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[Holinshed, Raphael]: The Holinshed Chronicles of England, Scotland and Ireland: in six volumes. Johnson, 1807-1808, Folio, Half leather. VG (6)

Maud Raphael Jones (British 1862-1935): Birds on the Riverbank in Autumn, oil on board signed and dated '98, 24cm x 34cm

MICHELANGELO MAESTRI (ITALIAN ACTIVE CIRCA 1802-1812) A SET OF SIX ALLEGORICAL SCENES: AMOR VILIS, AMOR POETICUS, AMOR LENTUS, AMOR VOLUBILIS, AMOR NOBILI, AND AMOR FURENS Gouache All inscribed as titled, and further inscribed 'Raph. San. Urb. In. Romae apud Maestri' Each 28 x 37cm (11 x 14½ in.) Together with a further larger work by Michaelangelo Maestri of 'The Infant Hercules And The Two Snakes' (7)The compositions of the Italian painter Michelangelo Maestri are taken from the frescoes discovered in Pompeii and Herculaneum during the 18th century and from the decorations imagined in particular by Raphael and his pupil Giulio Romano for the great Roman palaces of the Renaissance.Maestri's gouaches were popular with aristocrats making their Grand Tour of Italy. Thanks to their high quality of execution on the one hand, and because they were based on the great mythological themes known since the Renaissance on the other. 

Georg Raphael Donner (1693 – 1741)- Follower, apotheosis of Karl VI. (1685 – 1740), sculpted white marble with grey veins. 70 cm high. Model after the live size sculpture in the Belvedere Museum of Vienna.

Early 19th Century, After Raphael, 'Madonna della Seggiola', oil on elm panel, Circa 1850, 20.5" x 15.75" (52 x 40cm).

After Raphael, 19th Century School -Madonna della seggiola -Watercolour -55cm diameter (tondo) - 88 x 90cm framed

After Raphael (Italian, 1483-1520), Madonna della Seggiola, oil on canvas, tondo, 68cm x 68cm, with overmount, framed.

Nicolas Pitau the Elder (1632-1671), after Raphael, The Holy Family with John the Baptist and St Elizabeth (Madonna del Divino Amore). The Virgin sits at left looking at the Christ child who sits on her lap and blesses a kneeling St John the Baptist. Joseph stands in the background, etching and engraving (trimmed), corners laid on card, circa 1656-1671, 32x41cm (plate) 41x53cm (full card size), unframed.

Francesco Faraone Aquila (Italian c.1676-1740), after Raphael, 'Parnassi Montem Spectantibus Summo in Vertice Residens, Oculorum Aciem Statim...', copper plate engraving laid on board, published by Dominici de Rossi, Rome, 71x51.5cm (sheet size) 78.5x60cm (inner frame dimensions), [circa 1722], framed and glazed.

A collection of thirteen Arundel Society chromolithographs To include fine examples after Holbein, Luini, Botticelli, Van Eyck, Raphael, Memling and others,various sizes, unframed

A 19th Century copy of the 'Madonna of the Goldfinch' (Madonna del Cardellino) after Raphael Sanzio, signed indistinctly lower-right, 103.5cm x 75cm, gilt framed. (Relined and later frame. Surface marks. Slight indentation of the canvas near the castle in the distance)

A collection of late 19th century and late children’s illustrated books, comprising, WILLIAMS (U), THE GOOD LITTLE CHRISTMAS TREE, George Harrap & Co, 1943; FOUR-FOOTED FRIENDS, London, Ernest Nister, [1896]; LA CUERRE SUR LES TOITS, Amsterdam; THE NOAH’S ARK, Ernest Nister; RIDEWOOD (W), ILLUSTRATED NATURAL HISTORY, Raphael Tuck & Sons; and fourteen others, (19).

Raphael De Buck (1902-1986): Reclining nude, oil on canvasWork: 110 x 90 cm Frame: 124,5 x 104,5 cm

Symon Gunton, The History of the Church of Peterburgh, London, Richard Chiswell, 1686, small folio, cf. (defective); Architectural Notices of the Churches of the Deaconry of Northampton, London 1849, half cf. and Raphael & J Arthur Brandon, Parish Churches, 1849, cloth. (3)

Raphael Tuck & Sons Ltd. Postcard collection (approx 500) from the most renowned & collected publishers. Early to mid-20th century. Range of subject cards and topography. Themes such as animals, comic, greetings, transport, military, artist drawn and more with UK views and some foreign. Production types as Oilette, Aquarette, Rapholette etc.

Steidele, Raphael Johann. Abhandlung von dem unvermeidentlichen Gebrauch der Instrumente in der Geburtshülfe. 14 Bl., 160S., 1 Bl. Mit gestochener Titel- und Kopfvignette und 2 gefalteten Kupfertafeln. 20 x 12 cm. Halbleder d. Z. (etwas berieben und bestoßen sowie mit kleiner Fehlstelle) mit goldgeprägtem RTitel und RVergoldung. Wien, Joh. Thomas Edler v. Trattner, 1774.Hirsch-Hübotter V, 403 (mit abweichendem Titel: "Lehrbuch von dem unvermeidlichen Gebrauch der Instrumente in der Geburtshülfe"). Nicht bei Sudhoff und Fischer. - Erste Ausgabe. Raphael Johann Steidele (1737-1823) galt "zu seiner Zeit in der Geburtshilfe als eine Autorität ersten Ranges" (Hirsch-Hübotter). Anerkennung erlangte er vor allem durch den Gebrauch der Geburtenzange, für die er eine Verbesserung entwickelte. Die Kupfer zeigen verschiedene Geburtslagen sowie einen Geburtsstuhl und eine Milchpumpe. - Titel lose und mit rotem Besitzstempel, Blatt 2 teils gelöst, etwas stockfleckig. Kupfertafeln minimal braunfleckig, sonst sauber.

-- GENEALOGIE UND HERALDIK-- Custos, Raphael. Patriciarum stirpium in S. Rom. Imp. urbe Augusta Vildelicor. - Der Herren Geschlechter deß Hail. Röm. Reichs Statt Augspurg. 23 nn., 123 num. Bl., S. 124-136. Mit Kupfertitel (in Pag.) und 122 blattgroßen Textkupfern. Pergament d. Z. 8fleckig und berieben) mit arabesker Mittelvignette und geprägten Bindejahr 1622 auf dem VDeckel; Remboitage, neu aufgebunden). Augsburg, Christoph Mang, 1613.Lipperheide Rc 13. Graesse VII, 227 und V, 168. Hollstein VI, 188, 44. Nicht bei Lentner. - Einzige Ausgabe der seltenen heraldischen Zusammenstellung der alten Augsburger Patriziergeschlechter von Welser bis Peutinger, Fleckheimer, Hebenstreit und Zeller. Die prachtvollen Kupfer zeigen jeweils einen mit seinem Wappen gkennzeichneten Ritter in voller Rüstung zu Pferd. Mit lateinisch-deutschem Paralleltext. Der Kupfertitel mit den Allegorien der Fortitudo und Prudentia. - Titel etwas fleckig und mit kleinem Sammlungsstempel im unteren Rand, Blatt 52 verso und Blatt 53 recto mit Tintenflecken, Blatt 53 auch mit unfachmännisch restaurierter Fehlstelle in der unteren rechten Ecke, Blatt 118 im Seitenrand hinterlegt und mit kleinem Einriss im unteren Rand. Sonst nur vereinzelte geringe Flecken und insgesamt wohlerhalten.

Onkel Tuck's Clown "Immerlustig". Mit Texten von M. Vallentin. 6 Bl. Mit farbigen Text-Abbildungen. 20 x 24,5 cm. Illustrierte OBroschur (etwas berieben und bestoßen) mit genieteten und beweglichen Beinen (mit Fehlstelle und hinterlegten Einrissen) des Clowns und einer abstehenden Kopflasche (später unfachmännisch erneuert). Berlin, Raphael Tuck & Sons, o. J. (1900).Sehr seltene deutsche Ausgabe eines englischen Spielbuchs. - Etwas stock- und fingerfleckig.

PAIR OF OILS ON BOARD - HARBOUR SCENES ST RAPHAEL COTE D'AZUR - FRENCH J DANJOU - 52 X 38 CMS APPROX TO FRAME

A pair of Rococo gilt framed easel displays containing porcelain miniatures, 19th Century, one containing six oval bust portraits of beauties, the other with five after famous paintings including a pair of cherubs after Raphael, velvet surrounds, mahogany backed, 34 by 27cm (2)

After Raffaello Sanzio, called Raphael, Italian, 1483-1520, a bronze group of the Madonna of the Goldfinch, probably French, late 19th century, on a separately cast naturalistic base, 20cm highFootnotes: Note: this figure group was likely designed to sit atop a clock case, a clock with a similar example in ormolu was sold at Mallams (Oxford), 06 May 2011, lot 470. 

After Raphael (Raffaello Santi) (Italian, 1483-1520) 'Noah leaves the ark after the flood', after Raphael's Vatican loggia painting, copper relief panel, 35cm x 46cm With signs of wear consistent with age and use. With some splits. With patina.

Art Nouveau. Raphael Kirchner, Legendes, Fables, all to same recipient (3)

A CONTINENTAL PORCELAIN PLAQUE OF THE MADONNA DELL SEDIA AFTER RAPHAEL, PROBABLY GERMAN, LATE 19TH CENTURYin a glazed gilt frame11cm diameterProvenanceThe contents of The Grange, Wendover.

After Raphael, 19th century, Madonna della Sedia, oil on canvas, oval, 20cm x 15cm, framed

Raphael Varane red and black No.19 Manchester United v. Fulham match worn long-sleeved shirt, 2023-24, Adidas, M, with v-neck collar and printed badge, the reverse lettered R. Varane, the right sleeve with Premier League flash, unwashedIn the match played 24th February 2023 at Old Trafford, Fulham defeated United 2-1The shirt was gained a s swap after the match

Coronation Procession Panorama by Raphael Tuck & Sons Ltd

Raphael Lipkin Large Scale Plastic Massey Harris Trailer. Missing tailgate but still displays very good in good to very good box.

Wendy Raphael (act.1988-2011) - Vaslav Nijinsky as the Mulatto slave 1906, oil on canvas, signed lower right, 60 x 50cm; and one other Contemporary school - The Young Ballerinas, oil on canvas, 90 x 60cm (2)

The Madonna of the chair after Raphael. Depicts Mary embracing the Christ chid while sitting in a chair as the young John the Baptist watches. Unknown artist

dating: 1846 provenance: Sardinian Kingdom, Bronze. On the obverse, a fine profile representation of Charles Albert in a frame of mottos 'FERT' and Savoy knots, recalling the primitive collar of the dynastic Order of the Annunziata; opus 'G. GALEAZZI F.' On the reverse, in the centre, a lion with helmet, crest and shield, with an eagle in its paws. All around there are the four busts of Dante, Galilei, Raphael and Columbus between Palagian palmettes. In 1844, Carlo Alberto ordered the minting of a medal for artists and writers. On the reverse, it featured a lion with an eagle clasped in its paws. While the choice of symbols and the motto on the medal were not meant as a political statement, they were widely interpreted as a sign of opposition to Austria, garnering support from Italian liberals. This interpretation quickly gained traction, despite official claims that the medal was simply an homage to intellectuals. The initiative alarmed both internal conservatives, like Minister Solaro della Margarita, and Austrian diplomats, who saw the medal as indicative of the Sardinian kingdom's revolutionary and nationalist ambitions. Despite these concerns, the king continued to distribute the medal, further straining relations with Austria and drawing the attention of Chancellor Metternich. The growing tension between the Kingdom of Sardinia and Austria marked the onset of a period of instability and political change that would ultimately lead to the Italian Risorgimento. diameter 5.5

dating: 1846 provenance: Sardinian Kingdom, Made of gold. On the obverse, a beautiful representation of the profile of Charles Albert in a frame of mottos 'FERT' and Savoy knots, recalling the primitive collar of the dynastic Order of the Annunziata; opus 'G. GALEAZZI F.'. On the reverse, in the centre, a lion with helmet, crest and shield, holding an eagle in its paws. All around the four busts of Dante, Galilei, Raphael and Columbus between Palagian palmettes. 18 ct 106 g. In case. In 1844, Carlo Alberto ordered the minting of a medal for artists and writers. On the reverse, it featured a lion with an eagle clasped in its paws. While the choice of symbols and the motto on the medal were not meant as a political statement, they were widely interpreted as a sign of opposition to Austria, garnering support from Italian liberals. This interpretation quickly gained traction, despite official claims that the medal was simply an homage to intellectuals. The initiative alarmed both internal conservatives, like Minister Solaro della Margarita, and Austrian diplomats, who saw the medal as indicative of the Sardinian kingdom's revolutionary and nationalist ambitions. Despite these concerns, the king continued to distribute the medal, further straining relations with Austria and drawing the attention of Chancellor Metternich. The growing tension between the Kingdom of Sardinia and Austria marked the onset of a period of instability and political change that would ultimately lead to the Italian Risorgimento. diameter 5.5 cm.

dating: 1830-40 provenance: Kingdom of the Two Sicilies, Made of bronze. On the obverse, a bust (right), on the borders 'PETRVS NOVELLI SICILIAE RAPHAEL'; opus 'V. CATENACCI SCV. / L. TAGLIONI CON'. On the reverse, a painting on easel, under a box of colours and in the right field, column surmounted by a bust and palette with brushes on a stool; on the borders 'MONTE REGALI NAT. ANN. A. C.CICICCVIII OBIIT PANORMI CICICCXLVII', below 'A. ARNAVD. SCV'. diameter 4 cm.

dating: 1846 provenance: Sardinian Kingdom, Made of silver. On the obverse, a fine representation of the profile of Charles Albert in a frame of mottos 'FERT' and Savoy knots, recalling the primitive collar of the dynastic Order of the Annunziata; opus 'G. GALEAZZI F.'. On the reverse, in the centre, a lion with helmet, crest and shield, holding an eagle in its paws. All around, the four busts of Dante, Galilei, Raphael and Columbus between Palagian palmettes. 84 g. In 1844, Carlo Alberto ordered the minting of a medal for artists and writers. On the reverse, it featured a lion with an eagle clasped in its paws. While the choice of symbols and the motto on the medal were not meant as a political statement, they were widely interpreted as a sign of opposition to Austria, garnering support from Italian liberals. This interpretation quickly gained traction, despite official claims that the medal was simply an homage to intellectuals. The initiative alarmed both internal conservatives, like Minister Solaro della Margarita, and Austrian diplomats, who saw the medal as indicative of the Sardinian kingdom's revolutionary and nationalist ambitions. Despite these concerns, the king continued to distribute the medal, further straining relations with Austria and drawing the attention of Chancellor Metternich. The growing tension between the Kingdom of Sardinia and Austria marked the onset of a period of instability and political change that would ultimately lead to the Italian Risorgimento. diameter 5.5 cm.

Broadside.- 'Machine for taking likenesses'.- Pinion (Raphael) Limomachia. By His Majesty's Royal Letters Patent. The new-invented machine for taking likenesses, by which the usual objections to the art, viz. time, trouble, and expence, are entirely removed, etched vignette at head, letterpress text below, on wove paper with watermark date '1822', sheet 373 x 194 mm (14 3/4 x 7 5/8 in), restoration to upper left edge and upper edge, old folds, some toning and discolouration to paper in places, minor surface dirt, framed, no printer, [circa 1820s].*** Rare, with ESTC recording only two copies at Harvard, and WorldCat seemingly not adding to the tally. Another copy is in the BM, and another sold in these rooms in 2023. Pinion is described as a 'portrait-grinder, at his manufactory, in Liecester [sic] Square, opposite the aequestrian [sic] statue of the King'. Also offered are 'portraitures in worsted, human-hair, and hot poker'.

After Raphael, The Sistine Madonna, oil on metal, oval, 38 x 31cm. Framed. Condition Report: craquelure/paint shrinkage throughout, with some bitumen damage to areas of darker pigment, needs cleaning and some restoration.

Raphael-Nachfolge des ausgehenden 16./ frühen 17. JahrhundertsHEILIGE FAMILIE MIT DEM VELUMÖl auf Leinwand. Doubliert.127 x 97 cm.Unten rechts mit altem Besitzerwappen.In bronziertem Rahmen.In einem durch Wandbehänge angedeutetem Innenraum ein nah an den Betrachterraum grenzendes Holzbrett. Darauf auf einem weißen Kissen mit Tuch rücklings das Jesuskind liegend und mit den Armen nach Maria greifend, die neben ihr steht und ein Velum ausbreitet, gleichsam um die zwei Sphären des irdischen und des himmlischen Daseins zu verdeutlichen. Neben ihr, die mit einer Brosche geschmückt ist, Joseph stehend.Anmerkung:Raffaelo Sanzio da Urbino (1483 – 1520) war der bedeutendste Künstler der italienischen Hochrenaissance. (14114913) (1) (13)Raffael succession of the late 16th/ early 17th century THE HOLY FAMILY WITH THE VELLUM Oil on canvas. Relined.127 x 97 cm.Old owner’s coat of arms lower right.

Raffaello Santi, genannt „Raphael“, 1483 – 1520, nachDIE HEILIGE FAMILIE MIT HEILIGER ELISABETH, JOHANNESKNABEN UND ZWEI ENGELNÖl auf Leinwand.180 x 136 cm.In palmettverziertem, vergoldetem Rahmen.Beigegeben eine ausführliche Dokumentation zur Provenienz.Im Bildzentrum stehen der nackte Jesusknabe mit der Heiligen Maria in altrosafarbenem Gewand und blauem Umhang, die ihren Sohn scheinbar gerade von einem weißen Kissen auf ihren Schoß heben möchte. Links der beiden ist der Johannesknabe mit einem Kreuz und zum Gebet gefalteten Händen zu sehen, um welchen die Heilige Elisabeth von hinten ihre Arme gelegt hat. Rechts im Hintergrund, vor einem Velum, der Heilige Josef, seinen Kopf in seine linke Hand gestützt und mit gesenktem Blick die Feierlichkeit beobachtend, zu der einer der beiden Engel, auf der linken Seite Marias Haupt mit einem Blumenkranz bekrönt. Anmerkung: Das Gemälde nach der großartigen, im Louvre in Paris verwahrten Bildidee von Raffaello Santi, 207 x 140 cm von 1518 (Inv. Nr. 604). (1400601) (13) (†)Raffaello Santi,also known as “Raphael”,1483 – 1520, afterTHE HOLY FAMILY WITH SAINT ELIZABETH, INFANT SAINT JOHN THE BAPTIST AND TWO ANGELS Oil on canvas.180 x 136 cm.Accompanied by a detailed documentation on the provenance. Notes:The painting is created after a large format painting by Raphael, 207 x 140 cm created ca. 1518 and held at the Louvre in Paris (inv. no. 604).

Bartolomeo Ramenghi il Bagnacavallo, 1485 Bagnacavallo – 1542 Bologna MADONNA MIT KIND UND DEM JOHANNESKNABENÖl auf Pappelholz. Verso zwei Querleisten.57 x 47,5 cm.Beigegeben eine Expertise von Mauro U. Lucco, Bazzano, 21 September 2019, in Kopie.Insbesondere in seinen Madonnenbildern ist die Raphael-Tradition zu bemerken, was darauf zurückzuführen ist, dass dieser bedeutende Meister einen Madonnentypus schuf, der für lange Zeit prägend werden sollte. In vorliegendem Bild wird die Marienfigur von einem grünen Velum hinterfangen, das rechts einen Landschaftsausblick frei lässt. Allerdings haben Untersuchungen 2019 ergeben, dass in der linken Bildseite die Figur des Heiligen Josef positioniert war, später übermalt. Solche zusätzlichen Figuren wie etwa Josef, Hieronymus oder Sankt Anna finden sich in Madonnendarstellungen Ramenghis öfter. Diese Abänderung hat kompositionell einen Dreiecksaufbau bewirkt. Der Blick der Maria ist nachdenklich gezeigt, im Hinblick auf die Zukunft des Sohnes, während die beiden Kinder ungeachtet dessen miteinander kommunizieren, wobei das Jesuskind mit dem Finger nach oben zeigt. Das Gemälde wird in der Expertise in die Nähe u. a. eines weiteren Bildes gestellt, einem Madonnenbild im Ospedale dei Pellegrini in Bagnacavallo, heute im dortigen Stadtmuseum, und wie das vorliegende Bild in die Zeit um 1505 zu datieren. Bartolomeo Ramenghi il Bagnacavallo war ein Schüler von Francesco Francia (um 1450-1517). In Rom arbeitete er laut Bericht des Kunstbiografen Giorgio Vasari als Gehilfe Raphaels (1483-1520), dessen Stil behielt er in seinen Werken bei, jedoch ist in seinem Werk alsbald ein Einfluss von Dosso Dossi spürbar (1489-1541). Werke seiner Hand finden sich in etlichen bedeutenden öffentlichen Sammlungen, wie etwa seine „Madonna mit Kind“ in der Dresdener Gemäldegalerie, sein Bildnis „Ludwig XI von Frankreich“ im Museum Berlin oder „Madonna mit Heiligen“ in der Pinakothek Bologna. In der Kirche San Pietro in Bologna ist sein Altarbild „Christus am Kreuz mit drei Heiligen“ zu sehen.(14009411) (11)Bartolomeo Ramenghi il Bagnacavallo,1485 Bagnacavallo-1542 BolognaTHE VIRGIN AND CHRIST CHILD WITH INFANT SAINT JOHN THE BAPTIST Oil on poplar wood. Two parquetting slats on the reverse. 57 x 47.5 cm.Accompanied by an expert‘s report by Mauro U. Lucco, Bazzano, 21 September 2019, in copy.

Teenage Mutant Ninja Turtles Collected Volume 1 Limited HC Book Sketched by Eastman and Laird, 8x10" hardcover book reprinting the original issues of Teenage Mutant Ninja Turtles #1-11 and Raphael and Donatello. Limited Edition #941/1,000. Inside third page features penned head sketches of two of the turtles by Kevin Eastman and Peter Laird. Edition hand numbered in pen. Laird has added date "1988". Back inner page of book has signed COA by Mirage Studios. Book and dust jacket show signs of aging/wear. With damage to dust jacket.

Collection of early "Punch" amusing coloured golfing scene postcards c1900s (6) each with amusing annotations - all used with dates from 1903-1908 and issued by Raphael Tuck & Sons

Interesting collection of unknown Golf Links b&w postcards (3) to incl 'Hotel and Golf Course Greta Bridge' c/w handwritten note 'Moritt Arms - had tea 23 Feb 43'; and 2x 'Golf Links Douglas Hall' (Lancs?) - unused - Raphael Tuck & Sons Real Photograph, Holmes Real Photo Series

Interesting collection of early 20th c Aberdour Golf Links (est 1896) coloured postcards (11) to include the 1st club house built in 1905 following the move to Bellhouse Park from Couston Farm and similar period images of the golf course, players, caddies, ladies, and a view of Wester Street - 7x used visible dates from 1904-1913 - National Series, Valentines, Ideal Series, Davidson's Tartan Border, Nimmo, Leith Edinburgh series, Raphael Tuck and Sons Oillette setup

Interesting collection of various early 20thc St Andrew Golf Links coloured postcards (12) of views from the golf links, Golf House, Putting Green, 18th green and the R&A club house, views from the west Sands, collection of 6x early wooden bathing Huts plus both Lady and gentleman golfers and other Art watercolour - 6x used dates incl 1904, 1907, 1915, plus 2x 1950s by Valentines, Raphael Tuck & Sons, GWW, Art Colour from an original watercolour by Brian Gerald, Reliable Series, Wrench , B&R Camera series, Art Publishing Co Glasgow

Collection of early Abersoch Golf Links North Wales b&w postcards from the 1920's onwards (7) to include various views of the golf course and bay, golf house, players - 2x used dated 1928 and 1939 - by Raphael Tuck & Sons, Judges, Abel William's Stores Abersoch, Valentines, Roberts Stores Abersoch, G Jones pharmacist Abersoch

Interesting collection of North Berwick Golf Links coloured postcards from late 19th/early 20th century (12) to include The Marine Hotel, 10x views of players including ladies golfing scenes, another golfing scene featuring Bass Rock from the Burgh Course et al-5x used dates include 1905, 1907, 1913, 1917, including Reliable Series, Valentines, Milton Series, Raphael Tuck & Sons, Marine Hotel

Interesting Collection of St Andrews, Old Tom Morris, Bobby Jones, The Old Course, The R & A golfing postcards from 1900 onwards (9) to include Old Tom Morris attending the flag on the 18th green and another driving from the 1st tee; Bobby Jones putting on the Road Hole in the 1930 Amateur Golf Championship; another possibly of crowds following the 1933 Open Golf Championship; another with a large gathering round the 18th green plus further views of players and the course - 5x used with dates from 1902 to 1950's - including Valentines, Dennis Productions, Raphael Tuck & Sons "County" postcard

Collection of early Leven Links, coloured golfing postcards of the early 1900s (9) to include Scoonie Burn, Golf Club House, Leven Links and Largo Law, several with period golfers and caddies, dates going back from 1906-1930 - in A Gourlay Leven, Malcolm's Stationary Leven, Valentines, Reliable Series, Davidson's Wind Heather Borden Series, Ideal Series, Raphael Tuck & Sons "Oillette", Hartmann

Interesting collection of early (Royal) Cromer Golf Links (1888) b&w postcards (8) with historic connections with The Curtis Cup to incl 2x early 1900 mixed foursomes real photographs addressed to Miss F Cotteerell Cambridge Terrace Hyde Park signed on the front Joe, plus various other scenes of the golf course including The Light House, The Hotel, players, caddies et al - 6x used and dated 1904, 2x '09, '11, 1923 & 1926 - Valentine's, Raphael Tuck & Sons, "Daily News" publications, C Munday & Co Cromer, J & S L & N

Collection of various amusing American and other early 20th century coloured golfing postcards (12) artists incl Phil May, Edmund G Fuller, R T Outeault, Bert Thomas, H Cowham, Cynicus with using annotations - 7x used 3x posted in US dates incl 1907, 1908, and 2 later ones from 1929 and 1930s - publ'd by Raphael Tuck & Sons J Ottmann Lith NY, Comic Series, Valentines, Photographic Engraving Co Ltd Ottawa

Interesting collection of IoM, Scilly and Channel Isles Golf Links postcards from the early 1900s onwards (7) to incl 3x IoM coloured postcards of Port Erin, 4x Port St Mary - 2x used and dated 1908 featuring the original small timber framed club house and another dated 1912; Grouville Golf Links Jersey, Putting Green Herm and Hugh Town from Golf Links Scilly c1955 - incl Salmon Series, Ellan Vannin Series, R A Postcards, Raphael Tuck & Sons, James Gibson Scilly

Good collection of early 20th c Carnoustie Golf Links b&w postcards (13) to include several views of the course including both period lady, gentlemen, members, caddies and other periods of social scenes - notably Starters Box, Putting Green and Links Parade, 15th Green, Golf Club House, Carnoustie from Ladies Golf Course, 2x The Tee Auxiliary Golf Course (clipped), "Lady Holing out", with 4 other views the course including several with period elegance lady golfers and a scarce Valentines Series "Photo-Brown 6 View Letter Card No.2" to include 6 various views of Carnoustie including The Starters Box Old Course-unused - 9x to incl 7x from 1906-1917 and 2x from 1920s - incl Davidson's Real Photographic Series, Valentines, Watts Emporium Carnoustie, Photo Tone Series, James Simpson Carnoustie, Raphael Tuck & Sons, J B White Dundee

Picasso, PabloMalaga, 1881 - Mougins, 197335 x 24,5 cm"Nature morte devant une fenêstre à St. Raphael", um 1925. Pochoir und Farbradierung auf gewalztem China nach einem Aquarell von 1919. In Bleistift unten rechts zweimal signiert und unten links zweimal nummeriert 17/100.Privatbesitz, Baden-Württemberg.

Attwell, Mabel Lucie (ills) "Grimm's Fairytales", Raphael Tuck & Sons, numerous colour plates and nine drawings, some of which have been drawn over, pictorial boards "Alice in Wonderland", Raphael Tuck, numerous colour plates and illustrations through the text, front board detaching and there is loss to the pictorial boards Tarrant, Margaret W (ills) "Nursery Rhymes", Ward Locke & Co, 10th edition, numerous colour plates throughout, slight foxing to text, pictorial pastedown to front board with black titles  "Alice in Wonderland", Ward Locke & Co, numerous colour plates, pictorial ep, slight foxing, pictorial pastedown to front board and black titles (4)  

Large quantity of Folio Society, all within their slip cases, to include Ruskin "The Stones of Venice", Boswell "The Life of Samuel Johnson", 2 vols, Vasari "Lives of the Artist", 3 vols, "Wind in the Willows", Robert Graves, Charlotte Bronte, Thomas Hardy, "Raphael of Gods and Men", "The Grand Tour" (3 boxes) 

A fine collection of one-hundred and thirty-one (131) autographs of recipients of the Victoria Cross, covering conflicts from the Crimean War until the First World War. The collection, diligently presented in alphabetical order in a modern leather album, comprises the following veterans, listed here in chronological order of the action which merited the decoration; William James Lendrim (14 February 1855), John Sullivan (10 April 1855), Henry Cooper (3 June 1855), James Reynolds Roberts (9 September 1857), William Rennie (21 September 1857), William Gardner (5 May 1858), Campbell Mellis Douglas (7 May 1867), John Doogan (28 January 1881), Alan Richard Hill-Walker (28 January 1881), Thomas Edwards (13 March 1884), Alfred Smith (17 January 1885), Sir Fenton John Aylmer (2 December 1891), Edmond William Costello (26 July 1897), James Morris Colquhoun Colvin (16 September 1897), Samuel Vickery (20 October 1897), Edgar Thomas Inkson (24 February 1900), William Eagleson Gordon (11 July 1900), William Edward Heaton (23 August 1900), Edward Douglas Brown-Synge-Hutchinson (13 October 1900), Sir Richard Ernest William Turner (7 November 1900), Frederick William Bell (16 May 1901), James Rogers (15 June 1901), Wallace Duffield Wright (26 February 1903), William George Walker (22 April 1903), John Duncan Grant (6 July 1904), Charles Ernest Garforth (23 August 1914), Ernest Wright Alexander (24 August 1914), Harry Sherwood Ranken (19-20 September 1914), Henry May (22 October 1914), James Alexander Smith (21 December 1914), Charles Calveley Foss (12 March 1915), George Rowland Patrick Roupell (20 April 1915), Edward Unwin (22 April 1915), John Elisha Grimshaw (25 April 1915), William 'Willie' Angus (12 June 1915), Herbert James (28 June 1915), Leonard Maurice Keysor (7 August 1915), William Thomas Forshaw (7-9 August 1915), Percy Howard Hansen (9 August 1915), Henry Edward Kenny (25 September 1915), James Dalgleish Pollock (27 September 1915), Alexander Buller Turner (28 September 1915), Arthur James Terence Fleming-Sandes (29 September 1915), Sir Charles Geoffrey Vickers (14 October 1915), John Alexander Sinton (21 January 1916), George Stringer (8 March 1916), Francis John William Harvey (31 May 1916), Walter Potter Ritchie (1 July 1916), George Sanders (1 July 1916), Sir Adrian Paul Ghislain Carton de Wiart (2-3 July 1916), Thomas George Turrall (3 July 1916), William Ewart Boulter (14 July 1916), Albert Hill (20 July 1916), Theodore William Henry Veale (20 July 1916), William John George Evans (30 July 1916), William Barnsley Allen (3 September 1916), John Vincent Holland (3 September 1916), John Vaughan Campbell (15 September 1916), Archibald Cecil Thomas White (21 September - 1 October 1916), Frederick Jeremiah Edwards (26 September 1916), Robert Edward Ryder (26 September 1916), Tom Edwin Adlam (27-28 September 1916), Robert Downie (23 October 1916), Eugene Paul Bennett (5 November 1916), Gordon Campbell (17 February 1917), Thomas Steele (22 February 1917), George Campbell Wheeler (23 February 1917), John Readitt (25 February 1917), Thomas Bryan (9 April 1917), Thomas James Bede Kenny (9 April 1917), John George Pattison (10 April 1917), Sir John Reginald Noble Graham (22 April 1917), Robert Grierson Combe (3 May 1917), Thomas Harold Broadbent Maufe (4 June 1917), John Manson Craig (5 June 1917), Ronald Niel Stuart (7 June 1917), John Carroll (7-12 June 1917), Clifford Coffin (6 July 1917), Robert James Bye (31 July 1917), George Imlach McIntosh (31 July 1917), Ivor Rees (31 July 1917), Charles George Bonner (8 August 1917), Ernest Herbert Pitcher (8 August 1917), Michael James O'Rourke (15-17 August 1917), Filip Konowal (22-24 August 1917), John Carmichael (8 September 1917), Reginald Roy Inwood (19-22 September 1917), Harry Reynolds (20 September 1917), John Brown Hamilton (25-26 September 1917), John James Dwyer (26 September 1917), Charles Harry Coverdale (4 October 1917), Arthur Hutt (4 October 1917), Lewis Pugh Evans (4 October 1917), George Henry Mullin (30 October 1917), Arthur Drummond Borton (7 November 1917), John Sherwood-Kelly (20 November 1917), John Alexander Christie (21-22 December 1917), Charles Graham Robertson (8-9 March 1918), Allan Ebenezer Kerr (21 March 1918), Manley Angell James (21-23 March 1918), Alfred Cecil Herring (23-24 March 1918), Albert Mountain (26 March 1918), Joseph Edward Woodall (11 April 1918), Percy Thompson Dean (22-23 April 1918), Robert Edward Cruickshank (1 May 1918), Sir Victor Alexander Charles Crutchley (9 May 1918), William 'Rusty' Ruthven (19 May 1918), Henry Dalziel (4 July 1918), Raphael Louis Zengel (9 August 1918), Thomas Fasti Dinesen (12 August 1918), Ferdinand Maurice Felix West (12 August 1918), Daniel Marcus William Beak (21 August - 8 September 1918), George Onions (22 August 1918), David Lowe MacIntyre (24 August 1918), James Palmer Huffam (31 August 1918), Martin Doyle (2 September 1918), Harry John Laurent (12 September 1918), Daniel Burges (18 September 1918), William Allison White (18 September 1918), John Cridlan Barrett (24 September 1918), Donald John Dean (24-26 September 1918), Cyril Frisby (27 September 1918), George Fraser Kerr (27 September 1918), John MacGregor (29 September - 3 October 1918), William Henry Johnson (3 October 1918), Coulson Norman Mitchell (8-9 October 1918), James Bulmer Johnson (14 October 1918), Alfred Robert Wilkinson (20 October 1918), Frederick William Hedges (24 October 1918), Adam Archibald (4 November 1918), George de Cardonnel Elmsall Findlay (4 November 1918), Sir Arnold Horace Santo Waters (4 November 1918). One signature, Thomas Bryan of the Northumberland Fusiliers, is shown on the reverse of James Dalgleish Pollock's, meaning there are 130 paper slips in total, showing 131 unique signatures. In addition to the 131, there is an unidentified MBE who has signed the same card as William Allison White. There are also two duplicate signatures. Ronald Neil Stuart makes two appearances; on the back of John Cridlan Barrett's signature and also later on his own. James Morris Colquhoun Colvin is the other duplicate; he appears on the reverse of Edward Douglas Brown-Synge-Hutchinson's signature, and later on his own. -------------------N.B. - For a comparable collection, see Hansons, Medals & Militaria Auction, 14 February 2023, lot 161.--------------Provenance - Mr Joseph Proudfoot, born 1930's, military collector and fund raiser, thence by descent. It is understood that Mr Proudfoot met many veterans of the course of his life, having attended a number of reunions. The earlier signatures, predating his life, are believed to have been discovered by him in previous scrap books, perhaps bought at auctions over the years, or acquired from living descendants of the VC's through various correspondence.

Comprising a study of a standing Classical figure, ink and wash, 16.5 x 9.5cm.; Figures harvesting, red chalk, 13 x 18cm.; Classical ruins, inscribed, graphite and grey wash, 22 x 18cm.; and after Raphael, `Lot and his Daughters fleeing the Destruction of Sodom` and `Jacob complains to Laban` [Palazzo Apostolico], sepia ink and wash, 22.5 x 26cm., unframed (5) Provenance: London, purchased from the dealers Annabel Popovic and Richard Philip; Private Collection. *CR Some foxing; handling marks; each needs a light clean.

A pair of 19th century paintings of artists The two copies of self portraits depicting Van Dyke and Raphael, each oil on board, and in gilt Venetian oval frames with shell and foliate pierced ornament.The frames 33cm wide x 41cm highQty: 2In reasonable condition considering age and use. Some craquelure and wear to the painted surface.

A collection of six prints The lot to comprise: After Rembrandt van Rijn (1606-1669) 'The Beggars', print by Rae Boer, 17cm x 13cm; together with two mezzotints in gilded frames, 23cm x 18cm; a Francesco Bartolozzi (1728-1815), 'The Graces Crowning the Bust of Raphael', oval print, 10cm x 13cm; and two further oval prints.Qty: 6No major damages. Some surface scuff and chips to the frames. Some discolouration to the prints.

Raphael and Lawson CLARKE - Art Deco red bakelite and silver plated chrome shaker, Master Incolore, Wilson & gill, 1930, made in England. at first glance: no defects - Weight: 1.02 kg - Shipping available - Region: England - Sizes: H 290MM X D 110MM