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

A mid 18thc coloured engraving entitled, A General View of the City and Castle of Edinburgh, the Capital of Scotland, engraved by Morris and published by Alex Hogg, Kingsarm, Paternoster Row (31cm x 21cm)

A large wooden Classical column stand, with stepped rectangular top above an Ionic capital, with fluted column which separates at centre, on stepped base ending in square feet (145cm x 35cm x 35cm)

A PAIR OF GILT-METAL MOUNTED MARBLE TORCHÉRE STANDS, each with Corinthian capital above a reeded column. 103cm high

including large specimens of quartz crystals on matrix, 10 specimens. largest 4.14kg Professor Sergei Ivanovich Tomkeieff FRSE FGS (1892–1968) was a 20th-century Lithuanian geologist and petrologist. He was born on 20 October 1892 in Vilna the capital of Lithuania. He came to Britain either during or just after the First World War and began lecturing in Geology at Anderson College in Newcastle-upon-Tyne in 1920. In 1948 he was elected a Fellow of the Royal Society of Edinburgh. His proposers were Arthur Holmes, James Ernest Richey, Sir Edward Battersby Bailey, Heslop Harrison, George Walter Tyrrell, John Weir, and H. B. Donald. In 1957 he became Professor of Petrology at Anderson College. He was the author of many books including; The Tholeite Dyke at Cowgate (1953); Coals, Bitumens and other Related Fossil Carbonaceous Substances (1954); Isle of Arran (1961); The Economic Geology of Quarried Materials (1969) Dictionary of Petrology (1983) (posthumous). He was awarded the Geological Society's Lyell Medal in 1966. He died on 27 October 1968 in Newcastle aged 76

A 19th century mahogany linen press, moulded dentil cornice above a nulled capital and a pair of panel doors carved with fruiting urns, the base with two short over two long drawers, each front carved with scrolling leaves, one drawer stamped Edwards & Roberts, bracket feet, 204cm high, 127cm wide, 61cm deep

* CHARLES JAMIESON MFA PAI PPAI (SCOTTISH b. 1952), OLD FIRE TRUCK, TRUCHAS, NEW MEXICO oil on canvas, signed, titled verso image size 67cm x 65cm, overall size 82cm x 80.5cm Framed and under glass. 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.

WALKER & HALL; a hallmarked silver pierced trumpet vase, decorated with floral swags and fluted columns on circular base, Sheffield 1907, 4.5ozt/143g, height 21cm.Additional InformationThis item would have originally had a glass liner which is now lacking. General light tarnishing throughout and one of the columns is split at the bottom of the capital. Some light knocks which may have been tapped out around the base.

1950's and 1960's Interest LP's, over fifty titles in this box to include Gene Vincent, Record Date T1059 and Sounds Like T1207 o Capital Records label; other artists include Donovan, Bob Dylan, Cat Stevens, Hollies, BeeGees, Beach Boys, Elvis Presley, etc.

Australia, 8 x Uncirculated Coin Sets, each containing 6 x coins: cupro-nickel 5, 10, 20 & 50 cents & aluminium bronze 1 dollar & 2 dollars & each with different designs on the 50 cents & 2 dollars according to the different commemorative theme of each set & comprising: 1997 'Sir Charles Kingsford Smith 1897-1935,' 1998 'Bass & Flanders,' 1999 'International Year of Older Persons,' 2000 'Millennium,' 2001 'Centenary of Federation,' 2002 'Year of the Outback,' 2003 'Australia's Volunteers - Making a Difference' & 2004 'Australia's Coins,' together with 9 x State & Territorial Sets 2001 commemorating the Centenary of Federation; each set contains 3 coins: cupro-nickel 20 & 50 cents & aluminium-bronze 1 dollar & each with different rev. designs on the 20 & 50 cents; the sets comprise: Tasmania, Victoria, Queensland, South Australia, Capital Territory, New South Wales, Western Australia, Northern Territory & Norfolk Island, all struck by the Royal Australian Mint & sealed in presentation packs; lot also includes Canada 3 x specimen sets 1991, 1992 & 1993, each 6 coins: bronze 1 cent, cupro-nickel 5 cents, nickel 10, 25 & 50 cents & bronze-plated nickel 1 dollar, all BU in Royal Canadian Mint cases of issue; San Marino 5-coin set 1974, aluminium 1, 2, 5 & 10 lire & aluminium-bronze 20 lire in box of issue & Vatican City four-coin set 1978 - 10, 20, 50 & 100 lire & a silver(?) medallion depicting Pope Paul VI, card mounted

MARX (Karl) & ENGELS (F.) Capital. A Critical Analysis . . . Fourth Edition, 8vo, red cloth, L., 1891

A Victorian brass mounted columnar oil lamp, c1900, with serpentine shaft and pink satin glass fount, enamelled with prunus, brass duplex burner, moulded and etched pink glass shade, 74cm h excluding chimney Good condition, with some old polish residue to the corinthian capital

A pair of candle sticks with Corinthian capital, square bases & detachable nozzles, 6” high, London 1904, by S.H

An early 20th century Philips British Empire desktop globe having a double stepped base. Globe contains capital cities, shipping lanes and air routes. Measures 28cm high.

A Regency tortoiseshell and ivory mounted tea caddy, of sarcophagus form with slight bombe body with chamfered corners and relief classical buildings with corinthian capital pillars to all four sides, the inside with two lidded compartments, supported on ivory ball feet, 15 cm high x 20 cm wide x 12.5 cm deep

A George III cast silver candlestick by Ebenezer Coker, London 1761, with a shaped circular and shell sconce, waisted capital, knopped stem and on a conforming shaped circular foot, 23.5cm (9 1/4in) high, 477g (15.3 oz) Condition Report: Marks to base clearMarks to capital rubbedSconce is tightly fitted to the capitalWobblesNo engravingLight scratches and wear commensurate with age and useCondition Report Disclaimer

A George III cast silver candlestick by John Cafe, London 1777, with a shaped circular and shell sconce, waisted capital, knopped stem and on a conforming shaped circular foot, 22cm (8 1/2in) high, 558g (17.95 oz)Condition Report: Marks to base clearMark to sconce and capital obscuredWobblesSplit to where the stem meets the baseLight scratches and wear commensurate with age and useCondition Report Disclaimer

Romanesque capital in sculpted stone, 13th century. 43 x 42 x 16 cm.

Sculpted stone capital, 16th century. 32 x 27 x 37 cm.

Sculpted limestone capital, 16th century. 26 x 25 x 37 cm.

Brian Sanders (British, B. 1937) "Siege of Leningrad Lifted" Artists notes in margins. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Republic of the Marshall Islands 52c Siege of Leningrad Lifted 1944 stamp issued January 27, 1994. Planning an eventual takeover of the Russian capital of Moscow, Adolf Hitler first ordered an invasion of Leningrad. In August 1941, after failing to take Leningrad by direct assault, Hitler's forces embarked upon the longest siege ever endured by a modern city. For 890 days, Russian troops and the citizens themselves valiantly defended Leningrad. A coordinated effort by all Russian forces in the north finally succeeded in pushing the Germans back. On January 27, 1944, Leningrad resounded with the sound of cannon fire signaling the departure of the German invaders and the end of a grueling battle which had taken the lives of thousands of soldiers. More than 800,000 civilians perished as well, including 600,000 deaths from starvation. Image Size: 13.5 x 16.25 in. Overall Size: 17.5 x 20.25 in. Unframed. (B14577)

* CHARLES JAMIESON MFA PAI PPAI (SCOTTISH b. 1952), OLD FIRE TRUCK, TRUCHAS, NEW MEXICO oil on canvas, signed, titled verso image size 67cm x 65cm, overall size 82cm x 80.5cm Framed and under glass. 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.

* KIRSTY WITHER, HERE IN A TEARDROP oil on canvas, signed and dated 2007, titled label verso image size 50cm x 40cm, overall size 71cm x 61cm Label verso: Mansfield Park Gallery, Glasgow. Handwritten label verso. Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).

A 12TH-13TH CENTURY ROMANESQUE CAPITALcarved from stone the capital is of composite design, with acanthus leaves and scrolls; height: 24 cm (9 1/2 in.) CONDITION The capital appears in age-appropriate condition. Overall missing pieces, chips, losses, remnants of paint as apparent in photographs. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Quantity (19) of BUS BOOKS published by Capital Transport including LT, RT, ST, STLs, RF, T, Routemaster (both volumes), London Trolleybus (both volumes) and various other volumes. A few are well-read with light wear, darkened pages but most (including the LT volume) are excellent. [19]

B. Boothroyd - "The History of the Ancient Borough of Pontefract, Containing an Interesting Account of Its Castle, and the Three Different Sieges it Sustained During the Civil War", printed by and for the author, 1807, one rebound leather volume, A. Leigh Hunt - "The Capital of the Ancient Kingdom of East Anglia", published by A. G. Dennant, 34 Southampton Street, Strand, London, 1870, one cloth bound volume, one other volume of Pontefract interest and three of Thetford interest, various

WIKING Shell-Tanksattelzug MAN und Shell-Tankstelle, 1965-71, großer Shell-Tankzug, Zugmaschine mit integriertem Zughaken, Bodenprägung "WM Germany", "Shell"-Logo als Abziehbild in Großbuchstaben, Bodenprägung "Made in WM Germany", GK 802/1, 1966, dazu Tankstelle mit weißem Dach, verglastem Verkaufsraum, Zapfsäulen rot/gelb, Bodenplatte umbragrau, Abziehbilder aufgeklebt, Bodenprägung: WIKING, 81 s, Germany, GK 810/7, 1965-71, L ca. 10,8 cm, Altersspuren.| WIKING Shell tank truck MAN and gas station, 1965-71, consists of large Shell tanker truck, tractor with integrated tow hook, stamped "WM Germany" on the bottom, "Shell" logo as a transfer in capital letters, stamped on the bottom "Made in WM Germany", yc. 802/1, 1966, plus gas station with white roof, glazed sales area, Petrol pumps red / yellow, base plate umbra gray, decals stuck on, floor embossing: "WIKING, 81 s, Germany", yc. 810/7, 1965-71, L approx. 10.8 cm.

Korinthische HolzsäuleRom, 19. Jh.Auf profilierter Basis, kannelierte Säule, mit korinthischem Kapitell. Nussholz. 124 x 42- Altersspuren.Dekoration, Konsole Corinthian Wooden ColumnRome, 19th centuryOn a profiled base, fluted column, with Corinthian capital. Walnut. 124 x 42 - traces ofage.

Paar figürlicher Pilaster17. Jh.Auf schmaler Wandplatte mit Volutenenden Karyatiden-Büste mit bekrönendem, korinthischemKapitell. Nadelholz, geschnitzt und vergoldet. 55 x 9 x 9 cm.Dekoration, Schnitzerei Pair of figural pilasters17th centuryOn a narrow wall plate with volute ends a caryatid bust with crowning Corinthian capital.Conifer wood, carved and gilded. 55 x 9 x 9 cm.

China - - Ligne de Lunghai. Album des monuments antiques le long du Lunghai. Mit 40 Photographien. o.O., o.D. (um 1930-1960). Lwd. Vgl. das Exemplar der National Art Library (nur Kopie nachweisbar) (hier mit Datierung in die 1960er Jahre.) Die Longhai-Eisenbahn ist eine wichtige arterielle Ost-West-Eisenbahn in China. Sie verläuft von Lianyungang, Jiangsu am Gelben Meer nach Lanzhou, Gansu durch die Provinzen Jiangsu, Anhui, Henan, Shaanxi und Gansu auf einer Gesamtlänge von 1.759 km. Die Longhai-Linie ist eine der verkehrsreichsten chinesischen Eisenbahnen. Die Longhai-Eisenbahn wurde im Laufe eines halben Jahrhunderts von vier verschiedenen Regierungen Chinas gebaut: Qing-Dynastie, Beiyang-Regierung, nationalistisch-republikanische Regierung und die kommunistische Regierung der Volksrepublik. With 40 matted Silver prints, 39 unnumbered leaves, corner mounted on thick black paper, recto only, printed tissue guards with Chinese & French text, publisher's sewn black cloth, upper cover blocked in gilt and titled in Chinese & French, 2 tissue guards missing, others with loss or short tears to some mounts. - National Art Library (only copy traceable) date this to the 1960's ! The Longhai railway is a major arterial east-west railway in China. It runs from Lianyungang, Jiangsu on the Yellow Sea to Lanzhou, Gansu through the provinces of Jiangsu, Anhui, Henan, Shaanxi and Gansu covering a total length of 1.759 km. The Longhai Line is one of the busiest Chinese railways. The Longhai Railway was built over the course of half a century by four different governments of China: Qing Dynasty, Beiyang Government, Nationalist Republican government and the Communist government of the People's Republic. The first section of the railway, entirely within Henan, from Kaifeng to Luoyang was built from 1905 to 1909 by a venture between the Qing Dynasty and a Belgian joint-stock company backed by France and Russia. This line, known as the Bianliang-Luoyang Rail-way, began operation on January 1, 1910. The line was extended eastward to Xuzhou in 1916 and to Haizhou in 1923 with Dutch financing. In the west, the line was extended to Lingbao, Henan in 1927 with Belgian financing. Henan is located in the central part of China and is the birthplace of Chinese civilization with over 3,000 years of recorded history, and remained China's cultural, economical, and political center until approximately 1,000 years ago. Numerous heritages have been left behind including the ruins of Shang Dynasty capital city Yin and the Shaolin Temple. Four of the eight Great Ancient Capitals of China are located in Henan.

Bible (Latin). Single leaf from Jeremiah XLI-XLIII, probably Paris, c.1300, manuscript in brown ink on very fine vellum, 186 x 130 mm, in a small and rounded gothic bookhand, 2 columns, 54 lines, ruled in plummet, 3 penwork initials (2 lines) in red and blue all with elaborate marginal flourishes, chapter numberings in red and blue, capital strokes in red, a few tiny perforations (only visible when held up to light), together with 2 similar vellum leaves from Wisdom II-III and VI-IX, probably c.1300, 152 x 102 mm, in a slightly more angular gothic bookhand, 50 lines, with similar penwork initials and decoration in red and blue ink, the second leaf with small smudge not affecting legibility (qty: 3)

Illuminated leaves. Six illuminated vellum leaves from books of hours, psalters and similar, c.1450-75, all in Latin except item 4, in various styles of gothic hand, mainly in double-aperture mounts with both sides of leaf visible, and including: 1) Bifolium (280 x 202 mm), probably French, incipit 'in Ierusalem tibi offerent' (from Psalm 67), 24 lines with 4 decorative initials in gold with penwork infill and surround, 2) Single leaf (185 x 116 mm), incipit 'Ad te levavi oculos meos' (from Psalm 123), 30 lines, with numerous 1- and 2-line initials in gold on blue or bistre ground, 3) Single leaf (92 x 65 mm) from a miniature breviary or psalter, Low Countries or Germany, c.1470, incorporating part of the hymn for the nativity of Saint John the Baptist, 19 lines, with one 3-line initial in blue and 6 single-line initials in red and blue, 4) Single leaf (128 x 94 mm), containing prayers in Dutch, 15 lines, one initial in blue, capital strokes and underlining in red, 5) Single leaf (131 x 96 mm), recto with part of Psalm 150, verso with part of the Benedictus (Song of Zechariah) from the Gospel of Luke, 6) Single leaf (93 x 62 mm), containing Psalm 128 (part of the marriage service in the Book of Common Prayer, 13 lines, one 2-line initial in gold, 10 one-line initials in blue and red (qty: 6) Provenance (item 3): Philip J. Pirages, Catalogue 41, item 59 (with word-processed catalogue note).

Bagshawe (Edward). Two Arguments in Parliament, the first concerning the Cannons, the Second concerning the Premunire upon those Cannons, 1st edition, London: George Miller, 1641. 4to (182 x 140 mm), 19th-century calf-backed marbled boards, vellum tips, bookplate of William Allen Potter, woodcut initials and headpieces, spine worn, front free endpaper loose, final blank discarded - Maurice (Thomas). An Elegiac and Historical Poem, Sacred to the Memory and Virtues of the Honourable Sir William Jones. Containing a Retrospective Survey of the Progress of Science, and the Mohammedan Conquests in Asia, 2nd edition, London: for the author, 1795. 4to (278 x 212 mm), modern half cloth - Whitaker (Edward William). A Dissertation on the Prophecies relating the Final Restoration of the Jews, 1st edition, Canterbury: Simmons and Kirkby, 1784. 8vo (198 x 124 mm), stitched in modern wrappers, half-title - Pack (Richardson). Religion and Philosophy: A Tale. With Five Other Pieces, 1st edition, London: E. Curll, 1720. 8vo (196 x 125 mm), stitched in modern marbled wrappers, 8 pp. publisher's catalogue to rear (not mentioned in ESTC), woodcut head- and tailpieces, title-page soiled and with chip to lower fore corner - Michell (Abraham Louis). Exposition of the Motives, founded upon the universally received Laws of Nations, which have determined the King (of Prussia) upon the Repeated Instances of his Subjects trading by Sea, to lay an Attachment upon the Capital Funds which his Majesty had promised to reimburse to the Subjects of Great-Britain, in Virtue of the Peace-Treaties of Breslau and Dresden, London: J. Raymond, 1752. 8vo (202 x 120 mm), modern wrappers - [Bethune, Mary Drinkwater, & William Cotton]. The River Mole, or Emlyn Stream. A Poem, with Notes and Illustrations, [Leatherhead?]: privately printed, in aid of the fund for building national schools at Lethrede, 1839. 4to (266 x 175 mm), later morocco, [4] 35 pp., 8 etched plates including frontispiece and additional title-page (qty: 6) ESTC R16597 (Bagshaw), T85985 (Maurice), N6475 (Whitaker: ten copies world-wide), T92758 (Pack), T114997 (Michell).

Five carved architectural wall capitals, of composite form (combining Corinthian and Ionic motifs), modelled on three sides with a flat back, each 18cm high, with a similar pair of dark stained composite capitals, each 17cm high, a flat composite capital, and a flat Ionic capital (9)

Twenty-six Doulton ''Capital'' Coffee Cups, 25 Saucers, together with 27 Royal Doulton Supper Plates, 14 Dinner Plates, other Dinner Plates, various Side Plates, Bowls etc. (a lot)

A very attractive mahogany and parcel gilt Plinth, with fluted column and Corinthian capital on two stage square block base, 69'' (175cms). (1)

A 19th century carved mahogany torchere with raised edge, on spiral-fluted centre column with foliate capital, & three slender cabriole legs; 57” high (top 8” diam. width between legs 20”).

A RARE CHINESE BLUE AND WHITE 'LANDSCAPE' DISH c.1660 The deep body rising from a short gently tapering foot to a flared rim, painted to the centre with a young scholar writing an inscription on a post as his lover stands by holding his inkstone, with a horse and an attendant carrying their possessions beside them, all in a mountainous river landscape, the underside decorated with a figure seated on a sampan in another vast landscape, with small dwellings dispersed throughout the setting, the base with a six character mark reading Qi shi bao ding zhi zhen, 17.4cm. The scene depicts the Han dynasty poet Sima Xiangru (179-117 BC). When he was a poor young scholar, Xiangru eloped with his beloved Zhuo Wenjun, the daughter of a wealthy gentleman. Humiliated, her father refused to support the couple, and so they lived in poverty making a living by running a roadside wine shop. Having been encouraged by his wife, Xiangru went to seek his fortune in the capital, Chang'an. Xiangru parted from Wenjun on the bridge leading to the city and vowed that he would not cross the bridge again unless he did so riding in a carriage drawn by four horses, having made his fortune. This scene shows Xiangru writing this vow on a pillar by the bridge as Wenjun holds his inkstone. Xiangru impressed the Emperor in the capital and had a successful career at court. He later returned home in his horse-drawn carriage and was received with great honour. The story is regarded as a tale of inspiration, demonstrating how hard work and ambition can lead to great success. Cf. Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.64-65, no.43 for a related blue and white dish with the same mark; see also J P Stamen and C Volk, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp.84-85, no.25 for a similar Kangxi mark and period dish; see also Sotheby's London, 15th May 2019, lot 138 for a famille verte dish painted with the same scene.1660年代 青花相如题柱紋碟《奇石寶鼎之珍》款。

An early Georgian style pier mirror with Rococo shell cresting and with the plate flanked by Corinthian capital pilasters on floral scroll feet. H.125cm W.60cm

Ca. 600-400 BC. Eastern Mediterranean. A very well preserved short iron sword of the akinakes type (Greek 'ἀκῑνάκης') with a pointed bevelled blade, bow-shaped guard, rectangular grip, and ellipsoidal pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greek themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:540mm / W:70mm ; 665g. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 600-400 BC. Eastern Mediterranean. A well preserved short iron sword of the akinakes type (Greek ἀκῑνάκης') with a pointed bevelled blade, bow-shaped guard, rectangular grip, and coiled pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:525mm / W:65mm ; 525g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 600-400 BC. Eastern Mediterranean. A well preserved short iron sword of the akinakes type (Greek ἀκῑνάκης') with a pointed bevelled blade, wide, flat guard, rectangular grip, and a slightly curved crescent moon-shaped pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:500mm / W:77mm ; 460g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 600-400 BC. Eastern Mediterranean. A well preserved short iron sword of the akinakes type (Greek ἀκῑνάκης') with a pointed blade, bow-shaped guard, rectangular grip, and a coiled pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greek themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:385mm / W:53mm ; 215g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 618-907. Tang Dynasty. A finely modelled terracotta figure of a female court lady. She is depicted standing and attentive, wearing a long dress with a light coloured top, a red skirt and a purple waist sash or belt. Her right hand is holding a jug, while the left one is slightly raised. Her facial features consist of thin, slightly arched eyebrows, narrow eyes rimmed with black pigment and a pointed nose. Her small mouth is painted with red pigment. Her hair is neatly combed into a hairstyle consisting of a high topknot. The Tang Dynasty was largely a period of progress and stability in the first half of its reign, until the An Lushan Rebellion and the decline of central authority in the latter half of the dynasty. Funerary offerings were an important status symbol in ancient China. The wealthy were accompanied on their journeys through the afterlife with numerous representations of people, objects and animals. Such terracotta figures were made to serve and entertain the owner, to ensure that their journey to the underworld was a happy one. Terracotta tomb guards appear to have first appeared during the Western Han Dynasty. But it was not until the Tang dynasty that the cultural tradition of displaying wealth in elite tombs reached its peak, with increased production of terracotta statuettes. The Tang Dynasty was an exciting time in Chinese history when trade flourished along the Silk Road and unified China was the richest country on earth. Chang'an (now Xi'an) was the capital of the Tang Dynasty and one of the most cosmopolitan cities in the world, filled with foreigners who had travelled to China to trade. The influence of foreigners and talented native Chinese, combined with the economic prosperity brought by trade and the new religion from India, Buddhism, created a strong cultural milieu in which poetry and other forms of art flourished. To find out more about the Tang dynasty and its art production, see Yang, X. (1999). The golden age of Chinese archaeology: Celebrated archaeological finds from the People's Republic of China. New Haven; London: Yale University Press; Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:340mm / W:60mm ; 660g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

Ca. 618-907. Tang Dynasty. A delicate terracotta female dancer figure wearing a long flowing, deep orange gown with short sleeves and a waist sash. Her upper body is slightly bend to the side, with one arm up in the air, indicating motion. The dancer is carefully modelled, with the hair done up in double buns, pink cheeks, red pursed lips, delicate brows and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time the Great Music Bureau was created to train musicians and dancers for the imperial court. Terracotta figures like this one were funerary offerings made for the service and entertainment of the owner, ensuring that their journey in the underworld was a happy one. Terracotta tomb attendants seemed to have first appeared during the Western Han Dynasty. However, it is during Tang China that the cultural tradition of displaying wealth in elite tombs reached its peak, with an increased production of terracotta statuettes. The Tang Dynasty was a thrilling time in Chinese history, when trade flourished along the Silk Route and a unified China was the richest country on earth. Chang'an (now Xi'an) was the Tang capital, and it was one of the most cosmopolitan cities on earth, filled with foreigners who had travelled to China to trade. The influence of foreigners and talented native Chinese, combined with the economic prosperity brought on by trade and the new religion from India, Buddhism, created a powerful cultural milieu where poetry and other forms of art flourished. To find out more about the Tang dynasty and its art production, see Yang, X. (1999). The golden age of Chinese archaeology: Celebrated archaeological finds from the People's Republic of China. New Haven; London: Yale University Press; Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:285mm / W:135mm ; 735g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.

A pair of French Empire style table candlesticks, each having a Corinthian capital and fluted column on paw feet and triform base, h.22cm

A pair of table candlesticks, each in the form of a Corinthian capital, by Ochre, h.20cm; together with a pair of Chinese blue and white jars and covers, each decorated with lotus, h.31cm

A very large ceramic table centrepiece, the stand in the form of a male nymph holding the floral encrusted and lattice work bowl. Encrusted flowers decorating the base of the piece and bunches of grapes to the stand, badly repaired and staples to arm and bowl, with blue cross and capital 'T' to the base,24'' tall.

Konvolut Belichtungsmesser, verschiedene Hersteller 13-tlg., 1x Metrawatt Metrastar, 1x Excelsior Junior, 1x Platin Filux, 1x Capital, 1x Reporter, 1x Electro Bewi Standard1x Mini Rex II, 1x Ica Diaphot, 1x Leningrad 4, 1x Acron, 1x Bertram Chronos, 1x Weston Modell 348, 1x Electro Bewi Super, Alters- u. Gebrauchsspuren, ungeprüft Provenienz: Sammlung Heinz Pott, Norddeutschland

Tony Blackburn signed 6x4 colour Capital Radio promo photo. Anthony Kenneth Blackburn (born 29 January 1943) is an English disc jockey, singer and TV presenter. He first achieved fame broadcasting on the pirate stations Radio Caroline and Radio London in the 1960s, before joining the BBC, on the BBC Light Programme. He was the first disc jockey to broadcast on BBC Radio 1 at its launch, on September 1967, and has had several stints working for the corporation. He has also worked for Capital London and Classic Gold Digital, and currently BBC Radio 2, BBC Local Radio, and KMFM. He has also had a singing career. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

* Churchyard (Thomas, 1798-1865). Study of a Georgian Doorway; Cul-de-Sac, 2 oils on canvas, the first depicting part of a house façade, with pink roses around an inset door with corbelled porch, and a glimpse of a sash window amongst other climbing foliage, 28.2 x 25cm, the other depicting a woman in blue and a dog in a cobbed lane with large tree between dwellings, 25.6 x 19.5cm, matching frames with attribution plaque on front and Michael Franklin gallery label on back, first item with additional printed framer's label of James Bourlet & Sons, second item with name on back inscribed in brown ink in an early hand 'Laura TC' and with '113 PG' in black paint, 35.8 x 32.3cm and 32.5 x 26.4cm respectivelyQty: (2)NOTESSuffolk artist Thomas Churchyard was born in Melton, and later settled in nearby Woodbridge. Although his profession was that of a lawyer, his passion was painting, and it was to this pastime that he devoted much time and energy, both as an artist and as a collector. He and his wife had two sons and seven daughters, and most of his daughters showed an interest in, and a talent for, art. Churchyard was an early admirer of works by the Norwich School, and was particularly influenced by John Crome, one of the founder members of the society. He was also a great admirer of John Constable, and made skilful copies of his works; indeed his own Suffolk landscapes were often mistakenly thought to be by Constable. In 1831 Churchyard exhibited his first works at the Norfolk and Suffolk Institution in Norwich, which elected him an honorary member, and he subsequently exhibited in London, at the Royal Academy of Arts and the Society of British Artists. However, after trying to establish himself as a full-time artist in the capital in 1832, Churchyard failed to have any of his works accepted by the Royal Academy that year. As a result he returned to the law and didn't exhibit again for another 20 years. However, the artist continued painting in Suffolk, and formed a close circle of artistic and literary friends, including the poets, Bernard Barton and Edward Fitzgerald, and the son of the poet, George Crabbe, a group Fitzgerald described as ‘the wits of Woodbridge’. Both Churchyard and Fitzgerald were members of Ipswich Society of Professional and Amateur Artists, founded in 1832. Churchyard spent a great deal of money building up his art collection, and the result of this, coupled with a large number of offspring to support, and a family inheritance which failed to materialise, was that he died insolvent. However, he did leave behind an impressive collection of works by artists such as John Constable, Thomas Gainsborough, John Crome, and John Sell Cotman. His own work can be seen in a number of public collections, including the Tate, the British Museum, the V&A and the Ashmolean Museum, Oxford.

A vintage Capital electric bicycle in need of restoration.

Vinyl - Blues & Jazz collection of approx 15 LP's and one EP (Leadbelly Capital EAP 1 20111) to include Robert Johnson, a sample of Blue Note compilation, Big Joe Duskin, Louis Jordan, Lightnin' Hopkins and others. Condition varies throughout

The Capital Stamp Album with Maps a very full album with Early Stamps Including over 30 Argentine, over 70 Australia, over 30 Austria, over 20 Belgium, over 35 Congo, over 65 Canada, over 60 China, over 30 Czechoslovakia, over 40 Denmark, 30 Egypt, over 30 Eire, over 65 French, over 30 French Colonies, over 65 Germany, over 35 German occupation Issues, over 25 German States, over 35 Former German Colonies, over 60 Great Britain including Penny Red, over 25 Greece, over 65 Hungary, over 20 Indonesia, over 40 India, over 35 Indian States, over 30 Iraq & Israel, over 35 Italy, over 35 Italian Colonies, over 20 Jamaica, over 25 Japan, over 25 Yugoslavia, over 50 Malaya, over 70 Netherlands, over 30 New Zealand, 25 Nigeria, over 25 Norway, over 40 Poland, over 30 Portugal, over 25 Rhodesia, over 20 Romania, over 30 Russia, over 25 Soviet Territories, 20 San Marino, over 35 Republic of South Africa, 60 Spain, 20 Spanish Colonies, over 35 Sweden, over 30 Switzerland, 20 Turkey, over 65 U.S.A, over 30 Czechoslovakia, This Album also has many mixed pages full of interesting Stamps. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

3 Stamp Albums The Capital Stamp Album (A Good Mix of Approx 450 Worldwide Stamps some with overstamps), The Postage Stamp Album (Approx 200 Worldwide Stamps), The Lincoln Stamp Album (Approx 100-150 Worldwide Stamps). Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

SOUL COMPILATION - LPs. A fantastic collection of 35 soul compilation LPs. Titles include Guns Of Navarone (TTL 16, Record strong VG+/ sleeve VG+), Soul From The City Vol1 (SCB-1, Ex/ VG+), This is Charly Soul (SAM1), The AVCO Mobile Discotheque Vol1 (6466 011), The Chess Janus (6310 128), Soul Direction (SPR 28), Solid Gold Soul, Fierce Dance Cuts, The Door To Their Dreams, The Capital Collectables One, Capital Classics Vols 1 & 2. The Sunset Sound Of LA, Grooves, This Is It, Soul Explosion, Boogie Bus, Whole Lotta Soul, All Platinum Gold, 16 Missed Hits, Dance Mix Dance Hits, Crew Cuts, Take 6, Slow Jam, Street Sounds, Urban Classics. Condition is generally VG+ to Ex.

A REGENCY MAPLE AND PARCEL-GILT HARPCIRCA 1820The brass plate with engraved inscription 'Sebastian & Pierre Erard's Patent No. 6539. Great Marlborough Street, London', the upright with applied gilt-gesso Gothic decoration together with a wood case with a harp maker's label for I.G.Morley and with canvas and linen coversThe harp 179cm high, 93cm wide Provenance:Christie's, London, 10 May 2011, Lot 132Condition Report: Marks, knocks, scratches, abrasions consistent with age and use,Old splits and cracks,Knocks and indentations to to the body,The gilt with chips, losses and wear all over, the front post capital with numerous old losses and breaks to the composition frieze, the decoration with various knocksThe majority of the strings are not present, this will require stringing and an overhaul by a professional instrument restorer, the pedals are stiff but appear to be moving at time of report - again Dreweatts can give no guarantees as to the overall working condition of the action and stress this will require professional attention and probable restorationPlease refer to additional images for visual reference to condition Condition Report Disclaimer

* Illuminated Leaf. A vellum sheet taken from an antiphonal, 16th century, text in red and brown with stave lines in red to recto and verso, the recto with a large capital 'O' burnished with gold, red, blue and green (55 x 55 cm), the verso with a smaller 'O' capital initial (50 x 50 mm), small hole to upper margin not affecting text, a little dust soiled and vellum to verso slightly toned not affecting illustration or text, overall 24 x 37 cmQty: (1)

Naval General Service 1793-1840, 2 clasps, Martinique, Guadaloupe (John Briggs.) very fine £1,600-£2,000 --- Provenance: Glendining’s, October 1912; Sang Collection, Glendining’s, January 1931. John Briggs/Biggs was born at Ilford, Essex, circa 1780, and joined H.M.S. Leyden, 64, as a Landsman on 4 April 1807, taking part in the expedition to Copenhagen that year. Leyden arrived off the Danish capital on 7 August with two companies of the Coldstream Guards aboard and took part in the bombardment of the city. Biggs was drafted as Landsman to H.M.S. Pompee, 74, in April 1808. Under the command of Captain George Cockburn, she sailed immediately for the West Indies, capturing the French brig Pleides, 16, in the Atlantic on 20 October. She arrived off the French island of Martinique in December and took part in its reduction, fighting a ship-to-ship duel with the French D’Hautpoul, 74, on 17 April 1809. Although confirmed as being aboard Pompee for this action, Biggs did not claim the ‘Pompee’ clasp to his N.G.S. medal. On 11 December, Vice-Admiral Sir Alexander Cochrane placed his flag aboard Pompee, Biggs being shown in the ship’s muster as ‘Admiral’s Domestic’. He was afterwards present at the capture of Guadaloupe on 5 February 1810. Sold with comprehensive research including copied muster lists.

Royal Air Force officers mess presentation items comprising three silver tankards, a pewter tankard and a double handled silver cup presented in memory of five highly decorated officers from the elite No. 8 (Pathfinder Force) Group, all of whom were killed on active service during the Second World War Double handled silver cup, hallmarks for London 1944, engraved ‘Presented to the Pathfinders in memory of “Pluto” W/Cmdr. Alan Cousens. D.S.O., D.F.C. No. 635 Squadron. By his mother and Rhona 22nd April 1944’ Pewter tankard, engraved ‘John White Wg. Cdr. D.F.C., P.F.F. with all in “S” for Sugar 156 Sqdn who were unable to keep their appointment in London. Berlin 18 Nov. 1943.’ Silver tankard, hallmarks for Sheffield 1944, engraved ‘To 7 Squadron in appreciation of W/Cdr. R. G. Barrell, D.S.O., D.F.C. & Bar. Given by Winifred J. Armstrong.’ Silver tankard, hallmarks for Sheffield 1944, engraved ‘To 7 Squadron in appreciation of F/Lt. Stickell, D.S.O., D.F.C. Given by Winifred J. Armstrong.’ Silver tankard, hallmarks for Birmingham 1943, engraved ‘To 7 Squadron in appreciation of S/Ldr. J. A. Hegman, D.S.O., D.F.C. Given by Winifred J. Armstrong.’ minor denting throughout and some damage to bases, generally good condition (5) £300-£500 --- D.S.O. London Gazette 6 November 1942. The original unabridged recommendation states: ‘Wing Commander Cousens was posted to No. 115 Squadron as a F/Cdr in April 1942. In this capacity he was outstanding and owing to his leadership when flying on operations he obtained splendid results from his crews in the flight by his personal example and untiring efforts. In July 1942 he was promoted to A/W/Cdr. And given command of No. 115 Squadron, and such is his personality that although he was an Air Observer, and the first one to command a Bomber Squadron during this war, by sheer devotion and leadership he has maintained all the traditions of the Service, keeping a very high standard among the crews in the Squadron. W/Cdr. Cousens has taken part in 67 operational sorties, and his untiring efforts in the Squadron as Navigator, combined with his terrific keenness and enthusiasm to get at the enemy has played no small part in the very successful results of these sorties. I have no hesitation in strongly recommending him for an award of the D.S.O.’ D.F.C. London Gazette 30 January 1941. The original unabridged recommendation states: At the beginning of the war this Officer was serving as an Air Observer in No. 38 Squadron, R.A.F. Station, Marham. At first he served as a navigator in that Squadron where he did most of his operational flying. Later he was transferred to Nos. 218 and 115 Squadrons. Towards the end of his time at Marham he became the Station Navigation Officer. Squadron Leader Cousens left Marham in June 1941, having completed some 32 operational flights, mostly against heavily defended targets in Germany. No less than 3 of these flights were to the German capital, and when returning from an operation on the night of 20 February 1940 this officer was forced by reason of fog to abandon his aircraft and in doing so broke his ankle. In June, 1941, Squadron Leader Cousens was selected to be Group Navigation Officer. In this capacity he has set an admirable example by seizing every opportunity to take part in night operations with various units in this Group. He has in this way completed a further 7 operations, bringing his total up to nearly 40, this representing some 238 hours of operational flying. Squadron Leader Cousens skill as a navigator and total disregard for his own safety has been quite outstanding, and I recommend him for the award of the Distinguished Flying Cross.’ Czechoslovak Military Cross London Gazette 14 April 1942. The letter of recommendation from the Czech Minister of National Defence states: ‘British Officer S/L Allan George Seymour Cousens, co-operating with the Czechoslovak Group, showed several times a great personal courage in the face of enemy.’ Wing Commander Alan George Seymour Cousens, D.S.O., D.F.C., (Czech M.C.), Royal Air Force was killed in action while serving with 635 Squadron as one of the Master Bombers on the Laon raid on 22 April 1944. Having taken off from Downham Market at 21.23 on 22 April, his Lancaster III (ND508 F2-P) was shot down over France and all the crew were killed with the exception of the pilot, P.O. D. H. Courtney, who evaded capture. Those who died, including Cousens, are buried in Roye British Cemetery, France. ______________________________________________________ D.F.C. London Gazette 10 September 1943. The original citation states: ‘(Pilot; sorties 24; flying hours 142). This officer has flown on many operational sorties against targets in Germany, Italy and enemy occupied territory. He has held the post of flight commander in his squadron since May 1943. In that capacity and as captain of aircraft, Squadron Leader White has shown powers of flying skill and leadership which have set an outstanding example to the other members of his squadron.’ Wing Commander John Henry White D.F.C., Reserve of Air Force Officers was killed in action on a raid to Berlin on 18 November 1943. Having left Warboys with 156 Squadron at 17.05, the Lancaster III (JB363 GT-K) - “S” for Sugar - which he was piloting crashed near Döberitz and all the crew were killed. Unusually, the entire crew of “S” for Sugar were decorated airmen. ______________________________________________________ D.S.O. London Gazette 11 June 1943. The original recommendation states: ‘(Flight Commander; sorties 54; flying hours 406) This officer has completed a large number of operational sorties against German and Italian targets, 23 of which have been on pathfinder duties. He is an outstanding operational captain who has consistently displayed courage and devotion to duty in the face of the enemy. His repeated successes on operations have set a very fine example to the rest of his squadron. He has commanded a flight with great distinction and has had much success in training air crews. Wing Commander Barrell is a most efficient and valuable officer and pilot. He has completed 6 sorties since the award of the D.F.C.’ D.F.C. London Gazette 6 June 1941. The original unabridged recommendation states: ‘This officer has completed twenty five operational sorties over enemy territory since October, 1940, involving a total of 217 flying hours. Targets attacked include Berlin (4), Mannheim (3), Brest (3), Bremen (2), Bordeaux (2), Hanover, Turin, Hamburg, and Kiel. From these distant flights P/O Barrell’s crew have returned safely, a fact largely attributable to his skill and devotion to duty on all flights. He has inspired confidence in every crew which he has captained, by complete disregard of enemy action and difficult weather conditions. He has unfailingly shown great courage and gallantry in the face of the enemy, and nearly all his sorties have been models of operational efficiency and captaincy. I have no hesitation in recommending that his fine record be recognised by the award of the Distinguished Flying Cross. Remarks by Station Commander - 23 April 1941: This officer has a fine record of achievements. His quiet efficiency and regularly successful results are the measure of his skill and courage in finding and bombing his primary targets. He has set a great example and is one of the captains who can always be relied upon to get there. I feel there is no higher recommendation.’ D.F.C. Second Award...

TEITO NYOSHI SHUSHIN KAGEMI “Book of the Moral Precepts for Women of the Capital”, 1892