We found 9689 price guide item(s) matching your search

mark of Spink & Son, London 1968, in the Georgian style, each with stepped octagonal base, dished well, knopped and panelled column and spool capital, 16.5cm high, signed to the underside, 30.4ozt gross (2)1 - Overall in good condition with no obvious sign of damage or repair. Hallmarks clear and crisp. Some minor surface scratches commensurate with use.2 - Overall in fair to good condition with no obvious sign of repair. Hallmarks clear and crisp. Some minor surface scratches commensurate with use. Base a little warped resulting in rocking when on a flat surface.

Marx (Karl) Capital: a Critical Analysis of Capitalist Production, edited by Frederick Engels, translated from the third German edition by Moore and Aveling, first American edition, Humboldt Publishing Co., New York, 8vo, cloth boards

A MATCHED PAIR OF EDWARDIAN SILVER CANDLESTICKS the small candlesticks designed as figural harlequins standing 13cm tall with a chased domed base and a supporting scalloped capital, hallmarked for Chester 1907, maker A.N.G.S., dome diameter 6.8cm, weight 312grams 10 troy ozs Condition Report : good Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

A PAIR OF VICTORIAN SILVER CANDLESTICKS H. J. LIAS & SON, LONDON 1855 With shaped circular sconces, the capitals chased with flowers and scrolls, the stems chased with foliate swags, to conforming shaped square bases and engraved with a crest 28.5cm (11 1/4in) high Loaded Condition Report: Marks are partially obscured One sconce is very tight to the capital, the other removes easily and is marked Both stand well and true Engraving lightly rubbed Light scratches and wear commensurate with age and use Condition Report Disclaimer

A PAIR OF SILVER CORINTHIAN CANDLESTICKS HAWKSWORTH, EYRE & CO., SHEFFIELD 1891 With gadrooned sconces, chased foliate capitals, fluted stems to stepped square bases 23cm (9in) high Loaded Condition Report: Marks are clear Both slightly wobble One of the sconces fits very tightly to the capital and sits with a gap, the other good Minor nicks to the bases Stand true Light scratches and wear commensurate with age and use Condition Report Disclaimer

A PAIR OF GEORGE III SILVER CAST CANDLESTICKS PROBABLY EDMUND VINCENT, LONDON 1771 With shaped circular gadrooned and shell sconces, waisted capitals, wrythen waisted stems to conforming bases, engraved with a crest 28cm (11in) high 1387g (44.6 oz) Provenance: The Property of the Trustees of the Davenport Estate Condition Report: Marks to bases clear One capital with partial mark One sconce with partial mark, the other appear unmarked One stands straight, the other slightly off true Crests clear Stand well, do not wobble Light scratches and wear commensurate with age and use   Condition Report Disclaimer

Two early 20th century oil lamps, to include one with blue opaline body with pate-sur-pate vine leaf decorative frieze, the other with onyx column with corinthian capital, both with frill rim graduated pink etched shade, tallest 66.5 cm high

A set of six Edwardian hallmarked silver napkin rings, with engraved leaf detailing and each initialled with a capital 'H', Birmingham 1904, weight 3.7ozt/115g (6).Additional InformationGeneral light age wear patina with a couple of slight knocks at the edge, but generally fair. 

A FRENCH EMPIRE MARBLE TOPPED GILT METAL MOUNTED MAHOGANY SINGLE DRAWER CONSOLE81cm wide; 42cm deep; 79cm highCondition report: Good overall condition with some knocks and scuffs commensurate with use and age, notably to veneer chips to the back edges and some light lifting in areas to the plinth base. A few small chips to the extremities of the black fossil marble top too, notably the odd corner chip. The capital mounts are a little loose and swing around. Polished and cleaned at some point, now dusty. Ebonised bun feet, with some minor signs of old worm. See extra images on wwwbellmans.co.uk

Reg. no. BM 3128Chassis no. 10699Engine no. 10427VCC Dating Cert. no. 645Although there were many companies with the Standard name it is the British one that is best known. Founded in 1903 by Reginald Maudslay with a capital of £3000 it wasn't until 1904 when the first car was sold. Originally sold with 2, 3 and 4 cylinder engines, a 6 cylinder 18/20 was introduced and was entered in the 1905 TT race coming in 11th out of 18 entries. Between 1906 and 1911 the entire output of the Coventry factory was taken by the dealership owned by Charles Friswell, Chairman of Standard until 1911. It was he who arranged for Standard to be the sole make represented at the Delhi Durbar held to celebrate the Coronation of King George V as Emperor of India; some achievement with over 70 vehicles there. After Friswell left the company the next important step was the introduction of the 9.5 hp Model S an example of which is on offer here. Powered by a monobloc engine of 1087 cc and ignition by Eisemann magneto, it was available with a couple of different styles of body with the survivors wearing the 2-seat open type. The price when the Model S was introduced in March 1913 was £185 but by the September this had risen to £195. Edwardian Standards rarely come to the market in this condition or with the history this one has.According to records BM 3128 was supplied new by Quenby Brothers Ltd, High Street, Baldock and registered on 16th March 1914 to Arthur Puddlephatt, 185 Castle Street, Luton. It was then transferred to a Mary Isobel Bishell, South Lodge, Baldock on 16th October 1916. Some time in the early 1920s the car was repurchased by Quenby, there is a buff log book in the file with a stamp against their name dated 1925. Quenby kept the car for promotional purposes and attended many shows and events local to them before it was sold to a Mr Anthony Rogers in 1974. His name is also in the buff log book. The next owners who kept the car for, we believe, approximately 40 years was a Mr Geoffrey Downing who enjoyed many miles of trouble free motoring on VCC events and the car was sold in 2019 on his death; it is now offered from the estate of the current owner.The car is offered in good condition and is ready for the forthcoming rally season. Works known to have been carried out in the last couple of years include the rebuilding of the magneto, a radiator overhaul, the fitting of new valves and guides, and a partial re-trim of the interior. There are many invoices for this work on file. The original monobloc engine is fitted and rated at 9.5 hp (1087cc). When inspected the car had not been started for a few months but after priming the oil pump, flooding the carburettor and setting the controls the engine started easily and settled down to an even tickover. The car was then driven for a short distance and everything worked as it should. Wearing its original 2 seat bodywork painted in green, the car is also fitted with a factory extra of a dickey seat which cost £3 fitted at the time. It also has the added advantage of a discreet starter motor having been fitted. The Standard also comes with a full complement of brass lights and a period speedometer has been fitted.The V5C is present as well as an extensive history file that includes the aforementioned buff log book, an original Standard Light Car instruction and maintenance book, a reproduction 1913 Sales Catalogue, a raft of old MOT documents and most unusually a 1956 tax disc and then a run of tax discs from September 1974 to April 2014 and an early VCC dating Certificate. The car would of course be welcome at VCC Events as well as Standard Register Events.

Original vintage travel poster - Germany / Alemania Berlin - by the German artist Wilhelm 'Willy' Dzubas (b. 1887) for the country's capital city featuring a stunning Art Deco painting depicting historic monuments and buildings in Berlin with classic cars and smartly dressed people walking in the foreground, the stylised title text above and below with the information reading: Reports and advertising material in all travel and tourism agencies / Informes y material de propaganda en todas las agencias de viajes y turismo. Poor condition, folds, tears, creasing, staining, foxing, tape on edges, small paper losses. Country of issue: Germany, designer: Wilhelm Dzubas, size (cm): 100x63, year of printing: 1930s.

Peruvian white metal part dinner service comprising an oval dish with a petal and beaded border, W 44.5cm, circular dish, D 40cm, smaller dish, D 30.3cm, sauce boat on stand, fixed by screw, W 23cm, 6 small dishes, D 7.8cm, and 6 circular candlesticks, each with a bulbous capital, detachable nozzle and 5 cut glass drip pans and a plastic replacement, H 10cm, by Camusso, stamped “Sterling 925”, 3380 grs approx. (a lot)

A Copeland Parian figural comport, circa 1862, the reticulated bowl of foliate scroll panels supported on an acanthus capital column, surrounded by three women, Classically draped, on gilt highlighted bracketed base with garland swags, 38.5cm high Provenance: Richard Dennis Parian Exhibition 1984, label to underside

Vinyl - Reggae - 15 Reggae / Dub 12” singles to include: Guardian Angel, Natural Mystics, Me And You, Teddy Lincoln, Glen Brown, One Blood, Papa Charjan / Jack Reuben, Yellow Man, Lloyd Chambers, Capital Letters, Son Of Jah, Sugar Minott, Delroy Washington, Carol Thompson, The Mighty Grynner. Condition Generally VG+ with many unplayed examples

DESPERATE HOPE IN 1865 RICHMOND Good content war-date A.L.S. of one 'E. M. Garnett', possibly a relative of the generals of the same name, 1p. legal folio, Richmond, Jan. 14, 1865 expressing his optimism at what at that time was a doomed 'lost cause'. Garnet writes a cousin, in part: '...The people of Richmond seem quite gloomy after the defeat of Hood & the occupation of Savannah by Sherman but I think they are rapidly recovering. Our returned prisoners are in fine spirits at the declining prospects of the North, & say if we will only hold out a little longer all things will be right. The North will never stand conscription, & they will soon have to resort to it, to keep up their armies. Old Frank Blair departs this morning for Washington, his mission is not known beyond the President & the Cabinet, & there are all sorts of rumors in circulation about his interview with Seddon...' Garnett closes his letter citing outlandish prices for tea and coffee in the southern capital. Some fold splits, a few repaired with tape on verso, folds, still very good. Francis Blair, Sr. had met with Jefferson Davis and travelled to Washington to attempt to negotiate a peace with Lincoln. Lincoln would have no part of it, and Blair's mission ended in failure.

RHODE ISLAND 2ND INFANTRY DISCOVER HIDDEN REBEL CANNON Union soldier's letter on patriotic letterhead, 4pp. 8vo., Washington, June 19, 1862. Ambrose A. Newbert of the 2nd R.I. Infantry writes a phonetically-spelled letter to his sister, in part: '...That man that told you about us solders is a lier and you must know that he is balone. We get along very well and have plenty to eat and do not suffer as he sid we do...Washington is a hansom place they are being the capital of the United States costs a grate deal of money. Our men is a wide awake here 8 of our men went out yesterday round to secesh farm to get a few eggs but we did not find any eggs but we foun a concealed cannon in the barn. We reported it to head Quarters 10 of our men went over and got it but the liying old secis cussed it was left thair by some secis men but we know better it was all loded and redy for acion any moment but we have got it in our camp and we are going to keep for a shot. We will never will give it up unles all our men die that is our Orders from our Cournil. We go out scoting every day now now i have got started never will I return home till I have shot some of them cursid rebils...We fight for freedom or deth...' Some dark stains at bottom, good condition, with the front panel of a patriotic envelops.

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."I guess this is the shape of my desire (Rose), 2022.Mixed media (acrylic and tacks) on wood.Attached certificate issued by the artist.Signed on the back.Size: 10,5 x 10,5 x 4,5 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the rooftop of the Zapadores Museum in Madrid.

MASAAAKI HASEGAWA (Tokyo, Japan, 1987)."I guess this is the shape of my desire (gold), 2022.Mixed media (acrylic and tacks) on wood.Attached certificate issued by the artist.Signed on the back.Size: 10,5 x 10,5 x 4,5 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.

JOAN RIPOLLÉS (Castellón, 1932)."La chica del gallo".Mixed media on canvas.Signed in the lower left corner.Measurements: 130 x 97 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, when he was 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 PICASSO (Malaga, 1881 - Mougins, France, 1973)."Tauromaquia", 1957.Aquatint on paper. Copy 3/12.Editorial Gustavo Gili (Barcelona).Signed and justified in the lower part by hand.Measurements: 20 x 29,7 (print); 31 x 38,5 cm (paper); 54 x 63 (frame).Aquatint from the book "La Tauromaquia o Arte de Torear, obra utilísima para los toreros de profesión, para los aficionados y para toda la clase de materias que gusten de toros por José Delgado alias Pepe Illio". La Tauromaquia is probably Pablo Picasso's best-known illustrated book. With aquatints by the Malaga-born artist and text taken from the book written in 1796 by the bullfighter José Delgado, known as Pepe Hillo, or Ilio. Picasso began working on this project in 1957, together with the publisher Gustavo Gili.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 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. 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 forms. 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.

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."Intertwined Realities VI, 2020.Mixed media on canvas.Attached certificate issued by the artist.Signed and dated on the back.Measurements: 89 x 116 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.

A late 18th century Sevres coffee can finely painted with a bird in a landscape by Jean-Armand Fallot factory mark with indistinct date code and capital F in blue with incised number 4 together with a Sevres saucer with similar decoration and gilding by Prevost, factory mark and HP in blue capital letters to base (2)saucer 12 cmGood condition

Pair of Tuscan columns, 19th centuryMade of carved wood, polychromed and gilded with gold leaf.Measurements: 272 x 30'55 x 30'5 cm (total); 181 x 23'5 x 23'5 x 23'5 cm (column); 91 x 30'5 x 30'5 x 30'5 (plinth)Pair of Tuscan columns on a Classicist plinth. The columns consist of a simple base formed by two bulls, a grooved shaft with a moulded edge and a capital composed of a collarette at the top, an echinus and an abacus. They are topped by a small square platform, flat at the top. The polychromy alternates between gilding, done with gold leaf, and cream, with the gilding predominating.The classicist plinth consists of a plinth, a pedestal and a cornice. The pedestal is decorated with four openings and a collar. Once again, the polychromy alternates between gold and cream, but in this case the cream colour predominates.

° ° Marx, Karl - Capital. A Critical Analysis of Capitalist Production, translated from the third German edition, by Samuel Moore and Edward Aveling, edited by Frederick Engels, stereotyped edition, 8vo, original blind-stamped maroon cloth, half title, printers device on title page, spine gilt-lettered, Swan Sonnenschein, Paternoster Square, London, 1889

A PAIR OF GEORGE III SILVER CANDLESTICKS, by Ebenezer Coker (probably), London 1765, each fluted column with Ionic capital issuing from a square stepped base with gadrooned border, with detachable sconce (one lacking), the base and drip tray engraved with two crests, with wooden underside, weighted. (2) 29.7cm highQty: 2One missing a sconce, marks and crest engraving rubbed, wooden bases

John Balman (British 1964-): Capital of Corinthian Column with Face detail in Beverley Minster, oil on panel signed with monogram 24cm x 24cm Notes: John studied architecture in Hull in the early 90's and pursued a career as an architect until 2014 when following illness he was forced to change his life direction completely. He is now a painter of still life and portraiture based in Beverley. His style is influenced by contemporary Dutch realism. His paintings invite a sense of calmness through the restrained subject matter and interplay of light and colour.

A selection of law manuals - including The encyclopaedia of Forms and Precedents, Palmers Company Law, Practical Commercial Precedents and Dymond’s Capital Taxes.

A George II style silver taperstick, Sheffield 1893, of knopped form, 11.5cm, loaded, split beneath the cotton reel capital

Capital crimes.- Ollyffe (George) An Essay humbly offer'd, for an Act of Parliament to prevent capital crimes, and the loss of many lives; and to promote a desirable improvement and blessing in the nation, second edition, woodcut head-piece and decorative initial, 1p. advertisements at end, water-stained at head, occasional spotting, lightly browned, 20th century marbled wrappers, 8vo, Printed for J. Downing, in Bartholomew-Close near West-Smithfield, 1731.⁂ Rare in commerce. Ollyffe believed that contemporary methods of capital punishment were of little deterrent to criminals. He suggests that a reduction in such offences could be brought about by 'greater severity of execution', like 'breaking upon the wheel', or by transportation to the American plantations, chained and 'sold for slaves to pay their freight'.

CHARLES DICKENS. 'Dealings with the Firm Dombey and Sons, Wholesale, Retail and for Exportation,' first edition in book form, rebound half leather (uniform), tight clean textblock with timing to 38 illustrations by H. K. Browne, Bradby and Evens, London, 1848; 'The Personal History of David Copperfield,' first edition in book form, rebound half leather (uniform), tight clean textblock, spotting to 38 engravings by H. K. Browne including half title and frontis, Bradby and Evens, London, 1850; 'Little Dorrit,' first edition in book form, rebound half leather (uniform), capital 'W' in 'when' page 197, no end quotes for those preceding 'very' page 200, 39 illustrations by H. K. Browne including half title and frontis, clean and tight text block with some toning and spotting to illustrations Bradby and Evens, London, 1857; (3)

20p mule coin (no date error) together with two 2011 Cardiff capital city £1 and an Edinburgh capital £1. All circulated.

A pair of late Victorian silver filled short Corinthian column candlesticks from William Hutton & Sons, AF, one with bent corner to capital and sconce snapped off

A relief carved pine panel, early 20th century, with Corinthian capital and scrolling foliate decoration, 196cm high, 28cm wide, together with a stained pine panel, relief decorated with floral urns, dolphins and vacant cartouche, 195 x 15cm (2)Please refer to department for condition report

A large pair of German silver Shabbat candlesticks, hollow repoussé with volute scrolled capital and columns, with detachable push-fit sconces, to an unweighted fluted foot with scalloped rim, marked '12' loth, measures 30.0 cm height, 17.5 ozt gross.

A Wedgwood for Liberty's lemonade jug and four beakers designed by Richard Guyatt each decorated with nursery rhymes, the jug with Oranges and Lemons Say the Bells of St. Clements and the beakers with Bullseyes and Targets Say the Bells of St Margarets, Kettles and Pans Say the Bells of St Anns, Brickbats and Tiles Say the Bells of St. Giles and Halfpence and Farthings Say the Bells of St Martins, each with and black and white illustration for the capital letter, printed marks, jug height 18.5cm. (5)

Benjamin Cole (c. 1748 -1775)"A General view of the city of Lisbon the Capital of Portugal"Black and coloured print on paperLondon, ca. 1760(faults)23x39 cm

A pair of George III Paktong candlesticks, circa 1760-80, each with Corinthian capital, fluted and stop-fluted stem and square gadrooned base, 28cm high (2) Note: Paktong originated in China and is an alloy of copper ores with nickel and zinc. The metal was used by the Chinese for small table and decorative accessories for the domestic market. However English makers, such as Matthew Boulton, saw the potential for making candlesticks and other goods from Paktong as the metal could be cast, took a high polish and was slow to tarnish. The imported alloy was used by silversmiths and by Birmingham brass manufacturers in imitation of silverware.Please refer to department for condition report

Essery (Rev. William Alfred, c. 1831-1904). A Yachting Cruise Around the World on the SS Ceylon 1881-1882, by the Rev. W.A. Essery, of London, 1885, an unpublished manuscript of 280 pages, written in a very neat hand on numbered rectos of ruled leaves, plus 13 pages of preliminaries including title, dedication, preface and contents on unnumbered ruled leaves loosely inserted at front, contemporary half calf over cloth, worn and backstrip deficient, 4to (23 x 19 cm), together with a cabinet card portrait of Essory inscribed by him to verso for Miss [Anne H.] Sutton [of New York, USA], the book's dedicatee, dated October 1884, plus 2 autograph letters signed from Essery to Miss Sutton, Instow, North Devon, 23 July 1894 & 147 Peckham Rye, London SE, 20 September 1894, each 4 pages, written in a very neat hand, 8vo, plus an octavo sheet with a partial brief contents list of Chapters 1-16QTY: (5)NOTE:An unpublished manuscript account of one of the earliest commercial pleasure cruises and the first commercial cruise around the world. The SS Ceylon was a single-screw, iron-hulled auxiliary steamer built by P&O in 1858 for use on the regular service from Southampton to Malta and Alexandria. With accommodation for 130 first and 30 second-class passengers it was bought by the fledgling Inter-Oceanic Yachting Company Ltd. The Company belonged to friends and business partners James Culliford and John Lockie Clarke who had established a steamer brokerage, Culliford & Clarke in London in 1875. No doubt partly inspired by Jules Verne’s Around the World in Eighty Days (1872) Clarke dreamt of going into leisure cruising and with some marketing fanfare they planned this ten-month voyage which was to take place from late October 1881 to late August 1882, covering some 37,500 nautical miles and stopping at various exotic and alluring places on the way.While this account inevitably describes a lot of day-to-day life on board ship Essery was one of the few people that completed the whole journey and gives some interesting accounts of places visited. The account is divided into the following chapters:Chapter I. First days at sea – Bordeaux; II. Beautiful Lisbon and Belem; III. Jebel-al-Tarik; IV. Coasting in the Mediterranean; V. Crowded Naples & empty Pompeii; VI. Rounding Sicily to Valetta; VII. From the Piraeus to the Golden Horn; VIII. Smyrna city, castle & missions; IX. The Island of Roses & the city of Alexander; X. Onward to India; XI. Seeing Bombay; XII. Ceylon’s isle; XIII. Twenty-four hours in Madras; XIV. British India’s capital; XV. In the straits of Malacca; XVI. Sailing up China Sea; XVII. Hong Kong & Sunday in Canton; XVIII. Canton, doing the sights; XIX. From Hong Kong to Nagasaki; XX. Through five Nadas – Kioto; XXI. Missions in Kioto & Osaka – Yokohama; XXII. Honolulu & Hilo; XXIII. Going to San Francisco and the equator; XXIV. On the South Pacific; XXV. Through Magellan Straits to Monte Video; XXVI. A trio of South Atlantic Ports; XXVII. Across the tropics, homeward.We have located one published account of part of the cruise by William Monroe (1823-1896), A Two Months’ Cruise in the Mediterranean in the Steam-Yacht ‘Ceylon’ (London: Hurst & Blackett, 1884) but we have located no published work of the whole voyage which was completed by fewer than 40 people including Essery and his American travelling friend to whom the manuscript is dedicated, Miss Anne H. Sutton. This manuscript is therefore a potentially unique and historically important account of this first commercial world cruise.Essery’s published works were otherwise entirely of a religious nature and include Hymns for Sunrise Hours and others (1892) and The Ascending Cross (1905).

Cased set of six Edward VIII coffee spoons with reeded stems and capital finials, London 1936, together with a cased set of six silver handled cake knives with steel blades, London 1940 (2)

A coin collection of capital cities of The World with ingots

Hermes Silk Scarf, Feria de Sevilla Designed by Hubert de Watrigant, it celebrates the Fair in Seville, that has been taking place in the capital of Andalusia, Spain since 1847, 90cm square, boxed Couple of marks to the border and light brown marks to the some of the folds.

Attributed to Giuseppe Valadier (Italian, 1762-1839): A gilt and patinated bronze and marble figural three light candelabrumthe twin reeded scrolling arms centred by a corresponding upright, issuing from a leafy capital, all with fluted nozzles and swept drip pans above foliate collars, the whole supported by a classical maiden, standing on a square white marble pedestal with applied mask head and floriate mounts, on moulded stepped black and giallo antico square shallow plinth base, 42cm high overallFootnotes:Andrea and Luigi Valadier were the foremost goldsmiths and bronze workers in Rome, completing commissions for the Pope as well as numerous cardinals and others associated with the Church. Luigi was the son of Andrea and became a Master Goldsmith in 1760. Counting amongst his prestigious clients Pope Pius VI, who visited Valadier's workshop four times, and the Archduke Ferdinand of Austria, Karl IV, and Elector Palatine, he also received commissions from churches throughout the world including Mexico, Spain and Austria as well as well as throughout his native Italy.Luigi had an impressive ability to reframe examples of ancient Roman art and architecture and antique sculptures, cameos, architectural details, and ruins of ancient monuments also served as inspiration for his own works which included candelabra, tableware, altars and centrepieces in both silver, bronze, marbles and semi-precious stones. Uncommonly for the time he produced works of all sizes from large altar pieces to intricate pieces of small jewellery.Despite his distinguished clientele and acclaim, Luigi committed suicide by drowning himself in the Tiber in 1785, probably because of heavy debts to his creditors due to non-payment of invoices by his clients. On his death, his business passed to his son Giuseppe.For an illustration of an original pen and wash drawing by Valadier showing a comparable figural candlestick support and a vase candelabra with comparable twin arms, see Alvar Gonzalez Palacios, Luigi Valadier, The Frick Collection New York, 2018, Fig.5_25, p. 234.For further information on this lot please visit Bonhams.com

A very rare late 18th/early 19th century Austro-Hungarian grande-sonnerie striking and repeating engraved gilt brass travel clock with double wheel Duplex escapement and alarm, in the original travel caseH. Amon, GedöllöThe square case engraved all-over with foliate scrolls surmounted by a ring handle and integral repeat button on rectangular block above the glazed sides, front and back doors, on engraved block feet. The 3.5 inch square silvered dial with Roman chapter ring and intricate floral engraving emanating from the centre, a circular aperture at XII revealing the plain monometallic balance mounted on a polished steel bridge, with matching blued steel hands and a plain steel alarm hand. The four spring barrel movement with double wheel Duplex escapement and skeletonised back plate, signed along the bottom edge; the hour strike and repeat using one train, one hammer, and one gong, while the ting-tang quarters are struck and repeated using a separate train and two hammers and two gongs, the alarm train rings vigorously on one gong with a double hammer. Contained within the original leather covered shaped travel case with twin hooks and eyes, the interior of which is set with two newspaper cuttings from 1954 - see footnote for further details. Ticking, striking, repeating and alarm functioning. 9.5 x 6 x 17Footnotes:Two wall clocks from the early 19th century have been signed as 'H. Amon Pressburg' and it is possible this is the same person; Pressburg and Gedöllö were part of the Austro-Hungarian empire at the time, though they now belong to two separate countries (Gedöllö becoming Gödöllö in Hungary and Pressburg becoming Bratislava in Slovakia). Pressburg was the capital of Hungary until the turn of the 19th century and Gedöllö was a thriving market town, so there would be a financial incentive to either move or set up a shop in each town. It has been suggested that the 'H' stands for 'Hieronimus' Amon, though no reference for this person can be found, so this can not be confirmed.According to various clippings inside the clock's travel case, it was bought by S. B. Shepley as lot 304 on 12th November 1954 for £50 in the J.J. Greaves and Sons auction house in Sheffield. Also according to the included clippings, the clock was brought over from the Continent by a Yugoslav general, fleeing his home country, who was able to take his cloths and this clock, before he embarked on his new life.The sequence of striking is the current number of hours followed by a ting-tang for the number of quarters: 1 for the first quarter, 2 for the half, 3 for a quarter to, and four at the hour. Because the full hours are struck 96 times a day, and the space available for the striking spring is quite restricted due to the overall size of the clock, the clock runs for a maximum of 40 hours.Schönbrunn Group (2022) The World of the Habsburgs. Available at: https://www.habsburger.net/en.Andréewitch, S. (2022) Dachl Clock. Available at: https://www.andreewitch.com/en/produkt/dachlclock-amon.Municipality of Gödöllő (2010) Introduction of Gödöllő. Available at: http://kontraszt.godollo.hu/tourism/introduction.Brownlow, M. (2022) The Austrian Empire. Available at: https://www.visitingvienna.com/culture/austrian-empire.For further information on this lot please visit Bonhams.com

Quintilianus (Marcus Fabius) Institutiones oratoriae, commentary by Laurentius Valla, Pomponius Laetus, & Johannes Sulpitius Verulanus, collation: a8 b6 c-e8 f-h6 i8 II10 k6 l8 m6 n-q8 r6 s8 t u6 x-z8 &6 A8 B-I6 K10, 246 ff. (of 248, lacking a1&2), final f. blank, 58 lines of commentary, Roman type, capital spaces, some with guide-letters, early ink marginalia in red and black, a few ff. with initial-strokes in red, a7 loose, mostly small wormholes within text, more pronounced towards end, small worm traces to inner gutters, final blank frayed and creased, some spotting and staining, lightly browned, contemporary blind-ruled calf-backed wooden boards, lacking backstrip, majority of lower board and metal clasps, upper board detached and with large split, wormholes, worn, small folio (310 x 214mm.), Venice, Peregrinus de Pasqualibus, Bononiensis, 18 August, 1494.⁂ Scarce edition at auction of Quintilian's comprehensive treatise on classical rhetoric. Literature: BMC V, 393; Goff Q-30; HC 13654; GW M36823; Bod-inc Q-017; BSB-Ink Q-17; ISTC iq00030000.

A pair of Georgian carved decorated wood capital wall brackets. 12½' wide

Graham Farish by Bachmann N Gauge Capital Connection set. Network South East 30th Anniversary Collectors Edition Train Pack. Comprising Class 47 diesel locomotive with a Mk2 TSO, Mk1 RMB and Mk2 BSO coaches, including a Scenecraft model of Downham Market signal box. Boxed, with paperwork etc. Contents as new, outer box lid faded. £80-120

25+ Railway, London Transport, etc related books. Plus posters, maps and other paper ephemera. Publishers include Southern Railway, Capital Transport, National Railway Museum, David & Charles, etc. Titles include; The Rambler's Handbook 1933 Ed., Guide to East Kent and part of Sussex, Southern Rambles for Londoners, Let's Get Out Here (SR), Devon Belle, Famous Express Trains, Railway Posters, ACE Atlantic Coats Express (S.P.B. Mais), The Railways; Nation, Network & People, By Tube Beyond Edgware, Night Ferry, Hostory of Royal Blue Express Services, issues of The Southern Way, etc. Plus 1930s Southern Railway published Quarterly Reviews. London Transport 1940s/60s folded maps. Together with a number of posters and old prints relating to railways, Victorian portraits used for advertising such as Pear's Soap, etc. 8x good London Illustrated News from the 1890s, etc. Generally GC-VGC. £50-70

A silver cigar cutter by Cartier. Stylised as a capital C, stamped Ag, numbered A19379H. Accompanied by embossed Cartier red leather pouch, along with a vintage black alligator skin cigar holder. 19 W.7 D.2cm (largest)

PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Woman indoors", 1969.Oil on canvas.Signed and dated in the lower right corner.Old Sala Parés label on the back.Measurements: 73 x 92 cm; 90 x 108 cm (frame).A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised and diaphanous line, and are in tune with the return to order following the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, 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: 70 x 60 cm.Manuel Capuletti was a self-taught artist. He began to enter the world of art in 1951, when he decided to move to Paris, where in 1952, thanks to his art dealer André Weil, he had 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 media; drawings, illustrations, engravings, paintings and posters were common in his production, with his artistic work in the theatre being especially noteworthy, where his stage designs and costumes for flamenco shows and ballets of famous flamenco dancers, such as Vicente Escudero, Antonio and Pilar López, stood out.

JOAQUÍN MIR TRINXET (Barcelona, 1873 - 1940).Untitled.Oil on panel.Signed in the lower right corner.Size: 25.5 x 32 cm; 46.5 x 53 cm (frame).Joaquim Mir studied at the School of Fine Arts of San Jordi in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. 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" with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual) 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 presented two works that give us a clear idea of the group's ideals: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). Also, from 1897 he frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde gathered, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. From this period are "Slopes of Montjuic" (1897) and "The Cathedral of the Poor" (1898), the two masterpieces of his youth. 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, particularly that of Sa Calobra, 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. After a period of illness that forced him to move to Reus, 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 villages of the surrounding area that were the protagonists of his painting. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and 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 after 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.

VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Young Parisian Girl", c. 1876.Oil on canvas. Re-coloured.Attached certificate issued by Don Ángel Castro.Signed in the lower left corner.Measurements: 62 x 51 cm.Son of an Italian lithographer, Palmaroli entered in the Superior School of Fine Arts of the Academy of San Fernando, in Madrid, in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetic of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Accademia di Roma. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.

A Dutch late 17th/early 18th century carved giltwood figural tripod torchere1700-1710The dished circular top with a moulded surround, on a column modelled as an allegorical female term looking to dexter and surmounted by a stiff-leaf capital, the classically draped figure with one arm raised aloft and with a loose ribbon-tied floral garland over one shoulder, with a bellflower, acanthus and fish scale tapering columnar base, above a foliate clasped baluster, on scroll-hipped and acanthus carved S-scroll legs terminating in leaf wrapped feet, approximate measurements: 38.5cm diameter of top; 107cm highFootnotes:The offered lot is comparable to one of a pair of giltwood torcheres, dated circa 1700, which feature in R. Baarsen, Dutch Furniture, 1600-1800, 1993, Rijksmuseum Amsterdam, fig. 32, pp.'s 70-71. Both this model and the present candle stand appear to be directly based upon designs produced by Daniel Marot at approximately that time.According to Baarsen such herm (or term) figural torcheres, which employ the aesthetic of scrolls being surmounted by the straight angle of a column combined with distinctive S-scrolled tripod or triform bases, are among various characteristics seen in Marot designs. And these are both elements evident on this single example, whilst the overall design and carving of the above term is also closely related to this pair. However, the candle stands appearing in the Rijksmuseum book are larger in size and Baarsen suggests that smaller scale ones, such as the offered version, were typically more often made as part of a 'triad' of pieces tending to comprise a pier mirror, pier table and pair of torcheres. Unfortunately of course it is not clear for what purpose the present lot was originally made. Regardless of the Marot association, it is important to note that this kind of item was probably largely the work of Huguenots who had fled France following the negative socio-political repercussions for Protestants of the Revocation of the Edict of Nantes, which had been instigated by Louis XIV in 1685.LiteratureR. Baarsen, Dutch Furniture, 1600-1800, 1993, Rijksmuseum AmsterdamLiefkes, 1975; Baarsen, 1988-89, p. 21, fig. 14This 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 large 17th century German silver-gilt coin tankardJakob Haase, Danzig (Gdansk Poland) circa 1745 Tall cylindrical form, with hinged shallow-domed cover inset with a German 'Peace of Dresden' Silver Medal dated 25 December 1745, enclosed by embossed auricular style scrolls, a bifurcated thumbpiece and moulded handle, the body inset with various silver thalers dated 1566 to 1640 from Poland, Brunswick, Saxony, Pomerania, Saxe-Altenburg, Saxe-Weimar, Brandenburg, Metz, Transylvania, Saxe-Gotha, Gluckstadt and Elbing, surrounded by flat-chased foliage against a matted ground, atop a spreading domed foot decorated with repeating lobate scrolls, and inset centrally to the base a Rudolph II, House of Habsburg thaler from 1590, featuring three Emperors - Maximilian I, Karl V and Ferdinand I, height 23.5cm, diameter 16cm, weight 64.5oz.Footnotes:The commemorative silver medal inset to the cover celebrates two events; the Prussians victory over the Royal Saxon Army and the Imperial Army of the Holy Roman Emperor at the 'Battle of Kesselsdorf' fought on 15 December 1745, and the 'Peace of Dresden' (otherwise known as the 'Treaty of Dresden') enacted on 25 December 1745. This Peace Treaty was signed at the Saxon capital of Dresden between Austria, Saxony and Prussia, concluding the Second Silesian War. Under the terms of the 'Treaty of Dresden', Austria was forced to adhere to the terms of the earlier 'Treaty of Breslau', ceding Silesia to Prussia. Silesia's flourishing mining and textile industries had made it the richest of all the Habsburgs' Austrian provinces, and it was chiefly its wealth that tempted Frederick II (the Great) of Prussia to wrestle Silesia from the Habsburg heiress Maria Teresa, in the War of the Austrian Succession (1740–48). In total there were three Silesian Wars fought between Frederick the Great's Prussia and Maria Theresa's Austria, all three of which ended in Prussian control of Silesia. ProvenanceSold at Sotheby's auction 'European Silver', Geneva 12th November 1990, Lot 218From a private collectionLiteratureFeatured in the following publication:Anna Frackowska, 'Gdansk Silver Tankards of the 17th and 18th centuries', (Warsaw: ARGRAF 2013), p.407, no. XLVIII/3For further information on this lot please visit Bonhams.com

A brass columnar standard lamp, first quarter 20th century,: the electrical fitment on a telescopic stem rising from a Composite capital and reeded shaft; the pedestal applied with repousse mounts above a stepped, square section base, on stylised paw feet; approximately 150cm high

14th century, gilt-silver stirrup-shaped ring, 2.4cm diameter, rectangular section hoop decorated externally with clasped hands at opposite poles to the raised bezel formed as a Canterbury cross; the band additionally inscribed in capital letters iesvs nazar. Fine £300-£400 --- Provenance: Found in Hertfordshire before 1997 so not recorded by the PAS

Marx, Karl Capital: A Critical Analysis of Capitalist Production Translated from the Third German Edition, by Samuel Moore and Edward Aveling. And Edited by Frederick Engels. London: Swan Sonnenschein, Lowrey, & Co., 1887. Volume 1 only (of 2), 8vo, original dark red cloth, spine lettered in gilt, blind panels to covers, pp. xxxi [1] 363, half-title, brown coated endpapers, entirely unopened except for the last gathering (Z), a few trivial marks to covers, spotting to top edge of text-blockNote: First edition in English of Das Kapital; 500 copies were printed.

[Bailey, Samuel] A Critical Dissertation on the Nature, Measures and Causes of Value chiefly in reference to the writings of Mr Ricardo and his followers. London: R. Hunter, 1825. First edition, 8vo, [xxviii], 255; bound with [Bailey, Samuel] Letter to a Political Economist, occasioned by an article in the Westminster Review on the Subject of Value. London: R. Hunter, 1826. 8vo, [iv], 101; 2 works in one volume, contemporary half calf, stamp on first title and bookplate on front endpaper of the Institute of Bankers in Scotland, covers detached, wornNote: 'Samuel Bailey 1791-1870. English proto-marginalist economist and critic of the Classical Ricardian School. Bailey's reputation rests chiefly on his anonymous 1825 treatise, A Critical Dissertation, etc., which was written in response to de Quincey's Templars' Dialogue. Bailey pointed out the logical difficulties of both the labor theory of value and Ricardo's "invariable measure". Bailey also called for the generalization of the Ricardian theory of rent to wages. As a result, Bailey promoted a "cost of production" theory of value, which incorporated capital as well as labor. He might also be credited with the introduction of the notion of time-preference, arguing that "we generally prefer a present pleasure or enjoyment to a distant one, not superior to it in other respects." (Bailey, 1825). In response to a critical article in the Westminster Review, Bailey published his 1826 Letter restating his views' (History of Economic Thought, online, accessed 16th May 2022).

Antiquarian literature Collection of English and continental books, 16th-18th century comprising: Hooker (Richard). The Works, in Eight Books of Ecclesiastical Polity. London: for Thomas Newcomb for Andrew Crook, 1666. Folio (36.5 x 22.8cm), contemporary red goatskin, large gilt arms to covers comprising prince’s crown above monogram ‘V A’ (or reverse) between ostrich feathers, engraved portrait frontispiece and additional architectonic title-page, bookplate of the dukes of Portland (two arms counter-embowed, vested and gloved each holding an ostrich feather), front cover detached [ESTC R11910]; Ruscelli, Girolamo. Le imprese illustri, aggiuntovi nuovam[en]te il quarto libro da Vincenzo Ruscelli. Venice: Francesco de Franceschi senesi, 1584. 4to (24.1 x 17.5cm), old calf, 4 engraved title-pages, 2 folding plates (signed O2-3 and 2B3-2), engraved emblems throughout the text (many full-page), bookplate of John Ker, 1st Duke of Roxburghe (1680-1741), styled as the Earl of Roxburghe, front board loose, variable browning and mottling throughout, 2R1 loose, a few early headlines shaved [Adams R955]; Antoninus Florentinus, Archbishop of Florence, Saint. [Summe majoris, part 2 only of 4]. Lyon: Jean Cleyn, [1506]. Folio in 8s (29.5 x 20cm), modern leather backing wooden boards, text in double column, gothic letter, 68 lines and headline, contemporary hand-painted initials and capital strokes throughout (in red or blue), old vellum manuscript fragment bound in at rear, lacking first quire (A), last leaf apparently blank (otherwise final quire lacking a leaf) [Adams A1214]; and 8 others (these not collated), including: Dugdale, Monasticon Anglicanum, 1655-61-73 (3 volumes, folio, modern calf, engraved plates); Silius Italicus, De bello Punico, Lyon, 1547 (16mo, later binding); Giovanni Pietro Valeriano Bolzani, Hieorglyphica, Frankfurt, 1678 (4to, modern tan morocco gilt); Tacitus, Opere, Venice: Giunti, 1620 (4to, contemporary vellum, engraved additional title-page, front inner hinge gone); Galen, Omnium operum, Venice: Valgrisi, 1562 (3 volumes only, of 10, folio, modern bindings, repairs); Ben Jonson, Workes, 1616 (first collected edition, volume one only, folio, modern orange morocco, numerous leaves including title-page supplied in photocopy); Biondi, An History of the Civill Warres of England, betweene the two Houses of Lancaster and Yorke, 1641 (lacking engraved title-page); and similar (16)

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."I guess this is the shape of my desire (white), 2022.Mixed media (acrylic and tacks) on wood.Attached certificate issued by the artist.Signed on the back.Size: 10,5 x 10,5 x 4,5 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the rooftop of the Zapadores Museum in Madrid.