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Noel Neill signed 10x8 b/w photo. November 25, 1920 - July 3, 2016 was an American actress. She is known for playing Lois Lane in the film serials Superman 1948 and Atom Man vs. Superman 1950, as well as the 1950s television series Adventures of Superman. She appeared in 80 films and television series in her career spanning 66 years. Dedicated. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99. Please Note Overseas Shipping Of Framed Items Are At Cost

Film and TV Nancy Kovack 10x8 signed B/W photo. Nancy Kovack (born March 11, 1935) is a retired American film and television actress. She has appeared on a number of TV series including Star Trek, Bewitched (playing Darrin Stephens' ex-fiancée and Samantha's nemesis, Sheila Summers), Batman (episodes 5 and 6), I Dream of Jeannie, Get Smart, Perry Mason, 12 O'clock High, The Man from U. N. C. L. E., The Invaders (season 2 episode 16 Task Force), Burke's Law, Family Affair (1968 episode titled Family Plan) and Hawaii Five-O (the 1969 episode The Face of the Dragon). She appeared in a key role as a sexy, native witchdoctor and femme fatale in one of the most sobering of the original Star Trek episodes, A Private Little War. In 1969 she was nominated for an Emmy for Outstanding Single Performance by an Actress in a Supporting Role for an appearance on Mannix. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99. Please Note Overseas Shipping Of Framed Items Are At Cost

Football Lauren and Christian Ziege 12x8 signed colour renew north London rivalries playing for Cameroon and Germany. Christian Ziege born 1 February 1972) is a retired German footballer and football manager. He started his playing career at FC Bayern Munich, where he won two Bundesliga titles and a UEFA Cup before moving to A. C. Milan, winning an Italian Scudetto. In 1999, he joined Middlesbrough of the English Premier League, where he was voted the club's Player of the Year in his only season. A year later, he joined Liverpool and was part of the squad which won a treble of the Football League Cup, the FA Cup and the UEFA Cup in 2000-01. In 2001, he moved to Tottenham Hotspur, before ending his career back in Germany with Borussia Monchengladbach. Laureano Bisan Etamé-Mayer (born 19 January 1977 in Kribi), commonly known as Lauren, is a retired Cameroonian footballer of Equatoguinean origin, who formerly played as a right back for the Cameroonian national team. As an Arsenal player he won several trophies and is known as one of the Invincibles; a title given to the Arsenal squad in 2004 after they went undefeated in the (2003-04) season and won the Premier League title. He also won an Olympic Gold Medal at the 2000 Sydney Olympics with Cameroon. He also holds Spanish citizenship due to being raised in Spain. With the German national team, Ziege won UEFA Euro 1996 and finished runner-up at the 2002 FIFA World Cup. He also represented the country at UEFA Euro 2000, UEFA Euro 2004 and the 1998 FIFA World Cup. An attacking left wing-back, Ziege was considered a dead-ball specialist. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99. Please Note Overseas Shipping Of Framed Items Are At Cost

Etouffoirs en Acier, a Swiss musical box, circa 1880, playing ten named airs, 15" cylinder, striking on six graduated bells, the rosewood tulipwood crossbanded boxwood strung case, inlaid with flowers and leaf scrolls, having faux rosewood sides and ebonised, 64cm wide x 31cm deep x 26cm high. Illustrated

Two matching silver dishes, of shaped form, embossed a musician playing to a dog, London 1890, approx. 4.3 ozt, 15 cm wide (2)

James le Jeune, RHA[1910-1983] PLAYING POLO, THE PHOENIX PARK Oil on canvas board, 12" x 18" (30.5 x 46cm), signed.

Artist: Unknown ArtistAlso known as a Style-E poster, the US One-Sheet "Birthday" poster was issued in 1978 to American cinemas that were still playing "Star Wars" one year after the film's original release.27" x 41" (69 x 104 cm)Condition: ExcellentUnrestored and unfolded with a few light creases but overall in excellent condition.£2,000 - £2,500M

A carved wooden figure playing a flute, rustic dough trough and a printer's type drawer

A T Barton, Tunbridgeware, 'Bezique' playing cards box/score marker, with paper label, 12.5cm wide, 8.5cm deep, 5cm high.

A late-19th century Swiss cylinder music box with 16cm single cylinder and comb, (two teeth damaged), having three bells and with butterfly hammers, playing eight airs, in hardwood box with pictorial airs card, spring appears seized, 48cm overall.

A THAI OR BURMESE GILT-BRONZE FIGURE, seated with one knee raised and playing a stringed instrument, 20th century, 16.5cm high

A LARGE PAIR OF 19TH CENTURY CONTINENTAL FIGURES, a musician playing a guitar and a lady with a fan, both in 18th century costume, 100cm high

A pair of 19th Century coloured Bartolozzi oval Prints, of children playing with butterflies and skating, each in ornate gilt frame. (2)

A 19th Century Japanese heavy bronze tubular Vase, with figure of a sage playing a guitar, and various script on main body, the circular base with rectangular character mark, approx. 23cms (9"). (1)

Victorian silver inkstand of scrolling form, inset with two panels of a child playing with a lion and two other separate face masks, centrally mounted rectangular stamp / ink container, hinged cover with embossed classical decoration and separate glass with reservoir, on four leaf-mounted scroll feet (London 1880), Elkington & Co. All at approximately 29ozs, 27cm across

JOSEPH STANNARD (1797-1882) BritishShipping at the Mouth of the ScheldtOil on panel, framed. 82.5 x 60 cm. Note: The panel was damaged during the bombing of Rougham Hall in 1940 and broken in to three pieces.Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, old repairs to panel and associated over painting, old label to verso.

JAMES HOLLAND (1799-1870) BritishBartolomeo Colleoni MonumentOil on board, variously inscribed to verso and with remnants of old label, framed. 28 cm diameter. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, minor losses to frame.

SIR JOSHUA REYNOLDS (1723-1792) BritishPortrait of Francis, Marquess of Tavistock (1739-1767) BritishOil on canvas, various old labels to verso including 19th century Royal Academy Exhibition label inscribed with artist, sitter and lender's name of William Agnew Esq., a City of Manchester Art Gallery Old Masters Exhibition 1909 label inscribed with artist, title and name of lender Sir William Agnew Bart, and a Thomas Agnew & Sons London label, framed and with panel inscribed Francis Russell, Marquess of Tavistock B.1739 to D.1767, Reynolds 1766. 61.5 x 74 cm.Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Re-lined with some possible overpainting, some minor cracklure, some minor scuffs, minor losses to frame.

Circle of THOMAS GAINSBOROUGH (1727-1788) BritishPortrait of Squire RoweOil on canvas, various old labels and chalk inscriptions to verso, framed. 62 x 75 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, re-lined, some over painting, two previous cracklure, slight losses to frame.

EDWARD CHARLES WILLIAMS (1807-1881) BritishFigures in an Extensive Norfolk LandscapeOil on canvas, framed. 105 x 59.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Re-lined, old repairs and associated over painting, some surface crazing, some blooming to varnish, some paint loss to edges, some surface deposits, losses to frame.

PETER DE WINT (1784-1849) BritishHarvesters at LunchOil on canvas, old label to verso for Thomas Agnew & Sons Ltd, London and further label for H Holder & Sons, framed. 88.5 x 56 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, re-lined, cleaned at some stage, some possible over painting, minor losses to frame.

WILLIAM JAMES MULLER (1812-1845) BritishHorseman Riding in to a StormOil on board, signed and dated 1843, old label to verso for Thomas Agnew & Sons, London and various chalk inscriptions, inscribed with artist and dated 1843 to slip, framed. 43 x 21 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, losses to frame.

FREDERICK RICHARD LEE (1798-1879) British and THOMAS SIDNEY COOPER (1803-1902) BritishMoorland Scene with Resting Shepherd and His FlockOil on panel, signed, old label to verso for Thomas Agnew & Sons, London, framed. 60 x 44.5 cm.Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, cleaned at some stage, thin in parts, could do with another light clean, losses to frame, chalk inscriptions to verso.

WILLIAM JAMES MULLER (1812-1845) BritishTivoliOil on panel, signed, old label to verso for Thomas Agnew & Sons, London, old label to verso for W Boswell & Son, Norwich, and further old label inscribed with the title View in Italy by Muller, framed. 24 x 34 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, minor area of paint loss.

CARLO GRUBACS (1810 - circa 1870) ItalianFigures in Piazza San Marco Before the Bassilica and CampanileBodycolour, signed, old label to verso for Thomas Agnew & Sons, London, framed and glazed. 13.5 x 26 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear.

WILLIAM JAMES MULLER (1812-1845) BritishAt VersaillesOil on panel, old label to verso for W J Muller Exhibition 1896 inscribed with the title A Garden Scene and lender's name of Sir William Agnew, framed. 26.5 x 34 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, losses to frame.

An Austrian porcelain relief moulded plaque, based on the work Symphony of Spring by Nikolaos Gysis (1842-1901) GreekWorked with an angel in flight holding a lyre while putti frolic at her feet, playing musical instruments above a millpond, signed Gysis, framed. The plaque 18.5 x 31.5 cm. CONDITION REPORTS: Generally good condition, expected wear, minor firing faults, some slight rubbing.

JOHN LINNELL (1792-1882) BritishRiver Scene at DuskOil on panel, stamped R Davy, 83 Newman Street to verso, framed. 25.5 x 18.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, losses to frame.

DAVID FARQUHARSON (1840-1907) BritishMoorland Scene Near Loch Tummel, PerthshireOil on canvas, signed and dated 1904, old label to verso for Thomas Agnew & Sons, London, framed. 75 x 50 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, some surface deposits, losses to frame.

JOSEPH STANNARD (1797-1830) BritishThe Marl Staithe, Whitlingham, Near NorwichOil on canvas, old label to verso for Thomas Agnew & Sons, London, old label for Royal Academy Exhibition of Works by the Old Masters 1891 inscribed with artist, title and owner, further printed label for Burlington House Exhibition 1891, further inscribed labels, chalk and pencil inscriptions, and stencilled stock number, framed. 39 x 29 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, re-lined, could do with a light clean, some surface crazing, losses to frame.

Attributed to JOHN BERNEY CROME (1794-1842) BritishOn the YareOil on panel, framed. 37.5 x 45.5 cm. Provenance: THE SIR WILLIAM AGNEW PICTURES FROM ROUGHAM HALL (Lots 887-905 inclusive)Sir William Agnew, 1st Baronet (1825-1910) English, was one of the most successful art dealers of the 19th century, with Thomas Agnew & Sons, his London art business in Mayfair, flourishing as one of the leading art dealerships in London from 1860 until it closed in April 2013. Originally his early clients were the new hugely wealthy class of industrialists, merchants and bankers making it big in industrial Britain.Sir William knew many of the contemporary artists of his time personally. In 1870 Sir William invited Frederick Walker (1840-1875) British, John Evan Hodgson (1831-1895) British, Charles Leslie (1839-1886) British and Stacy Marks (1829-1898) British, to his Salford House, Summer Hill. When asked if they could play billiards in the newly added billiard room on Sunday morning, Sir William replied that they did not do that on Sundays at Summer Hill. Having left the room in slightly haughty manner, Sir William returned an hour later and found that Walker had just finished a large mermaid on the lining paper of the walls (the Paris wallpaper had yet to arrive), Charles Leslie had painted a landscape of the Thames, Stacy Marks had sketched Walker and Agnew playing billiards, and Hodgson had started a highland landscape. After working until midnight and all the next day, the Paris wallpaper was cancelled and the drawings varnished.Sir William was also a well known figure at auction. There is a description of Sir William at the Christie's Wells sale in 1890 which reads "Christie's was crammed full on Saturday afternoon, though the sale could have been conducted quite as well in a four wheel cab for Mr Agnew bought nearly everything. Roughly speaking he spent nearly £50,000 out of £77,000 which the sale produced.... You cannot see Mr Agnew's jovial countenance, you cannot hear Mr Agnew's formidable voice, but that hat of his holds you like the eye of the ancient mariner. Every bob of the hat means a thousand. It is splendid." In 1889 Sir William bought Edward Burne Jones's four major panels illustrating the Legend of the Briar Rose and exhibited them in his Bond Street Gallery from 1890, attracting over 1,000 visitors per day.Sir William's business was now becoming more and more international with clients including Junius Spencer Morgan (183-1890) American, Cornelius Vanderbilt (1794-1877) American, as well as several members of the Rothschild family. Sir William's last great achievement was probably the collection he assembled for Edward Cecil Guinness, 1st Earl of Iveagh from 1887 which included a Boucher, two Van Dycks, walls full of Gainsboroughs, Reynolds and Romneys, and a Vermeer and one of the greatest late Rembrandt self portraits ever painted. Few people knew of the Iveagh collection as business was conducted in great secrecy and all communications were in code. In total Lord Iveagh bought 240 pictures and drawings from Agnew's and when he left Kenwood to the nation in 1927 sixty-two of the sixty-three pictures included were purchased from Agnew's. The collection was described by the Guardian as the most valuable gift of paintings to the nation of the 20th century. Sir William retired from the Agnew's firm in 1895 when Lord Rosebery had him made a baronet for his services to art. When he died Sir William was described in newspaper obituaries as a Prince of Art Dealers. CONDITION REPORTS: Generally good condition with expected wear, could do with a light clean, some slight lifting and very minor paint loss.

A Chinese Snuff Bottle of Rectangular Form with Rounded Shoulders Tapering to Base decorated with Hand Painted Enamels Depicting Maiden in Garden Playing Flute. The Flattened Sides decorated with Leaf, Bat and Flower Designs, Complete with Stopper (Spoon Incomplete) Four Character Mark to Base. 7cms

Victorian ebonised and brass inlaid card table breakfront fold-over top centred by inlaid urn and foliate reserve with baize lined playing surface to underside and well below raised on turned fluted legs and spool feet, 88cm wide

A Willenbacher & Rzebitschek cylinder music box playing two airs, single comb with all teeth present, signed WILLENBACHER & RZEBITSCHEK IN PRAG NO. 957 11633, key winding, in a grey metal casing embossed with knights on horseback, hinged lid, overall height 12.5cm, length 28cm, width 13cm, with key

Stephen Brown (British, born 1947)/Seascape/with children playing on the sand/initialled SB lower left/oil on canvas, 24.5cm x 24.5cm/Provenance: purchased from Blake Gallery, Crewkerne 1988 Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk

A pale celadon jade figure of three kittens playing, 18th/19th Century, 4.5cm wide/see illustration

A reconstituted stone putto playing the cymbals on a socle base and square plinth, 100cm high

A Chinese export lacquer gaming token box, damages, the cover decorated boys playing by a pagoda, fitted with lidded boxes and rectangular trays, 30cm wide/Provenance: from the attic of a Welsh country house

A George II style mahogany gaming table, with alterations and later inlays, the triple-fold top enclosing a baize playing surface, an inlaid chequerboard and a writing surface, 69cm wide/see illustration

A musical box, playing twenty airs (two-per-turn), the tune-sheet headed 'Trille, Zither, Indicateur', in grained case with inlaid lid -- 23 in wide, the cylinder ¼ x ? in diam. In working order, some bass tips replaced

A key-wind musical box, by Nicole Freres, No 33184, playing four airs including 'A Life on the Ocean Wave', in plain case with stringing -- 14¾ in wide, the cylinder 8? in Plays well, one or two dampers squeaking

A musical box, playing eight airs including Iolanthe, listed on 'Isle Rousseau' tune-sheet, in grained case with inlaid lid -- 19½ in wide, the cylinder 9¼ in. Plays well, one bass tooth possibly replaced

Four musical photograph albums, one of Carte-de-visite size with movement playing two airs, the others larger, with later movements (4)

Edward Mooney, oil on paper, clown playing a trumpet, signed and dated '59, 67 x 55cm

Two albums of cigarette cards together with a set of two Masonic playing cards.

A framed Chinese picture children playing at night 60 by 50 cm

A Victorian musical box playing eight airs in working order with no damage to the comb. Size approx 63.5x26x18cm.

A cased games set including chess pieces, playing cards and cribbage.

Very rare shirt worn by Maradona during 1994, this was his last year playing for Argentina. Shirt is signed and comes with a COA from vendor

An unframed Oil on board depicting a young boy sat playing with a guitar, signed lower right K.M. Queen.

GALLIARD - NEW DAWN (ORIGINAL UK PRESSING LP - DERAM SML 1075). The scarce original UK Deram pressing 1970 LP (SML 1075). The record is in superb Ex+ or archive quality condition with few discernible markings to the playing surfaces. Clean and sharp labels with some minor spindle markings. The sleeve is in Ex condition with some light ringwear that is perhaps more noted on the front (the black colour of the sleeve makes it look more than it actually is!)

JACKSON C FRANK - S/T LP (COLUMBIA SX 1788). A wonderful copy of the phenomenal eponymous (and sadly only) LP from the troubled but completely unique Jackson C. Frank. This is the original UK issue on Columbia (33SX 1788 sleeve, SX 1788 LP). Side 1 is in outstanding Ex+ condition with a supremely clean playing surface, side 2 is in Ex condition with 3 very minor and faint surface markings. There are some light spindle markings. The sleeve is in fine Ex condition with just a couple of light creases to the laminate on the front and a little discolouration on the reverse. Unlikely to find a better copy of this iconic LP.

RHYTHM & BLUES WITH HOWLIN' WOLF (UK LONDON EP RE-U 1072). Simply must have original UK London EP feautring the unmistakable Mr Wolf (RE-U 1072 purple/gold label tri-centre). The record is in VG+ condition with some light surface/scuff markings. At no point are these scratches with the record playing very cleanly throughout. The sleeve is in exceptional Ex+ condition. Unlikely to come across better (especially when you consider this was released in 1956), there is very little wear throughout - there is perhaps some very slight wrinkling to the laminate on the reverse. Unmissable.

NIRVANA - SONGS OF LOVE AND PRAISE (PHILIPS LP 6308 089). The exceptional 1972 LP from the original Nirvana, this is a very clean original UK pressing on Philips that sold in few numbers (6308 089). The record is in outlandish Ex+ condition with few markings to note on the playing surfaces. Superb, glossy and showing very little signs of having been played, this is shown by perhaps one or two very faint spindle markings. The sleeve is also in very impressive Ex+ condition - the fully laminated design showing very little signs of wear. A wodnerful example.

SOMEONES BAND - S/T (ORIGINAL UK PRESSING LP - DERAM SML 1068). The mesmirising self titled 1970 LP from Someones Band (SML 1068). The record is in stunning Ex+ condition with few discernible markings to the playing surface; there is the faintest of 'residue' from the original poly lined inner sleeve (this is only witnessed when viewed in to an extreme light source). The sleeve is in neatly presented Ex condition with some ringwear on the reverse and a couple of small creases to the laminate.

DUFFY - SCRUFFY DUFFY (ORIGINAL UK PRESSING LP - CHAPTER 1 CHS-R 814). The orginal UK pressing copy of the 1973 LP (CHS-R 814). The record is in superlative Ex+ or archive quality condition with few, if any discernible markings to the playing surfaces. Sharp, crisp and unblemished labels. The sleeve is in VG+ condition with a small 3cm seam split on the top edge and 2 creases noted on the front right hand side.

19th century 'Amber Pure' cheroot holder in case, another pipe holder, pair Danish stainless steel candle holders, knife rests, pair Stratton cufflinks, leather playing card case, Victorian advertising lacquer polish box & Berry's Diamond brush, vesta case, Popinjay's Jig-Puz etc in a carved oak box Condition Report Click here for further images, condition, auction times & delivery costs

A 19th century simulated rosewood and walnut cased cylinder music box, playing eight airs. Condition Report: Music box in working order. Potentially missing tone tip to the left side (see images), all others are present.

Two Royal Copenhagen Cats, one sitting and one on her back playing, 1025/727.

A Brownie camera, two airfix army trucks, two packs of playing cards and the game and board Wembley and a Coronation book and two Airforce badges.