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Lot 427
18th Century Italian School/Corpus Christi/Old Master style drawing/pen and ink heightened in white, 24cm x 18cm/Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Lot 1122
FRANK SINATRA ARCHIVE - LPs PLUS MEMORABILIA AND 7". Fantastic archive from Ol' Blue Eyes including around 320 x LPs plus around 24 x 7"/EPs, 9 x cassettes, 10 x books and also to include a selection of magazines and concert programmes. A full list is available on request. Including many original UK, US, Japanese pressings as well as later limited edition releases, titles include A Jolly Christmas From Frank Sinatra (US Original Master Recording MFSL 1-135 - Ex+/Ex+), The Capitol Years (20 x LP box set SINATRA 20, complete with booklet), Trilogy: Past, Present And Future (3FS 2300, complete white label test pressing), Saloon Singer (scarce private fan release, number 233/300), Sinatra In Concert (scarce private fan issue, number 245), Francis Albert Sinatra & Antonio Carlos Jobim (Japanese SJET-7923), Softly, As I Leave You (P-7716, Japan, with obi), September OF My Years (P-7702, Japan, with obi), Ol' Blue Eyes Is Back (P-8387R, Japan, with obi), Sings Great Songs From Great Britain (P-7721, Japan, with obi), That Old Feeling (20AP 1449, Japan, with obi), Sinatra Rarities, The Reprise Collection (1990 6 x LP collection, 7599-26340-1), 50 Years Of Film Music, The Capitol Years (US 1990 5 x LP box set, c1-94777), Legendary Singers (box set), The Sinatra Touch (box set). Condition is often clean VG+ to Ex+. Books include The Sinatraphile (John Ridgway, all 3 volumes), Old Blue Eyes (Norm Goldstein) and Frank Sinatra: My Father (Nancy).
Lot 30
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. crescent (over escallop on rev.) [1 June 1587 to 31 January 1590] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB REGINA · Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets, pillars undecorated, chained portcullis below breaking ornate tressure A · DNO’ FACTV · EST · ISTVD · ET EST · MIRAB’· IN OCVLIS · NRS’. Royal arms in centre of Tudor rose 15.42g/238.1gr/12h Holloway 17A-22A-004 [of 10 coins with this die combination recorded by the late owner]; Brown/Comber A22; SCBI Schneider 782, same obv. die; Comber 23, same dies; N 2003; S 2529 Skilful old repair to tiny edge crack at 8 o’clock, otherwise very fine and round with good detail and an interesting provenance £15,000-£20,000 --- Provenance: Rt Hon John Smyth, Master of the Mint 1802-4, and by descent Col. G.J. Fitzroy-Smyth Collection, Sotheby Auction, 1-2 July 1935, lot 51 J.H. Barnes Collection, Sotheby Auction, 26 June 1974, lot 132 Partin Bank Auktion 21 (Bad Mergentheim), 6 December 1985, lot 333
Lot 18
the 12 in. dial with a signed Roman numeral chapter ring, subsidiary seconds dial, date aperture, and twin winding holes, with pierced crown and cherub spandrels; in a caddy hood top with giltwood finials and flanked by ebony columns with giltwood capitals, above a trunk door with a brass banded lenticle and boxwood lined flower and bird marquetry panels; the month-going movement with five pillars and five wheel trains, anchor escapement and bell strike via an outside countwheel226cm high, 249cm [finials included]Footnote: Note: Edinburgh made clocks that predate 1700 are exceedingly rare. Andrew Broun [or Brown] (circa 1651-1712) was apprenticed to Humphrey Milne on 2nd February 1665. His apprenticeship was recorded thus "The second day of February 1665. The quilk day, Andro Broun, sone lawfull to umquihil Jon Broun, in Lang Newtone, is booked prentice to Umpra Milne, clock maker." Ten years later he officially ended his apprenticeship after demonstrating his skill to a committee of clockmakers and became a freeman of the Hammermen's Incorporation. He then took on several apprentices and journeymen himself throughout his career. He became Captain of the City Guard in 1685 and Master of the Hammermen's Incorporation in 1689.In 1689 and 1690 he was elected boxmaster [treasurer] of the Hammermen's Incorporation and in 1696 he became a Guild brother of Edinburgh. Although recorded as a highly capable maker, he apparently died penniless, with his son applying to the Incorporation for financial assistance on his father's death.John Smith, author of Old Scottish Clockmakers from 1453 to1850, states "In view of the long time he was in business, - thirty-five years - it is remarkable how exceedingly scarce are specimens of his art, only three have come under our notice: one being the splendid clock in the lobby of the advocates library, another that was exposed for sale in the window of a dealer in Queen Street Edinburgh, both these two having cases of beautiful and chaste marquetry; and the third one in possession of a private party in Linlithgow". Another marquetry longcase clock by Broun dating to the late 17th century sold in these rooms, 1 September, 2021, lot 18.
Lot 19
17th C. Old Master Painting, "Roman Charity". "Roman Charity" is the exemplary story of a oman, Pero, who secretly breastfeeds her father, Cimon, after her is incarcerated and sentenced to death by starvation. Oil on canvas. Appears to be unsigned. Provenance: Private Naples Florida collection. Size: 32 x 46 in.Unframed.
Lot 191
The Master of Malt - six speciality miniature whisky bottlings:Blairfindy 1977, 16 year old, single Speyside malt, cask 7020, 5cl, 43%Blairfindy 1981, 15 year old, cask strength single Speyside malt, 5cl, 55.7%Blairfindy 'Burns Night 1998', single Speyside malt, 5cl, 55.7%Bladnoch 1984, single Lowland malt, cask 20086/87, bottle #75 of 319, 5cl, 43%Askaig 1978, single Island malt, cask 1040, bottle #167 of 480, 5cl, 43%Linkwood, 11 year old, single Speyside malt, 5cl, 43%.Qty: (6)
Lot 193
The Master of Malt - nine assorted whisky miniatures:Loch Indaal, 12 year old, single Islay cask strength whisky, 5cl, 56.4% (x2)Dallas Dhu 1978, 19 year old, single Highland malt, 5cl, 43%Royal Brackla 1984, 13 year old, single Highland malt, 5cl, 43%Craigellachie 1978, 19 year old, single Speyside malt, 5cl, 43% (x2)Braes of Glenlivet 1987, 10 year old, single Speyside malt, 5cl, 43%Braes of Glenlivet 1987, 10 year old, single Speyside cask strength malt, 5cl, 59.8% (x2).Qty: (9)
Lot 557
A lovely, low ownership, 1955 86" Series 1 fresh from a fastidious restoration. Superbly restored Series 1 from long-term ownershipOriginally supplied new to a farmer in Shropshire Underwent body off - nut & bolt restoration in 2018/20Our vendor believes he is the car's 4th owner and it appears to have been used lightly all its lifeThe indicated mileage when he bought it was 20,192 .(see MOT 2005/06). Current 24,572This is a really lovely Srs 1, properly recommissioned and delightfully presentedAs an engineering marvel, the Land Rover can still outstrip its modern counterparts, and the Series I rightly belongs in the Motoring Hall of Fame. Hugely successful globally, improvements were made throughout its long lifespan. In 1950, the lights were moved from a position behind the grille to protrude through the mesh and in 1952 a larger 2.0-litre petrol engine replaced the original 1.6-litre. The wheelbase was extended to 86 inches in 1955 to give the vehicle more stability and greater load capacity. The stronger, more reliable 2.0-litre petrol engine was standard until 1957.This venerable Series 1 is believed to have been originally supplied new to a farmer in Shropshire before finding a home, some years later, in Bromsgrove where it appears to have been renovated and resprayed in a green (not Bronze Green). It was then sold to a Mr Wyatt in Telford who owned the car for many years before old age meant it had to be moved on. It was purchased by its current owner, our vendor, in 2006 and he used it regularly but lightly, until the decision was made to fully restore the 'Landie' with the process starting in 2018.Our vendor has kindly provided us with a list of the work carried out (below) and invoices and full details are in the cars history file.;Underwent body off - nut & bolt restoration in 2018/20.Chassis stripped, repaired where necessary, powder coated. Bulkhead soundAll body panels retained were stripped, primed, and resprayed in Bronze Green.New outer wing panels – AB panels. New tailgate – Wadsworth panelsNew under-tub cross membersAll parts galvanised where required (except door top edges)Differentials/axles checked, serviced and paintedAll relevant suspension, steering bushes etc. renewedSprings are parabolic fitted approx. 8 years ago, new shock absorbersEngine: head off and de-coked/reconBlock, pistons etc. all OK. New core-plugs fitted. Repainted block in original duck blueGearbox checked, serviced.Radiator reconditioned. Tested/pressure checked. New hoses throughout.Rewired/new wiring harness/dynamo/coil/battery and related partsElectronic ignition fittedNew rear lamps, headlampsNew wiper blades and refurbished motorsFuel gauge as with all Series 1 is not reliableHeater ducting and heater repaired but like all Series 1s, never good at its job.Brakes – totally replaced, brake pipes, master cylinders, brake cylindersSteering wheel refurbished by Charlesworth - 2021New chrome mirrorsNew seats front & rear - Undercover CoversNew sliding window felt railsRecent new canvas tilt cover – 2021 - Undercover CoversNew tyres all round855 UXB is now in simply splendid condition and as nice a Series 1 as you'll find. Our vendor believes he is the car's 4th owner and it appears to have been used lightly all its life. The indicated mileage when he bought it was 20,192 (see MOT 2005/06) and the current mileage is 24,572 meaning that only 4,380 miles have been covered in the last 15 years.Often restored and rebuilt but rarely to this standard, this lovely 86" Series 1 is now ready to be enjoyed once again, be that at a local County Show or scattering the pheasants down a country lane. SpecificationMake: LAND ROVERModel: SERIES 1 86"Year: 1955Chassis Number: 57105335Registration Number: 855 UXBDrive Side: Right-hand DriveOdometer Reading: 24562 MilesMake: RHDClick here for more details and images
Lot 558
An immaculate, low mileage, low ownership 90 XS that's well spec'd and impressively presented.Factory finished in Corris Grey with a black half-leather interiorPre-registered by the dealer with one private owner from 6 months oldPristine throughout having covered just 6,610 genuine milesHas formed part of an eclectic collection in recent yearsAs this is an XS it comes as standard with Bluetooth handsfree, multi-function stereo, air-conditioning and heated seatsAdditional options include a sound deadening pack, half leather, tow pack, light guards, side steps, mud flaps, and 16’’ alloy wheels with Continental Cross Contact tyresComprehensive service history and MOT current until January 2022Increasingly desirable, the love for these utility vehicles never seems to diminish, an ideal addition to any collectionFinished in a stylish shade of Corris Grey, this Land Rover Defender 90 XS is not just another utility vehicle but, in actual fact, a very smart 4 x 4 capable of being used on a daily basis whilst still retaining its iconic off road credentials. As an XS, it comes as standard with Bluetooth handsfree, multi-function stereo, air-conditioning and heated seats and additional options include a sound deadening pack, half leather, tow pack, light guards, side steps, mud flaps, and 16’’ alloy wheels with Continental Cross Contact tyres. It has a comprehensive service history and the MOT is current until January 2022.In outstanding condition throughout and having had just one private owner since six months old this is one Defender that has been very clearly cherished forming part of an eclectic collection whilst in its current ownership, sitting alongside various commercials, several tractors and of course a Route Master London Bus, well why not ? With a recorded mileage that reads a tad over 6,600 genuine miles from new this is one 4x4 that would be at home in any serious collection or performing off road duties as required, but what a shame to get it dirty ! With Defender prices on the march this is one for your serious consideration.SpecificationMake: LAND ROVERModel: DEFENDER 90 XS HARD TOPYear: 2015Chassis Number: SALLDWNP7FA466651Registration Number: HK64 XCFTransmission: ManualEngine Number: 150111125642DT224Drive Side: Right-hand DriveOdometer Reading: 6610 Make: RHDInterior Colour: Black LeatherClick here for more details and images
Lot 1014
Peter de Wint OWS (1784-1849)View of Whitby looking down the river to the seaWatercolour heightened with white, 45cm by 86cm The Fine Art Society, London, January 1963Private Collection, UKFootnote: Peter de Wint was one of the finest English watercolour painters of his era, greatly admired for his expansive views of the English countryside executed in a muted palette of warm earthy colours. Born in Staffordshire to a physician father of Dutch descent who had recently emigrated from New York, de Wint served his apprenticeship with engraver John Raphael Smith before settling in London. Here he became established as a drawing master and spent most of the year teaching and painting in London, but in the summers he travelled to the countryside where he taught wealthy families and painted his much-loved landscapes. He particularly favoured the North of England, spending much time in Yorkshire, Cumberland and Westmorland; his paintings can be found in the National Gallery and the V&A. Condition report: In a broadly good state of preservation. Some general evident time staining of the sheet which is more apparent within the less worked areas such as the white cloud. This may be tempering the overall impression of colour however there is also some slight reduction to the integrity of the blues. There has been some losses along the trunk of the forefront tree on the right-hand side (Images can be supplied). Most of which have either been touched in with white unless the underdrawing is showing beneath. Some of the white in general in this sera and to a lesser degree elsewhere has lost some of its body and therefore been slightly flat. This could be the result of an old clean. The odd small-sized bit of debris trapped under glass. No evidence of cockling. Not examined out of the frame. For more information please contact the department.
Lot 588
dating: circa 1800 provenance: Northern Central Italy, Flat plate with oblique borders. Recessed tang, depicting a devil playing a horn, an elegant portraying and old-fashioned warrior, holding a short sword on one hand and stopping a dragon with the other, the dragon becomes a decoration with racemes towards the right side of the plate. The hammer shaped as a swan's neck, the screw covering with an engraved rosette and a fine dragon. Outlined and faceted pan. Interesting batterie with pan cover integrated in the batterie itself, yet articulated separately, provided with a hinge and a spring on the inner side of the plate. This way, the batterie can be raised keeping the pan lowered or the two elements can be moved together. A beautiful, relieved mask at the back of the batterie hides a fastener to attach or detach the pan. The inner part of the plate is very beautiful, the snap and the mechanisms finely engraved as eagle's heads. Featuring the signature 'MV' in italics and (probably) dated 'J800'. A lock with an interesting and very scarce mechanisms, as well decorations of high quality, surely made by a Master. length plate 15 cm.
Lot 19
Roy Lichtenstein (1923-1997)WHAAM!, 1967 signed in pencil recto and numbered 21 verso on the right paneloffset lithograph in colours on two sheets of wove paper 63.4 x 74.4cm (25 x 29 1/4in)(each panel)published by the Tate Gallery, London, 1988Footnotes:ProvenanceOld Master, Modern and Cotemporary prints, Christie's London, lot 574.Acquired from the above sale by the present owner.LiteratureMary Lee Corlett, The Prints of Roy Lichtenstein, Hudson Hills Press, New York, 1994, no. C.App.7, p325The Tate Gallery published several editions of this lithograph between 1967 and 1988, reproducing the original painting in their collection and this is from the edition of 3000 published in 1988 (copy 3M488). This impression is one of 25 produced to raise funds for the American Indian Program and is inscribed signed in support of the Artists for American Indian Programs, Princess Pale Moon, American Indian Heritage Foundation in pencil on the reverse of the right panel.WHAAM! is the quintessential work of Pop Art, an arresting and instantly recognizable image by one of the major exponents of the genre, taking inspiration from popular and commercial culture and challenging the artistic conventions of the 1960s by elevating the humble disposable comic strip to the status of a serious work of art.Lichtenstein appreciated comic strips for 'their strength, aggressiveness and energy'. For WHAAM!, he adapted an illustration in the 1962 comic book All-American Men of War, which showed an American fighter jet destroying an enemy plane. Lichtenstein's interpretation is simplified with bold primary colours outlined in black and economical use of narrative, with the onomatopoeic lettering WHAAM! placed for maximum impact. The artist also employed his trademark Ben-day dots which are carefully spaced and overlapped to simulate colour variations and create form, emulating the process by which comic books are printed. The original composition was conceived as one panel. However, Lichtenstein decided that the work would have more impact as a diptych, separating the action from its explosive consequence, whilst maintaining a visual connection via the smoke trail.Lichtenstein's military service during World War II and the looming spectre of the Vietnam war influenced his choice of subject, which could be regarded as a comment on the folly of war. He later remarked 'At that time I was interested in anything I could use as a subject that was emotionally strong – usually love, war, or something that was highly-charged and emotional subject matter'. The translation of a mass-produced commercial comic book image into the main subject for an artwork was considered a bold move, but for Lichtenstein the cartoon style was the perfect vehicle to challenge traditional opinions on what constitutes art and to confound the expectations of the viewer. Although the comic strip was perhaps a lowly-regarded genre, it had a place in popular culture, expressing and influencing the American dream, and WHAAM! sits firmly within this tradition.For further information on this lot please visit Bonhams.com
Lot 45
IGNACIO ZULOAGA Y ZABALETA (Eibar, Guipuzcoa, 1870 - Madrid, 1945)."Female portrait.Charcoal on paper.Signed and dedicated to Teresina Boronat, dancer from Barcelona, in the lower left corner.Measurements: 50 x 44 cm; 83 x 77 cm (frame).Teresina Boronat was a successful Spanish dancer who settled in Paris. In 1927, she set up her studio in the district of Montmartre, a very busy environment for the Spanish artistic avant-garde exiled in Paris during the dictatorship of Primo de Rivera. Names like Ignacio Zuloaga, who staged some of the dances of his company, Pablo Gargallo or Pere Pruna resonated in an environment full of changes and artistic novelties.Son of the notable damascene artist Plácido Zuloaga, and nephew of Daniel Zuloaga, one of the most outstanding Spanish ceramists of his time, Ignacio Zuloaga worked as a child in his father's workshop, where he had his first contact with drawing and engraving. He later began studying engineering, but abandoned his studies to devote himself to painting. He acquired his artistic training at the Prado Museum, copying Ribera, Goya, Velázquez and El Greco, of whom he would be one of the first propagators. In 1887 he presented a painting at the National Exhibition in Madrid, entitled "A priest praying in an old room". After a first trip to Rome in 1889, where he imbibed the Renaissance masters, Zuloaga went to Paris, where he met French artists such as M. Dethomas and Rodin, with whom he became great friends. He also met Miguel Utrillo and Santiago Rusiñol, and with the latter he traveled again to Italy. In Paris he came to practice pointillism and impressionism, and participated in some group exhibitions at the gallery Le Bar de Boutteville, frequented by the symbolists. However, the search for his own roots took him to Andalusia, where he spent some time between 1894 and 1897. In the latter year, in Segovia, he painted "My uncle and my cousins", a painting that he presented at the Paris Salon and which was acquired by the French State. In 1898 he married and settled in Madrid, although he made frequent trips to the French capital. The following year he presented his "Family Portrait" at the Paris Salon, which was also acquired by the French Government. From 1903 onwards he took part in international exhibitions and his fame grew. Between 1906 and 1913 he worked in Segovia, attracted by the austerity of the Castilian landscape and the quiet and humble dignity of its inhabitants, influenced by the ideology of the Generation of '98. In 1908 he was invited to present an exhibition in New York. At the outbreak of World War I he returned to the Basque Country and lived in a 12th century monastery in Zumaya (Guipúzcoa), later converted into a museum, where he installed his rich collection of works of art, including paintings by El Greco and Goya. Such was his admiration for the Aragonese master that he even bought his birthplace in Fuendetodos. Likewise, in 1926 he acquired the castle of Pedraza (Segovia), also converted into a museum. Ignacio Zuloaga is today considered, together with Gutiérrez Solana, the continuator of the tradition of Spanish painting throughout the 20th century. He is currently represented in prominent museums such as the Prado (works attached to the Museo Nacional Centro de Arte Reina Sofía), as well as in others around the world such as the Orsay, the Rodin and the National de Versailles in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the Thyssen-Bornemisza in Madrid, among others.
![[CHILDRENS'S BOOKS]. FONTAINE, Jean de La (1621-1695). Contes et nouvelles en vers. Amsterdam: N.p., 1764. 2 volumes, 8vo (1](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/8cdf90e5-d69f-40bd-afec-adc2015067d7/468x382.jpg)
Lot 332
[CHILDRENS'S BOOKS]. FONTAINE, Jean de La (1621-1695). Contes et nouvelles en vers. Amsterdam: N.p., 1764. 2 volumes, 8vo (184 x 113). Engraved portrait frontispiece, engraved printer 's devices on title-pages, 71 (of 80?) engraved plates after Eisen, 4 large engraved vignettes most after Choffard, 60 culs-de-lampe, a few engraved head-and-tail pieces. (Dampstained in lower margin, some soiling or browning, a few tiny holes touching text.) Later calf gilt (rebacked preserving old red morocco backstrip gilt, rubbed, hinges starting). Provenance: unidentified stamps and annotations from a previous owner. Presumed pirated edition after 'Fermiers-generaux' edition of 1762. Printed only 2 years after the decadent limited edition, this edition is profusely illustrated by engravings largely after Charles Eisen. Eisen was best known for his book illustrations and vignettes, and "the most remarkable of these are the designs for the "˜Fermiers-generaux ' edition of the "˜Contes ' of La Fontaine '" though he also served as the painter and draftsman to the Kind and the drawing-master to Madame de Pompadour (Bryan, Dictionary of Painters and Engravers, p. 459). Stories and Tales in Verse was originally published by Fontaine from 1668 to 1694. He transformed fables from a variety of sources into French free verse. While the present edition was produced for an adult audience, Fontaine 's fables were quickly adapted to the educational curricula for children. See Cohen-de-Ricci 571. Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
Lot 377
DICKENS, Charles (1812-1870). Master Humphrey's Clock. London: Chapman and Hall, 1840-1841. 3 volumes, 8vo (246 x 162 mm). Engraved frontispieces and numerous in-text illustrations by George Cattermole and Hablot K. Browne ("Phiz"). 20th-century half green polished calf gilt, marbled boards, red morocco lettering-pieces gilt, top edges gilt, others uncut, stamp-signed by Sangorski and Sutcliffe (spines sunned, a few tiny scuffs); board slipcase. Provenance: Unidentified signature on title-page vol.I (faded and partially shaved). FIRST EDITION IN BOOK FORM, first appearing as a weekly serial from 4 April 1840 to 4 December 1841, including short stories and two novels, The Old Curiosity Shop and Barnaby Rudge. Gimbel A51; Smith I:6.For condition inquiries please contact lesliewinter@hindmanauctions.com
Lot 376
DICKENS, Charles (1812-1870). Master Humphrey's Clock. London: Chapman and Hall, 1840-1841.3 volumes, 8vo (250 x 165 mm). Engraved frontispieces and numerous in-text illustrations by George Cattermole and Hablot K. Browne ['Phiz']. Later polished red calf gilt, brown and black morocco lettering-pieces gilt stamp-signed by Charles E. Lauriat (upper cover to vol.III nearly detached, a few joints starting, some rubbing or wear). FIRST EDITION IN BOOK FORM, first appearing as a weekly serial from 4 April 1840 to 4 December 1841, including short stories and two novels, The Old Curiosity Shop and Barnaby Rudge. Gimbel A51; Smith I:6.Property from the Estate of Charles and Lorraine Janda, Hinsdale, IllinoisFor condition inquiries please contact lesliewinter@hindmanauctions.com
Lot 456
1969 MG B GTMake: MG Model: B GTYear: 1969Mileage: 53872VIN: GHD4156821GConfiguration: Right Hand DriveRegistration: UTX606GTransmission: manualThis MGB GT was registered in March 1969, and is finished in white with chrome wire wheels. The interior is black with red piping. A wood-rimmed Mota-lita steering wheel has been installed. The V5C is present, and the history file is an extensive one. The selection of MoTs dates back to 1990 (albeit not every year is covered) and suggests the recorded mileage of 53,877 is genuine. The odometer reading during the 1990 test was 44,455, so less than 10,000 miles have been covered over the last 31 years. There are tax discs back to 1987, old V5Cs, and bills and invoices back to the 1990s. Major component changes include a new petrol tank (1993), steering rack (2003), brake master cylinder and clutch master and slave cylinders (2004), bumpers (2005), exhaust system and wire wheels (2006), Kenlowe fan (2007), gearbox and unleaded cylinder head (2010), radiator (2012), alternator (2015) and lightweight starter motor (2019). The car has also been Dynax S50-waxed. Nine former owners are indicated on the V5C, and the current MoT is valid until September 2022. The car's overall condition is very presentable, although there are some areas of the body where there are marks or cracks in the paint, or spots that have been touched up. PLEASE SEE BELOW FOR VIDEO PRODUCED 30TH SEPTEMBER BY ACA OF THIS CAR.
Lot 351
SIR KYFFIN WILLIAMS RA oil on canvas - head and shoulders portrait, entitled verso 'Portrait of Mrs Money', 1950s, signed verso, 49 x 39cms Provenance: private collection Powys, various inscriptions verso including 'North Wales Art Trust' and 'No.12' Auctioneer's Note: Mrs Money lived at a residential home for the elderly in St John's Wood, London, opposite the artist's home during this period. Sir Kyffin was the art master at nearby Highgate School, he described Mrs Money as a 'gentle soul who spoke well of everyone as did most of the old ladies I painted. One venerable old pensioner was delighted when she saw her portrait and asked me to do a dozen for her friends. Mrs Money sat patiently in a lovely cherry-coloured waistcoat and brown shawl of a surcoat' (Portraits Sir Kyffin Williams, Gomer Press 1996). Comments: there is the beginning of a portrait of a young boy verso, the painting is in the original Bourlet frame with old repair to back of canvas which looks to be by the artist, frame structurally sound but aged, canvas has bulges, original condition Please note that this lot may be subject to Droit de Suite at 4% of the hammer price (Please see terms / enquire)
Lot 332
VANITY FAIR - FOXHUNTERS'Cattistock' March 30th 1899, 40x27cm, 'Serlby' Jan 5th 1899, 40x26.5cm, 'Workshop Manor' (Sir John Robinson) Supplement, 40x26.5cm, 'An Old Master' Nov 3rd 1898, 40x26.5cm, 'A Hard Rider' May 26th 1904, 40x26.5cm,'Mr Hargraves' June 11th 1887, 39x27.5cm, 'A Very Old Master' Oct 29th 1896, 40x27cm, 'alfred' (Mr Alfred Curnick) Supplement, 40x26.5cm (8)
Lot 12
Italian School Old Master portrait of a lady in oil on canvas. The subject glances out at the viewer in three-quarter view, fondling her luscious fur stole with her left hand. Her delicate gold jewelry stands out against the dark background and heavily shadowed figure. The painting is housed in an elaborately carved gilt frame. Framed; Height: 38 in x width: 33 in. Unframed; Height: 26 in x width: 21 in.
Lot 6
Italian school Old Master Madonna and Child tempera on panel. Mary cradles the infant Jesus in her lap, who dangles an orange from his hand. Both figures are richly dressed and depicted with delicately rendered halos, Mary with a crown set with red and green jewels over a pearl headband. A mountainous landscape stretches out in the background. The lower section of the panel shows wear and damage. Likely 20th c.Framed; Height: 43 in x width: 30 1/2 in. Unframed; Height: 28 1/2 in x width: 16 in.
Lot 7
Follower of Bernard van Orley (Flemish, ca. 1488-1541). Madonna and Child Old Master painting on panel. Mary, richly dressed in flowing garments, cradles the infant Jesus, who plays with her headwrap. Behind them, an elaborate landscape of bridges over a river stretches behind them. The painting is housed in a gilded tabernacle frame. Framed; Height: 50 in x width: 36 1/4 in. Unframed; Height: 31 3/4 in x width: 23 3/4 in.
Lot 19
Paul Gregoire (French, 1755-d. unknown). Old Master graphite on paper portrait depicting Charles Michel de l'Epee, a French priest who is credited with the standardization of French sign language. Signed and dated 1785 along the lower left. An inscription along the lower center names the subject of the work. Framed; Height: 20 1/4 in x width: 18 in. Sight; Height: 10 1/4 in x width: 8 1/2 in.
Lot 8
After Frans Francken the Younger (Flemish, 1581-1642). Oil on copper sheet Old Master painting titled "Nimrod and the Tower of Babel," depicting the biblical King Nimrod overseeing the construction of the Tower of Babel. The copper sheet with a wood backing panel marked in chalk: ìE9336.î Provenance: Ronald Cook Gallery, London, 1970 Sight; Height: 23 3/8 in x width: 19 3/8 in. Framed; Height: 29 1/4 in x width: 25 1/2 in.
Lot 9
Attributed to Gerrit Willemsz Horst (Dutch, 1612-1652). Oil on canvas Old Master painting titled "Humiliation of King Ahab," depicting the death of the Old Testament king Ahab, who, with his wife Jezebel, had instituted worship of the Canaanite god Baal over Israel. Following his death in battle, Ahab was humiliated for his sins by dogs and pigs licking up his blood. This active scene depicts the dying Ahab being moved by two attendants, swathed in white drapery, surrounded by praying figures and concerned onlookers, while a luminous figure, likely the prophet Elijah, stands above the scene with arms outstretched. Dogs mill around the lower part of the composition, disturbing the body. A Christie's label from sale 2583 is adhered along the verso. Framed; Height: 62 in x width: 82 in. Unframed; Height: 52 1/2 in x width: 72 1/2 in.
Lot 17
18th century Venetian old master pen and ink drawing on laid paper. Depicting Venus on a cloud, surrounded by a group of frolicking putti. Provenance: Walter Schatzki, New York, January 8, 1971; Private Minnesota Collection. Sight; Height: 9 1/4 in x width: 6 3/4 in. Framed; Height: 15 3/4 in x width: 12 3/4 in.
Lot 5
Flemish School Old Master painting depicting the Madonna and Child in oil on canvas. The luminous Mary cradles the infant Jesus with her left arm, swathed in heavy drapery, and delicately grasps a spray of flowers in her right hand. Jesus reaches up for his mother's face, his arms extended. The artwork is housed in an intricate gilded frame. Framed; Height: 39 1/4 in x width: 33 in. Unframed; Height: 32 in x width: 25 1/2 in.
Lot 13
VIEW OF THE OLD BRIDGE, SLOUGH ROAD pencil and watercolour inscribed on verso |View of the old bridge on the slough road leading into Eton. It was destroyed by the great floods in 1809 and when I went to Eton ... in April of that year we were obliged to leave the road and go round by the playing field i copied this from a drawing by my old Master Green either in 1809 or 1810| 24 x 18cm. / 9½ x 7in. IEW OF THE OLD BRIDGE, SLOUGH ROAD pencil and watercolour inscribed on verso |View of the old bridge on the slough road leading into Eton. It was destroyed by the great floods in 1809 and when I went to Eton ... in April of that year we were obliged to leave the road and go round by the playing field i copied this from a drawing by my old Master Green either in 1809 or 1810| 24 x 18cm. / 9½ x 7in.
Lot 21
Andalusian School; XVII century."Saint Bartholomew".Oil on canvas.It presents humidity stains and small chromatic faults. Needs restoration.Measurements: 115 x 95 cm; 132 x 113 cm (frame).Saint Bartholomew was one of the apostles of Jesus, and is mentioned in the Gospels always in company of Philip. According to John, in whose Gospel he appears under the name of Nathanael, he was one of the disciples to whom Jesus appeared at the Sea of Tiberias after his resurrection. According to the Acts of the Apostles, he was also a witness to Jesus' ascension. The tradition collected by Eusebius of Caesarea narrates that Bartholomew went to preach the Gospel in India, where he left a copy of Matthew's Gospel in Aramaic. The Armenian tradition also attributes to him the preaching of Christianity in the Caucasian country, together with St. Jude Thaddeus, so both are considered patron saints of the Armenian Apostolic Church. Their martyrdom and death are attributed to Astiages, king of Armenia and brother of King Polymius, whom the saint had converted to Christianity. As the priests of the pagan temples, who were running out of followers, protested to Astiages against the evangelizing work of Bartholomew, the ruler sent for him and ordered him to worship their idols, as he had done with his brother. Faced with the saint's refusal, the king ordered him to be flayed alive in his presence until he renounced God or died. The image of Saint Bartholomew has undergone few modifications throughout the history of art, being common the representation of the saint at the moment of martyrdom. Thus, he is usually represented being flayed, either on a colt or tied to a tree. He has also been depicted working miracles: resurrecting the children of King Polymius and freeing his daughter possessed by the devil. On rare occasions he appears being scourged. Sometimes he is represented with a large knife alluding to his martyrdom, according to which he was flayed alive, which is why he is the patron saint of tanners. Also in relation to his martyrdom, he sometimes appears skinned, showing his skin held in his arm as if it were a piece of clothing.Aesthetically this work is close to the models of Sebastián Martínez Domedel Jaén, around 1615 - Madrid, 1667), follower of the school of Murillo is located by Palomino in Jaén, training with Antonio García Reinoso. He would arrive in Madrid after Velázquez died (so it would not have been possible for him to learn with him), city in which he would die in 1667, without means. Experts suppose that he may have studied in Cordoba, in the workshop of Juan Luis Zambrano, or with Antonio del Castillo (which would explain his dedication to landscapes), although it is possible that he was trained in Jaen, as already mentioned. A trip to Madrid in 1661 is documented, to visit the Royal Collections of El Escorial, commissioned by the cathedral chapter of Jaén, with the aim of copying some painting for the Altarpiece of the Holy Face of that building. Some documented works of the master are preserved, which show an eclectic and somewhat uneven artist, who frequently used prints for his inspiration and copied, with some skill, old masters, also imitating some of his contemporaries. It is possible to find paintings by him in several private collections, mainly Spanish, as well as in the Church of San Ginés in Madrid, in the convent of Corpus Christi in Córdoba, in the Museum of Jaén, in the Prado Museum in Madrid, in the Cathedral of Jaén, etc.
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