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Two bottles of port. Comprising one bottle of Allesverloren 1991 and one bottle of Taylors select reserve, unboxed, 75cl, 20% vol.

A 19th century coloured print of Royal Cinque Port Yacht Club, start for the race from Dover to Boulogne, unsigned, 34cm x 25cm, framed

Arthur Spencer Roberts (1920 - 1997), rhino in the bush under Mount Kilimanjaro, oil on canvas, signed, 91cm x 121cm, framed, provenance: from family of artist, previously exhibited at Port Lympe Zoo in Spencer Roberts Room, sold together with book by artist's wife with picture on coverGood condition, some small surface dirt marks to canvas

Calem Special Reserve Port, 1 bottle

John Hamilton Glass (Scottish, 1820-1885) - Three watercolours, coastal scenes - 'A Port on the Maas', 'On Zider Zee', and 'A Port in North Holland', 23cm x 35cm and 35cm x 22.5cm, Peter Sands Fine Paintings label verso, framed under glass (3)

A bottle of 1980 Bas-Armagnac Chateau De Montel, boxed; bottle of Grand Marnier and a bottle of Dow's Reserve Port (3)

A painted galvanised and brass mounted ships port light by Meteorite with internal oil fitment 22" high

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), PORT BANNATYNE, ISLE OF BUTE oil on canvas, signed, titled and dated 2001 versoframed and under glassimage size 61cm x 61cm, overall size 84cm x 84cm Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison. In The Scottish Contemporary Art Auction of 28th September 2023 lot 38 LEE SHORE - NO LANDING ON STAFFA, sold for £8000 (hammer) setting a new auction record for a painting by John Lowrie Morrison.

* JAMES WATT RGI (SCOTTISH 1931 - 2022), UNTITLED oil on board, signedmounted and framed (frame slightly loose)image size 38cm x 58cm, overall size 59cm x 79cmNote: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.

* IRENE LESLEY MAIN (SCOTTISH 1959 - 2023), SAN GIMIGNANO, ITALY watercolour on paper, signed and titled mounted, framed and under glassimage size 21cm x 12cm, overall size 52cm x 39cm Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship, and in Italy. She travelled extensively throughout Europe, America and Africa and exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. She was a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and had studios in Glasgow, Athens and Brodick, Isle of Arran. Lesley Main was strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpinned her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, the late Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.

* IRENE LESLEY MAIN (SCOTTISH 1959 - 2023), SAUCHIEHALL STREET, GLASGOW watercolour on paper, signed and titled mounted, framed and under glassimage size 12cm x 22cm, overall size 33cm x 44cm Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship, and in Italy. She travelled extensively throughout Europe, America and Africa and exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. She was a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and had studios in Glasgow, Athens and Brodick, Isle of Arran. Lesley Main was strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpinned her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, the late Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.

SEVENTEEN VICTORIAN FRAMED PRINTS OF LOCAL INTERESTscenes of Greenock, Port Glasgow, Dumbarton, Loch Katrine, Skelmorlie Castle, Loch Lomond, Inverkip, all glazed and framed, various sizes

Vintage Port, Grahams, 2012, 20% vol, 75cl, one bottle and Trinity College Fine Old Wood Port, ruby, 20% vol, 75cl, one bottle, (2).

Vintage Port, Delaforce & Sons, 1977, imported by Rawlings Voight Ltd, ten bottles in original wooden case.

Moët & Chandon, Champagne Millésime Blanc, 1999, in sealed box, one bottle, Moët & Chandon 1976 Brut Imperial, two bottles (seepage) and Graham's LBV Port 1996, one bottle, with others.

A copper and brass port/starboard bow mast lamp with split red/green glass and sliding double-burner, 23cm high.

Brandy Madeira, 19%, 75cl, in carton, one bottle, Dowes Christmas Reserve Port, 20%, 75cl, one bottle, Cork Dry Gin, 38%, 700ml, one bottle and other spirits and wines.

These are three rosters received at the New York Mets spring training camp in Port St. Lucie and signed by several of the players. Issued: 1992Dimensions: 4"L x 9"HCondition: Age related wear.

A pair of hardstone pendent earrings, circa 1950 Each agate sphere contained within a segmented cap, suspending a curb-link tassel, post fittings, length 4.3cm From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descentYolette Leconte Magloire was First Lady of Haiti from 1950 to 1956. She was a direct descendant of Jean-Jacques Dessalines (1758-1806), the former slave who ultimately became leader of the Haitian Revolution, founder and leader of an independent Haiti. At just 19 years old, Yolette Leconte married Paul Eugene Magloire (1907-2001) who would become the 30th President of Haiti. The election in 1950 was the first in the nation's history where all adult males had a right to vote. After gaining office, Magloire oversaw women's suffrage being granted. During his presidency, Haiti became one of the most popular Caribbean destinations for American and European tourists. Magloire and Leconte emphasised public works and cultural projects during this time. In 1951, the Madame Paul E. Magloire Foundation was created to establish two solid educational and professional training institutions for young girls in Haiti, L'ecoles des arts menagers of Saint Martin and Cap-Haitien. Yolette Leconte Magloire was also known for her charity banquets and balls, the proceeds of which were used to fund hospitals and orphanages.  Magloire's anti-communist position helped create close ties with the U.S. In early 1955, Leconte and Magloire were invited on a State Visit to Washington D.C. They were welcomed by then Vice President Richard Nixon and were received by President Eisenhower at the White House.  Also see lots 149-167. These earrings are clearly visible in a portrait of Yolette Leconte Magloire done by the African-American artist Lois Mailou Jones (1905-1998), an important figure in the Harlem Renaissance movement. Her connection with Haiti developed through her husband, Louis Vergniaud Pierre-Noel, who was a prominent Haitian artist whom she meet while they were both studying at Columbia University, New York. Already an established artist, in 1954 she was a guest professor at the Centre D'Art and Foyer des Artes Plastiques in Port-au-Prince, Haiti. While there, she was invited by the Haitian government to capture the local people and the country's landscapes through her painting. She completed over forty two paintings there, which became representative of her most well known works. Yolette Leconte Magloire sponsored Jones' exhibition Oeuvres des Loïs Mailou Jones Pierre-Noël where the breadth of her work was shown. The portrait of Leconte featuring these earrings as well as the bracelet (lot 149) was one of a pair, the other being of her husband President Paul Magloire and was actually commissioned by US President Dwight D. Eisenhower in 1955. Painting reproduced with thanks to the family. 

A fancy-link gem-set charm bracelet, circa 1950 The elaborate oval interwoven links with coiled and floral details, suspending a large orb charm with various gemstones, including citrine, coral corallium rubrum, amethyst and turquoise, all in pinched collect closed-back settings, Italian assay marks, lengths: charm 4.2cm, bracelet 19.8cm From the Private Collection of Yolette Leconte Magloire (1917-1981). Hence by descentYolette Leconte Magloire was First Lady of Haiti from 1950 to 1956. She was a direct descendant of Jean-Jacques Dessalines (1758-1806), the former slave who ultimately became leader of the Haitian Revolution, founder and leader of an independent Haiti. At just 19 years old, Yolette Leconte married Paul Eugene Magloire (1907-2001) who would become the 30th President of Haiti. The election in 1950 was the first in the nation's history where all adult males had a right to vote. After gaining office, Magloire oversaw women's suffrage being granted. During his presidency, Haiti became one of the most popular Caribbean destinations for American and European tourists. Magloire and Leconte emphasised public works and cultural projects during this time. In 1951, the Madame Paul E. Magloire Foundation was created to establish two solid educational and professional training institutions for young girls in Haiti, L'ecoles des arts menagers of Saint Martin and Cap-Haitien. Yolette Leconte Magloire was also known for her charity banquets and balls, the proceeds of which were used to fund hospitals and orphanages.  Magloire's anti-communist position helped create close ties with the U.S. In early 1955, Leconte and Magloire were invited on a State Visit to Washington D.C. They were welcomed by then Vice President Richard Nixon and were received by President Eisenhower at the White House.  Also see lots 150-167. This bracelet is clearly visible in a portrait of Yolette Leconte Magloire done by the African-American artist Lois Mailou Jones (1905-1998), an important figure in the Harlem Renaissance movement. Her connection with Haiti developed through her husband, Louis Vergniaud Pierre-Noel, who was a prominent Haitian artist whom she meet while they were both studying at Columbia University, New York. Already an established artist, in 1954 she was a guest professor at the Centre D'Art and Foyer des Artes Plastiques in Port-au-Prince, Haiti. While there, she was invited by the Haitian government to capture the local people and the country's landscapes through her painting. She completed over forty two paintings there, which became representative of her most well known works. Yolette Leconte Magloire sponsored Jones' exhibition Oeuvres des Loïs Mailou Jones Pierre-Noël where the breadth of her work was shown. The portrait of Leconte featuring this bracelet as well as the earrings (lot 150) was one of a pair, the other being of her husband President Paul Magloire and was actually commissioned by US President Dwight D. Eisenhower in 1955. Painting reproduced with thanks to the family. 

Schiffschronometer mit 56 h Gangreserve "W. Bröcking Hamburg N° 650". Wilhelm Bröcking. Um 1890. Hamburg. H 19 cm, Ø 11,7 cm. 3,9 kg. Ungemarktes Werk mit Chronometerhemmung, Kette und Schnecke, Schlüsselaufzug. Läuft an. Werkabdeckung und Gehäusetopf nummeriert 564 und 864. Versilbertes Ziffernblatt mit römischen Zahlen, Minutenkranz, kleiner Sekunde, AUF/AB-Anzeige und Blattzeigern. Gehäusetopf und kardanische Aufhängung, Arretierung und Schrauben aus Messing. In Mahagoni-Holzkiste mit Doppel-Klappdeckel und Verglasung, seitliche Tragegriffe, frontseitige Messingplakette bezeichnet, innen Reste eines Klebe-Etiketts "Chronometer-Observatorium Herm. Diedrich, Geestemünde [...]". Leichte Alters- und Gebrauchsspuren. Mit Schlüssel. Wilhelm Bröcking (1834 - 1897 Hamburg): Deutscher Uhr- und Chronometermacher, Lehre beim Chronometermacher Malmsjö in Göteburg, arbeitete u.a. bei Henry Delome in London, Th. Winnerl in Paris. 1862 Übernahme des väterlichen Geschäfts in Hamburg zusammen mit seinem Vetter Julius Bröcking. Bau von Präzisionsuhren, Taschen- und Marinechronometern, Sextanten, Kompassen und anderen nautischen Instrumenten. Ab 1883 Uhrmacher und Berater der neu gegründeten Deutschen Seewarte Hamburg, verantwortlich für den elektrischen Impuls zur Auslösung des Zeitballs im Hamburger Hafen zwecks Abstimmung der Zeitmessung auf Schiffen. 1885 Übernahme der Hamburger Vertretung von Vacheron & Constantin. Erbauer der Normalzeituhr an der Börse Hamburg, die bis 1972 dort die Zeit anzeigte. Aufrufzeit 23. | Okt. 2024 | voraussichtlich 16:43 Uhr (CET)Schiffschronometer with 56 h power reserve "W. Bröcking Hamburg N° 650". Wilhelm Bröcking. Around 1890. Hamburg. H 19 cm, Ø 11.7 cm. 3.9 kg. Unmarked movement with chronometer escapement, chain and fusee, keywind. Runs on. Movement cover and case pot numbered 564 and 864. Silver-plated dial with Roman numerals, minute ring, small second, UP/DOWN indication and leaf hands. Case pot and gimbal suspension, locking mechanism and screws made of brass. In mahogany wooden case with double hinged lid and glazing, carrying handles on the sides, brass plaque inscribed on the front, remnants of an adhesive label inside "Chronometer-Observatorium Herm. Diedrich, Geestemünde [...]". Slight signs of age and wear. With key. Wilhelm Bröcking (1834 - 1897 Hamburg): German clock and chronometer maker, apprenticed to chronometer maker Malmsjö in Gothenburg, worked for Henry Delome in London, Th. Winnerl in Paris and others. 1862 took over his father's business in Hamburg together with his cousin Julius Bröcking. Construction of precision clocks, pocket and marine chronometers, sextants, compasses and other nautical instruments. From 1883, watchmaker and advisor to the newly founded German Naval Observatory in Hamburg, responsible for the electrical impulse for triggering the time ball in the port of Hamburg to synchronize timekeeping on ships. 1885 Took over the Hamburg agency of Vacheron & Constantin. Builder of the standard time clock at the Hamburg Stock Exchange, which displayed the time there until 1972. Recall time 23 | Oct. 2024 | probably 16:43 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

HOLLANDER, Gino F.(1924 Newark - 2015 New Port Beach) BildnisAcryl/Leinwand. Rechts unten signiert, verso signiert. (19)75. 50 x 76 cm. Gerahmt : 54,5 x 80,5 cm (Silberrahmen). Amerikanischer Maler, tätig in New York, später ansässig in Spanien. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 20:05 Uhr (CET) HOLLANDER, Gino F.(1924 Newark - 2015 New Port Beach) PortraitAcrylic/canvas. Signed lower right, signed on verso. (19)75. 50 x 76 cm. Framed : 54.5 x 80.5 cm (silver frame). American painter, active in New York, later based in Spain. Call time 26 | Oct. 2024 | probably 20:05 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Michael David Barnfather (British, b.1934), Landscape near Port Leven, signed, dated ‘64, oil on board, 46cm x 121.5cm, label to verso.

Follower of Claude-Joseph Vernet (1714-1789)  “Fishing Port beneath Cliffs  c 1750,” O.O.C., 104cms x 159cms (41” x 59”). (1)   A lively conversation piece, Fishing Port beneath Cliffs is a painting full of activity and incident, with sailors, fishermen and townsfolk bustling about on the foreshore of a fishing port. Although a decorative and picturesque ‘veduta’, the painting also depicts activities vital to the economic survival of a fishing port. The beach is a hive of activity, with boat being launched, and nets being trawled, or drawn up onto the sand.  The main activity takes place in the foreground, where, watched by onlookers, men pull a seine net onto dry land. Scattered around on the beach are barrels, nets and anchors. Baskets with fish are laid out, with buyers and sellers gathered around. In the distance, beneath cliffs, are improvised tents and sunshades. Smoke rises from a camp fire, over which a cooking pot has been suspended. Steps, doors and windows are carved into the cliff face, providing homes for the fishing community. On the cliff tops can be seen towers and fortifications. To the right--evoking the palace of Diocletian at Split--large arches with buttresses provide shelter for boats. What looks initially like a pentimenti—the prow of a fishing craft on the shore—is in fact the shadow of a boat, partly obliterated through centuries of cleaning and re-varnishing. Many elements in this painting point to Claude-Joseph Vernet, a French eighteenth-century artist famed for his Claudean port and coastal scenes of Naples, and the Amalfi Coast, into which he wove imaginative elements such as castles, cliffs and headlands. The figures, boats, towers, cliffs, and lighting in this work are all reminiscent of Vernet, and as the painting is of good quality, it is likely to be by a follower of his, or possibly from his studio. Dr. Peter Murray, 2024

19th Century Irish School "Landscape with Mill Buildings, c. 1840," O.O.C., in gilt frame, 70cms x 90cms (27 1/2" x 35 1/2"). (1) Set beside a river and weir, and nestling below a mountain range, this complex of mill buildings has not been positively identified. Nor is the identity of the artist known, but as the style is naif, it is likely by a journeyman painter of the mid nineteenth century. The range of buildings depicted is extensive, with the older watermills on the right, and newer ones, powered by steam engines, on the left. On the extreme left is a building which looks like a military barracks. Overhead, fluffy clouds spin across a pale blue sky. Although the mountains in the distance are devoid of vegetation, there is woodland growth on the lower slopes. A grove of trees has been planted at the edge of the field behind the mills, the perimeter being marked by three gates and reached by a winding road leading from the factory complex. According to tradition, the painting, which dates from around 1840, depicts a view in County Waterford, but the layout of buildings and chimneys does not accord with well-known mills such as those at Portlaw or Kilmacthomas. However, at nearby Clonmel, in County Tipperary, a complex of mills on Suir Island holds more promise. Set between the river and a canal, the principal mill building survives today and has been converted into apartments. Its architecture corresponds with the main building depicted in the painting. On Stretches Island, close to Suir Island, another large mill survives today. The painting locates the mill complex in the countryside, with fields in the background and mountains in the distance. While a degree of artistic licence can be allowed, mid-nineteenth century OS maps do indeed confirm that the area south of the River Suir was rural at that time: the town of Clonmel grew rapidly during the course of the century. Historically, the mills on Suir Island included a tannery and flour mills. One fifth of all flour exported from Ireland came from one mill in Clonmel, with much of it being transported down the River Suir to the Port of Waterford. From the late eighteenth century onwards, but particularly during the famine years of 1843-47, there were food riots in Clonmel, with mills and grain stores being attacked. Given the importance of the flour industry, it was inevitable that there would be a constant threat of attack on flour carts and barges. The army was called upon to provide protection for convoys heading to Waterford by river and road; and so the presence of the barrack-like building in the painting makes sense. If the painting does indeed depict Suir Island in Clonmel, sadly very few of the buildings depicted survive today; the area behind the principal building is now a large car park.

Frank Myers Boggs (American/French, 1855-1926) The port of Le Havre Oil on canvas Signed lower left Provenance: Arthur Tooth and Sons, London Dimensions: (Frame) 21.25 in. (H) x 27.75 in. (W)  (Canvas) 16.5 in. (H) x 23.5 in. (W)

WWII The Sinking of the Scharnhorst 26 December 1943 multi signed FDC includes veterans Lieutenant A Crammer RN,Surgeon Commander DL Thomas RN and Lord Abbots Hay . Pm Port Stanley 8 Dec 94 Falkland Islands. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

WWII The Sinking of the Scharnhorst 26 December 1943 multi signed FDC includes veterans Fregattenkapitän Erich Topp, Lieutenant A Crammer RN,Surgeon Commander DL Thomas RN and Lord Abbots Hay . Pm Port Stanley 8 Dec 94 Falkland Islands. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

WWII The Sinking of the Scharnhorst 26 December 1943 multi signed FDC includes veterans Kapitanleutenant Siefried Koitschka,Lieutenant A Crammer RN,Surgeon Commander DL Thomas RN and Lord Abbots Hay . Pm Port Stanley 8 Dec 94 Falkland Islands. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

PORT CHARLOTTE PC11 EORNA NA HA-ALBA ISLAY SINGLE MALT One of 12,000 bottles released59.5% ABV / 70cl Given Islay’s peaty reputation, the assumption might be that the islanders themselves favour big smoky whiskies. However, it’s actually Bruichladdich with its traditionally unpeated style that has earned the reputation as the local favourite. It’s only relatively recently that the distillery has dabbled in peated whisky with their Port Charlotte range, as well as the ultra-heavily peated Octomore releases.

4 GLENMORANGIE MINIATURE GIFT PACKS HIGHLAND SINGLE MALT Lasanta - 46% ABV / 10clQuinta Ruban - 46% ABV / 10clNectar D'Or - 46% ABV / 10cl2 x 10 Year Old - 40% ABV / 10cl2 x 10 Year Old - 40% ABV / 5cl2 x Port Wood Finish - 43% ABV / 5clWith branded tasting glass Qty: 4 Famous for their unique stills, each as tall as an adult giraffe, and their passion for innovation, Glenmorangie remains one of the best-selling single malts in the world. They were one of the first distilleries to experiment with cask finishing; the process of transferring spirit from one cask type to another in order to impart additional characteristics and flavours. To further this agenda of innovation, in September of 2021 Glenmorangie began production at their new “Lighthouse” facility, a futuristic R&D department protruding from the heart of their traditional distillery complex like a monolith from 2001: A Space Odyssey. Off limits to the public, it is home to a “sensory lab” as well as two of Glenmorangie’s signature stills, each of which plays host to several classified modifications. Only time will tell what exciting innovations will filter down to the rest of the industry.

BUNNAHABHAIN 1978 30 YEAR OLD MURRAY MCDAVID MISSION ISLAY SINGLE MALT Distilled: 1978Aged in a combination of Sherry & Port casksBottle Number: 289 / 57353% ABV / 70cl Purpose built in 1881 by William Baxter, Bunnahabhain distillery on the northeast coast of Islay featured housing for its workers, as well as its own pier for ease of transporting whisky and materials to and from the mainland. As with most distilleries, much of its life was spent producing blending stock, but in the late 1980s it began to appear as a single malt. Initially this single malt output was mostly sherry matured and so lightly peated as to be barely perceptible, placing Bunna’ firmly in the minority of Islay whiskies. However, since its takeover by Distell in 2013 around 20% of the spirit produced there is now heavily peated, with these expressions bearing the name “Moine” (the Gaelic word for peat).

CAMERONBRIDGE 1978 40 YEAR OLD DOUGLAS LAING XOP SINGLE GRAIN Distilled: January 1978Bottled: March 2018Matured in refill barrel #12430Bottle Number: 32 / 21152.8% ABV / 70cl The Diageo owned Cameronbridge distillery boasts to be the largest grain distillery in Europe. Not only producing liquid for Diageo's many famous blends, including Johnnie Walker and Old Parr, but also for the standalone Cameronbrig and Haig Club brands. It underwent a big expansion in the early 2010s to fill the vacuum in production caused by the closure of Port Dundas distillery.

PORT CHARLOTTE 2010 PC6 CUAIRT-BEATHA ISLAY SINGLE MALT Distilled: 2001Bottled: 2007Bottle Number: 5995 / 1800061.6% ABV / 70cl Given Islay’s peaty reputation, the assumption might be that the islanders themselves favour big smoky whiskies. However, it’s actually Bruichladdich with its traditionally unpeated style that has earned the reputation as the local favourite. It’s only relatively recently that the distillery has dabbled in peated whisky with their Port Charlotte range, as well as the ultra-heavily peated Octomore releases.

PORT CHARLOTTE PC10 TRO NA LINNTEAN ISLAY SINGLE MALT Bottle Number: 2090 / 600059.8% ABV / 70cl Given Islay’s peaty reputation, the assumption might be that the islanders themselves favour big smoky whiskies. However, it’s actually Bruichladdich with its traditionally unpeated style that has earned the reputation as the local favourite. It’s only relatively recently that the distillery has dabbled in peated whisky with their Port Charlotte range, as well as the ultra-heavily peated Octomore releases.

PORT CHARLOTTE PC10 TRO NA LINNTEAN ISLAY SINGLE MALT Bottle Number: 2031 / 600059.8% ABV / 70cl Given Islay’s peaty reputation, the assumption might be that the islanders themselves favour big smoky whiskies. However, it’s actually Bruichladdich with its traditionally unpeated style that has earned the reputation as the local favourite. It’s only relatively recently that the distillery has dabbled in peated whisky with their Port Charlotte range, as well as the ultra-heavily peated Octomore releases.

EDRADOUR 21 YEAR OLD PORT WOOD FINISH HIGHLAND SINGLE MALT Distilled: 23/03/1983Bottled: 13/05/2004Cask #03/1041Bottle Number: 486 / 77653.6% ABV / 70cl

PORT ELLEN 1983 27 YEAR OLD PROVENANCE ISLAY SINGLE MALT Distilled: Spring 1983Bottled: Spring 2010Matured in refill Butt #610146% ABV / 70cl Despite having closed in 1983, Port Ellen is still one of Islay’s best-known distilleries. Relatively unknown while in operation, its reputation since closing has blossomed, with expressions commanding hefty hammer prices at auction. In 2017 owner Diageo announced plans to revive the distillery, undertaking painstaking work to recreate the distillery as accurately as possible, even employing former Port Ellen employees to assist in the project. Please see additional images

QUINTA DO CRASTO 1985 VINTAGE PORT 19% ABV / 75cl

11 SINGLE MALT WHISKY MINIATURES INCLUDING LAGAVULIN 16 YEAR OLD WHITE HORSE Lagavulin 16 Year Old White Horse, Dalwhinnie 15 Year Old, Glengoyne 10 Year Old, Littlemill, Loch Lomond, Old Rhosdhu, Inchmurrin, Speyside 12 Year Old, Highland 12 Year Old, Glenmorangie 10 Year Old and Glenmorangie Port Wood.Various ABVs / 5cl Qty: 11

BRUICHLADDICH 2002 21 YEAR OLD PRIVATE CASK #856 ISLAY SINGLE MALT Distilled: 30/08/2002Matured in Bourbon cask #85659.3% ABV / 70cl Given Islay’s peaty reputation, the assumption might be that the islanders themselves favour big smoky whiskies. However, it’s actually Bruichladdich with its traditionally unpeated style that has earned the reputation as the local favourite. It’s only relatively recently that the distillery has dabbled in peated whisky with their Port Charlotte range, as well as the ultra-heavily peated Octomore releases.

PORT ELLEN 1982 26 YEAR OLD DOUGLAS LAING OLD MALT CASK ISLAY SINGLE MALT Distilled: September 1982Bottled: December 2008Matured in refill Butt #4808One of 731 bottles released50% ABV / 70cl Despite having closed in 1983, Port Ellen is still one of Islay’s best-known distilleries. Relatively unknown while in operation, its reputation since closing has blossomed, with expressions commanding hefty hammer prices at auction. In 2017 owner Diageo announced plans to revive the distillery, undertaking painstaking work to recreate the distillery as accurately as possible, even employing former Port Ellen employees to assist in the project. Please see additional images

A QUANTITY OF CRYSTAL GLASSES TO INCLUDE WINE, SHERRY, PORT, ETC PLUS LARGE BOWLS AND A JUG

A INDUSTRIAL MULTI PORT JUNCTION BOX COMPLETE WITH ARMOURD CABLE BELIEVED IN WORKING ORDER BUT NO WARRANTY

A FRAMED WATERCOLOUR PICTURE OF T.S.S.MANXMAN BY A.L. PARRY DATED 1928, 35CM X 54CM. T.S.S. MANXMAN WAS CONVERTED INTO AN AIRCRAFT CARRIER DURING WORLD WAR I. DURING WORLD WAR II SHE TOOK PORT IN OPERATION DYNAMO (DUNKIRK EVACUATION)

Miscellaneous Items including; two new pole straps; various harness decorative parts such as terrets, rosettes, kidney links, tandem spoons for wheeler harness; ten 6" bits including 4 x 6" medium port team bits and four 6" Buxton bits.

A group of alcohol, comprising three bottles of Harvey's Bristol Cream, Kirsberry, Stone's Green Ginger wine, sparkling wine, Cockburn's port, sparkling Perrier, Martel cognac, Crabbies Green ginger wine.

NatWest Wade pottery pig money banks, comprising Mother, Father, Daughter and two Babies, together with seven Wade pottery alcohol barrels for Scotch, Gin, Rum, Sherry (2), Port and Cognac.

Three cut and moulded glass decanters, bearing plated labels for Whisky, Port, Gin, and an additional enamel label for Sherry, together with a plated cruet stand containing four moulded glass bottles, 21cm high.

Two 20thC glass bar signs, sign written for Burgundy and Port, 11.5cm x 51cm.

1991 Dow's, Vintage Port OWC 6x75clDeceased Estate of a Gentleman.

ß &nbsp1970 Graham's, Vintage Port 12x75cl IN BOND Owned by a member of the Symington family and stored with Private Reserves, before transfer to LCB Eton Park.   

ß &nbsp2015 Taylor's Quinta de Vargellas, Vintage Port OWC 6x75cl IN BOND  

ß &nbsp1970 Graham's, Vintage Port 12x75cl IN BOND Labels soiled, 1 label stained. Owned by a member of the Symington family and stored with Private Reserves, before transfer to LCB Eton Park.   

ß &nbsp2007 Croft, Vintage Port OWC 6x75cl IN BOND

1991 Warre's, Vintage Port OWC 6x75clDeceased Estate of a Gentleman.

1963 Dow's, Vintage Port Label missing, embossed capsule 1x75cl 1975 Graham's, Vintage Port 1x75cl 1980 Fonseca, Vintage Port Signs of slight seepage 2x75clTotal 4x75clDeceased Estate of a Gentleman.

Mixed Selection of Alcohol including Graham's Late Bottled Vintage Port (boxed), Dow's 10 Years aged (boxed), Chartreuse (unfortunately opened), Quinteapenas Dorado Sweet Moscatel, Moscatel Chapel, 1988 Setubal and a 1990's Late Bottled Vintage Port (7).

Selection of Mainly Blended Whisky including Peaky Blinder Irish Whiskey 40% ABV / 70cl, Shackleton Blended Malt Scotch Whisky 40% ABV / 70cl, Tenjanku Japanese Whisky 40% ABV / 70cl, The Naked Grouse Blended Scotch Whisky 40% ABV / 70cl and a Speyside Single Malt Scotch Whisky 40 % ABV / 20cl. Also to include boxed Glenfiddich 12, 15 and 18 year aged miniatures and a boxed selection of miniature Taylor's Port x3.

Pair of Graham's Ports to include 1983 Vintage Port and Aged 20 Years Tawny Port. Both sealed.