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Late 19th/early 20th century green marble torchere, the octagonal top on a turned column support with gilt metal capital, on a circular and octagonal stepped base with gilt metal mounts, 120cm high x 31cm diameter 

19th century French onyx lamp table of jardinière stand, the circular top with gilt metal frieze on a pedestal support with gilt metal Corinthian capital, on a stepped square base with gilt metal mounts with four claw feet, 79cm wide x 40cm diameter

A stone bench, rectangular seat on matched capital supports 153cm wide 44.5cm deep 36cm highProvenance: The Estate of the Late Jackie Mann Condition ReportWith matched supports. The supports in need of attention. Bench top doesn't sit level. Knocks and losses to stone. Please see additional images.

A pair of George III bright cut serving spoons, London 1796, maker's mark rubbed off, Capital letter A monogram to handle, and a pair of Thomas Wallis II silver serving spoons with "K" monogram to handle, 23.5cm and 23cm long. 238g

ITALIAN STATES. REPUBLIC OF VENICE. Ludovico Manin, 1789-1797. Silver Tallero, 1789. Obv: RESPUBLICA VENETA, diademed and mantled bust of La Serenissima right. Rev: LUDOVICO MANIN DUCE, winged Lion of St. Mark seated on capital, head left, paw on Gospels.Reference: KM-747.Diameter: 40 mm.Weight: 28 g.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

Terracotta column Italy, 20th century with capital and octagonal baseh. 103 cm

Floor lamp Italy, 20th century18-light structure in lacquered and forged iron with plant motifs, decorated with glass pendants and garlands, resting on a base carved with acanthus leaves and inverted capitalh. 250 cm.

Resin table lamp Italy, 20th centurydecorated with grooved column and Corinthian capital, complete with lampshadeh. 101 cm.

Terracotta column Italy, 20th centuryshaped with capital and octagonal baseh. 73 cm.

Lacquered and golden wood column Italy, XVIII century.decorated to simulate marble, with capital carved with vegetal motifsh. 120 cm.

MARCHISIO: A LAPIS LAZULI AND DIAMOND BANGLE, CIRCA 1968The hinged bangle centring a lapis lazuli baton, between single-cut diamond borders and reeded shoulders, mounted in bi-coloured 18K gold, signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered, inner length approximately 17.5cmThe story of the Marchisio family in the world of jewellery begins as early as 1649, when the Marchisio name first appeared in Turin’s goldsmith industry records. Nearly two centuries later, in 1846, Felice Marchisio was born and at just 13 years of age, he started working in his older brother Antonio’s workshop to help support his family. After Italy’s capital moved from Turin to Florence, economic challenges forced Felice to move to Paris, where he learned modern processing techniques and refined his manual skills. During his time in Paris, Felice was caught up in the Siege of Paris before escaping back to Turin, bringing with him some of highly capable laboratory workers from France. Back home, he and his brother founded their own workshop, which rapidly grew into Turin’s largest goldsmith company by the 1880s, employing over 100 workers. One of their early and notable projects was the creation of a 14 kg gold jewellery box, which was presented by the City of Turin to the future Queen Margherita, wife of Umberto I of Savoy. In the early 1900s, Felice’s three sons Francesco, Napoleone and Giuseppe began contributing to the company’s success. In 1903, Felice co-founded the Turin Goldsmith’s Art School with Sir Ghirardi. His son Francesco was one of its first students. However, World War I brought hardships, forcing a reduction in the workforce and claiming the lives of two of his sons, Francesco and Giuseppe. After Felice’s death in 1926, his only remaining son Napoleone took over, but political unrest and World War II forced the factory to close. After the war, Napoleone and his son Giovanni reopened the business as “Napoleone Marchisio”, achieving immediate commercial success. In 1968, the company became Giovanni Marchisio & Co, re-establishing the brand’s prestigious reputation. Since the 1990s the company has been led by the Mattioli family, under whose guidance it maintained a strong position in the industry. In 2013, the historic Antica Ditta Marchisio was acquired by the Richemont Group, continuing production and remaining a key supplier for major international brands such as Cartier, Piaget, Buccellati and Van Cleef & Arpels.  Condition Report: Clasp closes securely and with safety catchNumbered C473Signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968 - stamped 750 for 18K goldTotal gross weight approx. 52.2g

FÜRST: A SAPPHIRE AND DIAMOND BROOCH, CIRCA 1950Of openwork star shape design, set with circular-cut sapphire cabochons, highlighted with brilliant-cut diamonds throughout, mounted in 18K gold, signed Fürst, sapphires approximately 25.00cts total, diamonds approximately 2.20cts total, length 4.3cm In the 1850s, Moric Fürst, an Austro-Hungarian jeweller, relocated to Turin, Italy, to establish his jewellery business. He opened a retail store in the Galleria Subalpina, quickly becoming a leading supplier to the Savoyard court. Between 1861 and 1865, Turin served as Italy’s capital, solidifying its status as a centre for gold and precious stones. Moric and his wife had nine children, five of whom became jewellers. Their son, Renzo Emanuele, succeeded Moric in managing the atelier. Renzo expanded the family business by opening shops in Rome, Genoa, and Milan, with the Rome boutique located on the glamorous Via Veneto, epitomising the Italian dolce vita. After World War II, the Fürst shops gained renown for crafting rare and unique pieces, handmade exclusively for select customers, including royalty and Hollywood stars. Notably, Audrey Hepburn wore a pearl necklace by Fürst in the 1953 film Roman Holiday. In the movie’s final scene, she portrayed Princess Ann, a young royal exploring Rome incognito. Following the film’s completion, Hepburn returned the necklace to the jeweller, accompanied by a signed photograph.  Condition Report: Sapphires: approx. 25.00cts total, of blue hue, medium to dark tone, overall well matchedDiamonds: approx. 2.20cts total, bright and livelySignature Fürst located on the reverse of the brooch + 750 for 18K goldClasp closes securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 24.1g

MARCHISIO: A LAPIS LAZULI AND DIAMOND RING, CIRCA 1968Centring a lapis lazuli baton, between single-cut diamond borders, to reeded and domed shoulders, mounted in bi-coloured 18K gold, signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered, ring size L The story of the Marchisio family in the world of jewellery begins as early as 1649, when the Marchisio name first appeared in Turin’s goldsmith industry records. Nearly two centuries later, in 1846, Felice Marchisio was born and at just 13 years of age, he started working in his older brother Antonio’s workshop to help support his family. After Italy’s capital moved from Turin to Florence, economic challenges forced Felice to move to Paris, where he learned modern processing techniques and refined his manual skills. During his time in Paris, Felice was caught up in the Siege of Paris before escaping back to Turin, bringing with him some of highly capable laboratory workers from France. Back home, he and his brother founded their own workshop, which rapidly grew into Turin’s largest goldsmith company by the 1880s, employing over 100 workers. One of their early and notable projects was the creation of a 14 kg gold jewellery box, which was presented by the City of Turin to the future Queen Margherita, wife of Umberto I of Savoy. In the early 1900s, Felice’s three sons Francesco, Napoleone and Giuseppe began contributing to the company’s success. In 1903, Felice co-founded the Turin Goldsmith’s Art School with Sir Ghirardi. His son Francesco was one of its first students. However, World War I brought hardships, forcing a reduction in the workforce and claiming the lives of two of his sons, Francesco and Giuseppe. After Felice’s death in 1926, his only remaining son Napoleone took over, but political unrest and World War II forced the factory to close. After the war, Napoleone and his son Giovanni reopened the business as “Napoleone Marchisio”, achieving immediate commercial success. In 1968, the company became Giovanni Marchisio & Co, re-establishing the brand’s prestigious reputation. Since the 1990s the company has been led by the Mattioli family, under whose guidance it maintained a strong position in the industry. In 2013, the historic Antica Ditta Marchisio was acquired by the Richemont Group, continuing production and remaining a key supplier for major international brands such as Cartier, Piaget, Buccellati and Van Cleef & Arpels.  Condition Report: Diamonds: bright and livelyOne screw could be tighten to the ring mountSigned Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered C1563Normal signs of wear, overall in good conditionTotal gross weight approx. 11.1g

A large laminated pine capital, 19th century, the Corinthian capital above a fluted column, 52cm wide52cm deep78cm highCondition Reportweathered and split in places, knocks and losses to the finish and varnish, overall distressed but solid constrcution

Pair of classical columns in polished reddish brown, black and white veined marble with base and capital in black marblePaar klassieke zuilen in gepolijst roodbruin, zwart en wit geaderd marmer met basis en kapiteel in zwart marmer101 x 20 x 20 cm

Pedestal in white marble with grey veins in neoclassical style, consisting of four columns on a square base and square capitalPiedestal in wit marmer met grijze aders in neoclassicitische stijl, bestaande uit vier zuilen op een vierkante sokkel en vierkant kapiteel94.5 x 26 x 15.5 cm

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

CowParade figurine titled CowBus, designed by artist Annabel Church Smith for the London CowParade and sponsored by The Go-Ahead Group. Produced by Westland Giftware, this whimsical collectible depicts a cow transformed into a classic red London double-decker bus with the humorous slogan "keeping the capital mooving." This piece is part of the internationally acclaimed CowParade art exhibition, known for its unique city-themed cows. Includes the original box and tag. Measures 6.25"L x 3.5"H. Box measires 8"L x 6"W x 3.5"H. Issued: 20th century Dimensions: See DescriptionCountry of Origin: United States Condition: Age related wear.

Scarce Second World War Caterpillar Club badge and related ephemera to W/O. Harold 'Harry' William Paar.On 29th December 1943 Sergeant Navigator Harold Paar climbed into an unfamiliar Halifax bomber with an unfamiliar mid-upper gunner in the aircraft. The omens of disaster present (as Harry Paar records in his own account). The warning signs continued once the crew were in the air, the mid upper turret was inoperable, and the aircraft refused to climb above 16,000ft, (the usual operational height was 18,000ft). As W/O Paar recalls with a sense of foreboding- being the odd one out could be fatal!The crew conferred on what was to be done next. Whilst they could have justifiably turned back to base, the crew bravely decided to carry on their mission regardless, flying for around 4 hours east towards the capital of the Reich- Berlin. Now Paar’s Halifax was above its target, released its bombs and was struck by 'one lousy shell'.The shell burst and caused significant damage to the aircraft. One engine caught fire, was extinguished, caught again and then one by one three of the engines stopped, leaving a sole engine shaking the plane to pieces. Quickly the pilot announced to the crew ''We can't make it back, chaps, everyone out quickly''.Harry Paar records his journey out of the aircraft, he pressed the destruct buttons on the radar set, he opened the hatch below his feet and lowered himself into the open hatch. Then he was sucked out by the Windstream, neatly and without fuss. At 20:17 hours on 29th December 1943, the silk canopy above opened, and the great black Halifax yawed away into the night. Navigator Paar found himself alone with the stars and clouds, the occasional banging of the guns below and the singing of a gentle wind. He recalls ‘‘I lived, and that, for the moment, was enough’’.Once on the ground Harry Paar was captured and later found himself in the Stalag IVB Prisoner of War camp, where he remained until the camp was liberated.Included within the lot is the original gold Caterpillar badge engraved on the reverse to ' W/O. H. W. Paar', the original Caterpillar Club laminated membership card, a photograph of Harold Paar with his crew, dated on reverse 1st November 1943 and his original Royal Air Force Service and Release Book, his original Prisoner of War identification card, summary of the air operations on the night of 29th December 1943 and a copy of his hand typed account 'The Memorable 29th' dated 17th December 1971. A group of cloth uniform badges, both allied and Luftwaffe, a silver and enamel RAF sweetheart brooch and a small group of photographs of the camp and currency. A fascinating snapshot into life in RAF bomber command in the Second World War.Provenance: By family descent

Armorial Binding: The Book of Common Prayer, and Administration of the Sacraments... Folio Lond. 1683 Engd. title, woodcut capital letters, some fingerware (& dam) to earlier pages, cont. full armorial calf, coat of arms on each cover. As a binding, w.a.f. (1)

After Thomas Baston (British, 18th century)'The Greenland Or Whale Fishery',Hand coloured engraving on paper engraved by Elisha Kirkall (English, c1682-1742), print number 20 from the series 'Twenty-two Prints of Several of the Capital Ships of His Majesties Royal Navy with a Variety of Other Sea Pieces', published by Carington Bowles, 1721,The plate 27.5cm x 39cm,Framed and glazed,With 'The Britannia', print number 15 from the same series, in matching glazed frame (2)

A pair of silver salts cellars,by Pairpoint Brothers, London 1913,raised octagonal form, the stem with a central reeded girdle, the capital with two scroll arms, on stepped octagonal bases, height 9.5cm, total approx. weight 19.2oz. (2)

A single modern silver three-light candelabrum,by J. Campbell, London 1969,central tapering baluster column, with three scroll arms each supporting a spool-shaped capital, on a raised circular base, height 34.5cm, approx. weight of branch 25oz.

A George III silver taperstick,maker's mark of RH, London 1763,knopped baluster form, fluted shoulders, spool-shaped capital, on a shaped square base with anthemion motifs, height 13.2cm, approx. weight 5oz.

A CARVED MARBLE CORINTHIAN CAPITAL, POSSIBLY ROMAN PERIOD, with acanthus decoration adorning the front, the rear quarter uncarved, 40 x 42cmProvenance: Private collection, Ireland, since circa 1940's

A BUILDER'S MODEL OF H.M. MONITORS M19-M28, BUILT BY SIR RAYLTON DIXON & CO. LTD, MIDDLESBROUGH, 1915the 43in. laminated and carved hull with lined and lacquered decks and silver fittings and armaments as appropriate, masts with radio aerial and lanyards, mounted on four silvered baluster supports, contained within original glazed display case with ivorine plates -- 26½ x 56 x 19in. (67 x 142.5 x 48cm.) on original stand -- 39in. (99cm.) highThe Worshipful Company of Shipwrights, presented in 1951 by Sir Gervais d'Eyncourt, Bt., in memory of his father, Sir Eustace H. Tennyson d'Eyncourt, Bt., KCB, Master 1928-1929.The genesis of the ‘monitor’ – and indeed the very name itself – derives from the extraordinary ironclad designed by John Ericsson for the Union Navy in 1862 during the American Civil War, and its celebrated, albeit inconclusive, duel with the Confederacy’s Merrimack. This first encounter between ironclads clearly marked a turning point in naval warfare although, initially at least, the rest of the world’s navies proved rather unenthusiastic about the low freeboard, shallow draft vessels mounting a single big gun and christened monitors which were intended for coastal bombardment, The Royal Navy flirted with them briefly after the Franco-Prussian War (1870) had unsettled international relations, but the resulting four vessels built at enormous expense proved costly failures and the concept of the purpose-built coastal defence vessels was left in abeyance.In 1912, Vickers received an order for three small river monitors from Brazil but, by the time they were completed in February 1914, the Brazilian Navy no longer had the funds to pay for them. Largely to prevent them being acquired by a potentially hostile state, the Admiralty decided to purchase them and took possession of them on 3rd August 1914, one day before War was declared. When the somewhat ramshackle fleet of old battleships and gunboats then failed to make any impact on the outcome of the War from its bombardment of the Belgian coast in October 1914, the Admiralty, under its mercurial First Sea Lord Admiral ‘Jacky’ Fisher, decided the time was ripe to resurrect the idea of coastal monitors. Designs were tendered for rapid completion under relentless pressure from Fisher, too quickly in fact, and initially some basic mistakes were made; orders soon went out to yards across the country but many found it hard to keep up with the seemingly endless design changes. Fisher, as was his style, was so fired up with enthusiasm that he even resorted to seizing big guns from capital ships nearing completion along with any spare marine engines he could find.By early 1915, the monitor construction programme had virtually exhausted the stock of heavy gun mountings yet Fisher still demanded ever more heavily-armed coastal craft for the various amphibious operations he was planning in his fertile mind. In March 1915, the fourteen M15 class monitors were ordered and laid down, ten of them in the Raylton Dixon yards on the Tees. Measured at 540 tons (650 deep-loaded), each was 177 feet long with a 31-foot beam and had a supposed but rarely achieved top speed of 11 knots. With a primary armament of 1-9.2in. gun, they should have made a worthwhile contribution wherever they were employed whereas, in reality, almost all the monitors were ungainly even in moderate seas and it remains highly debatable whether they ever justified the colossal sums spent on building them.The service careers of Raylton Dixon’s M19-M28 were broadly similar, serving in either the Mediterranean or with the famous Dover Patrol. Most survived the Great War except for M25 and M27, which had to be blown up in the Dvina River during the abortive expedition to North Russia in 1919, and M28 which was sunk (along with another monitor, Raglan) by the German battlecruiser Goeben in company with the light cruiser Breslau in an action off Imbros, the largest island of Turkey.Fine original condition; Stand fragile with old glue visible in the joints. Some dust in case.

Denmark 1996 - Copenhagen European Cultural Capital presentation Pack, SG1063-1066 u/m set

A gilt bronze candelabra, 19th century, with a faun capital supporting two branches,56cm highCondition ReportOne drip tray missing. General knocks and wear.

REGGAE - 12" COLLECTION. A collection of around 51 reggae 12". Artists/ titles include Tenor-Saw - Ring The Alarm, The Bandits vs The Mad Professor - The Warning Dub, Capital Letters - Smoking My Ganja, Sugar Minnott inc Not For Sale, Rhythmatic. Shinehead - Billie Jean, U-Roy - Small Axe, The Aces - Dream Of Me, Tyrone Taylor - Tell It Like It Is, Sweetie Irie/ Shadrock, Mystique - Close Encounters Of A Loving Kind. Fullwood - Love You, Tommy McCook - Stepping High, Taxi Gang - Johnny Go. Claudette Miler & The Ebony Sisters, Rasboras Dub Tribe, Tappa Zukie, Michael Palmer, Peter Hunnigale, JC Lodge & Tiger, Little Lenny, Pliers, John Law, Johnny Osborne & Papa Tullo, George Faith, Hugh Griffiths. Condition is generally VG to Ex+.

1607 BIBLE, Etc: The Holy Bible: Translated according to the Ebrew and Greeke, and conferred with the best translations in divers languages.. L, Robert Barker (Bakker on main title page), 1607 (lacks top quarter of TP, & all A2). PP: A-D8, (ii) To the reader, 1-435 (356 capital letter cut out, & 440 torn, no loss); Bound With: New Testament, Robert Barker, 1607 (TP lacks 1/4 of bottom corner). PP: (4 Leaves, including TP), 441-554 Leaves; Bound With: Two Right and Profitable. R Barker, 1607. PP: A-L2 (L2 torn, with loss); Bound With: The Whole Book of Psalmes. Company of Stationers, 1607. PP: A-G5, (iv) prayer., not complete and last page torn with loss. Cont. full leather and later spine. (23x17 cm).From the library collection of Mulberry House, a former rectory of High Ongar church.

A collection of three stamp albums to include The Victory stamp album; together with The quick change stamp album and the Capital stamp album all with various stamps inside. Estimate £15-30.

FIVE PLAN AND ELEVATION DRAWINGS FOR PROPOSED HOLY CROSS CATHEDRAL, COLOMBO, 1947 watercolour and ink on paper, laid on card, 70 x 103cm approx. each In 1945, the Diocese of Colombo commissioned the Royal Society of Arts to organise a competition for a new Anglican cathedral in the Ceylonese capital to be assessed by Sir Giles Gilbert Scott. Scott was scathing about the overall standard of submissions. These drawings were entry number 29 of 59 competitors, but the winner was no.9, a design by Messrs. Pinckney and Gott, of 7, Gray's Inn Square. All the designs including this were exhibited in the RSA library between August 25th-30th in 1947. See JRSA, No. 4702 (OCTOBER 12th, 1945), pp.598-599; Vol. 95, No. 4742 (MAY 9th, 1947), pp. 377-379; Vol. 95, No. 4743 (MAY 23rd, 1947), pp. 409-410; vol. 95, No. 4751 (SEPTEMBER 12th, 1947), p. 712

Ca. 330 BC.A large red-figure chalice krater is characterised by its wide, flaring rim, high pedestal foot, and robust profile, adorned with opposing horizontal handles. The side "A" features a finely detailed funerary scene: a central bearded male figure, possibly representing the deceased or an idealised version of him, is seated atop a richly decorated Ionic column capital. He holds a scepter and is flanked by two standing female attendants one offering a tray of food, and the other holding a phiale and possibly a tambourine, which suggests chthonic rituals.The side "B"showcases a typical naiskos-style composition, where two elaborately robed female figures approach a central naiskos shrine. Each figure carries garlands and votive offerings, including a pyxis and sprigs of foliage. Above them, hanging drapery and clusters of dotted rosettes symbolize a sacred or commemorative context. The decorative scheme features a laurel band beneath the rim, an ovolo at the edge of the rim, and a frieze of meander and saltire squares at the base of the scene.For similar see: Trendall, Red Figured vases of Apulian, Volume II, 1982, Plate 10, n. 1 and 2.Size: 230mm x 190mm; Weight: 1.2kgProvenance: Private UK collection, acquired on the Dutch art market; previously acquired on the Dutch art market; Frederik Van Driel, Maastricht 1993. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. 350 BC.A large red-figure chalice krater features a wide, flaring rim, a high pedestal foot, and a robust profile with opposing horizontal handles. The "A" side is beautifully painted with a funerary scene: a central bearded male figure, possibly representing the deceased or a heroic version of him, sits upon an intricately detailed Ionic column capital. He holds a scepter and is flanked by two standing female attendants—one offering a tray of food and the other holding a phiale and possibly a tambourine, suggesting rituals associated with the chthonic realm.On the "B" side, there is a typical naiskos-style composition. Two elaborately robed female figures approach a central naiskos shrine, each holding garlands and votive offerings, including a pyxis and sprigs of foliage. Above them, hanging drapery and clusters of dotted rosettes symbolize a sacred or commemorative context. The decorative scheme includes a laurel band under the rim, an ovolo along the rim edge, and a frieze of meander and saltire squares at the base of the scene.Size: 530mm x 490mm; Weight: 9kgProvenance: Private UK collection, acquired on the Spanish art market; Ex. Galerie Saint Honore, 1997, France. Accompanied by a Spanish export license. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.The piece is accompanied by a TL report from QED, a laboratory based in France. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Late Period, Ca. 600 - 450 BC. A limestone figure of a male with a broad, angular torso and arms bent at the sides. The head is carved with large, almond-shaped eyes and a faint smile, framed by a striated tripartite wig. A stylised papyrus column is held upright against the right shoulder, its capital rendered in shallow relief.For similar see: Egyptian Sculpture of the Late Period, The Brooklyn Museum, 1960, f. 147, Plate 59.Size: 120mm x 100mm; Weight: 470gProvenance: Private UK collection; Ex. M. H. collection, Kensington, acquired on the UK art market in the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.

After Wolfgang Hartmann (German-Swedish, c.1606-1663), "Then Konungslige Residens Och Hufvudstaden Stockholm", cityscape depicting The Royal Residence and Capital City of Stockholm, originally for Queen Christina's Coronation in 1650, hand coloured engraving, 39 x 60.5cm, in a glazed frame, 53.5 x 74.5cm

Set of 4 Elizabeth II George III style silver candlesticks, each with a reeded capital, on a knopped cylindrical column, dished foot and stepped circular base, by R H, Birmingham, 1994, H.12.7cm. (4)

Zoologie - Herpetologie - Schlangen - - J.(ohannes) van Lier. Verhandeling over de slangen en adders die in het landschap Drenthe gevonden worden. Mit gestoch. Tit. und 3 altkolor. Kupfertaf. von J. C. Philips nach W. Veltman. Amsterdam und Groningen, Erven Houttuin und L. Huisingh, 1781. 5 Bl. (Vors., Widm.gedicht, gestoch. Tit., Widm.), 372 S. 4°. Marmor. KalbsLdr. d. Zt. mit goldgepr. RTitel a. Ldr.schildchen u. ornam. Vergoldung auf Rücken, Deckel und Stehkanten, Vorsätzen aus Kamm-Marmorpapier und umseitigen marmor. Schnitt. Erste und einzige Ausgabe - Nissen C. Zoologische Buchillustration, 24.9509. - Agassiz, Bibliographia zoologiae et geologiae, 3 Bd., S. 472. - Seltene Monographie über die Schlangen im östlichen Holland, verfasst vom niederländischen Gelehrten Joh. van Lier, der u.a. auch über archäologische und historische Themen publizierte. Die Kupfer nach den in den Jahren 1772/73 gezeichneten Motiven im kräftigen und frischen Altkolorit. - Provenienz: Mit auf Vorderspiegel montiertem gestoch. Ex Libris d. Zt. mongrammiert "CM". - Einband an der oberen Kapitale und an den Ecken bestoßen, insgesamt etwas berieben und mit leichten Kratzspuren, Vorsätze an den Rändern gering stockflecking, die ersten Textblätter mit leichter Bräunung, sonst wohlerhalten im prächtig vergoldeten Ganzlederband. Zoology. - Herpertology. - Snakes. - With copper engraved title and 3 coloured copper engraved plates by J. C. Philips after W. Veltman. - First and only edition of this rare monograph on the snakes of eastern Holland by Dutch scholar Joh. van Lier, who also published on matters of history and archaeology. The engravings of present copy in bright and fresh old colouring. - Provenance: Engraved bookplate mounted on front paste-down with monogram 'CM'. - Binding bumped at the upper capital and corners, overall somewhat worn and with slight scuff marks, endpapers slightly foxed at margins, first text leaves time-stained, otherwise well preserved copy in splendid gilt full calf.

Südamerika - Peru - - Manuel A. Fuentes. Lima. Esquisses historiques, statistiques, administratives, commerciales et morales. Mit chromolithogr. Titel, Holzstich-Titel, 37 lithogr. Porträts (inkl. Widmung und Porträt des Autors), 18 getönten lithogr. Ansichten und zahlr. Textholzschnitten. Paris, Firmin-Didot, 1866. IX, 242 S., 1 Bl. 4°. Violette Lwd. d. Zt. mit goldgepr. DTitel, blindgepr. Ornamenten und dreis. Goldschnitt (etwas verblichen, fleckig und berieben, Rücken erneuert, Bindung teils etw. gelockert). Sabin 26117. Colas 1137. - Mit früherem hs. Besitzervermerk. - Eine der ersten, wenn nicht sogar die erste Monographie, die der peruanischen Hauptstadt in all ihren Aspekten gewidmet ist. - Einige wenige Bll. im Rand hinterlegt. Erste 5 Bll. lose, die letzten 15 Bll. mit Wasserflecken. Insgesamt wohlerhaltenes und sauberes Exemplar. South America - Peru - With chromolithographic title, woodcut title, 37 lithographic portraits (incl. dedication and portrait of the author), 18 tinted lithographic views and numerous woodcuts in the text. Purple cloth with gilt title, blindstamped ornaments and three gilt edges (somewhat faded, stained and rubbed, spine renewed, binding partly loosened). - With former handwritten owner's note. - One of the first, if not the first monograph dedicated to the Peruvian capital in all its aspects. - A few fol. backed in margins. First 5 sheets loose, the last 15 with waterstains. Overall well preserved a. clean copy.

Bion von Smyrna und Moschus von Syrakus. Idylles. Trad. en franc. par J.B. Gail. Mit 1 Frontispiz u. 4 Kupfertafeln nach Barbier. Paris, Gail, An III , (1795). 95 Seiten. 12°. Roter Maroquin mit dreif. goldgeprägten Deckelfileten mit Eckfleurons, reichster Rückenverg., Steh- u. breiter Innenkantenverg. u. dreis. Goldschnitt (sign.: Ch. de Samblanx, 1915). (Gelenke leicht berieben, oberes Kapital mit kl. Restaurierung) Französische Ausgabe der frühchristlichen bukologischen Idyllen. - Graesse I, 428. - Der griech.-lat. Erstdruck erschien 1686 in Paris. - Schönes, sauberes Exemplar. Red morocco with triple gilt cover fillets with corner fleurons, richest spine gilt, standing and wide inner edge gilt and triple gilt edges. gilt edges (sign.: Ch. de Samblanx, 1915). (Joints slightly rubbed, upper capital with small restoration).

John Milton. Le Paradis perdu, po�me. Édition en Anglais et en Français. Mit 12 farbigen Punktierstichen nach Schall. Paris, Defer de Maisonneuve, 1792. 2 Bll., VIII, 391 S. 2 Bll., 377 S. Folio. Hellbraune Kalbsldr. d. Zt. mit reicher RVergoldung, goldgepr. RSchildern, goldgepr. ornamentalen DBordüren, Steh- und Innenkantenverg., dreis. Goldschnitt u. Marmorvorsätzen (etwas berieben, beschabt u. fleckig, Kapital von Bd. II lädiert). Signiert: Relié par Bozerian. Brunet II, 364. Wickenheiser 775. Cohen-de Ricci 708. Sander 1354. - Die Illustrationen gestochen von Colibert, Clement, Demonchy und Gautier nach Jean-Frédéric Schall. Historisch sticht die Ausgabe durch die frühe Anwendung des von Francis Bartolozzi entwickelten Farbstichverfahrens, auch "englisches Verfahren" genannt, hervor. So mussten nunmehr nicht mehrere Platten für einzelne Farben eingeätzt werden, sondern es enstanden mithilfe einer einzigen eingefärbten Platte mehrfarbige Drucke. - Unscheinbar gebräunt und etwas braunfleckig. Vereinzelt minimal angeschmutzt. Schöner, breitrandiger Druck mit den farbprächtigen Illustrationen, im Meistereinband von Jean-Claude Bozerian d.Ä. (1762-1840). With 12 coloured stipple engravings after Schall. Light brown cont. calf with gilt labels on spine, gilt ornamental borders, gilt edges and marbled endpapers (somewhat rubbed, scuffed and spotted, capital of vol. II damaged). Signed: Relié par Bozerian. - The illustrations engraved by Colibert, Clement, Demonchy and Gautier after Jean-Frédéric Schall. Historically, this edition stands out due to the early use of the colour engraving process developed by Francis Bartolozzi. This meant that it was no longer necessary to etch several plates for individual colours, but instead multicoloured prints were produced with the help of one single inked plate. - Unimpressive browning and a little bit brownish. A few spots minimally soiled. Beautiful, wide-margined print with the colourful illustrations, in the master binding by Jean-Claude Bozerian the Elder (1762-1840).

Rechtswissenschaften - Law books - - J. C Spener. Primitiae Observationum Historico Feudalium cum Perpetuis notis et copiosis indicibus. Mit einer gestochenen Titelvignette. Halle, Novi Bibliopolii, 1719. 5 Bll., 239 S., 14 Bll. 8°. HLdr. unter Verwendung eines Antiphonarblatts, wohl aus dem 15. Jh., gesprenkelter Schnitt (berieben und bestoßen, Gelenke am unteren Kapital angebrochen, fleckig). Erste und einzige Ausgabe. - Historisches Werk zum Feudalismus mit Beobahtungen des Historikers und Juristen Jakob Carl Spener. Er wurde im Jahr 1718 Professor für Lehnsrecht an der Universität Wittenberg und wurde 1719 zugleich auch Professor für Geschichte. - Das Antiphonarblatt enthält einen Auszug aus einem Text zum "Purificatione Marie", eines der Marienfeste im christlichen Kalender. - Ränder gebräunt, minimal fleckig. Insgesamt sehr gut erhaltenes Exemplar. With an engraved title vignette. Half leather using an antiphonary leaf, speckled edges (rubbed and bumped, joints cracked at lower capital, stained). - First and only edition. - Historical work on feudalism with observations by the historian and jurist Jakob Carl Spener. He became professor of feudal law at the University of Wittenberg in 1718 and also became professor of history in 1719. - The antiphonary leaf contains an excerpt from a text for the "Purificatione Marie", one of the Marian feasts in the Christian calendar. - Margins browned, minimally stained. Overall a very well-preserved copy.

Vormärz - - Edgar Bauer. Das Capital und die Capitalmacht. Grundsätze und Thatsachen zum Verständniss der socialen Frage. Leipzig, Grimm, 1884. IV, 186 Seiten, 1 Bl. Orig.-Karton (Klammerheftung) mit Deckeltitel ( fleckig u. gebräunt, mit kleinen Papierfehlstellen, Klammerrostung). Sehr seltene erste Ausgabe der Originalausgabe. - Stammhammer I, S. 22 - E. Bauer war der jüngere Bruder Bruno Bauers, beteiligte sich in Berlin an den Kämpfen der Märzrevolution 1848. Seine frühen Werk waren so sehr von Freiheitsdrang beseelt, dass Gustav Landauer den jungen Edgar Bauer als den Mann bezeichnet, "der den Anarchismus für Deutschland eigentlich begründete". - Titelblatt an den Rändern etwas fleckig, insgesamt (innen) gutes Exemplar.

Neues Gesang-Buch, Alte und Neue mit allem Fleiß gesammlete geistliche und liebliche Lieder in sich haltend : welche auf Approbation E. E. Kirchen-Konvents der Stadt Straßburg bey dem öffentlichen Gottesdienst der Evangelischen Kirchen dasselbst sollen gesungen werden. Mit doppelblattgr. Kupfertitel mit Ansicht von Straßburg. Straßburg, durch Lorenz und Schuler, 1791. 3 Bll., 597 S., 8 Bll. - Angebunden: Christliches Gebeth-Büchlein, darinnen Morgen- und Abend-, Buß-, Beicht-, Communion- und andere schöne Gebethe: aus unterschiedlichen geistreichen Gebeth-Büchern zusammen getragen, in allerhand Zufällen zu gebrauchen. Ebd. 48 S. Kl.-8°. Ldr. d. Zt. mit reicher Vergoldung auf Deckeln und Rücken, goldgepr. RSchild, dreis. Goldschnitt und Marmorvorsätzen (etwas berieben und bestoßen, oberes Kapital lädiert). VD18 13931695 u. VD18 13931652. - Auf dem vorderen fliegenden Vorsatz mit kalligraphiertem Besitzeintrag der Straßburger Bürgerin Maria Magdalena Oberlinin (Marie Madeleine Oberlin), datiert 1791. - Etwas gebräunt, vereinzelt leicht fleckig. Wohlerhalten, in dekorativem Einband. With double-page copper title with a view of Strasbourg. - Bound with: see above. Cont. leather with rich gilding on covers and spine, gilt stamped spine label, gilt edges and marbled endpapers (somewhat rubbed and bumped, upper capital damaged). - On the front flyleaf with calligraphed ownership entry of the Strasbourg citizen Maria Magdalena Oberlinin (Marie Madeleine Oberlin), dated 1791. - Somewhat browned, sporadically slightly stained. Well preserved, in decorative binding.

Samuel u. Jan Vredemann de Vries Marolois. La Tres-Noble Perspective a Scavoir, la Theorie, Practique, et Instruction Fondamentale d'Icelle. Mit 72 gestochenen doppelseitigen Tafeln. Amsterdam, Jean d'Aernhem, 1619. 2 Bll., 42 S., 1 Bll. 4°. Pp. mit goldgepr. RSchild (berieben und bestoßen, unteres Kapital mit Kleberückständen). Mit gestempeltem Besitzvermerk von Arthur Drexel. - Eine von Samuel Marolois überarbeitete und ergänzte Version von Jan Vredemann de Vries' bedeutenden Arbeiten zur Perspektive. Seine Werke hatten Einfluss auf die Verbreitung der Zentralperspektive in der niederländischen Malerei. Das hier von dem niederländischen Mathematiker Marolois überarbeitet Werk seiner Arbeiten enthält über 70 prachtvolle Tafeln zur Anwendung der Zentralperspektive im architektonischen Zeichnen und demonstriert dies an zahlreichen architektonischen Formen. - Tls. und fleckig, insgesamt sehr gut erhalten. Architecture. - With 72 engraved double-page plates. Cardboad with gilt stamped label (rubbed and bumped, lower capital with adhesive residue). - With stamped ownership note by Arthur Drexel. - A version of Jan Vredemann de Vries' important works on perspective, revised and supplemented by Samuel Marolois. His works had an influence on the spread of central perspective in Dutch painting. This revised version of his work by the Dutch mathematician Marolois contains over 70 splendid plates on the application of central perspective in architectural drawing and demonstrates this with numerous architectural forms. - Some spotting, overall in very good condition.

Niklaus (genannt Deutsch) Manuel. Todtentanz, gemalt zu Bern um 1515-1520, lithographiert nach den getreuen Copien des berühmten Kunstmalers Wilhelm Stettler. La Danse des Morts (...). Mit 1 lith. Portrait und 24 lith. Tafeln. (Bern, Haller, um 1831). 3 Bll., 4 S., 1 Bl., 24 lith. Tafeln. Quer-Fol. HLwd. d. Zt. mit goldgepr. RTitel, Marmordeckeln u. Vorsätzen aus Marmorpapier (beschabt, berieben u. bestoßen, Rücken am unteren Kapital mit kl. Defekt). Lonchamp 1912. - Slg. Oppermann 1144. - "Die Totentanzfresken, ... gehören zum Lebendigsten und Derbsten, was je in dieser Art geschaffen worden ist. Sie brauchen den Vergleich mit den berühmten Blättern Dürers, Baldungs und Behams nicht zu scheuen ...". - Etwas gebräunt u. wenig fleckig, kleine Randläsuren. Insgesamt wohlerhalten. With 1 lith. portrait and 24 lith. Plates. Cont. cloth with gilt stamped title to spine, marbled boards and endpapers of marbled paper (rubbed, scuffed and bumped, spine with small defect at lower capital). - Somewhat browned and a little stained, small marginal tears. Overall well preserved.

Zoologie - - Bernard Germain de Lacépède, G. Cuvier. 2 Werke von Lacépède zur Zoologie. Mit zahlreichen kolorierten Tafeln. HLdr. mit goldgepr. RTitel und Marmorschnitt (stark berieben und abgeschabt. Kapital tls. beschädigt). Enthält: Oeuvres du comte de Lacépède. Bd. 3. Histoire naturelle des quadrupèdes ovipares. Mit 24 kolorierten lithographischen Tafeln. Paris, Ladrange et Verdière, 1827. 2 Bll., 624 S. 8°. - Nissen ZBI, 2343. - Fleckig, Ränder gebräunt, prachtvolle Tafeln in kräftigem Kolorit. - Histoire Naturelle de Lacépède comprenant les Cétacés, les quadrupèdes ovipares les serpents et les poissons. 2 Bd. Mit zahlreichen kolorierten Tafeln. Paris, P. Lebigre-Duquense, o.J. 654 S. 574 S. 4°. - Nissen ZBI, 2346. - Stockfleckig, Ränder gebräunt. Insgesamt gut erhalten. Zoology. - 2 works by Lacépède on zoology. With numerous colored plates. Half leather with gilt stamped title and marbled boards (heavily rubbed and scuffed. Capital partly damaged). - Contains: as described above.

The rare 'H.M.Y. Helga, Irish Sea 1918' D.S.M. group of six awarded to Leading Deck Hand E. E. Duff, Royal Navy and Merchant Fleet Auxiliary, who was in charge of Helga's gun when she was credited with sinking a German submarineDespite her Irish heritage, Helga was commandeered by the Admiralty in March 1915 and later used by the Royal Navy to shell Liberty Hall in Dublin from the River Liffey with her pair of 12-pounder naval guns during the Easter Rising of 1916Distinguished Service Medal, G.V.R. (Ldg. Dk. Hd. E. E. Duff, (A.P.) H.M.Y. Helga. Irish Sea 4. Apl 1918); Naval General Service 1915-62, 1 clasp, Persian Gulf 1909-1914 (210674. E.E. Duff, Lg. Sea. H.M.S. Highflyer.); 1914-15 Star (E.E. Duff, A.B. M.F.A.); British War and Victory Medals (E.E. Duff. D.H. M.F.A.); Mercantile Marine War Medal (Ernest. E. Duff), good very fine (6)D.S.M. London Gazette 29 November 1918, the original citation states:'HMY Helga attack on enemy Irish Sea 4 April 1918. In charge of gun when HMY Helga sank an enemy submarine.'Ernest Edwin Duff was born at Deal, Kent on 12 April 1885. A telegraph boy, he enlisted in the Royal Navy as a Boy 2nd Class on 12 April 1903. A succession of shore and sea-based appointments followed and on 21 February 1911 he was drafted to Highflyer, serving aboard her until 29 May 1913. Later that same year he was invalided from the service with myopia on 9 October.Duff married Kathleen Power in Dublin in September 1916 and despite his disability enrolled in the Merchant Fleet Auxiliary, joining H.M.Y. Helga for service during the Great War.1916 Easter UprisingChris Shouldice takes up the story in his online article 'The Captain's Table':'HMY Helga is infamously known for its role in shelling Dublin during the 1916 Rising but before she was pressed into war service, she had a far more benign profession as a protection cruiser and research vessel for the Department of Agriculture and Technical Instruction. Built in the Liffey Dockyard in Dublin in 1908 and originally named the Helga II, her purpose was to engage in fishery patrols, monitoring the coast for any illegal fishing activity. She was also equipped with a laboratory for marine research and took part in research projects like the survey of Clare Island in 1909.As the British found themselves in an unexpectedly lengthening war in Europe, she was taken over by the Admiralty in 1915 for military purposes as an armed auxiliary patrol yacht. She was renamed the HMY Helga and served as an anti-submarine patrol vessel and an armed escort.It was however in Ireland during the 1916 Rising that the Helga's most notable acts occurred. The Helga was summoned by British forces to the capital to use artillery to root out Irish Volunteers. On the 26th of April 1916, positioned on the Liffey, she raised her 12-pound artillery guns over the Loop Line railway bridge and fired at her first target Liberty Hall, the headquarters of the Citizen Army. Her shots were less than accurate, and her shells destroyed much of the surrounding buildings and beyond. She also targeted the GPO and Bolland Mills which Eamon De Valera had occupied.1918 rescuing survivors from R.M.S. Leinster.In 1918, she successful sank a German U-Boat Submarine off the coast of the Isle of Man. This was the Helga's first and sole confirmed sinking during the war. However, the presence of U-boats continued to be a real threat to the merchant and passenger vessels in the Irish Sea.In 1917, the Germans began placing their U-boats in the Approaches, the name given to the region near the entrance and exit to the Irish Sea. This was an attempt to stifle the British attempts at Trans-Atlantic trade. The RMS Leinster was typical of their targets, a passenger ship which, along with three other sister ships, made daily crossings from Kingstown (now Dún Laoghaire) to Holyhead. Known for its exceptional speed, the RMS Leinster held a place of pride in Irish eyes, as it was seen to be their representative in the commercial competition over the Irish Sea. The Leinster along with its sister ships, had won the tender for the Royal Mail delivery from Ireland to the British mainland. While it provided valuable employment to the people of Kingstown and Holyhead in Wales, the requirements of this contract were strict. There was a stipulation that the post collected in Dublin had to be delivered to the mainland the following day. This meant that the RMS Leinster ran daily, and on-time no matter the circumstances.On the morning of the 9th of October (1918), the RMS Leinster set out from Dun Laoghaire, filled to capacity, for what was to be its final voyage. Despite the U-boat warnings, that morning was no different, the war had been in action for four years, and the crossings were routinely unprotected. Furthermore, the level of censorship which the British government exercised over the press meant that many civilians were largely unaware of the danger that awaited them. Lurking under the waters off Kish Island was U-boat 123, which had already sunk two boats since it left Germany days earlier. At 09:45, the first torpedo was fired, shooting past the brow of the Leinster. The second was a direct hit, and a third torpedo sunk the entire vessel.Coaling, or refuelling, that same morning in Dublin was HMY Helga, the same ship which had been shelling the city two and a half years earlier. That day however, the Helga succeeded in being first on the scene of the Leinster sinking, and managed reach it just in time to rescue approximately 90 passengers, though there is some confusion as to the exact number. These passengers were not returned to Kingstown but disembarked in Wales. Due the controls on wartime press, the British government were keen to keep any such disasters out of the public eye'.Duff died on 11 November 1935 at Dover, at the time he was employed on the Trinity House Pilot Cutter, S.S. Prudence. (The Dover Express of 22 November 1935 refers).Sold together with his silver wound badge, this numbered B158828, a copy photo of Helga, a postcard of Highflyer, copy of Helga's ships log from the National Maritime Museum for 4-5 April 1918 and a copy of Irish Naval service.…

The campaign group of six awarded to Private W. R. P. Seymour, Gloucestershire Regiment, late Royal West Kent RegimentSeymour was wounded in action in Italy in October 1944 and went on to be one of the 'Glorious Glosters' who was taken a Prisoner of War with 8 Platoon, 'C' Company at the Battle of Imjin River, April 19511939-45 Star; Italy Star; War Medal 1939-45; Korea 1950-53 (3959731 Pte. W. R. P. Seymour. Glosters.); U.N. Korea 1950-54, mounted court-style as worn, good very fine, together with his United States Presidential Unit Citation riband (6)William R. P. Seymour was born in Dublin in 1923 and during the Second World War served in the 5th Battalion, Royal West Kent Regiment. He was wounded in action on 20 October 1944, when the unit were thrown to attack the Gustav Line. He was transferred to the Army Reserve, by this time his family living at Ravenhill Avenue, Belfast.Recalled to the Army with the outbreak of the Korean War, Seymour would served with the 8 Platoon, 'C' Company, 1st Battalion, Gloucestershire Regiment. He shared in the actions at taken Prisoner of War at the Battle of Imjin River, 22-25 April 1951.As part of the United Nations Forces, the 1st Battalion was despatched to Korea in 1950 when the Communist North Koreans invaded South Korea without warning. Later, a Chinese Communist Army came to the assistance of the North Koreans. ln April 1951 the British 29th Infantry Brigade was holding a wide defensive position behind the lmjin River. The Glosters occupied a vital part of this front, astride the main track to Seoul, the capital city of South Korea, which was the traditional invasion route from the north.For days a Chinese attack had been expected and on the evening of 22 April, small parties of the enemy were observed approaching and then crossing the wide river bed. A patrol of 'A' Company at "Gloucester Crossing" did great execution to these parties, but soon the trickle of Chinese became a flood, and by 2330hrs the patrol had used up all its ammunition and was recalled.By 0300hrs on the morning of the 23rd, St George’s Day, 'A' Company’s position on a commanding feature named Castle Hill was under extremely heavy attack, as was 'D' Company on their right, and an hour later 'B' on the right of 'D' was equally engaged. After six hours fighting, much of it hand to hand, 'A' Company was driven back from Castle Hill and a desperate but unsuccessful counter-attack was launched to retake it, during which Lieutenant Curtis lost his life but gained a posthumous Victoria Cross. 'D' Company’s position was now untenable, so it was later withdrawn after further fighting, together with the remnants of 'A'. 'B' Company was later pulled back, and the whole Battalion now took up position on the hills around the village of Solma-Ri.The Chinese did not closely follow up this withdrawal, but meanwhile very large numbers of them had crossed the river and infiltrated past the Glosters. Their attacks on other parts of the front had been equally severe, and now the other United Nations units on their flanks had been forced back so that by mid-day the Glosters were completely separated from the rest of the Division, and indeed almost surrounded.That night 'B' and 'C' companies were heavily attacked, the former being reduced to one officer and 20 other ranks. Early the following morning, Colonel Carne decided to concentrate the remnants of his Battalion on the top of a steep and rugged feature known as Hill 235 on the map, but now as Gloster Hill (presumably one and the same 'Battalion Hill as recalled by Seymour). On the 24th no major attack developed against the Battalion, but two relieving columns of armour and infantry, sent forward by Division, failed to fight their way through. The Glosters were now completely cut off, but although short of ammunition and water they were in good heart and determined to hold out for as long as possible.ln the very early hours of the 25th, the Chinese launched an all-out attack on the hill wave after wave of shooting, screaming men surged forward, regardless of the defenders fire. Chinese trumpets directed them and encouraged them. ln order to confuse them it was decided that one of the British bugles should be blown. The adjutant then ordered Drum Major Buss to sound his bugle and on being asked what calls, replied everything except Retreat. Of all the calls the Long Reveille was the one which made the deepest impression. The battle continued with every weapon involved, and then at 9 o'clock a highly successful air strike was delivered by the US Air Force which for the time being halted the Chinese decisively. lt was during this pause that the Colonel received instructions over the wireless to fight his way out, his job done, and Brigadier Brodie wrote in the Operations log book at Brigade HQ 'Nobody but the Glosters could have done this.'The Battalion split up into groups which tried to work their way back independently, but the United Nations forces were now consolidating after their withdrawal fully seven miles to the rear, and only one party succeeded in reaching them, the rest being killed or captured. Out of 750 men of the Battalion only 150, including the rear echelon, remained on which to rebuild the unit. Lieutenant Colonel Carne, who survived his harsh imprisonment, later received the V.C., and the Battalion was awarded the Presidential Unit Citation to commemorate its magnificent stand. The Queen graciously granted permission for the emblem of the Citation to be worn by all members of the Regiment.Having been captured, Seymour was one of a band of British and American captives who were (probably) forced to sign a Statement of Protest against the bombing og a POW Camp in North Korea, their names being broadcast on Peking Radia at 0900hrs on 9 November. After his return home on his debrief he gave two statements:'My reason for my statement is that Pte. R. T. Othen was in my Squad and was taken to Hospital where he died.''Pte. E. K. Gudge was wounded on C. Coy. 8 Plt. position and when we had to withdraw back to what was so called Batt Hill [Gloster Hill] he was taken to the RAP where he died on the 24.4.51. Who was with him when he died I have forgot. Best we were told that he had died before we moved to the last position.'Sold together with a letter from RHQ and copied research.…

Military General Service 1793-1814, 1 clasp, Java (Samuel Whittle, 22nd Light Dragoons.), traces of brooch mounting at 3 and 9 o'clock respectively, suspension sometime re-affixed, some edge bruising and contact marks, otherwise very fineWhittle is one of only 54 members of the cavalry with entitlement to a clasp for Java.Samuel Whittle was born in Whitley, Chester circa 1778 and made his living as a hatter prior to his enlistment with the 22nd Regiment of Light Dragoons on 1 July 1795 upon reaching eighteen years of age. Whittle was to embark on what would be a twenty-four-year career with the Colours, twenty-one of which were to be spent serving abroad in the East Indies.The 22nd Light Dragoons were renumbered from the 25th Dragoons in 1794, which had been raised by Francis Edward Gwyn that same year for service in India. Whittle, therefore, joined the Regiment whilst it was still in its infancy and was likely first embarked to India with the rest of his unit to serve in the Anglo-Mysore War in 1799. Whittle would remain in the region for the next two decades. The conflict in Mysore saw the 22nd Light Dragoons fight with distinction at the Battle of Seringapatam, which was awarded to them as a battle honour.During the Napoleonic Wars, Whittle and his Regiment took an active role in the British effort to seize Java from Franco-Dutch forces in 1811. They landed on 4 August and the next day a small number escorted Colonel Robert Gillespie to the capital of Batavia. They reached the undefended city on 8 August, which immediately surrendered to Gillespie and his men. They next advanced on Dutch General Janssens stronghold at Weltervreeden, which fell to a British attack on 10 August. The British sustained under 100 losses while the enemy lost over 300 men. The nature of the island made the deployment of cavalry difficult, however after the action at Weltervreeden the 22nd were utilised in their traditional role of pursuing the retreating enemy. Some of the Regiment may have taken part in the fighting dismounted, as Gillespie's Brigade Orders refer to:'I have also to thank Captain Gall of the Body-guard, Lieutenant Dudley of the dismounted dragoons twenty-second regiment, and Captains Smithwayte and M'Craith of the Madras pioneers, for their support in the affair.'Lieutenant Dudley's Dragoons also participated in the siege of Fort Cornelis which took place later that month. The column was guided into position by a Franco-Dutch deserter who rode at their head with Serjeant Smith of the 22nd, capturing two enemy redoubts in the surprise attack after a fierce battle, at which the critical moment Gillespie led the mounted detachment of the 22nd after the fleeing enemy. The Batavians rallied several more times prolonging the conflict, however in the end most of the force was cut off and the British seized the fort on 25 August. The British sustained 630 casualties, with the 22nd suffering 6 dead and 17 wounded. The wounded included the commander of the dismounted detachment, Lieutenant Dudley, who was again 'mentioned' although this time by the Adjutant General. The Battle of Cornelis ended effective resistance in Java, though the stubborn resistance of General Janssens carried on into September.The 22nd remained in Java until 1813, after which Muster Lists indicate that they served in Bangalore, India. British occupation of the island came to an end in 1814 when Java was returned to the newly independent Netherlands. Whittle was promoted Corporal in India on 22 February 1814 and served in this capacity with John Floyd Patterson's troop. The Regiment remained there and as such did not fight at the Battle of Waterloo in 1815.Whittle was at some stage advanced Serjeant, and served as such at the Battle of Maheidpoor in Captain Vernon's troop on 21 December 1817. This battle saw a decisive British victory over the Marathas, resulting in the conclusion of the Anglo-Maratha War and the cession of much territory to the British, which were incorporated into the British Raj. It was just a few years after the engagement at Maheidpoor that Whittle's time in the service finally came to an end. He was discharged in India in consequence of 'being worn out by length of service & unable to ride' on 25 August 1819. While this poor state of health is certainly understandable given his twenty years in the harsh Indian climate, one wonders if his discharge might have been influenced by his Regiment being disbanded the following year.Whittle is further entitled to an Army of India 1799-1824 Medal with a clasp for Maheidpoor, being one of only 167 Europeans with entitlement to the clasp, 28 of which were awarded to the 22nd Light Dragoons; sold together with copied research including medal rolls.… 25001 SALEROOM NOTICE:Lot is NOT subject to 5% Import Tax. 

The Most Honourable Order of the Bath, C.B. (Military) Companion’s, Chapel Stall Plate, gilded brass with engraved and painted image of a C.B. Badge, inscribed 'Edward Lowther Crofton Esquire, Post Captain in the Royal Navy, Companion of the Most Honourable Military Order of the Bath, Nominated 4th June 1815.', reverse with maker's stamp for Hughes, 8 Peterboh. Co.., Fleet Str., London, 191mm x 114mm, corners pierced for attachment, very fineThis stall plate was produced between 1826 and 1838, during which time Hughes copper and steel plate makers was headquartered at Peterborough Court, Fleet Street.Edward Lowther Crofton was born on 24 November 1783, likely in County Roscommon, Ireland, the son of John Frederick Lowther Crofton and the grandson of Anglo-Irish politician Sir Marcus Lowther Crofton, 1st Baronet. Crofton embarked on a career in the Royal Navy, with whom he was commissioned Lieutenant in March 1804, Commander in February 1805 and was promoted Post Captain on 4 March 1811.Crofton was active during the War of 1812 and served as Post Captain in the Naval Brigade of Rear-Admiral Sir George Cockburn during the Battle of Baltimore in September 1814. Following the British burning of the enemy capital at Washington D.C., they returned to their ships and travelled up river towards Baltimore, Maryland and proceeded to bombard the harbour's Fort McHenry in an attempt to take the city. The fort was well-defended and stood up to the 25-hour bombardment after which the British fleet departed. The conflict notably inspired the American national anthem.Crofton's conduct during the engagement was praised by the Rear-Admiral in his public letter, in which he stated: '...the brigade of seamen with small arms, commanded by Captain Edward Crofton, assisted by Captains Sulivan, Money, and Ramsay, who commanded divisions under him, behaved with a gallantry and steadiness which would have done honour to the ablest troops, and which attracted the admiration of the army.'A year after the battle, Crofton was made a Companion of the Order of the Bath in June 1815. The following year he married Mary Leader on 23 April 1816 and the couple went on to have issue of at least one son and one daughter, who was born at Putney Hill in Surrey on 10 September 1818. Their son, also named Edward Lowther Crofton, was a Captain in the 77th Regiment of Foot who died of cholera in the Crimea on 27 September 1854 during the march from Alma to Balaclava.Crofton died just a few years after his award of the C.B. in September 1818; sold together with copied research. …

* TOM MACKENZIE (SCOTTISH 1947 - 2018), LOCHANS, LEWIS limited edition colour etching on paper, signed, titled and numbered 37/75mounted, framed and under glassimage size 23cm x 45cm, overall size 43cm x 66cmNote: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.

* TOM MACKENZIE (SCOTTISH 1947 - 2018), CORUISK FROM THE RIDGE limited edition colour etching on paper, signed, titled and numbered 22/30mounted, framed and under glassimage size 38cm x 49cm, overall size 57cm x 72cm Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.

* TOM MACKENZIE (SCOTTISH 1947 - 2018), SPINNAKERS limited edition etching on paper, signed and numbered 22/30mounted, framed and under glassimage size 23cm x 29cm, overall size 42cm x 52cm Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.

* IRENE LESLEY MAIN (SCOTTISH 1959 - 2023), CAT'S CRADLE mixed media on paper, signedmounted, framed and under glass image size 13cm x 21cm, overall size 37cm x 43cmLabel verso: Main Fine Art, BrodickNote: 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.

* GERARD BURNS (SCOTTISH b. 1961), THE PROMISE oil on canvas, signed, titled versoframedimage size 51cm x 51cm, overall size 79cm x 79cmLabel verso: 516 The Gallery.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

Pair of cast composite Corinthian architectural columns, the Corinthian capital decorated with scrolls and curled acanthus leaves, bulbous fluted shaft on moulded foot and square base Dimensions: Height: 238cm Condition Report:One column is off its base.

SPRINGBANK 1975 27 YEAR OLD CHIEFTAIN'S CAMPBELTOWN SINGLE MALT Distilled: 12/1975Bottled: 03/2003Cask #35281 of 192 bottles53.7% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. No visible condition issues with bottle.  Minor wear to box.  Please see additional images.

SPRINGBANK 1991 PRIVATE CASK #331 CAMPBELTOWN SINGLE MALT Distilled: 06/12/1991Bottled: 13/07/200557% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.

An Edwardian silver three piece tea set, all of oval shape with gadrooned lower bodies, tea pot engraved "Presented to Henry Curtis Cook, by his colleagues in The Capital & Counties Bank, on his marriage, 30 May 1908", with ebonised handle and finial, hallmarked by TW possibly T. Wilkinson & Co, Birmingham, 1907. Weight approx. 1137.2 grams (36.5ozt) Further details: tarnished, with wear and slight scratching.