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A silhouette portrait of a lady, 7 x 6 cm, portrait of a lady, oval, 15 x 12 cm, portrait of a gentleman, a framed print, and two jugs (6)

A 19th century Delft albarello, decorated portrait, 32 cm high

Marjorie Cox, pet portrait, Suzie, pastel, signed and dated 1993, 43 x 33 cm pet portrait, Talla, pastel, signed and dated 1978, 46 x 38 cm pet portrait, Isla, pastel, signed and dated 1998, 46 x 35 cm pet portrait of a dog, Ettrick, pastel, signed and dated 1978, 30 x 40 cm, P D Clayes, pet portrait, pastel, signed, 25 x 21 cm

Marjorie Cox, Wink, Winzig, and Gretel, signed, pastel, 44 x 53 cm, Li Fellas Phoenix, pastel, signed, 53 x 43 cm, pet portrait, Duchess, Emma and Button, pastel, signed and dated 1978, 53 x 45 cm, Duchess and Tanna, 45 x 53 cm, Mister Fan, signed, pastel, 40 x 37 cm, and another (qty)

A Balinese carved bust portrait, of a man, 35 cm high

20th century | height: 31 cm | region: Burgio (Sicily) | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This tall albarello comes from Sicily and is dated to the 20th century. This type of ceramic vessel features traditional motifs and a style inspired by Renaissance majolica, popular in Italy since the 15th century. A typical feature is a cylindrical shape with a gently curved body, which made it easier to grip. Albarello was originally used to store medicines and dried herbs in pharmacies. The decoration with medallion and portrait in classical profile refers to ancient iconography and stylization, emphasizing the continuity between past and present in the artistic production of Sicily. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

Gondola chair in ebonised wood with bone marquetry. Italian workshop. 18th century.65 x 66 x 64 cm.The backrest features an oval medallion with a portrait of a lady, flanked by two winged dragons. The rest of the intarsia decoration consists of floral motifs.

Escuela andaluza. Siglo XVII.‘Portrait of the Marquis of Valdés, from the court of Philip IV’.Miniature. Oil on copper.9 x 7 cm.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

French school of the 18th century. D'après Hyacinthe Rigaud (Paris, 1659 - 1743)"Portrait of Samuel Bernard"Oil on canvas.100 x 78 cm.Our painting is an anonymous version of the portrait of Samuel Bernard at the age of 75, by the French artist Hyacinthe Rigaud, painted in 1726 and kept at the Musée National du Château de Versailles (https://www.hyacinthe-rigaud.com/catalogue-raisonne-hyacinthe-rigaud/portraits/843-bernard-samuel).

Spanish school. 17th century.‘Portrait of a Pope’Oil on canvas. 74 x 60 cm.Handwritten identification of the sitter: ‘Cardinal Panchatiqvi Prodatorio del Papa Inocencio.XII. Año 1698. Roma.’

Viceroyalty school. Peru. 18th century.‘Portrait of a bishop’.Oil on canvas. 64 x 50 cmAt the foot of the painting is a cartouche with the handwritten inscription: EI YIImo St. Dn Juan Bravo de Rivero, Colegial que fue del Colegio R.l de S.n Martin de Lima, su Patria, fundor de la R.l Avdiencia de Charcas, Maestrescvela, Tesorero y Chantre de aquella Yglesia Metropolitana Obispo de Santiago de Chile y despues de Arequipa, endonde falleció el año de 1752".(Juan Bravo de Rivero, Student of the former College R.l de S.n Martin, Lima, his homeland. Founder of the Audience of Charcas, school teacher, treasurer and precentor of the Metropolitan Church, Bishop of Santiago de Chile and later Arequipa, where he died in 1752).

Snuff box in vermeil silver, applied enamel and small ruby and emerald cabochons. Royal Sèvres Manufactory. France. 18th century.A marvellous box entirely decorated with a first layer of lapis lazuli enamel on which is a garland of fleurs-de-lis, painted in gold, enriched with turquoise enamel and small rubies and emeralds. In the centre of the lid, in an indented oval section, the portrait of the monarch Louis XVI is painted in enamel, above which is a crown of rubies and emeralds. Inside, at the base, there is a Sèvres porcelain plaque bearing a large fleur-de-lis in gold paint surrounded by the initials of the factory, which in turn is surrounded by a laurel wreath enamelled in gold and turquoise. On the inside of the lid is a lozenge-shaped mark with the initials ‘GJ’.2.5 x 9 cm.

Andrés de Islas (Active between 1753 and 1783)"Philip Neri"Oil on canvas. Signed and dated 1769.87 x 70.5 cm.Andrés de Islas worked in Mexico in the mid-18th century.The painter, disciple and follower of Miguel Cabrera, was a highly acclaimed painter, especially recognised for his casta series and portraits. The one we have here stands out as one of his finest works, showcasing exceptional finesse, particularly evident in the intricately painted face and hands.Examples of his work can be found in the National Museum of History and the National Museum of the Viceroyalty in Mexico City. His casta paintings reflect the 18th-century interest in documenting and defining the various racial and ethnic groups that constituted colonial Mexico.Andrés de Islas . HeHis work is represented in several museums. In Spain, for example, the Museum of America in Madrid has, in addition to Islas's portrait of Sor Juana Inés de la Cruz, a magnificent casta series.In Mexico, the National Museum of the Viceroyalty in Tepotzotlán houses one of his most important portraits, that of Juan de Palafox y Mendoza. The marvellous portrait of Ana María de la Campa Cos Zeballos Zeballos Villegas, Countess of San Matheo de Valparaíso and Marchioness of Jaral de Berrío, is part of the collection belonging to the Banco Nacional México.Other important paintings by Islas in Mexico include the Divine Shepherdess with Saint Francis de Sales and Saint Philip Neri with students from San Felipe Neri Oratory in San Miguel Allende, the Imposition of the Chasuble on Saint Ildefonsus at the Andrés Blaisten Collection Museum, and portraits of Carlos III, Viceroy Bucarelli, and the First Count of Regla, all kept in the Monte de Piedad headquarters.

Luis Egidio Meléndez (Naples, 1716 – Madrid, 1780)"Still Life with Pears, Peaches, Grapes, and Melon"Oil on canvas. Relined.44 x 63 cm.This painting is an analogous version to the one kept in the Prado Museum, dated 1771 and of almost identical dimensions, 42 x 62 cm (Catalogue No. P000931).As stated in the Prado Museum biography of the artist: "A Spanish painter, born in Italy to a Spanish family of Asturian origin, he was the son of Francisco Antonio, the miniaturist, and nephew of Miguel Jacinto, the portraitist. He began his education in Madrid alongside his father, then attended classes at the Preparatory Board of the Academy of San Fernando and was a pupil of Louis-Michel van Loo, mastering portrait technique, as demonstrated by his magnificent Self-Portrait (Musée du Louvre). His father’s expulsion from the board, and a probable conflict with Van Loo as a result, led to his dismissal from academic studies. He travelled to Italy and later returned to Spain, where he initially worked as a miniaturist, but his most significant contribution was in still life painting, becoming one of the most distinguished still-life painters in the history of the genre. His career belongs to the second half of the 18th century, a period when the century entered a decisive phase, gradually shaped during the reign of Philip V, both by the presence of foreigners at court and by the travels of Spaniards to Italy, along with projects to reorganise artistic education, an era that would reach its peak with Goya. Meléndez's paintings are generally characterised by great sobriety, executed with a solid sense of drawing and perfectionist realism, down to the smallest details. His ordered and clear compositions, with a taste for contrasts of light and shadow, possess an intensity that recalls the best achievements of Sánchez Cotán or Zurbarán."Reference bibliography:https://dbe.rah.es/biografias/16867/luis-egidio-melendez-de-riberahttps://www.museodelprado.es/aprende/enciclopedia/voz/melendez-luis-egidio/e99ecaad-8a11-4614-932f-960df1f833e4https://www.museobbaa.com/obra/bodegon-de-cocina/

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Possibly portrait of a governor of Puerto Rico.”Oil on canvas. In its original carved and gilded wooden frame from the period.109 x 84 cm.  Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Frequent in the style developed by our painter, elongated figures and cherubic angels with round faces can be perceived.

A Soviet Jupiter-9 M42 Portrait Lens, black, serial number 7407146, barrel VG, optics G with light dust, with cap, hood and maker's bubble.

A large and fine Sevres Porcelain charger, mid-19th century, depicting a portrait of Margaret Valois, wife of Henry IV, signed 'Leber', within a blue border and gilt highlighted, painted mark to underside, 45 cm diameter, together with a later wooden display stand.Sotheby's consignment receipt from 1994 present, together with a letter of attribution from Albert Amore Ltd, dated 1943.No chips or cracks. small area of gilt loos to the border

R. Taylor, an early 19th-century 8-day oak long-case clock, the painted broken arch dial bearing the portrait of Queen Caroline, the hood with swan neck pediment, 47 cm wide x 25 cm deep x 220 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire The glass of the hood is cracked. There are no weights or pendulum, so not in working order.Updated:The movement looks very clean and looks as if it has been recently restored and re-gutted.The cheeks that support the movement are uneven. It would seem that a packing block is missing from the right-hand side. This causes the dial to sit awkwardly in the hood/mask. It is common for these to be replaced.The hood door has a cracked glass panel, the clock has some patches to the veneers.The trunk door does not have a key.The clock does not have either weights or a pendulum.In short this clock would need some work to make good but it looks as if most of the horological work has been done, but sadly it will require a pendulum and weights.

Iberian School (18th century), a pair of portraits, depicting a gentleman of military or clerical bearing decorated with the "Sword of Compostella Cross" (The Sword of St. James) and his female companion, oil on canvas, each 93 cm x 74 cm, framed, 105 cm x 86 cm Qty: 2 Formerly of Donnington Castle House, near Newbury, Berkshire significant paint loss throughout lots and central tear to the portrait of the gentleman

An 18ct gold, diamond and malachite cameo pendant, carved a portrait

λ λ A George III portrait miniature ring and pendant, late 18th/early 19th century, comprising: a gold ring and a gold and garnet pendant, each set with an oval portrait miniature on ivory depicting a woman, ring size O1/2, miniature 1.8 x 1.3cm, pendant length 2.6cm including later bail, reverse engraved EMP, miniature1.6 x 1.4cm

A collection of jewels, late 19th and 20th century, comprising: a pair of brilliant-cut diamond stud earrings totalling approximately 0.40 carats, mounted in 18ct white gold, post fittings, British hallmarks; a diamond ring, stamped 18CT; a synthetic blue spinel and diamond cluster ring in 18ct gold, British hallmarks; a step-cut emerald and baguette diamond ring in white gold, stamped 14K; an oval amethyst brooch; a pair of amethyst and diamond cluster stud earrings mounted in gold, stamped 9K; a cultured pearl necklace with a cultured pearl and diamond clasp modelled as a bow, stamped 14K; an amethyst and white chalcedony-handled desk seal mounted in gold, length 5.2cm; a horseshoe stick pin set with half pearls; a rose quartz and diamond pendant, stamped 375; a portrait miniature brooch in 18ct gold, British hallmarks; a gold brooch designed as a Rococo scroll frame; four gold lockets; a fox head bar brooch; a lady's gold Rotary watch with gilt metal bracelet; and a collection of jewels in gold, silver and gilt metal, in a wooden jewellery box

A late 19th century pearl and diamond brooch, the large pearl set within clusters of old-cut diamonds in foliate silver and gold collets with engraved decoration to reverse, length 4.4cm, caseAccompanied by SSEF report no. 81686, dated 27th August 2015, stating that the pearl is natural saltwater, weighing 28.716 carats and measuring 17.33-17.80 x 13.35mm.Provenance: formerly in the collection of Nancy Witcher Langhorne Astor, Viscountess Astor (1879-1964), MP for Plymouth, of Cliveden, Buckinghamshire.The pearl and diamond brooch originally belonged to Nancy Witcher Langhorne Astor, Viscountess Astor (1879-1964). Destined to become the first female Member of Parliament and one of the great society hostesses of her day, Nancy was born in Danville, Virginia, in the United States. She moved to England in 1905, having fallen in love with the country during a visit following the breakdown of her first marriage. Here, she met her second husband William Waldorf Astor, 2nd Viscount Astor (1879-1952). They were married in 1906 and received Cliveden as a wedding present from his father. Nancy soon became a prominent society hostess from her new lavish Buckinghamshire estate, as well as their grand St James's Square house, now the Naval and Military Club. Her charismatic personality and independent nature is wonderfully captured in her portrait illustrated here, painted in 1908 by the great society painter John Singer Sargent (1856–1925) and now in the National Trust collection at Cliveden. She was elected to the House of Commons in 1919, where she remained the Conservative MP for Plymouth for twenty-five years, championing education reform and women's rights. Later in her political career, she also held the role of Lady Mayoress of Plymouth from 1939 until the end of the Second World War. Known for her wit and combative spirit, Nancy also had a great love of finery.

λ A rare Williamite ivory miniature ring, 18th century, centring on a glazed compartment containing an oval ivory miniature of the laureated King William III (William of Orange), within a border of rose-cut diamonds, the reverse inscribed '1690 Juli 1st', to a tapering gold band, size M1/2, one diamond replaced with a simulant, later caseThis date on this rare portrait miniature ring commemorates the decisive victory of William III of Orange against the Jacobite forces in Ireland, fought across the Boyne river on 1st July 1690, near the town of Drogheda in the modern day Republic of Ireland. Known as the 'Battle of the Boyne', this marked a turning point in William's struggles against the Catholic King James II of England and VII of Scotland, who had been deposed in the 'Glorious Revolution' of 1688 in favour of a joint monarchy shared between the Protestants Mary II and William III.

Mary Carter (b.1947)  Oil on board "The Blue Eyed Girl", head and shoulders miniature portrait, Richard Hagen Gallery label, 8cm x 7cm, framed  Original Richard Hagen Gallery, Broadway, Worcestershire label verso.  From the collection of the late Maurice Costley

Eileen Cooper OBE, RA (1953) Oil on canvas “In Night Shade”, female nude with foliage, with Rabley Contemporary label verso, with letter from the Rabley Gallery regarding the purchase and related paperwork, 90cm x 60cm, unframed From the collection of the late Maurice Costley  Eileen Cooper was born in Derbyshire, She studied firstly at Goldsmiths College and then for her MA at the Royal College of Art. She is a painter, print maker and ceramicist. Her work is figurative, imaginative and her inspiration comes from mythology, fairytales, the Bible and stories in general. The female form and identity is important to her work. She was elected to the Royal Academy in 2001 and in 2010 started serving as the Keeper of the Royal Academy, the first woman to do so in its 250 year history. Eileen has had numerous solo exhibitions both in England and abroad. Her work can been seen in many public collections including the Art Council, National Portrait Gallery, Dallas Museum of Art, The Royal Collection Trust and the Royal College of Art. Condition ReportRecto: canvas in very good condition, no obvious signs of wear and tear on paintwork, unframed. Verso: canvas inscribed 'Eileen Cooper 2018 Night Shade', gallery label on back, cross-stretcher in good condition.

Steve Shipman (British, 1957-2018) c.1990, a collection of portrait and landscape photographs, for advertising campaigns, including Gilette, with examples submitted to the Fifth AFAEP (Association Of Fashion Advertising And Editorial Photographers) Awards, signed and limited edition examples, the largest 50 x 60cm approx (qty.)

A porcelain portrait of Mary Queen of Scots 19th century, incribed 'Maria Regina Scototum' signed J. Liénard in a gilt frame with tied ribbon surmount, 18 x 14cmProvenance: The property of the late Baron John Mauger Langin Condition ReportDetached from frame. Surface dirt to porcelain plaque.

Steve Shipman (British, 1957-2018) c.1990, a collection of portrait photographs, of politicians and notable figures, including Denis Healey, Dick Bogarde, with examples submitted to the Fifth AFAEP (Association Of Fashion Advertising And Editorial Photographers) Awards, signed and limited edition examples, the largest 50 x 60cm approxCondition ReportSome examples mounted on card. Varying condition, some with marks.

James Tassie (1735-1799) 'Reverend Alexander Waugh' wax portrait relief, mounted on green velvet, framed, signed and dated 1794, 7cms x 5cm, framed 16.5 x 15cm Provenance: The property of the late Baron John Mauger Langin. Condition ReportThe frame with some knocks and wear. Unviewed out of glazed frame, wax looks to be in a stable condition.

Steve Shipman (British, 1957-2018) c.1990, a collection of portrait photographs, of singers and musicians, including Bob Gelfof, and Eartha Kitt, with examples exhibited at the National Gallery, submitted to the Fifth AFAEP (Association Of Fashion Advertising And Editorial Photographers) Awards, signed and limited edition examples, the largest 50 x 60cm approx (qty.)

Steve Shipman (British, 1957-2018) c.1990, a collection of portrait photographs, of film and television actors, including Robbie Coltrane, Dustin Hoffman, Keanu Reeves, John Thaw and Shelia Hancock, John Malkovich, Barbara Windsor, and Anthony Hopkins, with examples exhibited at the National Gallery, submitted to the Fifth AFAEP (Association Of Fashion Advertising And Editorial Photographers) Awards, signed and limited edition examples, 50 x 60cm approx

Mary Ann Nichols, a portrait of two children and a dog signed and dated 1852, watercolour,48.5 x 41cm, framed and glazedCondition ReportFair some wear and stains. The frame is birds eye maple.

A portrait of a girl and a dog, watercolour, oval, in a gilt frame27.5 x 23.5cmCondition ReportWIth some stains and wear to the frame. Framed 40 x 36cm.

A Chinese modern oil painting, a nude portrait of a lady, in traditional robe in the Qing Dynasty style, signed l.r. and to the back, oil on canvas, 100 x 73cm, framed Condition Reportno obvious faults.

A BUST PORTRAIT OF THE OTTOMAN SULTAN MEHMED II (R. 1451 - 1481) AFTER PAOLO VERONESE’S CIRCLE (1528 - 1588) Possibly Northern Italy, 19th centuryOil on canvas, the vertical-format portrait depicting the bust of Sultan Mehmed II in full regalia, with a sumptuous and voluminous white turban enhanced with encrusted ornaments on the front, wearing a brocaded red overcoat on a striped anteri robe, on the left hand-side an inscription identifying the sitter in Italian reading MAVMETO SEG. VIII, the 19th-century composition paying tribute to the renowned cycle of Ottoman sultans' portraits by the Italian Renaissance painter Paolo Veronese's circle at the end of the 16th century, now part of the Bayerische Staatsgemäldesammlungen (Bavarian State Painting Collection) in Munich, Germany, mounted and framed.71cm x 56.5cm including the frame For further reference and to view the 1570s original portrait (inv. no. 2247) by the circle of Veronese (Paolo Caliari), please click on the following official link of the Bayerische Staatsgemäldesammlungen: https://www.sammlung.pinakothek.de/de/artwork/6kLaqA9L8V 71cm x 56.5cm including the frame Qty: 1

Dugdale, Sir William: A Short View of the Late Troubles in England. Moses Pitt, Oxford, 1681, 1st. Edn. 2nd. Printing. Frontis portrait. PP: (viii), 959, (vi) Index + (v) Catalogue. Folio, cont. full leather and later spine.

YEATS, W.B: The Collected Works in Verse and Prose, in 8 volumes. Shakespeare Head Press, Stratford-on-Avon, 1908, 1st. Edn. With four portrait frontispieces. Original cloth backed boards with the nameplate to the pastedown of each volume, of Dorothea Mackellar [Isobel Marion Dorothea Mackellar OBE was an Australian poet and fiction writer]. Many pages unopened. A good set. (8)

CAMDEN'S BRITANNIA- CAMDEN, William: Britannia ... Translated [and] enlarged ... by Richard Gough, in 3 Volumes. London: J. Nichols, 1789. Folio (43 x 26cm). With 57 engraved maps by Cary, mostly double-page and folding, engraved portrait and 98 plates, some double-page, plus a few engravings and woodcuts in the text. Cont. full reverse calf; rubbed. Vol. 1 covers detached, lacking the spine and almost disbound; vol.2 lacking one cover. Internally all three volumes with clean maps, plates and text. (3)

[THE BEATLES]- George Martin SIGNED: Summer of Love: The Making of Sgt. Pepper. Limited edition, numbered 230/350 DELUXE copies. Signed by George Martin; plus a print by Frank Hermann, Signed by him & Limited edn. 230/350. Genesis Publications, 2007. 4to. Housed in the original green silk-screen printed box with ribbon pull, the whole protected in a green felt drawstring bag. Deluxe copies also include a portfolio containing an original photograph of George Martin and The Beatles in the recording studio, signed by the photographer Frank Herrmann, plus a limited edition T-Shirt featuring the Peter Blake portrait of George Martin from the cover of the book. & Original shipping box. VG+Provenance: The David and Pam McCleave Collection of Modern British Art.

BINDING/ART: Kurth: The Complete Woodcuts of Albrecht Dürer. Foyles, 1927, Limited edition of 500 copies; Vasari: Lives of the most eminent painters, sculptors, and architects, in 5 vols. Bell, 1878-81. Cont. half leather VG; Hodgson: The Principles of Practical Perspective, no date. Numerous plates. 4to. Recent full leather; Roscoe: The History of Painting in Italy, in 3 volumes. Bohn, 1847. Cont. full leather prize bindings; Jackson: An Illustrated History of English Plate, 2 vols. 1911. Folio, half leather, VG; The National Portrait Gallery. 2 vols. 1902; & Chaffers, W: Hall Marks on Gold and Silver Plate. 1865, original cloth. (15)

LithografieThomas Bayrle geb. 1937 Berlin "Portrait Adam Seide" 1972 u. li. sign. Bayrle 33 x 21,5 cm Provenienz: Privatsammlung Deutschland Lit: AKL

Framed small ink drawing of a self- portrait by Rembrandt with inscription to back purporting that it is by Jonathan Richardson (1667 - 1745) in 1733. No signature or monogram noted

Ian Campbell (Sottish 1902-1983)'Sally Anne'Oil on canvasSigned[90x70cm]He regularly exhibited at RGI and RSA, Canadian National Exhibition 1931 and portrait held at NPG London.

Miniature bust portrait of a young woman wearing Continental regional costume on glazed ceramic panel in an ornate frame

19th Century oil on board portrait of Lieutenant Campbell, unsigned and dated 1896.[53x39cm]

*PETER KUHFELD (b. 1952) 'Anne', three-quarter length portrait of a young woman, signed lower right, oil on board, 50.75cm x 31.75cm, Framed dimensions: 62.6cm x 43.8cmExhibited: New Grafton Gallery, October 1986.Provenance: Private collection, Dorset.

WILFRID GABRIEL DE GLEHN (1870-1951) 'The Talbot Sisters', a full length portrait of Anne and Joan Talbot in an interior, signed and dated 1910 lower left, oil on canvas, 127cm x 100cm,Framed dimensions: 145cm x 120cmProvenance: The family of the sitters and thence by descent.Anne Meriel Talbot (1900-1970) and Joan Ankaret Talbot (1901-1986) were the daughters of John Edward Talbot (1870-1937) and Mabel Balfour (1867-1949).Their grandfather was John Gilbert Talbot PC, a Conservative politician serving under Benjamin Disraeli; and their aunt was the noted British public servant and women’s welfare worker Dame Meriel Lucy Talbot, who organised the Women’s Land Army during the First World War. Around the time of the creation of this portrait, the Talbot’s are recorded as living in Chelsea. Anne is later documented as having emigrated to New York City after the Second World War, whilst Joan married Eric Hyde Villiers DSO in Ireland in December 1928.

*KATHERINE 'KITTY' CHURCH (1910-1999) 'Stourhead', signed and dated '52 lower left, watercolour and gouache on paper, 38cm x 55cm,  Framed dimensions: 57cm x 74cmNote: Kitty Church, was an English painter associated with The London Group. She exhibited regularly at the Royal Academy, NEAC and the Lefevre Gallery. She was friends with Ivon Hitchens, John Piper and Julian Trevelyan and Hitchen’s portrait of her is held in the Tate Museum. An accomplished painter in her own right her works are full of dynamic colour and life.

*MAX BAND (1900-1974) A portrait of a Jewish worker in an interior, depicted three-quarter length, signed lower left, oil on canvas, 98cm x 62cm,Framed dimensions: 113cm x 77cm  Provenance: Private collection, Dorset.Note: Max Band was born in Kudirkos Naumiestis, Lithuania in 1900. This small village offered very little artistic guidance, however the young Band was determined to create. His first oil painting was made with homemade brushes he created from sticks.Band made his way to Berlin to study art where his talents were first recognised by the public. One of his first drawings was selected by his teacher and entered into an open exhibition. Upon seeing the work, a wealthy collector tracked down Band to purchase the drawing. Never considering or putting much care into the financial value his artwork should garner Band could not name a price. Upon being pressed for a figure, Band responded that he valued time over money, so a figure was agreed upon based on two months’ worth of food.The French critic Paul Fierens described the early period of Band’s career stating, “The refinement of his color, this what he owes to France, that that he has taken something of Chardin, Corot or Bonnard, but the Parisian sky, after Lithuania and the Louvre, quite naturally became his third master. Paris, with its pale azure, its inimitable greys, its delightful white, offered itself to Max Band as an example and gave him excellent advice."Max Band’s artistic output was largely made up of still lives, landscapes, and portraits of the sea. These subjects offer a free flow of color and movement. He also created many works of the Jewish religious experience during his life. These paintings offer a deep richness of feeling that could only be reflected by an artist of his skill and above all experience living through WWII.If one label can be attached to Band’s artwork it is Humanism. Whether it be the natural world, or more personal subjects, Band had a unique expression for deeper qualities hidden beneath the surface. This unique vision was best stated by the artist in describing one of his paintings of Jewish Talmudic scholars, “After living in France for nearly twenty years I began to see something strange in the eyes of the people. As the threat of bombing grew ever more menacing, the proud French people, who for centuries had walked in pride and freedom, as befitted a nation universally regarded as the epitome of culture and spirit, began to live in fear. It showed in their eyes and gestures. They listened for threatening sounds in the night.”Max Band left France in 1940 for the United States where he lived and worked for the remainder of his career. He passed away in 1974.

*CECIL BEATON (1904-1980) Self portrait, the artist depicted resting his head against his left hand, signed lower right, pencil/charcoal on cream paper,18.5cm x 18cmFramed dimensions: 24cm x 23.5cm 

Cyril Edward Power (1872-1951) Self-Portrait, circa 1927signed 'Cyril Power' (lower right)linocut in black 14.5 x 9cm Provenance:With The Redfern Gallery, London, 1985 Sale; Bonhams, London, 15 April 2014, lot 42Exhibited: London, Wolseley Fine Arts, Touring Exhibition, 1999Margins appear to have been trimmed, hinge mounted to board with two small pieces tape at the top corners. Possibly slightly faded, otherwise in good order

§ Trekkie Parsons (1902-1995) Portrait of Jill Balcon signed with initials and dated 1954 (lower left) ink 23 x 22.5cm Provenance: The collection of Quentin Stevenson The present work depicts Jill Balcon, a British actress known for her work in film, television, radio and on stage. In 1951, Balcon became the second wife of Cecil Day-Lewis. The pair had two children together, including three-time Academy Award-winner, Sir Daniel Day-Lewis.In 1993, Jill Balcon and Quentin Stevenson starred in Wittgenstein, directed by Derek Jarman.

§ John Bratby RA (1928-1992) Portrait of Pattisigned 'BRATBY' (upper left)oil on canvas75 x 50cmWith an overall layer of dirt, most notable to the lower right quadrant where lots of umber-coloured debris has accumulated in the areas of thick impasto. The blank areas of canvas demonstrate overall discolouration of the canvas and, likewise, the palest passages of paint show some yellowing. Over the sitter's eye there is a large (approx 7-10cm long) vertical gash to the canvas. Impasto appears in generally good condition, canvas is in plane and holds good tension.

§ Catherine Giles (1878-1955) Self portrait, circa 1930 oil on gessoed board 62 x 46cm Provenance: The collection of Quentin Stevenson Exhibited: London, The Fine Art Society, Jessica Dismorr and Catherine Giles, June - July, 2000 THe picture itself is in nice condition. There are some niggles to the board, espcially to the left hand side. The corners are rounded off due to wear and there is an approximate 2.5 inch creaseto the bottom left corner. The right corner has also beeb bent at some point.

§ Evelyn Gibbs (1905-1991) Portrait of Elisabeth Vellacottsigned and dated 'Evelyn Gibbs 1931' (lower right)pencil and red chalk38.5 x 31.5cmProvenance:With The Redfern Gallery, London, where acquired by Quentin Stevenson in 2001The collection of Quentin Stevenson

§ Evelyn Gibbs (1905-1991) Portrait of Elisabeth Vellacott, circa 1930etching14.5 x 10cmProvenance:With The Rowley Gallery, LondonThe collection of Quentin StevensonNot examined out of the frame, the outermost margins are obscured by the mount and are, therefore, not available for inspection. Under raking light there are some light handling creases to the top corners and bottom right corner. Some overall age toning, though this is uniform in appearance throughout. Otherwise in nice, clean and presentable condition.

§ Norman Toynton (1939-) Portrait of Emiliano Zapatasigned and dated 'Toynton 62' (lower right)oil on canvas55.5 x 45.5cmExhibited:London, Grabowski Gallery, Images in Progress, August-September, 1962A contemporary of Pop Art icons including David Hockney and Allen Jones, Norman Toynton was just sixteen years old when he first exhibited at the Royal Academy, before exhibiting the present lot at the inaugural Pop Art Exhibition at the Grabowski Gallery in 1962. In addition to these prestigious expositions, Toynton was also the recipient of the Lignano Biennale Prize and the Prix Chateau de la Sarraz.

§ Robert Oscar Lenkiewicz (1941-2002) Portrait of Maryoil on board71.5 x 87cmProvenance: Collection of the late Samuel Alper, OBE (1924-2002)