Head IOHN WILKINSON IRON MASTER Reverse man working at an industrial forge, 93 VF: 1793 Shrewsbury Halfpenny, Obverse Shield Of Arms SHRESBURY HALFPENNY 1793, Reverse Woolpack SALOP WOOLEN MANUFACTORY VF. 5 tokens in total.

Coins And Tokens to include 1789 Cronebane Halfpenny Obverse Bishop Blaze With Crook, CRONEBANE HALFPENNY, Reverse Shield Of Arms, ASSOCIATED IRISH MINERS ARMS 1789 VF: Warwickshire 1792 Obverse Head Of John Wilkinson, JOHN WILINSON IRON MASTER, Reverse Man working forge 1792 VF: Similar Token dated 1793 VF: 1794 George Prince Of Wales Token Obverse Head of George GEORGE PRINCE OF WALES, Reverse Plume Of Feathers, HALFPENNY 1794 VF: 1795 Middlesex Obverse Head, FRED DUKE OF YORK HALFPENNY 1795, Reverse Sailing Ship, THE WOODEN WALLS OF OLD ENGLAND VF: 5 Tokens in total.

An Italian Old Master engraving, 17th Century of a La Verita by Lorenzo Bernini 1598-1680, framed and glazed 45cm x 59cm

Gerard van Soest (1600-1681) Dutch Portrait of Oliver Jones (c. 1654-1685), son of Colonel Phillip Jones (1648-1685), by repute, half-length, wearing fine costume and resting his hand on the head of his hound Oil on canvas, 74cm by 62.5cmProvenance: The Property of Sir Brooke Boothby, 15th Bt., removed from Fonmon Castle, Glamorgan possibly Soest circa 1600-1680/1 London Sotheby's London, December 7 2023, Lot 44, Old Master Paintings Day AuctionLiterature: J. Steegman, "A Survey of Portraits in Welsh Houses", vol. 2, Cardiff 1962, p. 93, no. 9, reproduced pl. 15 c (as anonymous, c. 1660); A.D. Fraser Jenkins, "The Paintings at Fonmon Castle", in S. Williams, Stewart Williams' Glamorgan Historian, vol. 7, Glamorgan 1971, p. 62 (as Gerard Soest).Catalogue Note: The sitter in this portrait is traditionally identified as Oliver Jones (c. 1654-1685), the heir of Colonel Philip Jones (1618-1674). Despite living a relatively short life for the period, Oliver is recorded to have married Mary Button and sired an heir, Robert Jones (d. 1715), who continued the family line. Lined with a secondary loose lining canvas at the reverse. Unusual stretcher with corner bars. All keys present but a little lacking in tension. Brittle age and impact cracks throughout. Slightly raised, but secure. A history of flaking in the past, with micro losses throughout - the larger ones suppressed by retouching. Scattered fruther minor losses of paint and ground throughout - retouched. Mostly in the background. A few touches of overpaint in the face. Larger passages of overpaint to the bottom centre above the plaque, around the bottom left edge of the drapery, in the dog's neck and in the background above right of his head and the hand. There has been some abrasion to the paint layers, and likely loss of glazes. These areas include the shadows/halftones of the face and the dog, and in the background particularly over the raised cracks. Likely this is what the overpaint is suppressing. A little ingrained dirt and varnish. There has been some more recent knocks/movement to the canvas - there is one small area of slighly raised area of paint to the right of the red collar. This patch, together with several others, appear white. This whitening, however, is the result of delamination of varnish, and the paint is intact underneath. The rest of the upper varnish layer is even, and not appreciably yellowed. Light surface dirt.

Enoch Seeman (c.1689-1744) Portrait of Miss Jones, three-quarter length, wearing a white dress Oil on canvas, 125cm by 100cmContained in a carved wood and gilt decorated frameProvenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 146 The Property of Sir Brooke Boothby ex Fonmon Castle

Enoch Seeman (c.1689-1744) Portrait of Miss Jones, three-quarter length, wearing a yellow dress Oil on canvas, 124.5cm by 100cmContained in a carved wooden frame with egg-and-dart decoration and scallop shell motif to cornersProvenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 147 The Property of Sir Brooke Boothby ex Fonmon Castle