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GLENLIVET MASTER DISTILLER'S RESERVE SMALL BATCH 1L AND MASTER DISTILLER'S RESERVE 1L SPEYSIDE SINGLE MALT Both 40% ABV / 1L 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.

GLENLIVET MASTER DISTILLER'S RESERVE 1L AND ABERLOUR 10 YEAR OLD 1L SPEYSIDE SINGLE MALT Both 40% ABV / 1LQty: 2

2 BOTTLES OF JOHNNIE WALKER 12 YEAR OLD BLACK LABEL BLENDED WHISKY Each 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 DOUBLE BLACK GIFT PACK WITH 2 MINIATURES BLENDED WHISKY Double Black - 40% ABV / 70clGold Reserve - 40% ABV / 5cl18 Year Old - 40% ABV / 5cl 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.

AN OLD MASTER OIL PAINTING ON PANEL DEPICTING FIGURES WITH HORSES BY THE COAST, 43cm x 33cm Mounted in a gilt wood frame. 67cm x 57cm

MOVIE PROPS: A PAIR OF OLD MASTER PRINTS ON CANVAS, Mounted in ebonised frames. 132cm x 77cm including frames.

Giuseppe Pagnotta (Italian, b.1941), old master style, oil on canvas, Still life of flowers, signed, 69 x 99cm. Condition - fair, canvas sagging slightly

1961 Warwick GT SaloonRegistration No. 5261WYChassis No. WGT00005Engine No. V424M Rarely do Warwick GT’s come to the market and rarer to find one that needs some restoration and finishing work.   The Peerless Car Company Ltd originally made cars in Slough between 1957 and 1960 but like many low volume producers, ran into financial difficulty.   The Company was reintroduced in 1960 by Bernie Rodger, one of the original founders of Peerless cars.   Production of The Peerless was restarted with some minor tweaks to the original cars and renamed The Warwick.   Mechanicals were based around the Triumph TR3 with a de Dion tube rear end which meant great stability.    Production ran from 1960 to 1962.  Unfortunately, not much of the early history of the car on offer is known.   The current vendor bought it approx. 20 years ago in Coventry with the intention of returning it to its former glory but a change in circumstances has meant that it now needs a new keeper to finish the work started.  The car is powered by the Triumph TR3 four-cylinder 1991cc engine.    A large amount of work has been carried out and we are informed that the vendor has undertaken the following:   new wiring harness, welding to frame where necessary, rust treatment and undersealed, new brakes, new alternator and ignition, new clutch master and slave cylinders, new aluminum fuel tank, new stainless steel exhaust system, new battery, new door handles and locks and new window and door rubbers.   They also state that there was new headlining and paintwork although there are some issues with this.The car is offered with a current V5c and would, with a bit of work, reward the new keeper with an eye-catching and usable classic.   TR spares are readily available.   It would be welcome at many events including at the famous Goodwood Circuit for historic racing.   Being over 40 years old the car is MOT and tax exempt.Estimate: £6,000 – 8,000Images to follow 

Philipp Apian (1531-1589) - A double page hand coloured woodcut map of Bavaria. Circa 16th century Title " Kurtze Beschreibung des Gantzen Furstentumbs Obern und Nidern Bayrn" (Short Description of the Whole Principality of Upper and Lower Bavaria) Apian's Key sheet of Bavaria by old Master Engraver Balthasar Jenichen. In Good Condition 49cm x 57.5cm with frame.

* Attributed to Jacques Bellange (circa 1575-1616/38). Striding Youth with a staff, black chalk on laid paper, verso with later pencil inscription “Bellange”, several small archival repairs towards lower margin and extreme edges of the sheet, lower margin re-strengthened to verso, sheet size 32.3 by 165 mm, hinge-mounted to left edge of the sheet on pale blue backing paper with double rule outer border in gold and black ink, card window mount, antique-style gilt frame, glazed with annotations in Michael Jaffé's hand to verso of frame “circle of Bellange, Ambroise, Dubois” (M.Waddingham), cf. Sylvie Beguin,? LallimandQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.A cloaked figure seen from behind, with similarly attenuated hand, was offered at Christie’s New York, Old Master & 19th Century Paintings, Drawings & Watercolours, 26th January 2011, lot 278.

* Waterloo (Anthonie, 1609-1690). Village beside a canal, etching on laid paper, the third state (of 3), issued by Pierre-Francois Basan, circa 1770, with narrow margins, sheet size 124 x 214 mm (5 x 8 1/2 ins), laid down on later cream laid backing paper, with unidentified old initials in brown ink 'JK' to verso, framed and glazed, together with other various old master prints including five others by Anthonie Waterloo, Yan van Londerseel (1570-75/1624-25), Landscape with Christ Healing the Possesed Woman after Van Coninxloo, Louisa Augusta Greville (active 1743-62) after Annibale Carracci, Landscape with a Large Tree, 1760, Salvator Rosa, Diogenes Adolescentem manu bibentem, 1772, Van Voerst after van Dyck (Philip Herbert, 4th Earl of Pembroke), Gaspard Dughet, A. Genoels, Jacob Cats etc., various sizes, all framed and glazedQTY: (13)NOTE:The Illustrated Bartsch 91, S3 (for the first item).

* Callot (Jacques, Nancy 1592-1635). Tuscan Farmyard, pen and brown ink on vellum, sheet size 119 x 168 mm (4 3/4 x 6 5/8 ins), a few surface marks, sheet reinforced to verso with thin strips of paper to outer edges, traces of adhesive to the left margin verso, inscribed in a later hand in pencil 'Callot' and printed collector's mark of A. Gluenstein (Lugt 123) to centre of the sheet verso, framed and glazedQTY: (1)NOTE:Provenance: Adolf Glüenstein (1849-1918), Hamburg (Lugt 123); Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.Adolf Glüenstein began, at the age of just 18 or 19, to form a collection of drawings and watercolours by both modern and old masters, which eventually comprised 400 old master drawings and 1200 modern works. After his death part of his collection was sold by C. G. Boerner in Leipzig from 1918 onwards; several drawings from this collection are described in Boerner's list XXXVII Handzeichnungen alter Meister des XV. bis XVIII. Jahrhunderts.Accompanying this drawing is a photograph of Chatsworth Drawing Album 20 (Callot, number 362) attributed to Francois Collignon after Callot of the same subject, bearing an inscription to lower left 'J. Calot inven et fe' (not in Callot's hand). The photograph is accompanied by a sheet of printed notes on the Collignon drawing by Michael Jaffé in red ink. His comment reads: 'the finely drawn original, presumably intended as a finished model for an etching or engraving, was offered at Christie's, London sale 15 December 1992 (162, as circle of Callot), pen and brown ink on vellum, 116 x 165 mm, inscribed 'Callot' verso, from the collection of A. Glüenstein (L. 123). The heavy penwork of the Devonshire drawing, imitating Callot's finer and more various strokes, and missing the sprightliness and wit of his figures, indicates a less brilliant follower. The same farmyard, seen from a different angle, appears in Callot's etching La Fattoria (Lieure, no. 219). The original model was recognised as such by the compiler before the sale. It was now in an English private collection. Callot's inventions of the finest execution were drawn on vellum rather than white paper for luxurious effect, e. g. also the Distant view of Toul, with the arms of Porcellets and Designs for the festival floats and participants for 'La Guerra d'Amore'. A further pen, brown ink and brown wash drawing on laid paper was offered at auction by Dorotheum, Vienna, Master Drawings, 10 April 2019. lot 103, which the auction house suggested could be by an Italian artist from the circle of Remigio Cantagallina, executed after an original composition by Callot.Literature: For the similar work attributed to Collignon at Chatsworth, see Michael Jaffé, The Devonshire Collection of Northern European Drawings, Umberto Allemandi, 2002, Volume V (French Artists), number 1665.

* Deane (Charles, 1815-1851). St. Mary Redcliffe, Bristol, circa 1840, oil on canvas, 61 x 50.5 cm (24 x 20 ins), gilt plaque with artist's details to lower frame, (74 x 63 cm)QTY: (1)NOTE:Provenance: Sotheby Parke Bernet, London, Old Master Paintings and British Paintings 1550-1850, 24 October 1984, lot 317; 'The property of J. Cooke, Esq. Street Scene with St Mary Redcliffe, Bristol. Inscribed on label attached to the reverse: "St Mary Redcliffe - Bristol by Meadows" Oil on canvas 23 1/2 by 19 1/2 in. 60 x 49.5 cm.'; Estate of Martin R. Davies, Bristol.Exhibited: Presumably Royal Academy, 1833, number 587 (Redcliffe Church, Bristol). A typewritten note by Martin R. Davies dated 7th May 1985 states that Francis Greenacre of Bristol City Art Gallery had been shown this painting and identified it as the work of Charles Deane. 'Deane was a prolific landscape artist with 174 London exhibits, he occasionally took to marine painting as instanced by some of this 103 pictures in his British Institution: 'Sea Piece' 1923, 'Entrance to Rotterdam' and 'On the Dutch Coast' both in 1830, and several others including some of the tidal Thames ('Limehouse Reach, Greenwich in the Distance' 1829). his 42 Royal Academy paintings also contained a number of marine subjects, e.g. 'A Brisk Gale' and 'Shipping' 1829. He lived in Blandford Place, Regents Park, London from 1822 to 1851.' Denys Brook-Hart, British 19th Century Marine Painting, (Antique Collectors Club, 1982).

* Rembrandt (Harmensz van Rijn, 1606-1669). A Woman Making Water, 1631, etching on pale cream laid paper, probably later 18th century, collector's mark (Lugt 2774) to lower right corner of Sir Edward Astley (1729-1802), and a further collector's mark (Lugt 567) of the Arenberg Collection, Brussels and Nord-Kirchen, Westphalia, additonal ownership inscription in ink to verso (partly illegible): Ch. Naudet, dated 1817, plate size 80 x 65 mm (3 1/4 x 2 1/2 ins), sheet size 96 x 74 mm (3 5/8 x 2 15/16 ins), hinge-mounted to modern cream laid paper with framing borders in black ink, pale brown wash and gilt paper, window-mountedQTY: (1)NOTE:Provenance: Sir Edward Astley (1729-1802), of Norfolk (Lugt 2774); Arenberg Collection, Brussels and Nord-Kirchen, Westphalia (Lugt 567); Charles Naudet (inscription dated 1817).Sir Edward Astley acquired the important collection of Old Master prints formed by the painter Arthur Pond. According to Lugt, Pond's collection was famous for its many examples of the work of Rembrandt. Astley's print collection was sold in London by Langford on the 27th March 1760 and the following eighteen evenings: The genuine, entire and well-known collection of Etchings and Prints by Masters of the greatest Eminence, Purchased by Sir Edward Astley, Bart., of Mr. Arthur Pond, lately deceas'd (among which are those very scarce and valuable prints by Rembrandt, which Mr Pond had, with the greatest care, been many years collecting).Duke Louis-Engelbert d'Arenberg (1750-1820), and Duke Engelbert-Marie d'Arenberg (1872-1949). The latter disposed of a large part of his print collection in 1902 in a sale held at Christie's London on 14th July and following days.

* Anselmi (Giorgio, 1723-1797). The Adoration of the Shepherds, black chalk on light grey laid paper with arched top, signed in brown ink lower right Giorgio Anselmi Veronese, with collector's mark of a floriated capital C (Lugt 474) to lower right corner of C. P. J. - P. de Bourgevin Vialart de Saint-Morys (1743-1795), sheet size 38 x 20.2 cm (15 x 8 ins), framer's dark brown circular seal to frame verso, framed and glazed (54.4 x 36 cm)QTY: (1)NOTE:Provenance: Charles Paul Jean Baptiste de Bourgevin Vialart de Moligny, Comte de Saint-Morys (1743-1795), collector of old master drawings, and amateur printmaker. At the start of the French Revolution in 1790 he left France and his goods, lands and collections were seized, including all his drawings which were subsequently integrated into the Louvre between 1796 and 1797. Saint-Morys died in 1795 in the disastrous Battle of Quiberon which aimed to ignite a royalist insurrection in western France in support of Louis XVI. His second collection of drawings, formed in London between 1790 and 1795 was sold at auction by his son the Comte de Carrière in London in 1797, the works being stamped to the corner with a capital C (Lugt 474); Private Collection, Switzerland; Koller, Old Master Drawings, Friday, 22 September 2023, lot 3413.

* Follower of Peter Paul Rubens (1577-1640). Mother and Child, 17th or 18th century, red and white chalk on laid paper, with old (probably 18th century) inscription 'No. 7741', and collector's mark in pencil to lower right corner, apparently a drawn copy or version of the printed mark of the Hermitage Museum, St. Petersburg (Lugt 2061), some light spotting and marginal toning, sheet size 195 x 115 mm (7 3/4 x 4 1/2 ins), later frame, glazedQTY: (1)NOTE:Provenance: The collector's mark at lower right bears comparison to the black printed stamp of the Hermitage Museum, St. Petersburg (Lugt 2061), a stamp which was placed on the Russian collection of drawings and prints during the reign of Emperor Paul I (1796-1801); Collection of Philip Allen, Bedford, UK.Another Madonna and Child in red chalk, given to Peter Paul Rubens, measuring 24.4 x 13.4 cm was offered by Phillips, London, Old Master Drawings, Thursday, July 6th, 2000, lot 126 (estimate £120,000-£150,000).

After The Italian Old Master, portrait of a young boy in a white turban and robes. Oils on canvas. 60x49cm approx. Un-framed. (B.P. 21% + VAT) Original canvas laid on new canvas, some crazing, un-framed.  Good condition - unframed - a copy of a known picture - may have been relined but a good while ago. We may be able to pack it for courier to collect,

Peninsula War. Military Campaign Map of the Environs of Lisbon, published at the Quarter Master Generals Office, Horse Guards, Oct 7th, 1808, uncoloured lithographic map, compass rose and table of explanation, some dust soiling, old folds, long closed splits along folds, small hole where old folds cross, contemporary manuscript inscription to the verso of the map, 505 x 380 mmQTY: (1)NOTE:On the verso is a manuscript inscription "Sketch of the Country with the Positions of the British and French Armies in the Vicinity of Lisbon".

Ten Fishing Books - Return to the River 1942 Roderick Haig-Brown, The Master and his Fish 1981 Valerie Haig-Brown, Walton's Delight 1953 George Brennand, Laikan The Story Of Salmon 1934 Joseph Wenter, The Spawning Run 1970 William Humphrey, More Small Water Trout Fishing in the South 1990 Graeme Pullen, The Old Man and the Sea 1971 Ernest Hemingway, Fisherman's Spring 1951 Roderick Haig-Brown, A Clear Water Stream 1975 Henry Williamson, Silver The Life Story of an Atlantic Salmon 1963 Roderick Haig-Brown - mixed condition

Silk box with a russet orange silk interior designed to hold 22 carved jades and one citrine piece. The items in this box are offered in this sale and are noted as once belonging to this box and collection.Provenance: Collection of Jerry O'Brien, Wichita, Kansas; thence by descent.Jerry O'Brien (February 6, 1902-June 2, 1951) was a business mogul and public figure in Wichita, Kansas throughout the first half of the 20th century. He began working at Wilcoxon-Searcy before founding his own joint venture, the Roberts-O'Brien Company, in 1930 at the age of 28. During World War II he manufactured airplane parts and, by 1941, had opened up a company in his own name, the Jerry O'Brien Company. Throughout the 1940s he manufactured car awnings under the name Weather Master Car Awning Company. During this time he also served on numerous public and private committees. He died suddenly of a heart attack at the age of 49 on June 2, 1951. During his life he collected these excellent jades and assembled them in the silk box offered in this sale.Reference:The Wichita Eagle: December 7, 1930, page 8; June 15, 1941, page 12; June 4, 1951, page 10; June 9, 1951, page 9.The Wichita Beacon: September 24, 1931, page 8; June 19, 1941, page 18; January 3, 1946, page 1; April 18, 1946, page 20; June 5, 1951, page 6.*Newspaper clippings not included with this lot*Height: 2 1/4 in x width: 11 in x depth: 12 in.Condition: There is heavy wear to the box. The lid is deatched. Shattering to the silk. Soiling throughout. Old tape repairs. The sides are somewhat loose with one detached completely along the short edges. Photographed carved jades and citrine not included with this lot and offered separately in this sale.

The posthumous Lloyd’s War Medal for Bravery at Sea group of four awarded to 16 year old Ordinary Seaman S. Anderson, who, although wounded, refused to leave his post at the ship’s gun, and was killed when it took a direct hit from the shellfire of an Italian submarine in January 1941 Lloyd’s War Medal for Bravery at Sea (Ordinary Seaman Stanley Anderson, S.S. “Shakespear”, 5th January 1941); 1939-45 Star; Atlantic Star; War Medal 1939-45, mounted for display, edge nicks, otherwise good very fine and better (4) £2,000-£2,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Lloyd’s War Medal for Bravery at Sea Lloyd’s List and Shipping Gazette 30 July 1941: ‘An enemy submarine opened fire at 6000 yards and the ship replied, her shells falling close to the submarine. After a spirited encounter lasting nearly two hours a shell from the submarine put the ship’s gun out of action and killed three of the crew. Fire was raging in the bridgehouse and holds and much damage was done to the ship. The master gave orders to abandon ship and the submarine continued firing until the vessel sank. Third Officer Jones [who was awarded the G.M.] was in charge of the gun’s crew and was wounded in the head and chest, but continued to use the gun until it was hit. Great courage and coolness was also shown by a boy of 16, Ordinary Seaman Anderson, who was on his first voyage. Though wounded early in the action he refused to leave his post at the gun and was killed when it was hit.’ King’s Commendation (Posthumous) London Gazette 9 July 1941. The S.S. Shakespear was part of Convoy OB262, bound from Liverpool for North America, when engaged by the Italian submarine Cappellini. A Dictionary of Disasters at Sea states: ‘The steamship Shakespear fought a protracted duel with an Italian submarine off Senegal, West Africa, on Monday 5 January 1941. The vessel, which carried a crew of 40 and two gunners, was armed with one small gun aft. With this she contrived to keep the submarine at bay for over two hours, refusing to surrender until her gun had been knocked out and 18 of her crew and both gunners killed. The survivors, including the captain, took to the boats and the Shakespear was then sunk by gunfire. The commander of the submarine, Lieutenant-Commander Salvatore Todaro, took the boats in tow until they came in sight of land and treated the survivors in a most humane manner. The losses on the submarine were two killed and several wounded.’

The Great War ‘Irish Rebellion’ D.S.C. group of four awarded to Lieutenant W. H. A. Bee, Royal Naval Reserve, who was awarded a D.S.C. and an M.I.D. for his command of H.M.T. Lord Heneage, which ship played a vital part in the capture of the German Auxiliary Cruiser Aud off the south-west coast of Ireland where she was due to rendezvous with Sir Roger Casement to deliver her cargo of 20,000 rifles, 1,000,000 rounds of ammunition and ten machine-guns to aid the imminent Easter Rising Distinguished Service Cross, G.V.R., hallmarked London 1918; 1914-15 Star (Lieut. W. H. A. Bee. R.N.R.); British War and Victory Medals, with M.I.D. oak leaf (Lieut. W. H. A. Bee. R.N.R.) mounted for display, some contact wear, therefore nearly very fine (4) £4,000-£5,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.S.C. London Gazette 27 June, 1917: The original recommendation submitted by the Vice-Admiral at Queenstown states: ‘Assisted in the capture of the S.S. Aud on 21/22 April 1916.’ M.I.D. London Gazette 21 April 1917. The original recommendation states: ‘Capture of German auxiliary off coast of Ireland on 21 April 1915. Did good work in keeping the vessel in sight until she was brought to by the Bluebell.’ In April 1916, information had been received at the Admiralty that a landing of arms was to be expected on the west coast of Ireland for the Sinn Feiners, and that Sir Roger Casement was believed to be on his way to meet with the arms ship. Casement, the ex-British official who was the prime instigator of German supported rebellion, was bound for Ireland in U22 to rendezvous with the steamer Aud, a German ship disguised as the Norwegian steamer of the same name. The rendezvous where Aud had arranged to meet Casement's submarine was one mile north-west of Inishtooskert, an uninhabited island at the north-west end of Tralee Bay, Co. Kerry, and here the steamer, with her cargo of arms arrived in the late afternoon of 20 April, 1916. Here the Aud waited and waited but nothing happened. No submarine. No Casement. Finally, at 1.30 am, Aud anchored in the shadows of Inishtooskert to await the dawn of Good Friday. Meanwhile, on the Thursday night Lieut-Commander Weisbach in U22 with Casement reached the Inishrooskert rendezvous, and from a distance sighted the dark outline of the anchored Aud, however, unfortunately for them, the submarine mistook this outline for a British destroyer and withdrew. Finally, Casement despairing of Aud's arrival acted independently and was landed with two companions on the beach by means of a small collapsible boat which had been secured to the submarine's upper deck. Early on Good Friday the deserted boat, wherein lay revolvers and ammunition was discovered by a local man and within hours Casement had been captured. Meanwhile, earlier that morning the Aud was approached by the armed trawler Setter II (Skipper John Donaldson, R.N.R.) which came alongside and boarded. Unfortunately, Donaldson was bluffed by Lieut. Karl Spindler of the Aud and his subsequent search revealed only pots and pans as shown in the cargo manifest. Soon after 1 pm Spindler had another shock when he saw a small steamer approaching at speed with a gun on the forecastle. This was the armed trawler Lord Heneage, commanded not by a skipper, but by Lieutenant W. H. A. Bee, R.N.R., a 56 year-old veteran of the Merchant Service. Bee had learnt from Loop Head signal station that a steamer was hovering suspiciously about the entrance of Tralee Bay and flying the signal ‘Stop at once’ immediately gave chase to the Aud which had hurriedly weighed anchor and got under way to the westward in something of a panic. The Aud was fleeting for her life and exceeding the limit of safety. 'More steam!' ordered Spindler. 'Captain,' replied his Chief Engineer, 'if we go on like this the boilers will burst. The steam is long past the red mark.' She was doing two or three knots more than Lord Heneage so that whilst the latter opened fire at long range, nothing could be done to stop the fugitive heading clear of land into the wide Atlantic. However, at 4.30 pm, a signal from Lord Heneage was received by H.M.S. Zinnia and H.M.S. Bluebell and these two ships hastened towards the spot from different points of the compass. Bluebell at last sighted the Aud and at 6.15 pm caused her to stop and ordered her to proceed to Queenstown. Spindler complied but not before testing the patience of Lieut. Hood in Bluebell who was compelled to drop a shell over the German's bow. Next day, however, when these two vessels were just outside Queenstown Harbour the Aud suddenly stopped engines and lowered boats into which every German clambered after which followed an explosion, the gun-runner bursting into flames and fragments till she sank. Spindler had used the bombs and fuses which had been destined for the Sinn Feiners to destroy his own vessel. The associated capture of Sir Roger Casement is well documented and resulted in his being removed to London, tried and hanged for treason. Lieutenant William Henry Askew Bee was born in Liverpool on 26 April 1860 and served more than 36 years at sea. He joined the service in 1884 as a Deck Hand and by 1888 passed as Master of Home Trade Passenger Ships. From 1890 he served consistently as Master on more than a dozen ships. Following the Aud incident, Lieutenant Bee served with Galway Trawlers in mine-sweeping and patrol and rescue operations (Swept Channels refers). He retired after the war to live in Barrow-in-Furness and died on 9 March 1940. Sold with two large files of research including detailed articles on Lieutenant Bee’s exploits published in the OMRS Journal and Medal News.

The posthumous Lloyd’s War Medal for Bravery at Sea awarded to 18 year old Radio Officer M. R. Gerard, Merchant Navy, whose ship fell victim to the U-Boat Ace Gunther Prien of Royal Oak fame: Gerard refused to leave his post, transmitting S.O.S. signals to the end, in company with his 16 year old assistant Lloyd’s War Medal for Bravery at Sea (Radio Officer M. R. Gerard, S.S. “Empire Toucan”, 29th June 1940) in its fitted case of issue, with M.I.D. oak leaf for King’s Commendation, extremely fine, the inside lid of the case of issue with ink inscription to white silk lining £2,000-£2,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Lloyd’s War Medal for Bravery at Sea Lloyd’s List and Shipping Gazette 13 May 1941: ‘The ship, which was unarmed, was attacked by shellfire from an enemy submarine, and the crew were told to take to the boats. Although ordered by the master and the first mate to leave the ship, the radio operator and his assistant refused to do so and continued to send out the S.O.S. The boats were just clear when the submarine, which had now surfaced, fired a torpedo which sank the ship, and the two radio officers went down doing their duty. The others were saved.’ King’s Commendation (Posthumous) London Gazette 4 February 1941. Max Reginald Gerard, who was born in London in June 1922, originally joined the Merchant Navy as a Radio Operator in the course of 1938, with an appointment in the Aquitania. The advent of hostilities saw him serving in a similar capacity in the S.S. Justitia, following which, in June 1940, he joined the Empire Toucan. As related above, she was shelled and torpedoed by the U-47 on the 29th of the same month, when sailing off the coast of Portugal. Reference to the final moments of the gallant Gerard, and his assistant, Campbell, may be found in a contemporary newspaper report, “Radio Boys Died - Saved 31”: ‘Two boy radio operators gave their lives to save their crew of the cargo steamer Empire Toucan, sunk by a U-Boat in the Atlantic. “We are just trying to make sure our S.O.S. is being heard. Give our love to the boys,” said one of them, Max Gerard, aged eighteen, of London, to an officer who told them the ship was being abandoned. “We will be seeing you soon - we hope,” added Gerard. He and his sixteen year old junior operator, named Campbell, of Blackburn - went down with the ship as a U-Boat shell hit the radio cabin. But their message was picked up by a ship which rescued their thirty-one mates. They were landed in England yesterday. An officer told the Daily Mirror: “I was the last to see Gerard and Campbell alive. They were sitting calmly in their cabin smoking cigarettes as I ran past the door. I shouted that the order had been given to abandon the ship but Gerard just smiled and said: “We are just trying to make sure we are being heard.” I had only just got into the lifeboat when the submarine fired another shell and that must have killed them both.” ’ Interestingly, U-47’s commander was Kapitain Gunther Prien, who in the previous October had sunk the Royal Oak at Scapa Flow. On that occasion, not surprisingly, the Nazi U-Boat ace fled the scene of his success as quickly as possible, but, as made clear by Empire Toucan’s Master’s report, he was under no such pressure on 29 June 1940: ‘All this time the submarine was in sight, just cruising from the starboard quarter to the port quarter across the stern. She came over to my lifeboat and asked me the name of my ship. As he had no doubt been able to ascertain that fact for himself already, having never at any time been any great distance away from us, I told him. He asked if everybody was all right and I told him that two were missing, at that time not knowing there was a third. He also enquired if there were any injured and I told him no. He did not enquire how we were provisioned, and offered us nothing in the way of supplies ...’ Sold with one or two wartime photographs and the newspaper cutting reporting on the loss of the Empire Toucan and her two gallant ‘Radio Boys’.

The extremely rare Empire Gallantry Medal pair awarded to Coxswain and R.N.L.I. Gold Medallist John Howells, Fishguard Lifeboat Empire Gallantry Medal, G.V.R., Civil Division (John Howells); Royal National Lifeboat Institution, G.V.R., gold (John Howells, Voted 17th December 1920.) good very fine or better (2) £7,000-£9,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- A total of 130 Empire Gallantry Medals were awarded in the period 1922-40, 62 Military, 64 Civil, and 4 Honorary awards. The Empire Gallantry Medal was superseded by the George Cross in September 1940 and surviving holders of the E.G.M. were required to exchange their award for the George Cross. Coxswain Howells had by this time died and his award is, therefore, in addition to the four Honorary awards which were not eligible for exchange, one of only ten E.G.M’s not exchanged for the George Cross. 11 Gold R.N.L.I. Medals and one Bar awarded during the reign of King George V, from a total of 118 gold awards from 1824-1996. E.G.M. London Gazette 30 June 1924: ‘Ex-Coxswain John Howells, Fishguard Motor Life-Boat. For rescuing, in circumstances of great peril, seven of the crew of the motor schooner Hermina of Rotterdam, which was wrecked in a N.W. gale on Needle Rock, off Fishguard, on the night of 3rd December 1920. To effect the rescue involved taking the life-boat into a position of great danger among rocks.’ Coxswain Howells was also awarded the Gold Medal of the Royal National Lifeboat Institution, together with three Silver and nine Bronze awards to the crew members of his life-boat: ‘3 December 1920. The three masted Dutch motor schooner Hermina, anchored outside Fishguard breakwater, Pembrokeshire, was dragging her anchors in a north-westerly gale. The self-righting motor lifeboat Charterhouse launched but, when she arrived, the schooner was grinding heavily on the rocks with tremendous seas making a clean breach over her. Veering down, in spite of great difficulties, seven men were taken off but the Master and two Mates refused to leave. Coxswain Howells prepared to return to Fishguard, but the lifeboat had sprung a leak and it was found impossible to restart her engine. Her sail was hoisted, but she lost her mizzen sail, which left her with only the mainsail set. Second Coxswain Davies and crew member Holmes succeeded in setting the jib sail and, although waterlogged, the lifeboat managed to reach her station at midnight, three hours later. Although flares were shortly after seen from the Hermina, the lifeboat was unable to return, and the schooner’s Master and First Mate were rescued by life saving apparatus; the Second Mate had drowned.’ In April, 1921, Coxswain Howells, his crew and lifeboat went on the train to London to receive their R.N.L.I. awards. Howells was 66 years old at the time of the rescue. As part of the R.N.L.I. Centenary celebrations in 1924, seven of the eight surviving Gold medallists were received at Buckingham Palace on 30 June by King George V, who presented each man with the Empire Gallantry Medal. The Charterhouse was the Fishguard Lifeboat from 1901 to 1931. It was instrumental in many gallant rescues but none more so than the famous rescue of the crew of the Dutch motor schooner Hermina at needle rock located between Fishguard lower town and Dinas Head. She was the first motorised lifeboat but also had the capacity for up to 12 persons to row. In 1920 Coxwain John Howells aged 66, received a call that flares had been sighted at needle rock and so on that cold dark December night he immediately put the Charterhouse to sea in perilous conditions and made way across the bay for needle rock. The Hermina under the command of Captain Vooitgedacht was on a return journey back to Rotterdam but diverted to Fishguard to escape the teeth of the strong NW gale. Once in the bay she dragged her anchors and ended up in a perilous position, being bashed by huge waves in between needle rock and the tall sheer north cliffs. Once the Charterhouse arrived, Howells gave order to anchor down wind and run a line between the two vessels, but this proved very perilous and after an hour of struggling against horrendous seas, the crew of the Charterhouse managed to get 7 men off the Hermina. The Chief Officer and Mate would not leave the ship despite the efforts of persuasion by the lifeboat crew. They were later rescued from the base of the cliffs by the coastguard. Their troubles at this point were far from over, the lifeboat’s engine would not restart and in a desperate situation the crew took to the oars in a frantic effort to get away from the cliffs but with little effect. The mizzen sail was then raised but caught the wind and ripped to shreds. In absolute frantic desperation a jib sail was lashed together which involved two men risking their lives climbing across the forefront of the lifeboat with waves crashing over them to set a temporary sail. In great relief they managed to pull away from the cliffs and sail 2 miles out to sea before getting sufficient angle to eventually be able to sail back into Goodwick harbour. The Dutch Government awarded Howells a gold pocket watch and silver pocket watches to all the lifeboat crew; the R.N.L.I. also awarded medals to all the crew of the Charterhouse and to John Howells the highest honour of a gold medal. The Charterhouse was loaded onto a train at Goodwick railway station and the entire crew made for London to meet the Duke of Windsor, President of the R.N.L.I. to receive their medals. The Charterhouse remained for one week on display outside the houses of parliament. The Charterhouse now resides at the West Wales Maritime Museum in Pembroke Dock where she is undergoing restoration to preserve this very important piece of Pembrokeshire maritime history. John Howells, as a young man served in the Royal Navy and was a shipmate of King George, then a naval cadet. On leaving the Navy, he entered the service of the Great Western Railway Company, and when Fishguard Harbour was opened for Irish traffic in 1907, he was put in charge of the coaling gang at the harbour under the Marine Department. He was a deacon of Bethesda Baptist Church, for many years its Honorary Treasurer, and Superintendent of the Sunday School. He was Coxswain of the Fishguard Lifeboat from 1910-21 and died at Fishguard on 14 March 1925, aged 72.

The fine Second War G.M. and Lloyd’s Bravery Medal group of five awarded to Captain D. A. MacDonald, Merchant Navy, who returned to rescue survivors from his unescorted convoy after it was attacked by the heavy cruiser Admiral Hipper in February 1941 George Medal, G.VI.R. (Captain Donald Arthur Macdonald); 1939-1945 Star; Atlantic Star; War Medal 1939-45; Lloyd's Medal for Bravery at Sea (Captain D. A. Macdonald, S.S. "Blairatholl". 12th February 1941) a couple of edge bruises and a vertical edge cut to the last, otherwise very fine or better (5) £4,000-£5,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- G.M. London Gazette 14 April 1942: ‘The ship was in a convoy which was attacked by a heavy German cruiser. The Master [MacDonald] manoeuvred his ship clear of the others and laid a smoke screen between himself and the enemy. He returned later and picked up no less than eighty-five survivors. Captain MacDonald, by his skilful seamanship and his courage in returning to the scene of action at the first moment possible, saved the lives of many men.’ The above citation has been extracted from a joint citation with his Second Engineer, who was awarded the M.B.E., and a 16-year-old Ordinary Seaman, who received the B.E.M. Lloyd’s Medal for Bravery at Sea Lloyd’s List & Shipping Gazette 14 August 1942: ‘A convoy was attacked by a heavy German cruiser. Captain MacDonald manoeuvred his ship away from the others and laid a smoke screen between himself and the enemy. He returned at the first possible moment and rescued 85 survivors. By his able seamanship and his gallantry in promptly returning to the scene of the action, he saved many lives.’ Donald Arthur MacDonald was decorated for his services as Master of the S.S. Blairatholl in convoy SLS-64, bound from Egypt to the U.K. The unescorted convoy stood no chance when intercepted by the Admiral Hipper on 12 February 1941, the enemy’s armament accounting for seven of 19 merchantmen before she turned for Brest on account of her own rapidly diminishing fuel stocks. MacDonald would later expand on his experiences on that occasion, in a letter he sent to one of his old convoy commanders, Commodore C. G. Illingworth, R.N.R., in September 1941: ‘ … Of the surviving vessels, we alone did not abandon ship, that is of those vessels that were present during the complete incident, and trusted to mobility at a little better than 9 knots, a smoke screen and luck. So we were not hit, although we were shelled, and gradually manoeuvred behind a veil of burning ships to eastward of the raider, and onto the early sun, where we watched the whole finish of the engagement from a vantage point. As he went off to the N.W. we followed him back to the spot and by ploughing our way through all kinds of wreckage, managed in two and a half hours to pick up 86 survivors. We passed a Greek vessel and two British vessels abandoned and their crews endeavouring to get return to their ships. These ships were intact and had been abandoned in a flagrant case of premature abandonment. Having reboarded they all set off to the S.E. for Madeira and no one made any effort to assist in the rescue work. This is apparent, for we were fully ten miles to the northward amongst the wreckage, while they were underway to Madeira, and no one came near us. My vessel alone made no effort to abandon, and we alone made any effort to seek survivors, and spent hours in a danger spot, picking up all we could find … ’ Yet, at the time of writing, neither MacDonald nor any of his crew had been rewarded for their gallant rescue operation. Instead, however, as he confirmed in his letter, one ship’s Master, who abandoned his undamaged vessel, had received the George Medal. The Commodore patently took MacDonald’s observations to heart, for in the fullness of time he too received a genuinely deserved George Medal. Details of his subsequent wartime career remain unknown, but the Blairatholl was lost after a collision with a Norwegian vessel in the Atlantic convoy SC-110 on 1 December 1942.

The Master of Marradi (active in Tuscany, 1480-1500) Madonna and Child Enthroned, oil on panel, exhibition labels and previous auction details verso, image 85.5 x 63.5cms, in gilt frame 107 x 84cms total.Exhibition: Royal Academy of Arts - Winter Exhibition, 1881. No.184 'Small full-length figure of the Virgin and Child enthroned, in a red undergarment and dark blue mantle; the Child, seated on a red cushion on her lap, holds a jewelled clasp in his l. hand; on either side of the richly decorated throne is seen in a landscape with buildings, and on the l. figures on foot and horseback proceeding along a road. Panel 34 by 25' - To see the catalogue listing click here Exhibition of Early Italian Art From 1300 to 1550: The New Gallery, Regent Street, 1893-4 - 115 'Full-length under life-size figure of the Virgin seated facing in a very richly ornamented shrine; the Infant Christ is seated on a cushion on her right knee playing with a jewel which hangs from her mantle; landscape background. Panel 34X 25 in. Follow Link Royal Academy of Arts Exhibition - 1896 No.147 'Small fully-length figure of the Virgin enthroned, holding the Child, Whi is seated on a red cushion on her lap and holds the jewelled fastening of her robe in His l. hand...'. Provenance: Lot 137 - Christie, Manson & Woods, Catalogue of highly important pictures by old masters, the property of the late Charles Butler, Sold £1,102. Thence by descent. Notes: Previously attributed to Bernardino di Betto, known as Pinturicchio (Little Painter), this rare work has only recently been uncovered as a work by The Master of Marradi. The full-length Madonna and Child shows the Christ-Child holding a pendant suspended from the neck of the Virgin Mary. Seated on an altarpiece set within a landscape, behind a procession and town can be seen. The work was verified by Everett Fahy (1941-2018) in the mid-1990s and images and details are available in the Everett Fahy Photo Library found here.The Master of Marradi produced altarpieces, tondi, ornamented chests or forzieri, and small devotional panels in Tuscany between the late 15th Century and the early 16th Century. The artist is named after the location where a large nucleus of his works are located, conserved in the church of San Lorenzo at Marradi, in the province of Florence, situated in the Appennines dividing Tuscany and Emilia Romagna. His works were originally situated in the nearby abbey church of Santa Reparata in Salto at Badia del Borgo, and consist of five altarpieces, the most important of which represents the titular saint of the abbey complex, the Santa Reparata Altarpiece, dated 1498. The latest work in his oeuvre can be dated with certainty; it is the Enthroned Madonna and Child of Montefiridolfi of 1513.During the last century, various scholars identified this anonymous artist with a specific artistic personality: among them were Roberto Longhi and Wilhelm Suida, who proposed different names. However, it was during the 1960s that Federico Zeri coined the current and generally accepted name, based on his identification of the most substantial body of works by this anonymous Master at Marradi. Zeri identified this artist as a follower of Domenico Ghirlandaio and his circle, active in both Florence and its territories, as was the case with Marradi. Moreover, the artist reflects the influence of his contemporaries, including Botticelli, Filippino Lippi, and Perugino, by creating works (such as the present one being offered) in which rigorous compositional sobriety is combined with a delicate linearism. This is seen in the figures’ gracefully depicted faces and draperies, and in the detail, such as the Virgin’s transparent veil.

A sanguine chalk on paper old master style depiction of Neptune, framed and glazed. H.56 W.40cm

The Fiat 600, a small, rear-engined city car and economy family car made by Fiat from 1955 to 1969, offered in two-door fastback sedan and four-door Multipla mini MPV body styles. The 600 is considered a pop icon of the Italian economic miracle. Measuring just 10 ft 7 in length, its all-new design was Fiat's first rear-engined car and was priced at 590,000 lire (the equivalent of about €8,680). The total number produced from 1955 to 1969 at the Mirafiori plant in Turin was 2,695,197.This delightful 1967 600 is presented in blue with contrasting red trim and supplied direct from a collection of small Fiats spanning almost all of the Italian manufacturers small cars until the 80’s. Having been in the collection and thus used sparingly it has recently been recommissioned to include fuel system (including fuel tank clean), new brake shoes, wheel cylinders and master cylinder. It is worth noting that this car has had limited driving since so may require further minor commissioning but in large presents as a collectable older restoration of the long wheelbase fiat city car. Supplied with a UK NOVA certificate to declare all taxes are paid and the original log book this is a great opportunity to own a small, yet practical classic equally at home in UK towns as it was on the streets of Rome. Consigned by Mathew PriddyGuide Price £6,000-£10,000Salesroom notice - We believe this example still has some remnants of old fuel and thus would require trailoring away, it idles and runs but under power it holds a slight misfire and may need the fuel drained as part of any light recommissioning. OFFERED FROM A LARGE PRIVATE FIAT COLLECTIONAN OLDER RESTORATION LIGHTLY RECOMMISSIONED

18th century French mantel clock made by: Lepaute Andre Jean and Pochon a Paris, the announcer's recommendation, an antique and very high-quality French mantel clock from the 18th century, made by: 'Pochon a Paris', made of white Parian marble and bronze with a black patina, part coated with gold (Ormolu / Dore bronze), at the top of the clock an allegorical figure of prudence (Allegory of Prudence) which is often mistakenly described as Queen Cleopatra and the snake and her birth Themis (the goddess of justice in Greek mythology - or by her other name Justitia (or Justitia), the goddess of justice in Roman mythology) according to a design by Antoine Foullet (1710-1775), the literature plate is signed by a manufacturer The Lepaute Andre Jean mechanism (Lepaute Andre Jean, an important French watchmaker who worked in Paris between the years: 1720-1789), working condition has not been tested, total height: 41 cm, depth from the front to the wall: 12 cm, length of the front: 41 cm. * Attached for illustration are two screenshots of similar watches sold abroad, including the small version only with the image of an allegory of caution, the like of which is in the collection of the Louvre Museum in Paris - a black and white photograph from the Louvre catalog is attached. ** This model of a pendulum clock with an "allegory of caution" was designed and designed by Antoine Paula, and the drawing (outline) for this clock can be found in his book "Book of pendulum drawings" from 1765 (the manuscript is still preserved in the G. Jacques Doucet Library of Art and Archeology in Paris). Many dealers and auction houses believed that this model was a representation of Queen Cleopatra due to the presence of the mirror and the snake but this is not true, it is an allegory for caution according to Paula himself. *** Antoine Foullet (1710-1775) specialized in making stylish watch cases. He worked as an independent cabinet maker (ebeniste - a furniture maker specializing in veneering furniture with a layer of ebony wood) until he was almost forty years old, when he was finally registered in his guild as a master cabinet maker in 1749. The inventory made in 1775 after his death shows that his workshop was still in full production At the end of his life: there were six workbenches equipped with tools, as well as a large stock of watch cases. The inventory also mentions some chests made of bronze. Since the guild's strict regulations forbade ébénistes to work in bronze, Paula seems to have sold goods outside of his profession. Paula produced works almost exclusively in the Rococo style, although his inventory is reminiscent of works "a la Grec" (with a Greek flavor), and includes items with figures from Greek and Roman mythology, allegorical figures and more - from the Agopsedia Period: 19th century (1800-1900)

A Japanese late Satsuma vase of flattened form with inset panels one with hand painted decoration, depicting a master and pupil, the other with moulded and applied landscape scene - sold with and Old Tupton Ware ceramic light pull with tube lined floral decoration

ROSE, Frederick William (1849-1915). Serio-Comic War Map for the Year 1877, London, G. W. Bacon, [1877], coloured lithographed anthropomorphic political map (lightly browned), 424 x 560mm., framed and glazed. FIRST EDITION, second state. RARE.ROSE, Frederick William (1849-1915).  Serio-Comic War Map for the Year 1877. By F. W. Rose. London: G. W. Bacon, [1877]. Coloured lithographed anthropomorphic political map, with English text in a side panel (lightly browned except where old reinforcement repairs on the verso show through as strips that have not browned [see illustrations], with a very narrow strip of loss at one fold, a few spots), 424 x 560mm., framed and glazed. FIRST EDITION, second state, with the artist's name given as "F. W. Rose" rather than with his initials alone, of this celebrated map which was the first, or among the first, to represent Russia as an octopus. The text in the panel describes the map as follows: "The Octopus - Russia - forgetful of the wound it received in the Crimea, is stretching forth its arms in all directions. Having seized hold of the Turk, it is eagerly pushing forward in the hope that it may overwhelm him, as it has already done Poland. At the same time, Greece seems unlikely to annoy the Turk in another quarter. Hungary is only prevented from attacking his neighbour, Russia, through being held back by his sister Austria. The Frenchman, remembering his late defeat, is carefully examining his weapons; and Germany is naturally interested in his movements, and holds himself in readiness for any emergency. Great Britain and Ireland are eagerly watching the fray - ready at any moment, at least, to prevent Russia from seizing the Turk's watch, or interference with Suez. Spain is taking his much required rest. Italy is rejoicing in her freedom. The wealthy King of Belgium is taking care of his treasure. Denmark's flag is small, but she has reason to be proud of it." See The Map Book, ed. Peter Barber, 2005, pp.284-85): "... Fred Rose's cartographic masterpiece ... [His] particular models go back to at least the 1850s, but [he] was the acknowledged master. His octopus had a long life: twenty-five years later Japanese propagandists were using octopus maps to win support against Russia during the Russo-Japanese war." RARE. Cf. Baynton-Williams The Curious Map Book pp.180-81.

A collection of mostly 18th century old master prints, mostly etchings and engravings, by or after W. Baillie, J. Barbault, P.S. Bartoli, F. Bartolozzi, J. G. Bergmüller, Bertaux, J. J. de Boissieu, F. and J.C. Brand, C. I. Carloni, P. Q. Chedel, Mrs Cosway and R. Cosway, Jacques Couché, W. Delamotte, M. Desmarais, D. Deuchar, L.F. Dubourg, P.F. Duflos, I. Duvivier, C. Eisen, English School, I. Fougeron, S. Gessner, C. Grignion, G. Hackert, G. Huquier, U. Kraus, J. P. Le Bas, L. Legrand, Leonardo da Vinci, M. de Longueil, C.F.A. Macret, L.J. Masquelier, J. Mathieu, J.S. Negges (2 mezzotints), Abbé de Saint Non, P. Parrocel, B. Picart, J. Pillement, F. Place, M. Plonski (1802), T. Prattent, J. Rigaud, H. Robert, S. Rosa (a copy of a Rosa etching), Tzetter, F. Vivares, F. E. Weirotter, R. Wilson, a map of South America, probably 1766, and two anonymous English and Italian prints, 26cm x 40cm and smaller (a collection).

WW2 Royal Air Force 1945 Casualty Log Book of Flight Sergeant H W Parker 578 Squadron, good Navigators and Air Gunners log book, he trained as a wireless operator air gunner. The logbook starts on 25th August 1943. In September 1944 he joined No 578 Squadron, flying on Halifax aircraft. His first operation was to Calais on 25th September, but this was called off by the master bomber. 30th October 1944 whilst on a mission to Cologne he notes ‘HIT BY FLAK IN M/U TURRET’ they made an emergency landing in Melbourne. The following month whilst on a mission to Julich he states, ‘HOLED IN STBD WING: COCKPIT & FUSELAGE BY FLAK’. On 20th February 1945 whilst on mission to Reinholz, he notes that their aircraft was attacked by fighter, two of the aircraft in his squadron were shot down during this operation. His last operation was on the night of 7th / 8th March 1945, when he and his crew were sent to attack Hemmingstedt, his and two other aircraft from his squadron failed to return and his log book has the note ‘Missing’, later with the ink stamp for ‘DEATH PERSUMED’ and signature of the Wing Commander commanding 578 Squadron. Research states that the aircraft was last heard calling for help on the wireless before crashing into the sea. The logbook is accompanied by comprehensive research. Flight Sergeant Harry William Parker is commemorated on the Runnymede Memorial, he was 20 years old at the time of his death. He was the son of Harry and Lilian Parker of Northfield, Birmingham.

A collection of framed prints after Old Master and 19th Century paintings - including Mary Queen of Scots, 47 x 35cm framed - and eleven others, smaller (12)

Master of the Magdalen Legend (1483-1526) – School, Madonna with Child. Oil on gold ground. Skretch decorations. On oak panel in gilded wooden frame. On the reverse old paper label described Ecole del Est vers 1470… 25 x 18,5 cm.

Ca. 1200 - 800 BC An amazing cast-bronze sceptre representing a highly stylised “master of animals”. With a long, drooping nose, bulging circular eyes, and tab-shaped ears, the figure sits in a crossed-leg position with both hands at his chest. The roaring beasts stretches their necks upward displaying sharp teeth, elongated snouts, bulbous eyes, and round ears. An openwork socket beneath the base enables the finial to be placed on the top of a standard pole for display high above the heads of onlookers. Size: 240mm x 80mm; Weight: 320g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 900 - 800 BC A bronze sceptre depicting a scene commonly referred to as ‘the master of animals’. A central figure grasps the necks of two fantastical animals, probably meant to represent dragons, on either side of him, and the motif is repeated on both sides of the sceptre. Human and bird heads appear below the central figures. It may be significant that this type of object has been found only in graves. For similar see: The Metropolitan Museum of Art, Accession Number 1996.82.1. Size: 300mm x 55mm; Weight: 390g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 1200 - 800 BC An elaborate horse bit decorated with openwork panels that incorporate a three-figure scheme. In the centre, the horned Master of Animals stands, flanked by two winged mythical beasts with long curved tails that rear up on their hind legs, their jaws agape and tongues lolling. The Master of Animals motif, depicting a human or godlike figure holding two aggressive animals, was a prevalent symbol in the art of the Ancient Near East, Egypt, and particularly in Luristan society. This motif symbolises the intricate relationship between nomadic peoples and the natural world, reflecting their reliance on herding, animal husbandry, and hunting for their livelihoods. For similar see: The Metropolitan Museum of Art Accession Number: 57.51.40a–c. Size: 200mm x 115mm; Weight: 700g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

CARTER GALPIN (1795-1850) 'The Schooner John Romilly of Bridport' 'William Swaine, Master, Launched from the building yard of J. Cox, at Bridport Harbour, 25th June, 1835', printed by Chapman & Co., inscribed to the bottom left 'The Artist to Mr Jamsett (?)', 30cm x 42.5cmProvenance: The Old Vicarage, Chideock.

A COLLECTION OF 19th CENTURY PHOTOGRAPHS OF OLD MASTER PAINTINGS AND DRAWINGS with Illustrated London News records of the Reign of Queen Victoria and the Coronation of Edward VII

Birch, early 19th c - Silhouette of a Gentleman, cut paper, ink and wash, oval, 63mm, maker's printed yellow trade label verso "Cut by the celebrated MASTER BIRCH 14 years old", papier mache frame by Hill, impressed mark, acorn hanger and a contemporary silhouette of Matilda Whittaker nee Sugden (1823-1873), papier mache frame with rose hanger (2) Both browned with age, frame of the second slightly chipped

Two pictures of period dress by Audrey Worth; a Chinese picture of letters and two gilt framed Old Master prints

A documentary Nymphenburg cabinet plate, circa 1821Painted by Louis-Socrate Fouquet with a portrait of a lady after Titian within a burnished gilt border tooled with formal borders around the well and foliate scrollwork around the rim, the reverse inscribed in black 'Copirt nach Georgion./ aus der Königl. Bildergallerie zu/ München./ den 20ten Janner 1821./ v. L. Fouget.', 23.5cm diam., impressed shield mark, VI and XIX (very minor wear)Footnotes:Provenance:The Twinight CollectionLiterature:K. Hantschmann, Nymphenburger Porzellan des Klassizismus 1797-1847 (1996), p. 314;S. Wittwer, Raffinesse & Eleganz Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection New York (2007), p. 77, ill. 88This plate was part of a commission of a dessert service for King Max I of Bavaria, which may have been inspired by the similarly-decorated Sèvres Service 'à marli d'or' for the Emperor Napoleon. The subjects on the Nymphenburg service are mostly after old master paintings and reflected the Bavarian king's preferences; like the Sèvres service, the gilt borders had various patterns. Twenty-seven plates were delivered to the court and were kept in the Silberkammer (now displayed in various museums). Eight plates recorded as having been painted by Fouquet for the service (including the present lot) were either not purchased by the court or have not survived. The explanation may lie in an ongoing dispute over payments between Fouquet, who trained at Sèvres and may have been engaged specifically for this service (possibly at the instigation of the king), and the chief painter, Anton Auer. The latter, who was responsible for evaluating the painters' work, felt that the quality of Fouquet's painting did not justify the price he asked, while Fouquet in turn blamed any deficiencies in his work on the poor quality of the colours supplied by Auer. As a consequence of this dispute Fouquet left the manufactory, and it is possible that the plates painted for him for the dessert service but not acquired by the court were subsequently sold. Others are in the Bäuml Collection (A, Ziffer, Nymphenburger Porzellan Sammlung Bäuml (1997), no. 1333; and in the Württembergisches Landesmuseum, inv. no. 11.255.After a painting depicting an allegory of vanity by Titian of around 1515 - previously attributed to Giorgione - that is now in the Bayerische Staatsgemäldesammlungen - Alte Pinakothek Munich, inv. no. 483.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Bone R.A. (1755-1834)The Shipwreck of Aeneas. Enamel on copper, signed and dated, HBone/ Aug 1817, inscribed along the top edge, London, July 1817, Painted by Henry Bone R.A. Enamel painter in Ordinary to his Majesty and Enamel painter to H.R.H. the Prince Regent after the Original by Rubens in the Collection/ of Thomas Hope Esqr, pierced gilt-wood frame with rocaille and acunthus leaf detail. Rectangular, 231mm (9 1/8in) highProvenance: Bonhams London, 18 November 2003, lot 148;The Twinight CollectionFootnotes:The present lot is an unusual example of Bone's work in that it is not portrait based. Whilst he is recorded as having enamelled historical and mythological subjects, they are still predominantly figurative, whereas the present enamel is almost purely a landscape.The Shipwreck of Aeneas off the Carthaginian coast in 1176 BC forms the first book of Vigil's Aeneid. The original by Rubens, painted during his Italian stay circa 1605, is currently in the Berlin-Dahlem, Staatliche Museen. The landscape was identified in 1677 by Roger de Piles, secretary to the then owner, the Duke of Richlieu in Paris. It shows the Medieval Castle built by the Genoese in 1161, situated at the top of a point dominating the now called Grotto of Byron at Porto Venere. At the foot of the hill is the Church of San Lorenzo, built in 1116 in the Lombardian style. For an illustration of the prototype, cf. Michael Jaffé, Catalogo Completo Rubens, Milan, 1989, pp.92-3.This publication states that the painting was owned by a Lady Stuart, until 1841. However as the present lot indicates, the enamel was owned by Thomas Hope (1769-1831) by at least 1817. This is a good example of how important Nineteenth Century enamel copies, with their detailed inscriptions, are in confirming the ownership and provenance of Old Master paintings. After Thomas Hope, the Rubens painting (and presumably the present enamel) passed to Henry Thomas Hope (1808-1862) and thence to his nephew Lord Francis Pelham Clinton Hope (later 8th Duke of Newcastle under Lyne) (1866-1941) and then to Sir Alfred Beit Bart, who gave the painting to the Kaiser-Friedrich-Museums-Verein in 1899. Thomas Hope was in possession of a number of Old Master paintings belonging to his younger brother Henry Philip Hope (1774-1839), which had formed part of the Hope Collection, formed by their father John and great-uncle Adrian. However once the paintings had been inherited by Lord Francis, they were to leave the family as a result of his bankruptcy through gambling in 1894. At the same time, the famous 45.52 dark blue 'Hope' diamond (now in the Smithsonian Institute), which had also been passed down through two generations of the illustrious banking family, was sold. It is most probable that Francis owned the present lot in addition to his other heirlooms and that it too was sold to ease his debts.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Stefano della Bella(1610 - 1664), after, Polish and Hungarian Horsemen, etching, 14.5cm x 20cm; Old Master School, Satyr in an Italianate Garden, etching, 12cm x 21.5cm (2)

A 19th century fan design, painted after the Old Master with The Transformation of Water into Wine at the Wedding at Cana, framed, 51.5cm wide overall

A. v/d Velden. 20th century. Painted copy after an old master. Oil on linen. Dimensions: H 70 x W 60 cm. In good condition.

Registration No: BBW 972 Frame No: S1006 MOT: ExemptPossibly the last Brough Superior ever soldInterestingly first known to have been registered during wartime, in Oxfordshire in 1944Current ownership for over 40 yearsRestored over 30 years ago with minimal sinceDescribed by BSC historian Mike Leatherdale as ‘a true Vintage SS100’The early years of this Vintage Brough Superior SS100 are subject to ongoing investigation. The JAP vee-twin overhead-valve engine and sprung Bentley & Draper frame both came from known, numbered batches that were delivered to the factory in 1928 and 1929 respectively. It is possible that the powerplant was allocated to another Brough Superior but returned to the works under warranty. Similarly, it is conceivable that the motorcycle was assembled with the prototype frame rather than a customer machine because the frame is slightly taller than standard, an idea given credence by the fact that there is no Works Record Card for the SS100 detailing its build date and specification. Issued with the Oxfordshire registration ‘BBW 972’ during October 1944 whilst World War Two was still raging, the motorcycle may well have worn a different number plate before then. Remaining in private hands thereafter, the Brough Superior is mentioned in the 5th March 1959 issue of The Motor Cycle magazine. Belonging to E. A. Gilchrist of Grantown-on-Spey, Morayshire, at the time, the SS100 then passed to Jimmy Watson of Airdrie, before being bought by Bill Gibbard, author of the authoritative tome Maintaining Your Brough Superior. Mr. Gibbard kept ‘BBW 972’ until his death with the vendor’s father subsequently acquiring it during the early 1980s. The bike was restored in the ’90s by Mr. Jarle Eide, a master restorer, who was the works mechanic on the JAP speedway engines used by Mr. Jon Ødegaard, the famous Norwegian speedway racer.. The SS100 is very well known in Brough Superior Club circles and has been loaned to a few select BSC members for use on rallies and events. Described by BSC historian Mike Leatherdale as ‘a true Vintage SS100’, ‘BBW 972’ (Engine no.: JTO/C92384) is coming to market for the first time in 40 years, presenting a rare opportunity to obtain one of the most revered and valuable British motorcycles ever made. A V5C will need to be applied for through a V62. The frame number has always been incorrect on the old continuation logbook and the old style V5. H&H are indebted to Mike Leatherdale for much of the above information. Please Note: Although still existing on DVLA records, this motorcycle has arrived from outside the UK. Our customs agents Shippio Ltd, will manage all post-sale customs administration. A fee of GBP 350+VAT will be charged on the buyer's invoice. If this machine is to remain in the UK, it will be subject to Import VAT at the rate of 5% on the hammer price plus use of customs deferment at 3% of the VAT outlay. This vehicle will not be available for immediate collection after the sale and will only be released on completion of customs clearance with full payment. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Registration No: BLE 529Y Frame No: 53257005 MOT: October 2024Wiseco 1260 big bore kit with Mikuni flatside carbsMonoshock rear suspension with Ohlins ShockWP forks, Dymag wheels and Spiegler calipersIn the early 1980s, Suzuki commissioned Hans Muth of Target Design in Germany to create a radical new aesthetic for its two-wheelers, the result being the distinctive Katana, named and styled after a Japanese sword. This stunning looking Katana was bought in 1988 by the vendor as only its second owner. Over the next 34 years he spent a fortune modifying the bike with top quality components, all documented in an extensive paperwork/photo file. The engine has been enlarged to 1260cc with a Wiseco big bore kit, GSX1100EF cylinder head and gearbox, Mikuni RS38 flat-sides, Dyna ignition and coils and an oil cooler all breathing out through a Yoshimura Titanium end can. The frame has been modified with mono-shock rear suspension sporting an Ohlins damper, WP upside down front forks, Dymag wheels, Brembo front disc, Spiegler 8 piston callipers and master cylinder along with numerous other bespoke items. This has been a labour of love for the vendor who at 74 years old has decided it now needs to move on to someone who can enjoy its incredible specification. Whilst heavily modified, the bike has kept the essence of the early ‘80s Katana and comes supplied with an extensive 47 page file and photos documenting its story on a memory stick, an MOT until 20-10-24 and a current V5C. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189

French Attributed to François de Troy (1645 - 1730) An amusing interior scene The young man about to surprise a sleeping lady reclining on a settee Signed lower right, 'f de Troy' Provenance: Christie's, Old Master Pictures, 8 July 1998, Lot 250, where purchased by the present owner Dimensions: (Canvas) 18.5 in. (H) x 15 in. (W) (Frame) 20 in. (H) x 23 in. (W)

Miguel de Berrio (Potosí, Bolivia, 1706 – circa 1762)"Lutgardis of Aywières"Oil on canvas.90 x 64 cm.Gaspar Miguel de Berrío was a painter, son of Diego Berrío and Juana Bravo de Laguna, active between 1735 and 1762. He was mostly raised in the town of Puna, Potosí in what is now Bolivia. The majority of his artworks can be traced as he tended to sign and date them. He is considered to be one of the most important artists of the Potosí School, following Melchor Pérez de Holguín, who was his master and who had a striking and significant influence on him, especially in his early paintings. Later, he decided to move away from his old master's style to adopt that typical of indigenous painters, which valued gilding and usually had highly idealised figures in its compositions, as mentioned by the Royal Academy of History. Bibliography: https://dbe.rah.es/biografias/49029/gaspar-miguel-de-berrio

Pepys (Samuel) Memoires Relating to the State of the Royal Navy of England..., first edition, issue with Griffin-Keble imprint, engraved portrait after Kneller, title in red and black, folding table of accounts mounted on stub (tear to inner edge repaired), with neat minor manuscript corrections at pp. 11, 33, 39, 40, 57 & 90, D6 & E8 supplied from another copy (shorter, D6 torn & repaired, E8 with worming to inner margin repaired), Sir Harry Newton's copy with his engraved bookplate and T.L.s. to him from Elkin Mathews Ltd. loosely inserted, old sheep-backed cloth, vellum label titled in ink, rubbed and faded, [Pforzheimer 793; Wing P1450], for Ben. Griffin, by Sam. Keble, 1690; The Royal Charter of Confirmation (The), granted by...King James II to the Trinity-House of Deptford-Strond; for the Government and Encrease of the Navigation of England and Relief of poor Mariners, their Widdows, and Orphans, &c., title in red & black, Macclesfield copy with embossed stamp to title and bookplate, contemporary panelled sheep, spine gilt, worn patches to upper cover, [Wing J381], 1685; and an imperfect copy of the first with corrections in a different hand (lacking portrait & folding table, water-stained), 8vo (3)*** Pepys's only work to be published under his name in his lifetime. Several copies are known to have manuscript corrections, which were apparently made by his clerks after printing.The second was apparently drafted by Pepys, as Master of Trinity House.

Twelve Bottles of Port to include Two Bottles of Nieport 20yr Old, Bottled in1982/1983, One Bottle of Graham's LBV, 1992, One Bottle of Graham's LBV, 2011, One Bottle of Graham's Tawny, 10yr, One Bottle of Cockburn's Tawny, 10yr, One Bottle of Taylor's LBV, 1985, One Bottle of Dow's Quinta do Bomfim, 2010, One Bottle of Dow's Ruby, One Bottle of Dow's Master Blend Finest Reserve, and One Bottle of Vinho do Porto Extra Seco Branco, and One Bottle of Vin De Porto Maxims de Paris Old TawnyCollector in London

UNITED KINGDOM. Victoria, 1837-1901. Gold Half-Sovereign, 1890. London. With JEB Low shield DISH L512. No half sovereigns were struck in 1888 and 1889 in an attempt to steer the public towards greater use of silver coins, which were less prone to wear than the half-sovereign and so more cost-effective. The double-florin (4 shillings) piece was produced 1887-1890 to offset for the half-sovereign shortage, but weighs 22.6 grams and measures 36 mm. The public was not happy about carrying around the equivalent value of the widely used half-sovereign (10 shillings) in silver coins. Production of half sovereigns recommenced in 1890 with 2,266,023 coins.The issues the mint encountered with the Jubilee coins are well documented and were exacerbated by the pressure for the coins to be ready for the Queen's Golden Jubilee on 20 June 1887. Due to time restraints the Jubilee head sculptor Joseph Edgar Boehm’s initials JEB were individually punched onto the master dies, resulting in three categories of JEB types—Imperfect J, hooked J (six unique dies) and no JEB. It is unclear in which order coins of these categories would have been produced and why at some point, presumably after 1887, it was decided to discontinue the use of dies with the JEB initials. After 1887, JEB initials are all of the Imperfect J type and become increasingly rarer as the years pass. This in our opinion indicates that coins struck after 1887 bearing the JEB initials would relate to the use of old dies from 1887 production runs, in the same way as the use of high shield dies.To improve metal flow, the reverse was redesigned at some point after 1887 and the shield moved slightly lower (sometimes called wide date as the lower part of the shield pushed the date further apart). In the same way as presumed with the use of JEB dies after 1887, the Mint continued using the high shield dies from 1887 production runs until 1892, the later ones being very rare (1891 is ultra-rare).Crowned and veiled Jubilee bust facing left; JEB on truncation, imperfect J; inscription: VICTORIA DEI GRATIA BRIT: REGINA F: D:. / Lower, crowned and embellished shield-of-arms; wide date in exergue; BRITANNIARUM REGINA FID: DEF:.In secure plastic holder, graded PCGS AU55 , certification number 41630365. PCGS population in this grade: 2, equal-finest graded.Reference: Marsh-479A; S-3869B; DISH-L512Diameter: 19.3 mm.Weight: 3.99 g. (AGW=0.1176 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

Studio of Jacob Jordaens (Flemish, 1593-1678) The King Drinksoil on canvas, unframed152 x 202cmProvenance:Surgeon Lt.-Col. Samuel Smith, Bristol,His sale, Sotheby's, London, 5th December 1923, Lot 136 (as by Jordaens);Old Master Paintings, Sotheby's, London, 6th December 2012, Lot 336 (as Studio of Jacob Jordaens), where acquired by the present vendorA significant studio replica of Jordaen's famous 1639 original in the Musées Royaux des Beaux-Arts, Brussels. The subject, a favourite of the artist, illustrates the feast of the Epiphany, celebrated in Flanders on 6th January.The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition. There is abrasion to the surface of the paint layers across the picture where the paint layer is worn following the tops of the canvas weave. There are retouchings across the surface covering small damages and areas of wear, overall these are fairly well matched to the original and the appearance of the picture is good at a normal viewing distance. The varnish is clear, even and glossy.

§ Lionel Edwards RI (British, 1878-1966) 'The Master Meets an Old Friend'signed lower right 'Lionel Edwards' and dated [19]24inscribed with title to the reversewatercolour, gouache and pencil35 x 24cmIn good, original condition with no damage or loss to the watercolour or paper apparent. Not examined out of frame.

ELGAR EDWARD: (1857-1934) English composer. A.L., unsigned, two pages, 8vo, Worcester, 13th January 1931, to Everard Kirkby, on the black bordered mourning stationery of the Lord Chamberlain´s Office at St. James´s Palace, London. Elgar announces ´I have been "dodging" sciatica & unable to do much´, thanks Kirkby for their good wishes and card, and continues ´I have been hoping to call and still hope to do so before January is over. I miss our glass of sherry! But I hope to provide the means for you to drink to the memory of old times´. Accompanied by the original envelope hand addressed by Elgar. Together with a second autograph envelope, unsigned, hand addressed by Elgar to Everard Kirkby at Napleton, Kempsey, Worcester, and post marked at Worcester on 28th December 1929. Some light dust staining and age wear to the envelopes, otherwise VG, 2Kempsey, a village in the Malvern Hills in the county of Worcestershire, was home to Elgar from 1923 to 1927 during which time he was made Master of the King´s Musick. While living in the village, the composer became friends with Everard Kirkby, who farmed in Napleton. Elgar, who liked to talk of country matters, would often call on Kirkby for a chat, sometimes in the company of other famous individuals including George Bernard Shaw.

WONTNER ARTHUR: (1875-1960) British actor who portrayed the fictional master detective Sherlock Holmes in five films from 1931-37. Vintage signed and inscribed sepia 6.25 x 8.25 photograph of the actor in a head and shoulders pose. Photograph by the Hughes Studios of Old Bond Street, London, and bearing their credit stamp to the verso. Signed by Wontner in dark fountain pen ink to the base of the image. A few minor traces of former mounting to the edges and corners of the verso, otherwise VG

Cartier. An early 20th century gold diamond clasp, designed as an old brilliant diamond quatrefoil cluster with rose cut diamond detail and central millegrain set single diamond, the tongue signed Cartier twice in capitals, French assay mark and maker's master mark of Henri Droguet, width 2cm (VAT charged on hammer price)

Large collection of various enamel badges; H. W. Miller Call Me Sweetheart, a blue heart shaped enamel badge with a courting couple, 25mm long; H.W. Miller Kiss by Kiss heart shaped badge with yellow banner and courting couple, 25mm long; a similar green enamel example; H. W. Miller Lights Out, a courting couple on a red crescent shaped banner, 25mm long; unnamed Boomps-A-Daisy, a lady wearing a blue dress, 25mm long; H.W. Miller Romance in the Rain, man and woman wearing blue jackets, 30mm long; H.W. Miller Stormy Weather, black enamel umbrella with courting couple, 26mm diameter; Miller The Old Covered Bridge; kissing couple with red enamel banner, 20mm wide; J.R. Gaunt The Bridal Waltz, lady wearing a purple dress, 25mm long; Miller Auf Wiedershen My Dear; lady wearing a green dress, 28mm long; H.W. Miller Borrows School of Dancing; lady wearing red dress on blue background; 20mm long; unnamed Hawleys enamel badge wearing a red dress, 30mm long; two H. W. Miller Lambeth Walk badges, one lady wearing red jacket and man wearing blue suit, 25mm long; together with a similar example with the lady wearing a yellow jacket and man wearing a pale blue suit; 25mm long; unmarked Bretts enamel badge, lady wearing a green dress, 23mm long; unmarked B?.K. Amateur badge, lady wearing a red dress, 25mm long; H.W. Miller enamel badge, Bathing in Sunshine, lady wearing green dress and yellow towel, 35mm long; a similar example of a lady wearing a red dress with a green towel, H.W. Miller enamel badge, red enamel badge with blue Blackpool Tower, 28mm long; H.W. Miller Alone enamel badge, lady sitting on stone plinth, wearing black skirt, 30mm long; W. Miller Gwen Rogers Romany Players enamel badge, lady wearing yellow and red dress, 32mm long; W. Miller One Night in Napoli, enamel badge man kneeling wearing red suit kneeling at a lady wearing a blue dress, 25mm long; W. Miller Have You Ever Been Lonely? kneeling lady in red dress with black banner below, 27mm long; together with a similar example of a lady wearing a blue dress, 27mm long; an unmarked chrome plated and enamel badge, lady wearing a red dress holding blue racket, 32mm long; Firefly enamel badge, lady wearing red dress with green wings, 40mm long; W. Miller Windsor Water Woolies, lady wearing a red bathing suit, 30mm long; W. Miller Carolina Moon, a black lady wearing a red dress reclining on a white moon, 30mm long; J.R. Gaunt, Poor Little Angeltine, lady wearing blue and red dress, 25mm long; two Miller Drummer Radio enamel badges, soldier with red tunic and yellow drum, 34mm long; indistinct makers stamp badge of a man wearing Highland Dress, 34mm long; Miller When The Guards Are On Parade; soldier wearing a red jacket, 33mm long; two Miller Silvery Moon, jazz musician wearing black suit, 34mm long; H.W. Miller enamel badge; standing ring master wearing red jacket and black trousers, 30mm long; Tin Can Fusiliers promotional badge, 41mm long; W Miller Amy Wonderful Amy promotional aeroplane badge, with blue enamel banner, 25mm wide; unnamed enamel pin badge, lady with orange bathing suit and holding orange parasol, 35mm long; a Collins of Birmingham enamel badge in the form a soldier, 38mm long together with an unnamed example; three Miller portrait enamel pin badges, two Percy Bush; George West and one other