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Lot 679
A 4" SCALE FOWLER A9 SINGLE CYLINDER AGRICULTURAL TRACTION ENGINE, single cylinder with Stephensons link valve gear, driving two speed gear set to single drive rear axle, fly wheel driven regulator for valve chest, cylinder has displacement and ratchet lubrications, which feed to all bearings and cross head slide bars, foot plate controls include cylinder drain cocks, crank shaft driven water feed pump, Worthington-Simpson duplex pump and water heater, steam injector water feed, steam lance, pump by-pass regulator, gear box control, reversing cut-off lever, water tank supply valves, steering and brake, ashpan damper, water level float, indicator gauge on main tank, boiler fitted with water gauge, steam pressure gauge, Ross safety valves, blower from cylinder block and inspection cover. There is an axle driven cable drum and drive shaft locking pins, chain link steering to front with leaf springs to axle, finished in dark blue with cream/red lining, polished brass fittings, boiler bands and two working brass head lamps. This model has been built to the very highest standards in engineering and presentation complete with tools, driver`s seat, engineering drawings, pressure test certificate from July 1997, general dimensions overall, length 71", height 45 1/4", approx weight 11cwt. (empty), working pressure 100lbs/square inch, 4" stroke
Lot 216
CAOL ILA CASK STRENGTH Distilled adn bottled by Caol ila Distillery. Single malt, 70cl, 55% volume. BOWMORE-1984 Distilled 1984, bottled 2000. Bottled by James MacArthur & Co. ltd. Level: Top of Shoulder. LAPHROAIG-10 YEAR-OLD Distilled and bottled by D. Johnston & Co. Ltd. Label is stained. In original tube. Single malt, 70cl, 40% volume. ARDNAVE-12 YEAR-OLD Single Islay malt. Bottled by Grey Rodgers & Company Ltd. Single malt, 70cl, 41.2% volume LOCHINDAAL-10 YEAR-OLD From bruichladdich Distillery. bottled by Associated Distillers Limited. Single malt, 70cl, 43% volume. ISLAY HALLMARK-8 YEAR-OLD Distilled and bottled by Morrison`s Bowmore Distillery Ltd. Vatted malt, 70cl, 43 volume. 6 Bottles
Lot 281
BLADNOCH-8 YEAR-OLD Distilled and bottled by Arthur Bell & Sons plc. In original box. Single malt, 75cl, 40% volume. LONGMORN-GLENLIVET-12 YEAR-OLD Matured and bottled by Gordon & macPhail, Elgin. Level: Top of the Shoulder. In original box. Single malt, 75cl, 40% volume. GLEN GARIOCH-21 YEAR-OLD Distilled and bottled by Morrison`s Glen Garioch Distillery. in original box. Single malt, 75cl, 43% volume. GLENDULLAN-12 YEAR-OLD Distilled and bottled by Macdonald Greenlees Ltd. Single malt, 75cl, 43% volume. 4 Bottles.
Lot 402
ALFRED LAMB`S SPECIAL CONSIGNMENT-1939 Distilled 22nd June 1939. United Rum Merchants, Special Consignment. Alfred Lamb`s Special Reserve Rum. Bottled at Dumbarton. Country of Origin: Jamaica. Limited Edition, bottle 142 of 918. Aged for over 50 years. In original wooden presentation box. Level: Upper Middle of Shoulder. Rum, 75cl, 40% volume.
Lot 415
BOWMORE-1964 Distilled 1964, aged 35 years. Distilled and bottled by Morrison`s Bowmore Distillery. Limited edition, bottle no. 37 of 99 from Cask no. 3709. Signed by Distillery manager Islay Campbell. In presentation wooden case, with keys. Level: Top of Shoulder. Single malt, 70cl, 42.1% volume.
Lot 1300
A mid-19th Century Mahogany and Boxwood line inlaid Wheel Barometer, S Fitt of Cromer, the swan neck pediment to a baluster neck, topped with a removable hygrometer over a further removable single scale silvered alcohol thermometer, over a spun brass bezel enclosing a convex glass, to a 7 ½” silvered dial with scale of 28-31, and signed level to the base, height 37”
Lot 370
Wardie Master Models: 21 two Platform Gardens, 53 two 4-aspect Searchlight Junction Signals, 72 Gentlemen`s Toilet, 59 two Tarpaulin Covers, two 61 two A.A. boxes, two 55 two 3-aspect Colour Lights, red-oxide 68 Girder Bridge, 39 Station Nameboard with Seat (lacks label), 40 Permanent Way Cabin with figures, 63 two Oval Pillar Boxes, 9 pair of Level Crossing Gates 18 Two Cabel Drums, 56 pair of Aspect Searchlight Signals, brown 48 Water Crane, 57 Crew Unloading (five correct figures and pole, incorrect man from Cable Party, lacks Foreman), 57 Crew Unloading (six correct figures and pole) and 86 B.R. Employees comprising dark blue Driver with Lamp, brown Fireman, grey Coach Cleaner with green Ladder, Pullman Car Steward and green Porter with green brush in original boxes, empty No. 8 box, blue advertisement leaflet for Catalogue price 9d, G-E, boxes P-G, some incomplete * Reference: Gamages 1956 Catalogue pages 49, 50 and 51 * Literature: P. and J. Brookes, Master Models Listing For Collectors, Nottingham University Printers 1998
Lot 545
Hornby Series: clockwork black LMS 0-4-0 Tank Locomotive in Service Department box with Meccano Ltd repair invoice to Mrs. Williams of Vastin Road Reading 17th December 1936, clockwork M Series 0-4-0 Locomotive in Service Department box, LMS bogie Van, LNER Guards Van in original boxes, M0 Locomotive and tender in blue boxes, No. 1 Turntable, No. 1 Level Crossing, Modelled Miniatures No. 13 Hall`s Distemper Advertisement (lacks board) in original box, loose items including Dinky SR Mechanical Horse (fractured), P-F, boxes P-F
Lot 282
HORNBY DULBO TPO mail van set (damage to catch wall otherwise good plus with bags and switch in excellent box) D1 signal box and level crossing (both excellent boxed). D1 footbridge, a water crane and D2 junction signals (good boxed). A Platelayer`s hut, loading gauge and 2 x 3R buffers - all excellent.
Lot 11
* ST JOHN THE WARRIOR AND ANNA KASHINSKAYA WITH THE CONCEPTION OF JOHN THE BAPTIST IN THE CARTOUCHE ST PETERSBURG, CIRCA 1750s 39 by 31.5 cm. Related literature: For similar works see Religious Petersburg, St Petersburg, 2004, pp. 477, 500. This icon is unique due to its rare state of preservation, its subject, and its high artistic level, and is therefore of museum importance. It was painted by metropolitan masters for a church in St Petersburg. Judging by the specific pairing of St John the Warrior and the Venerable Anna of Kashin, depicted praying in front of the rarely found image of the Conception of John the Baptist within a baroque cartouche, this icon was a commissioned for a church or a side-chapel dedicated to this feast. It is interesting that at the time the icon was painted, Anna of Kashin had already been de-canonised (in 1677) and no official veneration of her existed; hence the patron of this icon must have had important personal reasons to include her. It is possible that the female commissioner’s choice was due to the fact that Anna of Kashin was of noble birth and that both saints were linked with the name of the Empress Anna Ioannovna, during whose reign the icon was painted. It is notable that during these years an outburst of miracles were recorded in connection with the relics of Anna of Kashin. The icon of the Conception of St Anna (in the collection of the State Russian Museum), similar to the present item in the choice of the subject and in the artistic technique, previously belonged to Countess Anna Matyushina and was kept in her private chapel. The artistic style of the icon is characteristic of many works used to decorate the churches of St Petersburg. It combined the traditions of late Armoury icon-painting as well as oil-painting, as indicated in the style of the faces and the landscaped background, influenced by Western European masters.
Lot 15
* THE MOTHER OF GOD OF VLADIMIR IN A PRECIOUS ENAMELLED OKLAD MAKER`S MARK OF THE FIRST MOSCOW ARTEL IN CYRILLIC, 1909 32 by 26.5 cm. "This icon, depicting the most famous and venerated holy relics of Moscow, the Mother of God of Vladimir, the reliable protector and patroness of the Russian State from all enemy attacks, and the leader in the battle, was presented to a certain Petr Astakhov, sub-ensign of the artillery division, by his comrades-in-arms to commemorate their service together. The presentation inscription is engraved on a metal plate, attached to the reverse of the icon: “To Petr Astakhov, Sub-Ensign of the 2nd squadron, the 4th gun of the Artillery Division, from the commander, the officers, and the privates to commemorate their military service together between 1901 and 1909”. The hallmarks on the oklad and the inscription on the reverse allow us to date the icon to 1909, as both the icon and the oklad were created at the same time. The style of the painting, commissioned by one of the leading Moscow studios, is characteristic of the period, as demonstrated by the naturalistic rendering of the faces, the rich gold shading of the robes, the decoration of the precious oklad, covering only the icon’s background and the margins. The golden assists of the robes are harmoniously echoed by the gilding of the gadrooned background, imitating the ancient patterns of thin basma. The main artistic effect of the oklad lies in its decoration with multicoloured enamels over filigree, varying the tender colours of blue, pink, and green over the white background of the haloes and the borders. The richness and the high professional level of the precious oklad are seen in the masterly use of almost all known enamelling techniques: over the filigree work, champlevé, cloisonné and over convex surfaces – which was particularly complicated. The fine skill of the enameller is also seen in the clear luminosity of the ruby colours, which required inlays of golden foil pieces."
Lot 97
* A PAIR OF ICONS DEPICTING THE ENTRY INTO JERUSALEM AND THE DESCENT INTO HELL YAROSLAVL, LAST QUARTER OF THE 18TH CENTURY Each 71.1 by 43.2 cm. "This pair of icons are rare and particularly fine examples of the art from the late 18th century. Judging by the shape of the panels, they originated from the Church Feasts Tier of a very large iconostasis. The vaulted shape of the Feast Tier icons became popular in the late 18th century, when the primitive groove-and-slot structure of iconostases was superseded by a more complicated system allowing the use of baroque woodcarving. The iconography of both icons is based on the works of the late 17th-century Armoury masters, who borrowed many details (such as the palm trees and some architectural details) from Western European woodcarvings. The Descent into Hell is particularly interesting, because it takes place deep down in the very Mouth of Hell, and the throng of the Righteous, awaiting the coming of the Saviour, are already shown with haloes, which is very unusual. Christ is depicted inside the mandorla’s eight-pointed star, which is reminiscent of the iconography of Christ in Majesty and is connected with the symbolism of Sophia the Divine Wisdom; on either side of Him there are the Forefathers craving salvation, placed behind Adam, and the Foremothers, following Eve. The Gates of Hell, lying broken under the Saviour’s feet, are given realistic form and design; the curving text-bearing scrolls are also rendered with the same realism. Although the two icons closely resemble each other, they were apparently painted by two different masters, both of whom demonstrated exceptionally high professional and artistic level. The Entry into Jerusalem appears more figurative; the faces, heavy fabrics, and chiaroscuro effects are rendered with greater softness and volume. At the same time, the icon-painter who created the Descent into Hell proves himself as an outstanding draftsman: his calligraphically precise lines are shown in the faces and the folds of the robes, connecting the traditional icon-painting technique with the principles of academic oil painting. Bright primary colours, typical for classical art, are reminiscent of the best examples of secular Russian paintings of that period. The graphic distinctiveness in the depiction of the robes and the special manner of rendering of the mountains and faces connect these two panels with a number of icons made in Yaroslavl in the last quarter of the 18th century. This confirms the origin of these two icons and makes them of extremely high artistic importance."
Lot 216
SEREBRIAKOVA, ZINAIDA 1884-1967 Nude signed and dated 1932 Oil on canvas, 73 by 50 cm. Provenance: Acquired directly from the artist’s family. Private collection, France. Authenticity has been confirmed by Vladimir Kruglov. Exhibited: Zinaida Serebriakova, The Embassy of the Russian Federation, Paris, 1995. Literature: Exhibition catalogue, Zinaida Serebriakova, Syseca, France, 1995, p. 13, illustrated. Related literature: For similar works, see V. Kruglov, Zinaida Serebriakova, Zolotoi Vek, St Petersburg, 2004, pp. 155, 167, 168. Nude is a typical example of Zinaida Serebriakova’s work in the 1920s to 1930s – full of harmony, purity and poetry. She had by this time developed her recognisable, special painting style, which was distinguished by its free, flowing brushstrokes and its precise, clear form. The interpretation of the life model motif in this work conveys the poetics of the naked human body that the artist devoted herself to in the second decade of the 20th century. This period saw the appearance of Serebriakova’s first two versions of The Bathhouse (1912 and 1913), in addition to her sketches and studies for Bathing (1917). As was always the case with Serebriakova, the artistic image she created in Nude was distinguished by the harmony of its spiritual and physical principles and by its delicacy and lively grace. The portrayal of the naked body occupied a central role in Serebriakova’s painting during the 1920s and 1930s. From her memoirs we know that her models were Russian girls, a number of whom married around 1934 and ceased to model, thereby forcing the artist to “close” the subject. She could not afford to pay professional life models. 1926 saw the appearance of two compositions bearing the title The Bathhouse. They effectively convey, particularly in the horizontal composition, the beauty and suppleness of young women’s bodies. The vertical canvas appears more “contrived” in comparison. The artist evidently felt that girls from Russian intelligentsia families in Paris did not fit well with the image of rural Russian bathhouses, and abandoned her plan to continue The Bathhouse series. She did not wish to follow in the footsteps of Konstantin Korovin, who would on demand produce nostalgic, cheap popular print-type paintings depicting winter scenes and troikas next to inns. From then on she only worked on studies, without attempting, like Kabanel, to transform her life models into “bathers” or into heroines of ancient mythology. The principles of E. Degas and A. Renoir were closer to her heart. Her young women and girls pose serenely, lying on sheets or sleeping, coming out of the bath, towel drying themselves or relaxing in the fresh air. Constantine Somov rated these works very highly, and in his diary and letters he always remarked upon her taste and mastery of painting. Alexander Benois described them as “incomparable”. In 1927 Serebriakova created one of the most poetic nudes, featuring a sleeping adolescent girl. The girl’s pose and the angle – a view from above – bear some resemblance to Modigliani. In this canvas the artist has achieved a sense of harmony between the physical form and the space. The light colours deployed here are extraordinarily well-suited to the nature of the image. Serebriakova painted high quality nudes using both pastels and oils. Pastels were well-suited to conveying the fine nuances of light and delicate colours, and poeticised the femininity of amateur models (Nude (1929) and Nude (1932)). Her oils were more austere and more direct in their interpretation of the physical form and state of the models (Nude Braiding her Hair (1930) and Nude (1932)). Specifics of the imagery and the level of completion were also determined by the tasks that the artist had set herself – whether she was working on a light and lively study in which even an apparently misplaced stroke of pastel seemed to convey the thrill of life (Standing Nude, 1932), or studying the formal rules of form as she was painting in oil (Nude, 1932). In the early 1930s Serebriakova began to exhibit a proclivity for tackling the issues of dimension and volume, and created a lot of studies featuring standing models. This tendency cannot be linked to her personal artistic development only: around this time, Serebriakova gradually began to practice for a new commission of monumental works from Baron J.-A. de Brouwer of Belgium. After 1934, Serebriakova would from time to time return to her favourite topic, delighting art connoisseurs with such indisputable masterpieces as Nude with a Book (1940) and Nude Leaning on Her Elbow (1940). Nude Plaiting her Hair (1930) and Nude with a Book (1940), full of internal movement and featuring dreamy models, seem to be particularly potent in eliciting the quintessential “Russianness” of these girls – a feature so poeticised by the artist. Alexander Benois wrote enthusiastically of such works: “In these studies of the nude female body there lives not sensuality in general, but something more specific, something familiar to us from our very own literature, our very own music, as well as from our personal experiences. This truly is flesh of our flesh; here we see the grace, the sensuality and a certain intimacy and domesticity of Eros which is more alluring, more delicate and at the same time also more cunning and dangerous than what Gauguin had found in Tahiti.” Vladimir Kruglov, author and compiler of the monograph on Zinaida Serebriakova Dmitry Sarabyanov once shrewdly noted that the critics wishing to compliment Serebriakova would invariably muse about her “male hand”. Even Alexander Benois once referred to the artist’s works as “masculine”. Sarabyanov, however, believes that it is Serebriakova’s femininity that is the most appealing aspect of her art. It is hard to argue with him, inasmuch as this femininity “is expressed in equal measure in her art, her life, as well as in her appearance. Her whole appearance is marked by the purity of her soul, the shining of her eyes; her feelings are all so natural, whilst her motives, embodied in the paintings, reflect her clear understanding of human purpose. There is simple beauty in all of this. The artist herself seems to be translating these qualities onto the world around her. The natural beauty of life – assumed [by Serebriakova] to have an independent existence – becomes the aesthetic criterion that defines her artistic position, her opinion about herself and her surroundings.” Nude presented for the auction is one of the best, most expressive manifestations of this femininity in Serebriakova’s oeuvre. It is as if Serebriakova imbues her young model with the poetry and cordiality typical of the artist herself. In fact, Serebriakova had long before been noted for the practice of “personalising” every image, or instilling her models with a vague self-resemblance. It is true that Serebriakova’s sister modelled for her famous Bathers of 1911; however, it sometimes appears as if all the nudes of her multiple Bathhouses were painted after her sisters or perhaps the artist herself. Anna Ostroumova-Lebedeva, writing about this feature of Serebriakova’s works, noted that even in the artist’s portraits “there is a lot of grace and artistic revelation but… no resemblance [of the model]. In general, her por
Lot 228
* LEVITAN, ISAAK 1860-1900 Castle, Version of Castle. Twilight. 1898 signed Oil on card, 17.5 by 22 cm. Provenance: Important private collection, USA. Authenticity has been confirmed by Vladimir Petrov. The unique easel painting Castle is a study for one of the artist’s last major works, The Castle. Twilight, which is currently to be found in the collection of the Lvov State Picture Gallery. Its small “intimate” format has been dictated by the creative credo of the artist, who had a fundamental lack of patience for large scale studies: “…never chase after size when it comes to studies”, he wrote. “In a large study there are more lies, whereas in a small one there are very few indeed, and if you genuinely, seriously feel what you have seen when you were working on the study, the painting itself will also convey a true and complete impression of what has been seen.” In all probability, Levitan, who set high standards for himself, was perfectly content with the composition and colour of Castle. In any case, the artist not only transferred it to a larger canvas without any changes, but also, shortly after the work had been completed, presented Castle. Twilight at the First International Exhibition of the journal Mir iskusstva (The World of Art) for which only the best, “agreed-upon” canvases were carefully selected. This work, which was shown to the public for the first time in 1899, immediately attracted attention and won such plaudits that two years later the organisers of posthumous Levitan exhibition in Moscow decided to include The Castle. Twilight once again. Twilight as a topic suggestive of the end of life purturbed Levitan greatly at the turn of the century. Reflections on the dwindling of life, the implacability of fate and yearning for the beauty of the world which he was about to leave for good – all this was embodied in his works The Last Rays of the Sun (1899, the State Tretyakov Gallery), A Moonlit Night in the Country (1897, the State Russian Museum), Twilight. The Haystacks (1899, the State Tretyakov Gallery), Twilight. The Moon (1899, the State Russian Museum) and Twilight (1900, the State Tretyakov Gallery), many of which have been recognised as genuine masterpieces of Russian painting. They are joined by The Castle. Twilight, which was painted in the summer of 1898 on the estate of Sergei Timofeevich Morozov, which was known as Uspenskoye. The brother of the renowned patron Savva Morozov, Sergei Timofeevich was, according to the recollections of those who knew him, not as expansive as his brother, more refined in his perception, reserved, and loved nature and art. Throughout his life he was a devoted admirer of Levitan, from whom he had taken painting lessons and whom he would from time to time accompany when he was making studies. Sergei Timofeevich created a magnificent art studio in a wing of his Moscow home on Trekhsvyatitelskiy Lane, which became Levitan’s constant refuge during the last eight years of his life. Levitan also made frequent and extended visits to Uspenskoye, where the local scenery inspired him. In the summer of 1897 he painted On the River Moskva there, and, later, most likely in the following year, he created a series of studies which were similar to the present work in terms of their colours, composition, and mood. At Levitan’s invitation, Anton Pavlovich Chekhov made a visit to Uspenskoye on 16 June, 1897. However, Morozov’s castle and the host himself made an unfavourable impression upon the writer, which Chekhov described in characteristically acerbic style: “The other day I was on the estate of the millionaire Morozov. His house is like the Vatican, with lackeys in piqué waistcoats with gold embroidery on the stomach, tasteless furniture, disgusting wine, and a host with a completely expressionless face. I fled”. When Morozov bought the Uspenskoye estate, which was situated along what is now known as the Rublevo-Uspenskoye Highway, it was already in its final form. During the time of P.M. Apraksin, the baroque church of Uspeniye Bogoroditsy had already been erected, giving its name to the entire village. Between 1881 and 1884, the architect Pyotr Boitsov built a two-storey brick house for the former owner, Prince B.V. Svyatopolk-Chetvertinskiy, in the “English style” in the form of a “gothic castle” with corresponding internal decoration. In the intentionally heavy and almost coarse decorative elements characteristic of the Victorian neo-gothic style – flanking towers, crucifixes, pointed arches, and other gothic features – it is already possible to discern the elusive asymmetrical compositional harmony that would subsequently evolve into dazzling modernism. It takes one a moment or two to make out the vertiginous roof of the “castle” behind the ancient trees and the path depicted by Levitan that has also grown over. However, on the whole, the appearance of the country estate has not greatly changed. The landscaped park has also been preserved, consisting of a mixture of species of tree that descend towards the Moskva river from the main house situated on the high bank. For Levitan, the last years of his life were a period of intense artistic search. At the turn of the 19th and 20th centuries, impressionism and modernism made an appearance in Russian art. In these years the master’s style becomes more delicate and refined. In a sense, it heralded the work of the Symbolists and the Blue Rose movement. A Moonlit Night. The High Road, Twilight. The Moon, Twilight. The Moon and Twilight. The Haystacks were executed in this style. “No one has achieved the astonishing simplicity and clarity of motifs that Levitan has achieved in recent times, and I do not know whether anyone will achieve it after him”, Chekhov wrote about these works. It is quite obvious that Castle also belongs to these works of the turn of the century. It contains features of both impressionism and modernism (in the style of painting, primarily in the presentation of the foreground, and in the decorative nature of the colours employed). Cold dark green and greyish-blue shades which dominate the palette have been mixed by the artist into a multitude of different hues. The sky and clouds in the background have been executed with delicate, sweeping strokes, and small pinkish red touches have also been introduced. Random application of brush strokes creates the impression of movement, of clouds sailing with the wind. In portraying the house with its outlines melting into the violet gloom, fading away like a ghost in the blue grey night-time mist, which produces the impression of radiating a quiet light, the artist, using apparently simple motifs, has saturated the principal colour planes with a multitude of vibrant, living and breathing hues and achieved an unprecedented level of expression of meditative oneness with “something divine with which everything is filled”, approaching the limits of the possibilities of transference of universal poetic experiences onto canvas in a realistic landscape.
Lot 971
A good set of late 19th century match rifle sights, by Alex. Martin, 20 Exchange Sq, Glasgow, number 1707, comprising 5¼" folding ladder rearsight with GS vernier adjustment to 400 in increases of 10, and with 2 interchangeable apertures, and quick release fore sight with vernier windage adjustment and built in spirit level and with 5 interchangeable bead and ring elements, in their fitted blue velvet lined leather covered case with maker`s name in gilt on the lid. The contents VGC (the case externally worn)
Lot 329
A mahogany mercury wheel barometer, S. Soloman, Devizes, early 19th century, with eight inch circular silvered register engraved with terrestrial globe to centre beneath convex mirror, arched mercury Fahrenheit scale thermometer and hygrometer to the swan neck pediment, the rounded base with spirit level signed S. SOLOMAN DEVIZES, the case with ebony and box strung edges to front, 96cm high. Visit www.dnfa.com for condition reports.
Lot 19
A BLACK ENAMELLED BRASS SURVEYING LEVEL, by E.R. Watts & Son, London, No 6245, the telescope with rack and pinion focusing adjustable spider`s-web cross wires, graduated bubble level, on four screw tripod attachment in the original mahogany case, 17 1/4" wide; together with tripod and measuring staff.
Lot 34
GLENLIVET-21 YEAR-OLD CHAIRMAN`S RESERVE Distilled 1968, bottled 1984. Distilled and bottled by George & J. G. Smith The Glenlivet Distillery. Limited edition, bottle no. 1041. Level: Upper Middle of Shoulder. In original box, rope that is holding the pin has been broken. Single malt, 75cl, 43% volume.
Lot 246
GLENLIVET-12 YEAR-OLD Distilled and bottled by J. G. Smith Limited. Level: Upper Middle of Shoulder. Single amlt, 26 2/3 fl. ozs.70 degree proof. LANKESTOR`S VERY OLD HIGHLAND SCOTCH WHISKY Blended and bottled by Lankater and Wells Northampton. Level: Middle of Shoulder. Top of the cork has been knocked off. Blended, 70 degree proof. SAM DOW`S PIGEON BLEND Blended and bottled by Samuel Dow Limited Glasgow. Level: Upper Middle of Shoulder. Blended. 3 bottles.
Lot 266
GRANT`S-21 YEAR-OLD Decanter shaped bottle. Blended and bottled by William Grant & Sons Ltd. Level: Middle of Shoulder. Blended, 70cl, 43% volume. GRANT`S OLD GOLD-18 YEAR-OLD As above. Level: Middle of Shoulder. In original box. Blended, 70cl, 43% volume. WILLIAM GRANT`S CHARITY GROUP QUEENS GOLDEN JUBILEE-12 YEAR-OLD As above. Bottle to commemorate the Golden jubilee. In original tube. Blended, 70cl, 40% volume. 3 Bottles.
Lot 286
BOWMORE-1972 Distilled 1972, aged 27 years. Distilled and bottled by Morrison`s Bowmore Distillery. Limited edition, bottle no. 24 of 466 from a vatting of casks 4864, 4805, 4866. Signed by Distillery Manager-Islay Campbell. Level: Top of Shoulder. In original presentation box. Single malt, 70cl, 53.3% volume
Lot 394
BOWMORE-21 YEAR-OLD 1973 Distilled 1973. Distilled and bottled by Morrison`s Bowmore Distillery. Level: Middle of Shoulder. In original box. Single malt, 70cl, 43% volume. BOWMORE-17 YEAR-OLD As above. Clear bottle with gold stencil. In original tube. Single malt, 70cl, 43% volume BOWMORE CASK STRENGTH As above. Clear bottle with gold stencil. In original tube. Single malt, 70cl, 56% volume. BOWMORE DARKEST As above. In original tube. Single malt, 70cl, 43% volume 4 Bottles.
Lot 433
GLENLEVEN-12 YEAR-OLD Distilled and bottled by John Haig & Co. In original tube. Single malt, 75cl, 43% volume. GLEN ROGER`S-8 YEAR-OLD Imported from Scotland by William Peel Family Blenders. In original tube. Blended, 70cl, 40% volume. CLAYMORE Blended and bottled by A. Ferguson & Company Limited. Label is comming off from left side. Blended, 36 2/3 fl. ozs. 70 degree proof. HUDSON`S BAT 1970 SCOTCH WHISKY Distilled and bottled by Hudson`s Bay Company. Level: Middle of Shoulder. Vatted malt, 75cl, 40% volume. SAINSBURY`S MALT WHISKY Distilled and bottled for J. Sainsbury plc. Level: Middle of Shoulder. Vatted malt, 70cl, 40% volume. WINDSOR HOUSE SINGLE MALT Distilled and bottled by Eadie Cairns, Glasgow. Level: Upper Middle of Shoulder. Single malt, 26 2/3 fl. ozs, 70 degree proof. 6 Bottles.
Lot 588
GLENFIIDDICH OVER 8 YEAR-OLD Distilled and bottled by William Grant`s & Sons Ltd. Level: Lower Middle of Shoulder. Label is marked. In original tube, badly damaged. Single malt, 26 2/3 fl. ozs., 70 degree proof. GRANT`S STAND FAST Blended and bottled as above. With miniature. Blended, 13 1/3 fl. ozs., 70 degree proof. 1 Bottle, 1 half Bottle and 1 Miniature.
Lot 704
Juan Peregrin Anselmo football boots circa 1930, Provenance: These boots were sold at Bonham`s Auctioneers 9th April 2003 as lot 239 and came from the same source as the 1930 World Cup final football. Although dating from circa 1930, the Bonham`s vendor was unable to confirm if Anselmo wore then whilst playing for Uruguay in the first World Cup in 1930. Anselmo was part of the gold medal winning Uruguay team at the Amsterdam Olympic Games of 1928, and played in all Uruguay`s matches in the 1930 World Cup up to the semi-final, but missed the final due to an injury. At club level for Penarol, Anselmo won five League Championships
Lot 184
A 19th Century Carpenter`s Pine Tool Chest, the hinged cover enclosing two sliding trays with mahogany hinged covers lifting out to reveal six further sliding lift-out trays and three deep compartments containing a large quantity of woodworking tools including a tenon saw, band saw, jack planes, two beech plough planes, two Stanley plough planes, smoothing and moulding planes, shaves, chisels, augers, boxwood rules, a Rabone spirit level etc.
Lot 247
A RARE 19TH-CENTURY ERGONOMICALLY-DESIGNED ASTRONOMER`S CHAIR BY W. CALLAGHAN, LONDON comprising two steam-pressed pieces of mahogany mounted at an angle of 45¡ on low level `x` struts, terminating in a kidney-shaped spline head rest, maker`s plaque on left strut reading W. Callaghan 23a New Bond St. Registered London, Jan 15th, 1873 - 31 x 36in. (79 x 92cm.)
Lot 252
A MID 19TH-CENTURY SURVEYING LEVEL BY ROCHETTE OF PARIS folding telescopic sight, signed on the end of base Rochette, Quai de l`horloge, PARIS, contained within original fitted box - 22I (57cm.) diameter; together with a lacquered brass surveyor`s cross, unsigned; and a 360¡ brass protractor signed Negretti & Zambra 1895 in wooden case with War Department government mark (3)
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