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Click here to subscribeA PAIR OF MID 18TH CENTURY BRASS CANDLESTICKS having lift-out dished-square sconces^ turned socket and reeded column with square capital^ raised on a stepped square base with gadrooned decoration. 27cm(h) Knocks and bending to sconces^ knocks to sockets^ wear to columns^ one with small dents^ columns loose.
Elizabeth I Shilling, 6th issue, MM bell, obv. faint capital `E` scratched in field behind bust, minor flat spots in legends o/wise full flan, toned Fine to GFine; James I shilling, 2nd coinage, 3rd bust, MM lis, obv. scratches & light pitting both sides, very lightly clipped between 9 & 10 o`clock o/wise clear legends & quite good shield detail Fine to GFine & Elizabeth I sixpence 1561, 3rd/4th issue, MM pheon, crease from 10 to 4 o`clock & 3 quarters of shield flat, bust worn Poor o/wise VG
BRUICHLADDICH 10 YEAR OLD (3) Single Islay malt Scotch whisky. Distributed in England & Wales by Capital Wine & Travers Ltd. London, Harwich. Label on back of bottle has `1979 Double Gold Award at International Wine & Spirit Competition.` 750ml, 43% volume. In cartons. BRUICHLADDDICH 10 YEAR OLD(2) Single Islay malt Scotch whisky. Distribution for the United Kingdom by F.Butcher & Company Limited, Glasgow. 75cl, 75°proof, 43% volume. In cartons. 5 bottles
Ellis (Rev. William) ELLIS`S THREE VISITS TO MADAGASCAR THREE VISITS TO MADAGASCAR DURING THE YEARS 1853-1854-1856, INCLUDING A JOURNEY TO THE CAPITAL. With notices of the natural history of the country and of the present civilization of the people. xiv + 426pp + 6pp. Original Embossed Pictorial Cloth with gilt titled spine. No Date, 1885 (? ) ; Reprint of Original Edition, Preface Dated 1858 (Not Updated)Illustrated by woodcuts from photographs. No Map and Frontis as called for but most likely never bound-in as there is no evidence of such ever being detached. Research on other available copies of this particular publication all indicate the same. Presentation note to prelim, dated 1889. Some Edgewear and scuffing to covers with light blistering to front cover cloth. Internally very good. Ellis was sent to Madagascar three times to investigate whether Christians were being maltreated. That investigation was not productive, as he was denied access to the capital, but it was the first widely read account of the island, and a thorough description of the society, customs, religion and natural history. In 1852 the affairs of Madagascar had reached such a crisis that Ellis (1794-1872), a missionary, was requested to visit the island, in order to ascertain and improve the condition of the christians. (DNB). He visited the Cape in 1854 on which he gives an interesting account of many places together with botanical notes and information respecting the natives.Grandidier 1633; Mendelssohn I, p.518; SAB II, p.185. Publisher Place: Philadelphia Publisher: John E. Potter and Company Publication Date: c1885 Condition: Good Size: 193mm x 138mm x 35mm Category: Travel & Exploration Reserve: $30 Click here to view further details and images
A pair of large soft paste Dishes, c.1860, each well enamelled by N. Wattieaux, with named scenes of 'La toilette d'Esther apres de Troy' and 'Evanouissement de Troy, and 'dated' 1736, within elaborate gilt scroll borders on a bleu nouveau ground, interlaced Ls and capital BB 4 (..), incised marks and over glaze numbers, slight gilding wear, 39cm (2) CONDITION REPORT: Minor chips to gilding on edge and on band round image in centre. One plate with missing areas of gilding. Some deterioration in turquoise glaze on curtains to left and fabric in centre. One plate has several areas of lost gilding to outer edge and one or two areas soft to the tooth. Please view additional images.
Thomas Jefferys (1719-71) Thomas Jefferys (1719-71), "Plan of New Orleans the Capital of Louisiana; with the Disposition of its Quarters and Canals as they have been traced by Mr. de la Tour in the Year 1720, The Course of Mississippi River from Bayagoulas to the Sea, The East Mouth of the Mississippi with the Plan of Fort La Balise which defends the Entrance and Channel of that River", 1759, London, copper-engraved map, sheet 17 in. x 22 in., attractively framed Note: The map shows the city`s layout with every street individually labeled. The outlines of the buildings are detailed, and major edifices are labeled, such as the "Parish Church" of St. Louis, the monastery of the "Capuchin-Fryars", the `House of the Indendant", and the "Hospital and Convent of the Ursulines." The right half of the map is divided into two maps, the upper map depicting New Orleans within the context of the lower Mississippi and its delta. The map below details the eastern mouth of the Mississippi, which is guarded by Fort La Balise.
John Smart (1741/2-1811) `Young Lady in a Pale Turquoise Dress` Watercolour on ivory, 5.5cm high (oval miniature) signed and dated lower right: JS/1787/I Footnote: The capital `I` beneath the date indicates that Smart painted this miniature in India, where he spent the years 1785-1795, mainly in Madras.
A late Victorian silver table candlestick Hawksworth, Eyre & Co. Ltd., Sheffield 1898, the swagged fluted urn capital with detachable drip pan on a fluted plinth and tapered square section fluted column to a stepped swagged and fluted base with foliate corners and beaded edges, loaded, 13in. (33cm.) high. See Illustration.
Bruttium, the Brettii (c.216-214 BC), AR Drachm, 4.18g, diademed and veiled head of Hera Lakinia right, sceptre over shoulder, uncertain symbol behind, rev. bpettin, Zeus standing left, right foot on capital of Ionic column, leaning on sceptre, crab on left (Scheu, NC 1962, 11; SNG ANS 25), extremely fine VAT Status: Margin Scheme View Terms & Conditions
A pair of substantial brass and wrought iron mounted andirons, probably French, almost certainly 16th century, each with an Ionic capital and mask above a rectangular panel cast in relief with swagged drapery and a suspended fruit cluster above a tree, with a bird perched above a cow below being milked, each with two arching feet descending from a stylised mask and scallopshell, one andiron inscribed ‘1561’ in raised numerals beneath the upper mask, with iron billet bars behind, each andiron 101cm high, 38cm wide, 41cm deep. LASSCO commissioned a metallurgical survey on the brass elements of these andirons from an independent specialist metallurgist. His findings concluded that ‘the state of corrosion of both is consistent with a sixteenth century date’. Further detail available on request.
An early Victorian silver shaped circular chamber candlestick by Henry Wilkinson & Co., Sheffield 1839 (the sconce 1843), with scroll and shell borders, a shaped circular sconce, a central inverted bell capital, detachable conical extinguisher with a bud finial, the flying scroll handle with a scroll and shell thumb piece, engraved with a crest, 15cm (6in) diameter, 290g (9.3 oz) (the extinguisher and sconce marked). The crest possibly for AINGE or COLLYER.
An early George III silver cinquefoil chamber. candlestick by Elizabeth Cooke, London 1768, with gadrooned borders, a circular sconce, a central reel capital, detachable conical extinguisher with a bell shaped knop finial and scroll handle, the flying scroll handle with a shaped thumb piece, engraved with a crest and ‘SR’, 15.5cm (6in) diameter, 378g (12.15 oz) (the extinguisher and sconce unmarked). The crest recorded for RADWAY of Rodway, Glos., ROBERTS, ROBERTSON of Deisaprice, Lincs., RODIE of Liverpool, ROSS and ROSSE of Waddesden, Bucks.
Thomas MOUFET. Insectorum sive Minimorum Animalium Theatrum… Londres, Thom. Cotes, 1634. In-folio, vélin crème, dos à 5 nerfs (Reliure de l`époque). Reproduction page 2, ÉDITION ORIGINALE de cet ouvrage capital pour l`histoire des insectes qui fut pour Cuvier le premier traité complet et scientifique sur le sujet. , L`auteur, médecin et naturaliste anglais (1550-1600), exerça la profession de médecin tout en s`occupant de chimie et d`histoire naturelle. Son Insectorum sive Minimorum Animalium Theatrum, qui traite de toutes sortes d`insectes, volants, marchants, rampants, fut en fait commencé par Wooton, Gesner et Penn et fut achevé par Moufet qui malheureusement n`en vit pas la publication. Le volume contient quelques 500 bois gravés dans le texte reproduisant de multiples insectes qui semblent là évoluer librement au gré des pages., Vélin sali, titre restauré, déchirures marginales, taches, mouillures et brunissures.
Emmanuel SWEDENBORG. Arcanes célestes de l`écriture sainte ou parole du seigneur dévoilés : Ici ceux qui sont dans la Genèse avec les Merveilles qui ont été vues dans le monde des esprits et dans le ciel des anges. Saint-Amand, Librairie de la Nouvelle Jérusalem ; Paris, Minot, Treuttel et Wurtz, 1841-1854. 16 volumes. - LE BOYS DES GUAYS. Index méthodique, ou Table alphabétique et analytique de ce qui est contenu dans les Arcanes célestes d`Em. Swedenborg. Ibid., Id., 1863-1864. 2 volumes. Ensemble 18 volumes in-8, demi-basane prune, dos lisse ornés (Reliure de l`époque)., Traduction du latin par Le Boys des Guays de cet ouvrage fondamental qui avait été publié de 1749 à 1756. C`est l`Ouvrage Capital de Swedenborg, qui contient les commentaires des Deux premiers livres du Pentateuque de Moïse, la Genèse et l`Exode. Stanislas de Gaita., Dos passés, brunissures et réparations angulaires à quelques feuillets
Karl MARX. Le Capital. Traduction de M. J. Roy, entièrement révisée par l`auteur. Paris, Maurice Lachatre et Cie, s.d. (1872-1875). In-4, demi-toile bleue (Reliure de l`époque)., ÉDITION ORIGINALE de la traduction française de l`œuvre capitale de Karl Marx., Elle est illustrée de nombreuses gravures sur bois dont une grande vignette allégorique gravée par Carter d`après Lienard, une grande vignette de titre gravée par Pannemaker d`après Tenalci (?), d`un portrait par Dumant et de nombreux ornements et culs-de-lampe., Établie sous le contrôle de Karl Marx, cette édition fut publiée et vendue sous forme de livraisons à dix centimes afin, écrit l`éditeur dans un feuillet liminaire, de permettre à un plus grand nombre de nos amis de se procurer notre livre, les pauvres ne peuvent payer la science qu`avec l`obole ; votre but se trouvera atteint : rendre votre œuvre accessible à tous. L`édition fut diffusée entre mai 1872 et mai 1875 par le courageux éditeur en dépit des manœuvres d`intimidation du gouvernement français., Exemplaire de première émission à l`adresse de Lachatre et Cie., Ex-libris manuscrit sur le titre., Début de fente à une charnière, rousseurs à quelques feuillets et déchirures intérieures de 3 cm à 4 feuillets.
A private letter written on February 8th 1916. Written by a grand-daughter to her grandfather Mr. J.D. Milliken in Chicago Illinois USA. Posted in Brixton London the letter mentions how the grand-daughter is worried about the Zeppelins being so close to where she is. The aerial defences around London prevented the Zeppelins getting too far into the capital. They did however do a lot of damage in the Midlands, killing 122 people. Also she is worried about ‘Billy’ her husband? Who had joined the Special Police Force. This letter is a small insight into the lives of ordinary people and how war affects them. Opened by the Censor and marked ‘Return To Sender’. Probably because of the mention of the collateral damage in the Midlands and the mention of the ‘Appam.’ GC minor wear. Together with another letter written by a German WW1 prisoner-of-war contained in an official envelope, checked by the British Censor. Note: The Appam was an English passenger liner captured by the German ship SMS Möwe (Sea Gull). A merchant raider who early in the afternoon of January 15th 1916 135 miles east of Madeira took command of the Appam as took her over to the neutral North American port of New Port Rhode Island as a captured vessel. See website
Menu from the “Graf Zeppelin” England Flight 18-20 Aug 1931. Mounted, framed (41cm x 51cm) and glazed menu of the Hamburg-Amerika Line. The menu shows on the front, within a Blue and Yellow oval border, the “Graf Zeppelin” over the Kurgarten Hotel on Friedrichshafen waterfront. The menu is mounted on a snake-skin effect backing within a oak mount. Mounted on the snake-skin backing, above the menu are 3 lapel badges. From the left; a Triangular Badge (apex pointing down) enclosing an Elongated “Z” bisected by a pair of stylized wings, the lower part of the “Z” below the wings has been modified to represent a capital “E”. The middle badge strongly resembles a WW1 US Army Service Corps Officer’s Lapel insignia. The third badge is designed as a pennant with a “Z” central to the pennant. Inserted under the glass is a vintage post-card depicting an early Zeppelin as an advertising vehicle for “Allensdorf Milchcentrifugen Werk”. To the rear, a segment has been removed from the backing to show the typewritten details of the flight, and the particular meal. This menu was prepared for the Evening meal on 19 August. QGC-GC The menu is heavily creased across the middle, by folding. See Plate 14
Société Francaise du Dahomey, a pair of certificates, the first for one share of 500 francs, 1920, the second after a capital restructure for 150 francs, 192[3], colourful design with natives and their house, crocodile, palm trees and native head at top, with coupons, yellow, green and red, very fine to extremely fine. (2) Vat Status: Margin Scheme View Terms & Conditions
Cairo Electric Railways and Heliopolis Oases Co., a large group of certificates for 1 ordinary share of 250 francs, 1906, capital 15,000,000 francs (11) and 1911, capital 50,000,000 francs (107), vignette of Cairo skyline with pyramids in background, ornate border, red and black, the first printed by Bardbury, Wilkinson & Co., the latter by Verschueren in Antwerp, with coupons, about 10% have some condition problems, the rest extremely fine. (118) Vat Status: Margin Scheme View Terms & Conditions
Shanghai and Hongkew Wharf Company Limited, certificate for 5 shares dated 1941, company logo top centre, ornate border, black and blue, capital increased from 4 million taels to 8 million and overprinted in red accordingly, good very fine and rare Vat Status: Margin Scheme View Terms & Conditions
Shanghai Electric Construction Co. Ltd., a set of 3 specimen certificates, from the Bradbury Wilkinson & Co., archive, for 1 share (brown and black), 5 shares (green and black) and 10 shares (blue and black), capital £320,000, electric tram at top left, very ornate borders, numbered 000 with coupons, extremely fine, some hole cancellations (3) Vat Status: Margin Scheme View Terms & Conditions
Shanghai Electric Construction Co. Ltd., specimen certificate for 10 shares, from the Bradbury, Wilkinson & Co. archive, blue and black, capital £400,000, electric tram at top left, very ornate borders, hand dated 28/9/21 top left, no coupons, extremely fine Vat Status: Margin Scheme View Terms & Conditions
Shanghai Electric Construction Co. Ltd., a pair specimen certificates, from the Bradbury Wilkinson & Co., archive, for 10 shares (brown and red) and 100 shares (blue and red), capital £500,000, electric tram at top left, very ornate borders, numbered A000 and C0000 respectively, with coupons, extremely fine, some hole cancellations (2) Vat Status: Margin Scheme View Terms & Conditions
Shanghai Electric Construction Co. Ltd., a set of 3 unissued certificates, for 10 shares (brown and red) no.A1662, 50 shares (green and red) no.B1159 and 100 shares (blue and red) no.C4294 capital £700,000, electric tram at top left, very ornate borders, numbered A000,B000 and C000 respectively with coupons, extremely fine (3) Vat Status: Margin Scheme View Terms & Conditions
Shanghai Electric Construction Co. Ltd., a set of 3 specimen certificates, from the Bradbury Wilkinson & Co., archive, for 10 shares (brown and red), 50 shares (green and red) and 100 shares (blue and red), capital £700,000, electric tram at top left, very ornate borders, numbered A000,B000 and C000 respectively with coupons, extremely fine, some hole cancellations and hand wrritten dates and numbers on top border (3) Vat Status: Margin Scheme View Terms & Conditions
Equivalent Company, a dividend warrant for the 228th dividend being ½ per cent on £2,500 of capital stock, 6th July 1819, payable at the bank of England, issued to and signed by William Kops Coussmaker, small format, black, printed in London, single punch hole top left, ink cancel at top, very fine and the only type of paper seen of this important company. The Equivalent Company was the parent and founder of the Royal Bank of Scotland. It was formed by Act of Parliament in 1724 to incorporate the holders of `Equivalent Debentures`, these being 5% bonds of uncertain redemption date issued to unlucky creditors of the Scottish national debt (soldiers, tradesmen etc) for whom there was insufficient cash in the `Equivalent Fund` created by England under the 1707 Act of Union. The Fund was granted to Scotland by the English Parliament and was intended to be `equivalent` to the additional duties the Scots were expected to pay as a result of the Union. The company`s authorised capital was the exact amount of the debentures - £248,550.0s.9½d. In 1727 the company obtained a Scottish charter to create a bank for banking in Scotland only (thus evading the Bank of England`s monopoly) with an initial capital of £111,000. This was the Royal Bank of Scotland. After this the Equivalent Company continued in existence in London, paying regular dividends, we assume with those shareholders who had chosen not to convert their shares into the Royal Bank. In 1835 the company distributed its Equivalent Stock to its shareholders. Vat Status: Margin Scheme View Terms & Conditions
John Hunter, Morris & Elkan Ltd., a large group of certificates, 5 different types, 3 of which are ordinary shares with different capital structures, the remaining 2 are preference shares the last of which is after the company name had been changed to Hunters and W.K. Ltd in 1941, all brown with yellow underprint, stamped cancelled, generally very fine. (102) Sole distributers of the famed Monte Christo brand of Cuban cigars in Great Britain. Merged in 1963 to become Frankau and Hunters, the largest importer and sitributers of Cuban cigars in the country. Vat Status: Margin Scheme View Terms & Conditions
BOGOLIUBOV, ALEXEI(1824-1896)View of the Venetian Lagoon from the Public Gardens, signed.Oil on canvas, 71.5 by 120 cm.Executed in the 1870s. Provenance: Galerie Laurencie, Geneva. Acquired from the above by the Swiss diplomat Henri Coursier, c. 1975. Thence by descent to the previous owner. Private collection, Europe. Authenticity certificate from the expert V. Petrov.Alexei Bogoliubov visited Venice three times in the course of his long career – in the autumn of 1854, winter and spring of 1863 and, lastly, in the February of 1872. View of the Venetian Lagoon from the Public Gardens was in all probability painted from an impression left by this last visit. The image of this wonderful island city captured Bogoliubov’s imagination when still a student at the Imperial Academy of Arts, where he would copy engraved vedute and his teacher Maxim Vorobiev’s Venetian sketches. Nevertheless, arriving in Venice in October 1854 after a long journey through Europe, Bogoliubov was completely overwhelmed by his new surroundings. He was later to recall: “Dressing quickly, I ran out into the narrow street, weaved left and right managing to emerge, more by luck than judgement, on St Mark’s Square,where I stood at length gaping in astonishment. I wandered around the square for about an hour looking now at the piazzetta, now the entrance to the Palazzo Ducale, then the cathedral doors, stopping over nothing... Thus, on the first day, I bowled along like a hoop, scooting from one view to another. The warm Venetian evening came and a full moon floated up as though by design; night fell like a curtain and suddenly Venice appealed even more. The black gondolas striped silver across the surface of the Grand Canal and lagoon. Everything seemed covered in a fine, pale-bluish gauze. I jumped into a public gondola and was taken to Custom House. There I sat for a long while on the marble steps, only setting off to dine at 10 in the evening... My first sketch was the waterfront — with the Doge’s palace in the foreground. It was difficult — very difficult — not only to paint but to sketch the details of this intricate building. Nowadays, I would restrict myself to sketching the perspective and dimensions of the building and take the details from a photograph. But in those days photography had only just replaced daguerreotype and the best local photographer was selling views at a hundred francs per copy and more, which was completely beyond my means. This is why I used my pen to chisel out every column, capital and cornice on the palaces and the buildings, doing the drawings in folio, which in no small way taught me how to make loose, natural drawings of architecture, for which I had always had a passion. There are 400 examples of these drawings which can be seen the Academy of Arts. Then I made studies of the church with the canal, and travelled to the Lido to paint the sea. I painted several views of Venice from the public gardens. I worked tirelessly for two months”. These recollections record with surprising accuracy Bogoliubov’s favourite views of Venice. One of the artist’s favourite viewpoints was of the lagoon seen from the public gardens, of which this landscape is a variation. The perspective has been altered somewhat to allow him to capture the magnificent panorama, from San Giorgio Maggiore and the church of Santa Maria Salute to the Schiavoni embankment. The warm lilac-grey, blue and gold tints of this canvas recreate the feel of a calm Italian morning and involuntarily convey that rapture with which Russian landscapists from Sylvester Shchedrin to Ivan Aivazovsky handled their depictions of Venice."
*UFIMTSEV, VIKTOR(1899-1964)Kusok zhizni No 13, an Original Cover Design and 70 Drawings Bound into an Album, each variously inscribed in Cyrillic, some numbered and dated, some 1924 and others 1925.Cover: pencil, ink and gouache on paper, laid on card. Drawings: mostly pencil, ink and watercolour, some with gouache, and others pencil and ink on paper, laid on paper. Provenance: Acquired from Galina Ufimtseva-Nikolaeva, the artist’s widow. Important private collection, Europe.Viktor Ufimtsev created this album of original work entitled Kusok zhizni No 13 (Slice of Life No 13) between late 1924 and early 1925. The album comprises 70 drawings and watercolours with their binder, bound in chronological order by the artist himself. It was put together by Ufimtsev at the time of his first journey to the Orient, specifically Samarkand, when he was still the “Omsk mischief maker” and leader of the futurist art and literary group, the Three of Hearts. There is no better or more eloquent representation of the artist than his illustrated diary, which is a brilliant kaleidoscope of life in Samarkand – full of lively impressions, seasoned with gentle humour, and recounted inventively and interestingly by figurative means. The album, intended to be seen by friends and family, can rightfully be called The Artist’s Book, its concept of genre being clearly defined and its creative bar set high. This ranks it with examples of Russian avant-garde graphic art that are unique in the first quarter of the 20th century. The Samarkand series of drawings Kusok zhizni by Ufimtsev is a continuation of his experimental work in Omsk creating hand-crafted futurist pamphlets, one of which – The Futurists – Digest 1 (1921) – is preserved in a single copy in the archive of Ufimtsev’s colleague, the famous poet Leonid Martynov. If in the Omsk pamphlet we find a series of black and white engravings, then in Kusok zhizni No 13 we see how the artist was captivated by colour impressions, which fed his imagination on a daily basis. For a Russian artist of the 20th century, the name of no Asian capital sounded more seductive than Samarkand – not simply a city, but a universal image of the Orient and as compelling as a drug. The Russian allegiance to Samarkand has always been interpreted as an objection to Eurocentrism, as recognition of the need to direct one’s feet “towards the origin of the arts, towards the Orient” (Natalia Goncharova). Ufimtsev steeped himself in the atmosphere of Turkestan in the wake of his eminent predecessors Pavel Kuznetsov and Kuzma Petrov-Vodkin, who had recorded their impressions in their own way. This album lets us sense the beating heart and breath of another artist who belonged to the younger generation and left us his legacy of a “piece of life” – not only his personal life, but that of all 20th century Russian art. The album comes from the collection of the artist’s widow Galina Ufimtseva-Nikolayeva, sister of the artist Andrei Nikolaev (Usto-Mumin)."
J.S. RODDA, Pendarves Steward. Memorandum Book re changes of leases Pendarves Estate, e.g. "Mr Wm. Bennetts of Roskear has made application for Wheal Crofty and Wheal Seton Mine Setts to be worked in conjunction with other lands belonging to Mr Basset and Col. Seton." response - "Capital of £100,000 to be placed in local Bank at interest in joint names of Londs & Seely Co. Min. Rent to Mr Pendarves £25 to be absorbed in the dues in usual way", limp mo 1880's.
Biblia Latina, with the Glossa Ordinaria of pseudo-Walafrid Strabo. [Strasbourg: Adolf Rusch for Anton Koberger at Nuremberg, not after 1480]. First printed edition of the Latin Bible with the Glossa Ordinaria, or commentary, bound in four imperial folio volumes; 1,210 of 1,211 leaves, lacking only the penultimate blank, the other two blanks present; two gold-illuminated initials: one at the beginning of Genesis, the other at the beginning of the Psalms, all other initials supplied in alternating red and blue contemporary lombardic initials, larger initials enhanced with yellow tracery embellishments inside and around the letters, red and blue capital strokes and paragraph marks throughout, some contemporary notes, the set presented to an unnamed convent by Johannes Schreier in 1482, with the original notes to that effected inside the back board of each volume, and another similar notice on the front board of each volume; bound in uniform contemporary German alum-tawed pigskin bindings over wooden boards, tooled in blind; later hardware added; front boards detached, some worming, some discoloration to text pages, generally a large, fresh copy, with contemporary manuscript annotations (at times trimmed away) to help the binder assemble the pages, which would have been challenging because of the confusing signature marks used by the printer in this work; contemporary printer`s waste and text manuscript leaves used as pastedowns in all four volumes; ex libris the Franciscan Library of Ingoldstadt, with inscriptions; page size: 19 x 13 in.; bindings: 20 x 13 1/2 x 4 in.; the four together occupy 18 inches of shelf space; collation available upon request. (4).
18th Century Sevres blue ground cup and saucer, or Gobelet Litron Et Soucoupe, the cup having an oval reserve panel depicting cupid uniting Minover and Venus painted in cream and grey and with finely gilded foliate decoration to the blue ground, the saucer with central script ‘L’Amour Unit La Sagesse Et La Beauté’ within a surround of fruit painted in cream and grey, the blue ground border with conforming finely gilded decoration, each piece bearing gold interlaced L’s and the initials of Etinne-Henry Le Guay, the cup also with incised numbers, the saucer with under glazed capital C, height of cup 7.5cm, diameter of saucer 15.25cm ** General condition consistent with age
18th Century Vincennes shallow saucer dish, having a flared rim and having heavily gilded central decoration depicting birds in flight on a white ground, conforming gilded foliate decoration on a blue ground to the border, base with under glazed blue interlaced L’s with a central capital A for 1753, 21.25cm diameter ** General condition consistent with age
QI BAISHI (1864 - 1957) * FOUR CRABS "50 x 34 cm. Ink painting on paper. Framed. Inscription: Jiping tang shang laoren zuo yu Jiujing xicheng zhi xi (Old Man from Jiping tang painted this in the western part of the western district of the ancient capital city). Seal: Baishi weng. Provenance: collection of Vojtech Chytil. Exhibition labels: Mährischer Kunstverein in Brno (no. 1081) and Wiener Secession. PLEASE READ AUCTION TERMS AND CONDITIONS - DEPOSIT REQUIRED BEFORE BIDDING." Starting Price: CZK 1200000
KANG NING (born 1938) STARLING AND GRAPES "33.5 x 45.5 cm. Ink and colours on paper. Framed. Inscription: Kang Ning xie yu shoudu (Painted by Kang Ning in the capital city). Seal: Xiaozi (Devoted son). Seal: Kang Ning. Provenance: collection of a Czech sinologist. PLEASE READ AUCTION TERMS AND CONDITIONS - DEPOSIT REQUIRED BEFORE BIDDING. " Starting Price: CZK 9000
An interesting collection of books about social and political subjects including Capital by Karl Marx, Science Verses Idealism by Maurice Cornforth, Lenin on Britain, The Problem of the Distressed Areas by Wal Hannington, published London 1937, etc together with two Folio titles The Gulag Archipelago by Solzhenitsyn and The Artamonovs by Gorki.
Greek Coinage Apulia, Tarentum, Nomos, c. 332-302 BC; AR (g 7,93; mm 20; h 12); Ephebe advancing r., crowning himself; below ΣA and capital, Rv. TAPAΣ, ecist riding dolphin l., holding snake and whip; below KON. Vlasto 655; HNItaly 941; SNG Copenhagen -; SNG ANS 1026. Rare. Cabinet tone with iridescent reflects. Welle centered and exceptional conservation. About fdc Starting Price: €1520
Greek Coinage Sicily, Herbita, Bronze, IV-III cen. BC; AE (g 2,16; mm 13; h 6); Female head r., wearing earrings and necklace, Rv. Apollo seated r. on capital, holding bow. CNS I, -; SNG Copenhagen -; SNG ANS -. Green patina. Apparently the secon known specimen. About extremely fine/good very fine Starting Price: €136
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![[Ecole des Beaux-Arts] [Ecole des Beaux-Arts], "Classical Architectural Elements", c. 1850, Paris, pen, pencil, and](http://lot-images.atgmedia.com/SR/1979/2879269/47-2013625103053_468x382.jpg)
