We found 9689 price guide item(s) matching your search

A Victorian silver chamber stick, by William Carter, London 1845, circular form, scroll and shell border, spool shaped capital, engraved with a crest, with a conical snuffer, diameter 13.5cm, approx. weight 9.5oz.

An Edwardian miniature silver chamber stick, by Henry Lambert, London 1905, shell base, ring handle, foliate capital, with a conical snuffer, length 9cm, approx. weight 3.5oz.

An Edwardian silver five-light candelabrum, by Walker and Hall, Sheffield 1907, in classical manner, tapering fluted column, urn shaped capitals with rams' heads, medallions and swags, with four foliate scroll arms, each supporting a capital and with a central capital, on a raised tapering square base, height 46cm, approx. weight of branches 51.5oz.

A Rare Diver's Large Wrist Compass, signed Officine Panerai, S.R.L, No.228, circa 1970, circular black rubber base, case back signed and numbered, revolving bezel with two luminous markers, plexi glass dome, dial with luminous capital letters for the cardinal points and indexes, immersed in water and shock-absorber liquid, 71mm wide see illustration 06.06.17, Rubbed surfaces and the metal bezel surfaces are discoloured in parts, plexi dome glass with scratches and crazing marks, later strap with buckle missing.

Irish silver Officer's badge - Royal Ulster Rifles marked "Silver" on the back. Acid tests as silver, looks as if it has been made in the Colonies or abroad. The silver mark is unevenly stamped in capital letters

TWO CUT GLASS OIL LAMPSone with square base and octagonal column, leading to a brass corinthian capital, topped by an opaque reservoir, and a Duplex patent burner; the other with circular base and octagonal column, topped by with brass; both damaged, approximately 57.5cm and 43.5cm respectively (2)

A cased reproduction of a 16th century seal-top silver spoon, C J Vander, London 1971 and another similar silver spoon with Prince of Wales feathers and motto capital, Mappin & Webb, 1981, 2ozs weight combined (2).

A George III cast silver Harlequin taperstick by William Cafe, London, 1765, the figural column supporting a bead-punched drip pan below a bead-edged cylindrical capital, on domed base chased with rococo leaves, scrolls and flowers, 14 cm. high, wt. 150 gm.Marked on inner rim of foot, in good crisp condition.

A pair of Victorian silver dwarf candlesticks,William Hutton & Sons Ltd., London 1894,cluster column stems surmounted by acanthus capital, detachable nozzles, on stepped square base with acanthus borders, 1.7cm high, loaded (2)

Galenus (Claudius) [Opera], 5 vol., pagination: I. [4], 24, 181, [1 blank] ll.; 108 ff., II. [3], [1 blank], 184 ff.; 106 ff., Greek and Roman type, woodcut Aldine device on title and on verso of final leaf. III. [4], 106 ff.; 155, [1] ff., IV. [4], 113, [1 blank] ff.; 74, 6, 57, [1] ff., V. [4], 346, [6] ff., final quire AAA bound between quires Τττ and Υυυ, Greek and Roman type, woodcut Aldine device on title and on verso of final leaf of all volumes (Fletcher f4; A3c), capital spaces, all blank leaves present, vol.2 stain at top of a2 and a3, repair to b1 and in blank gutter of n1, wormhole through last several leaves slightly affecting text, 20th-century brown morocco blind-tooled in period style by Bernard Middleton, folio (314-318 x 218-224mm.), Venice, Heirs of Aldus Manutius and Andrea Torresano, April-August 1525. ⁂ Editio princeps of Galen of Pergamum, one of the 'biggest' books printed by the Aldine Press, directed by Aldus's father-in-law Andrea Torresano. It is one of the rarest of all Aldine editions, "only two or three complete sets have been sold during the past 30 years [...] It is so rare and consequentely so expensive because of the limited number of originally printed copies. Being an exceptional case for Aldus- editions, the initial print run remained the only one." (L. Perrilli, A Risky Enterprise. The Aldine Edition of Galen, p. 447). The works of Galen appeared for the first time in Latin translation in 1490 (Goff G, 37), and only a few of his writings were available in Greek, e.g. the Περὶ φιλοσόφου ἱστορίας, printed in the second volume of the Aldine Aristotle Corpus, and the Θεραπευτικά published in Venice by Zacharias Kallierges and Nicolaos Vlastos (Goff G, 38). The delay was due to the partial disappearance of the written heritage of Greek medicine, and the great difficulty in finding Greek medical manuscripts, "and then there was a gap of a generation until the Aldine firm put out a series of medical authors, Galen in 1525, Hippocrates in 1526, Paul of Aegina, and the first half (only) of Aetius in 1534" (V. Nutton, Greek Science in Sixteenth Century, p. 20). Literature: Adams G, 32; STC Italian 285; Renouard Alde, pp. 101-102; Ahmanson-Murphy, 231-233, 235-236; Cataldi Palau, 95; Finazzi, 51; PMM 33; Wellcome I, 2507; Durling 1748; Grolier-Norman, n. 5B; Hoffmann II, 122; V. Nutton, John Caius and the Manuscripts of Galen, Cambridge 1987, pp. 39-42; Ead., Greek Science in the Sixteenth-century Renaissance, in Renaissance and Revolution, ed. J.V. Field-F.A.A.J. James, Cambridge 1993, pp. 20-24; P. Potter, The editiones principes of Galen and Hippocrates and their Relationship, in Text and Tradition. Studies in Ancient Medicine and its Transmission, ed. K.D. Fischer-D. Nickel-P. Potter, Leiden 1998, pp. 243-261; V. Nutton, Ancient Medicine, London 2004, pp. 230-247.

Canada.- Johnston (Thomas) Quebec, The Capital of New-France, a Bishoprick, and Seat of the Soverain Court, engraving, an excellent bold impression, on laid paper with indistinct watermark possibly date '17??', first state before additional lettering, plate mark 212 x 267 mm. (8 3/8 x 10 1/2 in), sheet approx. 240 x 317 mm. (9 1/2 x 12 1/2 in), several repaired nicks and tears with rough edges, one tear going into plate mark upper right, some handling creases, light surface dirt, unframed, [Boston, 1759]. Provenance: Private collection, London Literature: D. McN. Stauffer, American Engravers upon Copper and Steel, 1907, p. 252, no. 1505 I.N. Phelps Stokes and D.C. Haskell, American Historical Prints Early Views of American Cities, etc., 1933, p. 19, no. B-17 G. G. Deak, Picturing America, 1497-1899, 1988, p. 47, no. 78 ⁂ "The most important engraved view of [Quebec], as well as the earliest executed by an American", [G.G. Deak, op. cit., p. 47]. In 1759 Quebec-at the time a French northern settlement-fell to the English following one of the pivotal battles of the Seven Years' War, aptly named The Battle of the Plains of Abraham after the farmer who originally owned the plot. In an effort to capitalise on peaked interest in Quebec, Stephen Whiting, a London-based printseller, commissioned the Boston-based engraver, Thomas Johnston, to produce the present work and 'satisfy the curiosity of American and English audiences about the picturesque city' (G.G. Deak, op. cit., p. 47). Johnston's view is based on another inset view from an earlier map of Quebec by Nicolas de Fer published in 1718, which featured in Chatelain's seven-volume "Atlas Historique" (1705-1720).

India First Sikh silver coin issued under Maharajah Ranjit Singh 1799 AD VS 1856 diameter approx 21mm. Fine condition bearing Persian inscription and the pipal leaf symbol. In 1799, Ranjit Singh captured Lahore from the Bhangi Misl and later made it his capital. This was the first important step in his rise to power. In the following years he brought the whole of the central Punjab, from the Sutlej to the Jhelum under his sway. After several campaigns, he conquered the other misls and created the Sikh Empire

ALLEN & GINTER, General Government & State Capital Buildings, scuffing to gold edges, FR to G, 12

A pair of white marble plinths each with a square top, moulded capital and confirming plinth, 57 high, A/F

Sport - Football - Derby County - Derby County Football Club, Limited, Form of Application For Shares, Share Capital - - £5,000, dated 1896; letter that accompanied share certificates, signed by the club secretary W.S. Moore, dated February 5th, 1907; director's reports 1907 and 1908 (2); Agenda of an Extraordinary General Meeting of Derby County Football Club, Limited, at the Royal Hotel, Derby, 9th August, 1907; List of Shareholders to act as Directors, [c. 1907] [6]

A CAPITAL CHELSEA FOLDING BIKE, in metallic green

VICTORIAN BLACK MARBLE AND BRONZE COLUMN 19TH CENTURY the square top above a fluted column with bronze Ionic capital and laurel wreath foot, on a stepped black marble base 26cm wide, 110cm high, 26cm deep

FRENCH GREEN ONYX COLUMN WITH GILT METAL MOUNTS LATE 19TH CENTURY the square top on a tapered column with gilt metal capital and foot, on a stepped square plinth base raised on gilt metal claw feet 34cm wide, 111cm high, 34cm deep

STONE SUNDIAL 18TH/ EARLY 19TH CENTURY AND LATER the octagonal capital carved with hours markers and dated 1795, mounted with a later bronze dial and gnomon inscribed 'A shadow round about my face/ the sunny hours of day will trace', on a fluted octagonal column and square tapered base 118cm high, 49cm diameter Provenance: Collection of the late Donald MacKenzie

A silver three light candelabraThe central capital and drip pan with two scroll arms issuing from the central knopped stem, raised on a circular foot, loaded, by Poston Products Ltd., Birmingham 1969, height 20cm

Indian carved ivory paper knife, surmounted with a carved elephant upon a foliate capital, 19th century, 11" long

A cased set of six George V hallmarked silver teaspoons with Egyptian capital finials, W&G, Sheffield 1926, combined approx 2ozt, and a cased set of twelve ivorine handled fruit knives and forks with electroplated engraved blades and hallmarked silver collars (2).

A pair of plated, height adjustable lamp standards, each made as a classical column with a Corinthian capital on a square, stepped base with lion's paw feet. Condition report: Pre war perhaps 1915 - 1920.Have been lacquered, no real condition issues but not quite a pair. One has four bulb holders and other slight differences.

London Tram & Trolleybus Conductor's METROPOLITAN STAGE CARRIAGE BADGE T16653. Equivalent to PSV licence badges, these were issued from 1935-1962 for electric traction in the capital. Horseshoe fitting on reverse. In good, used condition, a few scratches. [1]

1959 South Africa Junior Springboks rugby tour of Argentina - rare pennant dated 19-9-1959 Seleccionado de Capital v Junior Springbok - overall 18" x 7.75"#

EIGHTEEN VINTAGE WOODEN JIGSAW PUZZLES, C1900-40 subjects including pictures by Frederic Whiting, Lawson Wood, George Studdy ('Bonzo') and Jessie Willcox Smith Francis James Barraud, An Encore Too Many, 39 x 53.5cm, 525 pieces (2 missing two replacements) note paper Forbescourt, Broughty Ferry, "complete Aug 20 1928… complete Jan '32, black metal tin with paper label "Surprise Picture" Lawson Wood - Taking Cover, 25 x 18cm, 155 pieces, one missing Lawson Wood 25 x 18cm, complete Lawson Wood , 1917, 29.5 x 22.5cm complete Pears - Rations, 23.5 x 45cm, 315 pieces, cut by C A Still, two pieces missing, note complete Feb 20/26, Nov 1934, black metal tin with paper label "Surprise Picture" Frank Schoonover (1877-19712) When Peace Came, 21.5 x 35cm, complete Gunning King, 32.5 x 23.5cm, 1 piece missing George Studdy - A Capital Levy, 25 x 18.5cm, 154 pieces, one missing Jessie Walcot Smith - School Time, 21.5 x 20cm, 149 pieces, two pieces missing, - label one piece missing 1953 At the Edge of the Wood, label 30 x 24cm, 182 pieces, two pieces missing "Complete August 1921 A Lamb", 1951 2 pieces missing, black metal tin with paper label "Surprise Picture" The Knitting Lesson, 4.5 x19.5cm, 167pieces two pieces missing, label "Correct Aug 1939" W V Cahill First Aid to the Injured, 32.2 x 24.9cm, 8 pieces missing The School House Door, Trade Mark Pears, 34.4 x 25.7cm, complete, original cloth bag and label "Complete in 1932. Study of a Boy, 25.2 x 18.7cm, 163 pieces, complete, cloth bag Frederick Whiting - Study of a Lady, Pears 1921, 27.8 x 25.7cm, 176 pieces, complete, cloth bag with label Ardent Prayer 29.8 x 20.2cm, 191 pieces, one missing Feeding the Chickens - 45 x 23.5cm, two pieces missing A Gathering, 32.8 x 21.4cm, 9 pieces missing The Explorer, 31 x 22cm, complete Under the Greenwood Tree

A pair of filled silver dwarf candlesticks by Sanders & Mackenzie, Birmingham, 1972, tapering faceted columns on hexagonal bases, one with loading removed from base, 18.5 cm. high.One has a few small dings to rim of capital.

A modern Italian silver candlestick to take a thick candle of approx. 4.5 cm. diameter, .800 standard, Florence, post 1968, campana-shaped capital on wide spreading circular base chased with scrolls and flowes on textured ground between triple flutes, 17 cm. high, wt. 262 gm.Good condition, no bruises, marked above foot rim.

A Victorian electroplate cylindrical biscuit box, with hinged cover and foliate engraved, 21cm high and the following electroplate an egg boiler, Walker & Hall, with cast bird and nest capital, bread board frame, cased fish eaters, pair of divided circular vegetable dishes, Elkington & Co, and four entree dish covers (qty).

An early 20th century 18ct gold curb link short watch chain,with a 'T' bar and swivel terminals, each link stamped with a crown & '18' and with indistinct hallmarks (date letter capital L), 23.5cm long overall, 23.3gms.

Rand, Ayn "Atlas Shrugged", Random House, New York, 1957, first printing, front hinge cracked, dark green cloth, gilt initials on front board with gilt titles on a maroon ground on backstrip, dust jacket, not price clipped, marked $6.95, the jacket designed by George Salter, the dust jacket is chipped with slight loss on the backstrip and corners, black and white portrait of the author on the back of the dust jacketLlosa, Mario Vargas "The Perpetual Orgy", Faber & Faber 1986, signed by the author on the half-title, dust jacketBarnes, Julian "Flaubert's Parrot", signed on the title page with the capital B crossed out by the author, dust jacket, not price clipped, green cloth with the Booker Prize shortlist bandSteinbeck, John "Travels with Charlie in Search of America", Heinemann 1962, dust jacket, not price clippedMaugham, Robin"Lovers In Exile", W H Allen 1977, brown cloth, dust jacket, not price clipped, two paperback editions of Julian Barnes "Flaubert's Parrot"Barnes, Julian"A Sense of Ending", Jonathan Cape 2011, black cloth, black end papers, dust jacket, not price clippedPretor-Pinney, Gavin"The Cloudspotter's Guide", an official publication of the Cloud Appreciation Society, Sceptre 2006, grey cloth, dust jacket, illustration by Paul Catherall and Wagman-Geller, Marlene "Once Again to Zelda", 50 great dedications and their stories, Pickador 2009, dust jacket, not price clipped, blue cloth (10)

Markham, Clements Robert. Cuzco: A Journey to the Ancient Capital of Peru... first edition, 8 coloured lithographed plates, folding lithographed map, library blindstamp on title-page, original cloth, neatly rebacked in matching green morocco gilt, new endpapers, 8vo, London: Chapman and Hall, 1856

Terence Conran teak & galvanised metal tube sunlounger, signed by celebrities inc. Westlife, Will Young, Shaggy, Lulu, Lennox Lewis etc, circa 2002. £200-300 This lounger was donated & signed by Terence Conran for the Capital FM Party in the Park in aid of The Prince's Trust held on 7th July 2002, inc. certificate

18th Century Chinese porcelain tankard decorated in England with polychrome painted foliate sprays, the handle with moulded heart capital Condition:

*Buddha. Bronze head of Buddha, Thailand, Ayutthaya Period (15-16th Century), the cast bronze head with eyes cast downwards in meditation, with long earlobes and an extensive layer of gilding to the surface, presented on a modern stand, 38 cm hight Provenance: Purchased from Jonathon & Antonia Tucker Asian Art and from a UK private collection. The Kingdom of Ayutthaya was established by King U Thong in 1350 in the Chao Phraya River basin to the north of a Bangkok, it was one of the richest and most enduring sovereignties of Southeast Asia until the Burmese attacked and burned its capital in 1767. For a similar example see cat. No. 32, F. McGill, The Kingdom of Siam: The Art of Central Thailand, San Francisco: Asian Art Museum, 2005. (1)

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE NATIONAL GALLERY FROM PRINCES STREET GARDENS Oil on board 12cm x 15cm (4.75in x 6in) Provenance:Margaret Morris Neita Woodthorpe Ewan Mundy Fine Art, Glasgow Note:This painting dates from c.1905 John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. In The National Gallery from Princes Street Gardens he captured this key Edinburgh artistic institution and its situation in the very heart of the city with deft brushstrokes and delicate tones, creating a wonderful impression, and a captivating painting.

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SELF PORTRAIT Conté and gouache 32.5cm x 24cm (12.75in x 9.5in) Provenance:Compass Gallery, Glasgow June 1975 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments. The dynamic Self-Portrait is more worked up, with gouache layered over the initial conté lines. Fergusson was never particularly well-off and by depicting himself he saved the cost of a model, while allowing more time to work into the depiction, beyond the simple lines of a quickly observed sketch. The portrait has a sense of drama, in his strong lines, but also in the way he chooses to depict himself, with a bold hat which frames his face and offers a striking contrast with his angular facial structure. Fergusson was interested in contemporary fashions, often making the effort to include fashionable touches in his female studies, particularly hats, so it is interesting to see him turn this particular focus on himself.

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN IN A CAFÉ Conté, inscribed verso 20.5cm x 12cm (8in x 4.75in) Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE MUSICIAN Conté, inscribed on the backboard by Margaret Morris 20cm x 12cm (8in x 4.75) Exhibited:Compass Gallery, Glasgow, JD Fergusson - One-man Exhibition 1972, no.85 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE MILLINER Conté 19cm x 12cm (7.5in x 4.75in) Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) MEN ABOUT TOWN Conté 21cm x 16cm (8.25in x 6.25in) Exhibited:The Scottish Gallery, Edinburgh 2007 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) DISTINGUISHED Conté 13cm x 11cm (5.25in x 4.25in) Exhibited:The Scottish Gallery, Edinburgh 2014 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PORTRAIT STUDY Conté on coloured paper 14cm x 12cm (5.5in x 4.75in) Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.

Officials: 1866-72 no watermark, 1a deep brown with overprint type O1, variety wide and more open capital 'S' (SG O4 var), odd shortish perf and a trace of toning, used by large part circular numeral cancel, rare with variety, RPS cert (2000)

1934-36 small format, 1½d red-brown booklet pane of 4 plus 2 labels (FOR SAFETY OF CAPITAL/INVEST IN UNIVERSAL FIXED TRUST), wmk upright, perf P (SG 441e var, Spec NB27 (14)), perfs lightly trimmed at foot, fresh u/m, RPS cert

1934-36 1½d red-brown, intermediate format, booklet pane of 4 plus 2 labels, perf I (FOR SAFETY OF CAPITAL/AMALGAMATED FIXED TRUST), watermark inverted (SG 441aw, Spec NB25a (2)), perfs lightly trimmed on two sides, fresh u/m, BPA cert (2011)

Officials: 1866-72 watermark elephant's head 2a orange, overprint type O1 with variety wide and more open capital 'S' (SG O11 var), a couple of shortish perfs and light wrinkles, used by part cds and barred diamond numeral, scarce, RPS cert (2000) which fails to mention variety

1934-36 Small format, 1½d red-brown booklet pane of 4 plus 2 labels (FOR SAFETY OF CAPITAL/AMALGAMATED FIXED TRUST), wmk upright, cylinder G28 dot, perf I (SG 441e var, Spec NB27 (8)), good perfs, fresh u/m, RPS cert (2006)

1934-36 small format, 1½d red-brown booklet pane of 4 plus 2 labels (FOR SAFETY OF CAPITAL/INVEST IN UNIVERSAL FIXED TRUST...see last page), wmk inverted, perf P (SG 441ew, Spec NB27a (15)), perfs lightly trimmed at top, fresh u/m, RPS cert (2013)

1934-36 small format, 1½d red-brown booklet pane of 4 plus 2 labels (FOR SAFETY OF CAPITAL/COMMERCIAL FIXED TRUST), wmk upright, cylinder G26 no dot, perf I (SG 441e var, Spec NB27 (12)), perfs trimmed at top, fresh u/m, RPS cert (2006)

Officials: 1866-72 watermark elephant's head 4a green die I, overprint type O1 with variety wide and more open capital 'S' (SG O14 var), a couple of shortish perfs but well centred (for this stamp) and fine used by part LAHORE cds, very scarce, BPA cert (1992)

1934-36 small format, 1½d red-brown booklet pane of 4 plus 2 labels (FOR SAFETY OF CAPITAL/NATIONAL FIXED INVESTMENT TRUST), wmk upright, cylinder G28 dot, perf I (SG 441e var, Spec NB27 (13)), good perfs and fresh u/m, RPS cert (2004)

1934-36 small format, 1½d red-brown booklet pane of 4 plus 2 labels (FOR SAFETY OF CAPITAL/INVEST IN CENTURY FIXED TRUST), wmk inverted, perf E (SG 441ew, Spec NB27a (9)), perfs lightly trimmed at right and foot, fresh u/m, RPS cert (2013)

Miscellaneous items, to include a Norwegian type box and cover, a carved wooden capital, a miniature curling stone, a gavel, a carved wooden pigeon etc.

Studio of Philippe Jacques de Loutherbourg R.A. (Strasbourg 1740-1812 London), Noah's Sacrifice, oil on canvas, later laid on board, framed. 123cm by 99cm. Note: De Loutherbourg was a painter, stage designer and illustrator, the son of an engraver and miniaturist. He moved to Paris at the age of 15 where he trained under Carle van Loo and Giovanni Battista Casanova (brother of the famous Venetian adventurer) and painter of battle, hunting and equestrian scenes. During the 1760's he enjoyed some success at the Paris Salon, mainly with landscapes. In 1771 he settled in London armed with an introduction to the actor-manager David Garrick for whom he became a designer of stage sets at Drury Lane. He later launched his own theatrical entertainment, the Eidophusikon. He became an R.A. in 1781 having enjoyed considerable success at Academy exhibitions. In his later work he turned increasingly to history painting including biblical subjects. This coincided with a period in London when a number of large-scale publishing ventures for illustrated books were launched. One of the most famous examples of these handsomely-printed large folio format publications was Macklin's Bible in the 1790's for which de Loutherbourg was commissioned to produce twenty-two paintings one of which was Noah's Sacrifice. The subject work may have been offered at auction by Peter Coxe, Burrell and Foster at Mr. Squibb's Great Rooms Saville (sic) Row, Monday May 5th, 1800, "A Catalogue of a Most Valuable and truly Capital Collection of Modern Paintings......the Property of Mr. Macklin.....comprising in Painting the works of ........Loutherbourg....." with lot 35 listed under "Copies" and described as "Loutherbourg Noah's Sacrifice".

19th Century Carved Giltwood Corinthian Column Capital Fragment. Unsigned. Wear, rubbing, losses. Measures approx. 20-1/2" H x 26-1/2" W x 19-1/2" D. Shipping: Third party. (estimate $200-$400)

A 9ct gold and jade Masonic related pendant, with compass and set square centred by a capital G with hook top, tested to 9ct, 2.5cm high.

1966 Austin Mini Cooper S - A RHD, 'home market' 1275 Cooper S that was supplied new via Moir & Baxter of Edinburgh - Originally finished in Almond Green with an Old English White roof and Porcelain Green upholstery with Dove Grey inserts - Treated to a full professional respray and mechanical reconditioning in 2008 and sparingly used as part of a private collection since then The chance meeting between John Cooper and Aurelio Lampredi at the 1959 Italian GP is now an established part of Mini folklore. Having charmed a very early 850cc model out of BMC and driven it to Monza, Cooper was accosted by Fiat engineer (and ex-Ferrari F1 designer) Lampredi. Infected by his old enemy's enthusiasm, the Italian asked to borrow the new wonder car. Returning several hours later, he heralded it as the future of automotive design before adding "if it weren't so ugly, I'd shoot myself". Unperturbed Cooper continued to harass Issigonis and BMC until they agreed to build a 'hot' version. Initially conceived as a homologation special, the Mini Cooper was launched in July 1961. Powered by an enlarged 997cc engine and benefiting from front disc brakes, it gave way to a succession of ever quicker variants culminating in the 1275 'S' of 1964. According to its accompanying British Motor Industry Heritage Trust certificate, this particular example - chassis C-A2S7 / 893013 - was built to right-hand drive, home market specification complete with fresh air heater, extra fuel tank and oil cooler on 16th September 1966. Originally painted in Almond Green with an Old English White roof and trimmed using Porcelain Green upholstery with Dove Grey inserts - the same livery it pleasingly sports today - the Austin was dispatched to supplying dealer Moir & Baxter Limited of Edinburgh some five days later. Fitted with a Goldseal (factory replacement) MKIII Cooper S engine at some stage, the Mini is further understood to have been re-shelled prior to entering the current ownership during 2008. Reportedly treated to a full professional respray and mechanical reconditioning that same year, the diminutive sports saloon shows an unwarranted 735 miles to its correct-type 120mph speedometer. Still retaining its original Fife 'FFG 927D' registration number, this appealing MKI Cooper S is journeying down from the Scottish capital especially for the sale. PLEASE NOTE: All estimates are subject to a buyer's premium of 16.2% incl. VAT (@ 20%)

A Victorian Mauchline ware crib board with images of "Treasury Building" and "United States Capital, Washington", 10ins x 3ins, a plane with printed scene of "Main Street, Buttermere", 4.125ins x 2ins x 3.25ins high, and twenty eight other pieces of Mauchline ware, various

Three rare Mauchline ware whistles with scenes of "Old Man of the Mountain", "Interior of Burns Cottage", and "United States Capital, Washington", 2.75ins high, another similar of Dunkeld Wood, and two cylindrical whistles with applied paper scenes of "Berwyn" and "Berwyn Chainbridge Hotel", 4.25ins overall