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A Collection of Cameras and Photographica, three folding cameras, a Sawyer's View-Master Stereoscope and Album with discs, both boxed, , three Minolta AF lenses (50mm f/1.7, 50mm f/2.8 macro, 28mm f/2.8), a Ross Spotting Scope, an Elmo GP-E 8mm projector and some old film, as found

GEORGE W MARSHALL: 2 titles: COLLECTIONS RELATING TO THE SURNAME OF FEATHER, Worksop 1887, 1st edition, original wraps bound in; NOTES ON THE SURNAME OF HALL, Exeter 1887, 1st edition, original wraps bound in, 2 works in one bound in with six other works; J HENRY LEA: LEE OF VIRGINIA, [1892], reprint from The New-England Historical and Genealogical Register, signed on half title; GEORGE EDWARD COKAYNE: SOME NOTICE OF THE VARIOUS FAMILIES OF THE NAME OF MARSH, Exeter, 1900, 1st edition; GEORGE A PERKINS: THE FAMILY OF JOHN PERKINS OF IPSWICH, MASSACHUSETTS, PART ONE DESCENDANTS OF QUARTER-MASTER JOHN PERKINS, Salem 1882, 1st edition; LETTERS CONCERNING THE PERKINS FAMILY, Salem 1887, 1st edition, original wraps bound in; JOHN PILKINGTON: THE HISTORY OF THE LANCASHIRE FAMILY OF PILKINGTON AND ITS BRANCHES FROM 1066 TO 1600..., Liverpool 1894, 1st edition, abridgement of a paper read before The Historic Society of Lancashire and Cheshire; [J PAUL RYLANDS]: RYLANDS OF THE RYLANDS WITHIN WESTHOUGHTON CO LANCASTER, [1880], signed and inscribed on top wrap, reprint from The Genealogist volume 4, old half calf marbled boards worn, lacks most of backstrip, boards detached

Estella Solomons HRHA (1882-1968)Portrait of the artist's sister Sophie reclining in the studioOil on canvas, 55 x 68cm (22 x 27)Provenance: The artist's family by descent.Estella Solomons attended the Royal Hibernian Academy schools under Walter Osborne, and entered the Metropolitan School of Art, where she was a pupil of William Orpen. In 1904 she spent a summer working in the mornings drawing at Colorossi's in Paris. In 1906 she visited the Rembrandt tercentenary exhibition in Amsterdam, which was a significant event for her. The chiaroscuro in her early portraits, and her interest in etching was adopted from the Dutch master, and like Rembrandt put emphasis on seeking the inner person. This portrait was possibly painted in her studios at Brunswick Street in the heart of the city, where she was ready at any moment to shelter republicans on the run, herself a member of Cumann na mBan, where she had become versed in signaling and prepared for administering first aid to any republicans that needed it. The list of those who sat for their portraits in her famous studio is a lengthy one, and includes Thomas Bodkin, Jack B Yeats, Padraic Colum and Seamus O' Kelly. Seamus O'Sullivan described her studio in The Rose and Bottle; “ ...The tall press, on which were printed those etchings of old Dublin, so prized by collectors: the curtain which veiled the 'throne'; the boxes, with their cushion covers, which made such pleasant seats about the fire on wintry days and nights....”In 1958, Seamus died, and life became quiet for Estella in her remaining ten years. Although she was crippled with arthritis, though half-bent her tall body now was, she received close friends such as Kathleen Goodfellow to 'The Grove' on Morehampton Road, where tea, sandwiches and freshly baked scones were served and discussions of art, poetry, literature and politics continued to be an important part of her life.

John Thomas Serres (British, 1759-1825) The Amazon entering the Harbour of St Lucia; The Amazon in a hurricane; The Amazon shipwrecked oil on canvas (3) 74 x 109cm (29 x 43in) Provenance: Presumably commissioned by the Hon. William Clement Finch (1753-1794), son of Heneage, 3rd Earl of Aylesford, and thence by family descent at Packington Hall, WarwickshireOther Notes: The Amazon was the second vessel of this name, a 32-gun frigate which was launched on the Thames in 1773. She weighed 687 tons and carried a crew of 220 men. She was commanded by the Hon. William Clement Finch (1753-1794). William Finch was the third son of Heneage Finch, 3rd Earl of Aylesford, and his wife, Lady Charlotte Seymour, daughter of 6th Duke of Somerset. There was a strong naval pedigree in the family - William Finch was the great-grandson of Daniel Finch, 8th Earl of Winchilsea, who served as First Lord of the Admiralty. William became a Lieutenant in 1772, a Commander in 1776, and a Captain in 1777. He finally reached the rank of Rear-Admiral of the Blue in 1794. The second and third compositions depict the Amazon caught in a disastrous hurricane which swept across the West Indies in 1780. The British Navy lost thirteen vessels in this storm, and the coastal fortifications on some of the islands suffered severe damage. John Thomas Serres was born in London in 1759 to Dominic Serres, a prominent painter and a founder of the Royal Academy. Instructed by his father, John was involved in the publication of the maritime painter's guide, 'Liber Nauticus', and he soon developed a successful independent painting career - the Royal Academy and British Institution exhibiting over 100 of his paintings over his lifetime. He also became Master of Drawing at the Royal Naval College in Chelsea and in 1793 was made Marine Painter to the King after his father's death. Serres' successful career was badly damaged in the early 19th century by the activities of his wife, Olivia Serres, who came to believe that she was the illegitimate daughter of the Duke of Cumberland and publicly pressed her "claim" to his estate, insisting on being addressed as "Princess Olive of Cumberland". Consequently, out of favour at court, Serres was forced to attempt to recoup his losses by investing in the theatre, setting up the Royal Coburg Theatre in 1818. This eventually became known as the "Old Vic". However, his wife's activities again ruined him and he died in 1825 in a London debtors' prison.  HMS Amazon was nearly wrecked but somehow miraculously survived this incidentCONDITION:The Amazon entering the Harbour of St Lucia - Oil on canvas which has been lined. There are minor undulations to the canvas, at the upper left corner there are diagonal deformations. There are also small dents to the paint and canvas in this area. In the cliff at the left hand edge there is an old tear which has been repaired and retouched but has raised edges. The paint layer is stable overall but is compromised by an old and dirty varnish layer which is matte and uneven. In some the varnish is flaking off leaving lighter patches visible. There is wear to the gilded surface of the frame and losses to the gesso.The Amazon in a hurricane (date will be early approx. 1790 - 1837 due to canvas stamp on the reverse) - Oil on canvas, the canvas is unlined and has tax stamp on the reverse. The canvas is slightly slack with minor undulations across the surface and stretcher bar marks. The paint layer has a network of age and impact craquelure across the surface. There is flaking and small losses along the lower edges. There is likely to be more than one varnish layer. The surface gloss overall is even and semi matte, but in light paint passages there is a grubby, patchy appearance which could be residues of an older varnish layer below. The outer edge of the frame is worn with losses to the gesso and gilding at the bottom edge.The Amazon shipwrecked - Oil on canvas which has been lined. The canvas is slack and has undulations across the surface. There are numerous patches on the reverse of the canvas repairing small damages, although the losses remain unfilled. There is a tear at the upper left corner. There are areas of raised paint following the lines of craquelure and impact cracks. There are retouchings around areas of damage. The varnish is semi-glossy and clear. The frame has losses to the mouldings and the gilding is worn.   

Circle of Edward Cocke (British, fl. circa 1640) Portrait of a gentleman, believed to be Master Job Harby, from the Worshipful Company of Ironmongers inscribed upper left "Aetatis: suae: 56 / A: 1644" oil on canvas 84 x 62cm (33 x 24in) Oil on canvas, the edges of the painting have been reinforced in the last 20 years. The canvas tension is good and the picture is in plane. The paint layers have a network of age cracks, some of which are slightly raised. There are numerous areas of retouching across the surface, mainly located in the dark paint passages. There is an old damage on the sitter's left shoulder which has been repaired and retouched. The retouchings are well matched to the original. The varnish is clear and glossy. There are minor chips to the frame.

Bottle of Dunhill Old Master blended whisky 43 proof 75clAll of these whiskies are part of a single owner collection and the great majority were purchased in Scotland soon after the bottling date during fishing trips

After Edward Sturgeon, a pencil signed print of a village cricket match, together with a gilt framed print after the Old Master of a seated figure with Holy Book

CYRIL BOUDA 1901 - 1984: KOKOŘÍN 1943 Oil on paperboard 13,5 x 34,5 cm Signed bottom right: "C. Bouda" A scenic landscape of a valley with Kokořín Castle in the background on the right demonstrates Bouda’s fundamental relationship to the graphic arts. When looking at this rather small, panorama-format painting the eye is attracted to the gently drawn fields and paths and the trees running alongside them.Cyril Bouda was important not only for his extensive oeuvre of paintings and prints, but also for his work as an art instructor. In 1923 he underwent training under František Kysela at the School of Applied Arts in Prague, transferring to Prague’s Academy of Fine Arts to graduate as a student of Max Švabinský. He was a professor at Charles University’s Faculty of Education in 1946–1972, where he initially taught fine graphic art (drypoint, color etching, lithography) and painting. Throughout his life he illustratedbooks, especially fairy tales, Czech legends, humorous and historical novels [including František Langer’s Pražské legendy (Legends of Prague), Václav Cibula’s Staré povìsti pražské (Old Legends of Prague), and Kocourkov]. His illustrations have also been used in animated films (e.g., Hrnečku, vař!, 1953). A master of many different printmaking techniques, including wood and copper engraving, etching, and especially lithography, Bouda also designed Czechoslovak postage stamps and created stained glass designs (in the northern nave of St. Vitus Cathedral by the Hilbert treasury and at St. Wenceslas Chapel in Mcely).

MARIE VOROBIEFF MAREVNA (RUSSIAN 1892 - 1984), REVOLUTION oil on board, signed and dated 1970 67cm x 90cm Framed. Provenance: This painting was gifted to Mrs Nina Barnes of Ainsdale Road, Ealing, London by the artist. Mrs Barnes used the professional name of Nina Walker and was Chorus Master, Royal Choral Society, Repetiteuse and Chorus Master at Royal Opera House, Covent Garden and Recitalist with Caballe. Nina Barnes and Morevna became friends through their attendance at Ealing Abbey which they both lived close to. Nina Barnes passed away in November 2018 and this painting is being sold by her family. Notes: Born Marie Bronislava Vorobyeva-Stebelska (????? ????????????? ?????????-???????????) in Cheboksary, Russia. Marevna is internationally known for convincingly combining elements of cubism (called by her "Dimensionalism") with pointillism and – through the use of the Golden Ratio for laying out paintings – structure. She has been accredited with being the first female cubist painter. Though she lived the greater part of her life abroad – her formative years as a cubist painter in France and her mature years in England – she is usually referred to as a "Russian painter". In 1910 she went to Moscow to study at the Stroganov Art Academy, but in the following year left for Italy. On the island of Capri she was introduced to Maxim Gorki who nicknamed her "Marevna" (after a Russian fairy sea princess). She adopted the nickname and was widely known as Marevna for the rest of her life. A petite blue-eyed blonde, she was said not to have been a conventional beauty; but an outgoing nature paired with the proverbial depth of the Russian soul seems to have given her a charm which made her "special" to all who knew her. She moved to Paris in 1912 as an aspiring twenty year old. It was there that she became friends with some of the greatest artists and writers of the early twentieth century then resident in Montparnasse and especially at La Ruche, among them were Pablo Picasso, Georges Braque, Marc Chagall , Jean Cocteau, Ilya Ehrenburg, Max Jacob, Moise Kisling, Henri Matisse, Amedeo Modigliani and Chaim Soutine. It was while a resident of La Ruche that Marevna met the gifted Mexican cubist and later muralist artist Diego Rivera. Diego Rivera was nearly 30 at the time and at the zenith of his phase, having already exhibited his works at three exhibitions. Marevna herself discovered cubism as an eminently suited vehicle for her own talent. Rivera was a known womanizer of fiery temper and began a relationship with Marevna while he was still in a common-law marriage with the Russian artist Angelina Beloff who was pregnant with Rivera's son. Despite Diego Rivera's assurances of his love for Marevna, their relationship ended soon after the birth on 13 November 1919 in Paris of their daughter Marika. It's probable that Marevna never fully recovered from the break up of her relationship with Rivera and it's reported that after her death her ashes were laid in the Rivera mausoleum in Mexico. Marevna exhibited widely in France and Europe throughout her career, as well as at the Guggenheim Museum in New York in 1968; and more recently a major retrospective was held at the Russian State Tretyakov Gallery in Moscow, in 2004. A small collection of her work is held at Athelhampton House in Dorset where she lived with her daughter during the 1950’s. Her work is also in several museums including a substantial collection at the Musée Petits Palais in Geneva. When her daughter's marriage ended Marevna moved to the London suburb of Ealing with her daughter and two grandsons. Her work was unfashionable for a period and a substantial number of her paintings were bought by international collector Oscar Ghez in 1967. Marevna died in London on 4th May 1984. Her work can command high prices at auction including Nu allongé (1930), at Aguttes, Paris lot 34 19/6/2009 sold for 266,966 EUR (premium) and Hasidic Dance During Chanukah Celebration (1970), at Sotheby's, New York lot 125 26/4/2006 sold for 228,000 USD (premium).

After Jane Neville. Squirrel in winter landscape, artist signed limited edition print no.103/500, signed and dated to the mount, 32cm x 43cm, Old Master print, book plate, two mirrors, etc. (a quantity)

A group of Old Master prints, including Franciscus van der Steen after David Teniers II engraving, 'Two Boors', 17.5 cm x 12 cm; Conraad Woumans after Adriaen Brouwer engraving, 'Two Peasants', 13.5 cm x 13.5 cm; Coryn Bowl after David Teniers II engraving, 'Old Man with a Wine Jar', 11.7 cm x 9.7 cm; Johann Anton Riedel after Rembrandt engraving, 'Portrait of Rembrandt', 20 cm x 15.5 cm; and four others, all framed and glazed (8)

A pair of "Trafford" Old Master plaques and further prints

Extra-illustrated album of old master prints.- [Harding (George Perfect, 1780-1853)] [The Holy Bible, vol. 5.], extra illustrated volume accompanying text, with original watercolour title page by Harding, and over 200 prints by and after old masters neatly presented, including Jacques Callot's suite of 16 engravings 'Martiryum Appostolorum', 14 (of 16) plates from 'Les Grands Apôtres', a suite of 16 engravings after Marcantonio Raimondi's Apostles series after Raphael, published by Frederick de Wit, and others by Bernardinus Passarus, Johannes Sadeler, Adriaen Collaert, Hieronymous Wierix, and Bernard Picart after Rembrandt, and others after Paul Bril, Marten de Vos, Jan van der Straet, Bloemaert, and others, engravings and etchings, all neatly inset onto album leaves, some double-page, various sizes, straight-grained morocco, gilt, scuffed and worn, 4to, compiled circa 1810-12.⁂ George Perfect Harding was an English portrait-painter and copyist, and was particularly well known for his watercolour copies of historical portraits.

Italian SchoolAn Old Master Drawing, Study of Cherubsink on prepared paper, 18.5cm x 23.5cm

Architecture and Masonry - Mylne (Rev. Robert Scott), The Master Masons to the Crown of Scotland and Their Works, copy no. 303, Scott & Ferguson and Burness & Company, Edinburgh 1893, illustrated with full-page lithographic and engraved architectural and topographical plates, contemporary pictorial cloth binding, Ex Library copy, neatly embossed library stamp to prelim and some gilt numeration to spine, crown folio; Vallance (Aymer), The Old Colleges of Oxford: Their Architectural History Illustrated and Described, B.T. Batsford, London [n.d., 1912], full-page lithographic and photographic plates, further engraved illustrations accompanying text, Neo Gothic title-page and initials, contemporary pictorial cloth binding, Ex Library copy, Nottingham Reference Library paper label to upper-cover, some institutional stamps to prelims and plate margins in places, medium folio, [2]

Old Master Style Charcoal Drawing On Paper "Reclining Nude". Unsigned. Measures 8-5/8" x 13-3/4", frame measures 13-1/4" x 18-3/4". Condition: Small tear, toning. Estimate: $200.00 - $300.00 Domestic Shipping: $78.00

1st millennium BC. A bronze master of animals sceptre finial depicting two facing human heads gripping a pair of addorsed animals, bird heads below; separate balustered stem extending to a socket at the base. 325 grams total, 17-20cm (6 3/4 - 8"). From an old British private collection; formed between 1975 and 1985. [2]Fine condition.

Oceania, French Polynesia, Marquesas Islands, Enata peoples, ca. first half of the 20th century CE. A fabulous u'u club, hand-carved from iron wood and meticulously polished to a smooth textured feel. The classic form of this example is comprised of a cylindrical shaft with a narrow vertical slit on one side leading upwards to a highly-stylized T-shaped paddle with a round, lightly-concave top. The neck of the paddle displays a set of highly-abstract janiform faces with dense carved motifs surrounding the lips and cheeks. Each side of the striking head depicts a pair of stylized human faces within radiating coronas as well as a third unadorned face below. Finely carved with raised decorations on both sides with rich, dark-brown matte patina. Size: 5.125" W x 44.2" H (13 cm x 112.3 cm); 44.7" H (113.5 cm) on included custom stand.Wooden war clubs are common throughout Polynesia, but the face-shape is distinctive to the Marquesas, where the native name for a war club is "u'u." The motif seen on this club and ones like it are found throughout Marquesan carvings, including on wooden bowls and ear ornaments. They also would have been mirrored on the tattooed skin of the warrior who wielded the club, instantly recognizable to members of the culture as having a particular regional and personal identity.Wood carving in the Marquesas Islands is a practice undertaken by many of the local master craftsmen, who are known as "tuhuna." The tuhuna are not only adept at wood carving, but are also skilled at tattoo art and adze manufacturing. Marquesan wooden crafts are considered among the finest in French Polynesia - they are highly sought after and of consistently high quality.For a similar example, please see The Metropolitan Museum of Art, accession number 1979.206.1471: https://www.metmuseum.org/art/collection/search/313659A similar example hammered for $68,500 at Sotheby's, New York "African, Oceanic and Pre-Columbian Art Including Property from the Pierre and Tana Matisse Foundation" Auction (May 13, 2011, lot 315): http://www.sothebys.com/en/auctions/ecatalogue/2011/african-oceanic-and-precolumbian-art-n08749/lot.315.htmlAnother similar example hammered for EUR 145,500 ($171,504.34) at Christie's, Paris (sale 13638, June 23, 2016, lot 45): https://www.christies.com/lotfinder/sculptures-statues-figures/massue-uu-iles-marquises-epoque-1804-183-6004125-details.aspx?from=searchresults&intObjectID=6004125&sid=ed263db5-8785-43c1-8bd2-55dc86a1b60c Provenance: private Newport Beach, California, USA collection; ex-William Cody collection, Palm Springs, California, USA Condition: Minor abrasions to handle, pommel, and striking head, with softening to some finer details, wear to some raised areas, and light encrustations within some recessed areas, otherwise intact and excellent. Light earthen deposits and fabulous patina throughout. Old inventory label on handle. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #135746

A bottle of Dunhill Old Master blended Whisky and a bottle of The Cabinet Whisky by Blundell & Co (2)

Circle of Sebastiano Conca (Italian, 1680-1764) - The MadonnaOil on canvas, 59x48cm, inset into a elaborate foliate gilt frame, frame bears small plaque after Carracci, bears label from Christie's, Old Master Picture sale, lot 213 26th April 2006CONDITION REPORT/ADDITIONAL INFORMATION:Has been relined, paint blister to surface, some retouching, frame has damage no visible woodworm.

Old Master half length portrait of a gentleman in black coatUnsigned, inset into a gilt farme, 91x70cm

After Sir Peter Paul Rubens - 'The Descent from the Cross'Oil on board, inset into a stained a wooden frame, bears old label for Christie's Old Master picture sale, 26th April 2006 lot 18, 105x72cm

Old Master study of bearded gentleman holding a skull possibly St Jerome Oil on canvas, inset into a heavy moulded gilt frame, 77x68cm

Attributed to Arnold Van Boonen (Dutch 1669-1729) - Half length portrait of a gentleman.Inset into an oval gilt frame, bears Christie's label for Old Master picture sale, lot 104 26th April 2006, 54x46cm

Continental School early 19th Century/Half Length Portrait of a Bearded Man/wearing a black coat/charcoal and pastel, 26.5cm x 21.5cm/a portrait of a woman and an Old Master type drawing

A group of oil paintings, watercolours and prints including a watercolour titled The Edge of the Moor by Herbert Lyndon (1855-circa 1922), seven old master etchings, two World War 1 pen and ink cartoons by George Loraine Stampa (1875-1951), a landscape etching by Margaret Kemp Welch (1874-1968) and various other oil paintings, watercolours, drawings, unframed. (19 in total)

18TH CENTURY OLD MASTER Aphrodite, Pan and Eros, oil on panel 28 x 39.3 cm (11 x 15 1/2 in.)

CIRCLE OF FRANCOIS BOUCHER (FRENCH 1703-1770) Allegory of the Sense of Sight, oil on canvas 69 x 104 cm (27 1/8 x 41 in.) PROVENANCEPrivate CollectionSotheby's, New York, Old Master and 19th Century European Art, January 28, 2006Acquired by the present owner at the above sale

DUTCH SCHOOL, 17TH CENTURY A Pair of Winter Landscapes, oil on panel each measuring: 21 x 29 cm (8 1/4 x 11 3/8 in) PROVENANCESotheby's, New York, Old Master & 19th Century European Art, January 30, 2015, Lot 441æ(unsold with an estimate of $20,000-30,000)

Two old photograph albums one having a brass clasp, one having a broken clasp, together with old postcards, a boxed View Master etc.

THREE VICTORIAN PHOTOGRAPH ALBUMS, including views in Italy, Old Master studies and others

A pair of late 18th Century Chinese export ware famille rose bowls, circa 1780, the exterior friezes painted in polychrome with British East India galleons with raised flags on the sterns, the interiors with floral swags, diameter 26cm (some damage/old restorations) (2)Provenance: inherited by the current gentleman vendor by his great, great grandfather Henry Rider. Henry Rider born 1822 became a Master Mariner working for Lucas Brother's Trading Co and it is assumed he acquired the bowls from one of his contacts there. It is thought that Lucas Brothers who were one of a few prominent traders in Bristol in the early 19th Century must pre-date this, hence providing a possible line of provenance

17th Century Italian Old Master Oil On Canvas, Possibly Follower Of Andrea Schiavone, Italian (born circa 1500-1563) "Massacre Of The Innocents" Unsigned. Original purchase receipt from Sloan's Auctioneers included. Measures 52" x 76", frame measures 55" x 78-1/2". Condition: Good restored condition Estimate: $5000.00 - $7000.00 Domestic Shipping: Third party

Grumble (Angus) . Love & Death, art in the age of Queen Victoria, 2002, Australia, numerous colour illustrations, original boards, large 4to, together with, Haboldt (Bob) , Singular Vision, Haboldt & Co's old master paintings and drawings since 1983, 2012, France, numerous colour illustrations, original cloth with illustration in slipcase, large 4to, and, Long Museum [publisher] , Collection of Ancient Paintings & Calligraphy, 2014, China, numerous colour illustrations, original cloth slipcase with carved wooden front label, as new in original plastic wrap, folio, plus other old master, pre 20th century and Chinese art reference, including The Paintings of Jacob Ochtervelt (1634-1682), by Susan Donahue Kuretsky, 1979, many original cloth in dust jackets, some paperbacks, some as new in shrinkwrap (Qty: 6 shelves)

Attributed to Johannes Glauber (Utrecht 1646 - circa 1726 Schoonhoven), Italianate landscape with figures and a ruined castle beside a river, pen and brown ink, 19.5 x 27cm Provenance: Purchased by the vendor at Christie's Old Master Drawings sale, lot 93 November 26th 1974

F.J. Van der Elst (Dutch School, 17th century), pair of drawings of trees, pen and brown ink, each signed lower right, each approximately 30 x 18cm (2) Provenance: Purchased by the vendor at Christie's Old Master Drawings sale, lot 80, December 10th 1974

Follower of Pieter Bruegel (C.1525-1569), Army on the March, unidentified collectors mark bottom left, pen and brown ink, 19 x 30cm. Provenance: Purchased by the vendor at Christie's Old Master Drawings sale. lot 65, March 11th, 1975

Attributed to Herman Van Swanevelt (1603-1655), Woodland Path, pen and ink drawing, 16 x 19cm Provenance: Purchased by the vendor at Christie's Old Master Drawings sale, lot 77, March 11th 1975

Attributed to Dirk Maes (Haarlem, 1659-1717), Hunting party, pencil and grey wash, 17.5 x 28cm. Provenance: Purchased by the vendor at Christie's Old Master Drawings sale, lot 81, March 11th 1975

Alphonso Wong (Chinese b.1924) Old Master Q David Tang & Friends, black felt tip and pen, signed and dated lower right, 4.2010, 31cm x 24cm. Provenance; property from the late Sir David Tang This lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 20% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.

Alphonso Wong (Chinese b.1924) Old Master Q & Mr Potato', black felt tip, four section storyboard, signed and dated lower left, 4.2010, 43cm x 35cm. Provenance; property from the late Sir David Tang This lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 20% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.

Alphonso Wong (Chinese b.1924) Old Master Q eating noodles, pencil on paper inscribed and signed in Chinese, dated lower right, 7.24.2009, 20cm x 27cm. Provenance; property from the late Sir David Tang This lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 20% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.

A GEORGE II WALNUT LONGCASE CLOCKThe movement by George Graham, No. 709, circa 1733, the case associated and of the periodThe cushion-moulded hood with a pierced fret, flanked with gilt-brass-mounted columns, above the trunk with rectangular moulded door, above the cross-banded stepped plinth, the 12in. gilt brass dial with Indian mask spandrels, silvered chapter ring enclosing a finely matted centre with seconds subsidiary dial and date aperture, signed on a silvered oval cartouche Geo: Graham London and again to the lower edge, the substantial fully latched five-pillar movement with bolt and shutter maintaining power and dead beat escapement, with rack strike to the bell, numbered to the backplate lower centre 709233cm highPROVENANCE:Possibly F.H. Green, London, before 1945Possibly W.G.A. King, Blackheath With Partridge, New Bond Street and illustrated in their 1993 Summer catalogueSir Emanuel Kaye, C.B.E., (d.1999) Hartley Place, Hartley WitneyAcquired by the current vendor circa 2000Francis Herbert Green (1872-1936) was a collector-dealer and author of Old English Clocks: being a collector's observations on some seventeenth century clocks (London: St. Dominic's Press, 1931). His clock gallery, which was situated above his wine and tobacco shop in the Royal Exchange, would have been well known in the trade. See Jonathan Betts, 'Two Rare Books', Antiquarian Horology, December 2003, pp. 677-9, and subsequent correspondence in the March 2004 issue, pp. 118-9.A letter in the Horological Journal, December 1963, p.383, from Mr. WGA King of Blackheath, concerning three longcase movements and dials he had purchased from a scrap merchant - “... it seems that all were dumped in his yard by a demolition lorry very many months ago and almost certainly came from a house bombed during the last war”. One of the three clocks - a month-going Tompion, is known to have belonged to F.H. Green but he is not known to have owned no.709 (though he did own no.717). It is possible that all three came from his premises in the City.The original case seems likely to have been destroyed during the blitz and the present case, though perfectly correct is style, was found for it during the 1960s.George Graham (b.1673, d.1751) was apprenticed in 1688, entered the Clockmakers' Company in 1695 and was Master in 1722. One of England's greatest makers, he was a Fellow of the Royal Society. From 1696 he was assistant to Thomas Tompion. From 1711-13 he was in partnership with Tompion and succeeded him on his death in 1713. He is buried alongside him in Westminster Abbey.R. Garnier & J. Carter, The Golden Age of English Horology: The Tom Scott Collection, Winchester 2015, includes a 'checklist' of George Graham's Watches and Clocks by Jeremy Evans and Rory McEvoy, see page 203, which details this clock in the tables.Bellmans is grateful to Jeremy Evans for his assistance with the catalogue entry.

Clément-Bayard Registration Number: G 5391 First Registered: 01-01-1921 (Manufactured 1914) Engine Size: 1056cc Colour: Green and Black Engine Number: LM3B21069 Chassis Number: 4M3B21069 V5C present Automobile pioneer and racer Adolphe Clément first made bicycles and, later, cars and aircraft. Born at Pierrefonds in the Oise district of France, in 1894 he set himself up in Charleville in Paris with his first bicycle factory ''La Macerienne'', as he named it. At first he made only components, then followed with Clément bicycles. The motor cars came in 1899, financed by the considerable fortune Clément had amassed from his bicycle business and his acquisition of the exclusive rights to Dunlop pneumatic tyres in France. Clément was also successful in plane and airship production. The initial model range comprised three models (9Hp, 12Hp, 16Hp) and was enhanced in 1904 with a 6Hp single-cylinder, a 7Hp twin-cylinder, and 14Hp, 20Hp & 27Hp 4-cylinders. In 1910 Clément-Bayard started to manufacture a stylish, low cost, small, two-seater roadster, with a 4-cylinder 10/12hp, and a heater for the driver and passenger. It was very popular, and production continued until the outbreak of war in 1914. Tennants are extremely honoured to offer this rare and beautiful example of Clément-Bayard's four cylinder tourer manufactured in 1914. In 1978 the car was proudly featured in the film 'The Thirty-Nine Steps' starring Robert Powell. The car was used as the getaway car from the village hall scene. This very early car was registered in Glasgow in 1914 and has, by all accounts, spent all its life in Scotland. When discovered many decades ago it was 95% complete, and with matching engine and chassis numbers was a rare find indeed. The restoration was a straightforward one focusing on recommissioning and painting, not major fabrication and the addition of any non-standard and difficult to source fixtures and fittings. Some of the wonderful originality can be viewed simply by raising the period Dickey seat, still with early leather and mechanism, it is an example of how the previous owner was passionate about maintaining the car's integrity. Of the very few early Clément-Bayards known, a great deal are the earlier and less powerful twin cylinder models. This particular example sports the sought-after four cylinder engine which makes the car extremely usable on the open road and giving it every chance of completing the many Edwardian regularity runs every year. This indeed represents the exotic and rare end of the spectrum as a VCC entrant and attracts crowds wherever it goes. Finished in striking green over black and painted in its correct craft master style coach paint with an array of brass brightwork, the Clément, now 105 years old, is as usable and mechanically sound as it would have been post-manufacture. Prices of Edwardian cars have been rising steadily over the last several years, prices pushed up by the ever increasing veteran market. With some pre-1905 Brighton eligible cars hitting the quarter of a million mark, the Edwardian market is one that many collectors are trying to tap into and with ever increasing events designed for the post veteran owner, this Clément offers a valuable passport to high profile events all over Europe. Sold with original, valuable cherished number and comprehensive history file, with photos and reference to its film star status. Buyer's premium of 10% (+VAT) applies to this lot. Predominantly original car. Older restoration, had painted in correct coach paint. Small dent to corner of brass radiator. Original interior and Dickie seat. Older tyres showing age. Starts and drives well.

After Canaletto (1697-1768) An oil on canvas - A view of the Church of The Frari, Venice, set in a later ornate gilt frame. Provenance - The vendors family purchased the painting from Friends who brought it at Christies 'Pictures by Old Master' Sale Friday 26th January 1968, Lot 82 ( A copy of the catalogue comes with the painting) 56.5cm x 76cm

A massive part-filled Minkus 'Master Global Stamp Album' containing USA (1938 - 68 almost complete) and A to B Countries of British Empire/rest of world; defin and commem, mint and used and Kuwait. Many sets/part sets. Good Australia, Belgium etc. Some pre-1900 stamps on old album pages inserted - 1000's of stamps

A massive part-filled Minkus 'Master Global Stamp Album' containing L to P Countries of British Empire such as Malaya/Newfoundland and rest of world including good Mexico, Netherlands plus Shanghai. Some pre-1900 stamps and others on old album pages inserted

A massive part-filled Minkus 'Master Global Stamp Album' containing S to Z Countries of British Empire/Commonwealth such as Trinidad and Tobago and rest of world including good Spain, Sweden, Siam (Thailand), Turkey and Uruguay. Some pre-1900 stamps and others on old album pages inserted

Two Royal Doulton figures The Master and The Old Ballon seller

NO RESERVE Anglo-French satire.- Cruikshank (George) Louis XVIII climbing the Mât de Cocagne, etching with hand-colouring, sheet 345 x 245 mm. (13 1/2 x 9 3/4 in), under glass, [BM Satires 12614], publsihed by William Hone, 1815; together with 3 others, including Rowlandson's 'Sketch of politicks in Europe 24th January 1786, birth day of the King of Prussia', Samuel De Wilde's 'British cookery or "out of the frying-pan into the fire"', and 'Political balance- unexpected inspection- or a good old master takeing a peep into the state of things himself' published by Thomas Tegg, etchings with hand-colouring, various sizes, framed and glazed, late 18th and early 19th century (4).

17th century Old Master Drawing of a Cherub14 x 10.5cm Condition report: No obvious condition issues.

A S Handford (20thC School). Figure of children and dogs, engraving print, pencil annotated to mount, 37cm x 29cm , another similar, a small quantity of other frames, prints, Old Master, Market Place Bingham and a three fold mirror. (a quantity)

Various classical and Old Master prints, Virgin and Child, Der Fruhling, various other classical prints, etc. (a quantity, various dimensions)

After Edward Dayes An Airing in Hyde Park; The Promenade in St. James's Park Engravings by Thomas Gaugain and Francois-David Soiron respectively, the first published London 1796, the latter London 1793 Each plate: 46 x 67cm (18 x 26 1/2in.) (2) Provenance: Thomas Agnew & Sons Ltd., London Acquired from the above by The Lord Wraxall in 1986 Exhibited: London, Thomas Agnew & Sons Ltd., An Exhibition of Old Master Prints, May-July 1986

Jan van der Heyden (Dutch 1637-1712) and Adriaen van de Velde (Dutch 1636-1672) A river landscape with a fortified castle and a bridge Oil on cradled panel 70 x 57.5cm (27½ x 22½ in.) Provenance: Jean-Baptiste-Pierre Lebrun (1748-1813) Sale, Paris, Lebrun, 20 March 1810, Lot 161 (421 francs to Lafontaine) Pierre-Joseph Lafontaine (1758-1835), 5 rue de Cleury, Paris, by whom presumably sold to (or bought on behalf of) Johan Gijsberg, Baron Verstolk van Soelen (1776-1845), The Hague, by 1836, from whom purchased en bloc with his collection in 1849 by a consortium and retained by Humphrey Mildmay (1794-1853) Thence by descent to Henry Bingham Mildmay (1828-1905), London Sale, Christie's, London, Old Master Pictures, 9 July 2003, Lot 52 Acquired from the above by The Lord Wraxall Literature: J. Smith, A Catalogue Raisonné, etc., V, London, 1834, p. 397, no. 93.(Possibly) G.F. Waagen, Galleries and Cabinets of Art in Great Britain, London, 1857, p. 342.C. Hofstede de Groot, A Catalogue Raisonné, etc., VIII, London, 1927, p. 372, no. 141.H. Wagner, Jan van der Heyden, Amsterdam, 1971, p. 105, no. 172. Engraved: J.-B.-P. Le Brun, Recuil de gravures au trait, etc., Paris, 1809, no.161 (for the catalogue of his 1810 sale) Jan Van der Heyden was born in Gorinchem, the son of a Mennonite. In 1646, the family moved to Amsterdam where Van der Heyden remained until his death in 1712. Van der Heyden trained under his eldest brother who produced and sold mirrors. It was during this time that he practiced Verre Églomisé and the two brothers went into business with one another. Van der Heyden went on to become one of the leading architectural landscape painters in the Dutch Golden age painting mainly views of Amsterdam and capriccios. Whilst Van der Heyden’s attention to detail was exquisite he did not strive for architectural accuracy but overall harmony through his composition. His true mastery was the way in which he bathed landscapes in light in order to manipulate the atmospheric effect. Jan Van der Heyden worked closely with a number of artists on collaborations including Johannes Lingelbach and Eglon van der Neer. However, his closest collaborator was Adriaen van de Velde, who was an apprentice of Jan Wynants and trained with Philips Wouwerman. Velde painted lively and characterful figures such as the figures on horseback crossing the river in the foreground and the townspeople crossing the river over the bridge to complement Heyden’s atmospheric landscapes.The collection of Jean-Baptiste-Pierre Lebrun, husband of the artist Marie-Elisabeth-Louise Vigée Lebrun, was dispersed at auction in Paris in 1810. His collection today is regarded as a rich and important collection which has ended up in some of the world’s most established museums including the Frick Collection, New York and the Hermitage, St. Petersburg. Mildmay's pictures eventually passed to his son Henry Bingham Mildmay (1828-1905), who became a partner of Barings in 1856. Like so many of his mother's family, he collected pictures. However, the Baring crisis of October 1890 brought collecting to an end and on 24 June 1893 a substantial part of Mildmay's picture collection was dispersed at Christie's. The Bank was bailed out by a consortium headed by Henry Hucks Gibbs (a former governor of the Bank of England) and Antony Gibbs and Sons. That a significant number of important pictures were retained, including apparently the present work, testifies to Mildmay's continuing commitment as a collector.

Isaac Ouwater (Dutch 1748-1793) A view of Amsterdam from the 't Spaarne canal in Slooterdijk with travellers on a towpath by the tollgate and a couple on a ferry Oil on canvas Signed and dated 1782 lower right 32 x 42cm (12¼ x 16½ in.) Provenance: Sale, Christie's, London, Old Master Pictures, 9 July 2003, Lot 54 Acquired from the above by The Lord Wraxall Isaac Ouwater (1750-1793) was an 18th century landscape painter from the Northern Netherlands. During his career he is known to have worked in Amsterdam, Haarlem and Utrecht and is best known for his landscapes and architectural scenes. The t’Spaarne canal was dug in 1631, and subsequently over the following century prompted the construction of more than one hundred country and tea houses along the waterside. A similar view of the canal painted in 1778 and taken from a standpoint a little further forward from that of the present lot surfaced in a saleroom in Amsterdam in 2003.

Jean-Victor Bertin (French 1767-1842) An Italianate mountainous river landscape with a hill-top town and an ox-drawn cart with figures Oil on canvas Signed and dated 1827 lower right 43.5 x 65cm (17 x 25½ in.) Provenance: Anonymous sale, Sotheby's, New York, 28 January 2000, Lot 108 Sale, Christie's, London, Old Master Pictures, 27 April 2007, Lot 119 Acquired from the above by The Lord Wraxall Born in Paris in 1767 to a master wig-maker, Bertin initially studied art under the history painter Gabriel-Francois Doyen before becoming a pupil of the celebrated Pierre-Henri de Valenciennes who encouraged him in the classical tradition of Italianate painting. Having travelled to Italy in 1806 to develop his style, Bertin became interested in the interplay of light and shadow on the landscape, something he would later come to pass onto his most celebrated pupil, Jean-Baptiste-Camille-Corot.Bertin exhibited frequently at the Paris Salons from 1793 until his death in 1842. He was awarded the Légion d'honneur in 1822. His works can be found in numerous French collections, including the Louvre and the Palais de Versailles.

Joseph Wright of Derby A.R.A (1734 - 1797) Study of a Young Man Wearing a Turban black and white chalk on paper, 42.5cm x 30cm Provenance: Christie's, Old Master & British Drawings, 5th July 2016, Lot 79. Condition Report: Please see attached images, including Christie's former lot details to verso. The upper-left and the lower-right margin with two stable years, each about an inch plus in length. The right portion of the face with some scrubbing following some former damage. The frame with some wear but generally okay.

Italian Old Master School (17th/18th century)Study of the Male Torsopen and ink on paper, 18cm x 11cm Condition Report: Some slight staining and creasing to paper

Italian Old Master School (first - second quarter, 18th century)Maria Magdalenatitled, red chalk drawing on paper, 32cm x 21cm, the mounts stamped John Eighteen Limited; others, same media, varying sizes, (2), [3]