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Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven.  As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work. 

Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims.  The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.

7 books about woodworking, wood engraving, furniture and restoration,

1690 | PUBLISHER: Coloniae Agrippinae, Ioannes Wilhelm Friess | NUMBER OF PAGES: 479 + index | LANGUAGE: Latin | DIMENSIONS: 377 x 255 mm | THE FULL TITLE OF THE WORK: Annales ecclesiastici ab anno quo desinit Caes. Baronius M.C.XCVIII. usque ad Annum M.D.XXXIV. continuati. Tomus XV | NOTE: title copper - engraving | CONDITION: one edge clasp missing, spots | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1690 | PUBLISHER: Coloniae Agrippinae, Ioannes Wilhelm Friess | NUMBER OF PAGES: 555 + index | LANGUAGE: Latin | DIMENSIONS: 377 x 255 mm | THE FULL TITLE OF THE WORK: Annales ecclesiastici ab anno quo desinit Caes. Baronius M.C.XCVIII. usque ad Annum M.D.XXXIV. continuati. Tomus XVI | NOTE: title copper - engraving | CONDITION: one edge clasp missing, spots | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1693 | PUBLISHER: Coloniae Agrippinae, Ioannes Wilhelm Friess | NUMBER OF PAGES: 660 + index | LANGUAGE: Latin | DIMENSIONS: 377 x 255 mm | THE FULL TITLE OF THE WORK: Annales ecclesiastici ab anno quo desinit Caes. Baronius M.C.XCVIII. usque ad Annum M.D.XXXIV. continuati. Tomus XIII | NOTE: title copper - engraving | CONDITION: spots, one edge clasp missing | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

An enamel and diamond brooch, late 19th century, designed as a flower, set with circular-cut and cushion-shaped diamonds, on a ground of deep blue basse-taille enamel, mounted in silver and gold, the reverse with floral engraving, length 3cm

A collection of jewels, comprising: three gem-set and diamond brooches designed as an elephant, a bee and an aeroplane respectively; a gold pocket watch on a gilt metal chain; a brooch set with a green cabochon, the gold back with a commemorative engraving dated 1860, length 5.2cm; a carved jadeite pendant, length 3.8cm; and ten base metal rings, including three set with intaglios; and a circular section of banded agate

A collection of jewels, 19th and 20th century, comprising: a malachite bead necklace with gold spacers, length 56cm; three shell cameo brooches depicting the goddess Diana, William Shakespeare and a Bacchante respectively, each mounted in gold, largest 6.7cm including bail; a gold filigree Maltese cross brooch composed of thistles and clovers, indistinct assay marks; a gold brooch of floral design set with faceted blue glass and seed pearls, diameter 3.8cm, pearls untested; a floral brooch in silver, set with peridot, rock crystal, amethyst and tourmaline in the suffragette colours, fitted case; an amethyst and seed pearl cluster brooch mounted in gold; a gold locket with engine turned engraving within a chased floral border; a similar, larger locket in gilt metal; a pair of opal pendent earrings mounted in 9ct gold, length 3.5cm each, post fittings, British hallmarks; a treated jadeite and cultured pearl necklace; a banded onyx, seed pearl and enamel brooch in low carat gold; and a gilt metal and purple paste brooch

A collection of 11 gem-set and diamond rings, comprising: a 9ct gold ring with rope twist engraving, channel-set with brilliant-cut diamonds, size Q, British hallmarks; an opal and diamond ring, a kunzite ring and three half-hoop rings set with brilliant-cut diamonds, all with British hallmarks for 9ct gold; a calibré-cut emerald and single-cut diamond ring in 9ct gold, British hallmarks; two rings of knotted design in 9ct white gold and rose gold respectively, each set with brilliant-cut diamonds, British hallmarks; and two 9ct gold navette-shaped cluster rings set with brilliant-cut diamonds, British hallmarks, accompanied by five certificates of authenticity

NINE ENGRAVED SEALS WITH PRAYERS AND OWNERS' NAMES PROPERTY FROM A PRIVATE GLYPTOLOGY COLLECTOR India and Afghanistan, 19th and 20th centuriesComprising four oval seals, made of carnelian, agate, and a dark brown hardstone, possibly a type of dark red jasper, engraved with overimposed double lines of naskh and nasta'liq scripts, occasionally set against scrolling floral meanders; and five others, of square and rectangular shapes, made of different hardstone and one made of glass, all seals in the lot inscribed with prayers, auspicious blessings, as well as owners and makers' names, one seal with double-sided engraving bearing the maker's name Amal-e Mohsin '41', some dated (1219 AH and 1281 AH, respectively 1804 AD and 1865 AD).13.3mm x 11.1mm 18.6mm x 13.4mm 17.5mm x 10.1mm 16mm x 11.8mm 16.9mm x 15.5mm 18.8mm x 13.2mm 17.2mm x 15mm 24mm x 18.3mm 44mm x 31.7mm 44mm x 31.7mm the largest Qty: 9

Eric RAVILIOUS (ill): 1- Proof? Bookplate by Ravilious for Roger Beban, pasted to front pastedown of: David Wooster: Alpine plants. 1872, 1st. Edn. With 54 colour plates. Cont. half leather, rubbed; 2- British Art: BBC Talks Pamphlet. The Kynoch Press, 1934, 1st. Edn. Pictorial boards by Ravilious; VG+/Fine; 3- Ravilious; Gill; etc (ill): IMAGE: 5, English wood engraving 1900-1950. 1st. Edn. Original card covers and DW, VG; 4- Powers, Alan: Eric Ravilious: Imagined Realities. Imperial War Museum, 2003. Title page SIGNED by Powers. 4to. Card covers; Fine; 5- Russell, James: Ravilious. Dulwich Picture Gallery, 2015, 1st. 4to. Original card covers; Fine; 6- Russell, James: Ravilious in Pictures: Sussex and the Downs. Mainstone Press, Norwich, 2009, 1st. Edn. DW, Fine; 7- Binyon, Helen: Eric Ravilious: Memoir of an Artist. Lutterworth Press, 1983, 1st. Edn. DW. VG+; PLUS: John PIPER (ill): Richards, J.M: The Castles on the Ground. 1946, 1st. Edn. DW (with a few tears); & English Scottish and Welsh Landscape 1700 - c.1860. 1944, 1st. End. Pictorial boards; rubbed. (9)

Antique continental 'silver ?' combination vesta and snuff box (2 compartments) with foliate engraving and heel as striker. Possibly Russian. Approx 7cm long and 26g

Hilda Frank Artists Proof Alphabet wood engraving[52x66cm]

*GEORGE TUTE (b. 1933) 'Sunflower Field', 1986, signed, titled, dated and numbered 67/75 in pencil to the margin, woodcut engraving, the image 40cm x 30cm, Framed dimensions: 64.5cm x 53.5cm

*STANLEY ANDERSON (1884-1966) 'Hedge-Laying', monogrammed in plate, signed and dedicated in pencil to the margin, line-engraving, the image 10cm x 7.5cm; together with another similar engraving by Anderson 'Trimming Stakes', signed in pencil to the margin, the image 9.5cm x 7.5cm (2)Frame dimensions (Hedge-Laying): 28.5cm x 25.5cm Framed dimensions (Trimming Stakes): 28.5cm x 25.5cmProvenance: The latter purchased from Robin Garton, New Bond Street, London, 11th January 1982.

*REYNOLDS STONE (1909-1979) 'The Waterfall', from 'Tribute to Benjamin Britten on his 50th birthday', Faber & Faber, 1963, signed in pencil to the margin, boxwood engraving, the image 13.1cm x 8.4cm; together with two further wood engravings 'Emma sitting on a fence' and 'Pheasant', numbers 11 and 16 from 'The Old Rectory' suite, each signed and numbered 26/150 in pencil to the margin, 9.7cm x 8.2cm and 7cm x 8.8cm (3), Framed dimensions (Waterfall): 24.7cm x 19.4cm Framed dimensions (Emma sitting on a fence): 27.3cm x 22.2cm Framed dimensions (Pheasant): 18.7cm x 19.6cm

§ Gwen Raverat SWE (1885-1957) The River Roding, Essex, 1929wood engraving16.5 x 12.5cm

§ Gwen Raverat SWE (1885-1957) Vence - La place en étésigned 'GRaverat' (lower right)wood engraving11 x 15.5cmOverall all in good condition, usual slight discolouration.

§ Gwen Raverat SWE (1885-1957) Childe Rowlandsigned 'GRaverat' (lower right)wood engraving, unframed20.5 x 24.5cm

§ Gwen Raverat SWE (1885-1957) The River Ver, St. Albanssigned 'G Raverat' (lower right); numbered 6 and titled (lower left); counter-signed to reverse by Nelly Trevelyan, granddaughter of the artist and keeper of the archivewood engraving16.5 x 12cm

§ Leon Underwood (1890-1975) Women Gossipingsigned and dated 'Leon Underwood / 25' (lower right)wood engraving19.5 x 12.5cm;together with Adam and Evewood engraving17 x 12cm (2)Women Gossiping - Not examined out of the frame, margins obscured by mount so not available for inspection. Some light creasing and minor undulation to the left hand margin and a very light dog ear crease over the top left corner, otherwise in nice overall condition.Adam and Eve - Not examined out of the frame, margins obscured by mount so not available for inspection. Some light undulation to the left hand margin and the lower border with some scattered dark blemishes and with one small thunder fly beneath glass, otherwise in good overall condition.

§ Gwen Raverat SWE (1885-1957) Poplarswood engraving, from the original 1916 block; counter-signed to reverse by Nelly Trevelyan, granddaughter of the artist and keeper of the archive9 x 18cm;together with The Bird in the Tree coloured wood engraving, printed from original blocks in 1940; counter-signed to reverse by William Pryor, grandson of the artist11 x 12cm (2)Poplars: Not removed from frame, print appears to have been trimmed and laid to mount, some negligible age toning to paper support but in otherwise nice, clean conditionThe Bird in the Tree: Not examined out of the frame. Some light handling creases noted to the top left corner, very slight (but uniform) age toning. Otherwise in very nice condition.

§ Gwen Raverat SWE (1885-1957) Bowl playerssigned 'GRaverat' (lower right); inscribed with titlewood engraving11.5 x 16cm

Johann BlaeuBrasilia, hand coloured engraving, the title cartouche with coat of arms, 38.5 x 50cm

Blair Hughes Stanton (1902-1981)'Lucifer, Mephistopheles and Beelzebub', wood engraving, pencil signed in the margin, titled and dated '32, 19.5 x 13cm A good condition, paper with image has slighty time stained.

Samuel & Nathaniel BuckThe North View of Oxford Castle, engraving, 19 x 37cm; together with "The South West prospect of Liverpoole" in the County Palatine of Lancaster, engraving (2)

Anne Aspinall (b. 1949)'Field Patterns - November', etching with aquatint in colours, pencil signed in the margin, titled and numbered 1/30, 20 x 24.5; together with Clare Leighton - 'T', wood engraving, 4.5 x 4.5cm (2)

William Curtis (pub)Creeping rooted Hedysarum, plate no. 282, c.1794, hand-coloured engraving, 20 x 12cm; and thirteen further similar (14)

Francesco Bartolozzi after Cipriani The Departure of Hector, stipple engraving hand-coloured, 33cm x 27.5cm oval, and companion, a pair; together with a 19th century French reverse glass painting – a lady with rosebud, in foliate moulded gilt frame, 24cm x 18.5cm (3)

Robin Tanner (1904-1988)The First Swallow, pencil signed and inscribed to the margin, etching, 18 x 23cm; together with - Gihachiro Okuyama (1907-1981) - 'Ryoangi Temple Garden in Keyto', wood engraving, 11.5 x 23cm; and an Old Master etching of a market scene (all unframed) (3)

French school (late 18th century)'Desagremens des Parapluies', engraving, 16.5 x 22cm; and two further engravings to include Portrait of Venus after Titian; and head and shoulders study of a 17th century gentleman (3)

James Bostock (1917-2006)The Mirror, 2nd ed no. 3/30, signed, inscribed and dated '51 to the margin, wood engraving, 15 x 15cm (imp)

Hermann Moll'A New Map of Great Britain', engraving on two conjoined sheets, hand-coloured, printed and sold by Thomas Bowles, John Bowles and John King, 103 x 63cm

John Speede'Breknoke both Shyre and Towne described', engraving with aerial view of the town and decorative title cartouche, Bassett & Chiswell, 38 x 51cm

A 19th century gilt frame, the cluster moulded border with ribbon bow moulded centres, and incorporating a coloured engraving after Richard Westall, sight size 59.5 x 75cm; and two further 19th century gilt frames, rebate size 70 x 58cm and 68 x 51cm (3)

Italian School, 19th centuryAn Italian peasant girl drinking from a well head, chromo-lithograph in gilt frame, 26.5 x 20cm; a pair of circular stipple engravings representing Spring and Summer; and F. Bartalozzi after Rev. W. Peters – “The Apotheosis of a Beautiful Female", stipple engraving in colours 70cm x 50cm (4)

John BevisThe Constellation of Leo, plate XXVI celestial engraving, hand-coloured for 'Uranographia Britannica', 32 x 38cm; and seven further from the same series (8)

David LogganMagdalen College, engraving, 31 x 41cm There is some worm damage to the lower edge, in the area just above  the mount, with another further small area of worm damage to the upper area. The sheet appears fairly flat, though the work has not been examined out of the frame.

Gerard MercatorMap of the North West Coast of Africa, engraving with decorative satyr and mythical beasts, hand-coloured, 45 x 36cm

Jacob von SandrartFigures at a tomb, engraving, 31 x 19cm; together with further miscellaneous old master prints and engravings, all unframed Provenance: From the estate of the late Francis and Larissa Haskell

Paul Nash (1889-1946)Paths into the wood, titled in pencil to the margin, wood engraving, from an edition of 50, 12.5 x 19cm There is one spot of light brown foxing to the upper right margin, otherwise the work appears to be in good condition. Not examined out of the frame.

Luigi Schiavonetti after William Blake'The Reunion of the Soul and the Body', etching, pub. by Cadell and Davies, Strand, on J Whatman 1808 watermarked wove paper, 29.5 x 23cm; and eight others similar; one further engraving after Blake, all unframed; and a pair of oval stipple engravings, framed (12)

Howard Phipps (b. 1954)'Hambledon Hill', pencil signed and numbered 149/150 to the margin, wood engraving, 11.5 x 15cm

Alexander MairThe Constellation of Capricorn, celestial engraving, hand-coloured for 'Uranometria' by Johann Bayer, 28.5 x 38.5cm; and four further similar from the same series (all unframed) (5) Overall these are in good condition, with minor time staining and nicks to the edges. Cancer has a repaired tear close to the central fold, and Aquarius has some creasing.

Blair Hughes Stanton (1902-1981)'The Sun', wood engraving, artist's proof, pencil signed in the margin, titled and dated '32, 12 x 7m

EDWIN HENRY LANDSEER (1802-1873) 'The Cat Disturbed' A terrier and a cat facing off in a stable or barn interior, possibly regarding a rat caught in a trap nearby, inscribed verso "E.L. aged 16, 1818", oil on canvas, 35cm x 44cmProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: This work was later reproduced as an engraving under the title 'The Intruder'.Exhibited: Art Treasures Exhibition, Manchester 1857, Saloon E., no. 348.'The Works of the late Sir E Landseer', Royal Academy, 1874, no. 265.Whitchurch Art Exhibition as 'Terrier & Cat'.Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, no. 21.

λ&nbspPIETRO ANNIGONI (ITALIAN 1910-1988) PORTRAIT OF JUANITA FORBES Tempera grassa on panel Signed with monogram, dated and inscribed Paris LIII/To J (verso) 68 x 48cm (26¾ x 18¾ in.)Painted in 1953. Provenance: Juanita Forbes and thence by descentExhibited: Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.11 Florence, Galleria d'Arte Internazionale, Pietro Annigoni, 19-23 January 1963 Milan, Galleria Cortina, Antologica di Pietro Annigoni, 25 October - 25 November 1968New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969 San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977 Literature: R.C. Cammell, Pietro Annigoni, London,1954.G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabetta"posa" per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.H. Kanis, This is Annigoni, in News Page, London, July 1955, p.42.D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint. In Daily Express, 8 May 1956, p.10.R.C. Cammell, Memoirs of Annigoni, London, 1956, p.80.M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.N. Rasmo, Pietro Annigoni, Florence, 1961, p.69U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242 Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters. During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945. Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London. Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be "The Greatest Painter of the age." The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few. His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco. Condition Report: Crazing to the varnish throughout which has created an uneven effect across the surface. Tempera grassa pigment is in good condition. Light surface dirt throughout. Some discolouration caused by yellowing varnish. A diagonal line running across the lower right quadrant approx. 20cm. Condition Report Disclaimer

A milk jug and coverChinese export porcelainGrisaille decoration featuring the Goddess Juno after engraving by Claude III AudranQianlong reign (1736-1795)(minor faults)Alt.: 12,4 cm

Eric Gill (1882-1940) wood engraving, Nativity with Midwife, St Joseph Standing, 1913, (Skelton P14), 5.2 x 5.4cm. Provenance: Gifted by Gill to his Chaplain, Dr. Flood

John Berney Crome (1794-1842) pencil drawing, a mill on a river, signed and inscribed verso, dated 1834, 8.5cm x 12cm, in embossed mount, together with a 18th century Classical engraving, in glazed gilt frame

Five Georgian coloured engravings depicting humorous fishing scenes (approx 19cm x 27cm) and a coloured engraving, Master of Blankney hounds, 33cm x 20cm. All in glazed frames (6)

19th century hand coloured engraving, after the “Interior of a Harem” by Thomas Allom. Probably taken from Fisher’s “Illustrations of Constantinople and it’s Environs”, 1838. In its 19th century gilt frame. Overall including frame 21.5x20cm.

19th century engraving - the Vision of Saint Augustine of Hippo in his study, after Vettore Carpaccio in the Scuolo di San Giorgio degli Schiavone, Venice, 44cm x 68cm, framed

Heavy, shaped brass butt plate, shaped cheek piece and guard in the Continental style. Unrecognisable engraving worn on top flat. The forend extending to the breech, ramrod with horn end. blade foresight, rear sight absent. Intricate and delicate side lock action. The barrel of different colour and finish to the action indicating a replacement. No rifling evident. Approx .50 cal. It is assessed as being a Jager musket 1830 - 1850 or German or Austrian origin. Very nice piece Sect 58 Obsolete CalCondition Report

Chequered wood butt plate, pistol grip and forend. Brushed metal endcap to grip. Superior proof barrels, solid, high 7mm top rib, part solid mid-rib, hold open top lever, automatic safety. The action wholly, finely engraved with delicate scrolling and to the sides, bold acanthus framing to avian and woodland scenes. In the manufacturer's moulded, locking case. Weight 7lb 5oz, Chambers 2 3/4", Choke 3/4 to both, Pull 15", Barrels 30", OAL 47 1/4", Proof 16.9 Readings 16.99, 16.97 Walls 40, 40 FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportM - B, F - B, W - C The stock with numerous strong scratches (no fibre compromised) to the right side but no damage. The barrels with silvering to the muzzle. The engraving to the action sharp with a soft, brush finish.

Ribbed horn butt plate, chequered straight grip and forend. Damascus barrels, plain rib engraved 'CHARLES INGRAM. 18B. RENFIELD STREET, GLASGOW'. Rebounding hammers, top-lever, treble action. The action finely decorated throughout with shooting scenes and acanthus bouquets. Weight 6lbs 8oz, Chamber 2 3/4", Choke Full, Bore, 1/2, Pull 14 1/4", Barrels 30in, OAL 46 1/4" Proof .728 (18.5mm) Readings 18.36, 18.5 Walls - 30, 27 FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportM - C, F - D, W - D Some restorative attention required throughout. The engraving remains sharp

A 16-BORE BOXLOCK NON-EJECTOR Ser No 15773; Ribbed hard rubber butt plate, chequered straight grip and forend, raised, machine-finished rib. Simple, light engraving to the action, retaining much of the original finish. Weight 6lb 13oz, Chambers 2 3/4", Choke 3/4, 3/4, Pull 14 1/4", Barrels 27 2/4" Proof 16.7 Readings 16.6, 16.6 Walls 24, 34 Sect 2 of the Firearms Act – Shotgun Certificate required to purchase this item FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportM-C, F-C, W-C/B

Moulded, Vulcanite butt with hunting scene in the European-style, chequered straight grip and forend. Rib engraved 'G.W. HENDERSON LONDON.', the left barrel engraved 'CHOKE BORE'. blackened Damascus barrels. Rebounding hammers. Sideplates and action bright throughout, simply decorated with acanthus scrolls and dashed edging, the underlever also bright. Weight 6lb 12oz, Chambers 2 3/4, Choke 1/2, 1/4, Pull 14 3/4, Barrels 29 3/4" Reproved London 1985 Proof .720 Readings .720, .720 Walls 39, 37 FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportS - B/C, F - B/C, W - B The action bright, engraving softened, extensive polishing. The finish to the barrels near complete, the stock, nicely figured, having been filled to the left hand side albeit sympathetically.

Cushioned butt pad, chequered, full pistol grip and forend with Schnabel tip. Ventilated top and mid ribs, hold-open top lever, safety with integral barrel selector. The action adorned with geometric, art deco engraving, 'BREDA' to the sides and to the underside 'ZENITH' very much in a style influenced by Fritz Lang's Metropolis. Weight 8lb 3oz, Chambers 2 3/4", Choke approx Imp, 1/2, Pull 14 7/8", Barrels 31 7/8", OAL 49 1/2" Proof 18.6 Readings 18.55, 18.54 Walls 32,32 FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportM - A, F - A, W A/B Unmarked other than a number of very fine dents to the stock.