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A late Victorian mahogany chiming mantel clock, the eight day three train movement striking on eight bells and five gongs, the arched dial with a silvered chapter ring with Roman and Arabic numerals and inscribed with the retailers name 'WEST & SON DUBLIN', with gilt cast foliate spandrels and three subsidiary dials for chime / silent,'slow / fast, chime on eight bells / Westminster on Gongs, in an architectural case with gilt brass pineapple finials and Corinthian capital columns, 49.2cm high, 42cm wide, 29.7cm deep.

λ A Victorian walnut stick barometer by Negretti & Zambra, with twin ivory dials, signed 'NEGRETTI & ZAMBRA Inst Makers To The Queen London', 10 A.M. Yesterday' and '10 AM ToDay' with vernier scales, the case carved with a leaf and scroll capital with ivory adjusters and a thermometer, 99cm high.

Wood Asian Carved Bodhisattva, together with a small wooden column with carved lion capital, turned bowl and weighted block.

A pair of Victorian silver Corinthian column candlesticks, maker Henry Harrison, Sheffield, 1888: each with acanthus capital, fluted column entwined with ivy, on a square stepped, beaded and weighted bases, 20.5cm. high.

Carthaginian Spain, Barcid Dominion AR Dishekel. South-western region of Gadir, circa 237-228 BC. Diademed male head (Hamilcar?) to left, with hanging ties / Prow of galley to right, with rostra, oars, two shields on deck and a wreathed forepost, to which is attached a pennant; seahorse in exergue. MHC, Class II, 14 (same dies); ACIP 542; AB 481. 14.72g, 27mm, 11h. Extremely Fine. Extremely Rare, and among the finest known examples. In 237 BC Hamilcar Barca, after having lost the First Punic War against Rome, but having won the Mercenary War against the Libyans, disembarked at Gadir with a Carthaginian expedition with the purpose of “re-establishing Carthaginian authority in Iberia” (Polybios, Histories, 2.1.6), and within 9 years he had expanded the territory of Carthage well into the Iberian peninsula, securing control of the southern mining district of Baetica and Sierra Morena, before dying in battle in 228. Hamilcar was succeeded by his son-in-law Hasdrubal the Fair who expanded the new province by skilful diplomacy and consolidated it with the foundation of Akra Leuka, Mahon and finally in 227, Qart Hadasht (Latin: Carthago Nova) as his capital. After his untimely death in 221 he was succeeded by Hannibal (247-182), oldest son of Hamilcar Barca, and Hamilcar’s second son Hasdrubal (245-207 BC). The Barcids now wielded control over much of the mineral rich Mediterranean side of the peninsula until 219 when Hannibal made the fateful move of taking and sacking Saguntum, a well established Roman ally. The wholesale slaughter of this Roman ally’s population, and the arrogance with which the Roman ambassadors sent to Carthage to seek redress were met, led directly to the Second Punic War: the great statesman Quintus Fabius, speaking to the Carthaginian senate, gathered a fold of his toga to his chest and held it out, saying “Here, we bring you peace and war. Take which you will.” The Carthaginians replied “Whichever you please - we do not care.” Fabius let the fold drop and proclaimed “We give you war.” The obverse of this coinage is popularly believed to depict Hamilcar Barca (or depict his features assimilated into Herakles-Melqart), who had after 247 commanded Carthage’s fleet and army in the Sicilian theatre of the First Punic War. The reverse of this type clearly alludes to the Carthaginian tradition of being a primarily naval power, and probably more specifically, to a renewed strengthening of the fleet, which had been so devasatated in the war - according to Polybius’ estimates, Carthage had lost 500 ships and he commented that the war was, at the time, the most destructive in terms of casualties in the history of warfare, including the battles of Alexander the Great. Yet despite rebuilding their ships, Carthage’s naval supremacy and the confidence to use them aggressively had been broken. Although Hamilcar himself had been an able admiral, after his death Carthaginian commanders (including his sons) appear not to have been sufficiently confident to aggressively challenge the Romans at sea in the Second Punic War, which in contrast to the preceding war, was largely a land-based conflict.

Carthaginian Spain, Barcid Dominion AR 1½ Shekel. Akra Leuka, circa 229/228 BC. Laureate head left (Melqart or Hasdrubal), with club over right shoulder / Elephant to right. MHC, Class III, 44 (same obverse die); ACIP 554; AB 486. 11.10g, 24mm, 12h. Very Fine. Very Rare. The city of Qart Hadasht (or Carthago Nova, as it was known to the Romans), literally meaning ‘new city’ and identical in name to Carthage itself, had been re-founded by the Carthaginian general Hasdrubal the Fair in 228 BC on the site of a town named Mastia. The site was chosen as it possessed one of the best harbours in the western Mediterranean, thus enabling it to serve as the primary port and capital city of the Barcid dominion in Spain. This new ‘empire’ had been carved out by Hasdrubal’s predecessor and father-in-law Hamilcar Barca, who had sought to replace the possessions in Sicily and Sardinia lost to Rome in the First Punic War, and to serve as a means of enriching and strengthening Carthage for any future war with Rome, a conflict he saw as inevitable. Hasdrubal ably succeeded his father-in-law in expanding the family’s territory in Spain and power over the local tribes, but was assassinated in 221. He was succeeded by Hamilcar’s son, Hannibal Barca, who was now of sufficient age to command the Carthaginian military forces, and who wasted little time in aggressively expanding Carthaginian influence over the surrounding regions. Barely two years later, Hannibal’s would besiege Saguntum and massacre the population, leading to renewed war with Rome. This bold type has been dated to the early period of Hasdrubal’s command in Spain; in contrast to the coinage attributed to Hamilcar, this type makes no reference to the traditional naval power of Carthage, instead adopting the African elephant as the reverse type. Evidently not a war-elephant (note the absence of either a mahout or a fighting tower) it is perhaps best interpreted as a sybol of Carthage or Barcid power in general. Indeed it is known that Hasdrubal favoured diplomacy and the demanding of hostages to further expand his influence in Spain; the club-wielding Herakles-Melqart implies the threat of force rather than its open display. Though Robinson (Essays Mattingly) interpreted the beardless head of Melqart on this coin as bearing the features of Hannibal Barca, the dating of the issue (as per Villaronga, MHC) suggests it is more likely to be Hasdrubal, if indeed an individual commander’s likeness is shown.

Mysia, Kyzikos EL Stater. Circa 500-450 BC. Double-bodied winged sphinx standing with head facing atop tunny fish to right, wearing ouraios, hair falling in plaited locks behind / Quadripartite incuse square. Von Fritze -, cf. 128, pl. IV, 14 (hekte); Greenwell -, cf. 101 (hekte); SNG France -, cf. 280 (hekte); CNG inventory 925160. 16.16g, 20mm. Of the highest rarity, one of only three known specimens, and arguably the finest. Ex Roma Numismatics VIII, 28 September 2014, lot 631. The sphinx as a type recurs frequently on the coinage of Kyzikos and new types are still being discovered today, yet the double-bodied sphinx is certainly the most curious depiction of this mythological monster, and the reason for it being so is not easy to divine. Greenwell (p. 102), who was citing Cousinéry, proposed that it was simply an artistic device for showing the sphinx as seated facing, 'arising from the difficulty of depicting a figure in that position'. This proposition appears plausible, until one considers that double-bodied owls are also engraved on coins at various cities including Athens, where they certainly had no problem with engraving a front-facing owl. More damning still for this simplistic view, the double-bodied sphinx appears also in statuary where again there is no logical reason to sculpt it so unless it possesses some significance - see in particular the limestone Tarentine column capital of the Corinthian order at the Metropolitan Museum, New York, and also the marble gravestone decorated with a loutrophoros supported by a double-bodied sphinx at the British Museum (both 4th century). The concept of double-bodied monsters was an ancient one, and probably originated in ancient Sumeria, as they are seen on cylinder seals from this culture, and are repeated later on ancient Iranian goldwork. Here, the double-bodied monsters probably signified a dualistic nature that is easily adaptable and can be one thing or another, or a span between two distinct yet connected elements such as sunrise and sunset. Tom Rasmussen (Corinth and the Orientalising Phenomenon) proposes that the artistic portrayal of the sphinx as a double-bodied monster was first devised at Corinth, where it can be found on a Protocorinthian olpe vase, circa 640 BC, known as the Chigi olpe which is now in the Villa Giulia in Rome. This was likely the product of a blending of Greek and Eastern imagery, yet the result is wholly original; indeed Rasmussen points out that 'Greek Orientalising is rarely straight copying of Oriental'. It has often been suggested that the electrum staters of Kyzikos take their types from a wide range of artistic sources across a broad geographical range, as might be expected for a city-state that relied almost entirely for its prosperity on being a commerce hub where east and west would meet and exchange wares and ideas. Whether or not Corinth was the origin of the double-bodied Sphinx, it is not surprising that such an intriguing motif should be adopted at Kyzikos.

Lombards, Desiderius AV Tremissis. Castelnovate, AD 757-774. +DN DESIDERIVS RXV (sic), cross potent / +FL•AVIA NOVATE, six-rayed star with small leaves between rays within circle. Bernareggi 166; Arslan 64/66. 1.03g, 18mm, 4h. Mint State. Extremely Rare. From the Alban Collection; Ex Editions V. Gadoury, 1 December 2012, lot 432. The Lombards are descended, according to the Benedictine monk Paul the Deacon’s account, from a Scandinavian tribe. Their name is allegedly from the reputable length of the beards they grew (Latinised as Langobardi; Longbeards). Gradually the Lombard people migrated down across Europe encountering other tribes such as the Vandals as they went. They are mentioned as early as AD 9 by Roman historian Velleius Paterculus and also by Strabo and Tacitus. As a result of the highly destructive Gothic War from AD 535 to 554, Italy was left underpopulated and vulnerable. The Lombards crossed over into Northern Italy and established their rule there, making Ticinum (modern-day Pavia) the capital of the new state. Over the next two hundred years the Kingdom of the Lombards became increasingly Romanised, and by the 8th century, was partially Catholic. Coinage gradually developed from being mainly Byzantine imitations to their own style of independent gold and silver coins. Desiderius was the last king of the Lombards, ruling from AD 756 to 774. He married his daughter off to Charlemagne, the King of the Franks. However their political relationship grew sour as disputes over the papacy resulted in Charlemagne besieging Desiderius at Pavia. Eventually the Lombards surrendered, and Desiderius was exiled to Corbie Abbey in France until he died in AD 786. Charlemagne proclaimed himself King of the Lombards and because of this and his other conquests he is known by some as the ‘father of Europe’, as he was the first to unite most of the Western Empire since the fall of Rome. The Lombards that were left continued to live on as lesser duchies in Southern Italy.

Domitian AV Aureus. Rome, AD 87. IMP CAES DOMIT AVG GERM P M TR P VI, laureate head right / IMP XIIII COS XIII CENS P P P, Minerva standing to right on prow, brandishing javelin in upraised right hand and holding shield in left; owl at feet. BMC 321 note; C. 216 var. (omits GERM); RIC 506; Calicó 885. 7.54g, 20mm, 6h. Near Mint State. Extremely Rare. Although the very extensive series of denarii issued under Domitian bearing the type of Minerva atop a capital today survive in great numbers, the companion aurei are remarkably rare. The rarity of this particular issue is well demonstrated by the fact that Calicó could not find an image to illustrate the type, and settled for a line drawing. The great many images of Minerva that were promulgated during Domitian's reign, such as those on his coinage, are the physical record of his adoption of Minerva as his patron deity and personal protectress. Indeed, the reverence he showed for the goddess led him to establish a new legion in her name in AD 82 to fight against the Chatti in Gaul, and in 89, the Legio I Minervia were acknowledged by Domitian for suppressing the revolt of the Governor of Germania Superior, being awarded the cognomen ‘Pia Fidelis Domitiana’. Seen on this reverse type brandishing her javelin in warlike countenance, and struck as it was in 87, Minerva might here be invoked to bring success to the Roman army, which launched a counter-invasion of Dacia in this year against king Decebalus, who had in the previous year attacked Roman Moesia and killed its governor. After the severe defeats the Roman forces had suffered at the hands of the Dacians in 85/86, which resulted in loss of the Praetorian Guard battle standard and the complete destruction of the Fifth, one can hardly blame Domitian for seeking divine assistance from his patron deity. According to Suetonius, after ‘several battles of varying success’, Domitian was distracted by elsewhere, and when Decebalus proposed a peace treaty, Domitian agreed. Value Minerva as he might, in the end no divine assistance spared Domitian from the palace conspiracy organised by court officials that resulted in his assassination in AD 96. Having had a difficult relationship with the Senate throughout his reign due to his autocratic rule and the removal of all their decision-making powers, upon news of his death the senators voted to bring damnatio memoriae against him.

Rhodos, Rhodes AR Tetradrachm. Circa 404-385 BC. Head of Helios facing slightly right / Rose with bud to right; POΔION above, [grain ear and Δ to left]; all within incuse square. Hecatomnus 56 (A37/P48); IGCH 1209 = Bérend, SNR 51, pl. 5, 51 (this coin). 15.24g, 26mm, 12h. Extremely Fine. Extremely Rare, one of apparently only two known examples. From a European collection, privately purchased from NAC; From the Marmaris Hoard, 1971 (IGCH 1209). In Pindar's ode, the island of Rhodos was said to be born of the union of Helios the sun god and the nymph Rhodos, and the cities Lindos, Ialyssos and Kameiros were named for their three sons. The Persians invaded and overran the island, but were in turn defeated by forces from Athens in 478 BC. The cities then joined the Athenian League, although when the Peloponnesian War broke out in 431 BC, Rhodes remained largely neutral, even though officially it was still a member of the League. In 408 BC the cities of the island united to form one territory, building for themselves a new capital, the city of Rhodes, on the northern end of the island. Its regular plan was superintended by the Athenian architect Hippodamos. In 357 BC however, the island was conquered by the king Mausolos of Karia, and later it fell to the Persians in 340 BC. To the great relief of its citizens, Rhodes became a part of the growing Macedonian empire in 332 as Alexander the Great passed through Asia Minor, liberating or conquering the Persian lands as he went. Following the death of Alexander, Rhodes formed strong commercial and cultural ties with the Ptolemies in Alexandria, and together formed the Rhodo-Egyptian alliance that controlled trade throughout the Aegean in the 3rd century BC. The city developed into a maritime, commercial and cultural centre; its coins circulated throughout the Mediterranean. Its famous schools of philosophy, science, literature and rhetoric shared masters with Alexandria. Its school of sculptors developed a rich, dramatic style that can be characterized as 'Hellenistic Baroque'.

Sicily, Akragas AR Litra. Circa 450-439 BC. (9.5mm, 0.64 g, 10h). Sea eagle standing left on Ionic capital / Crab; ΛI (mark of value) below. HGC 2, 121; SNG ANS 989–995. 0.59g, 10mm, 10h. Extremely Fine.

Abdoulaye Guindo (b.1966 - ) bronze sculpture of a dog vertebrae, also a another sculpture of a standing man by the same artist in the style of Giacometti measuring 36cm high excluding base. Abdoulaye Guindo is a sculptor working in Bamako the capital of Mali. Guindo is Dogon by birth and works as a plumber, creating his Giacometti inspired sculptures in his spare time from scrap metal. All lots in this Tribal and African Art Sale are sold subject to V.A.T. Therefore £100 hammer price will have Buyers premium on top and also an extra £20 in V.A.T. Condition report: see terms and conditions

Abdoulaye Guindo (b.1966 - ) brass or bronze cat, 35cm long Abdoulaye Guindo is a sculptor working in Bamako the capital of Mali. Guindo is Dogon by birth and works as a plumber, creating his Giacometti inspired sculptures in his spare time from scrap metal. All lots in this Tribal and African Art Sale are sold subject to V.A.T. Therefore £100 hammer price will have Buyers premium on top and also an extra £20 in V.A.T. Condition report: see terms and conditions

The British South Africa Companies medal with the reverse Rhodesia 1896 awarded to Corporal J N Normand of the Gwelo Volunteers engraved in large capital letters Condition - medal is in virtually un-circulated condition

Cape of Goodhope General Service medal with single bar Betchuanaland awarded to Private W H C Clark of the Queenstown Rifle Volunteers, engraved in neat capital letters Condition - contact marks on the obverse, otherwise about EF condition

Medal: G.A.A. [Roscommon], An attractive silver and rose gold Medal, the obverse with a shamrock and crown capital, and a rose gold shield shaped centre, the reverse inscribed "Boyle - G.A.A. 1914," hallmarked H. & H. (Hopkins & Hopkins," Scarce. (1)

A SILVER SEALING WAX, import mark, Chester 1903, in the form of a cavalier leaning on his sword, holding a shield and standing on a Corinthian capital, seal initials J.G.A. 2oz, 9.5cm

BANKNOTES, Great Britain, Treasury Notes, United Kingdom of Great Britain and Ireland, John Bradbury, The Dardanelles Campaign, uniface 10-Shillings, undated (1915), black serial no.Z1 018015, signed by John Bradbury, King George V top left, “TEN SHILLINGS” at centre, overprinted in black Arabic script translating as “Piastres Silver 120” and “Piastres Silver One Hundred and Twenty” (Dugg T15). Several pinholes, fine and rare. The Dardanelles Campaign (also known as the “Battle of Gallipoli”) took place at the peninsula of Gallipoli in the Ottoman Empire (modern day Turkey) between 15 April 1915 and 9 January 1916. It was a joint British and French operation to capture the Ottoman capital of Constantinople and secure a sea route to Russia. The attempt failed with heavy casualties on both sides and the campaign was considered one of the greatest victories of the Turks and was reflected on as a major failure by the Allies. These overprinted banknotes were issued for use by the entire British Military Expeditionary Forces in the Mediterranean and the Naval Expeditionary Forces.

Harry Kernoff RHA (1900-1974) THE METRO, PARIS, 1931 oil on board signed lower right; signed, titled, dated and with artist's address [13 Stamer Street Dublin] on reverse; also with Apollo Gallery label on reverse 24 x 29½in. (60.96 x 74.93cm) Adam's, 28 May 2003, lot 52;Private collection Filled with bright vibrant colour, The Metro, Paris, evokes a leisurely sunny day spent in the French capital. In the foreground, two figures sip green and red liqueurs, while the face of a man in straw boater is concealed. Overhead, the fringe of the café's awning hangs down, with the word 'cognac' clearly legible. Beyond the café, tram tracks and overhead wires criss-cross the composition: in the distance a man alights from the Line 5, and a larger, red metro moves across the metal aerial track. To the right of the composition, an Art Nouveau-style entrance can be seen, with the name Jean Jaurès visible in red lettering. Elsewhere, the composition is populated with characters typical of Kernoff's urban scenes, such as the woman walking purposefully with a fresh baguette under her arm, or the poodle, complete with an elaborate red bow. Kernoff had first visited Paris in 1923, using part of his £50 scholarship from the Taylor Bequest Awards to fund a trip abroad. However, it seems likely that he visited the city again in 1931: a pencil sketch in the National Gallery of Ireland is signed and dated July 1931, and in 1932, he exhibited six Parisian watercolours at The Gallery, 7 Stephen's Green. This collection included Canal, Jean-Jaurès, Paris, 1931 (Whyte's, 28 November 2011). (1) 1931 was an auspicious year for the artist: a large painting, Jupiter and the Muses, was accepted to the Royal Academy, London, and received press coverage in Ireland and Paris. (2) In March of the same year, the artist's first solo exhibition in London had taken place at the Gieves Gallery, Old Bond Street. At the 1932 Dublin exhibition, and at a further London show in 1938, Kernoff exhibited a work titled The Metro, Jean Jaurès, however the low catalogue prices suggest that these were smaller watercolour paintings. (3) A work titled Metro, Paris 1931 was also exhibited at the Harry Kernoff Memorial Exhibition at Municipal Gallery (now the Dublin City Gallery the Hugh Lane) in 1976-77, listed as a watercolour measuring 11.4 by 16 inches. (4) It was not unusual for the artist to complete multiple versions of the same composition, in different media, and so it is possible that a watercolour version of this painting is extant. In 1957, Kernoff exhibited a work of the same title priced at £65, suggesting a larger painting in oils - such as the present work. The style and execution of The Metro, Paris is redolent of other works from the 1930s - particularly the economical use of paint - and is a characteristic example of his work. Dr Kathryn MilliganESB Fellow ESB Centre for the Study of Irish ArtNational Gallery of IrelandAugust 20161. Harry Kernoff, Exhibition of Pictures, The Gallery, 7 Stephen's Green, 2 - 14 May, 1932. 2. Articles were published in several French art magazines, see Harry Kernoff Papers, National Library of Ireland, Ms. 20, 928. 3. See footnote 1 above, and Harry Kernoff, RHA, The White Gallery, London, 28 April - 12 May 1938. 4. The Harry Kernoff Memorial Exhibition, the Hugh Lane Municipal Gallery of Modern Art, 14 December 1976 - 30 January 1977. L

A Cut Glass Table Lamp. The tapered octagonal column leading down to a square stepped plinth with star cut base, surmounted by a Corinthian style gilt metal capital, 22 ins (56 cms) high.

An American wall clock depicting 'Capital of Albany N.Y'

A group of medals awarded to 724005 GNR M.Marriott. R.A comprising Territorial Efficiency medal, Jubilee Silver Medal 1935, George V and Queen Mary Capital Monogram Flanked by the dates of the accession and the Jubilee, The Great War Civilisation medal, 1914-1918 star R.F.A, 1914-1918 medal and silver and enamelled Prince of Wales 5th battalion badge (6)

An oak thirty hour longcase clock, signed S Lawson, Keighley, circa 1760, flat top pediment, crossbanded trunk door, 12-inch brass dial with chapter ring signed, date aperture, four pillar movement with anchor escapement and outside countwheel striking on a bell, 202cm high 13.09.16, Hood with small wooden blocks missing to the top side, one column capital is replaced and others with chips, slightly faded in parts, some holes and scratches to the sides, dial and movement are dirty, later seatboard, with pendulum and weight.

A late 5th or early 4th century BC Egyptian pale blue faience shabti carrying a pick and a hoe in his hands and a basket on his back, indicating that his function in a burial was to do any agricultural labour that might be required of the owners of the tomb by the gods; the inscription identifies the owner as "Nes-Ba-neb-djed", the name being only part of the inscription. The shabti comes from a tomb found at Mendes, the capital of a province in the Nile delta, which was found in 1902. Included in the lot is a letter of authentication from the British Museum dated 2007 and several articles and publications on shabtis in general and from this tomb in particular, height 17cm.

AN EARLY GOTHIC STYLE CARVED STONE CAPITAL, with foliate carving and shield, 15" high x 16" wide and another similar (2)

9ct gold mourning ring with embossed capital E, & 9ct gold & stone ring, size U & O 7g

A brass desk lamp in the form of a fluted column with Corinthian capital, raised on a squared stepped blockade base, 48 cm tall approx

W.H. SMITH 'CAPITAL ADVENTURE' ALMOST MINT AND BOXED TRAVEL BOARD GAME, ARCADE TOYS BOXED WOODEN LABYRINTH' TABLE TOP GAME, TELENG 'COLOURSTARS' BOXED TV. GAME WITH GUN FACILITY AND TWO BOXED CONSTRUCTION SETS (5)

* CHARLES JAMIESON MFA PAI PPAI (SCOTTISH b 1952 - ),CALM AFTERNOON (2004)oil on canvas, signed76.5cm x 76.5cm (30 x 30 inches)Framed.Note: Charles Jamieson was born in 1952. He studied art at the Glasgow School of Art from 1969 to 1974. This was followed by further studies at Texas Christian University in Fort Worth. Charles is the Former Chairman of the Aspect Prize and Past President of the Paisley Art Institute.Jamieson's work is held in many collections in Great Britain, USA, Italy, Australia, the Middle East, the Caribbean, Denmark, South Africa and Hong Kong including: Ernst & Young. Prudential, Clydebank Museum, Aspect Capital Ltd, Caledonian Breweries. Lord and Lady MacFarlane, John Le Carre, Harry Enfield, Keeley Hawes, Kirsty Wark, DWF, R.I.C.S & The Kuwait Royal Family.

A rare arquebus gun with double system, matchlock and flintlock dating: late 17th Century provenance: Italy Heavy, octagonal, smooth, 16 mm cal. barrel; two stamps "RONZI" (?) at the base and another stamp, nozzle with capital; big lock of archaic shape with external, double spring and matchlock; wooden half stock with iron mounts, double trigger (the second one is for the matchlock hammer). Iron ramrod. dimensions: length 151 cm.

A Victorian silver hexagonal propelling pencil, chased throughout with foliate scrolls, the capital set with a bloodstone, 12.1cm long extended, William Vale & Sons, Chester 1895

Bond/Share Certificates - Volga-Kama Commercial Bank [Petrograd, Russia]; £5,000 draft/memorandum to Baring Brothers & Co, Ltd, dated 1915-1917 (2); Pan American World Airways, Inc., N281303, 100 Shares of Capital Stock, dated 1966; The New York Central Railroad Company, CL734, 10 Shares Without Par Value, dated 1954; The Grand Union Company, C299188, 100 Shares, dated 1971; another, 0192702, 1 Share, dated 1963; further American share certificates (qty)

Gregory I (Pope). Morali di Sancto Gregorio Papa sopra li libro del beato Job Propheta, Books 1-13 & 28-35 bound in 2 volumes, Florence: Nicolo di Lorenzo della Magna, 12 March 1486, roman letter, double column, capital spaces with initial guide letters, some spotting and occasional mostly marginal dampstaining, sprinkled edges, later vellum with morocco labels to spines, rubbed and soiled, folio (317 x 222 mm) Provenance: Hodgsons, 29 April 1966, lot 611. GW 11438; Hain *7935; Proctor 6132. (2)

Boethius (Anicius Manlius Torquatus Severinus). De [con]solatio[n]e phylosophie liber cu[m] optimo [com]me[n]to beati Thome Colonia, Cologne: Heinrich Quentell, 31 December 1497, 192 leaves, gothic letter, 46 lines, capital spaces, text surrounded by commentary, with 'Accipies' woodcut on title (showing, on the left, a master at a lectern with a book and a rod and, on the right, four scholars), outer border of title cut away, just affecting text, repair to lower corner of two following leaves affecting some letters, corners of last four leaves repaired, a little spotting and soiling, contemporary ownership inscription Petrus Gladbach to title and [?]his numerous neat ink annotations and marginalia throughout (slightly shaved at foremargins), copious notes in the same hand to final leaf verso and additional leaf before title (both repaired with some loss of handwritten material), bookplate of Ken Tomkinson (detached but present) and Bernard Henry Newdigate to front pastedown, modern brown morocco gilt, 4to (205 x 138mm) The commentary, formerly ascribed to Thomas Aquinas, is now attributed to Thomas Wallensis or to William of Wheatley. Provenance: Sotheby's, London, 17 May 1966, lot 484. Goff B802; GW 4563; Hain 3390. (1)

Odo (Bishop of Cambrai). Expositio Canonis Missae, 1st edition, [Paris:], Guy Marchant, 16 August 1490, issue with misprint 'dnomino' in the first line of A1 recto, 12 leaves, gothic letter, 33-36 lines, initials and capital letters supplied in red, final leaf with recto blank (one line old ink annotation at head) and verso bearing title, some old ink underscoring and marginal marks, bookplate of Ken Tomkinson (detached) to front pastedown, modern half calf, padded with blank leaves, small 4to (in 6s) GW M27478; Hain 11959; not in Goff or Polain (B). Provenance: Sotheby's, London, 8 October 1968, lot 378. (1)

*Caricatures. A mixed collection of thirty-five etched cartoons and caricatures, mostly late 18th & early 19th century, caricatures with contemporary hand colouring after Rowlandson, Gillray, Cruickshank, Woodward and Newton, all plagiarised editions published in Ireland by William MaCleary, including:- 'State Physicians Bleeding John Bull to Death', 'A Long headed Minuet!!', 'English Fire Side [and] French Fire Side', 'The Last Shift', 'A Cake in Danger', 'A Sailor's Marriage', 'The Four Seasons of Love', 'The Cholic' [and] 'A Divine in Glory', each approximately 275 x 240 mm, mostly in good condition Ireland had a lucrative export trade based around the wholesale supply of retailers in the Irish provinces, Scotland and England. The trade with Britain seems to have been particularly important and was largely based upon the sale of pirate versions of books and prints that were originally published in London. This was possible because home rule meant that Irish publishers were exempt from legislation governing copyright over printed material in England, while lower labour costs and taxes on paper, allowed Irish publishers to offer goods at a fraction of their London competitors. William MaCleary was one of the foremost print dealers, based in Dublin and with premises on the fashionable Nassau street, he produced a great many caricatures which had the original artist and publisher's names removed and were issued with just MaCleary's name below the image. This advantageous trading position made Dublin a thriving centre for print making and publishing and by 1801 Dublin was home to a substantial number of businesses dealing in the production and and sale of printed goods. Wilson's Dublin Directory for 1801 contains entries for 59 printers, publishers and engravers, 39 booksellers, 9 map and printsellers, as well as 9 other businesses that sold products such as inks, paint, copperplates and paper which could be used in the printing process.List of titles included : View onboard a Packet; Patience on a Monument smiling at Grief or The Royal Laundress washing Boney's Court Dresses; Tit for Tat or Every dog has his day (*); Aryl Visit to a Foreign Capital or The Ambassador not at home; Fashionables of 1821; Les Invisibles; Traveling in France or Le Depart du Diligence; Leap Frog !!; A Halfpay Agents Levee; Giving up the Ghost or One Too Many;  A Long Headed Minuet !!; State Physicians Bleeding John Bull to Death !!; An Early Lesson of Dancing !; The Mischief of Methodicism, Agoing ! Agoing !; Fashionables of 1820; Everyone his Hobby; Fashionable Waltzing (Favourite Hobbies); John Doe and Richard Roe; Brothers in Law !; Oh! that is too too solid flesh would melt; Pigmy Revels; Pigmy Revels, Plate 2; Dandies as they are; French Fire Sides; English Fire Sides; The Last Shift; Ease, Comfort & Recreation or A Sixpenny Trip to the Rock; Ah! Sure such a pain was never seen so justly formd to meet by nature; The Four Seasons of Love; A Sailor's Marriage; A Cake in Danger; A Divne in his Glory; The Cholic; Pictures of Prejudice or Roscius Dissected by Thomas Rowlandson (after Woodward) (*); Three Opinions on the Pay of Young Roscius by Thomas Rowlandson (after Woodward) (*).(35)

Beroaldus (Philip, editor). Scriptores rei militaris, 4 parts in 1, Bologna: Franciscus (Plato) de Benedictis, 1495/6, 98 leaves, roman letter, 37 lines, capital spaces with guide letters, printer's woodcut device on FF4 and RR5 below colophons, typographical diagrams depicting tactical formations, register leaf at rear, some old ink marginalia in red ink towards rear, scattered minor spotting, slight staining to blank upper margins of first few leaves, a few minor wormholes to early leaves, monogram book label of Michael Tomkinson to front pastedown, 19th-century blue morocco gilt, gilt crest of a lion and crown to upper cover and monogram JS to lower cover, rubbed, folio (281 x 177 mm) This work contains writings on military matters by four authors: Sextus Julius Frontinus, Flavius Vegetius Renatus, Aelianus and Modestus. Provenance: Sotheby's, London, 7 July 1922, lot 1892. Goff S-345; Hain 5330; Proctor 6607. (1)

Bembo (Pietro). De Gli Asolani, edition seconda, Venice, Giovantonio & Fratelli da Sabbio, 1530, italic type, A1 blank except for Edition Seconda, A2 with drop-head title and capital space with guide letter, colophon to verso of final leaf, occasional light soiling to margins, early 19th century gilt-decorated full calf, rubbed and marked with a little wear to head and foot of spines and outer corners, 19th century bookplate with motto 'Virtute Adepta', 8vo Provenance: Purchased Blackwell's, Oxford, July 1977. The second revised and corrected edition prepared by the author, Gli Asolani is a prose dialogue on love influenced by Florentine neo-platonism which contributed, especially in this revised edition, to the major debate concerning the use of the Italian language as an acceptable literary form. Not in Adams. Graesse I, 333. (1)

Trials. The History of the Most Remarkable Tryals in Great Britain and Ireland, in Capital Cases, viz Heresy, Treason, Felony, Incest, Poisoning, Adultery, Rapes, Sodomy, Witchcraft, Pyracy, Murder, Robbery, etc..., Faithfully Extracted from Records, and other Authentick Authorities, as well Manuscript as Printed, London: A. Bell, J. Pemberton & J. Brown, 1715, occasional marginal dampstaining and few marks, later endpapers frayed at foot, contemporary blind panelled calf, old reback, joints cracked, worn, 8vo, together with [Pyron du Martre, Antoine], The Elements of Heraldry, containing a clear definition, and concise historical account of that ancient, useful, and entertaining science..., To which is annexed, a dictionary of the technical terms made use of in heraldry. By Mr. Porny, French-Master at Eyon-College, 2nd edition, 1771, engraved frontispiece, twenty-four engraved plates, contemporary sheep, joints cracked and slight wear, 8vo, plus Heraldic Anomalies; or, Rank Confusion in our Orders of Precedence..., by it matters not who, 2 vols., 1823, titles in red & black, occasional spotting and light dust-soiling, near contemporary dark green half morocco gilt, joints and extremities rubbed, 8vo (4)

An 'Improved Postage Stamp album' containing British and European stamps, a box of cigarette cards, a Mackintosh's Capital Assortment tin and a Ronson lighter

GRATEFUL DEAD AND RELATED CDs - Incredible archive of over 175 x CD albums with limited edition box sets, 'instant collection' most definitely applies here! Titles include terrapin Station: Capital Centre, Landover, MD 3/15/90 (3 x CD numbered 28461), Phil Lesh And Friends (box sets of Scranton, PA, Camden, NJ, Raleigh, NC and Asheville, NC, Live At The Warfield, San Francisco, CA), Fillmore West 1969 (deluxe 3 CD edition), Crimson, White & Indigo: Philadelphia, July 7, 1989 (limited edition with DVD), Two/Three From The Vault, Winterland 1973, There And Back Again, Truckin' Up To Buffalo, Wake Up To Find Out and a selection of 'Dick's Picks' including 29 (GDCD 4049), Ten, Eighteen, Twenty, Five, Twenty Five, 32, 6 and 13. Condition is generally very good to excellent.

A Victorian silver pair of candlesticksThe urn shaped capital to a tapered stem, raised on a circular base, with reeded detail, by Hawksworth, Eyre & Co. Ltd., Sheffield 1897, height 28.5cm

1 bottle Hennessy Fine Champagne Cognac Vintage 1830 "This unique bottle has been bottled in the early 1940's probably under the direction of The German Third Reich as a part of its need to raise capital. The 1830 Vintage at Hennessy has been only used generally as part of blends and very rarely indeed as a single vintage. It is likely that Hennessy, against their own wish, has been directed by the Third Reich to bottle old Vintage Reserve cognacs as single Vintage. We include some of the detail of provenance provided by the Vendor" “This is the oldest Hennessy vintage cognac known - there is no second bottle and no older vintage. Of course, Hennessy has also older vintages still on stock bottled in glass "dame-jeannes", but these will only be used for "assemblages". This bottle of 1830 Fine Champagne can also be classified historically in a very accurate way. It came from a collector who bought it about the year 1998 from a descendant of a Swiss pharmacist and wine & spirit merchant along with several other old vintage cognacs. Hennessy Cognac have been asked concerning this bottle and answered that, although the bottle itself could not be evaluated, a time frame for the production of this type of bottle could be set The bottle is the Traditional Cognac bottle that all Brands were using until 1947. From the middle of the 19th century, Cognac was mainly shipped in bottles rather that barrels (exception being UK). The bottles were shipped in wooden crates of 12 bottles. The shape of the bottle was the same for all brands, only the labels were different. The time range "second world war" makes perfect sense for our bottle: This time fits, and the "Third Reich" needed foreign currency, which for example was procured by the trade in wine, champagne and cognac from France. Cognac production and trade in this time was under control of Germany (by Gustav Klaebisch - see "Cognac" by Paczensky). So it is understandable that Hennessy - actually specialized in "assemblages" and bottled a quite valuable pure vintage cognac for export to Switzerland. Hennessy would not have done this on its own responsibility, and economically this would have made no sense using old stock in this way. Since from 1945 to 1947 export was very small, the bottle is highly likely to be dated between 1940 and 1944, which fits well to the almost perfect filling level and the state of the cork as well as to the oxidized metal foil. After about 70 years of perfect storage, a loss of about two to three centimetres is reasonable. There are new photos of Hennessys "Paradis"(Vintage Reserve stock) Cognacs (thanks to E. Thielisch / Moet Hennessy Germany) clearly showing the year of distillation of the “dame-jeannes” and even the name of the domain that provided the cognac: both, 1830 Petite Champagne and Grande Champagne 1830 are still stored today in Hennessys stock. There is a very high probability that exactly these stocks were used.”

A George III rosewood walking cane, the turned circular ivory capital inscribed 'Isaac Kelstick 77', the shaft set with ivory fragments, metal terminal, length 119cm.

A marble and metal-mounted table lamp, with a Corinthian capital over a spiral cut column, on a square plinth, raised on scrolled feet, with half shade, chips,50cm wide

A pair of early 20th Century Carl Zeiss Jena 7x50 binocularsThe binoculars stamped with the Eagle & Swastika and capital M, with artillery no.457, complete with the remains of a leather strap. CONDITION REPORT: Lot 225 - Outer case in very worn condition with paint loss and extensive wear.Vision is good when look through lens, however, does appear to be some small blemishes on the lensLeather cord snapped and broken away.

A late 19th century alabaster table lamp, with Corinthian capital. Height excluding light fitting 72 cm (see illustration).

A 19TH CENTURY CARVED STONE HEAD CAPITAL as a bearded gentleman with broad moustache on square base. See illustration

A Victorian silver four light candelabrum, by Richard Hodd & Son, London 1892, raised from a stepped square base with gadrooned edge below an Adamesque plinth supporting a fluted column with Corinthian capital with detachable gadrooned nozzle, , the three branches with foliate stems supporting conforming sockets around a central superior socket (detachable) with flambe cap, 74cm high, 38.5cm span, branch weight 58.43, base and column loaded

A pair of Victorian silver table comports, by Stephen Smith, London 1865, each raised from a circular fluted base standing on three leaf capped scrolled feet supporting a triangular, pierced and foliate scrolled tapering column with ornate capital supporting an etched glass shallow bowl, 21.5cm high, glass 21.5cm diameter, 28.47oz (2)

EARLY 20TH CENTURY CHINESE EMBROIDERED SILK THREE QUARTER LENGTH LADY'S ROBE, overall decorated with silk flower sprays and framing bands of pagodas, trees and flowers. Red silk lining. Provenance: Vendor's grandfather worked in Harbin capital of Manchuria during the early years of the 20th Century where he was instrumental in introducing tobacco to the Chinese! CONDITION REPORT: No obvious damage, appearing in very good condition. A little grubby through limited use. Some pulled threads especially on edges. No holes, rips or significant wear. Lining appears all good. Shoulder width 50cm approximately. Length 110cm approximately.

A CLOCK GARNITURE, the circular white enamel dial having floral swag and Arabic numerals detail supported on four gilt columns with climbing ivy and leafage capital, acorn finials and basket pediment, basket of flowers pendulum, all set on stepped rectangular plinth and tapering feet, together with gilt twin handled urn garnitures with gilt acorn finials, stepped square plinth bases and tapering feet, clock approximately 46cm max high (one garniture handle detached) (key)

A PAIR OF DRESDEN TABLE LAMPS, of column form with scroll gilt highlighted white capital and shaped bracket supports having floral and gilt highlights, the blue column having rose cartouches with gilt borders, blue Dresden mark to base, approximately 33cm high (drilled), together with twisted glass two branch candelabra, approximately 44cm max high (3)

A GEORGE III INLAID MAHOGANY RECTANGULAR SIDE TABLE, the top inlaid with oval patera within a crossbanded satinwood shaped auricular border, decorated inlaid panelled sides on square tapering legs with inlaid urn capital castors, having one single drawer. 65 x 45cm

BRONZE CAPITAL, Art Deco cast as a mask amongst leaves and scrolls, 26cm H x 47cm x 19cm.

A 20th century brass standard lamp on a square base with lion's paw feet a reeded column and Corinthian capital, 28 by 28 by 140cm high.

Four Vinyl LPsThe Beach Boys 'Pet Sounds' Stereo 1st Press UK Release 1966 on Capital Label (ST 2458) together with Magna Carta's 1970 LP 'Seasons' 1st Press with Gatefold Sleeve on the Large Vertigo Swirl Label (6360 003), Free's 1970 Album 'Fire & Water' 1st Pressing Island Label (ILPS 9120) and 'The Velvet Underground & Nico' 1971 UK reissue with Gatefold Sleeve on MGM Label (2315 056), this album is more commonly known as the "Banana Record" because of its famous cover design by Andy Warhol.

An early 18th Century French boulle work bracket clock by Gilles Martinot Paris, with spring driven anchor escapement striking on a bell and signed back plate with numbered counter wheel, the brass dial above a mounted scroll signed cartouche and monogram on a red velvet ground enclosed by a Corinthian capital pillared arch glazed door and scrolling acanthus red tortoiseshell case below a domed top and seven gilt flame finials, height 37cm together with a conforming bell shaped bracket, width 23cm, some damage and losses.

A hallmarked silver three light candelabra with two reeded acanthus leaf scroll arms leading to baluster supports with gadrooned drip pans, tapering capital with conforming gadrooned borders, the whole on stepped circular base, height 47cm, London 1904, William Hutton and Sons Ltd

9 carat gold "E" pendant on chain, the pendant in the form of a capital E suspended upon a curb link chain, 42cm in length, approximately 9.9 grams