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A pair of red glass table lamps, with a gilt brass Corinthian capital, to a facet cut stem, on a star cut circular base, 57cm high (2)Condition ReportOne lamp of the pair has a chip loss to the collar of the base and has been reglued.

A pair of facet cut glass table lamps, modern, with a gilt bronze Corinthian capital, leading to a facet cut stem, raised on a star cut circular base with a pair of plain pleated silk shades,23cm diameter55cm highCondition ReportThese lamps are in good condition and the shades also are clean and with no apparent damages.

Attributed to Diego Quispe Tito (Cuzco, Perú, 1611 - 1681)"The Visitation"Oil on canvas. Accompanied by an imposing carved and gilded wooden frame from the period.56,5 x 41,5 cm. A superb composition of the narrative passage found in Luke 1:39-45, attributed to Tito Quispe, considered to be one of the most prominent members of the Cuzco school.The scene fills the entire canvas. In a misty background, a tree in a garden is faintly suggested along with the house of Zechariah and Elizabeth depicted with an unreal architectural perspective. With carefully crafted details in the foreground, our gaze focuses on the two couples from this biblical encounter: Zechariah and Elizabeth on the left, and Joseph and Mary on the right. The men play secondary roles, positioned humbly, somewhat distant, "a step back," in reverence for this meeting.The love between the two women—cousins—takes center place.  The two figures meeting here are based on the engraving The Visitation by Jean Leclerc (1587-1633): their joining of hands expresses welcome, as does the hand resting on Mary’s womb as she exclaims, "Blessed are you among women, and blessed is the fruit of your womb."The brushstrokes of the artist showcase his virtuosity through his depiction of intricate gold filigree and flowers scattered across the garments, as well as the trimming, lace, and edging that adorn them, symbolizing the importance of the characters in this scene. Serene, humble faces reflect affection and closeness, joy and respect. A blend of mysticism and tenderness brings this biblical event closer to a "simple family meeting," making it more relatable to the viewer so that they, too, "feel visited," invited as another member of this heavenly family.In a period frame, filled with overflowing leaves and flowers, highlighted by magnificent carving and gilding, rounding off this work of unsurpassed and delicate technical mastery and showcasing the artist's extraordinary skill in this painting. As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters." Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

A PAIR OF QUEEN ANNE OCTAGONAL CANDLESTICKS ALICE SHEENE, LONDON 1712 With octagonal capitals, knopped stems, engraved with a crest and on octagonal spreading bases 18.5cm (7 1/4in) high 8810g (26.05 oz)These are arms of Sir Francis ANDREWS (died 1759) 4th Baronet of Doddington, Northamptonshire. He inherited the Baronetcy on the death of his father Sir William ANDREWS (died 1684) 3rd Baronet. Very little is known about the family and the Baronetcy became extinct in 1804 on the death of his son Sir William ANDREWS (died 1804) 5th Baronet. It might be assumed that at that date the family became extinct.  Notably the ANDREWS family, with these arms, are recorded in ancient Scottish manuscripts. The family which later formed many branches appear to have moved south to England in the seventeenth century and were first created Baronets there in 1641.    Condition Report: Candlestick 1 - Mark are clear to the base, mark to the capital obscured, engraving clear, stands well, appears to be straightCandlestick 2 - - Mark are clear to the base, mark to the capital obscured, engraving clear, stands well, appears to be straightNo sconces, both with light scratches and wear commensurate with age and use Condition Report Disclaimer

A LATE VICTORIAN SILVER FIVE LIGHT CANDELABRA HAWKSWORTH, EYRE & CO. LTD., SHEFFIELD 1895 The shaped square sconces and drip pans with leaves to the corners, reel capitals, four scroll branches, a knopped baluster stem to a shaped moulded square base 56.5cm (22 1/4in) high 909g (29.25 oz) weighableProvenance: Private collection, Northamptonshire Condition Report: Marks to the base clearMarks to sconces clearBranches to arms clearTwo arms removeable Central capital has detachedNo engravingLight scratches and wear commensurate with age and use Condition Report Disclaimer

A PAIR OF QUEEN ANNE SILVER OCTAGONAL CANDLESTICKS THOMAS MERRY, LONDON 1709 With octagonal capitals, knopped stems, engraved with a crest, R over W.S beneath and on an octagonal spreading base 18cm (7in) high 612g (19.7 oz) Condition Report: Candlestick 1 - Marks are clear to base, mark to capital rubbed, stands well, crest is clear, appears to be straightCandlestick 2 - Marks are clear to base, mark to capital partially obscured, stands well, crest is clear, appears to be straightNo sconces, both with light scratches and wear commensurate with age and useCondition Report Disclaimer

C. Minucius Augurinus, Denarius, c. 135, helmeted head of Roma right, roma behind, x before, rev. spiral column with Aeolic capital, decorated with two bells, surmounted by togate statue, corn-ears and lions foreparts at base, togate figures standing either side, c avg above, 3.89g/5h (Craw. 242/1; RSC Minucia 3). Good fine, reverse better £60-£80

Old gilt Corinthian capital, 3 bas-reliefs, 1 wooden ornament with fruit and wooden statue of a bishopOude verguld Korintisch kapiteel, 3 bas-reliëfs, 1 houten ornament met fruit en houten beeld van een bisschop27.5 x 38 x 33 cm, 38 x 6.5 x 14 cm en 59 - 14 cm

Four early maps 'Typus Orbis Terrarum,' double hemisphere engraved map based on Mercator`s famous world map with several updates by Jodocus Hondius. Terra Australis Incognita fills the Southern Hemisphere and connects to New Guinea in the region of Australia. Mercator`s Northwest Passage and interesting polar islands have been replaced with a non-descript landmass. The eastern coast of Asia has been revised to include a Korean Peninsula. Hondiu's favourite quotation from the Psalms to the bottom. Page 39 (measuring 32cmx 20.5cm) from Samuel Purchas's 'Purchas his Pilgrimage. Or Relations of the World and the Religions observed in all ages ... containing a Theological and Geologicall Historie of Asia, Africa, and America ..,' published 1626 by William Stansby for Henrie Fetherstone; With two other leaves from the same work depicting Western Mexico and Cuba; Tommaso Porcacchi. 'Descrittione dell'Isola di Corfu,' vignette copperplate map, head a capital piece, Simon Galignani, Girolamo Porro, [not from the first edition, most likely 1604-1686]. (4)

(Poetry and Verse) Ten good works John Le Gay Brereton. 'The Goal of Time,' first and only edition, original cloth with gilt tooled title to front board, slight sun bleaching to spine, decorative endpapers with Katie's Garden poem pasted to rear, pp.56, vg, scarce, George Robertson, Melbourne, Sydney and Adelaide, 1883; W. H. Lowe (trans). Twelve Odes of Haviz Done Literally Into English. Together with the corresponding portion of the Turkish Commetary of Sudi for the first time translated,' with the writers compliments (?) written to the title page, rebound in a full modern cloth, pp.80, vg, W. P. Spalding, Cambridge, 1877; Ivor Herbert. #Overture 1943-1945,' signed by the author, printed thin card wraps, staples removed and replaced with string, no imprint most likely privately printed, [c.1945]; James Brockway. 'No Summer Long,' first edition, original cloth, vg, The Fortune Press, London, 1949; Lord Byron. 'Of Gardens,' cloth backed marbled boards, woodcut frontispiece and text border to front page, woodcut illustration and capital textblock, limited edition, no.9 of 30 copies, set and printed by Wilfrid O. Reynolds at the Peacock Press, Plymouth. Finished on January 2nd, 1929; With four other works two of which by Joan Kennedy. (10)

(Economics) Eleven works PRINCIPLES OF POLITICAL ECONOMY By John Stuart Mill (1852) Volume 1 Three books in one. Presentation copy from author to George Findley. Third edition. Orig green cloth. Pencil marginalia. Together with THE GREAT CRASH 1929 By JK Galbraith (1955) London: Hamish Hamilton and THE ACCUMULATION OF CAPITAL By Rosa Luxemburg (1951) Ex-libris and LLOYDS BANK IN THE HISTORY OF ENGLISH BANKING By R. S. Sayers (1957) Oxford: Clarendon Press. Both ex-libris with withdrawn stamps and SIX CENTURIES OF WORK AND WAGES By James E Thorold Rogers (1901) London: Swan Sonnenschein. Sixth edition with THREE SPEECHES ON THE GENERAL STRIKE By Rt Hon Sir John Simon (1926) Methuen and five others (11)

AN EARLY 20TH CENTURY GOTHIC REVIVAL OAK STATUARY PEDESTAL. square plateau, foliage capital carved with scrolling acanthus, square base, inscribed to the top, 78cm high and 23cm diameter top, together with one larger converted oak pedestal (2). *Condition: General wear splits throughout to both some minor losses and scratches.

South Atlantic Medal 1982 Awarded to Crew Member of the SS Canberra ‘The Great White Whale’, with ribbon rosette (loose), officially named in the large capital letter style associated with the Mercantile Marine, “F. SMITH”. Lot accompanied by period publications, Canberra – The Great White Whale Goes to War, P&O IN The Falklands, and 2 carton booklets, Up The Falklands – Cartoons From The Royal Marines and Smile A While. Recipient served on board Canberra and is listed amongst the crew in the accompanying book on the ship. First time this medal has been offered on the market, consigned by family member.

The Rare and Historically Important British South Africa Company Medal for Matabeleland to a Trooper in the Salisbury Horse Who Was One of the 34 Men Killed in Wilson’s Famous Last Stand at the Shangani River in December 1893, British South Africa Company Medal 1890-97 with Matabeleland 1893 reverse, engraved in the correct style, “TRPR W P DEVAS SALISBURY H”. Generally good condition.Noted on the medal roll of the British South Africa Company for Matabeleland as Trooper Philip Wouter De Vos (Dead) with a subsequent comment, ‘one of Wilson’s party’.The Shangani Patrol (or Wilson's Patrol) was a 34-soldier unit of the British South Africa Company that in 1893 was ambushed and annihilated by more than 3,000 Matabele warriors in pre-Southern Rhodesia (now Zimbabwe), during the First Matabele War. Headed by Major Allan Wilson, the patrol was attacked just north of the Shangani River in Matabeleland, Rhodesia. Its dramatic last stand, sometimes called "Wilson's Last Stand", achieved a prominent place in the British public imagination and, subsequently, in Rhodesian history, similarly to events such as the Battle of the Little Bighorn and the Battle of the Alamo in the United States.The patrol comprised elements of the Mashonaland Mounted Police and the Bechuanaland Border Police. Scouting ahead of Major Patrick Forbes’s column attempting the capture of the Matabele King Lobengula (following his flight from his capital Bulawayo a month before), it crossed the Shangani late on 3 December 1893 and moved on Lobengula the next morning but was ambushed by an estimated 3000 Matabele riflemen and warriors near the king's wagon. Surrounded and outnumbered about a hundred-fold, the patrol made a valiant last stand as three of its number broke out and rode back to the river to muster reinforcements from Major Forbes’s column on the south bank of the river. However, the Shangani had risen significantly in flood, and Forbes was himself involved in a skirmish near the southern bank so was unable to send help; Wilson and his men therefore remained isolated to the north. After fighting to the last cartridge, and killing over ten times their own number, they were annihilated.What happened to the Shangani Patrol is known only from Matabele sources. Witness accounts were slowly gathered over three decades following the affair and various versions of events were offered. According to these accounts, the warriors offered the remaining Troopers their lives if they surrendered, but Wilson's men refused to give up. They used their dead horses for cover and killed more than ten times their own number (about 500 was estimated), but they were steadily whittled down as the overwhelming Matabele force closed in from all sides. The Company soldiers continued fighting even when grievously wounded, to the astonishment of the Matabele, who thought the soldiers must be bewitched: "These are not men but magicians," said one Matabele induna.The remains of the patrol's members were buried on the battle ground and were later moved to be interred at Worlds View, in the Matopos Hills, alongside the body of Cecil Rhodes as per the request in his will.Provenance: Purchased by current vendor from well respected dealer in British Campaign & Gallantry medals Rennie Alcock. 

An architectural carved giltwood and gesso Corinthian pilaster capital late 18th / early 19th centuryheight 33cmCondition: Minor losses and flaking to gesso. Later gold paint

A National Geographic Society volume dated 1923 'The capital of our country', photographs of Washington, together with a half leather bound volume dated 1903 of the memorial addresses of Abraham Lincoln, James A. Garfield and William McKinley.

Pair: Sergeant L. G. Vredenburg, 18 Squadron, Royal Flying Corps and Royal Air Force, a D.H.4. observer who shared in a victory with his pilot, 21 May 1918, before being shot down over France by the German 31 victory ‘Ace’ Leutnant Paul Billik, 22 July 1918. Vredenburg saw out the remainder of the war interned as a prisoner in Germany, only to re-engage in the Home Guard for service during the Second World War. He died as a result of wounds inflicted whilst on duty during the London Blitz, 17 April 1941 British War and Victory Medals (87896. Sgt. L. G. Predenburg. [sic] R.A.F.) mounted on card for display, polished, nearly very fine (2) £300-£400 --- Leslie Gordon Vredenburg was born in London, Middlesex, and was the second son of Captain E. W. Vredenburg (his elder brother serving as a Rifleman with the 12th Battalion, London Regiment and being killed in action, 8 May 1915). He initially enlisted in the Army in June 1916, aged 18, and transferred to the Royal Flying Corps in June 1917. Vredenburg was employed as an electrician, before undertaking air gunner/observer duties. He served in France, from 21 June 1917, and flew operationally in D.H.4’s with 18 Squadron. Vredenburg was crewed with Second Lieutenant G. Darvill as his pilot on 21 May 1918, when they were ‘attacked returning from Bombing raid on Douai at 10.45am One E.A. flew in front of the DH4 and 2nd Lt. Darvill dived on him and fired 200 rounds. E.A. went down completely out of control and was seen to crash by another pilot in formation.’ (Squadron Record Book refers). Vredenburg continued to fly throughout May - June 1918, and was formally graded as Sergeant Mechanic Observer. He and his pilot (Second Lieutenant H. C. Tussaud) were shot down during a bombing raid north east of La Bassee by Leutnant Paul Billik (a German ‘Ace’, who finished the war with 31 victories), 22 July 1918. Tussaud and Vredenburg were both taken prisoner of war, and the latter was repatriated from Germany in December 1918. Vredenburg transferred to the R.A.F. Reserve in June 1919, and served with the Home Guard in London during the Second World War. He resided at 49 Leith Mansions, Maida Vale, and died at the Hospital for Women, Soho, 17 April 1941. Vredenburg is commemorated by the Commonwealth War Graves Commission (Civilian War Dead) and in the Civilian War Dead Roll of Honour books located in St. George’s Chapel, Westminster Abbey. He is listed as ‘Home Guard’, and was presumably on duty when he was severely injured, 16 April 1941. On the latter date a massive German air raid was carried out on London as part of the ‘Blitz’. The 685 aircraft that took part caused over 1,000 casualties across the capital. Vredenburg died as a result of his injuries the following day. Sold with copied research.

* Wayne (John, 1907-1979). Autograph Postcard Signed, 'John Wayne', 1970, the picture side from a colour photograph of 'P.C.35:- United States Post Office, Panama City, Fla.', the unposted divided back message side bearing a signed and dated inscription by Wayne in silver pen across the full width, 'Good Luck, John Wayne, 1970', printed credit of Asheville Post Card Co. to left margin, 9 x 14 cm, fine conditionQTY: (1)NOTE:Panama City, Florida, is not to be confused with Panama City, the capital and largest city of Panama, located at the Pacific entrance of the Panama Canal. One is currently a territory administered by the United States, the other one is not.

LOPEZ DE SEGURA, Ruy. Il giuoco de gli scacchi di Rui Lopez, Spagnuolo; nuouamente tradotto in lingua italiana da m. Gio. Domenico Tarsia ...In Venetia, presso Cornelio Arriuabene, 1584In 4to. 201x146 mm. Half boards binding, spine on vellum. Pages [8], 214, [2, Colophon]. Printer’s device on titlepage, woodcut initials and ornaments, Italic and Roman type. Woodcut Chessboard on leaf a4 and several woodcut illustrations depicting chess pieces. Some foxing and occasional browning, sign of humidity on top margin of few leaves. Very rare first and only edition in Italian. It is one of the first great books of chess theory and history, and contributed considerably to the development of the game in Europe by promoting en passant capture which was then ignored in Italy; of notable interest is the first analysis of the "Spanish part" also known as "Ruy López opening". Ruy López de Segura was one of the strongest chess players of the 16th century: in this fundamental treatise he narrates the origin of chess, explains the rules of the game, giving for the first time a complete picture of the openings then known. In 1560 he went to Rome for some commitments related to his status as a clergyman and in the capital of the popes he had the opportunity to challenge some of the strongest Italian chess players, including Leonardo da Cutro, the famous "puttino", at the time credited as one of the strongest in the world. By winning the important challenge against Leonardo da Cutro, he was recognized by his contemporaries as a sort of ante litteram world champion.Olschki: “C’est la seule édition italienne de ce livre extremement rare”.

FRANCESCO RENALDI (BRITISH CIRCA 1755-1799) PORTRAIT OF MRS. WILLIAM DOUGLAS, NÉE JANE BELL, AND HER SON, PHILIP, IN AN INDIAN INTERIOR Oil on canvas Signed and dated '1789' (centre right) 110 x 92cm (43¼ x 36 in.) In its original carved and gilded 'Carlo Maratta' Provenance: By family descent, until sold, Christie's, London, 26 April 1912, lot 48 (50 gns. to Schuster) Private collection, U.K. Described by Mildred Archer as 'one of the most sensitive portrait painters to work in India during the late eighteenth century' (1), Francesco Renaldi (c.1755-1799) was an English-born painter of Italian heritage about whose life relatively little is known. He entered the Royal Academy Schools in London in 1776, aged twenty-one. For two years after 1781, Renaldi traveled in Italy, initially with Thomas Jones, the Welsh landscape painter and pupil of Richard Wilson.Evidently on at least one occasion, Jones exploited Renaldi's name to pass himself off as an Irish catholic in order to gain access to the prior of a monastery at Caserta near Naples - which would normally have been inaccessible to him on sectarian grounds - but Renaldi seems to have accepted this with good grace, even affability. While Jones left behind a now celebrated group of oil sketches on paper of the environs of Naples and other Grand Tour sites, no works executed by Renaldi in Italy are currently known. Years later, in 1798, Renaldi painted a group portrait of Thomas Jones and his family (National Museum of Wales, Cardiff) which may also contain a discreet but cheerful self-portrait. Upon returning to London in 1783, Renaldi attempted without success to establish himself as a portrait painter at 2 Portugal Street, a modest house located near Lincoln's Inn Fields. On November 3 of that year, Jones was pleasantly surprised to bump into Renaldi in Fleet Street and the two dined together not long afterwards. In 1785, perhaps frustrated by commercial sluggishness, even sensing the prospect of professional failure in a highly competitive metropolitan market for portraits, Renaldi applied to the East India Company for permission to travel to Bengal. He supplied the names and addresses of two references - Mr. Job Hart Price of Aldershot House and Robert Codd of the 59th Regiment of Foot. These guarantors were evidently acceptable to the company, because the following February Renaldi was given formal approval to travel. He sailed aboard the East India Company ship, the Hillsborough, and arrived at Calcutta in August 1786. For the next ten years Renaldi lived and worked in Calcutta, Lucknow and Dacca (now the capital city of Bangladesh). He was therefore one of only a relatively small number of European painters - among them William Hodges, Johan Zoffany, Tilly Kettle and Ozias Humphrey - who spent extended periods painting portraits of and for the nabobs - English, Scottish and Anglo-Irish gentleman of the East India Company - as well as local rulers such as Asaf ud-Daulah, the Nawab Wazir of Oudh. He painted a group portrait of Major William Palmer and his family at Calcutta in 1786. In 1789 Renaldi relocated from Calcutta to Dacca, a large town in eastern Bengal possibly in the hope of finding fresh patronage. He returned to Calcutta and in 1790 embarked on a leisurely tour up-country, reaching Lucknow in 1792 or 1793, where he seems to have remained for several years. In total only around a dozen works - including the present, recently rediscovered portrait of Mrs. William Douglas and her son - painted by Renaldi in India are currently known but amongst them are a group of three individual portraits of Indian women which rank amongst the most intriguing and emotive images produced in British 18th century painting. They have traditionally been identified as bibis,the term for an upper-class Indian woman who became a mistress or unofficial wife to a European resident. The first, known in two versions, both dated 1787, depicts a Mughal lady sitting cross legged, wearing gold-striped green pajamas and a white gauzed shift looking straight ahead (Metropolitan Museum of Art, New York; sold Sotheby's, London, 6 December 2023, lot 23, £825,000) and the second depicts the same sitter but with the addition of a hookah pipe (Private collection). The third, a sensuous portrait of An Unknown Woman was painted two years later in 1789 at Dacca and depicts a Mughal lady reclining on a rug and cushion in a small room with green painted shutters and the door of British type - perhaps in a bibi khana, a small house or quarters which was frequently built behind the main house for ensuring privacy from visitors. The girl is holding a hookah and gazing at a piece of jewellery in her hand. As Mildred Archer wrote: 'It is her air of reverie and quiet calm, her ruffled dress with its soft texture, and above all the darting highlights on the hookah, silver pan tray, slippers and jewels that catch the eye and endow the painting with flashing brilliance' (2). The reemergence of this double portrait of Mrs. William Douglas and her son, Philip may provide the key to help identify the subject of the painting at Yale. The young Mrs. Douglas, née Jane Bell, is depicted at full length wearing a white dress with a blue sash, seated in armchair with her right foot resting on a stool and working on a piece of needlework in her lap. Her son, Philip, is seated at a high chair playing with a glass vial of scent from his mother's jewelry box, which sits on top of a circular side table which has a pair of sewing clamps with thread attached. Behind them is an Anglo-Indian daybed draped in red fabric. Natural light is diffused from the left-hand side through a window shaded by green painted shutters of the same type and design as found in the portrait of the Unknown Lady at Yale suggesting that they are situated in a different but related part of the same house. This raises the strong possibility that the present portrait and the Yale portrait were painted closely together, in the same residence, as part of the same commission. The likely explanation is that the Douglases and their young son, newly arrived in India as a family, were staying in the Dacca household of Jane's half-brother, Suetonius Grant Heatly. According to Suetonius Grant's nephew, Henry Green (son of William and Temperance Green) nephew, Heatly 'never married but formed a connection with a native of the Country, a thing of frequent occurrence at that time in India by whom he had several children whom he educated well and provided for -a daughter of his Mary was sent to England for her education' (Green/Heatly family historical archive, Cornell University Library). Suetonius Grant Heatly appears to be the clear candidate to commission portraits of his half-sister and her son, as well as an intimate portrait of his bibi at the same moment from Renaldi at Dacca in 1789. Indeed, Suetonius Grant had a history of patronizing the European artists working in India. He was painted by Arthur William Devis in a group portrait with his sister Temperance and his Indian servants in Calcutta, c. 1786 (3). His brother, Patrick Healty (1753-1834), who also served in the administration of the East India Company was painted by Zoffany in India (Yale Center for British Art, New Haven)... Click here to read more.

ATTRIBUTED TO MATHER BROWN (AMERICAN 1761-1831) PORTRAIT OF A GENTLEMAN, POSSIBLY CASPAR WISTAR Oil on canvas 89.5 x 69.5cm (35 x 27¼ in.) This fascinating portrait of a young anatomist, painted in the late 18th century is characteristic of the work by Anglo-American portrait painter Mather Brown. The portrait shows a medical man at the beginning of his career, and of particular interest is the specimen jar at his elbow. In this jar can be seen preserved a human foetus. On even closer inspection this can be seen to be a two-headed example. The inclusion of such an object in a portrait underlines the curiosity that such phenomena aroused in the medical world at that time. Mather Brown was born in America but moved to London before he was 20. At the start of his career, he was helped by two established American artists working in London: Benjamin West and Gilbert Stuart. All three artists made something of a point of painting American sitters as they passed through London, both Americans who had remained loyal to the Crown through the War of Independence or those who were now the new political representatives of the emerging American nation.  Brown's sitters included such luminaries as John Adams, the 2nd President of the United States and Thomas Jefferson who would follow him as the 3rd President. Brown's 1786 portrait of Thomas Jefferson (National Portrait Gallery Smithsonian Institution) in fact bears particularly close comparison with this present work. Colonel William Smith of the same date (Adams National Historical Park) and Sir Richard Arkwright, painted in 1790 (New Britain Museum of American Art) are also strikingly similar in their treatment of each sitter. Brown worked from around 1781 for some 50 years until his death in 1831, but it is his early work that is now regarded as his finest. His portraits from the late 1780s and early 1790s rank with the best of their day and tellingly it was then that he was appointed 'History and Portrait Painter' to the Duke of York. The identification of the sitter in this intriguing portrait is difficult. He is obviously a medical man, and one with a particular interest in anatomy. He wears unusual dress for an English sitter of the day. His cravat is a little more severe, and the cut of his clothes a little more angular. In all his costume appears plausibly American.  It is possible then, that we are looking at a young American medic passing through London. One of the most famous medical schools in the world at that date was that in Edinburgh and several foreign students, Americans among them, were drawn to further their studies in the Scottish capital. The only appropriately aged medical man, known to have sat for Mather Brown in the late 1780s is one William Spooner, who's portrait is currently untraced. But reading descriptions of the picture from early 20th century records, there are too many discrepancies for this present portrait to depict him. However, he did have a close friend, a man called Caspar Wistar (1761 - 1818), who like Spooner himself, graduated from the University of Edinburgh in 1786. Wistar toured Europe briefly after his graduation, returning to America by 1787. We can conclude then that if we are looking at Caspar Wistar painted by Brown in London, it would most likely have been done in 1786. That date is totally consistent stylistically with other works by Brown from that date.  It is quite probable that a newly qualified medical man would get his portrait painted in his professional attire, as is depicted here, shortly after graduation. Furthermore, Caspar Wistar is known to have been particularly keen on 'specimens' and his collection of these still exists today in the institute named after him - the Wistar Institute at the University of Pennsylvania in Philadelphia. We know that Wistar's friend William Spooner had chosen the ex-pat American Mather Brown as his own portrait painter, therefore it is not such a leap to suggest that this might in turn be the connection between Wistar and Brown. Caspar Wistar became a highly celebrated American physician. He was a fellow of the American Academy of Arts and Sciences and of the American College of Physicians. He published his famous System of Anatomy in 1811, and alongside that had developed a system of preserving human remains by injecting them with wax. He was an early pioneer of vaccination, a prominent abolitionist, a friend, despite their difference in years, of Thomas Jefferson and is also remembered today by having had the plant Wisteria named after him.  Only one confirmed image of Wistar is known today, a portrait painted the year before he died, by Bass Otis in 1817. Here Wistar is considerably older than he would have been in 1786 but when comparing the two faces, they are not at all dissimilar. A copy painted in 1830 by Thomas Sully of this later portrait can be found in the collection of the American Philosophical Society Library (No 58.P.26). Condition Report: The canvas has been lined, cleaned and re-varnished. Craquelure and paint shrinkage throughout, however the paint surface is stable. Rubbing and abrasions to the framing edges. Inspection under UV light reveals a light green, cloudy varnish, as well as scattered retouching and in-filling throughout, however this has been sensitively done.Condition Report Disclaimer

A set of three brass table lamps, 20th century, each reeded column surmounted with a Corinthian capital and raised on a square stepped base,10cm wide10cm deep23cm high (3)Condition ReportTarnished and dulled, lightly scratched and marked.

A gilt-brass table lamp, 20th century, in the form of a reeded column with Corinthian capital and raised on a stepped plinth, with shade mount,79.5cm high, andanother table lamp,with gilt details and shade mount,73cm high (2)Condition ReportBoth re-wired. No shades.

A pair of bronze twin-branch library lamps, mid-19th century, by Miller and Sons, Piccadilly, each surmounted by an urn on a cruciform support with pierced scrolling bracket, raised on a simulated marble Ionic column and circular to stepped base, stamped with maker's name to the sconce, with green glass shades, converted to electricity,52cm wide17cm deep77cm high (2)Condition ReportWith green glass shades, one broken. Light knocks and dents. One coloumn has been reassembled with the capital upside down.

Danbury Mint The Last of the Sixpences part set, in presentation case; Capital Cities of the European gold-plated ingots, part set, in presentation case, with outer card sleeve; Capitals of the European Union Commemorative Coin Collection, part set, in presentation folder, with outer card sleeve; HM QE II on Banknotes gold-plated coins, with CoA, in presentation case, with outer card box; Concorde 1976-2003 gold-plated coin collection, part set, in presentation folder, with outer card sleeve; European Union gold-plated coin set, with CoA, in presentation case, with outer card sleeve; London Highlights coin set, with CoO, in presentation case, with outer card sleeve; and other gold-plated and silver-plated coins and coin sets; brilliant uncirculated coins; coin covers etc.Qty: 1 box

A PAIR OF BRANCHED BRASS STANDSwith turned bases, a Persian brass tray, a pair of Gothic capital style plaster bookends, a mirror, Victorian jug, and a decorative fish

This striking 18th-century map, titled Melite vulgo Malta cum vicinis Goza, quae olim Gaulos, et Comino insulis, uti exhibetur á Nic. De Fer, was published in Augsburg around 1760 by Matthäus Seutter. The map features the island of Malta with its neighbouring islands of Gozo and Comino, as well as an inset map of Valletta, the capital of Malta. The map is richly decorated with the arms of 64 Grand Masters of the Knights of Malta, celebrating their influence and maritime power. Additionally, an allegorical scene is included, representing the sea power of the Knights. The map is coloured in its original hues and is an excellent example of the grand style of 18th-century European cartography. It is a key piece for those interested in the history of Malta, the Knights of Malta, Mediterranean exploration. Condition: A good example with some minor wear. Size: 500 x 580mm (19.7 x 22.8 inches).

Assorted Volumes on Fashion comprising Bells Court & Fashionable Magazine dated 1809, two volumes Beaux-Artes Des Modes depicting 1940s-1950s ladies fashion, Cahiers Bleus No.21, Summer 1957 fashion magazine, MGF Winter 1951-52 fashion magazine, one volume of Art & Beauty by S N Chamkur dated 1937, London à La Carte circa 1960s enclosing menus for 30 restaurants in the capital in a graphic designed folio, and a carved and painted wooden Indian doll,(one box)

Copeland Spode, Large 19th Century Corinthian Column Candlestick. Moulded with powder blue type capital and base. Rams heads to base with swags between. Height: 33cm

An Arts & Crafts "Old Capital" Pewter Serving Dish, planished, with pierced handles and set with agate tablets, a matching serving spoon, together with a silver cigarette case, silver backed brushes, a Chinese lapis lazuli mounted bangle etc. (one tray)

A Pair of Edward VII Silver Candlesticks, by William Hutton and Sons Ltd., London, 1906, each on stepped and beaded square base, the slightly tapering stems terminate in Corinthian capital and with detachable beaded nozzle, filled, 14.5cm high (2)Each fully marked on base and nozzle. There is some wear to the marks on each but in general they are legible. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable to the corners, some of which have had the silver worn through. There are some bruises and dings overall, most noticeable on the socket of one.

Crime & Punishment.- Cockburne (Rev. William) An Authentic Account of the late Unfortunate Death of Lord Camelford..., first edition, with final Postscript (sometimes lacking), stitched in modern wrappers, J.Hatchard, 1804 § [Neve (Philip)] A Letter to the Rev. William Cockburne...occasioned by his pamphlet relating to Lord Camelford's Death, first edition, half-title, light spotting, stitched in modern wrappers, [Library Hub 2 copies only: Lambeth Palace & Oxford; Not in BL], T.Burton for J.Ginger, 1804 § Dodd (William) The Frequency of Capital Punishments...a Sermon, first edition, 22pp. (pp.15-16 omitted), ink inscription to head of title, stitched, W.Faden, B.Law..., [?1762] § Whately (Richard) Thoughts on Secondary Punishments...to which are appended, two articles on Transportation to New South Wales..., first edition, contemporary calf, gilt, a little rubbed, rebacked, red morocco label, 1832; and 15 others on crime, police, punishment etc., mostly pamphlets, 8vo (19)

COLUMN TABLE LAMP, the capital over a tapered column on a spreading square base, with shade88cm high (including shade)The lamp is modern with a glass column.

A massive William IV silver seven-light candelabrum, maker’s mark W.E, probably for William Elliott, London 1833, also stamped Hamlet, Goldsmith to the King, London, baluster stem with followers and foliate scroll decoration, on a raised shaped circular base with rocaille and scroll decoration, and engraved with two armorials, with six foliate scroll branches, watch with a foliate capital and detachable drip pans, and with a central raised capital, height 81.5cm, approx. weight 310oz.A pair by the same maker (at the time catalogued as by Wiliam Eaton, 1832) was sold at Christie's, London May 23 1973, lot 48.A single candelabrum (at the time catalogued as probably by William Eaton, 1833) was sold at Christie's, Geneva, 15 November 1994, lot 15.The armorial is that of Sir Robert Smyth 5th Baronet of Upton (1744-1802), who married Charlotte Sophia Delaval Blake in 1776.The second armorial is that of Colchester.

A pair of 19th century old Sheffield plated candelabras,unmarked, circa 1820,knopped baluster form with acanthus leaf decoration and scroll foliate borders, reeded scroll branches with bud decoration each supporting a spool-shaped capital, on raised circular shaped bases, height 59.2cm. (2)

A George II silver taperstick,by Matthew Cooper, London probably 1729,tapering and knopped form, with foliate and fish scale decoration, engraved crest to the capital and scratched initials to the underside 'K' over 'I*M', height 10.6cm, approx. weight 3.6oz.

A terracotta columnar pedestal in Neoclassical taste, 20th century; with Corinthian capital to a fluted square section shaft with moulded base; 72cm high, 49cm wide

19th Century mahogany spiral column torchere with Corinthian capital, 121cm high

Two Subbuteo sets, both Manchester United 2000/2001, a Nottingham Forest shirt Capital One sponsorship, a Notts County Sesquicentennial shirt and a Nottingham Forest fixture calendar, 1980

A Chinese black and gilt painted Corinthian capital table lamp, height excluding fitting 44cm.

America, Philadelphia & New York.- Stopford (James Sydney, merchant, later Sheriff of Fort William, Calcutta, son of Rev R B Stopford, of Barton Seagrave, Kettering, Northamptonshire, 1808-85) Collection of c. 38 letters from Stopford to his parents in England, c. 110pp. & address panels, 4to & 8vo, mostly New York, Philadelphia, Liverpool & London, 1826-38, long letters detailing his merchant activities and his feelings about America, "Philadelphia improved upon further acquaintance... I would much sooner live here, than be promoted to New York. Here, there is not such an incongrous mixture of ragamuffins from all nations under the sun, as there is in our rival city... . The living here is capital, & very cheap, I am living in a vastly genteel boarding house", making a visit to Lebanon Spa with his friend, a "Birmingham Mechanic", "used to be the most fashionable watering place, but Saratoga has knocked it on the head",  trouting in Long Island, visit to Montreal, life in New York working for a Mr Spooner etc., small tears where opened, folds, slightly browned, v.s., v.d. (c. 38). *** Stopford's early years as a merchant in America.

A NEOCLASSIC COLUMNAR PLINTH 20th century, the composite capital over a fluted stem with a procession carved in relief to the base, 73cm high x 21.5cmProvenance: Wabey House, Upwey, Weymouth.

Lars Hellsten for Skruf, a mid Century Scandinavian lead crystal glass twin branch candelabrum, thick walled textured sconces on stylised scroll moulded capital and clear hollow cast block base, engraved signature, height 17cm.

* GERARD BURNS (SCOTTISH b. 1961), FEMALE NUDE oil on canvasframedimage size 61cm x 51cm, overall size 85cm x 74cm Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* KIRSTY WITHER (SCOTTISH b. 1968), IN JULY oil on canvas, signed and dated ‘99 framed and under glass image size 21cm x 20.5cm, overall size 35.5cm x 35.5cm Label verso: The Open Eye Gallery. Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).

* KIRSTY WITHER (SCOTTISH b. 1968), BIG BEACH DAISIES oil on board, signed and dated 99 framed and under glass image size 21cm x 21cm, overall size 35.5cm x 35.5cm Label verso: The Open Eye Gallery. Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).

* TOM MACKENZIE (SCOTTISH 1947 - 2018) NORTH UIST FROM SKYE limited edition. coloured etching on paper, signed, titled and numbered 5/25mounted, framed and under glassimage size 45cm x 60cm, overall size 67cm x 85cm Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. Small cracks to glass in both bottom corners

* GERARD BURNS (SCOTTISH b. 1961), IN DEEP WINTER oil on canvas, signed, titled versoframedimage size 60cm x 40cm, overall size 87cm x 68cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* HAZEL NAGL RSW RGI PAI (SCOTTISH b. 1953), SPRING MERMAID mixed media on board, signed, titled and dated 2000 versomounted, framed and under glassimage size 13cm x 12cm, overall size 26cm x 26cm Note: Hazel Nagel is a graduate of Glasgow School of Art, where she studied Drawing and Painting. Following graduation, she lived and worked at the Art School’s workshop at Culzean Castle where she developed an interest in landscape painting in response to the varied and dramatic surroundings. She is widely known for her still life and landscape paintings, her preoccupations being imparting a sense of space and light and an expressive impulse. She handles watercolour superbly, layering veils of translucent colour through her work. In 1988 she was elected to the RSW and to the RGI in 2000. She has won a number of awards including the RGI - Sir Alexander Stone Prize, RGI - Mabel Mackinlay Award, RGI - Eastwood Publications Award, SAAC Prize, PAI Prize, 1st Prize Laing Competition. She exhibits widely and has work in a number of Public Collections including The Fleming Collection (London), The Royal Bank of Scotland, Glasgow University, Common Market Enterprises, Combined Capital and Scottish & Newcastle Breweries.

* KIRSTY WITHER (SCOTTISH b. 1968), TOUCHING THE OCEAN oil on board, signed and dated 97 framed and under glass image size 18cm x 11cm, overall size 30.5cm x 23.5cm Label verso: The Gatehouse Gallery. Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).

* TOM MACKENZIE (SCOTTISH 1947 - 2018), CAMUS BHAN limited edition coloured etching on paper, signed, titled and numbered 24/30mounted, framed and under glassimage size 38cm x 50cm, overall size 57cm x 75cm Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.

* KIRSTY WITHER (SCOTTISH b. 1968), TINY WEE BUTTERCUPS oil on board, signed and dated 99 framed and under glass image size 10cm x 10cm, overall size 25cm x 25cm Label verso: The Open Eye Gallery. Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).

* GERARD BURNS (SCOTTISH b. 1961), IN WINTER oil on canvas, signedframedimage size 90cm x 60cm, overall size 111cm x 81cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* HAZEL NAGL RSW RGI PAI (SCOTTISH b. 1953), CRAIGIVAR CASTLE mixed media on board, signed, titled label versoframed and under glassimage size 23cm x 23cm, overall size 38cm x 38cmQty: 4Artist's label versoLabel verso: The Open Eye Gallery, Edinburgh.Note: Hazel Nagel is a graduate of Glasgow School of Art, where she studied Drawing and Painting. Following graduation, she lived and worked at the Art School’s workshop at Culzean Castle where she developed an interest in landscape painting in response to the varied and dramatic surroundings. She is widely known for her still life and landscape paintings, her preoccupations being imparting a sense of space and light and an expressive impulse. She handles watercolour superbly, layering veils of translucent colour through her work. In 1988 she was elected to the RSW and to the RGI in 2000. She has won a number of awards including the RGI - Sir Alexander Stone Prize, RGI - Mabel Mackinlay Award, RGI - Eastwood Publications Award, SAAC Prize, PAI Prize, 1st Prize Laing Competition. She exhibits widely and has work in a number of Public Collections including The Fleming Collection (London), The Royal Bank of Scotland, Glasgow University, Common Market Enterprises, Combined Capital and Scottish & Newcastle Breweries.

SPRINGBANK 1993 SIGNATORY FOR LUVIANS - OPEN CHAMPIONSHIP 2000 WITH MATCHING MINIATURE CAMPBELTOWN SINGLE MALT Distilled: 1993Bottled: 2000Matured in cask #600RBottle Number: 82 / 30059.2% ABV / 70cl & 5cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.

SPRINGBANK 25 YEAR OLD MILLENNIUM CAMPBELTOWN SINGLE MALT 46% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. Please see additional images.

SPRINGBANK 45 YEAR OLD MILLENNIUM CAMPBELTOWN SINGLE MALT 40.1% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. Please see additional images.

SPRINGBANK 35 YEAR OLD MILLENNIUM CAMPBELTOWN SINGLE MALT 46% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.

SPRINGBANK 30 YEAR OLD MILLENNIUM CAMPBELTOWN SINGLE MALT 46% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. Please see additional images.

SPRINGBANK 1965 CADENHEAD'S SINGLE CASK #2164 CAMPBELTOWN SINGLE MALT Distilled: 1965Matured in Cask #2164Bottle Number: 51054.5% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. Please see additional images