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Click here to subscribeHENRI MATISSE (FRENCH 1869-1954) NU DRAPÉ SUR FOND COMPOSÉ DE CERCLES, 1931 (D.224) signed and numbered 16/25 in pencil in the margin (lower right), etching on Chine appliqué paper plate: 11.7cm x 8.7cm (4 5/8in x 3 3/8in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 419;Private Collection, U.K.
Registration No: DDV 734T Frame No: PT4SGS160932M MOT: ExemptVery original and rare Benelli 250/4Last on the road in 1985Recently discovered in a shedAll complete and the engine turns overThe Benelli 254, originally known as the Benelli 250 Quattro, is a 250cc inline-four motorcycle produced by the Italian manufacturer Benelli from 1977 to 1984. It was, at the time, the smallest production four. The 250 models were built to take advantage of the tax concessions on machines under 250cc in Italy and other markets. Designed by engineer Lino Tonti, although a four, it was a different design to the larger 500/4. Styling was by Paolo Martin. The 250 Quattro was first shown at the 1975 Milan Motorcycle Show, and production started in 1977. Plastic and aluminium were used extensively to keep the weight down to 117kg. Martin's sleek styling included uncluttered handlebars, with the clocks and brake master-cylinder mounted in the tank.This 1979 Benelli 250/4 Quattro has recently been discovered in the late vendor's shed since his passing. A very original machine displaying a mere 11,427km from new (7,100 miles), it was last registered in 1985, at the time it was purchased by the vendor. In good all-around condition for its age, it is now ready for a new owner as a winter project. The Benelli comes complete with an old style blue and white logbook and a workshop manual. It will require full recommissioning before use.. It will require full recommissioning before use. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217
REGIMENTAL BADGES. A George III working manuscript copy book of shoulder plate badges of the British army regiments, Master Thomas Hill or Gill, dated October 17th 1794, Bench Book No. 4, Rubbings ranging from 1800 to 1820, pen & ink or pencil, often with watercolour, militias and colonial regiments to the rear, seems to be a reuse of a arithmetic copy book with the individual plates then pasted in, old wear, discolouration, some pages loose, wear and splits to covers, 8vo
After Domenichino (1581-1641), 18th century, Old Master, tondo oil on copper panel, Religious scene, 18cm diameter, ornate gilt framed. Condition - fair Some rippling and flakes to oils, particularly at centre with three re-touches; two cherubs’ heads at top edge, not seen when inside frame; inscribed, scratched script verso, “Original del Domenichino”. Frame with flakes to gilding and one small section of relief detail missing. Subject similar to his Flagellation of St. Andrew.
Charles Dickens, Master Humphrey`s Clock, published by Chapman & Hall, 1840-1841, first edition in book form, also contains The Old Curiosity Shop and Barnaby Rudge, three volumes, three-quarter leather and marbled board covers, (3)Vol I cover loose and sections of spine missing.Vol II - damage at top of spine, and cover, some creasing of pages Vol III - slight damage to spine. some creasing to pages
Altmeisterkopie: Gelehrter mit ZirkelÖl/Sperrholz. Unsigniert. 19. Jh. 38 x 31 cm. Gerahmt : 45 x 37 cm (Goldrahmen). Porträt eines Mannes mit Zirkel und vor neutralem Hintergrund. Altersspuren. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 12:18 Uhr (CET) Old master copy: Scholar with compassOil/plywood. Unsigned. 19th century38 x 31 cm. Framed : 45 x 37 cm (gold frame). Portrait of a man with a compass and against a neutral background. Signs of age. Call time 26 | Oct. 2024 | probably 12:18 pm (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Altmeisterkopie: Beim BaderÖl/Holz. Unsigniert. 19. Jh. 8,5 x 7 cm. Gerahmt : 17 x 15 cm (dunkler Rahmen). Genreszene mit Bader und Verletztem. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 13:29 Uhr (CET) Old master copy: Beim BaderOil/wood. Unsigned. 19th century 8.5 x 7 cm. Framed : 17 x 15 cm (dark frame). Genre scene with bather and injured man. Aufrufzeit 26. | Oct. 2024 | probably 13:29 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
CORNELISZ., C.(* 1949) Stillleben mit Früchten und BlumenÖl/Holz. Links unten signiert. 26,5 x 21,5 cm. Gerahmt : 41 x 36 cm (Goldstuckrahmen). Im Altmeisterstil dargestellte Trauben, Pflaumen, Pfirsiche und Nüsse neben Rosen und Tulpen. Auch Cornelis de Wit. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 19:03 Uhr (CET) CORNELISZ., C.(* 1949) Still life with fruit and flowersOil/wood. Signed lower left. 26.5 x 21.5 cm. Framed : 41 x 36 cm (gold stucco frame). Grapes, plums, peaches and nuts depicted in the Old Master style next to roses and tulips. Also Cornelis de Wit. Call time 26 | Oct. 2024 | probably 19:03 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Circle of Antonio Calza (1653-1725)Ottoman cavalry attacking a fort, oil on canvas, 97 x 114cm Sotheby's Old Master Picture Sale, 12th February 2008, lot 206. The canvas has been relined, and signs of retouching. In need of a clean and some light restoration. The frame with knocks and marks.
Circle of George Morland (1763-1804) “Dasher and Slasher, Famous Hounds of Duke of Grafton Pack”, a pair, O.O.C., each approx. 99cms high x 125cms wide (39" x 49"). (2) According to an original label on the back, these two engaging canvases, by ‘Morland’, depict foxhounds of the Duke of Grafton Pack, a long-established hunt that still thrives in Northamptonshire. In the first painting, the hound is shown standing on a rocky ledge, with a master of hounds standing below. Wearing a black riding helmet, white cravat and red jacket, the master has longish brown hair and holds a whip in his gloved hand. The hound stands on all four legs, head up, as if sniffing the air for a quarry. In the background is a Scots Pine tree, silhouetted against a cloudy sky. The master’s face is slightly asymmetrical, and he has a determined expression, which lends the portrait a compelling quality. An accomplished artist, Morland was also a noted dandy, who delighted in associating with jockeys, punks and pugilists, and it is possible that the figure of the master is a portrait of him. Some aspects of the paintwork are slightly naif, indicating that this is a copy after an original. In terms of identifying the artist, while an old label attributes the work to ‘Morland’, the style is more in keeping with the work of George Stubbs. It has also been suggested that it maybe by a little-known painter named John Everard. In the second portrait, a huntsman is portrayed, again on the same level as the foxhound. Dressed in black helmet and red jacket, the huntsman is behind the hound, resting his hand on the animal’s back. The hound has its nose raised and tail curled, ready to spring into action. Again there is a tree in the background—an oak this time--and a cloudy sky, tinged with pink. A more appealing portrait than the first, huntsman and hound are portrayed in a closer, friendly pose. The man holds a hunting horn, and has a cord, tied in a bow, around his leg. The hounds in the portraits have the attributes of the best hunters: good shoulders, straight legs and strong backs. Based at Wakefield in Northamptonshire, the Grafton Hunt is named after its founder, the 2nd Duke of Grafton, who commissioned William Kent to design Wakefield house and gardens. Another family seat, Euston Hall, some eighteen miles from Newmarket in Suffolk, home to the 12th Duke, remains a centre for horse racing. The house and grounds at Euston were embellished by John Evelyn, and Sir Samuel Morland, the latter providing an engine to raise water to supply the fountains and a corn mill. Born in 1763, the painter George Morland is said to have been a descendant of Samuel Morland. The 2nd Duke commissioned William Kent to build a banqueting house at Euston, while the head gardener, ‘Capability’ Brown, added ornamental lakes. The 3rd Duke, Augustus Henry Fitzroy (1735-1811), was an avid huntsman, while his wife was an even more avid gambler. When he took up with a mistress, Fitzroy’s private life became a public joke, as retailed in letters by “Junius”. An associate of William Pitt, Fitzroy had a disastrous political career; during his term as prime minister, he alienated New England colonists, and set the stage for the American War of Independence. He was also notorious for absenting himself from a Cabinet meeting on Ireland, so as not to miss a race at Newmarket, where a horse of his was running. He resigned as prime minister in 1770, aged 34. The Grafton Hunt was continued by his successors, and, apart from a period between 1842 and 1861 when the hunt was in the hands of a relative, Lord Southampton, the pack name has remained unchanged to the present day. Nowadays it is owned by trustees, but the bloodlines of the present pack can be traced back to the original hounds, including Dasher and Slasher, the dogs depicted in this pair of portraits.
DALMORE 15 YEAR OLD HIGHLAND SINGLE MALT 40% ABV / 70cl Dalmore have worked hard to position themselves as one of the world's foremost luxury whisky brands. Their elegantly packaged crystal decanters will be familiar to frequent flyers, as they often adorn the high-end display cabinets of duty-free shops in airports around the globe, carrying price tags that suggest they’re targeting those travelling on a 1st class ticket. Of course, a premium brand needs a premium product, and thankfully, Dalmore’s spirit lives up to the hype.They have a complicated distillation process that utilises mismatched stills to produce distillates with different characteristics. These are then vatted together, before being filled into the distillery’s preferred Sherry casks, all under the watchful eye (and discerning nose) of their legendary Master Distiller, Richard Paterson.
JOHNNIE WALKER 18 YEAR OLD GOLD LABEL 75CL, 15 YEAR OLD GREEN LABEL AND SWING BLENDED WHISKY Gold Label - 40% ABV / 75clGreen Label - 43% ABV / 70clSwing - 43% ABV / 70cl Qty: 3 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 18 YEAR OLD GOLD LABEL 75CL AND BLACK LABEL COLLECTORS EDITION BLENDED WHISKY 18 Year Old Gold Label - 43% ABV / 75clBlack Label Collectors Edition - 40% ABV / 70cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 21 YEAR OLD XR 75CL BLENDED WHISKY 40% ABV / 75cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
DAVID WYNNE OBE (1926 – 2014) Awakening Lovers (1996) Carrera marble on a limestone platform base 152cm high, 137cm long, 97cm wide (including platform base)Provenance: The Mall Galleries, London; Private Collection, Co. WicklowBorn into a naval family in Lyndhurst in the New Forest, David Wynne was educated at Stowe school in Buckinghamshire. He joined the Royal Navy as the second world war was in its closing stages and soon after began his degree in Zoology at Cambridge. His tutors, realising that he was not a man for lecture halls, urged him to concentrate on art. Encouraged by sculptors Jacob Epstein and Georg Ehrlich, Wynne, who eschewed a formal art education, began to develop his skills, primarily as a sculptor of animals, and in particular dolphins.He held his first one-man show at the Leicester Galleries in London in 1955, and a second in 1959. In 1961 he was commissioned by London county council (LCC) through the Arts Council, to produce a piece for Crystal Palace park. His monumental Guy the Gorilla, in black fossil marble, was an enormous popular success and his career was made. In Wynne’s career, artistic reputation and social connections worked together harmoniously. Portraits of theatrical and musical knights, from Thomas Beecham to John Gielgud, were joined by a sculpture of equestrian nobility, the Derby-winning racehorse Shergar. Wynne’s contribution to popular culture is said to have included the introduction of the Maharishi Mahesh Yogi to the Beatles, themselves the subjects in 1964 of a striking composition of bronze busts that seem to float above one above another. However it is for his later animal sculptures including Girl With a Dolphin (1973) at Tower Bridge and Boy With a Dolphin (1974), on the Chelsea side of Albert Bridge, that he is best known. Dr Pamela Tudor-Craig, the esteemed art historian, in her introduction to Wynne’s 1997 exhibition at The Mall Galleries described him as a ‘…. master equally in marble or metal. David Wynne creates in both mediums, so in a sense he has two artistic personalities. In bronze he can convey the pounce of a leopard, the quiver of a horse, the fast volley of a tennis player, or the fingerprint of music. All that is swift and fleeting, scarce seen by casual eyes, he catches in molten metal. His bronze heads evoke the breathing essence of the sitters, from the very old to the newborn. Who else could capture the first hints of personality? He is quite simply the best portrait sculptor of his generation. In marble, on the other hand, he discovers the quiet plenitudes at the heart of mystery. In bronze he exults in the dance of life; in marble he reveals his own still depths; for this quicksilver man is a philosopher in stone. In a century when art has been used to express fragmentation, destruction and despair, David Wynne has stood for wholeness, sanity, compassion, and a celebration of all things lovely. Witness his most recent piece, ‘Awakening Lovers’. Does it not come from the country of the human heart?’King Charles has called him “A remarkable man with a remarkable God-given talent for extraordinary sensitive sculptures”. David Wynne’s work has frequently run against the current of contemporary fashion, but it has never failed to appeal to those who have an eye for the beautiful.
Rory Gallagher: A Fender Super Twin Amplifier,1976,Serial no. B18305 on back of chassis, also with label numbered 012579, black tolex, dark grille, one Fender speaker, the other with Re-Tec sticker, with footswitch, in flight case with stencil taped over,flight case 34in (86.4cm) wide x 38in (96.5cm) high x 18 1/2in (47cm) deepFootnotes:When asked whether old Fender amps were better than new ones, Rory answered: 'They seem to warm up sooner. They wouldn't have the wide tonal range that the new Fenders have - particularly the new Fender Super Twin which has a graphic equaliser, a master volume control, overdrive, and all that - but I probably have some interest in old amps over and above the actual music because of their appearance and because the guys in the Fifties used them.' - Rory Gallagher, March 1978. www.roryon.com/GP78.htmlThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
* Attributed to Carlo Maratta (1625-1713). Winged Angel and Seated Figure with a Crown, pen, brown and black ink, grey wash heightened with white, on oval laid paper, with collector's mark of Alexandre-Humbert Chatelain (Lugt 135), 270 x 193 mm (10 5/8 x 7 5/8 ins), inlaid to modern backing paper, window-mountedQTY: (1)NOTE:Provenance: Alexandre-Humbert Chatelain (1778-1852), painter and critic, Lyon. Chatelain formed a fine collection of Old Master drawings, particularly of the French School, but including examples of the Dutch and Italian masters. His collection was sold in Lyon by A. Brun, January 30-February 9, 1872; Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.
* Legros (Alphonse, 1837-1911). Les Mendiants de Bruges (Beggars of Bruges), etching on laid paper, signed, titled and notes 'Second state Proof No 6' in pencil to lower right margin, two ownership stamps to lower margin (Francis Edward Bliss, Lugt 988, L265 & and Achille Chariatte L88a), plate size 20.6 x 34.3 cm (8 1/8 x 13 1/2 ins), sheet size 24.5 x 36 cm (9 5/8 x 14 1/8 ins), together with The Wayfarer, etching on laid watermarked 'Portfolio MBM' paper, ownership stamp to lower margin (Charles Lambert Rutherston L594), plate size 15.2 x 27.6 cm (6 x 10 7/8 ins), sheet size 25.8 x 36 cm (10 1/8 x 14 1/4 ins), plus 9 other etchings by the same artist including: The Poet, Les Bouches Inutiles (The Useless Mouths) with ownership stamp (Bliss L265), Le Lutrin (The Lectern), A woodland study, Breton Peasant, etc., 3 signed in pencil, various sizes, and three lithographs by the same artist, largest image size 27.5 x 44 cm (10 7/8 x 17 1/4 ins), all mounted in cream card (40.5 x 56 cm)QTY: (14)NOTE:Provenance: Achille Chariatte (Lugt 88a). After his death in 1922 his collection of 296 prints were sold over two days by Sotheby, Wilkinson & Hodge in London. On the 30th April & 1st May 1923, they hosted the Catalogue of Old Master Drawings and Modern Etchings from the collection of the late Monsieur A. Chariatte, of 36, Brondesbury Road, NW6. The second day of the sale saw lots 128-296 auctioning Modern Etchings by English and French Artists ..., lots 128-296.Francis Edward Bliss (Lugt 988 & 265) author of A Catalogue of Etchings, Drypoints and Lithographs by Professior Alphonse Legros, printed in 1923, emigrated to Santa Barbara, California. Before his departure he sold numerous Legros prints from his collection at Sotheby Wilkinson & Hodge in London at various points throughout 1921-1924.
ATTRIBUTED TO SIR GODFREY KNELLER (1646 - 1723) Portrait of Queen Mary, half length Oil on canvas, 127 x 103cm With label verso bearing inscription: '1st Portrait of Queen Mary, Consort of William 3rd, By Sir Godfrey Kneller / Large half length, carved gilt frame in high presentation, and a fine / specimen of the Master.' With additional label: Albert Amor, 31 St, James' Street, St James, S.W.Sir Godfrey Kneller was a German-born painter and a leading portrait artist in the late seventeenth and early eighteenth centuries. He moved to England around 1676, having studied first in Amsterdam under a pupil of Rembrandt, and then in Rome and Venice. He became the court and society painter following his introduction to the Duke of Monmouth, through whom he received sittings from the king. He continued to work as a court painter and in 1688 was appointed principal painter to William and Mary. In 1692 he was knighted, and became governor of the Royal Academy in 1711, the year of its establishment. Condition Report: Good overall condition Very old lining Craquelure to the surface throughout
JOHN MICHAEL WRIGHT (1617 - 1694) Portrait of Sir Francis Wyndham, 1st Baronet of Trent Apparently signed, inscribed and dated verso 'Collonell [sic] Francis Wyndham/ of Trent in Somersett shire' 'Jo: Mich Wright Lord Pinxit. 1671' (please see restorer's photograph below, before canvas was lined, c. early 1980s) Oil on canvas, 126 x 105cm In a carved giltwood frameProvenance: Possibly by descent to Thomas Wyndham (1763-1814) Clearwell Court, Gloucestershire and Dunraven Castle, Glamorganshire; to his son-in-law Windham Wyndham-Quin, 2nd Earl of Dunraven (1782-1850), by descent to the 7th Earl of Dunraven and Mount-Earl, sold Christie's and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 87 (as Colonel Clark Wyndham of Orchard Wyndham); Private collection, IrelandLiterature: Guy Wilson, Greenwich Armour in the Portraits of John Michael Wright, The Connoisseur, February 1975, pp. 109-115, illus. (as portrait of an unidentified gentleman, Collection of the Earl of Dunraven) Robert O'Byrne ed., A Vanishing World, The Irish Country House Photographs of Father Brown, Dublin 2024, p. 20 (illustrated in the drawing room)Sir Francis Wyndham, 1st Baronet (1610-1676)Francis Wyndham was the son of Sir Thomas Wyndham (1570-1631) and his wife Elizabeth Coningsby. They descended from the Kentsford Wyndhams a cadet branch of the Orchard Wyndhams, who are based in Somerset. Wyndham began his early years spending time in Europe and graduating from the University of Padua in 1635. On his return to England, he was elected MP for Minehead in April 1640 for the Short Parliament. This Parliament was summoned by King Charles I for a short session of only three weeks. Wyndham became a Royalist colonel when the First English Civil War broke out. He was appointed governor of Dunster Castle, which was one of the last defences to hold out in southwest England. He had a reputation for being a good soldier and eventually surrendered on honourable terms. Shortly afterwards in 1646 he married an heiress Anne Gerard the daughter of Thomas Gerard of Trent (1593-1634). With the partition of the Gerard estates in 1651, Francis and Anne moved to Trent. The Gerard family had been recusants in a previous generation and their seat in Trent still maintained its priest-hole. It was this hiding place that enabled Wyndham to assist Charles II with his escape after the Battle of Worcester. The Wyndham family had a close connection with Charles II, therefore the future king could welcome the security for several days in Trent, Dorset. During the 1655 Penruddock uprising Wyndham was arrested in suspicion of involvement with intending to restore Charles II to the throne. He was subsequently released without charge. Wyndham was created a baronet on 18 November 1673, apparently by willing to forego a claim on the Exchequer for £10,800 granted to him by privy seal in 1670.John Michael Wright was an English painter, although born in London he apprenticed in 1636 to the Scottish painter George Jameson in Edinburgh. He remained in Scotland for five years before travelling to Rome in the early 1640’s. In Rome he established himself as a painter, copyist and collector. On his return to England in 1656 and following the restoration of 1660, he received several Royal commissions from King Charles II and subsequently King James II. It was during this time there became a fashion for portraits in which the sitter was dressed in what was then considered to be antique armour. Wright painted many works with the sitter wearing some form of Greenwich armour. There are noticeable similarities between each of the portraits. One could assume that the use of a single Greenwich armour or indeed a quantity could have been housed in his studio. It has been noted that the long tassels on the portrait of an unidentified gentleman (believed to be Sir Francis Wyndham) also appear in other portraits. Wright seems to have had an appreciation for antiquary, which could explain the accuracy seen in the details of this portrait and that of Murrough O’Brien, 1st Earl of Inchiquin. However, Murrough O’Brien who fought for many years in Ireland and further afield would probably have never worn such an armour. He had power and a reputation to uphold and therefore his appearance in this portrait expresses status. Wright’s portrait’s showcasing Greenwich armour imply they were painted in the 1660’s and display a detailed perspective on costume from a bygone era.Adare Manor, the magnificent architectural masterpiece that we see today within its natural setting overlooking the River Maigue became the seat of the Quin family in the 1600s. It was probably in the 1720’s when the first documented residence ‘Adare House’ was built by Valentine Quin (d.1744). Throughout the 18th century alterations and redesigning the parkland continued. It was in 1810 that Windham Henry Quin married Caroline Wyndham, the only surviving child of Thomas Wyndham MP of Clearwell Park, Gloucestershire and Dunraven Castle, Glamorganshire. It was following his death that Windam acquired by Royal license the double barrelled name of Wyndham-Quin. During this time, Windham’s father Valentine was living in England and was created Viscount Mount-Earl in 1816 and then created Viscount Adare and the 1st Earl of Dunraven in 1822. The title of Dunraven was chosen to honour his daughter-in- law, Caroline. Windham, who became the 2nd Earl and along with his wife Caroline decided to make monumental changes to Adare House. They had visited many grand houses in England and became influenced by the fashionable gothic style. Windham and Caroline developed a passion for cathedrals with their aspiring scale and magnificence. The architect brothers James and George Pain were commissioned to begin the process of redesigning the house into a manor. The Pain brothers lasting legacy at Adare is the spectacular gallery, which was considered to be the largest domestic room in Ireland. The gallery became the wonderful backdrop to display the Wyndham family portraits and exquisite old master paintings. The work on the new manor house continued for more than 30 years to complete. Adare Manor and the contents remained in the Wyndham-Quin family until the early 1980’s, when it was sold. Today, the manor and the grounds have been beautifully restored keeping intact the integral importance of an historic legacy in Ireland. Condition Report: In good condition overallOil on canvasAs stated in the cataloguing the painting was restored and lined probably in the early 1980s's after the purchase from Adare Manor sale in 1982On closer inspection there are a couple of small areas of retouching to the upper left backgroundThere is some minor rubbing and loss of definition to the hairThere is scattered craquelure e.g.. to the right cheek and to the armour of the upper right leg.Examination under UV light is difficult to read due to the murky varnish however reveals the aforementionedThe integrity of the impasto remains in particular in the tassels and beltThe frame is in good condition and has been re-gilt
1972 Norton 745cc CommandoRegistration no. BPA 346KFrame no. 209442Engine no. 209442The Commando's vibration-beating Isolastic frame enabled Norton Villiers successfully to prolong the life of their ageing parallel twin. Launched in 1967, the Commando used the preceding Featherbed-framed Atlas model's 745cc engine and AMC gearbox, and was an instant hit with the motorcycling public, being voted Motor Cycle News 'Machine of the Year' for five consecutive years. It might have been a little down on top speed compared to rivals such as BSA-Triumph's 750cc triples and Honda's CB750 four, but the Commando more than made up for this minor deficiency with superior mid-range torque and steadier handling. The Commando offered here has the optional five-gallon fuel tank that would be standardised on the Interstate model. Our vendor has owned the Commando for the last 10 years, during which period the engine has been rebuilt and balanced; the gearbox reconditioned; a 'two-finger' clutch adopted; and vernier Isolastic mounts and a special head-steady fitted. There is also a 13mm master cylinder (for better braking); rebuilt wheels (with stainless rims); and new chains. Our vendor advises us that he and the Commando have just completed a 700-mile trip around Wales over a four-day period. According to the vendor, it is 'a nice bike, very reliable, just too big now I am in my 80s'. The machine is offered with a substantial history file containing sundry invoices, expired MoTs, and old/current V5/V5C documents, A quantity of spares is included in the sale.Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Sunday 13 October starting at 11am GMT.For further information on this lot please visit Bonhams.com
1976/1977 Ducati 864cc 900SSRegistration no. XPF 39SFrame no. DM860SS*086729*Engine no. 086846 DM860Ducati's second-generation v-twin engine - the 864cc 'square case' - was used to power the new 900SS superbike. Introduced in 1975, the latter was styled like the original 750SS that had been developed from Paul Smart's 1972 Imola winner. Breathing through 40mm Dell'Orto carburettors, the 900SS engine produced 70bhp, an output good enough for a top speed of 135mph. Our vendor purchased this 900SS privately in 1989 (original receipt on file). Listed on 'Bevel Heaven' as number '374', the Ducati had been imported from Italy by a dealer who sold it to the previous owner. Since acquisition the Ducati has been stripped and repainted; a new (copy) aluminium 'Imola' fuel tank fitted; the engine rebuilt with new bearings, pistons and Carrillo con-rods; and all the brake pipes replaced. The brakes are later 900SS Brembos, the originals having been lost, while the gear change has been converted from left-side crossover to 1976-specification right-side change. This setup provides a more positive gear change experience over the original left-side crossover system. A 1976 master cylinder (which can be mounted behind the side cover) is included in the sale, which if fitted, will further improve the setup. All recommissioning work has been carried out by 'Fen-Tiger Classics Ltd' (Lance Johnson). The machine was in storage with Lance and will have been recommissioned by him prior to the auction. The machine is offered with old/current V5/V5C documents; 2013 Carol Nash valuation; various bills/invoices and the aforementioned purchase receipt. The original glassfibre 'Imola' tank is included in the sale. Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Sunday 13 October starting at 11am GMT.For further information on this lot please visit Bonhams.com
Ca 1200 - 800 BC.An elaborate Western Asiatic horse bit, decorated with cheek pieces that have an openwork three-figure scheme. In the centre, the Master of Animals stands with a long beard and open arms. He is flanked by two rampant deers. Size: 215mm x 120mm; Weight: 735gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Ca 1200 - 800 BC.An elaborate Western Asiatic horse bit, decorated with cheek pieces that have an openwork three-figure scheme. In the centre, the Master of Animals stands with a long beard and open arms. He is flanked by two rampant deers. Size: 175mm x 90mm; Weight: 470gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca 1200 - 800 BC.An elaborate Western Asiatic horse bit, decorated with cheek pieces that have an openwork three-figure scheme. In the centre, the Master of Animals stands with a long beard and open arms. He is flanked by two rampant deers. Size: 225mm x 110mm; Weight: 725gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Ca. 1200 - 800 BC.A Western Asiatic cast-bronze sceptre depicting a mysterious figure known as the master of animals. The master stands with bowed legs atop a narrow base while grasping the throats of two abstract avian creatures. This demonstrates his mastery over the living world. The bottom component is shaped like a bell to accommodate several sizes of standard poles. For similar see: MET Museum Accession Number: 1996.82.1.Size: 365mm x 68mm; Weight: 510gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
SOME ACCOUNT OF THE WORSHIPFUL COMPANY OF CLOCKMAKERS OF THE CITY OF LONDON, page illustrations and plates, pictorial brown cloth, Privately Printed, 1881; REID (T), TREATISE ON CLOCK AND WATCH MAKING, 2nd ed, engraved title, folding plates, full leather (front board detached), Blackie & Son; BAILLIE (G), WATCHMAKER AND CLOCKMAKERS OF THE WORLD, Methuen, 1929; CESCINSKY (H), THE OLD ENGLISH MASTER CLOCKMAKERS, Routledge, 1938, (4).
CIRLCE OF JOSEF VAN BREDAEL (FLEMISH 1688-1739) SAINT ANTHONY (RECTO); ORIGINAL DESIGN FOR ENGRAVING, FRAGMENT (VERSO) Oil on copper With red wax studio stamp to supporting panel (verso) 12 x 14cm (4½ x 5½ in.) A painting with strong similarities was sold at Dorotheum, Vienna, Old Master Paintings II, 12 May 2022, lot 273, as Attributed to Josef Van Bredael Condition Report: Scattered areas of flaking and paint loss throughout. Surface dirt and discolouration. Would benefit from a clean. Uneven varnish. Some light craquelure. The reverse of the copper plate with upper left corner of a design for an etching, with some light wear but in good condition commensurate with age. Please note Dreweatts is not responsible for damage to frames.Condition Report Disclaimer
FRANCIS DANBY (BRITISH 1793-1861) A SAILING SHIP IN A STORMY SEA Oil on card Signed (to mount, lower centre) 16 x 18cm (6¼ x 7 in.) Provenance: Anthony Reed, London Davis & Langdale Co. Inc., New York David Cross Gallery, Bristol Sale, Sotheby's, London, Old Master and British Works on Paper, 6 July 2022, lot 213, from the Collection 'A Way of Life: The Collection of Barbara & Ernest Kafka' Exhibited: London, The Tate Gallery, Francis Danby, 15 Feb - 9 April 1989, n. 60 Dating from circa 1855 this rapidly executed oil study was painted at a time when the artist was living on the Devon coast at Exmouth. Danby had a great love of sailing and was an amateur boat builder. He was also aware of the sea's power and survived a shipwreck off Axmouth in the last year of his life. The low viewpoint and subtle treatment of the dark tones heighten the sense of drama in this sketch. Condition Report: The work has been laid down to a mounting sheet. There is a small pin hole to the lower left corner. Some light staining along the framing edge, also with traces of a glue residue to the upper right corner. Inspection under UV light reveals very fine, scattered retouching throughout the sheet. Unexamined out of glazed frame. Condition Report Disclaimer
NATHANIEL DANCE (BRITISH 1735-1811) POWLETT WRIGHTE (THE YOUNGER), STANDING BEFORE ENGLEFIELD HOUSE, BERKSHIRE Oil on canvas 71.1 x 91.4cm (27 x 35 in.)Provenance: Presumably commissioned by the sitter or the sitter's family George J. Kidston (1873-1954) of Hazelbury Manor, Box, Wiltshire Frost & Reed, London Private Collection U.S.A.The present lot is a charming example in the mid-eighteenth-century tradition of the English country house conversation piece, having been identified from another almost identical version of the work, currently in a private collection, which is inscribed to the frame with details of the sitter, location and artist. The two pictures are contemporary with each other, and from the style of painting the hand is clearly the same. The only variants are some very slight differences in some of the trees and the painting offered here includes a dog in the foreground, which is omitted from the other version. Powlett Wrighte Junior (1739-1779) was the son of Powlett and Mary Wrighte and the heir to Englefield House and its estate. His father died in 1741, when he was just two years old and the house and estates were left in trust for him until he turned twenty-one. Both paintings show Englefield as it was in the mid-18th century, most likely around 1760, the year Wrighte turned twenty-one and came into full ownership of the house. This would have been a thoroughly plausible reason to commission a painting of himself, standing proudly in front of his country house of which he was now master. Given that his mother, now the chatelaine of several large houses through her second marriage in 1745, would have spent much of her time away from Englefield, it is also entirely plausible that she would have wanted a second version of the picture to hang in one of her other houses to remind her of the house where she lived before and to remind her of her eldest son, who was now the master there. Upon his death in 1779 and, being childless, Wrighte left the Englefield estate to his uncle, Nathaniel Wrighte in accordance with his father's will. Nathaniel Wrighte let the house and estate to Lady Clive, the widow of the famous 'Clive of India' and she lived there for some years in the 1780s. Since that time that house has been architecturally altered more than once - most significantly during the early 19th century when it was given some impressive 'Gothic' additions. The elevation shown in this picture, however, is largely still extant today and the positioning of the church to the viewer's right is similarly unchanged. The descendants of Powlett Wrighte are still the owners of Englefield House today. For Nathaniel Dance, 1760 was also a pivotal year. Initially it is hard to reconcile this picture stylistically with most of the known works by Dance which are much more informed in their handling of his sitters, giving them a certain charisma and depth which is lacking here. However, if we keep the date of 1760 in mind, we note that this predates his trip to Italy, and more specifically Rome, where he met and was influenced by the grand-manner portrait painter Pompeo Batoni. Prior to this trip abroad, the influences of Dance's tutor Francis Hayman are more noticeable. Similar examples of Dance's work in this early style include The Dashwood Family at Wycombe Park (Witt 147628), and Colonel Thornton at Falconer's Hall (Witt 147629).
ATTRIBUTED TO SIR THOMAS LAWRENCE (BRITISH 1769 -1830) PORTRAIT OF A YOUND GIRL WITH A SHEEP, POSSIBLY LOUISA CLARA BOSANQUET (1826-1922), LATER MRS HORACE MEYER Oil on canvas 76.2 x 63.5cm (30 x 25 in.)Provenance: Probably Sir Michael Walker Private collection, UK. Recent research into the chalk inscription to the stretcher of the present lot, suggests that the picture was probably owned by the British diplomat Sir Michael Walker (1916 - 2001). One of Walker's ancestors, David Bevan (1774 - 1846) was one of the bankers who founded Barclay, Bevan and Co., which went on to become Barclays Bank. Bevan's wife, Favell Bourke Lee was painted by Lawrence (see, Bonhams, Old Master Pictures, 25 October 2017, lot 44), and it is therefore reasonable to suggest that her granddaughter Louisa Clara Bosanquet (B.1826), may also have been painted by the artist. The suggestion of Louisa as a candidate for the sitter in the present lot becomes even more compelling when we learn that, though her aunt Mrs. Thomas Mortimer, she had a link to a pet sheep which she is known to have helped to bathe in the sea. In addition to a sheep, Mortimer, who wrote some of the most educational children's books of the nineteenth century (such as The Peep of Day), had a menagerie of pets including a parrot which she took to bed, and a donkey. As Mortimer's favourite niece the pair went on to write two books together. The present lot is comparable to Sir Thomas Lawrence's portrait of Lady Alexandrina Vane, No. 785, and George Vane-Tempest, No. 512 (Garlick, Sir Thomas Lawrence - A Complete Catalogue of the Oil Paintings). Condition Report: The canvas has been lined. Some very light craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout. There is also a small (approx. 2cm) area of repair to the sitter's lower right cheek, and this over-painting is also visible in a natural light.Framed measurements 97 x 83cmCondition Report Disclaimer
THOMAS LUNY (BRITISH 1759-1837) SHIPS BELOW OLD LONDON BRIDGE, WITH THE CHURCH OF ST. MAGNUS THE MARTYR AND WREN'S 'MONUMENT' Oil on canvas Signed (lower right) 55 x 85cm (21½ x 33¼ in.) Provenance: Arthur Ackermann & Sons Ltd, London A bigger version of this painting was auctioned at Christie's, London, Old Master Paintings and Sculpture: Online, 25 November 2022 - 9 December 2022, lot 199 (unsold) Condition Report: The canvas has been lined. Light craquelure throughout with a very small area of lifting to the paint (approx. 2mm) to the upper right edge. Stretcher marks visible, most noticeably along the upper edge. Some light craquelure scattered throughout. Areas of diagonal in-filling to the sky visible in natural light to both the upper left and right quadrants. Inspection under UV light reveals retouching and in-filling throughout together with traces of a green varnish.Condition Report Disclaimer
JOHN DOWNMAN (BRITISH 1750-1824) A GENTLEMAN, WEARING BROWN COAT, WITH WHITE STOCK AND CHEMISE Oil on copper, oval 20 x 16cm (7¾ x 6¼ in.) Provenance: The Collection of Timothy Clowes Sale, London, Sotheby's, Old Master and Early British Paintings, 29 October 2009, lot 128 Sale, Dreweatts, Fine Art Timed Online Auction, 25 February 2022, lot 126 Condition Report: The copper presents a sublet craquelure, most noticeable on the visage of the sitter. UV light reveals an unevenly applied varnish, but no evident signs of restoration. A few yet small dots of retouching are present near the borders. Framed measurements: 34.5 x 31.5 cm Condition Report Disclaimer
FLORENTINE SCHOOL (CIRCA 1600) PORTRAIT OF A SMILING MAN (RECTO); A WINGED FIGURE HOLDING TWO CHILDREN, DRAWN BY TWO HORSES (VERSO) Red chalk (recto); black chalk (verso) 30.4 x 17.2cm (11¾ x 6¾ in.) Provenance: Stefan von Licht (1880-1932), Vienna (L.789b) Sale, Christie's, London, Old Master and British Drawings and Watercolours, 4 July 2023, lot 18 The winged figure holding the two children is most likely a study depicting the Allegory of Night This lot to be sold without reserve
ZACHARIE FELIX DOUMET (FRENCH 1761-1818) TWO VIEWS OF THE ENVIRONS D'ASCALDAS, NEAR LISBON Bodycolour, a pair Both signed (lower centre) Each 18.5 x 18.5cm (7¼ x 7¼ in.) (2) Provenance: Sale, Christie's, South Kensington, Old Master Drawings, 15 December 2000, lot 148 Condition Report: Unexamined out of glazed frame. The two pictures appear in good condition. On the second picture a small, very light crease, and hardly noticeable, appears to cross the whole surface just to the left of the hamlet in the background. Always on the same picture, there are what appears to be a few dirt stains to the upper edge. UV light reveals no evident signs of restoration. Framed measurements: Each 33 x 33 cm Condition Report Disclaimer
FOLLOWER OF JACOB ISAAKSZOON VAN RUISDAEL FIGURES IN A WOODED LANDSCAPE Oil on canvas Bears indistinct signature 'Ruisdael [?]' (lower right) 86 x 116cm (33¾ x 45½ in.)Provenance: Sale, Sotheby's Olympia, Old Master Paintings, 6 July 2004, lot 465 Condition Report: The canvas is relined and presents a subtle craquelure across the whole surface. UV light reveals a few retouches in the greenery, and a few dotted retouches on the figures. In addition, a few scattered restorations are present in the sky. To conclude, targeted layers of varnish are present on the surface. Condition Report Disclaimer
An excessively rare Second War ‘Cockleshell’ operations D.S.M. group of seven awarded to Quarter-Master Sergeant J. M. King, Royal Marines, a member of the elite Royal Marine Boom Patrol Detachment (R.M.B.P.D.) Just two wartime raids were carried out by the hand-picked operatives of the R.M.B.P.D., most famously Operation ‘Frankton’, the ‘Cockleshell Heroes’ strike against enemy shipping at Bordeaux in December 1942, and Operation ‘Sunbeam’, a similar canoe launched attack against targets in Leros in June 1944 Sergeant King was well-known to the likes of ‘Blondie’ Hasler and Bill Sparks, having trained beside them in the lead-up to the ‘Cockleshell Heroes’ raid, but it was for his part in ‘Sunbeam’ - described as one of the most brilliant sabotage operations of the war - that he was awarded his immediate D.S.M., one of only three such awards to the R.M.B.P.D. On that memorable occasion, in a damaged canoe ‘with water up to their knees’, and in the face of several challenges from enemy sentries, he and his comrade nonetheless placed six limpet mines on an Italian destroyer: they duly detonated with the desired result Distinguished Service Medal, G.VI.R. (Sergt. J. M. King, PLY/X. 1457); 1939-45 Star; Africa Star; Italy Star; Defence and War Medals 1939-45; Royal Navy L.S. & G.C., G.VI.R., 2nd issue (PL.X 1457 J. M. King, D.S.M. Sgt. R.M.) minor edge bruise to DSM, light contact marks, good very fine (7) £30,000-£36,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.S.M. London Gazette 28 November 1944: ‘For gallantry in a hazardous operation in the Aegean.’ The recommendation for his immediate award states: ‘Sgt. King was in charge of one of the canoes during operation SUNBEAM. This operation was undertaken to damage shipping in the defended port of LEROS. Sgt. King’s canoe was holed before entering the harbour, he however showing great determination continued with his task using a sponge to plug the hole, and entered the harbour. Here, although challenged he avoided detection and managed to place six limpets on the hull of an enemy destroyer. On the deck of the destroyer were several armed men and there was a sentry on the jetty. By this time the water in the canoe was around his knees. He however with the help of his crew, Marine RUFF, successfully left the harbour undetected and made the R.V. on the Island of CALINO some 8 miles distant. Sgt. King showed great skill and resolution in continuing with this already hazardous task in a badly damaged canoe. The destroyer was badly damaged and had to be sent to PIRAEUS for repairs.’ James Malcolm King was born in Glasgow on 9 June 1918 and joined the Royal Marines in November 1935. His pre-war appointments having included tours of duty in H.M.S. Rodney and H.M.S. Gloucester, he volunteered for ‘special service’ in the newly established Royal Marine Boom Patrol Detachment in July 1942. Under the watchful eye of his new C.O., Major H. ‘Blondie’ Hasler, King was quickly promoted to Acting Temporary Sergeant and took up appointment as the unit’s Physical Training Instructor, a fact referred to by Bill Sparks in The Last of The Cockleshell Heroes, who credits King with establishing the unit’s haphazard assault course. Sparks adds: ‘To build our assault course we used old tyres, ropes and anything else we could think of, but often with disastrous results. Our improvised equipment sometimes collapsed just as a man leapt on to it, or through it or under it, and the injuries were sometimes severe enough to have the victim rushed to hospital. Eventually the hospital complained that they were getting to many casualties from the R.M.B.P.D. To Blondie this was all water off a duck’s back. He didn’t take any notice and nobody was going to make him deviate from that …’ For the duration of their arduous and intensive training, which of course involved many hours at sea in their Cockle canoes, the 34-strong rank and file of the R.M.B.P.D. were divided into two sections. When, at length, it was time for Hasler to select the Operation ‘Frankton’ team for the raid on Bordeaux harbour in December 1942, King was not in the chosen section, a decision that likely saved his life. The story of his comrades – who became known as the ‘Cockleshell Heroes’ - needs no elaboration here, although it is not without interest that Bill Sparks, one of the two survivors, was a member of King’s section in the Aegean at the time of Operation ‘Sunbeam’. Operation Sunbeam Overall command of the R.M.B.P.D.’s ‘Earthworm’ detachment, as the Operation ‘Sunbeam’ men were known, fell to Captain W. Pritchard-Gordon, R.M., whilst Lieutenant J. F. ‘Jasper’ Richards, R.M. led the operation on the night. As had been the case in Operation ‘Frankton’ the participating cockle canoes were all given names. Thus, Richards and Marine Stevens manned Shark; King and Marine Richard Ruff Salmon and Corporal Horner and Marine Fisher Shrimp. The marines and their canoes were embarked in M.L. 360, in readiness for the planned raid on enemy shipping in Portolaga harbour, Leros, the motor launch hugging anchorages on the Turkish coastline as it awaited the signal to launch the raid. That signal arrived in the afternoon of 16 June 1944, when confirmation was received that potential targets had arrived in convoy at Portolaga. Cecil A. Hampshire’s The Secret Navies takes up the story: ‘Soon afterwards the motor launch left the anchorage on silent engines and headed seawards, increasing speed to 16 knots as soon as she was clear of the land. The marines blackened their faces and hands and made a final check of their stores and weapons. In addition to eight limpet mines, each cockle was to carry a walkie-talkie radio, silent Sten gun, grenades, fighting knives, camouflage nets for canoe and crew, spare paddles, a baling sponge and canoe repair outfit, first aid box, 24-hour food pack, cigarettes and matches in watertight compartments, chart, compass and compensator and, not least, a bird call. All limpets were armed with four-and-a-half-hour delay fuses. The weather was ideal, dark and moonless but with plenty of starlight, a gentle swell and a slight mist over the land. After rounding the southern tip of Kalymnos and turning northwards, the motor launch reduced speed to 12 knots fore the final run-up to the dropping zone. During this last leg of the voyage the marines, clad in their cockle suits, squatted silently around their gear on the upper deck, each man engrossed in his own thought.’ And of subsequent events in respect of Sergeant King and Marine Ruff in Salmon, Cecil A. Hampshire continues: ‘A few minutes later the semi-waterlogged Salmon appeared out of the darkness, with King paddling and the weary Ruff stoically bailing out. That they had managed to complete the operation at all was nothing less than remarkable, for they had been bedevilled by a leaking canoe throughout. On entering the harbour they were almost immediately challenged by the bomb patrol vessel. But as she made no move to follow this up, the hails were ignored and Salmon pressed on towards her first objective. Half an hour later they were again challenged, this time from the shore, the shout being heard also by Richards and Stevens in Shark ahead of them. For a few moments the raiders remained perfectly still, then moved off again le...
BALVENIE 10 YEAR OLD FOUNDER'S RESERVE SPEYSIDE SINGLE MALT 40% ABV / 70clThe Balvenie Founder’s Reserve is a classic 10 year old single malt Scotch whisky which was created by The Balvenie Malt Master, David Stewart, from a marriage of The Balvenie single malt matured in bourbon casks with that matured in sherry casks, or butts. On the nose, The Balvenie Founder’s Reserve is rich and complex with honey and orange notes and just a hint of peat. Its taste is full-bodied honeyed sweetness, with light spicy notes and a hint of sherry fruitiness. Its finish is long with a pleasant lingering richness.
MACKMYRA BRUK SMALL BATCH #1 FOR SUMMERTON WHISKY CLUB SWEDISH SINGLE MALT Matured in a combination of Bourbon, Oloroso Sherry, new American oak, and new Swedish oak.One of 1482 bottles released.46.6% ABV / 70cl Small Batch 01 was distilled at the Mackmyra Bruk Distillery, Sweden’s first whisky distillery, founded by eight friends in 1999 who wondered why Sweden didn’t make its own whisky. This distillery was replaced by their Gravity Distillery in Gävle in 2011, ensuring we are tasting a piece of Swedish whisky history from where there isn’t much liquid left. And with a new Master-Blender and team running Mackmyra the brand will undoubtedly go in a new direction, therefore this is our chance to enjoy where it started before it does. Summerton Club has used mainly ex-bourbon casks, as they feel that best shows off whisky from Mackmyra Bruk, with some new American oak, new Swedish oak and ex-Oloroso to add depth. The whisky they have vatted is of various ages, with the oldest being fourteen years old. This was only available to Summerton Whisky Club members.
BUNNAHABHAIN 17 YEAR OLD MOINE TRIPLE CASK FEIS ILE 2023 ISLAY SINGLE MALT Matured in a combination of American Oak / 1st Fill Oloroso Hogsheads / Bourbon Barrels / Rum Barrels52.6% ABV / 70cl This cask strength Distillery Exclusive Fèis Ìle whisky is truly something special. A marriage of three peated drams including an Oloroso Finish, Bourbon Matured and Rum Finish, it has flavours reminiscent of rum and raisin ice cream, our Master Blender, Julieann Fernandez's, favourite!
BALVENIE 25 YEAR OLD RARE MARRIAGES SPEYSIDE SINGLE MALT 48% ABV / 70clIn a flawless whisky marriage, Honorary Ambassador and Former Malt Master David C. Stewart MBE brings together individual casks that have matured in traditional American and European Oak to craft an incredibly intricate and balanced expression; exemplifying the art and skill of Single Malt tun marriages.
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