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After an Italian old master, The Madonna and Child with a crucifix, oil on canvas, 73 x 60 cm (28 1/2 x 23 1/2 in)

AN OLD MASTER SEPIA DRAWING - drawn with figure sketching the Virgin Mother, cherubs and prophets, indistinctly signed, 7 1/4" x 3 1/2".

AN OLD MASTER STUDY OF A KNEELING FIGURE - pencils and brown wash, 9 1/2" x 7".

CIRCLE OF SIR JOSHUA REYNOLDS - A fragmented sketch after an Italian old master, oil on canvas laid on to panel, 6" x 6", with inscription on old label verso attributing it to the artist (see illustration).

Bell's Royal Reserve-21 year-old Blended and bottled by Arthur Bell & Sons, Perth. 75 cl. In presentation case. 40% volume Johnnie Walker Pure Malt-15 year-old Blended and bottled by John Walker & Sons Ltd., Kilmarnock. 70 cl. Labelled for export to France. In original carton. 43% volume Dunhill Old Master Blended and bottled by Alfred Dunhill Ltd. 750 ml. In original carton. 43% volume 3 bottles

C20th Oil on Board, copy of old master painting of village street scene with windmill, figures in sledge mounted on horses etc. in modern swept gilt frame by Jozsef Kovacs 19 1/2' x 15 1/4'

The nationally important Order of Merit group of sixteen awarded to Sir Basil Spence (1907-76), the distinguished post-war architect, and architect of Coventry Cathedral The Order of Merit, E.II.R., Civil Division neck badge, gold and enamel, with neck cravat, minor enamel damage; The Most Excellent Order of the British Empire, O.B.E. (Civil) Officers 2nd type breast badge, silver-gilt; 1939-45 Star; France and Germany Star; Defence and War Medals; Efficiency Decoration, E.II.R., Territorial, rev. dated, 1957, these unnamed as issued; Royal Institute of British Architects Silver Medal (1931), obv. a pair of stylized lions either side of a column, rev. inscribed, Board of Architectural Education awarded to Basil Spence, Edinburgh College of Art, School of Architecture, 88mm., silver; Incorporation of Architects in Scotland Medal (1931), obv. bust of Sir R. Rowand Anderson left, by Hazel Armour, rev. Edinburgh Castle, inscribed, Basil Spence, 1931, 58mm., silver; Royal Institute of British Architects Pugin Medal (1933), obv. a pair of stylized lions either side of an ornate column, mural crown above, rev. heraldic shield (Basil Spence Pugin Student, 1933), 57mm., silver, American Institute of Architects Honorary Fellows Badge (1959), by M.A.C., New York, obv. stylized eagle with an olive branch in its talons, superimposed upon a column, rev. inscribed, Basil Spence 1959, oval, 39 x 32.5mm., silver, with suspension mount, with neck cravat; Royal Architectural Institute of Canada Fellows Medal (1960), obv. seated architect in classical garments, a winged cherub presents a sprig of foliage, a temple in the background, rev. inscription (name and date engraved), Basil Spence, Honourary Fellow of the Royal Architectural Institute of Canada 1960, 46mm., bronze-gilt, ring suspension, with neck cravat; Royal Institute of British Architects Bronze Medal (1963), obv. a pair of stylized lions either side of a column, rev. two builders at work, St. Pauls Cathedral in the background (Sir Basil Spence, O.M., O.B.E., T.D., R.A., A.R.S.A., R.D.I., P.P.R.I.B.A. Falmer House, The University of Sussex, Falmer, Brighton), 63mm., bronze; City of Coventry Award of Merit (1970), obv. stylized phoenix rising from the flames, three crosses in the background, rev. plain, rectangular, 45 x 26mm., gold, 30.7g., hallmarks for Birmingham, unnamed, complete with gold and enamel brooch bar, inscribed, Coventry Award of Merit; Medal of the Academia Nazionale di San Luca, Rome (1972), obv. man in classical garments, knelt, writting upon a scroll, a winged bull in the background, rev. inscribed, Basil Spence, MCMLXXII, 55mm., bronze, ring suspension, with neck cravat; with associated lapel badge, gilt and enamel; French Academie dArchitecture, Grande Medaille dOr (1974), obv. stylized ornamented column by H. Navarre, inscribed in exergue, Grande Medaille dOr 1974 Sir Basil Spence Architecte, rev. seated figure in classical garments enclosed by wreath, 68mm., gold, 212g., edge stamped, 1974 and 3or, some with minor (pin?) marks to edge, in general nearly extremely fine (17) £6000-8000 O.M. London Gazette 23.11.1962 O.B.E. (Civil Division) London Gazette 1.1.1948 Basil Urwin Spence was born in Bombay on 13 Aug. 1907, the elder son of a chemist in the Indian Civil Service. When he was twelve, Spence, whose family were from Orkney, was sent home to Scotland to be educated at George Watson's College, Edinburgh. Having shown a particular ability in drawing he enrolled in 1925 at the Edinburgh College of Art to study sculpture, but then switched to architecture. Spence excelled as a student, and during 1929-30 he completed his practical assignment in London, attending evening classes at the Bartlett School of Architecture at University College, and by day working as an assistant in the London office of Sir Edwin Lutyens where he helped prepare designs for Lutyens' Viceroy House in New Delhi. Spence imbibed Lutyens' masterly combination of classical and modern architectural idioms, and thereafter always acknowledged him as his 'patron and master'. Spence completed his professional training in Edinburgh and gained his architectural diploma in September 1931, having added to his earlier prizes the Rowand Anderson Medal and the Royal Institute of British Architects (RIBA) Silver Medal; in 1933 came the prestigious RIBA Pugin Medal. He was invited to join the leading Edinburgh architects, Rowand Anderson, Balfour Paul & Partners. Within the practice he designed small houses and departmental stores in and around Edinburgh, but his private commissions gave him the opportunity to venture designs that were more modernist and daring. He became a junior partner in 1935 and undertook work for some of the practice's most wealthy and important clients, designing grand country houses that catered to individual tastes, but which at the same time were eye-catching in the way they blended traditional elements with modern and made use of the natural, textured materials of the local landscape. Notable among these structures was Quothquhan, Lanarkshire (1936) for Alexander Erskine-Hill MP, Gribloch (1937-9), near Loch Lomond, for the steel magnate John Colville, and Broughton Place (1937-9), near Peebles. In 1938 he was commissioned to design the Scottish pavilion for the Empire Exhibition in Glasgow. Spence's highly abstract construction owed much to the ideas of Le Corbusier, the influential pioneer of modern design, and was widely praised as one of the chief attractions of the exhibition. There soon followed other exhibition work in Edinburgh and Johannesburg. However, with the onset of war Spence set aside his thriving practice and joined the Royal Artillery, having enrolled with the Territorial Army 1934. He rose to the rank of Major in the camouflage unit where his talent for design was usefully employed. In Normandy, he was shocked by the destruction of ancient religious buildings and in his diary confided his ambition to build a church of his own time if he survived the war. The shortage of new work in the years immediately after the war confined Spence to small-scale architectural commissions and exhibition design, and through the latter area his practice began to pick up. He was awarded major commissions for exhibitions in Edinburgh (1946) and Glasgow (1947) to help foster post-war enterprise, and he was chief architect for the 1949 Britain Can Make It Exhibition in London, having been appointed O.B.E. in the New Year Honours the previous year. He was then commissioned to design the Sea and Ships Pavilion for the Festival of Britain which opened on the South Bank in May 1951. Spence had also been working on designs in the competition for a new cathedral at Coventry to replace that which had been gutted during the enemy bombardment of the city on the night of 14 November 1940-the 'Night of Infamy'. There had been some indecision over how the new cathedral should look. Initially, a new neo-gothic edifice was envisaged with Sir Giles Gilbert Scott as its architect, but Scott's 'ponderous' design was vetoed in 1946, and in setting up the subsequent competition for a fresh design in 1950 it was decided that entrants should be encouraged to think in terms of an adventurous modern church building that would embody the spirit of the new post-war order. In August 1951 it was announced that Spence had won first prize out of 219 entries. It was to be the turning-point of Spence's career. Coventry had a special significance, being the first British city to have had its centre destroyed by enemy bombing. The project to rebuild the cathedral caught the public imagination as symbolising the nation's rise from the ashes of war. On the eve of its consecration in 1962 Spence wrote in The Times: 'When I first visited Coventry with the competition conditions in October 1950, the old cathedral burnt open by fire-bombs seemed to say in a gentle voice, "I

A rare post-war M.B.E., Second World War clandestine operations M.C. group of ten to Colonel W. V. G. Smith, Royal Fusiliers, late Lancashire Fusiliers, who was decorated for his services in S.O.E.s Albanian Mission 1943-44, in which capacity he carried out numerous acts of sabotage The Most Excellent Order of the British Empire, M.B.E. (Military) Members 2nd type breast badge; Military Cross, G.VI.R., reverse officially dated 1945; 1939-45 Star; Africa Star, clasp, 1st Army; Italy Star; Defence and War Medals, M.I.D. oak leaf; General Service 1918-62, 1 clasp, Cyprus (Major, M.C., L.F.); Thailand, Order of the Crown, Commanders neck badge, silver, gilt and enamels; Thailand, Order of the Crown, breast badge, silver, gilt and enamels, together with a Lancashire Fusiliers cap badge, generally good very fine (10) £4000-5000 M.B.E. London Gazette 13 June 1964. M.C. London Gazette 15 March 1945. The original recommendation states: Major W. V. G. Smith has operated as a British Liaison Officer in Albania from 15 October 1943 to December 1944. He is due to return to that country. During his period in the Field he has acted as Second-in-Command of an Area Mission and latterly, since February 1944, as Commander of the Mission itself. During his period in the Field, his loyalty, courage and devotion to duty have been of the highest order under the most trying conditions. Particularly valuable have been his strong and tactful handling of the F.N.C. Military and Political leaders, upon which the success of the Allied Mission so much depend. He has also been engaged in numerous reconnaissance and demolition operations of a hazardous nature, of which the following are examples: In January 1944, he entered territory fully controlled and patrolled by the Germans, in order to try and extricate three American nurses hiding in Berat. At very considerable risk to himself, he spent some days in this area and only gave up the attempt when he was betrayed by the local population and found himself surrounded by the enemy. In February 1944, he successfully destroyed the road between Berat-Kelgyre, with a small partisan escort. He approached the road under the cover of darkness. Preparation of the road for demolition took some time with the means available and before this preparation was completed, he came under heavy machine-gun fire. Major Smith completed the task and the road was so succesfully destroyed that it was never repaired by the Germans, who were thereby denied one of their valuable lines of communication. In June of 1944, during the German push of that month, he played a leading part in the successful extrication, without loss, of 13 Allied personnel. During this period Allied personnel were in great danger of being surrounded and captured, and their escape and present safety are largely due to Major Smiths courage, coolness and decision. Major Smith is strongly recommended for the immediate award of the Military Cross. William Victor Granville Smith was born in Hyde, Cheshire in April 1920 and was granted an emergency commission in the 2/5th Battalion, Lancashire Fusiliers in September 1941, following service in the ranks with the B.E.F. Further active service ensued with "Paiforce" and the 1st Army in North Africa in 1942, but in August of the following year he transferred to Special Operations Executive (S.O.E.), most likely via a contact in that forces Cairo establishment. Having then completed his parachute course at Kabrit on 18 September 1943, he was prepared for his first mission to Albania, parachuting in to that country in mid-October. Thereafter, until his return to the U.K. for a debriefing in December 1944, he carried out numerous acts of sabotage, his thorough destruction of a section of the Berat-Kelgyre road in February 1944 being a case in point. But over and above the operational side of his agenda, Smith built up an excellent general knowledge of both North and South Albania, including a valuable understanding of the complex and often contentious viewpoints of the competing partisans - indeed it was for these very reasons that he was recalled to London at the end of 1944 - and then quickly ordered back into the Field in the New Year. Luckily for posteritys sake, Smiths official reports from Albania largely survive, a classic example being his summary of the period October 1943 to June 1944 (a copy of which is included). Apart from the fact this report contains a gripping account of his Missions movements at the time of the German offensive in June 1944, it also includes some pretty frank commentary on the merits of individual partisan leaders - It is inevitable that the Chief of the General Staff should be included in this list; his appointment is the only justification for his inclusion. Completely dumb, a Major in the old Army ... So, too, some equally scathing remarks on equipment: In my experience the only satisfactory arms are the Tommy gun and the Sten. The Marlin and M.P. 40 are not only unreliable but very dangerous; we had many accidents with both these automatics - Major Layzell lost his life. And some friendly advice for prospective British Liaison Officers (B.L.Os): B.L.Os are still arriving in the country like Father Christmasses. Certainly before they leave the country their kit will have been lost, destroyed or captured many times over - they should, therefore, be discouraged from taking any more kit than they can comfortably carry in a rucksack. It must always be borne in mind that the partisan is an undisciplined individual; he is in fact an individual and he resents very strongly any form of direct order. On the other hand, it is possible to give him an order, using an indirect method, the best way being to take him into ones confidence. Money must never on any account be offered to a partisan in repayment for services rendered. He will regard it as an insult. If you wish to reward a partisan, write a report to his commandant. Never on any account threaten to strike a partisan - the code is sudden death to the offender, regardless of nationality or rank ... Having also been mentioned in despatches for his services in Albania (London Gazette 1 June 1944), Smith finally returned to the U.K. in October 1946, following which he enjoyed a spate of post-war staff appointments, among them Deputy Assistant Adjutant and Quarter-Master General of 6 Infantry Brigade in Munster between March 1962 and November 1963 - for which services he was awarded his M.B.E. Having latterly transferred to the Royal Fusiliers, he was advanced to Lieutenant-Colonel in August 1965 and served as Military Attache in Bangkok from April 1970 until his retirement, in which period he received his Thai decorations.

Old Master equestrian drawing - Manner of Sir Anthony Van Dyck (1599-1641) - Single sheet composed of four life studies of horses heads in various poses executed in iron gall ink on paper, the central horse having white body colour. Backboard bears label for The Rowley Gallery Ltd, 23cm x 34cm - see illustration on catalogue cover (detail)

An Old Master reproduction of the Madonna and Child in a gilt frame and another similar.

THREE OLD MASTER DRAWINGS AND TWO COPIES THE VIRGIN IN GLORY, 24 X 18 CM, A FIGURE STUDY AFTER ANDREA DEL SARTO (WITH A 19TH CENTURY COPY) 18 CM X 16 CM A FIGURE STUDY AFTER MICHELANGELO PROBABLY CIRCA 1600 WITH A 19TH CENTURY COPY 33 X 21 CM

Six various Old Master style unframed, unsigned pencil and wash drawings on paper, figurative. (6)

A SMALL COLLECTION OF UNFRAMED PRINTS AND ENGRAVINGS to include views around Iffley, natural history and a few decorative old Master prints.

IAN STRANG (1886-1952) 'Moorish Hill, Cordoba', etching, pencil signed in the margin and dated 1923, 8 3/4" x 12 3/4"; together with assorted old Master engravings, prints etc., many of a religious nature; photogravures after William Walcott etc., all unframed.

17th/18th CENTURY OIL, AFTER THE OLD MASTER, St Paul on Island of Malta, 16" x 19"

OLD MASTER SCHOOL, OIL, Portrait of a Cleric, 10" x 7"

A PACKET CONTAINING FOUR OLD MASTER TYPE PENCIL AND CRAYON DRAWINGS, Figure Subject, various sizes (4)

Four Albums of Old Master reproduction Postcards (4)

Assorted Christies and Sothebys Old Master Catalogues (6 boxes)

Assorted Christies and Sothebys Old Master Catalogues (6 boxes)

Old Master engravings. Beham (Hans Sebald, 1500-1550), Pacientia, 1540 [or later], uncoloured engraving, 106 x 69 mm, together with Dujardin (Karel, 1621/22-1678), nine etchings of animals and rural scenes, mid 17th century, some trimmed to image, various sizes, plus others including an engraving of Medusa after Jacob de Gheyn (222 x 162 mm), an engraved portrait of Frederick the fourth after Conrad Goltz, etc., all tipped-in to a 19th century half morocco album (1)

Robinson (W. Heath, illust.). Old-Time Stories, told by Master Charles Perrault, translated from the French by A.E. Johnson, 1st ed., Constable, 1921, six tipped-in col. plts., one with a corner creased, numerous b & w illusts., many full-page, front free endpapers browned, top edges red, remainder foxed, orig. gilt dec. red cloth, spine a little faded and rubbed, 4to, together with Shakespeare's Comedy of Twelfth Night, or What You Will, 1st ed., Hodder & Stoughton, c.1920, twenty-four tipped-in col. plts., each with captioned tissue guard, modern half morocco gilt, 4to, plus The Water-Babies, A Fairy Tale for a Land-Baby, 1st ed., Constable, 1915, eight col. plts., b & w illusts. to text, free endpapers lightly browned, orig. gilt dec. green cloth, spine faded and gilt dulled, 8vo, plus four others illust. by W. Heath Robinson (7)

An early 20th century photograph album containing views of Italy, statuary,and images of old master paintings.

After Cecil Charles Windsor Aldin R.B.A. (1870-1935) "Masters of Hounds, the Earl of Lonsdale, Master of the Quorn (1893-1898), Cottesmore (1907-1911)” Signed in pencil on the mount, also inscribed on an old label verso, with the title and the numbered "43", signed artist's proof, coloured reproduction, 42.5cm by 60cm (16 3/4in by 23 3/4in) See illustration

Whyte & MacKay-21 year-old Blended and bottled by Whyte & MacKay Distillers Ltd., Glasgow. 75 cl. Level: top shoulder. 43% volume Teacher's Highland Cream-18 year-old Limited Edition. Some cracking to plastic seal. 75 cl. 40% volume Teacher's Royal Highland-12 year-old 75 cl. 43% volume Blended and bottled by William Teacher & Sons Ltd., Glasgow J & B-15 year-old Blended and bottled by Justerini & Brooks Ltd., London. 75 cl. 43% volume Dunhill Old Master Blended and bottled by Alfred Dunhill Limited, London. 750 ml. 43% volume All with good levels 5 bottles

Port Ellen-13 year-old Distilled 9th March 1979, bottled February 1993. Cask number 1846 Bottled exclusively for The Master of Malt. Single malt, 43% volume 1 bottle

FIVE VOLUMES; A.J. SMITHS, SPORTING CLAYS MASTER CLASS, random Shots by James Robertson, I Walked by Night by Nickelson and Watson, The Glorious Grouse by Brian Martin and Tales of Old Game Keepers by Brian Martin.

CHARLES DICKENS Master Humphrey's Clock (The Old Curiosity Shop) by Charles Dickens, two volumes bound into one, and Barnaby Rudge, by Charles Dickens bound as companion, London 1840/1841 and The unpublished letters of Charles Dickens to Mark Lemon, edited by Walter Dexter, London 1927 (3)

A large parcel lot of 1990's Sotheby's and Christies art catalogues to include Old Master paintings and Contemporary Art etc, approximately 80 in total.

Follower of Moretto da Brescia 1498-1554- Five standing Saints with Angels above; pen and brown ink and wash on laid, 26x16cm: together with two other Old Master drawings by different hands, one arched depicting an elderly man with a boy and the other a sketch for a battle scene, one bearing inscription, (3), (unframed)

AN OLD MASTER FRAGMENT OF A BEARDED AND ROBED FIGURE, sepia inks, brown wash heightened in white, inscribed verso 'B B B', number 72 and 'Raphael' in pencil, laid down, 6" x 2 1/2" approximately. (see illustration)

Cescinsky Herbert - The Old English Master Clockmakers and Their Clocks (1670-1820), 1938 edition; also James John - Old English Clockmakers (1935-1938) and Lloyd H. Allen - The English Domestic Clock, Its Evolution & History (3)

17TH/18TH CENTURY OLD MASTER TYPE, OIL ON PANEL, Study of an Ottoman Ruler holding a sword, (numbered ‘3’ to top left hand corner), 16” x 11”

THOMAS BARRETT A.R.E. N.S.A. (1848-1924). Watercolour, "Old Theakers Yard, Staithes", see label verso, signed, 43cm x 29cm, framed. Thomas Barrett, a master at Nottingham School of Art became one of the first artists to paint in Staithes. He is known to have said ÔStaithes is the place to go, there is no-where like it on all the coast for painting.' He is credited with having suggested to Harold Knight and Laura Johnson (later Knight) to visit the town as it was "a splendid place to paint". Barrett is acknowledged as a founder member of the artists colony that would become known as the "Staithes School".

* South Eastern & Chatham Railway Enamel Platform Sign STATION MASTER. A wonderful little sign measuring 15" x 4". Cobalt blue lettering on white background with blue border. Very old and virtually mint.

DRAWINGS: THREE EXHIBITION CATALOGUES; From Mantegna to Picasso, Drawings from the Thaw Collection at The Pierpont Morgan Library, New York (Royal Academy of Arts); Old Master Drawings from the Collection of John and Alice Steiner (Santa Barbara Museum of Art); and Drawings from the Holy Roman Empire 1540-1680, a selection from North American Collections (The Art Museum, Princeton University). (3)

OLD MASTER, OIL (FRAGMENT), A monk holding a rosary, 17” x 14”, unframed (A/F)

An archive of documents and ephemera relating to the public life of Brigadier-General Sir Douglas Frederick Rawdon Dawson (1854-1933), including invitations and seating plans to state banquets; a letter from Earl Roberts, 1905; a ticket to the Trooping of the Colour, 1905; opera tickets for state and gala performances at Covent Garden; a ticket for his investiture into the Royal Victorian Order, 1907; notes regarding the Belfast Riots of 1907; a photograph of Florence Nightingale in old age, 1907 (to whom he presented the insignia of the Order of Merit on behalf of the King); an envelope hand-written by Edward VII, with applied black wax 'Sandringham' seals, 1909; a hand-written card from Queen Alexandra 'in remembrance of his kindness in saving the lives of the poor Thames swans', 1909; invitations, banquet guest lists and seating plans relating to the Coronation, 1911; two hand-written letters from Queen Mary relating to the Coronation, seeking advice on her attire with regard to precedent and etiquette, 1911 ('...the dressmaker you mention at Upper Clacton is certainly not my dressmaker!!!...I fear she is a lady journalist and just wanted to get the first and right description of the [Coronation] robe'...); a hand-writen letter from Edward, Prince of Wales (the future Edward VIII), 1911 ('...thank you so very much for all the help you have so kindly given me this summer...I hope that you will now have a very good rest...'); printed silk royal opera programmes; photographs of a royal garden party at Windsor Castle; a typed letter to Lady Dawson informing her that she is to receive the Honour of Dame Grand Cross of the Order of the British Empire, 1917, signed by Lloyd George; two hand-written letters from Queen Mary to Lady Dawson regarding the gift of an embroidery for Holyrood Palace, 1918; a hand-written note from Field-Marshal the Viscount French, 1916; and numerous other items, all laid down in two albums; together with four albums of press cuttings; and an unrelated album of ephemera. Note: Brigadier-General Sir Douglas Frederick Rawdon Dawson, G.C.V.O., K.C.B., C.B., C.M.G., was educated at Eton and joined the Coldstream Guards in 1874. Passed for the Staff College in 1881, he went to Egypt in 1882 on 'special service' with the Mounted Infantry where he was present at the battles of Mahuta, Kassassin (where his horse was shot from under him) and Tel-El-Kebir, and also at the capture of Cairo. Accompanied the Guards' Camel Corps on the expedition up the Nile in 1884-5, serving as Staff Officer to Colonel Boscawen, where he was present at the battles of Abu Klea and Gubat as well as the actions at Metammeh and Shebacat (M.I.D.). Military AttachÒ at Vienna, Bucharest and Belgrade, 1890-95, and then at Paris, Brussels and Berne, 1895-1901, he was afterwards appointed Master of Ceremonies to the King in 1903, a post he held until 1907 when he joined the Royal Household. Initially employed as Comptroller in the Lord Chamberlain's Department in 1907 (until 1920), he was also Registrar & Secretary to the Order of the Bath during which tenure he was responsible for the revival of the ancient installation ceremonies. From 1904 onwards, he was also Secretary to the Order of the Garter and, after a brief spell as an Extra Equerry to the King in 1919, he was made State Chamberlain in 1920, occupying this unique position until 1924 as the first and only individual to do so. Upon his retirement in 1924, he was appointed K.C.B. (Civil) and published his memoirs entitled 'A Soldier Diplomat' in 1927 which recounted his fascinating life and career in the highest echelons of British society.

BRITISH COMMEMORATIVE MEDALS, Great Britain, Charles II, Sir Samuel Morland, Silver Medal, 1681, by John Roettier, laureate bust of Charles II with flowing hair, rev legend IN ADVERSIS SVMMO VITAE PERICVLO IN PROPERIS FELICI INGENIO FREQVENS ADFVIT, lettered edge, SAMVEL MORLANDVS EQ QVR ET BAR, 33mm (MI I 582/257). Darkly toned, very fine with MI number 257 stuck to the reverse. Sir Samuel Morland (1625-1695), diplomatist, mathematician and inventor. The medals are said to have been struck by Morland after his appointment as ‘Master of Mechanics’, and were dedicated to the King. In old age he went blind and invented a machine for writing, and a mechanical calendar of sorts, as well as a pumping system to water his garden. bought Spink, April 1908, and believed ex Helen Farquhar Collection (whose habit it was to stick numbers on gummed paper onto her medals).

A Scottish Hanoverian pattern tablespoon, by Robert Low of Edinburgh 1743, Assay Master Edward Lothian; together with an Old English pattern table spoon, by Robert Gray of Glasgow, c1780 (2) 4oz

* Prints & engravings, various, 17th-19th century, including engravings after Old Master paintings, including Boydell, Tardieu, seven copper engravings by Frederick Bloemaert, pub. N. Visscher, a quantity of chromolithograph folio plates from Digby Wyatt's Industrial Arts of the Nineteenth Century, numerous 18th and early 19th century engravings of classical antiquities, sculptures, etc., part one only of John Laporte's Studies of Trees, 1813, stitched as issued, with orig. upper wrapper intact, all loosely contained in 19th c. half calf portfolio, with ties, soiled and some wear, large folio. (a folder)

* Old Master prints. A mixed collection, 17th & 18th century, after S.Bourbon, F.Cleyn, etc., various sizes, mostly trimmed. (approx. 14)

Sir James Drongole Linton (1840-1916) , 'The Old Master', watercolour signed verso in pencil, 56 x 43cm

J & B-20 year-old Blended and bottled by Justerini & Brooks Ltd. 75 cl. ceramic decanter. In presentation case. Blended, 43% volume Dunhill Old Master Crystal Decanter Blended and bottled for Alfred Dunhill Limited., London. 750 ml Crystal Decanter in original carton. 43% volume 1 ceramic and 1 crystal decanter

Dunhill Old Master Blended and bottled for Alfred Dunhill Limited. 750 ml. Labelled for the Japanese market. 43% volume Grand Old Parr-12 year-old De Luxe. Blended and bottled by MacDonald Greenlees Distillers, Edinburgh. 937.5 ml. 43% volume J & B Reserve-15 year-old 75 cl. 43% volume J & B Jet 75 cl. 43% volume Blended and bottled by Justerini & Brooks Ltd., London Logan De Luxe-12 year-old Litre. Blended and bottled by White Horse Distillers, Glasgow & London. 43% volume All in original cartons 5 bottles

Dunhill Old Master Blended and bottled by Alfred Dunhill Limited, London. 750 ml. In original carton. 43% volume McGibbons Premium Reserve Ceramic decanter formed as a golf bag. Blended and bottled by Douglas McGibbon & Co. Ltd., Glasgow. 700 ml. In original packaging and carton. 43% volume 1 bottle and decanter

Master of Malt Macallan-25 year-old Limited Edition. Bottled by The Master of Malt, Kent. 70 cl. In wooden presentation case. Single malt, 43% volume 1 bottle

CHARLES DICKENS, 2 ttls: OLIVER TWIST, 1839, 2nd edn, 3 vols, old hf cf worn, MASTER HUMPHREY’S CLOCK, 1840-41, 1st edn in book form, 3 vols in 1, old hf cf worn (4)

A George III figured mahogany eight-day longcase clock William Webster, London, circa 1760 The five-pillar rack and bell striking movement with anchor escapement and 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and silvered signature plaque W'm Webster, Exchange Alley, LONDON to the matted centre, within applied silvered Roman numeral chapter ring with Arabic five minutes and mask and scroll spandrel applied angles, the arch with strike/silent dial flanked by dolphin cast mounts, in a pagoda pedimented case with ball and spire top finial and brass stop-fluted pilasters to hood above break-arch trunk door and raised panel fronted plinth base with stepped skirt apron, 239cm high excluding top finial. William Webster is recorded in Britten, F.J. Old Clocks & Watches and their Makers as working in Change Alley from 1734 taking over the business from his father, who was journeyman to Thomas Tompion, in 1735. He was elected Master of the Clockmakers Company in 1755 and died in 1776.

A..... L..... (early 20th Century) Head study of an old man, after an Old Master subject, oil on canvas, signed with initials.

George Morland, 1763-1804 Portrait of John Graham signed and inscribed John Graham April 17th 1801. pencil with touches of red 27.3x19.7cm.; 10.75x8in. Provenance Mr and Mrs Lester Francis Avnet Exhibited The American Federation of Arts, New York, May 1969-December 1970, Old Master Drawings, , No. 71 The Swetzoff Gallery, Boston

*British & Continental Old Masters. A collection of approx. 150 mostly large-format prints and engravings, 18th & 19th c., including ten plates from Boydell's Shakespeare Gallery, a stipple engraving by J. Jones after Reynolds' Muscipula, pub. 1786, a mezzotint engraving by W. Baillie after Gerard Dou, pub. 1773, various engravings after Old Master paintings, published by Boydell, some restrike engravings after Landseer, Anstell, etc. (approx. 150)

After the Old Master A triple portrait, half length, said to be the Carracci brothers Oil on oak panel Red wax studio seal verso 25cm x 32cm Provenance: Previously from the Estate of Rudolph and Margot Wittkower Rudolf Wittkower was a German art historian who taught at the Warburg Institute, University of London from 1934-1956, and later at Columbia University 1956-1969. He was born in 1901 and died in 1971, posthumously being awarded the Alice Davis Hitchcock Award in 1975. He wrote Born under Saturn: The character and conduct of artists (1963), Sculpture: Processes and Principles (1977) jointly with his wife, Margot Wittkower, also an art historian. (see illustration on our website)

18thC, "An old master portrait of a beaded man", watercolour, gilt frame

UNSIGNED DUTCH SCHOOL, OIL, IN THE STYLE OF THE OLD MASTER, Still life study of fruit, wine glass and silver dish on a table, 6" diam, (within a painted shaped circular frame)

AFTER THE OLD MASTER, OIL, Madonna and Child, 29" x 24"

* Jackson (John Baptist, 1701-c. 1780). The Deposition, after Rembrandt, 1738, chiaroscuro woodcut, sheet size approx. 480 x 320mm (19 x 12.5ins), mounted on card, together with two other 18th c. chiaroscuro woodcuts, after Durer and Cigoli, plus Cesio (Carlo, 1626-1686), Cyclops, after Annibale Caracci, copper engraving, trimmed to margins, approx. 350 x 245mm (13.75 x 9.5ins), mounted on card, and other various Old Master prints and engravings, including Simon Lord Lovat, by William Hogarth, 1746 (trimmed), The Holy Family, after Dominichino, an etched landscape by Perelle, etc. (30)

Old Master prints & drawings. A collection of over 9,000 Old Master prints & engravings, including approx. 100 original drawings, all mounted as extra-illustrations to Thomas Macklins Bible, published 1800, originally published as six volumes bound in seven, here grangerized into sixty-three thick folio volumes, containing prints and engravings of the 16th and 19th centuries, some folding, and approx. 100 or more original drawings, sketches, etc., many in red chalk, mostly 17th/18th century, all bound in uniform mid-19th c. half morocco gilt, t.e.g., somewhat worn to joints and corners, with many spines partly det., thick folio (sheet size approx. 475 x 380mm (18.5 x 15ins) Provenance: This remarkable collection was bequeathed to the Bishoprick of Cornwall by the Rev. Franke Parker, Rector of Luffincott, Devon, in 1883 (bookplate to front pastedown of each volume). Further details available. (63)

A 19th Century album of photographs containing original albumen prints, cabinet size and larger, view in the Italian lakes, Italian archaeological sights, German towns and scenic features, together with reproduction of Old Master art works; in large quarter half-morocco bindings and bearing the bookplate of Nathaniel George Clayton.

AN OLD MASTER DRAWING - tritons and hippo camps, sepia, pen and wash drawing with collector's stamp ? E C, 5 1/2" x 15".