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A FOLIO OF OLD MASTER DRAWINGS INCLUDING A COPY AFTER DOMENICHINO'S DESIGN FOR THE FRESCO OF THE ORATORIA DI SANT'ANDRE AL CELIO, ROME (cover lot)sold together with works variously in the Manner of Pietro de Angelis, the manner of Filippo Lauri, and by the Roman School (18th Century) Cover lot: pen & ink with sepia washCover lot: 26.0 x 42.5cm / 10 1/4 x 16 3/4in  Item (ii) - Italian School (18th Century) - Martyrdom of a Female Saint - pen & sepia ink, with sepia wash on paper - 17.5 x 25.2cm - bears inscription verso, Giulio RomanoItem (iii) Manner of Pietro di Angelis - A Sketch of or Design for and Altarpiece - numbered l.r. 75 - pencil on paper - with Angouleme Watermark of Fleur de Lys with paper-maker's initials - 23.2 x 15.3cm Item (iv) Manner of Pietro di Angelis - A Startled Traveller in a Wood -numbered l.r. 30 - pen & ink with wash - with paper-marker's initials countemarle watermark - 17.3 x 20.3cmItem (v) Roman School or possibly English Hand in Rome (18th century) - Apollo and Dapne - numbered l.r. 16 - pencil on paper - 22.1 x 26.6cmItem (vi) Manner of Filippo Lauri - Triumph of Bacchus - indistinctly numbered l.r. 25[?] - pen & ink with sepia wash - with paper-marker's initials countemarle watermark - 24.0 x 37.0cmItem (vii) Manner of Pietro di Angelis - The Pantheon - numbered l.r. 15 - pen & ink with grey wash - with Britannia watermark - 26.1 x 33.5 All unframed (7)

AFTER JOSEPH MALLORD WILLIAM TURNER, R.A. TWO VIEWS OF THE ROYAL BARGE AT VIRGINIA WATER oil on panel Both: 20.0 x 30.0cm / 7 3/4 x 12in These two scenes are derived from J.M.W. Turner's etchings of 1830. Turner had painted a watercolour in c.1828-29 of the first of the pair (sold in the Old Master Paintings Evening Sale, Sotheby's, London, 08.07.2009, Lot 48) . It depicts the lake at Virginia Water, seen from the East, looking towards the Chinese pavilion. The Royal Barge is flying the Royal Standard, indicating that George IV is on board. The buoy seen in the latter work is decorated with the Cross of St George, alluding both to the King and to St George's Day (April 23rd), which was both the King and Turner's birthday. Both scenes were engraved for The Keepsake Annual (1830), and are listed as Virginia Water No. 1 & No. 2. Preparatory sketches for Turner's original watercolour are in the Kenilworth Sketchbook (Tate London, Turner Bequest), however the second work in this pair has not been traced to a watercolour yet. The present paintings are derived from the etchings, with the Mallards on the water thought by some to be a later addition by Turner, after his offer to sell the watercolour to H.M. King George IV was declined. The Mallard is of course a pun on Turner's middle name. The unusual edifice seen on the banks of the lake, with a 'Peking' roof, was a construction by the now infamous Duke of Cumberland, perhaps at the suggestion of Thomas Sandby who oversaw the landscaping project commissioned by the Duke. It was converted into a Swiss fishing cottage in 1867, and taken down in 1936. For a portrait of the Duke, see Lot 15. (2)

ƟCalligraphic quatrain signed Mir' Ali, in Farsi, illuminated manuscript on paper [Safavid Persia, first half of sixteenth century] single leaf, single column, four lines diagonally written nasta'liq with interlinear colouring of decorated gold designs, triangular panels at the top with polychrome decoration and bottom with the calligrapher's signature, laid on a gold-speckled album page and framed within multiple borders of turquoise and gilt designs, total 315 by 210 mm. (panel 150 by 80 mm.); in modern card mount, framed and glazed, old printed auction label (probably English and 1980s) pasted to reverse A fine and early Safavid calligraphic panel by the master scribe Mir' Ali al-Harawi, himself a student of the Timurid masters, Zayn al-din Mahmoud and Sultan al-Mashhadi. Other examples of Mir' Ali's works date to 1508-1541 (Mehdi Bayani, Painters and Calligraphers, 1959, pp. 125-131). Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).

* Pal (Boris, 1939-). Still life of flowers, oil on wooden panel, painted in the Dutch Old Master style, signed lower right, 41 x 51 cm (16 x 20 ins), elaborate gilt frame, 76 x 87 cm (30 x 34.25 ins) (Qty: 1)

* Jackson (John Baptist, 1701 - circa 1780). The Death of St. Peter Martyr, after Titian, 1739, & The Descent of the Holy Spirit, after Titian, circa 1743, two chiaroscuro woodcuts, printed from 4 blocks [published in Venice in 1745 by Giovanni Battista Pasquali as a collection of twenty four chiaroscuro woodcut prints after Italian Old Master paintings], some marks and wear to edges, both prints laid down on linen, and each stretched over a wooden support, with the outer margin (including the title of the first work) blank edges wrapped around the stretcher edge, and secured with old tacks, visible area 53 x 35cm (21 x 14 ins), 56.5 x 39 cm (22.25 x 15.4 ins), respectively (Qty: 2)

* Coornhert (Dirk Volkertsz, 1522-1590). The Parable of the Great Banquet: The Second Excuse, 1558-59, copper engraving after Maarten van Heemskerck, on laid paper (with indistinct watermark), published by Hieronymus Cock, small wormhole to centre of the image, minor waterstain to lower centre, a good impression, trimmed to platemark, sheet size 20.4 x 24.8 cm (8 x 9.75 ins) window-mounted, together with Sadeler (Jan, or Johannes Sadeler, 1550–1600). The Descendants of Lamech (from the series The Story of the First Men), 1583, engraving on fine laid paper, after Maarten de Vos, the second state (of two) with plate number 9 added to lower margin of the image, trimmed outside the platemark, laid down on archival paper, sheet size 21.3 x 26.8 cm (8.4 x 10.5 ins), light soiling, window-mounted, plus an etching by Daniel Hopfer (circa 1470-1536), Reliquary with a Pieta, the second state (Bartsch 17, ii), sheet size 24.3 x 16.7 cm (9.6 x 6.6 ins), window-mounted, and other Old Master prints, various, including 2 large etched landscapes by Herman van Swanevelt, 2 small landscapes by S. Le Clerc, Georg Pencz (circa 1500-1550), Virginia, circa 1546/47 (Bartsch 84, Hollstein 125), with margins unevenly trimmed touching the image, 2 battle scenes by Stefano della Bella, a mezzotint by Christian Rugendas after G. P. Rugendas dated 1696, a woodcut of Christ Purifying the Temple, from Speculum Passionis, 1507 by Hans Schaufelein (printed text to verso), etc., some mounted (Qty: 16)NOTESProvenance: Estate of Michael Jaffe (1923-1997). Hollstein 345 Coornhert) and 25 (Sadeler)

* Dente (Marco, 1486/1500-1527 ). Battle Scene, circa 1520, engraving on laid paper (after Raphael's design for the fresco of The Battle of The Milvian Bridge, Sala di Constantino, Vatican, painted by Giulio Romano and others), trimmed to plate mark, generally a good, dark impression, sheet size 22.8 x 36.4 cm (9 x 14.3 ins), late 19th or early 20th century frame, glazed (Qty: 1)NOTESBartsch (Raimondi) 420. See Christie's London, Old Master Prints from Chatsworth, 5 December, 1985, lot 74.

* Attributed to Taddeo Zuccaro (1529-1566). Interior Scene, with figures before a seated Cardinal, pen, brown ink and brown wash on laid paper, indistinct collector's mark to lower right corner, sheet size 127 x 109 mm (5.1 x 4.3 ins), window-mounted (Qty: 1)NOTESProvenance: Estate of Michael Jaffe (1923-1997).Additional provenance: The collector’s mark to lower right corner is that of Nathaniel Hone (1718-1784). Lugt 2793.A founder member of the Royal Academy, Irish-born painter Nathaniel Hone amassed a significant collection of Old Master paintings and drawings, the whole of which were sold by auction at Hutchins’ Rooms, King-Street, Covent-Garden immediately following his death in 1784.

* Attributed to Giovanni Francesco Grimaldi, il Bolognese (Bologna 1606-1680 Rome). Courtyard with Fountain and Figures, Buildings and Palazzo, pen and brown ink on laid paper, with outer border in dark grey ink and green wash, with early inscription in brown ink to lower blank outer margin 'I Francisco Bolognese', sheet size 121 x 169 mm (6.65 x 4.76 inches) (Qty: 1)NOTESProvenance: Estate of Eduard Rosenbaum (1887-1979), diplomat at the Versailles Treaty negotiations, economist, Syndic of the Hamburg Chamber of Commerce and director of its library. Expelled from his post by the Nazi regime in 1933 he emigrated to London where he was appointed Librarian and Head of Acquisitions at the London School of Economics. Board Member of the Leo Baeck Institute, London. A similar small-scale drawing attributed to Grimaldi of a river landscape with pollard tree and boatman, with near identical inscription was sold at Christie's, Old Master & British Drawings & Watercolours, London, South Kensington, 5 December 2013, lot 26, formerly in the Crozat Collection.

* Amling, (Karl Gustav, circa 1650 - 1703). Nox [Night], 1698, copper engraving on laid paper, after Pieter de Witte (1548-1628), trimmed just inside the platemark, a very good impression, sheet size 26.5 x 15.9cm (10.5 x 6.3ins), window-mounted, together with Edelinck (Jan, circa 1643 - 1680). Statue de Galatée, de marbre blanc...dans la grotte de Versailles, [Paris circa 1675] , fine copper engraving on laid paper by Edelinck after a drawing by H. Watelé, off the sculpture by Jean-Baptiste Tuby, plate size 38.5 x 29.7cm (15.25 x 11.7ins), with margins, a very good impression, window-mounted, plus Fantetti, (Cesrae, circa 1660-?). Adam and Eve, circa 1680-1700, copper engraving on laid paper by Fantetti after Raphael, published by De Rossi, Rome, numbered five to lower right hand corner, plate size 24 x 25.8cm (9.5 x 10.2ins), with margins, window-mounted, and other Old Master prints including a hand coloured woodcut illustration from a book signed in the image V S, German gothic printed text to verso, Willem Panneels, Mary Magdalene in the House of Simon the Pharisee, copper engraving after Rubens, trimmed to image, sheet size 14.2 x 17.1cms (5.6 x 6.8ins), a mezzotint portrait of Lucas Holstenius, Vatican Librarian, by Haid, copper engraving of a Roman marble frieze by Giovanni Battista Galestruzzi after Polidoro da Caravaggio (numbered 2 lower right corner), and a further group of 16th century German woodcut illustrations with printed text to versos (Qty: 16)

A framed and glazed old master drawing of four male profiles, 16.5 x 20cm

CHARLOTTE OF MECKLENBURG-STRELITZ: (1744-1818) Queen Consort of the United Kingdom 1761-1818. Wife of King George III. A.L.S., Charlotte, one page, 8vo, Windsor, 25th February 1811, to the Earl of Courtown. The Queen acknowledges receipt of the communication from her correspondent delivering news of 'the Death of Poor Lrd. Cardigan' and asks the Earl to convey her condolences to Lady Cardigan upon her loss, concluding 'I beg you to Believe that in His Death I regret a very good and Excellent Man'. With blank integral leaf. Accompanied by the original envelope wrapper addressed in the Queen's hand and bearing a red wax seal (cracked and the wrapper with numerous large tears and some areas of paper loss). Some minor foxing, otherwise VG James Stopford (1765-1835) 3rd Earl of Courtown. Anglo-Irish Peer and Politician who served as Treasurer of the Household 1793-1806, 1807-12. James Brudenell (1725-1811) 5th Earl of Cardigan. British Courtier and Politician, Master of the Robes 1760-91, Keeper of the Privy Purse 1773-1812 and Constable and Governor of Windsor Castle 1791-1811. The Earl died at the age of 85 in Grosvenor Square, Mayfair, on 24th February 1811. The 76-year-old Earl of Cardigan took the 32-year-old Lady Elizabeth Waldegrave to be his second wife in 1791. The Countess served as Lady of the Bedchamber to Charlotte of Mecklenburg-Strelitz from 1793-1807.

NICHOLSON BEN: (1894-1982) British Painter. A.L.S., with his initials B N, to the verso of a picture postcard, the image depicting Nicholson's artwork The Master (1941), Brissago, 18th September 1968, to John Russell. Nicholson informs his correspondent, in part, 'That old etching affair… back here in tact & has gone off again to 5 W St. Suppose that is alright & that you will be there & not S. America.' Together with a signed and inscribed Christmas greetings card by Nicholson, the stiff white folding 8vo card featuring a colour image of The Adoration of the Child with St. John the Baptist. Signed ('Ben') in bold blue ink beneath a printed greeting, the artist further adding, 'PS What a magnificent Dagda you sent me! Bless you & thank you, B' in his hand. With light age wear, about VG, 2John Russell (1919-2008) British Art Critic.

A fine pair of gilt-framed 19th century oil on canvas still-life studies of various flowers emanating from vases etc., in 17th century Dutch Old Master style, one painting with budgerigar perched left of the flower bunch and fruits to the right, the other with an ornate gilt Classical urn and a 17th century Delft-ware dish tilted to its right showing peaches and open pomegranate etc., (apparently unsigned), some crazing and craquelere to paint surface (each 39cm x 49cm) The worksshow very well, upon close inspection it is noted that the surface of thepaintwork exhibits crazing and craquelere although this is not generally noticeablewhen viewing the piece it is only with a close up inspection.  The painting with bird on the left hangingfrom a branch has a “rougher” section to the right approx. 10cm down on theright hand side of the frame where the blue flowers are inclining.  This looks like brush strokes and as if theArtist has not finished it as he may usually have done.  The other painting has a hardwood frame(presumably replaced) looking at the other painting which exhibits patinationand signs of original age etc., and we estimate that this re-framing was donein the 20th Century.  Apartfrom the surface crazing no major tears, rips or dents are to be found and thepair exhibit very well on the wall. Provenance:  These have comeprivately and been in the same family ownership for many years. 

The 'Blackmore Vale' coloured print with monogram CG of huntsman, 40x28cm, together with Spy, 'An old Master', Vanity Fair 1898, 37x24cm

Glenn Lucas (Ireland) ash bowl 9x35cm. Signed   My first encounter with the name Ray Key was in 1990. Browsing through the woodworking section in my local book shop I discovered the book “Woodturning and Design”. I was sixteen years old and just setting out on my woodturning journey.  This book gave me much needed help with technique and also with design. Ray very much inspired me during my early years to be a full-time woodturner and also sparked my interest in production turning, making functional pieces. In 1997 I met Ray for the first time and we then became friends. I got to know Ray quite well over the years and I will always be grateful for the knowledge and enthusiasm he shared with me. In 2009 Ray stayed in our home while teaching a masterclass in my workshop. I am really grateful to have known such a true master of woodturning. The Ray Key Collaboration Auction

Peter Van Delft, Holland (born 1930's) Old Master style Oil on Board, Village Scene. Artist Monogram Lower Right. Good Condition or Better. Measures 7-1/2 Inches Tall and 9-3/4 Inches Wide, Frame Measures 12-3/4 Inches Tall and 16 Inches Wide. (estimate $50-$100) Shipping $52.00

Quantity of framed and glazed furnishing prints, including architectural studies, old master sketches, ornithology etc

A PAIR OF LARGE GILT FRAMED STILL LIFE OIL PAINTINGS IN THE OLD MASTER STYLE, SIGNED, 79.5 X 64 X 5.5CM (HEIGHT X WIDTH X DEPTH)

Charles Stuart (fl. 1854-1868) Dutch old master style still life with a basket of fruit, gros-point needlework and urn, oil on canvas, in gilt frame, signed and dated 1862, 65 x 48 cm

Charles Dickens, "Master Humphrey's Clock", Chapman and Hall, 1840, first edition in book form, three volumes in old half calf binding

VANITY FAIR - FOX HUNTERS Alfred (Mr Alfred Curnick), supplemt, 39 x 26.5cm; Berks & Bucks, No 5th 1903, 39 x 27cm; Cattistock, March 30th 1899, 39 x 26cm; A hard rider, May 26th 1904, 38.5 x 25cm; Blackmore Vale, Nov 11th 1897, 39 x 26.5cm; Cottesmore (Mr Evan Hansbury) supplement, 40 x 27cm; Serlby, Jan 5th 1899, 39.5 x 26.5cm; The Quorn, July 12 1884, 39.5 x 27cm; Mr Hargreaves, July 1887, 40.5 x 27cm; A Very Old Master, Oct 29 1896, 39.5 x 26.5cm; An Old Master, Nov 3rd 1898, 40 x 26.5cm (11)

Skippe (John, 1741-1812) Bearded man with arms bound, a young man covering him with a robe, after Baccio Bandinelli, chiaroscuro woodcut, printed in dark brown and olive-coloured ink on cream laid paper, presented on contemporary paper mount with green wash and ruled brown ink border, image 390 x 250 mm. (15 3/8 x 9 7/8 in) total sheet 484 x 317 mm. (19 x 12 1/2 in), unframed, 1782; together with another by the same hand, 'Term, after [?] Raphael', sheet 180 x 90 mm. (7 1/8 x 3 1/2 in), unframed, (2)Literature:Nagler 27, and 22, respectively⁂ Skippe was an English collector of old master drawings and a dilettante chiaroscuro wood engraver, working circa 1781-3. The two works in the present lot formed part of his suite of 'Prints engraved in chiaroscuro after original drawings'.

Old master drawings.- Nolli (Carlo, fl. 1752-1770) Twelve prints after drawings by Guercino, Parmigianino, and Francesco Primaticcio, and others, etchings, some with delicate aquatint and plate tone, all monogrammed in the plate 'CN', on uniform laid paper with watermark of the initials PP within an orb and cross, platemarks between 220 x 160 mm. (8 3/4 x 6 1/4 in) and 430 x 255 mm. (16 7/8 x 10 in), each sheet uncut and approx. 500 x 380 mm. (19 3/4 x 15 in), loose and unframed, [circa 1752-1770]; together with three further prints by different hands after old master drawings, two after Guercino, the other Parmigianino, unframed, (15)⁂ Son of Giovanni Battista Nolli, little is known of the work of Carlo. We were unable to trace any other examples of the present suite of highly competent etchings after old master drawings. Each sheet, printed on the same watermarked paper, features two marginal pin-holes from a stitched binding suggesting that they once formed part, or were the entirety of a coherent publication or body of work. The British Museum holds one example of a similar etching by Nolli, but on a rather smaller scale (see acc no. 1867,0309.619).

Old master prints.- Bol (Ferdinand) An old man with a long beard, wearing a velvet cap, etching and drypoint, a good well inked impression on thin laid paper without watermark, without sign of much wear to plate, sheet 119 x 88 mm. (4 5/8 x 3 1/2 in), trimmed within platemark, small loss to lower left corner, other small nicks to extremities, some spotting and surface dirt, unframed, 1642; together three other old master prints, including a trimmed impression of Adriaen Janz van Ostade's 'The Peasant's Quarrel', a portrait of Dutch lady by Hollar, dated 1644, and a portrait of Titian by Giovanni Battista Cecchi, all unframed (4).Literature:[Bol] Hollstein 9

Roman School (late 17th century) The Madonna and Child appearing to Saint James and a kneeling monk [recto]; Study of a putto [verso]Red chalk on laid paper with watermark of coat of arms containing a kneeling figure, ruled red chalk border, sheet 317 x 220mm (12 1/4 x 8 3/4in) (unframed)Provenance:Christie's London, 'Important Old Master Drawings', 4th July 1984, lot 196

Old master prints.- Pontius (Paulus) Christ carrying the cross, after Rubens, engraving on wove paper, a slightly later impression, platemark 620 x 460 mm. (24 1/4 x 18 1/8 in), small margins, toning to sheet, unframed, 1632; together with a good group of 10 further prints, including two others after Rubens, an engraving by Chasteau after Poussin, an 8vo mezzotint plate from Paradise Lost by John Martin, an engraving of the Virgin and Child by Blooteling after van Dyck, two engraved friezes of putto after Tetelin, plate 51 by Richard Earlom after Lorrain, an etching after [?]Zurbaran, and a good copy by Hieronymous Wierix after Durer's woodcut 'The Mass of St Gregory', engravings and etchings, various sizes, all unframed, [16th century and later] (11)

A cabinet containing a quantity of vinyl, comprising:1. Robert Iring presents Philharmonic Pops (music for pleasure ltd 2028) 33 1/3 19582. The Best of Gilbert & Sullivan (Readers Digest) circa 1963 RDS460 (The Mikado, The Pirates of Penzance, HMS Pinafore, Iolanthe, The Gondoliers, Patience)3. Elgar The Light of Life OP.29 (EMI Records circa 1981) ASD 3952 33 1/34. Christmas Party Time (Readers Digest 7001 RES 2593) (1973) 33 1/35. Command Performance ? A Night At the Opera (Readers Digest) Box Set ? Curtain Up, World Famous Arias, Best Loved Duets, Rousing Choruses , Gala Performance, Pageantry and Splendour, Dances from the Opera6. Wagner: Tannhauser Decca Stereo Set 506-9 circa 1971 ?Box set with booklet ? 4 records7. Richard Wagner ? Tristan Und Isolde ? Box Set with booklet and 5 records 1966 - Birgit Nilsson, Wolfgang Windgassen, Christa Ludwig, Martti Talvela, Eberhard Waechter, Karl Bohm, Bayreuther, Festspiele (Deutsche Grammophon) 139 223 338. Golden Voices Sing Great Arias(Readers Digest) 2678 33 1/39. Callas portrays Puccini Heroines Philharmonia Orchestra under the direction of Tullio Serafin (Angel Records) 35195 33 1/310. The Plantets Suite Gustav Holst (Readers Digest) RDS 9149 RDES 3025 33 1/311. A Grand Opera Gala 1966 (EMI) ASD 2324 33 1/3 Starring Maria Callas, Boris Christoff, Victoria De Los Angeles, Mirella Freni, Nicolai Gedda, Elisabeth Schwarzkofp, Ferruccio Tagliavini, Eberhard Wachter in excerpts from Barber of Seville, La Boheme, Carmen, Don Giovanni, Falstaff, Faust, Lucia Di Lammermoor, Marriage of Figaro, Der Rosehkavalier, Turandot. 12. Bonjour Francoise ? French by Television A BBC course for absolute beginners Lessons 1 to 10 33 1/313. The Bachelors hits of the 60s (Decca) TXL.102 ARL 7243 circa 196614. Pictures at an Exhibition (Mussorgsky- Orch. Ravel) (Readers Digest) Recordings taken from the Philips Catalogue RDS 6999 RDES 2591 33 1/315. Liszt Four Hungarian Rhapsodies for Orchestra Vienna state Opera Orchestra conducted by Anatol Fistoulari (Fontana) BIG 309-L 33 1/316. Sir Malcolm Sargent conducting the Philharmonia Orchestra Tchaikovsky Suite No 3 in G Major OP.55, 4th Movt: Theme and Variations Dvorak Symphonic Variations OP.78 (The Gramophone Company Ltd) 33 1/3 ALP 137217. Grieg Holberg Suite, Siguard Jorsalfar Suite, Cowkeeper?s Tune & Country Dance, Two Elegiac Melodies Philharmonia Orchestra George Weldon (EMI Records) 1962 CFP 4022518. Debussy Trois Images pour Orchestre (Philips) 1979 9500 509 33 1/319. La Maja Y El Ruisenor (The Lover and the Nightingale) D.B.21069 2EA.13855 in Spanish w Orch. Speed 78 (The Gramophone Co. Ltd) (His Master?s Voice series)20. O Dieu! Que de Bijoux! (The Jewel Song) D.B.6938 In French w Orch . Speed 78 (The Gramophone Co Ltd) (His Master?s Voice series)21. Ballade No 4 in F Minor Op.52 (Chopin) (The Gramophone Co Ltd) C.3403 2EA.10960 Pianoforte Solo Speed 78 (His Master?s Voice series) 22. Panis Angelicus and Ave Maria, Boston ?Pops? Orchestra Arthur Fiedler Conductor 13589-A and B (Angel Records)(RCA Victor Company Ltd, Montreal, Canada) (His Master?s Voice series)23. Che Gelida Maniha (Your tiny hand is frozen) and Salve, Dimora, Oasta e Pura (All hail, thou dwelling pure and lowly) D.B. 1538 32-2307 (The gramophone Co. Ltd) In Italian w. Orch Speed 78 (His Master?s Voice series)24. Isoldes Liebestod (Isolde?s love death) D.B.2746 2A.95355 - In German w. Orch Speed 78 (The Gramophone Co. Ltd) (His Master?s Voice series)25. Porgi Amor (Soothing Spells) Le Nozze di Figaro D.B.6994 2EA.f3839) D.B.6994 In Italian w. Orch Speed 78 (His Master?s Voice series)26. Organ Prelude and Fugue in A Minor (Bach-Liszt) C.3376 2EA.10109 The Gramophone Co. Ltd (His Master?s Voice series)27. Sonata in C Sharp Minor, OP.27, No.2 (Moonlight) Beethoven C.3456 2EA.10558 (The Gramophone Co Ltd) (His Master?s Voice series)28. Sonata in C Sharp Minor, OP.27. No. 2 (Moonlight) Beethoven C.3455 2EA.10506 (The Gramophone Co Ltd) (His Master?s Voice series)29. Mazurka No 48 in A Minor Op.68, No. 2 and Waltz in E minor, No. 14 (Chopin) C.3509 2EA.10964 (The Gramophone Co. Ltd) (His Master?s Voice series)30. Concerto No.1 in B Flat Minor (Tschalkowsky Op. 23) LX681 (The Columbia Graphophone Co. Ltd) COAX.8110 Speed 78 (Magic Notes)31. Warsaw Concerto (Richard Addinsell) Pianoforte with the London Symphony Orchestra Conductor Muir Mathieson Recorded from the sound track of the R.K.O. Film ?Dangerous Moonlight? DX1062 CAX8962 Speed 78 (The Columbia Graphone Co Ltd)32. Three Studies ? a Etude in F Minor Op 10 No9: b Etude in F Minor Op25 No2; c Etude in F Major Op 25 No3 (The Gramophone Co Ltd) C.3345 His Masters Voice Series33. Jacqueline Francois Chante Ses Derniers Succes (Philips N 76.068 R )33 1/334. Leroy Anderson and his ?Pops? Concert Orchestra (Brunswick) LA8553 33 1/335. Honiara Harmonies ? Music from the Solomon Islands (Viking) VE.204 assume 45r.p.m.36. Nursery Rhymes Uncle Mac with Stewart Robertson, Dorothy Helmrich and Children?s Chorus. (EMI records) Extended play 45 r.p.m record 7EG 826437. Windmill in Old Amsterdam and The ugly bug ball Number 22Ronnie Hilton with orchestra directed by Harry Robinson. Produced by Walter J Ridley Essex music circa 1970 45rmp

British Medals, Royal Horticultural Society Award Medal For Orchids, silver 1904, standing female figure encircled by four smaller female figures, 'ROYAL MINT 1836' in tiny letters, rev. wreath of grapes and roses, 'THE ROYAL HORTICULTURAL SOCIETY' within, engraved at center, 'TO MESSRS J. CYPHER & SONS FOR ORCHIDS. TEMPLE SHOW. 1904', 55mm, together with a Royal Dublin Society Award Medal For Horse Show, silver marks by J.M Birmingham 1913, Hibernia seated, legend 'THE ROYAL DUBLIN SOCIETY', rev. laurel wreath, within 'HORSE SHOW 1913. CLASS 14. HUNTER GELDINGS 5 YEARS OLD. AWARDED TO THOMAS SPOWITH LUCE FOR "MASTER CHARLES"', 51mm (2)

An unusual Austrian small early pendulum spring-driven timepiece Albrecht Erb, Vienna, third quarter of the 17th century The circular single chain fusee movement with three baluster-turned pillars pinned through the backplate and four wheel train incorporating verge escapement with escape wheel set above the plates and regulated by short bob pendulum suspended from combined top potance and pallet arbor pivot arm, the backplate with blued steel mainspring set-up ratchet incorporating sculpted scroll-pierced pawl spring tail and fine flowering poppy trail engraved and pierced gilt brass footed guard, the upper margin boldly signed Albrecht Erb, In Wienn, the 3.5 inch square gilt copper dial now with applied scroll engraved disc to centre within a silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes beyond the arcaded minute track, with pierced steel hands and fine foliate spray engraved infill to the spandrel areas beneath later added strapwork scroll engraved gilt brass arch panel, the movement and dial now mounted on a mahogany ogee moulded plinth with glass dome cover, the timepiece 12cm (4.25ins) high; overall height including base and dome 19.5cm (7.75ins) overall. Provenance: From the beneficiaries of the estate of the eminent Anglo-Austrian economist and philosopher Friedrich August von Hayek. Albrecht Erb is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working as a master clockmaker in Vienna circa 1661. Britten, F.J. in Britten’s Old Clocks and watches and their Makers indicates that Erb was born in 1628 and died 1714. He is believed to have made watches, astronomical timepieces, horizontal table clocks and ‘Telleruhr’ (plate) pendulum timepieces. Examples of his work are in the collection of the Kunsthistoriches Museum Vienna and have been known to turn-up at auction with notable recent examples being a fine silver mounted horizontal table clock with grande-sonnerie striking which was sold at the Christies, New York sale of The Abbott Guggenheim Collection: A New York Kunstkammer 15th January 2015 (lot 96) for a buyer’s premium inclusive $47,500; and an impressive gilt brass Telleruhr offered at Sotheby’s, Paris sale entitled Pierre Berge -from one home to another 30th October 2018 (lot 4) for a premium inclusive 43,750 EUR. The arch to the dial of the current lot appears to be an 18th century addition hence in its original form the dial would have only been 3.375 inches square. This coupled with the overall compact nature of the movement suggests that it could have been made to ‘accessorise’ a table cabinet perhaps forming the centre-piece of an architectural pediment.

ϒ A Victorian small two-day marine chronometer Charles Frodsham, London, circa 1845 The four pillar full-plate single chain fusee movement with Harrison's maintaining power, split bimetallic balance with keystone-shaped compensation weights, helical balance spring and faceted diamond endstone, the spotted backplate signed Charles Frodsham, London and with brass bayonet fitting dust cover, the 3.25 inch circular silvered Roman numeral dial with blued steel fleur-de-lys hands, subsidiary seconds and power reserve dials, and inscribed CHARLES FRODSHAM, 7 Pavement, Finsbury Park, London, No. 2012 to centre, set in a lacquered brass bowl with screw-down bezel mounted within pivoted gimbals with locking screw, the mahogany three-tier case with vacant nameplate to top surface and push button clasp for the top tier above inset ivory panel inscribed ARNOLD, CHARLES FRODSHAM, 84 STRAND, LONDON. to the middle tier, with brass key escutcheon over circular plate engraved with repeat serial number 2012 beneath, the sides with brass carrying handles, the box 15cm (6ins) wide. Charles Frodsham was born in 1810 into a family of clockmakers with his grandfather, William originating from Cheshire before moving to London prior to 1781 where he was admitted to the Clockmaker’s Company. His son, William James, had six sons, four of whom joined the firm of Parkinson and Frodsham in London; whilst Charles, the third born son set-up on his own at Barnes Place, Islington in 1834. He moved to 12 Finsbury Pavement in 1836 then to number 7 in 1838. On the death of the renowned chronometer maker John Roger Arnold in 1843 Charles Frodsham acquired the business and began trading as ‘Arnold, Charles Frodsham’ from 84 Strand, London. Unusually Frodsham was not admitted to the Clockmaker’s Company until 1845 but went on to serve as master twice in 1855 and 1862; he was also a founder member of the British horological Institute in 1858.Charles Frodsham became one of the most eminent chronometer makers of his generation who served as a juror in the 1852 International Exhibition held at South Kensington where he also showed a month duration marine chronometer with experimental ‘Duo-in-uno’ balance springs and three different forms of compound balance. In 1854 he purchased the ‘goodwill’ of the late Benjamin Lewis Vulliamy’s business which led to his appointment as Superintendent and Keeper of Her Majesty’s clocks at Buckingham Palace. Charles Frodsham died of liver disease in January 1871 and was succeeded by his son, Harrison Mill Frodsham. The business became Charles Frodsham and Company and in 1884 and then was incorporated as a limited Company in 1893 before relocating to 115 New Bond Street, London two years later where they remained well into the Twentieth Century. The firm is still trading today (from 32 Bury Street, London) as specialist in chronometer, watch and clock makers. The current lot appears to be one of the first chronometers sold by Frodsham after he acquired the late John Roger Arnold’s business in 1843 as the dial carries his former address (7 Pavement, Finsbury Square) whilst the box has a plaque for ‘Arnold, Charles Frodsham’ at 84 Strand, London. This fact is further supported by the existence (in the collection of the National Maritime Museum -accession number ZAA0058) of a small marine chronometer numbered 2025 and signed by Frodsham at 84 Strand which utilises a pocket chronometer movement made by Arnold in around 1802. From this it is reasonable to surmise that Frodsham initially used-up old stock, both from his Finsbury address and Arnolds former business, when he first started trading from 84 Strand in 1843. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

* Prints & engravings. A mixed collection of approximately 110 prints, mostly 18th century, uncoloured etchings and engravings of religious, genre, classical and 'old master prints', including examples by and after Barron, Hollar, Rubens, Perelle, Michaelangelo, Visscher and Van Dyck, various sizes and condition (Qty: approx. 110)

Title: Jacques Albert SŽnave (1758-1829): A portrait of a man in his study, oil on canvas, dated 1783 Description: Dimensions: Work: 69,5 x 55,4 cm Frame: 89,5 x 75,5 cm Inscribed with the sitter's age centre left (ÆTATIS XLVIII). Jacques-Albert SŽnave attended the painting academies in both Dunkirk and Saint Omer. In 1780, he came to Paris, where he studied onder Joseph Benoît SuvŽe (1743-1807) and Jacques Louis David (1748-1825). He was appointed Honorary Dean of the Painting Academy of Ypres in 1821. The sitter of this distinctive portrait is unidentified, but the book to which the viewer is drawn by his pointed finger, does tell us something about the sitter's beliefs: in this well-known didactic poem, Alteaergeheimnissen of 1645, the Catholic convert Joost van den Vondel expounded the doctrine of the Eucharist. Provenance: Old Master Paintings, sold in Sotheby's Amsterdam, on the 5 May 2009, lot 101 (link).

Title: Jean-Baptiste Borrilli (1776-1823): A young portraitist in a park, oil on canvas Description: Dimensions: Work: 92 x 75,5 cm Frame: 103,5 x 88 cm Provenance: Nineteenth Century European Paintings, Drawings and Watercolours, Sotheby's London, 17 November 1993, lot 1/A; Old Master Pictures, Christie's London, 20 October 1995, lot 74; The Property and Stock in Trade of Mr Erik Loncke, Christie's, Rumbeke (Belgium), 21 May 1997, lot 2700.

Miaz Brothers (Italian Duo), 'Old Master 3', 2019, archival inkjet on 308gsm Hahnemuhle Photo Rag paper, signed and inscribed AP in pencil, outside of the main edition of 35, published by Jealous Gallery; sheet: 76 x 56cm ARR

Folder containing a collection of old master figure and anatomical image studies.

FOUR OLD MASTER FRAMED PRINTS, THE RAPE OF EUROPA AFTER SIMONE CANTARINI, 22.5 x 31.5cms ANOTHER AFTER PICART, DE LA BELLA AND GRIMALDI. (4)

AN OLD MASTER PRINT AFTER G.F.GRIMALDI, THE FLIGHT INTO EGYPT. 32 x 46cms. TOGETHER WITH ANOTHER AFTER S.CONCA OF DIANE AND ENDYMION. 48 x 33cms AND A BATTLE SCENE BY A DIFFERENT HAND. (3)

OLD MASTER SCHOOL. THE PIEATA, OIL ON CRADLED PANEL. 31 x 25cms.

OLD MASTER SCHOOL. THE CRUCIFIXION, OIL ON PANEL. 42.5 x 30cms.

OLD MASTER SCHOOL. AN ITALIANATE LANDSCAPE WITH VILLAGE AND RUINS, OIL ON PANEL. 66 x 117cms.

OLD MASTER SCHOOL. SHEPHERD RESTING BENEATH AN OAK TREE, PEN AND INK DRAWING. 15.5 x 15.5cms.

LUIGI MAYER (c.1755-1803). AN IMPORTANT GROUP OF 31 18TH CENTURY WATERCOLOUR, CHALK, PEN, INK AND WASH STUDIES BEING VIEWS IN AND AROUND WALLACHIA TO INCLUDE VIEWS OF CONSTANTINOPLE, BUCHEREST AND PISENZA- VARIOUSLY INSCRIBED, SIGNED AND ONE DATED 1794. - (SEVERAL SQUARED FOR TRANSFER) THESE WORKS WERE EXECUTED WHILST THE ARTIST WAS IN THE EMPLOY OF SIR ROBERT AINSLIE ( SCOTTISH AMBASSADOR TO THE OTTOMAN EMPIRE) FROM 1776-1794. FOUR OF THESE PRESENT WORKS ARE INCLUDED AS ENGRAVED ILLUSTRATIONS BY WILLIAM WATT IN "VIEWS IN THE OTTOMAN DOMINIONS IN EUROPE AND ASIA." (PUBLISHED 1810) THE WORKS MORE RECENTLY MOUNTED AND SOME FRAMED AND GLAZED BUT RETAINING THEIR PERIOD FOLIO COVER WHICH BEARS THE NAME ANNE AINSLIE- MCA 1863.. Provenance- Anne Ainslie (according to folio)- possibly to a Mrs A.Murton according to later label on the folio cover- Purchased in the 1970s By Sir Francis Sandilands and thence by descent to the present owner. ( SEE ALSO PRINTED WORKS BY AINSLIE & MAYER IN THIS SALE) IF YOU REQUIRE FURTHER INFOMATION OR ADDITIONAL IMAGES OF THIS OLD MASTER GROUP OF WORKS PLEASE CLICK THE "ASK A QUESTION" TAB

CESCINSKY (Herbert) The Old English Master Clockmakers and their Clocks, 1938, dust jacket.

John Butler Yeats RHA (1839-1922)Portrait of Master Milo RyanOil on canvas, 66 x 51cm (26 x 20’’) UnframedExhibited: Dublin, Royal Hibernian Academy, 1903, No. 100Provenance: The sitter’s family, by descent.Yeats completed a number of intriguing portraits of children throughout his career. Beginning with his own offspring, he made multiple sketches of their early years, a particularly touching example is a drawing of the infant W.B Yeats asleep in the family home. Portraits of children are challenging for an artist, as they are faced with a subject whose personality is not yet fully defined. However, this is part of their charm.Though we do not know the exact age of the sitter, Master Milo Ryan looks to be around eight or nine when the portrait was completed. Yeats chooses to depict him standing, with an open book in hand as if he was just in the process of reading a passage out to us. Yeats has painted the young boy in a strong light, which throws up the details of his formal attire. Dressed in a suit jacket, with a shirt and tie, the clothes feel as if they are too big for him, the triangles of the shirt collars extending out over his narrow shoulders. The face is beautifully rendered especially the large brown eyes of his sitter, which express a sensitivity, a youthfulness behind the somewhat formal composition. Working from an almost black background, Yeats introduces colour through flashes of white, pink and blue highlights. The pages of the book appear as dabs of paint, which Yeats, using the end of a brush scrapes a line through to suggest the folds in the paper. Despite the dark colour tones, there is warmth to the boy’s features, the pink and orange highlights of his flushed cheeks. Milo Ryan, was born on June 7th, 1892 and educated at Trinity College, Dublin. He served with the Royal Army Medical Corps during the Great War, taking a permanent commission as Captain in 1919 and becoming a Major in 1927. He died at Lahore on December 4th, 1936 at the age of 44.We know that this work was included in the Royal Hibernian Academy annual exhibition in 1903, so presumably it was painted around this time. This was a busy year for Yeats; he had been commissioned by Hugh Lane to paint twenty portraits of figures from the Irish cultural milieu for his modern art gallery. Lane had also helped Yeats secure his old studio at no. 7 St Stephen’s Green in Dublin. John Quinn, an American lawyer turned art collector visited Ireland the year previously and purchased from Yeats his portrait of his son William, which is now part of the NGI collection. He also requested a further three portraits of John O’Leary, Douglas Hyde and George Russell. The portrait of AE was not finished until 1903 and he persuaded Quinn to let him enter it into the annual RHA exhibition.One would not consider Yeats to be a society portrait painter, in the traditional sense, in that he did not make significant money from the commissions. He painted people he knew, family friends and relatives, fellow artists and writers. As a result they feel familiar, more personal than traditional portraits of the period. There is a sense of kinship between the artist and his subjects, in which he is gently probing at a further understanding of their personality and Yeats once remarked ‘The best portraits will be painted where the relation of the sitter and the painter is one of friendship’. His portraits often have a sense of being unfinished, quick sketch like brushstrokes move across the canvas. It seems the artist did not want to produce static, conventional portraits in which the sitter is frozen in time, but rather allow them to act as enquiries into the personality and thoughts of his subjects who, as with all human beings, young and old, were ever evolving. Niamh Corcoran, September 2019

HARDY, Thomas, 'Moments of Vision and Miscellaneous Verses', a facsimile taken from the original ms in the Old Library Magdalene College, Cambridge. Photographed and printed by the Scotar Press blue morocco binding with gilt titles by Weatherby Woolnough. Ltd 16/200, signed by Walter Hamilton (Master) 8vo. marbled end papers in slip case

Leonard Russell Squirrell (1893-1971) chalk and charcoal - Moonlit scene, inscribed with dedication to Charles Baskett, ‘To my old friend & master Mr C. E. Baskett, Dec. 1921’, in glazed gilt frame, 33cm x 43cm N.B. Charles Baskett was etching Master at Ipswich School of Art and taught Squirrell. Leonard Squirrell later took over the etching class in 1930

Harold F Collinson (1886-1955), sheep under a bridge, etching, housed an ebonised glazed frame, the etching 46.5cm x 33cm, with Nottingham framing label verso (Harold F. Collinson was for many years etching master at Nottingham School of Art and mainly known for his pictures of old Nottingham)

ITALIAN SCHOOL, 17TH CENTURY A SICK CAT pen and ink, with old ink attribution, 10 x 15cm, laid down on a leaf from an album with five pencil studies in the manner of H W Bunbury, unframed++The Old Master drawing with surface faults and staining and loss upper left hand corner

TRIBAL ART. A ZULU CARVED WOOD PRESTIGE STAFF IN THE MANNER OF THE 'BABOON MASTER', LATE 19TH C 99cm ++Slight wear and small old chip on tip of cap, no other chips or splits, old dirty natural patina

JOHN HASSALL (BRITISH 1868-1948), 'An Old Master L.S.C', head and shoulders portrait of an elderly gentleman wearing black bow tie, a red ribbon and seal hanging around his neck, watercolour, titled, signed, indistinctly inscribed 'To The Helenor'? and dated 1908 lower right, unframed, 36.5cm x 26.5cm (condition: corner edges slightly creased/curled, light surface marks)

Miniaturist painting, probably following an Old Master, classical subject, possibly Madonna and Child, oil on paper, 5cm x 5cm, presented in a modern mount and frame

17th C. Old Master Painting of Cain and Abel. Oil on canvas. Original canvas and stretcher. Sight Size: 22 x 25.5 in. Overall Size: 29 x 32.5 in.

A vintage old route master destination number blind in original frame and a scratch built Xylophone

A framed and glazed early 18th Century Old Master pen and wash study of a castle with figures in the foreground. Indistict script to corners, 14.5cm x 19.5cm

A framed and glazed early 18th Century Old Master pen and wash study of a fountain in a market square. Indistinct script in corners. 14.5cm x 19.5cm

Three old master drawings, two in frames

Old Master Style Gouache "Mountain Landscape With Figures". Unsigned. Measures 4-1/4" x 6-1/2" (sight), frame measures 13" x 15-1/4". Condition: Good condition. Estimate: $50.00 - $150.00 Domestic Shipping: $115.00

Attributed to Simon de Vlieger (Dutch, c.1601-1653) River Landscape, with sailing ships and a rowing boat in the foreground. indistinctly inscribed lower right pen and ink with wash heightened with white on blue paper 19 x 51cm (7 x 20in) Provenance: Sotheby's, London, Old Master and British Works on Paper, 5 July 2017, lot 123; where acquired by the late vendor Not examined out of frame. The inscription in the lower right corner is partly obscured by the mounting. Ageing and discolouration to the paper. A vertical fold through the centre.

Neapolitan School, circa 1600 Christ healing a leper collector's mark "WB" lower right pen and brown ink and wash over red chalk on paper washed light red 11.50 x 18.50cm (4 x 7in) Provenance: William Bates (L.2604); Sotheby's, London, Old Master and British Works on Paper, 5 July 2017, lot 7; where acquired by the late vendor Other Notes: It has been previously suggested that an attribution to Giovanni Bernardino Azzolino and Belisario Corenzio can be considered.