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 GEORGE III: (1738-1820) King of the United Kingdom of Great Britain and Ireland 1760-1820. D.S, George R, as King, at the head, three pages, folio, Court at Saint James's, 30th April 1802. The manuscript document grants Isabella Frances Master, widow of Richard Master, former Consul at Algiers and Governor of Tobago 'who fell a sacrifice to the unhealthiness of the climate', a yearly pension of £200 and further grants Sir Abraham Hume a yearly pension of £100 in trust for the children of Master. Countersigned by Henry Addington (1757-1844, Viscount Sidmouth, British Prime Minister 1801-4) and several others. Extensive splitting to folds of third page and some minor splitting to other folds. G   Sir Abraham Hume (1749-1838) Politician and one of the Founders of the Geological Society. Hume amassed a famous collection of minerals and precious stones and was a large purchaser of pictures by the old masters.  

A pair of Victorian oval silk panels, embroideries of Old Master drawings. Each 23 cm x 18 cm, in gilt frame.

After the 16th Century Old Master, religious study, oils on metal. 40 x 30cm approx. Framed. (B.P. 24% incl. VAT)

19th century BC. A black limestone cylinder seal with suppliant goddess standing in long dress with raised hands behind a worshipper, who approaches a seated king; the king wearing a round cap and holding a cup; star and crescent above; followed by a two line inscription. An Isin/Larsa Early Old Babylonian cylinder seal with presentation scene, the suppliant goddess Lama in a flounced robe, with necklace counter-weight and with a multiple-horned head-dress, stands with both hands raised behind the clean-shaven worshipper who wears a fringed robe, with hands clasped; both of them face a seated deified king wearing a round cap and holding a cup in his right hand; star-disc and crescent.; there is a base-line beneath the scene; the seal inscription: 1 Nu-úr-ì-lí „N?r-il?, 2 DUMU Be-lí-ma son of B?l?ma“ Translation of these Akkadian names: N?r-il? A light is my God; B?l?ma He (God) is my master. Cf. Collon, Dominique Catalogue of the Western Asiatic Seals in the British Museum. Cylinder Seals III: Isin-Larsa and Old Babylonian Periods, London, 1986, pls.VII-IX. 15.8 grams, 27.9mm (1"). Property of a respected gentleman, from his private collection formed 1965-2018. Very fine condition.

Three Old Master style coloured prints, in decorative gilt heightened frames

Old Master Style, Portrait of Lorenzo Lotto. Oil on board. Lorenzo Lotto was an Italian painter, draughtsman and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other North Italian cities. Sight Size: 17 x 14.5 in. Overall Size: in.

Dunhill Old Master finest Scotch Whisky, early bottling, cellar master's number J 04821, 750ml, 43% vol, with Dunhill tag on cord around neck, level mid neck, exc - Est £30 - £50

Five Royal Doulton figurines 'Silks and Ribbons', 'A Stitch In Time', 'The Master', 'The Lobster Man' and 'The Old Balloon Seller - H.N.1315'.

Early 20th century oil on board, Old Master style religious group, unsigned, 32" x 26", framed

Deans, Merrythought and other collectors Bears, Deans Master Bruno and Miss Bruno 90th Anniversary Bears, both boxed with outers, six Merrythought Bears, Nelson, Sea Captain, Brigadier, Home Guard, boxed tipped Micro-Cheeky and pink Micro Cheeky, Nonsuch bear, two Eduard Cramer bears and a Kosen limited Edition Black Bear in wooden box, seven Jane Hissey’s Old Bear and Friends soft toys and nine boxed A The Antique Bear Collection figurines by R&R Hill Devon (28 items).

CRAIGELLACHIE 1978 - MASTER OF MALTSingle Cask bottling of Craigellachie 19 Year Old Single Malt Scotch Whisky. 70cl. 43% abv. Bottled for Master of Malt. Level low neck. Excellent condition. 1 bottle.

DUNHILL OLD MASTER FINEST SCOTCH WHISKYBeautifully shaped bottle of Blended Scotch Whisky from Dunhill. 75cl. 43% abv. In original carton. Level mid-neck. Excellent condition. 1 bottle.

Eric Gill (1882-1940):Madonna & child, woodcut, hand signed with initials & 43/C in pencil, H 11 x W 8 cm; together with four further Old Master prints to include a 17th century map of Dover & early etching of a horseman after Pieter van Laer (5)

JOHNNIE WALKER SWING Blended Scotch Whisky 75cl, 43% volume, in carton. DUNHILL OLD MASTER Blended Scotch Whisky 700ml, 43% volume, in carton. Two bottles.

DUNHILL OLD MASTER Blended Scotch Whisky 700ml, 43% volume. PRESIDENT SPECIAL RESERVE 12 YEARS OLD Blended Scotch Whisky 75cl, 43% volume. 2 bottles

DUNHILL OLD MASTER (2) Blended Scotch Whisky 750ml, 43% volume, in carton. Two bottles.

A quantity of miscellaneous prints after Old Master subjects to inc floral studies & original engravings after Rubens etc (13)

An Old Master style print of the Crucifixion

After Raphael. The Three Graces after an original red crayon study, a classical Old Master engraving, a pencil drawing portrait of a woman's head and two others. (5)

Ten Royal Doulton small character jugs, comprising Angler, Gondolier, Old Charley, Leprechaun, Graduate, Gardener, Jockey, Collector, London Bobby and Master. (10)

Jack Daniels Old No 7 Old Time Tennessee, 1895 replica bottle from Bottling number 9 on 19th March 1999, 1 litre, 40% vol with certificate signed by Head Stiller and Master Taster, level low to mid neck, exc - Est £30 - £40

Old Master style pen and ink drawing, classical wrestlers, 16" x 12", unframed.

A small 19th century rosewood wall mirror of rectangular form with C scroll, acanthus and plume detail, together with an Edwardian wall mirror of oval form and a framed and glazed coloured print of an old Dutch master interior scene

19thC Dutch School – oil on metal – Fisherfolk on the shoreline – old label to verso 'By an Old Master', 7” x 9.5”.

NO RESERVE Old master prints.- Anonymous (late 15th century) St Jerome in Penitence, after Antonio Pollaiuolo, engraving on laid paper without watermark, possibly late 18th century, sheet 220 x 280 mm. (8 3/4 x 11 in), repair to loss in upper right corner of sheet, other minor nicks and tears, residual mount in part still affixed to verso, unframed, [circa 1460-1480, but a later impression, 18th or early 19th century]; together with three etchings after drawings by Rembrandt, probably by Claussin, a copy after Dürer by Armand Durand, another facsimile after Dürer, and a heliogravure after Jean Duvet's The Annunciation, various sizes, 250 x 200 mm. (9 7/8 x 7 7/8 in) and smaller, all unframed, (7).

NO RESERVE Collaert (Adrian, 1560-1618) Earth, plate 1 from: The Four Elements, with address of Kiliaan, engraving, on laid paper with indistinct watermark, sheet 172 x 215 mm. (6 3/4 x 8 1/2 in), thread margins, but trimmed within platemark at lower edge, inset at edges onto paper support, minor surface dirt, [NH 1282] unframed, [late 16th, early 17th century]; together with a good group of 11 northern European old master prints, including two others by Collaert, Raphael Sadeler's 'St Agnes kneeling' after Denys Calvaert, another two by Sadeler showing the vision of a Saint in a church interior and the 'The martyrdom of St Stephen' after Palma Giovane [H.97], and others after Pietro da Cortona, Jan van der Straet, Teniers, and Cornelis Bloemaert's plate to 'Documenti d'Amore' after Andrea Camassei, etchings and engravings, various sizes, 295 x 200 mm. (11 1/2 x 7 7/8 in) and smaller, most trimmed to image, all inset at edges onto paper support, pencil inscriptions verso, all unframed, [16th and 17th century] (12).

An Old Master pencil study of figures amongst clouds, dated 1745, 12cm by 16cm, framed

Davies, George R. 'Collection of Old Chinese Porcelains', Purchased by Gorer and Exhibited at the Galleries of Dreicer & Co. (Jewels), New York, 1913, quarto, publisher's gilt green cloth. Presentation copy with inscription, 'With the Compliments of The Printer', along with a handwritten note on headed paper, 'From George W. Jones at St. Andrew's House, Droitwich, Worcestershire', dated 1940 and addressed to 'Billie' [William F. Northend]. Together with 'Collection d'Anciennes Porcelaines de Chine et Pierres Dures par Gorer, 170, New Bond Street', Exposee a l'Hotel Astoria, Paris, 1912, quarto, publisher's gilt blue cloth. Both books feature vibrant colour plates, some light foxing and wear to binding of the former. (2)Provenance: Originally from the library of William F. Northend (1887-1968), master printer at Northend's in Sheffield (son of the founder of the firm, J. W. Northend). By descent.

An early 20th century oak conoisseur's Old Master triptych, printed after Hans Memling with the Triptych of Jan Floreins of 1479, gilt slip, 42cm high, 101cm wide (open), retailed by W R Deighton, London, paper label to verso with ink manuscript inscription, c.1930

*De Morgan (Evelyn, 1855-1919). An album of Italian watercolours, fifty watercolour sketches and one pencil sketch on card, mostly mounted on rectos of album leaves (between one and several to a page), but a number loosely inserted, some album leaves excised or partly excised, mainly depicting landscapes and buildings, but also two studies of trees, one of blossom, and two details after Italian Old Master paintings, including: a drawing of one of the Arsenale watchtowers in Venice; a view of a range of hills with sea in the distance annotated in pencil on verso 'On the [...?] Hills looking North'; a loose sheet with watercolour landscape on recto and rough pencil sketch after a painting on verso; a couple of drawings indistinctly annotated in pencil with artistic notes; and a pencil drawing of drapery over a female bust dated 1875 in pencil (with several small holes), some dust-soiling, 22 x 33.5cm (8.5 x 13.25ins) and smaller, original half morocco, scuffed and soiled, folio Evelyn De Morgan was a frequent visitor to Italy, making her first trip to the country as a young artist in 1875 when she visited Rome, Perugia and Assisi. She subsequently visited Venice as well as Florence, where her maternal uncle John Rodham Spencer-Stanhope owned the Villa Nuti, and the De Morgans themselves eventually bought an apartment. This album likely dates from the artist's earliest travels during the mid to late 1870s, at a time when she was coming to the end of her studies at the Slade School of Art and beginning to exhibit and sell her works. (1)

*Palma il Giovane (Jacopo, 1548-1628). The Virgin appearing to St. Nicholas of Bari, pen, ink and light brown wash on pale grey-green laid paper, depicting a sleeping saint, with the Virgin Mary appearing above him, and three men in the background around a wooden chest, inscribed in an old hand in brown ink 'Giacomo Palma' lower left corner, with collector's blindstamp of a flower just above, and small circular stamp with initials WSK to verso, 34.4 x 22.6 cm (13.5 x 8.9 ins), some surface marks and minor stains, with one or two minor repairs, mounted along left margin to late 19th century card with wash border, (with extensive handwritten note in ink in German) Provenance: Nicholas Lanier (1588-1666), musician, collector and art agent for Charles I (his star mark Lugt 22285). Pietro Malenza, lawyer, Verona. His sale, Leipzig, 25 February 1867. Unidentified German collector W.S.K. (apparently not in Lugt). Attribution to Palma il Giovane (Jacopo, 1548-1628), confirmed by Professor Stefania Mason Rinaldi on the basis of a photograph. Nicholas Lanier was appointed Royal Lutenist in 1616, and became Master of the Musick to Prince Charles in 1618. He was selected by Charles I to supervise the acquisition and transport of the Duke of Mantua's collection to England during 1625-1628. He is particularly known as a collector of drawings, his star mark being one of the earliest recorded collector's marks. The inscription 'Giacomo Palma' in brown ink below is likely therefore to be in Lanier's own hand. The present drawing may have been obtained by Lanier directly from the artist, who died in 1628. (1)

*Panneels (Willem, circa 1600-circa 1640). An angel gives Elijah cake and water, etching on paper, published by Frans van den Wyngaerde, trimmed just inside plate margin, sheet size 15.2 x 11.6 cm (6 x 4.5 ins), framed and glazed, together with other Old Master prints, various, mostly 17th century, including Bolswert, Stormy Landscape after Rubens, published by Gillis Hendricx, Antwerp (framed and glazed), Mathias Arteaga, Cathedral Interior after Valdes Leal, circa 1672 (framed and glazed), Wenceslaus Hollar, Portrait of Richard Bernard, 1641, Hans Bol, allegorical landscape engravings published by Edwardus ab Hoeswinkel, Antwerp, Thomas Barker of Bath, landscape with bridge, etching, with added grey wash (framed and glazed), Valentin Lefevre, Holy Family, engraving after Titian, published by Jan van Campen, etc, various sizes, unframed (40)

*Rayner (Henry, 1903-1957). R.W. Sickert, 1931, etching on cream wove paper, signed, titled and dated, and annotated below 'Portrait of my master at breakfast, 14 Barnsbury Park, London' below, plate size 11.2 x 9 cm (3.6 x 4.5 ins), sheet size 28 x 18.3 cm (11 x 7.2 ins), together with 11 other etchings by Rayner, mainly portraits, including Winston Churchill, T.E. Lawrence, Lytton Strachey, Montgomery Sickert, The Rising Horse, Old Bedford, etc., all signed, mostly titled and some dated 1931, 1938, 1939, 1941 and 1945, plus 7 etchings by Albany E. Howarth of Oxford Colleges, 1909, including New College, Queen's College, Canterbury Gate Christchurch, etc., each signed in pencil, sheet size 27 x 42.5 cm (10.6 x 16.75 ins) (18)

*Rembrandt (Harmensz. van Rijn, 1606-1669). St. Jerome in a dark chamber, 1642 (Bartsch 105; Hollstein 201), etching on laid paper, without watermark, probably a 19th century impression from the original plate, by Henri Louis Basan or Auguste Bernard, some light overall browning, plate size 15 x 17.3 cm (6 x 6.8 ins), sheet size 16 x 18.2 cm (6.35 x 7.2 ins), mounted, together with a collection of 95 various Old Master etchings and engravings by Rembrandt, Durer, Claude, Frans van Bloemen, Jan van Kessel, Israel, Silvestre, Karel Dujardin, Stefano della Bella [the majority apparently from Kay's reissue of 1826, entitled Collection of Original Etchings by Kay of Welbeck Street, Cavendish Square, London], and including 12 etchings of Italian scenery by Farington, Gandon, E. Rooker, M. Rooker and W. Hodges after Richard Wilson, published by John Boydell in 1776, the majority mounted on album leaves and bound in an early 19th century gilt-decorated morocco binding, worn, and one other worn and broken gilt-decorated red morocco binding, both folio (96)

*Miniature Drawings Album. An unusual Victorian album of miniature copies after Old Master paintings in Brussels, Antwerp and The Hague, circa 1860-80, 62 finely executed miniature versions of works principally by the Dutch and Flemish Old Masters, carefully mounted on seven thick card leaves, with a neat handwritten index at front giving details of the title of almost all the paintings, the name of the artist, and it's location, ownership inscription (possibly in the same hand): 'Rosa Martha Heaton, October 1880. "Treasure these for my father's sake" Harold', all edges gilt, original gilt decorasted dark green stained full calf, rubbed and scuffed, 4to (29 x 25 cm, 11.4 x 9.8 ins) Provenance: Rosa Martha Heaton (1858-1935), who married Harold Wright in 1881 at West Bromwich. The drawings therefore presumed to have been executed by Harold Wright's father. Acquired by the present owner from Major General John Badcock, whose family once owned Fawsley Hall in Northamptonshire. (1)

[Sotheby's & Co., London]. Lotto di 26 cataloghi. 1917-1979.Il lotto include:Catalogue of the Sassoon Collection of Highly Important Hebrew Printed Books, Part one (30 giugno 1970) e Part two (1 marzo 1971).The celebrated Library of Boies Penrose. Part one (Travel and Exploration, Navigation and Trade A-L, 7 giugno 1971) e Part two (Travel and Exploration, Navigation and Trade M-Z, Fourteen Geographical Manuscripts, English and Continental Books, 9 novembre 1971).Catalogue of valuable printed books, illuminated manuscripts... 16-17 novembre 1925.Catalogue of voyages and travel, Americana, atlases and maps,... 17-18 novembre 1969Catalogue of an extensive collection of books on travel, exploration, natural history... Part one (11-12 ottobre 1971) e Part two (31 gennaio-1 febbraio 1972).The Bignold Library. Catalogue of the collection of colour-plate books. 15-16 novembre 1971.Catalogue of valuable Italian books of the 15th and 16th century. 4-6 maggio 1970.Catalogue of modern etchings, woodcuts and lithographs. 10 luglio 1961.Catalogue of autograph manuscripts and letters, original drawings and first editions of Charles Dickens. 22-23 novembre 1971.Catalogue of an important collection of continental books. 12-13 maggio 1969.Catalogue of a collection of books and manuscripts of the 15th to 20th century on food and wine. 22-23 febbraio 1917.Catalogue of children's books, drawings and juvenilia. 16 marzo 1970.Catalogue of art reference books. 18 maggio 1978.Catalogue of important old master engravings etchings and woodcuts. 8 aprile 1970.Catalogue of the manuscripts and correspondence of Arnold Bennett. 25 maggio 1936.Catalogue of the library and literary manuscripts of the late sir Max Beerbohm removed from Rapallo. 12-13 dicembre 1960.The valuable collection of books on the circus formed by the late J. van Doveren. 16 marzo 1970.Catalogue of valuable printed books of the 15th and 16th century including a block-book. 12 giugno 1978.Sotheby's spring Islamic sales. Catalogue of important oriental manuscripts and miniatures. 23 aprile 1979.Catalogue of fine 19th-century and modern etchings lithographs and woodcuts. 17 dicembre 1970.Catalogue of fine modern French and German illustrated books and bindings, important periodicals and works of reference. 13 aprile 1970.Catalogue of modern French and German illustrated books. 16-17 aprile 1973.Catalogue of modern French, German and Russian illustrated books. 13 novembre 1975.[Sotheby's & Co., London]. Lot of 26 auction catalogues. 1917-1979.

Extensive Tiffany "Faneuil" Pattern Sterling Silver Flatware Service, pat. 1910, incl. 12 forks (7 5/8 in.), 12 forks (7 1/8 in.), 13 knives (l. 9 1/8 in.), 12 salad forks, 12 oval soup/dessert spoons, 24 teaspoons, 12 iced teaspoons, 12 butter spreaders (fh), 8 demitasse spoons, sugar shell, 2 serving spoons, tablespoon, cold meat fork, gravy ladle, tomato server, cake knife, master butter knife (hh), cheese knife (hh), large carving knife and fork and small carving knife and fork; together with Old Newbury Crafters "Panel Antique" serving fork and 3 teaspoons in Dominick & Haff "Pattern No. 10". (approx. 133 pcs.) total wt. (weighable) 171 troy ozs.

Norfolk, Norwich 18th. century halfpenny token, D&H 46?, struck from an unlisted collar which reads:- WILLEY SNEDSHILL BERSHAM BRADLEY this of John Wilkinson, Iron Master of Shropshire [refs. follow D&H under Warwickshire, see Withers p.348 note], possibly very rare, with further comment and study on old ticket, reverse die looks to be worn, dark NVF/NF

French and Spanish engravers.- Reverdy (Georges, ca. 1529-1557) The Holy family, after Parmigianino, after Schiavone, engraving, an excellent impression on thin laid paper without watermark, sheet 118 x 87 mm. (4 5/8 x 3 3/8 in), trimmed on platemark, inset at edges onto paper support, small repairs to nicks and tears at extremities, old ink attribution verso, unframed, [circa 1530-1550] § Audran (Gérard, 1640-1703) Christ hands over the keys to St Peter, after Raphael, etching on laid paper without watermark, sheet 105 x 175 mm. (4 1/8 x 6 7/8 in), trimmed to image with thread margin around borderline, inset at edges onto paper support, some browning and stains, rubbing and handling creases, with 'very scarce' inscribed on mount and verso, unframed, [circa 1660-1700]; Sorello (Miguel de, ca. 1700-1765) Christ hands over the keys to St Peter, after Raphael, etching and engraving, 265 x 370 mm. (10 1/2 x 14 1/2 in), central vertical fold, inset at edges onto paper support, unframed, [early to mid-18th century]; together with a good mixed group of various old master prints, including Sebastiano Fulcaro's (ca. 1612-1640) The Last Judgement, after Michelangelo, an anonymous 16th century Adoration of the Shepherds, published by Lafrery, Battista Franco's (1510-1561) An antique subject depiciting three men, [B. 71], Camillo Cungi's (fl. 1597-1649) The Pietà, and three others, all unframed, mainly 17th and early 18th century (10).Provenance:(Reverdy) William Esdaile (1758-1837), London [L. 2617]⁂ A group of scarce and unusual prints. We have been unable to find any other records at auction for the first three mentioned. Initially considered to be Italian by Bartsch, Reverdy was infact French, and worked as a printer in Lyon during the French Renaissance. For another impression of the Reverdy etching, of inferior quality, see the Mariette Album, held in the Met Museum, New York (acc. no. 27.78.2(312)), and at the BM (acc. no. W,1.82).

Cipriani (Giovanni Battista, 1727-1785) Roman Centurion looking to the right; Two Roman Centurions, a pair, red conté crayon on cream laid paper, without watermarks, both bear pencil attributions to Cipriani in lower right corners, each sheet approx. 170 x 205 mm. (6 3/4 x 8 1/8 in), some minor cockling, light spotting and surface dirt, unframed (2).Provenance:Joseph Wilton R.A., London (1722-1803);Sir Bruce Ingram, London (1877-1963);Sabin Galleries Limited, London [nos. 15 and 16, 1965] (label on reverse);Sale. Phillips London, Old Master Paintings, Drawings and Icons, April 20th 2000, lot 262.⁂ Another sheet with a study of a Centurion, presumably from the same sketchbook, was sold as part of the 'The Ingram Collection: Drawings & Watercolours from the Collection of the late Michael Ingram', offered at Sotheby's London in 2005 (part lot, see lot 55).

Earlom (Richard, 1743-1822) A collection of eleven drawings, possibly after Giovanni Battista Cipriani and other old masters, chalks, conté crayon, graphite, on various papers, some with prepared and coloured grounds, various watermarks, all appear to be late 18th century, each numbered in the lower left corners in pencil, one sheet indistinctly inscribed in pencil '[?]for Plate' and dated 'Jan. 20th 1792', various sizes from 255 x 210 mm. (10 x 8 1/4 in) to 455 X 355 mm. (18 x 14 in), uniformly mounted with various inscriptions and attributions in German, presented in cloth drop-back box, [late 18th century]Provenance:Sale. Dr. Ernst Hauswedell, Hamburg, Gemalde Zeichnungen Und Graphik des 16-19 Jahrhunderts Dekorative Graphik, 8th June 1972 (individual lots, nos. 145-159, sold as Attributed to;Anonymous sale. Christie's London, 18th December [year unknown, probably mid to late 1970s], lot 5 (lot label to drop-back box);Private collection, UK. ⁂ Known to have been a student of Giovanni Battista Cipriani (1727-1785), Earlom was highly regarded for his drawing ability, but his reputation was to be defined by the masterful achievements of his mezzotint grounds, culminating in the monumental two volume Liber Veritatis, which contained 200 prints after original drawings by Claude Lorraine. The present collection of eleven drawings not only show the influence of Earlom's master, Cipriani, but they also bear close similarities to the known body of drawings by Earlom. Interestingly, the provenance of the drawing held in the British Museum for Earlom's chalk drawing 'A sleeping youth' (see acc. no. 2011,7084.50), which is also on prepared paper, suggests it was probably bought in the same auction in 1972 as the drawings above; the BM state their drawing was bought from an auction that took place in 'Hamburg, late 60s early 70s' prior to its purchase by Christopher Lennox-Boyd at Christie's 'a year later'. Other similar drawings can be found at the Fine Arts Museum of San Francisco (Achenbach Foundation for Graphic Arts, acc. no. 69.30.59), and also the drawing 'Study of a draped figure' offered Sotheby's London (Drawings from Britain and the Continent, 10th July, 1995, lot 214).

AN OLD MASTER STUDY of St. Martin of Tours giving his cloak to a beggar, oil on canvas pinned to a backing support, 79 x 97cm

Italian school, Old Master style figure of a female saint gazing upwards and holding a vase, oil on canvas, unsigned, 70cm by 55cm

John Leech, "Ruggles, Hold Hard Master George...." and "The Old Foxhunter", lithographs, published by Thomas Agnew & Sons, 1865, 62cm x 83.5cm and 60cm x 80cm

A GROUP OF FIVE `OLD MASTER` DRAWINGS comprising works in the style/manner of Willem van de Velde (marine, see illus.), after Van Dyck (William Hondius), Gaetano Gandolfi (three heads), Govaert Flinck (seated woman) and another, 29.5 x 46cm and smaller (5) ++ `Van de Velde` damaged; others fair

A FOLIO OF FIVE `OLD MASTER` DRAWINGS Comprising works in various styles, including a portrait on vellum in the style of Cornelis Visscher, Christ and a Money Lender, and two studies of cherubs, charcoal, graphite, ink and wash, various sizes, 28 x 27.5cm and smaller (5) ++ Some creasing; generally satisfactory

JOHN FREDERICK LEWIS, RA (1804-1876) A MARKET SQUARE IN MADRID Inscribed Madrid, pencil with touches of white heightening 13.5 x 10cm. Provenance: By descent in the Meynell family of Hoar Cross Hall, Staffordshire * Lewis was in Madrid from July to September 1831 on his way further south to Seville, and spent much time in the Prado, studying and copying the old master paintings, especially Murillo and Velazquez. We are grateful to Briony Llewellyn for her assistance with the cataloguing of this lot. ++ Gummed onto a support sheet; the paper time-toned

 THEATRE & BALLET:  Small selection of signed 8vo theatre programmes, and larger (2), from the National Theatre and others, by various actors, actresses, ballet dancers etc., comprising Othello (2; each signed by Laurence Olivier, Billie Whitelaw, Maggie Smith and Frank Finlay), The Master Builder (signed by Laurence Olivier (2), Joan Plowright (2), Celia Johnson and Edward Hardwicke, with two loose leaves), a second copy of The Master Builder (signed by Laurence Olivier and Joan Plowright), The Recruiting Officer (signed by Maggie Smith, Robert Stephens etc.) Ivanov (signed by John Gielgud, Claire Bloom, Yvonne Mitchell, Helen Christie, Nora Nicholson and Richard Pasco), souvenir programme for a performance by The Australian Ballet, 1965, individually signed by both Margot Fonteyn and Rudolf Nureyev (in Cyrillic) to inside pages. Together with a selection of unsigned theatre programmes and magazines etc., including the Old Vic Theatre Company, A Tour of Australia, 1948 (with an inscription to the inside cover, 'Laurence Olivier, with compliments of The British Council, Sydney 28th June 1948'), Royal Shakespeare Theatre Richard III, The Old Vic Company 1914-1963, Plays and Players, October 1955, The National Theatre Uncle Vanya, Theatre World, The Birmingham Post Shakespeare Quatercentenary Supplement etc. Also including an unsigned typed 8vo memo, n.p., n.d. (1965), to Laurence Olivier, stating in part, 'Mr. Grafton Greene, Executive Producer of Rank Documentaries rang. They are going to make a 2-reel film of Sir Winston's funeral and Lying in State and all the ceremonies, which will be the only one of its kind, and they are coming to you first to ask if you would like to do the narration.' Further including an unsigned typed 4to, fifteen-page Studio Shooting Schedule for Big Ben Films Ltd adaptation of Richard III, dated 14th October 1954. G to VG, 26 

Literature and church, various: PEARSON (John, Lord Bishop of Chester) An Exposition of the Creed, 12th edition, London 1741, folio, portrait frontispiece, worn calf; CRUDEN (A) A Complete Concordance, 2nd edition 1761, 4to, portrait frontispiece, later half calf; DICKENS (C) Master Humphrey's Clock, 3 vols., 1840, illustrated, no title to vol. III, old staining, worn half calf; others including Trollope, etc

Books - Art, Art History and Antiques -Richard Green: Important Old Master Paintings 1994; Salomon Lillian: Old Masters 2003; Artemis 87 - 88 annual report; Faber Gallery catalogues, various; The John Scott Collection: 'Modern English' Design from the 1860s and 1870s, volume two, The Fine Art Society, London 2014; Axe (John), The Encyclopedia of Celebrity Dolls, h/b, d/j; The Collector's Encyclopaedia of Dolls, h/b, d/j; American Sublime: Landscape Painting in the United States 1820 - 1880, Tate 2002; Bruegel (3); Japanese art and painting (3); Fabergé, 1846 - 1920, V&A 1977; Wowk (Kathleen), Playing Cards of the World: A Collector's Guide; Warner (Ian) & Posgay (Mike), The World of Wade, Books 1 & 2 and Wade Price Trends, (3); Bradley (H.G.), Ceramics of Derbyshire 1750 - 1975, h/b, d/j; further illustrated reference; others, similar (qty)

Royal National Lifeboat Institution Silver Medal For Brooke, Isle of Wight 1916.Awarded to “BENJAMIN JACOBS VOTED 11TH FEBRUARY 1916”The citation for the award:To Benjamin Jacobs, Recipient was Coxswain of the Brooke, Isle of Wight Lifeboat, which was launched on 4th February 1916, during a South-westerly gale, to the barque “Souvenir” of Tvedestrand which was totally wrecked to the S.E. of Brooke. Owing to the heavy seas the lifeboat could not get alongside, and the crew of nine of the barque, with lifebelts, had to jump overboard. They were picked up by the Lifeboat, but several soon died of exhaustion. The manner in which Coxswain Jacobs handled the Lifeboat was reported as deserving great credit, as the wreck was lying in comparatively shallow water where the sea is studded with rocks, great courage and perseverance being displayed”Benjamin Jacobs was born at Brooke in 1860. He joined the Brooke Lifeboat crew and in 1892 was appointed Coxswain replacing John Hayter who had held the post for 32 years and had been awarded the Silver Medal with three Clasps. At the time of the rescue Jacobs was 56 years old and had held the post for 24 years the Barque “Souvenir” was Norwegian of the crew a Steward died of exhaustion and the Master refused to leave his ship, his body was found the following day.

2 x Oleographs – old Master scenes – “The Weaver” & Portrait of a Lady (2)

“Prize Blooms”, floral oleograph, after the Dutch old master Elias Van Den Broack 1650—1708, 28” x 22”

Three post war pictorial advertising shop display signs, the first a framed print for Will's Woodbines 'One of the Family', the second for Wilkinson Sword 'Bonded Shaving System' and the third a framed print for Johnnie Walker 'The Old Master, born 1820, still going strong', all S/D. (3)

An Old Master Print, Victorian style print of children playing and other prints. (7)

Davies, George R. 'Collection of Old Chinese Porcelains', Purchased by Gorer and Exhibited at the Galleries of Dreicer & Co. (Jewels), New York, 1913, quarto, publisher's gilt green cloth. Presentation copy with inscription, 'With the Compliments of The Printer', along with a handwritten note on headed paper, 'From George W. Jones at St. Andrew's House, Droitwich, Worcestershire', dated 1940 and addressed to 'Billie' [William F. Northend]. Together with 'Collection d'Anciennes Porcelaines de Chine et Pierres Dures par Gorer, 170, New Bond Street', Exposee a l'Hotel Astoria, Paris, 1912, quarto, publisher's gilt blue cloth. Both books feature vibrant colour plates, some light foxing and wear to binding of the former. (2)Provenance: Originally from the library of William F. Northend (1887-1968), master printer at Northend's in Sheffield (son of the founder of the firm, J. W. Northend). By descent.

A north Italian, probably Florentine sculpted terracotta bust of Christ the Redeemer, in the manner of Andrea del Verrocchio (1435 ~ 1488), late 15th / early 16th century, typically portrayed with finely wrought features and naturalistically modelled hair and beard, the head pierced in two places at the top and back for the previous positioning of an aureole, above a larger aperture at the back, 38cm high, 42cm wide PROVENANCE: Private Collection, London CATALOGUE NOTES: The symmetrical facial features, domed forehead, central parting of the hair and forked beard of this idealised bust of Christ, are ultimately derived from Verrocchio's celebrated figure of the Redeemer from his monumental Christ and St. Thomas bronze group on Orsanmichele in Florence, which was begun in 1467. This conception became one of the canonical models for Christ, profoundly influencing generations of Florentine artists long after Verrocchio's death Like the Verrocchio model, the present figure of Christ gazes out with his head tilted to one side. An interesting comparison is made in a terracotta bust of Christ attributed to Pietro Torrigiani (1472 ~ 1528) in the Museo d'Arte Sacra, San Gimignano , which is also inspired by Verrocchio's bronze. Note, in particular, the similar asymmetrical arrangement of the drapery. A further relevant comparison, notably in the turned head and in the modelling of the beard, is found in a Florentine bust of Christ, dating to the second half of the 15th-century, in the Victoria and Albert Museum (inv. no. 6862-1860) The present bust is particularly well modelled and, in its calm serenity, conveys the sense of 'authenticity', which Butterfield suggests made Verrocchio's model of Christ such a successful and enduring image (op. cit.). However, although generally regarded as originating in the Verrocchio workshop, terracotta busts of this type were probably produced by contemporaries outside of the master's studio Examples do appear at auction from time to time. See Sotheby's New York, Selected Renaissance and Mannerist Works of Art Assembled by Fabrizio Moretti, 29th January 2015, lot 130 Also Sotheby's New York, Important Old Master Paintings and Sculpture, 31st January 2013, lot 349 Also Sotheby's London, European Sculpture & Works of Art: Medieval to Modern, 2nd July 2013, lot 36 Also Christie's New York, Continental Furniture, Works of Art, Tapestries & Carpets, 25th/26th September 2001, lot 255 RELATED LITERATURE J. Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum, vol. I, London, 1964, pp. 209-210, no. 197 A. Butterfield, The Sculptures of Andrea del Verrocchio, New Haven/ London, 1997, pp. 56-80 B. Boucher (ed.), Earth and Fire. Italian Terracotta Sculpture from Donatello to Canova, exh. cat. The Museum of Fine Arts, Houston, and The Victoria and Albert Museum, London, New Haven/ London, 2001, pp. 150-151, no. 22

European School, late 19th/early 20th Century, A copy of an old master drawing, indistinctly signed (lower right), watercolour, pen and red chalk, 20 x 26cm, together with another similar of a male nude, 29 x 20cm (2).

Assorted small pictures to include: oval embroidered silk panel of a dancing woman; two Welsh 'Market Scenes' from the engravings, in mahogany frames; framed print, 'The White Horse. Exford' and a wood mounted Old Master print after Leonardo da Vinci.(B.P. 24% incl. VAT)

Reginald Hallward (1858-1948), charcoal on paper, original stained glass window design for Chigwell School Chapel, circa 1924, dedicated to 78 Old Boys and 1 Master who gave their lives in the Great War, 5'4" x 16.5", framed.