1975 Formosa 120 GR Long Wheelbase Transmission: manualMileage:650The Formosa 120 GR Long Wheelbase was inspired by the racing cars of the 1950's such as the Jaguar C Types and Aston Martins. Whilst not a replica, the Formosa captures the style and qualities from the era. The car was created with the help and guidance of an ex-pattern maker and laminator who had just retired from Sunseeker Super Yachts and also had a background in creating fibreglass race cars and Hot Rods. A man by the name of Glan Richards (GR). Over a period of approximately ten months he shaped and created a bodyshell that had all the features he liked from various cars of that bygone era but the design didn't lean heavily or replicate any particular marque or model, thereby avoiding all the copyright and patent issues that replicators can have problems with.’ A standalone car that was immediately recognisable as a 1950's race car. In the same way that builders of old chose to use existing donor chassis and running gear from the classic marketplace, he chose to do the same. By retaining the majority of the donor, minus bodyshell, he could retain the car’s classic status, registration, chassis number, etc... for him this was vital. Still a true classic car just wearing a different coat! Driving experience is that of a 1950's racing car, a raw, wind in the hair, firm ride accompanied by a glorious exhaust note from its V6. This pretty sports car was recently assembled with over 1000 hours spent in doing so, in 2021 from the ground up using a refurbished and powder coated 1975 Scimitar GTE chassis. The mechanical components were inspected prior to installation onto the newly powder coated chassis. The brakes were refurbished and new brake lines were fitted together with new brake servo and master cylinder. Finished in Connaught Racing Green, powered by the great and refreshed 3.0 Ford Essex V6 with reconditioned heads, new water pump, new alternator, new electronic ignition system, new coil and plugs, mated to a Mazda RX8 five speed gearbox. It has black leather seats and a new aero screen. It has refurbished 15” knock on wire wheels, new lights, leather bonnet and boot straps, stainless steel petrol filler cap, new wood steering wheel and it has an aluminium panelled boot large enough for a couple of small suitcases or soft bags. Its twin double exhausts provide the backdrop sound when being driven swiftly and, with its evocative looks and lively performance, this 1950s style sports car is just great fun! The car comes with a UK V5C and is correctly registered with the DVLA, also benefitting from full ‘Historic’ status, tax and MoT exempt. It's worth noting that the car will accommodate larger drivers – the current owner being 6' 2, 17 stone and fitting with ease! Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
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Attributed to Jacques d'Arthois (Flemish, 1613-1686). Old master oil on canvas painting of a riverbank with lush trees and large puffy clouds on a blue sky. Figures in the foreground drive cattle along a path towards the river. Jacques d'Arthois was a painter and tapestry designer whose works often focused on the woods around his native Brussels. Label that reads "Landscape attributed to Jacques D'Artois (1613-1684) Flemish School" affixed to verso.Unframed; height: 24 in x width: 32 3/4 in. Framed; height: 30 1/2 in x width: 39 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 24 in x width: 32 3/4 in. Framed; height: 30 1/2 in x width: 39 in.
A Royal Doulton Figure 'The Hornpipe' HN 2161 together with another 'Town Cryer' HN 2119 another 'Lord Olivier as Richard III' HN 2881 another 'Silks and Ribbons' HN 2017 another 'The Auctioneer' HN 2988 another 'The Old Balloon Seller' HN 1315 another 'The Master' HN 2325 and 'The Balloon Man' HN 1954
JAMES IIAutograph letter signed as Duke of York ('Votre tres affectionne cousin Jacques'), to 'Mon Cousin' [probably Louis XIV], in French, acknowledging the many proofs of his friendship whilst he was in France and hoping that '...dans cette grande conjonture de la paix...' he will be assured of his correspondent's continued marks of friendship, assuring him of his gratitude and sending his trusted envoy John, Lord Berkeley of Stratton ('Cap: de mes gardes') to appraise him of his situation, ending him by assuring him of his continued friendship, docketed 'Le Duc d'yorck' in another hand upper left, 2 pages with integral blank, light dust-staining, remains of guard, 4to (225 x 174mm.), Brussels, 23 September 1659Footnotes:'I WILL NEVER FORGET THE KINDNESS YOU HAVE SHOWN ME': The future James II writes, as Duke of York, to his French cousin, a year after the death of Oliver Cromwell.Anticipating the success of Sir George Booth's uprising to restore Charles II to the throne a month earlier, James had travelled to Boulogne hoping to be recalled to England but, after the rebellion was crushed, he returned to Brussels where this letter was written. James had previously fought for France under Turenne but, after the French signed a treaty with Cromwell, he was forced to leave and found himself fighting for the Spanish in Flanders against his old allies. By 1659 France's victory over the Spanish brought peace and the possibility, expressed here in the most sincere of terms, of renewed ties of friendship with France at a time when the Restoration of the monarchy in England seemed far from certain.Sir John Berkeley, an ardent Royalist, was appointed Master of the Duke of York's household in 1652, whereupon he assumed full powers and styled himself 'intendant'. Before the civil war he had undertaken an important diplomatic mission to Sweden for Charles I and after assisting the King in his flight to the Isle of Wight, he himself fled to France where he became a close confidant of the Duke of York. He served by James's side under Turenne and in Flanders but despite his position of trust he was an unpopular figure. His arrogance and influence over the Duke '...exacerbated the factionalism at the exiled court...' and caused '...suspicion that his old contacts with Cromwell and the army grandees had not been entirely relinquished...' (D.W. Hayton, ODNB).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
China 1842 (George Baker, H.M.S. Calliope.) original suspension, nearly extremely fine £600-£700 --- George Baker was born in London in 1808. He had a wide and diverse experience on many ships during his 26-year career, which began in May 1829 and ended as a Quarter Master in September 1856. He joined H.M.S. Warspite on 8 May 1829, and for much of his time at sea, he was in South American waters. While serving in this ship, Captain Talbot was credited with rescuing the Brazilian Royal family from insurrection on 6 April 1831. On 3 May 1832, a young 23 year old Charles Darwin went on board and included the following entry in the Beagle’s Diary, at Rio de Janeiro:

“Went on board the Warspite, a 74 line of battle ship, to see her inspected by the Admiral. It was one of the grandest sights I ever witnessed. When the Admiral arrived the yards were manned by about 400 seamen; from the regularity of their movements & from their white dresses, the men really looked more like a flock of wild-fowl than anything else...”

Baker served in Warspite until March 1833. His next vessel was Vestal, a 6th-rate ship with 26 guns, which was launched in April 1833. Baker joined the ship a month later and served more than 4 years until September 1837. During this time she sailed primarily in North American waters and was actively involved in apprehending slave traders. There were several interesting events while he served on board:

Jamaica 28 Apr 1835 has sailed for Bermuda for the health of her crew, suffering severely from yellow fever: the surgeon is reported to have died along with Messrs. Doswell, Wilson and Macfarlen, mates and midshipmen; together with Smith, a quarter-master; Honey and Smith, both boys; Bridges, Cooper, Joy, Butt, Burns, Winch, Peters, and Cousins, all seamen; and Carpenter, Morrison, Jacques, Sleverley, Gray, and Bratts, Royal Marines. 80 supernumeraries were put on board to take her to sea.

7 Oct 1835 seized the Spanish slave-schooner Amalia; accounts of the proceeds deposited in the Registry of the High Court of Admiralty 4 Jan 1836.

20 Sep 1836 detained in lat. 11° 47' 20" N. long. 61° 13' 30" W., near Grenada, en route from Gallinas the Portuguese slave schooner Negrinha, Miguel Soares de Lisboa, master, with 336 slaves on board which was sent for adjudication to the British and Portuguese Court of Mixed Commission, Sierra Leone, and on 19 Dec 1836 sentenced to be condemned.

Grenada 24 Sep 1836 arrived with the Portuguese slave ship Negrinha, late Norma, under Spanish colours, 139 tons, her prize, with 367 slaves on board. The Vestal has since sailed in search of her consort.

28 Sep 1836 captured the Spanish slave brigantine Empresa, with 418 slaves on board.

The Vestal is also reported to have taken the Imprega, sailing under Spanish colours, which she sent to Havana, and with the large number of men away in the prizes had to recruit local seamen from Granada.

4 May 1837 whilst on passage between Port-au-Prince to Santiago de Cuba sent the ship's boats to examine a suspicious schooner sighted at anchor at the entrance to Cumberland Harbour, also well known as Guantanamo Harbour. The boat attempted to escape by sailing further up the harbour, but the ship's boats soon boarded her and discovered that she was fitted out to carry slaves. A Spanish Lieutenant by the name of Cruz arrived on the scene and stated that the vessel, the Matilda, was his prize and that he would be taking her to the appropriate authority in the next day or so. However, by 25 May it was discovered that she had not been handed over to the Mixed Court, the only body competent to decide what should be done with the vessel, and a report was made by the Commanding Officer to the British Commissioners and members of the Mixed Court to pursue the matter with the Foreign Office. However, subsequent investigations would appear to suggest that nothing further could be done due to the stance taken by the local Spanish authorities.

19 May 1837 arrived at Havana. Is reported to have been in harbour when the infamous slave ship Socorro, renamed the Donna Maria Segunda, recently sailed for the coast of West Africa, but the Treaty between Great Britain and Portugal did not permit pursuit under these circumstances, apart from the fact that the Spanish members of the Mixed Court at Havana wouldn't have been permitted, by the Captain-General, to condemn the vessel. Following this, he joined H.M.S. Calliope in December 1837, and served with her until March 1843, taking part in numerous actions during the Opium War. 
Baker subsequently served in H.M. Ships Dee (April 1843 to August 1845); Terrible (February 1846 to September 1849); Indefatigable (September 1849 to November 1852); Duke of Wellington (February 1853 to April 1853); and, his final ship, Simoom (June 1853 to September 1856). She served as a troop ship at the Crimea 1854-55, and Baker earned a Crimea medal while serving in the capacity of Quarter Master.
A RARE AND COLLECTIBLE GOLD 'PETITE TÊTE CARÉE' PENDANT, BY ANDRÉ DERAIN (1880-1954)A rare 23K gold pendant, conceived circa 1965, stamped with the artist's signature, incised 'Exemplaire d'auteur 1/2', with the Francois and Pierre Hugo reference numbered '1702' and '2915', stamped with Francois Hugo's hallmark, published by Ateliers Hugo in 2012, within its original wooden fitted case, length 7.9cm, width 5.9cmFor a comparable piece by Andre Derain, see see Hugo, P. and Siaud, C. (2001) Bijoux d'artistes. Artist’s Jewels, Hommage à Francois Hugo, p. 89Long-time friend of François Hugo, Parisian artist and sculptor André Derain (1880-1954) was one of the many creatives who set out to create jewellery pieces at the workshop in the South of France. Alongside Henri Matisse, Derain was founder of the Fauvist movement at the beginning of the 20th century. Derain was initially friends with Francois’ older brother Jean, but later developed an even closer relationship with the younger of the Hugo brothers. Hugo and Derain influenced each other in both their personal and artistic lives. Derain was best man at Hugo’s wedding to his wife Monique and remained close to the couple throughout his life. Having devoted himself to painting in the 1920s, Derain turned increasingly to sculpture during the 1930s. Following World War II, he modelled some medallions in terracotta which were later cast in bronze. Although Derain continued to pursue his passion for sculptural works, his interest in jewellery design and casting emerged from his sculptural practices and was undoubtably propelled to new heights by his friendship with Francois Hugo.In the early days of their friendship, Derain had tried his hand at ceramics with the guide of Hugo, but the collaboration didn’t amount to much and the pieces do not survive. In the late 1940s, Derain once more turned to Hugo to draw upon his knowledge and skill in the creation of 10 sculptural jewels for his wife Alice Prense. Derain’s initial designs were crafted from the lead he had reused from empty paint-tubes from his studio. Six of these jewels were intended to be made in editions of 23 carat gold by Hugo, but Derain tragically died in a road accident in 1954 before the project could come to fruition. Hugo paid homage to the legacy of his friend and legendary artist by eventually making editions in 1966 and 1967.Jewellery made by artists is a rarity. This is not simply down to the fact that there have been only a select number of painters and sculptors who have managed to master the skill involved with making jewellery, but more so because the fruits of their work remain largely buried in private collections. Artist’s jewellery may be given as a gift to a lover, passed down as a family heirloom, or simply kept by the artist themselves. Jewellery of this kind is therefore imbued with a deeply personal nature which is integral to the creative process. The term ‘art jewellery’ itself signifies that the work is handmade and unique. Never mass produced, such jewellery is rather the result of a collaboration between the artist and a jeweller who is trained in the field, or the sole efforts of the artist to step outside his or her own métier to embrace an entirely different world. As with any creative endeavour, the jewellery becomes an extension of the artist’s wider body of work and offers an insight into a realm of design aside from painting or sculpture. The pieces in this sale offer just that and provide us with a glimpse into the intricate workings and personal motivations of three prolific early 20th century artists – Jean Cocteau, André Derain and Pablo Picasso. All three worked under the helm of goldsmith and master-craftsman François Hugo, who provided them with the tools to enable their artistic vision to flourish in the world of jewellery-making.The great-grandson of the eminent writer Victor Hugo and son of painter Georges Hugo, François Hugo’s well-established lineage boasts a host of widely celebrated French cultural figures. François was born in Rovezzano, Italy, in 1899, and trained as an engineer in his early years before entering the creative field by trying his hand at sculpture and painting. He then opened his own workshop in Paris in 1934, where he worked as a silver and goldsmith from 1936 onwards. Throughout the Second World War and following into the late 40s and 50s, François Hugo designed and created buttons from non-precious metals and enamel for fashion houses including Dior, Chanel, Givenchy and Lanvin. His first attempt at creating jewellery had in fact come before the War, in the form of a brief and experimental collaboration with his close friend Andre Derain, but it wasn’t until later that he fully dedicated himself to perfecting the craft of silver and goldsmithing.Francois Hugo was responsible for some of the most important collaborations in precious metals of the twentieth century. Since the 1950s, Ateliers Hugo have famously collaborated with some of the world’s greatest artists and sparked a movement of ‘Bijoux d’Artistes’. Initially, all the artists who Hugo worked with were long-time friends, and included the likes of Max Ernst, Jean Arp, Jean Cocteau, Andre Derain, Dorothea Tanning and Pablo Picasso amongst others. Hugo ingeniously proposed to them to make reduced versions of their works which would be crafted in his workshop and could serve as wearable jewellery. Over sixty-five years later, François’ 32-year-old grandson Nicolas now runs the family business, following in his father and grandfather’s footsteps as the third generation of Ateliers Hugo to create intricate treasures and develop new collections with contemporary artists at their goldsmith workshop in the South of France. The 65th anniversary of Ateliers Hugo was celebrated in 2020 and marked by new collaborations, including one with American artist Josh Sperling, released in April of this year.Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 60.80gplease note that this pendant was authenticated verbally by the workshop HUGO and a certificate of authenticity would be made by the workshop if purchased.
A Queen Anne Scottish silver dog nose table or soup spoon,by Alexander Kincaid, Edinburgh 1711, Assay Master E Penson,with a plain rat-tail back, the stem engraved with contemporary initials 'IA' over 'EB',18.7cm long, 1.6oztCondition report: The hallmark: All punches are visible but have wear to each.Condition: Reasonable colour, however, there are fine surface scratches and wear to one tip of the bowl.The front of the stem has an old line/mark.
Bolognese School, early 17th centuryThe Angel of the Annunciation appearing to the Virgin Maryred chalkapproximately 26 x 20.5cm, irregularProvenance: John Malcolm;thence to his son-in-law, Alfred Gathorne-Hardy;to his son Geoffrey Gathorne-Hardy;thence to his nephew, Bob Gathorne-Hardy;and by descentThe Hon. Robert Gathorne-Hardy (1902-1973), known to all as ‘Bob’, was an English writer, botanist and horticulturalist. His uncle, Geoffrey Gathorne-Hardy, inherited a well-known art collection from his aunt’s family, through the great Victorian art collector John Malcolm, much of which is now in the National Collection.Robert Gathorne-Hardy kept some of the Old Master drawings from the Malcolm Collection, which were sold soon after his death at Sotheby’s as the Gathorne-Hardy Collection in 1973.Condition report: Secured to mount by two small hinges of tape on left side. A vertical and horizontal crease running through the centre of the paper. A further diagonal crease across top right corner, and some light creasing in the lower left corner. The paper is lightly cockled. Spots of brown foxing throughout. The sheet is irregular in the top left corner. Some small tears at top left edge. Some damage to the neck and chest of Mary, which appears to be surface abrasions and grey stain spots. A few tiny pin holes in the middle of the work. Some surface dirt throughout, including a finger print in the lower right corner.
After Gerrit Dou'The Old School Master' oil on canvas32 x 25cmCondition report: The painting is executed in oil on a canvas support which has been lined. The paint layer has a network of age cracks which are slightly raised with some wrinkling, possibly caused by shrinkage to the canvas. There are a few small, scattered losses across the surface. The painting has been partially cleaned with residues of old varnish evident below the upper varnish which has also yellowed with age. There are areas of overpaint in the darker passages of the background.
TWENTY THREE SCOTCH WHISKY MINIATURES Includes 12x Ballantine's Finest (43%) with two Ballantines toy lorrys, 2x Blair Athol 8 years old (40%), 2x Dufftown-Glenlivet 8 years old (40%), 2x Bell's Extra Special (40%), and a Poker/Bridge set with J&B Rare (43%), J&B Reserve (43%), Dunhill Old Master (43%), Singleton of Auchroisk 1978 (43%), and Knockando 1977 (43%). All 5cl miniatures. Twenty three miniatures.
Full title: French school, monogrammed D.C.: Master and apprentice in an oriental setting, oil on canvas, 19th C.Description: Work: 42 x 34 cm Frame: 70,7 x 61,3 cm The reverse with an old label: 'Decamps - Interieur oriental', referring to Alexandre Gabriel Decamps (1803-1860), who is particularly known for his oriental works. Painted on a 'Paris' canvas (see reverse).
A TABRIZ CARPETSigned by master weaver Javan Amir Khizapproximately 461 x 322cm Condition Report: Some wear to carpet overall. Patches of additional wear revealing underlying weft to central field. Various areas losses to pile of borders and in some places of central that appear to be from old moth damage (see images for extent). Fringing is trimmed short at both ends and are untidy with some undulation, wear and fraying. Binding to longest edges with some minor wear, fraying and loose threads. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Attributed to ChristopherÿSteele (1733 - 1768)ÿ "Portrait of William Forester Cochrane," O.O.C., half length oval portrait of a Gentleman in blue coat, floral decorated scarf, grey long wig, in contemporary gilt frame. (1) Note:ÿ Exhibition label on reverse "Somerset Society of Artists, Old Master Exhibition, Taunton, May 1946.
* Rogers (Charles). [A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, volume 1 (only of 2) printed by J. Nichols, and sold by John Boydell, Benjamin White, and Peter Molini, 1778], an album of classical engravings, lacking title and preliminaries and containing 41 plates in various tints by W. W. Ryland. S. Watts and J. Basire, including 1 chiaroscuro woodblock by Nicolas le Sueur, one plate detached, slight spotting, marbled endpapers, near-contemporary half calf gilt, rebacked but retaining the original spine, the upper board is a 20th-century replacement, folioQty: (1)NOTESSold as a collection of prints, not subject to return. The plates employ a wide variety of printing techniques and show some of the old master drawings from Rogers's own collection.
![Falciani (Carlo & Antonio Natali [Editors]). Bronzino Artist And Poet At The Court Of The Medici, 1st edition, Italy: Man](https://cdn.globalauctionplatform.com/eb01b961-dd44-4022-93a5-ad8900ff91e1/6b78c4eb-5c81-4d11-8e70-ad9100d05ed2/468x382.jpg)
Falciani (Carlo & Antonio Natali [Editors]). Bronzino Artist And Poet At The Court Of The Medici, 1st edition, Italy: Mandragora, 2010, numerous colour illustrations, minor marginal toning, original wrapper, covers lightly marked, 4to, together with; Pepper (D. Stephen), Guido Reni A Complete Catalogue Of His works With An Introductory Text, 1st edition, Oxford: Phaidon, 1984, numerous colour and black & white illustrations, minor marginal toning, original cloth in dust jacket, covers lightly rubbed, 4to, and Strong (Roy), National Portrait Gallery Tudor & Jacobean Portraits, 2 volumes, 1st edition, London: Her Majesty's Stationery Office, 1969, numerous colour and black & white illustrations, publishers original gilt decorated cloth in slipcase, top edge gilt, 4to, plus 39 other volumes of old master reference and related, mostly original cloth in dust jackets some original wrappers, G/VG, Large 4to/4toQty: (43)
ROBERT HUNTER (FL.1752-1803) Portrait of a Gentleman, Wearing a Brown Coat Oil on canvas, 74 x 61cm Signed and dated 1762 bottom right Robert Hunter, widely regarded as the principal Irish portrait painter of his time, was a native of Ulster, but little of his family and early years are known. The earliest reference to his artistic activity comes with an 1752 advertisement in Faulkner's Dublin Journal for engravings after his portrait of Tom Echlin. As he painted Sir Charles Burton, Lord Mayor of Dublin (1752-3), the following year, he was by then becoming established as an important portraitist in the city. His portrait of Burton was afterwards engraved in mezzotint by J. McArdell; and ten years later, in 1763, the Dublin Society awarded him a premium of ten guineas for a full-length portrait of Lord Taaffe, which was engraved in mezzotint the same year by John Dixon. He contributed six works, including a Susanna and the Elders, to the exhibition of the Society of Artists in George's Lane in 1765, and was then living in Bolton Street. He regularly contributed to the exhibitions of the Dublin Artists down to 1777, and again, for the last time, in 1800. Strickland noted that Hunter was for many years at the head of his profession as a portrait painter and had a large and profitable practice but after the arrival of Robert Home in 1780 his vogue declined. He was a renowned collector of Old Master paintings and held an exhibition and sale of his pictures in 1792. Sleator's Gazetteer for 12 March 1763, contains verses on the merits of Hunter as a portrait painter. After lauding his great genius and matchless merits the writer concludes with the lines: “Could Hogarth, Reynolds, view the bold design, They'd gladly weave their richest wreaths with thine.” Strickland mentions that ‘an excellent example is the Portrait of a Gentleman which was formerly at Bellevue, Co. Wicklow, and was sold in 1906, a work which might almost pass as a Reynolds or a Cotes. W. B. S. Taylor (Fine Arts in Great Britain and Ireland) says he took excellent likenesses and his practice was extensive; he was truly a gentleman in feeling, and had he practised his art at a time or in a country where the arts were better understood, he would have been very eminent in his profession.
Collection of modern Chinese presentations gifts, including four contemporary Chinese hand painted scrolls in a fitted case; a hand painted miniature screen, two Xuzhou Han dynasty style stone relief carvings, all in presentation boxes; Two hand painted scrolls in presentation boxes, Silk Brocade painting of The Orchid Pavillion, another traditional silk painting; a boxed set of three albums of Chinese stamps, comprising 'Old Western Style Houses in Shanghai', 'Shanghai Cheongsam' and 'Shanghai Old Traffic'; a book by Venerbale Master Chin Kung, possibly on Buddhism, Chinese script, silk bound in folder; Liang Sicheng, 'Illustrated Notes on Western Architecture', in sealed plastic wrapping.
A Golfer's Gallery Old Masters, by Bernard Darwin,printed by Country Life Ltd, hardcover, First edition 1927, half title, 20-page introduction, 18 colour reproduction of old master paintings mounted on thick card, 11 Dutch, 7 British, leaf with suggestions on framing at rear, green marbled paper cover boards tied with original cord, some wear to corners, edges and spine
English Neoclassical School (early 19th century)A set of three, Anatomical Studies of Greek Menpencil on paper, 14.5cm x 19cm; another 5 studies and preparatory works by the same hand, sometimes exhibiting the pathos of Flaxman, in pencil, crayon, and watercolour on paper, various sizes; a pen-and-ink depiction of an Old Master; Victorian Gothic Revival interior, watercolour; portrait; Victorian still life, a hand on a sphere, sepia wash; etc., [folio, 14]
Attributed to the Wierix Brothers (Flemish, fl. final-quarter 16th century), after Maarten de Vos the Elder (1532-1603), The conspiracy of Liedekercke, Bourse and Rouck,1 August 1577, plate 1 from The Conquest of the City of Antwerp series, Antwerp: Pieter Baltens, 1578, lettered "Le premier daugoust" and dated 1578 within the platemark, engraving, trimmed to the platemark, 28.2cm x 22cm, the right margin mounted, the late 19th century/early 20th century card mount inscribed in ink MS with the artist's name, (Hollstein 1336; Mauquoy-Hendrickx 1656), [1]For another example of this rare Old Master engraving see the collection of the British Museum, F,1.192 (which is more drastically trimmed/cropped).
the silvered brass 12in. square dial with a Roman numeral chapter with five-second markers, twin winding holes, date aperture, and subsidiary seconds dial, with cherub and crown pierced finials in caddy top hood with ebony columns, above a long trunk door with a brass banded lenticle and boxwood lined marquetry panels, on a base with a central marquetry panel and raised on bun feet; the month-going five pillar movement with five trains, anchor escapement, and outside countwheel hour strike on a bell228cm highFootnote: Note: Edinburgh made clocks that predate 1700 are exceedlingly rare. Andrew Brown [or Broun] (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 offically 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"
A 19th Century micro mosaic brooch and ear pendants en suite, the brooch with rectangular black panel inset with coloured tesserae depicting classical architecture, length 3.2cm, width 3.5cm, pin and hook fitting, unmarked, tested as 9ct gold, weight 13.9g; the ear pendants, each with an oval black panel inset with coloured tesserae depicting a bouquet of flowers, decorative mount with twisted border, screw fittings, length including fittings 3.7cm, width 2.3cm, unmarked, tested as 18ct gold, weight 11.4g (2)Footnote: The popularity of micro mosaics was based on travel to Europe during the late eighteenth to nineteenth century. There was a growth of the middle and merchant classes due to the improvement of the political situation and it quickly became fashionable to pick up mementos or souvenirs. One type, in particular, was micromosaic jewellery. These early pieces featured subject matter such as ancient Roman ruins, flowers, birds, animals and images of bucolic Italian peasant life. Many of them were inspired by renowned Old Master paintings or contemporary landscapes.
Anthony Vandyke Copley Fielding POWS (1787-1855) In the Highlands, Scotland Signed and dated Copley Fielding 1842 (lower left) Pencil and watercolour heightened with gum arabic and scratching out 17.7 x 25.5cm; 7 x 10in Provenance: Thos Agnew & Sons, London; Where purchased by the previous owner, 1982; By whom sold, Christie's, London, Old Master, 19th Century & British Drawings & Watercolours, 9 December 2010, lot 1207, where purchased by the present private collector
David Roberts RA, RBA (1796-1864) Street scene in Leuven with the town hall (recto); Study of the town hall at Leuven (verso) Recto, inscribed Town hall / Louvain (lower left) and signed D Roberts RA (lower right); Verso, inscribed and dated Townhall / Louvain June 24th 1825 (lower left) Pencil and watercolour 36.4 x 26.4cm; 14 x 10¼in Provenance: Sotheby's, London, Old Master and British Works on Paper Including Drawings from the Oppé Collection, 5 July 2016, lot 321; Property of Bill Thomson, Albany Gallery
John Collet (1725-1780) Tight lacing, or, Fashion before ease; and The Triple Plea Two, the former signed J*o Collet (lower left) Both oil on canvas Each 34.9 x 26.4cm; 13¾ x 10½ (2) Provenance: Bonhams, Knightsbridge, Old Master Paintings, 23 October 2019, lot 179; Property of The Cider House Galleries
Gerrit van Vucht (Dutch 1610-1697) Still life with a duck, cabbage, gherkins, bread roll, cauldron and tub Signed with monogram (lower centre to cupboard) Oil on panel 20.7 x 18cm; 8¼ x 7in Provenance: Christie's, London, Important Old Master Pictures, 12 December 1986, lot 60, where purchased by the present English private collector
Follower of Sebastian Vrancx Autumn: A river landscape with peasants treading grapes and an ox being slaughtered by a farmhouse Signed indistinctly and dated 1639 (lower centre) Oil on panel 51.6 x 84.7cm; 20¼ x 33¼in Provenance: Christie's, London, Old Master Pictures, 17 December 1985, lot 257; English Private Collection
Attributed to Anne Vallayer-Coster (French 1744-1818) Still life with pears, cherries, an apple and carnations on a ledge Oil on canvas laid on panel 31 x 37.2cm; 12¼ x 14¾in Provenance: Christie's, London, Important Old Master Pictures Part 2, 19 April 1985, lot 71; English Private Collection
Circle of Otto van Veen Portrait of a cleric, bust-length Oil on copper, oval, the reverse with the stamp of the coppersmith Peeter Staas, dated 1608, and with the hand of Antwerp 45.6 x 34.7cm; 18 x 13¾in Provenance: Christie's, London, Old Master Pictures, 7 July 1995, lot 221, where purchased by the present private collector
Antonio Maria Zanetti (Italian 1680-1767) A man seated eating a boiled egg with another standing behind Pen and brown ink 21.1 x 18cm; 8¼ x 7in Provenance: Christie's, London, Old Master Drawings, 4 July 2000, lot 55 Exhibited: Geneva, Musée d'Art et d'Histoire, Art Vénitien en Suisse et au Liechtenstein, 1978, no. 131
Sir Godfrey Kneller Bt. (1646-1723) Portrait of a young girl, half-length Black chalk 20 x 14.6cm; 7¾ x 5¾in Provenance: Henry Scipio Reitlinger (1882-1950) (Lugt 2274a); Sotheby's, London, The H.S. Reitlinger Collection, Part II, 27 January 1954, lot 164 Literature: Henry Scipio Reitlinger, Old Master Drawings: A Handbook for Amateurs and Collectors (Constable Ltd, 1922), p.139
Louise-Jeanne Cottard-Fossey (French 1902-1983) - Shoulder length study of the actor Albert Lambert as Joad, red pastel and white chalk on paper, signed and inscribed, 46 x 34cm approx, together with two prints of old master studies - A Man Kneeling in Prayer after Jacob Jordaens and A Musical Gathering after Bernardio Barbatelli, a large coloured print of a 17th century style gentleman in profile in wide black and gilt frame and a further signed coloured print of a foggy street scene with horse and cart, indistinctly signed R Richards? Rudd? all framed (collection)
15th C. Old Master Portrait of a Woman. With a partial family crest (upper right). Oil on board. Several old labels attached verso. Appears to be unsigned, has not been examined out of the frame. Provenance: Deceased Estate of Dr. John Schaeffer (Orlando Florida). Sight Size: 24.5 x 19 in. Overall Framed Size: 32 x 21 in.
Howard Koslow (American, 1924 - 2016) "Thomas J. "Stonewall" Jackson" Signed lower left. Original oil painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood Commemorative Proofcard for America's Greatest Military Heroes series, postmarked January 21, 1993. In the heat of a losing battle at Bull Run, Confederate General Barnard E. Bee despaired at the sight of his men falling back. He cried out, "Look, there is Jackson, standing like a stone wall." And so he was, General Thomas Jackson, his troops standing firm despite the raging Union attack. His unwavering stance turned the tide of the battle forcing the Union Army to retreat. From then on, he was known as "Stonewall Jackson," a strict, but skilled leader who pushed his men to the limits of their endurance. But their admiration for him won out and they called him "Old Jack," cheering whenever he appeared. A gallant figure of a man, Jackson led his troops boldly planning their movements with great precision. A master of the surprise attack, he repeatedly defeated attempts by the Union Army to join its forces for a march on Richmond; then he drove his opponents back to the Maryland border. Against odds of nearly two to one, Jackson defeated the Union armies, guessing their strategy and moving his troops quickly. Later, working with General Robert E. Lee, Jackson was able to win substantial victories for the South. But, during the battle of Chancellorsville, Jackson was mistaken for a Union Cavalryman and accidentally shot by his own men. On May 10, 1863, he spoke his last words: "Let us cross over the river and rest in the shade of the trees." Thus, the man who once termed war the "sum of all evils" died a tragic hero in the midst of war. Image Size: 13.75 x 12 in. Overall Size: 20.25 x 18 in. Unframed. (B09301)
Great little Tiger Cub entered at No Reserve.The Tiger Cub provided a desirable apprenticeship on two wheels for a generation of youthsKnown as the 'Baby Bonnie' with the hand of master stylist, Edward Turner, much in evidenceDating from 1958 this is a tidy, matching numbers machineStored away for last few years. Great restoration project or run as isFinished in Silver. Recently restored seatWill need some recommissioning before road useComplete with old handbook and some old tax discsSpecificationMake: TRIUMPHModel: T20 TIGER CUBYear: 1958Registration Number: 583 XVGEngine Number: T20 40775Click here for more details and images
Bachta, Johann BaptistIm Atelier des Malers(Schönbornslust 1782-1856 Koblenz) Künstler mit seinem Freund vor der Staffelei beim Maleneines Aktes, Interieurszene im altmeisterlichen Stil der niederländischen Malerei.Öl/Holz. Rechts unten sign. und undeutl. dat. 26 x 17 cm. - Lit. Thieme/Becker 2, Saur AKL6.Altmeisterkopie, Deutscher Maler, Genredarstellung Bachta, Johann BaptistIn the studio of the painter(Schönbornslust 1782-1856 Koblenz) Artist with his friend in front of the easel painting anude, interior scene in the Old Master style of Dutch painting. Oil on wood. Signed andindistinctly dated lower right. 26 x 17 cm. - Lit. Thieme/Becker 2, Saur AKL 6.
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