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India 1861-1998 m/m and used officials on 2 double sided stockbook pages, includes Queen Victoria, Kings Edward VII and George VI and India Asokan Capital types. Government Revenue and Fiscal stamps and some stationary cut outs. Cat value £954

London City & Midland Bank Ltd., Carlisle, mint order with C/F RO 30.9.14, black and white & purple. Vig. Details Capital etc, printer Blades East & Blades

A Collection of Assorted Silver and Silver Plate, the silver including a pierced dish; a cream-jug; a salt and pepper shaker and a photograph-frame, weighable silver 10oz 19dwt, 340gr; the silver plate comprising a pair of Corinthian capital candlesticks (one tray)

A Pair of Antico Rosso Marble and Gilt Metal Table Lamp Bases, formed as carinthiun columns, 40cm to capitalOverall in good condition. The wiring needs testing. Wiring not checked.Late 20th century

France.- Graphic Illustrations of the Most Prominent Features of the French Capital... From Accurate Designs Taken in Paris During the Imperial Reign of Buonaparte, 12 engraved plates, scattered spotting and marginal browning throughout, damp stain to lower margin of one plate, one leaf loose, repaired tear to final leaf, original printed cloth-backed boards, upper board working loose, spine cloth torn and frayed, rubbed and soiled, oblong folio, 1816.

Philately interest - Two postage stamp albums, The Eclipse" and "The Capital" containing various, mostly used, postage stamps from Great Britain, Europe and the World.

Tony WEARE (1912-1994) Four portfolios of botanical watercolour studies One hundred and twenty loose pages of watercolour studies containing over one thousand individual illustrations of flora found in America and Canada, each illustration with its own title and dated, many including the place where the flora was located. Each page measures 25cm x 20cm and was created when Weare, the internationally-renowned cartoonist, spent two years driving around the American West, whilst still finding time to send back his cartoons to the London Evening News for their popular and long-running 'Matt Marriott' cartoon, for which he is perhaps best known. A philosopher, humanitarian, conservationist and amateur botanist, Weare lived and incredible life. Spending time sleeping rough in London, determined to succeed as an illustrator in the capital city, his drawings began to grace the pages of various magazines, including 'John Bull' and 'Brittania & Eve'. After some success with other comic strips, it was the creation of 'Matt Marriott, which ran from 1955 to 1977, which gave him his greatest commercial success, with even The Duke of Edinburgh himself said to be a fan. Such success enabled him to buy homes in both Devon and Spain, before the latter was sold to fund his journey around the US. Here he created these magnificent and botanically important drawings and his own personal story took another turn. Somehow, he managed to run himself over with his own car when his handbrake failed. Thankfully, a passer-by stopped and was able to remove the car from off of him, but then drove off in the car, leaving Tony injured and alone for several days before he was able to make it to hospital. Such was the nature of the accident, however, that Weare's insurance company neglected to pay out, leaving Tony with no way to pay for the medical bill. His artistic skills once more came to his aid though, as he painted a mural on the hospital wall as recompense. Even in his own death at 82, Tony created his own story. Not wanting to become a burden as he inevitably slowed, Tony decided to take his own life, having one last pint in a local pub before leaping from Porthleven Pier at high tide, but only after drawing a cartoon of his own death and leaving it for loved ones to find. In it he wrote 'I should hate to be more inactive than I am at the moment, with my children and grand-children feeling like they must sit with this old wreck until his last gasp. So I hope you will understand and give me a cheer and a handclap if I do manage to catch the tide tonight.'

(Caroline Fox and Davies Gilbert) Royal Cornwall Polytechnic Society. A granderised collection of the first reports thought to be Caroline Fox's own. First annual report 1833 to the fifth annual report 1837, in one volume, with extra bound in letters, original sketches, plans, architectural drawings, etc, full pebbled red calf, rubbed to extremities and joints, 4to, gilt edge, vg, Jane Trathan, Falmouth, 1833-1837.First bound letter (MS) with the title "First Prospectus of the Falmouth Polytechnic Society, in the Spring of 1832" detailing the society's aims and objectives, with a list of lead members; this appears to be in the hand of Davies Gilbert himself, using examples from the Science Museum, the close top of the capital 'I' for instance, and the angularity of the lower case letters firmly suggest it is, without it being signed; Followed by (as a frontis) an original ink and wash portrait of Davies Gilbert and indeed flat signed by Gilbert.'Report of the Cornwall Polytechnic Society 1833,' List of Members, Laws of the Society, proceedings of the General Meeting, bound in watercolour sketch of a Cornish mine, an ink and wash sketch of 'Loss of the Prince of Wales, 1804', ink sketch 'Park of Whitby Abbey', prizes awarded, watercolour still life of flowers initialled RJ 1833, list of subscribers, watercolour plan of a greenhouse, Chart of Gothic Architecture, ink and wash sketch titled 'A Method of Ventilating Mines'.'The Second Annual Report of the Cornwall Polytechnic Society 1834,' watercolour portrait of a bearded man with a large ruby on his hat, 'A Mineralogical Sketch of the Island of Banca' (Bangka Island, Indonesia), a ground plan of Ashfield estate, engraving of a Dipping Needle Deflector, ink sketch of a Hydrostatic Lock, ink and watercolour chart on Cornwall, engravings of the 'Cheese Wring' in Bodmin, engraving of The Royal Academy Medal 1837.'The Third Annual Report of the Royal Cornwall Polytechnic Society 1835,' ink sketch of the Polytechnic medal, ink sketch of Laocoon and Sons, watercolour Jack Knife, , engraving of a ruined abbey, engraved portrait, watercolour coastal scene, ink sketch of capital punishment in a schoolroom, 'Lines of equal magnetic inclination' map of the Uk and Ireland, 'Two Treaties on the Natural History of the Pilchard' by Jonathan Couch, meteorological diagrams (x2) with a fold out engraved '...Register Kept at Ashfield near Falmouth...1835', a fold out engraved chart titled 'A Chronological Chart of the Wars of the British Empire, From the Revolution in 1688-9 to 1855', four architectural plans for The Royal Polytechnic Hall, Falmouth.'The Fourth Annual Report of the Royal Polytechnic Society 1836,' newspaper clipping of a general meeting, watercolour of seaweed specimens, still life of flowers x2, engraving of Queen Victoria.'The Fifth Annual Report of the Royal Cornwall Polytechnic Society,' hand drawn magnetic chart of the UK and Ireland by Robert W. Fox, hand drawn magnetic chart of the Atlantic, ink sketch of crows, ink sketch of knights, an original hand drawn map signed by Edwin Fox and titled 'Recent discoveries in the Artic Regions by Parry, Franklin, Ross and Buck', graphite sketches of models of Trewethey Stone and Dungerthis Monument, a linear map between Falmouth and Truro with detailed key, watercolor botanical sketch.The work concludes with a letter written in the same hand as the first, detailing the rise of three other 'Polytechnics' since the inception of the Falmouth Society; and a printed announcement for the 'Sunderland Polytechnic Society', 1838.This is a work of huge historical significance concerning the development of science and art, which propagated from the inception of the Falmouth Polytechnic Society and was indeed granted Royal patronage from King William IV in 1835. A singular and important work. John Stengelhofen (1939-2020). Coming from London, he trained as an architect in the meticulous modernist aesthetics of the mid-century Architectural Association. He found Cornwall, moved there and never left. Active in the early years of the Trevithick Society, he was primarily responsible for the introduction of the Society’s Journal in 1973. He left mainstream architecture in the County Architects's department to pursue academic research at the newly-established, Institute of Cornish Studies, establishing himself as a generous, but authoritative lecturer on Cornish industrial archaeology along the way. He used his architectural skills to design Wheal Martyn China Clay Museum, then becoming its first Director in 1975. He moved to the National Maritime Museum in charge of their outstation at Cotehele, with the Tamar sailing barge Shamrock. During his period as President of the Royal Institution of Cornwall, 1984-1986, he had a major hand in the acquisition of the adjacent premises enabling the Royal Cornwall Museum to expand. He co-founded Twelveheads Press in 1978 to publish well-researched books on Cornish and other industrial history. Always generous with both skills and information, he was active in the Cornish Buildings Group for fifty years where he made a substantial contribution to the quality and protection of the built environment of his beloved Cornwall. Latterly he returned to his love of modern design, in the form of research into twentieth century Cornish architecture and architects, and produced as a last collaborative project, a visionary, affordable development in Hayle with impeccable eco credentials, where he made his home.

Torpoint Ferry Interest. Carew-Pole Papers Correspondence, plans, surveys etc for a new ferry, 1893-1923. Vol I- 'Antony Ferry Closure Correspondence-Torpoint Steam Ferry Improvements, 1893-1919,' correspondence (both typed and MS) between solicitors and parties involved in the creation of a more efficient steamer "...similar to those used at Gosport, New York &c &c", thus "necessary to again excavate the ferry canal and form a Dock and Landing Stage...", fascinating documentation on the mechanisms involved, incorporating Lieut Gen Sir Reginald Pole-Carew, representatives of the Home Office, numerous solicitors and tenants of rented lands from the estate of Anthony House, including receipts, surveys, MS and typed letters etc, in uniform blue boards.Vol II-'Sale of Torpoint Ferry to Cornwall County Council- Negotiations and Agreement, 1919-1920,' correspondence (typed) from 'Walker, Martineau & Co (solicitors)', a 'Memorandum of Agreement between Sir Reginald Pole-Carew and Lord St. Levan,' and Cornwall County Office "That we approve the principle of the purchase of the Torpoint Ferry provided that details are approved by the Finance Committee", bound in uniform blue boards.Vol III-'Torpoint Ferry Application by Sir Reginald Pole Carew and Geroge James Craddock to be Exempt from Income Tax Whilst Owning and Operating the Ferry. Royal Court of Justice, 10th April 1919,' transcript of the Shorthand Notes of Bennett & Co, 67 & 69 Chancery Lane, London, W. C, Sir John Simon, K.C and Mr A. M. Latter appeared as Counsel for the Appellants, The Solicitor General and Mr Parr appeared as Counsel for the Crown, In the High Court of Justice, King's Bench Division, bound in uniform blue boards.Vol VI- 'A Bill to Increase Tolls. General Correspondence, Valuation of Equipment etc, 1920,' consisting of receipts, surveys of lands, buildings, stores and permanent fixings (including value), bills, 'Statement showing the amount of capital put in the Ferry undertaking..., 25th March 1920,' and a copy of correspondence regarding '...the removal of Antony Passage Ferry', bound in uniform blue boards.Vol V- 'Attempts to Close the Ancient Antony Ferry, Correspondence, 1921,' concerning '...if we should grant to Lieut Gen Sir Reginald Pole-Carew licence to discontinue, relinquish and cease to maintain the ancient ferry known as Antony Passage Ferry...,' draft letters, newspaper clippings of plans, opinion of Norman C. Armitage Lincolns Inn 27th July 1921, 'Instructions to Counsel to settle draft Writ of Ad Quod Damnum, correspondence from County Hall Finance Department etc, uniformly bound in.Vol VI- 'Correspondance Relating to the Sale of The Torpoint Ferry, 'S. S. Beatrice', 1922-1923,' letters from 'Walker, Martineau & Co, Antony House Estate Office, County Hall etc, uniformly bound in.Vol VII- 'Torpoint Ferry Map Showing New Ferry Crossing, 1919,' coloured for the proposed route, backed onto linen, uniform case, 71mm x 102mm. (7)

Lovy, Pierre (French, 1935-present); b. Paris, and Arthus-Bertrand (Paris, 1803-present) FRANCE, Cemenelum [Cimiez], 2000, a bronze medal by P. Lovy for Arthus-Bertrand on behalf of the Musée Archéologiques de Nice-Cimiez, view of the ruins of an amphitheatre, rev. semi-robed male imitating a sun-god standing facing, holding a disc over an inscribed tablet, edge with foundry mark of Arthus-Bertrand, 68mm, 171.67g. Mint state; in blue gilt-blocked box of issue£10-£20 --- Provenance: bt Musée des Beaux-Arts, Nice, December 2005 Cemenelum was the Roman capital of the Alpes-Maritime province, an important rival to the city of Nice. Located in the present-day Nice suburb of Cimiez is the Musée archéologique de Nice-Cemenelum and the well-preserved remains of the town, which includes an amphitheatre, baths and an early Christian basilica.

A COMPOSITE STONE PLINTHthe square top over an ionic capital, fluted columns to stepped base, 100cm high x 31cm square

A late 19th century mixed polished marble torchere standOf Tuscan form in pink veined and black marble, with rotating capital top and set on a stepped pedestal base.104cm high (capital top 20cm sq.)Provenance:Wirswall Hall, Whitchurch, Shropshire.Condition:Capital top broken diagonally and repaired with associated chips to the corners. Wear to top of capital. Very small chips/nibbles to the pedestal corners.

An Italian Grand Tour marble model of Trajan's ColumnIn red marble, set on a pedestal base and black marble foot.33.5cm highCondition:Missing bronze figure. Very small chips to capital. Chips to top edge of pedestal. Some tiny nibbles to pedestal base edges.

Appianus. Des Guerres des Romains livres XI traduiets en Francois par Claude de Seyssel, 2 parts in one, Paris: Pierre du Pré, 1569, lacks title (aa1), text printed in French throughout, woodcut initials, publisher's woodcut device to verso of final leaf, first leaf of main text (a1) with small area of loss repaired towards centre of fore-margin affecting several words, bound with title to second part: D'Appian Alexandrian Historien Grec, Des Histoires Romaines, l'Iberique, ou Espagnole, et l'Annibale, ou des exploicts d'Annibale Carthageois en Italie... traduict de Grec en langue Francoise, par Philippe des Avenelles, Paris: Pierre du Pé, 1569, title with printer's woodcut device, woodcut head-pieces and large initials, printer's woodcut device to verso of final leaf, modern quarter calf with grey cloth boards, with remains of early gilt calf spine retained, folio, together with Davenant (John, Bishop of Salisbury). Expositio Epistolae D. Pauli ad Colossenses, editio quarta, Amsterdam: Henrici Laurentii, 1646, title with engraved vignette, text in double column, contemporary vellum with yapp fore-edges, small 4to, plus other mostly 17th century antiquarian texts including Paulus Manutius, Epistolarum Libri XII, Turin, 1587 (some marks and soiling, contemporary limp vellum, worn with partial loss), Historiae Ecclesiasticae Scripores Graeci, Cologne, 1612, folio, D. Magni Ausonii Burdigalensis, Opera, Amsterdam, Joannem Blaeu, 1671, Cluverius, Introductio in Universam Geographiam, Amsterdam, 1697, Philippes de Mornay, Le Mystere d'Iniquité c'est a dire, l'Historie de la Papauté, Saumur: Thomas Portau, 1611 (with bookplate of Philip Lyttelton Gell to front pastedown), folio, and De Scudery, Clelie, Histoire Romaine, 5 volumes, Paris, 1655-60, first volume lacking title page, engraved plates, contemporary uniform full calf, each volume with gilt armorial to centre of each cover enclosing a large capital letter F with a coronet above, joints cracked, somewhat worn, thick 8voQTY: (15)

Clichtoveus (Judocus). De doctrina moriendi opusculum, necessaria ad bene moriendum praeparamenta declarans: & quomodo in eius agone variis antiqui hostis insultibus sit resistendum, edocens, Paris: Galeotum a Prato & Ioannem Roigny, 1538, 156, [4] leaves, capital spaces with guide letters, woodcut of Death on horseback to verso of penultimate leaf, author's name inscribed in a later hand to title, armorial bookplate of Colonel Frederick Heygate Lambert (1857-1929) and the shelf label of his Garratts Hall Library, contemporary vellum with yapp edges, a little rubbed and soiled, 16moQTY: (1)NOTE:Adams C2183. Rare pocket edition of this popular Ars Moriendi by Jodocus Clichtoveus. First published by Simon de Colines, the work was reprinted several times. The present edition is based on a pocket edition by De Colines published in 1534, but with the dance-of-death woodcut at the end.

Elton John tape Blue Moves Signed in person by Elton JOhn in black pen. Obtained at the Capital Radio Awards in 1978 at Grosvenor House Hotel in London - With photograph - Photographer John Matterson/Fax Photos.

Paul McCartney signed Cassette Tape - Obtained at the Capital Radio Awards in 1978 at Grosvenor House Hotel in London - Photographer John Matterson- The cassette is a Wings Venus and Mars Tape. Signed in black pen

RICHARD BATCHELOR ‘DICK BATCH’ (1877-1961); an archive of letters, scripts, booklets, notes and newspaper cuttings from the 1920s–1970s, to include letters from Sid Field, Robb Wilson, Beryl Reid, Harry Norris, a black and white postcard of ‘The Dick Batch Music Stores’ in Wallasey and a large collection of handwritten and typed musical comedy sketches, gag notes and music, including ‘Comedy Sketch for TW Dames “Confidences” By Two Perfect Ladies’, ‘Three Men in a Hole’, ‘Cupid in the Mill’, ‘The Rest Cure’, ‘Capital and Labour’, 'Daily Doings’, ‘Hot Mustard’, etc. Provenance: - Sold by the family of Dick Batch. Condition Report: - Born in Whitby, the son of a boot and shoe shop proprietor. Dick married Margaret Main in South Shields 1901 and lived at the Boot and shoe shop until 1905, when his theatrical work took him to Birmingham then Liverpool and finally Wallasey in 1911. He was always involved in amateur theatrics, focusing on the variety/revue genre and appeared as a comedian, straight man and cast member. His first notable professional engagement was with “Roker Perriots” in 1900, when the cast included stars to be Harry Weldon and Bert Weston. At the commencement of the First World War, he interspersed his Army service with writing and wrote his first revue “Laughs and Ladies” for Harry Russell - it was an instant success.From then on, he was commissioned to write and produce revues for many well-known stage personalities. His shows included; “The Kellys and the Cohens”, “Mr Mustard’s Millions” and “On Velvet” written for the famous Tyneside comedian Wal Langtry (this also featured his famous song “Wheel Him In” written by Dick Batch which has copyright entries both here and America).The Derby Castle Theatre in the Isle of Man was home for a number of years for his summer shows “Oceans of Joy”, “Oceans of Notions” and the “Laugh Mixture”. During this time, he also wrote “The Spare Room” - a sketch featuring Jimmy James, which has appeared on stage, on the radio and as a talkie (for which there was some discussion on copyright), “Ask Billy” - which Dick considered his best sketch, and “Peter Henery Brown” for Tessie O’Shea - which she considered one of the best songs in her repertoire.Other stars he wrote for (and considered personal friends) were Gracie Fields, George Lacey, Hatton and Manners, Sid Field, Rob Wilton and Joe Daniels.In 1925, he and Margaret opened 'DICK BATCH MUSIC STORES' at 119 Borough Road Wallasey - a focus for musical interest in the area, including Liverpool - because of Margaret’s encyclopaedic knowledge of sheet music, until Jazz, Teddy Boys and Rock & Roll moved it to vinyl.While Margaret managed the shop, Dick took charge at various times, as Manager-Producer of a number of theatres, the Argyle Birkenhead, Hippodrome Birkenhead and the Hippodrome Wallasey on Borough Road opposite the music shop (originally the Irving Theatre founded by Sir Henry Irving), whilst also acting as booking agent for JW Clarke Theatre owner.One of the first revues he put on at the Hippodrome Wallasey, on its provincial tour, direct from the Garrick Theatre London, was ”West End Scandals” with the chief comedian of the show the very famous Tommy Trinder. One notable song he wrote was “The Daffodil Parade”, dedicated to the original Mersey Ferries ship Royal Daffodil, which he wrote in a review for the Wallasey Police Minstrels in 1923. It gained considerable popularity at the time.He gave vent to his vast knowledge, experiences and contacts by writing articles on theatrical subjects for the trade magazines, including an annual contribution, which appeared in the Christmas numbers of the Performer for 20 years up until his death.

Neoclassical candlesticks (2), van Poucke, Bruges 1792, silver. A two-piece set candlesticks made in Neoclassical Empire silver. With repoussé fluting on base, column and capital. Decorated with a.o. pearl rims, garlands with ram's heads and acanthus leaves. Equipped with detachable bobèches. Belgium, Bruges, van Poucke, 1792, hallmarks: maker's mark (V.P), city hallmarks B and crowned lion's head, 92 (year hallmark), Hand with scroll G (G = Brugge guarantee office), re-hallmarks including lazarus head G and laurel 2 - signs of wear and dents ( repair on 1 candlestick). 645 grams, 833/1000. Dimensions: height 29.2 cm, diameter 12.5 cm.

A green and variegated marble Pedestal with square top on cylindrical column, gilt metal capital and stepped square base, 2ft 9in H

A green marble Pedestal, the column with gilt metal capital and trailing foliage on square base, 3ft 6in H

A pink variegated marble Pedestal with square top on cylindrical column with gilt metal capital on stepped square base, 3ft 6in H

Circa 3rd century A.D.. Comprising: two seriffed capital letters 'F' and 'E' (from utere felix inscription); seal box with repoussé image of Victory. 10 grams total, 21-37 mm (7/8 - 1 3/8 in.). Ex German art market, 2000s.Acquired from an EU collector living in London.From the collection of Surrey, UK, gentleman. [3]

Circa 17th century A.D.. Discoid with loop, obverse with capital 'A' and legend to the border 'Holstein In [...]Hedrat[..]'; reverse with 'PAID' monogram. 31 grams, 53 mm (2 in.). Ex Simmons gallery, London, UK, 1990s. [No Reserve]

12th-14th century A.D.. With facetted hoop and conical architectural bezel with applied filigree decoration, set with an emerald with engraved dove flying left. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, items 483, 484, for the type; Baldini Lippolis, I., L'Oreficeria nell'Impero di Costantinopoli tra IV e VII secolo (the Jewellery in the Empire of Constantinople between IV and VII century, in Italian), Bari, 1999, pp.229ff, for the type of rings, items pp.202-203; Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, items 638-639, for similar types. 7.55 grams, 37.12 mm overall, 20.74 mm internal diameter (approximate size British W, USA 11, Europe 25, Japan 24) (1 1/2 in.). Ex Michael O'hara collection, before 1989.From the private collection of the late A.B., London, UK.Accompanied by an academic report by Dr Raffaele D’Amato.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12004-213033.The quality of this finger ring suggests that it was the work of an excellent goldsmith who may have worked for the court in Constantinople or an important provincial imperial capital, like Ravenna or Carthage. [A video of this lot is available to view on Timeline Auctions Website]

Late 12th century A.D.. Carved capital to a column with crouching nude figure, swept-back hair and wings spread along two adjacent edges, tail looped to the side, foliage arches to the rear, ledge below, two dressed faces to the rear. 14.05 kg total, 37 cm including stand (14 1/2 in.). with Christie's, Paris, 19 June 2018, no.34. [No Reserve]

17th century A.D.. Comprising two square panels bound together, painted cross motifs to the outside; left hand panels showing a polychrome scene of St George (Bet Gorgis) slaying the dragon and thus saving the princess shown on the left; the right panel showing winged St Tekle Haymanot in orans pose, right leg with a wooden prosthetic and the severed foot show on the ground, standing behind a bearded Saint (Saint Samuel of Waldebba?) in similar pose, wearing a flounced skirt with panther and lion heads, dove to the upper right hand corner. See Chojnacki, S., 'Notes on Art in Ethiopia in the 16th Century: an Enquiry into the Unknown Author(s)' in: Journal of Ethiopian Studies, Vol. 9, No. 2 (July 1971), pp. 21-97. 426 grams, 21 x 21.5 cm (8 1/4 x 8 1/2 in.). Ex Alistair McAlpine collection, 2004.Ex central London gallery.According to Leroy, one of the first scholars who extensively studied Ethiopian paintings, the development in Ethiopian art from the middle of the 16th century to the middle of the 18th century followed only one style which emerged as the Gondarene style, named after the capital of the Ethiopian Kingdom, Gondar. Saint George is spearing the dragon with a cross-spear, of which 17th century originals are still visible in the Lalibela Museum. The anatomy of the horse recalls 17th century style, but the horse trappings with the second collar and the high cantle of the saddle are already visible in 15th century icons. [No Reserve]

A LATE REGENCY GILT AND PATINATED BRONZE TABLE LAMP FIRST HALF 19TH CENTURY AND LATER Of square section column form, floral capital and leaf base on scrolling feet, rewired and PAT tested 61cm high overall  

A LARGE COADE STONE ARCHITECTURAL CORINTHIAN CAPITAL BY COADE & SEALY, DATED 1812 Impressed 'Coade & Sealy 1812' approximately 58cm high, 131cm wide, 50cm deep The 'Descriptive Catalogue of Coade's Artificial Stone Manufactory' of 1784 lists and depicts various capital designs. Perhaps the closest to this example is No. 179 illustrated on page 61 and described as 'The Corinthian'. The firm traded as 'Coade and Sealy' from 1799-1813.Possibly commissioned for Leeds Court House, designed by Thomas Taylor and built 1811-13 (demolished 1901). 

A CARVED AND PAINTED CORINTHIAN CAPITAL LATE 18TH OR EARLY 19TH CENTURY 34cm high, 42cm wide, 13cm deep TOGETHER WITH A CARVED SHIP'S NEWEL POST CHAIR OR TABLE LEG IN THE FORM OF A CANNON 19TH CENTURY 72cm high

A pair of EPNS wrythen fluted candlesticks, with Corinthian capital and stepped square foot, nozzles, 20.5cm h and miscellaneous plated articles, brass ware, etc Plating on candlesticks worn showing nickel. Most of the other items in good condition

Joleon Lescott blue No.6 Manchester City match issue Nike long sleeve home shirt, 2014, size L crew neck collar, embroidered club badge and Capital One Cup Final decal on the front, reverse lettered LESCOTT with the CAPITAL ONE CUP flashes on the sleeves, sold together with a blue t-shirt size M with WINNERS CAPITAL ONE CUP WEMBLEY 2ND MARCH 2014 printed on the front, (2)

Erik Lamela white and blue No.11 Tottenham Hotspur v. Chelsea Capital One Cup Final short-sleeved shirt, 2015, Under Armour, LG with crew-neck collar and embroidered badge with CAPITAL ONE CUP FINAL WEMBLEY STADIUM 1 MARCH 2015 decal, the reverse lettered LAMELA, the sleeves with Capital One Cup flashes In the match played on 1st March 2015, Chelsea defeated Spurs 2-0

A set of 20 'Capital T - Trim Ademi music memorabilia lithograph high gloss colour art posters. Two individual designs - one titled 'Shits Getting Surreal with Salvador Dali representation' (two in number) and one untitled - Young Women in Straight Jacket with walking figures with umbrellas' (eighteen in number). Trim Ademi (Albanian) known professionally as Capital T, is a Kosovo-Albanian rapper, singer and songwriter. Born and raised in Pristina, his uncle introduced him to music and rapping at an early age. He rose to recognition in the Albanian-speaking world, after the release of his first two albums Replay (2010) and KAPO (2012). Due to the success of his albums, he founded his own record label Authentic Entertainment. All individually signed by 'Capital T'. All unframed.Measures approx. 29.5cm x 42cm.

Distilled: 16/07/1969 Bottled: 14/04/2014 Matured in Cask #7 Bottle Number: 98 / 260 41.1% ABV / 70cl **the hammer price of this lot is subject to VAT at the standard rate** Please note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report. There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. "Classic, dusty, very mature, grippy but soft ...... I'm lost for words" - Whisky Magazine #130 Scored 9.3/10 Lombard Tasting Notes - Delightful, slightly salty dimension to this whisky. It develops into a beautiful, well balanced, creamy finish.

Distilled: 16/07/1969 Bottled: 14/04/2014 Matured in Cask #7 Bottle Number: 86 / 260 41.1% ABV / 70cl **the hammer price of this lot is subject to VAT at the standard rate** Please note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report. There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. "Classic, dusty, very mature, grippy but soft ...... I'm lost for words" - Whisky Magazine #130 Scored 9.3/10 Lombard Tasting Notes - Delightful, slightly salty dimension to this whisky. It develops into a beautiful, well balanced, creamy finish.

Distilled: 16/07/1969 Bottled: 29/07/2014 Matured in Cask #15 Bottle Number: 217 / 237 40.6% ABV / 75cl **the hammer price of this lot is subject to VAT at the standard rate** Please note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report. There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn. Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction. Lombard Tasting Notes - Great length with the lightly salted dried fruit and sweet, violet incense and dusty peat lingering.

20th Cent. Belgian oil on canvas by Annick Barbez Barbez was selected in 2008 for the "Art et Capital" exhibition at the Grand Palais in Paris || BARBEZ ANNICK (° 1959) (BE) olieverfschilderij op doek : "Torso van een vrouw" - 110 x 110 Barbez werd in 2008 geselecteerd voor de expo "Art et Capital" in het Grand Palais te Parijs

20th Cent. Belgian oil on canvas - signed Annick Barbez Barbez was selected in 2008 for the "Art et Capital" exhibition at the Grand Palais in Paris || BARBEZ ANNICK (° 1959) (BE) olieverfschilderij op doek : "Vrouwelijk naakt" - 110 x 110 getekend Barbez werd in 2008 geselecteerd voor de expo "Art et Capital" in het Grand Palais te Parijs

Vaughan Design Fine reeded glass column table lamp with Corinthian-style cast brass capital and solid tiered base - Approx height 49cm

Vaughan Design Fine twisted glass column table lamp with Corinthian-style cast brass capital and solid tiered base - Approx height 58cm

A pair of neoclassical style gilt bronze and marble candlesticks, each with a twin handled urn form sconce with beaded rim, over a Corinthian capital on a tapering red marble column on a stepped square base with paw feet (2) 29cm high

AN INSCRIBED WHITE JADE SNUFF BOTTLE, MID-QING DYNASTY 清中期白玉鼻煙壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1750-1820. Finely carved, the rounded rectangular body supported on a short oval foot and rising to a cylindrical neck. Delicately incised and gilt to each side with a poetic inscription. The smoothly polished, translucent stone of a fine and pure white hue with scattered icy inclusions.Inscriptions: To one side, the poem ‘On Seeing the Snow Peak of Zhongnan’ by Zu Yong: ‘See how Zhongnan Mountain soars / With its white top over floating clouds / And a warm sky opening at the snow-line / While the town in the valley grows colder and colder.’The other side with the poem ‘Lu Zhai’ by Wang Wei (translation by Soame Jenyns, 1944): ‘An empty hill, and no one in sight / But I hear the echo of voices / The slanting sun at evening penetrates the deep woods / And shines reflected on the blue lichens.’Provenance: UK trade. Condition: Very good condition with only minor wear, light rubbing to the gilding, and minuscule nicks.Stopper: Tourmaline cabochon Weight: 88.4 g Dimensions: Height 68 mm, Diameter neck 19 mm, mouth 3.5 mm The poems on the present snuff bottle were composed by two important Tang-dynasty poets who happened to be close childhood friends. Both poems count among the most famous of their respective works. Zu Yong (699-746?) was active during the High Tang period. He attained a jinshi degree in the imperial examination in 724, but left the capital to live a pastoral life, and composed his most famous poems on nature. Wang Wei (699-759) was a Chinese musician, painter, poet, and politician. He is regarded as one of the most famous men of arts and letters of his era. Many of his poems survive and 29 of them are included in the 18th century anthology ‘Three Hundred Tang Poems’. His most appreciated work was inspired by local nature and landscape.Auction result comparison: Type: Related Auction: Christie’s New York, 12 September 2018, lot 721 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: An inscribed white jade snuff bottle, 1750-1820 Expert remark: Compare the related color of the jade as well as the incised and gilt inscription on both sides. Note the different form and the size (57 mm). Auction result comparison: Type: Related Auction: Christie’s New York, 15 March 2017, lot 318 Price: USD 40,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An inscribed white jade snuff bottle, Imperial, Palace Workshops, Beijing, 1770-1799 Expert remark: Compare the related color of the jade as well as the incised and gilt inscription on both sides, which was composed by the Qianlong Emperor. Note the different form and the size (60 mm). 清中期白玉鼻煙壺中國，1750-1820 年。圓柱形頸，長方圓角，短圈足。兩面都有描金雕刻詩文。表面光滑，白玉細膩瑩潤，有絮狀物。款識： 終南陰嶺秀，積雪浮雲端。林表明霽色，城中增暮寒。空山不見人，但聞人語響。返景入深林，復照青苔上。 來源：英國古玩交易。 品相：狀況非常好，只有輕微磨損、鎏金輕微摩擦和微小刻痕。 壺蓋：圓形電氣石 重量：88.4 克 尺寸：高 68 毫米, 頸部直徑19 毫米, 壺口直徑3.5 毫米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2018年9月12日，lot 721 價格：USD 16,250（相當於今日EUR 18,000） 描述：1750-1820年白玉詩文鼻煙壺 專家評論：比較相近玉石顏色及其兩面刻金銘文。請注意不同的外形和尺寸(57毫米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年3月15日，lot 318 價格：USD 40,000（相當於今日EUR 46,000） 描述：1770-1799年御製白玉刻描金詩文鼻煙壺 專家評論：比較相近玉石顏色及其兩面刻金乾隆詩文。請注意不同的外形和尺寸(60毫米)。

A SILK EMBROIDERED ‘MECHANICAL CLOCK TRIBUTE’ FRAGMENT, CHINA, 1680-1720 1680-1720年刺繡《外朝人物進貢鐘錶》殘片Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of rectangular form, finely embroidered in satin stitch with silk and gold-wrapped threads to depict two foreign emissaries of Persian and Mongolian origin, respectively, amid rockwork, bamboo, lotus blossoms, and a tree.The emissaries dressed in elaborate robes decorated with roundels and lotus blossoms, carrying tributes in form of a large coral branch and a table clock, the latter finely decorated with gold-stitched lotus blossoms, ruyi head designs, two gold hands and a bud finial.Provenance: English trade. Acquired from a private estate where is has been since c. 1920, by family repute. Condition: Good condition, commensurate with age, showing old wear, loose threads, light staining, fading, small tears, and obvious losses. Despite its fragmentary nature, this piece is displaying extraordinary well.Dimensions: Image size 58.5 x 43.7 cm, Size incl. frame 66 x 51 cm Framed behind glass. (2)The interest in collecting European clocks at the Chinese court began in the late Ming dynasty when the Jesuit missionary Matteo Ricci (1552-1610), in an effort to reach the capital, presented the Wanli emperor in 1601 with a watch, and a chiming clock that sounded the half- and quarter-hours. Ricci used this clock as a means of gaining access to the highest reaches of Chinese society.Mechanical clocks were among the most prized tributary gifts given to Chinese courtiers and ultimately to emperors of the late Ming and early Qing dynasties. The interest in Western clocks reached its peak under the rule of Kangxi who was fascinated with Western science, technology, and elaborate clockwork. Jesuit missionaries like Matteo Rippa (1682-1746) were impressed with the vastness of Kangxi’s collection, which reached more than 4,000 clocks.The notoriety of clocks as foreign tribute slowly declined after the establishment of the first imperial clockmaking factory in 1732 by the Yongzheng emperor. There is a notable absence of clocks as tribute in the monumental painting ‘Ten Thousand Nations Coming to Pay Tribute’, created during the Qianlong’s reign in 1761. The emperor Qianlong, however, continued to amass what came to be the largest collection of watches and clocks during his reign; he commissioned many of these clocks from the imperial palace workshops in Guangzhou. According to a conservator at the Palace Museum, Beijing, there are “Nearly 1,600 timepieces in the collection of The Palace Museum – all hailing from the Qing dynasty." 1680-1720年刺繡《外朝人物進貢鐘錶》殘片呈長方形，用絲線和金線刺繡，分別描繪了兩位來自波斯和蒙古的外國使者，周圍有假山、竹子、蓮花和一棵樹。使者身著外朝長袍，手持大珊瑚枝和座鐘，鐘上飾有精美的纏枝蓮花、如意等紋飾。細節精美。來源：英國古玩交易，購自據説建立於1920年的私人收藏。 品相：品相良好，有磨損、線頭鬆動、輕微污漬、褪色、小撕裂和明顯缺損。 尺寸：畫面58.5 x 43.7 厘米，總66 x 51 厘米 玻璃面裝框。(2)

A ‘QIANJIANG CAI’ ENAMELED ‘LUSH FORESTS AND HIGH BAMBOO’ PLAQUE, BY JIN PINQING (1862-1908) 金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: Qianjiang cai or 'pastel palette' enamels reflected the late Qing potter's increasing inability to produce the more technically demanding vibrant colors of the earlier High Qing or the later Republic period. To borrow a modern aphorism however, the determined late Qing artisans turned this 'bug' into a 'feature' – notably the dreamlike faintness of these colors became popular with the melancholy intelligentsia of the time and led to masterworks by the best, with Cheng Men (1833-1908) and Jin Pinqing (1862-1908), the painter of the present lot, being the most renowned.The rectangular plaque painted in orange, green, and blue tones with thinly applied enamels depicting a forest landscape with hills and mountains, bamboo groves and pine trees in the foreground. Two scholars sit conversing in a field while a third approaches them on foot, two houses with a tranquil river running beside it which disappears into the mountains. The plaque with a lengthy dedication written by Wang Fengchi (1824-1898), a scholar and official who was friends with Jin Pinqing and often collaborated with him on porcelain paintings.Inscriptions: Top center, titled ‘Lush Forests and High Bamboo’, signed ‘written by Jin Pinqing’, two seals. Top left, inscribed ‘Some time ago in the Yijin Studio in the capital, I saw an ink painting by the master Wang Jian from Taicang with a lush forest. The landscape was quite unique. The [present] painting was painted for me by Pinqing in the style of porcelain paintings from Zhushan. The paintings complement each other. The ink style is so gentle and mild like a breath of air. The [original] painting was done in the Spring of the Year of Dingchou [corresponding to 1877] in the third year of the Guangxu era. I am very touched, thus I wrote this dedication. Wang Fenchi.’Provenance: Boston trade. Acquired from a private estate.Condition: Good condition with minor wear and firing irregularities, some of the enamels slightly faded and with minor rubbing and minimal losses, and light surface scratches. Weight: 2,651 gDimensions: Image size 26.3 x 40.7 cm. Size incl. frame 34.1 x 48.6 cm.With an associated gilt wood frame. (2)Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.Auction result comparison: Type: RelatedAuction: Christie’s London, 16 May 2014, lot 1254Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A large circular famille rose ‘landscape’ plaque, late 19th/20th century, dated Bingzi year, corresponding to 1874Expert remark: Note the size (47.6 cm diameter).Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 11 December 2015, lot 2291Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A qianjiangcai enameled plaque, dated by inscription to 1894Expert remark: Note the size (55.2 cm).

GAO JIANFU (1879–1951): ‘MAJESTIC EAGLE ON CLIFF’ Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, dated 1917. Ink, watercolors, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame. Finely painted with an eagle perched on a cliff, its talons clasped sharply around the outpost, keeping its footing, as it attentively surveys the area nearby.Inscription: To the top-right, inscribed ‘In June of the 5th year of the Republic period, Gao Lun painted in Japanese capital’. One seal ‘Gao Jianfu’. Another seal at the bottom right corner.Provenance: French trade.Condition: Good condition with minor wear, few stains, and very few touch-ups. The mounting with traces of age and wear.Dimensions: Image size 113.5 x 35.5 cm, Size incl. mounting 196 x 48 cmGao Jianfu (1879–1951), a native of Guangzhou, was credited for leading the Lingnan (Canton) School’s effort to modernize Chinese traditional painting as a ‘new national painting.’ Along with his brother Gao Qifeng and friend Chen Shuren, they are known as the Three Masters of the Lingnan School. Gao Jianfu learned painting with Ju Lian (1828-1904) in his early years before he went to Japan, where he was influenced by the Nihonga movement that synthesized Western realism—natural light and luminous colors—with Eastern materials, techniques, and subject matter. This new hybrid art included the use of perspective, and other elements of Western painting. Jianfu once wrote: ‘I think we should not only take in elements of Western painting. If there are good points in Indian painting, Egyptian painting, Persian painting, or masterpieces of other countries, we should embrace all of them too, as nourishment for Chinese painting.’ While in Japan and after his return, he was involved in Sun Yat-sen’s revolutionary movement. After Sun Yat-sen passed away, Gao Jianfu devoted himself to the modernization of Chinese painting and art education.Auction result comparison: Type: Closely relatedAuction: Shanghai Chongyuan Arts Auction Co. LTD, Shanghai, 30 June 2005, lot 1237Price: CNY 286,000 or approx. EUR 57,000 converted and adjusted for inflation at the time of writingDescription: Gao Jianfu (1879-1951), Eagle and Pine (1923)Expert remark: Compare the closely related subject. Note the size (58 x 90 cm).

A LARGE FAMILLE ROSE ‘WU SHUANG PU’ OCTAGONAL VASE, CHINA, 19TH CENTURYPlease note this Lot is to be sold at No Reserve. 本拍品不設底價Of square section with cropped corners, the baluster body supported on a short waisted foot and rising to a slender neck with a flared mouth. The exterior finely painted in bright enamels with heroes and heroines from the Wu Shuang Pu with accompanying inscriptions. Sun Quan, Di Renjie, Fu Sheng, and Wu Zetian are named on their flanking cropped corners, alternating high and low, and an epithet for each written above their emblems, along with excerpts from their stories in the Wu Shuang Pu above and below each figure.Provenance: English trade. Condition: Very good condition with only minor wear and firing irregularities. The rim with a shallow chip.Weight: 3,161 g Dimensions: Height 38.9 cmWu Shuang Pu ('Table of Peerless Heroes') by Jin Guliang is a book of woodcut prints, first printed in 1694, early on in the Qing dynasty. This book contains the biographies and imagined portraits of 40 notable heroes and heroines from the Han Dynasty to the Song Dynasty, all accompanied by a brief introduction and guided by a related poem in Yuefu style. The illustrations from the book were widely distributed and re-used, often as motifs on Chinese porcelain.Di Renjie (630-700), formally Duke Wenhui of Liang, was a Chinese politician of the Tang and Wu Zhou dynasties, twice serving as chancellor during the reign of Wu Zetian. He was one of the most celebrated officials of Wu Zetian's reign and was thus included in Wu Shuang Pu. He is depicted on this lot wearing polychrome robes with floral medallions.Fu Sheng (268-178 BC) was a Chinese philosopher and writer. He was a Confucian scholar of the Qin and Western Han dynasties of ancient China, famous for saving the Confucian classic Shangshu (‘Book of Documents’) from the book burning of the first Qin emperor. Fu Sheng is recognized as one of the most important Confucians of the Han Dynasty. He is often venerated in Confucian temples along with other sages, and has been a subject of many poems, essays, and paintings. He is depicted on this lot seated on a rock ledge and above him are his emblematic books.Wu Zetian (624-705) was the first and only female emperor in Chinese history. She subsequently founded and ruled the Wu Zhou dynasty of China from 690 to 705. She was the only female sovereign in the history of China widely regarded as legitimate. Under her 40-year reign, China grew larger, becoming one of the great powers of the world, its culture and economy revitalized, and corruption in the court reduced. She was removed from power in a coup and died a few months later. She is depicted on this lot wearing her imperial robes, and above her is Mount Song where her rule was legitimized during the Feng Shan.Sun Ce (175-200) was a Chinese military general, politician, and warlord who lived during the late Eastern Han dynasty of China. He was the eldest child of Sun Jian, who had found the Heirloom Seal of the Realm when his forces occupied the evacuated Han imperial capital of Luoyang, in the course of the campaign against Dong Zhuo, and later suffered a violent death during the Battle of Xiangyang when Sun Ce was only 16. Upon his father’s death, Sun Ce inherited the seal and gave it to Yuan Shu so that he might lend him troops to take revenge for his uncle, who had been fighting Warlord Lu Kang. The young Sun Quan is depicted on this lot wearing heavy armor with a sheathed sword, holding a large axe, with the Heirloom Seal of the Realm painted above.Auction result comparison: Type: Closely related Auction: Bonhams Edinburgh, 24 November 2011, lot 432 Price: GBP 3,125 or approx. EUR 6,000 converted and adjusted for inflation at the time of writing Description: A famille rose figural vase, 19th century Expert remark: Compare the closely related form, decoration, and subject. Note the smaller size (35.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 14 September 2019, lot 1511 Price: USD 6,250 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A famille-rose ‘Wu Shuang Pu’ quadrangular vase, late Qing dynasty Expert remark: Compare the closely related subject. Note the similar size (38 cm).Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.由于Drouot平台拍品叙述的长度限制，完整中文叙述请至www.zacke.at查看

A QIANJIANG CAI ‘SCHOLAR AND ATTENDANT’ BRUSHWASHER BY THE HANKOU GANXIN COMPANY, LATE QING DYNASTY TO REPUBLIC PERIOD 清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, c. 1910-1949. Skillfully potted with a distinctively lobed rim and finely painted to depict an elderly scholar leaning on his staff while his boy attendant carries a basket of flowers under a gnarled pine tree with bright green pine needles in a fenced garden. The base lacquered with a Shou character. The figures are painted inside a garden fence, standing next to a tall pine tree with bright green pine needles.Inscriptions: Center left, ‘Hankou Ganxin Ciye Gongsi’. One seal.Provenance: Belgian trade.Condition: Very good condition with minor wear, traces of use, and firing flaws, light scratches to the base.Weight: 436.5 g Dimensions: Width 29 cmThe Hankou Ganxin Company was an offshoot of the Jiangxi Porcelain Company based in Hankou, Hubei province, one of three towns along with Wuchang and Hanyang that were merged in 1949 to become Hubei’s new capital Wuhan. The Jiangxi Porcelain Company (or Jiangxi Ciye Gongsi) is the most well-known Chinese porcelain studio of the first half of the 20th century, located in Jingdezhen. It was established in 1910 as a large semi-government company funded by private owners and the five provinces of Hebei, Hubei, Jiangsu, Anhui, and Jiangxi. It is located near the Zhushan – the Pearl Hill – adjacent to the former Imperial porcelain workshops. It is often said that the Jiangxi Porcelain Company of the early 20th century replaced the Imperial kilns, making porcelains for the court in the last years of the Qing Dynasty.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the late Qing dynasty and early Republican period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink. The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works. 清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗中國，約1910-1949年。花口淺筆洗，平底。洗中淺絳彩描繪松下站著一位文人，拄著手杖，一男童提著一籃子花。底座隱約可辨一個“壽”字。 款識：漢口贛新瓷業公司 來源：比利時古玩交易。 品相：狀況極好，有輕微磨損、使用痕跡、燒製缺陷，底座有輕微劃痕。 重量：436.5 克 尺寸：寬29 厘米

A CAMEO AGATE ‘ZHONG KUI’ SNUFF BOTTLE, OFFICIAL SCHOOL, CHINA, 1770-1840 1770-1840年瑪瑙鍾馗鼻煙壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of rounded square form, well hollowed, the honey-brown stone finely carved in relief utilizing darker markings to depict Zhong Kui dancing on a scrolling cloud with a demon and a bat flying above. The reverse is similarly carved with a fisherman beneath a single cloud, hauling in a carp.Provenance: Collection of Bernard Wald. Robert Kleiner & Co. Ltd., London, United Kingdom, 2006. A private collection in the United Kingdom, acquired from the above. The base with an old collector’s label, ‘RR 853 29.’ A copy of the invoice from Belfont Company Ltd., dated 7 September 2006, describing the present lot as a chalcedony snuff bottle, confirming the dating above, and stating a purchase price for the present lot of GBP 5,500 or approx. EUR 12,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Although little is known of the collector Bernie Wald, his collection of Chinese snuff bottles was quite prominent. He was an associate of noted experts such as Robert Kleiner, Robert Hall, and Hugh Moss, and bottles from his extensive collection, which he built together with his wife Francine, continue to appear at auction houses including Christie’s and Sotheby’s. The couple also wrote articles for the International Chinese Snuff Bottle Society. Robert Kleiner (1948-2014) was an important expert of Chinese snuff bottles, beginning his long career at Sotheby’s in London. Along with Hugh Moss and Bob Hall, he became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles.Condition: Excellent condition with only minor old wear and a microscopic nick to the lip.Stopper: CoralWeight: 72.9 gDimensions: Height 73 mm, Diameter neck 20 mm and mouth 7mm According to folklore, Zhong Kui took part in the state-wide imperial examinations held in the capital city. Though he attained great academic success and top honors in the state exams, his rightful title of ‘Zhuangyuan’ (top-scorer) was stripped of him by the Emperor because of his disfigured and ugly appearance. In anger and fury, Zhong Kui committed suicide by hurling himself against the palace gates until his head was broken, whereupon Du Ping, his friend, had him laid to rest. During the divine judgment after his death from suicide, Yanluo Wang (the Chinese Underworld Judge) saw much potential in Zhong Kui, intelligent and smart enough to score top honors in the Imperial examinations but condemned to the capital of hell because of the strong grievance. Yama thus gave him the title of the King of Ghosts and tasked him to hunt, capture, take charge of and maintain discipline and order among demons and ghosts. Auction result comparison: Type: Closely related Auction: Christie’s New York, 23 March 2012, lot 1600 Price: USD 56,250 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A large finely carved cameo agate snuff bottle, official school 1770-1880 Expert remark: Compare the closely related manner of carving, similarly utilizing the shadings of the stone in the depiction, and subject of Zhong Kui on one side and a fisherman on the other. Note the size (79 mm).

AN AMBER-GLAZED ‘XI SHI WASHING YARN’ BRUSHPOT, BITONG, 19TH CENTURY 十九世紀琥珀色釉《西施浣紗》筆筒Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Of cylindrical form, molded and carved in high relief with the famous beauty seated by the shore under a gnarled willow tree with a basket of fruit beside her. She is washing a neatly incised yarn coiled around a stick in the river. The yarn strikingly mirrors the incisions of her coiffed hair and ribs of the tree trunk. Covered overall in a deep amber glaze. Provenance: English trade. Condition: A small loss to the rockwork with associated repairs, otherwise in good condition with old wear, expected firing irregularities, and traces of use. Some glaze flaking and minuscule nicks. Weight: 1,062 g Dimensions: Height 13.8 cm, Diameter 12.5 cm Xi Shi ('Shi of the West') was, according to legends, one of the renowned Four Beauties in Ancient China. It is said that even fish felt stunned and sank away from the surface of the water when seeing her washing yarn at the side of the river, as depicted in the present lot, which serves as the meaning behind the first two characters of the Chinese idiom ‘chenyu luoyan, biyue xiuhua’ (’fish dive, goose fall; moon hide, flower shame’). This saying is used to compliment a woman's beauty, meaning one is so beautiful she sinks fish and entices birds to fall, eclipses the moon and shames flowers. Xi Shi was said to have lived during the end of the Spring and Autumn period in Zhuji, the capital of the ancient State of Yue. She was discovered by the Yue minister Fan Li and given to King Fuchai of Wu by King Goujian of Yue in a sexpionage operation which successfully brought down the State of Wu in 473 BC.Auction result comparison: Type: Related Auction: Christie’s New York, 22 March 2012, lot 1257 Price: USD 25,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A small amber-glazed relief-decorated brush pot, 19th century Expert remark: Compare the related amber glaze, relief decoration, and size (11 cm). Note that this brush pot has a yawan mark (elegant plaything). 十九世紀琥珀色釉《西施浣紗》筆筒中國。 圓柱形，高浮雕模製河邊西施浣紗場景。西施旁邊有一籃子水果，她正在河裡清洗紗線。 精細雕刻的紗線、梳理的頭髮和樹幹，細節入微。整體覆蓋深琥珀色釉。 來源：英國古玩交易。 品相：岩石浮雕有少量損失和相應修補，其他方面狀況良好，有磨損、燒製不規則和使用痕跡。一些釉面剝落和微小的刻痕。 重量：1,062 克 尺寸：高 13.8 厘米, 直徑12.5 厘米西施是中國古代著名的四大美女之一。據說，連魚兒看到她在河邊洗的紗，都會羞愧地沉入水下。古有成語形容四大美女：「沉魚落雁，閉月羞花」，「沉魚」就是形容西施，本筆筒呈現的就是這個景象。相傳春秋末期，西施住在越國都城諸暨。 她被越國大臣范蠡發現，並在公元前473年的被越王勾踐送給吳王夫差，以美色誘惑吳王，最終成功地滅亡了吳國。拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月22日，lot 1257 價格：USD 25,000（相當於今日EUR 30,500） 描述：清十九世紀黃釉凸雕羲之觀鵝筆筒 專家評論：比較相近的琥珀釉面，浮雕裝飾和尺寸(11厘米)。請注意有雅玩款。

AN INSCRIBED HALF OF A BRONZE TIGER TALLY, EASTERN HAN DYNASTY 東漢半片銅虎符Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: According to Ch'i-kuo k'ao, pp. 366-67 (Chapter 12, ‘The Penal Law of Wei’), “He who steals a tiger tally will be executed and his house and property confiscated.” The fact that only one half remains of this tiger tally, however, indicates that someone indeed once risked their life to snag this highly important object which could decide the fates of entire wars, possibly to disrupt the enemy’s chain of command.China, 25-220 AD. Cast in the form of a recumbent tiger with the mouth open, inscribed along the curvature of its neck and down its back, a single aperture for suspension in its twisting tail. The dynamic posture of the tiger, as if it were ready to pounce on its enemy, shows swirling indentations from casting, symbolizing its muscular legs.Inscription: To the tiger’s neck and back, ‘Si Gong […]’, likely referring to a government office.Provenance: A private collection in Vienna, Austria. Galerie Zacke, Vienna, before 1998. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original invoice from Galerie Zacke, addressed to the Nickls, dating the present lot to the Warring States period, and stating a purchase price for the present lot of ATS 14,500 (or approx. EUR 1,900 converted and adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna’s tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel (‘Roll of Honor’) of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition. As expected, typical wear and weathering commensurate with age, encrustations, nicks, scratches, minor casting flaws. Fine, dark, smooth, and naturally grown patina with malachite encrustations.Weight: 126 gDimensions: Length 9.4 cm The tally played a significant role in ancient warfare. The Historical Records by Sima Qian document a story that the state of Qin besieged Handan, the capital of the state of Zhao, in 257 BC, and Zhao requested aid from the neighboring state of Wei. The King of Wei asked the senior general Jin Bi to lead 100,000 soldiers to save Zhao. However, Jin was afraid of Qin's power and halted the offensive. Lord Xinling, son of the King of Wei, was determined to save Zhao and requested that Lady Ru, the king's concubine, steal the tiger-shaped tally from the king's bedroom. She succeeded. Seeing the tally, the soldiers obeyed orders and finally rescued Zhao.Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 22 March 2022, lot 49 Price: USD 50,400 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: An inscribed section of a bronze tiger tally (Hufu), Eastern Han dynasty Expert remark: This lot also comprises a tiger tally half. Note the size (7 cm).

SILVER PLATED CORINTHIAN COLUMN TABLE LAMP, JAMES DEAKIN & SONS, EARLY 20TH CENTURY the capital over a fluted column, the spreading square base embossed with swagged fruit filled urns and with gadrooned borders, wired for electricity70cm high including bulbCondition good to fair. Oxidisation and tarnish in areas. Would benefit from a good clean.

Economics.- Schacht (Dr Hjalmar) The Stabilization of the Mark, portrait frontispiece, fraying to spine ends and corners, rubbed, endpapers renewed, 1927 § Knapp (Georg Friedrich) The State Theory of Money, label removed from rear pastedown, front free endpaper removed, light fading to covers, dust-jacket, spine browned, chip to spine spine ends and corners chipped, 1924 § Bohm-Bawerk (Eugene V.) Capital and Interest, spine darkened, 1890, first English editions, original cloth; and 5 others German economics, 8vo (8)

Railways & Transport.- [Prospectus] The Dorking, Brighton, and Arundel Atmospheric Railway, by Horsham and Shoreham...Capital, One Million, in 50,000 Shares of £20 each, 4pp., folding map with route in blue tipped in, folds and creases, slightly frayed at edges, 1845 § [Tollenare (L.F. de)] Passage sous la Tamise a Londres, 15pp. drop-head title, engraved frontispiece, lightly browned, modern marbled wrappers, [?Paris], [c.1826] § Andriveau-Goujon (J.) Carte Générale des Routes des Chemins de Fer et de principales Voies navigables de l'Europe, folding hand-coloured engraved map by P.Rousset, dissected and mounted on linen, c.840 x 1020mm., split to fold, folding into original cloth boards, damp-stained, Paris, 1864; and 5 others on railways and shipping including a modern Channel Tunnel peepshow kit and a bound volume of menus from the voyage of the Ceramic Society of New York on R.M.S. Laconia in 1929, v.s. (9) *** The first is a rare survival of an unsuccessful proposal by the engineer Charles Vignoles.

Maps: United States, China, and Europe: a group of six maps. comprises: United States: BELLIN, Jacques Nicolas. (1703 - 1772). Karte von Neu England Neu Yorck und Pensilvanien sur Allegmeinen historie der reisen. single leaf, the map 200 x 290mm, leaf overall 240 x 310mm, c. 1757: China: BELLIN, Jacques Nicolas. (1703 - 1772). Plan de la Ville de Hang-Tcheou-Fou. Hang chew Fu. Capitale de la province de Che-Kiang tire du P. Du Halde. single leaf, a plan of the City of Hangzhou, capital of the province of Zheijang, China, the plan 310 x 155mm, leaf overall 240 x 190mm, Tom VI No.4. lower r.h. corner, 1748: Europe: BERTHIUS, Petrus. (1565 -1629). and HONDIUS, Jodocus Jr. (1594 - 1629). Descriptio Palatinus Rheni. single leaf, hand-coloured, miniature map of the Electorate Palatinate, Latin text to verso, the map 92 x 130mm, leaf overall 120 x 190mm, c. 1628: ROLLOS, George. (fl. 1754 - 1789). A New Map of the Northern Part of Upper Saxony Drawn from the best Authorities. single leaf, the map 190 x 285mm, leaf overall 220 x 350mm, 1764: Germany Divided in its Circles. single leaf, the map 210 x 290mm, leaf overall 225 x 380mm, c.1799: together with A Map of the Netherlands. single leaf, the map 240 x 280mm, leaf overall 220 x 38mm. c. 1780s. (6)

Stackhouse, Thomas. [1738] The History of the Incarnation, Life, Doctrine, and Miracles; the Death, Resurrection, and Ascension of our Blessed Lord and Saviour Jesus Christ. In Seven Books. To which are added, the Lives, Actions and Sufferings, of the Twelve Apostles. Also of St. Paul, St. Mark, St. Luke, and St. Barnabas. Together with a Chronological Table, from the Beginning of the Reign of Herod the Great to the End of the Apostolic Age. Adorned with thirty-three copper plates. By the Rev. Mr. Stackhouse. London. Printed for Thomas Harris, and Sold by the Booksellers in Town and Country. From the library of Job Lousley, who writes to the title page 'This Life of Christ is a very scarce Book it has 33 capital plates and contains a great deal of curious and useful information, I suppose the Author was the late Mr. Thos. Stackhouse of Beenham in Berkshire but I am not sure that it is - The Frontispiece is by Vandyke. I never saw above two copies and this is supposed to be worth £2-0s-ds. Job Lousley's Book, Hampstead Norris Berks 1845.' Lousley was a bibliophile and antiquarian who often wrote his thoughts and opinions to the title pages of his collection. Original full calf binding, tooled detail to front board and remnants of gilt tooling to spine. An exceptionally scarce volume, with no examples of this edition present on ESTC or JISC and only two extant at Lousley's time of writing in 1845. Large 4to.

Set of three oil paintings on canvas, measurements with frame: 90 x 37 cm. Rein de Lege began his studies at the Rijks-academie Amsterdam, School of Art (1971-1975). He followed the classical education of drawing and painting with special attention to drawing from models. In 1977, he moved to the Minerva Academy in Groningen (1977-1980) where he continued his studies. In addition to drawing and painting, he focuses on graphic arts: engraving and lithography. After visiting Barcelona on vacation in 1978, Rein de Lege is so fascinated by life on the streets and bars of "Chinatown" (in reality, this area is not inhabited by an Asian population...). visits throughout the years when he decided to settle permanently in the capital of Catalonia (1988) where he continues to live there to this day. The drawings of the bustling old town have always been very inspiring and are still echoed in his current works.

Of heavy solid castings, having a flared socket with rounded flange and base, and single circular extraction hole, the architectural entasis stem with square capital and pillar, on a spreading circular base, height 27.4cm, base diameter 14.3cm Literature: For a very similar example, but with tapering pillar, see C. Bangs, 'The Lear Collection' (1995), p. 126, 299, no. 97 ** This item is part of the Christopher Bangs collection **.

Rock n Roll - A large collection of 78s on Coral, Capital, Brunswick, Decca, Pye and London labels, together with a collection of 7 inch singles. (qty)

A decorative cream and gilt Roman Ionic capital inspired stool.