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ALEKOS FASSIANOS (Greece, 1935).Untitled, 1992, from the "Suite Olympic Centennial".Silkscreen on 270 grams Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Published to commemorate the first centenary of modern Olympism, the artists chosen are defined by different pictorial movements and trends.A leading contemporary Greek painter, Alekos Fassianos reached the maturity of his personal style in the 1960s, focusing his work on themes drawn from Greek myths, Fayum portraits, Byzantine icons and shadow theatre. Fassianos began his training at the Athens School of Fine Arts (1956-60), where he was taught by Yannis Moralis. He then moved to Paris thanks to a French government scholarship (1962-64), which enabled him to study lithography with Clairin and Caroline Chariot-Dayez. At the end of this period, the artist decided to remain in the French capital, although from 1974 he lived between Athens and Paris. Since his solo debut in 1959, Fassianos has held exhibitions of his work in Paris, Athens, Thessaloniki, Milan, New York, London, Tokyo and many other cities. Named a knight of the French Legion of Honour in 2013, he is currently represented in major public and private collections in Europe and America.

JOAN GARCÍA RIPOLLÉS (Castellón, 1932)."Three spectators at the barrier", 1981.Oil on canvas.Signed and dated in the upper left corner. Titled and dated on the back.It has a patch on the back.Measurements: 73 x 92 cm, 74,5 x 94 cm (frame).Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he produced twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. In 1977 he moved to Holland, where he produced the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, producing sixty-two works in ceramic and bronze which were exhibited at the 1988 edition of ARCO. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés is today one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After an initial stage of correct figuration in which he recreated the landscape of his homeland, his work began to lean first towards dramatic expressionism and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic and somewhat erotic world, he developed a body of work whose roots conceal a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.

PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973)."Sujet Colombe", 1959Ceramic, copy 154/500.Numbered on the base, with the stamps Edition Picasso and Madoura Plein Feu.Measurements: 14 x 22 x 10 cm.Glazed ceramic vase with blue and black on white, in the shape of a dove, a bird that inspired a good number of Picasso's drawings and paintings, as well as ceramic pieces such as the one in question.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had met or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange shapes. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.

Azoren - Mittelmeer - - Album mit über 40 Originalzeichnungen der Azoren und des Mittelmeers. Wohl Frankreich, um 1885. Verschiedene Techniken: überwiegend Graphit, teilweise Feder. Quer-12°. In Ldr. der Zeit mit goldgeprägtem DTitel. Enthält Porträts von Matrosen, Offizieren und jungen Damen sowie Zeichnungen von Schiffen und eine Vielzahl von Skizzen diverser Szenen und Szenerien. Des Weiteren interessante und detailgetreue Panorama-Ansichten von Häfen, darunter Horta (Hauptstadt der Insel Faial), Ponta do Pico und Bizerta (Tunesien). Unter den dargestellten Schiffen lassen sich zwei identifizieren: die Cassard, eine Dampfkorvette der französischen Marine die seit 1846 im Dienst war, sowie die Dryade, eine ebenfalls französische Fregatte die seit 1856 eingesetzt wurde. Azores - Mediterranean - Travel through the Azores and the Mediterranean. With over 40 original drawings. Probably France, around 1885. Different techniques: mainly graphite, partly pen-and-ink. - Contains portraits of sailors, officers and young ladies as well as drawings of ships and a number of sketches of various scenes and sceneries. Also interesting and detailed panoramic views of ports, including Horta (capital of Faial Island), Ponta do Pico and Bizerta (Tunisia). Among the ships depicted, two can be identified: the Cassard, a steam corvette of the French Navy in service since 1846, and the Dryade, another French frigate in service since 1856.

Okkulta - Hexenwesen - - Johann Sauer. Aesopus epulans, sive discursus mensales inter confratres Petrinos curatos innocenter sine omni offensa tertii, promiscue pro - et contra habiti, ventilati et collecti per quendam J. sessionis assessorem, veteranum, et ruralem. Titel in Rot u. Schwarz. Frankfurt, Johann Paul Krauss, 1752. 4 Bll., 429 S., 1 Bl. 8°. Ldr. d. Zt. mit Rotschnitt, goldgepr. RSchild u. RVerg. (berieben und bestoßen, Gelenke brüchig, oberes Kapital abgegriffen). Wohl 4. oder 5. Ausgabe (EA 1748) des bis 1773 oftmals nachgedruckten Werkes. - Rosenthal 2007. - Jos. Baer 764, 279. - Seltenes und kurioses Werk über Geister- und Gespenstererscheinungen, den Teufel, Nachtwandler, Hexen, Wünschelruten etc. Zahlreiche Kapitel in deutsch verfasst, ab S. 299 Berichte über Exorzismus mit Rezepten, die Befallene einnehmen sollten. - Titel mit altem kath. bischöfl. Stempel, leicht gebräunt, nahezu fleckenfreies, gutes Exemplar. Occulta - Witchcraft - Early edition (1st ed. 1748). - Contemp. leather with red edges, gilt stamped label to spine and spine gilt (rubbed and bumped, joints brittle, upper capital worn). - Rare and curious work on ghosts and spirits, the devil, night-walkers, witches etc. - Many chapters in German, from p. 299 reports on exorcism with prescriptions to be taken by afflicted persons. - Title with old catholic episcopal stamp, slightly browned, nearly stainless, well preserved copy.

Thailand - Siam - - The Mission to Siam, and Hué, the capital of Cochin China, in the years 1821-2. Mit lithogr. Ansicht Bangkoks als Frontispiz. London, John Murray, 1826. XXXI S., 427 S. 8°. Moderner Ldr. Einband im Stile d. Zt. mit goldgepr. RSchild, vegetabiler Rücken u. DVergoldung u. umlaufendem Goldschnitt. 1821 schickte der damalige Generalgouverneur von Indien, Lord Hastings, John Crawfurd an die Höfe von Siam (dem heutigen Thailand) und Cochinchina (dem heutigen Vietnam). Die Handelsmission wurde von dem bekannten schottischen Naturforscher George Finlayson (1790-1823) begleitet. Kurz nach der Rückkehr verstarb der gesundheitlich bereits stark angeschlagene Finlayson. Sein Tagebuch, welches er während der Mission führte, wurde von Sir Stamford Raffles wenige Zeit später mit einem Vorwort versehen u. herausgegeben. - Die Vorsätze erneuert, jeweils die ersten Bll. etw. gebräunt u. stockfleckig, insgesamt wohlerhaltenes Exemplar. With lithogr. view of Bangkok as frontispiece. Modern calf binding in the style of the time with gilt spine title and gilt edges. - The endpapers renewed, the first and last few pages somewhat browned and foxed, overall a well-preserved copy.

André Maurois. La Vie de Disraeli. Handschriftliches Manuskript des Autors. Um 1925/1926. 204 hs. numm. Bll. Gr.-8°. Signierter brauner Ganzmaroquin von G. Levitzky auf vier Bünden mt goldgepr. RTitel, Steh- und Innenkantenfileten, dreis. Goldschnitt. Vordrer Innenspiegel mit goldgepr. vegetabiler MOnogrammvignette, fliegende Vorsätze aus Moiré-Seide. OKarton miteingebunden. In marmoriertem OSchuber. (oberes Kapital unscheinbar angeplatzt) Der aus dem Elsass stammende André Maurois, eigentlich Émile Salomon Wilhelm Herzog (1885-1967), veröffentlichte die vorliegende Biographie des britischen Staatsmanns und Premierministers Benjamin Disraeli, Lord Beaconsfield, im Jahr 1927. Das Manuskript, welches bereits in die drei finalen Kapitel gegliedert ist, illustriert anhand zahlreicher Korrekturen wunderbar die Genese des Buches. Auf einseitig beschriebenem linierten Papier. - In einem ausgezeichneten zeitgenössischen Einband des russischstämmigen Buchbinders Grégoire Levitzky (oder Georges Levitsky), der seit 1907 in Paris arbeitete. - Dabei: André Maurois. La Vie de Disraeli. Widmungsexemplar der ersten Ausgabe. Paris, Grasset, 1929. 344 S., 1 Bl. 8°. HLdr. d. Zt. mit RVergoldung und Kopfgoldschnitt. OBroschur miteingebunden. Nummeriertes Exemplar auf vélin pur chiffon. Handwritten manuscript by the author. Circa 1925/1926. 204 numb. leaves. Signed brown full morocco by G. Levitzky on four bands with gilt title, standing and inner edge fillets, gilt edges. Inside front board with gilt vignette of vegetal motifs, flyleaf endpapers of moiré silk. Orig. notebook wrappers bound in. In marbled slipcase. (Upper capital inconspicuously chipped.) - André Maurois, originally from Alsace, actually Émile Salomon Wilhelm Herzog (1885-1967), published the present biography of the British statesman and Prime Minister Benjamin Disraeli, Lord Beaconsfield, in 1927. The manuscript, already divided into the three final chapters, beautifully illustrates the genesis of the book by means of numerous corrections. On lined paper with writing on one side. - In an excellent contemporary binding by the Russian-born bookbinder Grégoire Levitzky (or Georges Levitsky), who worked in Paris from 1907. - Added: André Maurois. La Vie de Disraeli. Dedication copy of the first edition. Paris, Grasset, 1929. Cont. half leather with gilt top edge and gilt spine decor. Orig. wrappers bound in. Numbered copy on vélin pur chiffon.

A heavy silver plated Corinthian style Table Oil Lamp, on square stepped base with reeded column and Corinthian capital with cutglass reservoir and moulded glass shade, 80cms (31 1/2"). (1)

Jazz and swing records to include 45rpm EP's Ronnie Scott Orchestra featuring the drums of Victor Feldmen and Phil Seaman, Lennie Hambro Quintet featuring Sal Salvadore and Barry Galbraith, Stan Getz Quartet, Ronnie Scott Orchestra recorded 13th April 1955, George Wallington with the Swedish All Stars recorded Stockholm 195?, The Red Garland Trio with Paul Chambers 1956, Esquire and others78s records to include The Ralph Sharon Sextet, Mellow Disk, Johnnie Dank Worth Seven, Esquire label, Tommy Wittle and Tony Kinsley Trio Esquire label, All Stars, Capital label, Ronnie Ball Trio Esquire, Dan Getz Vogue Records, All Stars Savoy label, Jack Parnell and his Quartet,  Decca, etc LPs to include The Jazz Couriers in Concert with Ronnie Scott and Tubby Hayes, The Tubby Hayes Quartet, Jazz Date, The Tubby Hayes Orchestra presenting the Ronnie Scott Sextet, Drums Spectacular Kelly Clare and Ronnie Stevenson, Charlie Bird, Frank Sinatra, The Horace Silver Quintet - Finger Blue Note, Newport Jazz, The Newport All Stars, Charlie Parker Fats Navarro 'Bird and Fats', vol 2, Oscar Peterson, Jackson, Adderley with Melt Jackson, Victor Feldman Piano and Vibes, Red Garland at the Prelude, ,assorted CDs and eight-track cassettes and  Swing Era  -The Golden Age of Network Radio, Time Life records (3 boxes) (the auctioneer has a full list of the records in this lot if you wish to contact them) Condition ReportPhotographs with list of titles in description. This list was provided by the vendor, and due to the scale of the lot cannot be guaranteed in any way. The 78s all appear unbroken. 'Jazz Couriers in Concert' has a little wear to the sleeve as photographed, with no visible defects otherwise.

Pair of Victorian Old English pattern basting spoons (Birmingham 1894), makers Elkington & Co Ltd, all at 10ozs, 31cm in overall length.General overall condition good, some surface scratching and general wear, one bowl has been cleaned, hallmarks are clear. Hallmarks are identical on both spoons and both have same engraved capital L. The spoons are a matching pair.

A well-made late 19th/early 20th century oak hanging corner cupboard, the dentil cornice with carved inscription in raised capital letters “LOVE MOVES THE SUN IN HEAVEN & ALL THE STARS”, above a fitted interior enclosed by a panel door carved with fruit& foliage, open shelves either side with hinged dust flaps, 35” wide x 32½” high x 23½” deep; with associated carved corner bracket.

Capital silver amphora vase, with 2 handles, height 54cm. with Inscription James Crichton & co. Edingburgh, Scotland. year 1889.Kapitale zilveren amphora vaas met 2 handvatten, herkomst Schotland, Edinburgh, jl. 1889, gew. 1.5 kg, l. 54 cm. H.C.& Co. Onderzijde inscriptie, James Crichton & Co. Edingburgh

An 18thC Worcester blue & white tea bowl & saucer in the Fence & Two Birds pattern, crescent marks with capital R, two tea bowls & saucer in the Three Flowers pattern, a fluted Flower pattern bowl and a 4" diameter Flower pattern bowl. (7)

Maurice Girod de l'Ain: 'Vie militaire du Général Foy', Paris, Plon, 1900, frontis + folding maps, facsimiles etc, old cloth, leather gilt title label to spine. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria, with his pencil signature to FFEP. Bell served in Sudan between 1931 and 1954, with secondments to Palestine in 1938 and the Arab Legion during the Second World War. In 1956, he was appointed political agent in Kuwait, surviving an assassination attempt, before serving as governor of Northern Nigeria between 1957 and 1962, where he oversaw the end of British rule. In 1965, following failed talks and an Adenese walkout from the Federal and Federal Supreme Council, Bell and Sir Ralph Hone (1896-1992) were approached by the federation's leadership travelled to Aden to act as constitutional advisors. During the course of their visit they recommended that Aden become the capital of a new United Republic of South Arabia, with enhanced representation in the legislative and executive branches. Following his work in south Arabia, he led other missions to Oman (1966 and 1974) and the Trucial States. Provenance by descent

"MAESTRO PALMERO"; ALFREDO PALMERO DE GREGORIO (Ciudad Real, 1901 - Barcelona, 1991)."Las caramellas".Oil on canvas.Signed in the lower right corner and titled.It presents slight damage in the upper right margin.Measurements: 90,5 x 71 cm; 121 x 101 cm (frame).Of Neapolitan descent, Alfredo Palmero showed a clear interest in painting from his childhood. In his adolescence, and in search of new horizons, in 1913 he moved to Madrid to enter the San Fernando Academy of Fine Arts at the age of fourteen. There he was taught by Sorolla, Romero de Torres and Valle Inclán, the latter as a professor of aesthetics. During these years he also made frequent visits to the studio of the photographer and painter Vicente Rubio Sánchez. Palmero became fully integrated into the bohemian atmosphere of the capital, and was a regular at the gatherings of well-known cafés such as "El Parnasillo" and "La Fontana de Oro", where the liberal and intellectual atmosphere was prominent. Here he came into contact with Unamuno, Juan Ramón Jiménez, García Lorca and Manuel de Falla, among others. It was precisely the atmosphere of the cafés of the time, full of splendour and culture, that he would capture in his canvases. In 1920, after making his individual debut at the Casino de Ciudad Real, he left Madrid and moved to Paris, attracted by the pictorial novelties of the French capital. In this city he became interested in new trends such as Dadaism, and especially in Apollinaire and other leading figures of the time. It was at this stage that he began to produce his moving and personal works, focused through a gaze of Romantic heritage. His painting was filled with luminosity, rich chromaticism, formal exuberance, sharpness of perspective and, above all, pictorial fantasy. Thus his paintings of the Folies Bergère, Pigalle, Montmartre, Montparnasse, etc. were born. He then made a series of trips to Germany, Italy and Belgium, where he portrayed, as he had done in Madrid and Paris, the everyday life of the cities. On his return to Spain he taught art in Ciudad Real, Burgos, Toledo and Barcelona, where he settled permanently in 1940. Barcelona became his platform for Europe and America, where he founded the Instituto Palmero de Arte. In 1964 he created the Palmero Museum in his hometown, Almodóvar del Campo, in a mansion in La Mancha where he used to spend his summers. In 1972 he was named Favourite Son of Almodóvar, and in 1983 he joined the Institute of La Mancha Studies. During his life, he exhibited his work both in Spain and abroad, in cities such as Osaka, Paris, Brussels, Florida, Bogota and Caracas. Maestro Palmero is currently represented in the museum that bears his name in Almodóvar and in the museum of Don Quixote in Ciudad Real, as well as in private collections in Spain and abroad.

FEDERICO BRANDT (Caracas, Venezuela, 1878-1932)."Interior.Oil on canvas.Signed with initials in the upper left corner.Measurements: 79 x 66 cm.; 100 x 87 cm.(frame).Federico Brandt was a versatile artist, but where his most special sensitivity would become evident would be in the painting of domestic interiors. Here we have an outstanding example of his ability to compose intimate, intimate atmospheres. This interior tells us much, with great economy of means, about the people who live in it: their religiosity, their high social status and their refined but not ostentatious taste. A Persian rug is cut out of the frame, which offers a partial view of two rooms: a leather upholstered chair, a devotional painting with a baroque frame... everything is depicted with careful drawing and an accurate, post-Cezannian colour treatment. A small icon rests on a Louis XVI style hall table, illuminated by two candlesticks.Federico Brandt began painting in 1896 as a pupil in Arturo Michelena's studio. Brandt then attended the Academy of Fine Arts in Caracas, where he was a pupil of the painters Emilio Mauri and Antonio Herrera Toro. In 1899 he received his first academic recognition: he won the Painting Prize of the Academy of Fine Arts of Caracas. The prize consisted of a scholarship to study in Europe. In Paris he attended classes at the private academies "La Colarosi" and "La Grande Chaumiere" and was enrolled in the course of Jean-Paul Laurens and studied with the great painter Antonio de la Gandara. As a student he spent some time in Belgium and painted his first Impressionist-influenced works in Bruges in 1903. In 1913 and 1914 two important exhibitions were held at the Círculo de Bellas Artes in which Federico Brandt took part, and he continued to execute commissions for El Cojo Ilustrado, now depicting the tragedies of the First World War. In 1922 Brandt travelled to the United States and, together with Luis Alfredo López Méndez, also a Venezuelan painter, painted the docks of New York. Back in Venezuela, in 1925 he began a new series of landscapes, this time of the Izcaragua hacienda near the capital. In 1928 he painted the surroundings of his brother Alfredo's residence, the Quinta de la Casona. His first individual exhibition was held at the Ateneo de Caracas the year after his death. In 1950 the Museo de Bellas Artes in Caracas presented an exhibition of works by Brandt and his daughters, Julia and Mary. An exhibition was also organised at the Sala Mendoza in 1956, a general retrospective of his work at the Museo de Bellas Artes in 1972, and at the Galería de Arte Nacional in Caracas in 1978.

French school at the end of the 20th century."View of Paris".Oil on canvas.Signed "Kubur" and located in the lower left corner.Size: 46 x 55 cm; 65 x 76 cm (frame).The Parisian district of Montmartre deeply inspired young and promising painters from all over Europe. Sceneries such as the cabarets of Lapin Agile, the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the river Seine were masterfully immortalised by hundreds of artists who travelled to the heart of the French capital in order to prosper in their career as painters.

COLLECTION OF 35 CLASSICAL LP’s including:Nathan Milstein- 4 Italian Sonatas/Milstein Miniatures/Mozart Bach concertos (Capital P8481/8379/8362)Ruggiero Ricci – Sonatas for Solo Violin (Decca Mono LXT5595)Ginnette Neveu – Sibelius, Suk / Chusson, Debussy, Ravel (HMV ALP1479/1520)Oistrakh & Fournier – Brahms Double Concerto (Columbia 33cx 1487)Some sleeves have foxing but generally very good. Records generally very good and better (not play tested)

10 boxed/cased 1/76 die-cast Scottish themed bus models, Corgi, Exclusive First Editions etc including limited Edition (3458/7000) Corgi Double Set 'Capital & Highlands' 97096 with unpainted figures, COA etc.

Hiroshige, Utagawa (1797 Japan 1858) "snow in the temple district of the Tenmangū shrine in Kameido", aus der Serie "Famous Places of the Eastern Capital". Farbholzschnitt, li. u. mit kalligraphischer Siegelmarke. Verso mit Etikett. 22x 34,5 cm. PP., R.

Seltenes korinthisches KapitellHöhe: 55 cm, ohne Sockel.2. - 3. Jahrhundert v. Chr.In Stein vollrund gearbeitetes Kapitell mit Akanthus- und Rollwerkreliefs in zwei horizontalen Registern mit überfangenden fragmentarisch erhaltenen Abakusblüten. Auf modernem gestuftem Steinsockel.Anmerkung:Nach antiker Sitte war die jung verstorbene Tochter eines wohlhabenden Bürgers von Korinth außerhalb der Stadt an einer Straße bestattet worden. Das Grabmal mit Eckprotomen trägt eine Inschrift in griechischen Buchstaben, die den frühen Verlust des jungen Mädchens beklagt („Jungfau war Melite noch, da kränzte schon Niko, die Alte, ihr den Hügel. War das, Hades, gerechtes Gericht?“). Neben das Grabmal hatte die Amme einen Korb mit den Spielsachen des Mädchens gestellt und mit einer Steinplatte abgedeckt. Im darauf folgenden Frühjahr war nun der Akanthusstrauch, auf dem das Körbchen zufällig stand, seitlich ausgetrieben und hatte damit eine Form geschaffen, die an das spätere korinthische Kapitell erinnert. Der Bildhauer Kallimachos (tätig im letzten Viertel des 5. Jahrhunderts vor Christus) kam an dem Grabmal vorüber, wodurch er zu der Neuschöpfung der Form des Korinthischen Kapitells angeregt worden sein soll. (1330542) (2) (13)Rare Corinthian capital Height: 55 cm, without base.2nd - 3rd century BC.

dating: about 1780 provenance: Paris, Smoothbore, two-stage, 13 mm cal. barrel, the octagonal base signed 'Peniet a Paris' and 'Cour des Fontaines', after round and with rib and foresights; tang provided with rear sight. Lock converted to percussion with round lock plate signed 'PENIET A PARIS', working mechanism. Full wooden stock (some restorations and defects) with checkered butt and iron mounts, at the back clutch for the butt plate. Wooden ramrod. See 'Der Neue Stöckel', vol. II, p. 934. Francois Peniet, already a master in 1773, was a court gunsmith. The Parisian gunsmith was part of the group of gunsmiths from the French capital who signed the petition against the Versailles manufactory. length 38.5 cm.

dating: circa 1800 provenance: Paris, Smoothbore, round, turn-off, moulded, 9 mm cal. barrel, with floral engraving at the girdle; breech signed 'Herisson A Paris' and d engraved with floral motifs; boxlock type frame finely engraved with trophies and bands of flowers, the cock shaped as a dragon's head. Foldaway trigger with safety lock. Wooden butt. For Herisson see 'Der Neue Stöckel', vol. I, p. 522. The Parisian gunsmith was part of the group of gunsmiths from the French capital who signed the petition against the Versailles manufactory. length 15 cm.

Dante Gabriel Rossetti (British, 1828-1882)Cartoon for a stained-glass window showing The Sermon on the Mount, made for All Saints, Selsley pen and ink and wash62.5 x 48.5cm (24 5/8 x 19 1/8in).Footnotes:ProvenanceGiven by the artist to Algernon Charles Swinburne.Theodore Watts-Dunton (at the death of the above in 1909); to his wife, Clara Reich, at his death in 1914.Thomas James Wise (gifted by the above); to his brother, Herbert Athal Wise, at his death in 1937; to his son, Leslie George Wise, of Durban, South Africa, at his death in 1951.Thence by descent to the present private collection, South Africa.ExhibitedSouth Africa, University of Natal, Old Masters of Yesteryear.The architect G.F. Bodley entrusted the making of stained glass for the church of All Saints at Selsley in Gloucestershire to Morris and Philip Webb. They in turn recruited Rossetti, who was asked to make a series of designs for glass in the chancel as well as for the glass to which the present cartoon is related, showing The Sermon on the Mount, in the church's south aisle. Others who were brought in on the project were Ford Madox Brown and Edward Burne-Jones. This was the first scheme of stained glass to be made by Morris, Marshall, Faulkner & Co., and was an important demonstration of how well these various designers could work together to create an effect of harmonious unity. For images and description of the completed scheme, see A. Charles Sewter, The Stained Glass of William Morris and his Circle, New Haven, 1974, two volumes, I, ills 33-6; II, pp. 171-3.In the present cartoon, as in the completed window, the standing figure of Christ is seen with hands raised as he preaches. Seated on the left of Christ, and to whom he faces, are the figures of the Virgin and Mary Magdalene, and behind them Saints John and James, while on the right, and to whom Christ turns his back, appear St Peter and Judas Iscariot. In the drawing, each of these figures is identified in capital letters within their haloes. Friends of the artist and family members modelled for the figures: Elizabeth Siddal may be recognised as having sat for the Virgin; Fanny Cornforth is immediately recognisable as the model for the Magdalene; the poet Algernon Swinburne appears as St John, and the painter Simeon Solomon for St James; George Meredith was supposedly the model for the figure of Christ; William Morris was caricatured with tousled hair and dense black beard as St Peter; while behind him the loathed art dealer Ernest Gambart, with whom Rossetti was at the time at odds in connection with his outstanding debt to the executors of Thomas Plint, was insultingly shown as Judas, his head resting on his hand as if in devious or angry pattern of thought, and facing away from Christ as if deliberately ignoring the words that were being spoken.Rossetti made two other preparatory drawings for the subject in c. 1861, now in Leeds City Art Gallery (Surtees 142a) and William Morris Gallery, Walthamstow (Surtees 142). The present drawing, of which neither Virginia Surtees and A. Charles Sewter were aware, appears to have been the final cartoon from which the stained-glass makers were to work.The design was reused in 1864 to provide a memorial window to a Miss Polidori (presumably a relation of Rossetti's mother Frances, née Polidori) in Christ Church, Albany Street.We are grateful to Christopher Newall for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Pair of modernist pedestals, ca. 1900.Carved wood.Measurements: 115 x 44,5 x 44,5 cm.Pair of modernist pedestals with fluted shaft of neoclassical heritage. They have a base and capital of the same characteristics, with bulls and scotches that give rise to profusely decorated convex surfaces, which simulate cabochons set in geometric inlays. The capital emerges from a border decorated with acanthus leaves.

Bonds: NCU Company 1925 Share Certificate for 333 shares of Capital Stock, fine vignette of oil wells (Delaware), Lehigh Valley Railway Company - 1945 - United States. $1000 dollar general consolidated mortgage gold bond. Vignette - locomotive and railway workers., Pittsburgh, Allegheny and Manchester Traction Company, 1893 Share Certificate, vignette view of Pittsburgh, The Cincinnati, Washington and Baltimore Railroad Company 1886 Ten Shares (100$) Certificates, Steam Locomotive, State of Ohio vignette, The International Nickel Company of Canada, Limited, 1930. 100 shared preferred stock. Fine vignette of miners. (5)

each on stepped square base with gadrooned border, the fluted stem terminates in Corinthian capital socket with detachable beaded nozzle, filled16.2cm highFully marked on base and further part marked on nozzle. The marks are in general clear. There is some surface scratching and wear overall as well as some minor bruising. There is a small split to the lower stem on one. The total gross weight is 1,149gr including the filling material.

Schreibmaschine "Sholes & Glidden" mit Tisch, um 1876E. Remington & Sons, Ilion, New York. Serien-Nr. A-961, frühe amerikanische Unteranschlagmaschine, die als erste erfolgreiche Schreibmaschine der Welt Geschichte schrieb. Vorgestellt auf der Centennial International Exhibition von 1876 in Philadelphia. Handbemaltes Gehäuse, rundum mit reichem Blumen- und Goldranken-Dekor, Wagenrückzughebel am Wagen, nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas, mit Metallhaube, funktioniert, Mechanik hakt etwas. - Literatur: Martin, 1949, S. 67. - Auf Schreibmaschinen-Tisch, Gestell aus Gußmetall. - Historisch bedeutsames Sammlungsstück. Start Price: EUR 4800 Zustand: (3/3)Sholes & Glidden Typewriter with Table, c. 1876E. Remington & Sons, Ilion, New York. Serial no. A-961, early American upstroke machine, with detailed painted floral decoration and top carriage-return lever, capital keys (no lower case), glass keytops and wood key levers, with metal lid, on typewriter table with cast-metal base, working, mechanism somewhat sticking. - Literature: Martin, 1949, p. 67. - Introduced at the Philadelphia Centennial of 1876, the Sholes & Glidden was the first commercially successful typewriter. It was produced in a number of different finishes, both decorative and functional. - A milestone in the history of office communication. Start Price: EUR 4800 Condition: (3/3)

Schreibmaschine "Sholes & Glidden" (schwarz), um 1876E. Remington & Sons, Ilion, New York. Serien-Nr. A288, frühe amerikanische Unteranschlagmaschine, die als erste erfolgreiche Schreibmaschine der Welt Geschichte schrieb. Vorgestellt auf der Centennial International Exhibition von 1876 in Philadelphia. Nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas. - Literatur: Martin, 1949, S. 67. - Es fehlen rückseitige Abdeckung, 5 Tasten, Papierblech und Holzrolle. - Historisch bedeutsames Sammlungsstück, ein ideales Restaurierungsobjekt. Start Price: EUR 1400 Zustand: (4-/4-)Sholes & Glidden Typewriter (Black), c. 1876E. Remington & Sons, Ilion, New York. Serial no. A288, early American upstroke machine, with capital keys (no lower case), glass keytops and wood key levers, missing 5 keys, rear tin cover, paper table and wood roller, worthy of restoration. - Literature: Martin, 1949, p. 67. - Introduced at the Philadelphia Centennial of 1876, the Sholes & Glidden was the first commercially successful typewriter. It was produced in a number of different finishes, both decorative and functional. - A milestone in the history of office communication. Start Price: EUR 1400 Condition: (4-/4-)

ROMAN RIBERA CIRERA (Barcelona, 1848 - 1935)."Musician with cello".Oil on canvas.Signed in the lower left corner.Size: 60 x 35 cm; 79 x 51 cm (frame).Besides portraying the elegant and lavish life of the Parisian bourgeoisie at the end of the century, Román Ribera made paintings of musicians that remind, for their setting and excellent workmanship, of the Dutch and Spanish painting of the 17th century. This is the case here, where the artist depicts a musician with a cello in his hand. One of the most outstanding aspects of the painting is its successful treatment of colour and light. He uses a chromatic range of warm ochre, earthy and reddish tones, which he contrasts and contrasts with the brilliant white of the collar of his suit and the gold buttons on his coat. The artist, on the other hand, reveals himself to be a great draughtsman and demonstrates his interest in psychological introspection, offering us the image of a musician meditating, his gaze lost, despite the moment of calm he enjoys. Every detail of the costume has been depicted in all its rightful qualities, as was usual in Roman Ribera's precious plastic art.A Catalan painter, Roman Ribera studied drawing at the La Lonja School in Barcelona and painting at Pere Borrell's academy. He furthered his studies in Rome between 1873 and 1976, and travelled and exhibited in London. In the Italian capital he attended the Accademia Chigi and devoted himself to painting, but avoiding the contagion of the academicist mannerism of the Roman school. In 1877 he went to Paris with the art dealer Adolphe Goupil, who had acquired the rights to reproduce all his work. There he continued his training, this time directly studying scenes of Parisian street life. A year later he took part in the Universal Exhibition in Paris, where he achieved a decisive success with his three works of remarkable literary verism. However, he did not quite feel at ease with this type of subject matter and soon began to focus on depicting the elegant life of the period in works such as "Exit from the Ball", which he alternated with genre scenes in the Spanish Baroque tradition such as "A Flemish Drinker". In 1881 he took part in the National Exhibition in Madrid with precisely the aforementioned work with a Baroque setting, and in 1883 he was awarded the Encomienda de Isabel la Católica. After twelve years in Paris he returned to Barcelona, where he had already exhibited at the Centro de Acuarelistas (1885) and at the recently inaugurated Sala Parés. He then exhibited his work at the Artistic and Literary Association and the Parés and Rovira halls, as well as at the Universal Exhibition of 1888 and the Fine Arts Exhibition of 1894, obtaining great critical and public acclaim and soon won the favour of the wealthy Catalan bourgeoisie. In 1893 he submitted two paintings to the exhibition organised by the Barcelona Athenaeum: "Innocence" and "Incógnitca". Cirera regularly exhibited his work individually in the Rovira Room and as a group in the Artistic and Literary Society of Catalonia. He was a member of various official juries, and also of the Barcelona Museum Board in 1901. In 1915 he was appointed Member of Merit of the Artistic Circle of Barcelona. On his return to Spain Ribera continued to depict the life of the upper classes, the luxury of their homes, the richness of their costumes, etc., becoming a faithful portraitist of the Catalan upper middle classes of the Restoration, as he had already been of the French bourgeoisie of the Third Republic. He worked mainly in Barcelona, but also travelled to Madrid and held exhibitions of his work there. His work is currently held in the MACBA in Barcelona, the Museu d'Art de Girona, the Museu de Montserrat, the Biblioteca Víctor Balaguer and in various important private collections.

Pair of table lamps following baroque models, first quarter of the 20th century.Carved, polychromed and gilded wood. Parchment lampshades.Electrified.Slight flaws in the polychromy.Measurements: 100 cm (total height).This pair of lamps follows baroque models in that its shaft has the appearance of a Spanish Golden Age column. Thus, a helicoidal column stands impotently on a quadrangular pedestal, with the base worked in bas-relief with plant motifs and cherubs, and the capital with scroll decorations. Both pieces are surmounted by parchment screens and fabric fringes.

Pair of Empire vases. France, early 19th century.Hand-painted porcelain gilded in fine gold.It shows chipping on one side and wear of the polychromy.Measurements: 27 x 13 x 7,5 cm.Two hand-painted porcelain vases, with cartouches on which beautiful nineteenth-century portraits have been painted. Effigies worked in rounded bulk and inspired by the Greek korai act as handles. Paris Porcelain, also known as Old Paris, is a name for the production of a series of smaller manufactories established in Paris from the last quarter of the 18th century to the end of the 19th century. The first factories appeared around 1770, following the discovery of a kaolin deposit in Limoges. During the 18th century, the so-called Paris porcelain was that made and decorated in Paris, although in the 19th century it also included pieces made in the provinces and decorated in the capital. Production would be homogeneous in all the factories, with good kaolin paste and gilt decorations, used with royal permission, although it would not be Sèvres gold until the French Revolution, when the monarchy disappeared and with it the royal privileges of the crown factories. It was precisely the date of the Revolution that marked the beginning of the expansion of Paris Porcelain; production increased, with pieces following the stylistic and typological models of Sèvres, important technical improvements were achieved and a new and thriving clientele was supplied: the bourgeoisie. Following the Sèvres models, coloured backgrounds (dark blues, browns, blacks, yellows, oranges, etc.), gilt motifs and figurative decorations of pictorial quality dominated. The influence of the Louis XIV style was also important in these factories in the 19th century, not only in the decorations but also in the typologies.

East Timor.- Marcal (B.) Six photographs of views, landscapes and people from Portuguese Timor, including the town hall and lighthouse of the capital, Dili, six gelatine silver prints neatly mounted on thick card with decorative red border, one inscribed and dated in pencil on reverse, each photograph approx. 145 x 205 mm (6 3/4 x 8 in), or the reverse, card supports 240 x 330 mm (9 1/2 x 13 in), scattered spotting, minor surface dirt and browning, presented in brown portfolio with ties, 4to, 1902.

plus a silver and pressed amber cat brooch, paste set silver capital A brooch and 14 ct horseshoe pendant, 17.2g gross (4)

Four 1980's portable transistor radios to include Invicta 8207, Ferguson Radiostar 3R16, Philips D2924 PLL and Capital Radio promotional pocket radio together with a later Ferguson FRG-R121D digital radio and Sony ICFS 10 (6)

THE RHINE FROM ITS SOURCE TO THE SEA' translated from the German by G. C. T. Bartley, 1888 together with 'Cracow The Royal Capital of Ancient Poland' by Leonard Lepszy and 'Sailing Tours Part V The Clyde to the Thames, Round North' reprint 1985 (3)

Aubusson tapestry. France, 17th century.Knotted wool.Good state of preservation.Measurements: 280 x 242 cm.The refinement of the carpets and handmade tapestries of Aubusson were very popular in the court of Louis XIV, period to which the tapestry we show here belongs. The central field depicts a classically inspired scene, with three ladies accompanied by a putto and a bull, set in a wooded clearing. The young women evoke the Roman goddess Flora and two wild nymphs. The bull reminds us of one of Zeus' metamorphoses. The Greco-Roman atmosphere, however, is transformed to suit the courtly taste of the 17th century. The large central medallion is ornamented with decorative patterns based on flowers with sensual corollas.Known as the "capital of tapestry", Aubusson's centuries-old art of painstaking execution has been classified as intangible cultural heritage by Unesco since 2009. The making of a tapestry of this level requires a complex technique and the intervention of a whole chain of trades. The tapestries are made with images of any artistic style prepared by a specialist in cardboard painting. The weaving is done by hand on the back of the tapestry by a heddle maker using a horizontally positioned loom and woollen yarns dyed by hand on the spot. This technique is very time-consuming and costly. Aubusson tapestries are the most emblematic craftsmanship of the luxury sector in Limousin, famous since the 17th century, and their value has even increased over time.

Aubusson tapestry. France, 17th century."Moses making water flow from a rock".Knotted wool.Good general state of preservation. Slight wear and tear and missing lower border.Measurements: 210 x 270 cm.The refinement of this tapestry, which reproduces the biblical scene in which God grants Moses the power to make water flow from a rock, testifies to the high quality of Aubusson's tapestries. They were very popular at the court of Louis XIV, the period to which the tapestry shown here belongs. With hardly any borders around the episode depicted, in order to give all the importance to the central scene, it is set in a wooded landscape in richly contrasting tones with a predominance of green and ochre shades. The figure of Moses points to the place from which the spring will gush forth to quench the thirst of the people of Israel. His companions express their faith in the word of the Lord with gestures of hope. The attire has been rendered in its rich qualities. The biblical theme has been reinterpreted to suit the courtly taste of the 17th century.Known as the "capital of tapestry", Aubusson's centuries-old art of painstaking execution has been classified as intangible cultural heritage by Unesco since 2009. The making of a tapestry of this level requires a complex technique and the intervention of a whole chain of trades. The tapestries are executed with images of any artistic style prepared by a specialist in cardboard painting. The weaving is done by hand, on the back of the tapestry, by a weaver using a horizontally positioned loom and woollen yarns dyed by hand on the spot. This technique is very time-consuming and costly. Aubusson tapestries are the most emblematic craftsmanship of the luxury sector in Limousin, famous since the 17th century, and their value has even increased over time.

PIERRE LOTTIER-style bookshop. Spain, mid 20th century.Painted wood with chinoiserie decoration.Slight faults in the polychromy.Measurements: 230 x 100 x 55 cm.Georgian style bookcase in wood painted in red and decorated with chinoiserie in gilt, following Pierre Lottier's models. The decorations cover the three drawers and the upper body, completely covering the front and sides: pagodas, figures reclining in the shade of slender trees, together with birds, plant and fruit motifs. The interior is painted in emerald-green and decorated with gilt chinoiserie. The hinged desk top conceals four drawers and a central niche. The inner body has plenty of compartmentalisation to function as a bookcase, and more drawers. The lower part is distributed with three large drawers.Pierre Lottier was an outstanding furniture designer and decorator, born in France but based in Barcelona, active from the post-war period onwards. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier worked mainly on the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid.

A 19th century carved walnut washstand, formed as a column with Ionic capital lift up lid, on square base, 21" wide x 19" deep x 33" high

BEH; a pair of German WWII binoculars, the 7x50 binoculars no.464369, the black leather case with embossed imperial eagle above a capital M (2).Additional InformationThe binoculars do focus, the lenses lightly grubby but essentially ok, one of the larger lenses may have a single blooming spot to the inside, images clearly through and binoculars generally of a good condition with only a few minor scuffs and knocks, the binoculars are not marked with an imperial eagle, leather case with minor wear, the binoculars were obtained by the vendor's father, Major Victor Leighton who was a British delegate at the end of the war in 1945 in Germany.

Naval General Service 1793-1840, 6 clasps, 1 June 1794, St. Vincent, Camperdown, Nile, Egypt, Java, an unnamed Royal Mint specimen, circa 1880-1900, the edge stamped ‘specimen’ in small capital letters, good very fine £1,000-£1,400 --- An official Royal Mint specimen produced in the late 19th Century for museum or institutional display purposes. The individually riveted clasps were also produced by the Royal Mint and are at some variance to the original issues which had been produced under contract by Hunt & Roskell but which were no longer available.

A carved wooden Corinthian pilaster capital, 34.5cm high, together with a Victorian tea caddy, 14cm x 14.5cm x 14.5cm, a Victorian oak smoker's cabinet, 23cm high, and a further selection of wooden accessories and tableware (Qty)Capital is modern, possibly stained pine but constructed rather than solid. 

A sandstone column capital, carved with foliate detail, 31cm H x 43cm Sq

A pair of Victorian cast iron pillars/supports by Walter Macfarlane & Co, Saragen Foundry, Glasgow, each pillar of reeded form with a scrolled foliate capital, 250cm high (2)

A pair of George II cast silver candlesticks, by William Cafe, London 1759,each with a beaded and waisted capital, leading to a knopped stem, on a conforming hexafoil foot, with personal engraving and the Arms of Moseley with the Secondary Arms of St John's College, Cambridge, 23.5cm high, together with a pair of associated drip trays, unmarked, test as silver, with similar engraving, 4cm high candlesticks 41.74oztoverall including drip trays 46ozt (4)Given the evidence of the inscription of 'Ex dono Gui(?) Moseley Armi[ger] De Owsden Com Suffolk', this pair of candlesticks was undoubtedly a gift from William Moseley (born c.1736, died 17 February 1785), of Owsden Hall and Fornham All Saints in the County of Suffolk, to his old college at Cambridge with the inscription 'Coll Divi Joan' [St John's College]. William entered St John's College as a Fellow Commoner on 27 May 1755 at the age of nineteen. He was the eldest son of Thomas Moseley, of Owsden aforesaid, and his wife and cousin, Sarah Goodday.William married Elizabeth Cocksedge (born c.1745, died 5 July 1802) at the Parish Church of All Saints, Drinkstone, in the County of Suffolk, on 13 September 1763. Elizabeth was the daughter of Abraham Cocksedge, of Drinkstone aforesaid, and his wife, Bridgett (...).William eventually inherited his mother's family estate of Fornham All Saints.Condition ReportSurface scratches throughout commensurate with age. Minor dents and residue wax to the sockets. The ends of the drip trays are bent and misshaped.

A pair of painted and parcel-gilt console tables, late 16th or early 17th century and later, Spanish, each in the form of a classical capital, with a later shaped marble top, 94cm wide 56cm deep 86cm high (2)Condition ReportChips, knocks and losses to painted detail. Splits and separation to joints. Traces of woodworm damage. Some surface wear to marble.

Original vintage travel advertising poster for Puglia featuring an illustrated map with a compass, castles, cathedrals, food and wine, statues, and tourist places of interest like Ionian Sea. Puglia or Apulia has its capital in Bari, the region is known for Castel del Monte and the medieval town of Ostuni. Horizontal. Good condition, creasing, staining, ink drawing on reverse. Country of issue: Italy, designer: Vsevoldo Nicouline, size (cm): 24x29, year of printing: 1950s.

A plaster column/pillar/pedestal having an Ionian capital, 23" tall x 13" diameter.

24ct Gold Ingot Necklace - A Degussa Feingold 999.9 10g ingot on a gilt chain, with stamped capital 'M', length 2.1cm.

A pair of Remploy Ltd George III style mahogany bedside tables with single frieze drawers above an under-tier joined by tapering square legs, each bear War Ministry Crow's Foot and capital 'M' to the underside of the tier, each 42cms wide (2).

PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Le Vieux Roi, 1959.Lithograph on Vélin de Arches paper, edition of 1000.Signed and dated on plate. Signed and dedicated by hand.Printed by Mourlot.Referenced in Bloch 896; Mourlot 317; Güse-Rau 682.Size: 67 x 52 cm; 83 x 67 cm (frame).Creator of cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. Picasso is represented in the most important museums all over the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St Petersburg, the National Gallery in London and the Reina Sofía in Madrid.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Sta Sinfonia Beethoven". 1995.Mixed media on paper.Signed, dated and titled in the left margin.Enclosed certificate of authenticity issued by Ester Romero Fajardo.Measurements: 51 x 82 cm; 57 x 87 cm (frame).Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Cantabrian Women in the Forest". 1973.Mixed media on paper.Signed, dated and titled in the lower margin.Enclosed certificate of authenticity issued by Esther Romero Fajardo.Measurements: 37 x 54 cm; 55 x 75 cm (frame).Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Painting of the night". 1981.Mixed media on paper.Signed, dated and titled in the lower margin.Enclosed certificate of authenticity issued by Ester Romero Fajardo.Measurements: 114 x 83 cm.Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Women of Avignon". 1980.Oil on paper adhered to wood.Signed in the lower margin.Size: 140 x 110 cm.Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

MIGUEL MACAYA (Santander,1964)."Allegory", 1990.Oil on canvas.With Sala Parés label on the back.Signed in the lower left corner.Measurements: 98 x 132 cm.A nationally and internationally recognised painter, Miguel Macaya made his individual debut in 1986 in his native city, with an exhibition held in the Pancho Cossío Gallery. Two years later he presented his work in the Cartoon gallery in Barcelona, and in the nineties he began to hold exhibitions in Madrid: Jorge Albero gallery in 1994 and 1997, Nolde in 1996 and 1999, etc. He made the international leap in 1999 with a solo exhibition held at the Arcturus gallery in Paris, and the following year he presented his work at the prestigious Sala Parés in Barcelona, a gallery with which he has collaborated since then. He continues to exhibit regularly as a solo artist in Spain and France, as well as in the Netherlands, Germany and the United Kingdom. He has also participated in fairs such as Antica Namur in Belgium, Strasbourg (both in 2014), Arco in Madrid (2001), Art London in the British capital (2008) and Art Madrid (2011-2015), among others. In parallel, since 1992 he has taken part in important national and international group exhibitions. The first was held by the Delfina Studio Trust in London in 1992, followed by other important exhibitions such as those held at the Design Center de la Recoleta in Buenos Aires (1998), the Fundació Vila Casas in Barcelona (1999), the Vieleers gallery in Amsterdam (2003), etc. Macaya's work possesses an intense and dark expressiveness, as well as a Goyaesque vein that is particularly evident in his bullfighting works. In this sense, the critic Enrique Lynch wrote that his painting "points the eye towards the sublime precisely because, without renouncing the light, it directs us towards the dark side of vision: towards what we cannot (or do not want to) see, the unknown background to which his characters turn their backs on us". It is a work, in any case, that plays at mystery, at the game of revealing only part of the chiaroscuro, at suggesting questions to the spectator. Miguel Macaya is currently represented at the Fundació Vila Casas, and has been awarded the First Prize for Young Painting by the Fundació Banc de Sabadell-Sala Parés (2001).

LETTERS and NUMBERS - A box containing 26 capital letters and numbers (lacking No.1). Box labelled 28. 36pt. Similar to Elizabethan

A PAIR OF VICTORIAN SILVER CANDLESTICKSEDWARD HUTTON, LONDON 1886Of fluted tapering square section form with campana sconces and beaded nozzles30cm highLoadedProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Marks are clearOne slightly wobblesOne sconce fits very tightly to the capital, sits with a gapThe other removes easily One capital slightly bent, appears to have been repairedNo engravingMinor dents to the foot rimLight scratches and wear commensurate with age and use Condition Report Disclaimer