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OLD MASTER SCHOOL. AN ITALIANATE RIVER LANDSCAPE WITH FOREGROUND BRIDGE, OIL ON PANEL. 10 x 14.5cms.

OLD MASTER SCHOOL. A CONTINENTAL RIVER LANDSCAPE WITH NUMEROUS FOREGROUND FIGURES, OIL ON CANVAS. 30 x 42cms.

OLD MASTER SCHOOL. TWO RIVER LANDSCAPES, ONE OIL ON COPPER AND ONE OIL ON PANEL, LARGEST 10 x 13cms.

OLD MASTER SCHOOL, POSSIBLY FRENCH. PORTRAIT OF A NOBLEMAN WEARING AN ELABORATE LACE COLLAR, OIL ON CANVAS IN CARVED GILTWOOD FRAME. 55 x 41.5 cm

A Venetian engraved bronze serving bowl, second half 16th century, of waisted and bellied form, engraved with horizontal bands of Arabesques and grotesques and two cartouches flanked by lion bearers engraved with a coat of arms and a Doge’s portrait respectively, later mounted on three foliate topped hairy paw feet, 19cm high, 26cm diameter 16th century Venice was a thriving centre for intricately engraved brass and bronze wares, inspired by Ottoman and Mamluk examples encountered in the Republic’s trade with the eastern Mediterranean. Though many Veneto-Saracenic items were imported into Venice, the present bowl is almost certainly of Italian manufacture. As Sylvia Auld has described in Renaissance Venice, Islam and Mahmud The Kurd, neatly compartmentalised decoration within definite borders is a tell-tale sign of Italian craftsmanship emulating the fashionable style. The local heraldry and Doge’s portrait are further signs that this vessel is of Venetian make. The arms engraved to one of the cartouches could possibly be a stylised version of those of the patrician Marcello family Cf Sotheby’s London, Old Master Sculpture and Works of Art, 3rd December 2014, lot 69 for a larger Venetian service of similar style and date FURTHER READING: S. Auld, Renaissance Venice, Islam and Mahmud the Kurd: A metalworking enigma, London, 2004 M. Ajmar-Wollheim and F. Dennis, At Home in Renaissance Italy, exh. cat. Victoria and Albert Museum, London, 2006

DICKENS, CHARLES, The Old Curiosity Shop: A Tale: complete in one volume, The First 'Separate' edition as originally this title formed parts of 'Master Humphrey's Clock', this accounts for the page numbering irregularities (e.g p 2-38, A7-49, etc) original olive-green boards faded to a brownish hue

NO RESERVE Drawings.- Cocke (Richard) Veronese's Drawings: a Catalogue Raisonné, 1984 § Pouncey (P.) & J.A.Gere. Italian Drawings in the Department of Prints and Drawings in the British Museum: Raphael and his Circle, 2 vol., 1962 § Knab (E.) & others. Raphael: Die Zeichnungen, Stuttgart, 1983 § Cox-Rearick (J.) The Drawings of Pontormo: A Catalogue Raisonné..., 2 vol., revised edition, New York, 1981 § Prange (Peter) & others. German Master Drawings from the Wolfgang Ratjen Collection 1580-1900, Washington D.C. & London, 2010, illustrations, some colour, original cloth or boards, all but the fourth with dust-jackets; and c.45 others on drawings, mostly Old Master, some catalogues, 4to & 8vo (c.50)

A good quantity of Postcards (approx. 220), Colour, black and white, sepia and white and including reproductions of Old Master paintings, architecture, equestrian, April 19th 1911 card from ''Cunarder at New York'', The Derry roof gardens, nude ladies, Raphael Tuck cards, French, German, etc., etc., together with a letter from White Star Line and White Star - Dominion Line Victualling Dept dated 21/10/25 refusing employment to a Mr. E.K. Bales with over-leaf a transcript of a curt reply: ''Sir I undoubtedly inform you that I will not at all patronize your steam ships as a passenger again, as after patronizing your best ships you refuse employment on your ships. Undoubtedly I would not at all complyment them any way and you want people to patronize your ships and you won't give them employment after patronizing your best ships for Heaven's sake. What do you think people are. Go home and get next to yourself'' and a book of gummed luggage Labels, (only one remaining).

OLD MASTER SCHOOL Soldiers on Horseback Joining a Battle Before a CastlePen and ink sketch, framed and glazed. 34 x 23 cm. CONDITION REPORTS: Fold lines to paper, some cockling, some foxing and staining, general wear.

BONNELL, James (1697-1774). A fine manuscript journal of travels in England between 10 August and [?]2 September 1717, titled: "An Account of a month's Travell Round the North West[sic] & South West of England from London to Oxford & Worcester & round to Chichester &c. In all Nine Citys. In a Continued Distance of 160 mile from London." 8vo (151 x 100mm). "Title" and 184-leaves, written in black ink on rectos only, with numerous blank leaves at the end interspersed with 18-pages of accounts relating to the tour. Bound in contemporary speckled calf (rubbed). Provenance: Harvey Bonnell (armorial bookplate); and thence by descent. A COLOURFUL ACCOUNT, PREVIOUSLY UNPUBLISHED, OF A YOUNG MAN'S TOUR FROM LONDON ACROSS THE WEST OF ENGLAND IN 1717. Taking in the attractions of Windsor, Oxford, Worcester, Gloucester, Bristol, Bath, Wells, Glastonbury, Salisbury, Winchester and Chichester, amongst many other places, the journal also provides detailed descriptions of the interiors and gardens of noteworthy houses along the way including Blenheim, Wilton and Dyrham Park; there are lively accounts of partying at Worcester and Bath, and numerous introductions and flirtations. In Henley: "... we had very good diversion with ye young Girls being for the most part of a very cheerfull disposition"; in Oxford, a service at the Cathedral "... was very indiferently performed, and the Church of a very indiferent structure"; Queen's College: "... is new and the fine Chapell not at this time finished"; in Worcester: "... a very genteel place and we had the fortune to be very well acquainted with all the best of ye city, as Miss Kitty Stevens, Fanny Paine, Sophia Sheldon, Molly Moore, 4 Miss Betsons, particularly pretty Miss [?]Ann, Sally Pansford, Sally Boostor, Miss Berkley, Miss Travil, Patty Carey di Twitty, Sicilia Twitty, wth. many others ... Memorandum - Mr Cooke, altho' I invited him to supper never asked me to drink a glass of wine. Memorandum - Mrs Cooke has a Beard, one inch long, all black ... we rose about Ten, I having not been very well"; on Bristol: "This City is the most dirty, noisy, drunken, ill-natured, homely place I ever met ... I think Wopin [ie Wapping] in London to most like it, tho' to its advantage"; in Bath, they hit the town: "... to ye Pump room, to prayers, walks, Dinner, Rafflin's room, & walks, & at Night, gaming room, & Ball, being Tuesdays, & Fridays. On Saturday evening we visited the Pump room & Walks so late yet no Company; we went to ye Billiard table, Hazard Table & Harrisons rooms, very full ..."; in Salisbury: "... after dinner we went to ye Master of St. Cross in a chariot for 5/ where Mr Thomas went to visit a Lady of his acquaintance, who made us very welcome, a dancing master being there, and the Children dancing - the Lady desire me to take out a Lady was visiting there, which I did, and danced a Minuet with her, and after that another ..." Meals en route are described in exhaustive detail; this, for example, at The Angel in Oxford (at the time the foremost coaching Inn of the city but demolished in 1876): "... we had this Night 2 Rabbits fricasied, with a Loin of Mutton, 2 fowls and half dozen tarts, and a handsome desart, 2 flasks of french wine, 1 of port, and a pint of Mountain with Lemons, etc"; and at Chichester: "... we had for Dinner at ye Upper end a noble Dish of Fish with Schrimps, & Oyster Sauce, at ye Bottom a Chine of Mutton - one one side some Pig, on tother, a most incomperable rich backed pudding, Pickles in ye middle - the first course ended, the table was a second time furnished with at ye Upper End, a Dish of Partridges, the lower end Artichokes, on one side Tarts, on tother Lobsters, these being taken away, ye next consisted of desert - in ye Middle Grapes - at upper end Nectralles, at lower, plumbs, in a row on one side Currants, & figs, tother Damsons & Peeches, being 7 dishes, from thence we went home ..." James Bonnell, who was about 19 and single when he kept this journal, was of Spring Gardens, Westminster. His sister, Sarah, left money in her will to found a school for poor girls in West Ham in 1769. 'The Sarah Bonnell School', one of the oldest schools for girls in England, still flourishes in Stratford, east London. Of James Bonnell's later life, not a great deal is known beyond some official records: he was Lord of the Manor of Purleigh, Essex, in 1759, and he purchased Pelling Place and adjoining land including Beaumont Lodge in Old Windsor, Berkshire. The Bonnell family memorial is in the Monoux chapel of St Mary's church, Walthamstow.

ELGAR, Edward, Sir (1857-1934). A series of eight autograph letters, signed, written between 28th October 1932 and 25th August 1933 to the soprano Doris Johnson. "BELIEVE ME TO BE YOUR SLAVE ALSO ..." THE GREAT COMPOSER, NEARING THE END OF HIS LIFE, ENTERS INTO A PLAYFUL AND AFFECTIONATE CORRESPONDENCE WITH THE SOPRANO DORIS JOHNSON. The subjects of the letters, which are newly-discovered and unpublished, include social arrangements, the composer's flight to Paris, trips to Manchester, a comment on a performance of his [?second] symphony from the Queen's Hall, views of Spain, and several references to Marco and Mina, his beloved dogs (one of the composer's last pieces, partly orchestrated on his deathbed in 1934, was 'Mina for Small Orchestra'). The letters comprise, in chronological order: 1) two-pages, 21-lines, on paper headed 'Marl Bank, Worcester,' dated "28th October 1932", stating, "My dear Miss Johnson: I've made a very quick journey to Worcester to send most hearty thanks for the kindest & sweetest hospitality I have ever experienced. Thank you sincerely for my kind care. Marco is very pleased with his [?]ball and sends his respects to [?]Sandy: to these please add my kind regards to your sisters and brother. My love to you and that marvellous dress, Believe me to be yours sincerely, Edward Elgar"; with the original envelope addressed, in Elgar's hand, to "Miss Doris Johnson, The Upper House, Barlaston, Stoke-on-Trent," postmarked Worcester, 4 Nov, 1932, and with Elgar's ("E.E.") black wax seal (broken) on verso; 2) one-page, 12-lines, on paper headed 'The Worcestershire Club, Worcester,' dated "8th November 1932," stating, "Dear Miss Johnson, Many thanks for the news of [illegible word] paragraph about the wireless. If you wish please come round to the Artists' room at Manchester, Yours very sincerely, Edward Elgar"; 3) one-page, on paper headed 'From Sir Edward Elgar, Bt., O.M., K.C.V.O., Master of the King's Musick; Lord Chamberlain's Office, St. James's Palace, London, S.W.1.', dated "Worcester, 23rd December, '32", stating, "Your Christmas greeting to Marco & his slave (me) is so charming that I must be allowed to send thanks for it, Believe me to be your slave also, Edward Elgar"; 4) one-page, 10-lines, on paper blind-stamped, 'Marl Bank, Worcester,' dated "16th January 1933," stating, "My dear Miss Johnson, it is most kind of you to think of luncheon but I have to travel from London to Manchester. I am looking forward very much to seeing you again. With kindest regards, from very sincerely, Edward Elgar"; 5) 2-pages, 22-lines, on paper headed "Marl Bank, Worcester," dated "29th January, 1933", stating, "I found, as I feared, a great accumulation [illegible words]. I hasten to send this thanks to you for making my journey to Manchester and back possible, and for converting what promised to be a dismal affair into a most pleasant expedition ... Marco & Mina, who are both well now, gave me a wild greeting - I wish their rabitting holiday were possible, with kindest regards to your [illegible word] and to you especially, yours very sincerely, Edward Elgar"; 6) 2-pages (small hole touching letters), 27-lines, on un-headed paper, dated "Worcester, 17th April, 1933," stating, "I was delighted and uplifted by your card which you most kindly sent from Spain. I hope you and your party had a very enjoyable tour. I always [illegible word] of Spain with the [illegible word] thought ... The next best thing is to hear from firends their experiences ... I hope your friend Sandy (is that right?) [illegible word] & welcoming ... on your return you will find England looking its best to greet you, with kindest regards & the dogs' love, in which I [?]just [?]live ..."; 7) 3-pages, on paper headed 'Marl Bank, Worcester', dated "11th June 1933," stating, "My dear Miss Johnson: It was most kind of you to write: I have been overwhelmed with silly business things & a vast accumulation of letters & I should have thanked you at once. I hope you are back & that you [illegible word] have the happiest memories of Spain ..."; 8) 2-pages, on paper headed 'Marl Bank, Worcester', dated "25th Aug 1933", stating, "... The summer has passed away without my having the opportunity to pay you the visit you so kindly suggested: it has been a wonderful time but I cannot stand heat & have had to rest occasionally. I fear your garden must be burnt as mine is, it is a wreck. I trust Sandy is back: my companions have been tolerably well & now the cooler weather has come are quite normal ... I hope you heard the Symphony last Thursday from Queen's Hall. I wish I hadn't conducted 'K. Olaf' again at Hanley, but I see no chance of getting near Stoke until I go to the Hallé concert in February ... Please give my kind regards to your sister & brother & some special ones to your self, Believe me to be, yours very sincerely, Edward Elgar." The eighth letter was apparently the last Elgar wrote to Doris Johnson. Inoperable bowel cancer was diagnosed in October 1933 and Elgar would die from it in February of the following year. Of Doris Johnson, little is known. She was born in 1889, making her 44 or 45-years-old when she received these letters (Elgar was 75 or 76). She lived at Upper House, Barlaston, in Staffordshire. The house was built in 1845 for Josiah Wedgwood's grandson Francis. This was fitting since Doris's father was Henry James Johnson, one of the four 'Johnson Brothers' who founded the pottery works of the same name and which later became part of Wedgwood. Doris was a soprano and a patron of the North Staffordshire Choral Society and it is very likely that she met Elgar through her involvement with this society. Throughout the letters the tension between formality ("Dear Miss Johnson") and deeper expressions of sentiment - a symptom, perhaps, as much of their times as the age difference between them - are probably more evident to a modern sensibility than they would have been to a contemporary one. Provenance: The letters were left by Doris to her friend Miss Elsie Thurston, and thence by descent to the present owner. Elsie Thurston, who was born in 1891, was a soprano tutor at the then Royal Manchester College of Music at the time Adolf Brodsky was the Principal, the latter being acquainted with Elgar. (8)

MADEIRA: LEACOCK'S OLD MALMSEY SOLERA, 1863, single bottle Provenance: From the Collection of a Master of Wine

ARISTOTLE'S MASTER-PIECEAristotle's Master-piece, or, The Secrets of Generation displayed in all the parts thereof, . Containing 1. The Signs of Barrenness. 2. The Way of Getting a Boy or Girl. 3. Of the Likeness of Children to Parents.... 5. Of Monstrous Births, and the reasons thereof.... 7. The Prejudice of unequal Matches.... 9. The Cause and Cure of Green-sickness. 10. A Discourse of Maiden-heads.... 12. Directions and Cautions to Midwifes... 14. The Fabrick of the Womb. 15. The Use and Action of the Genitals. 16 Signs of Conception, and whether of a Male or Female... 18. Instructions for Women with Child. 19. For preventing Miscarriage. 20. For Women in Child-bed. 21. Of ordering New-born Infants, and many other very useful Particulars. To which is added a Word of Advice to both Sexes in the Act of Copulation, and the Pictures of several Monstrous Births, woodcut frontispiece, title within rule border, 6 woodcut illustrations (that on the final leaf H12 a duplicate of the frontispiece image of 'a Maid all hairy, and an infant that was black by the imagination of their Parents'), small loss to blank inner margin of frontispiece, last leaf near detached, contemporary calf over pasteboards, worn with loss and old paper repairs, 12mo, Printed, and are to be Sold at the Hand and Scepter near Temple-Bar, 1702This lot is subject to the following lot symbols: •

A bottle of The Balvenie 12 year old single Malt Whisky. David Stewart signature, limited edition batch 1 released to celebrate 45 years in the business for David Steward (Malt Master)

Flemish school, after the Old Master, study of Coronation of a King with Arch Bishop and assembled dignitaries, unsigned watercolour, see label verso, 10.5cm x 7.5cm

A FABERGE DIAMOND AND GOLD BROOCH, BY WORKMASTER EDUARD SCHRAMM, ST PETERSBURG, CIRCA 1885The old brilliant-cut diamond weighing approximately 0.85ct at the centre of a diamond similarly-cut seven pointed star, within a frame of old cushion-shaped diamonds to a further frame of seed pearls, struck with maker's mark in Latin 'ES' for Fabergé work master Eduard Schramm, 56 zolotnik-gold standard for 14K gold, remaining diamonds approximately 2.00cts total, length 2.8cmReference: Encyclopaedia of Who’s Who in the House of Faberge by Will Lowes and Christel Ludewig McCanless, page 235The initials ES are stamped on the diamond and pearl star brooch. This piece is by the German workmaster Eduard Wilhelm Schramm, who married a Russian girl Elena Zacharova and qualified as a master goldsmith in 1874. He opened his own workshop that same year, but he remained an independent master throughout his life, collaborating with foremost jewellers in St Petersburg, among them Fabergé and Bolin. Schramm had an extraordinary talent, and was particularly skilful, mastering complex and intricate techniques. He also had his finger on the pulse of current styles, such as Art Nouveau and Japonisme, which he adapted with his personnel touch. He occasionally supplied gold cigarette cases and small gold objects, such as pill boxes and plates to Fabergé, often with a hammered finish. The impeccable detail and tightness of design of this beautiful brooch, illustrates Schramm’s talent as a master goldsmith. Another example of Schramm’s jewellery went up for auction in Sotheby’s ‘Russian Work of Art, Fabergé and Icons’ in London on 1st December 2015, Lot 413, a rare Faberge Jewelled Gold Brooch. The house of Fabergé is held in the highest of esteem in the world of jewellery, with the name being synonymous with the Imperial Fabergé Eggs created for the Russian Royal Family. Carl Fabergé acquired unrivalled skill as a goldsmith and his posthumous reputation continues to increase, the further we move from Fabergé’s fleeting decades between 1882 and 1917.The Russian revolution brought irrevocable change, with the communist regime became more and more insular and the eventual drop of the “Iron Curtain” on the outside world. Luxury businesses were redundant in this communist society, where basic survival was paramount and Fabergé with its obvious connections to the Court was one of the first to have its doors closed. With Soviet Russia sealed off from the rest of the world, Fabergé’s glory faded fast and few people remembered Carl’s genius and the remarkable business it fostered. There was a dearth of knowledge about Fabergé and his work alone was left to speak for itself, the witty animal carvings, the extraordinary jewellery and intricate Imperial Easter eggs became silent witnesses on their own account.The story begins in 1842 with Gustav Faberge establishing his own jewellery store on the main street of Bolshaya Morskaya, post apprenticeship with the notorous firm of Keibel, goldsmiths and jewellers to the Emperors of Russia. Peter Carl Fabergé (1846-1920), the eldest son of Gustav took over the business in 1882, the design-led artist-jeweller with a penchant for colour through both stones and reviving the lost art of enamelling, brought the firm to great heights, along with his brother Agathon.Carl studied at the Dresden Arts and Crafts School and frequently visited the Grünes Gewölbe (Green Vault) museum, home to largest collection of treasures in Europe. In 1864, at age 18 toured Europe where he studied under respected goldsmiths in Germany, France and England and took a course at Schloss’s Commercial College in Paris. Carl returned to St Petersburg in 1870 to help run his father’s business, that was being managed by a team headed by workmaster Peter Hiskias Pendin, who assumed the role of both tutor and mentor. He got involved with cataloguing, repairing and restoring masterpieces in the Court museum and he went on to restore and repair the 18th Century objects d’art in the Collection. This no doubt sowed the seeds in his mind for using past genre as inspiration for contemporary art. He married Augusta Jacobs in 1872 with whom he would go on to have four sons.Fabergé showcased their jewellery at the Pan-Russian Exhibition in Moscow, this was a serendipitous occasion for the house, as it marked the beginning of a relationship with the royal family. The Tzar was very impressed with the quality and artistry of the jewels, and commissioned Fabergé to create an ornate Easter egg for his wife Maria Feodorovna. This was the first of 50 Imperial Easter eggs that Fabergé would create for the Romanovs and these same eggs continue to fascinate and inspire today. Fabergé were granted the Royal Warrant soon after and given the title ‘goldsmith by special appointment to the Imperial Crown’. Faberge’s international reputation was secured in 1900 at the Exposition Universelle in Paris , the overwhelming success of this event led to commissions from Edward VII and other European royals. The business was rapidly expanding and by 1900 Carl had about 500 people employed and was running the country’s largest jewellery firm, making a wealth of objects and jewels.The firm's success continued until the 1917 Revolution and despite the tragic circumstances surrounding the demise of the firm, the name Fabergé lives on and remains as revered today as it was in the 19th and early 20th centuries. Fabergé’s success stands as a testament to the exceptional talents of a vast team, including master goldsmiths and silversmiths, who were guided by the uncompromising and remarkable leadership of Carl Fabergé. Carl had a keen eye for skill and talent, he gave said craftsmen the opportunity to set up independent workshops to supply the expanding Fabergé business. These craftsmen hailed from regions not too far from St Petersburg, coming from poor families the thriving metropolis offered the opportunity for employment and advancement. They signed on as apprentices, and through hard work and resilience they qualified as master goldsmiths and silversmiths, experts in their field, necessary to meet the exacting requirements demanded of Carl Fabergé. The initials of the craftsmen were stamped on Fabergé pieces, allowing their skills be recorded in the annals of gold smithery.

A FINE FABERGE SAPPHIRE AND DIAMOND BROOCH, ST PETERSBURG, CIRCA 1885Of floral design, the elegant branch highlighted with an old cushion-shaped diamond to further rose-cut diamond accents and terminals, suspending five graduated oval-shaped cabochon sapphires within collet-setting, each within an old single-cut diamond surmount, mounted in gold, with town mark for 'St Petersburg', struck with maker's mark in Cyrillic 'M and ' (mark is rubbed) and attributed to one of the senior work master of the House of Fabergé 'Mikhail Perkhin', with scratched inventory number 517**, within its original fitted case and signed in gold 'K.Fabergé' in Cyrillic, length 4.9cmProvenance: ***** Waiting for email from client *********Reference: Encyclopedia of Who’s Who in the House of Faberge by Will Lowes and Christel Ludewig McCanless, page 227This piece is attributed to senior workmaster Mikhail Evlampievich Perkhin, a self-taught goldsmith who learned his trade from rural craftsmen in the Olonets province. Of peasant stock, he moved to St Petersburg as a young boy, took an apprenticeship at Fabergé’s St Petersburg headquarters and quickly rose through the ranks of the workshop, becoming senior workmaster in 1886. Perkhin was responsible for more than half of the Tsar Imperial Easter eggs and the best of Fabergé’s gold objects were produced in his workshop. He helped Carl and Agathon expand the business, to include new techniques and inventions such as transparent enamel and varicoloured gold, hardstone animals and flowers. One of Fabergé’s most treasured pieces the Balletta vase, named after the Russian prima ballerina Elizabet Balletta, came from Perkhin’s workshop. ProvenanceThe brooch of floral design was a gift from Frederick James Merrilees, who served as guardian to a young girl brought up as a companion to the Merrilees’s only daughter. The Merrilees were very generous to their daughter’s companion and she lived an extremely privileged life in their care in England, from the age of 8 to 18 years. This brooch was consigned by the granddaughter of the female companion. Frederick James Merrilees (sometimes spelled Mirrielees) was born in Russia of a Scottish father, Archibald Mirrielees (1797 - 1877), who arrived in St Petersburg and founded ‘Muir and Mirrielees’ Trading Company in 1857. Prior to his partnership with Andrew Muir, Archibald had been resident in St Petersburg from 1822 and in 1843 he established his own company, which was one of the most significant Anglo-Russian merchant houses. In the 1880’s ‘Muir and Mirrielees’ moved to Moscow, the impressive new premises was designed by the famous Russian architect Roman Klein. It was the first and largest department store in the last days of the Russian Empire and offered everything the Muscovites could wish for, satisfying not only the rich and high society, but also middle-class customers. The company was Nationalised during the Russian revolution and was renamed TsUM after 1922. The Merrilees had access to the very best of Russian jewellery and the delicate floral brooch is a tribute to the outstanding workmaster Perkhin, who left an impressive legacy of Fabergé pieces.

ƟBook of Hours, Use of Paris, in Latin, illuminated manuscript on parchment [northern France (doubtless Paris), c. 1450]204 leaves, collation impracticable, wanting a single leaf (once with a miniature), else complete, written in two sizes of script in single column of 14 lines of lettre bâtarde (ruled in burgundy, and with Calendar in red, liquid gold and blue), capitals touched in pale yellow wash, dark burgundy rubrics, one-line initials in blue or liquid gold with penwork in contrasting colour, larger initials in blue heightened in white, enclosing swirls of coloured foliage and on burnished gold grounds, most pages with decorated border panels of coloured and gilt acanthus leaves and stylised foliage terminating in leaves and seedpods, Calendar with each leaf decorated with decorated border panels and roundels in bas-de-page with zodiac symbols and monthly occupations set within borders of loosely intertwined coloured vines and coloured foliage (the interstitial spaces between these vines filled with gold in style reminiscent of work of the Bedford Master), twenty-four small arch topped miniatures set within gold frames and with three-quarter decorated borders of foliage as before, five three-quarter page miniatures set within gold frames, with thick gold frames with coloured foliage surrounding text, all within a full decorated border of foliage as before, all growing from green pastures at foot of bas-de-page (many with trees set in corners), the foliage enclosing birds and on one leaf a phoenix rising from the ashes of a fire and an erased coat of arms suspended from a tree and supported by two hairy wildwomen sitting within a wickerwork enclosure, some chipping to a few miniatures and small thumbing in a few places, a few leaves with slight cockling, else good condition, 118 by 86mm.; eighteenth-century morocco over pasteboards, gilt tooled with arms of Prondre de Guermantes below a ducal coronet and supported by lions rampant on both boards (see below), and gilt spine with monogram formed from initials PP beneath coronets in each compartment with floral stamps, title gilt: Heures set within hearts, gilt edges, splits at edges of boards and small losses from edges (especially foot of spine), but overall solid in binding, in card dropboxProvenance: 1. Written and illuminated in Paris around the year 1440: note the prominence of St. Geneviève (the patron saint of the city) in gold on 3 January in the Calendar. The original patron appears in the miniature accompanying the prayer Ave alius conceptio, on fol. 174r, fashionably dressed and with a sword, kneeling in devotion before the Virgin and Child with this book open before him, his coat-of-arms (erased by a later owner), surmounted by a helm and a phoenix, hanging in a tree in the border, supported by hairy wildwomen within a withy enclosure.2. Paulin Prondre de Guermantes et de Bussy (1650-1723), seigneur de Guermantes, Conseiller secrétaire du roi, receiver general for Lyons, president of the Chambre des comptes in Paris and celebrated French bibliophile: in his gilt armorial binding, and perhaps with his pen 'No 4862'. At the opening of the eighteenth century, he reconstructed the palace at Guermantes to the immediate west of Paris, and among other collections housed his vast library there. His dynastic line went extinct in 1805, and the contents of the house were widely dispersed.3. Hannah Eliza Roscoe (née Caldwell; 1785-1854), received as a gift from her famous father-in-law, W. Roscoe (1753-1831), the prominent abolitionist of the slave trade, art collector, writer on Lorenzo de Medici and briefly MP for Liverpool, whose remaining book collection (including a Shakespeare First Folio, two block books, printing by Gutenberg, Furst & Schoeffer and Sweynhem & Pannartz, and a small collection of manuscripts) was sold by Winstanley of Liverpool on 19 August 1816. Her inscription to front endleaf records that the gift was made on the occasion of her marriage in 1818 (to Roscoe's eldest son William Stanley), as well as noting that she wrote the inscription in 1851 when she was 65 years old. The date 1819 28 Mai added in her hand at the end of text.4. Thereafter in the English-speaking trade, with notes on contents added in English by mid-twentieth-century hand to first endleaf.Text and illumination: The book comprises: a Calendar (fol. 1r); the Gospel Readings (fol. 14r); the Obsecro te and O intemerata (fol. 22r); the Hours of the Virgin, with Matins (fol. 33r), Lauds (fol. 59v), Prime (fol. 71r), Terce (fol. 76r), Sext (fol. 80r), Nones (fol. 84r), Vespers (fol. 88r) and Compline (fol. 92r); the Seven Penitential Psalms, ending with a Litany and prayers (fol. 98r; wanting first leaf with large miniature); the Hours of the Cross (fol. 117r); the Hours of the Holy Spirit (fol. 126r); the Office of the Dead (fol. 130r); followed by the Suffrages to the Saints, including a number of masses and prayers.Despite the selection of small miniatures to open the Hours of the Virgin (an apparent attempt to economise on the commission) this volume has an impressive array of decoration. In addition to the Calendar with its twenty-four marginal miniatures, the book has twenty-seven small miniatures and five large miniatures, all by a skilled artist who worked in Paris in the years after the 1420s and 1430s. There is much here from the early decades of the fifteenth century, including the trees set on grassy mounds at the corners of the bas-de-page of some miniatures, as well as the intertwined frames of the roundels of the Calendar with their interstitial spaces filled with gold, which echo those of the Bedford Master, and the tall and angular stylised flowers in the bas-de-page of some of the large miniatures, which are close to the work of the Dunois Master (see F. Avril & N. Reynaud Les Manuscrits à Peintures en France, 1140-1520, p.37). Some of these features were reborn in the midpoint of the fifteenth century in the work of the Maître Francois and the Maître de Rambures, and our artist's human figures, with their oval faces, drooping noses and eyes formed by black dots hanging down from single-stroke eyelids, are of that period.The larger miniatures comprise: fol. 33r: the Annunciation to the Virgin, with small birds and a peacock in margin; fol. 117r: the Kiss of Judas, with flying birds in margin; fol. 126r: Pentecost, with small birds in margin; fol. 130r: Judgement Day, with birds in margin; fol. 174r: the owner kneeling before the Virgin and Child surrounded by angels, a peacock, a phoenix and arms supported by wildwomen in margin. The smaller miniatures comprise: (i) John writing his scroll; (ii) Luke writing; (iii) Matthew writing; (iv) Mark seated at his writing desk; (v) the Virgin and Child adored by angels; (vi) the Pietà; (vii) the Visitation of the Virgin to St. Anne; (viii) the Nativity; (ix) Annunciation to the Shepherds; (x) the Visitation of the Magi; (xi) the Presentation in the Temple; (xii) the Flight into Egypt; (xiii) the Virgin being crowned by God; (xiv) Christ before Pilate; (xv) Christ being nailed to the Cross; (xvi) the Raising of the Cross; (xvii) Golgotha; (xviii) the Deposition from the Cross; (xix) the Entombment of Christ; (xx) the Trinity; (xxi) the Scourging of Christ; (xxii) a Pope kneeling before an apparition of Christ; (xxiii) the Cross, with smalls birds and a peacock in border; (xxiv) St. John the Baptist; (xxv) St. Christopher; (xxvi) St. Sebastian; (xxvii) St. Michael. Ɵ indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  Please see our Terms & Conditions for more information.

A French porcelain plaque signed Binet and dated 1834, finely painted with figures and animals crossing a stream after an Old Master painting, unframed 19.5 x 16cmThe signature is most likely that of Victor-Dominique-Francois Binet, who participated in several Paris salons with paintings on porcelain from the 1820s.

BALTHASAR DENNER (1685-1749) OIL ON PANEL, PORTRAIT OF AN ELDERLY GENTLEMAN, POSSIBLY A SELF PORTRAIT, APPROX. 39 X 32 cm IN GOOD QUALITY DECORATIVE FRAME, EX SOTHEBY OLD MASTER PAINTING SALE, OCTOBER 1992, WITH CATALOGUE

Four Royal Doulton figures - Lunchtime, The Old Balloon Seller, Silks & Ribbons and The Master

An Interesting Victorian 'Grand Tour' Photograph Album. 29 pages 220x230cm contains around 120 CDV size images. Subjects vary from mountains to Venice and Old Master works of art. Several cards marked AD. Braun, probably French photographer Adolphe Braun (1812-1877) who amongst other subjects, was famous for his high quality mountain scenes. Please note that these images are difficult to reproduce precisely on-screen and will be dependent on your device settings so viewing in person is to be recommended. (BW).

Old master prints.- Badalocchio (Sisto, 1581-1647) Two prints after frescoes by Correggio, from a series of six, etchings on laid paper with armorial device containing three mounds, each sheet approx. 275 x 210 mm. (10 3/4 x 8 1/4 in), handling creases, small nicks, unframed, [1605-1620]; together with a good group of twenty old master prints, including floating putto holding symbols of war by Samuel Bottschildt (1641-1707), and others after Hendrik Goltzius, Frans Floris, Hendrick van Cleve, Perino del Vaga, three published by Antonio Salamanca, and others, etchings and engravings, various sizes, largest 320 x 200 mm. (12 1/2 x 7 7/8 in), some handling creases, minor nicks and tears, all unframed, mainly 16th to18th century (22)

Old master prints.- Hollar (Wenceslaus, 1607-1677) A Turkish man shown half-length, etching on laid paper without watermark, sheet 82 x 65 mm. (3 1/4 x 2 1/2 in), trimmed to or just within the platemark, minor surface dirt, unframed, 1645; together with four other etchings by Hollar, including one from the series of 'Women's heads framed in roundels', possibly Mary Villiers, Duchess of Lennox and Richmond, 1622-1685, another of The Right Honoble: Robert Earle of Warwick, standnig full-length, and two impressions of the Portrait of Alexander Henderson, etchings, all but one of the 'Henderson's' on laid paper, various sizes, all unframed, circa 1641-1645 (5)Provenance:[last three mentioned] George Ambrose Cardew [L. 1134]

Bernaert de Bridt (Flemish, fl. 1688-1722), Still life of hung hare and other game; Still life of hung duck and other game, a pair, the first signed 'B de Bridt' (centre left), the second signed 'B de Brid fc' (centre right) oil on canvas, each 85 x 68cm, (2).Provenance:Lot 267, Old Master Paintings Sale, Sotheby's, London, 9th July 1998.Illustrated

17th Century Spanish Colonial school - Oil painting - "Saint Michael Vanquishing the Devil", canvas 18ins x 14.25ins, in grained and moulded Dutch style frame Provenance: Sotheby's - Old Master Paintings - Tuesday, 19th April 2005 - lot 214

VARIOUS PICTURES AND PRINTS, to include Linda Jane Smith (British Contemporary), a still life study of sewing accoutrements, initialled lower right, gouache/watercolour, Halcyon Gallery label verso, circular mount, framed and glazed, approximate size 5cm diameter, David Koster (British 1926), a pair of eagle owls, limited edition print 61/75, signed in pencil bottom right, framed and glazed, approximate size 54cm x 74cm and a group of prints etc to include book plate prints, vintage advertising prints for perfumes, old master reproduction prints, Itzchak Tarkay prints, framed wool work picture etc

Jones (David [pseud. Dai Greatcoat], painter and poet, 1895-1974) 14 Autograph Letters signed (13 to Morag and 1 to Richard), annotated in several colours, together 37pp., folio & 4to, Harrow, 19th September 1952 - 6th January 1968, on a variety of subjects, including: the BBC broadcast of Jones' epic poem, The Anathemata, "Yes, all the music is settled for the B.B.C. version of Ana as they are doing it at 9 P.M. on Tuesday May 5th with a repeat on... May 7th * The cast... is in this weeks Radio Times [produced by Douglas Cleverdon and with Dylan Thomas in the cast as a Welsh speaker]... I've no idea what it will sound like... But they've taken a lot of trouble over it", academia, "Do you know that jolly nice joke about the text in one of Paul's epistles reading 'Know ye not that they which men in a race run all, but one receiveth the prize?' The suggested alternative is 'they which run in a race run, all but one receiveth the prize.' Typical childish don's jest, but it never ceases to amuse me", his artwork, "I'm trying to do a watercolour drawing of daffadills & other stuff in... inevitable glass goblet - very complicated drawing & it has not come to life yet", detailed expositions on Celtic and Anglo-Saxon history, "... touching Urien Rheged & his son Owein & Coel Hên... . So when some Saxon chap heard... that such a... wooded place was called by the Romano-Britons Ced, he took it for a place-name & called it Ced-wudu and this became Chetwood", and his knowledge of Welsh, "I don't really know any more Welsh than as you say of yourself. I wish I did, but I'm too old now to master it, however hard I try", with 2 painted inscriptions and a pencil drawing of a young woman in profile, folds, some small tears along folds at edges, slightly creased edges; and a small quantity of ephemera by or relating to David Jones, including: 2 Autograph notes signed to Morag from Jones on verso of photographs of Jones works, 4th January 1960 & 22nd December 1961, "The Latin bit of the main inscription is what the priest says when he's censing the altar at the Offertory at Mass: 'May the Lord kindle in us the fire of his love and the flame of eternal charity'"; 1 painted inscription and 1 pen and ink inscription; and 3 cards signed (2 photographs of painted inscriptions), v.s., v.d. (sm. qty).⁂ Provenance: By descent in the family.

Jusepe (Giuseppe) de Ribera, school of (Spanish, 1591-1652) Old Master, 17th Century or later Portrait of an Apostle, Prophet Oil on canvas Canvas: 33 3/4 in. x 27 1/2 in.; Frame: 40 1/4 in. x 34 1/4 in. Condition: Good to fair condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Purchased from Kunsthandlung Karl Loescher, Anton Janczy, Wien, Austria on July 28th, 1966; John and Johanna Bass Collection; Bass Museum of Art after 1979. Literature: The John and Johanna Bass Collection, Miami Beach, FL 1973, no. 219. Museum Inventory No. 1979.219 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Old Master Style (European, 19th Century) Dying Angel on Wheat Flanked by Cherubs Oil On Canvas Canvas: 24 in. x 36 in.; Frame: 27 1/2 in. x 39 1/2 in. Condition: Good to fair condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com. Provenance: Property from a Miami Estate Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Style Of Old Master (European, 19th Century) Battle Scene with Roman or Greek Warriors Oil On Canvas Canvas: 32 1/2 in. x 40 in. Condition: Poor overall condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Property from a Miami Estate Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic & International buyers. Purchaser pick up available upon request.

A collection of printsOf Old Master red chalk drawings 18th - 19th century subjects including figure studies and rural family sceneslargest 52 x 35.5cm (20 1/2 x 14in). (10)

A GERMAN SILVER-GILT DISH, MASTER OF THE 'B & ANCHOR' MARK, PROBABLY HANAU, THIRD QUARTER 19TH CENTURY in Renaissance style, oval, relief chased in fine detail with the 'Judgement of Paris', the rim also richly chased with fruits and foliage interrupted by four heads, pseudo marks of a B and anchor conjoined, an animal's head facing, a fruit and an eagle displayed 26cm, 272gr (8oz) A number of fine 'Historismus' style pieces bearing this mark have been recorded, but sadly the maker remains unidentified. He was clearly working to fulfill an expanding market for old silver. W.H Singer in The Art Journal of 1880, pp. 313/314, records 'it is curious that at the present time Germany is the country where are produced nearly all the forgeries of old silver work, such as ewers and hanaps (Old French for a cup) with which the London shops and salerooms are filled...'. See the exhibition catalogue 'Macht & Pracht, Europas Glanz im 19. Jahrhundert', 2006, p.264, dedicated to German 19th century decorative arts in earlier styles, where a table centrepiece by the B and anchor maker and stamped with an 'N' mark is ascribed to the firm of Neresheimer of Hanau. This may well be an incorrect attribution, since the B and anchor maker would appear to have been working considerably earlier in the 19th century than Neresheimer. For a magnificent parcel-gilt and enamelled cup and cover with the same marks as this dish, see Sotheby's, London, 1 November 2017, lot 842.

SET OF SIX REGENCY EBONISED AND PARCEL GILT ARMCHAIRS BY JOHN GEE EARLY 19TH CENTURY the scroll caned panel backs above caned seats with loose pads flanked by scrolled arms with baluster supports, raised on tapered ring turned legs, stamped on the seat rail GEE (Dimensions: 56cm wide, 84cm high, 44cm deep) (Qty: (6))(56cm wide, 84cm high, 44cm deep)Footnote: Provenance: Ex. Tickerage Mill, the home of Vivien Leigh following her divorce from Sir Lawrence Olivier. Purchased Bonham's, Period Design , London, 21st April 2015, lot 287. Note: John Gee (active c.1779-1824) is listed as a chairmaker and turner. In about 1779 he replaced Thomas Ayliffe as partner to Benjamin Crompton, who had been Turner in Ordinary to George III since 1762. Gee is also included in the list of master cabinet makers attached to Sheraton's Cabinet Dictionary, 1803, with the last directory listing for him in 1823–24. An example of Gee's work is included in the Royal Collection.Condition report: Scratches, marks and knocks consistent with age and use. Old chips and splits, with some losses. Some minor movement and opening of joints. Some wear to decoration. Four chairs with replaced caning to seats.

After James Basire, old master style print of four figures, pl.24 x 22cm.

RAILWAY POSTCARDS & BOOKS 1 album including various railway locomotive postcards, Tees Tyne Pullman, Heart of Midlothian, The Queen of Scots, Flying Scotsman, Talisman, Mallard, Kentish Belle, Man of Kent, King Richard III, The Master Cutler, and many more. 2nd album with some Railway postcards, steam engines, trams, and other postcards (Worthing, Isle of Man, Royal Garrison Artillery, Barnet, Lincoln etc), and also with some Railway books and old timetable booklets (1940's, 50's etc).

C. A. BEUMERS1860 - 1928Emerald-Diamond-Ring. Germany, ca. 1920. Platinum, total weight: 3,5g. EU-RM: 52. 2 diamonds in old-cut in total ca. 0,3ct K-L/ P, 1 emerald in emerald-cut ca. 0,6ct.Master mark EK. Draft sketch available as copy. Company C.A. Beumers - Jeweller of the Rich and the Beautiful. Explanations to the CatalogueC. A. Beumers Germany 19th/20th C. Jewellery 1920s Ring Platinum Emerald GermanyC. A. BEUMERS1860 - 1928Smaragd-Diamant-Ring. Deutschland, um 1920. Platin, Gesamtgewicht: 3,5g. EU-RM: 52. 2 Diamanten im Altschliff zus. ca. 0,3ct K-L/ P, 1 Smaragd im Emerald-Cut ca. 0,6ct.Meisterpunze EK. Entwurfsskizze als Kopie vorliegend. Firma C.A. Beumers - Juwelier der Reichen und Schönen. Erläuterungen zum KatalogC. A. Beumers Deutschland 19./20. Jh. Schmuck 1920er Ring Platin Smaragd Deutschland- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium

SECTION 21. Six Royal Doulton figures including 'The Wardrobe Mistress HN 2145', 'Flora HN 2349', 'Old Mother Hubbard HN 2314', 'Lunchtime HN 2485', 'Silks and Ribbons HN 2017' and 'The Master HN 2325'

Sale Item: 750 ML DUNHILL OLD MASTER 43% VOL- BOX DAMAGED (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%

CLASSICALLY STYLED CANVAS PRINT after The Old Master depicting a young courting couple, 54 x 41cms, in a fancy gilt frame

Japanese 19th Century Nice Quality and Finely Carved Ivory Miniature Figure - depicting a wise old man on horseback with attendant. Signed by Master Craftsman to base of figure. Height 1.75 inches - 4.40 cm. Excellent condition.

Scrap Albums. Three Victorian scrap albums, early - mid 19th century, one album containing engravings and lithographs of topographical views, religious subjects, natural history, portraits, genre scenes and costume, a few leaves excised, all edges gilt, contemporary inlaid blue gilt morocco, slight wear to extremities, small 4to, the second album containing lithographs with contemporary hand colouring of genre scenes, topographical views and natural history, a few leaves and images excised, all edges gilt, contemporary brown morocco gilt, worn, 4to, with a third album containing uncoloured etchings of classical and genre scenes, portraits and 'old master' prints with examples by or after Blyth, Townsend, Schoff and Van den Wyngaerde, contemporary half calf gilt, worn and stained, upper board near detached, slim 4to (Qty: 3)

Gilt metal hard cased evening bag with diamante detail to the clasp, a beaded evening bag, a gold leather bag with two handles, labelled 'Waldy Bag' with faux-pearls to the twist fix, a black velvet bag with gilt reeded frame and glass detail, a 1950's vintage satin bag printed with an Old Master, possible Watteau and two Indian heavily embroidered evening bags (7) Condition Reportthe silk pictorial bag has slight scratches on the picture, the others no obvious faults

A GROUP OF PRINTS etc to include book plate prints, vintage advertising prints for perfumes, old master reproduction prints, Itzchak Tarkay prints, framed wool work picture etc (one box and loose)

18th Century Continental Old Master School. Oil on Canvas. “Portrait of a Lady”. Measures 47cm x 62.Condition Report – Painting has craquelure but paint is stable. Has been re-lined. 

After Dutch Old Master, oil on board, Study of a child, 14 x 11cm

17TH CENTURY FLEMISH OLD MASTER AFTER JAN BRUEGHEL THE ELDER (FLEMISH 1568-1625) Harbor Scene, oil on panel 41.3 x 62.5 cm (16 1/4 x 24 5/8 in.)

NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876) Girl on a Swing, oil on panel 47.3 x 36 cm (18 5/8 x 14 1/8 in.) signed on an old label on verso We are grateful to Michael Klaa for confirming the authenticity of this work. This painting will be included in the Catalogue Raisonne prepared by him Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career, he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.

18TH CENTURY ITALIAN OLD MASTER The Annunciation, oil on panel 94 x 69 cm (37 x 27 1/8 in.)

CAMPBELL MALCOLM: (1885-1948) British racing motorist. Major Campbell held the world speed record on land and on water in the 1920s and 30s using vehicles called Blue Bird. Short T.L.S., `M. Campbell´, one page, 5 x 5.5 page, London, 31st March 1932, on the Old Bond Street House printed stationery, to Master P. M. Gosse. The letter bears a 2.5 x 1.5 photograph attractively affixed, the image showing Campbell in a head and shoulders pose, on his Blue Bird, wearing his racing helmet and glasses. Campbell thanks his correspondent for his letter and sends his autograph and photograph. A good bold fountain pen ink signature. Remnants of former affixing to the verso. Overall age wear, otherwise G £80-100

FRANCIS II: (1768-1835) Last Holy Roman Emperor 1792-1806, who dissolved the Holy Roman Empire after the defeat against Napoleon at Austerlitz. Founder of the Austrian Empire, ruling from 1804 to 1835 as Francis I, first Emperor of Austria. An excellent and cleanly written A.L.S., `Le tres affectionné frere et neveu - François´, one page, 4to, Vienna, 1st of July 1794, to Prince Albert of Saxony, in French. Francis II, in his capacity as Holy Roman Emperor, sends a close letter to his uncle reporting on the birth of his child, stating `..by announcing to Your Royal Highness that the Empress, my very dear spouse, has given birth to an Archduchess, I flatter myself knowing that Y.R.H will share the satisfaction that I feel for such a joyful event..´ With blank integral leaf. Very small repair to the verso and fold, otherwise VG £1000-1500 Prince Albert Casimir August of Saxony (1738-1822) Duke of Teschen. Son of King Augustus III of Poland. His spouse Archduchess Marie Christine was the sister of Holy Roman Emperor Leopold II, father of Francis II. Prince Albert was a notorious Art collector, founder of the Albertina in Vienna, with the largest collection of old master prints and drawings in the world.On 8th June 1794 Empress Maria Theresa of Naples gave birth to Archduchess Marie Caroline who died nine months later in childhood on 16th March 1795.

DUCHESS OF MONTPENSIER: (1627-1693) Anne Marie Louise d´Orleans, known as "La Grande Mademoiselle". Grand-daughter of King Henri IV and first cousin of King Louis XIV, she is one of the greatest heiresses in history. Anne Marie died unmarried and childless. Rare L.S., `Anne Marie Louise d´Orleans´, one page, oblong 15 x 11 parchment, Paris, 21st April 1690, in old French. The letter is a request to the King referring to the appointment, according to the report received, of the `..Master of the Waters and Forests of our Duchy..´, stating `We very humbly beg His Majesty that according to the present appointment and presentation, He will order that all letters of provisioning and supplies will be given to Pierre Beaupoil..´ With two small holes to the upper border only affecting one word. Overall age wear and staining, with one ink stain only affecting to the first letter of first name of the Duchess. G £400-600The Duchess of Montpensier left her vast fortune to her cousin Philippe of France. She received proposals from various members of European ruling families, including Charles II of England. She eventually fell in love with the courtier, Antoine Nompar de Caumont and scandalized the court of France when she asked King Louis XIV for permission to marry him. She is best remembered for her Memoires and for her role in the Fronde, bringing the famous composer Lully to the king's court.

Continental School (18th century), after an Old Master, a pair of roundels, of merrymaking rustics in Italianate landscapes, monochrome engravings, 43.5cm diam, contemporaneous circular gilt frames, 50.5cm diam (2)

H M of GB boxed Hunting Series Master of Foxhounds Old Squire Young Ms Pankhurst and 'Drink Ma'am', all VG near mint in boxes, (4 sets),

Two Old Master type prints contained in gilt frames

17th C. European School Old Master Painting of Two Figures in a landscape. Oil on canvas. Likely original canvas and stretcher. Appears to be unsigned. Sight Size: 15 x 21.5 in. Overall Size: 20.75 x 27.5 in.

European School, Old Master Style Figural Drawing. Mixed media/paper. Sight Size: 8.75 x 12.75 in. Overall Size: 12.5 x 18 in. Framed behind glass.

1970 MG Midget, 1293 cc. Registration number ARR 183H. Chassis number GAN5/ 80533 G. Engine number see text. Back in the 1920's, the M-Type Midget had been developed from the baby Morris Minor. The result was a basic, cheap, fun two-seater, with sporting pretensions which triggered a whole dynasty of Midgets. It was the Midget series which had established MG as a manufacturer of sports cars with an excellent reputation in motor sport. In the late 1950's, yet another basic, cheap, fun two-seater was developed from a 'baby' car. This time, the more modern equivalent of the old Austin Seven was used, the A30/35. This new two-seater car was the Austin-Healey Sprite, (Frog Eye) which appeared in 1959 and was built at Abingdon. In 1961, the bodywork of the Sprite came in for a major restyling. The central cockpit portion remained essentially the same, but the front and rear bodywork was completely restyled to give the car a more conventional squared-off appearance. The engine and running gear was essentially the same as the earlier Sprite, but output was up to around 47bhp, which led to increases in performance also. In this form, the car was known as the Austin-Healey Sprite Mark II, but shortly after, a De Luxe version was announced. It had been re-badged to become known as the MG Midget. The new Midget was to find a ready and enthusiastic market among the dedicated MG fans, as it was a sports car with all the traditional MG characteristics - small, inexpensive, fast, and safe with predictable handling. The MG Midget Mk 3 was introduced in 1966, with a 1275 cc engine. The hydraulic system gained a separate master cylinder for the clutch. The hood was now permanently attached to the car, with an improved mechanism making it much easier to use, and minor facelift changes were made to the body trim in late 1969 with the sills painted black, a revised recessed black grille, and squared off taillights as on the MGB. The 13" "Rostyle" wheels were standardized, but wire-spoked ones remained an option. ARR, offered in Flame Red, was first registered on the 3rd March 1970 and according to letters on file was bought by Terence Powers of Leicester in 1971. In the late 1970's he began preparing it for Concours Competitions including MGOC 1980 Donnington Park (first in class), ditto 1981 where he also competed at Brands Hatch, Woolaston Park, Elvaston Castle, Ashby Hall (all first in class) and finally Car of the year at the South Leics annual awards as well as front cover of Practical Classics magazine June 1981. The offside front wing was damaged in February 1982 and a new one replaced it (see letter on file). Always garaged and pampered in September 2003 it received an Oselli Stage 2, 1293 cc exchange engine; this increased the HP to 95 and the engine will rev to 7,500 RPM with a balanced and lightened flywheel, big valve head and twin SU 1 1/2" carbs, from the original 64 HP and 5,800 RPM. In 2010 the MOT mileage was 48,584 and in 2013 he sold it to Paul Pender at 48,759 miles. In August 2015 he sold it to our vendor with a mileage of 48,834. In 2017 he fitted drilled and crossed front discs and polybushed it, the mileage rose to 49,762 but has been SORNed since due to our vendors bad back. Sold with the V5C, V5, a large history file and the Practical Classic magazine. The cataloguer can confirm that this is no ordinary Midget!

Pencil/pastel portrait of an old master bearded man with text

AN OLD MASTER STYLE SKETCH OF CHERUBS, ink on paper, unframed. 7.5ins x 9.25ins.