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

Quantity of Old Master engravings, biblical scenes, one framed, (11)

Folder of Old Master drawings & prints, various artists

BOX 12 - SPIRITS Bundaberg Rum : Master Distillers' Collection - Small Batch Untamed Irish Vodka Clarke's Court Special Dark Rum Black Bottle Brandy Hernö Navy Strength Gin Belize Travellers Distillery The Warehouse Rum Ron Contrabando 5 Anos Scottish Leader Signature Blended Scotch Whisky Coppersea New York Raw Rye Benchmark Old No. 8 Kentucky Straight Bourbon Whiskey Sazerac Straight Rye Whiskey Defiance Whiskey High Rye Bourbon

BOX 19 - SPIRITS Belize Travellers Distillery The Warehouse Rum Buchanan's Old Master Blended Scotch Whisky Old Parr Tribute Scotch Whisky The Antiquary Blended Scotch Whisky Edelstahl Gin Brigantia Single Malt Whisky Captain Cook's Smooth & Spiced Original Old Virginia Smooth Honey Verso Carlos I Brandy de Jerez Gran Reserva Albfink® RUM 15 YO Tiburon Rum

BOX 17 - SPIRITS Anthology of Gin 'Old Tom' Gin Bounty Dark 2YO Overproof Rum Baron Otard VSOP Lactalium Vodka Vor Barrel Aged Reserve Gin Old Hopking Dark Rum Besonders Alter Bodensee Brandy 16YO Glory Leading Blended Scotch Whisky Vikingfjord Icebreaker Apple & Rhubarb Cognac Deau VS James Cook Übersee Rum 40% Bundaberg Rum : Master Distillers' Collection - Blenders Edition 2015

BRITISH SCHOOL (EARLY 19TH CENTURY), HUNTSMAN AND YOUNG BOY ON HORSES IN A LANDSCAPE WITH HOUNDS BEYOND, unsigned, oil on canvas, together with a photograph of an old label inscribed G.W. Sutton of Elton on his hack The Justice (by Petronis, dam unknown) accompanied by Master Wm Sutton on his pony, painted at Elton Feb 1835 by J.W. Snow, framed. 70cm by 90cm

An Old Master oil on panel study of a bearded man with walking stick

John Constable, RA (British, 1776 –1837) A Fishing Boat on Brighton Beach , circa 1824 pen and brown ink over pencil 17 x 17cm (7 x 7in) Provenance: Isabel Constable (1822-1888), the artist's daughter (Presumably from the collection of one of the artist's children (a 20th century inscription on the reverse reading 'Col Isabelle Constable', suggests this)); thereafter acquired by Sir Robert Witt Exhibited: The Royal Society of British Artists, Suffolk Street, 200th Exhibition, including a loan collection of Victorian and Edwardian draughtsman, Winter 1943-44, No 528, A Fishing Boat , Constable, lent by Sir Robert Witt Other Notes: Anne Lyles writes: Constable's visits to Brighton began in 1824 when he took a house there for a few months in the hope that his wife Maria and their children would benefit from the sea air. The family returned to the town for further extended visits in 1825-6 and then again for the long summer of 1828. Constable would join them there as often as he was able, benefitting from the regular coach service which ran between London and this now fashionable coastal resort. The house which Constable selected for the family in 1824 was situated on the western edge of Brighton, not far from the beach, and indeed it was not long before he began to make sketches, initially in oils, of the life along the shore. At first he was dismissive of the town, writing in a letter to his friend John Fisher - penned shortly after his arrival - that it was nothing but 'Piccadilly … by the sea-side' (R.B.Beckett, ed, John Constable's Correspondence: VI; The Fishers, 1968, p.171; letter postmarked 29 August 1824). In fact Brighton was still a working fishing town around this date, and indeed in the same letter Constable told Fisher how much he admired the various 'picturesque' fishing boats on the beach, and these - and their crew - were soon to become a subject of his close scrutiny. Constable's first visits to Brighton in May and June, 1824 were quite brief , but when he returned in July he was able to spend the rest of the summer there, remaining until October. In September and October he embarked on a series of drawings many of which, like A Fishing Boat on Brighton Beach, are carefully worked in pen and ink (or fine brush) over pencil, to which he sometimes added monochrome wash. Ian Fleming-Williams identified some twenty-five to thirty drawings of this rather formal character which take as their theme the long-shore fishing fleet at Brighton and the men who worked it (Ian Fleming-Williams, Constable and his Drawings, 1990, pp.205-9). They generally show the vessels beached (there was no port at Brighton so boats had to put into the shore at high water and then beached as the tide receded), with their sails and nets drying. As Fleming-Williams noted, Constable initially made these drawings in a large sketchbook, measuring about 7 1/8 x 10 ¼ cm (18.1 x 26.1 cm), with a Whatman watermark of 1821, which he had first started using the year before. The sketchbook was later dismantled, and its individual sheets are now spread across a range of public and private collections (Graham Reynolds, The Later Paintings and Drawings of John Constable, 1984, nos 24.26-42 and 45-49; Graham Reynolds, The Early Paintings and Drawings of John Constable, 1996, Appendix, nos 24.26A and 24.31A; and Christie's, Old Master and British Drawings, New York, 27 Jan 2016, lot 89). A Fishing Boat on Brighton Beach is so close in style to these drawings, particularly two examples in the Victoria and Albert Museum (Reynolds 1984, op. cit, nos 24.45 and 24.48) which are similarly executed in pen and ink over pencil, that it seems highly likely that it, too, was originally made on a page of this same sketchbook, and then - at some stage after being removed from the book - was cut down, probably on the left. Fleming-Williams has suggested that these Brighton boat drawings may well be connected with a proposed publishing project that Constable mentions to Fisher in a letter dated 17 December 1824 (R.B.Beckett, op.cit, p. 184). In this letter the artist explains that he had recently met up, in London, with the Anglo-French dealer John Arrowsmith who had just commissioned him to make twelve finished drawings of Brighton boat and beach scenes taken from those (numbering about thirty, he said) which were in his sketchbook. They were to be engraved in England, by S.W.Reynolds, and then published in Paris. It is not clear whether Constable had already been in discussion about this venture with Arrowsmith prior to their meeting in London in December. It is thus difficult to know whether, when making the Brighton beach drawings, the artist was doing so specifically with this project - or even another engraving project - in mind. In all events, Fleming-Williams suggested that Constable is likely to have initially sketched the drawings on the spot in pencil, and then worked over them some time later in pen and ink or wash, perhaps in connection with the Arrowsmith project. The publishing venture itself, however, seems to have come to nothing. A Fishing Boat on Brighton Beach has the collector's mark of Sir Robert Witt ( 1872-1952) on the verso ( Frits Lugt, Les Marques de Collections de Dessins & d'Estampes, Fondation Custodia, 1921, 1956 and 2010, no. 228b). Witt was an important collector of prints and drawings. Although he disposed of some of these during the course of his life-time, he bequeathed a substantial portion of his collection, including drawings by Constable and Gainsborough, to the Courtauld Institute of Art in London.One foxing spot in the middle by the sail. Some discolouration to the cream background, particularly down the right-hand edge.

*Prints & Engravings. Five original pen & black ink humourous sketches by George Cruikshank (1792-1878), together five sheets, three of which are watermarked J. Whatman 1832, one sheet signed, and another signed with initials, each 195 x 245 mm or similar, together with Continental School. Young woman in traditional East European folk costume, 19th century black and white chalk on pale brown paper, unsigned, some surface marks and light soiling, sheet size 445 x 350 mm (17.5 x 13.9 ins), plus Leyden (Lucas van, 1494-1533), The Entombment, 1521 [or later], & St. James the Lesser (from the Christ and the Apostles series), circa 1510 [or later], together two copper engravings on laid paper, each trimmed on or within plate mark, rubbed and some marks and soiling, the second image with some paper loss and restoration to upper portion, 120 x 77 mm and 117 x 72 mm respectively, tipped-on to backing card, and other various Old Master engravings and etchings, 16th to 19th centuries, including some woodcuts and book illustrations, various, mostly loose (some mounted) (approx. 95)

*The Master F.V., Duarte, 5th Duke of Guimaraes (1541-76) and nephew of King John III of Portugal, bronze-gilt medal, half-length portrait left in armour, holding baton and helmet; signed below right arm, f.v., rev., Athena standing left, holding spear, olive branch and shield (by Bombarda), 68mm (Arm. III, 99, A; Lamas 2 (an electrotype); cf. Attwood 655), pierced, an old cast with later incised inscriptions [Clifford lot 132]. Ex Jacques Schulman, Amsterdam, Auction 161, 31 October 1927, lot 19. The reverse is by the Emilian artist Bombarda (as Arm. III, 95, C) and does not belong to the obverse. Nevertheless, as a mule, Armand cited an example in the Royal Coin Cabinet in Parma so the combination of obverse and reverse is known. However, the present medal has been intriguingly adapted at a later date so as to pretend to depict King Edward V of England (the elder of the two “Princes in the Tower”) who reigned for two months in 1483 between the death of his father Edward IV and the crowning of his uncle Richard III. The baton held by the sitter is incised r.a. regnavit menses ii (“He reigned for two months as King of England”), the bust itself is incised aet xiii (“aged 13”, Edward V’s age when king) and on the helmet there is the date ann. 1483. With renewed interest in the English monarchy following the Restoration and the discovery of children’s bones in the Tower of London in 1674 which were assumed to be those of the princes (and are buried in Westminster Abbey) it is tempting to believe that someone at that time (or of course later) created this medal out of one with a very appropriate obverse inscription and with a portrait of a young prince - but as the portrait shows, not young enough!

The Master P.P.R., Giovanni Paolo Lomazzo, Milanese painter and celebrated writer on art (1538-1600), uniface bronze medal, 1562, bare head right aged 23, 45mm (cf. Arm. I, 230, 15; Attwood -), very fine old cast taken from a pierced example [Clifford lot 147]. See footnote to previous lot. Lomazzo was the author of the important Trattato dell’ Arte della Pittura, Scultura et Architettura (1584).

A gilt framed oil on canvas; Portrait of a Gent wearing a red cap (in the Old Master style).

William Kay, Mr Carter the auctioneer conducting the sale of a Dutch Old Master painting in a crowded auction room, no.61, 21cm x 27cm

After the Old Master, Dutch style still life study of a vase of flowers, oils on hardboard. Framed.

After the Old Master, still life study of roses and fruit, coloured print on canvas. Gilt frame.

Old Master charcoal/chalk drawing, head of St. Peter, unsigned, 13" x 10", framed.

A Coloured Print of Kittens & a Dog, along with a pair of Old Master prints (3).

A pair of Lignum Vitae bowls, with Riley green master bag and accessories, together with another pair of vintage Lignum Vitae bowls and jack, contained within an old canvas bag.

A reproduction simulated old master oil on panel, depicting a still life, inset ornate period style gilt frame.

1360-1400 AD. A gold hoop, oval-shaped to the finger, with raised lateral edge bead; a four-claw collet cell holding a large polished irregular sapphire cabochon to the bezel, with reserved floral and foliage engraving to the shoulders; ornate blackletter 'alas for fayte' inscription to the inner face of the bezel. 5.11 grams, 21mm overall,16.30x14.86mm internal diameters (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10) (3/4"). Extremely fine condition. Extremely rare. Property of a Cambridgeshire, UK gentleman; offered at Sotheby's sale 8 July 2011, lot 34; formerly with Trevor Scott; by descent from Elisabeth Feather, wife of Henry Spinx, in late 19th century via Grace Messeter, Ernest Messeter, Grace Messeter, Ernest Messeter and Edwin Messeter (from around 1865); by family descent, reputedly the property of Katherine Swynford, Duchess of Lancaster, nee de Roet, circa 1400, the gift of John of Gaunt, circa 1400 AD. Supplied with a positive X-Ray Fluorescence metal analysis certificate. See Sotheby's sale catalogue L11231, lot 34 (this ring; catalogue accompanies this lot, with an email printout from Sotheby's to vendor discussing the ring); featured on the BBC TV programme Antiques Roadshow, broadcast 14th September 2008 (with documents relating to the broadcast); for a very similar sapphire-set and inscribed ring, but showing considerable wear, see http://topazi.us/period/medieval/late-medieval-gold-ring-hexagonal-sapphire/, and the The Warrington Guardian, 26 April 2008, sold in an Old Master Sculpture and Works of Art auction, London, 9 July 2009, realised £70,850.00. Accompanied by an Art Loss Register certificate. John of Gaunt (6 March 1340 - 3 February 1399) was the third son of King Edward III, named 'of Gaunt' due to his birthplace of Ghent, Belgium. He was made a Knight of the Garter and 1st Duke of Lancaster. He married Blanche of Lancaster, who died in 1369, and Infanta Constance of Castile, who died in 1394. His third wife, previously his mistress, was Katherine Swynford; she was the daughter of Paon de Roet, a herald and minor official who was later knighted and made Guyon King of Armes. She had two sisters, Philippa (the wife of Geoffrey Chaucer) and Isabel (also called Elizabeth) de Roet, who became Canoness of the convent of St. Waudru's, Mons, Belgium in 1366. They also had a brother named Walter; Katherine and Philippa may have been born to Paon's second wife. Katherine was born in Hainaut, Belgium, in 1349-50 probably on 25th November, the feast day of her patron, St. Catherine of Alexandria. The family returned to England in 1351 and, aged about seventeen, she married Sir Ottes Swynford of Kettlethorpe, Lincolnshire, and had three children by him: Blanche, Thomas and Margaret. Katherine was appointed governess to the children of John of Gaunt and his wife, Blanche, by then in failing health; with a pedigree of the descendants of Katherine Swynford produced for the Dean and Chapter of Lincoln Cathedral, including the relationship to United States Presidents George Washington, James Monroe and John Quincy Adams. John and Katherine began a love affair which resulted in four more children: John Beaufort, 1st Earl of Somerset (1373-1410), who had a distinguished military career in crusades in North Africa and eastern Europe. Henry Beaufort (died 11 April 1447), bishop of Winchester, later a Cardinal and an attending churchman at the trial and execution of Joan of Arc during the Hundred Years' War. Thomas Beaufort, 1st Duke of Exeter (died 31 December 1426) was a military commander and for a short period, Chancellor of England; Joan Beaufort, Countess of Westmorland (died 13 November 1440), wife of Robert Ferrers. All these children were born out of wedlock, but subsequently legitimised by their parents' marriage in Lincoln Cathedral in 1396. Katherine and her daughter, Joan, are interred in that same building, although their tombs were damaged during the English Civil War. The sapphire appears to have originated in Kashmir, and is likely to have travelled to Europe across the Silk Road. 

ALEXANDRE CABANEL (FRENCH 1823-1889)Portia and the Caskets, Scene from the Merchant of Venice, 1886oil on canvas132 x 91.5 cm (52 x 36 3/8 in.)signed and dated Alex. Cabanel 1886 lower right, old gallery label on versoPROVENANCEWilliam Schaus Galleries, New York, NY before 1910Collection of Mrs. A. Tabin, Evanston, ILAuction of Chicago Art Galleries, Chicago, IL, 1947Acquired by the family of the present owner at the above in 1947 LOT NOTESOne of the most distinguished European history painters of the 19th century, Alexandre Cabanel`s work displays an ever-present tension between his classical training and theatrical tendencies. Combined with the characteristic display of the Second Empire`s romantic eclecticism, the master`s virtuoso brushwork, so brilliantly presented here in Portia and the Caskets, are the quintessential academic qualities that led him to become a leading representative of the Paris Salon and Napoleon III`s preferred artist.As a student at the prestigious Ecole des Beaux-Arts, Cabanel studied under Francois Edouard Picot, a pupil of the proponent of the French Revolution and famed Neoclassicist, Jacques-Louis David. At the Academy, students spent a significant part of their time learning potential subject matter from classical texts and literature. In reference to his time at the academy, Alexis Lemaistre wrote: ÒEvery page of Sophocles or Homer could literally be translated into a tableau; the difficulty lie in knowing which to choose.Ó Despite praise garnered by The Birth of Venus, a composition presently in the permanent collection of the Musee d`Orsay, Paris (and originally acquired for the private collection of Napoleon III), it was theater that inspired Cabanel`s greatest work. Shakespeare in particular, no doubt spurred by the Anglomania then sweeping France, was a favorite source for Cabanel. The artist turned to Othello and The Merchant of Venice on multiple occasions for inspiration. Cabanel first addressed the selection of Portia`s groom five years earlier, in a sweeping panorama of the court, showing the grand beauty of the Italian palace, with the bride relegated to the right side of the composition, surrounded by courtiers. Portia and the Caskets presents an examination of one of Shakespeare`s most compelling heroines, celebrated for actively shaping her own destiny and steadfastly pursuing her desires. Unlike in the previous iteration of this scene, there is no doubt that Portia is the focus of the composition. The artist chose to center on her luminous visage, as hope and trepidation play out in her mind and she gently touches her hand to her heart, hoping that her beloved Bassanio will choose the casket containing her picture and secure their future.This painting by Cabanel proved to be a popular work, as seen by the proliferation of typogravures of the composition, such as the one presented among the additional images here.

5 various Air Navigation computers, a baby Add Master, 100 old pennies and a 1984 proof set.

Two unframed, unsigned, oils on paper laid on panel, Old Master style studies of bearded men, 14cm x 18cm and 5cm x 20cm, (2).

Attributed to Sir Henry Raeburn RA PRSA (1756-1823) Portrait of Master William Erskine (B. 1805) of Kinnedder, Fife, oil on canvas, 74cm by 62cm Provenance:Mr Alfred Cave, London Christie's for appraisal 2 June 1955 Sotheby's, British Paintings 1500-1850, 13 November 1996, Lot 66 (£3450) Private English Collection. William Erskine was the eldest son of William Erskine, Lord Kinnedder (1768-1822) who was a close friend and confident of Sir Walter Scott - both Lord Kinnedder and Sir Walter Scott were painted by Sir Henry RaeburnIn fully restored condition relined, cleaned and re-varnished, the surface is somewhat flattened from the process and the paint is thin in places particularly within the background of the left hand side. Repair/ over painting to top right hand corner, approximately 5cm by 6cm with consistent re-touching and in-filling throughout the entire background of the right hand side to a lesser extent on the left hand side. The gentlemen's face, neck tie and lapel has had the old widely spaced cracquelure in-filled, some of this re-touching is discoloured and the varnish is collecting within the cracks which has become visible with the naked eye. There are two further patches within the fold of his waistcoat which have been over painted with further finer relatively consistent re-touching within the garment. Otherwise in sound order.

§ Glynn Boyd Harte (British, 1948-2003) Freesias signed lower right "Glynn Boyd Harte" and numbered 16/100 lithograph 60 x 85cm (23 x 33in) Provenance: The Francis Kyle Gallery, 9 Maddox Street, London, W1 Other Notes: Glynn Boyd Harte was born in Lancashire in 1948 and graduated from the Royal College of Art in 1973. He had over twenty one-man shows of drawings, prints and watercolours in London, Paris and New York. He wrote and illustrated two books - 'Glynn Boyd Harte's Venice' and 'Mr. Harte's Holiday' - the latter being about the north coast of France where he had a house and studio. He travelled extensively, from St. Petersburg to San Francisco, with frequent stays painting in Paris. More recently, Harte completed a commission to record in watercolour the progressive stages of the construction of the new Royal Opera House in Covent Garden. His work was then displayed in the finished building. Boyd Harte, represented by the Francis Kyle Gallery 1978-1987, reacted against predominant trends with his beautifully composed still-lifes and outdoor scenes showing everyday, yet uplifting scenes. From the mid-1970s, he also illustrated a number of books and from the 1990s contributed to The Daily Telegraph and The Times. Boyd Harte also exhibited a series of architectural studies at the Museum of London to mark the Millennium. Boyd Harte performed in cabaret with fellow artist Ian Archibald Beck and they collaborated on several pantomimes performed at the Art Worker's Guild - of which he was Master in 1995. One of his songs from his musical about the life of Edward Lear was played by his old tutor, Paul Hogarth, as one of his choices on Desert Island Discs. Boyd Harte divided his time between his homes in Fitzrovia, London and Normandy, France. Glynn Boyd Harte died on 16 December 2003. Condition is fine.

Johann Seligmann, after Mark CatesbyOENANTHE AMERICANA; LINARIA CAERULEATwo, hand coloured engravings22 x 29.5cm, framed;a Hogarth print, and an Old Master lithograph

Group of larger furnishing pictures to include: Old Master prints; watercolour; portraits, including Queen Victoria; landscapes etc. Odd frame. (15)

PABLO PICASSO (Spanish, 1871-1973), 'Le Vieux Roi-Seigneur et deux Filles' (The Old King-Master and Two Girls) (S. 6932), original lithograph signed in red printed signature and dated by the artist 6/1959, 64cm x 49cm, framed and glazed. (Please Note Clause 6 of Buyers Conditions)

MACALLAN WHISKY GALORE 1989 Highland Single Malt Whisky, Inspired by the folklore surounding the sinking of the S.S. Politician, 70cl, 40% volume, in carton. GLENLIVET MASTER DISTILLER'S RESERVE Speyside Single Malt Whisky. 1 L, 40% volume, in carton. THE SINGLETON OF DUFFTOWN 12 YEAR OLD Speyside Single Malt Whisky. 1 L, 40% volume, in carton. ABERFELDY 12 YEAR OLD Highland Single Malt Whisky, Matured in Oak Casks, Limited Bottling, Batch No.: 2905, 1 litre, 40% volume, in tube. 4 Bottles. CONDITION REPORT: Very good.

JOCKY'S DRAPPIE Blended Scotch Whisky, for the Whisky Smuggler's Challange 1993, in ceramic crock with hessian bag and stopper, no strength or capacity stated. DUNHILL OLD MASTER Blended Scotch Whisky, 750ml, 43% volume. In carton. BELL'S CHRISTMAS 1990 BELL Blended Scotch Whisky, 75cl, 43% volume, in tube. BELL'S QUEEN MOTHER'S 90TH BIRTHDAY BELL Blended Scotch Whisky, 75cl, 43% volume, in tube. BELL'S QUEEN'S 60TH BIRTHDAY BELL Blended Scotch Whisky, 75cl, 43% volume, in tube. 5 Bottles

A late 18th century oil painting on canvas, chest length portrait of Sir Thomas Plumer (1753 - 1824) in black coat and white cravat, attributed to Sir Thomas Lawrence, with old inscription verso - Sir Thomas Plumer, Master of the Rolls. (The only other known portrait of Sir Thomas Plumer, First Vice Chancellor of England and Master of the Rolls, is the example by Lawrence showing the sitter in his judicial wig and robes, now in the collection of the Harvard Law Library Art Collection, America). Also with small label inscribed in ink Meysey Thompson, 75 x 63 cm approx in wide moulded gilt frame

MARGARET OF VALOIS: (1553-1615) Queen of France 1589-1599 and Queen of Navarre 1572-1599. Also known as Margaret of France, or Queen Margot. Daughter of King Henry II of France and Catherine de Medici´and sister of Kings of France Francis II, Charles IX and Henry III. Her husband would became Henry IV, the first Bourbon King of France. Very rare L.S., Marguerite, one page, vellum, oblong folio, Usson, 21st August 1602, to Theodore Quinol, in old French. The document entitles in larger letters `Queen Marguerite, Duchess of Valois, Countess of Senlis Agennois, Condomoi, Touergue, Lauraguais, Lady of Quatre Ingeries de Rieux…´ and is the appointment of Theodore Quinol as master of the “Waters and Forests”, stating in part `..By the following, we appoint and bestow you the state and office of Master of the Waters and Forests..´. With some light overall creasing, a series of small tears to the left edge and two original neat slits above and below the signature, although not affecting it, G £500-800   At Usson, Puy-de-Dome, was the Usson Castle, demolished by order of Richelieu, where Marguerite de Valois had her residence. The castle's moto was “Garde le traître et la dent” (Keep the traitor and the tooth). Meaning that such impregnable fortress could only fear the threats of traitors and starvation.

MAN UTD / GREAVES AUTOGRAPH A menu for Manchester United "presents an evening with Jimmy Greaves" 10 Sep 1998 in the Manchester Suite at Old Trafford, signed inside by Greaves, Pat Crerand, comedian Johnnie Casson and master of Ceremonies James Reeve. Good

A Folder containing a miscellaneous selection of unframed prints, including portrait, old master and war subjects after W. Simpson and others (qty)

After the Old Master, portrait of a regal lady, coloured print within carved, hardwood frame.

A collection of seven framed monochrome old master prints including works by Holbein and Rembrandt

1916 ALLMAN’S PURE IRISH POT STILL WHISKEY40 Under Proof (34%abv), fill level to shoulder, with driven cork showing visible shrinking, all consistent with age. Original label present but worn. Extremely scarce.Distilled in 1916 by the (long vanished) Bandon distillery in West Cork and bottled by the (long vanished) Nun’s Island Distillery in Galway, the bottle may be the oldest unopened expression of Irish single pot still whiskey sold in modern times. Originally owned by a Captain R.E. Palmer and bottled by the Galway Persse family who once supplied their whiskeys to the House of Commons, the bottle was even strangely proximate to the turbulent politics of its age. Its distillery’s owner, Richard Allman, had even served as Liberal MP for Bandon during the rise of Charles Stewart Parnell’s Home Rule movement and, aside from its connections to Irish history, the distillery he presided over ran almost directly alongside the legendary rise and tragic collapse of Irish whiskey itself.Founded in 1826 following the 1823 excise reforms often credited as the midwife of Irish whiskey’s first great global boom, the Bandon distillery survived the rise of Father Mathew’s Cork Total Abstinence Society, the Famine, and stiff competition from its enormous Dublin and Belfast competitors to become one of the most celebrated Irish producers of the age. When the English journalist Alfred Barnard (often regarded as the father of whiskey commentary) came to visit in 1886, he described it as the most successful rural distillery in Ireland, with barley plentifully supplied by local farmers and an internal village of around 200 employees including coopers, carpenters, coppersmiths, maltmen, and of course, the master distiller “C. McPherson”. The malting facility was second only to Guinness and aside from its own barrels, the distillery also imported specially sherry-seasoned casks from Cadiz. Although this is now common practice in the world of fine whiskeys, Allman claimed to have been one of the first distillers in Ireland to do so. At a timewhen Irish whiskey was outselling Scotch three cases to one, Allman’s whiskey even earned a popular following in Scotland and would have been a key brand there during the 1860s when, according to Scottish whisky historian Charles MacLean, imported Irish whiskeys like Allmans were actually outselling their Caledonian cousins in Edinburgh itself!From the perspective of whiskey history, however, the bottle’s real importance to posterity may actually lie with the writing on the label. Today, the resurgent Irish whiskey industry and its admirers are very eager to talk about a style called “Irish pot still” or “single pot still” whiskey, a uniquely Hibernian varietal closely tied to the recipes and procedures that first put Irish whiskey into snifters around the globe. Although it mustbe batch-distilled in a pot still (a device also used to make almost all single malts and many artisan American whiskeys), the style is actually defined by the grain ingredients run through that still (a mixture of malt with a fine grist of “green” unmalted barley for texture and spice). Whiskey made in a pot still without the green barley is not, by this definition, “Irish pot still whiskey”. Originally introduced as a means of dodging the notorious Malt Tax, the use of raw barley has been a feature of Irish whiskey since the 18th century and although the less efficient green barley produced lower yields, the practice was so ingrained in the tasteof many Irish whiskeys that the practice remained even after the tax was repealed in October 1880 (coincidently only a few months after Richard Allman entered parliament).Although the recipe was undoubtedly a staple of Irish distilling, the practices of the Bandon distillery provide critics with one of the clearest arguments that, even in Victorian times, this ingredient-based definition was clearly understood as, according to Barnard, the distillery separated its barley into raw gristing and malting facilities and ran them through two distinct runs in order to make “both Old Pot Still Whisky, designated Irish, and Pure Malt Whisky, both of a superior quality”. The bottle here comes from their Pure Irish Pot Still stock. To contemporary connoisseurs, this bottle is arguably a touchstone to the provenance of Irish whiskey’s distinct culinary heritage.For all that history, however, the Bandon distillery was hit by the same twentieth century factors of war, prohibition, and competition from cheaper more rapidly produced blended whiskeys that decimated the country’s old pot still classics and almost resulted in the extinction of the style. In 1925 Bandon was forced to close, missing its own centenary by just a few months. Trading as “Allman, Dowden and Co.”, its agents continued selling off stocks until 1939, which is most likely the reason for this expression’s bottling in Galway (on the grounds of yet another proud Irish pot still distillery closed during the collapse). Very few bottles have survived to modernity and, although the Old Still Bar (converted from the distillery offices) proudly retained a bottle until 1971, most of the contents boiled away in a tragic fire that struck the pub that year.Like the Irish pot still industry itself, the once notorious liquid pride of Cork simply evaporated through the bottle’s cork and left the world without a taste. That is, until the discovery of this bottle today.

Mixed Spirits: Buchanan's Old Master Blended Scotch Whisky Roof Rye Whisky Jim Beam Devil's Cut GoldenBlue The Diamond Whisky Captain Cook's Smooth & Spiced Original Saint James Rhum Agricole Royal Ambré Three Ships Premium Select 5yo El Dorado Rum 3YO Glen Orrin Blended Malt Scotch Whisky KWV Alambic Brandy Hernö Gin Prince Hubert de Polignac VSOP Reserve Fine Champagne Cognac

French Wine: Famille Castel Vin de France Merlot 2014 Belle Tour Merlot 2013 Blason d'Aussières 2012 Chateau Fontesteau 2012 Esprit des Trois Pierres 2014 Muscadet Le Master 2013 Lot 03 Pezenas The Exquisite Collection Fleurie 2014 Petit Loup Marselan 2014 Les Dauphins Côtes du Rhône Villages Saint Maurice 2014 The Exquisite Collection Muscadet Sèvre et Maine Sur Lie 2014 Terre d'Ardoise Carignan Old Vines Red 2013

Wright (Christopher). The Schorr Collection, Catalogue of Old Master and Nineteenth-Century Paintings, volumes 1 & 2, 2014, numerous colour illustrations, original black cloth in dust jackets and slipcases, together with Bernt (Walther), Niederlandischen Maler des 17. Jahrhunderts, 4 volumes, Munich, 1960-62, black and white plates, original cloth gilt, manuscript mark and sticky label remains to foot of volume 4, plus Miquel (Pierre), Le Paysage francais au XIXe siecle 1824-1874, 3 volumes, Maurs-la-Jolie, 1975, black and white and some colour plates, original cloth gilt, small library label stick remains at foot of spines, all folio, plus other mostly French and Dutch art reference, mostly large format (41)

Jewellery suitcase containing assorted costume and dress jewellery; beads; brooches; china souvenir miniature planters; trinket boxes; medal ribbons; mirror compact; Old Master block print; carved bird and 'The Tale of the Pie and the Patty Pan' by Beatrix Potter.

MASTER OF MALT 10YO - SECRET BOTTLINGS A bottle of 10 year old Speyside single malt scotch whisky bottled by Master of Malt. 70cl. 40% abv. The bottle is presented in a lockable wooden case with a personalised label. Level mid-low neck. Excellent condition.

Two 18th.C. prints of children with pets, a hand coloured view of Kenilworth Castle and another after the Old Master original

A miniature portrait of a young girl after the Old Master painting

Old Master Italian School. Madonna and Child with St John. Oil on copper

An Old Master portrait of a child. Oil on panel

An oil painting of a classical muse after the old master original. Oil on canvas

Old master oil painting. The Alchemist. Oil on panel

Old master oil painting of a Italianate landscape with figures. Oil on canvas, carved giltwood frame

Old master portrait of a bearded man. Oil on canvas. In carved giltwood frame

Old master portrait of a gentleman. Oil on canvas in carved giltwood frame

Old master watercolour. The Conspirators

Old master red chalk drawing. Allegorical figures within classical architectural setting

An Old Master red chalk drawing of classical figure studies

A group of various framed Old Master landscape and figural prints together with a number of unframed works of Eastern and classical subjects

A group of old Master and later portrait prints

A Queen Anne ebonised eight-day longcase clock Etherington, London A Queen Anne ebonised eight-day longcase clock Etherington, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with rise/fall regulation to suspension, the 12 inch shallow break-arch brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Etherington, London to lower margin, with fine pierced steel hands and crisply cast gilt brass Indian mask and scroll spandrels to angles within herringbone engraved outer border, the shallow arch centred with applied arched silver rise/fall regulation scale annotated Slo/Fas and divided 0-60 within fine symmetrical foliate scroll engraved field incorporating basket of fruit and strapwork over festoon to centre and conforming herringbone border to upper margin, the ebonised case with brass ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand over moulded cornice and conforming foliate pierced quadrant frets to frieze and generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with arched apertures and quarter columns set against bargeboards at the rear beneath further rectangular blind frets, the trunk with concave throat above 42 inch rectangular door centred with a brass lenticle, on ogee moulded plinth base applied with two-tier moulded skirt, (case reduced in depth), 259cm (102ins) high excluding finials; 277cm (109ins) high overall. Provenance: By repute formerly at Marston House, Somerset. Literature: The dial of the current lot is illustrated in Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 on page 39 (Fig. 40). George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the oath of allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. George Etherington's work can generally be characterised as distinctive, often impressive and innovative in its decorative form; this very much follows the shift in fashion towards increased scale and heightened decoration which occurred during the Queen Anne period. The current lot is typical of this approach with the very early use of a shallow break-arch dial featuring unusual arched regulation scale within a finely engraved field. The case is also of impressive proportions and was almost certainly made by the same case maker responsible for that accommodating a clock of six week duration by John Lowndes which was sold in these rooms on Tuesday 15th September 2015, lot 204.

A very good quality Luristan Bronze master of the animals Finial with supporting mast. Circa 800-1000 BC. Provenance: old collection Channel Islands, 7 3/4'' tall overall, the finial being 4 1/4''

OLD MASTER OIL ON WOOD PANEL H 13" W 10 1/4" "BOLOGNESER MEISTER"Depicting Mary, the Christ child blessing a female martyr holding a palm, possibly Felicity, by the Master of Bologna. Possibly c. 17th c.- For High Resolution Photos visit Dumouchelles website.

Giovanni Battista Marcola (Verona, 1711-1780) - 'Classical Scene with Warrior carrying victim's head' Sepia, inscribed, approx 28x40cm, inset later frame, together with a old master type watercolour sketch 'Seated Soldier', monogrammed 'S.R', approx 27x22cm, inset modern frame (2). (illustrated)