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Meister von Frankfurt, Madonna mit Kind in einer LandschaftÖl auf Holz. 49,5 x 34 cm.ProvenienzEhemals im Germanischen Nationalmuseum Nürnberg (Angabe im Ausst. Kat. Buenos Aires 1947). - 1947 Sammlung Paula de Koenigsberg. - Privatsammlung Buenos Aires, Argentinien. - Sotheby´s, London 24.6.1964, "Important Old Master Paintings", Lot 101 (unverkauft). - Privatsammlung Buenos Aires, Argentinien. - Durch Erbschaft in deutschen Privatbesitz, seither durch Erbgang dort verblieben.Ausstellungen1947 Buenos Aires, Museo Municipal de Arte Hispano Americano.LiteraturAusst.-Kat.: Exposicion de Arte Gotico. Coleccion Paula de Koenigsberg. Ausstellung im Museo Municipal de Arte Hispano Americano, Buenos Aires 1947, S. 25, Kat. Nr. 23. - Die 3. Westdeutsche Kunstmesse in Düsseldorf, in: Die Kunst und das schöne Heim, April 1972, Heft 4, S. 242 mit Abb. (Kunsthandlung Julius Böhler, München, als Meister der Katharinenlegende).Das Gemälde zeigt die auf einer bewachsenen Steinbank sitzende Muttergottes, die das nackte Jesuskind auf einem weißen Tuch auf ihren Knien hält. Das Kind wendet sich mit seinem Blick dem Betrachter zu und hält seine linke Hand zum Segensgestus erhoben, Maria hingegen schaut auf das geöffenete Buch in ihrer linken Hand hinab. Die groß gesehene und das Bildfeld beherrschende Figurengruppe wird von einer fein gemalten bergigen und bewaldeten Landschaft hinterfangen, in die mit den kleinfigurigen Darstellungen der Verkündigung, der Heimsuchung, der Geburt Christi und der Anbetung der Könige vier Szenen aus dem Marienleben eingefügt sind.Unser Gemälde ist in der Vergangenheit dem sogenannten Meister von Frankfurt zugewiesen worden. Der Notname dieses namentlich unbekannten flämischen Malers geht nicht auf seine Herkunft zurück, sondern auf das von ihm geschaffene Triptychon mit der Kreuzigung Christi und den Stifterbildnissen der Familie Humbracht aus den Jahren 1500-1504 im Städel in Frankfurt (Inv. Nr. 715). Wahrscheinlich war der Meister von Frankfurt als Leiter einer Werkstatt bis 1518 in Antwerpen aktiv, stilistisch ist er in der Nachfolge der Werke von Hugo van der Goes zu sehen.

Believed to be one of only two H.J. Mulliner Drophead Coupés, this late production example was first delivered to the BSA Chairman Sir Bernard Docker. Sporting a delightful patina, the Bentley retains its original interior.Launched in 1955 as a replacement for the long-running Mark VI/R-type, Bentley’s new S-type was more closely related to the equivalent Rolls-Royce, the Silver Cloud, than ever - radiator and badges apart, there were no differences between the two. Under the stately bonnet Bentley’s superb six-cylinder engine was revised with a light alloy cylinder head and the new box-section chassis boasted many improvements, including hydraulic brakes all round. The perfectly proportioned, traditional styling of the S-Type and Silver Cloud was by John Blatchley and to this day remains the very epitome of British luxury motoring. Although Standard Steel coachwork was fitted to the vast majority of chassis built, there were still a small number of cars bodied by independent coachbuilders such as H.J.Mulliner, Park Ward and James Young, however, the unitary construction of the S-Type’s successor and all subsequent models, all but ended such a traditional association.Completed on the 4th September 1959, B20HA is one of just two convertibles styled to Body Design Number 7492 by H.J.Mulliner. Bentley Works paperwork in the file contains details of the car’s initial build. The order reference was BS:5897 and the finished car was scheduled to be delivered on 27.08.1959 so it was a week late. The car was to be finished in Shell Grey with a Putty coloured hood and Red upholstery. Specific options included “No. plates XXA 262 supplied and fitted, Radio 200R, Dunlop tubeless tyres, Electrically operated windows, Power operated hood, Hood cover, Badge bar with 4 badges, Zip-fasteners to backlight and finally, Initials ‘BD’ to doors”. We understand that the car's final cost was £7,266 which would have bought a couple of comfortable three-bed homes in 1959.That ‘BD’ referred to the cars first owner, Sir Bernard Docker KBE, of Claridge House, London W1. Sir Bernard was the Managing Director of the BSA grup of companies, Chairman of Daimler and the Anglo-Argentine Tramways Company and was awarded a Knighthood for his work as the Chairman of Westminster Hospital. The Bentley was a present for his second wife Norah Collins, a former showgirl. She was the widow of Sir William Collins, the President of Fortnum & Mason and also the widow of Clement Callingham, the head of Henekeys wine and spirit merchants.You have to respect Lady Norah’s perspicacity in marrying (and outliving) three millionaire husbands but, we understand, that she may have been a bit of a nightmare. Her notorious parties on their 863-tonne Motor Yacht Shemara, her outrageous spending, talking her husband into commissioning a gold-plated Daimler for her, and her outspoken approach meant that during the fifties she was seldom out of the tabloid newspapers who christened her “Naughty Norah”. There are books written about her escapades but, inevitably things started to take a turn for the worse when the Rainiers banned her from Monaco, and indeed the whole of the Cote d’Azure, a similar thing happened in Jersey when they moved there and she finally ended up in Majorca.B20HA passed briefly through the hands of agent Neville Hamwee who managed to find the car’s next owner on 29/11/1960.(It was never registered in his name). Incredibly it was another vivacious young woman, Maureen, Marchioness of Dufferin and Ava who was equally newspaper worthy but more The Times and Country Life. She was originally Maureen Guinness, heir to the brewing family, friends with the Royal Family and the original society "It Girl" as christened by the press. She was a blonde-haired, pre-war beauty, who dated celebrities and the aristocracy, was photographed for Vogue by Cecil Beaton and was the inspiration for Osbert Lancaster's cartoon character, Maudie Littlehampton. She too had three husbands and kept her first husbands title, the Fourth Marquess of Dufferin. She owned the Bentley for 25 years until late 1985 when it was sold to James Carroll of Bexleyheath for £22,000. There is correspondence in the file between the Marchioness and Mr Carroll some of which refers to Mr Carroll’s intention to restore the car and possibly change the colour.The next set of invoices in the file are from 1997 addressed to Mr and Mrs Carroll from P.J.Fischer Classic Automobiles of Putney. A quote from them refers to sorting out some paint issues “on lower blue section of body”. A substantial five-page invoice from them totalling £6,244.46 and dated 17/02/1997 details lots of work to the car which appears to be all mechanical and not cosmetic.The Bentley’s next owner was Godfrey Hickton of Worcester who acquired it on 18/05/2007. Shortly afterwards it appears that he commissioned Lea Francis Cars (Barry Price) of Alcester to restore the car and return it to its original Shell Grey. There are dozens of invoices and bits of correspondence between the owner and Lea Francis, all hand-written and hard to read, but it appears that many thousands of pounds had been invested with Lea Francis with the work still carrying on over two years later. At some point in 2009, it appears that Mr Hickton sadly passed away, as the final batches of invoices were addressed to the 'Executors of R Hickton' and the V5C lists the new owner as Mrs Jane Hickton on 19/07/2010. There is an invoice in the file from Hampton Coachtrimming for £3,989 dated 17/06/2010 for a complete new hood and associated parts.B20HA was then acquired by the legendary collector of British cars, Dr James Hull and, in common with the rest of Dr Hull’s extensive Collection, joined our vendor in 2014. There is only one further invoice in the file since then and it’s from Denyer Classic Cars on 04/06/2018 and appears to be for a service and recommission including all fluids, filters, coolant system flush, brake service (master-cylinder seals, hoses and a bleed), road test and an MOT.XXA 262 is accompanied by old tax discs, MOTs, V5Cs, the aforementioned history file with period newspaper articles, 3 x Original Bentley Instruction Books, Smiths Radiomobile operating instructions, the Maintenance Instructions for the hood operation, and instruction booklets for the heating and air Conditioning and the automatic gearbox.With a mileage of less than 50,000, at least two restorations and being one of only two cars built to this design, B20HA is a very desirable coachbuilt Bentley in its own right, but, for many of us, its fascination lies with its first two owners. Arriving in High Society from diametrically opposed corners of the social spectrum, these attractive, vivacious, captivating women managed to find six millionaire husbands, fill newspaper pages for a decade and are still known as ‘Naughty Norah’ and the ‘It Girl’ over sixty years later. There can’t be many society events that B20HA hasn’t attended and a few secrets it’s been asked to keep! SpecificationMake: BENTLEYModel: S1 DROPHEAD COUPEYear: 1959Chassis Number: B20HARegistration Number: XXA 262Transmission: ManualEngine Number: BH33Drive Side: Right-hand DriveOdometer Reading: 49217 MilesMake: RHDInterior Colour: Red LeatherClick here for more details and images

An album of black and white postcards mostly depicting Rome views, Roman sculpture and Italian Old Master paintings. Dated 1905.

Tin Stanton, "The old master", acrylic painting on cradled wood panel, framed 25 x 25cm, c. 2023. A humorous Lego inspired piece, this painting is aged and looking like an old masterpiece. This stunning piece is varnished and ready to hang. UK shipping £35.

Follower of Quentin Massys (Louvain c.1465 - Antwerp 1530)Portrait of a Man, bust length, in a black hat and a fur trimmed coatOil on panel, gold ground30.5 x 22.5cm (12" x 9")Provenance:Presented to Gunther Henle, 1964.English Private CollectionWith William Thuillier, 14 Old Bond Street, LondonTony Chapman Collection, West YorkshireNote:Letter from William Thuillier-Strange attributed this picture to the Master of the Holy Kinship, Horst Vey proposed an attribution to the Master of Frankfurt.Although an attribution to Quentin Massys is plausible and this portrait is clearly closely related to those of Massys, no portraits can be given to this Master with certainty, and those that have been attributed to him show some disparity. Wilenski in Flemish Painters (London 1960) lists The Banker and his Wife of 1514 in the Louvre, Profile of an Old Man of 1513 in the Musee Jaquemart Andre, Paris, Portraits of Erasmus and Aegidius of 1517 which are presumed to be in the Corsini collection, Rome, and at Longford Castle. The Antwerp dealer H.de Neyt owned in 1642 An old Man with a young girl and a Fool by 'Quinten', while the Chicago Art Institute has A Man with a Pink Painter attributed to by some Massys, and also mentioned by Wilenski.The artist of our panel may not even have been Netherlandish since Massys' influence was pervasive in the area of the Lower Rhine and Westphalia, and the painter of this portrait could possibly have been from that region, perhaps from the circle of Barthel Bruyn the Elder.

° ° SOMERSET, BATH: The Historical and Local New Bath Guide...with Observations on the Medicinal Virtues, and Directions for the Use of the Bath Waters, by Sir George Smith Gibbes.....2 folded plans, 13 plates and 35 decorative/pictorial advert. leaves (of the City's leading tradesmen) at end; original printed boards (later cloth spine). Bath: C. Duffield....(ca.1820); The Life of Richard Nash, Esq., late Master of Ceremonies at Bath. Extracted principally from his original papers. 2nd edition. portrait frontis.; old gilt ruled calf, decorated panelled spine, Signet Library gilt arms on covers, printed for J. Newbery..1762; The Historical and Local New Bath Guide...9 plates and a folded plan; original printed boards, uncut. Bath: J. Barratt, (1821); The New Bath Guide; or Useful Pocket Companion... new edition, corrected and enlarged, folded plan, 2 portraits and another plate; sometime rebound half calf and marbled boards, sm. 8vo. Bath: R. Crutwell, 1777 (4)***CONDITION REPORT***Duffield Guide - reback preserves old label, intermittent spotting but reasonable, 1 advt. leaf stained. (2), 176, (4)pp. adverts., the (4)pp. coaching with illus.; in pagination some extra starred pages; Nash upper board joint cracked and loose, lower one weak, certain amount of foxing (incl. title). VIII, 237pp and advert. leaf; Barratt Guide - spine replaced (later label), boards lt. marked, light title offset, gen. good copy; Cruttwell Guide - marbled e/ps., lt. foxing but gen. good copyPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

George Graham. A very fine and rare 18K gold key wind repeating pair case pocket watch with repousse decorationDate: London Hallmark for 1718-9Movement: Finely engraved gilt full plate fusee verge, pierced and engraved winged balance cock with engraved angels head, diamond end stone, silver regulation, two hammers striking on a bell secured by 1 screw to the inner case, flat steel arm for dumb repeating protrudes between 5 and 6, round baluster pillars, No.445Dial: Later 18th century white enamel, black Arabic numerals, black outer minute track with 5 minute markers, gold beetle and poker handsCase: Finely pierced and engraved inner case decorated with scrolling foliage and birds, snakes and dolphin heads, 'MP' monogram, pierced and engraved outer case with repousse depicting Hercules being led, possibly by Hermes, to Cerberus with four embossed shells to the quarters depicting busts of classical figures, stirrup bow, numbered 445 beneath pendant, to inner bezel edge of outer case and to inside back of inner case, signed inner cap scratch numbered 445 insideSigned: Movement and cap signed Geo Graham, inner case stamped 'WS' for William SherwoodSize: Inner 43mm, outer 51mm Accompaniments: 1951 'George Graham Bi-Centenary Exhibition' catalogue, 'London Calling' newspaper clipping from February 21, 1952 with the current lot illustratedFootnotes:George Graham was born in 1673. He was lauded in the world of Horology and worked for Thomas Tompion, both of whom are buried in Westminster Abbey. He became a Freeman in the Clockmakers' Company in 1695 and became a master in 1722. The outer case of the present watch is remarkably well preserved with the fine details still clearly visible and is one of the earliest recorded fully developed scenes known for Graham. This is a fine example of the watchmaking art and the art of the goldsmith which by such a maker is rarely seen on the market.The current lot features a finely produced repousse outer case depicting Hercules being led by the hand by a figure in classical armour. With the inclusion of three dog heads just entering the scene on the left it can be assumed that this is taken from Hercules Twelfth Labour where he was sent by Eurystheus, King of Tiryns, to bring Cerberus back from the underworld. Although the second figure does not bear any of the usual distinguishing figures of Hermes it is possible that it is he who is represented leading Hercules as he was the normal guide of the underworld. Provenance:Paul E Schweder Collection Christies, London, 7 December 1944, Lot 21T P Camerer Cuss CollectionIllustrated:F J Britten, Old Clocks and Watches and their Makers, 1st (1899) 2nd, 3rd, 4th, 5th and 6th editionsT P Camerer Cuss, The Story of Watches, MacGibbon & Kee, 1952, plate 40T P Camerer Cuss, The Country Life Book of Watches, Country Life, 1967, plate 45T P & T A Camerer Cuss, The Camerer Cuss Book of Antique Watches, AC C 1976, plate 51 and colour plate 5Exhibited:George Graham Bi-Centenary Exhibition, Royal Society of Arts, November 1951, (watches exhibit 4)For further information on this lot please visit Bonhams.com

A 19th Century carved meerschaum casket box trinket jewellery box. Relief scenes in panels depicting old master type scenes with metal borders set with repeating geometric patterns. Hinged lid opening to reveal blue cushioned interior. Measures approx; 10cm x 10cm x 8cm.

Militärorden "Für Tapferkeit", Kreuz 3. Klasse, 1. Modell (1880-86) Silber, vergoldet, emailliert, an altem pentagonalen Band, im Bandring punziert mit 84 Zolotniki für Silber, der Stadtmarke von St. Petersburg für die Jahre 1865 bis 1896 und der Meistermarke "NP" der Juweliersfirma Charles Nicholls & William Plinke in St. Petersburg. Gewicht 19,8 g, Maße 58,5 x 38,6 mm. Das erste Modell wurde am 1. Januar 1880 von Fürst Alexander von Bulgarien in vier Klassen für militärische Tapferkeit gestiftet. Die Klassen teilten sich in eine 1. bis 4. Klasse des Ordens und ein affiliertes, zunächst dreistufiges Soldatenkreuz. Am 1. Dezember 1885 erfolgte die Stiftung des Soldatenkreuzes der 4. Klasse, am 1. März 1886 des Großkreuzes mit und ohne Totenköpfen. Das Großkreuz mit Totenköpfe wurde nur vom Souverän selbst als Großmeister des Ordens getragen.In dieser ersten Ausführung wurde der Orden von 1880 bis 1886 verliehen. Siehe Todor Petrov, "Bulgarian Orders and Medals", S. 314, wonach die 3. Klasse insgesamt 24 Verleihungen erfuhr, davon 12 an Ausländer.Die Engländer William Plinke und Charles Nicholls betrieben ein Juweliersgeschäft in St. Petersburg. 1815 übernahmen sie das Geschäft von John Pickersgill. 1844 erhielten Nicholls und Plinke die erbliche Ehrenbürgerschaft. Ihr Status als Lieferanten des kaiserlichen Hofs und der russischen Aristokratie machte sie zu einem der exklusivsten Schmuck- und Silbergeschäfte in Russland. Die unschlagbare Konkurrenz durch Fabergé trieb Nicholls & Plinke schlußendlich in den Ruin.Provenienz: Es handelt sich hierbei um das Exemplar aus der Künker-Auktion 173 vom 25. Juni 2010, Los 8176. Military Order "For Bravery", a Cross 3rd Class, 1st pattern (1880-86) Military Order "For Bravery", a Cross 3rd Class, 1st pattern (1880-86)Silver, gilt and enamelled, on an old pentagonal ribbon, the inside of the suspension ring punched with 84 zolotniki for silver, St. Petersburg city mark for the years 1865 until 1896 and master’s mark "NP" of the jeweller company Charles Nicholls & William Plinke of St. Petersburg. Weight 19.8 g, dimensions 58.5 x 38.6 mm.The first model was donated in four classes for military bravery by Duke Alexander of Bulgaria on 1 January 1880. The order was awarded in classes 1 to 4 and an affiliated soldier’s cross initially divided into three classes. On 1 December 1885, the Soldier’s Cross 4rd Class was donated, followed by the donation of the Grand Cross with and without death’s heads on 1 March 1886. The Grand Cross with death’s heads was only worn by the sovereign as Grand Master of the Order.The first version of this order was awarded between 1880 and 1886. Cf. Todor Petrov, "Bulgarian Orders and Medals", p. 315, which lists a total of 24 awards of the 3rd-class cross, 12 of them to foreigners.The English jewellers William Plinke and Charles Nicholls maintained a shop in St. Petersburg. In 1815, they took over the business from John Pickersgill. In 1844, Nicholls and Plinke were awarded the hereditary honorary citizenship. Owing to their status as purveyors to the imperial court and the Russian aristocracy, their business became one of the most exclusive jewellery and silver shops in Russia. Fabergé eventually outshone Nicholls & Plinke, forcing them to close due to financial issues.Provenance: This object was offered by the company Künker at its auction no. 173 on 25 June 2010 under lot no. 8176.Condition: II

* Cruickshank (Robert). Raising Bread, an Amendment, W. Fores, 1827, etched caricature with bright contemporary hand-colouring, good margins, some adhesion scaring to verso, 355 x 245 mm, together with Heath (William). Five caricatures relating to the Duke of Wellington, The Feast Near Eaten or Master George and his Little Visitor, Take Care of Your Pockets - A Hint for the Orthodox, A Double Entendre, A Naughty Boy Turned out of School [and] Druming Out. Or Making an Example of a Mutineer, Thomas McLean, circa 1830, five etched caricatures, trimmed to the neatline, some staining and toning, each approximately 255 x 360 mm, with another two uncoloured examples 'The Two happiest Men Alive' [and] 'The Promenade or a Sketch for Windsor', with Grant (C. J.). Grand Combination of Native Talent. A Trio as sung in the Farce of the Hoax or Nocity Feast, circa 1830, lithograph with contemporary hand colouring, slight spotting and creasing, 340 x 240 mm, with another twelve caricatures relating to the Duke of Wellington, including examples by or after 'The Political Drama', John Doyle, John Philips pseud 'Sharpshooter' and Robert Seymour, plus two large folding wood engravings of scenes from the Duke's life, old folds, each approximately 450 x 620 mmQTY: (25)

A bottle of The Balvenie 12 Year Old Single Malt Scotch Whisky, Signature David Stewart the Balvenie Malt Master, Ltd Release, Batch No 001, 40% vol, 70cl, in card tube

18th Century old master drawing and watercolour, river landscape with rotunda, housed in a glazed frame, the watercolour 17cm wide, 10cm high

Voskhod Russian cigarette case in 14k gold, encrusted with a cabochon ruby on the front and an old-cut diamond on the back, cabochon emerald lock, two-part interior filling with an insert including an openable oval medallion with space, for example, for a miniature portrait or a mirror. Hallmarks: Carl Faberge, assay master Alexander Vasilyevich Romanov in St. Petersburg 1904–1912, inventory number 486329 scratched. Weight 146 g. Width: cm, Height: cm, Depth: cm, Weight: kg, Condition: Very good, Material: Gold 56

Glenfarclas 'Blairfindy' 15 Year Old Master of Malt Miniatures. One 15 Year Old Sherry Cask & One 15 Year Old Cask Strength 55.7%Whisky

COLLECTION OF 9 UNFRAMED ANTIQUE PRINTS, ENGRAVINGS, ETCHINGS ETC, OLD MASTER DRAWING AND OTHER 18THC IMAGES, TOGETHER WITH AN ENGRAVING OF CHILDREN ON VELLUM AFTER SIR THOMAS LAWRENCE AND SIGNED INDISTINCTLY IN PENCIL, AVERAGE SIZE 9” X 14” [9]

An oleograph on canvas, after an 18thC Continental Old Master, wooded landscape with figures, in a giltwood and gesso frame, 72cm high x 94.5cm wide.

A Continental terracotta wood and composition floor vase, with a tin liner, painted with Old Master scenes of putti, flowers, etc., on parcel gilt supports with paw feet and triform base, 70cm high.

Royal Doulton Small Character Jugs The Graduate D6916, The Master D6898, Srgt Buzzfuzz, Micawber & Captain Cuttle Royal Doulton together with Miniature Character Jugs Granny, Old Charley, Dick Turpin, Sancho Panca D6518, Beefeaters & RDICC miniature Old King Cole D6871 (11)

1930 Buick Series 60 Model 64 Sport Roadster Engine no. 2458372331.4 ci., SOHC Inline 6-Cylinder Engine98bhp at 2,800rpm 3-Speed Manual Transmission4-Wheel Leaf Spring Suspension4-Wheel Drum Brakes*Rare example of GM Art and Colour sports design*Untouched, original example *Potential Preservation Class exhibitBUICKUnder the stewardship of General Motors' President William C. Durant, Buick production rose dramatically. The company introduced its first 6-cylinder car in 1914 and for a period in the 1920s the range would consist entirely of sixes. A detachable cylinder head, strengthened chassis and axles, and 4-wheel brakes were new introductions on the 6-cylinder line for 1924, the last year of Buick's base-model four. Replacing the latter for 1925, the Standard Six boasted a new, overhead-valve engine displacing 191cu in and producing 50bhp, while the larger Master Six came with a 255cu in, 70bhp unit. The duo was restyled for 1926 and given larger engines of 207 and 274cu in respectively and continued almost unaltered throughout 1927. For this season, the cars were visibly distinguishable by their slightly rounded radiator edges and on Fisher bodies such as this car, a dual swage molding.It was at this point that the Buick received the attention of rising star Harley Earl. Earl's mammoth contributions to General Motors' looks had begun with the LaSalle then the glorious post-1928 Cadillacs. He was on a roll when he began work on the new Buick line up, under the command of one of its most dynamic leaders, Harlow 'Red' Curtice. Curtice saw that Buick's slide was induced by complacency and their styling was looking old-fashioned, also he was keen to revamp the cars in an effort to purge unnecessary weight and to improve their performance. Their all-new line up debuted in 1929 and was the first series to have been styled in their entirety by the GM Art and Color Department, further improvements followed for 1930. THE MOTORCAR OFFEREDThe 1930 Model 64 was one of Buick's more racy models, the sport roadster, which arrived first this year and accounted for a mere 2006 units, a fraction of the 181,743 of all models shipped, making it relatively rare. They set their owners back some $1,585 in standard form, with the optional extras of wire wheels, chrome grille guard, side mounts, whitewall tires, luggage rack, fog lights and wind wings, almost all of which were clearly chosen by the first owner of this car. Buicks were certainly a focus of the collection, but this is by far the newest in this stable, 'new' being relative of course, and by time rather than condition. The car is an incredible example of its marque and model, a true time-warp car and in many respects, it is quite remarkable that it survives at all. It wears a New Jersey license plate for 1930, which seems likely to be original to the car and is a clue to its early history. Beyond this point, we are uncertain of its subsequent trail, until more recent times. However, regardless of any documented chain of ownership, the car and its condition speaks volumes about what that path might have amounted to, one would imagine a very limited number of custodians and most likely a long period of being laid up. That time would also more than likely have straddled the early days of the hobby through to more modern times, and in doing so eluded the former trends of restoring such cars. The car was formerly in the collection of James and Helen Staats of New Hope, PA, and carries a registration sticker for PA in 1981/2. The Staats being noted active HCCA and specifically Curved Dash Olds campaigners, it is likely that the shared admiration of 'CDO's' connected them with the father and son ownership of the Two Generations Collection. Clearly never having been restored, the car seems to retain its original paint, trim finishes and even its top. Its appeal is in the way in which it has weathered its 93 years, the paintwork in a khaki brown, pinstriped in red is worn in places, but still presentable, while it is the interior of both the driving compartment and the rumble seat is almost entirely intact and displays the materials with which these cars were built, but are rarely replicated when restored. The seats are in good order generally, and the driver's door has the provision of a panel behind which tools are stored, there are a couple of missing handles, but none that detract hugely from its overall presentation which with careful cleaning and preparation would no doubt enable the car to be welcomed in any of the popular preservation classes at concours events around the country. In its past tenures it has been neither altered nor restored, long may that continue... Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A PRINT AFTER A DUTCH OLD MASTER TOGETHER WITH A GEOMETRIC COLLAGE

Old master interest an early oil on panel apparently unsigned 

MINKO: A WOOD NETSUKE OF YOJO STABBING THE KING'S CLOAK By Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 with kakihanJapan, Tsu, early 19th century, Edo period (1615-1868)Depicting Yojo seated and stabbing Cho Bujutsu's cloak with his sword, his expression marked with determination. The pupils are minutely inlaid in dark horn. One ringed himotoshi through the cloak and signed to the underside with red pigment MINKO. Note the superbly carved hair in the back with boldly incised strokes, interestingly somewhat similar in conception to Minko's goat beards (lot 137).LENGTH 3.9 cmCondition: Very good condition with associated old surface wear.Literature comparison:Compare to a netsuke depicting the same subject in Jirka-Schmitz Patrizia, The World of Netsuke, The Werdelmann Collection at the Museum Kunstpalast Duesseldorf, p. 40, no. 80.The story of Cho Bujutsu and Yojo is described in Henri L. Joly, Legend in Japanese Art, p. 569. Yojo (in Chinese Yu Jang) wanted to avenge the death of his master by the hands of Cho Bujutsu. Several futile attempts ended up with Yojo begging for Cho's royal mantle, which he then stabbed into shreds with his sword as a token of his revenge. Afterwards, Yojo killed himself as he could no longer live under the same heaven as his rival.

Master of Antwerp (1485-1491) - Plucking of Corn on Sabbath / Description: The disciples pluck and eat ears of corn on the Sabbath. Discussion with Pharisees about the plucking of corn This is an old colored incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to The First Antwerp Master and dated 1485-1491 / Dimensions: 9,80 x 12,80 / Condition: Excellent impression with unbroken woodcut lines. Nice period hand colouring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Woodcut /Circa: 1485-1491

Master of Haarlem (1483-1486 Fl.) - Christ chooses his disciples / Description: Christ chooses his disciples. This is an old coloured incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to The Master of Haarlem and dated 1483-1486. This makes it a real early woodcut in History. / Dimensions: 9,20 x 13,00 cm / Condition: Excellent impression with unbroken woodcut lines. Nice period hand colouring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Coloured woodcut /Circa: 1483-1486

Nuremberg Chronicle - Creation of Eve - Possibly after Dürer sketch -1493 / Description: Old coloured woodcut from the first edition of Hartmann Schedel, "Liber Cronicarum", from 12 July 1493. Adam works hard as Eve suckles Cain and Abel after the expulsion from Eden. From 'Nuremberg Chronicle' or 'Liber Chronicarum' by Hartmann Schedel (1440-1514). The wood blocks were designed by Michael Wolgemut and his stepson Wilhelm Pleydenwurff and their assistants, including the young Albrecht Dürer, who was apprenticed to Wolgemut at the time. The printing was carried out under the supervision of the great scholar-printer Anton Koberger. Wohlgemut was Albrecht Durer's tutor between 1486-90. Since the young Dürer was working in the workshop in the years 1486-1489 when many of the early designs for the Chronicle were made he might be involved. In the case of Adam and Eve after they left Eden, the preliminary sketch has been preserved. (See Adrian Wilson - 1976: The making of the Nuremberg Chronicle, p.105). The rhythmic flow of the thick and thin lines of this sketch is that of a master hand and the treatment of the facial features suggests Durer's sketch of the Madonna enthrone with Saints, now in Musée Bonnat, Bayonne. The tree of Cain and Abel on the backside is as also based on a preserved sketch (See Adrian Wilson - 1976: The making of the Nuremberg Chronicle, p.105), also one of the few designs possibly made by Dürer. Here in a good impression from the old coloured luxury editions of the Cronicarum who were described as the most expensive ones. / Dimensions: 25,50 x 22,50 cm / Condition: Excellent condition. / Literature: Liber Chronicarum, here a first edition , printed by Anton Koberger in Nuremberg on 12 July 1493 in old colouring. It is one of the best-documented early printed books. It is classified as an incunabulum, a book, pamphlet, or broadside that was printed (not handwritten) before the year 1501 in Europe. The luxury editions in old colouring are mentioned in literature and were of the most expensive. ----- Adrian Wilson - 1976: The making of the Nuremberg Chronicle. / Medium: Woodcut /Circa: 1493

Attributed to Jan Luyken (1649 - 1712) Pair of Old Master Drawings 1. The Angel appearing to Hagar Ink and wash on paper Collectors mark 'JC' Verso 2. Two figures by a well Ink and wash on paper Dimensions: (Paper) 7 in. (H) x 8.5 in. (W) (Frame) 13 in. (H) x 14 in. (W)

[Osborne (Francis)] Advice to a Son; or Directions for your better Conduct through...this Life...I.Studies &c. II.Love and Marriage. III.Travell. IV.Government. V.Religion., third edition, woodcut initials and typographic ornaments, title and one or two other leaves lightly soiled but generally a good clean copy, later calf with triple rule and small ornaments to corners in blind, rubbed, light staining and small worn patch to upper cover, spine chipped at head, [Wing O510], Oxford, by H[enry] Hall...for Thomas Robinson, 1656 § Aikin (John) Letters from a Father to his Son..., 2 vol., mixed edition, vol.1 third edition, vol.2 second edition, Marcus Gage's copy with his contemporary ink inscription to head of titles and bookplate, contemporary sprinkled calf, gilt, spines gilt, 1796-1803 § [Hurd (Richard)] Dialogues on the Uses of Foreign Travel; considered as a Part of an English Gentleman's Education..., first edition, title in red & black, old ink library stamp to title and pastedown, contemporary half calf, joints split, label chipped, W.B. for A.Millar, 1764 § [De Britaine (William)] Human Prudence; or, the Art by which a Man may Raise Himself and Fortune to Grandeur, eighth edition, old ink library stamp to verso of title and final leaf of text, contemporary sheep, bit worn, rebacked preserving old spine, repaired, [This edition not recorded by ESTC], Dublin, Peter Hoey, 1794; and 2 others, courtesy, including a poor and imperfect copy of Braithwait's English Gentleman of 1641, v.s. (7)⁂ Osborne was Master of the Horse to Shakespeare's patron William Herbert, Earl of Pembroke. His work was very popular, particularly with Oxford scholars, and went through five editions in 1656. It was subsequently charged by Puritan divines as containing atheistic principles and forbidden to be sold, which in fact appeared to increase sales.

A 2008 Renault Master Trucksmith Lo-Loader or Luton van, registration YE08 NDO, with paperwork relating to past private plate GY02 LOT (not included), SORN, used daily and running fine up to March 2020 thereafter when being used for storage purposes during & since the Coronavirus pandemic, 2464cc, diesel, first registered 12th May 2008, MOT expired May 2022, last known mileage 187,415, V5 present and keys. NB: This lot is the property of Golding Young Limited and is to be sold WITHOUT RESERVE and WITHOUT BUYER'S PREMIUM. Note: VAT is payable on the hammer price of this lot at 20%. This lot is available to view and collect by appointment only at The Grantham Auction Rooms, Old Wharf Road, Grantham, NG31 7AA All enquires 01476 565118

UNITED KINGDOM. Victoria, 1837-1901. Gold half-sovereign, 1890. London. With JEB Low shield DISH L512. No half sovereigns were struck in 1888 and 1889 in an attempt to steer the public towards greater use of silver coins, which were less prone to wear than the half-sovereign and so more cost-effective. The double-florin (4 shillings) piece was produced 1887-1890 to offset for the half-sovereign shortage, but weighs 22.6 grams and measures 36 mm. The public was not happy about carrying around the equivalent value of the widely used half-sovereign (10 shillings) in silver coins. Production of half sovereigns recommenced in 1890 with 2,266,023 coins.The issues the mint encountered with the Jubilee coins are well documented and were exacerbated by the pressure for the coins to be ready for the Queen's Golden Jubilee on 20 June 1887. Due to time restraints the Jubilee head sculptor Joseph Edgar Boehm’s initials JEB were individually punched onto the master dies, resulting in three categories of JEB types—Imperfect J, hooked J (six unique dies) and no JEB. It is unclear in which order coins of these categories would have been produced and why at some point, presumably after 1887, it was decided to discontinue the use of dies with the JEB initials. After 1887, JEB initials are all of the Imperfect J type and become increasingly rarer as the years pass. This in our opinion indicates that coins struck after 1887 bearing the JEB initials would relate to the use of old dies from 1887 production runs, in the same way as the use of high shield dies.To improve metal flow, the reverse was redesigned at some point after 1887 and the shield moved slightly lower (sometimes called wide date as the lower part of the shield pushed the date further apart). In the same way as presumed with the use of JEB dies after 1887, the Mint continued using the high shield dies from 1887 production runs until 1892, the later ones being very rare (1891 is ultra-rare).Crowned and veiled Jubilee bust facing left; JEB on truncation, imperfect J; inscription: VICTORIA DEI GRATIA BRIT: REGINA F: D:. / Lower, crowned and embellished shield-of-arms; wide date in exergue; BRITANNIARUM REGINA FID: DEF:.In secure plastic holder, graded PCGS XF45 , certification number 47037007. PCGS population in this grade: 1.PCGS population in higher grade: 2.Reference: Marsh-479A; S-3869B; DISH-L512Diameter: 19.3 mm.Weight: 3.99 g. (AGW=0.1176 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

Attributed to Abraham 'Abiah' Gibbens (Dutch, fl. circa 1629-35)Still life of fish and crayfish on a ledgesigned Abiah Gibbens f. 16... lower edgeoil on canvas87.5 x 112cmNot much is known about the Flemish still life painter Abraham (sometimes referred to as 'Abiah') Gibbens, apart from that he was active in Antwerp and for a time in Paris, where he is recorded as having joined the corporation of Saint Germain-des-Prés as a master painter. In his Dictionary of Dutch and Flemish Still-Life Painters Working in Oils (p. 89), Fred G. Meijer refers to a still life of fish by Gibbens, signed and dated 1635, which he describes as the pair to a large canvas still life of fruit. That still life of fruit, one of only three known signed works by Gibbens, is likely the large canvas that appeared first at Sotheby's London in 2005 (Old Master Day Sale, 8 December, lot 239) and again, more recently, at Leclere Maison de Ventes in Marseille (Maîtres Anciens, 12 October 2016, lot 12, 30,000 EUR). That still life is recorded as having the same dimensions as the present still life of fish, and it is possible that this canvas is the other half of the known pair referred to by Meijer.

REGGAE / WORLD - LP COLLECTION. A collection of 16 x LPs. Artists/ Titles include Abaraka Guitar Band - Erimam (NEMI (LP) 0285), Ulysse - Chante (UL 010), R. D. Burman - Hare Rama Hare Krishna, Roland Burrell - Fling Reggae Music, L' Unite Africaine Vol. 1, The Best of Bob Marley and the Wailers (No Sleeve), Planet Mars Dub - The Icebreakers With The Diamonds, Observer - Master Mix LP, Sly Dunbar - Simple Sly Man, Reggaematic Sounds Vol 1 and The Maytals - Never Grow Old. The condition is generally VG+ to Ex+ with some records falling slightly below this.

Six audio CDs: one with 'Sanctuary Studios' label and 14 tracks from 'Reformation', others with titles inc: 'Von Sudenfeld', 'Fall Master Version 2', 'Ultimatron Mat Arnold Mix', '26/9/2014 Brixton', 'Wise Old Man Remix'.Consigned directly from Mark E. Smith's personal collection by Mark's family.

STILL LIFE PRINT AFTER THE DUTCH OLD MASTER in gilt frame

A collection of seven prints of old master paintings to include: Frans Hals, The Laughing Caveleer; Richard Jack RA, The Toast; F. G Millet, Between Two Fires, together with four further pictures, the largest measuring 57 x 46cm (7)

Antonio Francesco Gori - 'Livio Mehus Pittore', 18th century etching with engraving and hand-colouring, 27cm x 17.5cm, together with twelve similar portrait engravings depicting Old Master artists, all within matching ebonized and gilt frames. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

OF COLLECTORS' INTEREST: A pair of George I walnut, featherbanded and fruitwood marquetry side chairsCirca 1720, each with a featherbanded vase shaped splat inlaid with an Arabesque comprising a pair of opposing masks and stylised foliage, on C-scroll carved cabriole front legs, with splayed column-and-block rear legs and a waved H-stretcher, 60cm wide x 57cm deep x 102cm high, (23 1/2in wide x 22in deep x 40in high) (2)Footnotes:ProvenanceThe offered lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. One of the offered chairs appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 90, p. 256. The chair is even noted in 'The Dictionary' as being: 'from Mr Ralph Edwards' and is dated to circa 1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954.    During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history.

Anonymous, ships on the high seas, canvas after the old master, 45x61 cm

Signed G van Donk, cityscape after old master, panel 31x25 cm

A Cero Patent Public Toilet “Pennies Only” Lock, complete with master key and money box key, together with a selection of old pennies. 33.5cm.

Belinda King, pencil signed limited edition mixed media print "Flight From the Orchard" 5/100; and an Old Master type coloured print

THREE SHIPS 12 YEAR OLD MASTER DISTILLER'S PRIVATE COLLECTION SOUTH AFRICAN WHISKY THREE SHIPS 12 YEAR OLD MASTER DISTILLER'S PRIVATE COLLECTION46.3% ABV / 70clQty: 1

THE EXCLUSIVE COLLECTION MINIATURE SET WITH GAMES THE EXCLUSIVE COLLECTION MINIATURE SETAs well as a selection of whisky miniatures from the J&B family, including Knockando 1977, Singleton of Auchroisk 1978 and a Dunhill Old Master, this set includes two decks of playing cards, poker chips and dice.Each miniature 43% ABV / 5cl Qty: 1

DUNHILL OLD MASTER 75CL BLENDED WHISKY DUNHILL OLD MASTERBottle Number: Q 3081243% ABV / 75clQty: 1

Vanity Fair Print. Titled An Old Master. Subject Viscount Portman. Dated 3/11/1898 Approx size 14x11inch. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

OLD MASTER SCHOOL. AN IMPRESSIVE SET OF FOUR PANELS FORMING A SCENE OF BIRDS AND ANIMALS WITHIN A CLASSICAL ARCHITECTURAL SETTING, OIL ON LEATHER. EACH PANEL H 272 x 55cms

W. Heaton Cooper Prints (2), Old Master print and bevelled wall mirror. (4)

ROYAL DOULTON; four figures comprising HN1315 'The Old Balloon Seller', HN1954 'The Balloon Man', HN2325 'The Master', HN2103 'The Mask Seller' (4).Condition Report: The Master is seconds quality otherwise each in good condition.

After The Old Master, portrait of a bearded elderly gentleman, oils on canvas. 30x24cm approx. Carved wooden frame. And another similar oils on canvas. 44x36cm approx. (2) (B.P. 21% + VAT) good. Modern

Folda (Jaroslav). Crusader Art in the Holy Land, from the Third Crusade to the Fall of Acre 1197-1291, 1st edition, Cambridge: Cambridge University Press, 2005, numerous colour and monochrome illustrations, some minor marginal toning, lacking CD to the rear, original cloth in dust jacket, lightly rubbed to head and foot, small tear to the rear cover, large 8vo, together with;Brinkmann (Bodo & Stephan Kemperdick), Deutsche Gemälde Im Städel 1500-1550, 1st edition, Mainz: Verlag Philipp Von Zabern, 2005, numerous colour and monochrome illustrations, minor marginal toning, original cloth in dust jacket, lightly rubbed to head and foot, large 8vo, plus,Schnapper (Antoine & Arlette Sérullaz), Jacques-Louis David 1748-1825, 1st edition, Paris: Réunion des musées Nationaux,1989, numerous colour and monochrome illustrations, original cloth in dust jacket, small tear to foot of rear cover, large 4to, and, Hindman (Sandra & Federica Toniolo, editors), The Burke Collection of Italian Manuscript Paintings, 1st edition, London: Ad Ilissvm, 2021, numerous colour illustrations, original cloth in dust jacket, 4to, plus other old master and illuminated manuscript reference and related including publications by V&A, Royal Academy of Arts and Taschen, mostly original cloth in dust jackets some original cloth with slipcase, large 4to/large 8vo, G/VGQTY: (3 shelves)

A QUANTITY OF OLD MASTER COLLECTIONS Renmbrandt etc

A DESIGN SKETCH FOR THE SAVOY GRILL watercolour scheme, probably 1960s, with colour notes and details, by an unknown interior designer, 103 x 67cm; and a framed photo-reproduction print after an old master (2)

Virgilio Fenoglio signed old postcard with small black and white photo attached. Fenoglio was an Argentine chess master, winner of 37 tournaments. Good condition. All autographed items come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

dating: Period (1603-1867) provenance: Japan, In suaka, nade-maru-gata, uchi-gaeshi-mimi. The surface is decorated with a particularly fine, sand-like 'ishime'. With a shakudo anchor in 'iroe zogan' on it, featuring small shells encrusted in gold and silver together with its rope. On the ura, on the ishime backdrop, is a shakudo rudder. The delicacy and the atmosphere of the ensemble are extraordinary. Late Edo period, around 1800. The Nara school, founded in 1600, evolved over the next century with many famous artists: Toshishige, mentioned by the Joly and the Shoshankenshu, follows the canons of Toshinaga, his master, in the early 19th century. The scene depicts the remains of a shipwreck, the concretions on the anchor, the broken and softly stretched rope, the small signs of wear as well as the tear on the rudder confirm it; the meaning is still uncertain. It is either the wish of an old samurai-mariner to remember his vicissitudes, or the theme of the bushi life... the Death.Provenance: W. W. Winkworth Collection. dimensions 6.5 x 7.5 x 0.35 cm.

Flemish school. Late 16th century. Jan Brueghel Circle (Brussels, 1568 - Antwerp, 1625) "Mary Magdalene" and "The Miracle of Tobias" Pair of oil paintings on copper. 50 x 65.5 cm each.As the Curator of Dutch and Flemish Old Master Paintings, Dr. Angela Jeger, told us, the guinea pigs that appear in the lower margin of our copper "Mary Magdalene", are “a motif often used by Jan Brueghel I and his son Jan Brueghel II”. We can see it, among other pieces, in “The Garden of Eden with the Fall of Men (Genesis 2-3)” after Brueghel I, signed and dated on 1613 (https://rkd.nl/explore/images/58128); or in “Landscape with the entry into Noah's ark (Gen. 6-8)”, after Brueghel II, signed and dated on 1625 (https://rkd.nl/explore/images/225520). The first painting depicts Mary Magdalene praying and penitent; and, and the second shows the meeting and miracle of Tobias and the Angel. According to the biblical story, Tobias cured his father's blindness with the gall of a fish and by following the indication of the Archangel Raphael's instructions. In this scene, Tobías, a beardless young man, walks with the fish in his hand, next to the Archangel Saint Raphael.

1 x 70cl. bottle Bookers ‘True Barrel’ 7 years 4 months old Kentucky Straight Bourbon Whiskey 1 x 70cl. bottle Bookers ‘True Barrel’ 7 years 4 months old Kentucky Straight Bourbon Whiskey 126.5 proof (US) # Batch No. C90-D-11 Numbered 016891 – Booker Noe Master Distiller

Y A CONTINTENTAL KINGWOOD PARQUETRY AND TULIPWOOD CROSSBANDED SERPENTINE COMMODELATE 18TH/ EARLY 19TH CENTURY79cm high, 100cm wide, 53cm deepProvenance:Private collection, BerkshirePurchased Sotheby's, London, 19th & 20th February 1997, Old Master and British Paintings, Furniture & Decorations, European Works of Art and The Brian Juhos Collection, Lot 302Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: this commode is heavier than anticipated - the drawer linings and carcass are thick oak; clean and with shellac type finish; there is a Sotheby's Stockholm label verso; there is some filler and some small replaced veneers and crossbandings including to edges and feet and a tip to one corner; the lowest drawer with a broken border and missing corner moulding; there are three keys that pull open the drawers but do not seem to easily operate the locks; later locks; it is not clear if the escutcheons are later, there are some marks around two of the drawer escutcheons; some fading noticeable when the drawers are pulled out; later blocks to the back of drawers; there is some evidence of worm including to the bracket feet.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

After The Old Master (19th Century)Madonna and Childoil on panel34 x 25cm (13.5'' x 10'') unframed

Florentinischer Meister des frühen17. JahrhundertsPORTRAIT EINES JUNGEN MIT NELKEÖl auf Leinwand. Altdoubliert.69 x 52 cm.In vergoldetem ornamental verziertem Rahmen.Halbfiguriges Gemälde eines jungen Mannes, der als Zeichen seiner Liebe eine rote Nelke vor seiner Brust hält. Das Gemälde, das einst Cristofano Allori zugeschrieben wurde, wird zumindest in dessen Umkreis entstanden sein, sind doch die stilistischen Gemeinsamkeiten nicht von der Hand zu weisen. So existiert von ihm ein sehr ähnliches Portrait Agnolo di Lorenzo dei Favilla zeigend. (13508612) (4) (13)Florentine Master of the early 17th centuryPORTRAIT OF A BOY WITH CARNATION Oil on canvas. Old relining.69 x 52 cm.The painting, which had previously been attributed to Cristofano Allori, must have been created at least by his circle, as the stylistic similarities are obvious. There is a very similar portrait of him depicting Agnolo di Lorenzo dei Favilla.

Meister mit dem Papagei Die Meisterbezeichnung ist ein Notname für eine Gruppe von hochrangigen Malern, die um 1520 oder 1530 wahrscheinlich in Antwerpen ein gemeinsames Atelier betrieben. Namensgebend für diese Gruppe waren Marienbilder, auf denen ein Papagei zu sehen ist.HÖFISCHES BILDNIS EINER DAME NAMENS MAGDALENAÖl auf Holz.45 x 29 cm.Verso altes Lacksiegel.Das Gemälde aufgeführt im RKD-Bildarchiv unter der Abbildungsnr.: 0000135233. Das anmutig gemalte Mädchen, das hier im Halbbildnis gegeben ist, lässt sich lediglich durch das auf dem Pult stehende Deckelgefäß in Bezug zur biblischen Magdalena sehen. Im Gegensatz zu sonst üblichen Darstellungen dieser „Heiligen Sünderin“, mit lockerem offenem Haar, ist die junge Gestalt höchst sittsam gekleidet. Dies lässt zwingend annehmen, dass es sich hier um ein Auftragsbildnis einer höhergestellten jungen Dame mit dem Namen Magdalena handelt. Das Attribut liefert also nur den Verweis auf die Namenspatronin. Ihr gesellschaftlicher Rang ist an der goldenen Halskette wie an den Fingerringen zu ersehen. Ihre Bekleidung und die Kopfbedeckung, die das Haar sehen lässt, zeigt sie als noch unverheiratet. Die im Fensterausblick gezeigte Schlossanlage ist demgemäß als der Wohnsitz der Dargestellten zu sehen. Ihrem Rang gemäß hinterfängt ein Baldachin-Lambrequin die Lesende, wobei es sich bei dem Buch um ein Gebetbuch handeln dürfte, was ihre Frömmigkeit andeuten soll. Sowohl ihre Jugendlichkeit, als auch ihr Rang wird durch das auffallend leuchtende Rot in der Kleidung erkennbar. Stilverwandtschaft ist mit dem „Meister der weiblichen Halbfiguren“ zu erkennen, aber auch mit Ambrosius Benson oder Jean Bellegambe. Max Jacob Friedländer schrieb auch eine Reihe von Damenbildnissen diesem Malerkreis zu. A.R.Anmerkung:Das Gemälde bisher geführt unter dem Titel: Maria Magdalena bei der Lektüre.Provenienz:Sotheby´s, London, 10.07.2003, Lot 108. (13514317) (11)Master with the Parrot,The artist’s name is a name of convenience for a group of high-ranking painters who probably ran a joint workshop in Antwerp in ca. 1520 or 1530.COURTLY PORTRAIT OF A LADY NAMED MARY MAGDALENEOil on panel.45 x 29 cm.Old lacquer seal on the reverse.Recorded in the RKD database (ill. no. 0000135233).Provenance:Sotheby’s London, 10 July 2003, lot 108.Notes: The painting was formerly titled: Mary Magdalene Reading.

Clynelish 14 years old Single Malt Scotch whisky, 70cl 46% vol, one bottle in box, Glenfiddich 12 years old Single Malt Scotch whisky, 700ml 40% vol, one bottle in tin, and Dow's Master Blend Finest Reserve Port Porto 75cl 20% vol, one bottle (3)