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Mouseman and the Yorkshire Critters: a mid-oak carved wall plaque by Martin 'Lizardman' Dutton (1921-2009) - carved as a Prince of Wales feathers, the base carved with his lizard signature, 23.25 x 24cm. * Martin Dutton was born deaf in Kirby Misperton, Yorkshire in 1921. He started his career as an apprentice to Robert 'Mouseman' Thompson of Kilburn, becoming the most accomplished of several deaf apprentices employed by the firm at that time and adopting the lizard as his trademark, after briefly using a tortoise on some of his earlier pieces. He set up on his own in York in 1950, making many pieces of furniture for churches and schools as well as one of his best known pieces, a statue of Saint Blaise, the patron saint of woolcombers, for a Bradford catholic church. He married in 1953, moving to Doncaster, where he took employment as senior woodwork master at his old school, the Yorkshire Residential School for the Deaf. After 17 years he moved to Barnsley, where he re-established his career as a woodcarver with firms specialising in church and domestic furniture, later continuing his career in York and Leeds. * Tiny chip to lower right corner of the plaque - this looks very old and has been smoothed with polishing and handling. No other faults.

Mouseman and the Yorkshire Critters: a mid-oak bowl by Martin 'Lizardman' Dutton (1921-2009) - the shallow circular bowl with attractive adzed patterning to the interior and exterior, the outside of the rim carved with his lizard signature, standing on a very shallow circular foot, 26.3cm diameter. * Martin Dutton was born deaf in Kirby Misperton, Yorkshire in 1921. He started his career as an apprentice to Robert 'Mouseman' Thompson of Kilburn, becoming the most accomplished of several deaf apprentices employed by the firm at that time and adopting the lizard as his trademark, after briefly using a tortoise on some of his earlier pieces. He set up on his own in York in 1950, making many pieces of furniture for churches and schools as well as one of his best known pieces, a statue of Saint Blaise, the patron saint of woolcombers, for a Bradford catholic church. He married in 1953, moving to Doncaster, where he took employment as senior woodwork master at his old school, the Yorkshire Residential School for the Deaf. After 17 years he moved to Barnsley, where he re-established his career as a woodcarver with firms specialising in church and domestic furniture, later continuing his career in York and Leeds. * The bowl has been used and the interior has some variability to the colour and polish from use as a fruit bowl, including a few pale water marks to the polish. The exterior has slight matting to the polish in places. No cracks, chips or damage to the lizard signature.

Two old master artist portraitsRuben & RaphaelOil on oval ebonised framehandwritten label verso[20x16.5cm]

Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)"Our Lady of Silence" Oil on copper. With a chased and embossed silver 18th century frame.23 x 19 cm.  Frame measurements: 54,5 x 38 cm. Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.In 1587 he moved to Santafé where he painted a Virgin of Antigua for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a Descent from the Cross, inspired by a painting by Pedro Pablo Rubens, and a Lamentation, which belong to the Convent of Santo Domingo de Tunja. He also painted a penitent Mary Magdalene for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a San Antonio de Padua and a sculpture of Nuestra Señora del Socorro.In 1600, he traveled to Lima, where he made several paintings, including a Señor de la Columna and works for the chapel of the Ánimas in the cathedral.He taught in Lima in 1604 and was appointed painter to the Inquisition. In 1617 he painted the Portrait of Isabel Torres de Oliva, known as Santa Rosa de Lima. After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a Santa Margarita which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year. It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.” Reference bibliography:- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

THE LITTLE MAST (KENNEDY 185; GLASGOW 196)Etching and drypoint printed in dark brown, 1879-80, on laid paper, a fine impression, signed with the butterfly and inscribed imp in pencil on the tab, Glasgow's eighth state of eight, from First Venice Set, published by The Fine Art Society, London, framed.Sheet 10 3/8 x 7 3/8 inches; 264 x 187 mm.Frame 16 5/8 x 13 3/8 inches; 422 x 340 mm.Provenance:P. von Baldinger-Seidenberg (Lugt 212)Sale, Sotheby's, New York, Old Master, 19th and 20th Century and Contemporary Prints, May 13, 1987, lot 184

An oil on wood panel painting executed after 17th century Flemish painter David Teniers the Younger, renowned for his vivid depictions of peasant life and tavern scenes. This intimate genre composition portrays a bearded man and a young woman seated together at a rustic table, sharing drinks in a moment of flirtatious camaraderie. The man's arm is draped around the woman as she holds a goblet, while a richly detailed earthenware jug sits on the table. A narrative element is introduced in the upper right, where a stern-faced woman peeks through a window, evoking themes of voyeurism, morality, and consequence-hallmarks of Teniers' storytelling style. Painted on a single wooden panel, the surface bears a heavily crackled varnish typical of 19th century works imitating 17th century Flemish techniques. The back of the panel exhibits natural wood grain and age splits, further supporting the age of the work. This piece is a compelling example of the continued influence of Teniers' compositions well into later centuries, appealing to collectors of Old Master-inspired Continental art.Artist: After David Teniers the Younger (Flemish, 1610-1690)Issued: Late 19th centuryDimensions: 11"L x 12.50"HCountry of Origin: BelgiumCondition: Age related wear. The wood support is partially cracked on the upper center.

Portfolio: Old Master Engravings, Etchings, Prints, etc., some after Ribera, B. Rode, Bonnet, Rubens, Caraccus, and including etching by S. Hanriot of Sarah Bernhardt, portraits etc. As a coll., w.a.f. (1)

PIETER ANGELLIS (1685-1734) 'The Newspaper Sellers', A View of Ludgate Hill from Fleet Ditch, with Ludgate, Church of St Marin and St Paul's Cathedral Oil on canvas, 61 x 50cmProvenance : Sale, Sotheby's, London, 18 November 1981, lot 15; Sale, Adam's, 18 November 2021, Lot 601ALiterature: S. Herring 'Pieter Angellis 1685-1734, Oxford DNB 2004; Walpole, Anecdotes of Painting in England Walpole Society, vol. 3; K.T. Parker 'Mercier Angelis and DeBar Old Master Drawings' 1938-39Angellis lived in London's Covent Garden from 1719 to 1727 where he painted many local views with social activities, conversation pieces and market scenes. While in London he collaborated with Peter Tillemans, John Vanderbank and others.

Two Bound Volumes by Charles Dickens, Master Humphrey's Clock, Barnaby Rudge and Old Curiosity Shop Published by Chapman and Hall 1840

A BUILDER'S MODEL OF H.M. MONITORS M19-M28, BUILT BY SIR RAYLTON DIXON & CO. LTD, MIDDLESBROUGH, 1915the 43in. laminated and carved hull with lined and lacquered decks and silver fittings and armaments as appropriate, masts with radio aerial and lanyards, mounted on four silvered baluster supports, contained within original glazed display case with ivorine plates -- 26½ x 56 x 19in. (67 x 142.5 x 48cm.) on original stand -- 39in. (99cm.) highThe Worshipful Company of Shipwrights, presented in 1951 by Sir Gervais d'Eyncourt, Bt., in memory of his father, Sir Eustace H. Tennyson d'Eyncourt, Bt., KCB, Master 1928-1929.The genesis of the ‘monitor’ – and indeed the very name itself – derives from the extraordinary ironclad designed by John Ericsson for the Union Navy in 1862 during the American Civil War, and its celebrated, albeit inconclusive, duel with the Confederacy’s Merrimack. This first encounter between ironclads clearly marked a turning point in naval warfare although, initially at least, the rest of the world’s navies proved rather unenthusiastic about the low freeboard, shallow draft vessels mounting a single big gun and christened monitors which were intended for coastal bombardment, The Royal Navy flirted with them briefly after the Franco-Prussian War (1870) had unsettled international relations, but the resulting four vessels built at enormous expense proved costly failures and the concept of the purpose-built coastal defence vessels was left in abeyance.In 1912, Vickers received an order for three small river monitors from Brazil but, by the time they were completed in February 1914, the Brazilian Navy no longer had the funds to pay for them. Largely to prevent them being acquired by a potentially hostile state, the Admiralty decided to purchase them and took possession of them on 3rd August 1914, one day before War was declared. When the somewhat ramshackle fleet of old battleships and gunboats then failed to make any impact on the outcome of the War from its bombardment of the Belgian coast in October 1914, the Admiralty, under its mercurial First Sea Lord Admiral ‘Jacky’ Fisher, decided the time was ripe to resurrect the idea of coastal monitors. Designs were tendered for rapid completion under relentless pressure from Fisher, too quickly in fact, and initially some basic mistakes were made; orders soon went out to yards across the country but many found it hard to keep up with the seemingly endless design changes. Fisher, as was his style, was so fired up with enthusiasm that he even resorted to seizing big guns from capital ships nearing completion along with any spare marine engines he could find.By early 1915, the monitor construction programme had virtually exhausted the stock of heavy gun mountings yet Fisher still demanded ever more heavily-armed coastal craft for the various amphibious operations he was planning in his fertile mind. In March 1915, the fourteen M15 class monitors were ordered and laid down, ten of them in the Raylton Dixon yards on the Tees. Measured at 540 tons (650 deep-loaded), each was 177 feet long with a 31-foot beam and had a supposed but rarely achieved top speed of 11 knots. With a primary armament of 1-9.2in. gun, they should have made a worthwhile contribution wherever they were employed whereas, in reality, almost all the monitors were ungainly even in moderate seas and it remains highly debatable whether they ever justified the colossal sums spent on building them.The service careers of Raylton Dixon’s M19-M28 were broadly similar, serving in either the Mediterranean or with the famous Dover Patrol. Most survived the Great War except for M25 and M27, which had to be blown up in the Dvina River during the abortive expedition to North Russia in 1919, and M28 which was sunk (along with another monitor, Raglan) by the German battlecruiser Goeben in company with the light cruiser Breslau in an action off Imbros, the largest island of Turkey.Fine original condition; Stand fragile with old glue visible in the joints. Some dust in case.

VERTIGO SWIRL - LP PACK. A quality pack of 7 LPs, all released on Vertigo. Artists/ titles include Black Sabbath inc Master Of Reality (6360 050, laminated box sleeve), Vol 4 (6360 071, small swirl labels). Colosseum inc Valentyne Suite (VO1, large swirl), Daughter Of Time (6360 017, small swirl). Rod Stewart inc An Old Raincoat Won't Ever Let You Down (VO4, small swirl), Gasoline Alley (6360 500, small swirl) and Status Quo - Piledriver (6360 082, small swirl). Condition is generally VG to Ex+.

OLD MASTER STYLE DRAWING: A PENCIL SKETCH OF A MAN WITH A BEARD14cm x 9cmFramed and glazed.

Three bottles of blended Scotch Whisky, Some bottled 1980s, to include Dunhill old master, Roderick Dhu, The Gordon Highlanders, and Hedges & Butler special pure malt Scotch whisky, all 70cl, 40% vol. (4)

Old Master type, pen, ink and wash drawing on woven paper - The Adoration, 20cm x 13cm, in glazed frame, gallery labels verso

Three Old Master Oval Prints in Gilt Frames (3).

Old Master pen and ink on paper, group of figure studies, sheet 12.5cm x 20cm, framed

Satire.- Austin (William) Collection of 11 satirical prints, from an unidentified series, etchings with hand-colouring, the majority numbered in the upper right corner, each sheet approx. 320 x 420 mm (12 1/2 x 16 1/2 in), all laid down onto paper or card support, some marginal losses and restored nicks and tears, some toning and surface dirt, all unframed, 1773 (11)*** Drawing master, engraver, caricaturist; sold new and old prints, drawings and drawing materials, and framed and repaired pictures.In 1747 was apprenticed to George Bickham jr, then worked for Thomas Major; recorded in list of eminent painters in Universal Magazine in 1748; his earliest known work appears to be trade-card for Bingeant, gold chaser, dated in 1751 in Heal collection (Heal,67.24), in early 1760s in business with Gerard Van der Gucht in Hanover Square; 1764-7 he was based at the former Brawn's Head Tavern in Bond Street. Seems then to have worked primarily as a drawing master after 1766 although in 1776 he exhibited for the first time at the RA. Like many drawing masters he visited Bath and his visit in 1778-9 is well documented. Later in his career ran other print shops, including the Patriotick Print Rooms in St James's Street, where in 1785 he was selling terracotta busts of Whig leaders as well as prints. By 1797 was living in Brighton where he died. [BM website]

Sold by Order of a Direct DescendantThe unique and superbly well-documented 'Far East Communication Squadron 1950' A.F.M. group of seven awarded to Master Signaller J. B. C. Browne, Royal Air Force, who was awarded his Nuclear Test Medal for the 'Christmas Airways' flights to Christmas Island during Operation GrappleBrowne's remarkable career saw him flying during the Second World War, earning his A.F.M. in the east for flights which included missions to China redacted from his service papers and flying the Royal Couple during their 1961 Royal Tour of NepalAir Force Medal, G.VI.R. (571907 Sig. I. J. B. C. Browne. R.A.F.); 1939-45 Star; Defence and War Medals 1939-45; General Service 1918-62, 2 clasps, Malaya, Arabian Peninsula (571907 Sig. I.A. J. B. C. Browne. R.A.F.), the second detached in its named box of issue; Royal Air Force L.S. & G.C., E.II.R. (M. Sig. J. B.C. Browne. (571907) R.A.F.); Nuclear Test Medal, unnamed as issued, the first six mounted as worn, the last in its named box of issue, sold together with a large archive including the recipient's flying log books, minor contact wear to sixth, overall good very fine (7)A.F.M. London Gazette 8 June 1950, the original recommendation states:'Signaller I Browne joined the Squadron in October, 1948, having been in Japan from October, 1947, and has been employed as a V.I.P. Signaller. He is a first class non-commissioned officer with exceptional technical ability, having consistently held an 'A' category since August, 1946. During the last six months he has completed 300 flying hours on some of the most important flights assigned to this Squadron, and he has also extended his 'A' category to cover York aircraft as well as the Dakota, the type in which he is primarily signaller and, on numerous long distance flights during his tour of duty in the Far East Communication Squadron, he has carried out his duties in an exemplary manner. He has shown ability, coolness and enthusiasm and is an outstanding non-commissioned officer.'Note the Recipient's Flying Log Book for the period of 1947-1952 is missing, it is believed to have been recalled owning to a redacted mission in China rather than misplaced or lost.John Blake Cameron Browne (who later changed his surname to Howard) was born in Kensington, London on 19 February 1922, the son of Andrew and Wilhelmina 'Billy' Browne. His father was a former professional soldier who served as a Sergeant-Major with the Essex Regiment and was seriously wounded in the leg at Gallipoli. He appears to have suffered from post-traumatic stress disorder and left the family in 1929 leaving his wife to raise the children herself. The young Browne received only a basic education however this was enough for him to pass the entrance tests for an apprenticeship at R.A.F. Halton on 24 August 1937.He was initially posted to the Electrical and Wireless School before transferring to No. 2 Wireless School on 26 March 1938. He must have proven himself a quick learner as he was soon selected to leave Halton for Cranwell, where he specialised as a Signaller. He was still there on the outbreak of the Second World War on 3 September 1940, they spent the day dispersing the aircraft around the perimeter of the airfield in case of air raids.The Second World WarQualifying as Wireless Electrical Mechanic on 29 January 1940, Browne reached his majority the next month on 19 February and was appointed Aircraftman Class I the same day. Posted first to No. 29 Squadron and advanced Leading Aircraftman on 1 April 1940 he served with them at R.A.F. Digby. Here he was on the receiving end of several bombing raids, being promoted Corporal on 31 December 1940. The Squadron re-equipped with Bristol Beaufighters to replace their old Blenheims not long later.Transferring to R.A.F. Pembury he undertook an air gunner's course, becoming qualified on 6 January 1943 and advanced Sergeant on 7 January. Joining No. 10 Radio School Carew Cheriton, he served there until 17 February 1943 when he was posted to Coastal Command's 131 Operational Training Unit which was located on Loch Erne in Northern Ireland. There he had his first flight on a Catalina flying boat on 18 February.Having qualified, Browne was posted to the newly formed 265 Squadron based in Northern Madagascar. After a gruelling journey across Africa, he finally reached the posting in early June and began to undertake fleet escort and search and rescue missions as Wireless Operator/Air Gunner. Racking up increasing Operational flying time in December he had 250 hours and was advanced Flight Sergeant on 6 January 1944.Over the next year he was to continue in this role, adding Meteorological Flights to his duties. The last of Browne's wartime flying was with 265 Squadron having undertaken 562 hours of Operational flight with them and an impressive 1076 hours in total. Posted to R.A.F. Wymeswold on 5 May 1945, he arrived on 8 May - V.E. Day - to discover the station all but deserted, the guard on the front gate informed him that everyone was celebrating in the pub.V.I.P. Flying, a Redacted Mission and a Crash LandingBrowne retrained with Douglas Dakotas and was soon posted to 147 Squadron, flying for Transport Command. This Squadron flew from Britain to Europe allowing Browne to assemble a collection of European banknotes which he stuck into his log books.Joining 24 Squadron for V.I.P. transport flights in October 1946 he was posted to the British Commonwealth Air Force in Japan the following year. The next year Browne again moved, this time to the Far East Communications Squadron. Two months after he joined them a period of one week on his service records is redacted, this combined with his missing log book covering this period is suggestive of a clandestine mission. The cataloguer must leave it to the reader to imagine the nature of this work however it occurred at a time that Browne was known to have been flying to China, then embroiled in the Civil War.Returning to Britain in April 1950 he was awarded the Air Force Medal at R.A.F. North Luffenham for his work with the Far East Communication Squadron. His work there had also entitled him to the Malaya bar for his General Service Medal however this would not be issued at the time and Browne was to receive the G.S.M. for a separate campaign. Joining 242 Operational Conversion Unit as a Trainer and he was recommended a Commission at that point however he rejected the offer, feeling that he preferred his role as a Warrant Officer.Returning to No. 24 Squadron on 6 December 1953 he rang in the new year with a promotion to Master Signaller on 31 December. One of his early flights here on 22 May 1954 was transporting Anthony Eden (then Foreign Secretary) and Lord Ismay (then Secretary General of Nato) from Geneva to Paris and thence to Britain. A further flight in July almost led to disaster as the crew lost their way between Suffield, Alberta and Britain. An S.O.S. signal was sent out and after a tense period of waiting were picked up by a passing liner which was able to give them their co-ordinates, with their available fuel they were just able to make an emergency stop at the Azores Islands.That same year he performed trips to Australia which included the transport of material and personnel involved in the developing Nuclear programme. During one routine training mission the next year out of R.A.F. Abingdon the Hastings aircraft Browne was flying in crashed on landing. Fortunately the crew were all unharmed although the aircraft itself lost a wing. The next year he transferred to No. 47 Squadron flying mostly to the Middle East, Cyprus and Malta.Christmas Island Airways and Operation GrappleBrowne had alr…

THE WATCHES & ARCHIVE OF SHEILA SCOTT O.B.E. (1922-88), 'BRITAIN'S QUEEN OF THE AIR'Given all that could be written about this remarkable aviatrix, the cataloguer turns firstly to Encyclopedia Britannica:'Sheila Scott was born on 27 April 1922 at Worcester, Worcestershire and was a British aviator who broke more than 100 light-aircraft records between 1965 and 1972 and was the first British pilot to fly solo around the world.After attending a Worcester boarding school, Scott became a trainee nurse at Haslar Naval Hospital (1944), where she tended the wounded during World War II. In London she appeared in small roles for theatre, film, and television and worked as a model (1945–59). In 1960 she earned her pilot’s license, bought an old biplane from the Royal Air Force, and won several races, capturing the De Havilland and Jean Lennox Bird trophies for that year. To pay for her flying, she became a demonstrator for Cessna and Piper aircraft.Scott first flew around the world in 1966, covering about 31,000 miles (50,000 km) in 189 flying hours. She set world records when she flew between London and Cape Town (1967) and across the North Atlantic Ocean (1967), the South Atlantic Ocean (1969), and from the Equator to the Equator over the North Pole (1971). After her record polar flight, she made a third around-the-world solo flight, earning her 100th world-class record. She wrote I Must Fly (1968) and On Top of the World (1973; U.S. title Barefoot in the Sky, 1974). Scott was made an Officer of the Order of the British Empire (OBE; 1968), and she received the Royal Aero Club’s Gold Medal (1972). She died at London on 20 October 1988.'Further notice should be made the fact that Scott was likely the inspiration to Ian Fleming for the alluring 'Pussy Galore' in Goldfinger, played by Honor Blackman in the 1964 movie.Her flights with NASA in 1971 are also worth mention:'Sheila Scott is pictured here with her Piper Aztec 'Mythre', in which she made her world and a half flight in 1971. On this flight, she became the first person to fly over the North Pole in a single engine plane. She carried special NASA equipment for a communications experiment testing the Interrogation Recording and Location System (IRLS) of the Nimbus polar orbiting satellite. The IRLS equipment, a Balloon Interrogation package, transmitted data on Scott’s location during the 34,000 mile (~55,000 kilometer) flight to the Nimbus satellite, which relayed it to NASA’s ground station at Fairbanks, Alaska and then to a computer center in Greenbelt, Maryland. Sheila Scott’s record-making, historic flight confirmed the satellite’s ability to collect location data from remote computerized and human-operated stations with a unique “mobile platform” location test.'She was Roy Plomley's castaway on Desert Island Discs in January 1967, her luxury being tobacco seeds to ensure a never-ending supply of smokes. Scott was always seen as a somewhat quirky individual and flew barefoot, claiming she could feel the controls better. She always signed of 'Happy Landings!' and we hope these treasures will find much the same.Sheila Scott's famous Rolex GMT-Master 'Pepsi' stainless steel automatic dual time wristwatch, first worn on her famous 1966 record-breaking long-distance flightRolex, stainless steel automatic dual time wristwatch with date and leather bracelet, this rather worn, Ref. 1675, GMT-Master 'Pepsi', with bakelite bezel, stainless steel Oyster case, screw-down crown and back the reverse engraved 'SHEILA SCOTT', blue and red 24-hour calibrated bezel, No. 1255812, the applied triangular and dot indexes upon the face 'factory' luminated with radium marker, 40mm, in running condition at time of cataloguing but would likely benefit from a service, a most historic object, very fineProvenance:Philips, December 1989 (Sold by Order of Sheila Scott O.B.E.).Scott wore this very watch on her famous flights. Her image - and this watch - was the first to ever market sports watches for wear by women. Scott commented that it was '...a marvelous watch.'It is no surprise that 'Pussy Galore' also wore a 'Pepsi' in Goldfinger.…

Frank Zappa - The Old Master Box Three, ZM3-04070, Waka/Jawaka BPR-9999-1, The Grand Wazoo BPR-9999-2, Over-Nite Sensation BPR-9999-3, Apostrophe BPR-9999-4, Roxy & Elsewhere BPR-9999-5, One Size Fits All BPR-9999-6, Bongo Fury BPR-9999-7, Zoot Allures BPR-9999-8, housed in a cardboard box.

* CHARLES OAKLEY (BRITISH 1925 - 2008), DARDANELLES pencil on card, signed, titled and dated '85mounted, framed and under glassProvenance: Pyms Gallery, London (label attached to the reverse of the frame) Exhibited: Pyms Gallery, London, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', 24th June-19th July 1986, cat. no.2Literature: Charles Oakley and Mary Hobart, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', Arts Council of Northern Ireland, Belfast, 1986, cat.31 (unpag.) (illus.)image size 19cm x 35cm, overall size 26cm x 41cm Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen.

KNOCKANDO 21 YEAR OLD MASTER RESERVE LA ROUTE DES SAVEURS SET WITH GLASSES SPEYSIDE SINGLE MALT 43% ABV / 70cl

2 BOTTLES OF JOHNNIE WALKER 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 18 YEAR OLD GOLD LABEL 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 75CL AND DOUBLE BLACK 1L BLENDED WHISKY Gold Label - 40% ABV / 75clDouble Black - 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 43% 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 PURE MALT 43% 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 18 YEAR OLD PLATINUM 1L BLENDED WHISKY "Celebrating the ISC Global Supply & Procurement Excellence Market of the Year 2015"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 12 YEAR OLD BLACK LABEL MCLAREN EDITION 1L BLENDED WHISKY 43% 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.

Louis Icart (French, 1888-1950) 'Vitesse' (Speed II), 1933etching with aquatint and drypoint in colours, signed 'Louis Icart' in pencil and inscribed '105', with artist's blind stampplate 39.5 x 65.5cmProvenance: Bonhams, Knightsbridge, 'Old Master, Modern and Contemporary Prints', 21 September 2011, lot 298.Condition ReportFramed: 66.5 x 89cmA little time staining. Some small spots of foxing starting to emerge. Two small black spots in the margin in the lower right corner. An extremely faint, small brown mark to the margin in the upper right. Not viewed out of glazed frame.

An U'u war club style, carved in heavy hardwood, the double sided top carved to resemble a human face, the shaft with intricate finely carved tiki figures by the master artist. Provenance: From a British estate collection. Comes with the email opinion from Anthony JP Meyer owner of Gallery Meyer Oceanic art - Eskimo Art: Thank you for the email. Indeed your UU is very unusual - first of all it was not made in the traditional period for these weapons or staffs of office. It was made much later and secondly it was carved in a very unusual and idiosyncratic style, possibly there are others by this artist but I have not so far seen any. The arrangement of the motifs is completely non traditional but shows a very pronounced aesthetic organisation and while I consider it to be a commercial curios ,it certainly is very beautiful and compelling in its style. I would presume that it was made within the last 60/70 years, thus in the second half of the XXth century. The more classical so called gauguin type of UU made after 1900 are simply unpleasant renditions or exaggerations of the early UU. They are usually evaluated at less than 1000 euros. Yours ought to fit within this price limit. For objects with similar decoration, see the French museum: Mus??e du quai Branly, which dated them from the 19th to early 20th century. inventory numbers 71.1962.0.3 X Oc 71.1930.44.13 71.1888.46.1 82cm tall. Good overall, with some drying cracks, scuffs, and with remains of old patina. From a UK estate collection. Ex UK private collection.

An 18th century diamond-set mourning clasp, the plaited hair panel to front within a surround of old mine-cut diamonds in silver and yellow gold, inscription to reverse: 'Sir Griffith Boynton.Bar' born July 17th: 1769. Francis Boynton born 28. Mar: 1777. Henry Boynton. born 22 Mar: 1778', length 2.5cm, caseSir Griffith Boynton, 7th Baronet (1769-1801), was born and baptised on 17th July 1769, the eldest son of Sir Griffith, 6th Baronet (1743-1778). He was educated at Trinity College, Cambridge, achieving a Master of Arts in 1789. He married Ann Maria, daughter of Capt. Richard Parkhurst, in Winchester on 7th August 1790. Sir Griffith died without issue at Burton Agnes and was buried there on 28th July 1801.Provenance: The Private Collection of the late Michael and Margaret Susands

Large 17th/18th Century Flemish School Old Master Battle Scene.Oil on Canvas. Appears to be unsigned.Sight Size: 37 x 49.5 in.Overall Framed Size: 44 x 56.5 in.

A luxurious Taylor Fladgate Tawny Port vertical tasting set featuring four bottles of aged tawny port: 10, 20, 30, and 40-year-old expressions. Taylor Fladgate, one of the oldest and most esteemed Port houses, has been producing exceptional fortified wines since 1692. This set offers a rare opportunity to experience the progressive complexity and depth of flavors that develop with extended barrel aging. Each bottle is elegantly presented in a custom wooden display box, which features a quote from William Shakespeare: "Let every man be master of his time." A perfect addition for collectors, connoisseurs, or as a distinguished gift.Issued: 2019Dimensions: 12.25"L x 3.25"W x 11.5"HCountry of Origin: PortugalIn-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear. Bottles appear unopened with intact seals. Wooden box in excellent condition.

CIRCLE OF JONATHAN RICHARDSON (c. 1665-1745) oil on canvas - Portrait of Arthur Williams of Meillionydd (1681-1723), inscription top left added by the Welsh artist William Parry in 1783/4, 76 x 63.5cmsNote: The arresting visual impact of this unusually prodigious Caernarfonshire squire is enhanced by his vibrant scarlet robe and a florid complexion suggestive of an early familiarity with port. When John Steegman compiled his list of the portraits at Nannau, he noted that this picture was so dirty that the inscription was ‘barely legible’. However, recent cleaning has revealed the canvas to be in excellent condition. The early decades of the 18th century present particular challenges with regard to the attribution of British portraits. This is a production of considerable quality which owes a good deal to the style of Jonathan Richardson. As the Penllyn squires were often more familiar with Dublin than with London, it is as likely to have been painted in Ireland as in Wales. Meillionydd lies east of the village of Rhiw in the remotest reaches of Penllyn. The original plas was much altered in the 19th and 20th centuries but part of the old house, dating from around 1600, remains intact. The Williams family were descended from the Cochwillan branch of the powerful Griffith family of Penrhyn and by the time Arthur Williams succeeded they had accumulated an extensive and productive estate. He served as High Sheriff in 1702 and the following year he further enhanced his family’s fortunes when he married Meriel Williames, the heiress of the Ystumcolwyn estate at Meifod in Montgomeryshire. Judging by his apparent youth, it seems likely that Arthur’s portrait was painted during this significant period of his life. In 1765, Arthur’s grand-daughter Ann, the heiress to Meillionydd, was betrothed to Robert Howel Vaughan. Their early married life was spent in and around Chester where Vaughan was working as a surgeon. However, in 1783 he succeeded his unmarried brother Hugh to become owner of four estates: Nannau, Hengwrt, Meillionydd and Ystumcolwyn. Robert Howel Vaughan was a major patron of the Welsh portrait painter William Parry, who, in 1784, painted both husband and wife and included their coats-of-arms and identifying inscriptions. It is clear from the matching script that he also added identifying inscriptions to the Williams family portraits which Ann Vaughan brought to Nannau following her marriage.Nannau was sold by the Vaughans in 1966, but they retained all their family portraits and associated relics. These were later distributed amongst their daughters who, in turn, began a long process of disbursal from the late 1980’s until 2008. In 1990, Arthur Williams’ picture was included in a sale of British and Old Master Paintings at Sotheby’s when it was bought by an Irish dealer, and it subsequently entered a private collection in Ireland.Provenance: By descent at Nannau, Dolgellau; Sotheby’s, 28 February 1990, lot 235 (Hammer price £2800, with a portrait of an unknown lady c. 1720); Private Collection, IrelandComments: framed, ready to hang

Three engravings by Wm Wilson of old master paintings by George Lambert, Zuccarelli and Claud Lorrain, 31 x 38 cm (3)

Antonio Jose Landaeta (active in Caracas, Venezuela, 1748 - 1799)“Immaculate Conception”Oil on canvas.51 x 40 cm.The Immaculate Conception, attributed to Antonio José Landaeta, master painter and gilder active in Caracas between 1748 and 1799, is an oil on canvas of small dimensions, characteristic of the Venezuelan school of the 18th century.At first sight, we observe an exquisite image of a young woman, dressed in a white tunic and with a blue mantle superimposed with her hands together almost subtly crossed over her chest against a background or sea of clouds of golden tones, and a cascade of cherubs and angels.Compared with other works by Landaeta and with the portrayals of the Immaculate Conception in the Cisneros and Santaella Garrido collections, this painting shares a similar approach to composition and symbolism. However, there are differences in the tones and distribution of the decorative elements, suggesting a stylistic evolution within the Landaeta workshop. When analyzing the other two comparative paintings, we observe that the curtains and the backgrounds have similarities in the brocade technique and in the depiction of the cherubs, which reinforces the stylistic coherence within the artist's work.Likewise, we observe a delicacy in the handling of proportions and an attention to detail that denotes academic influences and that locate the work in the late Venezuelan baroque, with aspects that stand out in much of Landaeta's work, such as the use of soft tones and the fluidity in the folds of the clothing, which reflect an interest in naturalness and movement. In addition, the chromatic palette of soft tones, with a predominance of ochers and pinks in the backgrounds, is a distinctive characteristic of Landaeta and the school that bears his name. This treatment, together with the expert handling of the drawing and the decorative details, underlines the mature style of his work. All this reaffirms the attribution of this painting of the Immaculate Conception to the artist.Landaeta was part of a historical context in which the Catholic Church promoted intense devotion to the Virgin Mary, reflected in this painting. In Caracas, artistic activity was linked to both religious orders and local elites, who commissioned artworks that reflected their faith and social status. Landaeta, as a painter and gilder, contributed to this tradition not only with highly symbolic paintings, but also with decorative commissions for churches and confraternities. His workshop, shared with his brother Juan José, produced art that combined local influences with European models, adapting engravings and compositions spread from Spain and other parts of the American continent.Iconographically, this portrayal of the Immaculate Conception follows a European model widely disseminated in Latin America, inspired by engravings such as those of J. Salvador Carmona, based on paintings by Mateo Cerezo. However, Landaeta's version introduces local elements, such as warmer tones and the dynamic arrangement of the cherubs. These details reinforce the connection between the Virgin and the faithful, highlighting her role as intercessor and protector in a context of religious fervor.The painting was intended to spread the dogma of the Immaculate Virgin, much more complex than the simple virginity before, during and after the birth of Jesus; and that throughout history has been the cause of controversies and disputes, of defenders and detractors. The former, led by Franciscans and later by Jesuits, ardent supporters of this dogma who based their defense on texts by John Duns Scotus (13th century). Among the detractors, the Dominican order stands out, with a more erudite theological base that made its main philosopher Thomas Aquinas (13th century) reject this concept. To highlight the painting, two of the large angels, to the right and left of the Lady, hold four symbolisms of the Lauretan Litanies: a palm of martyrdom, symbolizing Mary as Queen of martyrs; and a rose held in the other hand, referring to Mary as a mystical Rose; the other angel carries a lily of the field and a mirror, projecting Mary as a mirror of justice. The Lauretan Litanies present here are a compilation of metaphors, taken from sacred texts, mainly from the Song of Songs in the Old Testament, which were used to praise the Virgin Mary and as a means of prayer, based on constant repetition. We see, therefore, a perfectly defined image, the image of the Virgin, at the same time as a concept as elusive as that of the virginal Conception. We see her reflected in the baroque artistic style that envelops her, full of rapture, movement, exuberance, flying drapery and details, even the air that keeps everything moving. Reference bibliography:- Boulton, Alfredo. (1975). “Historia de la pintura en Venezuela. Época colonial, vol. I”. Ernesto Armitano Editor.- Duarte, Carlos (2000). “Diccionario biográfico documental. Pintores, escultores y doradores en Venezuela”. Fundación Galería de Arte Nacional, Fundación Polar.- Galería de Arte Nacional. (1982). “Diccionario de las Artes Visuales en Venezuela”, vol. I. Monte Ávila Editores.

Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition,  Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.

HEATH ROBINSON (William, illustrator): 'Old-Time Stories told by Master Charles Perrault..': London, Constable & Co, 1921: FIRST EDITION: tipped-in colour illustrations, publishers red cloth gilt, slightly damp marked to fore edge, short fray to head of hinges and minor wear but a good bright copy: with 4 other books, illustrated by Dulac or Rackham. (5)

A collection of Old Master prints, predominantly of religious, figurative subjects, after Italian 16th-17th hands, including Titian, Veronese, Barocci, Guercino etc, various sizes (approx. 30)

Literature, various. FIELDING (Henry) The History of Tom Jones, a Foundling, 4 vols., 1808, 12mo, uncut, boards; PEARSALL (Richard) Contemplations on Butterflies, on the Full Moon and in a Walk through a Wood, Vol. II only, 1758, 8vo, 3 parts in one, 3 frontispieces, calf; Fragments of Original Letters of Madame Charlotte Elizabeth of Bavaria, 2 vols. in one, 1790, 8vo, calf; HERBERT (Edward, Lord Herbert of Cherbury, The Life of ---, 1770, double page frontis portrait, calf, front board detached; STEVENS (George A) The Dramatic History of Master Edward, Miss Ann and others, 1786, 12mo, plates, worm track to a few leaves, calf; A Collection of Old Ballads, 3 vols, 1723-25, small 8vo, 41 (of 47) plates, calf; SPENSER (E) The Works, vols. 1-4 & 6, 1715, 8vo, calf; GAY (John) Fables, 1793, 8vo, illustrated, half calf, worn; another copy, 5th edition 1737, 8vo, calf; with various others including odd or incomplete volumes. Sold not subject to return

Registration No: N/A Chassis No: 9489 MOT: N/AAn incredibly competitive full-blooded single-seater racing machine, described by many as an 'ERA - eater'Built in the mid 70s as a collaboration between Paul Holdsworth, the famed Louis Giron and Rod JolleyFitted with a Supercharged 4.3 Litre Speed 25 power unit developed and built by the late Louis Giron of ex-Bugatti fameAluminium single-seater body expertly crafted by owner Rod Jolley - internationally respected coachbuilderEligible for several historic racing events such as within the VSCCIt is without doubt that the Alvis Speed 20 caused a sensation when previewed in October 1931 and eventually released to the public early the following year. Inspired by Donald Healey's Monte Carlo Rally-winning Invicta S-type, the Speed 20 was the brainchild of marque draughtsman Arthur Varney. The `double dropped' chassis frame was fabricated from high tensile carbon sheet steel and enjoyed a notably low centre of gravity. The newcomer was equipped with all-round semi-elliptic leaf-sprung suspension, a Marles Weller steering box and cable-operated 14-inch drum brakes.Fast forward some fourty years after the Speed 20's release, and Rod Jolley, who by trade is a master coachbuilder responsible for the restoration and rebodying of some of the finest motor cars in the world, had a brainwave to create a pre-war racing Alvis which would give the ERA's a run for their money on the circuit. Teaming up with his friend Paul Holdsworth who financially backed the project provided Rod completed the physical work, a plan was drawn up to use a Speed 20 chassis with a supercharged Speed 25 engine fitted with a 4.3 Litre cylinder block and head. Rod had already used famed Belgian engineer, Louis Giron to build a 4.3 Litre engine for a road car which he had used on track, so therefore Giron was approached again to help develop an engine that would be fitted with a Godfrey Marshall blower and ran on Methanol. Giron himself was a master engineer and his apprenticeship had taken place at Bugatti where he had helped to construct the 1924 Grand Prix car. He then moved to England in the 1930's, setting up his own business as a motor engineer and after a long career he eventually became the technical lead at the Beaulieu National Motor Museum. Giron became very interested in the whole project and dedicated much of his time to helping Rod get the car together. In Rod's own words:"I met Louis Giron, the famous Belgian engineer who came over to the UK in the 1930's before fully settling in 1939 with his family, to escape the war, or so he hoped.He was best known for his work with GP Bugattis and Maseratis but was also a pretty handy racing driver in his day.In his later years he worked at the National Motor Museum as their chief technical engineer, which is where I met him, frequently visiting the museum for whom I carried out various coachbuilding tasks.We became firm friends and when I told him that I wanted to build and develop a competitive Alvis racing car, he immediately offered his help, which was very welcome because my knowledge of supercharging and methanol at that time, was almost zero, but I learned pretty quickly!In the end, Louis did most of the machining and together we built the engine, but he also had major input in the chassis setup. I built a body, based loosely on a GP Mercedes / Alfetta 158. The car still proudly wears the rev counter from Louis' dynamometer, which he kindly donated to the project."And thus was formed what became the Giron-Alvis Special. During its first time out testing, Rod was at the wheel and Giron was in attendance to keep an eye on the mechanics of the car, and it was initially presented badge-less. Rod recounted that a particularly proud moment came when he stuck the bespoke enamel badge on the radiator cowling and surprised his friend who is said to have been very moved by the occasion.It would take some five years to develop the car enough to achieve the magic combination of reliability and speed, which would ultimately lead to some thirty years of success. Rod has advised that the ultimate specification is as follows:The engine is fitted with a billet steel crank and con rods, shell bearings, Mahle forged pistons, high lift cam and an updated oil pump. This was mated to a very desirable close-ratio Silver Crest gearbox with straight-cut gears and an uprated main-shaft for strength. Finally, the Godfrey Marshal supercharger was fitted with lightweight steel rotors which were machined from solid billets as they were found to be much lighter than the original aluminium ones. The supercharger is currently set to a low boost configuration yet develops some 300hp and 300ft/Lbs of torque, but Rod estimates that reconfiguring it to high-boost format should develop an extra 100hp – a rather frightening thought given how quick the car currently is!During fifty years of ownership, the Giron-Alvis has turned heads and become a highly regarded car, if not just for its race wins (in many cases in post-war classes!) but also for its genuine good looks thanks to Rod’s skilled coach working. Today, the single seater still appears to be in exceptional condition, testament to the ongoing maintenance schedule that has been kept up. In fact, in preparation for sale, it was noted that one cylinder had lost compression, so Rod immediately stripped the cylinder head from the car to discover a loose valve seat which was immediately taken to the engineers to be re-machined. We can confirm that the car when inspected was running very well indeed and Rod confirms that it is in ‘excellent’ order all round.Due to Rod’s advancing years and limited time to enjoy all the cars in his collection, he now feels that it is time to part company with this machine which has become a faithful old friend and is sure that it will bring a lot of joy to any prospective new owner. Rod has advised that some prep will be required to get it back out and competitive, but this is to be expected with any historic racing car and is all part of the fun.So, if you have been considering getting into pre-war racing and want to be genuinely competitive then surely the Giron-Alvis is one to be considered? Both beautiful and competitive, the modest estimate does not get close to the cost outlay to build a machine of this calibre today, and especially not with the expertise onboard to get it quite as right. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430

A PAIR OF GILT COPPER PLAQUES WITH MARTYRS, PROBABLY SAINT PLACIDUS AND SAINT MAURUS SOUTHERN NETHERLANDISH, LATE 17TH/ EARLY 18TH CENTURY Of arched rectangular form, set on red velvet lined faux tortoiseshell frames Plaques 23cm high, 17cm wide Frames 35 by 29cm Provenance: Sir William Aykroyd Philip Hewat-Jaboor Sotheby's Old Master Sculpture & Works of Art, 6th December 2022, lot 27

THE TRIAL OF FRANCIS CHARTERIS The Proceedings at the Sessions of the Peace, and the Oyer and Terminer, for the City of London, and County of Middlesex Held At Justice-Hall in the Old Bailey, on Friday the 27th of February last, before the Right Honourable Sir Richard Brocas, Knt. Lord Mayor of the City of London; the Honourable Mr. Justice Price, Mr. Justice Probyn, and Mr. Baron Thomson, upon a Bill of Indictment found against Francis Charteris, Esq; for commiting a Rape on the Body of Anne Bond, of which he was found Guilty. London, Printed for T. Payne, 1730, later bound in half tan calf with marbled boards and gilt-titled spine, having additional pages for notes (partially filled by former owners George Dempster and latterly J. MacCallum), armorial bookplate of George Dempster inside front cover and an inscription in MacCallum's hand reading "Purchased at the sale of G. Dempster's Library 2nd December 1850. Edinburgh. See notes at the end of the letter press", 16mo Colonel Francis Charteris (C1675-1732), notorious rake, so-called "The Rape-Master General of Great Britain". His trial in 1730 was a popular sensation, concluding with his being sentenced to death by hanging. Charteris was subsequently pardoned and died in ignominy of natural causes. In his final moments, he is said to have offered £150,000 to anyone who could prove to him that there was no hell. He inspired characters in Hogarth's A Rake's Progress and Harlot's Progress and in the novel Fanny Hill. Condition Report:Available upon request

* Classical and Old Master Prints. A collection of approximately 80 prints, 17th - 19th century, etchings and engravings of classical and religious scenes, genre, landscapes and portraits, including examples by or after R. Earlom/ Claude Lorraine (including plates from Earlom's 'Liber Veritatis'), G. Poussin, J. Wood, P. C. Canot, Vivares, C. Schut, J. Mason, J. Callot, D. Teniers, J. Powell, C. David, G. Mitelli, A. Lafreri, A. Waterloo, W. Hollar, F. Barlow and N. Visscher, various sizes and condition QTY: (approx.80)

* Classical and Old Master Prints. A collection of approximately 170 prints, 17th - 19th century, etchings, mezzotints and engravings of classical and religious scenes, genre, landscapes and portraits, including the twelve apostles by Henry Overton, with examples by or after J. Smith, P. Canot, R. Earlom, F. Bartolozzi, J. Mason, P. Chenn, E. Cooper, W. Walker, J. Fitler, J. Scott, F. van Hoven, P. Angier, J. Reidinger and A. Durer, various sizes and conditionQTY: (approx. 170)

* Classical and Old Master Prints. A collection of approximately 25 prints, 17th - 19th century, etchings and engravings of classical and religious scenes, genre, landscapes and portraits, including examples by or after Rubens, Veronese, Sadeler, Vorstermann and others, various sizes and conditionQTY: (approx.25)

Sotheby's and Christie's catalogues, including jewellery, Old Master drawings, country furniture, books, fine art and silver. (a quantity)

North European School, early-mid 19th century - Portrait of a Gentleman, after the 16th c Old Master, oil on panel, 25 X 16cm Generally good condition, one or two dormant wormholes. Signs of further but stable worming to verso, its margins with stable split.

Corgi & Creative Master Northcord, a boxed bus group to include Creative Master Northcord UKBUS5102 Mercedes-Benz Citaro, Corgi Original Omnibus OM45505 Midland Red, Corgi  35008 (The Connoisseur Collection) RM560 AEC Routemaster "Stagecoach" and others. Conditions all appear Fair to Good with some being re-packaged and therefore may have pieces missing in generally Fair to God boxes with some scuffing, crushing, old price stickers etc. See photo.

An 18th century Dutch Old Master pen, ink and wash study attributed to Abraham Rademaker (1675-1735) depicting sawyers and carpenters at work in a rural continental setting, framed and glazed with an inscribed label to the reverse. H.30.5 W.37cm

18th century, Old Master ink and wash on buff paper, Full length study of a figure playing a violin, unsigned, 18 x 11.5cm. Condition - fair for age

An early bound edition of Charles Dickens's Master Humphrey's Clock, published in 3 volumes (1840) by Chapman and Hall, London with illustrations by Cattermole and Browne. This features the first publication of The Old Curiosity Shop (at page 37)

JAN HARMENSZ MULLER: AN OLD MASTER PRINT ON PAPER50cm x 33cmFramed and glazed 73cm x 61cm

OLD MASTER PEN AND INK DRAWING, ALLEGORY OF WINTER24cm x 17cm

VARIOUS PRINTS AND A WATERCOLOUR, TO INCLUDE OLD MASTER REPRODUCTION, PETER SCOTT ETCEach framed and glazed.

OLD MASTER: A SEPIA WASH DRAWING, DIANE AND ACTAEON26cm x 20cmTudor Rose stamp to bottom right.

Microsoft Xbox One Hundred and One Games - "Star Wars Battlefront", "Magic the Gathering: Battlegrounds", "Sonic Riders", "Need for Speed Underground", "Alter Echo", "Championship Manager 01/02", "Beyond Good And Evil", "Max Payne 2", "Ghost Master: The Gravenville Chronicles", "SSX3", "Halo 2", "The Elder Scrolls 3: Morrowind", "Shenmue II", "Star Wars: Nights of the old Republic", "Crash Twin Sanity" and 86 others, various, all in original boxes and most with instruction manuals

Pair of coloured prints of Old Master paintings in oak and ebonised frames 18" x 15"

Hebborn (Eric) The Language of Line: A Modern Drawing Manual, draft typescript with author's extensive autograph corrections, 288pp., creasing to last few leaves, damp-staining to front endpapers, slightly affecting title and dedication, very occasional small stains, slightly cockled, autograph corrections in pencil, green cloth, lettered in gilt, small stain to upper cover, small folio, [Anticoli] [preface dated 1980].*** Eric Hebborn, known as one of the greatest art forgers, sold thousands of fake Old Master paintings and drawings throughout his life. It was not until 1984 that Hebborn admitted to creating forgeries. Provenance: Webbs of Wilton, The Eric Hebborn Studio Collection, 22 October 2014, Lot 396.