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40th Anniv use of Mitchell By RAF Signed Gen Doolittle, Col Emmens Co -Pilot Doolittle Raid Air Force Postal Service APO postmark. N A Mitchell RAF FDC 40th Anniversary of the First Operational Use of the Mitchell by the Royal Air Force. Cover depicts Lt Col Doolittle in USAAF NA Mitchell 02344 bombing shipping in Tokyo Harbour on 18 April 1942 and 320 Squadron Royal Netherlands Air Force badge. The North American B25 Mitchell entered service with the USAAF in 1941 and in 1943 the first of over 800 Mitchell entered service with the RAF and were used extensively by Bomber Command and later the 2nd Tactical Air Force. The Mitchell is best remembered for the attack led by General Doolittle USAAF on Tokyo on 18th April 1942. Personally Signed by General Doolittle The 15 Mitchells took off from US Carrier Hornet and all ran out of fuel over China and crash landed. Of the 75 Aircrew, General Doolittle and 59 others returned to American Units, 5 died accidentally and the other 10 were captured and tried by the Japanese, of these 3 were executed, 1 died in prison and 6 were released at the end of the War. General Doolittle later commanded the USAAFs 12th Air Force in North Africa, 15th in Italy and the 8th in England from 1944 and the Pacific from 1945. Also Signed by Col Robert G Emmens. A member of the famous Tokyo Raiders who bombed the Japanese capital four months after Pearl Harbor led by General Doolittle spent year and 2 months interned in the Soviet Union. Photo and details of General Doolittle enclosed. Flown in 1st Tac Recon Sqn from RAF Alconbury to the Italian Air Force Base at Aviano in Italy Phantom RF4C No 580 pilot Captain S Gruca USAF. The cover was reflown on Christmas Eve 1983 in a Lockheed TR 1 of the 95th Reconnaissance Squadron, 17th Reconnaissance Wing, whilst on a routine training sortie from Alconbury. Pilot Major T Evans Aircraft TR1 070 Flight Time 9 + hours. Photo and details of General Doolittle enclosed. Certified Copy no 1097 of 1470 Signed project Officer. Very few Signed also by Col Emmens. Signed project Officer. 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

A George III oak and mahogany crossbanded chest of two short and three long drawers, brass drop handles, flanked by capital reeded pilasters, on bracket feet, height 94cm x depth 57cm x width 110cm.

Queen Adelaide 1792 - 1849, eldest daughter of George, Duke of Saxe-Meiningen (in 1818 she married the Duke of Clarence, later William IV), group of four letters and two part letters all in her hand (Adelaide, the capital of South Australia was named after her)

Carved oak panel with Florentine style Green Man mask head, foliate scrolls and harebell drops, 62cm x 26cm; a carved mahogany flat block capital with mask heads and foliate scrolling, 29cm x 34cm; two rectangular oak panels, one with mask head and seahorses, the other mask head and floral and foliate scrolls, 61cm x 13cm and 47cm x 10cm; two small carved oak Green Man mask head corbels, 12cm x 7cm and 12cm x 8cm and another, lion mask boss, 11cm x 10cm.  (7).

SWANSEA PORCELAIN CUP & SAUCER in the Kingfisher design, both painted with a bird amongst flowers and foliage, with gilded rims and with Red script mark to both (Saucer 14cms diameter). Also with a Swansea pottery cup and saucer, transfer printed with vignettes of sea shells, Swansea mark in capital letters (Saucer 14cms diameter). (4)

EARLY 19THC BOTANICAL CREAMWARE DINNER SERVICE each painted with a variety of flowers and plants, painted with brown rim borders and floral sprigs, each with a title underneath in red capital letters for the plant or flower species. Comprising two pierced twin handled baskets (French Marigold Bud and Winged Lotus), nine dinner plates (21cms diameter), two lidded tureens on stands and ladle, pair of oval shaped dishes (30cms across), pair of shell shaped dishes (25cms across), single dish (27cms across), set of four pierced oval dishes (26cms by 20cms). Varieties include Dogs Tooth Violet, Crowfoot, Monsonia, Woolly Cineraria, Venus Looking Glass, Wood Sorel etc. Various damages and restoration.

A fine gold-and-black-lacquer five-case inroBy Hon'ami Shoetsu, after Yamaguchi Soken, 19th centuryThe tall vertical body with a roiro ground lacquered with a continuous scene of a girl gazing at her reflection in the Kagami-ishi (Mirror Rock), a tall flowering cherry tree beside a rushing stream on the reverse, its branches extending into cloud bands above, all in gold and slight-coloured takamaki-e and togidashi maki-e with profuse highlights of kirikane, the ends of fundame and the interior of nashiji, signed Hon'ami Shoetsu with a seal Shoetsu; with a solid lacquer multi-coloured ojime in the form of a shojo (red-haired drunken sprite), unsigned. 9.5cm (3¾in) high.Footnotes:鏡石図蒔絵印籠　銘「本阿弥枩悦　枩悦（方印）」　19世紀Provenance: F. A. Richards collection, purchased in Japan, 1914, sold at Sotheby's, London, 1964.Graham Gemmell, London, 1989.Wrangham collection, no.1965.Published: E. A. Wrangham, The Index of Inro Artists, Alnwick, Harehope Publications, 1995, p.246, Shoetsu, Hon'ami.Located to the north of the famous Kinkakuji Temple in Kyoto, the Kagami-ishi (also called the Kagami-iwa) was famed for its remarkable reflective and diagnostic properties. A image similar to that on the present inro is shown in Miyako meisho zue (Illustrations of Famous Places in the Capital), published in 1780. According to the picture caption, 'The Kagami-ishi is a rock that clearly reflects anything placed in front of it . . . It is large with a bright surface and often reflects a person's internal organs; if there is anything wrong it will show up clearly.' (1) Both Henri L. Joly and, later, V. F. Weber refer to a celebrated painting of this subject by Yamaguchi Soken (1759-1818). The present whereabouts of this work are unknown but it is almost certainly the one published in Nihon bijutsu gaho in 1899; Weber also reproduces a suzuribako (writing box) with the same design. (2)Notes:1. For the Miyako meisho zue, see Takemura Toshinori (ed.), Nihon meisho fuzoku zue (Traditional Topographical Works of Japan), Tokyo, 1981, vol. 8, pp.195-6. For an online reproduction, see also http://www.nichibun.ac.jp/meisyozue/kyoto/page7t/km_01_568.html.2. See H. L. Joly, Legend in Japanese Art, London, Kegan Paul, Trench, Trubner & Co., 1908, p.500, V. F. Weber, Ko-ji Ho-ten, Dictionnaire à l'usage des amateurs et collectionneurs d'objets d'art japonais et chinois, Paris, 1923, vol.2, p.169, fig.728, and Nihon bijutsu gaho, vol.5, no.12 (25 May 1899), 'Maiden before a Stone Mirror', accessible at http://www.tobunken.go.jp/materials/gahou/page/42, where both Soken's name ('Sojun') and the date of his death (1804) are inaccurate.The Edward Wrangham Collection of Japanese Art: Part VI, lot 125.www.bonhams.com/auctions/22338/lot/125/For further information on this lot please visit Bonhams.com

MATISSE HENRI: (1869-1954) French Artist. Unusual and very attractive autograph short poem-canticle, with drawing, one page, oblong folio, n.p., n.d., in French. Matisse has drawn a first and large capital letter, coloured to the inside, stating `Loué, sois-tu, Monseigneur, Pour Soeur Onde, Laquelle est bien utile et humble et précieuse et chaste.´ Beneath the large letters written text, Matisse has drawn six waving lines. Two small stains to the left border. The page bears an "Imperial Japan paper" watermark. VG The written text corresponds, with few small changes, to a canticle, the "Letter to the faithful" by Saint Francis of Assis. 

ROTHSCHILD NATHAN MEYER: (1777-1836) Jewish German Banker, Businessman and Financier, one of the second generation of the Rothschild Banking Dynasty. D.S., N M Rothschild, in his capacity as contractor, in the right margin, two pages, folio, n.p. (London?), 1st March 1822. The printed document, in Russian, French and English, is a financial certificate 'of a perpetual Annuity in the Great Book of the Public Debt of the Imperial Commission of the Sinking Fund, representing a Capital of Seven Hundred and Twenty Silver Roubles…', equal to £111. With various decorative engravings to either side and a number of official stamps. Some light overall age wear and some splitting at the central horizontal fold (neatly repaired with clear tape to the verso). G The present Russian bond of 1822 is widely recognized by Economic historians as being the first Eurobond. Issued by the House of Rothschild in London, Frankfurt, Paris and Vienna, the bond promised payment in European currencies, as well as in Russian rubles. Perhaps more importantly, dividends could be claimed in any of the aforementioned cities, effectively protecting the bondholder from the effects of a continental war. Missing from the bond are the original coupons which would have been clipped and exchanged for payment. Although titled an annuity, the 1822 issue was in fact a perpetuity, a promise by Russia to pay a dividend to the bondholder forever, or at least until the Revolution of 1917.

HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. T.L.S., A Hitler, one page, 8vo, Berlin, 13th February 1933, to Oberst von Baligand, on personal printed stationery, in German. Hitler writes, in full, 'Congratulations coming from the revered commander of my old Regiment afforded me particular pleasure. Rest assured that the struggle will continue to be waged in the spirit of our List Regiment'. With blank integral leaf. One very small, neat split to the right edge of a central fold, and a couple of extremely light creases, not affecting the text or signature, VG  Maximilian von Baligand (1869-1945) German Oberleutnant whom Hitler served under in the Bavarian Reserve Infantry Regiment 16 (1st Company of the List Regiment) during World War I. Adolf Hitler's service during World War I with the List Regiment, which he described as 'the greatest of all experiences' and resulted in him being present at the First Battle of Ypres and the Battle of the Somme, changed the directionless youth into a fanatical German nationalist. Before the outbreak of war, Hitler had failed in his attempt to study art in Vienna and was reduced to begging in the streets of the Austrian capital. He managed to support himself by selling painted postcards, but his life was purposeless until he moved to Munich and petitioned King Ludwig III of Bavaria to allow him to join the Bavarian Army. Hitler's almost suicidal daring during the war won him many decorations for valour, but his spirits sank as Germany's fortunes waned. He had, however, already begun to formulate his ideas for a Germany of the future, ideas which he eventually expressed in Mein Kampf. The present letter was signed by Hitler just two weeks after having assumed power as Chancellor of Germany on 30th January 1933.

VASA ANNA CATHERINE CONSTANCE: (1619-1651) Polish Princess. Rare L.S., `Anna Catharina Constantia´, one page, 4to, Warsaw, 10th July 1637, to Apostolic Nuntio and Archbishop of Larissa Visconti, in Latin. Constance, in her capacity as Crown Princess of Poland and Sweden thanks her correspondent for his letter and Good wishes and referring to the recent wedding of her brother the King of Poland Wladyslaw IV, states in part `The wedding of the Serene and Illustrious Queen and our very dear brother, a so wise marriage with the august Austrian Royal House…´ Further referring to the meaning of this wedding for the Polish and saying `It is reasonable what makes the Kingdom happy, to worry about minions, and for this reason this holy wedding was necessary at this time..´, further again stating `Universal Christianity desires so much peace and tranquility, putting together the dissenting spirits of the presentiment in pristine friendship and mutual society, and uniting in growing in justice.´ Constance died childless at the early age of 32. With address leaf, bearing a paper seal affixed. Small overall age wear, otherwise G Wladyslaw IV Vasa (1595-1648) King of Poland 1632-48, married Cecilia Renata of Austria (1611-1644) daughter of Holy Roman Emperor Ferdinand II. Cecilia Renata died at the very early age of 32 after the childbirth of her stillborn daughter. Cecilia Renata was chosen as bride by the Polish nobility. She married Władysław on 9th August 1637 in Vienna by proxy, and then in Warsaw in person on 12th September 1637, and the same day was crowned at St. John´s Cathedral. This was the first royal coronation outside of Krakow, the historic, former capital of Poland. This greatly angered the Polish nobility. A law was instigated the year after to reserve coronations to Krakow.

ADELAIDE OF SAXE-MEININGEN: (1792-1849) Queen Consort of the United Kingdom and of Hanover, spouse of King William IV. The capital city of South Australia is named after her. A.L.S., Adelaide, two pages, 8vo, n.p. (Bushy House?), n.d. ('Friday', c.1845), to Lord Campden. The Queen wishes her correspondent a safe return to England and thanks him for his letter, remarking 'The news which you brought from Portugal gave me much satisfaction as I trust Peace may soon be returned in that unfortunate country'. In concluding the Queen sends her affection to Lord Campden's wife, Ida, and a blessing for their young daughter, Blanche. With blank integral leaf. VG Charles George Noel (1818-1881) Viscount Campden, 2nd Earl of Gainsborough. British Peer and Politician. 

CIENFUEGOS CAMILO: (1932-1959) Cuban Revolutionary. Member of the 1956 Granma expedition along with Fidel Castro, Che Guevara, Juan Almeida Bosque and Raul Castro, which launched the armed insurgency against dictator Fulgencio Batista. Cienfuegos was one of Castro´s top guerrilla commanders. Appointed Head of Cuba´s armed forces in 1959, he disappeared that same year during a night flight at the early age of 27. Rare D.S., `Camilo Cienfuegos´, one page, 4to, La Habana, 12th April 1959, in Spanish. The document bears 5 typed lines, being a judge court decision, fixing terms for a public court case. Cienfuegos signature is beneath the typed text “Comandante Camilo Cienfuegos”. Also signed by judge Rubio. Bearing at the base several additional countersignatures and ink stamps registrations. Very small age wear, with extremely small tear to the right edge and three pinholes to the left edge, none affecting the text or signatures. G In 1957 Cienfuegos became one of the leaders of the revolutionary forces, appointed to the rank of Comandante. In 1958 he was put in command of one of three columns which headed west out of the mountains with the intention of capturing the provincial capital city of Santa Clara. Che Guevara was in command of another column and Jaime Vega was in command of the third. Vega's column was ambushed and defeated by Batista's forces. Cienfuegos' and Guevara's columns reached the central provinces, where they combined their efforts with other groups. Cienfuegos' column attacked an army outpost at Yaguajay and, after a tough fight, forced the garrison to surrender on 30 December 1958. This earned him the nickname "The Hero of Yaguajay." Cienfuegos then advanced against Santa Clara in conjunction with Guevara's forces, together, the two columns captured Santa Clara on 31 December. Batista fled Cuba the next day, leaving the guerrilla fighters victorious. At a rally on January 1959, Castro interrupted his speech to ask Cienfuegos ("Am I doing all right, Camilo?") His response "Vas bien, Fidel" ("You're doing fine, Fidel") was taken up by the crowd and became a slogan of the revolution. 

1953 Studebaker CommanderRegistration number MKV 511Chassis number 8306086Engine number V223480MOT expires May 2022Tahoe green & Olympic greyRF60 with Humber (Cars) Ltd as first ownersOnly five ownersPossibly the 1953 Motor Show CarExtensive history history with original Factory Order (destination: London), numerous bills, articles, magazines etcStarted and ran well at inspection3811cc V8 left hand drive automaticOriginal tax disc from 1953Photographs of the car in 1992 when it suffered fire damage and copies of corresponding press articles relating to thisLong term ownerships by ex-Radio 1 and Capital Radio DJ Paul Burnett

Erotica.- Tragedie de Foutimasse, manuscript, 42pp., ?author's working copy, with corrections, final f. torn with some loss of text, a few tape repairs, spotting and staining, stitched, 8vo, no place [?Paris], [c.1850].⁂ An overtly erotic play, set in the capital of 'Baisemon', with protagonists including Vaginette, Conasse, Coulefort and Couille au cul. We can trace no printed version of this text.

Turkey.- MacFarlane (Charles) Constantinople in 1828. A Residence of Sixteen Months in the Turkish Capital and Provinces, first edition, half-title, 5 lithograph plates (3 hand-coloured, one in sepia, one double-page), with 7pp. A.L.s. to 'My dear Hawes' loosely inserted, contemporary signature of Elizabeth Blackett to title, later half morocco over marbled boards, spine gilt, [Atabey 741; Blackmer 1047], 4to, Saunders and Otley, 1829.⁂ The letter mentions his forthcoming "(not official) mission" to Turkey, his "old friend Henry Marshall's recent work on Ceylon" and the work Marshall has done "to improve the condition of the soldiers, and to do away with the torture and brutality which disgraced the Army & the whole nation."

Geologists Field Equipment Belonging to Professor Sergei Tomkeieff,Small collection of geologists field equipment belonging to Professor Sergei Tomkeieff, including his rock hammer, pocket barometer, monocular, slide rules and other instruments 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 the Anderson College. He was 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 Collection of Minerals, From the Tomkeieff Collection,including a polished Puddingstone paperweight, a good section of polished tigers eye, various polished agates, Russian Malachite, quartz crystals, an insect in amber a good specimen of iron pyrite crystals, and others, approximately 40 specimens, 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 the Anderson College. He was 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 Large collection of Minerals, From the Tomkeieff Collectionseveral cases of stones, minerals, and specimens, some with old collection lables in three boxes 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 the Anderson College. He was 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

Collection of Ammonites, From the Tomkeieff Collection,including a large ammonite (21cm), a large but damaged Phyloceras Ammonite, Cretaceous, possibly from Madagascar, with four other smaller ammonites, and an unusual stone with a horseshoe shape in the centre. 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 the Anderson College. He was 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

Large collection of Geology & Mineralogy Books, From the Tomkeieff Collection,most signed on the inside cover 'S. Tomkeieff' rtz 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 the Anderson College. He was 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

ATTRIBUTED TO THEODORE ALEXANDER; a contemporary barley twist standard lamp with corinthian capital.

S BLANCKENSEE & SONS LTD; a George VI hallmarked silver four piece tea set, comprising teapot, length 26cm, hot water pot, twin handled sugar bowl and cream jug, all with engraved initial capital 'B', Chester 1939, approx 50.9ozt/1584g (4).Additional InformationScratches, nicks, tarnish, some minor knocks, etc. Maker's marks somewhat rubbed.

Corgi Aviation Archive, Twelve boxed 1:144 scale models comprising Classic Jetliners 48501 BAE Comet, 48504 BOAC Comet, Airliners of the World Capital Airlines Viscount (minus part of stand) and Frontier Airliners Lockheed Constellation 47503 Air India, 47505 Braniff International, 47507 Eastern Lines, 47508 PAN AM, 47501 TWA, Avro York BOAC 47202 and Douglas DC3 47105 Eastern Airlines, 47102 American Airlines and 47107 Air Atlantique, G-E, boxes faded (12)

A Sex Pistols Oliver Twist 'Dickensian' flyer,designed by Malcolm McLaren at Seditionaries, 430 Kings Road, London, with the manifesto continuing over to the reverse, folded, 29.5 x 41cm,together with a flyer of the twelve designs, a size chart to the reverse, folded, 21 x 29cm (2)The Punk Movement was centred on the shop run by Malcolm McLaren and Vivenne Westwood, 1974-1976. The shop at 430 Kings Road was named 'Sex' and sold clothes to growing numbers of Punks in the capital. In December 1976, it was renamed 'Seditionaries' and traded until 1980.

A pair of Elizabeth II silver Corinthian column candlesticks, maker A Chick & Sons Ltd, London, 1964: with beaded sconces on foliate decorated capital raised on stop fluted columns and stepped square weighted bases with beaded decoration, 29.5cm high.

A pair of large early 19th century old Sheffield plated three-light candelabra, by The Matthew Boulton Plate Company, circa 1820, tapering circular columns, acanthus leaf decoration, on raised circular bases with foliate and gadroon decoration, leaf capped reeded branches, each supporting a campana shaped capital, and with a central light, height 65cm. (2)

A pair of George III silver three-light candelabra, by John Scofield, London 1799, tapering circular fluted columns, central urn capital, with two scroll arms each supporting a further capital, on raised circular bases, with reeded borders, the undersides with turned wooden bases, height 43cm, approx. weight of branches 59.6oz. (2) Provenance: Sold by direction of the executors of the late Sylvia Quance. From the collection of Gordon W Quance. Purchased from Christie, Manson and Woods, King Street, London, Important Old English Silver, 11 December 1968, lot 153, hammer price £4000. The crest is probably that of Currer of Yorkshire.

An early 18th century silver taper stick, marked three times with maker's mark only, that of Benjamin Blakely, circa 1720, hexagonal baluster form, spool shaped capital, on a raised hexagonal foot, later unmarked drip pan, height 12cm, approx. weight 5.8oz.

A pair of George II silver candlesticks, by John Cafe, London 1753, knopped baluster stems, shell shoulders, spool-shaped capital, detachable drip pans, on raised hexafoil bases, height 23.2cm, approx. weight 35.9oz. (2) The crest is that of Asketine, Coats, Dawbeney, Goldsmidt, Hammersley, Harvey, Leche, Minshull or Wadeson.

A George III silver epergne, by Thomas Pitts, London 1766. central oval basket with pierced scroll and trellis decoration, on a raised oval pierced support, on a pierced oval base with a hanging apron of pierced foliate decoration, on four scroll legs terminating in pierced scroll pad feet, with four double scroll arms each supporting a circular pierced swing-handled basket, and with a further four double scroll branches, each supporting a candlestick capital, with a circular drip pan, engraved with an armorial and crested, length 58cm, height 47cm, approx. weight 157oz. Provenance: A Private Collection. Bonhams, Knightsbridge, Fine Silver and Objects of Vertu, 2 July 1996, lot 180.

A large electro-plated Corinthian column lamp: with acanthus decorated capital, fluted column on a square stepped base with beaded border, 57cm high.

Miscellaneous items including set of branding irons with capital letter terminals, solitaire boards, antique games and sundriesCondition report: Marbles included- three white marbles numbered 1, 4 and 5, six white and red marbled glass marbles and one blue glass marble. (10 in total - See additonal images)

DAVID JOHNSTON (AMERICAN 1933 - 2013), A POST-MODERN CAPITAL watercolour on paper, signed and dated '90 image size 37cm x 37cm, overall size 57cm x 57cm Mounted, framed and under glass.

A Regency gilt wood pier looking glass, circa 1820 and later, ball cornice, Greek key eglomise frieze, the plate flanked by Egyptian head capital pilasters, 83 by 57cm

A Regency gilt wood pier looking glass, circa 1820 and later, plain cornice, the frieze with a relief moulded scene of shepherd and shepherdess with their flock, the plate flanked by Egyptian head capital fluted pilasters, 101 by 60cm

Monika Maurer-Morgenstern If I knew that tomorrow the world would end, I would plant an apple tree today, 2021 Mixed Media on Paper Signed on front and verso 15.9 x 12cm (6¼ x 4½ in.) INTERNATIONAL ACADEMIE FOR FINE ARTS SALZBURG Exhibitions WEISS BERLIN 2020, ARTCRU Berlin 2016, Raitenbucher Castle Kallmünz 2011, Association for Original Etchings München 2009, Galerie Ohse Bremen, 2008, Kavaliershaus Langenargen 2005, Oberwallis Arts Association (Switzerland) 2004, Galerie Kudlek Köln 2001+2003, Galerie Albrecht München 1998,95,93, Friedrichstadt Arts Association Berlin Center 1994, Alpirsbacher Galerie 1988, Müncher Stadtmuseum 1986 2019+2018 Berlin Galerie Parterre "Drawing of Presence II", Cavin Morris Gallery NYC " Rings around theMoon" 2018, "Freshhet" Cavin Morris Gallery NYC 2014, Zink und Gegner + Kudlek "way home" 26 Postcards 2005, Düsseldorf Palace Art Museum, Hanck Collection 2000+1999 , BBK München "really unreal" 1988, Galerie Eisenmann Böblingen 1983 PARTICIPATION WITH ART FAIRS: OAF NEW YORK, OAF PARIS, BRUSSELS, ZÜRICH,KARLSRUHE , KÖLN WORKS IN COLLETIONS: Craphics Collection Berlinische Galerie, Stuttgart State Gallery Graphics Collection ( Collection Digital 80 Drawings) Munich State Graphics Collection Basel Prints and Drawings Düsseldorf Palace Art Museum ( Collection Hanck) Artohek München Artothek Köln Grcic-Ziersch Art Trade AWARDS: 2010 Golden Lion in Scholarship Kallmünz 2007,1994 Catalog Promotion in München Capital 2005 Awarded the Kavaliershaus Langenargen / Lake Constance Scholarship Baden Würtemberg for 3 Month 1994 + 1989 Free placement in the International Summer Academy for Free Arts Salzburg Gallery Representation Henry Boxer Gallery Richmond, Cavin Morris Gallery NYC    

Monika Maurer-Morgenstern Aus Dem Kosmos, 2021 Mixed Media on Paper Signed on front and verso 15.9 x 12cm (6¼ x 4½ in.) INTERNATIONAL ACADEMIE FOR FINE ARTS SALZBURG Exhibitions WEISS BERLIN 2020, ARTCRU Berlin 2016, Raitenbucher Castle Kallmünz 2011, Association for Original Etchings München 2009, Galerie Ohse Bremen, 2008, Kavaliershaus Langenargen 2005, Oberwallis Arts Association (Switzerland) 2004, Galerie Kudlek Köln 2001+2003, Galerie Albrecht München 1998,95,93, Friedrichstadt Arts Association Berlin Center 1994, Alpirsbacher Galerie 1988, Müncher Stadtmuseum 1986 2019+2018 Berlin Galerie Parterre "Drawing of Presence II", Cavin Morris Gallery NYC " Rings around theMoon" 2018, "Freshhet" Cavin Morris Gallery NYC 2014, Zink und Gegner + Kudlek "way home" 26 Postcards 2005, Düsseldorf Palace Art Museum, Hanck Collection 2000+1999 , BBK München "really unreal" 1988, Galerie Eisenmann Böblingen 1983 PARTICIPATION WITH ART FAIRS: OAF NEW YORK, OAF PARIS, BRUSSELS, ZÜRICH,KARLSRUHE , KÖLN WORKS IN COLLETIONS: Craphics Collection Berlinische Galerie, Stuttgart State Gallery Graphics Collection ( Collection Digital 80 Drawings) Munich State Graphics Collection Basel Prints and Drawings Düsseldorf Palace Art Museum ( Collection Hanck) Artohek München Artothek Köln Grcic-Ziersch Art Trade AWARDS: 2010 Golden Lion in Scholarship Kallmünz 2007,1994 Catalog Promotion in München Capital 2005 Awarded the Kavaliershaus Langenargen / Lake Constance Scholarship Baden Würtemberg for 3 Month 1994 + 1989 Free placement in the International Summer Academy for Free Arts Salzburg Gallery Representation Henry Boxer Gallery Richmond, Cavin Morris Gallery NYC  

Monika Maurer-Morgenstern Dispute on the Phone, 2021 Mixed Media on Paper Signed on front and verso 15.9 x 12cm (6¼ x 4½ in.) INTERNATIONAL ACADEMIE FOR FINE ARTS SALZBURG Exhibitions WEISS BERLIN 2020, ARTCRU Berlin 2016, Raitenbucher Castle Kallmünz 2011, Association for Original Etchings München 2009, Galerie Ohse Bremen, 2008, Kavaliershaus Langenargen 2005, Oberwallis Arts Association (Switzerland) 2004, Galerie Kudlek Köln 2001+2003, Galerie Albrecht München 1998,95,93, Friedrichstadt Arts Association Berlin Center 1994, Alpirsbacher Galerie 1988, Müncher Stadtmuseum 1986 2019+2018 Berlin Galerie Parterre "Drawing of Presence II", Cavin Morris Gallery NYC " Rings around theMoon" 2018, "Freshhet" Cavin Morris Gallery NYC 2014, Zink und Gegner + Kudlek "way home" 26 Postcards 2005, Düsseldorf Palace Art Museum, Hanck Collection 2000+1999 , BBK München "really unreal" 1988, Galerie Eisenmann Böblingen 1983 PARTICIPATION WITH ART FAIRS: OAF NEW YORK, OAF PARIS, BRUSSELS, ZÜRICH,KARLSRUHE , KÖLN WORKS IN COLLETIONS: Craphics Collection Berlinische Galerie, Stuttgart State Gallery Graphics Collection ( Collection Digital 80 Drawings) Munich State Graphics Collection Basel Prints and Drawings Düsseldorf Palace Art Museum ( Collection Hanck) Artohek München Artothek Köln Grcic-Ziersch Art Trade AWARDS: 2010 Golden Lion in Scholarship Kallmünz 2007,1994 Catalog Promotion in München Capital 2005 Awarded the Kavaliershaus Langenargen / Lake Constance Scholarship Baden Würtemberg for 3 Month 1994 + 1989 Free placement in the International Summer Academy for Free Arts Salzburg Gallery Representation Henry Boxer Gallery Richmond, Cavin Morris Gallery NYC  

Rhiannon Rebecca Salisbury Fragmented Glass, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Rhiannon Salisbury graduated from the Turps Painting Program August 2018 in Elephant and Castle, winning The Darbyshire Prize For Emerging Art. In 2016 Rhiannon completed her MAFA at Chelsea College of Art after receiving the John Hoyland Scholarship. I use my paintings as a tool to investigate the role of women within a patriarchal culture. Using colour, form, and composition as language, I am investigating western standards of beauty and the idealisation of femininity, within the field of advertising. I deliberately work with found imagery from aspirational fashion and lifestyle magazines, focusing on the modelling campaigns of the most luxurious brands. Composition's and imagery are tweaked to distort and expose my dystopian perception of this capitalist dream. I hope that the reinterpretation of the advertisements through painting, opens up a dialogue where one can re-look at the structure of ideas and references used in each highly constructed and saturated image. Using gestures which explore the borderland between a substance that is alluring in its thick luscious texture, and grotesque in its ability to turn to chaotic mush, my paint handling and synthetic colour palette seeks to strike a balance that intends to at once allure and repel the viewer. Exhibitions 2016 - 2018 Turps Banana: Studio Painter Darbyshire Prize For Emerging Artist's Recipient 2015 - 2016 MAFA Chelsea College of Art John Hoyland Scholarship Recipient Awards John Hoyland Scholarship Chelsea College of Art 2015 Darbyshire Prize For Emerging Art presented by Darbyshire Ltd. & Turps Banana 2018 Overall Delphian Open Call Winner Delphian Gallery 2019 Solo Shows Habitual Submission - Delphian Gallery - London - September 2019 Rhiannon Salisbury Darbyshire Prize For Emerging Artists Presented by Darbyshire Ltd & Turps Banana - London - November 2018 Accessorise With A Tiger - Arusha Gallery - Edinburgh - September 2018 Selected Group Exhibitions Antisocial Isolation - Delphian Gallery - Saatchi Gallery - London - 29.11-2020 - 19.01.2021 Ancient Deities - Arusha Gallery - Edinburgh - 10.09.2020 - 18.10.2020 The Sinister Figures - The Bunker presented by BuuBuu Studios - Online - April 2020 Small Is Beautiful XXXVII - Flowers Gallery - London - November 2019 Ultra: Art For The Woman's World Cup - Presented by OOF Magazine at J. Hammond Projects, London - June 2019 Art Car Boot Fair - OOF Magazine & J. Hammond Projects, London - June 2019 Delphian Open Call - Delphian Gallery, London - April 2019 Small Is Beautiful XXXVI - Flowers Gallery, London - November 2018 Paper Cuts - Curated by Kris Day - Saatchi Gallery, London - November 2018 New Work Part III: SUBJECT - COB Gallery, London - November 2018 About the postcard artworks The four pieces submitted for the Summer Auction were all made within quick succession of one another at a time where the lockdown in London was just beginning to lift and people were starting to reengage with one another as life slowly opened back up in the capital. As a collection they express some of the underlying anxieties inherent in the move to leave the safety of the home and reengage with the social sphere. In "Lost Puppy" a woman clasps her dog nervously, as if holding on for comfort and support, even though the animal has been clearly primed for public display and dressed in a Gucci jumper. In "Fragmented Glass", we see a sadness and a loss in the woman's eyes, like a shattered stained-glass window. "Angel Cake", speaks to the cakes which could adorn glamorous summer garden parties and celebrations in a murky dystopian future and finally "Jolly with the Bolli" harks to the necessity of crutches used to induce a sense of ease and comfort amongst other people.  

Rhiannon Rebecca Salisbury Lost Puppy, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Rhiannon Salisbury graduated from the Turps Painting Program August 2018 in Elephant and Castle, winning The Darbyshire Prize For Emerging Art. In 2016 Rhiannon completed her MAFA at Chelsea College of Art after receiving the John Hoyland Scholarship. I use my paintings as a tool to investigate the role of women within a patriarchal culture. Using colour, form, and composition as language, I am investigating western standards of beauty and the idealisation of femininity, within the field of advertising. I deliberately work with found imagery from aspirational fashion and lifestyle magazines, focusing on the modelling campaigns of the most luxurious brands. Composition's and imagery are tweaked to distort and expose my dystopian perception of this capitalist dream. I hope that the reinterpretation of the advertisements through painting, opens up a dialogue where one can re-look at the structure of ideas and references used in each highly constructed and saturated image. Using gestures which explore the borderland between a substance that is alluring in its thick luscious texture, and grotesque in its ability to turn to chaotic mush, my paint handling and synthetic colour palette seeks to strike a balance that intends to at once allure and repel the viewer. Exhibitions 2016 - 2018 Turps Banana: Studio Painter Darbyshire Prize For Emerging Artist's Recipient 2015 - 2016 MAFA Chelsea College of Art John Hoyland Scholarship Recipient Awards John Hoyland Scholarship Chelsea College of Art 2015 Darbyshire Prize For Emerging Art presented by Darbyshire Ltd. & Turps Banana 2018 Overall Delphian Open Call Winner Delphian Gallery 2019 Solo Shows Habitual Submission - Delphian Gallery - London - September 2019 Rhiannon Salisbury Darbyshire Prize For Emerging Artists Presented by Darbyshire Ltd & Turps Banana - London - November 2018 Accessorise With A Tiger - Arusha Gallery - Edinburgh - September 2018 Selected Group Exhibitions Antisocial Isolation - Delphian Gallery - Saatchi Gallery - London - 29.11-2020 - 19.01.2021 Ancient Deities - Arusha Gallery - Edinburgh - 10.09.2020 - 18.10.2020 The Sinister Figures - The Bunker presented by BuuBuu Studios - Online - April 2020 Small Is Beautiful XXXVII - Flowers Gallery - London - November 2019 Ultra: Art For The Woman's World Cup - Presented by OOF Magazine at J. Hammond Projects, London - June 2019 Art Car Boot Fair - OOF Magazine & J. Hammond Projects, London - June 2019 Delphian Open Call - Delphian Gallery, London - April 2019 Small Is Beautiful XXXVI - Flowers Gallery, London - November 2018 Paper Cuts - Curated by Kris Day - Saatchi Gallery, London - November 2018 New Work Part III: SUBJECT - COB Gallery, London - November 2018 About the postcard artworks The four pieces submitted for the Summer Auction were all made within quick succession of one another at a time where the lockdown in London was just beginning to lift and people were starting to reengage with one another as life slowly opened back up in the capital. As a collection they express some of the underlying anxieties inherent in the move to leave the safety of the home and reengage with the social sphere. In "Lost Puppy" a woman clasps her dog nervously, as if holding on for comfort and support, even though the animal has been clearly primed for public display and dressed in a Gucci jumper. In "Fragmented Glass", we see a sadness and a loss in the woman's eyes, like a shattered stained-glass window. "Angel Cake", speaks to the cakes which could adorn glamorous summer garden parties and celebrations in a murky dystopian future and finally "Jolly with the Bolli" harks to the necessity of crutches used to induce a sense of ease and comfort amongst other people.  

Rhiannon Rebecca Salisbury Jolly with the Bolli, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Rhiannon Salisbury graduated from the Turps Painting Program August 2018 in Elephant and Castle, winning The Darbyshire Prize For Emerging Art. In 2016 Rhiannon completed her MAFA at Chelsea College of Art after receiving the John Hoyland Scholarship. I use my paintings as a tool to investigate the role of women within a patriarchal culture. Using colour, form, and composition as language, I am investigating western standards of beauty and the idealisation of femininity, within the field of advertising. I deliberately work with found imagery from aspirational fashion and lifestyle magazines, focusing on the modelling campaigns of the most luxurious brands. Composition's and imagery are tweaked to distort and expose my dystopian perception of this capitalist dream. I hope that the reinterpretation of the advertisements through painting, opens up a dialogue where one can re-look at the structure of ideas and references used in each highly constructed and saturated image. Using gestures which explore the borderland between a substance that is alluring in its thick luscious texture, and grotesque in its ability to turn to chaotic mush, my paint handling and synthetic colour palette seeks to strike a balance that intends to at once allure and repel the viewer. Exhibitions 2016 - 2018 Turps Banana: Studio Painter Darbyshire Prize For Emerging Artist's Recipient 2015 - 2016 MAFA Chelsea College of Art John Hoyland Scholarship Recipient Awards John Hoyland Scholarship Chelsea College of Art 2015 Darbyshire Prize For Emerging Art presented by Darbyshire Ltd. & Turps Banana 2018 Overall Delphian Open Call Winner Delphian Gallery 2019 Solo Shows Habitual Submission - Delphian Gallery - London - September 2019 Rhiannon Salisbury Darbyshire Prize For Emerging Artists Presented by Darbyshire Ltd & Turps Banana - London - November 2018 Accessorise With A Tiger - Arusha Gallery - Edinburgh - September 2018 Selected Group Exhibitions Antisocial Isolation - Delphian Gallery - Saatchi Gallery - London - 29.11-2020 - 19.01.2021 Ancient Deities - Arusha Gallery - Edinburgh - 10.09.2020 - 18.10.2020 The Sinister Figures - The Bunker presented by BuuBuu Studios - Online - April 2020 Small Is Beautiful XXXVII - Flowers Gallery - London - November 2019 Ultra: Art For The Woman's World Cup - Presented by OOF Magazine at J. Hammond Projects, London - June 2019 Art Car Boot Fair - OOF Magazine & J. Hammond Projects, London - June 2019 Delphian Open Call - Delphian Gallery, London - April 2019 Small Is Beautiful XXXVI - Flowers Gallery, London - November 2018 Paper Cuts - Curated by Kris Day - Saatchi Gallery, London - November 2018 New Work Part III: SUBJECT - COB Gallery, London - November 2018 About the postcard artworks The four pieces submitted for the Summer Auction were all made within quick succession of one another at a time where the lockdown in London was just beginning to lift and people were starting to reengage with one another as life slowly opened back up in the capital. As a collection they express some of the underlying anxieties inherent in the move to leave the safety of the home and reengage with the social sphere. In "Lost Puppy" a woman clasps her dog nervously, as if holding on for comfort and support, even though the animal has been clearly primed for public display and dressed in a Gucci jumper. In "Fragmented Glass", we see a sadness and a loss in the woman's eyes, like a shattered stained-glass window. "Angel Cake", speaks to the cakes which could adorn glamorous summer garden parties and celebrations in a murky dystopian future and finally "Jolly with the Bolli" harks to the necessity of crutches used to induce a sense of ease and comfort amongst other people.  

Rhiannon Rebecca Salisbury Angel Cake, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Rhiannon Salisbury graduated from the Turps Painting Program August 2018 in Elephant and Castle, winning The Darbyshire Prize For Emerging Art. In 2016 Rhiannon completed her MAFA at Chelsea College of Art after receiving the John Hoyland Scholarship. I use my paintings as a tool to investigate the role of women within a patriarchal culture. Using colour, form, and composition as language, I am investigating western standards of beauty and the idealisation of femininity, within the field of advertising. I deliberately work with found imagery from aspirational fashion and lifestyle magazines, focusing on the modelling campaigns of the most luxurious brands. Composition's and imagery are tweaked to distort and expose my dystopian perception of this capitalist dream. I hope that the reinterpretation of the advertisements through painting, opens up a dialogue where one can re-look at the structure of ideas and references used in each highly constructed and saturated image. Using gestures which explore the borderland between a substance that is alluring in its thick luscious texture, and grotesque in its ability to turn to chaotic mush, my paint handling and synthetic colour palette seeks to strike a balance that intends to at once allure and repel the viewer. Exhibitions 2016 - 2018 Turps Banana: Studio Painter Darbyshire Prize For Emerging Artist's Recipient 2015 - 2016 MAFA Chelsea College of Art John Hoyland Scholarship Recipient Awards John Hoyland Scholarship Chelsea College of Art 2015 Darbyshire Prize For Emerging Art presented by Darbyshire Ltd. & Turps Banana 2018 Overall Delphian Open Call Winner Delphian Gallery 2019 Solo Shows Habitual Submission - Delphian Gallery - London - September 2019 Rhiannon Salisbury Darbyshire Prize For Emerging Artists Presented by Darbyshire Ltd & Turps Banana - London - November 2018 Accessorise With A Tiger - Arusha Gallery - Edinburgh - September 2018 Selected Group Exhibitions Antisocial Isolation - Delphian Gallery - Saatchi Gallery - London - 29.11-2020 - 19.01.2021 Ancient Deities - Arusha Gallery - Edinburgh - 10.09.2020 - 18.10.2020 The Sinister Figures - The Bunker presented by BuuBuu Studios - Online - April 2020 Small Is Beautiful XXXVII - Flowers Gallery - London - November 2019 Ultra: Art For The Woman's World Cup - Presented by OOF Magazine at J. Hammond Projects, London - June 2019 Art Car Boot Fair - OOF Magazine & J. Hammond Projects, London - June 2019 Delphian Open Call - Delphian Gallery, London - April 2019 Small Is Beautiful XXXVI - Flowers Gallery, London - November 2018 Paper Cuts - Curated by Kris Day - Saatchi Gallery, London - November 2018 New Work Part III: SUBJECT - COB Gallery, London - November 2018 About the postcard artworks The four pieces submitted for the Summer Auction were all made within quick succession of one another at a time where the lockdown in London was just beginning to lift and people were starting to reengage with one another as life slowly opened back up in the capital. As a collection they express some of the underlying anxieties inherent in the move to leave the safety of the home and reengage with the social sphere. In "Lost Puppy" a woman clasps her dog nervously, as if holding on for comfort and support, even though the animal has been clearly primed for public display and dressed in a Gucci jumper. In "Fragmented Glass", we see a sadness and a loss in the woman's eyes, like a shattered stained-glass window. "Angel Cake", speaks to the cakes which could adorn glamorous summer garden parties and celebrations in a murky dystopian future and finally "Jolly with the Bolli" harks to the necessity of crutches used to induce a sense of ease and comfort amongst other people.  

NO RESERVE Trees.- Auction broadside.- Capital Oak Timber &c. To be sold by auction by W. Wyley, at the Crown Inn, Bridgnorth, in the County of Salop, on Saturday the 5th March 1814...The following oak and ash timber trees, growing on estates in the parish of Chelmarsh, and County of Salop, 316 x 196mm., verso with ink passage copied from Samuel Egerton Brydges' 'On Topography', a few pinholes, lightly creased and stained, [Bridgnorth], G. Gitton, 23rd February, 1814.⁂ Unrecorded.

A collection of Wedgwood Jasperware commemorative plates: Including Capital Cities plate, Presidents plates etc. (8)

Capital Chinese porcelain Queng Lung bowl with landscape/pagoda decor. Dimensions: H 11.5 x Ø 28.7 cm. In good condition.

Two capital silver candlesticks, 925/000, 5 lights, on a square foot with garland decoration and pearl rims. The 4 arms with curls and pearl decoration are attached to a partly square shaped column with floral decoration and pearl edges. Size: D.Aubert, The Hague, jl.:j:1993 Size 28x28x44cm. Total approx. 3390 grams, foot filled with plaster. In good condition

Albert Francois Mathijs. 1885 - 1956. Belgian School. Lady in interior. With capital wood-carved frame. Oil on linen. Dimensions: H 130 x W 95 cm. In good condition.

Monogram RT Second half 20th century. Half-naked woman in interior, lying on lion trap. With capital list. Oil on linen. Dimensions: H 50 x W 60 cm. In good condition.

Capital 17th century Chinese raak porcelain Wanli dish with garden/cricket/coulisse decor. Dimensions: Ø 36.3 cm. In good condition.

Capital Chinese porcelain vase with yellow glaze and floral decoration. With bottom mark. Dimensions: H 59 x Ø 39 cm. In good condition.

WW2 British Police Steel Helmet with Isle of Wight Connections, original British steel helmet with blue paint finish to the exterior and interior of the shell. Stencilled to the front in white capital letters is “W.R. POLICE”. Helmet is complete with its 1939 BMB liner and webbing chinstrap. Top liner pad is loose. This helmet came from the Isle of Wight and worn by a Police officer from the island.

An mid 19th century Indian colonial straight tapered tankard by Hamilton & Co., (maker's mark, elephant capital A, crescent tally mark), Calcutta, with a melon finial to the dome centred cover, the leaf-capped S-scroll handle with a heart terminal, a reeded girdle and base band, on a spreading base with a glass bottom, engraved with a crest beneath a motto 'Perveverando', 18.5cm (7 1/4in) high, 880g (28.3 oz) gross Provenance: Property of a Gentleman.Condition Report: Marks are partially obscuredHinge good Cover sits wellStands wellEngraving crispVery slight dent to the body near the handleLight scratches and wear commensurate with age and use Condition Report Disclaimer

A gargantuan, late 19th century walnut and figured walnut sideboard by Gillow, with 17th century style sunken panels and columns with ionic pilasters, the back gallery above an inverted breakfront top over two central shelves, flanked on each side by a cupboard, the left with a lead-lined, wine cooler drawer, raised on a shaped and moulded plinth, drawer stamped ‘Gillow & Co. 9043’, left side faded, minor damage, 283cm wide x 90cm deep x 138cm highCondition report: Left side faded. Minor damage, including chips, including second left ionic capital. Chips, dents and scratches consistent with age and use.

A collection of mainly modern postcards, some in albums, to include famous artists, topographical, capital cities, famous people, etc.

A large antique cream and gilt painted Column with parcel gilt circular socle and plaster capital A/F, 8ft 2in H x 1ft 2in D

CARVED OAK CORINTHIAN CAPITAL BASED GLASS TOP COFFEE TABLE 116CM X 89CM APPROX

A Cypriot black-topped red polished ware jug Middle Bronze Age, circa 2000-1800 B.C.With beaked spout and globular body, the handle dividing in two at the shoulder, a pierced lug at the base of the neck, with incised zig-zag and nodule decoration, inscribed in capital letters in white ink: 'CYPRUS.', 18cm highFootnotes:Provenance:J. O. Edwards (1911-2000) collection, UK, acquired prior to 5 April 1983; and thence by descent to the present owner.For further information on this lot please visit Bonhams.com

Three leaves from a copy of William Peraldus, Summa de Vitiis, in Latin, decorated manuscript on parchment [France, late thirteenth century] Three separate leaves, each with double column of 40 lines in a tiny university hand, capitals touched in red, red rubrics, 2-line initials in red or blue with contrasting penwork, running titles in same, one larger initial in variegated red and blue with elaborate penwork in both those colours, small spots and stains, slightly cockled throughout, else in good and presentable condition, each approximately 160 by 107mm.Acquired from Arenberg Auctions, Brussels, 14 December 2019, lot 761 (part). William Peraldus (c. 1190-1271) was a Dominican preacher from Peyraut in the Ardèche. He studied in Paris before entering the Dominican Order, rising to become prior of the community in Lyon in 1261, where he waited in attendance of Philip I, count of Savoy and archbishop of Lyon. His magnum opus was this work, the Summa de Vitiis, on the seven capital vices and sins, and it spread widely throughout Europe as a practical handbook for preaching. It survives in over 500 manuscripts, often from Dominican and Franciscan communities. The text here is from the parts of the work concerning lechery and fornication (specifically on those who cannot practise abstinence) and avarice: (i) Tractatus III 'De luxuria' Pars 4, and Pars 5 'De prohibitione simplicis fornicationis'; (ii) Tractatus III 'De luxuria' Pars 6; and (iii) Tractatus IIII 'De avaritia' Pars 2.Please note that this lot includes three leaves, not four as stated in the printed catalogue.

Leaf from an early copy of Arator, De Actibus Apostolorum, in Latin verse, with an apparently unrecorded Carolingian commentary, decorated manuscript on parchment [Germany, second half of tenth century] Single leaf, with single column of 23 lines in a short and square late Carolingian minuscule (last two lines of the heading for ch. 1, followed by the whole of ch. 1, excluding line 22 which has been cut away, the heading for ch. 2 and the first two lines of that chapter), using et-ligature integrally within words, a tall capital 'e' with a long tongue ending in a wedge-stroke and an uncial 'R' (compare hand of a contemporary Jerome: Munich, BSB., Clm 6313: Pracht auf Pergament, 2012, no. 21), near-contemporary interlinear gloss in a tiny hand, this also adding some punctuation, each line beginning with an initial offset in the margin, simple red initials, blind-ruled with this causing lifting of parchment along those lines, somewhat scuffed and discoloured, and with a small hole (without affect to text), trimmed at base with loss of a single line there, overall fair and presentable condition, 163 by 138mm. Provenance:Acquired in 2015 from Australian trade. Text:The sixth-century poet Arator rubbed shoulders with the greatest rulers and scholars of Early Medieval Italy. He served as a lawyer in the Gothic imperial capital of Ravenna, where he was treated with distinction by Emperor Theodoric the Goth (454-526), and protected by Cassiodorus (c. 484-c. 585), the intellectual titan of his age. He left the court about 544, and entered papal service as archdeacon of the Church. It was there he composed this work, a versification of the Acts of the Apostles that attempts to draw out the mystical and moral meanings of the texts. By papal order it was read aloud in the church of San Pietro in Vincoli, Rome, over a number of days, and in written form quickly spread across the empire.The earliest witnesses all come from a sudden bloom of interest in the ninth century, with A.P. McKinley listing twenty examples of that century, four of the ninth or tenth century and eight of the tenth century (Arator. The Codices, 1942, pp. 69-70, and perhaps also 'Membra disiecta of manuscripts of Arator', Speculum, 15, 1940, pp. 95-8). That focus of interest also produced four distinct commentaries in the ninth and tenth centuries (see 'Latin commentaries on Arator', Scriptorium, 6, 1952, pp. 151-156), some in interlinear form as here. The script of the commentary here is scuffed in places and wanting, but enough survives to note that it is not any of those catalogued by McKinley. It may well be another, as yet unstudied, Carolingian interlinear commentary.The text is rare on the market in any form, with the Schoenberg Database recording only two manuscript codices as ever having come to the open market, and none of those in the last century: (i) a fourteenth-century codex offered in Sotheby's, 2 March 1837, lot 974, probably the same reappearing in the same rooms, 20 June 1900, lot 7; (ii) a copy of c. 1450 sold by Evans, 6 February 1832, lot 150, reappearing in Thomas Thorpe's famous catalogue of 1200 manuscripts (1832), no. 63, and then again in Evans, 29 June 1839, lot 1369, to he bookseller Thomas Rodd, his cat. of 1841, no. 91; and to these should be added another fifteenth-century copy once owned by the infamous Guglielmo Libri and sold by him to the Ashburnham collection (no. 951 in the 1853 catalogue), and a late fifteenth-century German witness acquired privately by Thomas E. Marston and from him to the Beinecke Library, Yale, in 1964. Only one fragment is known to us, a mid-ninth century fragment in Quaritch, cat. 1036, Bookhands of the Middle Ages (1984), no. 123.