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

Five Royal Doulton porcelain figures, Fragrance 1991, Michael Doulton exclusive, signed and dated, The Gamekeeper (HN2879), The Master (HN2325), The Old Balloon Seller (HN1315) and The Young Master (HN2872), all with boxes

Giovanni Battista Scultori, called Mantovano (Italian, 1503-1575) Eros Playing a Spinnet engraving, on laid paper, 1538 12½ x 8.70cm (5 x 3in) Provenance: M. E. Furst zu Furstenberg (b. 1863) collection of 16th century Italian prints; Jan Johnson Old Master and Modern Prints Inc.; then sold to the present owner Literature: According to a pencil inscription on the reverse, Bartsch vol. V. 10, only state Slight staining to the reverse, otherwise very good condition

Circle of Édouard Manet (French, 1832-1883) Portrait of a young girl in a black dress with lace collar, wearing a jet brooch and earrings oil on canvas, in a carved frame 29 x 23cm (11 x 9in) Provenance: Acquired by the vendor, a dealer in Old Master paintings, St James's, London, 1960, and thence within the family Other Notes: This beautiful study of a young girl has variously been attributed to a variety of distinguished artists, but tantalisingly has not yet been positively identified. Possibly lined but it is difficult to be certain. Dark background has been retouched/repainted. (photo of original version available). Painting is in good condition - varnish is clear, glossy and even. A few losses to the frame surface.

An Old Master frame, sight size 94 x 62cm (37 x 24.5in), overall size 110 x 82cm (43 x 32in) Provenance: Lady Rothschild, Rushbrooke Hall, Suffolk A bit dusty.

Solar Transcripts', a presentation volume of 'Talbotypes' by George Wilson Bridges to Admiral Sir William Parker 'Malta 9th May 1851', the volume cover and one of the loose photographs bearing Bridges boar crest over B, each of the presented photographs inscribed in ink by Bridges who describes himself in the presentation as 'A Decayed Traveller', page 19 showing Admiral Parker aboard Hibernia and the British Fleet arriving at the Porta Reale, Palermo on 16th February 1848, three loose photographs inscribed 'Aboard Hibernia', number 40 from the album missing but accompanied by fifteen loose photographs by Bridges, three priced verso at 3/6 in ink and thus dating to about 1852, another three by Calvert Richard Jones of Malta dated 1846 at the beginning of Bridges time photgraphing in the Mediterranean (57) Other Notes: George Wilson Bridges (1788-1863) The present album of calotypes, or Talbotypes, owes itself to succession of chance occasions which befell George Wilson Bridges. In 1834, when he was Rector of the Parish of St Ann's in Jamaica, his wife left him for England taking with her a son called Henry, and to join a daughter already living there. Later that year he crossed the Atlantic to find his estranged wife and recover his daughter. He then returned to his parish with that daughter, becoming a single parent looking after four daughters and a son, William. Tragically on New Year's Day 1837, he witnessed the four daughters drown in a boating accident. He retreated to the edge of Rice Lake, Peterborough, Upper Canada, where he built Wolf Tower as a home for William and himself. From 1842, William became a lynch pin in the story, as an illness lead his father to take him to England. William subsequently went to school at Maisemore, near Gloucester where his father had become Rector. William made friends with another William attending the school who was the son of Lord Valletort, third Earl of Mount Edgcombe and his wife Caroline Augusta (nee Feilding). Lady Caroline was half sister to William Henry Fox Talbot (1800-1877) and through that connection Bridges became intrigued by the nascent art of photography. In 1846, William joined the Royal Navy. He was to become Captain William Wilson Somerset Bridges RN (1831-1889), but as a 15 year old joined the flagship of the Mediterranean Fleet, the 'Hibernia', stationed off Lisbon. The father followed the son to the Mediterranean via Paris. While in Paris he acquired a camera from Charles Chevalier (1804-59). De Montford and Glasgow universities hold some twenty three letters written by Bridges to WHFT between his leaving Portsmouth on HMS Superb in 1846 and his return from the Mediterranean to Cheltenham in 1852. Most record his struggles to master Talbot's calotype process introduced to the public in 1841. Bridges was to take some 1700 photographs during this period. On arrival in Malta at some time between February and the end of March 1846, he met up with the Reverend Calvert Richard Jones who was to teach him the rudiments of photography as pioneered by William Henry Fox Talbot. Jones had officiated at the wedding of Fox Talbot's wealthy cousin, Christopher (Kit) Rice Mansel Talbot, to Lady Charlotte Butler. Bridges' first letter from Malta to Fox Talbot records the death of Lady Charlotte, passing sympathy to the family over her loss. Subsequent letters record his difficulties of transferring the calotype negatives successfully and clearly as images onto paper prior to fixing them. In April of 1846, Christopher Talbot returned to his home at Margam Castle in Wales via the toe of Italy. He played a major role in the development of ironworks, the cause of the railways to arrive in south Wales and the diversion of the river Afan to the east of Aberavon, which created a new port where transport and industry met. This port was named Port Talbot after him. Calvert Jones travelled with Talbot on his journey through Italy but left memoranda on Talbotype photography for Bridges to work from. 1846 was also quite a year for Admiral Sir William Parker Bt (1781-1866) whose flagship, Hibernia, William Bridges had joined. Sir William was briefly first Naval Lord during this year but retired, due to ill health, to his command of the Mediterranean Fleet in July of 1846. Also in 1846, he was given command of the Channel Fleet because of his knowledge of Portuguese affairs, hence Hibernia being stationed off Lisbon when both Williams joined her. William Bridges served on both Hibernia and a surveying ship called Volage during the three years after joining up in 1846. His father's watchful eye followed his peregrinations. Photographs were taken on board the Hibernia, as well as points in the Mediterranean where it and the Volage docked. The circumstances which led to the inscribed presentation volume of forty calotypes to Sir William Parker in 1851 can only be guessed at, but must relate to William Bridges' service with him. One wonders whether George Bridges gave similarly bound 'Solar Transcript's' bearing his crested B cypher but signed from a 'Decayed Traveller' to other dignitaries as well when he came across them during this period of travelling the Mediterranean. It is known that he presented photographs to King Otto of Greece and King Ferdinand II of The Two Sicilies, but were they bound and inscribed thus?

DEMETRE CHIPARUS. AN ART DECO GILT AND PATINATED BRONZE FIGURE OF WOMAN WITH MIRROR, C1925 on onyx plinth, signed Chiparus, 43cm h, mirror detached from hand but present A bronze and ivory version of this figure is illustrated Shayo (Alberto) Chiparus Master of Art Deco, 2nd edition, New York 1999, plt 27. On that example the figure holds in her left hand a pointed mirror, whereas the mirror in the present figure is that found on Chiparus' Venetian Lady (Shayo, plt 103). ++In good unrestored condition, the gilding rubbed in places and some build up of old dust and grime. In the present local private ownership for many decades

Charbens Miniature Series, No.2 Spyker (2), No.3 Old Bill Bus, No.8 Rolls, No.7 Panhard, Master Models Wee World Tractor & Trailer, Efsi Old Timer, in original boxes, with loose 1950s Wiking VW Convertible, Benbros, Morestone, Tuft Tots and Hong Kong Beetle, VG-E, boxes F-VG (12)

Matthias Stom, ou Stomer (ca 1600 circa - ca 1652), Le Christ chassant les marchands du Temple, huile sur toile, 110x171 cmProvenance:- Galerie Gismondi, Paris,- ,Château de Bonmont, collection Henri-Ferdinand LavanchyBibliographie:- B. Nicolson, The InternationalCaravaggesque Movement, Oxford,1979, p. 94 (?UU?, i.e. ?Wrongattribution?),- B. Nicolson, Caravaggism inEurope, Torino, 1990, vol. I, p. 182,vol. III, fig. 1554 (?Unconvincingattribution?, légende de la fig. 1554:?Circle of Matthias Stomer?)Le présent tableau, présenté aux enchères en 1985 avec une attribution à l?entourage de Matthias Stomer, a été publié dans les deux éditions du répertoire de Benedict Nicolson sur le Caravagisme en Europe. Dans la première, il était considéré comme objet d?une ?attribution erronée?, alors que dans la seconde, il a été reproduit comme ?entourage de Matthias Stomer?, tout en portant, dans le corps du texte, la mention ?attribution non convaincante?. Nicolson, décédé en 1978, n?a pas pu voir la peinture lors de son passage aux enchères en 1985, et il n?est pas du tout clair s?il a pu l?examiner , ou, comme c?est probable, seulement grâce à des photos en noir et blanc. Nous sommes reconnaissants au prof. Riccardo Lattuada pour avoir confirmé l?attribution à Matthias Stom après examen du tableau.Nous sommes également reconnaissants à Marrigje Rikken (Curator, Dutch and Flemish Old Master Painting, Collections &Research, RKD, Netherlands Institute for Art History), qui, sur la base de photographies digitales haute définition, a confirmé l?attribution à Stom (lettre du 16.01.2016) et nous a indiqué la provenance de la vente Christie?s de 1985.

[Pseudo-Aristotle]. Aristoteles Master-Piece, or, The Secrets of Generation Displayed in all the parts thereof. Containing, 1. The signs of barrenness. 2. The way of getting a boy or girl. 3. Of the likeness of children to parents. 4. Of the infusion of the soul into the infant. 5. Of monstrous births, and the reasons thereof. 6. Of the benefit of marriage to both sexes. 7. The prejudice of unequal matches. 8. The discovery of insufficiency. 9. The cause and cure of the green-sickness. 10. A discourse of maiden-heads. 11. How a midwife ought to be qualified. 12. Directions and cautions to midwifes. 13. Of the privities. 14. The fabrick of the womb. 15. The use and action of the genitals. 16. Signs of conception, and whether of a male or female. 17. To discover false conceptions. 18. Instructions for women with child. 19. For preventing miscarriage. 20. For women in child-bed. 21. Of ordering new-born infants, and many other very useful particulars. To which is added a word of advice to both sexes in the act of copulation: and the pictures of several monsterous births drawn to the life, 1st edition, Printed for J. How, and are to be sold next door to the Anchor Tavern in Sweethings-Rents in Cornhil, 1684, woodcut frontispiece of a hairy woman and a black child born to white parents, cancel title-page, 6 woodcuts of monstrous births (including repeat of frontispiece) at end, with the blank H12, foremargin of frontispiece torn with loss not affecting image or text, title-page close-trimmed at foremargin (touching printed rule) and lower margin barely shaving first word of final line of imprint '"things", old ink spots and smudges to frontispiece, title and lower text area of leaves A3v and A4r, not affecting legibility, some minor spotting and dust-soiling, corner curling throughout, scattered small marginal splits, tightly stitched with evidence of very minor worm-tracing close to some catch-words, small tear with blank paper loss to foremargin of final text leaf (H11) and lower outer corner of final leaf (I6), I2 with long horizontal split, contemporary limp vellum folded and stitched from a 16th-century land deed with text in English partially visible on pastedowns, some soiling and wear, 12mo (140 x 85 mm) A surprisingly good copy of a very rare complete first edition of the most notorious sex manual of the age. 'Aristotle's Masterpiece was the most popular book about women's bodies, sex, pregnancy, and childbirth in Britain and America from its first appearance in 1684 up to at least the 1870s. More than 250 editions are known, but all are very rare... It was sold furtively by country peddlers and in general stores and taverns; regular booksellers seldom advertised it, though they usually had it under the counter' (The Library Company of Philadelphia, 'Treasures', online catalogue). The attribution to Aristotle is completely spurious and no doubt a ploy to give the risqu‚ work respectability. In fact it was assembled from Levinus Lemnius's The Secret Miracles of Nature (1564) and Jakob Rff's midwifery manual De conceptu et generatione hominis (1554). Although it was effectively banned until the mid-twentieth century, the prohibition didn't keep it from circulating: it was reprinted endlessly until the early twentieth century and became one of the most notorious and widely distributed sex books in the English language, with a London edition being published as late as 1930. Such enduring popularity was partly due to the practical advice on pregnancy and the care of infants, and partly to its rather sensationalised descriptions of the sexual act and forms of monstrosity. This is the earliest publication date for the Master-piece, ESTC listing 3 variant settings of 1684, all printed by J. How, with no priority having been established. ESTC records only the incomplete British Library copy of our setting, which has line 11 of title ending "both", line 18 of title ends "Ge-", first line of imprint ends "sold", signature B5 is under the "nt Bl" of "effluent Blood" and on p. 190 the fifth line from bottom begins with a capital "Q". Identically, this copy has "Swee/things" rather than "Sweetings" in the imprint. Curiously, the only two complete copies of this setting noted have both been recently sold at auction by Bonhams, London: 12 November 2014, lot 47 & 24 June 2015, lot 157. In total ESTC records seven copies of the 1684 settings (British Library, Guildhall Library, Royal College of Surgeons, University of Pennsylvania, U.S. National Library of Medicine, Yale University, 2 copies), but all are incomplete to varying degrees. ESTC R504793; Wing A3697fA. (1)

Buckinghamshire. Cary (John), A New Map of Buckinghamshire. Divided into Hundreds, Exhibiting its Roads, Rivers, Parks &c. [with secondary title above map] Geological Map of Buckinghamshire by W.S.Smith, Mineral Surveyor, 1824, engraved maps with contemporary hand colouring, sectionalised and laid on linen, some staining, margins strengthened on recto with old tape, 600 x 510 mm, contemporary blind stamped sheep boards with gilt title to upper siding, retaining old silk ties, worn and heavily frayed with slight loss at corners, together with, Stephenson (John), An Actual Survey of the Coast of Kent from Dim Church to Rye Harbour with the New Shoal to the Westward of Dungeness by John Stephenson a Master in the Royal Navy, published Robert Sayer, 1787, uncoloured engraved chart with two horizon profiles, old folds, 490 x 695 mm (2)

CHIVAS BROTHERS ROYAL SALUTE 21 YEARS OLD Blended Scotch Whisky in sapphire Wade flagon. 70cl, 40% volume. BALLANTINE'S AGED 21 YEARS Blended Scotch Whisky in sapphire Wade flagon. 50cl, 43% volume. DUNHILL OLD MASTER Blended Scotch Whisky. Bottle No. C98561. 750ml, 43% volume. 3 bottles.

Two Royal Doulton figures, including 'Old Mother Hubbard' HN2314 and 'The Master' HN2325

A box of various antique prints and old master style drawings to include: an indistinctly signed pen and ink drawing of a classical figure; a sketch of a country house after Fragonard; a tondo drawing on vellum of the Madonna (initialled on tab); an engraving 'SVBs Masq Ranelagh X1111.June 1776' after G.B. Cipriani engraved F. Bartolozzi; drawings of facial expressions initialled 'E.W.'; manuscript plan of 'The Battle of Valleggio (1796)', etc.

2nd-1st century BC. A large oval cameo of smoky quartz displaying the head of the Gorgon Medusa in high relief studied by Professor Dr. Bernhard Overbeck of Staatlichen Münzsammlung Munich (Hellenistic period, later Augustus); finely carved facial features and eyebrows, abundant hair twisted and formed into wavy locks flanked by wings to the temples; snakes beneath the chin forming a Herculean knot; in an old silver mount. Property of a Surrey collector; formerly with Pierre Bergé, Brussels, Belgium, 1 December 2011, lot 372 (55,000-60,000 euros); previously in a private collection formed in the early 1980s. See Lapatin, K. Luxus: the Luxury Arts of Greece and Rome, Los Angeles, 2015; H. Gebhart, Gemmen und Kameen, Berlin, 1925, p.63, fig.74. Chiesa, G.S. Gem dalla corte imperiale alla corte Celeste, Milan, 2002, p.36, fig.6. Accompanied by a French export licence and an exposé by Professor Dr. Bernhard Overbeck. This cameo, according to Dr. Bernhard Overbeck, can be compared stylistically an amethyst in the Colonna collection in Rome, and a sardonyx in the Hessisches Landesmuseum Darmstadt. Professor Overbeck comments that this cameo bears many similarities to the Medusa head on the underside of the Tazza Farnese, a sardonyx cup that was carved in Alexandria in the second century BC to celebrate the marriage of Ptolemy VIII to Cleopatra III. Ancient methods of hardstone carving were based on principles that are still used today. The pieces were worked by manipulating various drills against them. The actual cutting was accomplished not with the point of the drill itself but by using the drill to rub powders into the stone. Hellenistic cameos are almost exclusively made from sardonyx and so this piece, being in smoky quartz, is a very rare example. In style Hellenistic cameos, as well as intaglios, exhibit in miniature the qualities of Hellenistic sculpture. They continue and develop the styles of earlier artists, such as Praxiteles, in the softness of the features, but also a passion and pathos that is seen in Lysippus and Scopas, both noted sculptors of the Hellenistic period. Pathos is most clearly depicted in the Medusa images of this time, as seen on this cameo, and the Tazza Farnese. This cameo displays the soft lines and crisp carving associated with Hellenistic court artists and Professor Overbeck is in little doubt as to the dating of this piece to the Hellenistic period due to the composition of the hair and the rendering of the wings and snakes; Medusa heads from later periods tend to be different and of a simpler design. He also notes similarities to an amethyst cameo from the Colonna Collection in Rome, which is also dated to the Hellenistic period and is comparable in its details and composition. Although somewhat stylised, the facial features of this cameo do suggest portraiture, and it is possible that the cameo depicts either Berenike II or Arsinoe II, both popular subjects for cameos, such as the amethyst cameo of Arsinoe II now in the Walters Art Museum, (accession number 42.190"). The mask of Medusa, or Gorgoneion, was believed to ward off evil, as well as to provide properties for renewed life; in Greek mythology the blood of Medusa was believed to bring the dead back to life. This piece was clearly meant to be worn, as seen in the attachment pin at the back. It may have been worn as a pendant or even as part of a diadem, as seen in the Hellenistic cameo that was attached to a Sarmatian gold crown from the Khokhlach burial mound, Rostov region, Russia, and now in the State Hermitage Museum, (inventory number 2213-2.) This cameo is an important piece that was most likely produced at one of the major Hellenistic capitals, most likely Alexandria, and produced for an élite member of society, such as a member of the Ptolemaic royal family. In the Hellenistic period the carving of small hardstones with figures of mythological characters or with portraits of rulers reached its peak. These were much admired by the Romans, as well as by later cultures, for their technical skill and aesthetic beauty. The practice of carving cameos was introduced by the Greeks in the fifth century BC, and with the emergence of the Hellenistic kingdoms after the death of Alexander the Great, master craftsmen set up workshops in the cities of these new empires, such as Antioch. The most noted cameo carvers were based in Alexandria and patronised by the Ptolemaic court. The Gorgons were daughters of Ceto and Phorcys. Of the three, Medusa alone was mortal. They were evil creatures of such ugliness that anyone who looked at them died petrified. Their heads were surrounded by snakes and they were provided with golden wings that allowed them to fly. Only Poseidon was not afraid of Medusa. She was beheaded by Perseus; from her severed neck Poseidon created two beings Pegasus, the winged horse, and Chrysaor, the warrior brandishing a golden sword. Medusa has often been depicted on cameos in Greek iconographic schemes where the treatment of the hair as wings and snakes may vary. The apotropaic aspect of the Gorgon's head is reinforced by the Herculean knot formed by snakes, her half open mouth and the accentuation of the expression of the eyes. 66 grams, 50mm (2"). Very fine condition.

17th/18th century Old Master School, oil on canvas, young boy drinking from a flagon, unsigned, 26" x 18", unframed.

English School (19th Century) - Portrait of a lady, traditionally understood to be Vesta Tilley (1864-1952) Oil on canvas 102 x 76 cm. (40 1/8 x 30 in) Provenance: Dreweatt Neate, Old Master and 19th Century Pictures, 23rd January 2008, lot 134

C19th Oil on Canvas Old Master Style Lady Wearing Red Dress with small infant attended by young girl wearing yellow gown, landscape to distance, in gilt frame, marked to reverse GJ Hayes or Nayes? April 1864, approx. 9" x 11"

CHIVAS BROTHERS ROYAL SALUTE 21 YEARS OLD Blended Scotch Whisky in sapphire Wade flagon. 70cl, 40% volume. BALLANTINE'S AGED 21 YEARS Blended Scotch Whisky in sapphire Wade flagon. 50cl, 43% volume. DUNHILL OLD MASTER Blended Scotch Whisky. Bottle No. C98561. 750ml, 43% volume. 3 bottles.

DALMORE 60 YEARS OLD Single Highland Malt Scotch Whisky. A unique bottling to commemorate the 60th birthday of the late Drew Sinclair, the former distillery manager of Dalmore who worked there for 40 years. Distilled in 1939, matured in cask no. 626 and bottled at cask strength. Bottle number 1 of 1. Features a hand-written signature by Dalmore master blender Richard Paterson. 70cl, 49% volume, in wooden presentation box.

An 18th-19th century oil on canvas, copy of an Old Master, young female seated with inscribed paper, unsigned, 18.5 x 14.5in., moulded gilt frame

CIRCLE OF JAN VAN BYLERT, OIL ON CANVAS ON BOARD, 18TH C., H 40", W 28", 'SAMSON SLAYS THE PHILISTINE'Standing Samson with club over the pleading Philistine; unsigned; Dutch.Provenance, Sotheby's Old Master Paintings, March 24, 1983, lot #17. Old canvas mounted on board, much craquelure. Much overpainting under blacklight, perhaps 40%.- For High Resolution Photos visit Dumouchelles website.

A 1957 MG A coupé Mk I, registration number 977 YUG, chassis number HMK13/26271, Chariot red. This charming home market MG A coupé has formed part of a small private collection. It has some modifications, including a recently rebuilt and bored engine to 1588cc (Mk II spec) with unleaded cylinder head, Moto-Lita wood rim steering wheel, and MG B red piped black leather seats. Further improvements carried out recently include the fitting of new chrome wire wheels, new tyres, and a brake overhaul with new drums and wheel and master cylinders. The accompanying history file contains a Heritage Certificate (stating that the MG left Abingdon as a coupé with wire wheels and coachwork finished in Chariot red), and ephemera ***(but no SORNs, only one old MOT and receipt).*** V5C, MOT and tax exempt See illustrations

After the Old Master, still life study of fruit, oils on canvas. CONDITION REPORT: 90 x 67cm approx.

Group of assorted furnishing prints to include portraits and Old Master studies. Framed. (5)

BRITISH COINS, William III, five guineas, 1701, D. TERTIO, ‘fine work’, second laur. bust r., rev. crowned cruciform shields, sceptres in angles (S.3456; Schneider 480, plain sceptres), in plastic holder, graded by PCGS as Mint State 62, an evenly bold strike on both sides, just a touch of wear on the king’s hair, only tiny abrasions in the open golden fields, choice mint state, very rare On the death of Queen Mary at the very end of December 1694, King William ruled alone for the first time. Silver coinage and small gold in his name commenced in 1695, but his first large gold pieces were minted in 1699. While much of the energy of the Royal Mint’s workers and administrators was devoted to the Great Recoinage of the silver, and the temporary establishment and furnishing of branch mints around the kingdom during this reign, no little attention was given to the standard gold which was the backbone of the nation’s financial strength. The need was indeed great to recall worn, clipped, and difficult-to-value older silver. Tons of it came into these smelting and minting facilities beginning late in 1696 and concluding in 1698 but the year 1697 saw the heaviest exchange. By 1699, almost all old silver in circulation had been exchanged, and melted, and the country saw a deluge of bright, freshly minted sixpence, shilling and halfcrown coins. At just the same time, Isaac Newton’s work at the Mint changed from that of Warden to Master-worker, or Mint-master. As a man of science, Newton brought both more control and a more scientific approach to the operations of the Mint. Beginning in 1699, Newton watched and weighed the Mint’s suppliers of gold especially and soon learned that a few grains of gold was a standard variance for the Mint that was being used to certain merchants’ advantage when they returned slightly heavy coins to the Mint for a profit. Newton began testing all newly minted gold to assure that it would be of precise weight and fineness, and also required exact measures of all worn and foreign gold brought to the Mint in exchange for new money. By treating foreign money as mere bullion rather than accepting it at a set exchange value, he caused an influx of worn gold to come into the Mint during 1701-02, most of which was coined into guinea denominations. In this way he caused British gold coins to be consistently pure and of precise value. The Royal Mint had been modernized. The first 5 guineas issued for William III varied greatly on the reverse from the coins issued by him with Mary, reverting to the cruciform style seen on the gold of Charles II. The king's portrait was shallowly engraved. But Newton had not finished making changes at the Mint: next he attempted to complete the transition begun during the Renaissance, of departing from the shallow style of portraiture of the monarch to one that suggested lifelike qualities. In 1701 he caused a portrait to be engraved that would not be equalled until the 1760s’ patterns of George III. As Mint-master, Newton’s finest artistic achievement is, without argument, the deeply engraved 5 guineas of 1701, now known as the ‘fine work’ issue, and it has become one of the classics of British numismatics. Its conception has never been documented in detail but its appearance arose from another propitious change at the Royal Mint. For about a third of a century, the job of engraving coin dies had been dominated by the Roettiers family of Brussels. The elder of the family, John, had found favour with Charles II when Thomas Simon, as the former engraver of Cromwell’s coins and seals, saw his tenure decline. John and his brothers, Joseph and Philip, in the words of Challis, exercised the ‘controlling influence over English engraving’ during the last years of the seventeenth century (New History of the Royal Mint, page 363) along with John’s sons James and Norbert, who under his guidance completed much of the die-work during the reigns of James II and of William & Mary and then of William alone. Slowly, the Roettiers faded from the scene: John the master engraver suffered injury, Joseph moved to the Paris Mint, Philip returned to Brussels to work, Norbert left for France in 1695, and James came under suspicion of counterfeiting in 1697 and was dismissed. No one capable was left, save for a young assistant named James Bull. Then suddenly a German jeweller from Dresden named John Croker was brought to the Mint. He soon tired of re-engraving dies made by the Roettiers during 1698-99, and he produced the now-famous ‘flaming hair’ shillings. Newton and others took note and promoted him. His mark on English coinage and medals became indelible, and among his medals may be found exquisite images in high relief, but his greatest achievement was certainly the ‘fine work’ engraving of the king’s portrait used in only one year, 1701, on the gold 2 guineas and 5 guineas. These are the ultimate numismatic images of the reign, magnificent money created three centuries ago and rarely equalled as works of art in all the years that have followed.

BRITISH COINS, Anne, five guineas, 1703, SECVNDO, VIGO below bust, dr. bust l., rev. crowned cruciform shields with rose at centre, sceptres in angles (S.3561; Schneider 523 but here the VIGO is higher and close to the queen’s shoulder), in plastic holder, graded by PCGS as About Uncirculated 55, with delightful reddish gold toning and a bold, even strike, very rare The commercial focus of the Royal Mint at the turn of the eighteenth century was upon silver coins, those being most in demand both at home and for trade abroad. Various monetary indentures mainly concerned silver, but any shortage normally encountered had just been addressed during the previous decade by way of the temporary establishment of mints scattered about the kingdom for the purpose of melting old silver and striking fresh coins of good and consistent weight and fineness. Those ‘branch’ mints were now closed, and silver was being produced in modest quantity when Anne ascended the throne. In truth, at the time there was a dearth of silver mined within the realm. The output of fresh silver coins had again become ‘dependent on special circumstances such as the fortuitous arrival of foreign booty’ (Challis, A New History of the Royal Mint, page 433) ‘The most spectacular of these windfalls’, Challis continues, occurred almost by happenstance just as Anne became queen. The year 1702 marked the beginning of the War of Spanish Succession, which was a contest for dominance between two sets of allies, England and the Dutch Republic against France and Bourbon Spain. Old allies and old enemies they surely were. A fleet of Anglo-Dutch warships attempted to seize Cadiz but the attempt failed in mid-September. The commander of the fleet, Admiral Sir George Rooke, had begun his homeward journey and most certainly was dejected at the idea of returning to home port without success when he was informed by spies that a Spanish treasure fleet had recently anchored at Vigo Bay on the northwest shore of Spain What was at hand, he had learned, was an armada of Spanish ships carrying specie mined in Spanish Mexico. The fleet had sailed from Veracruz protected by a French squadron of fifteen warships. Three galleons were loaded with silver and gold. Frigates and attending ships added up to a fleet of 56 vessels, many carrying merchandise intended for sale in Spain, and all were moored in Vigo Bay. A furious naval battle was fought on 23 October and the victory was England’s despite a boom consisting of heavy chain and timber that stretched across the entrance to the bay, and a battery of cannons, meant to block and defeat any attack. The Dutch and English men o’ war crashed through the boom. The Spanish set a fireship alongside the Dutch admiral’s flagship, intending to burn it, but the Spanish ship was loaded with snuff from the Indies and it blew up! The Spanish guns were quickly silenced, the boom was gone, and the Anglo-Dutch warships sailed right into the heart of the harbour, destroying most of the enemy’s ships and capturing the others. In a day and a half, the Battle of Vigo Bay had been won, and the booty was up for grabs. At first, jubilation reigned, but then the English discovered that most of the treasure from the New World mines had been unloaded before they arrived at Vigo. Winning the battle was of great moment in the war. What remained of the specie was taken and delivered to the Royal Mint. It did not consist of Mexican silver but rather it amounted to 4,500 pounds of silver that had been ornaments and ‘plate’ belonging to the Spanish and French officers, as well as 7 pounds 8 ounces of gold (Challis, page 433). The Spanish king, Philip V, issued a decree claiming ownership of the precious metals. In response, Queen Anne caused to be issued a royal warrant, dated 10 February 1703, instructing Mint-master Isaac Newton to mark all coins made from captured specie to ‘Continue to Posterity the Remembrance of that Glorious Action’ at Vigo Bay. Today’s collectors often encounter silver sixpence, shillings, halfcrowns and crowns made from this treasure, but the gold produced few coins and today all are extremely rare. Least minted were the 5 guineas of 1703. Only a handful are known. Of them, the rarest variety (perhaps as few as two others known) is that showing the VIGO placed higher toward the queen’s shoulder, as seen on this wonderfully historic coin

A signed print of Limoue by Wolfgang Smith, a Bruce Hafley nude study dated '96, signed lower right, a wooden empty frame, another smaller empty frame, a Marcel Augis signed etching titled 'La vue de l'epicerie, Rouen', a Victorian photograph of an Old Master landscape

A set of 6 Trafford old master plaques on stylized metal backgrounds (6)

AN OLD MASTER OIL OIL ON PANEL INTERIOR SCENE AFTER TENIERS

AN OLD MASTER OIL ON CANVAS A MAIDEN RECLINING

AN OLD MASTER OIL ON PANEL DEPICTING HORSEMAN AND VILLAGERS ATTRIBUTED TO BAREND GAEL

AN 18TH/19TH.C.LONG CASE CLOCK THE DIAL BEING AN OLD MASTER OIL PAINTING ON PANEL APPLIED WITH BRASS CHAPTER RING OF THOMAS DAYKIN OF WORCESTER

A GROUP OF FOUR OLD MASTER OIL ON CANVAS SCENES OF RURAL LIFE

AN EARLY OLD MASTER OIL ON CANVAS DEPICTING CLASSICAL MAIDEN AND EAGLE

AN OLD MASTER OIL ON CANVAS STUDY OF A SAINT

AN OLD MASTER OIL ON PANEL PUTTI AT PLAY

AN OLD MASTER OIL ON CANVAS THE ALCHEMIST

AN OLD MASTER OIL ON PANEL RIVERSIDE VILLAGE WITH CHURCH

AN EARLY OLD MASTER PORTRAIT STUDY OF A GIRL IN HOODED CLOAK

AN OLD MASTER DRAWING OF FROLICKING PUTTI AND SATYRS PICKING GRAPES

After Cavalier Piranesi, a pair of Italian city prospects, restrike engravings, together with a framed portrait study after the Old Master. (3)

Margaret Holgate, 'Peniel Chapel, Aberaeron', limited edition woodblock print together with a coloured print after the Old Master. Framed. (2)

A Pair of Old Master Metal Framed Prints, a modern oleograph of Bonnie Prince Charlie in an ornate gilt frame & a pair of floral triptych prints (5).

THOMAS AUSTEN (ED): TWO FIFTEENTH CENTURY COOKERY BOOKS ..., L, M Trubner, for the Early English Text Society, 1888, 1st edn, 151pp + 18pp ads etc, hf ttl bnd in together with H LOGEMAN: THE RULE OF S BENET, + one other old hf cf gt + S CHOWDHARY: INDIAN COOKING, 1954 1st edn, orig cl, d/w + WILLIAMS & SON: THE PRACTICE OF COOKERY AND PASTRY ADAPTED TO THE BUSINESS OF EVERYDAY LIFE, Edinburgh 1868, 7th edn, enlarged and improved, orig cl gt + F R BATT: THE LAW OF MASTER AND SERVANT, L, 1929, 1st edn, orig cl gt worn + ELIZABETH CRAIG: THE STAGE FAVOURITES COOKBOOK..., [1924], 1st edn, orig bds + G A RUDOLPH: KANSAS STATE UNIVERSITY RECEIPT BOOK AND HOUSEHOLD MANUAL, 1968, orig wraps + W MUELLER: BIBLIOGRAPHIE DES KAKAO, Hamburg 1951, orig wraps (7)

THE DALMORE DANIEL BOULUD Single Highland Malt Whisky 'created by Michelin Star Chef Daniel Boulud and the Dalmore Master Distiller Richard Paterson. 750ml, 44% volume. In box. THE DALMORE DISTILLERY EXCLUSIVE Single Highland Malt Whisky. 70cl, 57.6% volume. In carton. THE DALMORE 12 YEAR OLD Single Highland Malt Whisky. 70cl, 40% volume. In carton. 3 bottles.

MANCHESTER UNITED EUROPEAN CHAMPIONS' CUP WINNERS 1968 Blended Scotch Whisky in Buchan decanter. 25 years old. Decanter no. 349. 70cl, 40% volume. In box. DUNHILL OLD MASTER Blended Scotch Whisky. Cellar master's no. D 94177. 750ml, 43% volume. In carton. DUNVEGAN CASTLE RESERVE Blended Scotch Whisky. 25 years old. B291. 750ml, 43.° In box. PINWINNIE ROYALE Blended Scotch Whisky. 12 years old. 750ml, 43% volume. In carton. 4 bottles.

DIMPLE 15 YEARS OLD Blended Scotch Whisky, 70cl, 40% volume, in carton. ROYAL STIRLING EXTRA OLD Blended Scotch Whisky, 750ml, 43% volume, in carton. CAMERON BRIG Single Grain Scotch Whiskyt, 70cl, 40% volume. OLD CRAIGIE Blended Scotch Whisky, 75cl, 40% volume. DUNHILL OLD MASTER Blended Scotch Whisky, 750ml, 43% volume, in carton. 5 bottles.

RED DEVIL Bell's 8 year old blended Scotch whisky with red chilli peppers. 70cl, 40% volume. PASSPORT Blended Scotch Whisky. 75cl, 43% volume, in carton. DUNHILL OLD MASTER Blended Scotch Whisky, 750ml, 43% volume. BELL'S MILLENIUM Blended Scotch Whisky, 8 years old. 70cl, 40% volume, in presentation case. J&B 15 YEARS OLD Blended Scotch Whisky. 75cl. No strength given, in carton. 5 bottles

Ten old radios, Cossar, RCA Victor Murphy, GEC, Sky Master, Ever Ready, etc

An old master sketch, red crayon, 12 x 8.5cm, and four further pictures

TWO BOXED OLD WHITNEY FAVOURITES TEDDY BEARS, 'Bob' Ltd edition of 500 and 'Master Teddy' Ltd edition of 2000 (2)

OLD RHOSDHU 1979 MURRAY MCDAVID MISSION Single Highland Malt Whisky, aged 24 Years. Bottle No. 236/498. Signed by Master Distiller Jim McEwan. 700ml, 46% volume, in wooden presentation box. CONDITION REPORT: Very good.

18th century Old Master sanguine chalk on paper, Classical figure, unsigned, 6.5" x 3.25", framed.

OLD RHOSDHU 1979 MURRAY MCDAVID MISSION Single Highland Malt Whisky, aged 24 Years. Bottle No. 236/498. Signed by Master Distiller Jim McEwan. 700ml, 46% volume, in wooden presentation box. CONDITION REPORT: Very good.

JAMESON Irish Whiskey. No. JQ-058548. 700 ml, 40% volume. CHIVAS REGAL 12 YEAR OLD Blended Scotch Whisky. French import. 40 fl. ozs., 40% volume. DUNHILL OLD MASTER Blended Scotch Whisky. 750 ml, 43% volume. WHITE HORSE AMERICA'S CUP Blended Scotch Whisky. 75cl, 43% volume. DEWAR'S WHITE LABEL Blended Scotch Whisky in 'Highlander' tin. 75cl, 43.5% G.L. 5 bottles.

CHIVAS BROTHERS ROYAL SALUTE Blended Scotch Whisky,aged 21 Years, in ruby Wade decanter. 70cl/700ml, 40% volume, with pouch, in carton. DUNHILL OLD MASTER Blended Scotch Whisky, Cellar Master's Number 21411. 750ml, 43% volume, in carton. 2 bottles CONDITION REPORT: Very good.

MCGIBBON'S MASTER RESERVE Blended Scotch Whisky in round ceramic decanter with map of The Old Course, St Andrews. 700ml, 43% volume.

De Vecchi (Pierluigi). Raphael, Abbeville Press Publishers, 2002, numerous colour and black and white illustrations throughout, original cloth in dust jacket and slipcase, folio, together with Le Men (SegolŠne), Courbet, Abbeville Press Publishers, 2008, numerous colour and black and white illustrations throughout, original cloth in dust jacket and slipcase, folio, plus Pedrocco (Filippo), Titian, The Complete Paintings, Thames & Hudson, 2001, numerous colour and black and white illustrations, original cloth in dust jacket, plus other Old Master art reference, mostly hardback publications, in original cloth and dust jackets, folio/4to, G/VG (31)

Francois Verdier (1651-1730) - Christ before Caiaphas; The Blinding of Elymas A pair, graphite with grey wash, on laid paper, both squared for transfer The former with pen and brown ink inscription lower edge 17 x 13.5 cm. (6 3/4 x 5 1/4 in), and 17 x 14.5 cm. (6 3/4 x 5 3/4 in) Together with a brush and grey ink drawing of Soldiers and Peasants at a table , after Sir Peter Paul Rubens, 14.5 x 20.5 cm. (5 3/4 x 8 in), all unframed (3). Provenance: Sale. Christie's, Old Master and British Drawings and Watercolours, 2 nd December 2014 , lot 30 (Part of lot)

An oleograph copy of an old master painting, framed and glazed, 58cm x 48cm