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A Victorian Parian group "A Capital Joke" Modelled as two jolly cardinals seated beside a table raised upon a breakfront plinth, unmarked, 18x28cms and a Victorian Staffordshire relief moulded two handled loving cup with scenes of the chase, unmarked, 14.5cms high. (2) CONDITION REPORT: Lot 1778: Parian group - very minor chip to the box on the table next to the teapot, no further cracks, chips or restorations. Two handles loving cup - the blue band around the rim hairline scratch approximately 3cm above the figures climbing over the hedge and going through the gate, not visible on the other side (scratch) and a minor surface scratch on the blue glaze on the opposite side, otherwise good.

A late 19th early 20th Century stoneware gate pier Capital In the form of a sphere on a rising hexagonal column terminating in a hexagonal support 91cm high, 43cm width.

A Victorian cast iron pedestal With a square plinth raised upon a leaf and scroll capital, barrel shape support raised upon a plinth base.97x34x34cms CONDITION REPORT: Repainted the leafy scroll underneath the rectangular top cracked and possibly welded, damage to the canthus leaf beneath in the centre, piece chipped out, left hand side beneath the rectangular top traces of welding repairs, some of the leafy scrolls broken signs of weld underneath the black paintwork to small sections.

A cast iron socle and base, an Ionic reconstituted stone capital and a plaster niche cast with a figure of Pan

ROTHSCHILD NATHAN MEYER: (1777-1836) Jewish German Banker, Businessman and Financier, one of the second generation of the Rothschild Banking Dynasty. D.S., N M Rothschild, in his capacity as contractor, in the right margin, two pages, folio, n.p. (London?), 1st March 1822. The printed document, in Russian, French and English, is a financial certificate 'of a perpetual Annuity in the Great Book of the Public Debt of the Imperial Commission of the Sinking Fund, representing a Capital of Seven Hundred and Twenty Silver Roubles…', equal to £111. With various decorative engravings to either side and a number of official stamps, including two stating Coupons Delivered in London, dated 1834 and 1846. Some light overall age wear and some splitting at the central horizontal fold (neatly repaired with clear tape to the verso). G The present Russian bond of1822 is widely recognized by Economic historians as being the first Eurobond. Issued by the House of Rothschild in London, Frankfurt, Paris and Vienna, the bond promised payment in European currencies, as well as in Russian rubles. Perhaps more importantly, dividends could be claimed in any of the aforementioned cities, effectively protecting the bondholder from the effects of a continental war . Missing from the bond are the original coupons which would have been clipped and exchanged for payment. Although titled an annuity, the 1822 issue was in fact a perpetuity, a promise by Russia to pay a dividend to the bondholder forever, or at least until the Revolution of 1917.

'Mr. Bauer's morals and political reliability are beyond question' FABERGE PETER CARL: (1846-1920) Russian Jeweller, known for his Faberge eggs. Appointed Goldsmith and Jeweller to the Russian Imperial Court in 1885. An extremely rare D.S., K. Faberge, in Cyrillic, one page, folio, Petrograd, 28th January 1917, on Faberge's printed stationery as Court Jeweller, in Cyrillic. The typed document is a certificate issued to Otto Ottovitch Bauer and takes the form of a testimonial letter, confirming that Bauer's father was Otto Ernstovitch Bauer and his grandfather Ernst Bauer, all natural-born Russian subjects, and continuing 'I certify that for around twenty years Mr. Bauer was an employee in a company held singularly by me and that presently he is the Board Director of the K. Faberge Society founded by me. Furthermore, since the year 1914 he has been the General Manager of the Society's Mechanical Plant which altogether operates for the defence of the Nation and manufactures different types of ammunition at the request of the Main Artillery Directorate. Mr. Bauer's morals and political reliability are beyond question'. Signed by Faberge at the foot alongside several official stamps of the Faberge Society. With blank integral leaf. Some extremely minor, light age wear and a few tiny splits at the edges of the folds, not affecting the text or signature. About VG Otto Bauer (d.1936) joined the House of Faberge in 1898 and held the position of chief accountant. Despite Faberge's belief, as stated in the present document, that Bauer's morals were beyond question, the reality would appear to have been somewhat different. Reports suggest that Bauer left the company in a controversial manner in 1923, pocketing a significant amount of capital and hiding an estimated twenty boxes of Faberge items, probably including the company's books and records, which have never been located.

STEPHENSON GEORGE: (1781-1848) English Engineer who built the first public inter-city railway line in the world to use steam locomotives, 1830. Known as the Father of Railways. L.S., Geo: Stephenson, two pages, 4to, London, 30th July 1835, to Henry (?) Vickers. Stephenson informs his correspondent 'that every day appears to confirm the expectation of the Great Line from Leeds to the London & Bhm. Railway being carried forward immediately', further referring to the Sheffield branch which 'must either be embodied in the general scheme or brought forward simultaneously so that the capital and influence of each may assist the other'. In concluding Stephenson tells his correspondent that he must keep his subscribers together, and get others in addition, 'to give efficient support to the General Line'. Some extensive dust staining to a large portion of the first page, making some of the text a little challenging to read, and with some age wear and minor tears at the folds, about G

An Edwardian Silver Oil Lamp, Walker & Hall, Sheffield 1904, the fluted column with a Corinthian capital and square stepped base, with the original silver and brass mounted cut glass font, 64cm to top of lamp, loaded Some small bruises but overall in good condition.

A Lalique "Gui" (Mistletoe) vase inscribed "R. Lalique" to base, 17 cm high CONDITION REPORTS Base to underside is entirely frosted and bears a moulded mark in capital letters "R. LALIQUE", mould mark visible vertically through top rim and down side of vase in four places (opposing), base also bears a scratched/etched mark which appears to be the letters "F W", overall some light general wear and scuffs.

A Chinese carved inkstone: of arched rectangular form, the underside carved with an inscription which, according to a translation on notepaper from The Gloucester Hotel, Hong Kong dated 1/1/37 and signed W.Schofield, reads 'Kiang Chien Chi, whose post-....... name was Te T'ung, & his second name T'ung Shu, a man of the capital city of Kiang [probably Nanking], was the eldest son of [Kiang] Tai Shau. He rose to the [literary] degree of ..... & held office as Imperial Censor. By heredity versed in ancient script, bronzes, stone & bamboo objects, during his leisure he would diligently collect, criticise & study them. Accordingly in the 57th year of K'ien Lung, in the frosty month [November 1793] this beautiful stone proclaims & transmits his marvellous skill for a thousand centuries' 9 x 3.5 cm, with hardwood stand and cover. * Provenance: Mr and Mrs McAlpine Woods. - See lot 516

A George III old Sheffield plated single two-light candelabrum, probably by Winter and Co, circa 1780, tapering circular form, swirl fluted decoration, with a central urn finial, reeded scroll arms each supporting a fluted capital, beaded borders, on a raised circular foot, height 40.5cm. For a similar example see: Crosskey, G., Old Sheffield Plate, Treffry Publishing, 2011, figure 431, page 310

A George III silver chamber stick, by Henry Chawner and John Emes, London 1796, oval form, urn capital, reeded border, scroll handle with a conical snuffer, engraved with a crest, length 16.8cm, approx. weight 9oz

A silver table Art Deco lamp, by Mappin and Webb, Birmingham 1937, tapering form, with a fluted capital, on a raised circular foot with two stylised scroll supports, on four scroll feet, (no plug and not tested), height 24.8cm.

A George II silver taper stick, with inlet maker's mark for Robert Rew or Richard Rugg, London 1756, hexafoil base, shell corners and with a knopped baluster stem with fluted shoulders, a spool shaped capital, removable drip pan, height 13cm, approx. weight 5.3oz. This taper stick has recently been sent the Antique Plate Committee, (Case No. 9063) and in their opinion it is hallmarked in accordance with the Hallmarking Act of 1973

A George III miniature silver chamber stick, maker's mark worn, London 1797. circular form, scroll handle, urn shaped capital, with a later conical snuffer, diameter 9.5cm, approx. weight 3.2oz

A pair of 19th century German / Austro-Hungarian silver four-light candelabra, maker's mark of C.B, the columns with three simulated branches, with hanging leaves, with a central male and female figural finial supporting a foliate urn capital, with three scroll arms each supporting another capital, on raised engine-turned bases on three pierced scroll feet, damages and branches separate, filled bases, height 53.2cm. (2)

A pair of George III old Sheffield plated two-light candelabra, probably by Winter and Co, circa 1780, tapering circular form, with alternate panels of engraved decoration and ribbon-tied drapes, with a central urn finial, reeded scroll arms each supporting a fluted capital, beaded borders, on a raised circular foot, height 37.5cm. (2) For a similar example see: Crosskey, G., Old Sheffield Plate, Treffry Publishing, 2011, figure 431, page 310

A pair of George III old Sheffield plated two-light beehive candelabra, probably by Roberts Cadman and Co, circa 1795, baluster stems, with a beehive capital, with two scroll arms each supporting a beehive capital, on a raised stepped oval foot, reeded borders, height 38.5cm. (2) For a similar example, see Crosskey, G., Old Sheffield Plate, Treffry Publishing, 2011, figure 429, page 308

U2 - extremely rare cassette of demos titled ''The Achtung Baby Demos''. The tape comprises of 15 tracks with different outtakes and was given to Mike Read when he was a DJ at Capital Radio and is thought to have been sent by Mark Flood Ellis. Inside the inlay is a track listing and a handwritten note ''To Mick from Mark''.

A late Victorian gilt metal telescopic Corinthian column table lamp, the foliate repousse decorated brass reservoir fitted with a Sale Duplex oil burner (adapted for electricity), on fluted column stem with Corinthian capital and square plinth with wreaths applied to each side, raised on stepped square base and paw feet, fully extended 107cm including fitting.

A Hinks Benetfink London Duplex glass and brass column oil lamp, having a Corinthian capital, faceted glass reserve, with frosted glass shade, raised on stepped base, height 33ins

Isaiah, fragment of a leaf from a monumental - Carolingian Bible, in Latin, on parchment [probably France Carolingian Bible, in Latin, on parchment [probably France, first half of the ninth century] Top half of a leaf, with remains of double column, 24 lines in a fine early Carolingian minuscule with an open a with righthand leaning uppermost strokes, an open e which leans dramatically to the right, and a capital L with hairline capstrokes on both ends, written with a thin nibbed pen in tiny letters, original running title Lib[er] / Isaiae in ornamental capitals, later chapter numbers (perhaps eleventh century), other marginalia with textual references, trimmed at one side with loss of border and approximately 14 characters from one column and about 24 lines from the base, thus original written space of approximately 280mm. by 210mm. and original leaf size of approximately 310mm. by 240mm., recovered from a binding and with small stains, smudges, holes and tears to edges, but good and legible condition, 212mm. by 175mm. Provenance: From a group of leaves evidently sold by Charles Hamilton Jr. (1914-96) to a now-deceased American collector. Text: The Carolingian revival of the notion of Europe as a single political unit could not look to a single language, lawcode or ethnic group to justify its existence, and instead the earliest scholars of the courts of Charlemagne and his immediate heirs turned to religion to unify it. In 789, Charlemagne called in his Admonitio Generalis for the protection of the surviving manuscripts of the Bible from wanton destruction, and he ordered that only trusted and mature scribes were to undertake its copying. The production of the vast and uniform Tours Bibles produced under the watchful eye of Alcuin ( c .740-804) and the script-reform that their dissemination brought about, is now well known (see D. Ganz in The Early Medieval Bible , 1994; and the fragment of the Tours Bible with parts of Ezekiel, sold in the Schoyen sale at Sotheby s, 10 July 2012, lot 28, for £31,250). However, it is clear that a handful of other centres also responded to Charlemagne's call for corrected Biblical books. In southern France, Theodulf of Orleans ( c .750/60-821) produced an entire Bible text, and another attempt from the imperial scriptorium of Lorsch (probably limited to a number of Old Testament books) is recorded in the library catalogue of that house and survives in a single fragment of Tobit, again from a binding (sold Sotheby s, 10 July 2012, lot 29, for £93,650; see also R. McKitterick in The Library , 6th series, 12, 1990, p.31). This fragment here is clearly not in the rolling and rotund script of Tours and does not conform to the rigid set of measurements of Tours Bibles, and is most probably the sole surviving relic of another attempt to produce an accurate Old Testament text, perhaps in another monastic house under imperial patronage. The text here is Isaiah 56:12-57:10 and 57:21-58:8 (obverse), and 59:2-11 and 59:19-60:6 (reverse).

August Theodor Schoefft (1809-1888) - Lahore scene Oil on board Circa 1841 30 x 22 cm. (11 3/4 x 8 3/4 in) A son of a local portrait painter August Theodor Schoefft was born in Budapest in 1809 to German parents who had migrated to Hungary. After formal art training in Vienna, Schoefft set out on a great adventure to travel exotic lands and paint foreign scenes while supporting himself on painting commissions as a professional artist. He managed to secure several prestigious portraits including Count Istvn Szchenyi. Schoefft eventually made his way to India via Turkey, arriving at Bombay in 1838. Once in India he advertised his skills as an artist in local newspapers which led to a number of profitable commissions. In September 1839 at Madras Schoefft received 5,000 Rupees for two full-length, life-size portraits of the Nawab of Arcot and his uncle. As word of Schoefft's skills as an artist spread he spent the next two years travelling extensively and working on commissioned painting for various clients. Eventually Schoefft reached the capital of the Sikh Kingdom, Lahore in November 1841 during the reign of Maharaja Sher Singh. Once in Lahore, Schoefft was the guest of Dr. Martin Honigberger, the personal physician to the Sikh Royal Court and a fellow German speaker.

A Pair of Carved Walnut Mirrors Italy circa 1859, attributed to Angelo Barbetti, the top frieze is decorated with an open winged eagle flanked by anthropomorphic scrolls, each of the bevelled mirror plates flanked by an elaborated arabesque carved individually to each mirror, each arabesque is surmounted by an elaborately carved capital with a grotesque mask at the centre, one holding game birds in its mouth the other fish, the capital bearing game birds supports the arabesque with the date 1859, 82cm wide, 122cm high

A Pair of Palmwood Pedestals England circa 1870, each with an elaborate lacquered brass C orinthian capital and turned foot, surmounted by a stepped plinth and stand above solid palmwood columns with entasis, 26cm wide, 117cm high, 26cm deep

A Shagreen and Palmwood Standard Lamp France circa 1925, taking the form of a column with a shagreen capital, flanked by asymmetric tapering shagreen panels, on a conformingly decorated square base with solid scroll feet, 41cm wide, 206cm high Attributed to Eugene Printz

A Swedish Églomisé Mirror Sweden circa 1820, the sides, capital and base enriched with neo-classical eglomise panels, the frame carved with egg and dart moulding on outer border and laurel on the inner edge, the mirror retains its original bevelled plate 81cm wide, 178cm high

A Tall Granite Column. England circa 1820, having a white marble capital and base, 177cm high

A Pair of Cast Iron Torcheres Germany circa 1820, in the style of Karl Friedrich Schinkel, each has a dished capital enriched with low relief classical motif of anthemions and a foliate border to the top edge, above a fluted column and terminating in a tripod of animal feet spaced with open anthemion and classical scrolls, 142cm high

A PAIR OF WHITE VEIN MARBLE COLUMNS each with a Doric capital above a fluted column on circular spreading foot and square base

An early 20th Century Corinthian column table lamp, with gilt brass stepped square base and capital and reeded bakolite stem supporting a cut clear glass reservoir and later electric light fitting (drilled and adapted for electricity) and a photograph of the lamp in situ at Towton Hall, 61cm high (excluding fitting)

Large antique copper lidded saucepan, marked Jones Brothers and inscribed with a crown above a capital 'C', 8" high

Brian Shields (Braaq) F.B.A (1951-1997) - 'Happy New Year Noël', signed, inscribed and dated '82 (1982), also "Ann", oil on board, 6" x 7", unframed * Provenance: Painted for the vendor's husband Noël who was a close friend of the artist. The picture probably depicts the artist and his sister Ann as children, they were born in Liverpool, purportedly in Kinder street wash house. He acquired the nickname 'Braaq' in his school days, on account of his artistic ability and the influence that the French artists of the late 19th and early 20th centuries had on him as a boy, particularly Georges Braque, a misspelling then transformed Braque into Braaq. He was the fourth child of twelve and his father, Dennis, was an established artist; one of his brothers, also called Dennis, is a sculptor and painter based in Coatbridge, Lanarkshire. Brian held his first exhibition in 1974 and by 1977 was invited to hold four shows in London by a gentleman called Noël, to whom the artist owed a debt of gratitude, after he had exhibited his work over several years, this helped to establish him as a name in the capital and enabled him to become better known in the North of England galleries, in Harrogate, Leeds and the North East. He was described by The Times as one of the six most successful artists in Britain. The Liverpool Echo also featured him in many of their issues, often comparing him to Manchester's Laurence Stephen Lowry. In the late 1970s, tragedy struck and his sister Ann sadly died at the extremely young age of twenty. In memory of her, he regularly inscribed his pictures with her name and often included her in some of the paintings with himself wearing wellies and invariably his black and white striped cotton jumper, apparently this pullover was the only "new" item of clothing he ever remembered receiving as a young boy. Most of his life was spent working as a trainee chef at a hotel in Harrogate, when some murals he painted to decorate the walls were discovered it caused quite a stir and for several weeks a search was undertaken with the help of the local newspapers to find out who had produced them, it is generally accepted now that the whole exercise was a great publicity stunt, which again helped to promote the up-and-coming painter. It is also said that he produced pub signs for local hostelries. Although successful he was often faced with financial difficulties and was declared bankrupt towards the end of his career, he sadly died of a brain haemorrhage at the early age of forty-six. His works are now extremely popular and realise many tens of thousands, both in the salerooms and retail galleries. *Subject to Artist's Resale Rights Law

A pair of carved oak terms, each with a stylized capital above a bust of a man, possibly 15th / 16th century, 28cm high. (2) Provenance: A private collection in the Cotswolds.

Capital Transport BOOK 'LONDON TRANSPORT CAP BADGES', the definitive and only reference work on the subject, written by David Lawrence. Fully illustrated in b&w, it was published in 1989 and, being long out of print, is now much sought after. Hardback book in good condition, lightly read. [1]

1913 official UNDERGROUND MAP OF LONDON, "What to see and how to see it". Print-code: 187-150 M-1-6-13.This is the map shown on p59 of Capital Transport's "No need to ask" reference work and shows the planned extensions of the Bakerloo, Central and Hampstead Tubes. The cover features one of the first printed versions of the bullseye logo, forerunner of today's roundel. Ex-guidebook issue with small edge-trim. Light wear but generally good. [1]

A Chinese cast bronze pricket candlestick, the hexagonal knopped column support with relief moulded dragons and lions masks to the capital base, below a florally encrusted sconce, supported on three dragon moulded carbriole scroll legs, 31cm high

A .400 CALIBRE BOHEMIAN SIX-SHOT PERCUSSION PEPPERBOX REVOLVER BY A. V. LEBEDA V. PRAZE, CIRCA 1850-60 with etched twist rifled detachable barrels numbered 1-6 at the breeches, finely engraved rounded action decorated with a dense pattern of scrolling foliage inhabited by a Cupid on each side and signed in gold capital letters on the top, carved ebonised butt, engraved back-strap en suite with the action, and engraved ring trigger 7.5 cm; 3 in barrels Anton Vincent Lebeda is recorded circa 1797-1857 and made a number of firearms for the Emperor Franz Josef I and other European Royal houses.

Stamps, Mixed a senator loose leaf album with a collection of mixed world, pre 1970; together with a further album and a stock book; with a 'Kings and Queens of England' thematic set present on card. Also included in the lot Capital Radio Fun Book and a small selection of £1 notes ( (5) and decimalization coinage set (good) (parcel)

A late 19th century brass telescopic standard lamp, with Corinthian capital and reeded column, upon a square stepped base

An interesting early 20th century photograph album, containing black and white photographs of a Chinese Army, images of capital punishment, including decapitations and executions, Chinese dragon dance, Hong Kong 1935, a Chinese funeral, a Chinese Wedding, Great Wall and scenes of daily life; etc,

A chinoiserie standard lamp, turned capital on tapering hexagonal column, quatrefoil base, decorated throughout with oriental scenes on a gilt ground.

An 18th Century Marblised Wooden Column with carved giltwood capital 32 ins (81 cms) high.

A quantity of Brass including two Capital letters, three trench art items and button guards

- Fitted with unique Shooting Brake coachwork (ex-chassis 1346) that HRH the Prince of Wales had Barker refinish to his own design in 1923. - Current family ownership since 1994 and enjoyed on numerous 20-Ghost Club events plus tours through Europe, South Africa and Australasia etc - Maintained by Cliff Long and will be driven to the sale - Matching chassis and engine numbers, Whitehead front wheel brakes Further Info: The exemption from capital gains tax for only or main residences has distorted property prices in the interim but when new a Rolls-Royce 40/50hp Silver Ghost was not so much the price of a good town house - as its modern equivalent would be today - but rather the price of a good street. Thus, it is no surprise that initial or subsequent owners often sought to prolong the lifespan of their Silver Ghosts by re-bodying them. The elegant Barker Shooting Brake coachwork which adorns the lot on offer (chassis 107EM) was originally fitted to chassis 1346 which in turn had been supplied new to W.J. Stevens Esq. of Margate, Kent as a Barker Limousine. The more sporting / utilitarian body is thought to have been constructed in 1921, a year before the car was acquired by H.R.H. the Prince of Wales. The future King Edward VIII decided to put his own stamp on the Shooting Brake during 1923 by commissioning Barker to apply a bespoke walnut effect finish to its aluminium panels. An article entitled `A Royal Shooting Brake' which appeared in Country Life magazine some five years later remarked: `It is not, however, generally known that the idea of grained wood finish originated with H.R.H. the Prince of Wales, whose Rolls-Royce Shooting Brake set the fashion . . . The idea was original and experimental, but the car thus painted five years ago has been in commission ever since and has only once been revarnished. The painting is still as good as the day when it was turned out and the finish has proved as durable as any ever placed on the road . . . Experience with shooting cars suggests that they have to do all kinds of work and carry abnormal loads over impossible ground. Keepers and loaders with nailed boots, retrievers, lunch hampers, bags, gun cases and weighty cartridge magazines - all these are things which are very definitely productive of excessive wear and tear. A journey along a rather overgrown wood ride to a lunch hut will play havoc with either paint or panel that is not of the best, and there are few cars which could stand two successive shooting seasons without showing very marked exterior deterioration'. Whether there is any truth to the rumour that H.R.H. the Prince of Wales used the Shooting Brake to smuggle Wallis Simpson into and out of Balmoral is unknown (its rear compartment contains black `pull down' silk blinds). Acquired by Sir H. Mackenzie in September 1940 and Allan Grey Esq. some eight months later, the Rolls-Royce certainly spent a considerable amount of time in Scotland. Part of the Ayrshire-based John C. Sword Collection for many years, it achieved the highest price of the day - £3,100 - when the first part of the Collection was dispersed by auctioneers John Watson & Son of Glasgow on 7th September 1962. Autocar magazine carried an illustration of the Shooting Brake a week later as part of its sale report, while the successful purchaser was a Canadian solicitor John Burnett Esq. On display at the Niagara Falls Antique Auto Museum for several years and bought by Californian B. Paul Moser during 1972, chassis 1346 was subsequently divorced from the Barker Shooting Brake body and currently wears Roi-des-Belges-style tourer coachwork. The lot on offer - chassis 107EM - was supplied new to John Gardener Esq. of Glasgow as a Windovers Torpedo Tourer. Mr Gardener had Whitehead front wheel brakes fitted to the Silver Ghost in 1927 before selling it to R.G.W. Berkeley Esq. of Worcester. The latter retained the car until 1966 when D.A. Payne of Birmingham took ownership. Sporting Sunbeam Tourer coachwork for a while, the Rolls-Royce had been stripped to a `matching numbers' rolling chassis by the time that marque enthusiast David Toms Esq bought it from Adrian Liddell of Andover (who owned the famous Straker Squire Brooklands racer for many years). Mr Toms not only recommissioned chassis 107EM but also fitted it with the discarded ex-H.R.H. the Prince of Wales Barker Shooting Brake coachwork which had previously adorned chassis 1346. Although not road registered until 1924, chassis 107EM was built in 1923 the same year that the future King Edward VIII had Barker apply the wood grain effect finish to his trend-setting Shooting Brake. Partially restored since entering the current family ownership in 1994, the Barker Shooting Brake has continued to transport notable personages (including eight Lord Mayors on one occasion) as well as being enjoyed on numerous tours and rallies in New Zealand, Australia, South Africa, Norway, Sweden, South of France, Alps, Pyrenees and Ireland etc. An accompanying letter from Cliff Long - the former proprietor of Cliff Long (Engineering) Veteran, Vintage & Classic Car Restorations - recalls that after pre-purchase vetting `The car was sent into my workshops for regular servicing and maintenance. When I retired I continued to service and maintain the car at the owner's home on a regular basis, so therefore the car has always been well looked after and hopefully ready for any long distance rally as required at any time'. Currently MOT tested until 24th July 2015, it is anticipated that chassis 107EM will possess a fresh certificate by the time of sale. Starting readily upon inspection, the lady vendor has every intention of driving the Rolls-Royce some 95 miles to Burghley House. The Dark Green hued wings and Black leather upholstery exhibit a certain amount of patina but the car remains in fair to good cosmetic order. Boasting Royal connections thanks to the provenance of its unique Barker coachwork, this imposing Rolls-Royce 40/50hp Silver Ghost would grace many a collection (especially if the new owner had access to a suitable estate). H&H are indebted to renowned Rolls-Royce historian and co-author of `The Edwardian Rolls-Royce' John Fasal for his assistance in the preparation of this catalogue description.

A Sampson Mordan & Co. yellow gold propelling pencil the signed finely decorated hobnail and line engraved hexagonal body with mirrored crown adjuster with foliate collar, flared foliate capital with inset crested blood stone seal, 3½in. (9cm.) long. Condition: The adjuster slides nicely, hallmarks are clear and crisp, blood stone seal and pencil are in excellent condition.

A set of Three Victorian silver and enamel wine labels, by Charles Rawlings & William Summers, London 1855, each form as a Gothic capital representing Port, Sherry and Madeira, engraved and decorated in red and blue enamel, 1.49oz (3)

A large Victorian silver table lamp, by Thomas Bradbury, London 1896, a conversion from an oil lamp, raised from a square base embossed with vases between gadrooned edges below a tapered column with Corinthian capital supporting the original clear glass reservoir below an added electrical fitting, 57.5cm high (including fitting) In good condition, both silver and glass element. Illegal wiring cut so re-wiring is necessary

A pair of Edwardian silver dwarf candlesticks, by William Hutton, London 1902, each standing on a square stepped base with acanthus border below a garlanded column with Doric capital socket with detachable nozzle, 13.5cm high, loaded (2) In good condition

A late 19th century brass telescopic standard lamp, with corinthian capital and reeded column, upon a square stepped base

A 20th century gilt column with corinthian style capital, on fluted square column and stepped base, 104.5cm high

A Victorian walnut davenport, the top with raised pierced brass gallery around inkwell and pen rest stands, the fall-flap with inset tooled leather and opening to reveal a birdseye maple interior of pigeon holes and drawers, cupboard door to right-hand side enclosing four drawers with turned inset wood handles, turned tapering columns to the front having ebonised capital and base, raised on bun feet, 22 x 22 x 32in. high.

Giovanni Battista Piranesi (Italian 1720-1778) ORNAMENTED CAPITAL LETTERS: LETTER "D" DECORATED WITH ROMULUS AND REMUS, LETTER "V" WITH POPES MITRE AND KEYS, LETTER "O" DECORATED WITH MAPS AND CHARTS one signed in the plate etchings 8 x 10cms; 3 1/8 x 3 7/8in. 8 x 10cms; 3 1/8 x 3 7/8in. 9.8 x 14.7cms; 3 3/4 x 5 7/8in., unframed. (3)

Swatch watch - Swatch access, Thessaloniki Cultural Capital of Europe 1997.

SELWYN IMAGE "Camillo Ferrara Roma. 1883", watercolour and pencil, initialled bottom right CONDITION REPORTS Light general wear and dirt to the picture. Frame with chips and wear. Picure is initialled bottom right. Bears a pencil inscription to the back board of the frame verso in capital letters ""SELWYN IMAGE", and the lower edge of the frame is marked "Selwyn Image". Size approx 17.5cm x 12.5cm.

A veined agate library obelisk, onyx-type capital and pedestal base, 41.5cm high

† STEPHEN BROADBENT (1962-) COMMUNICATION polished bronze, signed and dated 1989, on granite plinth, 24cm h No 7 from the edition of twelve. Communication was commissioned by Capital Bank in 1988 for its new computer building. It was the sculptor's first commission after leaving Arthur Dooley's studio. ++Tiny chip on plinth

† A miniature oval painting, head and shoulders, of an officer of The Rifle Brigade wearing his Waterloo medal, contemporary gilt frame (not original to the miniature), the border in the form of a serpent, the back engraved with a crown/ capital script F/ VII, 3½” x 2½”. Good Condition. Plate 31

Gilt metal propelling pencil, engraved decoration, plastic capital, a Waterman fountain pen and other pencils.

A 19th century gilded cabinet plate hand-painted sprays of flowers by Davenport China, Victorian bisque figure of a street vendor, a Faience lidded box with Napoleonic capital N above laurel leaves, supported on paw feet, a Faience bouillon soup bowl and cover and a butter dish