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SWORD IN THE STONE, THE (1963) - Merlin Original Production Pencil Drawing Signed by Ollie Johnston - An original production drawing of Merlin signed by Ollie Johnston from Walt Disney's 1963 animated film The Sword in the Stone.Original production drawings signed by Johnston are scarce, and this piece offers a rare opportunity to own a drawing from the very character he helped define, enriched further by his signature and its direct provenance from The Sword in the Stone production.An expressive rough animation drawing of Merlin, the eccentric wizard, mid-gesture with a teapot in hand. It is rendered in graphite with coloured pencil on 12-field animation paper. Red and purple pencil lines are visible on the robe and arm, providing colour references for the ink and paint department, which was typical of studio workflow at the time. The sheet features three-peg registration holes, a standard for Disney's production during this era, and is marked "89" in the lower right corner. The upper left includes frame range notations "83-89", suggesting this drawing was created for a short burst of character animation.This drawing is signed by legendary Disney animator Ollie Johnston, one of Walt Disney's revered "Nine Old Men" and also the supervising animator for Merlin throughout the film. Johnston was a master of emotional expression and subtle character acting, and his work on Merlin gave the character warmth and unpredictability. His artistic approach and supervision shaped every moment of Merlin's performance on screen. While this drawing cannot be definitively attributed to Johnston's own hand, its construction and style are consistent with rough animation completed under his direction. The left side of the paper displays creasing and there are some small tears along the bottom edge. Dimensions: 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

AFTER SIR JOSHUA REYNOLDS PORTRAIT OF GEORGE COLMAN (1732 - 1794) Oil on canvas 77 x 64cm (30¼ x 25 in.) UnframedProvenance: The Gow Collection Sale, Bonhams, Old Master and British Paintings, 7 December 1989, lot 12 (as Sir Joshua Reynolds, for £9,694)George Colman the Elder (1732 - 1794) was an English dramatist and essayist. Amongst his plays were Polly Honeycomb (1760), and The Jealous Wife (1761). In 1766 he produced The Clandestine Marriage jointly with David Garrick. Colman was acting manager of Covent Garden for seven years. In 1774, he sold his share in the playhouse to James Leake, and used the proceeds to buy a small theatre in the Haymarket. The original portrait of Colman painted by Reynolds, was painted for the 1st Baron Mulgrave, and was exhibited at the Royal Academy in 1770. It was last sold at Sotheby's on 8 April 1998, lot 101. Other known copies are in the Garrick Club, London, at Buscot Park, Oxfordshire, and in the National Portrait Gallery, London.  

CIRCLE OF SIR WILLIAM BEECHEY (BRITISH 1753-1839) A PORTRAIT OF A YOUNG GIRL, SAID TO BE MISS ANNE CAMPEN OF BRISTOL HOLDING A RABBIT Oil on canvas 90 x 70cm (35¼ x 27½ in.) Painted circa 1810. Provenance: Sale, Bonhams, British and Continental Pictures and Old Master Drawings, 5 July 2005, lot 214 (as Attributed to Sir William Beechey) Condition Report: The canvas has been lined. There is fine surface cracking but the paint layer appears to be stable. There is a small small scratch in the paint layer, to the right of the sitters head approx 1 x 3mm, there are also some minor abrasions to the edges. Under UV light there are minor spots of retouching to the upper right corner. It has been cleaned and revarnished. There are minor abrasions to the edges of the frame. Condition Report Disclaimer

‡ TOMMASO MANZUOLI, CALLED MASO DA SAN FRIANO (ITALIAN 1531-1571) THE RESURRECTION OF CHRIST Tempera on panel, with an arched top 31 x 16cm (12 x 6¼ in.) (mounted) UnframedProvenance: Possibly Prince George, Duke of Cambridge (1819-1904) (according to an inscription on verso) Private collection, England Sale, London, Phillips, 7 July 1992, lot 47 (as Attributed to Marcello Venusti) There acquired by Richard L. FeigenLiterature: A. Wied, in S. Ferino-Pagden, Vittoria Colonna: Dichterin und Muse Michelangelos, exhibition catalogue, Vienna 1997, p. 477 P. Costamagna, "Continuity and Innovation: The Art of Maso da San Friano," in Continuity, Innovation and Connoisseurship: Old Master Paintings at the Palmer Museum of Art, University Park, Pennsylvania 2003, p. 41 L. Kanter and J. Marciari, Italian Paintings from the Richard L. Feigen Collection, New Haven 2010, pp. 118-121, cat. no. 36, reproducedExhibited: New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May - 12 September 2010, no. 36 This finely executed Resurrection of Christ stands as a compelling example of mid-16th century Florentine painting, embodying the stylistic hallmarks of the late Mannerist period. According to Giorgio Vasari, Maso da San Friano (born Tommaso Manzuoli) began his artistic training in the studio of Pier Francesco Foschi and later worked under Carlo Portelli. While his early training was shaped by these artists, Maso's style also reflects the enduring influence of key Florentine painters such as Pontormo and Andrea del Sarto. His figures are distinguished by their refined elegance and bold, expressive use of colour-hallmarks of the Florentine Mannerist tradition-which lend striking monumentality even to works of relatively small scale.Highly esteemed in his own time, Maso secured prestigious commissions, including two celebrated paintings for the Studiolo of Francesco I de' Medici in the Palazzo Vecchio: The Diamond Mine and The Fall of Icarus, both completed in 1570-71.

‡ BARON ANTOINE- JEAN GROS (FRENCH 1771-1835) ULYSSES KILLING THE SUITORS OF PENELOPE Pen and brown ink, black chalk, brown and grey wash, heightened with white 15.5 x 22cm (6 x 8½ in.) Drawn circa 1798.Provenance: Sale, Christie's, London, Old Master Drawings, 6th July 1999, lot 203 Related to the oil sketch datable to around 1798 formerly in the Germain Seligman collection, J. Richardson, The Collection of Germain Seligman, New York, 1979, no. 29. A comparable drawing is held in Besancon, Museé des Beaux-Arts, A. Sérullaz, Le néo-classicisme francais, exhib. cat., 1975, no. 75.

WORKSHOP OF FRANCESCO DI SIMONE FERRUCCI (1437-1493), A POLYCHROME STUCCO RELIEF OF THE VIRGIN AND CHILD ITALIAN, LATE 15TH OR EARLY 16TH CENTURY Three-quarter length portrait of The Virgin, holding the Child in her arms, in walnut frame decorated with gilt-polychrome and inscribed to lower frieze 'Ave Maria Gratia Plena Do', below the escutcheon of the Franzesi Rinaldeschi family approximately 135 x 77cm Literature: E.Benezit, Le dictionnaire des peintres, sculpteurs, dessinateurs et graveurs. Maestro e Botteghe, pittura a Firenze, alle fine del Quattrocento p.149, 150. As with the example held in the Victoria and Albert Museum (Accession number 7622-1861) this is a stucco squeeze (or cast) probably cast from a terracotta or marble. The V&A example retains the architectural setting (and later 16th century base design)of Ferrucci's marble relief in the Palazzo Communale at Solarolo (near Ravenna), which was originally housed in the Rocca of Solarolo. This example is slightly pared back focusing on the primary image but shares the same composition, scrolling chair arm, fingers placement of her right hand over the standing child's right leg, and broad brushstrokes of clothing design. It lacks the oval medallion or brooch and her head is tilted fractionally less open- closer to an example in terracotta sold Sotheby's London, Old Master Sculpture and Works of Art, 10th July 2014 lot 174. Condition Report: The whole with characteristic wear, losses and retouching as is typical for an object of this period and size. Under natural light diagonal crack running from middle of lower margin of plaque up through her right hand and across mid body of child. Old inset damage and losses to wooden frame and signs of later strengthening to painted details. Under UV light the majority of the painted surface showing signs of later remedial retouching. All three carved elements reattached. Please see additional images. Condition Report Disclaimer

A CHINESE EXPORT BLACK AND GILT LACQUER BUREAU CABINET PROBABLY CANTON (GUANGZHOU), MID 18TH CENTURY The architectural pediment top with doors enclosing an arrangement of recesses, divisions, drawers and slides, some with pierced fretwork, the serpentine bureau with a fall enclosing stepped and shaped drawers flanking a European inspired shepherd with sheep, reverse painted on mirror in Chinese hand 227.5cm high, 114cm wide, 62cm deepFor a related bureau cabinet see Victoria & Albert Museum, London, Accession number W.28:1 to 6-1935, about which is written 'This bureau cabinet was made in Canton (Guangzhou) in southern China, which in the 18th century became the principal - and later the only - trading port at which Europeans were permitted to buy Chinese goods. A formalised commercial system developed there, and Chinese merchants and artisans became increasingly familiar with western tastes and demands. The elaborate design of this cabinet shows how Chinese craftsmen were able to master the complex forms of western furniture, although in its arrangement of compartments and drawers the upper section of the cabinet is more Asian in style. The palette of black and gold is not typically Chinese but imitates Japanese lacquer, which was expensive and difficult to procure in the 18th century. The cabinet features typical lacquer decoration of natural themes such as flowers, animals and landscape scenes, which would have had exotic appeal in the West.'For other related bureau cabinets see Christie's, Le Gout Steinitz, New York, 19th October 2017, lot 30, USD301,000 (incl. premium); Christie's, Important Furniture, New York, 19th October 2000, lot 131, USD127,000 (incl. premium).The reverse painted mirror door to the interior of the bureau appears to be a rare feature. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The finish has overall craquelure and aging with some rubbing to the painted detail and some later painting; the cornice is probably missing a central finial as there is a vacant slot; there are some construction joint cracks and indentations; some warping to the fall and doors so that they do not quite sit flush with the carcass; a later piece of wood to the base; some repairs and later ebonising; there is some evidence of old worm; there is a key but it does not operate any of the later locks; the feet possibly later.A striking and unusual decorative bureau cabinet, with a reverse painted panel to the interior.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

Royal Doulton figures 'Wayfarer' HN2362, 'The Old Balloon Seller' HN1315, 'The Boatman' HN2417, 'The Lobster Man' HN2317, 'The Master' HN2325, 'The Professor' HN2281, figure of lady 'Top O'The Hill' HN1834, 'Make Believe' HN2225, a small Rip Van Winkle character jug, a Royal Worcester figure 'Polly Put the Kettle On', shape no.3303 and a Royal Doulton 'The Old Balloon Seller' relief moulded plate Condition ReportAll appear in good condition. No obvious signs of damage or restoration. General wear and tear.

Attributed Giovanni Francesco Barbieri, (Guercino) (Italian, 1591 - 1666)Madonna and ChildPen and ink with brown washDrawing on laid paperProvenance:- Collection of Giuseppe Vallardi (Italian 1784-1863)Collector's stamp, lower left: Lugt 1223NOTE: Sotheby's recently sold a very similar drawing in their Old master and British works on paper Jan. 26, 2022; lot 129They had it listed as by Abraham Bloemaert (Dutch 1566-1651) and had the notation below.(Although the subject of the Madonna and Child with Two Angels is found in a number of drawings and prints by and after Bloemaert, no other known work corresponds in composition to this drawing, which was unknown to the late Dr. Jaap Bolten when he was compiling his 2007 catalogue of the artist's drawings.)Sheet Size: 11 x 8.25 in.Matting Size: 13 x 10 in.Unframed.

118 EUROPEAN FURNITURE, OLD MASTERS & TRAVEL AUCTION CATALOGUES Reference libraryA substantial archive of approximately 118 auction catalogues from major houses including Sotheby’s, Christie’s, Bonhams, and others, with focus areas ranging from European furniture and decorative arts, Old Master paintings and drawings, to Travel and Natural History, including maps and exploration materials. The group includes landmark sales, single-owner collections, and regular seasonal catalogues, making it a rich reference collection for dealers, collectors, interior designers, and scholars of historical art and material culture. Qty: 118

* Tolkien (John Ronald Reuel, 1893-1973). English Writer, Poet, Philologist, and Academic. Autograph Letter Signed twice, ‘J.R.R. Tolkien’ and ‘JRRT.’, 76 Sandfield Road, Headington, Oxford, 12 September 1957, to Miss [Joan] Light, in reply to her letter of gratitude to Tolkien and saying how his book [Lord of the Rings] has been such a help to her, in full: ‘Thank you very much in return. Most encouraging. I do get a good many letters, but not many in such terms. And I am tired of being labelled an "escapist". A recent reviewer (not of my books) offered the gratuitous opinion that "Tolkienery” is bad as it “withdraws from life". But it appeared that what he called "life" was limited to observation of the contemporary “orquerie”: to coin a word in rejoinder. It was very kind of you to cheer me up, and on!’, written in dark blue ink in a very neat hand on embossed letterhead stationery and signed ‘J.R.R. Tolkien’ at the foot of the page, with a ‘PTO’ in his holograph to lower right corner, the second page continuing with an even longer note, signed with initials ‘JRRT.’ at foot, ‘There was one other useful feature of Hobbit-life (besides the unchanging calendar): there was, in fact, only one title of courtesy for all grown-ups, male or female. I am afraid in the "modernization" this is misrepresented on p. 38 (Vol I). Actually Master Everard and Miss Melilot would have been more accurately rendered G. Childe Everard etc. If I have chosen the wrong rendering in your case, forgive a poor old Shire-man. You might be amused to learn that there is actually a Sam Gamgee living in London. I had a rather puzzled letter from him. But I think he is happy now. So far no S. Gollum has turned up. That might be more awkward’, some light creasing near upper and lower margins and to left-hand corners, 2 pages, 8vo, with the original postmarked envelope (Oxford, 12 September 1957), addressed in Tolkien’s hand to Miss J. Light in Hampstead, together with:A draft signed copy of Joan Light’s letter to Professor Tolkien, 8 September 1957, neatly written in pencil, in full: ‘Since the publication of "The Lord of the Rings" I have often wanted very much indeed to write and tell you how much I have enjoyed it, but I have never been able to bring myself to do so because I know how many such letters you must get of this kind, and I did not wish to trouble you. But as time passes I feel I must write to express, however inadequately, my real sense of gratitude to you for a work which has done so much to help me personally by proving in times of fear and great spiritual darkness, an inspiration by its theme of courage and loyalty. I hope you will not mind my writing to you in this way, but your book has been such a help to me that I felt I must say thank you’, 2 pages, 8voQTY: (2)NOTE:An exceptional, previously unpublished, and double-signed letter, full of interest, kindness, warmth and humour.The direct reference to The Fellowship of the Ring, page 38, is to the names and courtesy titles that appear in line 3: ‘Master Everard Took and Miss Melilot Brandybuck got on a table and with bells in their hands began to dance the Springle-ring: a pretty dance, but rather vigorous.’The coincidence of the real-life Sam Gamgee and Tolkien’s fear of a real-life S. Gollum is a topic that is recorded in previously known letters. J.R.R. Tolkien had taken the name of the character Gamgee from Gamgee Tissue, a surgical dressing invented by the Birmingham surgeon Joseph Sampson Gamgee (1828-1886).Tolkien Gateway online:‘Letter 184 is a letter written by J.R.R. Tolkien and published in The Letters of J.R.R. Tolkien. Following the 1955 radio series of The Lord of the Rings, a Tooting resident named "Sam Gamgee" wrote to Tolkien on 13 March 1956. On 18 March, Tolkien replied. He explained his own origin of the name Gamgee, and mentioned the Gamgee family of Birmingham. In his letter, Gamgee had already shown awareness of his family's name fame in the medical profession. Tolkien then asked for more information about the name, and offered a signed copy of The Lord of the Rings.In an editorial note, further correspondence is mentioned. Gamgee wrote back with family information, and accepted the gift kindly. In J.R.R. Tolkien: A Biography, pages 224-225, this episode was also mentioned. It was followed by: "[l]ater he said: 'For some time I lived in fear of receiving a letter signed S. Gollum. That would have been more difficult to deal with.'" It is unclear where this specific passage is from, but a very similar one appears in an unpublished letter to Rayner Unwin from 21 March 1956: "I hope I shan’t now get letters from S. Gollum, or Shagrat."’Gamgee's first letter from 13 March 1956 is reproduced in Tolkien: Maker of Middle-earth.’

FRANZ VON LENBACH (GERMAN 1836 - 1904), PORTRAIT OF THE ACTRESS MAXINE ELLIOT oil on canvasframedtogether with a preparatory charcoal sketch, also framed and under glass measuring 112cm x 85cm overallimage size 196cm x 75cm, overall size 128cm x 98cmQty: u2Note: Franz von Lenbach was born on December 13, 1836, in Schrobenhausen, Bavaria. The son of a mason, he trained at Landshut Technical College with the intention of pursuing his father's trade. In 1851 he began working in Munich in Anselm Sickinger’s sculpture studio. Through his older brother, Karl August Lenbach, he met Johann Baptist Hofner, an artist who had trained at the Munich Academy of Fine Arts, who formally introduced him to drawing and painting. Having attended the Augsburg Polytechnic for two semesters, between 1852 and 1853, and working for a few months in Albert Gräfle’s studio, Lenbach enrolled in the Munich Akademie in 1854. In 1857 he became a pupil of Karl Theodor von Piloty, an artist famed for his history paintings. The following year, with the help of a scholarship, he accompanied Piloty on a trip to Rome, along with Carl Ebert, Ferdinand von Piloty, and Theodor Schüz. In Italy he made several oil and pencil sketches that would inspire such famous paintings as L’arco di Tito (1860), finished upon his return to Munich. From 1860 onward, he started teaching at the Weimar Art School and devoted himself to reproducing Old Master works on commission for Count Adolf Friedrich Graf von Schack. His work as a copyist took him back to Italy as well as Spain, Vienna, and Berlin. At the end of the 1860s, he settled in Munich and became internationally successful thanks to the many portraits he painted of society personalities of the time, including Otto von Bismarck, Peggy Guggenheim, Franz Liszt, and Richard Wagner. At the beginning of the 1870s, he substituted his previous bright palette with darker tones and started using light more effectively, especially in his portraits. His style went on to have a remarkable influence on the art of the time. In 1882 Lenbach was granted nobility, and in 1900 he won the Grand Prix for painting in Paris. He died in Munich on May 6, 1904.Note 2: Maxine Elliott was born Jessie Dermott, in 1868 to a Rockland, Maine, sea captain. She went to New York as a young woman and married comedian Nat Goodwin. Maxine’s beauty and acting abilities led to a 30-year career as a stage actress, and she skyrocketed to fame. For a time, she also operated a New York theater branded with her name, “Maxine Elliot’s Theatre.” Maxine’s life was a wild one. Her intimates included J.P. Morgan, British King Edward VII and Charlie Chaplin, among many others. In 1913 she began dating New Zealand tennis star Anthony Wilding. During World War I she donated her money and her time to Belgian war relief. But Wilding was killed in the war. By 1920, Maxine’s talent, and some help from her wealthy friends, had left her with no need for more money. She retired to a Mediterranean estate in Cannes, France. She wished to age gracefully at her home, Château de l’Horizon. A white art deco villa, it featured a large terrace and a long slide to drop her and her guests from the swimming pool into the sea. Large parties of libertines assembled at Maxine Elliott’s French estate, and it became notorious. Winston Churchill visited from 1933 to 1939. Winston’s wife Clementine had little use for Château de l’Horizon or Maxine and her friends. Clementine viewed them as gossipy and frivolous. Maxine Elliot/Jessie Dermott died at her French estate in 1940 at age 72, far from her Rockland, Maine, beginnings. Her estate now belongs to the Saudi royal family.

JAMES WATTERSON HERALD (SCOTTISH 1859 - 1914), RESTING TIME pastel on paper, titled labels versomounted, framed and under glassimage size 40cm x 47cm, overall size 65cm x 71cm Label verso: The George Street Gallery, Perth.Note: Born in Forfar in 1859, the son of a shoemaker, James Watterston Herald went on to become a recognised figure in twentieth-century Scottish art. His emphasis on decorative colour, subtle tone and harmony of composition created delicate figurative and luminous landscapes which are delightful to view. Herald was educated at West Burgh School, Forfar and later at Forfar Academy. At the age of 14 Herald attended the art class at the High School of Dundee, under the direction of the art master, Mr Kennedy, who regarded Herald as a most promising talent and awarded him the prize for excellence in drawing. By the time he had completed High School, Herald had acquired a reputation for having quite a skill for drawing, especially capturing caricatures of local celebrities and customers who frequented his father's shop. These sketches formed the basis of his early experiments in watercolour and oil paintings that he completed from memory due to a shyness of drawing in company. Moving to Edinburgh in 1884, he frequented the exhibitions that were now readily available to him and produced an impressive body of work mainly inspired by the streets and closes of Edinburgh's Old Town. It was during this time that Herald's work began to meet with critical acclaim. Several of his works were exhibited by the Royal Scottish Academy. Returning to Angus around 1890 Herald developed techniques and perfected the themes that would become his trademark such as the crowd scenes, public groups and circuses, as well as the many harbour motifs. Today the popularity of James Watterston Herald continues to grow and his works can be found hanging on the walls of many homes and galleries throughout his native Scotland and beyond. One hundred and thirty-one of his paintings are held in UK public collections.

JAMES WATTERSON HERALD (SCOTTISH 1859 - 1914), STREET SCENE WITH CHURCH watercolour on paper, signed and dated '08mounted, framed and under glassimage size 24cm x 19cm, overall size 42cm x 34cm Note: Born in Forfar in 1859, the son of a shoemaker, James Watterston Herald went on to become a recognised figure in twentieth-century Scottish art. His emphasis on decorative colour, subtle tone and harmony of composition created delicate figurative and luminous landscapes which are delightful to view. Herald was educated at West Burgh School, Forfar and later at Forfar Academy. At the age of 14 Herald attended the art class at the High School of Dundee, under the direction of the art master, Mr Kennedy, who regarded Herald as a most promising talent and awarded him the prize for excellence in drawing. By the time he had completed High School, Herald had acquired a reputation for having quite a skill for drawing, especially capturing caricatures of local celebrities and customers who frequented his father's shop. These sketches formed the basis of his early experiments in watercolour and oil paintings that he completed from memory due to a shyness of drawing in company. Moving to Edinburgh in 1884, he frequented the exhibitions that were now readily available to him and produced an impressive body of work mainly inspired by the streets and closes of Edinburgh's Old Town. It was during this time that Herald's work began to meet with critical acclaim. Several of his works were exhibited by the Royal Scottish Academy. Returning to Angus around 1890 Herald developed techniques and perfected the themes that would become his trademark such as the crowd scenes, public groups and circuses, as well as the many harbour motifs. Today the popularity of James Watterston Herald continues to grow and his works can be found hanging on the walls of many homes and galleries throughout his native Scotland and beyond. One hundred and thirty-one of his paintings are held in UK public collections.

Tolkien, J. R. R. [The Lord of the Rings:] The Fellowship of the Ring; The Two Towers; The Return of the King. London: George Allen & Unwin Ltd, 1954-5. 3 volumes, 8vo, 423, 352, 416 pp., original red cloth, top edges dyed red, folding map to rear of each volume, Fellowship of the Ring with map' ‘A Part of the Shire’ to p. 25 (slightly marked), with the ownership inscriptions ‘G C Darlaston, October 1954’, ‘GCD 1954’ and ‘G.C.D. 1955' to front free endpaper of each respective volume, profuse annotations in the same hand to the final page, rear free endpaper, rear pastedown, and verso of the folding map in each volume, and to the front free endpaper and initial blank of Return of the King, comprising indexes of characters and places of Middle-earth and notes on the chronology of The Lord of the Rings. Spines rolled and faded, tips bumped and worn, various markings to cloth, tips bumped and worn, a few scattered spots and marks to contents, Fellowship with cloth split along rear joint, Fellowship pp. 417/18 loose, old tape-repair along gutter between final leaf and rear free endpaper, Fellowship and Two Towers with a few marginal markings in pen or pencil, Two Towers additionally with gift inscription to front free endpaper [Hammond & Anderson A5 a.i-iii] (3) First editions, first impressions, each volume respectively one of 3,000, 3,250 and 7,000 copies only, this set containing striking evidence of a contemporary reader's absorption in the people and places of Middle-earth in the form of detailed annotations by one G. C. (George Child) Darlaston (1907-1972), a master at Bromsgrove School in Tolkien's home county of Worcestershire, who in the 1930s published a two-part history textbook titled Men and Movements in European History.

Sotheby & Co, London. The Celebrated Library of Major J. R. Abbey, 6 volumes, 21 June 1965-19 October 1970, monochrome plates, first three volumes bound in original printed green boards, final three volumes in original printed green wrappers, 4to, together with Christies London. Old Master Drawings from Chatsworth, 3 July 1984, colour plates, original dark blue cloth gilt in dustwrapper, 4to, plus other various auction catalogues relating to British and European fine art, books, antiques, etc., incluidng Sothebys & Co, The Celebrated Library of Boies Penrose, 2 volumes, 1971, The Sassoon Collection of Highly Important Hebrew Printed Books, 2 volumes, 1970-71, and others by Sotheby's, Christies, Bonhams, Woolley & Wallis, Sworders, Dominic Winter, etc.QTY: (5 boxes)

Kingston (Richard). A True History of the Several Designs and Conspiracies, Against His Majesties Sacred Person and Government; as They Were Continually Carry'd on From 1688 till 1697. Containing Matters Extracted From Original Papers, Depositions of the Witnesses, and Authentick Records..., By R. K., 1st edition, London: Printed for the Author, and sold by Abel Roper at the Black Boy against St. Dunstan's Church in Fleet-Street, 1698, contemporary mottled calf, rebacked by Alan Winstanley, Salisbury, 8vo, together with: [Osborn (Francis)]. Historical Memoires on the Reigns of Queen Elizabeth and King James, London: Printed by J. Grismond, and are to be sold by T. Robinson, Bookseller in Oxon, 1658, portrait frontispiece, early ownership signature at head to title of James Master(?), modern half calf, 12moFenwick (John). The Proceedings against Sir John Fenwick, Bar. Upon A Bill of Attainer for High Treason..., 1st edition, [London], 1698, contemporary ownership inscription to head of title, some damp staining, near contemporary panelled calf, rubbed and worn, 8voFelltham (Owen). Resolves, A Duple Century..., London: Printed for Henry Seile, 1647, engraved title (trimmed to printed area), near contemporary calf, later title label to spine, rubbed and worn, 8vo, plusBurnet (Gilbert). Some passages of the Life and Death of the Right Honourable John Earl of Rochester..., London: Printed for Richard Chiswell, at the Rose and Crown in St. Paul's-Churchyard, 1692, portrait frontispiece (trimmed with slight loss to left edge), remanence of old bookplate to verso of title, final leaf with closed tear, later half calf with areas of repair to spine, corners bumped, old lot number sticker pasted to upper cover, 8vo, and 6 other leather-bound volumes, 8vo or smaller QTY: (11)

FREDERICK II: (1712-1786) King of Prussia 1740-86, known as Frederick The Great. A very rare autograph letter with extremely interesting content by the King of Prussia to Voltaire, A.L.S., `Frederic´, as King, one page, 4to, Postdam, 12th December 1770, to François-Marie Arouet, Voltaire, in French. At the time of this letter, the long and troubled relationship between Voltaire and Frederick II was already long-standing, dating back to 1736. After a period of great enthusiasm and mutual admiration, Voltaire returned from his two-year stay in Berlin disenchanted. Once the philosopher had settled in Switzerland, their correspondence resumed, with Voltaire even serving as an intermediary in the restoration of peace between France and Prussia during the Seven Years' War. The King starts his letter, referring to himself as "The Damned Philosopher", and in an amusing way and in the third person states in part `Le Damné de Philosophe contre lequel vous êtes en colère ne se contente pas de raisonner à perte de vue ; il se met à rêver, et il veut que je vous envoie ses rêveries. Pour me débarrasser de ses importunités, j’ai été obligé de me conformer à ses volontés. Voici ses fariboles, que je joins à ma lettre. Ne m’accusez pas d’indiscrétion. Si ce fatras vous ennuie, rangez-le dans la catégorie de Barbe-Bleue et des mille et une...´ (Translation: "The Damned Philosopher you're angry with doesn't just reason endlessly; he starts dreaming, and he wants me to send you his reveries. To get rid of his importunities, I was obliged to comply with his wishes. Here are his nonsense, which I enclose with my letter. Don't accuse me of indiscretion. If this jumble bores you, put it in the category of Bluebeard and the thousand and one..") Further Frederick II continues with this astonishing philosophical text which constitutes an allegory of the fight of the writers of the Enlightenment, led by Voltaire, against the "infamous", namely religion, saying `Je ne crois pas, comme vous le dites, que Moustapha ni bien d’autres s’en inquiètent. Il n’y a que ceux qui suivent le sens de la sentence grecque : "Connais-toi toi-même" qui veulent savoir ce qu’ils sont, et qui, à mesure qu’ils avancent en connaissances, sont obligés d’oublier ce qu’ils avaient cru savoir...´ (Translation: "I do not believe, as you say, that Mustafa or many others are concerned about this. Only those who follow the meaning of the Greek saying: "Know thyself" want to know what they are, and who, as they advance in knowledge, are obliged to forget what they thought they knew...") Further again, and before concluding, the King refers to the Church and religion, and do not forget Voltaire's fundamental lesson, which is to approach the most serious subjects with levity, and, consequently, smiles at himself and at what he presents as lucubrations, stating `Le Grand Cordelier de Saint-Pierre me paraît un homme qui sait à quoi s’en tenir ; mais il est payé pour ne pas révéler les secrets de l’Église, et je parierais qu’il s’embarrasserait beaucoup plus d’Avignon que de la Jérusalem céleste. Pour moi, je m’avertis d’être discret, et de ne pas importuner un homme auquel il faut se faire conscience de dérober un moment. Ses moments sont si bien employés que je lui en souhaite beaucoup, et qu’il puisse durer autant que sa statue...´ (Translation: "The Grand Cordelier of Saint-Pierre seems to me to be a man who knows what to expect; but he is paid not to reveal the secrets of the Church, and I would bet that he would be much more concerned with Avignon than with the heavenly Jerusalem. As for me, I warn myself to be discreet, and not to bother a man from whom one must be aware of stealing a moment. His moments are so well spent that I wish him many, and that he may last as long as his statue... ") An exceptionally interesting content letter by King Frederick II to his friend and old master Voltaire. With blank integral leaf. VG to EXVoltaire (1694-1778) François-Marie Arouet. French Enlightenment Writer and Philosopher.

LES SIX: An interesting group of A.Ls.S. (2) and autograph statements signed by each of the composers collectively known as Les Six, a group of musicians informally associated with Jean Cocteau and Erik Satie, and who worked and lived in the Montparnasse district of Paris in the years following World War I. The lot comprises -(i) Georges Auric (1899-1983) French composer. Autograph statement signed, Georges Auric, one page, 8vo, n.p., n.d. (1951), in French. The composer writes, in full, ´Voici donc "le Groupe des Six" une fois encore réuni, à la faveur d´une exposition dont l´intention est si charmante et si cordiale qu´elle nous permettra, je l´esperè, d´en parler sans etre aussitot accusé d´une fatuité ou d´une vanité qui seraient aujourd´hui assez irsupportables! Remontant à cette occasion la Machine à explorer le Temps, que vois-je tout de suite qui, dans tout cela, me semble le plus saisissant? Non plus un "groupe" de musiciens desireux, "vingt ans après", de reprendre je ne sais trop quelles controverses esthétiques. Mais six camarades qui ont la très grande chance de se retrouver maintenant comme ils se retrouvaient naguère - et dont l´amitié n´a jamais changé. Voila, me semble-t´il, la plus belle leçon de cette petite exposition. Et c´est pourquoi je me rejouis d´y participer´ (Translation: ´So here is the ‘Group of Six’ once again reunited, thanks to an exhibition whose intention is so charming and so cordial that it will allow us, I hope, to talk about it without immediately being accused of a conceit or vanity that would be quite unbearable today! Going back to the Time Machine on this occasion, what do I see immediately that, in all this, seems to me the most striking? No longer a ‘group’ of musicians eager, ‘twenty years later’, to resume I don't know what aesthetic controversies. But six friends who are very lucky to be together now as they were in the past - and whose friendship has never changed. That, it seems to me, is the most important lesson of this little exhibition. And that is why I am delighted to be taking part´).(ii) A.L.S., Georges Auric, to the recto of a printed correspondence card as President of the Société des Auteurs, Compositeurs & Éditeurs de Musique, Paris, 28th November 1972, to a friend, in French. Auric writes, in part, ´Merci pour cette réédition des "Bagatelles" - qui me rajeunit singulierement. Je souhaite vous exprimer tout cela beaucoup mieux que dans ces quelques lignes qui d´ailleurs vous parviendront Dieu sait avec quel retard (parce qu´une nouvelle greve commence aujourd´hui!..)´ (Translation: ´Thank you for this reissue of ‘Bagatelles’ - which makes me feel remarkably young. I would like to express all this to you much better than in these few lines, which will reach you God knows how late (because a new strike starts today!)´ ).(iii) Louis Durey (1888-1979) French composer. Autograph statement signed, Louis Durey, one page, oblong 8vo, n.p., n.d. (1951), in French. Durey writes, in full, ´Quoi qu´aient pu dire certains esprits chagrins, le Groupe des Six aura marqué une étape importante dans l´évolution de la musique francaise. Significatif à cet égard, ce 34e anniversaire où chacun apporte le fruit de son labeur personnel à une petite communauté définitivement scellée par une amitié et une estime réciproque´ (Translation: ´Whatever some naysayers may have said, the Group of Six marked an important stage in the evolution of French music. Significant in this respect is the 34th anniversary, when each member brings the fruit of his personal labour to a small community definitively sealed by friendship and mutual esteem´).(iv) A.L.S., Louis Durey, two pages, 8vo, Rue Boissonade, Paris, 9th January 1952, to a gentleman, in French. Durey writes to his correspondent following a telephone conversation and gives his full consent ´ pour que les documents que je vous ai confiés en vue de l´exposition du "Groupe des Six" figurent dans une série d´expositions à l´etranger´ (Translation: ´for the documents that I entrusted to you for the ‘Groupe des Six’ exhibition to be included in a series of exhibitions abroad´), further adding ´Toutefois je desirerais que les manuscrits de musique dont je ne possède pas de doubles soient photocopiés ou microfilmés avant leur départ. Ce sont, par ordre de préférence: 1. La partition de "l´Occasion" 2. La Fantaisie concertante pour violoncelle et orchestre, ou les deux au cas où serait prévu l´envoi de plusieurs oeuvres. Je désirerais d´autre part retenir les partitions des trois cantates: La Guerre et la Paix, La Longue Marche, Paix aux Hommes par millions dont je pourrais avoir à disposer ici´ (Translation: ´However, I would like the music manuscripts, of which I do not have duplicates, to be photocopied or microfilmed before they are sent. These are, in order of preference: 1. The score of ‘l'Occasion’ 2. The Fantaisie concertante for cello and orchestra. Or both if several works are to be sent. I would also like to have the scores of the three cantatas: War and Peace, The Long March, Peace to Men by the Millions that I may have available here´). Two file holes to the left edge and with a few small, minor tears to the edges.(v) Arthur Honegger (1892-1955) Swiss composer. Autograph statement signed, A Honegger, one page, oblong 8vo, n.p., n.d. (1951), in French. Honegger writes, in full, ´Voici ce que me suggére le trentieme anniversaire de notre groupe des Six: D´abord la satisfaction de nous retrouver aussi amicalement liés que par le passé et toujours aussi different dans nos gouts et nos conceptions. De sentir chez certains cadets ou vieux critiques la confirmation de l´opinion que je me plais a repéter: En musique on passe sans transition de l´etat de jeune fumiste ou de jeune espoir à celui de vieux maitre ou de vieux fossile bon pour la retraite. Que, fort heureusement les interessés n´en soupçonnent rien´ (Translation: ´Here is what the thirtieth anniversary of our group of six suggests to me: First, the satisfaction of finding ourselves as amicably connected as in the past and still as different in our tastes and conceptions. To feel in some younger or older critics confirmation of the opinion that I like to repeat: In music, one passes without transition from the state of young upstart or young hopeful to that of old master or old fossil good for retirement. That, fortunately, those concerned suspect nothing of this´).(vi) Darius Milhaud (1892-1974) French composer and conductor. Autograph statement signed, Milhaud, one page, small 8vo, n.p., n.d. (1951), in French. The composer writes, in full, ´Grace à l´exposition de Six organisée par le centre de Documentation Musique Internationale, nous avons eu la joie de nous retrouver autour de Cocteau comme au bon vieux temps. Quelle joie d´évoquer ensemble en 1951 cette merveilleuse époque d´après 1919....´ (Translation: ´Thanks to the exhibition of the ‘Six’ organised by the International Music Documentation Centre, we had the pleasure of getting together around Cocteau, just like in the good old days. What a joy to evoke together this marvellous period after 1919 in 1951´).A rare and unusual grouping, with some minor faults and age wear, generally G to VG, 8 + 10OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.

OLD MASTER DRAWINGS cherubs, two red crayon drawings, mounted and framed, 12cm x 13cm and 8cm x 17cm

A Roman marble portrait head of the Emperor Titus, Flavian period, c.80 CE, the broad face with fleshy cheeks and chin, his hair in tight curls over a deeply furrowed brow, the head 21cm wide 24cm deep 33cm high, on a later limestone bust, bearing painted inventory number 'F597', 45cm high overall Provenance: Collection of the Prince of Liechtenstein, Franz Joseph II (1906-1989); Sotheby's, London, 'Antiquities', 17 May 1983 lot 196; with Royal-Athena Galleries, Beverly Hills, California; the collection of Daniel Alan Radler; Sotheby's, New York, 'Master Paintings and Sculpture Part II', 27 January 2023, lot 558; acquired from the above sale by the current owner. Literature: K Fittschen and P Zanker, 'Katalog der römischen Porträts in den Capitolinischen Museen und den anderen kommunalen Sammlungen der Stadt Rom', pp.33-34, nos. 28-30; G Daltrop, U Hausmann, M Wegner, 'Das römische Herrscherbild ii, I: die Flavier: Vespasian, Titus, Domitian, Nerva, Julia Titi, Domitilla, Domitia'. See also: The Capitoline Museum, Rome, Hall of the Emperors 19, no. 433, Municipal Antiquarium store nos. 7673 and 3361; the British Museum no. 1909,0610.1; Naples Archaeological Museum no. 6059; the Borghese Gallery, no. CLXXI. For pieces bearing similar inventory numbers, see Christie's, Amsterdam, 'LIECHTENSTEIN: Property from the Collection of the Princely House of Liechtenstein', 1 April 2008. Before his brief reign from 79-81 CE, Titus earned distinction as a military leader, notably serving alongside his father, the Emperor Vespasian, during the First Jewish-Roman War in Judea. The campaign was briefly interrupted by Emperor Nero’s death in 68 CE, which triggered Vespasian’s pursuit of imperial authority during the Year of the Four Emperors. Once Vespasian was proclaimed emperor on 1 July 69 CE, Titus was tasked with quelling the Jewish uprising. In 70 CE, he led the siege and eventual capture of Jerusalem, destroying the city and the Second Temple. In recognition of this victory, Titus was honoured with a triumph and his success was later commemorated by the building of the Arch of Titus, which still remains standing today. This head of Titus, now on a modern bust, relates to three examples examined by Klaus Fittschen referencing scholarship, including that of Max Wegner. All youthful in appearance, each with heads turned slightly to the left, with fleshy cheeks and tight curly hair, they appear to relate to the 'Herculaneum Titus' (type A), which is understood to have been executed upon his return to Italy in 71 CE, following his victory in Judea. The drilling of the hair to the front of the head, the style and workmanship of which is consistent with that of other Flavian portraiture, finds comparisons in all of the examples brought together by Fittschen, as well as a portrait in the Borghese Gallery in Rome, which Jessica Clementi suggests may have been executed just before the beginning of Titus' reign, when he was around 40 years old. The Princely Collections of Liechtenstein, based in Vaduz and Vienna, are among the most prestigious private art collections in the world. Franz Joseph II (1906-1989), to whom this bust once belonged, was pivotal in preserving and repositioning the Liechtenstein Princely Collection during a period of immense political and cultural upheaval. He became the first reigning prince to take up residence in Vaduz in 1938, a symbolic and strategic move that helped solidify the principality’s independence during the rise of National Socialism. One of his most consequential actions was the relocation of the core of the Princely Collection from Vienna to Vaduz during the final months of the Second World War. This safeguarded the collection from potential wartime destruction or seizure and ensured the survival of one of Europe’s most important private art collections. In a letter of March 1974, penned by Dr Norbert Heger of the University of Salzburg to Dr Reinhold Baumstark, then director of the Princely Collections, he recalls a conversation several years prior with a Dr G Willhelm, the previous Director: 'Director Dr. Wilhelm showed me one day in Vienna four Roman heads of unknown provenance, of which three (a portrait of Titus Inv. No. F597, an [unidentified] head Inv. No. F595 and an over-life-sized bust in the style of Antinous) are not in question...' While the date of its accession is unknown, this places the bust of Titus in the collection c.1970. Additionally, a 2008 sale of 396 works from the Princely House of Liechtenstein at Christie's, Amsterdam, included several pieces with inventory numbers from F555-F674, which are recorded as having been in Vienna between the 1920s and the 1940s, before being moved to Schloss Vaduz in 1944. It is, therefore, reasonable to imagine that this bust was among their number during that period. Condition ReportThe head without bust measures 22cm wide x 23cm deep x 32cm high. The bust measures 33cm wide x 27cm deep. The bust is modern. The head and bust, up until recently, were united and have undergone recent professional restoration to be separated. Re-carving and re-finishing of the bottom of the neck to facilitate the later mounting, including a large drill hole for the metal dowel. A small amount of possible re-carving/ tidying up to the front of the hair where it meets the forehead, however, the clear line between hair and forehead has a parallel in the line beneath the chin, indicating that these may be guidelines by the original sculptor. A few small chips to the extremities of the head, including the tip of the nose, curls of the hair and one of the ears. A small recent break and glue repair to the back of the neck. Some more recent scratches, lines and small, thin superficial cut marks in places. General dirt, weathering and patina. Evidence of some historic staining, residue from previous restoration, cleaning and conservation, however this does not appear intrusive. Overall, the piece appears structurally stable.

A Louis XV kingwood, tulipwood and marquetry commode by Pierre Roussel, mid-18th century, French, of serpentine outline, the grey marble top above two drawers inlaid with floral marquetry, fitted with scrolled mounts and conforming handles, on cabriole supports terminating in sabots, the top of the carcass stamped 'P. ROUSSEL',99cm wide56.5cm deep90cm highPierre Roussel, who received his maîtrise in 1745, supplied furniture for Château de Chantilly and the Palais-Bourbon. Renowned for his naturalistic floral marquetry accentuated by engraving, the present lot typifies Roussel's mid-18th-century style. Two closely related commodes of smaller proportions, stamped in the same manner and with comparable marquetry, sold at Christie's, 25 March 1999, lot 120 (£56,500) and 16 December 1999, lot 33 (£31,050). The shape, form and dimensions are also very similar to that of the 'Small Commode by P Roussel JME, c.1755', illustrated in Charles Packer, 'Paris Furniture by The Master Ébenistes', fig.43.Condition ReportGeneral surface wear, light scratches and small old chips to the corners and edges of the marble. General knocks, surface wear, small splits, lifting and scratches to the timber throughout commensurate with age and use. Some areas of minor old repair and replacement to the veneer in places, including to the sides and to the drawer fronts where handles and mounts have been replaced. All mounts appear later, with two pins lacking to the right sabot causing some looseness. Some fading and discolouration to marquetry, however traces of the original green stain to the foliage can be seen throughout. General knocks, wear and some repairs to the supports.Drawers run smoothly with some wear to the silk-lined interior. A key present, however it does not work in the locks. A small amount of lateral movement in the joints, however the piece is generally solid and stable and appears in fairly good structural and cosmetic condition and is ready for use.

17th / 18th century, Old Master, Portrait of a gentleman wearing a lace collar, unsigned, oil on canvas, 58 x 47cm

Taylor's 10 year old tawny port, one bottle; W&J Graham & Co 20 year old tawny port, one bottle; and Dow's Master Blend finest reserve port, one full and one half bottle (4)

Pencil drawing female head signed and dated 1941 'Prust' Rough sketch designs for book covers 'The War if the Worlds' and 'The People of the Abyss' framed and glazed. Frame size approx 40cm x 32.5cm, image sizes approx 17.5cm x 12cm and 19.5cm x 14.5cm. Arthur Penasse pencil sketch of a nude female figure holding a wine glass. Signed lower right. Frame size approx 54cm x 40.5cm, image size approx 37.5cm x 23.5cm. Framed and glazed charcoal drawing of a seated nude female figure. Signed to lower right. Frame size approx 65cm x 55cm, image size approx 24.5cm x 22cm. Glass cracked. 'Poussin' old master style framed print. Frame size approx 52.5cm x 42.5cm.

Goltzius (Hendrik) Christ before Caiaphas [and] Christ before Pilate, from "The Passion", two engravings, both exceptionally fine well inked impressions, on laid papers, one with watermark of an encircled postal horn, each sheet approx. 202 x 130 mm (8 x 5 1/8 in), trimmed within the platemarks, both remargined, some minor damp-stains and surface dirt, unframed, 1596-1597; together with 9 further old master prints, including Jan Sadeler's 'Grammatica' and 'Vox enim tua dulcis, et facies tua de cora', Hondius's portrait of Lucas van Leyden, 3 of the Four Evangelists after Jacques de Gheyn II (1565-1629), a trimmed engraving of Peasants merry-making with soldiers by Bolswert after David Vinckboons, and 22 engravings of ornament by Daniel Hopfer, engravings, various sizes, largest 475 x 340 mm (18 3/4 x 13 3/5 in), all unframed, mainly 17th century (33)  

FOUR ROYAL DOULTON FIGURES, comprising the Carpet Seller, HN1464, Old Mother Hubbard, HN2314, The Puppet Maker, HN2253 and The MasterCarpet Seller 21.5cm highQty: 4Scratches, no other visible damage to this lot

An ethereal composition titled Aegaeis by contemporary artist Tomasz Rut, this signed limited edition print features a romanticized classical female nude surrounded by Renaissance architectural motifs. The muse is rendered in soft, golden light with flowing hair and delicately modeled features, reminiscent of Old Master aesthetics. Gold leaf accents surround the figure's haloed form, creating a striking interplay between traditional grandeur and modern technique. Tomasz Rut is renowned for his contemporary interpretations of classical subjects. A classically trained artist, Rut studied at the Pratt Institute in New York and developed a signature aesthetic that blends neoclassical and baroque influences with a modern palette and sensuality. His work frequently depicts mythological or allegorical subjects, rendered with expressive brushwork and often enhanced with gold leaf. Rut's paintings and prints have been widely collected and exhibited internationally, and he is recognized for reviving the grandeur of classical figurative art with a contemporary voice. The print bears Tomasz Rut's signature in the lower right and the characteristic embossed red R, indicating authenticity with edition number on lower left 12/200. Set in an ornate carved giltwood frame with linen mat and gold fillet, this work embodies the timeless elegance associated with Rut's neoclassical revival style. Very heavy frame. Artist: Tomasz Rut (Polish-American, b. 1961)Issued: c. 1990Dimensions: 43"L x 38.75"HCountry of Origin: Poland-United StatesCondition: Age related wear.

ONORIO MARINARI (ITALIAN 1627 - 1715) THE MADONNA AND CHILD Oil on canvas, framed oval 87 x 71cm (34¼ x 27¾ in.) Provenance: Mr. Nicholson, Rome, 1840, April (according to inscription on verso) This recently discovered painting exemplifies the stylistic characteristics of seventeenth-century Florentine art. Set within a sculpted oval frame, the tender composition features the youthful Madonna and Child gazing directly at the viewer-an intimate and engaging motif that the artist replicated multiple times with variations in colour and lighting. A notable example of this theme was sold at Christie's, London (26 November - 17 December 2020, lot 210) for £50,000.Unlike the version sold at Christie's, the present work is distinguished by a luminous, almost lunar light that contrasts strikingly with deeper shadowed tones, evoking the influence of the artist's master and cousin, Carlo Dolci (1616-1686). Following Dolci's death in 1686, Onorio assumed an increasingly prominent role at the Medici court, producing a significant body of work. Remarkably, he remained active well into old age, as evidenced by the frescoes he executed in the Palazzo Capponi during his eighties. We are grateful to Francesca Baldassari for confirming the attribution on the basis of photographs. Condition Report: The canvas has a very old relining, and presents a thin layer of dirt across the whole surface. UV light reveals two 1.5 cm in width patches of restoration to the left of the Christ, as well as a 4 cm login restoration on the leg. There is a visible craquelure across the whole surface, and evident losses of pain to the edges of the canvas, mostly on the feigned oval. Such damages are evident to the the naked eye. Finally, the pictures has an unevenly applied varnish across the whole painting. Condition Report Disclaimer

ISAAC WOOD (BRITISH 1689 - 1752) PORTRAIT OF SIR JAMES DARCY LEVER (1703-1742) Oil on canvas Signed and dated '1730' (lower right); further inscribed to letter 'To Jas Lever Jun / Mertn / London' (centre left) 127 x 101.5cm (50 x 39¾ in.) Unframed Provenance: Messrs Appleby, London, 1950 (according to a photograph in the Heinz Library) Sale, 25 January 1973, lot 115 (as a portrait of Lord Lever by Hogarth), for £9,400 Where acquired by a private collector Sale, Sotheby's, London, Old Master & 19th Century Paintings, 5 April 2023, lot 71 This portrait depicts the Lancashire merchant, politician and patron Sir James Darcy Lever of Alkrington Hall (1703-1742) (1). Set within a grand neo-classical interior, the sitter is depicted wearing an informal turban or cap and sitting next to a carved and gilded table bearing the Lever of Alkrington coat of arms (2). Furthermore, the gentleman holds a diagram of an archimedean spiral and a drawing of a squared circle, allusions to classical mathematics and geometry.Sir James descended from the affluent Levers of the North-West of England, whose earliest recorded presence in that area dates to the thirteenth century (3). He is recorded as having matriculated at Brasenose College, Oxford in 1723, appointed High Sheriff of Lancashire in 1736, and eventually knighted in 1737. Apart from this portrait, Lever's most significant piece of patronage was the commissioning of the Venetian architect Giacomo Leoni (1686-1746) to rebuild Alkrington Hall in 1735-6. Alkrington Hall is more widely known for being the oldest Palladian House in Lancashire (3).Born in Lincolnshire in 1721, the artist Isaac Whood (1688/9-1752) was recorded as a portrait painter, copyist, picture dealer and antiquarian. His most significant works include a set of portraits known as Dr Burton's Commoners in the collection of Winchester College (4). This lot, signed by the artist, is typical of the painter's powerful baroque portraits and was created during the most prolific decade of his career. 1) Although the portrait was formerly called John Lever of Darcy Lever (1701-1794), it seems that this identification was based on an incorrect reading of the inscription on the painting.2) E. Baines, History of the County Palatine and Duchy of Lancaster, vol. 2, London 1836, p. 566.3) P. Hanks, R. Coates and P. McClure, The Oxford Dictionary of Family Names in Britain and Ireland, vol. 3, Oxford 2016, p. 1576. Online Edition: https://www-oxfordreference-com.lonlib.idm.oclc.org/view/10.1093/acref/9780199677764.001.0001/acref-9780199677764-e-24091?rskey=uz1EPi&result=240814) C. Hartwell, M. Hyde and N. Pevsner, Lancashire: Manchester and the South East, London 2004, p. 39.5) C. Rowell, 'Portraits of 'Dr. Burton's Commoners' and Winchester College', in The British Art Journal, vol. XIV, no. 1, 2013, pp. 3-17.

WILLIAM POWELL FRITH (BRITISH 1819 - 1909) BATH TIME Oil on panel Signed and dated '1867' (lower right) 20.5 x 27.5cm (8 x 10¾ in.)Provenance: Fine Art Society, London Sale, Christie's, London, Victorian Pictures, 2nd June 1989, lot 116 Private Collection, Herefordshire Sale, Dominic Winter, Old Master Pictures, Drawings, 19th & 20th Century British and European Art, 9 March 2022, lot 114 The present lot depicts Frith's first child Mrs Isabelle Oppenheim (1846-1927), and her first child, Isabelle (Isabelle Mary Frances 1865-1919). All the objects of a bath can be seen around and it is intimate and affectionate study of his first child and first grandchild, wistfully reflecting on his own wife and child of his painting Bedtime of 1852. It relates to a series of paintings of Isabelle Oppenheim [the artist's first child], which in turn relate to paintings made in the 1840s of Isabelle Frith [the artist's wife]. Specifically, Bedtime of 1852.   Condition Report: There are two hairline cracks to the panel, running vertically from the upper edge. One ends just above the child's head, to the right, and the other ends just above the child's head to the left. Each approx. 5cm. Some very light surface scratching and superficial dirt throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching throughout, particularly to the top half of the painting. Condition Report Disclaimer

One dozen George VI silver Teaspoons and Sugar Tongs old english pattern, Sheffield 1937/8, in case. Provenance: Reputedly given by Queen Mary to Mr Pike who was station master at Badminton during World War II, along with two Christmas Cards from her majesty

John Hill & Co "Britannia Railway Set 156" - Pre War Issue, comprising: Station Master, Porter with Luggage Trolley, Porter Carrying Case, Lady Passenger, Gentleman Passenger, Ticket Machine, Seat, Station Sign [Nottingham], Carpet Bag, Weighing Scales, Chocolate Machine, 2 x Trunks, Four Wheel Tolley, 2 x Milk Churns with Lids, Briefcase, 2 x Small Platform Machines, Lampost & Guard with Green Flag. Some minor paint chipping otherwise generally Excellent overall, contained [partially strung] in a generally Fair [some storage wear, old repairs & small sections of lid edging missing] illustrated "Britannia" Series lid label set box. A Scarce Set to Find Complete Sold at Phillips Salerooms, London - 19.01.1999

George III (1760-1820), gold Pattern Five Pounds of Five Sovereigns, 1820, engraved by Benedetto Pistrucci, laureate head facing right, date below, PISTRUCCI in tiny letters below truncated neck, Latin legend and outer border surrounding, GEORGIUS III D: G: BRITANNIAR: REX F: D:, rev. inverted die axis, St George and dragon depicted right, St George holding sword and reins, dressed with flowing cape, helmet with streamer, broken lance to left on ground with raised W.W.P to right side for Master William Wellesley Pole, PISTRUCCI in tiny letters to upper left of exergue, outer border decoration surrounds, edge inscribed in raised letters, DECUS ET TUTAMEN * ANNO REGNI LX *, 39.91g (Hill F1; Linecar & Stone 207 this coin listed with Gilbert provenance; W.R. 177 R4; EGC 888 R4; Holloway 95; S.3783). Lightly toned with cameo effect, fields lightly hairlined, a couple of tiny digs in field near ties of wreath, a couple more on neck with very light abrasions, short scratch in field by eye, reverse with hairlines and very light abrasions in field to right of horse, otherwise has been slabbed and graded by NGC as PF60 Cameo, very rarely available with only 25 lettered edge pieces struck, one of the most highly coveted coins of the entire milled series being the first Five Sovereign piece ever minted. NGC certification 67694350-004 with St Helier Collection label.We note as of March 2025 that NGC have graded just five of the 1820 lettered edge Five Pounds whereas PCGS have graded seven but there could be double counting with re-submitted coins between the services.The Latin legends translate as George the Third by the grace of God, King of the Britons, Defender of the Faith on obverse, with the edge inscription meaning An ornament and a safeguard in the sixtieth year of the reign.Provenance: Ex A. H. Gilbert, Glendining, 13th March 1963, lot 98, sold for £1,750.Ex Spink and Son Ltd, sold privately 19th March 1963 as per accompanying old ticket for £1,925.Ex St Helier Collection, Spink, 31st March 2023, lot 711One of the most highly coveted coins of the entire milled series the first gold Five Pounds ever issued, or Five Sovereigns as it appears in official papers, is a master work of the Italian engraver Benedetto Pistrucci who as a favourite of William Wellesley Pole (Master of the Mint 1814-23) was the chief engraver in all but name being from overseas. The dies for the Five Pounds and its accompanying Two Pounds were in final preparation in the twilight of George III's reign, and a brief account of their production is provided in the Numismatic Chronicle, Volume 13, April 1850 - January 1851, in the article English Gold Coins by Edward Hawkins (1780-1867)  who had been appointed Assistant Keeper in the British Museum's Department of Antiquities from 1825 until retirement around 1860. The account is a very useful read as it tell us that the dies were scarcely finished upon when news of the King's death was expected hourly, so the workers concentrated on striking the coins throughout that night, but the finished coins were not actually ready until after the King had passed, as he had died at just after 9pm on the evening of 29th January aged 81. The coins were then issued in a very limited number as a memorial to the Late King and 25 pieces were officially struck of the gold Five Pounds and 60 examples of the gold Two Pounds. The quantity of the Two Pounds was allegedly higher than originally expected due to a supposed error in reading the order.The George III 1820 Five Pounds remains a piece of coin art of the highest calibre with Pistrucci's treatment of the head of George III giving a most life-like image and thus coupled with his classic rendition of St George slaying the dragon with a sword being the precursor to the classic design used a year later for the first time on the 1821 Sovereign and continues to this day as the reverse design for modern annual Five Pounds, Two Pounds, Sovereigns, Half-Sovereigns and Quarter-Sovereigns, this is the design that inspired them all! The artist Pistrucci was allowed to place his surname in full on each side of these coins and Master of the Mint William Wellesley Pole the brother of the Duke of Wellington also had his initials placed on the groundline over the broken lance perhaps as a mark of pride that such a design was produced under his tenure at the Mint. Pole was also instrumental in setting up what has latterly become the Royal Mint Museum with the order given to keep specimen examples of all coinage produced from the end of George III's reign onwards.There are also three examples of plain edge versions known of this Five Pound piece, which must have been struck as a prototype before the lettered edge collar was introduced or as additional pieces of pleasure - perhaps for the likes of Pistrucci and Pole themselves who were not on the official list above. A die study would be required to see if a sequence could be worked out to see if the plain edge either preceded or followed the 25 lettered edge examples.Of the 25 struck of the Five Pounds there are perhaps as many as twelve to fifteen pieces in commerce to this day with some others having made their way to or remaining in institutions. What is clear is that the Five Pound piece quickly became a collector's piece with its known edition limit far outstripping other Proof Five Pounds that came later for 1826, 1839, 1887, 1893 and so on into the 20th Century. In the following decades afterward, we see reports of these coins sold in major collections including some of those of the original recipients selling for over £20, more than four times the original face value. To compare we see 1839 Una and the Lion £5 pieces of which hundreds were struck selling at auction for just over the face value towards £6 and it is not till many decades later that this shows a more marked increase.Moving to the more modern day and the boom in coin collecting of the early 1980s, the George III Proof Five Pounds of 1820 was the most valuable priced coin in the Seaby Standard Catalogue 1980 listed at £20,000 when a Victoria Una and Lion £5 piece was half the value at £10,000. In the 45 years since then the now Sovereign Rarities catalogue has become more detailed, with more prices of the extreme rarities quoted in milled and hammered coins. Trends have changed too in collecting and the Una and Lion of great demand is now priced within 50% of the 1820 Five Pounds on the values quoted of £475,000 on the 1820 and £350,000 on the 1839 in FDC. However, there are other rare coins now priced higher like the Vigo Five Guineas of 1703, of which slightly more examples are known and available at £750,000 in EF and George III Five Guinea pieces at £575,000, both coins that were extremely rare and unpriced in the 1980 catalogue. What this demonstrates is that the extreme rarity of the 1820 Five Pounds with only 25 struck is perhaps not as well appreciated as it once was some half a century ago. The current thirst for high value large gold coins has meant more common Five Guinea currency pieces in higher grades regularly sell for six figure sums and over 200 pieces of this denomination are in the MS grade levels, whereas the much rarer lettered edge 1820 Five Pounds can only ever have a maximum ceiling of 25. 

g Victoria (1837-1901), gold Sovereign, 1893, London Mint, older crowned and veiled bust left, T.B. below for engraver Thomas Brock, Latin legend and toothed border surrounding, VICTORIA. DEI. GRA. BRITT. REGINA. FID. DEF. IND. IMP., rev. St. George and the Dragon right, broken lance to left on ground-line, tiny WWP under lance, initials of William Wellesley Pole, Master of the Mint, date in exergue, initials B.P to upper right, for engraver Benedetto Pistrucci, edge milled, 8.00g (Bentley 337; Hill 145; S.3874). Toned, surface marks otherwise fine, first year of issue for the old, veiled portrait.Calendar year mintage 6,898,260The Latin legend translates on obverse as Victoria by the Grace of God, Queen of the Britons, Defender of the Faith, Empress of India.

An unusual Waterloo pair awarded to Quarter-Master John Williamson, 2nd Battalion, 30th Foot Waterloo 1815 ((Quar. Mast. J. Williamson, 2nd Batt. 30th Reg. Foot.) fitted with original steel clip and ring suspension; 30th Foot Regimental Medal (Balmer R283), silver, oval, 79mm x 64mm., hallmarked London 1818, obverse: ‘XXX’ on a crowned circle, within a wreath of roses and thistles; reverse: ‘To John Williamson late of H.M. 30th Regt. a token of regard and esteem from his comrades and friends 1818’ enclosed within a wreath over a Sphinx and ‘Egypt’, fitted with loop for suspension, the first with edge bruising and contact marks, otherwise very fine, the second good very fine (2) £1,800-£2,200 --- Provenance: Waterloo, Payne Collection 1911; Mackenzie Collection, June 1934; E. Gale Hawkes Collection 1994; Dix Noonan Webb, December 2000. John Williamson first appears in the muster rolls for the 2/30th Regiment, as Corporal in September 1803, his rank suggesting previous service, probably with the Militia. Promoted to Sergeant, 25 November 1803, and to Quarter-Master Sergeant, 24 September 1809, whilst stationed at Gibraltar. In May 1810 he embarked for Cadiz and afterwards served in Portugal and Spain until December 1812. Following further service on the Isle of Wight and in Jersey, he embarked with his battalion to Holland in January 1814 and was commissioned as Quarter-Master on 27 October 1814. An anecdote relative to this officer is given in the United Service Journal for 1838. ‘Colonel A. Hamilton, of this regiment [30th], had a very valuable charger at Waterloo, and knowing that if it was shot in the battle he would only get the Government price, viz., £20 for another charger, he exchanged horses, before going into action at Quatre-Bras, with his steady old Quarter-Master, who, being a non-combatant, was to remain in the rear. The Quarter-Master’s horse was what is called a “safe convenience,” but the Colonel’s charger was high-spirited and fresh. Unaccustomed to the quietude of his position in the rear of the Army, he fretted and fumed at being kept back from the excitement going on in front. His rider had a bad time of it, and was a source of much amusement to the idlers and “non-effectives” in the rearward. The narrator of this incident says that on the evening of the 16th June, 1815, Sir W. Ponsonby sent his A.D.C. to buy Hamilton’s fine charger [his owner (sic) being wounded], but the bargain hung fire in some way, and the gallant Ponsonby lost his life on the 18th June, from being badly mounted.’ Williamson was placed on half-pay on 25 June 1817.

English school (19th century), 'LONG LIVE PHIL DAVIES.COOKE, ESQR, 11th AUGUST 1814', Ink on plaster under protective film, Unsigned, further inscribed ' If any one ask by whom were this done / Name a poor Under Gardener, John Richardson, / He did it by Charles Strong Bronning's desire / To show the birth day of our noble young Squire / So long as a letter sticks to this old plaster / And you have good liquer allowed by your master / You see when the day is - the eleventh of August / Push round the gay bend - the above, the grand trust', Framed and glazed, 60.5cm x 48cmPROVENANCE: Gwysaney Hall

Pair of Old Master type portraits, in 16th/17th century style, oils on panel. 23cm dimeter approx. in 19th century gilt frames. (2) (B.P. 21% + VAT)Some minor cracks/splits noticeable to the oak panels. One frame has small loss to the edge of the moulding.

A diamond floral brooch, the centre claw set with seven old cut stones and each of the nine petals claw set with three old cut stones, all in a 32mm circular unmarked yellow and white metal mount, yellow metal pin, 5.9g.Condition report:We do not have master stones with which to grade the diamonds but in our opinion they fall into the Clarity bracket SI1 to I1 and Colour bracket M to O. The brooch pin is slightly bent. Please see additional uploaded images.

A Victorian diamond star brooch / pendant, the central old cut stone surrounded by six old cut stones with a further twelve graduated old cut stones in the six pointed rays and a further six old cut stones in the alternating rays, all claw and pip set in a 38mm diameter unmarked yellow and white metal mount, unmarked rose metal brooch pin detachable on a central screw, yellow metal pendant loop to top, total gross weight 14.9g.Condition report:All stones and claws are present and secure. Slight bending to the end of three rays. Screw brooch fitting is secure and functioning well. We do not have master stones with which to grade the diamonds but in our opinion their fall into the Clarity bracket P1-P2 and Colour bracket M to O. Please see additional uploaded image.

Old Master School, 18th century - Saint Jerome, red chalk drawing on laid/chain-lined paper, watermark (D & C Blauw, c. 1750-90), 27.5 x 21.5cm The sheet with some minor water markings and a couple of slight foxed spots, otherwise good condition.

Academy, Special Hobby, Master Craft, Aki Resin Kits and similar, a boxed group of  military aircraft kits/resin kits (mainly East European such as Czech Republic etc) to include Aki Resin Kit Hawker Sea Fury FB.11, ICM MIG-25PD Soviet Heavy Interceptor Fighter  and others. Although not checked for completeness, most kits appear bagged in Good boxes although some boxes suffer from slight crushing and old price stickers. Kits have not been checked for any pre built/pre painted parts. Possible duplication. See photo.

M. Jefferis (20th century): skating scene after a Dutch Old Master, oil on board, 29 by 39cm, framed.

Takashi Isake ink signed prints, other Japanese prints, folios of prints of Old master paintings, etc

SCOTTISH SCHOOL, OLD MASTER STUDY oil on canvasframedimage size 156cm x 156cm, overall size 157cm x 157cm

* ALISON WATT OBE FRSE RSA (SCOTTISH b. 1966), STAR oil on board, signed, titled and dated 2015 versoframed image size 12.5cm x 12cm, overall size 22cm x 18cm Label verso, with reference number AFG 54543 (this is a Flowers Gallery, London reference number)Exhibited: "Small is Beautiful" exhibition Flowers Gallery, Cork Street, London 19th December 2015 - 9th January 2016.Note: Widely regarded as one of the leading painters working in the UK today, Alison Watt first came to public attention in 1987 when she won the National Portrait Gallery’s coveted annual award while still a student at Glasgow School of Art. Subsequently, she became well known for her paintings of figures, often female nudes. In 1997 Watt’s exhibition ‘Fold’ at Edinburgh’s Fruitmarket Gallery marked a turning point in her work by introducing fabric alongside these figures. This was followed by ‘Shift’, a major solo exhibition at the Scottish National Gallery of Modern Art in 2000, which saw Watt move away from the figure and display a series of twelve large paintings depicting swathes of fabric. The absence of the human figure marked an important shift in her work. However, rather than completely abandoning the figure Watt’s new paintings evoked the human body in its absence. In 2006-8 Watt undertook a prestigious residency as Associate Artist at The National Gallery in London. This culminated in the landmark solo exhibition ‘Phantom’ at the National Gallery in 2008. Watt was awarded an OBE in the same year. In 2014, as part of the GENERATION programme of exhibitions, a retrospective exhibition of Watt’s paintings was held at Perth Museum and Art Gallery, and a solo display was presented at the Scottish National Gallery of Modern Art, Edinburgh. A major exhibition of new work, ‘A Shadow on the Blind’, opened at the Abbot Hall Art Gallery, Kendal, in 2018 and travelled to Paraffin in 2019. Watt’s exquisitely painted canvases continue to negotiate a position close to abstraction yet are firmly rooted in her studies of drapery, light, the human form and old master paintings and sculpture. Alison Watt’s work has been exhibited internationally and is held in many important public and private collections around the world. She has had solo exhibitions at major institutions including the National Gallery, London, and the Scottish National Gallery of Modern Art, Edinburgh. Her work was recently included in ‘I Am Here! From Rembrandt to the Selfie’ at the Staatliche Kunsthalle, Karlsruhe, which toured to the Musee des Beaux-Arts, Lyon (as ‘Autoportraits’) and the Scottish National Portrait Gallery (as ‘Facing The World: Self-Portraits from Rembrandt to Ai Weiwei’) in 2016. Important recent group exhibitions include ‘Defining Beauty’, British Museum (2015), ‘Reality: Modern & Contemporary British Painting’ at the Sainsbury Centre for Visual Arts, Norwich and Walker Art Gallery, Liverpool (2014-15) and ‘Autoriatratto’, Uffizi Gallery (2010). In 2006-8 Watt was Associate Artist at The National Gallery in London. Works from her residency were shown in her landmark solo exhibition, ‘Phantom’, at the National Gallery in 2008 and Watt was awarded an OBE in the same year. In 2014, as part of the GENERATION programme of exhibitions celebrating recent Scottish art, a retrospective exhibition of Watt’s paintings was held at Perth Museum and Art Gallery, and a solo display was presented at the Scottish National Gallery of Modern Art, Edinburgh. Watt’s work is included in many important collections including the Scottish National Gallery of Modern Art, Edinburgh, the British Council Collection, London, the Arts Council Collection, London, the Gallery of Modern Art, Glasgow, Southampton City Art Gallery, and the Uffizi in Florence.

JOHNNIE WALKER OLD HARMONY 75CL BLENDED WHISKY 43% ABV / 75cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 12 YEAR OLD BLACK LABEL 100 YEARS OF THE STRIDING MAN ANNIVERSARY EDITION BLENDED WHISKY 40% ABV / 70cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 12 YEAR OLD BLACK LABEL JASPER GOODALL AND PROJECT MCLAREN 1ST PRODUCTION 1L BLENDED WHISKY Jasper Goodall 40% ABV / 70clMcLaren 1st Production Shieldhall 2007 43% ABV / 1L Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 18 YEAR OLD AND 12 YEAR OLD BLACK LABEL BLENDED WHISKY Both 40% ABV / 70cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER EXPLORERS' CLUB SPICE ROAD 1L AND 12 YEAR OLD BLACK LABEL 1L BLENDED WHISKY Both 40% ABV / 1L Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 12 YEAR OLD BLACK LABEL MCLAREN EDITION 1L BLENDED WHISKY 40% ABV / 1L When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 15 YEAR OLD GREEN LABEL 1L AND 12 YEAR OLD BLACK LABEL 1L BLENDED WHISKY Green Label 43% ABV / 1LBlack Label 40% ABV / 1L Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 21 YEAR OLD X.R. 75CL BLENDED WHISKY 40% ABV / 75cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 12 YEAR OLD BLACK LABEL NEW YORK YANKEES 2017 75CL BLENDED WHISKY 40% ABV / 75cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 18 YEAR OLD GOLD LABEL AND 18 YEAR OLD PLATINUM LABEL BLENDED WHISKY Both 40% ABV / 70cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 18 YEAR OLD GOLD LABEL AND J&B 15 YEAR OLD RESERVE 75CL BLENDED WHISKY Gold Label 40% ABV / 70clJ&B 40% ABV / 75cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 12 YEAR OLD BLACK LABEL COLLECTOR'S EDITION AND 15 YEAR OLD GREEN LABEL BLENDED WHISKY Black Label 40% ABV / 70clGreen Label 43% ABV / 70cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company. When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

The Life and Explorations of Dr Livingstone The Great Missionary Traveller, leather bound with brass clasps, Adam & Co, London, Knight's Pictorial Museum of Animated Nature Vol 1 Mammalia and Birds, Brown's Old and New Testaments Holy Bible and Aristotle's Works containing The Master-Piece, Directions for Midwives, John Smith, Tooly Street, London.

Braun, Clement and Co., very large collection of 100+ heliogravure reproductions of Old Master artworks by Velazquez, Van Dyck etc, all mounted and unframed, image size typically 13.5 x 15cm, with a small watercolour drawing of an English shopfront, and three old maps, 14.5 x 10cm. (1 box)