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Laphroaig: 34 year old Islay Single Malt Scotch Whisky, 'The Ian Hunter Story. Book 4: Malt Master', distilled and bottled by D. Johnston & Co., Laphroaig Distillery, In original presentation case, and slip case.

Artist unknown - pen and ink A pair of sepia Old Master-style portraits 9" x 7½" and one other 19th century pencil sketch - female bust portrait (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)

Circle of Antonio Calza (1653-1725)Ottoman cavalry attacking a fort, oil on canvas, 97 x 114cm Sotheby's Old Master Picture Sale, 12th February 2008, lot 206. The canvas has been relined, and signs of retouching. In need of a clean and some light restoration. The frame with knocks and marks.

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

Wenzel Hollar, views of Westminster', a pair of Old Master engravings, each 6" x 11.25" (15 x 28.5cm), (2).

A collection of ten Old Master etchings and engravings, after various artists, unframed, (10).

Old Master, a set of four paintings depicting the four disciples writing, oil on canvas, each 17" x 23" (43 x 58.5cm), all unframed, (4).

Manner of Guido Reni (Italian 1575-1642), set of four Old Master monochrome ink and washes, Four saints including St. Lucas and St. Matthew, each bearing date 1692, 17 x 12cm. Condition - fair to good for age

Unknown Oleographs Set of three  Old Master  Dutch Still life Flowers in blue and whites vases 9.5 cm x 8.5cm x2, 24 x 19 cm 

Ca 1200 - 800 BC.An elaborate Western Asiatic horse bit, decorated with cheek pieces that have an openwork three-figure scheme. In the centre, the Master of Animals stands with a long beard and open arms. He is flanked by two rampant deers. Size: 215mm x 120mm; Weight: 735gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca 1200 - 800 BC.An elaborate Western Asiatic horse bit, decorated with cheek pieces that have an openwork three-figure scheme. In the centre, the Master of Animals stands with a long beard and open arms. He is flanked by two rampant deers. Size: 175mm x 90mm; Weight: 470gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca 1200 - 800 BC.An elaborate Western Asiatic horse bit, decorated with cheek pieces that have an openwork three-figure scheme. In the centre, the Master of Animals stands with a long beard and open arms. He is flanked by two rampant deers. Size: 225mm x 110mm; Weight: 725gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. 1200 - 800 BC.A Western Asiatic cast-bronze sceptre depicting a mysterious figure known as the master of animals. The master stands with bowed legs atop a narrow base while grasping the throats of two abstract avian creatures. This demonstrates his mastery over the living world. The bottom component is shaped like a bell to accommodate several sizes of standard poles. For similar see: MET Museum Accession Number: 1996.82.1.Size: 365mm x 68mm; Weight: 510gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

A 19th century panel or roundel, carved after the Old Master with the Betrayal of Christ, 15.5cm diam

Photography and Italian Renaissance Interest - an interesting collection of 19th century Grand Tour type albumen prints, of Old Master scenes by Giotto, Ghiberti, etc, printed by Anderson, Rome, in two large photograph albums, each 47cm x 35cm, approx. 700 (2)

SOME ACCOUNT OF THE WORSHIPFUL COMPANY OF CLOCKMAKERS OF THE CITY OF LONDON, page illustrations and plates, pictorial brown cloth, Privately Printed, 1881; REID (T), TREATISE ON CLOCK AND WATCH MAKING, 2nd ed, engraved title, folding plates, full leather (front board detached), Blackie & Son; BAILLIE (G), WATCHMAKER AND CLOCKMAKERS OF THE WORLD, Methuen, 1929; CESCINSKY (H), THE OLD ENGLISH MASTER CLOCKMAKERS, Routledge, 1938, (4).

J. Wezenaar. 20th Century. Painted copy after an old master. Oil on panel. Dimensions: H 30 W 40 cm. In good condition.

CIRLCE OF JOSEF VAN BREDAEL (FLEMISH 1688-1739) SAINT ANTHONY (RECTO); ORIGINAL DESIGN FOR ENGRAVING, FRAGMENT (VERSO) Oil on copper With red wax studio stamp to supporting panel (verso) 12 x 14cm (4½ x 5½ in.) A painting with strong similarities was sold at Dorotheum, Vienna, Old Master Paintings II, 12 May 2022, lot 273, as Attributed to Josef Van Bredael Condition Report: Scattered areas of flaking and paint loss throughout. Surface dirt and discolouration. Would benefit from a clean. Uneven varnish. Some light craquelure. The reverse of the copper plate with upper left corner of a design for an etching, with some light wear but in good condition commensurate with age.  Please note Dreweatts is not responsible for damage to frames.Condition Report Disclaimer

FRANCIS DANBY (BRITISH 1793-1861) A SAILING SHIP IN A STORMY SEA Oil on card Signed (to mount, lower centre) 16 x 18cm (6¼ x 7 in.) Provenance: Anthony Reed, London Davis & Langdale Co. Inc., New York David Cross Gallery, Bristol Sale, Sotheby's, London, Old Master and British Works on Paper, 6 July 2022, lot 213, from the Collection 'A Way of Life: The Collection of Barbara & Ernest Kafka' Exhibited: London, The Tate Gallery, Francis Danby, 15 Feb - 9 April 1989, n. 60 Dating from circa 1855 this rapidly executed oil study was painted at a time when the artist was living on the Devon coast at Exmouth. Danby had a great love of sailing and was an amateur boat builder. He was also aware of the sea's power and survived a shipwreck off Axmouth in the last year of his life. The low viewpoint and subtle treatment of the dark tones heighten the sense of drama in this sketch. Condition Report: The work has been laid down to a mounting sheet. There is a small pin hole to the lower left corner. Some light staining along the framing edge, also with traces of a glue residue to the upper right corner. Inspection under UV light reveals very fine, scattered retouching throughout the sheet. Unexamined out of glazed frame. Condition Report Disclaimer

NATHANIEL DANCE (BRITISH 1735-1811) POWLETT WRIGHTE (THE YOUNGER), STANDING BEFORE ENGLEFIELD HOUSE, BERKSHIRE Oil on canvas 71.1 x 91.4cm (27 x 35 in.)Provenance: Presumably commissioned by the sitter or the sitter's family George J. Kidston (1873-1954) of Hazelbury Manor, Box, Wiltshire Frost & Reed, London Private Collection U.S.A.The present lot is a charming example in the mid-eighteenth-century tradition of the English country house conversation piece, having been identified from another almost identical version of the work, currently in a private collection, which is inscribed to the frame with details of the sitter, location and artist. The two pictures are contemporary with each other, and from the style of painting the hand is clearly the same. The only variants are some very slight differences in some of the trees and the painting offered here includes a dog in the foreground, which is omitted from the other version. Powlett Wrighte Junior (1739-1779) was the son of Powlett and Mary Wrighte and the heir to Englefield House and its estate. His father died in 1741, when he was just two years old and the house and estates were left in trust for him until he turned twenty-one. Both paintings show Englefield as it was in the mid-18th century, most likely around 1760, the year Wrighte turned twenty-one and came into full ownership of the house. This would have been a thoroughly plausible reason to commission a painting of himself, standing proudly in front of his country house of which he was now master. Given that his mother, now the chatelaine of several large houses through her second marriage in 1745, would have spent much of her time away from Englefield, it is also entirely plausible that she would have wanted a second version of the picture to hang in one of her other houses to remind her of the house where she lived before and to remind her of her eldest son, who was now the master there. Upon his death in 1779 and, being childless, Wrighte left the Englefield estate to his uncle, Nathaniel Wrighte in accordance with his father's will. Nathaniel Wrighte let the house and estate to Lady Clive, the widow of the famous 'Clive of India' and she lived there for some years in the 1780s. Since that time that house has been architecturally altered more than once - most significantly during the early 19th century when it was given some impressive 'Gothic' additions. The elevation shown in this picture, however, is largely still extant today and the positioning of the church to the viewer's right is similarly unchanged. The descendants of Powlett Wrighte are still the owners of Englefield House today. For Nathaniel Dance, 1760 was also a pivotal year. Initially it is hard to reconcile this picture stylistically with most of the known works by Dance which are much more informed in their handling of his sitters, giving them a certain charisma and depth which is lacking here. However, if we keep the date of 1760 in mind, we note that this predates his trip to Italy, and more specifically Rome, where he met and was influenced by the grand-manner portrait painter Pompeo Batoni. Prior to this trip abroad, the influences of Dance's tutor Francis Hayman are more noticeable. Similar examples of Dance's work in this early style include The Dashwood Family at Wycombe Park (Witt 147628), and Colonel Thornton at Falconer's Hall (Witt 147629). 

ATTRIBUTED TO SIR THOMAS LAWRENCE (BRITISH 1769 -1830) PORTRAIT OF A YOUND GIRL WITH A SHEEP, POSSIBLY LOUISA CLARA BOSANQUET (1826-1922), LATER MRS HORACE MEYER Oil on canvas 76.2 x 63.5cm (30 x 25 in.)Provenance: Probably Sir Michael Walker Private collection, UK. Recent research into the chalk inscription to the stretcher of the present lot, suggests that the picture was probably owned by the British diplomat Sir Michael Walker (1916 - 2001). One of Walker's ancestors, David Bevan (1774 - 1846) was one of the bankers who founded Barclay, Bevan and Co., which went on to become Barclays Bank. Bevan's wife, Favell Bourke Lee was painted by Lawrence (see, Bonhams, Old Master Pictures, 25 October 2017, lot 44), and it is therefore reasonable to suggest that her granddaughter Louisa Clara Bosanquet (B.1826), may also have been painted by the artist. The suggestion of Louisa as a candidate for the sitter in the present lot becomes even more compelling when we learn that, though her aunt Mrs. Thomas Mortimer, she had a link to a pet sheep which she is known to have helped to bathe in the sea. In addition to a sheep, Mortimer, who wrote some of the most educational children's books of the nineteenth century (such as The Peep of Day), had a menagerie of pets including a parrot which she took to bed, and a donkey. As Mortimer's favourite niece the pair went on to write two books together. The present lot is comparable to Sir Thomas Lawrence's portrait of Lady Alexandrina Vane, No. 785, and George Vane-Tempest, No. 512 (Garlick, Sir Thomas Lawrence - A Complete Catalogue of the Oil Paintings). Condition Report: The canvas has been lined. Some very light craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout. There is also a small (approx. 2cm) area of repair to the sitter's lower right cheek, and this over-painting is also visible in a natural light.Framed measurements 97 x 83cmCondition Report Disclaimer

THOMAS LUNY (BRITISH 1759-1837) SHIPS BELOW OLD LONDON BRIDGE, WITH THE CHURCH OF ST. MAGNUS THE MARTYR AND WREN'S 'MONUMENT' Oil on canvas Signed (lower right) 55 x 85cm (21½ x 33¼ in.) Provenance: Arthur Ackermann & Sons Ltd, London A bigger version of this painting was auctioned at Christie's, London, Old Master Paintings and Sculpture: Online, 25 November 2022 - 9 December 2022, lot 199 (unsold) Condition Report: The canvas has been lined. Light craquelure throughout with a very small area of lifting to the paint (approx. 2mm) to the upper right edge. Stretcher marks visible, most noticeably along the upper edge. Some light craquelure scattered throughout. Areas of diagonal in-filling to the sky visible in natural light to both the upper left and right quadrants. Inspection under UV light reveals retouching and in-filling throughout together with traces of a green varnish.Condition Report Disclaimer

SPANISH SCHOOL (17TH CENTURY) THE HOLY TRINITY Oil on canvas laid to board 46 x 31.5cm (18 x 12¼ in.) Provenance: Private Collection, UK Sale, Roseberys, London, Old Master & 19th Century Pictures, 20 July 202, lot 29

JOHN DOWNMAN (BRITISH 1750-1824) A GENTLEMAN, WEARING BROWN COAT, WITH WHITE STOCK AND CHEMISE Oil on copper, oval 20 x 16cm (7¾ x 6¼ in.) Provenance: The Collection of Timothy Clowes Sale, London, Sotheby's, Old Master and Early British Paintings, 29 October 2009, lot 128 Sale, Dreweatts, Fine Art Timed Online Auction, 25 February 2022, lot 126 Condition Report: The copper presents a sublet craquelure, most noticeable on the visage of the sitter. UV light reveals an unevenly applied varnish, but no evident signs of restoration. A few yet small dots of retouching are present near the borders. Framed measurements: 34.5 x 31.5 cm Condition Report Disclaimer

BOLOGNESE SCHOOL (17TH CENTURY) A WOODED LANDSCAPE CROSSING BY A RIVER Pen and brown ink Inscribed '1782-3' (to mount) 24.8 x 37.5cm (9¾ x 14¾ in.) Provenance: Sale, Christie's, London, Old Master & British Drawings & Watercolours, 27 July 2020, lot 14 This lot to be sold without reserve  

FLORENTINE SCHOOL (CIRCA 1600) PORTRAIT OF A SMILING MAN (RECTO); A WINGED FIGURE HOLDING TWO CHILDREN, DRAWN BY TWO HORSES (VERSO) Red chalk (recto); black chalk (verso) 30.4 x 17.2cm (11¾ x 6¾ in.) Provenance: Stefan von Licht (1880-1932), Vienna (L.789b) Sale, Christie's, London, Old Master and British Drawings and Watercolours, 4 July 2023, lot 18 The winged figure holding the two children is most likely a study depicting the Allegory of Night This lot to be sold without reserve  

ZACHARIE FELIX DOUMET (FRENCH 1761-1818) TWO VIEWS OF THE ENVIRONS D'ASCALDAS, NEAR LISBON Bodycolour, a pair Both signed (lower centre) Each 18.5 x 18.5cm (7¼ x 7¼ in.) (2) Provenance: Sale, Christie's, South Kensington, Old Master Drawings, 15 December 2000, lot 148 Condition Report: Unexamined out of glazed frame. The two pictures appear in good condition. On the second picture a small, very light crease, and hardly noticeable, appears to cross the whole surface just to the left of the hamlet in the background. Always on the same picture, there are what appears to be a few dirt stains to the upper edge. UV light reveals no evident signs of restoration. Framed measurements: Each 33 x 33 cm Condition Report Disclaimer

FOLLOWER OF JACOB ISAAKSZOON VAN RUISDAEL FIGURES IN A WOODED LANDSCAPE Oil on canvas Bears indistinct signature 'Ruisdael [?]' (lower right) 86 x 116cm (33¾ x 45½ in.)Provenance: Sale, Sotheby's Olympia, Old Master Paintings, 6 July 2004, lot 465 Condition Report: The canvas is relined and presents a subtle craquelure across the whole surface. UV light reveals a few retouches in the greenery, and a few dotted retouches on the figures. In addition, a few scattered restorations are present in the sky. To conclude, targeted layers of varnish are present on the surface. Condition Report Disclaimer

A collection of old master engravings and etchings, including after Rembrandt, Salvatore Rosa, Jacques Callot, etc

BALVENIE 10 YEAR OLD FOUNDER'S RESERVE SPEYSIDE SINGLE MALT 40% ABV / 70clThe Balvenie Founder’s Reserve is a classic 10 year old single malt Scotch whisky which was created by The Balvenie Malt Master, David Stewart, from a marriage of The Balvenie single malt matured in bourbon casks with that matured in sherry casks, or butts. On the nose, The Balvenie Founder’s Reserve is rich and complex with honey and orange notes and just a hint of peat. Its taste is full-bodied honeyed sweetness, with light spicy notes and a hint of sherry fruitiness. Its finish is long with a pleasant lingering richness.

MACKMYRA BRUK SMALL BATCH #1 FOR SUMMERTON WHISKY CLUB SWEDISH SINGLE MALT Matured in a combination of Bourbon, Oloroso Sherry, new American oak, and new Swedish oak.One of 1482 bottles released.46.6% ABV / 70cl Small Batch 01 was distilled at the Mackmyra Bruk Distillery, Sweden’s first whisky distillery, founded by eight friends in 1999 who wondered why Sweden didn’t make its own whisky. This distillery was replaced by their Gravity Distillery in Gävle in 2011, ensuring we are tasting a piece of Swedish whisky history from where there isn’t much liquid left. And with a new Master-Blender and team running Mackmyra the brand will undoubtedly go in a new direction, therefore this is our chance to enjoy where it started before it does. Summerton Club has used mainly ex-bourbon casks, as they feel that best shows off whisky from Mackmyra Bruk, with some new American oak, new Swedish oak and ex-Oloroso to add depth. The whisky they have vatted is of various ages, with the oldest being fourteen years old. This was only available to Summerton Whisky Club members.

GLENALLACHIE 2012 11 YEAR OLD SINGLE CASK #802092 SPEYSIDE SINGLE MALT Distilled: 26/07/2012Bottled: 11/04/2024Matured in Oloroso Puncheon #802092One of 119 bottles releasedBox Signed by Master Distiller Billy Walker62% ABV / 70cl

BUNNAHABHAIN 17 YEAR OLD MOINE TRIPLE CASK FEIS ILE 2023 ISLAY SINGLE MALT Matured in a combination of American Oak / 1st Fill Oloroso Hogsheads / Bourbon Barrels / Rum Barrels52.6% ABV / 70cl This cask strength Distillery Exclusive Fèis Ìle whisky is truly something special. A marriage of three peated drams including an Oloroso Finish, Bourbon Matured and Rum Finish, it has flavours reminiscent of rum and raisin ice cream, our Master Blender, Julieann Fernandez's, favourite!

BALVENIE 25 YEAR OLD RARE MARRIAGES SPEYSIDE SINGLE MALT 48% ABV / 70clIn a flawless whisky marriage, Honorary Ambassador and Former Malt Master David C. Stewart MBE brings together individual casks that have matured in traditional American and European Oak to craft an incredibly intricate and balanced expression; exemplifying the art and skill of Single Malt tun marriages.

GLENALLACHIE 2006 17 YEAR OLD SINGLE CASK #7694 SPEYSIDE SINGLE MALT Distilled: 18/09/2006Bottled: May 2024Finished in Oloroso Puncheon #7694One of 645 bottles releasedBox Signed by Master Distiller Billy Walker59% ABV / 70cl GlenAllachie distilled this beautiful single malt back on 18th September 2006. It spent the first five years of its life in bourbon, before being filled into a single oloroso sherry puncheon for a further 12 years. Bottled exclusively for The Whisky World under the watchful eye of Master Distiller Billy Walker, this richly coloured whisky is oozing with espresso, plum, black cherry and chocolate notes. This cask strength dram is intense, flavourful and the perfect treat for any lover of heavily sherried single malt.

An excessively rare Second War ‘Cockleshell’ operations D.S.M. group of seven awarded to Quarter-Master Sergeant J. M. King, Royal Marines, a member of the elite Royal Marine Boom Patrol Detachment (R.M.B.P.D.) Just two wartime raids were carried out by the hand-picked operatives of the R.M.B.P.D., most famously Operation ‘Frankton’, the ‘Cockleshell Heroes’ strike against enemy shipping at Bordeaux in December 1942, and Operation ‘Sunbeam’, a similar canoe launched attack against targets in Leros in June 1944 Sergeant King was well-known to the likes of ‘Blondie’ Hasler and Bill Sparks, having trained beside them in the lead-up to the ‘Cockleshell Heroes’ raid, but it was for his part in ‘Sunbeam’ - described as one of the most brilliant sabotage operations of the war - that he was awarded his immediate D.S.M., one of only three such awards to the R.M.B.P.D. On that memorable occasion, in a damaged canoe ‘with water up to their knees’, and in the face of several challenges from enemy sentries, he and his comrade nonetheless placed six limpet mines on an Italian destroyer: they duly detonated with the desired result Distinguished Service Medal, G.VI.R. (Sergt. J. M. King, PLY/X. 1457); 1939-45 Star; Africa Star; Italy Star; Defence and War Medals 1939-45; Royal Navy L.S. & G.C., G.VI.R., 2nd issue (PL.X 1457 J. M. King, D.S.M. Sgt. R.M.) minor edge bruise to DSM, light contact marks, good very fine (7) £30,000-£36,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.S.M. London Gazette 28 November 1944: ‘For gallantry in a hazardous operation in the Aegean.’ The recommendation for his immediate award states: ‘Sgt. King was in charge of one of the canoes during operation SUNBEAM. This operation was undertaken to damage shipping in the defended port of LEROS. Sgt. King’s canoe was holed before entering the harbour, he however showing great determination continued with his task using a sponge to plug the hole, and entered the harbour. Here, although challenged he avoided detection and managed to place six limpets on the hull of an enemy destroyer. On the deck of the destroyer were several armed men and there was a sentry on the jetty. By this time the water in the canoe was around his knees. He however with the help of his crew, Marine RUFF, successfully left the harbour undetected and made the R.V. on the Island of CALINO some 8 miles distant. Sgt. King showed great skill and resolution in continuing with this already hazardous task in a badly damaged canoe. The destroyer was badly damaged and had to be sent to PIRAEUS for repairs.’ James Malcolm King was born in Glasgow on 9 June 1918 and joined the Royal Marines in November 1935. His pre-war appointments having included tours of duty in H.M.S. Rodney and H.M.S. Gloucester, he volunteered for ‘special service’ in the newly established Royal Marine Boom Patrol Detachment in July 1942. Under the watchful eye of his new C.O., Major H. ‘Blondie’ Hasler, King was quickly promoted to Acting Temporary Sergeant and took up appointment as the unit’s Physical Training Instructor, a fact referred to by Bill Sparks in The Last of The Cockleshell Heroes, who credits King with establishing the unit’s haphazard assault course. Sparks adds: ‘To build our assault course we used old tyres, ropes and anything else we could think of, but often with disastrous results. Our improvised equipment sometimes collapsed just as a man leapt on to it, or through it or under it, and the injuries were sometimes severe enough to have the victim rushed to hospital. Eventually the hospital complained that they were getting to many casualties from the R.M.B.P.D. To Blondie this was all water off a duck’s back. He didn’t take any notice and nobody was going to make him deviate from that …’ For the duration of their arduous and intensive training, which of course involved many hours at sea in their Cockle canoes, the 34-strong rank and file of the R.M.B.P.D. were divided into two sections. When, at length, it was time for Hasler to select the Operation ‘Frankton’ team for the raid on Bordeaux harbour in December 1942, King was not in the chosen section, a decision that likely saved his life. The story of his comrades – who became known as the ‘Cockleshell Heroes’ - needs no elaboration here, although it is not without interest that Bill Sparks, one of the two survivors, was a member of King’s section in the Aegean at the time of Operation ‘Sunbeam’. Operation Sunbeam Overall command of the R.M.B.P.D.’s ‘Earthworm’ detachment, as the Operation ‘Sunbeam’ men were known, fell to Captain W. Pritchard-Gordon, R.M., whilst Lieutenant J. F. ‘Jasper’ Richards, R.M. led the operation on the night. As had been the case in Operation ‘Frankton’ the participating cockle canoes were all given names. Thus, Richards and Marine Stevens manned Shark; King and Marine Richard Ruff Salmon and Corporal Horner and Marine Fisher Shrimp. The marines and their canoes were embarked in M.L. 360, in readiness for the planned raid on enemy shipping in Portolaga harbour, Leros, the motor launch hugging anchorages on the Turkish coastline as it awaited the signal to launch the raid. That signal arrived in the afternoon of 16 June 1944, when confirmation was received that potential targets had arrived in convoy at Portolaga. Cecil A. Hampshire’s The Secret Navies takes up the story: ‘Soon afterwards the motor launch left the anchorage on silent engines and headed seawards, increasing speed to 16 knots as soon as she was clear of the land. The marines blackened their faces and hands and made a final check of their stores and weapons. In addition to eight limpet mines, each cockle was to carry a walkie-talkie radio, silent Sten gun, grenades, fighting knives, camouflage nets for canoe and crew, spare paddles, a baling sponge and canoe repair outfit, first aid box, 24-hour food pack, cigarettes and matches in watertight compartments, chart, compass and compensator and, not least, a bird call. All limpets were armed with four-and-a-half-hour delay fuses. The weather was ideal, dark and moonless but with plenty of starlight, a gentle swell and a slight mist over the land. After rounding the southern tip of Kalymnos and turning northwards, the motor launch reduced speed to 12 knots fore the final run-up to the dropping zone. During this last leg of the voyage the marines, clad in their cockle suits, squatted silently around their gear on the upper deck, each man engrossed in his own thought.’ And of subsequent events in respect of Sergeant King and Marine Ruff in Salmon, Cecil A. Hampshire continues: ‘A few minutes later the semi-waterlogged Salmon appeared out of the darkness, with King paddling and the weary Ruff stoically bailing out. That they had managed to complete the operation at all was nothing less than remarkable, for they had been bedevilled by a leaking canoe throughout. On entering the harbour they were almost immediately challenged by the bomb patrol vessel. But as she made no move to follow this up, the hails were ignored and Salmon pressed on towards her first objective. Half an hour later they were again challenged, this time from the shore, the shout being heard also by Richards and Stevens in Shark ahead of them. For a few moments the raiders remained perfectly still, then moved off again le...

A John Rose Coalport 'Animal Service' dessert ice pail or fruit cooler, circa 1800-1805, dark blue ground with simple gilt, painted with a circular panel of a Striped Hyena, opposed by a further roundel of a gentleman watering his horse before a large country estate, likely taken from one of the smaller engravings interspersed throughout the pages, of Bewick's Quadrupeds, complete with original liner and a cover further painted with game birds in flight and winged insects, unmarked and untitled, 26cm high See Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. See footnote for further details. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffolk, 1995) Condition:Main body of pail - Good condition with no damages or repairs. Rings well when tapped. Some minor wear to the gilding on the handles and around the rim.Pail liner - Good condition with no damages or repairs. Heavier wear to the gilt. Some scratches to the interior of the bowl. Rings well when tapped. Cover - Good condition with no damages or repairs. Some glaze crazing visible to the top and underside.

A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.

Old Master Print. Ludwig Wilhelm Busch (1703-1772) after Rembrandt (1606-1669) - Portrait of an Old Man in a Beret, bust-length and front facing, within a feigned double-ruled frame, s.l. [Brunswick], n.d. [mid-18th c], etching, 8.5 x 6.4cm, [Bartsch 1797 (Rembrandt), p. II, 147, 7] Unexamined out of frame, but apparently fairly fresh, with some marginal browning, surface dirt and signs of handling; the sheet probably affixed to the mount.

Old Master and Later Pictures and Prints. Robert Williams (fl. 1680-1704) after Michael Dahl (?1659-1743) - The Right Hon:ble Sir George Rooke Vice-Admiral of England [...], portrait, [London]: Sold by John Smith [...], 1704, mezzotint, 37.6 x 29cm, 19th c collector's manuscript note to verso: First state of 3 [...], A. Burgess, 20th c - Mulbarton Churchyard, Norfolk, signed and titled, watercolour and pen-and-ink, 17.3 x 25cm, Modern British School, early 20th c - Ruined Abbey, monogrammed W and dated 1925 within the plate, etching, 18 x 23.9cm, mounted, Salisbury Cathedral after Thomas Hearne, hand-coloured engraving, further antiquarian, ecclesiastical and macabre memento mori prints, including Swinbrook Church chancel tombs, a proof lithograph of Arundel Church, Sussex, Ackermann aquatint of East Side of the Chapel of St. Paul at Westminster Abbey, Common Seal of St. Editha's Church, Tamworth: Published by J. Thompson, 1845, nine proof wood-engravings on India paper by Orlando Jewitt, etching of Glastonbury Abbey monastic ruins, lithograph of the memorial brass to Sir Roger le Strange at Hunstanton Church, Norfolk, a later printing of Farnese Hercules after Hendrick Goltzius, etc., mixed sizes As lot in mixed, but generally good condition.

Watercolour of an Old Master subject

Artist: Old Master School [Anonymous]. Title: "Study with Three Grotesque Figures". Medium: Ink drawing on paper. Date: Composed c1700?. Dimensions: Overall size: 5 3/16 x 7 3/4 in. (132 x 197 mm).Pricing:   Starting Price: $800  Reserve Price: N.A.  Auction Sale Price Estimate: $1,200/1,500Lot Note(s): Unsigned. Drawn on light cream laid paper. Good condition. [30688-1-800-NA]

Lot of 15: The Hook (1963), British Quad, 40 x 30 inches Camelot (1967), British Quad, 40 x 30 inches Cartoon (196), British Quad, 40 x 30 inches Khartoum (1966), British Quad, 40 x 30 inches Wheres Jack (1969), British Quad, 40 x 30 inches Isadora (1968), British Quad, 40 x 30 inches New Face in Hell (1968), British Quad, 40 x 30 inches Never Let Go (1960), British Quad, 40 x 30 inches Alices Restaurant (1969), British Quad, 40 x 30 inches Reprieve (1962), British Quad, 40 x 30 inches The Young Savages (1961), British Quad, 40 x 30 inches Hud (1963), British Quad, 40 x 30 inches The Black Buccaneer (1961) (AKA Rage of the Buccaneers)/ Master Spy (1963), British Quad, Double Bill, 40 x 30 inches Wall of Noise (1963), British Quad, 40 x 30 inches Stiletto (1969) / A Time For Giving (AKA Generation) (1969), British Quad, Double Bill, 40 x 30 inches Run, Angel, Run! (1969), Half Quad, 30 x 19.5 inches 15 items Condition Report: The Hook (1963): Very good condition, light creasing, fold creasing text in pencil to reverse Camelot (1967): Good condition, creasing, edge creasing, fold creasing, pinholes, light foxing, foxing to reverse Khartoum (1966): Very good condition, light creasing, fold creasing, light fold separation, text in pencil to reverse Wheres Jack (1969): Good condition, edge wear, tanning, fold creasing, tape repairs, text in pencil to reverse Isadora (1968): Good condition, foxing, creasing, fold creasing, foxing & text in pencil to reverse New Face in Hell (1968): Good condition, edge tears, edge wear, fold creasing, tape repairs & text in blue pen to reverse Never Let Go (1960): Fair condition, edge wear, paper loss, pinholes, fold creasing, repaired tear, old tape & text in black pen to reverse Alices Restaurant (1969): Very good condition, fold creasing, light creasing, text in pencil tot reverse Reprieve (1962): Good condition, fold creasing, fold separation, light edge wear, text in black pen to reverse The Young Savages (1961): Poor condition, paper loss, edge wear, pinholes, old tape burns, text in green pen to reverse Hud (1963): Fair condition, multiple pinholes, old tape burns, fold creasing, creasing, scuffing, repaired tear to top center, edge creasing, text in pen to reverse The Black Buccaneer (1961) (AKA Rage of the Buccaneers) / Master Spy (1963): Very good condition, fold creasing, edge creasing, light foxing, pinholes, text in pencil to reverse Wall of Noise (1963): Good condition, light foxing, edge tears, fold creasing, foxing & text in pen to reverse Stiletto (1969) / A Time For Giving (AKA Generation) (1969): Good condition, light foxing, fold creasing, edge creasing, light foxing to reverse Run, Angel, Run! (1969): Good condition, quad trimmed to half, edge wear, fold creasing, old tape burns, text in pencil to reverse

Five Vanity Fair Spy cartoons, 'Otho', 'The Quorn', 'Hard Rider', 'An Old Master', "Worksop Manor', approx. 39.5x27cm (5)

A superb error date Alwar Rupee, ‘1788’ The Uniform Coinage of India, British Imperial Period: Princely States, ALWAR, Victoria [Mangal Singh (1874-92)], silver Rupee, type A/1, 1788 (sic), Calcutta, crowned and robed bust left, victoria empress, 3.75 panels in jabot, v on bodice at centre, crescent at point of shoulder, rev. Maharao Raja sawai Mangal Singh bahadur 1788 in centre, one rupee alwar state divided by sheaves of corn, edge grained, 11.69g/12h (Prid. 993 [Sale, lot 186]; Stevens website AL 250; KM. 45; cf. Album 36, 1210 [= Stack’s Bowers HK May 2022, 55299]; cf. Fore III, 1096). Trifling obverse bagmarks, otherwise brilliant mint state, very rare as such; the best specimen known to the cataloguer in private hands £1,500-£2,000 --- Owner’s ticket and envelope, “Difficult to get in this condition”. The state of Alwar, in Rajputana, was established in the early part of the 1770s under the rule of Pratap Singh. In the wake of the Indian Mutiny and the death of the then ruler, Bani Singh, his 12-year old son, Sheodan Singh (1845-74) succeeded to the title but the state was ruled by a council of regency until his coming-of-age in 1863. Further internal strife removed Sheodan from power in 1870 and a second ruling council was appointed. British copper coinage was introduced to the state in 1873 and Sheodan died in October 1874 without leaving any descendants. The council, under its president Major Thomas Cadell, VC (1835-1919), appointed 15-year old Mangal Singh (1859-92), who was invested with regal powers in the wake of Victoria becoming Empress of India in 1877. Mangal was the first chief to take advantage of the Native Coinage Act, passed on 28 March 1876, and was advanced to Maharajah on the occasion of Victoria’s Golden Jubilee in 1887. He died suddenly in May 1892. Mangal ordered 200,000 rupees from the Calcutta mint and coining commenced in November 1877, but, due to an error by Johannes Lutz, the Mint engraver, the last three Arabic numerals of the date were wrongly engraved on the master die. Some 150,000 pieces were returned to the Mint for recoinage in succeeding months and it is believed that very few specimens entered circulation

Britains Liliput World 00 gauge Cart Animals and Figures Hornby-Dublo and other makers 00 Gauge accessories lead Chess Set various lead Figures incl Cocoa cubs and Simon and Riverlet Carts and Canons (qty), Milk Float Cart (2, one in LV606 Tumbrel Cart box), unboxed animals (16) Figures Liliput and Dublo (21), Skybirds (6), Platform Furniture (11, incl luggage), Dinky Toys Barrels (6 in bag), Cocoa cubs ((5) Snow White Dwarfs (2), part lead chess set, Ring Master (2), Simon and Riverlet Canons (2), Car, Carts (2), Dan Dare Figure ?, Britains Log, old £1 save 6d Tin, unbranded miniature Horse and soldier set , in original box, small coronation Coach (no horse), clockwork Chicken, F-VG, boxes F (qty)

MANNER OF LUCAS CRANACH THE YOUNGER: AN OLD MASTER STYLE PAINTING ON BOARD DEPICTING A NUDE LADY, 59cm x 25cmMounted in a frame 73cm x 39cm

STUDIO OF MIGUEL CANALS: OLD MASTER STYLE: AN OIL PAINTING ON CANVAS OF A GENTLEMAN, 105cm x 78cmFramed 137cm x 109cm

STUDIO OF MIGUEL CANALS: OLD MASTER STYLE: AN OIL PAINTING ON CANVAS OF A LADY, 105cm x 78cm Framed 137cm x 109cm

AN OLD MASTER STYLE PAINTING ON BOARD DEPICTING A GIRL WITH A PARROT, 35cm x 28cm Mounted in a frame 51cm x 44cm

A pair of oval paintings on fabric depicting regency figures; and an oval Old Master style coloured print

Photo album dated 1886 Pompei, Old Master pictures and classical buildings

Old Master style group of figures, pencil on paper, 18cm x 23cm, framedSheet is laid down onto a backing sheet, several very tiny fox marks, generally good condition

Folder of Old Master prints and engravings

17th century Italian Old Master Classical drawing, ink/wash on paper, 13.5cm x 4cm, framed, provenance: ex-collection of the artist Nathaniel Hone whose collector's mark was an eye (see bottom left-hand corner of image)There appears to be a repaired tear across the centre of the image, sheet has slipped in the frame

Old Master style Classical study of a scholar, pencil/chalk on paper, unsigned, 23cm x 11.5cm, framedFold marks, 2 tiny holes near the top edge, generally good condition, modern frame and mount

Religious composition, Old Master style ink and wash drawing, unsigned, 20cm x 14cm, unframed, ex-collection of Nathaniel HoneSheet is lightly attached to backing sheet, stain on left-hand edge and 1 near bottom right-hand corner, no tears

Study of a mythological beast, Old Master style pen and ink drawing, inscribed Callot on backing sheet, 8.5cm x 4.5cm, unframedSketch is stuck down onto backing sheet, drawing has even discolouration, backing sheet also discoloured with a few light fox marks

Fuhring (Peter) Design into Art. Drawings for Architecture and Ornament: The Lodewik Houthaffer Collection, 2 vol., 1989 § Christie's. [Sale Catalogue] Old Master Prints from Chatsworth, signed by Ben Weinreb, price list loosely inserted, 1985 § Wilton-Ely (John) The Mind and Art of Giovanni Battista Piranesi, upper hinge weak, 1978 § Harris (John) A Catalogue of British Drawings for Architecture, Decoration, Sculpture and Landscape Gardening 1550-1900 in American Collections, Upper Saddle River, NJ, 1971 § Hébert (M.) & Jacques Thirion. Catalogue Général des Cartes, Plans et Dessins d'Architecture, 4 vol., bookplate of A.C.Lascarides, later cloth, Paris, 1958-74, illustrations, all but the last original cloth, the first three with dust-jackets, the first also with slip-case; and c.30 others, prints & drawings reference, some catalogues, 4to & 8vo (c.40)