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

A Pair Of 20-Bore Flintlock Silver-Mounted Holster PistolsBy T. Gregory Of London, Circa 1720-30With russet two-stage barrels and tangs, the latter grooved for sighting, signed border engraved rounded locks, border engraved cocks decorated with foliage (steels refaced), moulded figured full stocks (one with minor old split on either side at the muzzle) each with apron around the barrel tang lightly carved with foliage, cast and chased mounts comprising pierced serpentine side-plates each with scrolled foliate tail, foliate escutcheons each engraved with owner's crest, spurred pommels each with grotesque mask on a stepped circular cap, trigger-guards each with foliate finial, turned baluster ramrod-pipes, and original horn-tipped ramrods, one with iron worm (some old wear and rust patination), London proof marks and Gregory's barrelsmith's mark (2)20 cm. barrels Footnotes:Thomas 1 Gregory was free of the Gunmakers' Company in 1716 and elected Master in 1729For further information on this lot please visit Bonhams.com

17th Century style, Old Master still life study of fruit, oils on canvas. Gilt frame, 50 x 42cm approx.(B.P. 21% + VAT)

Italo-flämischer Altmeister – Landschaftsdarstellung mit Personenstaffage, 17. Jhdt. Öl auf Leinwand. Das großformatige Gemälde zeigt eine üppige Küstenlandschaft mit Burganlage, imposante Felsen und Personenstaffage im linken unteren Bildbereich. In späterem vergoldeten Rahmen, Maße 112 x 144 cm. Doubliert. Altersspuren. Partielle Retuschen. Zustand: II - IIIAn Italo-Flemish Old Master – A landscape with figures, 17th century Oil on canvas. The large-format painting shows a lush coastal landscape with a castle complex, imposing rocks and a group of figures in the lower left-hand section. In a gilt frame of later date, dimensions 112 x 144 cm. Re-lined. Signs of age. Retouching in places. Condition: II - III

Altmeistergemälde, Italien, um 1800 Öl auf Holz. Romantische Landschaftsdarstellung mit Burgruine und Personenstaffage vor einer Brücke im Gebirge. In vergoldetem Stuckrahmen, Maße 42,5 x 49 cm. Altersspuren. Restauriert. Craquelé. Rahmen partiell bestoßen.Zustand: II -An Italian Old Master painting, circa 1800 Oil on wood. Romantic depiction of a landscape with castle ruins and figures in front of a bridge in the mountains. In gilt stucco frame, dimensions 42.5 x 49 cm. Signs of age. Restored. Craquelé. Frame chipped.Condition: II -

Barocker Altmeister, sogenannter Caravaggisti, Italien, 17. Jhdt. Öl auf Leinwand. Eine ältere Dame mit einer jungen Frau im Gespräch. Die ältere, dargestellt mit Hut und weißen Tüchern, hält in ihrer linken Hand einen Klingelbeutel. Die jüngere, sehr hübsche Dame in spitzenbesetzter weißer Bluse schaut verträumt in Richtung der Alten. Die Kontraste, das Farbspiel sowie die Qualität der Malerei lassen an einen Nachfolger des berühmten Michelangelo Merisi da Caravaggio (* 1571 Mailand; † 1610 Porto Ercole) erinnern. Maße gerahmt 111 x 89 cm. Altersspuren. Doubliert. Partielle Retuschen. Rahmen teilweise leicht bestoßen. Vergoldung partiell berieben.Zustand: II - IIIAn Italian baroque Old Master painting, Caravaggismo, 17th century Oil on canvas. An elderly lady conversing with a young woman. The elderly lady, depicted with a hat and white kerchiefs, holds a collection box in her left hand. The younger lady, extremely pretty in a white, lace-trimmed blouse, gazes absent-mindedly towards the elderly woman. The contrasts, the play of colours and the quality of the painting are reminiscent of a successor of the famous Michelangelo Merisi da Caravaggio (* 1571 in Milan; † 1610 in Porto Ercole). Framed dimensions 111 x 89 cm. Signs of age. Re-lined. Retouching in places. The frame with minor knocks here and there. The gilding abraded in places.Condition: II - III

Daniel Pasmore I (British, fl. 1829-1865)The Trinket Boxsigned, dated and inscribed 'D Pasmore 1847, Retouched 1856' (lower left) and bears label (verso)oil on canvas52 x 65cmProvenanceSale, Sothebys, New York, Old Master and 19th Century European Paintings, Drawings and Sculpture, 22nd January 1992, lot 464

Seven various Coalport cottages to include "The Master House", "Twin Towers", "Elizabethan Cottage", "The Blue House" and "The Old Curiosity Shop".Condition ReportAll in good condition except for The Old Curiosity Shop which is badly cracked to rear.

Old Master School (18th/19th century) Christ on the crossOil on canvas, framed with crest plaque, 132cm by 90cm

OLD MASTER SCHOOL.  CAPRICCIO LANDSCAPE VIEW, GOUACHE.  15 x 22cms

BRITISH SCHOOL (19TH CENTURY), OLD MASTER BAPTISM SCENE oil on canvas image size 98cm x 155cm, overall size 114cm x 172cm Framed.

Yiannis Moralis (Greek, 1916-2009)Fille nue signé en grec et daté '79' (en haut à droite)huile sur toile55 x 46.5cm (21 5/8 x 18 5/16in).Peint en 1979 signed in Greek and dated (upper right) oil on canvasFootnotes:ProvenanceEstate of the artist.Private collection, France.An inspired synthesis of curves flowing gently in an unbroken stream of movement, this etherealised nude is transposed into a timeless melody of ideal beauty. As Nobel Laureate Odysseus Elytis once noted, 'Moralis was always driven by a longing for the monumental, bestowing even on his most sensual conceptions a feeling of mystery and a Biblical sense of the sacred.'1Celestial yet humanly touching, with the flexible form of old-master venuses and graces, Moralis's tall and beautiful kore is a precious ornament of translucent simplicity and grace. Captured in delicate colours, weightless forms, and rhythmic linear patterns, she seems to occupy a world of dream-like visions. Slender, stylishly elongated, with tender, heaving forms set against a perfectly balanced geometric edifice of austere verticals and horizontals, she bears testimony to the painter's inspired leap of imagination and personal reinterpretation of the classical. Since 1974 Moralis has been giving us images of woman in her new, emancipated status. This recurrent figure, either sitting or reclining, is always treated in a progressively reductive manner'2, without, however, losing its recognizable form. As N. Hadjikyriakos-Ghika once noted, Moralis's youthful females, closely attuned to the idealism of ancient Greek art and endowed with grace and tenderness, are created by the Muses and the Hours.3 1 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Galerie, Athens 1972.2 D. Papastamos, 'Yannis Moralis the Artist', in Yannis Moralis, Commercial Bank of Greece, Athens 1988, p. 26.3 Nea Estia magazine, no. 1245, May 15, 1979.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A collection of old master and later engravings, from 4.25" x 3.25" to 9.75" x 8.75", (unframed), (6).

Old master drawing of a classical statue head, on blue paper with prancing unicorn watermark, 9" x 6.5", (unframed).

Three Victory Gold Box 1000 piece plywood hand-cut Jig-Saw Puzzles, Debham Mill (Old Master), Alpine Village (Outdoor) and The Minuet (Period) all to make pictures approx. 30”x20” (76x51cm), (3 items).

MAHOGANY FRAMED SIX-FOLD SCRAPWORK SCREEN MID 19TH CENTURY each panel with various coloured printed scenes of historical figures, flowers, animals and old master and genre paintings; the reverse similarly decorated with black and white prints(Each panel 69cm wide, 205cm high)

The Wellington College King’s Prize Medal for 1912 awarded to Colonel H. B. Stokes, C.B.E., M.B.E., Royal Inniskilling Fusiliers, who was seriously wounded by shellfire on the Somme in 1916 and was fortunate to survive the sinking of the Lancastria off St. Nazaire in 1940 Wellington College King’s Prize Medal, G.V.R., 45mm, gold (22ct., 45.0g) (Herbert Bland Stokes 1912) in Royal Mint case of issue, extremely fine £1,800-£2,200 --- C.B.E. (Civil) London Gazette 1 January 1959: ‘Colonel Herbert Bland Stokes, M.B.E., Chairman, Board of Governors, Bristol United Hospitals. M.B.E. (Military) London Gazette 11 July 1940. The Queen’s / King’s Medal, Wellington College The first Speech Day [at Wellington College] took place in June 1859, just six months after the College opened, and may have been modelled on similar events at Rugby School. It included two Chapel services as well as the prize-giving ceremony. We don’t know what prizes were given, but by the next year Queen Victoria had consented to give the Queen’s Medal, awarded ever since [a King’s Medal awarded during a King’s reign]. The original statutes, now on display in College, state that this was to encourage students to emulate the virtues of the Great Duke in whose honour the College is founded. The list of good qualities required of the winner is considerable, and includes Cheerful submission to superiors, unselfish good fellowship with equals… a readiness to forgive offences towards himself… and above all, fearless devotion to duty and unflinching truthfulness. In the early years, the Master, teachers and prefects would consult with one another as to who was the most worthy winner of this prize. However, for many years now it has been awarded to the Head of School. (Wellington College Records refer) Herbert Bland Stokes was born at Salem, Madras, India, on 7 April 1894, the youngest son of Sir Gabriel Stokes, K.C.S.I., and May Florence (née Fuller) and was educated at Wellington College where he was the recipient of the prestigious King’s Prize Medal. Having obtained a commission in the Royal Inniskilling Fusiliers on 23 September 1914, he was advanced Captain in May 1915, subsequently appointed Staff Captain and Adjutant and embarked for France in January 1916 where he served as Brigade Bombing Officer. Stokes was very severely wounded by shellfire on the Somme on 10 April 1916 and, returning England, was put on light duties until the war’s end, demobilised, with permanent rank of Captain, on 9 January 1919, and awarded a Silver War Badge. However, on 3 September 1939, following the renewal of hostilities, he insisted on rejoining the Army, in his old rank of Captain, at the age of 45. On 16 September, Stokes left for France with the British Expeditionary Force. Officially his Regiment was the Royal Inniskilling Fusiliers, but the Army recognised his experience as the Chief Executive of Queen Charlotte's hospital in London, and based him in Dieppe organising medical supplies, which came under the general heading of the Quartermaster General. By mid-May as the German Blitzkrieg was sweeping through Belgium, Stokes’ letters indicate the evacuation of medical staff from Dieppe to points further west; the last letter he wrote from France, nearly a week after Dunkirk, describes ‘a wonderful old watering-place’ - probably Deauville. Now in the rear party, Stokes was charged with seeing all medical personnel and patients across the Channel. Around the 7 June, his camp moved to Nantes, a town some 30 miles inland from the port of St Nazaire. On Saturday 15 June the order came through that the camp was to be evacuated within seven hours. Stokes got everyone safely away, and, having waited behind for two officers to return from reconnoitring, he finally made the move from Nantes to St. Nazaire and scrambled aboard H.M.T. Lancastria at 10:00 a.m. on Monday 17 June. Operation Aerial - Last out of France Operation Aerial, the codename for the rescue of Allied troops left in France after Dunkirk, freed 163,000 people, on a scale comparable to Operation Dynamo, but it received little publicity. Over 150,000 troops were still in France two weeks after Dunkirk was all over, and while the Nazis were already strutting about in Paris, many of these troops left behind were sadly killed or taken prisoner, but a large number of Army units were ordered to evacuate from other ports further west. Unlike at Dunkirk they were not yet at immediate risk from land attack by the Germans, but they certainly were at risk from the air. One of those ports, St Nazaire, became the scene of the worst loss of life that Britain has ever suffered from one vessel. This was the sinking of one of the ships involved in the rescue, the Lancastria. For the sake of morale the whole episode was completely hushed up at the time. Sinking of the Lancastria - ‘A Definitely Unpleasant Show’ At 3:50 p.m. on 17 June, the Luftwaffe bombed the Lancastria, crammed with thousands people, off St. Nazaire, holing her below the waterline, causing her to list rapidly and discharge 1,400 tons of oil into the sea. Hundreds of men who had not eaten for days were making their way below decks to the restaurant areas. Moments later, a second bomb penetrated a forward hatch and exploded. Some men died in the water, burning in the oil-slick onto which the Germans had dropped incendiaries; others broke their necks jumping from the ship. Within 25 minutes the Lancastria, listing ever more steeply, turned completely upside down with men still clinging to her hull, and sunk with at least 5,000 casualties, possibly many more. The Luftwaffe continued attacking even after that, so that other vessels were unable to go to immediate aid. Stokes was picked up after one and a half hours in the water clinging to a lifebelt with four other men. With typical understatement, he wrote shortly afterwards from Devonport Hospital, ‘There is very little wrong with me except some twisting of the back and the effect of an hour and a half’s swim after the Boche had got our ship with a couple of eggs. Thank Heaven I saw all the hospitals and personnel in our charge away without being bombed on the 15th. I and the others, very few left, got on board on the 17th, but we did not have the luck, as ours was the only boat they got. A definitely unpleasant show.’ It is now known that by noon on the 17th June, the Lancastria had between 7,500 to 9,000 people on board, grossly overloading her. Of this number, exactly 2,447 survived. Simple subtraction shows that the dead therefore numbered between 5,000 and 6,500, but no one will ever know for sure as no one knows exactly how many were aboard. There were only 2,000 lifejackets. Despite the overall success of Operation Aerial, the losses caused Churchill to order the news to be suppressed, so the story is in danger of remaining a forgotten footnote. ‘The newspapers have got quite enough disaster for today,’ he wrote. Also he did not want to take the edge off the ‘Finest Hour’ broadcast speech which he was preparing. Stokes’ son, Adrian later wrote that his only memory of the episode is of his father showing him a gleaming pair of shoes, polished ready for his return to duty. ‘Not bad,’ he said, ‘considering they spent some time in the sea.’ Stokes was awarded the M.B.E. in July 1940 and remained in England for the rest of the war. He was rapidly promoted to Major and then Lieutenant Colonel and on 1 October 1943 he was appointed Colonel in charge of Administration in the South Midland District. He was granted the rank of Honorary Colonel on demobilisation on 24 August 1945 and was created a C.B....

A collection of contemporary Christie?s auction catalogues, comprising: ?Fine British Drawings and Watercolours? (10 July 1990), ?Scottish Art Including The Hunter Blair Colourist Collection? (25 May 2007), ?Dumfries House vol I? (12 July 2007), ?Old Master & 19th Century Paintings? (11 December 2009), ?Drawings & Watercolours? (11 December 2009), ?The Artist?s Muse? (9 November 2015), and ?Old Masters? (8 December 2016), with a Keys ?Three Day Fine Sale? catalogue (7)Provenance: Ruyton Hall, Shropshire

*William Roberts RA (1895-1980)Bacchanal, c.1908signed and inscribed as titled u.l., red chalk28.2 x 36.2cmProvenance: Anthony D'Offay.Literature: David Cleall, 'An English Cubist: Catalogue Raisonné', englishcubist.co.uk*Artist's Resale Right may apply to this lot.Condition report: In generally good condition, some slight time staining. It appears to have been laid down onto a thicker card.the picture is the first listing on the online catalogue raisonne, where he appears to have done several copies of Old Master works. See link below.http://www.englishcubist.co.uk/catchron.html

An engraving, after Guido Reni, old master Maria Mater Gratiae - Mary Mother of Mercy, 26 x 19cm, plus frame and glazed

A Chinese wood figure, early 20th century, of Guan Yu, seated wearing a full armour, 56cm highProvenance: The collection of The Hon. Robert Gaythorne-Hardy (1902-1973).The 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.Bob kept some of the Old Master drawings from the Malcolm Collection, which were sold soon after his death at Sotheby’s and is referred to as the Gathorne-Hardy Collection.Bob was also a collector of Asian items, which included jade and temple figures, paintings and some Asian items which have come by family descent and are now offered for sale.Condition report: Splits and cracks throughout. Chips to edges. Losses in various places. Right arm missing.

A Chinese jade belt hook,Qing dynasty (1644-1911), carved with a monkey seated on the back of a recumbent horse, the underside with a dragon-head hook and a raised circular panel, 6.8cm longProvenance: The collection of The Hon. Robert Gaythorne-Hardy (1902-1973).The 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.Bob kept some of the Old Master drawings from the Malcolm Collection, which were sold soon after his death at Sotheby’s and is referred to as the Gathorne-Hardy Collection.Bob was also a collector of Asian items, which included jade and temple figures, paintings and some Asian items which have come by family descent and are now offered for sale.清 玉雕马上封侯带钩Condition report: The stone with natural cracks and russet inclusions and streaks. Chipped to rear right hoof.

Feuchtmüller (Rupert). Der Kremser Schmidt 1718-1801, 1st edition, Innsbruck: Tyrolia, 1989, numerous colour & black & white illustrations, original cloth in dust jacket & slipcase, large 8vo, together with; Bradbury (Sue [editor]), The Boyce Papers, The letters and diaries of Joanna Boyce, Henry Wells and George P. Boyce, 2 volumes,1st edition, Woodbridge: The Boydell Press, 2019, colour & black & white illustrations, uniform original cloth in dust jackets, 8vo, and Harbison (Peter), William Burton Conyngham and His Irish Circle of Antiquarian Artists, 1st edition, New Haven: Yale University Press, 2012, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus Shanes (Eric), Young Mr Turner, the first forty years [J. M. W. Turner, A Life In Art, 1], 1st edition, New Haven: Yale University Press, 2016, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other modern Old Master reference & related, mostly original cloth in dust jackets, some paperback editions, 8vo/4toQty: (Approximately 50)

Two similar hand painted mother of pearl fans in glazed cases, both with figural and floral decoration, 60cm wide approx, together with an old Master portrait print. (3)(B.P. 21% + VAT)

O Yemi Tubi, "Domestic Abuse", unframed oil on canvas, 2017, 48 x 30in. “If you enjoy the fragrance of a rose you must accept the thorns which it bears” Isaac Hayes. Life is roses and thorns; sometimes it emanates sweet aroma of pleasantness and sometimes it pricks and causes pains. I choose to do series of on ‘Roses and Thorns’, in which the main objects of the paintings are roses and stems woven into human figures. Rose is one of the gifts often used as a romantic gesture of love and it naturally grows from the stems of thorns. In the early stages of relationship, couples often enjoy the aroma of roses and lovingly blind to the flaws and thorns of each other. As challenges arise the couple starts to focus on each other’s flaws and start to feel the prick of their thorns. While preparing to work on this painting, the image of Christ fell under weight of the cross in “Stations of the cross” in some of the old master paintings came to mind. I was influenced to paint the image of the main object of this painting in a crawling posture. I used Rose stems woven in the shape of a woman breast feeding while also overwhelmed with other domestic tasks. I used the sticks of the push broom and mop as cross. In the middle ground is the husband sitting aloof and ironically reading the Daily Harmony newspaper. In the background is the picture of the couple’s happy days when they were enjoying the aroma of their love disregarding the thorns of life; the picture on the Daily Harmony newspaper depicts the Thorns period where they argue and fight. Couples should not focus on their partners’ thorns but appreciate the fragrance of love emanating from them. Shipping UK charge £50.

Royal Doulton 'The "Old Balloon" Seller' HN1315; 'The Master' HN2325; 'Sandra' HN2275; 'Francine' HN2422; and 'Cissie' HN1809.

DUNHILL OLD MASTER Blended Scotch Whisky 750ml, 43% volume, in carton. DEWAR'S AGED 12 YEARS Blended Scotch Whisky 750ml, 43% volume. BALLANTINE'S GOLD SEAL AGED 12 YEARS Blended Scotch Whisky 75cl, 43% volume. Three bottles.

DUNHILL OLD MASTER Blended Scotch Whisky 700ml, 43% volume, in carton. GRANT'S FAMILY RESERVE Blended Scotch Whisky 70cl, 40% volume, in special edition Millennium tube. Two bottles.

An old master style still life of flowers in a vase, oil on canvas, 59cm by 45cm, together with a print of Heritage buildings in Cambridge, A. Raven Contemporary house view and an abstract work on paper, indistinctly signed (4)

Schnupftabakdose Russland Holz, Birke, aufklappbar, Deckelapplikation besetzt mit Diamanten im Altschliff und Rubincabochon, seitlich vergoldete Silber Applikationen (88 Zolotnik) und kyrillische Meisterpunze, 2,2 cm x 9,6 cm x 4,4 cm Snuff box Russia wood, birch, foldable, lid application set with old-cut diamonds and ruby ??cabochon, laterally with gold-plated silver applications (88 zolotnik) and Cyrillic master hallmark, 2.2 cm x 9.6 cm x 4.4 cm

c. 2000- 7th century BC. Western Asiatic. Western Asiatic Master of Animals Sceptre . A central tube terminating into a human head. Flanked by animals on either side, with curving haunches and tails below. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East. The figure is normally male, but not always, the animals may be realistic or fantastical, and the figure may have animal elements such as horns, or an animal upper body. Unless he is shown with specific divine attributes, he is typically described as a hero. In Western Asiatic Art the motif is extremely common, and often highly stylized. In terms of its composition the Master of Animals motif compares with another very common motif in the art of the ancient Near East and Mediterranean, that of two confronted animals flanking and grazing on a Tree of Life. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:450mm / W:85mm ; 420g

Old Master School, head portrait of a Classical woman, sanguine chalk on paper, unsigned, 10.5" x 7", framedA few very faint fox marks but generally good and bright

§ Edward Kay (British, b.1980). 'La Bete', 2006. Oil on canvas, 25 x 36 cm. Provenance: From a reputable private collection. Acquired from Dicksmith Gallery, London in 2008 by the present owner. Exhibitions: Newspeak: British Art Now Part II, Saatchi Gallery, London, 2011. Saatchi Gallery Loan of Art, pp.173. From Saatchi Gallery Loan of Art, pp.173: Kay graduated from the Royal Academy Schools in London in 2005. Using a variety of old master techniques, he paints isolated elements more commonly found in seventeenth-century still lifes....... Kay's sombre palette emphasizes his overriding interest in mortality, from the hanging duck and hoofed leg of meat to his ghostly portraits. Please note that Artists Resale Right maybe payable on top of the hammer price for this lot up to a maximum of 4% where above the threshold (visit www.dacs.org for more information).

GUIDO REY (1861-1935), A Flemish Interior photogravure on Japanese tissue paper, from Camera Work 24, 1908, image 21.3cm x 15.5cm, tissue 28.6cm x 20cmNote: In the early 1900's Rey made composite images based on Old Master painters, particularly in the Dutch School style of Pieter de Hooch and Jan Vermeer. After Rey made a business trip to the United States, Alfred Stieglitz published his photographs in Camera Work in 1908.

NEAPOLITAN SCHOOL (20TH CENTURY) Fair and foul portraits of the S.S. ‘Devian’, circa 1915 Watercolour and gouache Inscribed with titles 16½ x 25½in. (42 x 65cm.) (2, a pair)Footnote: Ordered from Priestman of Southwick for the Romania Prima Soc Nationala de Nav Maritima in 1914, she was launched in 1915 as Argesul but changed to Devian when ownership was assumed by O.& W.Williams Co, Swansea. She was sold again in 1917 to W.& C.T.Jones SS Co Ltd and renamed Sanwen, but she was torpedoed and sunk by U-32 in September the same year with the loss of two crew whilst in passage between the Clyde and Naples carrying coal and coke, presumably the same route she served as Devian whose presumed Master had this pair of pictures done in the early days of World War One.Condition report: Fair: slight foxing and old backboard burn marks; Foul: Old crease and repair horizontally through middle, slight scuffing. New mounts and frames.

AN IMPRESSIVE 19TH-CENTURY DOCKYARD-TYPE MODEL FOR A THREE-MASTER IDENTIFIED AS THE NEGRISUOLA, 1873 the hull carved from the solid and hollowed throughout, with carved black female figurehead finished in polychrome, scored, varnished decks with fittings including working anchor winch with chain, companionways, cookhouse with chimneys, covered hatch, sail winches, bilge pump, rank of fire buckets, working compass and steering gear and other details, three masts with painted stages, yards, standing and running rigging with chains and bound blocks, loosely mounted on launching cradle display stand within wooden display case, model dimensions -- 45 x 58in. (114.5 x 147.5cm.); the case -- 50 x 62 x 21¼in. (127 x 157.5 x 54cm.)Footnote: Built in Calcagno’s yard at Savona (west of Genoa), the Negrisuola was launched in 1873 after nine months on the stocks. Registered in Genoa at 884 tons gross (852 net), she was 171 feet in length with a 34-foot beam and was initially owned by F. Figari of Genoa. She began her career trading out of Genoa to Callao (Peru) under Captain B. Rossi, who remained in command until 1881 when he handed over to Captain Revello. In 1888, she passed into the ownership of Andrea Schiaffino, also of Genoa, but by this time she was trading regularly out of South Wales to the extent that she was examined by Lloyd’s Register’s surveyors in Cardiff in May of that year. In May 1889 she was reported to be laid up in Lisbon “in a leaking condition” when on passage from Newport (South Wales) to Cape Town, and this damage seems to have precipitated her sale to G.B. Figari, who renamed her Figari although she disappears from record after this date.Condition report: Hull repainted, some components broken or missing including handle of anchor winch, ship’s boat missing, embedded dust, foredeck with shrinkage crack, several sections of rigging parted, aft mast warped, case missing rear glass panel, stern panel replaced with Perspex, old wear, model and mount loose in case.

Italian Old Master type sepia pen and ink study of a monk and cherub in glazed gilt frame. The image 18.5 x 13.5cmCondition report: The work has not been inspected out of the frame so is impossible to state if it is stuck down or not. There are a couple of creases, as seen in the images (which best show the condition). The black marks appear to be ink. The mount is stained/foxed and needs replacing. The frame is a good quality one with a few fairly minor losses.

A large Victorian presentation silver paint box, by Edward Edwards, London 1846, rectangular form, the hinged cover with engine-turned decoration and inscribed 'Presented by the Society of Artists Clipstone Street to Edward Duncan Esquire in token of their regard and in acknowledgment of his long and valuable services rendered to the Soc. in his capacity of Treasurer, June 1846', the interior with a hinged palette and sixteen compartments for paint and one for brushes, the underside with two hinged finger rings, length 17cm, approx. weight 10.9oz. Provenance: A Private Collection. Alastair Dickenson Ltd. Edward Duncan (21 October 1803 - 11 April 1882) was an English master painter, known for his watercolours of coastal views and shipping. He was a member of the Royal Society of Watercolours and received Royal patronage from Queen Victoria. Duncan was a prolific exhibitor of his works, showing more than 40 at the Royal Academy and the Society of British Artists, and including more than 500 watercolours and drawings within the shows of the Old and New Watercolour Societies during his career. In 1833 he was elected a member of the New Society of Painters in Water-Colours, but he resigned in 1847 and, in 1849 was elected an Associate of the Royal Watercolour Society. He died in Hampstead, London, on 11 April 1882. A sale of his works at Christie's in 1885 took three days; and a sale of 1887 lists nearly 2,000 of his sketches and paintings. Ref Wikipedia.

ALFONS WALDE (AUSTRIAN 1891-1958) Bauernsonntagoil on cardboard 53 x 46.6 cm (20 7/8 x 20 7/8 in.) signed lower right, inscribed Bauern Sonntag on artist's studio label on verso PROVENANCECollection of Kamillo & Aenne Koelblinger, AustriaThence by descent in the family to Henrich Walter Koelblinger (1941-2020), U.S.Thence by descent in the family to present ownerWe are grateful to Gert Amman and Michael Walde-Berger for providing their opinion of authenticity based on photographs.RELATED LITERATUREFor a highly comparable eponymous composition, dated 1927, in the collection of the Stadtische Galerie, Nuremberg, inv. no. 334, see: Gert Ammann, Alfons Walde. 1891-1958 (Innsbruck; Vienna; Munich: Tyrolia-Verlag, 1981), p. 220 (illustrated).LOT NOTESThe work originates from the estate of Kamillo and Aenne Koelblinger, the first owners of this painting. Along with the family estate and art collection, their children, Mr. Henrich Walter Koelblinger and siblings inherited the Koelblinger’s heritage businesses - a leather tannery (seen in the reference image) and lumber forest in Vocklabruck. The family also owned a home on the Attersee lake, where they frequently hosted Walde, as well as another local, the artist’s friend Gustav Klimt.Mr. Henrich Koelblinger left Austria at 19 with a master’s degree in leather chemistry, intent on settling in Australia. He was employed by BASF leather chemicals by the time he got to New York, and settled in Beacon with his wife Mary. After returning to Austria for a short period to steward the family business, Mr. Koelblinger carried over the experience back to the U.S., where he managed several tanneries. The work took the family to Milwaukee, then West Virginia, then Mercersburg, PA, Hagerstown, MD, Luray, VA, and back to Milwaukee, now with four children. The work, now belonging to his heirs, has continuously remained in the family over four generations.Alfons Walde, unparalleled master of Alpine landscapes, produced this painting among a series of others sometime in the early 1930s. This iconically Waldean composition, titled Bauernsonntag, depicts a pair of nearly identical robust men set against a brilliantly white snow and blue skies in the Austrian town of Kitzbuhel. Though it occupies a relatively small portion of the painting, the ultramarine sky, echoed in the Tyrolean aprons of the countrymen, is a blue as quintessential to Walde as YKB is to Yves Klein. Upon close inspection, initial tonal uniformity gives way to subtle modulation, revealing a delicate haze of clouds. The impasto, becoming more pronounced toward the bottom of the panel, integrates the crisp freshly-fallen snow and voluminous blouses, rooting the figures in the environment. (For example, along the right edge, where the sloping roof extends effortlessly to one of the sleeves). The smiling figures, as if mid-sentence, gaze off beyond the confines of the painting, prompting the viewer to do the same. Walde's formal rigor, from the abbreviated rectilinear figures to the limited but striking color palette, produces an impactful high-contrast image, equally deferential to the landscape and to its admirers. CONDITIONObserved outside of the frame, the work is in overall good age-appropriate condition, recently cleaned of surface dirt and grime. Pair of pinholes to the bottom left corner. Board slightly uneven at the lower right edge. Some lifting to the top layer of the cardboard at the top right corner (not apparent in frame). Minor losses and lifting to the very edge of the board, at the top left and bottom right corners (not apparent in frame). Otherwise, no significant issues to report. Inspection under UV light shows a layer of old varnish; discolouration beneath the frame rabbet. Scattered dark spots to the chest of the left figure. No apparent signs of inpainting. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

OLD MASTER FLEMISH/DUTCH SCHOOL. RIVERSIDE VILLAGE, WATERCOLOUR. 32.5 x 50cms.

OLD MASTER SCHOOL. CAPRICCIO LANDSCAPE VIEW, GOUACHE. 15 x 22cms.

OLD MASTER SCHOOL. PORTRAIT OF COL. RICHARD GRACE, INSCRIBED OIL ON CANVAS. 92 x 71cms.

OLD MASTER SCHOOL, STILL LIFE OF SUMMER FLOWERS, OIL ON CANVAS, 93 x 71cms.

OLD MASTER SCHOOL, A MYTHOLOGICAL SCENE, OIL ON CANVAS, UNFRAMED, 127 X 104cm.

An old master print depicting Joannes Caius, engraving, inscribed, 6.25" x 4.75".

A small collection of old master etchings along with later portraits, etchings, variously inscribed, from 8.25" x 5" to 12" x 9.75", (unframed), (8).

A group of decorative old master prints of cherubs and other topics, variously inscribed, from 6" x 4.25" to 12.5" x 9.25", (unframed), (11).

After Melchior Kusell, A collection of 18 old master engravings, 6" x 8", (18), (unframed).

Thomas Worlidge (18th century) an engraving of a gentleman together with a collection of Old Master and decorative prints after Rembrandt and others, 7.5" x 5.5", (18), (unframed).

A set of six prints of old master and decorative drawings, various sizes.

Crispin Van de Passe II, 17th century old master engraving, 'Tribunal Injurie and Amoris', Elizabeth Stevenon and Gabriel Lalande, incorporated into a broadside with some loss at the lower edge, 20" x 11.5", (unframed).

A fine Charles II eight-day longcase clock movement Edward East, London circa 1675-80The six finned and latched pillar movement with plates measuring approximately 7.75 by 5 inches enclosing fine delicate wheel-work, the going train with bolt-and-shutter maintaining power and anchor escapement for regulation by seconds pendulum and the strike train with external countwheel striking on a domed bell mounted above the plates, with a 9.5 inch square gilt brass dial with slender subsidiary seconds dial and calendar aperture to the matted centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with fine pierced and sculpted steel hands and winged cherub head cast spandrels to angles and engraved Edwardus East Londini to lower margin. Edward East was born in Southill Bedfordshire in 1602 and was apprenticed in 1618 to Richard Rogers until 1626, gaining his freedom of the Goldsmith's Company the following year. He was appointed as one of the first Assistants of the Clockmakers Company (a year after the charter was granted by Charles I in 1631) later becoming Master twice in 1645 and 1653. He worked first from Pall Mall, London subsequently moving to the Fleet Street/Temple Bar area by the 1640's, in November 1660 he was appointed chief clockmaker to King Charles II. Edward East certainly had the longest and perhaps one of the most distinguished careers in English clockmaking during the 'Golden Period' taking on eight apprentices between 1643 and 1676 (including Henry Jones from 1654 to 1663). East was the only original Assistant surviving when the Grant of Arms was awarded to the Clockmakers' Company in 1671. Edward East drafted his Will in 1688 and on his death in 1696 he was clearly a wealthy man leaving property to his four children including a residence in Hampton, Middlesex and a coaching Inn called 'The Swan with Two Necks' which was bequeathed to his daughter, Anne Saunders. The current movement can be compared to an example offered at Bonhams in their sale of Fine Clocks held on 10th December 2014 (lot 85) which sold for £116,500. In particular the positioning of the movement pillars and layout of the wheel trains is very similar to that of the current lot as is the script of the signature to the lower edge of the dial. The backcock follows East's unusual practice in having the pendulum suspension block cast separate and sliding into a tapered dovetail slot. This detail is noteworthy as it facilitates the end-float of the pallet arbor to be checked hence allowing the pivot to run more efficiently.Condition Report: The movement has survived in fine original condition with no visible evidence of alteration and with minimal replacements for a mechanism of this age. The third wheel of the going train has probably been re-set/re-mounted on its arbor probably to allow the wheel to engage with a less worn part of the escape wheel pinion. The escapement pallets appear to be 19th century replacements, the escapewheel itself appears original. The strike train appears entirely original with the exception of the warning wheel which has been re-pinioned. The trains generally exhibit evidence of historic moderate pinion wear to the upper wheels of the train with some very slight careful adjustments to ensure that wheels are meshing with lesser worm parts of the pinions. The under-dial work appears complete and all-original with the possible exception of the strike lift detent which being noticeably cleaner than the remaining steelwork may be a replacement. There is one small vacant threaded hole next to the seconds arbor, the purpose of this is not obvious but it is not considered indicative of an alteration having taken place. The movement overall exhibits light pitting to the steelwork and the brass now has medium brown oxidised patination and although is essentially in working condition a very sentitive precautionary service is advised before putting into long-term service.The dial is finely proportioned and well finished but would appear to have had relatively recent work undertaken to restore the gilding and silvered surfaces. The gilding to the plate appears to have either been cleaned or most likely re-done to a high standard hence is now in fine condition exhibiting only a few very light blemishes. The un-gilded section beneath the chapter ring exhibits what appears to be old surface, this coupled with the quality of the signature and the general overall general feel and 'softness' to the angles to the front of the plate would suggest that the dial has age and, as there is no evidence to suggest otherwise, is original to the movement. The rear of the plate has a very slight 'purple' hue to the colour - this would appear to be from a coloured wax applied most likely in an attempt to darken the colour of the plate a little which may have looked a little light in colour compared to the movement after work had been done to the gilding.The spandrels appear are in fine condition; the hands are well made and show old surface to rear however they could be well executed replacements.There is no pendulum, lines or weights present with the clock although there is a crank winding key. Condition Report Disclaimer

A George III eight-day longcase clock movement and dialBenjamin Gray and Justin Vulliamy, London, circa 1770The five pillar rack and bell striking movement with anchor escapement incorporating delicate inverted Y-shaped pallets regulated by a wood-rod seconds pendulum with large brass-faced lenticular bob, the 12 inch square brass dial with large diameter subsidiary seconds ring over applied shaped nameplate engraved Benj'n: Gray, Just: Vulliamy, London and calendar aperture to the finely matted centre within an applied Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and twin bird and urn cast brass spandrels to angles (no weights). Very little is known about Benjamin Gray however in 1738 he was working from 'Ye Sun Dyall in Thatched House Court', St. James' Street West with these premises, along with others, previously being Lord Shelburn's house, which was demolished. In 1742 he became watchmaker to King George II. Justin Vulliamy was born in Pay de Vaud, the watchmaking heartland of Switzerland, in 1712. He initially trained and moved to Paris to make watches there, but when George Graham invented the cylinder escapement he came to London (in around 1730), to familiarise himself with it. It was around this that time he met Benjamin Gray with whom he subsequently formed a partnership. In 1746 Vulliamy married Benjamin's daughter, Mary and they subsequently had four children, Jane, Benjamin, Lewis and Mary. Justin Vulliamy was proud of his roots, and took the lead in permanently establishing the Swiss Church in London in 1762. Whilst Vulliamy was in partnership with Gray their work was signed with both names. After the death of Gray in 1764 Vulliamy signed with either his full name or the shortened version 'Just. Vulliamy'. In around 1780 Justin's son, Benjamin, joined his father in partnership and the workshop subsequently adopted the practice of signing their work with the family surname 'Vulliamy' alone. Justin Vulliamy died in 1797 leaving the business in the hands of his son, Benjamin, who in turn passed it on to his son, Benjamin Lewis, who worked from 52 Pall Mall, served as Warden of the Clockmakers' Company 1821-5 and was appointed Master five times. All three generations of the Vulliamy clockmaking family benefitted from Royal patronage. Condition Report: The movement is complete and appears all-original with no evidence of alteration or noticeable replacements. The mechanism is in working condition but is a little dusty from storage so a gentle service is advised. The crutch appears original but is bent. The dial has lost its silvering to the chapter ring, seconds dial and signature plate otherwise retains old (perhaps original) finishes in good condition albeit now somewhat a little muted/mellow in color. The hands and spandrels appear original and undamaged; the hands have been black painted. There is s mall slot to the edge of the plate at 9 o'clock suggesting that a strike/silent selection lever was once fitted but is no longer present.The movement retains securing bolts to the lower pillars, has a wood rod pendulum, lines but no seatboard, pulleys or weights.  Condition Report Disclaimer

Self Portrait (c.1740–42) standing three quarter length, in green, holding a palette and paintbrush oil on paper, laid down to canvas 22.9 x 20.3cmProvenance: Ernest Albert Butcher, Australia, Acquired from his estate, through Adrienne Corri, by Neville Podmore in 1974; With Felder Old Master Paintings, London, 2001; With Philip Mould by 2003, With Historical Portraits Ltd, London, by 2005, Private collection, Kensington, London, from 2008 Exhibited: Southampton City Art Gallery, The Stuart Portrait: Status and Legacy, October-December 2001, no. 43; London, Felder Fine Art, Portraits, 2002, no. 3; London, Tate Britain; Washington DC, National Gallery of Art; Boston, Museum of Fine Arts, Gainsborough, 24th October 2002 - 14th September 2003, no. 1Literature: A. Corri, 'Gainsborough's Early Career: New Documents and Two Portraits', in Burlington Magazine, CXXV, April 1983, p. 214, col. fig. 1; M. Cormack, The Paintings of Thomas Gainsborough, Cambridge 1991, p. 7; M. Rosenthal, The Art of Thomas Gainsborough, New Haven and London 1999, p. 5, repr. col.; M. Postle, British Artists: Thomas Gainsborough, London 2002, pp. 7–8, fig. 2 col; W. Vaughan, Gainsborough, London 2002, pp. 16–17, fig. 10 col.; J. Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760–90, London 2004, p. 176; J. Hamilton, Gainsborough: A Portrait, London 2017, p. 20, col. pl. 20; H. Belsey, Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters, 2 vols., New Haven and London 2019, vol. I, pp. 2, 352, 901, cat. no. 366, repr. col.We are grateful to Hugh Belsey for compiling the following note: - "There can be little doubt that Gainsborough was born with a precocious intelligence and a God-given ability to paint. Attributing the work he produced in his teenage years has been slow and it remains contentious. No doubt unidentified examples will appear in the future and help to clarify his development as an artist. The majority of scholars have accepted this likeness as autograph, perhaps his very earliest extant portrait, and it has been widely exhibited and published. Dating the portrait has been difficult and it seems most likely that it is one of his earliest attempts at oil painting made soon after he moved from his native Sudbury in Suffolk to London in about 1740. There his apprenticeship, like William Hogarth’s, was with a silversmith and his skill as a draughtsman was honed by engraving inscriptions and coats-of-arms on the side of silverware. It was not long before his abilities caught the eye of Francis Hayman, the French draughtsman, Hubert Gravelot and the most original artist working at the time, William Hogarth. It must have been these associations that encouraged him to turn to painting. When, having returned to Suffolk, Gainsborough then moved to Bath in the late 1750s, his style responding to the market around him and it progressed with extraordinary speed. There is every reason to believe that a similar acceleration in the development of his work took place twenty years earlier. In the last ten years a number of canvases have been connected with his name and his earliest years as a painter and they reveal a path towards the well-known portrait of the Revd Hill’s dog Bumper dated 1745, now in a private collection in Norfolk. In this small painting the colour sings, the immediacy of the image shows great technical virtuosity but there remain uncertainties of composition and the background has a conspicuous absence of any middle ground. The delicate, almost emaciated facial features of Gainsborough as seen in his Portrait with wife and child dating from c. 1746 in the National Gallery and the Self-portrait drawing from the following decade in the British Museum are close enough to those in the young boy, to confirm the identity and the attribution. In 2001 Rica Jones made a thorough technical examination of the self-portrait and linked the technique used by the young artist with later uncontested paintings. She discovered that there are two other images painted beneath the present paint surface, the first has been tentatively identified as a landscape, and that the pigments used are consistent with those in the palettes of other artists working in the mid-eighteenth century and they all appear in the artist’s later work. While this is all circumstantial (rather than definitive) evidence, it is substantial and Jones's work provides the final piece of the jig-saw that enables a full attribution of this small panting to the artist. It is exceptionally rare for an artist to produce a self-portrait in oil at the age of 13. Remarkably few artists have ever attempted it."Condition report: Oil on paper attached to a thin gauze with a linen backing. There are minor undulations across the surface. The paint layer is in a good condition. There is a network of drying cracks across the surface which appear dark in the lighter areas of the flesh. A few, small old damages have been repaired, for example below the sitter’s right hand. Scattered retouchings across the surface are well matched to the original. The varnish is semi-matte and even. The frame is in a good condition with a few small losses to the gilded surface.

Death of Christ, Old Master sepia print, glazed and framed, 41cm x 25cm.

Bygones, postcards, and ephemera, various early 20thC black and white and coloured scenes, to include continental and others, Webb's Hotel, other black and white scenery, and cigar box containing further cards and ephemera, postcards, etc., various Old Master prints, etc., (a quantity).

Various prints, pictures, frames, Old Master prints, etc., various others, Out of the Family print, 18cm x 29cm, (a quantity).

European School Old Master Portrait of the Virgin Mary. Oil on board. Appears to be unsigned, has not been examined out of frame. Sight size: 10 x 7 inches.Overall framed size: 11 x 8.5 inches.

European School Old Master Portrait of Jesus. Oil on board. Appears to be unsigned, has not been examined out of frame. Sight size: 10 x 7 inches.Overall framed size: 11 x 8.5 inches.

Dennis Lyall (American, B. 1946) "Flag First Praised As "Old Glory"" Signed lower center. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was is the original painting which was published on the Fleetwood Commerative Cover for Old Glory's Proudest Moments postmarked on the anniversary March 17, 2002. The legend of "Old Glory" begins with the War of 1812. The exploits of fast, new naval frigates such as the U.S.S. Constitution or "Old Ironsides", impressed the world, especially residents along America's coastlines. The memory of these magic ships and America's triumphant flag must have been strong in William Driver, a ship's cabin boy born in Salem, Massachusetts in 1803. At the age of 21, Driver was experienced enough to become master of the merchant ship, Charles Doggett. For his birthday on March 17, 1824, his mother and a group of Salem girls presented him with a fine new flag for his ship. There were speeches, and a crowd watched as Captain Driver hoisted his new colors to the masthead. The ship's salute gun banged. Against an azure sky the brilliant, 24-star flag unfurled magnificently. Moved by the poetry of the moment, Driver nicknamed his flag "Old Glory." In 1834, after years of sailing, he retired to Nashville, Tennessee where he proudly displayed the flag at his home. During the Civil War, Confederate sympathizers tried unsuccessfully to confiscate the flag, but Driver and his friends had sewn it into a comforter. Shortly before he died in 1886, the old sea captain reportedly placed a bundle into his daughter's arms, saying "This is my ship flag, Old Glory..." The flag was kept as a family treasure until 1922 when it was placed in the Smithsonian Institution. Carefully preserved, the original "Old Glory" remains an important piece of Americana. Image Size: 15 x 12.75 in. Overall Size: 18.5 x 16 in. Unframed. (B16967)

Italian School, Old Master Drawing, Study of Classical Weaponry, 17th/18th C. Ink on Paper. Sight Size: 10.5 x 8.5 in. Overall Framed Size: 16.25 x 12 in. Framed behind glass.