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An Art Deco 9ct gold open faced pocket watch, silvered dial with baton markers, blue steel hands with subsidiary dial at 6, dial diameter approx 37mm, case diameter approx 45mm, manual jeweled lever movement, case back inscribed D from N March 17th 1935, hallmarked 375 London 1934?NC HKM CG, total gross weight approx 42gms Condition report: Good- winds and in working order, minor wear and tear CONDITION:winds and workingPERSPEX goodcase good inscription to backloop marked 375 and caseno visible denting, slight fine scratches to case 

Hunting Interest: A limited edition Border Fine Art figure of The Leicestershire Fox for Wheeler's of Loughborough, with stand model no: 171 

Attributed to Tommaso Gherardini (Florence 1715-1797)Venus with a satyr offering her fruit oil on canvas44.2 x 59cm (17 3/8 x 23 1/4in).Footnotes:ProvenanceOsuna Fine Art in Washington D.C (as Tommaso Gherardini), whence acquired by the present ownerThis 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

Bernard Lens III (London 1682-1740)An Italianate landscape with figures on a track by a river and fishermen drawing in a net signed and dated 'B Lens fecit: 1719' (lower left, in gold)gouache on paper19.3 x 25cm (7 5/8 x 9 13/16in).Footnotes:ProvenanceWith the Fine Art Society, London, 1954 (according to a label on the reverse)Private Collection, UKFor further information on this lot please visit Bonhams.com

PAUL HENRY RHA (1876-1958) 'Evening on Killary Bay' Coloured print Signed in pencil lower right, Fine Art Trade Guild blindstamp lower left, Fred Keetch gallery label verso Condition Report : no signs of any damage to print or frame, a few thrips/flecks of dirt trapped under glass Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

PAUL HENRY RHA (1876-1958) A Village by the Lake, Connemara' Coloured print Signed in pencil lower right, Fine Art Trade Guild blindstamp lower left, Fred Keetch gallery label verso 35cm x 40cm Condition Report : generally good, though there is a loss to the frame bottom left, a few thrips/flecks of dirt trapped under glass Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

PAUL HENRY RHA (1876-1958) 'The Blue Hills of Connemara' Coloured print Signed in pencil lower right, Fine Art Trade Guild blindstamp lower left 44.5cm x 53.5cm Condition Report : quite a bit of foxing, mostly on the mount or beneath the glass rather than on the image, though there is one spot on the sky toward the top on the right Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

Royal College of Art Studies by Applicants for Admission for Fashion/ Mens Wear; mounted, finished sheet of watercolour drawings by Stephen King; printed wool jersey vest with plain white linen pants, both with fine PVC trimmings; unframed, mounted on card, 21 inches (52/5cms) x 16 inches (40cms) overall

Royal College of Art Studies by Applicants for Admission for Fashion/ Mens Wear; mounted, finished sheet of watercolour drawings by Stephen King; black barathea three piece suit, flared jacket, vent-less, worn with a fine black lawn shirt and printed satin Kipper tie; unframed, laid down on card, 21 inches (52.5cms) x 16 inches (40cms) overall

Diogo de Contreiras (1500-1560)The meeting at the golden door Oil on panel Portugal, c. 1550 Provenance: Late Alpoim Calvão Collection118x50 cmAdditional Information:Present day Art Historians are unanimous in their appreciation of Diogo de Contreiras, one of the most creative painters of the Portuguese Mannerism who, by embracing a distinctive personal style, freed himself from the restrictive models defined by Gregório Lopes (ca.1490-1550). Through novel experimentation Contreiras would simultaneously be able to absorb contemporary Italian innovations on drawing, composition and colour.The artist’s biographical details have been thoroughly researched and it is today widely accepted that he worked from Lisbon for the wealthiest Portuguese patrons, namely Duke Teodósio I of Braganza (1510-1563), the Order of Christ’s Head–Commander Afonso de Lencastre (ca.1505-1572), the Royal House nobleman João Rodrigues Português and the aristocratic Costa family from Évora. This information, as well as other important data, resulted from research developed in 1977-78 by Professor Vitor Serrão, which led him to identify with certainty the artist previously known as the “Master of São Quintino”, as being in fact Diogo de Contreiras.Up until then the artistic production attributed to this “Master of São Quintino” had been mistaken, namely in 1954 by Luís Reis Santos (1898-1967), for the later phase of the painter Gregório Lopes. Reynaldo dos Santos (1880-1970) however, had argued that this artist had no connection to that master, being instead an independent, yet unknown, entity. Further research in 1957, by the Spanish Art Historian Martin Sória (1911-1961), on a group of over thirty paintings identified as being by “São Quintino” would later be reinforced by Vitor Serrão’s attributions.The work we are now presenting for sale at Veritas is one of three versions that Contreiras completed on the same subject. One first version was painted circa 1540 for Saint Catherine’s Parish Church. One other was completed at a later date for the central panel of the tryptic of the Conception at the Benedictine Monastery of Cástris, near Évora.Factors such as the robustness of the figures and their depiction in pray, rather than in the usual embrace of Conception, point to an evolution in Contreiras’ artistic development and suggest, with some certainty, that our painting is likely to date from the early 1550s.According to the Historian Joaquim Caetano who, following from Vitor Serrão’s research results, has focused his attention on Contreira’s work, the artist does not always follow the same exact models. As such, in this painting, the Saint Joachim’s figure – of long beard and grey hair - is portrayed in profile, and that of Saint Anne – of oval face characteristic of the artist’s female models – appears facing the viewer but placed towards the back.In this particularly tall and narrow panel the placement of the Golden Gate oblique arch, reinforced by a buttress, creates an angle at the centre of the painting and provides an opening for two backgrounds. One with buildings, to the left, and another to the right with a landscape that becomes the setting for the complimentary scene of the “Annunciation to Saint Joachim” both with considerable depth of perspective.By replicating the arch diagonally supported by the buttress, the artist created a central X intersection that overlaps at this particular point. One of the axes connecting to Saint Anne’s and the landscape (whose colours reflect the Saint’s mantle) and the other corresponding to Saint Joachim and the succession of warm colours in the background with buildings. Vertically these two axes are intersected by the line that, from the rose stems that extend from the spouses’ hearts, holds the Immaculate Virgin suspended on a fine crescent and resplendent on the luminous halo.According to Anísio Franco “this is an unsurpassable work in the production of this Portuguese Renaissance artist that, although out of his intended original context, has its own independent status and relevance as a work of art that will undoubtedly enhance and value any Old Master paintings collection.” Bibliografia/Literature:Joaquim Oliveira Caetano, A identificação de um pintor in "Oceanos", n.º 13, Lisboa, 1993;Grão Vasco e a pintura europeia do Renascimento: Galeria de Pintura do Rei D. Luís, 17 março a 10 junho 1992, Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, em colaboração com Secretaria de Estado da Cultura, Instituto Português do Património Cultural, Instituto Português de Museus, 1992;Vítor Serrão, História da Arte em Portugal - o Renascimento e o Maneirismo, Lisboa, 2002  Vítor Serrão, Os painéis da igreja de Unhos: séculos XVI - XVII, Boletim Cultural, nº 73-74, Lisboa, 1970, p. 27-52;Pedro Almeida Flor, A autoria do Retábulo de Santa Maria de Almoster por Diogo de Contreiras (1540-1542), in ARTIS, Lisboa, Instituto de História da Arte da Faculdade de Letras de Lisboa, 2004, n.º 3, pp. 335-34;Vítor Serrão e Joaquim Oliveira Caetano, A Pintura Maneirista em Portugal. Arte no Tempo de Camões, catálogo de exposição comissariada por Comissão Nacional para a Celebração dos Descobrimentos Portugueses, galeria de D. Luís, Palácio Nacional da Ajuda, Lisboa, 1995, n.º 8, pp. 194 e 195; 

A REGENCY GILTWOOD AND GESSO CONVEX WALL MIRROR, c.1820, surmounted by an eagle perched on rockwork, flanked by parcel gilt dolphins, the convex plate within ebon slip and surrounded with row of applied spheres, above an acanthus carved apron. 140cm high, 80cm wideProvenance: HOK Fine Art, Dublin, 17 June 2004, lot 117

William Russell Flint (Scottish 1891-1963) Models for Goddesses, signed pencil bottom right, Fine Art Trade Guild stamp bottom left, published 1951 by Frost and Reed Ltd, measurements 63.5 x 71 x 85 cm

James Greenall (British 20th Century) Group of Sheep on a Grassy Hillside, oil on canvas, signed bottom right, measurements 41 x 51 cm, frame 60 x 71 cmProvenance: from the contents of Castell Gyrn, North Wales,Label Verso: Richard Bostock Fine Art

Portrait of Amelia Williams, Mrs Hodges of Undy, of Pencoed Castle, Monmouthshire, oil on panel, initialled B.B. centre right, measurements 75 x 60 cm, frame 90 x 75 cm. Together with a portrait of an infant member of the Williams family by the same hand, measurements 75 x 52 cm, frame 90 x 68 cm (2)Amelia Williams was the eldest child of Margaret and George Williams of Pencoed Castle. She first married local farmer Thomas Hillier in 1872 with whom she had no issue. Following her husband's death in 1883 she remarried William Hodges in 1888 aged 43 and lived at Holly Cottage, Vinegar Hill in Undy. Her mother Margaret came to live with her upon her retirement in 1895, by which date Amelia was a widow again. Her mother died in 1902 and left the remainder of her estate worth £483 3s 3d to Amelia,In the 1880s a branch of the Williams family, under Thomas Williams, relocated to Shropshire from Llanmartin.Halls Fine Art are grateful to Michael Edwards of Athena Ancestry and Janet Myers of Llanmartin for their assistance with cataloguing this lot.Footnote: Provenance: Consigned from a private house in South Shropshire

Portrait of Margaret Williams, daughter of Thomas Williams of Pencoed Castle, oil on panel, initialled B.T.B. bottom right, measurements 75 x 55 cm, frame 90 x 72 cmMargaret Williams was the daughter of Thomas Williams, born in 1880 while the family were still living in the Llanmartin area and held the estate of Pencoed Castle farm. Thomas and his family relocated to Shropshire in the 1880s, eventually settling near Bridgnorth in Shropshire. Margaret married Frederick Brookes in 1912 and they had a farm in the nearby area which they ran with their children. Halls Fine Art are grateful to Michael Edwards and Athena Ancestry for their assistance in cataloguing this lot.

Four: Artificer Engineer A. J. Daniels, Royal Navy, who survived the sinking of H.M.S. Warrior at the Battle of Jutland, 1 June 1916 1914-15 Star (Art. Eng. A. J. Daniells. R.N.); British War and Victory Medals (Art. Eng. A. J. Daniells. R.N.); Royal Navy L.S. & G.C., G.V.R., 1st issue (269428 A. J. Daniells, C.E.R.A. 2Cl, H.M.S. Antrim:) good very fine (4) £140-£180 --- A. J. Daniells was appointed Artificer Engineer in H.M.S. Black Prince on 2 January 1914, and transferred to H.M.S. Warrior on 27 October 1914. He served in Warrior during the Great War, and was present at the Battle of Jutland, 31 May 1916. At Jutland the armoured cruisers H.M.S. Defence and Warrior, part of the 1st Cruiser Squadron, were closing with the disabled German light cruiser Wiesbaden, when they came under concentrated fire from the battlecruiser Derfflinger and four battleships at less than 8,000 yards. Defence blew up and Warrior was heavily damaged and was only saved from from further punishment when the German ships switched their fire to the more tempting target in the form of the battleship Warspite whose steering had become jammed. Badly damaged, Warrior was able to make her way out of the battle zone and was eventually taken in tow by the seaplane carrier Engadine who took off her surviving crew. However, the ship could not be saved and she was abandoned the next day and subsequently foundered, with the loss of 70 lives. Daniells was one of the survivors- he subsequently served as an Artificer Engineer in H.M.S. Ossory, before being appointed Warrant Artificer in H.M.S. Midge in October 1919.

Pair: Chief Engine Room Artificer F. A. B. Haynes, Royal Navy, who during the Second World War served with the destroyer H.M.S. Wrestler and was awarded a Distinguished Service Medal for his involvement in the Malta Convoy Operation Harpoon British War Medal 1914-20 (M.26933 F. A. B. Haynes. B. Art. R.N.); Royal Navy L.S. & G.C., G.V.R., 3rd issue, coinage head (M.26933 F.A.B. Haynes. E.R.A. 2. H.M.S. Garry.) light contact marks, very fine (2) £100-£140 --- D.S.M. London Gazette 22 September 1942: ‘For bravery and resolution ... while escorting an important Convoy to Malta’ Frederick Arthur Boulton Haynes was born at Usk, Monmouth in June 1901. He enlisted into the Royal Navy in July 1917 and was posted to the mechanics' training establishment H.M.S. Indus as a Boy Artificer Second Class, remaining there until August 1920, and was awarded his Long Service and Good Conduct Medal in July 1934 while serving with the naval trawler H.M.T. Garry. Haynes served on the crew of the destroyer H.M.S. Wrestler throughout the Second World War, having attained the rate of Chief Engine Room Artificer. In July 1940, Wrestler was present at the attack on Mers-el-Kébir, where she rescued crews from the French battleship Strasbourg, which had been sunk by the Royal Navy. On 18 October 1940 she assisted in sinking the Italian submarine Durbo, east of Gibraltar. From July 1941 to April 1942 Wrestler was stationed at Freetown and was then transferred to the Malta Convoys as part of Force H and ‘Operation Harpoon’, for which he was awarded the Distinguished Service Medal. The ship later served as one of the naval escorts for ‘Operation Torch’. On 2 May 1942 she assisted in the sinking of the German submarine U-74 and then on 15 November 1942 single-handedly sunk the U-98. In 1943 Wrestler took part in ‘Operation Husky’ off Sicily until July that year, when she returned to Atlantic and Arctic convoy duties. On 6 June 1944, whilst participating in ‘Operation Neptune’, she was mined off Juno Beach, declared a total loss and later sold off as scrap.

Seven: Shipwright Artificer First Class E. A. White, Royal Navy 1939-45 Star; Atlantic Star, 1 clasp, France and Germany; Africa Star; Italy Star; War Medal 1939-45; Naval General Service 1915-62, 1 clasp, Near East (C/MX. 51213 E. A. White, Shpt. Art. 1. R.N.) official correction to rate; Royal Navy L.S. & G.C., G.VI.R., 2nd issue (MX 51213 E. A. White Shpt. Art. 2. H.M.S. Ganges) contact marks, very fine or better (7) £120-£160 --- Ernest Arthur White saw operational service during the Second World War and the Suez Crisis of 1956. He was awarded his Long Service and Good Conduct Medal in October 1951 while serving at the shore establishment H.M.S. Ganges, having attained the rate of Shipwright Artificer Second Class.

The Queen’s South Africa Medal awarded to ‘painter, etcher, raconteur and rifle-shot’, Mortimer Menpes, who accompanied the City of London Imperial Volunteers to the front during the Boer War as war artist for Black & White illustrated weekly magazine Queen’s South Africa 1899-1902, no clasp, (Mr. M. Menpes “Black & White.”) very fine £1,400-£1,800 --- Mortimer Luddington Menpes was born in 1855 at Port Adelaide, South Australia, the son of property developer James Menpes and was educated at John L. Young’s Adelaide Educational Institution, although his formal art training began at the School of Art in London in 1878 after his family had moved back to England in 1875 and settled in Chelsea. He first exhibited at the Royal Academy in 1880, and, over the following 20 years, 35 of his paintings and etchings were shown at the Academy. He met James McNeil Whistler on a sketching tour of Brittany in 1880 and became Whistler’s pupil, learning the etching techniques that were to become evident in much of his later work. In 1886 he stood as godfather to Oscar Wilde’s son and the following year, a visit to Japan led to his first one-man exhibition at Dowdeswell’s Gallery in London. In 1900, following the outbreak of war in the Transvaal, Menpes sailed to South Africa as a war artist for the weekly illustrated magazine Black & White, in which, on 3 February 1900, the following appeared: ‘Accompanying the City of London Imperial Volunteers to the front is an artist whose name is known the whole world over, because he is first of all an artist, and secondly a reporter of events. This is Mr. Mortimer Menpes, who is entitled to tag after his name a list of honours and titles of which few artists can boast. Mr. Menpes is the inventor of a process of colour etching, in which, to the sharpness and definition attained by the tools of the etcher, he has added the softness and brilliance of all the rich colours that may be laid on the painter’s palette. Mr Menpes will be able to send us from the front portraits of all the principal Generals and notabilities of the war.’ Menpes’ sketches from the campaign were subsequently transcribed by his daughter Dorothy Menpes and published by Charles Black of Soho Square in 1901 under the title ‘War Impressions, being a record in colour by Mortimer Menpes’. After the war Menpes travelled widely and and many of his illustrations were published in books again accompanied by text written by Dorothy. He painted in oil and watercolour as well as being a prolific printmaker, producing over 700 etchings and drypoints during his career to great acclaim. A definitive catalog raisonné of his printed works was published in 2012 which also included an extensive biography and his exhibition history. He died at Pangbourne in 1938. ‘Menpes, Mortimer, F.R.G.S.; painter, etcher, raconteur, and rifle-shot; inartistically born in Australia; war artist for Black and White in South Africa, 1900. Educ.: nominally at a grammar school in Port Adelaide, but really on a life scheme of his own. His career as a painter began when he was one year old; he is still a painter. He had held more one-man exhibitions in London than any other living painter: viz Japan, India, Mexico, Burmah, Cashmere, France, Spain, Morocco, Egypt, Venice, Beautiful Women, Beautiful Children, The War in South Africa, Venice, exhibitions of Black and White, and of Etchings in colour, thereby reviving a lost art. Publications: a whole series of etchings at different periods; Essays (one called the Actualists, a skit on the Impressionists); War Impressions, 1901; Japan 1901; World Pictures, 1902; World’s Children, 1903; The Durbar, 1903; Venice, 1904; Whistler as I knew Him, 1904; Brittany, 1905; Rembrandt, 1905; India, 1905; Thames, 1906; Sir Henry Irving, 1906; Portrait Biographies, Lord Roberts and Lord Kitchener. In the preparation of World Pictures he did the world in record time, being unsurpassed even by Jules Verne. Founder of the Menpes Press; Founder of the Menpes Great Masters, which are reproduced under his direction; Founder and Managing Director of the Menpes Fruit Farms, Pangboume.’ (Who’s Who, 1932) Sold together with a copy of Black & White magazine (cover loose), dated 3 February 1900, containing the above quoted reference to Menpes and his portrait picture; copy of Black & White magazine, dated 5 May 1900, cover loose; a quantity of copies of Menpes’ illustrations and sketches appearing in Black & White magazine during 1900; a letter from Menpes to a Mr Head, written from the Vicarage, Gorelstone in 1902, regarding a sold painting; other copied research and the following 8 hardback books: Deluxe Edition (No 86 of 350 copies and signed by Mortimer Menpes) of War Impressions, being a record in colour by Mortimer Menpes transcribed by Dorothy Menpes published by Adam & Charles Black Soho Square, London 1901, very good condition; another, standard 1901 edition, binding loose; Japan a record in colour by Mortimer Menpes transcribed by Dorothy Menpes published by Adam & Charles Black , Soho Square, London 1901, binding loose; World Pictures by Mortimer Menpes text by Dorothy Menpes published by A. & C. Black Soho Square London 1902; World’s Children by Mortimer Menpes text by Dorothy Menpes, published by Adam and Charles Black, London, 1903, 1st edition, Westbourne School Sheffield 1908 prize label inside front cover - awarded to Dorothy A. Nash, cover of spine weak; India by Mortimer Menpes text by Flora Annie Steel published by Charles Black Soho Square London, 1912 edition, ex public library, spine sun faded; Paris by Mortimer Menpes text by Dorothy Menpes published by Adam and Charles Black 1909, with partially torn dust jacket, inscribed inside front cover ‘with love and good wishes from all at Netherley, Xmas 1909’ Venice by Lonsdale and Laura Ragg illustrated by Mortimer Menpes, published by A. & C. Black Ltd. 4,5 & 6 Soho Square, London, 1916.

An interesting British War Medal awarded to Captain N. A. Rew, Royal Engineers, who post-War designed over 40 War Cemeteries for the Imperial (later Commonwealth) War Graves Commission British War Medal 1914-20 (Capt. N. A. Rew.) very fine £60-£80 --- Noel Ackroyd Rew was born in Streatham, South London, in 1880 and was educated at Berkhamsted School and the Slade School of Fine Art. An architect by profession, he attested for the Inns of Court O.T.C. on 7 February 1916, and was commissioned Second Lieutenant in the Royal Engineers on 21 October 1916. He served with the 93rd Field Company during the Great War on the Western Front, was appointed Adjutant (with the rank of acting Captain), and was gassed at Armentières, being removed to No. 7 General Hospital. Relinquisihing his commission on account of his wounds (the effects of gas had temporarily blinded him), he resumed his Architectural career, and was employed by the Imperial War Graves Commission. From 1919-28 Rew designed a total of 42 War Cemeteries in France and Belgium, including Hooge Crater Cemetery in Belgium, and Rancourt Military cemetery on the Somme. One of his best-known designs was for Orchard Dump cemetery in France, where he chose an attractive local stone for a rubble wall linking two shelter features. He died in 1971. Sold with copied research including details of the various C.W.G.C. Cemeteries that he designed.

A post-War C.B. group of eight awarded to Engineer Rear-Admiral J. E. Cooke, Royal Navy, who joined up as a fifteen year old Boy Artificer, was commissioned in 1923, served 15 months as Engineer Lieutenant in H.M.S. Hood, and was mentioned in despatches whilst Engineer Commander of the aircraft carrier Furious following her attack on the battleship Tirpitz in 1943 The Most Honourable Order of the Bath, C.B. (Military) Companion’s neck badge, silver-gilt and enamels, complete with full neck cravat; British War Medal 1914-20 (M.11328 J. E. Cooke. B. Art. R.N.); 1939-45 Star; Atlantic Star; Pacific Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Coronation 1953, the last seven mounted court-style as worn, good very fine (8) (8) £700-£900 --- C.B. (Military) London Gazette 9 June 1955: ‘Engineer Rear-Admiral, Portsmouth Dockyard.’ M.I.D. London Gazette 1 January 1945: ‘Engineer Commander, H.M.S. Furious.’ John Ernest Cooke was born at Bicester, Oxfordshire, on 7 April 1899, and joined the Royal Navy from school as a Boy Artificer, aged 15, in January 1915. After training, and over eight years service as a rating, ashore and afloat, in war and peacetime, he was promoted to commissioned rank in 1923. He held the rank of Engineer Lieutenant during his fifteen months’ service in the battleship Hood from 1927-28. Further service in destroyers, cruisers and the battleship Royal Oak, saw him promoted to Engineer Commander in 1936. The early years of the Second World War saw him serving ashore but, in 1943, as Chief Engineer of the aircraft carrier Furious, he was mentioned in despatches following her attack on the battleship Tirpitz. He was promoted to Engineer Captain in 1946, and to Engineer Rear-Admiral in 1953, one of very few former ratings to achieve such high rank. He retired in 1957, and in civilian life held several senior positions in industry, mostly in connection with ship building and ship repairing. He retired in 1964 and died in 1980 at R.N. Hospital, Haslar, aged 81.

David Farquharson [1840-1907]-A grey morning,:-signed and dated 1878 bottom leftoil on canvas, 34 x 44cm.* Provenance. Messum's Fine Art. A Century of British Painting. Exhibition 3.

Edward Seago 1950 book "Tideline" together with 3 Marlborough Fine Art, Edward Seago exhibition catalogues (4)

CLOVELLY, WATERCOLOUR, SIGNED ALFRED LEYMAN LOWER LEFT, 52CM X 35.5CM, GLAZED AND IN A MODERN GILT FRAME, ELFORD FINE ART OF YELVERTON GALLERY LABEL TO THE BACK

Aynsley Fine Art Collection hand painted and signed twin handled fox vase, H: 19 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)Condition Report: No cracks, chips or visible restoration.

Antonin (Tony) Bartl (1912-1998). Female study, pencil, signed and dated 1953, 36.5cm x 20.5cm. Provenance: Lot 25 Lincoln Fine Art sale 27th February 2013, Golding Young & Mawer sold for £280.

PENCIL SIGNED COLOUR PRINT OF A BUSY VILLAGE SCENE, SIGNED STURGEON WITH EMBOSSED FINE ART GUILD STAMP

A group of silver items comprising a cased set of four hallmarked silver bridge pencils, Birmingham 1997, each decorated with a suit from the deck of cards, a sterling silver swizzle stick, a silver backed Art Deco designed hand mirror and a silver backed brush.Additional InformationThe pencils are basically in good order, with minor surface wear. The swizzle stick works well, all component parts are present, is rather tarnished. The Art Deco mirror has no real dents, apart from a small one to the back, glass is fine, light surface wear and tarnishing throughout. The brush has quite heavy surface scratches and tarnishing throughout and a few losses to the edges of the brush itself.

'A HANDBOOK ON HANGING',1928, by Charles Duff, first edition, published by The Cayme Press Limited, 'A short introduction to the Fine Art of Execution, and containing much useful information On Neck-Breaking, Throttling, Strangling, Asphyxiation, Decapitation and Electrocution'Condition report: Small bump to cover, some foxing inside

THE DODO,a custom taxidermy creation from Black Dagger Fine Art natural history studio, feet and head cast from a preserved dodo specimen, mounted on a marble-topped breakfront plinth,50cm highCondition report: Generally excellent condition - see additional images

FOOSBALL TABLE,1930s, French, an Art Deco table football game, with metal figures in white and red jerseys, gloss black finish, with chromed details to the side, 167cm wide138cm deep93cm highCondition report: Good restored condition - see additional images. Table has been re painted at some point and also the players. The money slot has been amended so you dont need to add money for a game. See photos --- game working fine.

S R Badmin, watercolour, Welsh landscape, signed with Fine Art Society Exhibition label verso, 1933, image 17cm x 27cm, original frame and mount

A Chinese doucai 'dragon' jar and cover, Qianlong seal mark, late 19th/early 20th century, the ovoid body painted with two scaly dragons chasing 'flaming pearls' amidst ruyi shaped clouds and scrolling flames, all between a lappeted border encircling the foot and a 'bajixiang' border above a row of ruyi heads at the shoulder, rising to a short neck, the flat topped cover painted with a flaming pearl and ruyi shaped clouds, the base inscribed with an underglaze-blue reign mark, 20cm high, neck broken and gluedCONDITION: The neck is broken in several sections and messily re-glued. Occasional minor scratches to the glaze otherwise in good condition.cf. a similar design doucai 'dragon' jar without cover sold by Sotheby's Hong Kong, Fine Chinese Ceramics & Works of Art sale, 5 October 2011, lot 2111.

ORNAMENTAL GLASS AND CERAMICS, etc, to include Portmeirion hand painted vase, oversize wine glass, bowl, posy vases, etc, Southfields miniature part tea set, Royal Doulton Brambly Hedge Four Seasons plates and thimbles, Old Tupton Ware, Hornsea 'Fauna' posy vase, Royal Doulton HN102 Pekingnese dog, Shelley 8187 vase, Wade Bramble dish, Border Fine Art A0102 Pooh Lying Down, Sherratt and Simpson cats, etc

* JOHN G BOYD RP RGI (1940 - 2001), FLOWER PIECE oil on canvas, signed; further signed and titled verso 50cm x 50cm Framed and under glass. Provenance: Exhibited and acquired in 1996 at The Contemporary Fine Art Gallery, Eton. Labels verso and original sale ticket with price (£2000). Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.

* FYFFE CHRISTIE (BRITISH 1918 -1979), FIGURATIVE LANDSCAPE oil on paper, signed and dated 1978 verso 26cm x 29cm Mounted, framed and under glass. Label verso: Tom Bell Fine Art

Fine Art Tapestries rendition of Gustav Klimt's famous painting, "The Kiss", woven work of 100% cotton jacquard. Size: 50 1/2 x 31 in.

Andrew Dwight Kennedy (1862 - 1933) American artist from Ohio, Michigan. Country winter scene -Maine woods- signed lower right. Oil on canvas, minor flaking paint, as is condition. Exhibited at the Cleveland Museum of Fine Art in the 1920's. Overall size: 30 x 34 1/2 in. Sight size: 25 1/2 x 30 1/2 in.

Vu Cao Dam (1908 - 2000) Titled "Homecoming", color lithograph numbered 118/150, signed vu Cao Dam '62. Previously sold at Sotheby's. Vu Cao Dam was born in Hanoi in 1908 to a French-speaking and Francophile father. Raised in a scholarly universe, he joined the School of Fine Arts in Hanoi, founded in 1925 by the French painter Victor Tardieu. He accompanied the latter to the Paris International Exhibition in 1931 and discovered the world of Parisian art. Very influenced by the charms and culture of the City of Light, he travels through France, where he chooses to settle. First showing a keen interest in sculpture, which he practiced assiduously, it was finally in painting on silk that Vu Cao Dam expressed his immense talent. In these two fields, the artist focuses above all on the human figure, which he magnifies in portrait or in a charming genre scene. Combining with finesse the Asian and European pictorial traditions. Overall size: 26 x 32 in. Sight size: 20 x 25 in.

Gregory D. Ridley, Jr. (1925-2004) American artist from Tennessee. Abstract Oil on board, still life. Restored. Greg Ridley, born in Smyrna, TN, was an African-American artist and teacher. He moved with his family to Nashville, TN in 1936. After his service in the US Navy during WWII, he earned a degree in art education from Tennessee State University, and went on to become the first person of color to receive a master's degree in fine arts from the University of Louisville. Ridley also attended Fisk University (where he later worked), and where he studied under Aaron Douglas, the Harlem renaissance painter and muralist, who remained a close friend and mentor until his death in 1979. Ridley enjoyed a long career as a teacher at various Southern universities as well as the City University of New York. One of his last works was the creation of 80 copper panels for the Grand Reading Room of the Nashville Public Library, Nashville, Tennessee. Signed lower right. Overall size: 29 x 33 in. Sight size: 27 1/2 x 31 1/2 in.

Helen Bradley giclee print of Ouse near St Ives entitled 'Ouse Christmas Ducks' with fine art traders guild embossed stamp.

Two French Art Deco advertising pochoir prints, comprising After Edouard Halouze: 'La Vielle Fine, Flacons a Liqueurs de Mappin & Webb Ltd, 1 Rue de la Paix, Paris, Londres, Biarritz, Nice, Monte-Carlo', 19 by 13cm, and Articles de Fumeur de Grand Luxe, 1 Rue de la Paix, Mappin & Webb Ltd, Paris, Bijouterie - Orfevrerie, Londres, Nice, Monte-Carlo', 17.5 by 12.5cm, each mounted, glazed, and framed, both 49 by 42cm. (2) Provenance: Purchased Goldmark Gallery, Uppingham.

Joseph Edward Southall (British 1861 -1944), The Tarn at Albi, watercolour, monogrammed and dated 1929, Fine Art Society label verso, 36 x 29 cm

A William III textile sampler, a motto worked in coloured threads on fine linen, dated 1696, 10 by 19cm, framed with Ryman & Co, Fine Art Dealers, Oxford label verso

A Border Fine Art model of a duckling and a frog, together with 5 other similar models

Various collectible ceramics to include a Doulton stoneware vase of bulbous form, depicting birds amongst clouds and trailing acanthus leaves, designed by William Rowe, height 20cm, a Noritake dessert bowl and six dishes with gilt and blue borders, castle and moat decoration to the centre, a studio pottery green lustre glaze biscuit barrel and small bowl by 'The Gallery, The Square, Great Ecclestone' and a large Art Deco Clarice Cliff 'Bizarre' pattern vase with coiled rope decoration (11). CONDITION REPORT The Clarice Cliff vase has an old 3-inch crack from the top of the rim. The biscuit barrel with minor nibbles and tiny chips. The small bowl rings true. The Doulton appears fine, no visible cracks or repairs. The large Noritake dish has a rim chip to the underside.

A 10ct white gold link fine chain with an Art Deco style diamond-set pendant, a pair of white metal pear-shaped drop earrings set with small white stones, combined approx 1.6g (2).

§ JUNO CALYPSO (BRITISH 1989-) SENT OFF - 2019 Photographic print on Hahnemule 315gsm Fine Art Paper, 28/50, signed and numbered in ink to margin(the sheet 42cm x 29.5cm (16.5in x 11.5in), unframed)Footnote: Note: Calypso made this series of work for a group exhibition at J Hammond Projects North London to celebrate the Women's World Cup in 2019.

§ DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) STILL-LIFE WITH MORTADELLA Signed and dated '56, gouache(46cm x 59cm (18in x 23.25in))Footnote: Provenance: Cyril Gerber Fine Art

Carter (Matthew). Honor rediviuus [sic] or an Analysis of Honor and Armory, 1st edition, London: printed by E[llen] Coates, 1655, signatures a4 B-F8 G4, A-E8 F4, F4-8 G-K8 L6, [8] 88, 84 87-9 [1], 87-171 pp., engraved frontispiece, engraved title-page by Richard Gaywood, 7 engraved costume plates, woodcut coats of arms in the text, small hole at foot of B8 just clipping text, small tear in E6 touching headline, contemporary panelled calf gilt, 8vo, together with: Schoonebeek (Adrien). Histoire de tous les ordres militaires ou de chevalerie, 2 volumes, 1st edition in French, Amsterdam: H. Desbordes, P. Sceperus and P. Brunel, 1699, signatures *-2*8 3*4(+1) A-S8; 2A-2X8 2Y2, engraved title-page to each volume, numerous full-page engravings throughout (counted in the pagination and register), volume 1 lacking letterpress title-page (signature 2A1), a few marks and stains, hole in volume 1 leaf Q1, ownership inscriptions of English herald and antiquary Peter Le Neve (1661-1729; 'Petri Le Neve Norroy') to engraved title-pages, bookplates of English naturalist and collector William Constable FRS FSA (1721-1791), contemporary mottled tan sheep, rubbed, joints splitting superficially but remaining firm, 8vo (15.5 x 9.3 cm), Charles I. Eikon basilike [graece], [London]: [Thomas Newcomb], 1648, engraved folding frontispiece (with misprint 'Mundn' for 'Mundi'), final blank (N4) discarded, title-page closely trimmed at foot shaving part of date, closed tear in G3, endpapers renewed and bearing 19th-century ownership inscriptions, gilt gauffered edges, contemporary calf, rebacked with original spine laid down, 12mo (14.4 x 7 cm), Gyllius (Petrus). De Constantinopoleos topographia libri IV, Leiden: ex officina Elzeviriana, 1632, engraved title-page, blanks discarded, light browning, leaf 2A2 bottom line and 2A7 catchword shaved, 18th-century bookplate of William Massey of St John's College, Cambridge, contemporary vellum, 24mo (10.2 x 5.4 cm)Qty: (5)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Colas 2687 (Schoonebeek); ESTC R173407 (Carter); Madan 7 (Charles I); Willems 367 (Gyllius); cf. Lipperheide 1898 (Schoonebeek, first edition, in Dutch, 1697). Rare variant of Carter's work, with the imprint simply reading 'printed by E. Coates', with 'Sould by Thomas Heath in Covent garden, and Henry Herringman at the Ancker' omitted; ESTC traces six copies only for the present version.

Heauville (Louis Le Bourgeois, sieur d'). Catechisme en vers, dédié à Monseigneur le Dauphin, 1st edition, Paris: Frédéric Leonard, Impr[imeur] du Roy, 1669, [14] 131 [9] pp., engraved arms to title-page, woodcut head- and tailpieces and initials, slightly browned, a few marks, gift inscription to initial blank ('Pour Mademoiselle le Vaché, donné à Mlle Mordieu, il lui apartient [sic]'), contemporary red goatskin gilt, French royal arms to covers within French fillet frames gilt, wear to joints and tips, joints cracked at ends, 12mo signed in alternate fours and eights (13.2 x 7.4 cm)Qty: (1)NOTESProvenance: 1) Eugène Viollet-le-Duc (1814-1879), with his book-label 'Ex libris Viollet Le Duc' to front pastedown, and doubtless the same copy as that described in Viollet-le-Duc's catalogue of his library, Catalogue des livres composant la Bibliothèque poétique de M. Viollet-le-Duc (1843, p. 574). 2) Hester Swift (modern bookplate). 3) Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. The author is described on the title-page as the abbé de Chantemerle.

Burnet (Gilbert). Bishop Burnet's History of His Own Time, 2 volumes, 1st edition, London: Thomas Ward [-for Thomas Ward], 1724-34, contemporary sprinkled calf, spines gilt with insect devices, red and green labels, rubbed, some wear, joints partially cracked but firm, folio (34.8 x 22.8 cm)Qty: (2)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. ESTC T144689. Annotated by the editor 'The original manuscript of both volumes of this his History will be deposited in the Cotton library by T. Burnett' on the verso of the title-page to volume two.

Gell (Sir William). The Itinerary of Greece; containing One Hundred Routes in Attica, Boeotia, Phocis, Locris, and Thessaly, 1st edition, London: Rodwell and Martin, 1819, engraved folding map frontispiece, toning, a few marks, contemporary half calf, label renewed, 8vo (18.6 x 10.8 cm)Qty: (1)NOTESProvenance: 1) Robert Finch (1783-1830), antiquary, connoisseur of the arts, and 'pretentious ass' (ODNB), with his bookplate; bequeathed by him to the Taylor Institution, University of Oxford (relevant bequest label and deaccession stamp to front pastedown). 2) Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Blackmer 664. Uncommon. 'The work is not to be confused with Gell's Itinerary of Greece, 1810, which is a description of the Argolid only' (Blackmer).

[Brontë, Charlotte]. Villette. By Currer Bell, 3 volumes, 1st edition, London: Smith, Elder & Co., 1853, [4] 324, [4] 319 [1], [4] 350 pp., bound without publisher's advertisements, no half-titles called for, toning, a little finger-soiling to lower margins, a few old marks and stains, a few nicks to bottom edges, top edges gilt, near-contemporary red half morocco, spines gilt in compartments, wear to headcaps and corners, 8vo (19.4 x 11.9 cm)Qty: (3)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Sadleir 342; Wolff 828.

Pissarro (Ludovic Rodo & Lionello Venturi). Camille Pissarro, son art- son oeuvre, Catalogue Raisonné, 2 volumes, 1st edition, San Francisco: Alan Wofsy Fine Arts, 1989, numerous black & white illustrations, uniform original cloth in dust jackets, volume 2 spine lightly rubbed to foot, large 8vo, together with; Duret (Théodore), Histoire de Édouard Manet et de son oeuvre, Paris: Librairie Charpentier et Fasquelle, 1906, 12 black & white illustrations, some toning throughout, contemporary quarter morocco to marbled boards, boards & spine slightly rubbed, 8vo, and Krumrine (Mary Louise), Paul Cézanne, The Bathers, 1st edition, New York: Museum of Fine Arts, 1989, original cloth in dust jacket, large 4to, plus others on French Impressionism and Post-Impressionism, including Gaugin, Henri Fantin-Latour, Cezanne, Rodin, Toulouse Lautrec, some original cloth in dust jackets, some paperback editions, 8vo/4toQty: (54)

Verve.The French Review of Art, Numbers 5-6, July-October 1939, 7, April-July 1940, and 8, September-November 1940, colour lithographs after Braque, Rouault, Bonnard, Matisse and Klee to first volume, colour lithograph after Bonnard to third volume, numerous tipped-in colour plates and monochrome illustrations to each volume, first volume with colour lithograph cover design by Maillol, chipped with some wear to spine, with a little loss, second volume (Les Tres Riches Heures du Duc de Berry) with remains of glassine overwrapper, third volume with colour lithograph design to covers by Matisse (torn and frayed with some loss to spine and rear cover), folio, all contained in publisher's original card slipcase, somewhat soiled and worn, together with: Ribbed Vision, A Poem, Robert Vas Dias, Lithographs Jack Bosson, New York, 1963, three uncoloured lithographs by Jack Bosson, each signed and dated, and numbered 97/150, original boards stitched as issued, large slim folio, limited edition 97/150, signed by both poet and artist, plus: Joanne Harris, Rainy Days and Mondays, Pictured by Graham Ovenden, Ruralist Fine Art & Frogspawn, 2006, colour giclee illustrations throughout, original light blue cloth gilt, folio, limited edition 4/55, signed by author and artist, and other artists' illustrated books, including St. Paul's Epistle to the Romans, Rome, Giovanni and Martino Mardersteig at the Stamperia Valdonega, 1977, with colour frontispiece by Renato Guttuso, top edge gilt, remainder rough-trimmed, original quarter vellum, folio, with card slipcase, limited edition 30/150, Andreas Felger & Martin Gutl, Du bist Abraham, Prasenz-Verlag/Verlag Styria, 1977, with woodcut illustrations by Andreas Felger, original cloth in dust wrapper and plain card slipcase, oblong 4to, limited edition 37/150, signed by the artist and authorQty: (17)

Dictionary of National Biography. Dictionary of National Biography, 70 volumes, 1st edition, London: Smith, Elder, & Co., 1885-1904, including the Supplement (3 volumes), Second Supplement (3 volumes) and Errata (1 volume) but without the Index volume, all in original brown cloth, 8vo together with the 20th-century instalments including 'Missing Persons', 10 volumes, Oxford: Oxford University Press, 1927-1993, original dark blue cloth, 8voQty: (80)NOTESProvenance: 1) Frederick E. Ellis (1919-2010), American educationalist (bookplates); 2) Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015.

* Killigrew (Sir Thomas, 1618-1682, subject). [Portrait of Sir Thomas Killigrew as a pilgrim], c.1680, mezzotint on laid paper, unsigned, engraved quotation in lower margin 'You see my Face, and if you'd know my Minde/Tis this: I hate my self, and all Mankinde', mounted, framed and glazed (not examined out of frame), visible area 34.5 x 24.5 cmQty: (1)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. O'Donoghue, Catalogue of Engraved British Portraits: Preserved in the Department of Prints and Drawings in the British Museum, II p.695 no. 8 (unattributed; a proof, without the distich in the the lower margin). Killigrew was a dramatist, theatre director, page of honour to Charles I, and groom of the bedchamber to Charles II. The catalogue of the Pepys Library in Cambridge, however, identifies the sitter as Abraham Simon (1617-1692), medallist. In the first edition of the Dictionary of National Biography (1892) the portrait is attributed to William Faithorne (vol. 31, p. 144).

* Reynolds (Sir Joshua). [His Grace the Duke of Bedford with his Brothers Lord John Russell, Lord William Russell, and Miss Vernon], London: Walter Shropshire, No. 158 New Bond Street, 1 May 1778, mezzotint by Valentine Green after Sir Joshua Reynolds on laid paper, proof before letters but with scratched production and publication detail, damp-stain and apparent repair to lower margin on right, mounted, framed and glazed (not examined out of frame), plate size 51.5 x 43.4 cm, good marginsQty: (1)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Hamilton, Catalogue Raisonné of the Engraved Works of Sir Joshua Reynolds ... from 1755 to 1820, p. 6.

* Illuminated Miniature. Flight into Egypt, Illuminated miniature on a leaf from a Book of Hours, northern France, circa 1480, illuminated miniature on vellum, 175 x 122 mm (leaf), in blue, green, pink, yellow and red, and liquid gold, depicting Joseph leading the ass carrying the Virgin and Child in a predominantly green landscape and blue sky, with trees, plants and rocks, and the Miracle of the Corn, with 4 lines of text below written in brown ink in a fine gothic liturgical hand, ruled in red, 3-line initial with foliate infill, 2 one-line initials, and panel border incorporating foliate scrolls on hairline stems, verso with 8 initials (one 2-line, the rest one-line), mountedQty: (1)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. The text is from Psalm 69, the beginning of Vespers in the Hours of the Virgin: Deus, in adjutorium meum intende; Domine, ad adjuvandum me festina (O God, make speed to save me, O Lord, make haste to help me).