John Riley (English, 1646-1691) William Chiffinch (c.1602–1691), Master of the Wardrobe to Charles II oil on canvas 60 x 50cm Provenance: Sotheby's, London, British Paintings, 17th July 1985, Lot 506, as 'Portrait of a gentleman' by John Riley William Chiffinch was an indispensable figure to Charles II, holding a number of offices at court, including Surveyor of the King’s Pictures, Keeper of the King’s Jewels and Master of the Hawks. He was also renowned for his mastery of intrigue and was involved in many court plots and matters pertaining to the King’s mistresses. He continued his roles within the royal household under James II but fell out of favour after the Glorious Revolution due to suspicions of Jacobitism. Indeed, his daughter Barbara was to become an active Jacobite.Another version of the present composition is in the Dulwich Picture Gallery (DPG568). The painting is executed in oil on a canvas support which has been lined. Lining has secured old damages present in the lower half of the picture. The canvas tension is good and the picture is in plane. The paint layers are stable and secure but have suffered from wear and abrasion visible in the darker paint passages. The old repairs in the lower half have been filled and retouched – the fill is slightly lumpy and the overpaint discoloured and matte, although covered by the varnish layers. The varnish is glossy, thick and fairly even.
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The Fiat X1/9 is a mid-engined two-seater, designed by Bertone and manufactured by Fiat from 1972-1982. Bertone subsequently took the lead from 1982-1989 and, in 1982, shortly after the introduction of the 1500 model, complete production was assumed by Bertone with models from this point forward badged as the Bertone X1/9. With a transverse engine and gearbox in a mid-mounted, rear-wheel drive configuration, the X1/9 was noted for its excellent handling and lightweight, removable hardtop. It succeeded a 1969 show concept car called the Autobianchi Runabout (with styling by Bertone under chief designer Marcello Gandini) and, unlike Fiat's marketing nomenclature at the time; the X1/9 retained its prototype code as its marketing name.This example is one of the very last X1/9’s to have been built and is a superb example. The car has covered just 53,000 miles from new, supported by a service book containing stamps going back as far as 1989. The car presents beautifully in Mica Red and has been the subject of much work over the years. In May 2023, the engine was removed and sent to Avanti Rizzuti Motorsport, who rebuilt the head and cam, using a stage 1 forged cam, the cambelt and water pump were also replaced at the time. New clutch and brake master cylinders were fitted in 2022 and there are bills for metal work and paintwork in 2013. The history file is extensive and we would highly recommend any interested parties to come and take a look through the bills for works carried out over the years. Fiat X1/9’s are an exceedingly rare sight on the roads nowadays as many fell victim to rust over the years, so an example like this which has clearly been cared for throughout its whole life is a very special thing. This example is supplied to auction with a V5C registration certificate, an MoT test certificate valid until August 2025 and a comprehensive history file with many invoices, service records, owner’s club booklets and old MoT’s. Consigned by Fraser Smith COMPREHENSIVE HISTORY FILE GOING BACK TO 1989PREVIOUSLY RESTORED - EXCELLENT CONDITIONJUST 53K MILES
Nicolaes Maes (Dordrecht 1634 - 1693 Amsterdam)Liegender nackter MannUm 1650Feder in Bister, mit dem Pinsel in Bister und Rot laviert, auf Bütten11,3x21 cm, BlattgrösseProvenienzSlg. Earl of Dalhousie, Schottland, Lugt 717a, aus dem Album von Zeichnungen von Rembrandt und seiner Schule, verkauft durchColnaghi in London 1922, das Gros davon bis heute in derSlg. Frits Lugt, ParisSlg. Jacques Zwicky, Freiburg im BreisgauSlg. Eberhard W. Kornfeld, Bern, Lugt 913bLiteraturPaul Wescher, in: Old Master Drawings, Band XII, Heft 48, März 1938, pag. 61, reprod. Tf. 64ZustandTadellos und vollkommen farbfrisch in der ErhaltungErläuterungenEine der eher seltenen Zeichnungen von Maes nach dem lebenden Modell. Das Blatt kann mit einer Zeichnung im Victoria & Albert Museum verglichen werden, die einen Jungen zeigt, der als Studie für das um 1653–54 gemalte "Abrahamsopfer" diente (heute in der Sammlung der Queens University in Kingston; vgl. den Katalog zur Ausstellung im Mauritshuis, Den Haag und der National Gallery, London, 2019–20, Kat. Nr. 3 für das Gemälde sowie pag. 192, Reprod. 12, für die dazugehörige Zeichnung.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 20:30 h (MEST)VersandkostenSchweiz: CHF 165.-Europa: CHF 280.-Übrige Länder: CHF 335.-
Hans Burgkmair d.Ä. (1473 Augsburg 1531)Kaiser Maximilian I. im vollen Ornat thronend, nach links gewandtBlatt 77 der "Genealogie des Hauses Habsburg"1509-1512Holzschnitt auf Bütten mit Wasserzeichen "Ochsenkopf mit Schlange und Kreuz"20,5x16,2 cm, BlattgrösseWerkverzeichnisHollstein 400/I (v. II)ProvenienzWohl ursprünglich aus der Slg. Henri Rouart Auktion Gutekunst und Klipstein, Bern, 24. Oktober 1951, Los 54Slg. Richard H. Zinser (1884-1984), Stuttgart/Forest Hills, Lugt 5581C.G. Boerner, Neue Lagerliste 120: Altdeutsche Graphik - German Old Master Prints, Düsseldorf/New York, 2007, Nr. 30Slg. Eberhard W. Kornfeld, Bern, Lugt 913b, erworben 2008ZustandMit einigen Klebespuren auf der Rückseite, die beiden unteren Ecken hinterlegt. Das Blatt leicht fleckig, insgesamt jedoch sehr gut erhalten, wenn man bedenkt, dass es sich um einen für die Werkstatt entstandenen Probedruck handeltErläuterungenWichtiger Probedruck mit wohl noch zeitgenössischer Beschriftung, die die genauen Lebensdaten des Kaisers angibt. Da die Druckstöcke zur Genealogie der Habsburger, einem der zahlreichen "Gedechtnus"-Projekte des Kaisers, schon früh verloren gingen, sind Blätter dieser Folge von allergrösster Seltenheit.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 19:05 h (MEST)VersandkostenSchweiz: CHF 165.-Europa: CHF 280.-Übrige Länder: CHF 335.-
Willem van de Velde d.J. (Leiden 1633 - 1707 London)Grosses englisches Kriegsschiff, mit Kanonen auf drei Etagen, begleitet von einem kleineren KriegsschiffUm 1685Schwarze Kreide, mit dem Pinsel in Tusche laviert, auf Bütten29,7x42,4 cm, ZeichnungWerkverzeichnisMichael Robinson bestätigt die Echtheit aufgrund einer Abbildung und schlägt eine Datierung von ca. 1685 vorProvenienzSlg. Thomas Coke, 1st Earl of Leicester (1697–1759), Holkham Hall, Norfolk, EnglandIn Familienbesitz bis zurAuktion Christie’s, London, 2. Juli 1991, Old Master Drawings from Holkham, Los 66Slg. Eberhard W. Kornfeld, Bern, Lugt 913bLiteraturArthur E. Popham/Christopher Lloyd, Old Master Drawings at Holkham Hall, Chicago 1986, Nr. 320ZustandEin schmaler Streifen am linken Rand wurde bereits vom Künstler ergänzt; die Zeichnung hat sich auf der Originalmontage der Zeichnungssammlung in Holkham Hall erhalten; die rückseitige Bezeichnung "Van der Velt" in der Hand von William Kent. Das Albumblatt in den Rändern schwach stockfleckig, insgesamt aber schön in seiner UnberührtheitErläuterungenWie schon sein Vater, war auch der jüngere Willem ein "Schiffszeichner" – eine zeitgenössische Bezeichnung, die nicht wörtlich zu nehmen ist und auch die malerische Tätigkeit miteinbezieht. Im Winter 1672/1673 wanderten die Van de Veldes samt ihrer Familien nach England aus. Das vorangegangene Jahr wird in der niederländischen Geschichte als "Rampjaar" ("Katastrophenjahr") bezeichnet. In diesem Jahr erklärten England, Frankreich, Köln und Münster der Republik der Sieben Vereinigten Niederlande den Krieg. Die bis zum Ende des Jahrzehnts anhaltenden kriegerischen Auseinandersetzungen werden gemeinhin als der Beginn des Niedergangs des niederländischen Goldenen Zeitalters gesehen.Zum Glück für die Künstler bestand auch in England ein reges Interesse an Marinestücken. Ab 1674 erhielten Vater und Sohn vom englischen König einen jährlichen Sold von 100 Pfund für Gemälde, Zeichnungen und Skizzen von Seeschlachten. Auch andere Adlige meldeten Interesse an ihrem Werk an. Es war ihnen auch erlaubt, einige Räume im Queen’s House zu nutzen, dem königlichen "House of Delights", in dem eine Reihe von Künstlern und Handwerkern ihre Ateliers hatten. Als Hofmaler waren die Van de Veldes bei jeder maritimen Aktivität des Hofes anwesend und ihre Privilegien wurden auch unter späteren Königen – und für den jüngeren Willem auch noch nach dem Tod des Vaters im Jahr 1693 – aufrechterhalten.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 20:50 h (MEST)VersandkostenSchweiz: CHF 165.-Europa: CHF 280.-Übrige Länder: CHF 335.-
A REGENCY BRASS MOUNTED FIGURED MAHOGANY QUARTER-CHIMING TABLE/BRACKET CLOCKJOHN JACKSON, LONDON, CIRCA 1815The substantial six pillar triple chain fusee movement with anchor escapement regulated by disc bob pendulum incorporating stirrup-type regulation adjustment, chiming the quarters on a nest of eight graduated bells and sounding the hour on a further larger bell, the backplate signed John Jackson, LONDON within a geometric bordered oval cartouche to centre within conforming decorated outer border interrupted with leafy sprays to angles, the 8 inch cream painted arched Roman numeral dial also signed John Jackson, LONDON to centre, with Arabic fifteen-minutes to outer track and pierced gilt brass hands beneath subsidiary regulation and STRIKE/SILENT selection dials to arch, the arched case with complex break-arch upper mouldings over hinged arched-glazed front inset bordered with inset brass fillet mouldings to the aperture and with rounded brass stringing to edges, the sides with hinged brass carrying handles over arched bras fish scale sound frets and the rear with arch-glazed door set within the frame of the case, on cavetto moulded skirt base with bras ogee bracket feet; with a modern mahogany wall bracket incorporating scroll carved support beneath reeded-edge platformthe clock 45cm (17.75ins) high, 31.5cm (12.5ins) wide, 21cm (8.25ins) deep; the clock on wall bracket 79cm (31.25ins) high overall. John Jackson senior was a notable maker who was apprenticed to Nathaniel Style before setting-up his own business at Bridgewater Square by 1760. He was Master of the Clockmaker's Company in 1796 and went into partnership with his son of the same name from 1781-94. The business continued trading under the name John Jackson until around 1825. Condition Report: Movement is in relatively clean fully working condition with no visible evidence of alteration or noticeable replacements. A gentle clean/service is advised in intending to put the clock into long-term service. The dial retains old, probably original surface but with some noticeable rubbing to the chapter ring. There is also some very slight wear to the winding holes, The right-hand part of the dial has some crazing/lifting to the surface as well as a few flakes/losses so may benefit from some stabilisation/retouching. The hands appear original and are in good condition. The case is generally in good original condition. The arch top has three noticeable front-to-back shrinkage cracks (it is possible that the top veneer has been replaced) and the upper mouldings have a small section missing bordering the left-hand side of the arch. The rear door is slightly warped with a couple of cracks to the frame veneers otherwise faults to the case are very much limited to very minor age related blemishes. The wall bracket is in very good overall condition.Clock is complete with original pendulum, crank winder and a case key. Condition Report Disclaimer
A RARE FRENCH RENAISSANCE PRE-HAIRSPRING GILT BRASS AND ROCK CRYSTAL OVAL PENDANT WATCHJ. VALLIER, LYON, CIRCA 1625The oval gilt single fusee movement with four shouldered baluster pillars pinned through the backplate and verge escapement regulated by steel flat-rimmed two arm balance, the backplate with asymmetric stylised tulip scrollwork pierced and engraved balance cock with pinned at the junction with the conforming asymmetric foot, the mainspring with blued steel set-up ratchet set behind conforming pierced and engraved single-footed guard for the click spring, opposing engraved signature J. Vallier, ALyon the gilt oval dial finely engraved with a scene of a Bacchante holding aloft a goblet before a building and with blued steel hand within applied silver Roman numeral chapter ring, the outer margins engraved with reclining angels to upper section and a term with outstretched wings issuing symmetrical scrollwork infill to the lower, the movement and dial secured via sprung latches into the oval section three-piece case applied with twin hinged covers inset with gadroon-carved rock crystal panels within leavy scroll engraved bezels, the centre section with gadroon engraved outer bands, tulip cast suspension post and ring-knopped pendant finial to the underside.The movement and dial 4cm (1.55ins approx.) high, 3cm (1.2ins approx.) wide; the case 6.6cm (2.5ins) high excluding later ring, 3.5cm (1.325ins) wide, 3cm (1.2ins approx.) deep overall. Provenance:The Leonard Fuller Collection. Purchased from Gerald E. Marsh, Winchester, 11th December 2004 as part of a package deal watch movements by George Graham, John Knibb and Thomas Tompion for a total of £14,000. Jean Vallier is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS as apprenticed 1590-96 and became Master in 1602. He married Madeleine Noytolon in 1605 and died in 1649.The work of Jean Vallier of Lyon is mentioned in Britten, F.J. Old Clocks and Watches and Their Makers pages 67, 95 and 97; a clock-watch with astronomical calendar dial is illustrated in plate XI (in the collection of the British Museum, object number 1888, 120.177). He is considered as one of the premier makers of his time with thirteen watches noted by Baillie including examples in the 'South Kensington Museum, the Fitzwilliam, Cambridge and three in the Louvre. Condition Report: The wheel train appears all original retaining original fire gilding to the brass, the movement will run hence can be considered as being in working condition. The balance is probably a replacement, the staff and pallets appear to have age but are probably also well made replacements. The balance cock has a solder repair at the junction with the foot causing some loss to the gilding/surface around that point and the rest of the gilding has now taken on a slightly reddish hue probably from the heat of the repair. The pierced spring ratchet set-up guard is in fine condition, however the colour of the surface differs a little from the backcock and the gilding of the wheelwork hence we cannot rule out that it might be a very well made replacement. The backplate retains its gilt finish but with some light rubbing/scratching and the signature has been highlighted with black wax). The dial is in fine condition with good strong gilding; the chapter ring has a small bruise at VII otherwise is in good condition. The hand appears to be a replacement. The case presents as being in fine condition however the front and rear covers (including the rock crystal) are thought to be associated (see Christie's catalogue entry 5/07/2002 lot 15). However they are correctly made from engraved and gilded cast brass and the fit is essentially perfect. The gilding is also well-matched. The body of the case retains its gilding in good condition with only slight wear/discolouration; there are a few light bruises and scratches and the interior has some rubbing from the movement being drawn in and out of the case. The pendant ring is a replacement but the post appears original.Watch has a winding key. Condition Report Disclaimer
A FRENCH LOUIS XV ORMOLU MANTEL CLOCKBELIARD, PARIS, MID 18th CENTURYThe three columnar pillar two train numbered outside countwheel bell striking movement regulated by disc bob pendulum now incorporating Brocot type regulation to suspension, the square backplate with canted corners and signed Beliard h'ge du Roi AParis to the lower margin, the 4.5 inch slightly convex white enamel Roman numeral dial signed BELIARD, H'GER DUROY to centre and with Arabic five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands set behind hinged moulded gilt brass convex glazed bezel, the waisted symmetrical rococo scroll cast case with leafy seed-pod finial to the tapered shaped upstand decorated with matted panels within burnished borders, over scrolls issuing floral sprays flanking the dial continuing down to form naturalistic outswept supports with shaped apron panel containing a musical trophy between, the sides with arched fretwork panels pierced to resemble floral sprays, the rear conforming to the front but with glazed hinged movement aperture and without the floral sprays and musical trophy, mounted on an integral naturalistically cast rococo scroll platform base incorporating pierced supports to each corner.35.5cm (14ins) high, 27.5cm (10.75ins) wide, 17cm (6.75ins) deep. Provenance:Sotheby's, London sale of the contents of BENACRE HALL, SUFFOLK 9-11th May 2000. Beliard 'Horloger du Roi' does not appear to be recorded in the usual sources however it is most likely that the current clock was made by the father of the renowned late 18th century clockmaker, Julien-Antoine Beliard (1758 to circa 1810), who trained under his father becoming a Master in 1786. He succeeded his father at the workshop on rue de Hurepoix, and was best known for his complex precision skeleton clocks collaborating with the enameller Joseph Coteau for his dials, and bronziers such as Nicolas Bonnet for his case mounts. Condition Report: Movement is running and striking however it is a little dirty/oxidised hence a precautionary clean/service is advised if intending to put into long-term service. As catalogued the clock has later Brocot type pendulum regulation; it is also highly probable that the escapement has been updated but we have not removed the movement from the case to confirm whether this is the case or not. The backplate however shows no obvious evidence of alteration. The dial is in fine condition with visible faults limited to a small chip adjacent to the regulation adjustment square and a small repaired (stuck back in) chip next to the left-hand winding hole. The case is dirty/discoloured but is generally in sound condition retaining old surface. The left-hand side fret has a section missing towards the upper right hand margin and the silk linings to both frets has degraded. There are two spare holes within the rear edge side scrolls suggesting the additional leafy sprays may well have been attached at some point (no longer present). Faults to the case are otherwise limited to slight casting faults, rubbing and other minor age-related blemishes.Clock is complete with pendulum and winding key. Condition Report Disclaimer
A LATE VICTORIAN GILT BRASS MINIATURE MANTEL/BRACKET TIMEPIECE WITH FIRED-ENAMEL DIALJUMP, LONDON, CIRCA 1900The four pillar single chain fusee movement with arched plates and anchor escapement regulated by heavy disc bob pendulum with pendulum holdfast to the backplate, the 3.5 inch circular convex white fired enamel Roman numeral dial signed JUMP, 93 MOUNT ST., LONDON to centre and with Arabic fifteen minutes beyond the outer dot minute track, with gilt Breguet moon hands, the heavy cast gilt brass case with hinged carrying handle to the stepped ogee-shaped caddy superstructure and moulded break-arch cornice over full-height front door fitted with a convex glass for the dial and an inset silvered apron panel engraved with an oval cartouche within husk border, the sides with rectangular glazed apertures set within channelled surrounds and the rear with break-arch glazed door, on stepped ogee moulded skirt base with block feet.21.5cm (8.5ins) high with handle down, 13.5cm (5.25ins) wide, 10cm (4ins) deep. Richard Huyton Jump (born 1785) joined the workshop of Benjamin Louis Vulliamy in 1812. Two of his sons, Richard and Joseph, also worked for Vulliamy from 1835 and 1827 respectively. The brothers would have no doubt worked alongside the French master clockmaker Sylvian Mairet who trained under Breguet and also probably got to know James Ferguson Cole who produced a series of 'hump-back' carriage clocks in the Breguet tradition (a form which was later revived by Jump later in the century). Benjamin Louis Vulliamy died in 1854, the following year Joseph Jump, together with a third younger brother Alfred, set-up in business at 1A Bond Street, London as successors to Vulliamy. They were joined by Joseph's son, Henry, who continued working with his father after his uncle Alfred died in 1872; and then by Henry's first son, Henry Percival in 1875. In 1890 the business moved to 55 Pall Mall, In 1897 Henry Jump's second son, Arthur Huyton, joined the firm and they moved to 93 Mount Street, London the following year where they remained until the cessation of the business in 1934. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or notable replacements (the pendulum holdfast knob appears to be the only obvious replacement). A precautionary clean/service is advised. The enamel dial has some slight chipping to the winding hole and a small crescent-shaped edge crack at four o'clock otherwise faults appear to be limited to a couple of small patches of dirt/grime. The case is particularly heavy and is in very good original condition retaining old thick hand-burnished fire gilding but with some light rubbing/wear throughout. The panel beneath the dial has overall mellowing and a couple of slight blemishes to the silvering and the rear door glass is broken and incomplete.Timepiece has original pendulum and a winder. Condition Report Disclaimer
Y A GEORGE I EBONY TABLE/BRACKET TIMEPIECE WITH 'SILENT' PULL-QUARTER REPEATDANIEL DELANDER, LONDON, CIRCA 1720The five finned pillar single fusee movement with verge escapement regulated by short bob pendulum, and 'silent' pull-quarter repeat ting-tang sounding the quarters on a graduated pair of bells and sounding the hour on a third larger bell on demand only, the backplate engraved with bold asymmetric entwined vine scrollwork within generous laurel banded border, the 6.5 inch brass break arch dial with calendar and shaped false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll pierced blued steel hands and fine mask and scroll cast spandrels to angles, the arch with herringbone bordered silvered signature boss engraved Daniel, Delander, London flanked by distinctive 'Delander' type gilt mounts cast as putti holding flaming torches beneath further herringbone engraving bordering the upper edge, in a bell-top case with hinged brass carrying handle over double ogee top mouldings and hinged front applied with complex raised mouldings bordering the dial aperture and upper quadrant frets, the sides with break-arch windows beneath scroll-pierced sound frets incorporating arched lower margins and each bordered with conforming raised mouldings, the rear with door matching the front except for the upper quadrants having larger glazed panels as opposed to frets, on ogee moulded shallow skirt base with moulded squab feet.40cm (15.75ins) high with handle down, 25cm (10ins approx.) wide, 17cm (6.75ins) deep. PLEASE NOTE CATALOGUE AMMENDMENT - CLOCK WAS PURCHASED BY THE VENDOR 3rd APRIL 1974 (NOT 4th MARCH AS INDICATED IN THE PRINTED CATALOGUE). Provenance:Purchased by the vendor from Christie's London sale of FINE WATCHES & CLOCKS 3rd April 1974 (lot 142). Daniel Delander is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1678 and apprenticed to Charles Halstead before being transferred to Thomas Tompion and gaining his Freedom of the Clockmakers' Company in 1699. He initially worked as 'servant' to Thomas Tompion from Devereux Court and later (after Tompion's death in 1713) from 'within Temple Bar', Fleet Street. He was a fine maker whose work was clearly influenced by his master but is perhaps best known for his series of particularly fine duplex escapement longcase clocks as well as long duration clocks often with refinements such as equation of time. Delander appeared to also share his master's exacting standards with regards to the quality and design of the cases for his clocks, with his table clocks often mirroring those of Tompion and his successor George Graham. He was buried at St. Dunstan's in the West on 14th July 1733. The engraving to the backplate of the present timepiece can be compared to an exceptional backplate on a clock by Jonathan Lowndes discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass page 334 and illustrated on page 335 (Figure 18.17). Although similar in style and composition the engraving to the current lot is perhaps a little more restrained/simplified compared to Lowndes backplate illustrated by Dzik. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber.The design and layout of the quarter-repeat system employed in the current lot can be closely compared to an example by fellow Tompion workman, William Webster, described and illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 109-12. Most notable, with regards to the similarities within the details, is the design of the wedge-shaped pumping piece, and the provision of a separate sleeved fitment incorporating the hour hammer pin and hammer tail applied to the hammer arbor to allow the pin-wheel to rotate uninhibited whilst pulling. The strong similarities between this timepiece and that by William Webster indicates strong links between the two workshops reflective of their shared roots within the workshop of Thomas Tompion. Condition Report: The movement is complete, reasonably clean and in full working condition although a gentle clean service is probably advisable. The escapement appears to be a very well executed re-conversion back to the original verge and short bob arrangement (from a previous conversion to anchor) leaving next to no visible evidence in the plates. The design of the backcock apron is perhaps a little later in style. The dial presents as in good clean condition. The arch has a join (braced by a plate rivetted at the rear) across the centre. This may be an old repair or possibly even from the time of making as the match of the brass used for the upper part is indistinguishable from that used for the rest of the dial. The case is in sound presentable condition but has received some mostly cosmetic restoration in the past. Some of the lengths of moulding applied around the apertures (mostly to the side apertures) are not a swell defined/crisp as the others suggesting some replacement/restoration has taken place. The veneer overlap to the mask around the dial has some patch repairs and the exterior exhibits shrinkage, a few minor historic and some filling to the joints between some of the veneers and mouldings. The rear door has a slip applied across the top to close a gap between door and case that had probably become a little enlarged due to wear and movement. The base board of the case is composed of two sections - it is possible that the rear section has been replaced due to the movement previously having a long pendulum necessitating cutting a slot in the board. The movement is secured by two turn-discs to the rear of the dial as well as two bolts from underneath engaging with angle brackets screwed to the lower edge of the backplate, these brackets and bolts may be a later addition. Otherwise faults to the case are limited to age related bumps, scuffs and other blemishesClock has case keys but no winder. Condition Report Disclaimer
* JOE HARGAN PAI PPAI (SCOTTISH b. 1952), THE SPECTATOR oil on canvas, signed, titled versoframed and under glassimage size 38cm x 38cm, overall size 58cm x 58cm Label verso: The Contemporary Fine Art Gallery, EtonNote: 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 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.
Philip Wilson Steer OM, British 1860-1942 - The Rape of the Sabines, 1896; oil on canvas, signed lower left 'P.W. Steer', 71 x 91.5 cm (VAT charged on the hammer) Provenance: Goupil Gallery, London; Sir Cyril Butler, K.B.E., purchased from the above in 1924; Lady Kendall Butler; Lord Molson; Christie's, Modern & Traditional Pictures, 7th November 1991, lot 14, The Property of the Hon. Christopher Lennox-Boyd; Lord Nicholas Gordon-Lennox; Richard Salmon Ltd., London; private collectionExhibited:Goupil Gallery, London, 'Philip Wilson Steer', March-April 1924; Tate Gallery, London, 'Works by Philip Wilson Steer', 19th April–21st July 1929; Tentoonstellony, Amsterdam, 'British Art', 1936, no.166 (according to the partial label attached to the reverse); Barbizon House, London, 'Philip Wilson Steer', 1937; National Gallery, London, 'Philip Wilson Steer Memorial Exhibition', 17th May–7th August 1943, no.86; Victoria and Albert Museum, London, C.E.M.A. Exhibition; Leicester Galleries, London; Temple Newsum, Leeds, 'Philip Wilson Steer', 29th March-14th May 1944; Arts Council of Great Britain, London, 'Philip Wilson Steer, 1960', no.31 (according to the label attached to the reverse) Literature: Burlington Magazine, London, 1943; D.S. MacColl, 'Life, Work and Setting of Philip Wilson Steer', London, 1945, pp. 107, 197 Note:in this period of the artist's career, he experimented with the Old Master painting method of a monochrome base with the subject matter and glazing colour over top. This ambitious and complex composition is a rare example of this technique. This legendary Roman story has been depicted by artists for centuries, particularly in the Renaissance and throughout, including Nicolas Poussin, Peter Paul Rubens, Jacques-Louis David, Edgar Degas and Pablo Picasso.
![Bible [English]. The Holy Bible conteyning the Old Testament and the New, newlie translated out of ye originall tongues and w](https://cdn.globalauctionplatform.com/0226bcfa-17bf-4201-b0e6-b17f00aed699/29f34950-5c15-4fa6-af72-b1dc00abb44f/468x382.jpg)
Bible [English]. The Holy Bible conteyning the Old Testament and the New, newlie translated out of ye originall tongues and with the former translations diligently compared and revised by his Maiesties speciall commandement. Appointed to be read in churches, Printed at London by Robert Barker printer to ye Kings most excellent Matie. and by the Assignes of John Bill, 1639, engraved general title lined to verso (cropped/torn to margins, torn to lower left corner with loss), New Testament title within decorative woodcut border and with imprint dated 1638, Apocrypha present, colophon dated 1639, some decorative woodcut initials, first leaf of Genesis (A1) with long closed tear and outer corners torn with slight loss, few leaves in gathering 2A in Old Testament cropped to margins, small hole to 4H3 affecting few letters of text, 4Q1 torn with slight loss and repaired, lower outer corner of 4V5 torn with slight text loss, occasional minor closed tears to few leaves, bound with at rear Concordance. A Concordance, or Table to the Bible of the Last translation..., carefully perused and enlarged by Master John Downame, B. in Divinitie..., London: Printed by the Assignes of Clement Cotton, 1639, woodcut device to title and armorial to verso, bound with Book of Psalms. The Whole Booke of Psalmes. Collected into English Meeter by Thomas Sternehold, John Hopkins and others..., London: Printed by E. Griffin and I. Raworth, for the Company of Stationers, 1638, woodcut device to title, verso of final leaf bearing the inscription 'Mr Jo. Middleton of Chealy bd. ca: 6s Feb. 21 1707', with small repair to lower margin, bound with an incomplete Common Prayer at front, lacking title and with first leaf of Calendar (A2) repaired, colophon dated 1639, Bible general title at front of volume, some toning, light dust-soiling and few marks, modern endpapers with retained portion of earlier endpaper bearing ownership inscription 'Richard Middleton 1708 R R Given by my father John Middleton Senr.' and with 20th-century bookplate of Christopher Rowe to upper pastedown, contemporary panelled calf, neatly rebacked and board corners refurbished, folio (33.6 x 22 cm)QTY: (1)NOTE:Darlow & Moule 2335; Herbert 538.Herbert and Darlow & Moule mention 'with Genealogies and Maps' which are not present in this copy.
Foxe (John). [An Abridgement of the Booke of Acts and Monumentes of the Church. Written by that Reverend Father, Maister John Fox and now abridged by Timothe Bright, Doctour of Phisicke, for such as either through want of leysure, or abilitie, have not the use of so necessary an history, Imprinted at London: By I. Windet, at the assignment of Master Tim. Bright, and are to be sold at Pauls wharf, at the signe of the Crosse-keyes 1589], black-letter text, lacking title, following 8 pages and final 8 pages also lacking, title supplied in manuscript facsimile in red and black ink with incorrect wording and imprint details, woodcut initials, 17th-century calf, worn with upper board detached, 8vo, together with three other antiquarian interest including Salmon (William). Polygraphice: or the Arts of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming..., 5th edition, enlarged, London: Thomas Passinger and Thomas Sawbridge, 1685, lacking portrait frontispiece and additional engraved title, first word of letterpress title overwritten in ink, 19 engraved plates only of 25 (one torn with loss), contemporary calf, gilt decorated spine with red morocco title label, worn with boards detached and spine cracked, 8vo, and Recentiorum disceptationes de motu cordis, sanguinis, et chyli, in animalibus, Leiden: ex officina Joannis Maire, 1647, final two leaves provided in manuscript facsimile, later rear endpaper, contemporary calf, rebacked, some wear to spine and extremities, 4to, plus [Cousin, Jehan, illust.]. Figures des histoires de la Saincte Bible, accompagnees de briefs discourse, contenans la plus grande partie des histoires sacre?es du Vieil & Nouveau Testament, & des oeuvres admirables du Dieu viuant, createur de ciel & de la terre, & de Jesu-Christ son fils unique nostre sauueur & redemteur. Pour l'exercice ordinaire des ames deuotes & contemplatives. Le tout dedie? au Roy tres-chrestien, Paris: Guillaume le Be?, 1653, title in red and black, numerous woodcut illustrations, heavy worming to first and last few leaves, some damp-staining, dust-soiling and marks, margins frayed and sprung, contemporary vellum, old paper reback, worn, folioQTY: (4)NOTE:Foxe - STC 11229.
JOHNNIE WALKER 18 YEAR OLD GOLD LABEL 75CL BLENDED WHISKY 43% 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.
GLENLIVET MASTER DISTILLER'S RESERVE 1L AND MATCHING 20CL SPEYSIDE SINGLE MALT 40% ABV / 1L & 20cl Qty: 2 One of the very first distilleries in Scotland to be granted an official licence, after the passing of the licencing act in 1823, Glenlivet distillery has become synonymous with Speyside whisky. So much so, that at one point 28 other distilleries in the area adopted “Glenlivet” as a suffix to their own brand in order to piggyback on the reputation Glenlivet had built for itself. Although that practise has fallen by the wayside in recent years some independent bottlers still use it. The Glenlivet brand is now one of the most recognisable in the world, and despite the distillery undergoing an expansion and upgrade (beginning) in 2010, their iconic 12-Year-Old expression still had to be discontinued for a few years before production was able to catch up with demand.
Three: Second Lieutenant J. R. Speeding, Royal West Surrey Regiment, late 14th (County of London) Battalion (London Scottish), London Regiment, who fought in the gallant 'Halloween' charge at Messines on 31 October 1914, and survived the First Day of the Battle of the Somme when the London Scottish suffered nearly 600 casualties 1914 Star (1623 Pte. J. R. Speeding. 14/Lond: R.); British War and Victory Medals (2. Lieut. J. R. Speeding) mounted court-style for display, good very fine and better (3) £300-£400 --- Jack Rowland Speeding was born in Leytonstone on 24 February 1893, the son of Lagos (West Africa) Harbour Master William Clementenville Speeding. Educated at The High School for Boys, Croydon, Speeding took pre-War employment as a bank clerk for the County of Westminster Bank and lived in an apartment on The Prince of Wales Road, Battersea Park. He subsequently attested for the 14th Battalion, London Regiment, at Buckingham Gate on 4 March 1912 and embarked for France with the 1/14th per S.S. Winnifredia on 15 September 1914 as part of a fairly exclusive club; his compatriots were entirely composed of white-collar London professionals headed by private school boys and university-educated men, who had paid a subscription to join and had proven themselves Scottish by birth or parentage. Initially sent to St. Omer, the men spent their first few weeks overseas employed as labour and prisoner escorts. Transferred to lines of communication duties, their role soon changed in October 1914 as the British line began to fragment along a ridge of high ground running south from Ypres known as the Wytschaete-Messines Ridge. Considered strategically vital, if the Germans managed to occupy and hold this position then they could dominate the ground to the west and endanger the British force holding Ypres. The Stand of the London Scottish at Messines Described as a 'baptism of fire' on 31 October 1914, the repulsion of four separate German bayonet attacks by men of the 14th London Regiment is perhaps the most significant action in the storied history of the Regiment, later immortalised in a famous artwork by Richard Caton-Woodville. Commencing around 9pm, waves of enemy charged at the British lines and were driven back by rifle fire and a series of counter-attacks. Forced to 'single feed' rounds one at a time into the newly-issued Mark 1 rifles, the London Scottish immediately compensated for weak springs and incorrect front stop clips through steady shooting and the experience of training; proud of their marksmanship at Bisley, they proved highly efficient in administering the 'mad minute' of 15 aimed shots in 60 seconds. Despite desperate resistance, enemy forces of the 6th Bavarian Reserve Infantry Division attempted to make their way around the Battalion flank; with isolated pockets of wounded and exhausted men forced to surrender, Speeding succeeded in withdrawing to the west, one of 416 men who successfully made their way to Wulveringhem to regroup and take stock. Praise for the London Scottish, the first Territorial Force troops to see action, was as fulsome as it was generous; within hours of the engagement, Field Marshal Sir John French, Commander-in-Chief of British Forces, sent a telegram to Colonel Malcolm: 'I wish you and your splendid regiment to accept my warmest congratulations and thanks for the fine work you did yesterday at Messines. You have given glorious lead and example to all Territorial troops who are fighting in France.' The London Scottish were destined to spend the next month undertaking primitive trench duties in and around Hazebrouck, the casualties from sniping being unrelenting. Posted to Neuve Chapelle and Loos, Speeding and his comrades returned to the line on 25 July 1915, and on 5 August became the subject of a German barrage when their pipers played 'God Save the King' to mark the commencement of the second year of the War. Serving as part of 'Green's Force', the London Scottish faced bitter fighting around the Loos Chalk Pit before making their way to the Fosse Way trench system near Le Rutoire. A contemporary account notes: 'We were shelled and gassed out of these trenches several times that day... and in the evening it was raining so hard that we got out of the trench to save ourselves from swimming... everyone looked wrecked. Muddy and covered with dirt, many had lost their bonnets and no shave since the 21st. We were wrecks.' Returned to England on 6 January 1916 - likely exhausted - Speeding was attached for duty at the Administrative Centre at Buckingham Gate on 22 January 1916. He returned to France four months later, and was marked Category 'A' by a medical board assessment held at Rouen on 22 April 1916. He rejoined the 1/14th Battalion on 14 May 1916 and was soon back in the front line in front of Hebuterne on 1 June 1916 in the build up to the Battle of the Somme. Located on the line of the Hubuterne-Puisieux Road, the London Scottish emerged from their front line trenches and pushed forward into a smoke cloud on 1 July 1916; amidst hand-to-hand fighting and a scramble for the ground around the mine crater at La Boiselle, the men advanced with bomb and bayonet into a landscape which had been so decimated by the Allied artillery bombardment that it was practically impossible to distinguish the German trenches. Despite early success, the scene deteriorated in the afternoon - made worse by the enemy retaining the higher ground and the London Scottish suffering from a lack of ammunition. Facing a retaliation of gas shells, Speeding and his comrades were forced to retreat back to the British lines; of the 856 all ranks who had gone into action that morning, just 9 officers and 257 other ranks stood ready to fight the following day. According to The London Scottish in the Great War: 'No one could have done more that day than the London Scottish, a fact recognised by the General Officer Commanding in his Divisional Order published the next morning: 'I want to express to all ranks of the London Scottish my sincere thanks for the glorious example of dash and heroism which they set to all arms of the service who were in action with you yesterday.' Remaining on the Somme Battlefield, the London Scottish relieved the 2nd Battalion, East Surrey Regiment at Leuze Wood on 5 September 1916 and carried out a bombing fight with the Germans around the Quadrilateral. Admitted to No. 14 General Hospital at Wimereux on 28 October 1916 suffering from trench fever, Speeding was evacuated to England per H.S. St. David; he transferred under medical category 'A3' to the Reserve of the 14th London Regiment at Seaford on 10 July 1917 for further recuperation. Sent to No. 6 Officer Cadet Battalion at Oxford on 29 October 1917, Speeding was discharged from the 14th London Regiment on appointment to a commission in the 3rd (Reserve) Battalion, the Queen's Royal West Surrey Regiment, on 26 March 1918. His Officer Cadet Confidential Report was positive: 'A very nice, steady cadet. Has worked hard and done well. He will make a thoroughly trustworthy officer and one who will command respect from all'. Arriving at Battalion Depot at Étaples on 18 June 1918, Speeding's Officer Service Record notes that he was admitted to hospital at Camiers on 26 June 1918. Transferred to the 6th Battalion, he was wounded on 23 August 1918. Speeding survived the Great War - one of a small band of 'originals' who fought at Messines - and relinquished his commission on 4 December 1920. Sold with copied research, including a group shot of the ‘Croydon High School “Old Boy” Territorials’, the recipient identified below.
Five: Able Seaman W. T. Peters, Royal Navy 1939-45 Star; Atlantic Star, 1 clasp, France and Germany; Africa Star, 1 clasp, North Africa 1942-43; Defence and War Medals 1939-45, mounted for wear, nearly extremely fine Mercantile Marine War Medal 1914-18 (John P. Turner) nearly extremely fine (6) £80-£100 --- William Thomas Peters was born in Grimsby on 3 May 1923. A former fish filleter by trade, he volunteered for the Royal Navy on 26 January 1942 and witnessed training at Ganges and Pembroke. Appointed Ordinary Seaman, he served in H.M.S. Ardrossan from 11 May 1942; damaged by a mine on 26 November 1943, she later served as part of Task Force “J” during the Normandy landings and was detailed to clear the sea of mines before Juno beach. Appointed to similar duties in the waters around The Scheldt from September to November 1944, Peters survived the War and was released on 8 July 1946. Sold with the recipient’s original parchment Certificate of Service; Interim Trade Certificate; Order for Release from Naval Service, dated 13 May 1946; R.N.M.W.S. gilt and enamel badge; wage document and H.M.S. Ardrossan Identity Card and Christmas Card for 1943-44. John Pirie Turner was born in Clerkenwell in 1858, and joined the Merchant Navy as a 16-year-old apprentice at Newport on 18 April 1874. Advanced Second Mate on 22 May 1880, First Mate on 15 September 1882, and Master on 10 October 1885, he remained in service during the Great War. The Gloucestershire Echo of 16 January 1926, adds: ‘Sixty-seven years of age, John Pirie Turner, master mariner, of Glasgow, has died at sea whilst on his way home from Lagos in the West African mail steamer Abinsi. Mr Turner had been mate of the tug Rollicker, which was lately delivered at Lagos for the Government after an arduous voyage from Newcastle (New South Wales). It occupied about two and a half months. On New Year’s Day, Mr. Turner with his shipmate set out for home, but at 11 o’clock on last Saturday he died from heart failure. On the following day the old shipmaster was buried at sea.’
The unique C.B. and 5-clasp Army of India medal awarded to General E. F. Waters, Bengal Army, one of five European recipients of the clasp ‘Defence of Delhi’ The Most Honourable Order of the Bath, C.B. (Military) Companion’s breast badge, 22 carat gold and enamels, hallmarked London 1815, complete with wide swivel-ring suspension and gold ribbon buckle; Army of India 1799-1826, 5 clasps, Allighur, Battle of Delhi, Defence of Delhi, Nepaul, Ava (Major E. F. Waters, Commg. Dinagepore Battn.) short hyphen reverse, officially impressed naming, some old glue repairs to the centres and Lions and chips to both wreaths on the C.B., very fine, the second good very fine (2) £15,000-£20,000 --- Provenance: Glendining’s, May 1965. C.B. London Gazette 20 July 1838. Army of India medal is unique with these clasps, one of ten medals issued with five clasps; only five clasps for ‘Defence of Delhi’ were issued to European recipients, each with a unique combination of clasps: Sergeant J. Brown, Bengal Artillery - 5 clasps, Allighur, Laswarree, Defence of Delhi, Battle of Deig, Capture of Deig.
Riding Master C. J. Davis, 4th Light Cavalry - 4 clasps, Allighur, Defence of Delhi, Battle of Deig, Capture of Deig.
Lieutenant (later Major-General Sir, K.C.B.) Archibald Galloway, 14th N.I. - 2 clasps, Defence of Delhi, Capture of Deig.
Lieutenant (later Lieutenant-General Sir, K.C.B.) John Rose, 14th N.I. - 3 clasps, Allighur, Battle of Delhi, Defence of Delhi.
Major (later General, C.B.) Edmund F. Waters, 17th N.I., later commanding Dingapore Battalion - 5 clasps, Allighur, Battle of Delhi, Defence of Delhi, Nepaul, Ava. Edmund Frederick Waters was born in 1784 and entered the Bengal Army in 1799. His services are thus described in The East Indies Military Calendar, Vol. III, London 1826: ‘In 1799, this officer was appointed a Cadet: he arrived in India in 1800, and joined the army as an Ensign. In 1803, war was declared against the confederated. Mahratta princes, and the corps to which Ensign Waters belonged [2/17th N.I.] formed part of the grand army, under the personal command of Lord Lake. He served during the two campaigns, and was with the storming party that assaulted the strong fortress of Allyghur, which place was taken after two hours' severe exposure and fighting: he was also with the small force of 5000 men that defended Delhi, under the late Major-General Burne, in 1804-5. In 1804, he had obtained the rank of Lieutenant; and in 1805, he was appointed to a regimental Staff situation, which he held till 1814, when he vacated it on his promotion to the rank of Captain. In the interim, he served with his regiment, and was on service against the Goorkahs in the Nepaul war. In 1821, he was appointed to the command of a frontier battalion, and in 1825, obtained his majority. In 1824, war was declared against the Burmese empire, and Major Waters was destined to act with his battalion in the division of the army, commanded by Brigadier Alfred Richards, that has conquered the petty kingdom of Assam. In the 2d campaign of the Burmese war, Major Waters was detached, with the disposable part of his battalion, from the main force, and for his exertions and services on this occasion, he received the thanks of the highest military authorities. Major Waters, with the head-quarters of the Dinagepoor battalion, amounting, in effective strength, to about 250 men, and a brigade of gun-boats, mounting pounder cannonades, quitted the post of Gowahutty on the 19th Oct., for the purpose of surprising and dislodging the enemy on the line of the river Kullung, and of occupying the position of Raha Chokey, a centrical point, keeping in check the main body of the enemy stockaded at Noagong, and also commanding the mountain passes leading from Cachar. On the second day the division arrived at the mouth of the Kullung, at its confluence with the Sonage and the Brahmaputra, distant from Gowahutty about 15 miles; and the following day, with the advantage of a favourable wind, passed the deserted post of Kejleechokey, and overtook the advanced party, under Lieut. Jones, of the 46th regiment, temporarily attached to the command (60 men). For many succeeding days the progress of the division was extremely slow and tedious, owing to the rapidity of the current, in a channel peculiarly winding and tortuous, and the nature of the banks, which were overgrown with high and impervious reed jungle, and did not admit of the usual mode of tacking. On the 26th, the division reached the village of Jaghee, now nearly depopulated; and about that time Major Waters received intelligence of a party of the enemy being stationed at a village inland, called Hautgong, or Sautgong, where they were committing plunder and ravage upon the surrounding district. On the following morning, the division passed the deserted village, and the same evening reached a point of the river opposite the village of More Kullung, from whence the road to Hautgong branched off, and reported to be a distance of eight or nine miles. In consequence of confirmed intelligence of the strength and position of the enemy's party, Major Waters determined on giving them an alert; and disembarked at midnight with one hundred men for that purpose: after marching (officers, as well as men, on foot) for about four miles, they reached the village of More Kullung on the edge of a broad and deep jeel, which the detachment crossed by rafts. At this time there commenced heavy rain, which continued, with little intermission, during the whole of the march. The road, for the first ten miles, was practicable, and though occasionally passing through tracts partly inundated, did not generally offer much difficulty. The distance, however, proved to be nearly double that previously estimated; and, in addition, the fatigue was much increased by the nature of the country, the last eight miles being through rice-fields, almost entirely knee, and sometimes waist, deep in water. The heavy rain and mist, however, aided the surprises and the detachment arrived, at about 8 o'clock, unperceived, on the enemy's position, into which it immediately dashed: The slaughter, however, was comparatively small, owing to the numerous outlets from the village favouring the escape of the enemy, and the depth of the surrounding jungle: many Burmese fell, and some women and plunder were captured in returning from the pursuit. The former were released, on being claimed by their families. By following mistaken information, the detachment, on its return to the fleet, experienced added fatigue and difficulty in a bad and circuitous route, and did not reach the boats till the following morning, having been compelled to bivouac in a small village for the night. The distance traversed cannot be estimated at less than from thirty-five to forty miles. On the 30th, the division resumed its progress up the Kullung, meeting with rather more favourable ground for tacking, and less strength of current, though in a channel equally devious and winding. Major Waters, of course, deemed that the knowledge of his advance upon Raha Chokey could no longer be concealed from the enemy, after the alarm excited by the attack on Hautgong; but on approaching that post, he had reason to believe that their attention had rather been diverted to the line of the great river, in which Major Cooper was then proceeding; and that they attributed the alert to a detachment from that quarter. He, in consequence, made arrangements for surprising them; and having pushed in, with a party of 200 men in the gun and light boats, landed a little below their post at Raha Chokey, and sueceeded in reaching it, unperceived, by early day-break. Major Waters, having taken a rapid view of the place, divided his party into two,...
![Old Master Prints. Jan Galle (1600–1676) after Johannes Stradanus (1523-1605) - [Quail Hunt] Sic Autumnali cap](https://cdn.globalauctionplatform.com/f71f8b78-1b16-4661-a4f2-b1d3010e96f0/d07e2604-1435-4224-98b8-b1d3011b18c7/468x382.jpg)
Old Master Prints. Jan Galle (1600–1676) after Johannes Stradanus (1523-1605) - [Quail Hunt] Sic Autumnali capitur peregrina Coturnix / Tempore, et excipulis effundit sibila linguis, numbered 78 within the plate, s.l., n.d. [Antwerp, c. 1578], engraving, trimmed to just outside of the platemark, 22 x 29.6cm; Adriaen van der Cabel (1631-1705) - Rugged Landscape, with figures and a herd of cattle, trees and a rocky outcrop, [published by] N. Robert, s.l., n.d., [Paris?, c. 1660-1700], etching, trimmed to just within the platemark and affecting some lettering, 16 x 24.5cm; Allaert van Everdingen (1621-1675) - Figure Crossing a Wooden Bridge, the rugged landscape with further figures, rocks and trees, monogrammed AVE within the plate, n.d. [c. mid-17th c], etching, 10.9 x 15cm; idem., Figures Approaching a Town, signed Everdingen within the plate, 10 x 14.5cm, (4) Quail Hunt trimmed to just outside of the platemark and retaining a margin; thinned lower-left re-cornered; signs of former hinge-mounting; slight repair at base of tree. The others in mixed, but OK-good condition; the framed print unexamined out of its frame.
After Constantijn NetscherPortrait of a young lady, three-quarter length, wearing a blue and white dress, seated in a park landscape with a dogOil on canvas49.2 x 39.8cm; 19¼ x 15¾inProvenance:Viscount Astor;Thos Agnew & Sons, London, where purchased by the previous private collector (as Caspar Netscher);And by descentAfter the original, signed and dated 1699 (see Sotheby's, Amsterdam, Old Master Paintings, 11 November 2008, lot 83).
Attributed to Thomas Rowlandson – Triton and the Nymphs, late 18th/early 19th century pen with ink and wash, 21.5cm x 18cm. Note: this work sits comfortably amongst two autograph works on the same theme by Rowlandson, ‘Triton and Nymphs’ (Bonhams, Old Master Paintings, 14th September 2022, lot no.196) and ‘Nymphs and Tritons’ (Boston Public Library Arts Department).
A NATIONAL CANINE DEFENCE LEAGUE BRONZE MEDAL 'TO BOB FOR SAGACITY 1937' engraved, cased; together with a contemporary newspaper cutting 'Medal for North Curry Dog Hero', describing how Bob, an eleven-years-old mongrel of North Curry, near Taunton (Somerset) saved his master Mr Albert Duham, his wife and two boys from a house fire.
JAN VAN DOETECHUM (CIRCA 1530-1606) AND LUCAS VAN DOETECHUM AFTER PIETER BRUEGHEL THE ELDER (CIRCA 1525-1569): SAINT JEROME IN THE WILDERNESS 'HIERONYUMUS IN DESERTO' ETCHING WITH ENGRAVING ON LAID PAPER, 42.5cm x 31cmSome water damage, wear to bottom left hand corner.The etching and engraving on laid paper mounted loosely at the top to a thicker sheet of paper. For similar see Christies London, Old Master Prints, July 2nd 2024, Lot 70.
Uncommon Master Models 00 Gauge wooden buildings most boxed (6 buildings, 4 boxes), including Coach Inn, Royal Hotel (BR 14), Ye Old Smugglers Inn (BR 13)m Antique/Tea Shoppe (BR 15), Double Fronted House (BR 17), with four boxes , BR12, BR13 and two BR14 and unboxed Lineside Hut,VG, boxes G-VG (6 buildings, 4 boxes)
**Bell's Scotch Whisky Christmas Decanters - 1995 and 1993 Editions** This lot features two exclusive Bell's Scotch Whisky Christmas Decanters, each beautifully boxed and containing a detailed narrative of whisky craftsmanship. 1. **Bell's Extra Special Old Scotch Whisky - Christmas Decanter 1995:** Crafted with meticulous attention to detail, this decanter is a limited edition from Christmas 1995. The contents include Bell's Extra Special Old Scotch Whisky, aged 8 years to perfection. This decanter has an alcohol content of 40% vol and a volume of 70 cl. The festive porcelain decanter not only celebrates the season but also serves as a collectible piece, enriched by the narrative of "The Cellar Man’s Art," showcasing the diligent blending and aging processes by the skilled cellar master. 2. **Bell's Finest Old Scotch Whisky - Christmas Decanter 1993:** This edition, from Christmas 1993, features Bell's Finest Old Scotch Whisky in a distinctive porcelain decanter, capturing the essence of traditional malt whisky production. Like its 1995 counterpart, this decanter has an alcohol content of 40% vol and a volume of 70 cl. The box highlights "The Maltman's Art," detailing the traditional techniques of barley steeping, malting, and turning, all of which contribute to the exceptional quality of the whisky. Both decanters are bell-shaped and adorned with gold and red accents, adding a touch of elegance. The labels bear the Bell's brand, with intricate designs highlighting their unique editions: These decanters and their corresponding boxes are in excellent condition, and together they weave the rich history and tradition of Bell's whisky production, making them a prized addition for collectors and connoisseurs alike.
James Duffield Harding (British, 1798-1863) The Corsair's Isle, circa 1829 Watercolour on paper Signed with initials to base of a column Measures approx. 70cm x 100cm excluding frame James Duffield Hardin was a landscape and topographical painter, working mainly in watercolour. For a brief period he was a pupil of Samuel Prout. Subsequently, he was apprenticed to the engraver John Pye. He exhibited in London from 1811 to 1864 at the Old Watercolour Society and the Royal Academy. He was a pioneer in the movement for art instruction in schools, and for the training of art masters. He published many books on teaching drawing. He taught Ruskin, among others, and when the first volume of Modern Painters appeared in 1843, many of Harding's old pupils recognised his lessons ' on skies ', ' on waters ', ' on mountains ', etch. and especially his theory that three-drawing should be based upon the laws of tree growth. Ruskin said that, next to Turner, Harding was ' unquestionably the greatest master of foliage in Europe. ' He visited Italy in 1824; went frequently to the Continent after that date; and visited Verona, Venice, and Mantua with Ruskin in September 1845. The Corsair, a poem in herois couplets by Lord Byron, published in 1814. Conrad, a pirate chief in the Aegean Sea, a man of many vices and one virtue (a certain sense of chivalry), receives warning that Seyd, the Turkish Pasha, is preparing a fleet for the a descent on the island. He determines to anticipate him, takes leave of his beloved Medora, arrives at Pasha's rallying point at night, and introduces himself to his presence as a dervish escaped from the pirates. The premature firing of the Pasha's galleys by Conrad's men gives warning of intended coup, which is only partially successful. Conrad is wounded and take prisoner, but not before he had rescued Gulnare, the chief slave in the Pasha's harem, from imminent death. She becomes enamoured of him, obtains the postponement of his execution, and finally brings him a dagger wherewith he may kill Seyd in his sleep. From this act he revolts, whereupon she herself ills the Pasha, and escapes with Conrad. But she had now become repulsive of him. They arrive at the pirate island where Conrad finds Medora dead from grief at the reported slaying of her lover. Conrad disappears and is never heard of more. Provenance: Acquired by current owner at The Leicester Galleries, Ryder Street, London in 2003 via Peter Nahum. Correspondence letters between the gallery and current owner present. Condition: Female figure appears to be a cut out of paper glued on. Possible repair or adjustment by artist.
Rembrandt Harmensz Van Rijn (Dutch, 1606-1669) The Angel Departing from the House of Tobit (B. Holl. 43; H 185) Original etching. 3rd state of IV. A late 17th century impression, signed and dated 1641 on plate. Measures approx. 15cm x 10cm. During the year 1641, Rembrandt made several etchings involving biblical subjects. The style he used at this time broke new ground for him in that the lines and spaces pointed to a far more liberated technique. The idea of finishing the etching as if a painting was discarded by the artist and a completely new effect was found by the means of more agitated lines. In this etching Rembrandt created the idea of a very active and dramatic moment. This has been achieved by the shading surrounding the central group being set at angles to each other. The flow of the composition is thereby naturally broken up. The flight of the angel across the face of the control group leaving a path from bottom left to top right completes this effect. The theme of the etching had been drawn from the Old Testament Book of Tobit. Tobit had been punished for acts of charity towards his own countrymen and was made blind by his grief for being scared to continue those acts after he had incurred the wrath of the local kings. Tobias, his son, was sent to collect money from a distant relative and the Lord sent an angel to guide him. Through his journeys the Angel helps Tobias and returns to Tobit. When the old man meets them at the door, Tobias restores Tobit's sight by means of gall which the Angel had told him to keep. The Angel then tells Tobit that his good works in the town and his courage in the face of the wrath of the kings has caused him to be healed. The family give thanks to the Lord and the Angel departs. Rembrandt chose this last moment to depict Tobit kneeling with his wife Sarah behind him. Tobias kneels in the centre of the group with his head inclined towards the departing Angel. It was a familiar subject in Dutch art. Rembrandt's master. Pieter Lastman had painted it, also Hercules Seghers had painted Tobias and the Angel. Rembrandt had etched Tobit as a blind man some years before and had made several paintings of Tobit and Anna. It was his Old Testament work which made Rembrandt so divorced from commercial success in the decades of the 1640s. In fact, it remains some of his greatest work. Rembrandt's oil painting of the same subject matter (The Archangel Raphael Leaving Tobias' Family, 1637) is kept in the Louvre Museum, Paris. Provenance: Acquired by current owner at Faustus Galleries, Jermyn Street London on 1st September 1975. Original sales invoice present. Revaluation letter from Faustus Galleries as at 21-07-1977 present. All correspondence letters between current owner and gallery regarding a Rembrandt exhibition organised in Geneve in 1978 present, with also original catalogue of the exhibition.
A PAIR OF RARE WILLIAM III CAST CANDLESTICKS MUNGO YORSTON, EDINBURGH 1699 the triple knopped stem to a stepped square base with canted edges, scratch weight, 12=2 to one and 11=12 to the other 17cm high, 11.7oz + 11.5oz Sotheby 24th June 1953, lot 117Sotheby's 5th February 1987, lot 53 This remarkable pair of Scottish candlesticks are amongst the earliest known to survive. They are predated by only two pairs, both Edinburgh made hallmarked in 1695 and 1697. The also match in date with another pair by Robert Inglis. Although it is tempting to consider that these were bought in from London and merely hallmarked in Edinburgh this seems unlikely. The overall proportion and the configuration of stem and knops is different to recorded London pairs. They are no doubt however inspired by the fashion of London given a Scottish flavour.It would appear that the candlesticks have been retailed by Mungo Yorston as are dated before he gains his Freedom in 1701. This could be explained by him retailing old stock for his master John Seaton once he has become free or having taken them in trade for new silver, as was standard practice, and rather than melting them re selling them.
NATIONAL TREASURE: BOOK OF SECRETS (2007) - Burned and Torn Hero Diary Page - A burned and torn hero diary page from Jon Turteltaub's National Treasure: Book of Secrets. Mitch Wilkinson (Ed Harris) used the missing page as evidence that Ben Gates' (Nicolas Cage) ancestor was the mastermind behind the Lincoln assassination which Gates later investigated in a lab to discover the first clue to the hidden City of Gold. This piece of paper features the names of several of the conspirators involved in the assassination. It has been intentionally distressed to appear old and burned. Included with this page is a manila envelope featuring a note from the property master identifying the page as "hero" yet is the incorrect page that is seen on screen. The paper exhibits some minor wear on the reverse. Dimensions: 3" x 4" (7.75 cm x 10.25 cm)Estimate: $2,000 - 4,000Bidding for this lot will end on Saturday, August 17th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, August 15th, Friday, August 16th or Sunday, August 18th.
Crafted by Malt Master David C. Stewart MBE, The Balvenie DoubleWood 17-year-old single malt whisky showcases his expertise with a unique dual cask maturation. Initially aged in American oak barrels for soft vanilla notes, it gains depth and spicy richness from a second aging in European oak sherry casks. 43% ABV. 750ML. This item has its original box which measures 10.25"H x 3.75" dia. In-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 Dimensions: 10"H x 3.5" dia. Manufacturer: The BalvenieCountry of Origin: ScotlandCondition: Age related wear.
Hand Forged Pewter Plate, a Ltd. Ed. Number # 214 in the Animal Kingdom Series, entitled "The Lions." Hand forged by the Wendell August Forge Blacksmiths, Craftsmen and Artisans since 1923 who continue today in much the same fashiion of doing things the old fashioned way. Where Artisans and metal combine to create a masterpiece. All pieces are hand created, hand forged by the Artisans and Craftsmen of Wendell August who worked with and pioneered the technique of bronze, pewter and sterling silver, one piece at a time. No two pieces are alike. All made by master metal smiths, since the mid 1920's. All one-of-a-kind individually hand made by the artisans of Wendell August, hand creating Fine Gfitware Artifacts in various metals. Authentic Backstamp on the reverse. COA. Original Box. Artist: Wendell AugustIssued: 1983Dimensions: 8.75"WEdition Number: 214Manufacturer: Wendell AugustCountry of Origin: PA, USACondition: Excellent
Jane Sophia Robson of Ripon (1746-1907) - Fruit and Flowers, watercolour with handwritten label preserved on the backboard An Old Master Study of Flowers in National Gallery copied by Jane Sophia Robson, 44 x 36.5cm Exhibited: York, Yorkshire Fine Art Exhibition, May 1879 Good condition, unexamined out of the present modern gilt mount and frame
A Group Of Six Engravings And Prints To include an engraving after Thomas Jones (1742-1803) by James Peake (1730-1782) in a Hogarth style frame, 45.5cm x 57cm; An engraving after Sir Joshua Reynolds of Sophia Ashburnham - Lady St Asaph, 42cm x 32cm; A 18th century engracing of Daniel, the Earl of Nottingham, 28cm x 19.5cm; A mezzotint by Henry Meyer, after George Romney of Charles Francis Greville, 37m x 27cm; A engraving of Charles Howard, Earl of Nottingham, 18cm x 12cm; and a hand-coloured print of a copy of a Dutch old master, possibly David Teniers, a gentleman holding a smoking pipe, 15.5cm x 12cm (6)
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.
28 ASSORTED WHISKY MINIATURES INCLUDING LAGAVULIN 16 YEAR OLD WHITE HORSE Lagavulin 16 Year Old White Horse, Glen Elgin White Horse, Bowmore 21 Year Old, Dalwhinnie 1962 Connoisseurs Choice, Edradour 10 Year Old, Glenmorangie 10 Year Old, Tobermory, Balblair 16 Year Old, Chivas Revolve, Wallace Liqueur, Glendevron 12 Year Old, Glenfiddich Pure Malt, Chivas royal Salute 21 Year Old Emerald Decanter, Bailie Nicol Jarvie, Royal Lochnagar 12 Year Old, Big T 12 Year Old, Master of Malt Select Cask 12 Year Old, Cawdor Castle, Dufftown Master of Malt 12 Year Old, Glendullan Master of Malt 10 Year Old, Glenkinchie 10 Year Old, Longmorn 15 Year Old, Bruichladdich 10 Year Old, Arran 1995 First Production, Benriach 10 Year Old, Balblair Elements, Glendronach 12 Year Old, Oban 14 Year Old.Various ABVs / approximately 5cl each Qty: 28
MASTER OF MALT M'ORKNEY 11 YEAR OLD MOVEMBER 2009 EDITIONS 1 TO 5 ISLAND SINGLE MALT Edition 1 - The Handlebar - Bottle 73 / 984Edition 2 - The Dali - Bottle 74 / 984Edition 3 - The Chevron - Bottle 75 / 984Edition 4 - The Walrus - Bottle 76 / 984Edition 5 - The Pencil - Bottle 77 / 984Each 40% ABV / 70cl Qty: 5 This series of whiskies was produced at a mystery Orkney distillery and bottled by Master of Malt to raise money for the Movember charity.
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