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

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

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

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

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

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

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

A selection of framed and glazed prints to include caricatures and Old Master style examples

2020 Bunnahabhain Limited Edition 40 Year Old Single Malt Scotch Whisky, handfilled, signed by Juileann Fernandez (Master blender), and Stephan Woodcock (Master distiller), 41.9 % volume, 70 cl, with original protective bag.

OLD MASTER SCHOOL (17TH/18TH CENTURY), ADORATION OF THE MAGI oil on panel framedimage size 53cm x 42cm, overall size 66cm x 56cm

ITALIAN OLD MASTER SCHOOL (18TH CENTURY), TOBIAS AND THE ANGEL oil on canvas, inscribed 'Tobit & Angel' and 'Vischi' versoframedimage size 70cm x 56cm, overall size 90cm x 76cm

Glenfiddich Whisky 30 years old, is a pure malt Scotch whisky from Speyside, a real gem that shows the expertise of Glenfiddich. A whisky distilled, matured and bottled by the owners William Grant & Sons, Glenfiddich is the best-selling single malt whisky in the world and also the most awarded in the International Spirits Challenge. Gold Medal, (Best in Class) International Wine & Spirit Competition (IWSC) 2007.Gold Medal, International Spirits Challenge (ISC), 2008.Master Award, Best Speyside Malt Whisky over 30 years, Scotch Whisky Masters, 2009.Master Award, Scotch Whisky Masters, 2010. Presents amber color.Alcohol content: 40%.Size: 700 mlSize: 30,5 cm. 

Y A GEORGE III KINGWOOD, AMARANTH, TULIPWOOD PARQUETRY AND LACQUERED GILT BRONZE MOUNTED BUREAU PLAT PROBABLY BY AN EMIGRE CRAFTSMAN IN THE MANNER OF PHILIPPE-CLAUDE MONTIGNY AND RENE DUBOIS, LAST QUARTER 18TH CENTURY The gilt-brass banded rectangular top inset with a gilt-tooled blue leather writing surface, above a panelled frieze inlaid with Greek-key motif with two frieze drawers centred by masks headed by acanthus flanked by rosettes and opposing false drawers, with lateral writing slides, the lower border with a ribbon-twist mount, the brass reeded incut square tapering legs headed by laurel swags with square sabots terminating in castors, with a paper label to the pine panelling to underside inscribed in ink 'Brynkinalt RM' 72.5cm high, 122cm wide, 63cm deep Provenance: Possibly supplied to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) or acquired by Arthur Hill-Trevor, 3rd Viscount Dungannon (1798 - 1862) for 3 Grafton Street, London, thence by descent at Brynkinalt Hall, Denbighshire until sold, Of Royal And Noble Descent; Sotheby's, London, 19 January 2017, lot 382, where acquired by present owner. Although this sophisticated desk, with its 'Etruscan' decoration and interlaced key frieze, has the outward appearance of a French bureau à la grec, a number of constructional idiosyncrasies help to identify it as an unusual example of English craftsmanship. Until recently the bureau plat formed part of the resplendent Hill-Trevor collections at Brynkinalt Hall in Denbighshire and is most likely the output of an émigré ébéniste working in London in the last quarter of the 18th century. London had long tradition of attracting émigré craftsman with the perpetual cycle of European political and religious turbulence of the 17th and 18th centuries spurring their arrival. The lure of the capital reached new heights following the favourable conclusion of The Seven Years' War (1756-1763), a pan-European conflict which did little to dampen the appetite for French fashions in Britain. The maker of the present bureau plat would certainly have had excellent knowledge of French workshop practices and prototypes, namely the output of the celebrated Parisian cabinet-makers Phillippe-Claude Montigny (1734-1800) and René Dubois (1737-1799). The goût grec style swept to popularity in France from the mid-1750s with the celebrated suite of furniture supplied for the collector and financier Ange-Laurent Lalive de Jully. Veneered in kingwood, amaranth and tulipwood and decorated with rosette and laurel swag mounts, the Brynkinalt bureau plat closely follows a well-documented group of bureau à la grec by Montigny and Dubois. However, the Brynkinalt bureau plat diverges in several distinct ways which preclude the possibility of a French origin. Whereas French-made bureau plat use oak, the present desk employs pine in the construction. Further, the oak-lined drawers have front-to-back oak drawer bottoms, where French antecedents would have the grain running side-to-side. The dovetails, with the pronounced fan-shaped tails, are distinctly un-French and quite idiosyncratic being covered by a very thin veneer. The original locks are English, and the lacquered-gilt-brass banding to top, mounts, capping and castors (French models typically employ sabots without castors) all present as English derivatives or casts taken the originals. The presence of a distinctly English 'rococo' influenced ring-pulls to the writing slides further anglicises the French character of the present lot. Interestingly, an almost identical version of this model, sharing the same constructional traits but lacking brass reeding to the legs, is preserved in the collections of the Marquesses of Bute at Mount Stuart, Scotland. The Bute bureau plat is almost certainly from the same émigré workshop and points to a definitive group made for the most prominent families of the day. The present desk formed part of the collections of the Hill-Trevors at Brynkinalt Hall, Denbighshire, on the English-Welsh borders. The family fortune was built at first by Sir John Trevor (1637-1717), an unscrupulous lawyer-turned-politician, who twice held the position of Speaker of House of Commons before being unseated because of a bribery scandal involving the East India Company. He also served as Master of the Rolls 1685 to 1689 and from 1693 until his death in 1717. The financial gains Sir Trevor accrued in these prominent positions allowed him to acquire two London houses on St Clements Lane and Trevor Square, Knightsbridge. All four of his sons predeceased him and his estates, including Brynkinalt, passed to his daughter Anne who married Michael Hill of Hillsborough in Ireland.Arthur Hill, 1st Viscount Trevor (1694-1771), later Arthur Hill-Trevor, 1st Viscount Dungannon, was the second son and also pursued a political career, this time in Ireland as Chancellor of the Irish Exchequer and Commissioner of Irish Revenues. Arthur built Belvoir house in Ireland to designs of Christopher Myers in circa 1750. His son, the Hon. Arthur Hill Trevor (1738-1770), predeceased him also, making him an unlikely candidate for the acquisition of the present bureau plat. Instead, the Dungannon estates, including Belvoir and Brynkinalt, passed to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) who inherited the title at the age of eight. In 1795, at the age of thirty-two, he married the Hon Charlotte Fitzroy, daughter of General Charles FitzRoy, 1st Baron Southampton (1737 -1797) and grand-daughter of Charles FitzRoy, 2nd Duke of Grafton (1683-1757), and consequently sold Belvoir Park choosing to live between No. 3 Grafton Street, London (built by the Augustus Henry FitzRoy, 3rd Duke of Grafton (1735-1811) to designs of Robert Taylor in 1767) and Brynkinalt Hall. It is conceivable to bureau-plat was acquired before or during this phase of ownership as the Viscountess was a woman of highly cultivated taste and oversaw the significant re-modelling of Brynkinalt which had not been altered since the early 18th century. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.Observations include: the leather to the top has a different gilt tool edging and is either different to the leather on the sliding ends or is faded; the leather to the top also has cracks along the underlying constructions joints; some ormolu mounts are slightly loose eg the edging to to the top of the desk, one of the swags (with a later screw), some of the ribbon edging has vacant holes from missing pins, one brass inlay to one leg is sprung; it is not possible to remove the right frieze drawer as there is a fixed peg/screw preventing it from sliding out; there are two keys that operate the two different locks that suggest one is a later replacement; there is some evidence of old worm; some fading to the back.The Greek key parquetry and ormolu mounts to all sides.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

Of legal interest. An Old English pattern silver tablespoon.Richard Sibley,London, 1837. The terminal engraved 'Lincoln's Inn, 1838', and T over the initials TCT suggesting that this spoon was formerly the property of Thomas Crosby Treslove (1775-1841), Treasurer of Lincoln's Inn in 1838,  22.1cm long, approx. weight 2.3ozt Footnotes: Lincoln's Inn, one of the Inns of Court to which British barristers belong, was founded around 1310. In 1838 the Treasurer was Thomas Crosby Treslove (1775-1841). Treslove was called to the Bar in 1803, appointed a King's Council and a Bencher of Lincoln's Inn in 1827. Within the Inn he also attained the posts of Master of the Walks in 1842, Keeper of the Black Book in 1843 and Dean of the Chapel in 1844.

PABLO PICASSO (SPANISH 1881-1973) MÈRE ET ENFANTS (B.737) - 1961 Etching with aquatint on Arches laid paper, un-numbered impression aside from the edition of 50, signed in pencil to margin, published by Galerie Louise Leiris the plate 25.4cm x 30.5cm (10in x 12in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 535; Private Collection, U.K.

Ɵ HOROLOGICAL REFERENCE BOOKS MAINLY ON ENGLISH CLOCKSTHIRTEEN PUBLICATIONS:Symonds, R.W, THOMAS TOMPION HIS LIFE AND WORK The Hamlyn Publishing Group Limited, London 1969, dj; Cescinsky, Herbert and Webster, Malcolm R. ENGLISH DOMESTIC CLOCKS The Hamlyn Publishing Group Limited, London 1969, dj; Cescinsky, Herbert OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS George Routledge and Sons Limited, London 1938; Dawson, P.G., Drover, C.B. and Parkes D.W. Early English Clocks Antique Collectors' Club, Woodbridge 1982, binding incomplete; Royer-Collard, F.B. SKELETON CLOCKS N.A.G. Press Limited, London 1969, dj; Roberts, Derek BRITISH SKELETON CLOCKS Antique Collectors' Club, Woodbridge 1987, dj; Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING Published by the author, Sydney 1975; Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their History and development Antique Collectors' Club, Woodbridge 1974, dj; Beeson, C.F.C. ENGLISH CHURCH CLOCKS 1280-1850 Brant Wright Associates Limited, limited first edition numbered 207, Ashford 1977; Edwards, Ernest L. The Grandfather Clock John Sherratt and Son Limited, Altrincham 1974, dj; Clutton, Cecil; Baillie, G.H. and Ilbert, C.A. BRITTEN'S OLD CLOCKS & WATCHES AND THEIR MAKERS ninth edition, Bonanza Books, New York 1956; Howse, Derek THE TOMPION CLOCKS AT GREENWICH AND THE DEAD-BEAT ESCAPEMENT reprint from December 1970 and March 1971 issues of 'Antiquarian Horology', The Antiquarian Horological Society, London undated, staple bound, and Roberts, Derek An Exhibition of:- PRECISION PENDULUM CLOCKS, JUNE 1986 Derek Roberts Antiques, Tonbridge 1986, softbound, (13). 

A WILLIAM III WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK WITH TEN-INCH DIALJAMES MARKWICK, LONDON, CIRCA 1695The six finned and latched pillar inside countwheel bell striking movement with slender tall plates measuring 7.375 by 5 inches and anchor escapement regulated by seconds pendulum, the 10 inch square gilt brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the finely matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, small Arabic five minutes beyond the outer minute track and signed Jacobus Markwick, Londini to lower margin, with fine sculpted scroll-pierced steel hands and applied gilt winged cherub mask and scroll cast spandrels to angels incorporating leafy trail engraved infill to margins between, the case with ogee moulded cornice and fretwork frieze over floral marquetry trail decorated hinged glazed dial surround applied with Solomonic twist-turned three quarter columns to front angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 42 inch rectangular door centred with a circular brass-framed lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground within applied half-round crossgrain edge mouldings, the sides veneered with two line-outline panels, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on bun feet.197cm (77.5ins) high, 46cm (18ins) wide, 27cm (10.5ins) deep. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1656 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. Condition Report: Movement is in fine clean fully working condition having been given a gentle service prior to consignment. There is no visible evidence of alteration or noticeable replacements and there is minimal pinion wear evident. Some of the pivot holes have slight punching (historic repair to counter wear) and the top left of the backplate has two vacant threaded holes for a bracket to secure the movement into the case - the bracket is no longer present although there is a steel counterpart secured to the case backboard at the appropriate height. The bottom two pillars are very slightly bent in a downward curve from tightening the movement onto the seatboard. The front of the dial plate has been regilded however appears free form any visible evidence of alteration or noticeable replacements and faults limited to some oxidation spotting and light patchy discolouration to the chapter ring, and a repair to the minute ring. The movement rests on an old seatboard which sits directly on the cheek uprights of the case with no apparent evidence of alteration and in-line with a scribed-line to the case backboard. This would suggest that the movement and dial are original to the case. The case is generally in very good original condition with no visible evidence of alteration or significant restoration/replacements. The hood top board may be an old replacement and the fret to the frieze is most likely a restoration, otherwise the hood appears to be in fine original condition with faults limited to historic movement and shrinkage to the cross-grain mouldings and veneers. The hood appears to have been originally made with a front door - there is no evidence to suggest that it has been converted from a rising hood with fixed front. The trunk and base are in similar condition with the backboard retaining its original height with splitting to both the upper and lower sections which may benefit from being secured. The trunk door has had fillet repair to hinge side of the panel at the rear which continues for the full height between the upper and lower 'clamps'. This in most likely to address historic worm damage to the edge of the board as evidence some of this is visible just beyond the join in places. The door veneers are in good condition having only one small loss (to the ebonised ground only) towards the lower margin at the join between the clamp and the vertical section of board forming the trunk door. There is also some small localised repairs to the marquetry along the rest of this joint and to the corresponding joint at the top of the door (but to a much lesser degree). The sides have noticeable slight bowing, a few minor veneer patch repairs to rear edge and some cracking/movement to the veneers. The case appears to retain its original structure veneers except for some replacement to the fascia crossbanding to the lower left-hand corner. The right-hand side has a horizontal crack and there are small patch repairs to the lower front corners. The carcass of the box has horizontal joins in the front and side panels about an inch up from the lower surface - however the backboard continues down past these joints and the veneers appear largely undisturbed hence we are inclined to believe that the slips forming the lower edge of the front and sides of the box carcass are an original feature. The bun feet are replacements and there is historic evidence of past minor worm infestation which has long gone. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age, The colour is generally good but would benefit from a little attention from a furniture finisher to revive it a little.Clock is complete with pendulum, two brass-cased weights, two case keys and a winder. Condition Report Disclaimer

Harrison, (John L.) [Captain,18th Century] Manuscript Miscellany books of letters and poems, [London, circa 1771-75], small 4to, one volume in contemporary vellum, the other marbled paper boards and leather spine, approximately 80 text pages (not including blanks), some leaves excised (stubs remaining)Pencilled note to paste-down states “MSS book of Capt. J. L. Harrison. London”The two books show the ambitions of its author to be a wit and a poet and captures friendships built through letters and exchange of verse. Among the extracts from published works and occasional jokes, Captain Harrison of Bishop’s Hall in Bethnal Green, has copied letters sent and received, the majority of which are in verse form. Several names occur in the manuscript, but one appears multiple times, a “Mr A-m M-t”. In a prefatory note to a poem he sends to A. M., he writes: “I beg you’ll point out the faults it contains of which I’m conscious there are many and communicate them and your opinion of the whole to me” (ff. 25). Harrison records verse he receives in return, with both men using the medium of poetry to foster their friendship and affirm each other’s work. In a series of letters to and from “A M—t”, he asks his friend to help settle “A controversy [which] arose between two young lady’s and myself: I held that in the marriage state the man is the better half, they that the woman is which we left to be undecided…” A.M. does not fully agree, so Harrison replies, “I wonder sir you should give the preference to the Lady’s for I think the man is certainly the better half for he has the care of his business the getting of money to support his family and sundry other things I might mention” and marshals quotations from Virgil, Ovid, William Shenstone, Elizabeth Rowe, and John Milton. A.M. responds with allegory which tells of a man (aptly named “John”) who fails to understand the meaning of things: On discovering a leather purse he thinks: “Leather says he can serve some end / Old shoes perhaps may patch and mend […] Regardless of the luck thus gain’d / Concerned him not what it contain’d” Harrison pens a “jocular” verse regarding women (including the line “As he the Master she should Mistress be”), then after a confused defence of his position, protests that it “was A jocular Piece of raillery and as such I apprehended it would have been taken”. He concludes his apologetic letter, “This sir I hope will Atone for the misapprehensions of my former. I conclude With saying I entertain the most sincere and unfeign’st respect for them [women] and all those that defend them And remain your sincere Friend.” (ff. 17-18). On the next page we see Harrison’s “jocular” verse in action again in a rebuke to an unresponsive servant (we are given only their initials “C. B”) whose door he has been “thumping” to no avail: “But all my labour’s been in vain / And you have laid reclin’d till eight / Beneath your drowsy sluggish weight […]”. When not attempting to assert the superiority of men or berating servants, he shares an “Acrostic to Miss E.H on having the toothache”, and there are several letters and verse to his sister, which he signs “your ever loving Brother”. There are also a handful of pages detailing accounts relating to millinery.

COLLECTION OF OLD MASTER ETCHINGS, Nicholas Berghem (1624-1683) peasant with cattle, 25 x 20cms, and unknown classical landscape, 19 x 25cms (2)Provenance: private collection DenbighshireComments: both framed and glazed

Very early DeLuxe with unique 1959 production features and celebrity provenance. #485 built of the Morris model of the Mini Minor. Pre-Mini launch date - built between 9-17/07/1959, the Mini was launched on 26/07/1959It's a home-market DeLuxe finished in Clipper Blue with Grey Fleck trimTDL334 was the first Mini to arrive on the Isle of Wight, bought by Mrs Margaret Flux who was 55 years old and couldn’t drive at the time. After many lessons she passed her driving test and was able to enjoy the Mini at lastShe was the grandmother of the 1980s band Level 42’s lead singer and slap bass player, Mark King. She gave him the car and he also learned to drive in it Running in the Family was a 1987 hit for Level 42 who start their '40th' Anniversary Tour this year Correct parts unique to the 1959 cars include; glass washer bottle (very rare), correct spark plug caps, rubber boot liner, correct hexagonal headed master cylinders, brass top carb, straight gear stick etc.Original engine, Gold Seal gearbox in the late 1970s. Carpets been replaced but the original seat upholstery remainsIt has benefited from a recent front brake overall, new shoes, wheel cylinders and rubber hosesMagazine featured by Mini World Very sensibly guided considering it's rarity and celebrity provenanceSpecification Make: MORRIS Model: MINI MINOR Year: 1959 Chassis Number: MA2S4585 Registration Number: TDL 334 Transmission: Manual Drive Side: Right-hand Drive Odometer Reading: 59123 Miles Make: RHDClick here for more details and images

After Michiel van Mierevelt (1566-1641) - half-length portrait of Willam de Zwijger (William I of Orange 'the Silent'), oil on panel, 24 x 19cmCopy of an Old Master; probably done in the 18th century.

Five various oil paintings including study of a cat, a portrait in the old master style, boats in harbour, and two landscapes.

REMBRANDT HARMENSZOON VAN RIJN (DUTCH 1606-1669) THE THREE TREES (B., HOLL. 212; NEW HOLL. 214; H. 205), 1643 etching with engraving and drypoint, on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A-a-a), New Hollstein's only state, a brilliant, early impression of this highly important subject, printing very richly and darkly, with intense contrasts and bright highlights, the burr and sulphur tinting in the sky very pronounced, with small margins the sheet 21.8cm x 28.3cm (8 ½in x 11in) Christiaan Josi (1768-1828), Amsterdam and London (see Lugt 573, without mark); his posthumous sale, Christie's, London, 18-21 March 1829, lot 83 'Most Brilliant Impression' (£12; to Seguier)William Seguier (1771-1843), London (Lugt 2277), acquired at the above sale, with his pencil signature verso; his posthumous sale, Christie's, London, 29 April - 3 May 1844, lot 431 (£23-12-6; to Hawkins)John Heywood Hawkins (1803-1877), London and Bignor Park, Sussex, his purchase price inscribed in Greek letters (see Lugt 3023); acquired at the above saleProbably with Colnaghi & Co., London; acquired from the aboveWalter Francis Duke of Buccleuch (1806-1884), London and Dalkeith, Scotland (Lugt 402); probably acquired from the above, with his collection ink mark verso; his posthumous sale, Christie's, London, 19-22 April 1887, lot 1954 ('from the Seguier and Hawkins Collections') (£165; to Meder)With Louis Gerhard Meder (1848-1924) (of Amsler & Ruthardt), Berlin; presumably acquired on behalf of the belowSammlung der Königlichen Museen, Berlin, dated 1887 (Lugt 1610); presumably acquired from the above; with their de-accession stamp verso (Lugt 2482); their sale, Amsler & Ruthardt, Berlin, 6 March 1899 (and following days), lot 1600 ('Die Gewitterlandschaft mit den drei Bäumen. S. 212. Des Meisters Hauptblatt unter den Landschaften; das prachtvolle Exemplar der Sammlung Buccleuch, auf Schellenkappenpapier und mit 3 mm Rand ringsum. Exemplare von der Schönheit und vortrefflichen Erhaltung des vorliegenden sind von höchster Seltenheit und Kostbarkeit.')Dr Julius Elischer von Thurzóbánya (1846-1909), Budapest (Lugt 824, stamped twice); probably acquired at the above saleWith Kennedy Galleries, New York, with their stock number a48042 in pencil versoRobert Woods Bliss (1875-1962) and Mildred Barnes Bliss (1879–1969), Dumbarton Oaks, Washington, D.C. (Lugt 2004a); presumably acquired from the aboveDumbarton Oaks Research Library and Collection, Washington D.C; presumably part of the donation from the aboveWith R. M. Light & Co., Santa Barbara, CaliforniaPrivate Collection, acquired from the above on 31 January 1980; then by descentChristie's London, Old Master Prints, 9 December 2021, lot 126Acquired from the above by Hugo Burge Literature: Bartsch, Hollstein 212; New Hollstein 214; Hind 205Cynthia P. Schneider, Rembrandt’s Landscapes – Drawings and Prints, National Gallery of Art, Washington, D.C. (exh. cat.), 1990, no. 75, pp. 240-42 (another impression illustrated)Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 167, pp. 390-93 (another impression illustrated)Nicholas Stogdon, A Descriptive Catalogue of the Etchings by Rembrandt in a Private Collection, Switzerland, privately printed, 2011, no. 93, pp. 158-9 (another impression illustrated)The Three Trees is Rembrandt’s largest and most elaborate landscape etching and is considered a masterpiece within his oeuvre.  

FRANCIS TOWNE (BRITISH 1739-1816) IN PEAMORE PARK signed and dated 'Fr. Towne delt./1778' lower left, pencil, pen and grey ink and watercolour on paper 28cm x 43.5cm (11in x 17in) Bequeathed by the Artist to James White of Exeter (1744-1825)His bequest to John Herman Merivale (1779-1844)By descent from the above to the Misses Maria Sophia and Judith Ann Merivale, by 1915Sold by the above to Catherine Lambert, October 1932 (£25)By descent from the above to the previous ownersTheir sale, Christie's London, Old Master & British Drawings, 5 July 2016, lot 87 Exhibited: 20 Lower Brook Street. Grosvenor Square, London, Exhibition of Original Drawings by Francis Towne, 1805, no. 10 (as ‘A Study of a tree blown down in Peamore Park’)Burlington Fine Arts Club, London,. A Collection of Pictures, Drawings, Furniture and Works of Art of the Empire and Regency Period: Select Examples of Romano-British Art, 1929, no. 12Literature: Paul Oppé, 'Francis Towne Landscape Painter', The Walpole Society, VIII, London,1920, pp. 104-05Henri Lemaitre, Le paysage anglais à l'aquarelle 1760-1851, Bordas, Paris, 1955, p. 148Adrian Bury, Francis Towne, Lone Star of Watercolour Painting, Charles Skilton, London, 1962, p. 118Richard Stephens, A Catalogue Raisonné of Francis Towne (1739-1816), online edition, no. 144 (accessed 29 January 2025) As per Christie's cataloguing of 2016, this work is also said to be inscribed 'In Peamore Park on the verso of the original mount and with inscription '178 B.P.' verso in the hand of Paul Oppé, to be laid down onto the original mount and to be on a double sketchbook page'.

JOSEPH FARINGTON (BRITISH 1747-1821) STUDY OF A TREE indistinctly signed lower left, pen, ink and watercolour on paper 48.5cm x 35cm (19in x 13 ¾in) Bonhams Knightsbridge, Old Master Paintings, 29 April 2015,  lot 282

JOHN RUSKIN (BRITISH 1819-1900) MOUNT PILATUS FROM LAKE LUCERNE signed with monogram lower right, watercolour and pencil with bodycolour on paper 13cm x 27cm (5in x 10 ½in) Sotheby's London, The British Sale: British Paintings, 21 March 2002, lot 264Sotheby's London, Old Master & British Drawings, 8 July 2015, lot 241

JOHN WHITE ABBOTT (BRITISH 1763-1851) THE LOWER PART OF CORRA LINN, FALLS OF CLYDE watercolour, pen and ink on paper 23cm x 18cm (9in x 7in) The Artist's great, great, grandsonwith The Fine Art Society, London, 1946 Loyd CollectionChristie's, London, British Art on Paper, 5 June 2007, lot 3Christie's South Kensington, Old Master and British Drawings and Watercolours, 5 December 2013, lot 105 Exhibited: Newbury, Newbury Spring Festival, The Development of English Landscape Painting in Watercolours and Drawings, 1984, no. 9Literature: Leslie Parris, The Loyd Collection of Paintings, Drawings and Sculptures, Bradbury Agnew, 1967, no. 67, p. 30, pl. 59.Francis Russell et al, The Loyd Collection of Paintings, Drawings and Sculpture, privately published, 1991, no. 67, p. 30, pl. 67According to Christie's cataloguing in 2013, the original mount bore the inscription 'The lower part of Corriag... Lynn - one of the Falls of the Clyde./JWA. July 6.1791' and was numbered 'No 42' (on the verso of the mount)The lot was further footnoted: Abbott's earliest known watercolours date from 1791, when he undertook a tour of Scotland and the Lake District, through Lancashire, Derbyshire and Warwickshire. There is another drawing of Corra Linn, from the same tour, numbered 47, in the Victoria & Albert Museum, London (E.324-1924).

Coins And Tokens to include: 1794 Kendal Halfpenny Obverse Cypher RD, KENDAL, Reverse Man O War sailing Ship THE WOODEN WALLS OF OLD ENGLAND VF: Middlesex Richardson's Fortune Obverse View of Lady Fortune NOTHING VENTURE NOTHING HAVE 1795, Reverse Legend in eight lines AT THE OFFICES OF RICHARDSON GOODLUCK & Co No 12807 THE LAST PRIZE OF £30000 SHARED WAS SOLD IN SIXTEENTHS VF: 1788 Anglesey Parys Mines Company Halfpenny Obverse Druids Head, Reverse Large central monogram PMC, THE ANGLESEY MINES HALFPENNY 1788 P M Co VF: Warwickshire Obverse John Wilkinson's Head IOHN WILKINSON IRON MASTER Reverse man working at an industrial forge, 93 VF: 1793 Shrewsbury Halfpenny, Obverse Shield Of Arms SHRESBURY HALFPENNY 1793, Reverse Woolpack SALOP WOOLEN MANUFACTORY VF. 5 tokens in total.

Coins And Tokens to include 1789 Cronebane Halfpenny Obverse Bishop Blaze With Crook, CRONEBANE HALFPENNY, Reverse Shield Of Arms, ASSOCIATED IRISH MINERS ARMS 1789 VF: Warwickshire 1792 Obverse Head Of John Wilkinson, JOHN WILINSON IRON MASTER, Reverse Man working forge 1792 VF: Similar Token dated 1793 VF: 1794 George Prince Of Wales Token Obverse Head of George GEORGE PRINCE OF WALES, Reverse Plume Of Feathers, HALFPENNY 1794 VF: 1795 Middlesex Obverse Head, FRED DUKE OF YORK HALFPENNY 1795, Reverse Sailing Ship, THE WOODEN WALLS OF OLD ENGLAND VF: 5 Tokens in total.

An Italian Old Master engraving, 17th Century of a La Verita by Lorenzo Bernini 1598-1680, framed and glazed 45cm x 59cm

Gerard van Soest (1600-1681) Dutch Portrait of Oliver Jones (c. 1654-1685), son of Colonel Phillip Jones (1648-1685), by repute, half-length, wearing fine costume and resting his hand on the head of his hound Oil on canvas, 74cm by 62.5cmProvenance: The Property of Sir Brooke Boothby, 15th Bt., removed from Fonmon Castle, Glamorgan possibly Soest circa 1600-1680/1 London Sotheby's London, December 7 2023, Lot 44, Old Master Paintings Day AuctionLiterature: J. Steegman, "A Survey of Portraits in Welsh Houses", vol. 2, Cardiff 1962, p. 93, no. 9, reproduced pl. 15 c (as anonymous, c. 1660); A.D. Fraser Jenkins, "The Paintings at Fonmon Castle", in S. Williams, Stewart Williams' Glamorgan Historian, vol. 7, Glamorgan 1971, p. 62 (as Gerard Soest).Catalogue Note: The sitter in this portrait is traditionally identified as Oliver Jones (c. 1654-1685), the heir of Colonel Philip Jones (1618-1674). Despite living a relatively short life for the period, Oliver is recorded to have married Mary Button and sired an heir, Robert Jones (d. 1715), who continued the family line. Lined with a secondary loose lining canvas at the reverse. Unusual stretcher with corner bars. All keys present but a little lacking in tension. Brittle age and impact cracks throughout. Slightly raised, but secure. A history of flaking in the past, with micro losses throughout - the larger ones suppressed by retouching. Scattered fruther minor losses of paint and ground throughout - retouched. Mostly in the background. A few touches of overpaint in the face. Larger passages of overpaint to the bottom centre above the plaque, around the bottom left edge of the drapery, in the dog's neck and in the background above right of his head and the hand. There has been some abrasion to the paint layers, and likely loss of glazes. These areas include the shadows/halftones of the face and the dog, and in the background particularly over the raised cracks. Likely this is what the overpaint is suppressing. A little ingrained dirt and varnish. There has been some more recent knocks/movement to the canvas - there is one small area of slighly raised area of paint to the right of the red collar. This patch, together with several others, appear white. This whitening, however, is the result of delamination of varnish, and the paint is intact underneath. The rest of the upper varnish layer is even, and not appreciably yellowed. Light surface dirt.

Enoch Seeman (c.1689-1744) Portrait of Miss Jones, three-quarter length, wearing a white dress Oil on canvas, 125cm by 100cmContained in a carved wood and gilt decorated frameProvenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 146 The Property of Sir Brooke Boothby ex Fonmon Castle

Enoch Seeman (c.1689-1744) Portrait of Miss Jones, three-quarter length, wearing a yellow dress Oil on canvas, 124.5cm by 100cmContained in a carved wooden frame with egg-and-dart decoration and scallop shell motif to cornersProvenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 147 The Property of Sir Brooke Boothby ex Fonmon Castle

Enoch Seeman (c.1689-1744) Portrait of Miss Jones, three-quarter length, seated, wearing a blue dress with white chemise and holding a book Oil on canvas, 125.5cm by 100.5cmContained in a carved wood and gesso gilt frame, decorated with egg-and-dart decoration and scallop shell motif to cornersProvenance: Sotheby's London, "Old Master Paintings", September 23, 2020, Lot 148 The Property of Sir Brooke Boothby ex Fonmon Castle Lined. All keys present, but the canvas is fairly slack. Original tacking margins trimmed and the painting has been extended by approx 0.5-1cm with filling and overpaint at all sides - there are some losses to this filling, particularly at the top. Brittle age craquelure throughout, elevated in passages with scattered sharp lifting points indicating a loss of stability (see raking light images). Lifting notable around the head, and in patches along the bottom edge. There has been recent flaking along the bottom edge (unrestored) as well as older flaking and loss which has been suppressed by retouching in this area. Further scattered tiny minor losses from flaking throughout. There is a partially restored cross shaped break/damage to the middle of the left edge. There are further scattered minor retouched losses.There has been some abrasion to the upper paint layers, including to the shadows of the nose, the tops of the cracks and the tops of the impasto in the drapery, and to the hair. There is old ingrained dirt and varnish, yellowed. And a cloudy, degraded upper varnish. This varnish makes it difficult to see if there is any further overpaint in the background. There are long vertical drip marks at the right side, and minor scuffs and scratches throughout, including scuffed varnish at the edges. There is a layer of surface dirt.

A carved Oak blanket Chest having a nicely carved front panel with trailing foliage and the entwined initials M.L.V., the corners very neatly dovetailed joined and standing on bracket feet, made by Sidney Stockbridge, the woodwork master at Colfe's Grammar School in the 1930's (an old sepia photograph is annotated verso @Mr S.A Stockbridge, Woodwork Master, Colfe's Grammar School, 1932, Horn Park Lane, London, SE12 8AW). The front and side panels are beautifully carved in the arts and crafts style, with a brass loop carrying handle to either end, 38 1/2" long x 19 1/4" deep x 23 1/8" tall.

A Kershaw D2 Machete together with a Master Knives Bowie Knife (2)COLLECTION ONLY - ONLY TO BE SOLD TO PEOPLE 18 YEARS AND OLD - ID WILL BE REQUIRED ON COLLECTION

Celia Mora Secret Hunting, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Celia Mora is a Spanish painter living and practicing painting in London. She completed her studies in Fine Arts at the Complutense University of Madrid (2013). She was awarded an Erasmus Scholarship to study at the University of Arts London (2017), establishing her residence in the UK. She finished her studies in 2018, receiving an award on graduation. Her works are held in private collections, including The Four Seasons Hotel, in Madrid. She was awarded the Elizabeth Greenshields Foundation grant to pursue her Master studies at Royal College of Arts in 2022. She has again received the support from the foundation with a second grant to carry on with her studies at Turps Art School 2023/2024. She has currently got Zsuzsi Roboz Scholarship by Morley College to support her practice. Also, a three-month studio residency at Soho Revue Studios in London.   Education 2023 MA Painting, Royal College of Arts, London 2018 BA Fine Arts, Complutense University, Madrid 2013 BA Advertising and Public Relations, Complutense University, Madrid   Group Exhibitions 2024 The Eve Principle, Norito Gallery, London Startled, Lychee one Gallery, London Southpark Gallery, London Soma, Duo show, Outhouse Gallery, London Walk while you have the light, Safe House, London Vessel, OHS Projects Jackson's Art Prize, Bankside Gallery, London Leavers show, Turps studio program, London Contemporary British Portrait Painters, The Department Store, London Boundaries, Outhouse Gallery, London Nausea, Playground 72, London Jackson's Art prize, Bankside Gallery, London Slip Slap Slop, Turps studio program, London A room of one's own, Irving Gallery, Oxford   2023 Road of excess, Safe house 2, London Crème Fraiche, ICA, London MA Graduate Show, RCA Battersea, London Figurativas Prize, European Museum of Modern Art Barcelona, Spain Miradas insumisas, Flippa Gallery, Barcelona, Spain Unladylike, D Contemporary, London   Awards 2025 Soho Revue Studio Residency Program, London   2024/25 Morley College, Zsuzsi Roboz Scholarship   2024 Turps Studio program, London Elizabeth Greenshields Foundation Grant   Statement about AOAP Submitted Artwork From a genuine interest in the depiction of the human figure, through my taken inspiration in the old masters, I redefine the visual codes that configure our interpretation and given unconscious understanding of the images. Taking the male body as a subject and my partner as a model, I place myself in the empowered position of the painter, redefining the idea of the "muse" from the first act of painting. I play with the depiction of the male body as an attempt to subtly challenge notions of beauty and masculinity, exploring its representation through the classical painting aesthetics of figuration and still life. Each work is an attempt to question the subjectivity of the body in relation with the stereotypes of the gender, by pushing the visual boundaries on the depiction of its shapes, cropping, submitting or objecting the body. Concepts of love and control, agency, and intimacy come across my practice creating and entangled web of images directly related to my lived experiences. By exploring the male figure, I get to experiment with all the decisions that depicting someone else's body implies, and to get a deeper understanding on my own power role in the process. In the work, I seek to analyse the ways in which we experience the other's body, playing with the nuances in between comfort and consent. From extreme body positions to the juxtaposition with other elements used as symbolic prompts, I have been producing images that deliberately challenge normative ideas of what masculinity might be, as well as purposely complicating and undermining them. In my most recent practice, I am interested on how male-gazed narratives have limited our perspective and understanding of the world. By visually prioritizing seemingly insignificant objects, I aim to give voice to the untold and break away from a singular worldview. The vases-objects that can be filled, carried, or destroyed- act as symbols to re-signify the male form just by placing them together. Reclaiming the classical painting language, I depict these elements to question the gaze and examine the given narratives that shape our visual perception of gender. These objects reformulate the compositional aspects of each image, distorting the human form and pushing toward abstraction when viewed from a close distance. Through this process, I aim to question conventional representation norms, satirizing gender stereotypes challenging their biased construction.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.  

Celia Mora My Favourite Thing, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Celia Mora is a Spanish painter living and practicing painting in London. She completed her studies in Fine Arts at the Complutense University of Madrid (2013). She was awarded an Erasmus Scholarship to study at the University of Arts London (2017), establishing her residence in the UK. She finished her studies in 2018, receiving an award on graduation. Her works are held in private collections, including The Four Seasons Hotel, in Madrid. She was awarded the Elizabeth Greenshields Foundation grant to pursue her Master studies at Royal College of Arts in 2022. She has again received the support from the foundation with a second grant to carry on with her studies at Turps Art School 2023/2024. She has currently got Zsuzsi Roboz Scholarship by Morley College to support her practice. Also, a three-month studio residency at Soho Revue Studios in London.   Education 2023 MA Painting, Royal College of Arts, London 2018 BA Fine Arts, Complutense University, Madrid 2013 BA Advertising and Public Relations, Complutense University, Madrid   Group Exhibitions 2024 The Eve Principle, Norito Gallery, London Startled, Lychee one Gallery, London Southpark Gallery, London Soma, Duo show, Outhouse Gallery, London Walk while you have the light, Safe House, London Vessel, OHS Projects Jackson's Art Prize, Bankside Gallery, London Leavers show, Turps studio program, London Contemporary British Portrait Painters, The Department Store, London Boundaries, Outhouse Gallery, London Nausea, Playground 72, London Jackson's Art prize, Bankside Gallery, London Slip Slap Slop, Turps studio program, London A room of one's own, Irving Gallery, Oxford   2023 Road of excess, Safe house 2, London Crème Fraiche, ICA, London MA Graduate Show, RCA Battersea, London Figurativas Prize, European Museum of Modern Art Barcelona, Spain Miradas insumisas, Flippa Gallery, Barcelona, Spain Unladylike, D Contemporary, London   Awards 2025 Soho Revue Studio Residency Program, London   2024/25 Morley College, Zsuzsi Roboz Scholarship   2024 Turps Studio program, London Elizabeth Greenshields Foundation Grant   Statement about AOAP Submitted Artwork From a genuine interest in the depiction of the human figure, through my taken inspiration in the old masters, I redefine the visual codes that configure our interpretation and given unconscious understanding of the images. Taking the male body as a subject and my partner as a model, I place myself in the empowered position of the painter, redefining the idea of the "muse" from the first act of painting. I play with the depiction of the male body as an attempt to subtly challenge notions of beauty and masculinity, exploring its representation through the classical painting aesthetics of figuration and still life. Each work is an attempt to question the subjectivity of the body in relation with the stereotypes of the gender, by pushing the visual boundaries on the depiction of its shapes, cropping, submitting or objecting the body. Concepts of love and control, agency, and intimacy come across my practice creating and entangled web of images directly related to my lived experiences. By exploring the male figure, I get to experiment with all the decisions that depicting someone else's body implies, and to get a deeper understanding on my own power role in the process. In the work, I seek to analyse the ways in which we experience the other's body, playing with the nuances in between comfort and consent. From extreme body positions to the juxtaposition with other elements used as symbolic prompts, I have been producing images that deliberately challenge normative ideas of what masculinity might be, as well as purposely complicating and undermining them. In my most recent practice, I am interested on how male-gazed narratives have limited our perspective and understanding of the world. By visually prioritizing seemingly insignificant objects, I aim to give voice to the untold and break away from a singular worldview. The vases-objects that can be filled, carried, or destroyed- act as symbols to re-signify the male form just by placing them together. Reclaiming the classical painting language, I depict these elements to question the gaze and examine the given narratives that shape our visual perception of gender. These objects reformulate the compositional aspects of each image, distorting the human form and pushing toward abstraction when viewed from a close distance. Through this process, I aim to question conventional representation norms, satirizing gender stereotypes challenging their biased construction.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jo de Banzie Behind them the stars still shined, 2021 Silver and collodion on aluminium Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jo de Banzie is a photographic artist who employs the materiality of ancient and experimental process to explore memory and place. With a particular interest in motherhood within the context of war, she uses her own family stories as a starting point to explore themes of nurture and loss. Combining historical research and archive material with oral history and the imagined, Jo creates visual narratives as seen through a female lens. A process-led approach and the use of conceptually relevant materials assist her in visualising the unseen, whilst allowing the necessary space for collaboration with chance and serendipity. Following a long career as a professional photographer working in commercial and documentary portraiture, Jo took time to rethink her practice with further study at the University of the Arts London, graduating with distinction from the London College of Communication's Photojournalism & Documentary Photography master's programme. Her work is held in private and museum collections, including the National Art Library Collection at the V&A. Education 2017-2018 MA in Photojournalism & Documentary Photography, University of the Arts London (UAL), The London College of Communication Solo Exhibitions 2019 Hallowed Ground - The London Scottish Regiment, Pimlico, London, UK 2018 Tender - National Gardens Scheme, London, UK Group Exhibitions 2024 - March 2025 IPE 165 - The Royal Photographic Society, The Museum of Gloucester, UK IPE 165 - The Royal Photographic Society, Paintworks, Bristol, UK 2023 Hello World - Hive Curates, Broadworks, Liverpool Street, London, UK A Siren's Call - AiRM, St Mary in the Marsh, Kent, UK No Ordinary Love - One Hundred Shoreditch, London, UK Transmutation - The Margate School, Margate, UK 2022 Open Cells - The Koppel Project, Hampstead, London, UK Serenity - The Old Bank Vault, Hackney London, UK 2021 RHS Botanical Art & Photography - The Saatchi Gallery, London, UK 2020 Outside In - The Old Bank Vault, Hackney, London, UK 2019 Xhibit - The Koppel Gallery Central, Soho London, UK 2018 Elephants in the Room - LCC Elephant & Castle, London, UK I the Other - Safe House, Peckham, London, UK Awards Fellowship The British Institute of Professional Photographers (BIPP) Fellowship The Master Photographers Association (MPA) Public Collections V&A - National Art Library Collection - London UK Statement about AOAP Submitted Artwork Title: Behind them the stars still shined Medium: Tintype - Silver & Collodion on Aluminium The work references a quote from In Parenthesis, by the war poet David Jones. Prior to serving with the Royal Welch Fusiliers in WW1, David Jones was a talented artist, and indeed he remained a celebrated painter and engraver. However, the battalion's experience in Mametz Wood in July 1916 later led him to 'make a shape in words' to express his trauma. The lyrical and lacerating shape he made has lodged firmly in my artist's brain, and I carry it with me when making work on war. The Tintype process utilises a salted collodion emulsion sensitised with silver nitrate, one of the earliest photographic chemistries dating back to the mid-19th century. Collodion, or cellulose nitrate, was traditionally used as both a wound dressing and an explosive, otherwise known as gun cotton, and its use in the making of this work is conceptually relevant. "Stand-to. Stand-to-arms. Stealthily, imperceptibly stript back, thinning night wraps unshrouding, unsheafing - and insubstantial barriers dissolve. This blind night-negative yields uncertain flux. At your wrist the phosphorescent dial describes the equal seconds. The flux yields up a measurable body; bleached forms emerge and stand. Where their faces turned, grey wealed earth bared almost of last clung weeds of night weft - behind them the stars still shined." David Jones, In Parenthesis You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

* CHARLES OAKLEY (BRITISH 1925 - 2008), MOONLIGHT RENDEZVOUS oil on board, titled label verso framed image size 49cm x 95cm, overall size 65cm x 110cm Partial artist's label verso. Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen. Very good condition with no visible or known issues.

* JOE HARGAN PAI PPAI (SCOTTISH b. 1952), PIANO FORTE oil on canvas, signed, titled versoframed and under glassimage size 102cm x 102cm, overall size 127cm x 127cmNote: The first time since August 2021 that we or any other auction house has offered a relatively recent full sized 40 x 40 inch Joe Hargan oil. This magnificent example in superb condition has been consigned by a private collector from Surrey who is in the process of downsizing. In The Scottish Contemporary Art Auction of 15th August 2021 lot 527 "Pia Pia Piano" by Joe Hargan sold for £7500 (hammer).Note 2: Joe Hargan, was born in 1952 in Glasgow. He studied Drawing and Painting at Glasgow School of Art from 1970 – 74 under Danny Ferguson RSW. RGI., James Downie Robertson RSW.RGI.RSA.PAI. and Dr David Donaldson RSA. RGI. D.LITT (Queen’s Limner). Joe is a well recognised and respected figure on the Scottish art scene. He was President and Chairman of the Paisley Art Institute from1989 – 2000 and he was President of the Glasgow Art Club from 2018 to 2021. Joe is also the recipient of numerous awards. Joe is a master of colour and tongue in cheek humour. His paintings are not only finely executed; they offer humorous and sometimes surreal vignettes of the good life. These feature "Sniffy" and various other characters within striking gallery and stately home settings. Recurring symbols and metaphors abound within the paintings, and one is often treated to a painting within a painting. An old master within a new master. Having a real thirst for knowledge, Joe values learning as a life long pleasure rather than a school bound necessity. Within a single painting one can find, he references to Velazquez and Damian Hirst sitting side by side. This is alongside symbols of the good life (wine), learning (books), and contemporary culture (the burger). He juxtaposes apparently opposing forces within single paintings. Contemporary art and the art of the old masters, ‘high’ culture and ‘low’ culture. Joe Hargan paintings have always been much sought after in our auctions.Very good condition with no visible or known issues.

Master Craft & Mister Craft (Poland), a boxed mainly 1:72 scale plastic kit group comprising mainly of military aircraft produced in Poland to include Mister Craft C-90 F-84G Thunderjet, Master Craft D-19 Sukhoi Su-17M3R "Recon Fitter" and others. Although unchecked for completeness, conditions appear generally Good with some kits still bagged in generally Good boxes with some crushing, scuffing, old price stickers etc. Harder to find kits. See photo.

AMENDED DESCRIPTION: Empire of Man Cavalry Collection. Warhammer. Including 16 Knights Panther, white metal, unpainted, unmade (one of the 16 is Harald Gemunsen Grand Master complete in one piece, others mostly in two pieces (4 made up) with one spare leg set). 5 painted plastic Empire Knights with movement tray. 32 Empire Knights, plastic all unpainted (some with black base coat and three spare made up horses, with three movement trays. 12 unmade Empire Knight Horse sprues. Approx. 39 figures plus sprues. Sold in large plastic lidded box with tray. Warhammer (formerly Warhammer Fantasy Battle, or just Warhammer Fantasy, and now The Old World) is a tabletop miniature wargame with a medieval fantasy theme. The game was created by Bryan Ansell, Richard Halliwell, and Rick Priestley, and first published by the Games Workshop company in 1983.

Quantity of 9.5mm film reels. Written titles include: Blackmail; Northern Frontier; Its a Grand Old World (1937); The Adventures of Popeye; The Master of the World; The Sacred Mountain; The Leghorn Hat; The Edge of the World (2 reels); In the name of the Law; Alaskan Incident; Spook Ship; The Rink; The Marathon Runner (2 reels); Tiger Bay. (16)

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

TUNICK SPENCER: (1967- ) American photographer. Signed colour 10 x 8 photograph of Tunick standing in a full-length pose as he takes photographs of various male and female volunteers lying naked together on the floor of one of the rooms within the Museum Kunstpalast in Germany, with several Old Master paintings, also featuring naked subjects, hanging in the background, for what would become Tunick´s photograph entitled Dusseldorf 4 (2006). Signed by Tunick in black fountain pen ink with his name alone, partially across a darker area at the base of the image. EX

GLYN PHILPOT (BRITISH 1884-1937) PORTRAIT OF ARTHUR CHRISTIE (1895-1975) Oil on canvas Variously inscribed to labels attached to stretcher (verso) 64 x 50cm (25 x 19½ in.)Provenance: Sir Edmund Davis, Australian-South African mining magnate and art collector, who resided at 13 Lansdowne Road and most notably Chilham Castle, Kent Sale, Christie's, 7 July 1939, lot 84 S. Gibbs, Private Collection, purchased from the above for 15gns. Daisy Philpot, the artist's sister Thence by descent to Gabrielle Cross, the artist's niece Henry Christie, Private Collection, UK Thence by descent, to be sold on behalf of the executors of the estate Exhibited: London, Grosvenor Galleries, Glyn Philpot R.A., 1923, no. 32, as ' Portrait study for the Three Kings' London, Tate Gallery, Paintings and Sculpture by the late Glyn Philpot R.A. (1884-1937), 14 July - 28 August 1938, no. 22, as 'Study for the Three Kings' Literature: Daisy Philpot, Manuscript Catalogue of Paintings by Glyn Philpot, c. 1938-57, p. 28 (unseen)This striking portrait by Glyn Philpot depicts Arthur Christie (1895-1975), friend and model of the artist. Philpot was renowned for his skill in capturing character and intimacy through portraiture, making him one of the most sought-after and highly paid society portraitists of his time. However, his most successful works were those created in relaxed, informal settings, where he established a genuine connection with his sitters. In this portrait, Philpot skilfully captures Christie's prominent features including his angular jawline, vivid red hair, intense gaze, defined lips, and prominent brow. The viewer is immediately struck by the intensity of the sitter's gaze, a motif Philpot repeated throughout his works influenced by the great Venetian master, Titian. Philpot greatly admired the work of Titian and actively practiced and taught his techniques at the Royal Academy Schools. Despite the beautiful interplay of light and shadow across the sitter which illuminates Christie the portrait is set against a dramatic dark backdrop which creates a stunning contrast reminiscent in the work of artists such as John Singer Sargent and James McNeill Whistler. Lot 93 was first exhibited in 1923 at Philpot's solo exhibition at the Grosvenor Galleries under the title Portrait Study for the Three Kings. It is believed that the present portrait was a study for The Adoration of the Three Kings (1918), a work exhibited at the Royal Academy that same year and later sold by the Baltimore Museum of Art at Christie's in 1990 to a British private collector. (See Figure 1.)The Adoration of the Three Kings depicts three sumptuously cloaked figures bearing gifts as they arrive at the stable door. The viewer takes the perspective of Mary, Joseph, and the infant Jesus, as the Magi cross the threshold bathed in a golden light. Raised in a devout Baptist family, Philpot's early religious teachings profoundly shaped his life and artistic vision. His interest in biblical themes was evident as early as 1903 when, at just 19, his painting The Elevation of the Host was accepted at the Royal Academy of Arts. This work, depicting the raising of Christ during the Eucharist, reflected his early engagement with Christian iconography from a distinctive and modern perspective.In 1906, Philpot converted to Roman Catholicism, a decision that created significant tension within his family. His subsequent travels through Spain, Portugal, and Morocco deepened his study of Catholic imagery and the works of the Old Masters. These experiences significantly influenced his art, inspiring some of his most powerful religious-themed paintings. By 1929, Philpot had become the first president of the Guild of Catholic Artists and Craftsmen, solidifying his commitment to his faith. However, his devout Catholic beliefs often conflicted with his identity as a queer man-a tension that permeates his body of work. This portrait of Arthur Christie was acquired by Sir Edmund Davis, the Australian-born mining financier and prominent art collector. Sir Edmund Davis was advised by Charles Ricketts and Charles Shannon and built an impressive collection that included works by James McNeill Whistler, William Orpen, and Edward Burne-Jones, some of which were later bequeathed to the Musée du Luxembourg. It is likely that Sir Edmund Davis purchased this portrait from the 1923 Grosvenor Gallery exhibition. The work was later lent by Davis to the Tate Gallery's Paintings and Sculpture by the Late Glyn Philpot exhibition in the summer of 1938.Following Sir Edmund Davis' death, the portrait was sold at Christie's alongside other notable works from Davis' collection, including Rodin sculptures, a lead figure by Philpot, and paintings by James Pryde and James McNeill Whistler. The work was eventually acquire by Philpot's sister, Daisy Philpot and thence by descent to Gabrielle Cross, the artist's niece. Philpot frequently returned to certain models, portraying them in various roles and guises throughout his career. Among his most notable muses was Henry Thomas, whom he met in 1929. It has been suggested that Arthur Christie may have also been the model used for the Angel Gabriel in The Angel of Annunciation (1925) and for The Transfiguration of Dionysus before the Tyrrhenian Pirates (1924). Condition Report: Please contact pictures@dreweatts.com for a full condition report. 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A Great War D.S.O. group of three awarded to Lieutenant J. Martin, Royal Naval Reserve and Mercantile Marine, who was decorated and commissioned for his zeal and devotion to duty on the occasion that the lightly armed merchantman Caspian was attacked and sunk by the German submarine U-34 in May 1917; the Captain having being killed, he took charge, only abandoning the ship after 23 of her crew were dead and all ammunition was spent - he later commanded the Q-ships Dargle and Fresh Hope 1917-18 Distinguished Service Order, G.V.R., silver-gilt and enamel, with integral top riband bar; British War and Victory Medals (Lieut. J. Martin, R.N.R.) good very fine (3) £1,000-£1,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.S.O. London Gazette 19 December 1917: ‘In recognition of zeal and devotion to duty shown in carrying on the trade of the country during the War.’ James Martin, a native of Sunderland, was born in 1847 and was granted a temporary commission as a Lieutenant in the Royal Naval Reserve on 10 August 1915, aged 68. He was given command of the Admiralty trawler Filey from 30 August, armed with one 12 pounder gun. The following year he was discharged from the Royal Naval Reserve and had his commission cancelled due to misconduct in being drunk on board his ship on 20 January 1916. However, finding employment as Chief Officer of the lightly armed merchantman S.S. Caspian of the Mercantile Marine, Martin was to be redeemed by his actions the following year when on 20 May 1917, the highly successful German submarine U-34 attacked the S.S. Caspian 3.5 miles off Alicante. During an action lasting over two hours, in which the Master, Arthur Douse, and 23 members of the crew were killed, Martin was left in charge of the Caspian and only after all the ammunition was used, the surviving crew members took to the boats. The U-boat then took just three prisoners aboard (the Chief Engineer, 2nd Officer and a gunner) and then proceeded to torpedo and sink the Caspian. Chief Officer Martin was awarded the D.S.O. for his zeal and devotion to duty on this occasion and gazetted a Lieutenant in the Royal Naval Reserve once more, later receiving his award at the hands of the King at Buckingham Palace on 11 September 1918. He was 70 years old at the time of the action and was stated at the time to be the oldest man ever to have won the decoration. Three other crew members received the D.S.C. Martin’s re-appointment as Lieutenant in the Royal Naval Reserve was dated 19 May 1917 and he was given command of the Q-ship Dargle in the following month, a topsail schooner fitted out with a 4-inch and two 12-pounders. Operating out of Lerwick, she certainly had a number of encounters with enemy submarines. In a lengthy patrol report sent to the Admiral Commanding, Orkney and Shetland, on 16 August 1917, Martin expressed his doubts about the Dargle’s suitability for Q-ship operations: ‘It is my opinion that this vessel owing to her uncommon build is marked and suspected by enemy submarines of being armed. Three times in my experience submarines have been in the vicinity and no attempt made to attack us has been made until we had a torpedo fired at us. As a decoy ship she is a failure, and I should recommend her being handed back to her owners, and the guns, engines and material being taken out of her and fitted in a vessel more serviceable.’ Martin’s report swiftly invoked the Admiral Commanding to send a scathing report to the C.-in-C. Grand Fleet: ‘I consider that the present Commanding Officer of the Special Service Vessel Dargle is not suitable for appointment in command of a Special Service Vessel. Lieutenant J. Martin, R.N.R., is of an excitable temperament which is most undesirable. At various interviews he has not impressed me or members of my staff as being a suitable officer for his present command. He is constantly using his motors and does not appear to realise the importance of making his vessel look like a peaceful merchant ship, as will be seen from the letter of the Rear-Admiral, Stornaway ... I am therefore desirous of giving her another trial under a new Commanding Officer and submit that Lieutenant Martin may be relieved.’ As a result, according to Carson Ritchie’s Q-Ships: ‘Martin resigned from his command on the grounds of ill-health, but Captain James Startin, Senior Naval Officer, Granton, who felt that he was a very capable officer, but ‘certainly difficult as regards naval etiquette and discipline’, had him transferred to another vessel. A year later, as commander of the Fresh Hope, another sailing Q-ship, Martin justified this good opinion by bringing the fore-and-aft schooner into an encounter with a U-boat on which he scored four direct hits.’ Lieutenant Martin was placed on the retired list on 28 June 1920 and died in 1929 aged 82. Sold with copied research and medal roll extracts, that shows that the recipient additionally received the 1914-15 Star. Another Lieutenant J. Martin (John Martin) is also on the medal roll of the Royal Naval Reserve, also entitled to a 1914-15 Star, British War Medal, and Victory Medal.

Waterloo 1815 (Josh. Roper, 10th Royal Hussars) fitted with a replacement steel clip and straight bar suspension, old re-engraved naming with the exception of the word ‘Hussars’, very fine £400-£500 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Joseph Roper was present at Waterloo as a Sergeant in Captain Charles Wood’s Troop No. 5. Having then been pensioned in October 1828, he lived to receive the Military General Service Medal 1793-1814, with 4 clasps, having been present at Sahagun & Benevente, Vittoria, Orthes and Toulouse. He died in Nottingham on 23 December 1849; his obituary in the Nottingham Mercury states: ‘He was one of the veterans of the late war, having served with Sir J. Moore in the disastrous retreat to Corunna, and was afterwards with Wellington in a great number of engagements in the Peninsula and the South of France. He was taken prisoner in the campaign of 1813, but after suffering almost incredible hardships while amongst the French; he succeeded in escaping from them in June of that year. He was afterwards at Waterloo, where he was orderly-serjeant to the Earl of Uxbridge, now Marquis of Anglesea, the commander of the cavalry. He was lately quarter-master-serjeant of the Local Company of Veterans of Nottingham, and whilst holding that office had a number of apoplectic attacks, which incapacitated him for business and finally terminated his existance.’ Sold with copied research.

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

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

JOHNNIE WALKER 21 YEAR OLD XR 1L BLENDED WHISKY 40% ABV / 1L When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

JOHNNIE WALKER 18 YEAR OLD PLATINUM LABEL 1L BLENDED WHISKY 40% ABV / 1L When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

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

ARRAN 2007 10 YEAR OLD MASTER OF DISTILLING ISLAND SINGLE MALT 1 of 12000 bottles54.2% ABV / 70cl Still a relative youngster in whisky terms, Arran distillery began production in 1995. Thanks to a focus on sourcing quality casks, and its light, accessible spirit that ages well, Arran has proven extremely successful. So much so, that in 2017 they began construction of a second distillery on the other side of the island. Sharing a name with Arran’s only other previous legal still (closed in 1837), Lagg distillery focuses on producing peated spirit.

JOHNNIE WALKER 18 YEAR OLD GOLD LABEL 75CL AND SWING 75CL BLENDED WHISKY Both 43% ABV / 75cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

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

2 BOTTLES OF JOHNNIE WALKER 15 YEAR OLD GREEN LABEL BLENDED WHISKY 43% ABV / 70cl and 43% ABV / 1L Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.

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

* Attributed to Carlo Caliari (1570-1596). Head of an Old Man, black and white chalk on pale blue-grey laid paper with thin black ink border, sheet size 14 x 11.9 cm (5 1/2 x 4 3/4 ins), modern double-sided card window mount (bears pencil inscription 'Carlo Caliari 1570-1576 ? and 'Christie's 1/3/57 302LK'), framed and glazed (43 x 35 cm)QTY: (1)NOTE:Provenance: Christie's, 1 March 1957, with stock number 302LK; purchased by Professor Ray Pahl (1935-2011) from Shelton, 26 January 1976; thence gifted to the present owner.The present attribution to Carlo Caliari was put forward by Francis Russell, Old Master specialist and Deputy Chairman, Christie's UK.