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A pair of late 19th century gilt bronze mounted Sèvres-style porcelain vases and coversthe bodies signed M. Guillou, the covers signed M. Imple de Sevreseach of slender baluster pedestal form decorated with Napoleonic battle scenes, a capital N in raised gilding between a laurel wreath at the foot and an eagle within a laurel wreath at the neck, the domed covers with gilded crown and bee insignia and acorn finials, one cover now broken as found, 55cm high (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A 19th century gilt framed overmantle mirror, with breakfront and Apollo chariot scene above three bevelled glass mirror plates. Height 90 cm, width 140 cm. CONDITION REPORT: The mirror has been overpainted. It does have the original glass. Because of the overpainting it is difficult to see if there has been any significant restoration. This would seem unlikely. The definition of the moulded figures is slightly lost due to the overpainting and there are the usual fractures and small losses in the mouldings. The top left-hand capital has a small scroll loss.

A carved walnut spice box, probably late 17th century, of square 'capital' form, pinned lid with rosette and floral design, width 23cm, height 19cm.

New Kingdom, 18th Dynasty, reign of Amenhotep III, circa 1410 -1372 B.C. A funerary cone bearing hieroglyphs in raised relief reading: ?m??y ?r ?s?r s?-nswt n kš mry-ms 'The revered one before Osiris, King's Son of Kush, Merymose'; Merymose's title of 'King's Son' is often translated with the modern term 'Viceroy.' Cf. Davies, N. de G., and MacAdam, M.F.L., A Corpus of Inscribed Egyptian Funerary Cones, Part I, Oxford, 1957, No.170. 210 grams, 82 mm (3 1/4 in.). From an old UK collection. Acquired 1960s-1990s. From the private collection of Alf Baxendale (1941-2016), keen Egyptologist, member of the Egyptology Society, trustee of the Amarna Trust; thence by descent. Accompanied by an identification display card. Accompanied by an offprint on funerary cones relevant to Mermose for the Honoured Before Osiris the Viceroy of Kush. Accompanied by an information sheet. Accompanied by a copy of his obituary published in Horizon, The Amarna Project and Amarna Trust newsletter, Issue 18, 2017, p.21, by Barry John Kemp, CBE, FBA, Professor Emeritus of Egyptology at the University of Cambridge and directing excavations at Amarna in Egypt. Merymose (also Mermose or Merimes) was one of the longest known serving Viceroys of Kush, occupying his post for over thirty years during the reign of Amenhotep III. He ruled the south from his capital at Mi'am, modern Aniba, and was granted a tomb at Thebes, where he was also provided with three diorite sarcophagi, a highly unusual honour to have bestowed on a non-royal official. His Theban tomb is numbered TT383. Alf Baxendale (1941-2016), was a keen amateur Egyptologist, active from the 1960s. He was a good friend of Egyptologist Barry John Kemp who directs excavations at Amarna in Egypt. Alf helped raise funds for equipment and materials for the excavations since the 1980s, and also secured a major sponsorship from one of Britain’s leading brewers, Scottish and Newcastle. He was a member of the Egyptology Society, and became a founder trustee of the Amarna Trust in 2005. Alf bequeathed a major part of his extensive library to the Amarna Project’s offices in Cairo. [No Reserve]

18th Dynasty, Reign of Amenhotep III, circa 1410 -1372 B.C. A funerary cone bearing hieroglyphs to the base in raised relief reading: ?m??y ?r ?s?r s?-nswt n kš mry-ms 'The revered one before Osiris, King's Son of Kush, Merymose'; the title of 'King's Son' is often given the modern term 'Viceroy.' Cf. Davies, N. de G., and MacAdam, M.F.L., A Corpus of Inscribed Egyptian Funerary Cones, Part I, Oxford, 1957, No.170. 307 grams, 12 cm (4 3/4 in.). From an old UK collection. Acquired 1960s-1990s. From the private collection of Alf Baxendale (1941-2016), keen Egyptologist, member of the Egyptology Society, trustee of the Amarna Trust; thence by descent. Accompanied by an identification display card. Accompanied by an offprint on funerary cones relevant to Mermose for the Honoured Before Osiris the Viceroy of Kush. Accompanied by a copy of his obituary published in Horizon, The Amarna Project and Amarna Trust newsletter, Issue 18, 2017, p.21, by Barry John Kemp, CBE, FBA, Professor Emeritus of Egyptology at the University of Cambridge and directing excavations at Amarna in Egypt. Merymose (also Mermose or Merimes) was one of the longest known serving Viceroys of Kush, occupying his post for over thirty years during the reign of Amenhotep III. He ruled the south from his capital at Mi'am, modern Aniba, and was granted a tomb at Thebes, where he was also provided with three diorite sarcophagi, a highly unusual honour to have been bestowed on a non-royal official. His Theban tomb is numbered TT383. Alf Baxendale (1941-2016), was a keen amateur Egyptologist, active from the 1960s. He was a good friend of Egyptologist Barry John Kemp who directs excavations at Amarna in Egypt. Alf helped raise funds for equipment and materials for the excavations since the 1980s, and also secured a major sponsorship from one of Britain’s leading brewers, Scottish and Newcastle. He was a member of the Egyptology Society, and became a founder trustee of the Amarna Trust in 2005. Alf bequeathed a major part of his extensive library to the Amarna Project’s offices in Cairo. [No Reserve]

6th-7th century A.D. A gold belt hole-guard of semi-circular form with projecting lobe, the surface embellished with symmetrically disposed and chip-carved foliage motifs, three attachment pins on the back. Cf. Brown, K.R., Kidd, D., Little, C.T., From Attila to Charlemagne, Arts of the Early Medieval Period in the Metropolitan Museum of Art, Yale, 2000, p.175, figs.15.13, 15.14, for comparable mounts from the Vrap treasure. 5.21 grams, 20 mm wide (3/4 in.). Collection formed in the 2000s. Property of an English gentleman. The mount was probably part of a composite belt, decorated with scrollwork in Byzantine style. Many authors discuss if these belts were produced in the Eastern Roman capital or if they were realised by workshops of the Avar Khaganate, maybe with Roman matrices for producing sheet ornaments. These horseshoe-shaped mounts (called hole-guards) were used to reinforce the adjustment holes in the belt. [No Reserve]

Languedoc, France, 12th century A.D. A carved, square-topped limestone capital, a stylised human head facing outwards from each corner, each with shoulder-length hair, an elongated U-shaped face featuring heavily-lidded almond-shaped eyes with recessed pupils, straight nose; traces of gilding. 13.6 kg, 22 x 22 cm (8 5/8 x 8 5/8 in.). French trade, 2013. Ex central London gallery. [No Reserve]

France, Burgundy, circa 1225-1250 A.D. A white limestone corbel-capital probably from the destroyed Cluniac priory of Moutiers Saint Jean, composed of a capital on the left decorated with deeply undercut crockets, corbel with a carved head on the right; from a carved doorway or window which carried a pointed arch. 22.8 kg, 45 cm (17 3/4 in.). Salles des Vantes Pillet, 1 July 2007, lot 168. Ex central London gallery. Accompanied by a copy of a previous four page typed and illustrated report. Accompanied by scholarly note TL05442 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11411-192174. The capital would have supported an innermost voussoir above, whilst the corbel would have supported the innermost voussoir. The base of the capital has a small diameter which would have been echoed in the column below. This relationship with the slender shaft and the capital base is characteristic of architectural carving from Moutiers Saint Jean. The carving is closely related to a group of twenty five extant sculptures, now held in American museums, which recent scholarship has demonstrated are from the priory of Moutiers-Saint-Jean, which suffered extensive damage over the course of the Wars of Religion and the French Revolution. In 1797 the remains were sold into private hands. The closed crockets on our capital suggest that the sculpture could be dated earlier than the Duke University capital; parallels between this sculpture and an additional sculpture associated with the Moutiers group dated to 1225-1250 A.D. are striking in relation to the carving of the eyes, stylised hair and 'v' shaped face. A string indication that this is another piece from the ruined abbey. In a medieval text dating from 996, Moûtiers was called Monasterium (root of the word monastery). [No Reserve]

Three Victorian and later novelty vesta cases, comprising, a silver plated example in the form of a Gentleman, hand engraved name inscribed to the verso, 5.5cm in length, a brass example in the form of a shirt 6cm in length and a white metal example in the form of trousers, by 'Capital & Naval Outfitters' 5.5cm in length (3)

AN 18TH CENTURY SEVRES ROYAL BLUE PORTRAIT CABINET CUP AND SAUCER with jewelled and gilt panelled decoration enclosing a named portrait panel and flower garland spray to the saucer centre - each named beneath and with interlaced blue crossed L mark centred by a capital T6.75cm high 13.5cm diameterThe saucer is in good undamaged condition and the gilding is in good order. There are some losses to the turquoise enamel beads in the centre. The cup is in good undamaged condition, with only one enamel turquoise bead missing on the portrait border. The gilding is also in good order on the cup. Both pieces are dirty and would benefit from a clean.

Carved wooden Corinthian capital, painted, 31 x 21cm

WEST HAM UNITED Ten home programmes at Dagenham and Boleyn Ground in the Capital Football League v Welling Utd. 95/6, Crawley Town 94/5, Southend Utd. 95/6, Peterborough Utd. 95/6, Colchester Utd. 94/5 and 95/6, Sutton Utd. 94/5 and 95/6 and Wycombe Wands. 94/5 and 95/6. All have a slight horizontal crease. Generally good

THE ENCHANTED CAPITAL OF SCOTLAND, ILLUS. BY JESSIE MARION KING (SCOTTISH, 1875-1949),pub. Plaid, Edinburgh, gilt cloth boards with dust jacket

Charles Royle: 'The Egyptian Campaigns 1882 to 1885. New and Revised edition, continued to December 1899', London, Hurst & Blackett, 1900, 1st edition thus, in text maps + 2 folding maps at end, original pictorial cloth gilt. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

T.E. Lawrence: 'Oriental Assembly', London, Williams & Norgate, 1939, 1st edition, inscribed in initials from Gawain Westray Bell (1909-1995) to Daphne Newbold (1889-1960) on piece tipped on to FFEP, photographic frontis, sketch illustrations, 30 plates from photos + 111 war illustrations from photographs as called for, original cloth gilt, dust wrapper. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

Lieutenant General Sir John Bagot Glubb: 'The Story of the Arab Legion', Tiptree, Anchor Press, 1980, commemorative limited edition (31/100), numbered and signed, frontis + numerous illustrations from photos and maps as called for, original full calf gilt, all edges gilt, slip case. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

Alan David MacDonald: 'Euphrates Exile', London, G. Bell, 1936, 1st edition, 8 plates from photos as called for, original cloth. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

Wilfred Thesiger: 'Visions of a Nomad', Collins, 1987, 2nd impression, signed and inscribed by Thesiger to Sir Gawain Bell (1909-1995) to FFEP "To Gawain, with every good wish and memories of a long standing friendship. from Wilfred Chirstmas 1987", numerous photographic illustrations including images of Africa, some rarely seen photos from his Asian travels, and a mixture of familiar and unknown pictures from the Arab world, original cloth gilt, dust wrapper. Bell and Thesiger both served in Sudan in the 1930s and during the Second World War. Thesiger has legendary status as an explorer, travel writer and photograher, most notably for being the first Western explorer to cross the Empty Quarter of the Arabian Peninsula in 1946/47, following worthily in the tradition of Richard Burton, TE Lawrence, St John Philby and Bertram Thomas. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

J.M. Collard: 'One of Our Fighters is Missing', Printed in Palestine by the Achdut Cooperative Press, Tel-Aviv, 1941, signed and inscribed FFEP, book of poems, 46pp, original card wraps, glassine dust wrapper. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

Sir Gawain Bell: 'Shadows on the Sand, The Memoirs of Sir Gawain Bell', London, C. Hurst, 1983, 1st edition, signed & inscribed by Amanda Buchan (née Bell), daughter of Sir Gawain Bell. 15 maps/plates/ills from photos as called for, original cloth gilt, dust wrapper. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

Sir Arnold T. Wilson: 'The Persian Gulf', London, George Allen, 1954, 2nd impression, portrait frontis, large folding map at end as called for. Copy of Sir Gawain Bell, with his pencil ownership signature/inscription to FFEP "Gawain Bell Kadima Nov. 1958", some passages of text underlined by him in pencil, and his corresponding m/s pen & ink notes/annotations to inside rear flap of dust wrapper. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

Sir Alec Kirkbride: 'An Awakening/ The Arab Campaign 1917-1918', Tavistock, University Press of Arabia, 1971, 1st edition, illustrations from photographs, map endpapers, original cloth, dust wrapper. From the estate of Gawain Westray Bell (1909-1995), British colonial administrator who became the Governor of Northern Nigeria. 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

A 19th Century Victorian white cotton & black thread childs sampler. Triple capital alphabet with lowercase, large font & numerals. Executed by a Sarah Steen and dated 1838. Set to a later frame. Measures approx; 31cm x 31cm.

MODESTO BROCOS Y GÓMEZ (Santiago de Compostela, 1852 - Rio de Janeiro, 1936)."Portrait of a Gentleman, 1880.Oil on canvas. Re-coloured.With repainting and damage to the frame.Signed and dated in the lower right corner.Measurements: 65 x 54 cm; 77 x 65 cm (frame).Painter of portraits, landscapes and genre themes, engraver, draughtsman and writer, Modesto Brocos was a Galician artist active in Brazil, or a Brazilian artist born in Galicia (he obtained Brazilian nationality). He began his training at the Academia de Bellas Artes de La Coruña, in Santiago, where he was taught by his brother Isidoro, a sculptor and engraver, who would later become Pablo Picasso's teacher. He also studied with the miniaturist Cancela del Río. Before the age of twenty he began his first trip to South America, arriving in Buenos Aires in 1871. In the Buenos Aires capital he worked as an illustrator on "Los Anales de la Agricultura de la República Argentina", a publication published under the patronage of Domingo F. Sarmiento. He opened a drawing and engraving workshop in 1872, but two years later, around 1874-75, he moved to Brazil, specifically to Rio de Janeiro. There he studied at the Imperial Academy of Fine Arts, where his teachers were Vítor Meireles and Zeferino da Costa. He also collaborated with the publication "O Mequetrefe". In fact, Brocos popularised in Brazil the technique of woodcut, almost unknown until then, which he used for his illustrations. A restless character, he only stayed in Brazil for two years, then returned to Europe and initially settled in Paris, where he enrolled at the Ecole des Beaux-Arts and was taught by the German Henri Lehmann. Dissatisfied with the institution's teaching system, he left shortly afterwards and went to Madrid. From the Spanish capital he went back to France and from there to Rome, on a grant from the Diputación de La Coruña. There he studied at the Academia Chigi, and came into contact with Francisco Pradilla, who was to be his protector and teacher during his four years in the Italian capital. By this time Brocos was already a mature artist, the author of excellent works and a frequent participant in the Paris Salon. In 1890, leaving aside his professorship at the Santiago Economic Society, he returned to the Americas, settling again in Rio. There he obtained a teaching post at the National School of Fine Arts, of which he eventually became director, and carried out important work as a painter and treatise writer. He published writings on art theory and produced innumerable etched portraits and paintings of Brazilian genre and historical subjects. However, despite being based in America, he maintained links with his native Spain, taking part in the National Exhibitions of Fine Arts (he was awarded an Honourable Mention in 1897), and even publishing writings, including his only work of fiction, "Journey to Mars", published in Valencia in 1930, in which he constructs an authentic socialist utopia. In 1952, an anthological exhibition of his work was organised in Rio, on the occasion of the centenary of his birth. He is currently represented at the Museo Nacional de Bellas Artes in Rio de Janeiro, which in 2007 devoted an important anthological exhibition to him, the Pinacoteca do Estado de São Paulo, the Museo de Bellas Artes de La Coruña, the Fundación Caixa Galicia, etc.

JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Sunset".Oil on canvas.Relined.Signed in the lower right corner.Attached certificate of Dr. Joan Campana Tubon.It presents a patch in the left inferior zone.Measurements: 75 x 87 cm; 93 x 105 cm (frame).In this painting by Joaquim Mir, the wide sky takes centre stage, opening up in the bluish vault a deep crimson caesura. Likewise, the light at twilight falls on the landscape with its small chapel, unfolding a daring symphony of emerald greens and bright yellows between shady hollows. Joaquim Mir reduces nature to its basic elements through an excellent handling of light and colour, but at the same time he avoids abstraction, always suggesting the pulse that beats beneath the forms.Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" (Safrà Group) with other colleagues to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). From 1897 he also frequented the artistic environment of "Els Quatre Gats", which helped him to mature in the compositional study of landscapes with figures in different planes of depth. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, which was an inexhaustible source of inspiration for him. From then on, the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and again won a second medal at the National Exhibition. In 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the surrounding villages that were the protagonists of his painting. He gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. In 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been pursuing since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.

FRANCISCO JAVIER GOSÉ ROVIRA (Alcalá de Henares, 1876 - Lleida, 1915)."Lady".Charcoal on paper.Signed with a testamentary seal at the bottom.Discolouration on the paper.Size: 17 x 14.5 cm; 32.5 x 28 cm (frame).Javier Gosé's style oscillates between modernism and French art-deco, reflecting the life of Parisian society. Inspired by the worldly life of the café-concerts, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of French society at the time, although it is not without a certain mischievousness characteristic of carefree Paris.Francisco Javier Gosé was an essential draughtsman and painter in the world of graphics and fashion in the transition from the 19th to the 20th century. He studied in Barcelona, where he was assistant to the draughtsman José Luis Pellicer. From a very early age he collaborated in Barcelona publications, from "La Esquella de la Torratxa" and "La saeta", in which his attachment to modernism is clear, to "Mundial Magazine" and "Fémina", where a pre-cubist line can already be seen. His first exhibition was held at Els Quatre Gats. During his Barcelona period he portrayed the proletariat, although in 1900 he travelled to Paris, where he collaborated with "La vie Illustrée" and "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Up to this point his works showed a satirical and realistic view of the bourgeoisie, snobs and prostitutes, although this view changed in 1907, when he began a more stylised, less realistic and less ironic period, above all because of his entry into the world of fashion, in which Gosé sought to set a trend among women in society. His period in Paris was the turning point in his life and artistic production, as the French capital was the place where he broadened his knowledge, becoming a successful artist who would obtain interesting commissions as an illustrator for the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance which, together with serious health problems, deprived him of the elegant Parisian environment, and he moved to the city of Vichy, famous for its spas. Shortly afterwards Gosé moved back to Barcelona, spending the last days of his life in Lleida. His posthumous exhibitions include the one at the Círculo Artístico in the same year as his death, the retrospective at the Rovira gallery (1970) and the one at the Fundación La Caixa (1984). He is represented in the Museums of Modern Art in Barcelona and Madrid, among others.

JOSÉ MANUEL CAPULETTI LILLO DEL POZO (Valladolid, 1925 - Eltville am Rhein, Germany, 1978).Untitled.Oil on canvas.Signed in the lower right corner.Size: 60 x 92 cm; 63 x 95 cm (frame).The spatial treatment of this work, the tonalities and the lack of characters show us a work of metaphysical heritage, where geometry has a leading role in the compositional conception of the painting.Manuel Capuletti was a self-taught artist. He began to enter the art world in 1951, when he decided to move to Paris, where in 1952, thanks to his art dealer André Weil, he held his first individual exhibition in his gallery. Despite this, it was not until years later that he managed to overcome a precarious situation and establish his artistic career. By 1954, he was already a member of the cultural elite of the French capital, participating in numerous exhibitions where he acquired great recognition from the public and critics. It was also in 1954 that he began to broaden his artistic horizons, participating in various theatrical projects, such as Arte Flamenco Puro, which premiered at the Théâtre des Champs Elysées in Paris, and for which Capuletti designed the costumes. From 1958 onwards, his painting made the leap to the United States, exhibiting his work in numerous galleries in the country, such as Hammer Galleries, in New York, and exploiting his facet as a costume designer, even collaborating with the Harkness Ballet company in New York, for whom he also made several sets. In 1967 he returned to Spain, and two years later he held an important exhibition of portraits of flamenco singers and dancers at the Ateneo de Sevilla. However, in 1976 he died unexpectedly during a trip to Germany, and was buried in the Walluf cemetery. A large part of his legacy remained in the Mairena and Alcalá collections. Capuletti's work, with a clear surrealist aesthetic of metaphysical heritage, was manifested through numerous mediums; drawings, illustrations, engravings, paintings and posters were common in his production, with his artistic work in the theatre being especially outstanding, where his stage designs and costumes for shows and flamenco ballets of famous flamenco dancers, such as Vicente Escudero, Antonio and Pilar López, stood out.

ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Street of Montmartre".Oil on canvas.Signed in the lower left corner.Size: 55 x 38 cm; 65 x 48 cm (frame).The Parisian district of Montmartre deeply inspired a young and promising Elisée Maclet, who had just landed in the French capital in 1906. Scenery such as the cabarets of Lapin Agile or 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 Maclet through a Post-Impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of Montmartre life in 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting which earned him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after the First World War, and he maintained this success for the rest of his career due to the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer Dosbourg bought some of his first Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which sometimes recall Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its exhibition "Paintings of the 20th Century"; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, in time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany and Venezuela, as well as a major exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Today, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.

EDUARDO CHICHARRO BRIONES (Madrid, 1905 - 1964)."Manola".Oil on panel.Signed in the right margin.Measurements: 37 x 27 cm; 52 x 43 cm (frame).Painter and poet, one of the main theoreticians of Postism together with Carlos Edmundo de Ory and Silvano Sernesi, he was the son of Eduardo Chicharro y Agüera, who had been the chamber painter of King Alfonso XIII. In 1912 his father was appointed director of the Spanish Academy in Rome and the family moved to the Italian capital, where they remained until 1925. Eduardo Chicharro Briones returned to Spain to do his military service, and in 1928 he returned to Rome to enjoy a scholarship from the San Fernando Royal Academy of Fine Arts, remaining in the Italian capital until 1935. During these years he came into contact with the surrealist painter Gregorio Prieto, with whom he carried out a series of artistic experiments that anticipated Postism, and with César González Ruano. He then made a series of trips around Europe and returned to Spain for good in 1943, when he was appointed professor of artistic drawing at the School of Arts and Crafts in Madrid, as well as professor of drawing pedagogy at the San Fernando Royal Academy. Around this time he began to frequent the intellectual gatherings in cafés, especially the Café Pombo. In 1944, together with Ory and Sernesi, he created Postism, an aesthetic movement that was intended to be an alternative to the uprooted poetry of the time, and which sought to synthesise all the avant-garde movements developed before the Civil War. His pictorial work is currently held in various collections, mainly private collections.

LUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929)."Coastal landscape".Oil on canvas.Signed in the lower right-hand corner.Size: 100,5 x 122,5 cm; 133 x 155,5 cm (frame).The light was the great protagonist of Lluís Graner's work, both in his paintings of interior, where a quinque lighting illuminates the faces congregated in the half-light of the home, and in landscapes like the one we are dealing with, where a diffuse light reverberates everywhere: filtering from the lightly vaporous sky, it slides along the rippling surface of the sea, making land and sky, horizon and mountain dialogue.Luis Graner trained at the Escuela de La Lonja in Barcelona, where he was a pupil of Benito Mercadé and Antonio Caba, and in 1886 he moved to Paris thanks to a grant from the Diputació de Barcelona. During his five years in the French capital he won two third place medals at the Universal Exhibitions of Barcelona (1888) and Paris (1889). Settling back in Barcelona in 1891, he continued to take part in important international exhibitions, such as those of Berlin (1891), Munich (1892) and Düsseldorf (1904). He also submitted works to the National Fine Arts Exhibitions, winning third medals in 1895 and 1897, second in 1901 and a decoration in 1904. That same year Graner created the Sala Mercè, designed by Gaudí, where he organised his "musical visions", shows that combined poetry with music, scenography with cinema. Collaborating with him at this stage were Adrià Gual as director of the performances and Segundo de Chomón, as well as well-known poets (Verdaguer, Carner), musicians (Morera, Lambert) and contemporary stage designers (Moragas, Alarma). At the same time, Graner organised the first talkies, using the technique of placing actors behind the screen to lend their voices. Finally, ruined, he moved to America, where he returned to painting. He made several trips around the United States and Latin America, spending most of his time between New York, where he painted his first solo exhibition in 1910, and California. In 1928 he returned to Barcelona shortly before his death. His paintings, realistic in form, depict the everyday life of humble people, although he also painted landscapes and portraits. In his interior scenes he showed a profound influence of Latour, learned in his Parisian years, which led him to focus on the expressiveness of artificial light. Specialising in genre painting, he also produced landscapes and portraits. His work can be found in the Prado Museum, the MACBA in Barcelona, the National Art Museum of Catalonia, the Hispanic Society in New York and the Balaguer Museum in Vilanova i la Geltrú, among others, as well as in important private Catalan collections.

Large collection of vintage shotgun ammunition LICENCE REQUIRED Large collection of vintage shotgun ammunition, approximately five hundred proprietary cartridges, including a full box of Holland and Holland Super Twelve, a full box of Gallyon and Sons 3 Inch Wildfowl cartridges, a full box of modern The Capital paper cased cartridges, a part box of Eley Two- Inch, and a box of Eley Pneumatic primed .410 cases, also some 5.56 blanks and some primers. UK SHOTGUN LICENCE OR RFD REQUIRED.

An Olympus OM10 SLR Camera Outfit, serial no 1806808, manual adapter, body G, shutter working, meter reacts to light, a Zuiko Auto-S 50mm f/1.8 lens G, a Vivitar 28-200mm f/3.5-5.3 lens, an Olympus T20 electronic flash, a Capital exposure meter and other accessories

* CHARLES JAMIESON MFA PAI PPAI (SCOTTISH b. 1952),LIMNI, GREECEoil on board, signed, titled label versoimage size 28cm x 34cm, overall size 54cm x 59cm Mounted, framed and under glass. Artist's label verso.Note: Charles Jamieson was born in 1952. He studied art at the Glasgow School of Art from 1969 to 1974. This was followed by further studies at Texas Christian University in Fort Worth. Charles is the Former Chairman of the Aspect Prize and Past President of the Paisley Art Institute. Jamieson's work is held in many collections in Great Britain, USA, Italy, Australia, the Middle East, the Caribbean, Denmark, South Africa and Hong Kong including: Ernst & Young. Prudential, Clydebank Museum, Aspect Capital Ltd, Caledonian Breweries. Lord and Lady MacFarlane, John Le Carre, Harry Enfield, Keeley Hawes, Kirsty Wark, DWF, R.I.C.S & The Kuwait Royal Family.

* CHRIS BUSHE RSW (SCOTTISH b. 1958),KASTROoil on board, signed, titled and dated 2001 versoimage size 39cm x 39cm, overall size 69cm x 68cm Mounted, framed and under glass.Note: Born in Perthshire, Chris Bushe is one of Scotland’s greatest living landscape painters. Initially, he studied Archaeology and Ancient History at Edinburgh but from his earliest years, he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day. His paintings have won him a plethora of awards at national exhibitions. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016. In Scotland, his principal gallery is the prestigious Open Eye Gallery (Edinburgh) where his most recent (widely praised) solo show was "Chasing Light" (4th - 25th June 2022). In The Scottish Contemporary Art Auction of 10th July 2022 lot 1, "The Blue Door" by Chris Bushe sold for £850 (hammer). Kastro village is a lovely cliff-top village situated at 5 kilometres east of Apollonia. It offers a magnificent panoramic view of the sea and has been inhabited since the prehistoric period, as testify the many findings coming from the various archaeological excavations. Kastro has been built in the ruins of the ancient capital of Sifnos and is the only village on the island with a strong medieval character. A big part of the boundary walls survive as well as the features of a Venetian fortress. Narrow little streets, old entrances called the lozies, beautiful two-storey houses, superb old mansions and 16th and 17th-century churches with ornamental floors compose the incredible beauty of Kastro.

* GERARD BURNS (SCOTTISH b. 1961),FIGURES IN ROYAL EXCHANGE SQUAREoil on canvas, signed, titled label versoimage size 60cm x 90cm, overall size 83cm x 113cm Framed.Label verso: Macmillan Cancer Support Art Exhibition.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh, Lemond Gallery (Glasgow). Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.Condition is good overall, with no visible signs of restoration, damage, or known issues.

* GERARD BURNS (SCOTTISH b. 1961),MONEY MATTERSmixed media on canvas, signed, titled label versoimage size 61cm x 61cm, overall size 89cm x 89cm Framed and under glass.Label verso: The Contemporary Fine Art Gallery, Eton.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh, Lemond Gallery (Glasgow). Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* GERARD BURNS (SCOTTISH b. 1961),BALANCING ACToil on canvas, signedimage size 90cm x 90cm, overall size 118cm x 118cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh, Lemond Gallery (Glasgow). Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

Zwei Farb - Lithographien mit Stadt - Ansichten in Indien. 1. „Surseya Ghaut, Khanpore“. Blick von einer Insel im Ganges auf eine Tempelanlage. Blatt XVIII aus Charles Ramus Forrest „A Picturesque tour along the rivers Ganges and Jumna in India“. Farb - Lithographie von Thomas Sutherland 1824, ca. 18 x 28 cm. 2. „City of Lucknow Capital of Province of Oude on the Goomty River“. Ansicht der indischen Stadt Lakhnau mit Elefantenreitern im Vordergrund. Farb - Lithographie von G. Hunt um 1824, ca. 21 x 28 cm. Herausgegeben von R. Ackermann. Beide unter Glas in biedermeierlichen Rahmen, teils fleckig.

An Edwardian silver oil lamp having a cut clear glass font above a corinthian capital and fluted column, concave square base, decorated with floral swags, maker Hawksworth Eyre & Co Ltd., Sheffield, 1910, height 53cm (later converted)Monogram RHW and long inscription.No clips.No hairline cracks on font.Otherwise generally good.

A late 19th/ early 20th century oak wardrobe of architectural form, the dentil cornice over a mirror door opening to reveal an interior fitted with hanging rail and shelf, the front with six shaped figured oak panels framed within four fluted pilasters having brass Corinthian capital mounts, the base, with conforming pilasters, fitted with one long and four short drawers, H215cm, W147cm, D62cm

SPRINGBANK 15 YEAR OLDSingle malt.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.This is an older version of their fantastic 15 Year Old.46% ABV / 70clFill level in mid neck. Minor wear to carton.

SPRINGBANK 15 YEAR OLDSingle malt.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.This is an older style 15 Year Old from the 2000s.Fill level in mid neck. There is some minor wear to the carton.

SPRINGBANK 10 YEAR OLDSingle malt.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.This is an older style Springbank 10 Year Old.46% ABV / 70clFill level in mid neck. Minor wear to carton.

SPRINGBANK 15 YEAR OLDSingle malt.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.This is an older style 15 Year Old.46% ABV / 70clFill level in mid neck.

SPRINGBANK 2001 VINTAGE BATCH 1Single malt.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.Bottled: July 200955.3% ABV / 70clFill level in mid neck.

SPRINGBANK 10 YEAR OLD 100° PROOFSingle malt.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.This is a bottle of their, now discontinued, 100° Proof 10 Year Old.57% ABV / 70clFill level in mid neck. Minor wear to carton.

A set of brass apothecary/counter balance scales, bulls head capital, suspended pan dishes, graduated weights to base, 55cm high

20 April 1937 Hitler's 48th Birthday Miniature Sheet with Special Berlin Swastika Postmark Berlin the Capital of the New Reich. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

JACOBITE RISING OF 1715; JOHN ERSKINE, 22ND OR 6TH EARL OF MAR, & JACOBITE DUKE OF MAR (1675-1732) PROCLAMATION OF JAMES FRANCIS EDWARD STUART AS KING JAMES VIII, BRAEMAR, 7 SEPTEMBER 1715 single bifolium written on two sides (in a secretarial hand), with Mar's autograph signature ('Mar') and red wax seal at foot, docketed 'To the Right Honorable the Lord Haddo, 7th Septem[be]r 1715', old foldsNote: Note:The sole identified extant manuscript copy of the document known to posterity as the Earl of Mar's 'letter to the gentlemen of Perthshire', issued in his capacity as commander-in-chief of the forces of 'our rightful and natural king James the 8th' the day after the raising of the Stuart standard at Braemar, and instructing recipients to take up arms in support of the Jacobite cause.The content of the letter is summarised in a handful of accounts including Robert Chambers's History of the Rebellions in Scotland (Edinburgh, 1829), p. 187, and printed in full in Cowan, The Ancient Capital of Scotland: The Story of Perth from the Invasion of Agricola to the Passing of the Reform Bill (London, 1904), volume 2, chapter 21. In addition to a call to arms, it contains an instruction to 'source what arms and ammunition are in the hands of suspected persons', and a warning to ensure that troops 'commit no plundering nor disorders upon the highest penalties and [James's] displeasure'. It pre-dates by a two days another proclamation, often printed in accounts of the Fifteen since the 18th century and differing substantively only in its second paragraph, which contains the specific instruction to muster at the 'Inver of Braemar, on Monday next'.This copy is addressed to William Gordon, Lord Haddo (1679-1745), the future second Earl of Aberdeen, who was suspected of negotiating with the Whigs after the Hanoverian succession and during the Fifteen 'let the Jacobites down badly by fleeing to Edinburgh, thus earning the contempt of those who had previously trusted him and indeed in some cases had been "much guided by his sentiments"' (History of Parliament, online). The conduct of Mar himself has been described by one authority as 'marked with a disastrous combination of chronic indecision and strategic incompetence' (Macinnes, Clanship, Commerce and the House of Stuart, 1996, p. 200).

Mel Crawford (Canadian, B. 1925) "Italy" Signed lower right. Original watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover of the U.N. 20c Italy Flags of the U.N. Series stamp issued September 21, 1984. For many years, the history of Italy was the history of western civilization. Centered in the capital, Rome, the Romans built an extensive empire which included much of Europe and the Mediterranean area. The Roman Catholic Church also began in Rome . . . and the administrative center of the Church and residence of the Pope -- Vatican City -- is located at the heart of the ancient city of Rome. For more than two thousand years, Italy has produced leaders in architecture, painting, sculpture and other fine arts. Great Italian artists include Michelangelo, Leonardo da Vinci and Raphael. The Renaissance of the arts, literature and music began and reached its highest peak in Italy . . . and during that time the city of Venice became the economic center of the Mediterranean. Known at the height of its power as the "Queen of the Adriatic," this romantic city of canals and gondolas supported successful explorers like Marco Polo. Because of the country's rich history and interesting cities like Rome and Venice, the nation has become the tourist center of modern Europe. Visitors from around the world come to see the buried city of Pompeii, to relax on the warm sunny beaches of the Mediterranean or to ski in the towering Alps and Apennines of the northern part of the country. A nation rich in history and culture and a favorite vacation spot for all of Europe -- the beautiful nation of Italy continues to be an enchanting and delightful gem of the Mediterranean Sea. Image Size: 14.75 x 12.25 in. Overall Size: 17 x 15 in. Unframed. (B08742)

Bibliography, Incunabula and Early Printing - [Sotheby (Samuel Leigh)], A Collection of Nearly 500 Facsimiles of The Water Marks, Used by The Early Paper Makers [...], [&] A Collection of Facsimiles of The Types, Woodcuts and Capital Letters, Used by Early Early Printers, two parts in one (as issued), London: [s.n.], 1840, 26 lithographs of watermarks, 42 of early printing (ff. 36-41 wrongly numbered), original boards (disbound, chipped), crown folio (36.5cm x 26cm), [1] Provenance: 1) Sir Charles Bunbury, 8th Baronet, FRS (1809-1886); his defaced armorial bookplate; 2) Charles Clark (1806-1880), of Totham, Essex, the noted publisher and satirist; his printed label dated 1866; 3) Sotheby & Co., their book label.

TWO BRASS AND GILT METAL MOUNTED COLUMNAR TABLE LAMPS20TH CENTURYWith Corinthian column capital, one above the star-cut stem and square base, the other with a wrythen stem50cm high, excluding fitments Provenance: Property removed from 8 Great Pulteney Street, BathCondition Report: As catalogued these are not a true pair, the stems are different, the bases and capitals are very similar and may well have been bought as a companion pair at the same time by the vendor. Each has some pitting and some polish deposits, especially to the capitalPlease note these are sold as decorative items of furniture only and not as working electrical lamps - these would need to be rewired and tested by a professional electrician prior to use in a domestic setting.Please refer to additional images for visual reference to conditionCondition Report Disclaimer

A CARVED OAK COLUMN IN THE CORINTHIAN ORDER, SECOND HALF 18TH CENTURY 161cm high, the top 30 x Please note, the vendor will donate the proceeds from the sale of this lot to a local charity (TBC) Condition Report: There are marks, cracks, chips, scratches, knocks and abrasions consistent with age and use. The column is warped so that it is not straight, moreso than the photograph might suggest. The capital has cracks and chips and there are two chipped pieces that are in a bag. Cracks and marks. Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer

A GROUP OF VARIOUS GARDEN ORNAMENTTo include a modern terracotta urn with ram's-head decoration, 80cm high, 94cm wide, a fibreglass imitation lead 'George and Dragon' planter or cistern, dated 1995, 65cm high, 95cm wide, 46cm deep, and a fibreglass urn and stand in the manner of the Medici vase, 150cm high overallProvenance: Private Collection, Oxfordshire, previously purchased from Capital Garden Products Ltd, Ticehurst, E. Sussex in 1995

Pair of Large Stone Garden Urns and Pedastal Bases. Bases formed as the capital of a Corinthian columnHeight on base 108 cms, diameter across top of Urn 53 cms

in the Georgian style, the quatrefoil loaded base with turned corners and a band of foliate and scroll decoration, knopped column and spool capital, supporting a detachable upper section with four curled reed and folate branches each terminating in a spool capital and fiction fitting square wax pan, a knopped centre section containing the fifth light, with friction fitting flame finial, 41cm across the branches, 46cm high

two with mark of William Cafe, London 1759, one with mark of William Cafe, date letter very worn, possibly 1758 and one with mark of Peter Werritzer, London, date letter very worn, possibly 1758, each with loaded square decorative stepped base, Corinthian column with pierced and foliate capital and part marked friction fitting detachable wax pan, 30cm high (4)Overall in good condition with no obvious signs of damage or repair. Some surface scratches, dents, bruises and dings as to be expected. Hallmarks on all four are worn and rather difficult to read. Some wear to the corners of the bases.

mark of William Gould, London 1748, each with quatrefoil shell cornered base, knopped column, spool capital and friction fitting removable wax pan, all with additional decorative engraving, 11 x 11cm, 15cm high, monogrammed and with scratch weight to the underside, 26.3ozt gross (2)Library candlesticks have shorter columns than a traditional candlestick and were designed to provide low light for reading.

London 1749, with quatrefoil scalloped edged base, knopped column, spool capital and friction fitting removable wax pan, monogrammed, 11.5 x 11.5cm, 22cm high, 19.1oztOverall in good condition with no obvious sign of damage or repair. Some minor surface scratches, dents and dings as to be expected. Hallmarks crisp and clear, monogram a little rubbed. Wax pan possibly not the original - the fitting tube seems a little too long (with a very minor split at the end), and it is not hallmarked

London 1744, each with quatrefoil scalloped edged base, knopped column, spool capital and part marked friction fitting removable wax pan, engraved with the family crest of BRUDENELL, EARL OF CARDIGAN, 11.5 x 11.5cm, 20cm high, 33.2ozt gross (2)George Wickes was one of the most important English silversmiths of the 18th century. He held a Royal warrant for the supply of silver to Frederick, Prince of Wales and the company that he founded eventually became Garrard & Co. - the former Crown jewellers - who are still in business in London today.Given the date of the hallmark, these sticks were undoubtedly in the possession of George Brudenell (later Montagu), the 4th Earl of Cardigan (1712-1790). George was the eldest son of George Brudenell, the 3rd Earl of Cardigan and his wife, Lady Elizabeth Bruce. He succeeded his father as the 4th Earl on the 5th July 1732.George married Lady Mary Montagu (1711-1775), the second daughter and co-heiress of John Montagu, the 2nd Duke of Montagu and his wife, Lady Mary Churchill at the Parish Church of St Giles-in-the-Fields, Middlesex on the 7th July 1730. In consequence of his marriage to Lady Mary Montagu, George inherited the estates of his father-in-law in 1749, and assumed the arms and surname of Montagu for himself. He was later created Baron Montagu of Boughton, NorthamptonshireGeorge was appointed as a Knight of the Most Noble Order of the Garter on the 13th March 1752. He was also sworn as a Member of His Majesty’s Privy Council in 1766 and served as the Master of the House from 1780 – 90 and Lord Lieutenant of Huntingdonshire for the year 1789 – 90.The Brudenell crest of the seahorse being ensigned with an earl’s coronet must have been engraved between1744 and his assuming the arms and name of Montagu in 1749.Overall in good condition with no obvious sign of damage or repair. Some minor surface scratches, dents and dings as to be expected. Both stand firm on a flat surface with no wobble.Hallmarks are located to the inner of the bottom edge of the base, applied, as usual, before final finishing, and on one stick the bottom half of the maker's mark is missing, probably as a result of enthusiastic final polishing. It is still identifiable from the letter tops and the crown. (See images)Wax pans numbered to match corresponding numbers engraved to the underside of the sticks. Locating tubes a bit scuffed and the edges a little unevenCrests on both the sticks and the pans a little worn but still clear.