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A walnut-glued column mantel clock, France, Napoleon Trois, ca. 1870. Capital and base with marquetry in floral motifs, white enamel dial with black Roman numerals, gilded frame with relief in leaf motifs and provided with a ditto flower garland, Address "Lecoutre le françois, Genéve", on matching loose base, h60 cm, tot. 2x.

Sir David Wilkie RA (1785-1841)  The Dreamer Pencil and watercolour on paper, 12.7 x 17.8 cm (6 x 6¾") Titled in pencil, dated ‘Dublin, August 12th 1835Provenance: Colnaghi’s, London; Private collection, Channel IslandsAt the height of his immense fame as one of the most famous British artists of the nineteenth century, David Wilkie visited Ireland in the late summer of 1835 and The Dreamer is one of a series of drawings he executed in Dublin as part of a proposed visual exploration of Irish history and culture, As his early biographer records: it was suggested to Wilkie that ‘Irish history, domestic as well as national, had failed to attract the pencils of the recording brethren of the easel’.At this date, he continued, ‘Maclise had scarcely begun to embody the creations with which he has since illustrated Ireland’. And so ‘with a picture or two of a national kind in his head, the painter departed for Ireland and reached Dublin about the middle of August where he made sketches from scenes and characters such as he reckoned would unite well into a picture.’The first of these pencil sketches done from Dublin street characters and other notable personages, as recorded in the Life of the Artist of 1843, was the present work 1) The Dreamer. Others in the sequence included 2) The Holy Water; 4) The Nun’s Darling; 8) The Carmelite.  (Allan Cunningham, The Life of Sir David Wilkie….3 Vols,  London, 1843, Vol. 3, p. 99). Wilkie’s trip to Ireland can be followed through a sequence of dated drawings. The day after he drew The Dreamer, for example, on 13 August, he drew an Irish Baptism (British Museum, 1885,0711.29700); clearly the overt religiosity of the populace fascinated this son of the manse. However, Wilkie’s work outside the capital ultimately proved more fruitful than these Dublin drawings.Of the sketches made ‘in various parts of the island’ The Smuggling Still at Work and the Peep-o’-Day Boy were translated into major oils (National Gallery, Edinburgh, 1840; Tate, 1835–6, exhibited 1836). But the freshness of observed reality on display here, as Wilkie sketches a sleeping – and dreaming – book vendor, makes for a hugely appealing and very rare Irish work by this great Scottish artist. Important Irish Art | 6 December 2023 

An Italian patinated bronze figural group of the Capitoline Wolfafter the antique, probably late 19th century the model with the infant Romulus and Remus suckling from the She Wolf with aged verdigris patination, on rectangular veined marble plinth base, 23.5cm high, 32cm wide, 15.5cm deep overallFootnotes:The Capitoline Wolf depicts a scene from the legend of the founding of Rome showing a she wolf suckling the mythical twin founders of the capital. Perhaps one of the most recognisable icons of ancient mythology, the group has been housed in the Palazzo dei Conservatori on the Campidoglio (the ancient Capitoline Hill), Rome, Italy) since 1471 and has served as the inspiration for numerous later replicas.For further information on this lot please visit Bonhams.com

A 14 BORE FLINTLOCK SPORTING GUN BY WOGDON, WITH PRESENTATION SPANISH BARREL DATED 1782 with browned Spanish barrel formed in two-stages, swamped muzzle section fitted with silver ‘spider’ fore-sight, octagonal breech stamped on the top with gold-lined maker’s marks of Francisco Bustindui (Neue Støckel 137 and 138), a series of gold-lined decorative marks , the owner’s initials ‘HG’, the date in gold and, on the underside ‘Given me by Richard Cumberland Esq.r and brought from Madrid by him in 1782’, gold-lined vent, engraved tang, stepped bevelled lock engraved with scrolls on the tail and signed in script enclosed by fronds within an oval beneath the pan, figured walnut full stock, carved with a scrolling moulding with a scallop shell behind the tang, chequered grip, inlaid with the owner’s initials ‘HG’ in silver wire opposite the lock, engraved iron mounts comprising butt-plate, trigger-guard with acorn terminal, three ramrod-pipes, and horn fore-end cap (later horn-tipped ramrod), 90.7 cm barrel ProvenanceProbably presented by Richard Cumberland to the Irish Nationalist Henry GrattanPeter Dyson, circa 1998 LiteratureJohn O’Sullivan & De Witt Bailey, Robert Wogdon, Wogdon & Barton, John Barton, London Gunmakers 1764-1819, Bonhams 2019, p. 252-253 Richard Cumberland (1732-1811) was a spy and diplomat during the government of Lord North and is best known as a dramatist, playwright and poet. After leaving Trinity College, Cambridge, Cumberland in 1761 became private secretary to the Earl of Halifax in the Duke of Newcastle’s ministry and later held other government positions. His first success as a dramatist came with The Brothers (1769), a sentimental comedy whose plot is reminiscent of Henry Fielding’s novel Tom Jones, and he continued to write prolifically. The West Indian (1771) was first produced by the great actor-manager David Garrick and held the stage throughout the 18th century. He regarded an early tragedy, Tiberius in Capreae, as his masterpiece but could persuade no management to produce it and his serious works were not successful, with the exception of The Jew (1794) and The Wheel of Fortune (1795). Cumberland was querulous in the face of criticism and quarrelled with many famous contemporaries, notably Sheridan and Oliver Goldsmith, both of whom were opposed to sentimentalism in the drama. (abridged from Brittanica, accessed September 2023). Cumberland made a number of trips to Spain and Madrid, including a secret mission to the capital in 1780 as Secretary to the Board of Trade. For a full account see Memoirs Of Richard Cumberland, written by himself, Henry Flanders ed. 1826-1911. Spanish barrels, particularly those from Madr, were prized in the 18th century, as described in Acton’s essay on Shooting (1789) ‘…..The Spanish barrels have always been held in great esteem, as well on account of the quality of the iron, which is generally considered as the best in Europe, as for they pass for being forged and bored more perfectly than any others. It should be observed, however, that of the Spanish barrels, those only that are made in the capital are accounted truly valuable…..’ and ‘…..After the barrels of Madrid, those of Bustindui and St. Olabe at Placentia in Biscay; and of Jean and Clement Pedroestevo, Eudal Pous, and Martin Marèchal, at Barcelona, are the most esteemed; these usually sell in France for 80 French livres, or 3l. 10s…..’

A FINE 22 BORE FLINTLOCK SPORTING RIFLE BY DURS EGG, CIRCA 1790 with rebrowned octagonal twist barrel rifled with eight grooves, fitted with reblued folding back-sight and silver-gilt fore-sight, signed ‘D. Egg, London’ in gold capital letters over the breech, inlaid with two gold lines, and struck beneath with London proof marks, gold-lined vent, engraved case-hardened breech tang decorated with foliage inhabited by two game birds and a sunburst, engraved stepped bevelled lock retaining some early case-hardening colour, decorated with a hound putting up a game bird on the tail and signed beneath the pan, fitted with blued sliding bolt safety-catch, bevelled cock decorated with a spray of foliage, gold-lined semi-rainproof pan and border-engraved steel chiseled with a central triangular panel, the interior fitted with blued main and sear spring, figured walnut half-stock, finely chequered grip, the butt with raised cheek-piece on the left, case-hardened iron mounts, comprising butt-plate engraved with a hound putting up a game-bird on the tang, trigger-plate with stylised pomegranate finial, trigger-guard with a moulded pillar at the front, engraved with a game vignette on the bow and a star on the rear scroll, fore-end-cap decorated with a sunburst, vacant gold escutcheon, silver barrel bolt escutcheons, iron sling swivels, original wooden ramrod with chequered brass tip, iron sling swivels, vacant gold escutcheon, silver barrel bolt escutcheons and some early finish throughout, 69.6 cm barrel ProvenanceBonhams 23rd April 2008, lot 371. ExhibitedThe Rowland Club, Cotswolds weekend, June 2008. Durs Egg, son of Leonz a gunmaker in Oberbuchsiten, Switzerland, was born in 1748 and, after a short stay in Paris, is recorded working with John Twigg in London around 1772. He was granted denization in 1791, worked as Gunmaker and Sword Cutler, 24 Princes Street, Leicester Fields, 1778 - 86; 1 Coventry Street, Haymarket, 1786 - 1804; 132 Strand (near Somerset House), 1804 - 16; 1 Pall Mall Colonnade, 1816 - 32. He had a factory at 35 Mansell Street, 1794 – 11, his house and workshop was at 9 Kensington Gore, 1797 – 1802 and Knightsbridge Green, 1802 - 30. He was Contractor to Ordnance, 1784 – 1820, was granted patents for a breech loading gun, waterproof locks, recoiling barrel, pistol shoulder butt, tubular sights in 1803; and improved flintlocks, 3 & 4 barrelled guns, stick gun and safety powder flask in 1812. He was Gunmaker to George IV & Duke of York. A silver-mounted flintlock breechloading rifle by Durs Egg, made around 1784, is preserved in the Royal Collection, Windsor. He became blind in 1822 and died in 1831. See Blair 1973, pp. 266-299 and 305-353.

AN UNUSUAL 34 BORE FLINTLOCK SPORTING GUN BY EZEKIEL BAKER WITH FINE INDIAN BARREL, NO. 1937, CIRCA 1815 with earlier Arabian or Indian barrel formed in five moulded stages, with faceted vase-shaped muzzle, decorated behind with a spiralling design of silver and copper alloy lines, a section filled with hatched panels within diamond frames of copper alloy behind, a further spiral section and octagonal over the breech, the latter inlaid with a gold line and with gold-lined vent added at the time of its incorporation into the gun, struck beneath the breech with private view and proof marks of Ezekiel Baker, engraved tang decorated with flowers and foliage, numbered 1937 and stamped ‘EB', stepped bevelled lock decorated with a flower on the tail, a pair of game birds behind the cock and signed in gold capital letters beneath the pan, fitted with pierced cock, rainproof pan and steel spring with roller, figured walnut full stock, finely chequered ‘pistol’ grip, inlaid with a hound in pursuit of a hare in silver opposite the lock, the butt with raised cheek-piece on the left, steel mounts comprising butt-plate decorated with a hound, trigger-plate with pineapple finial, trigger-guard signed by the maker and decorated with a hound and a game bird, three ramrod-pipes, vacant shield-shaped silver escutcheon and a further silver escutcheon set into the grip, three ramrod-pipes, silver barrel bolt escutcheons, a silver band over the fore-end, and early horn-tipped wooden ramrod, 114.3 cm barrel ProvenanceChristies Arms & Armour Sale, 12th December 1997, Lot 133

˜ A CASED 80 BORE FIVE-SHOT PERCUSSION PRIZE REVOLVER BY JAMES WORRAL, FOREGATE ST, CHESTER, PRESENTED BY MRS J. WORRAL TO THE CHESTER RIFLE VOLUNTEERS, OCTOBER 1ST 1860 AND WON BY MR J. G. CHURTON with octagonal sighted silver-plated barrel of 'hog's back' form, engraved with a band around the muzzle, signed by the maker over the forward portion, stamped 'patent' in capital letters on the left and inscribed 'J. G. Churton' within a frame of foliage on the top-strap, silver-plated frame engraved with border ornament, grapes and vine foliage, inscribed 'no. 1624' on the left, plain numbered cylinder, finely chequered butt, engraved silver-plated trigger-guard and butt-cap, the latter with trap-cover, silver-plated trigger, and in untouched condition with much silver-plating throughout: in its fitted mahogany case lined in blued velvet (small areas of wear), the case lid with engraved trade label on the inside and fitted with a large rectangular presentation plaque on the outside, complete with accessories including bullet mould with spru-cutter retaining some blued finish, powder-flask by Dixon & Sons with some silver-plated finish, oil bottle and turn-screw, 11.3 cm barrel The presentation inscription reads: 'Prize Revolver presented by Mrs J. Worrall to the Chester Rfle Volunteers, October 1st 1860. Won by Mr J. G. Churton.'

Vintage Airlines Advertising Collection of 32 Includes Lockheed, Iberia, Air France, Capital, Large Photo, Artwork, approx advert size 14 x 10.5 inches. =Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

CORGI; twenty-two 'The Original Omnibus Company' diecast model buses, including 'Bridges and Spires Set 97097' (x2), 'Capital and Highlands Set 97096', all boxed (22).

A post-War C.B. group of nine awarded to Chaplain of the Fleet the Right Reverend Ambrose Weekes, Royal Navy, later Dean of Gibraltar and Suffragan Bishop in Europe The Most Honourable Order of the Bath, C.B. (Military) Companion’s neck badge, silver-gilt and enamel, with both full and miniature-width neck ribands, in Collingwood, London, case of issue; Defence and War Medals 1939-45; Korea 1950-53, 1st issue (Chaplain A. W. M. Weekes R.N.); U.N. Korea 1950-54, unnamed as issued; Naval General Service 1915-62, 1 clasp, Brunei (Chaplain A. W. M. Weekes. R.N.); General Service 1962-2007, 1 clasp, Borneo (Chaplain Revd. A. W. M. Weekes. R.N.) service officially corrected; Jubilee 1977, unnamed as issued; Malaysia, Federation, Pingat Jasa Malaysia, in case of issue, second to eighth mounted as worn; together with the related miniature awards, the NGS 1915-62 for Brunei inexplicably replaced with a GSM 1918-62 for Brunei, the first eight mounted as worn, the PJM loose in case of issue, contact marks to the Second War pair, otherwise generally good very fine (lot) £1,000-£1,400 --- C.B. London Gazette 13 June 1970. The Right Reverend Ambrose Walter Marcus Weekes was born in Queensborough, Kent, in 1919, and was educated at Sir Joseph Williamson’s Mathematical School, Rochester, and King’s College, London. He was ordained Deacon by the Bishop of Rochester, the Rt. Rev. Christopher Chavasse, O.B.E., M.C. (and the twin brother of Noel Chavasse, V.C. and Bar, M.C.) on 31 May 1942, and Priest the following year, prior to joining the Royal Naval Volunteer Reserve as a Chaplain. He served during the Second World War in H.M.S. Drake and during the Korean War in H.M.S. Triumph and, remaining in the Navy, rose through the ecclesiastical ranks, becoming Chaplain of the Fleet - the most senior Chaplain in the Royal Navy - in 1969. Appointed a Companion of the Order of the Bath in the 1970 Birthday Honours List, Weekes retired from the Royal Navy in 1972, and was offered the Chaplaincy of Tangier in Morocco. The following year, he left Tangier to become Dean of Gibraltar, from which, in 1977, he was consecrated Suffragan Bishop in the newly created Diocese in Europe (the Diocese which was responsible for all of the Anglican Churches in Continental Europe). Over the next nine years he visited every Capital City in Europe (a large number of which were still behind the Iron Curtain), before retiring in 1986, and becoming the priest of the English Church in Montreux. Here his patch was equally large and diverse, and included the ski resorts of Verbier and St. Moritz (the latter a significant distance from the shore of Lake Geneva!). Finally retiring back to London, Weekes spent the last few years of his life undertaking various cruises, usually on the Cunard liner Queen Elizabeth 2, visiting many of the places he had seen during his time in the Navy or as Bishop in Europe. He died in London on 24 April 2012. Sold with the recipient’s pre-1977 riband bar; Chaplain of the Fleet Badge; RN Officiating Chaplain Badge; identity disc; Royal Navy cap badge tally; two Archdeacon of the Royal Navy Certificates, both signed by the Archbishop of Canterbury Michael Ramsey; Freedom of the City of London Certificate; various photographs of H.M.S. Ark Royal; and a copy of the recipient’s memoirs: An Interesting Life, the Memoirs of Rt. Revd. Ambrose W. M. Weekes, CB, QHC, AKC, FKC, RN, which contain many photographs.

An unusual Victory Medal awarded to Acting Warrant Officer 2nd Class W. T. McGuire, Royal Garrison Artillery, who served on the Arabian peninsula as part of the ‘Aden Brigade’ using camels to pull the gun carriages, but whose military career was promptly terminated when convicted of theft in Scotland Victory Medal 1914-19 (14433 Cpl. W. T. McGuire. R.A.) nearly extremely fine £40-£50 --- William Thomas McGuire was born in Woolwich, London, on 18 November 1886. During the Great War he joined a very select force of British and Indian Troops, serving in Aden from 4 July 1915 with the 61st Battery, Royal Garrison Artillery. He arrived as Ottoman forces from North Yemen crossed the frontier of the Aden hinterland and attempted to capture the capital of the Abdali Sultanate of Lahij - which at that time acted as the centre of trade between the British crown colony of Aden, and its hinterland, the princely states under a protectorate. Outnumbered by several thousand Ottoman troops and Arab tribesmen from Mawiyah supported by twenty guns, the British were forced to withdraw on the Kawr, their decision hastened by extreme heat and a lack of drinking water. The loss of Lahij and death of the Sultan proved a bitter pill for the British, more so given the desertion of the camel drivers in the night, but it wasn’t long before they exacted their revenge; according to Aden by author Richard J. Shuster, a small force under Lieutenant Colonel A. M. S. Elsmie later ‘completely defeated them’ at Shaikh Othman. McGuire survived the war and is recorded in the British Army List of 1922 as Master Gunner. He remained with the Territorials throughout the 1920s, but his military career came to an abrupt end on 16 July 1929 when he was convicted at Dunfermline Sheriff Court of stealing copper cable; the recipient’s MIC notes discharge on 21 August 1929, but adds: ‘medals not forfeited.’

A fine South Atlantic Medal awarded to Guardsman J. G. Mitchell, No. 7 Platoon, ‘G’ Company, 2nd Battalion Scots Guards, who took part in the assault and capture of Mount Tumbledown 13-14 June 1982, one of the most ferocious British infantry engagements since the Second World War South Atlantic 1982, with rosette (24313868 Gdsm J G Mitchell SG) extremely fine £1,400-£1,800 --- John G. ‘Oddball’ Mitchell was born in 1955 and served with the Scots Guards during some of the most intense fighting of the entire Falklands Campaign. Like many of his young comrades, he thoroughly enjoyed the voyage to the South Atlantic, indeed: ‘it was a good laugh, because we all thought that peace would be declared before we got there... but we were wrong, and in the end we had to be the point platoon on Tumbledown’. Described by the contemporary press as ‘ordinary’ men from ordinary backgrounds, it fell to Mitchell and his pals of the 2nd Battalion, Scots Guards, to take on a well-dug-in and determined battalion of Argentine Marine Infantry, capture the summit and open the gateway to Port Stanley. The importance of Mount Tumbledown lay in its height and its location just four miles west of the Capital. A barren and inhospitable outcrop, its value lay in commanding views and rocky crevices which effectively made any kind of daylight attack suicidal. Recognising this, H-Hour was fixed for 2100hrs, the men of the Scots Guards being airlifted by helicopter to the assembly point some three kilometres away. Here they dug temporary sangars and were shelled by the enemy for most of the day, wounding one man. The blessing of darkness couldn’t come too soon. With ‘G’ Company in the lead, Mitchell and his comrades began the advance along Goat Ridge in line-ahead formation. Amid sporadic snow flurries and artillery and mortar fire, as well as star shells, all from the Stanley direction, they managed to get onto their first objective, only to find that the Argentines had abandoned it in favour of stronger positions near the summit. Remaining undetected, the Scots Guards lay in the tussocks and listened to the sounds of Spanish being spoken above them. At 2230hrs the Left Flank passed through the Company, upon which all hell broke loose as the defenders opened up. To the left, Second Lieutenant James Stuart struggled to negotiate rocks which had a propensity to break ankles and lacerate calves at will; both left, right and centre platoons then tried to dislodge the enemy with 84mm and 66mm rounds and M79 grenades, but the Argentines, who turned out to be regulars of the 5th Marine Battalion, were not to be budged. Fighting crag to crag, the battle became reminiscent of scenes from the Great War. At 0230hrs Company Commander Major John Kiszely informed Battalion Headquarters by radio that he intended to attack with fixed bayonets. Leading his men forward in a charge: ‘The sangars were overrun and enemy killed, but it was tough fighting. Major Kiszely himself had a lucky escape. An enemy round lodged in the compass on his belt and he killed one Argentine with his bayonet’. Finding himself atop Tumbledown with only six men, three of whom were immediately wounded, the Major went though some very anxious moments, only relieved by the arrival of the Right Flank to consolidate the position. As the sun rose, it finally became clear that the enemy had lost any desire for a counter-attack, and in scenes reminiscent of the Raising of the Flag on Iwo Jima of 23 February 1945, the men of No.7 Platoon, ‘G’ Company, Scots Guards, had their photograph taken atop the summit. Published around the world, the image became one of the best known of the entire war, the recipient being easily identifiable as the ‘gap toothed’ Guardsman wearing the beret to front. The Battle of Mount Tumbledown resulted in 9 men killed in action and 43 wounded. The Argentines lost 30 men with a further 30 taken as Prisoners of War. For their courage displayed during the attack, soldiers of the 2nd Battalion, Scots Guards, were later recognised with the award of 1 DSO, 2 MC’s, 2 DCM’s (one posthumous), and 2 MMs.

A GEORGE V SILVER THREE-LIGHT CANDELABRUM by Britton, Gould & Co, Birmingham 1935, the detachable superstructure with scroll-form arms supporting three Corinthian capital sconces with beaded nozzles and drip pans, all raised on a square-section tapering stem continuing to a stepped square base, presentation engraving, weighted. 49cm high

A PAIR OF GEORGE VI SILVER CANDLESTICKS by Britton, Gould & Co, Birmingham 1939, each with a removable beaded nozzle above a Corinthian capital sconce, raised on a octagonal tapering stem issuing from a square stepped base with lion masks. (2) 35cm high, 30.7 troy ounces gross

Collection of football memorabilia to include Manchester Utd season league match tickets 2001/02 x 2, 2002/03 x 2, 2003/04 x 2, 2004/05 x 2, 2005/06, 1999/2000 x 3, unused match tickets therein noted; Manchester Utd match tickets 1999/2000 Real Madrid (champions league) x 2, Spurs x 2, 2000/01 Panathinaikos (champions league) x 2, Dynamo Kiev (champions league) x 2, PSV Eindhoven x 2, Anderlecht (champions league) x 2, WHU (FAC) x 2, Bayern Munich (champions league) x 2, 2002/03 Deportivo (champions league) x 2, Portsmouth (FAC) x 2, Arsenal (FAC) x 2, WHU (FAC) x 2, Real Madrid (champions league), 2003/04 Rangers (champions league) x 2, 2004/05 Arsenal (Carling) x 2, AC Milan (champions league) x 2, 2006/07 Aston Villa (FAC) x 2, Reading (FAC) x 2, Portsmouth (FAC) x 2, Middlesbrough (FAC) x 2, AS Roma (champions league) x 2; Aways 2012/13 QPR, 2014/15 at MK Dons (Capital 1 Cup) x 2, and 2000/01 at Anderlecht (champions league) x 2, 2012/13 at Chelsea (FAC); 1970 George Best's World Cup Preview magazine special, Manchester United supporters official membership card 1960s, Manchester United supporters official membership card 1960s, 1962 Football Souvenir (photos of clubs teams) with Bobby Charlton to cover), 1963/64 football programmes Manchester Utd v Strasbourg (ICFC), Blackburn Rovers v Manchester Utd, Burnley v Manchester Utd, Manchester Utd v WHU (FAC s/f), Scotland v England 1964, 1966 FAC Final Everton v Sheffield Wednesday plus Football League Reviews 1960s onwards (40); fair. (A Lot)

Selection of Manchester Utd match tickets homes 1956/57 Everton (FAC), 1961/62 Bolton Wanderers (FAC), 1963/64 Spurs (ECWC), 1963/64 Sporting Lisbon (ECWC), 1968/69 Liverpool, 1969/70 Manchester City (FAC), 1976/77 Aston Villa 1977/78 Liverpool, 1981/82 Manchester City, 1998/99 The Treble Winners Homecoming MEN Arena ticket 27 May 1999, 2010/11 Juventus (Gary Neville testimonial) + International Suite ticket, 2013/14 Sevilla (Rio Ferdinand testimonial); aways 1964/65 Wolves (FAC), 1965/66 Everton (FAC s/f) at Bolton Wanderers, 1976/77 Leeds Utd (FAC s/f at Hillsborough), 1999/2000 Real Madrid (CL), 2008/09 Celtic (CL), 2009 PSSI (Indonesia) 20 July 2009, 2009/10 Bayern Munich (CL), 2011 Chicago Fire 23 July 2011, 2011 Seattle Sounders 20 July 2011, 2012 Shanghai Shenhua 25 July, 2012 Amazulu Durban 18 July 2012, 2013 Yokohama F. Marinos 23 July, 2013/14 Sunderland (Capital One s/f), 2017 EFL Final v Southampton 26 February 2017 at Wembley; also 2017 Salford City v Class of '92 & friends at Peninsula Stadium 12 November 2017 + United pin badges (4) (32)

England, 14th century A.D. Vellum manuscript page with illuminated capital in blue, green, coral and liquid gold and dense blackletter text with decorative bands in blue, white and liquid gold; Latin prayer beginning 'Domine ihu xpe' (Lord Jesus Christ) .. ut lancea caritatis tue penetres cor meum (so that the spear of your love may penetrate my heart); below, 18th century printed image of the ruins of Crowland Abbey; both in a glazed wooden frame with a burgundy reveal. 1.25 kg, 45 x 31 cm (17 3/4 x 12 1/4 in.).From a Blackheath, London, UK, deceased estate. Property of a Suffolk, UK, gentleman.

14th-15th century A.D. Formed as a capital 'N' or 'Z' with spurs to the median bar and swept arms; reserved enigmatic inscription 'MON[.] / [..] / NISI[.]. 19.3 grams, 55 mm (2 1/8 in.).Acquired on the UK art market in the 1990s. Ex Paul Moore, Sussex, UK. Property of a Stowmarket, UK, gentleman. Accompanied by a previous typed and encapsulated identification card. [No Reserve]

Rome, 1460-1470 A.D. With fifteen lines of Latin text in blackletter script; burnished gold capital on red and blue; in a cardboard mount with reveal. 96 grams, 25.5 x 20.5 cm (10 x 8 in.).Acquired on the UK art market in 2016. Property of a Nottinghamshire gentleman. [No Reserve]

2nd-3rd century A.D. The monogram in Roman capital letters, ('R'+'M'+'A', with the 'O' represented by the circular rim of the brooch itself), a palindrome 'AMOR'; complete with pin. Cf. Heynowski, R., Bestimmungsbuch Archaeologie: Fibeln, Munich, 2012, item 3.26.11, for type; for a similar brooch discovered on the Isle of Wight, United Kingdom, see database in Portable Antiquities Scheme website. 15.8 grams, 37 mm (1 3/8 in.).Acquired on the UK art market before 2000. Property of a Surrey, UK, collector.The brooch is composed of the stylised letters ‘RMA’. When viewed from the obverse RMA + the circle of the brooch form a monogram for ‘Roma’. Roma refers to both the city and its divine personification, the Dea Roma. But if RMA is read from right to left (or the brooch is viewed from the opposite side), the letters display a monogram for ‘AMOR’, the Latin name for Cupid, the god of love. The phrase pertains to Roma-Amor, a widely recognised palindrome espousing Roman wordplay in the ancient times.

Jan Vertonghen white and blue No.5 Tottenham Hotspur v. Chelsea match issued Capital Cup Final short-sleeved shirt, 2015, Under Armour, LG with crew-neck collar and embroidered badge, with CAPITAL ONE CUP FINAL WEMBLEY STADIUM 1 MARCH 2015 decal, the reverse lettered VERTONGHEN, the sleeves with Capital Cup Final flashes 

Tottenham Ham Hotspur white, blue and yellow Capital Cup Final worn tracksuit top, 2015, Under Armour, LG/Gwith zip-up front with embroidered badge and CAPITAL ONE CUP FINAL WEMBLEY STADIUM 1 MARCH 2015 decal, the reverse lettered SPURS 

The Scrayingham Hoard of 28 Roman Denarii Roman Imperial Coinage, 1. Vitellius, Denarius, 69, a vitellivs germanicvs imp, bare head right, rev. Victory seated left, holding patera and cornucopia, 2.96g/6h (RIC 71; RSC 121). Fine, scuff on obverse 2. Domitian (as Caesar), Denarius, 76-7, laureate bust right, rev. cos iiii, Pegasus standing right, foreleg raised, 2.96g/6h (RIC 921; RSC 47). Fair 3. Domitian, Denarius, 87, laureate head right, rev. imp xiii cos xiii cens p p p, Minerva standing left on capital, brandishing spear and holding shield, owl by feet, 2.91g/6h (RIC 518; RSC –). Good fine 4. Domitian, Denarius, 87, laureate head right, rev. imp xiii cos xiiii cens p p p, Minerva standing left on capital, brandishing spear and holding shield, owl by feet, 3.36g/6h (RIC 576; RSC 236). Very fine, earthen patina 5. Domitian, Denarius, 95-6, laureate head right, rev. imp xxii cos xvii cens p p p, Minerva standing left, holding spear and thunderbolt, shield by feet, 3.26g/7h (RIC 789; RSC 291). Very fine, some scratches and earthen deposits 6. Nerva, Denarius, 97, imp nerva caes avg p m tr p cos iii p p, laureate bust right, rev. concordia exercitvvm, clasped hands, 3.15g/6h (RIC 14; RSC 20). Very fine 7. Trajan, Denarius, 112-14, laureate bust right, draped over far shoulder, rev. spqr optimo principi arab adq, Arabia standing left, holding branch, camel by feet, 3.05g/7h (RIC 245; RSC 26). About very fine, earthen deposits 8. Trajan, Denarius, 112-14, laureate and draped bust right, rev. spqr optimo principi, Felicitas standing left with caduceus and cornucopia, 3.07g/7h (RIC 271; RSC 404b). Very fine, nicely centred 9. Trajan, Denarius, 114-17, laureate and draped bust right, rev. [cos vi pp] spqr, Mars advancing right, holding spear and trophy, 3.53g/6h (RIC 299; RSC 103). Good fine 10. Trajan, Denarius, 114-17, laureate and draped bust right, rev. parthico p m tr p cos vi pp spqr, Mars advancing right, holding spear and trophy, 3.44g/7h (RSC 190; RIC 331). Very fine, nicely centred 11. Hadrian, Denarius, 118, laureate bust right seen from the front, drapery over far shoulder, rev. pm tr p cos ii pietas, Pietas standing left, raising right hand, 3.10g/6h (RIC II.3 127; RSC 1027). Good fine 12. Hadrian, Denarius, 120-1, laureate bust right, rev. pm tr p cos iii sal avg, Salus seated left, serpent rising from altar, 2.90g/7h (RIC II.3 374; RSC 1324). Good fine 13. Hadrian, Denarius, 120-1, laureate and draped bust right, rev. pm tr p cos iii, Victory flying right, carrying trophy, 3.05g/8h (RIC II.3 400; RSC 1132a). About very fine 14. Hadrian, Denarius, 128-9, laureate head right, rev. cos iii, Minerva standing right, holding spear and resting hand on shield, 3.15g/6h (RIC II.3 943; RSC 295). Very fine 15. Hadrian, Denarius, 130, draped bust right, rev. romvlo conditori, Romulus marching right, carrying spear and trophy, 3.33g/6h (RIC II.3 1429; RSC 1317b). Very fine, a scarcer type 16. Hadrian, Denarius, 130-3, laureate bust right, rev. restitvtori hispaniare, Emperor standing left, about to raise Hispania kneeling right and holding branch, 3.02g (RIC II.3 1580; RSC 1260). Very fine, earthen deposits 17. Hadrian, Denarius, 133-5, bare-headed bust right, slight drapery on far shoulder, rev. Salus standing right, snake rising from altar, 2.89g/5h (RIC II.3 2048; RSC 1336). Fine 18. Hadrian, Denarius, 137-8, bare-head right, rev. spes pr, Spes advancing left holding flower and raising hem of skirt, 3.29g/7h (RIC 2360; RSC 1411). Very fine, dark find patina 19. Antoninus Pius, Denarius, 139, bare head right, rev. tr p cos ii, modius with corn-ears and poppy, 3.67g/6h (RIC 58a; RSC 874a). About very fine 20. Antoninus Pius, Denarius, 148-9, laureate head right, rev. cos iiii, Annona standing left, holding corn-ears above modius, 3.32g/7h (RIC 175; RSC 284). About very fine 21. Antoninus Pius, Denarius, 148-9, laureate head right, rev. cos iiii, Felicitas standing left, holding long caduceus and cornucopia, 3.43g/12h (RIC 178; RSC 252). Good very fine 22. Antoninus Pius, Denarius, 153-4, laureate head right, rev. cos iiii, Annona standing left, holding corn-ears, modius behind, 3.04g/6h (RIC 231; RSC 291). Good very fine 23. Antoninus Pius, Denarius, 154-5, laureate head right, rev. cos iiii, Vesta standing left, holding patera and palladium, 2.91g/6h (RIC 238; RSC 201). Nearly very fine 24. Diva Faustina Senior, Denarius, after 141, draped bust right, rev. aeternitas, Juno standing left, raising hand and holding sceptre, 3.34g/12h (RIC Pius 344; RSC 26). Better than very fine 25. Diva Faustina Senior, Denarius, after 141, draped bust right, rev. aeternitas, Providentia standing left, holding globe, veil blowing out behind, 3.36g/6h (RIC Pius 351a; RSC 32). Good very fine 26. Diva Faustina Senior, Denarius, after 141, draped bust right, rev. avgvsta, Vesta standing left, holding simpulum and palladium, 3.12g/6h (RIC Pius 368; RSC 108). Better than very fine, some surface deposits 27. Diva Faustina Senior, Denarius, after 141, draped bust right, rev. avgvsta, Pietas standing left, holding patera over altar, 2.83g/6h (RIC Pius 373; RSC 124a). Good fine 28. Faustina Junior, Denarius, 161-76, draped and diademed bust right, rev. salvs, Salus seated left, feeding serpent, 3.48g/6h (RIC 714; RSC 195). About very fine £1,200-£1,500 --- Provenance: found near Scrayingham, North Yorkshire, 17 September 2022 (PAS LVLP-1032BB; TVC 2022 T1069)

Amsterdam plan from the beginning w. enlargements till ca. 1660. Copper engr.. 29 x 40 cm, wrinkled along in Rynland, Kennemerland en Amstelland. Isaak Tirion, ca. 1760. Col. copper engr., w. folds as publ., 35 x 44 cm. (2-3) Amsterdam aan de waterkant van 't Y te sien. View by Daniel Stoopendael for Casparus Commelin. One from the first ed. Amsterdam, 1693. Later colouring, copper engr., 25 x 52 cm. The other uncol., large margins w. notes in pencil, later ed., 1726. Both views w. folds as publ. (4) An accurate view of Amsterdam, the capital of the Dutch Netherlands. A fine view of Amsterdam as seen from the Y with numerous sailing ships and boats in the foreground. The scene is surrounded in a decorative picture-frame style border. Engraved by John Lodge and published by Alexander Hogg. London, ca. 1780. 20 x 29 cm., later colouring, in passepartout. (total 4)

Five designs for book covers of N.V. van Munster's Uitgevers-My. Amst., ca. 1930, all approx. 19 x 12 cm, black ink touched w. col. gouache, all signed, 3x w. annotations in pencil, 3x between protective sheets. Comprises: (1) Skolaster, H. In de macht der toovenaars. Incl. a separate sheet indicating where the blue col. should be applied (as done in the drawing). (2) Borius, J. Rond den toren. (3) Gogol, N. Tarass Boulba. (4) Maryan, M. Een eereschuld. (5) Montgomery, F. Saam-gebracht. -and 20 other designs in green and red gouache, depicting Christmas themes, var. sizes, 1x monogrammed "NB", all mounted, partly w. annotations. in red chalk/ pencil on mounts. Comprises a series of 10 capital letters, decorative friezes and scenes from the Christmas story. -and 3 printed booklets w. wr. des. by Baak. Added: 2 orig. book cover designs by unidentified artists. (total 30)

[MAPS] AFTER GUILIELMO BLAEUW; a reproduction map of Europe, with cartouches to the top depicting nine of the capital cities, and the map flanked to each side by figures, 62 x 82cm, together with an unattributed map of France, 69 x 48cm, each map framed and glazed (2)

Pair of Burmantofts turquoise-glaze corinthian column candlesticks, H29cm and another in an olive green glaze, all having impressed factory marks beneath, model no. 1198 (3)Condition Report:Olive green candlestick: chip to the base corner. Turquoise candlesticks: One has a chip to the base corner and further glaze chips to the other three corners, heavy crazing and small glaze chips to the capital and sconce and discolouration. The second is also heavily crazed and discoloured to the capital/ sconce, with small glaze chips around the edge. Fading of glaze to base corners. All three have surface wear and crazing commensurate with age, the two turquoise candlesticks have wax residue.

Late 19th century Neoclassical design rouge marble and mahogany pedestal or jardinière, the circular marble rest over a Corinthian order capital, the octagonal column with a cavetto socle on a stepped base with square marble plinth Dimensions: Height: 91cm  Length/Width: 30cm 

Classical carved giltwood Ionic column, square top over volute and egg and dart carved capital, fluted shaft on circular and square moulded baseDimensions: Height: 235cm  Length/Width: 38cm  Depth/Diameter: 38cm

19th century lantern on post, faceted copper and glazed lantern top, cast iron foliage capital over twist decoration and lattice stem, octagonal base Dimensions: Height: 190cm 

Victorian cast iron pedestal, Composite capital held aloft by sitting putto, the pedestal base draped in fruit and foliage, stepped and moulded circular baseDimensions: Height: 90cm 

THE GLENLIVET 12 YEARS OLD Unblended All Malt Scotch Whisky 40% vol 75cl in St Andrews Classic Golf Courses of Scotland Presentation Tin Box, GLENFIDDICH AGED 12 YEARS Special Reserve Single Malt Scotch Whisky 40% vol 70cl, THE ANTIQUARY 12 YEARS OLD Superior Deluxe Scotch Whisky 40% vol 70cl e, GORDON & MACPHAIL 5 Years Old Blended Scotch Specially labelled "The Olde Ship Hotel Seahouses" 40% vol 70cl, CLANSMAN AGED 5 YEARS Blended Scotch Whisky 40%vol 75cl CHIVAS REGAL AGED 12 YEARS Blended Scotch Whisky 26 2/3 FL.OZ 75° PROOF WHYTE & MACKAY The Whisky of 1990 40% Vol 75cl, To celebrate Glasgow as the Cultural Capital of Europe 1990, Whyte & Mackay distillers Ltd have created this unique limited edition whisky. The specially commissioned painting on the label of The Whisky of 1990 is by distinguished Glasgow artist Archie Forrest. Born in 1950, he is a graduate of the Glasgow school of Art and a regular exhibitor in major exhibitions. (7) Condition Report:Available upon request

KATSUKAWA SHUNWA (ACTIVE 1790-1830): 'THE YUREI OF OIWA, YOTSUYA KAIDAN'Japan, late 18th - early 19th century. Ink and watercolors on silk. Mounted as a hanging scroll, on partially fabric and gold thread coated paper, with lacquered handles. Depicting the grim figure of the ghost of Oiwa holding an infant, clad in a white kyokatabira (the burial kimono), her pale face with the left eye drooping down the face, the partially bald head with long and ragged hair.Inscriptions: To the left margin, inscribed ‘Toto Katsukawa Shunwa ga’ 東都、勝川春和画 (‘Painted by Katsukawa Shunwa, The Eastern Capital (Edo/Tokyo)’). One seal, ‘Shunwa’ 春和. Inside the tomobako storage box is a paper label reading: ‘Katsukawa Shunwa, Yurei, Tourou (Doro)’, ‘A painting of a ghost, from the Botan Doro (Peony Lantern Ghost Story)’.Provenance: From a British private collection of Japanese paintings, mostly focusing on paintings of Yurei and other bakemono.Condition: Good condition with some wear, creases, small tears, and few touch-ups. The mounting with expected wear, traces of use, creasing, and folds.Dimensions: Image size 47.3 x 26 cm, Size incl. mounting 129 x 35.3 cmWith a tomobako storage box. (2)Yotsuya Kaidan is a classic Japanese ghost story that dates back to the 18th century. It revolves around the tragic and vengeful spirit of Oiwa, a woman who is wronged by her husband and ultimately becomes a malevolent ghost seeking revenge. The story is known for its themes of betrayal, supernatural elements, and the consequences of human actions. It has been adapted into various forms of Japanese literature, theater, and film and remains a prominent and influential piece of Japanese horror folklore.Katsukawa Shunwa, also known as Katsukawa Shuntei II was a Japanese painter and printmaker in the ukiyo-e style active between 1790-1830. He studied Katsukawa Shunshō at the Katsukawa school. His style followed that of the school’s founder, Miyagawa Shunsui.The Katsukawa school was a school of Japanese ukiyo-e art, founded in the mid-18th century. It specialized in paintings and prints of kabuki actors, sumo wrestlers, and women. The school was created as the result of political oppression of the Kanō school of painting by the Tokugawa shogunate around 1750 and became popular during the end of the 18th century because of its portraits of famous actors. Unlike those of the Torii school, which were more stylized, Katsukawa portraits sought to express the individual identities and personalities of those depicted. Around 1800, however, the Utagawa school rose to prominence, replacing the Katsukawa in producing the most popular actor portraits. The school thus came to an end around 1840.

GAO JIANFU (1879-1951): 'MAJESTIC EAGLE ON CLIFF'China, dated 1917. Ink, watercolors, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame. Finely painted with an eagle perched on a cliff, its talons clasped sharply around the outpost, keeping its footing, as it attentively surveys the area nearby.Inscription: To the top-right, inscribed ‘In June of the 5th year of the Republic period, Gao Lun painted in Japanese capital’. One seal ‘Gao Jianfu’. Another seal at the bottom right corner.Provenance: French trade.Condition: Good condition with minor wear, few stains, and very few touch-ups. The mounting with traces of age and wear.Dimensions: Image size 113.5 x 35.5 cm, Size incl. mounting 196 x 48 cmGao Jianfu (1879–1951), a native of Guangzhou, was credited for leading the Lingnan (Canton) School’s effort to modernize Chinese traditional painting as a ‘new national painting.’ Along with his brother Gao Qifeng and friend Chen Shuren, they are known as the Three Masters of the Lingnan School. Gao Jianfu learned painting with Ju Lian (1828-1904) in his early years before he went to Japan, where he was influenced by the Nihonga movement that synthesized Western realism—natural light and luminous colors—with Eastern materials, techniques, and subject matter. This new hybrid art included the use of perspective, and other elements of Western painting. Jianfu once wrote: ‘I think we should not only take in elements of Western painting. If there are good points in Indian painting, Egyptian painting, Persian painting, or masterpieces of other countries, we should embrace all of them too, as nourishment for Chinese painting.’ While in Japan and after his return, he was involved in Sun Yat-sen’s revolutionary movement. After Sun Yat-sen passed away, Gao Jianfu devoted himself to the modernization of Chinese painting and art education.Auction result comparison: Type: Closely relatedAuction: Shanghai Chongyuan Arts Auction Co. LTD, Shanghai, 30 June 2005, lot 1237Price: CNY 286,000 or approx. EUR 57,000 converted and adjusted for inflation at the time of writingDescription: Gao Jianfu (1879-1951), Eagle and Pine (1923)Expert remark: Compare the closely related subject. Note the size (58 x 90 cm).

WARHOL ANDY: (1928-1987) American pop artist. An excellent vintage signed postcard photograph of Warhol in a head and shoulders pose. Signed in blue ink with his name alone (with a more unusual form of his signature in capital letters) to the lower white border. One very slight, extremely minor corner crease, otherwise VG

DUMAS ALEXANDRE Pere: (1802-1870) French Writer whose works include The Three Musketeers. A fine A.L.S., `Al Dumas´, a bold ink signature, two pages, 4.5 x 5, n.p., n.d., to Madame Porcher, in French. On his personal stationery, bearing a blind embossed seal with his laureated capital initials to the upper left corner of the letter. Dumas tries to have his works performed and referring to his correspondent´s husband, states in part `Porcher devrait bien profiter de ses relations amicales avec Cormon pour faire représenter quelques pieces de mon repertoire…´ (Translation: “Porcher should take advantage of his friendly relations with Cormon to have some works of my repertoire performed…”) Further Dumas, as usual, tries to negotiate with his works and rights, stating `Dites au fondé de pouvoir que s´il veut transiger sur notre procès, je lui donnerai 600 fr. et à la vente nous partagerons les droits par moitié, sinon je m´opposerai à ce que la pièce soit jouée et il perdra tout…´ (Translation: “Tell the representative with proxy that if he wants to reach a deal on our lawsuit, I will give him 600 francs, and upon sale we will share the rights, half each, otherwise I will oppose the play being performed and he will lose everything…”) Further Dumas, who is evidently out of town, asks for news listing a number of names. A boldly and cleanly written letter. With two very small areas of paper loss to the left edge, not affecting the text or signature, otherwise VG Jean Baptiste Porcher (1792-1864) and his wife were French Theatrical Agents who used to purchase copyrights and ticket passes for their authors, later reselling them at the entrance doors of theatres. He very often advanced money to Dumas and other artists, sometimes keeping some manuscripts in pledge.

DUMAS ALEXANDRE Pere: (1802-1870) French Writer whose works include The Three Musketeers. A fine and clean A.L.S., `Al Dumas´, one page, 8vo, n.p. [Paris], n.d., to Paul Gavarni, in French. On his personal stationery, bearing a blind embossed seal with his laureated capital initials to the upper left corner of the letter, Dumas refers to one of his main works The Count of Montecristo (1844) and to the illustrations he wishes his correspondent to do, stating `Mon cher Gavarni, je suis passé chez vous pour causer Montecristo avec vous. Pourriez-vous vous charger de 200 dessins petits et grands don’t nous débattrions le prix si nous pouvions nous rencontrer…´ (Translation: “My dear Gavarni, I came to your house to talk Montecristo with you. Could you take care of 200 drawings large and small, the price of which we would discuss if we could meet?...”) With blank integral leaf. EX Paul Gavarni (1804-1866) French illustrator. Paul Gavarni was the pen name of Sulpice Guillaume Chevalier. Gavarni had a close and friendly relationship with Dumas, Balzac and other authors. He illustrated Dumas´ work The Count of Montecristo, as well as some Balzac´s novels, and made drawings for Vautrin one of the main characters of Balzac´s La Comédie humaine. The drawings Dumas refers to are the ones of The Count of Montecristo, for the edition to be published after the publication by volumes in the Le Siecle journal. The 200 drawings were for portraits of the main roles. Dumas will be shortly after very pleased with the final drawings by Gavarni

DUMAS ALEXANDRE Pere: (1802-1870) French Writer whose works include The Three Musketeers. A clean A.L.S., `Al Dumas´, one page, 8vo, n.p. [Paris], n.d., to Paul Gavarni, in French. On his personal stationery, bearing a blind embossed seal with his laureated capital initials to the upper left corner of the letter, Dumas refers to the price he is negotiating with his correspondent for 200 illustrations he wishes Gavarni to do for his work The Count of Montecristo (1844), and states `Cher Gavarni, Nos gens sont tout près si vous vous entendez sur le prix à vous remettre. Deux ou trois billets de mille avant que vous n´ayez donné le premier coup de crayón. Il s´agirait de causer 10 minutes...´ (Translation “Dear Gavarni, our people are close by if you can agree on the price to be given to you. Two or three thousand before you make the first stroke of the pencil. It is a matter of talking for 10 minutes”) Dumas further suggests an appointment and sends address. With blank integral leaf. EX Paul Gavarni (1804-1866) French illustrator. Paul Gavarni was the pen name of Sulpice Guillaume Chevalier. Gavarni had a close and friendly relationship with Dumas, Balzac and other authors. He illustrated Dumas´ work The Count of Montecristo, as well as some Balzac´s novels, and made drawings for Vautrin one of the main characters of Balzac´s La Comédie Humaine. The drawings Dumas refers to are the ones of The Count of Montecristo, for the edition to be published after the publication by volumes in the Le Siecle journal. The 200 drawings were for portraits of the main roles. Dumas will be shortly after very pleased with the final drawings by Gavarni

DUMAS ALEXANDRE: Fils (1824-1895) French Author and Dramatist. A good A.L.S., A. Dumas f., a bold ink signature, one page, 8vo, n.p., n.d., To Mr. Barbier, in French. A cleanly and boldly written short letter, Dumas stating `Je n´avais pas besoin de votre lettre, mon cher Barbier, pour être sûr de votre bonne sympathie. Cottinet(?) vous dira dans quells termes je parlais de vous l´autre jour, au milieu même de mon chagrin. Je n´en suis pas moins heureux de votre bonne lettre…´ (Translation: “I did not need your letter my dear Barbier, to know about your kindness. Cottinet(?) will tell you in which way and whith which words I was referring to you the other day, in the very midst of my sorrow. I am not less happy with your good letter…”) The letter bears to the upper left corner a blind embossed heading with the capital letters “HB”. With blank integral leaf. VG Jules Barbier (1825-1901) French Poet, Writer and opera Librettist.

BUFFENOIR HIPPOLYTE: (1847-1928) French Philosopher, Author and Poet. A very fine Autograph Poem signed, one page, 4to, Paris, May 1879, to his wife, in French. On his personal stationery bearing to the heading his blind embossed capital initials, Buffenoir carefully pens this eight verses poem of twelve-syllable each, which he entitles Les Roses (“The Roses”) and inscribes to his wife. The poem states in part `Sous ces fleurs qui mourront à l´aurore prochaine – Je mets une pensée, et vous la trouverez – Si vous avez compris combine douce est la chaine...´ (Translation: “Under these flowers which will die at the next dawn – I put a thought, and you will find it – If you understand how sweet is the chain…”) Very small minor age wear, mostly to edges, with few small corner creases, otherwise G

ELIOT T. S.: (1888-1965) American-born English poet and playwright, Nobel Prize winner for Literature, 1948. T.L.S., Tom, one page, 4to (folding air mail stationery), Russell Square, London, 18th May 1961, to Reverend William Turner Levy, featuring the printed letterhead of Faber and Faber Ltd. Eliot states that he is writing a hurried reply to his correspondent’s letter to explain that he won’t be in London when Dr. Theobald visits, remarking ‘I have to deliver a Convocation lecture at the University of Leeds at the beginning of July, and Valerie and I expect to go North in the middle of June to visit her mother and to get a breath of the good summer air of Yorkshire’ and further adding ‘It is a pity people like your friend pay such very brief visits to this capital; perhaps they will be back again later in the year. In any case I have not met Dr. Theobald so I don’t see how I can introduce him and Mrs. Theobald to C. S. Lewis, but why should he not write to Lewis, who will probably be in Oxford at that time?’. Slightly irregular edges and with a light, thin band of discoloration to the borders, not affecting the text or signature and evidently a result of previous framing. GWilliam Turner Levy (1922-2008) American educator and author, a friend of T. S. Eliot, Eleanor Roosevelt and Frank Capra and the author of Affectionately, T. S. Eliot: The Story of a Friendship 1947-1965 (1968). S. Lewis (1898-1963) British writer, literary scholar and Anglican lay theologian.

[NAPOLEON – CORFU]: GENTILI ANTOINE (1751-1798) French-Corsican General who sided the French Republic. Governor of Corsica. He was defeated and surrendered to the British after their invasion of Corsica in 1794, but leaded the capture back of Corsica in 1796. A very interesting autograph letter addressed to the Emperor Napoleon Bonaparte, A.L., eight pages, folio, Head-Quarters of Corfu, 2nd July 1797, to Napoleon Bonaparte as Chief General of the Army of Italy, in French. The letter bears the printed heading of “A. Gentili, General of division and Commandant of the Army of Levant of the Army of Italy”. Gentili informs Napoleon that he has reached the port of Corfu, stating in part `Je m’étais fait précéder par les Citoyens d’Arbois, faisant fonction de chef de l’Etat-major, Arnaut et Brice, les Commissaires des Guerres que j’avais chargé de mes ordres pour reconnaitre les dispositions du Gouvernement et du peuple à notre égard et faire les préparatifs nécessaires pour l’établissement des troupes… dans les forteresses, et je me suis emparé de tous les magasins de Marine, d’Artillerie et du Génie, dont j’ai ordonné que l’on fit de suite l’inventaire…´ (Transcription: “I had been preceded by the Citizens d´Arbois, acting as Chief of the Head-Quarters, Arnaut and Brice, the War Commissioners whom I had charged with my orders to acknowledge the dispositions of the Government and the people to our regard and make the necessary preparations for the establishment of the troops... in the fortresses, and I seized all the stores of Navy, Artillery and Engineers, and I ordered to make immediately the inventories…”) Gentili lists the firearms, the 369 bronze and iron cannons, the 20 bronze howitzers and 121 bronze and iron swivels and mortars, not counting the ammunition and powder requisitioned. He further comments the military defence situation and refers to the Venice government, saying `La place de Corfou est très forte par sa situation; et les ouvrages que l’art y a ajouté la rendraient inexpugnable s’ils étaient réparés et entretenus; mais l’extrême négligence de l’ancien gouvernement vénitien laissait tomber en ruine ce boulevard de l’état…´ (Translation: “The position of Corfu is very strong because of its situation; and the works that art has added to it would make it impregnable if they were repaired and maintained; but the extreme negligence of the old Venetian government allowed this boulevard of the state to fall into ruin….”) Gentili further explains with enthusiasm how much the three thousand Italians and the seventy thousand Greeks people on the Island value their freedom and how much they admire our republic, and that they consider the French troops as their liberators, stating in part `On professe ici une admiration pour les Français qui va jusqu’à l’enthousiasme. Les Grecs sont en général beaucoup plus éclairés qu’on ne le suppose ordinairement et le souvenir de leurs origines n’est point éteint dans leurs âmes. Ils regrettent d’avoir vécu jusqu’alors pour le bénéfice d’une dure et plate aristocratie, qui, négligeant tous les objets d’un intérêt public, sans vertus comme sans lumières, s’opposait aux progrès de l’industrie, du commerce et de la raison humaine…´ (Translation: “Here they profess an admiration for the French that goes as far as enthusiasm. The Greeks are in general much more enlightened than is commonly supposed and the memory of their origins is not extinguished in their souls. They regret having lived until now for the benefit of a harsh aristocracy, which, neglecting all objects of public interest, without virtues or without enlightenment, opposed the progress of industry, of commerce and human reason…”) In this lengthy letter, Gentili further reports on the military and administrative changes required, and indicates what he would keep under the naval point of view, saying `Je prendrais donc le parti de conserver seulement un vaisseau vénitien de 74 canons, une frégate vénitienne et la frégate française ‘La Sensible’ avec quelques bâtiments de transport, le tout commandé par le capitaine Bourdé…´ (Translation: “I would therefore opt to keep only a Venetian ship of 74 guns, a Venetian frigate and the French frigate ‘La Sensible’ with a few transport vessels, all commanded by Captain Bourdé…”) Gentili before concluding explains that he has informed the Ambassador in Constantinople of the situation in Corfu and the inexact number and condition of the Venetian troops under his control, and refers to the excellent work done by d´Arbois who was at the head of the avant-garde capture of Corfu. Small overall age wear with a small stain and hole to the upper edge, not affecting the text. From 1386 to 1797, Corfu was ruled by Venetian nobility; much of the city reflects this era when the island belonged to the Republic of Venice, with multi-storeyed buildings on narrow lanes. The Old Town of Corfu has clear Venetian influence and is amongst the World Heritage Sites in Greece. It was in the Venetian period that the city saw the erection of the first opera house in Greece.By the 1797 Treaty of Campo Formio, Corfu was ceded to the French, who occupied it for two years, the time of the present letter. Until they were expelled by a joint Russian-Ottoman squadron. For a short time it became the capital of a self-governing federation. In 1807 after the Treaty of Tilsit its faction-ridden government was again replaced by a French administration, and in 1809 it was besieged in vain by a British Royal Navy fleet, which had captured all the other Ionian islands.Following the final defeat of Napoleon at Waterloo, the Ionian Islands became a protectorate of the United Kingdom by the Treaty of Paris of 5th November 1815. Guillaume-François-Joseph Bourdé de La Villehuet (1763-1851) Capitain of vessel in 1798 and future Vice Amiral. He participated in the Egypt campaign. Joseph-Louis d´Arbois de Jubainville (1764-1803) French Officer, appointed General in 1802. He was a member of the St.Domingue expedition. Arrested by the British and mistreated, he died of yellow fever at the early age of 39.

LANNES JEAN: (1769-1809) Marshal of France. Duc de Montebello. One of Napoleon's most daring and talented generals and personal friend of the Emperor. Rare A.L.S., `Lannes´, two pages, 4to, Lisbon, 19th July 1803, to Citizen Guéhéneuc, his father-in-law, General Administrator of the Forests, in Paris, in French. Lannes regrets that his previous letter reached his correspondent so late, stating in part `…que vous n´ayez reçu que bien tard les lettres de change, ma lettre et le paquet étaient dans un adréssé au Ministre des Relations… je suis impatient d´avoir une réponse de vous à cet égard…´ (Translation: "…that you have only received very late the letters of exchange, my letter and parcel were addressed to the Minister… I am impatient of receiving a response regarding this matter…") Lannes further refers to his pregnant wife, saying `…nous n´avons pas reçu de lettre de vous ni de Madame Guéhéneuc par ce courier…. Louise est prête à accoucher, je cherche une campagne aux environs de Lisbonne, à cause de la chaleur excessive de la capitale…´ (Translation: "…we have not received any letter from you nor from Madame Guéhéneuc… Louis is about to give birth, and I look for a countryside place in the surroundings of Lisbonne, because of the excessive heat at the capital…") With address leaf, bearing remnants of former seals. Overall creasing with small area of paper loss to the address leaf as a result of the letter opening. G François Scholastique (1759-1840) Count of Guéhéneuc. He was Lannes´ father-in-law.Louise Guéheneuc (1782-1856) Duchess of Montebello. Second wife of Marshal Lannes. On 20th July 1803, the day after the present letter was written, the Duchess gave birth in Lisbonne to their third son, Ernest (1803-1882)

Conjuring.- Buchinger (Matthew) Calligraphic Specimen, autograph manuscript ornamental head-piece incorporating large capital ABC on left and in reverse on right either side of "April the 5 1732" and above "This was Written by / Matthew Buchinger [upside down] / born Without / Hands or Feet [back to front] / 1674 / in Germany [back to front], c.115x 82mm., evenly browned, small worm hole to lower corner, framed under glass, 1723/4.⁂ Despite being born without hands or feet Buchinger became an accomplished artist, musician and magician known as the "Little Man from Nuremberg". He was especially famous for his micrography where he created illustrations using miniscule texts.

Collection of seven boxed Christmas related buildings/ accessories to include 4 x Lemax fairground examples featuring The Spinning Snowflake and Santa Carousel, Snowflake Paradrop, Village Skating Pond With Sound, Winter Wonderland Christmas In The Capital with LED lights, together with a Gold Label Collection 75th Anniversary World's Fair Super Slide Ride, a Christmas World Traditional Shop Magical Castle & Fairground Scene with LED lights, all boxed and appearing complete, boxes vg overall with some signs of storage related wear

Ernest J.P. Benn: 'The Confessions of a Capitalist', London, Hutchinson & Co, [1925], 4th edition, signed & inscribed by Benn to the English trade unionist and politician John Burns (1858-1943) on FFEP "To the Right Honble John Burns With the kindest regards of Ernest J.P. Benn", original cloth gilt, together with Karl Marx: 'Capital. A Critical Analysis of Capitalist Production', Moscow, Foreign Languages Publishing House, 1961, 1957, 2 volumes, inkstamps to title pages "Published in Great Britain by Lawrence and Wishart Ltd", uniform original cloth gilt, dust wrappers (3)

Peacock Press - two privately-printed works Of Gardens By Francis Lord Bacon Woodcut frontispiece and text border to front page, one in black, the other green; woodcut illustration and capital textblock; limited edition, 30 copies set and printed by Wilfrid O. Reynolds at the Peacock Press, Plymouth. Finished on January 2nd, 1929. These being numbers 15 and 23. Scarce items.

Two private Peacock Press works Old Mother Hubbard & Francis Drake The Comic Adventures of Old Mother Hubbard and her Dog, Sarah Catherine Martin; woodcut frontis and vignette woodcut to final page; limited edition of 120 copies printed by W. O. Reynolds at the Peacock Press, Plymstock, Devon and completed on the 28th of December 1951. This is number two. Numbers one to six were printed on Whatman handmade paper. The Use of the Globe: the first voyage of Sir Francis Drake by sea unto the West and East Indies both outward and Homeward; Reynolds, W. O. (Printer); Published by Peacock Press, Plymstock, Devon, 1942; reprinted from a tract of 1594 in the Plymouth Museum; woodcut frontis and capital pieces. End paper reads: 120 copies have been set and printed by W. O. Reynolds at the Peacock Press, Plymstock, Devon and completed on the first day of November, 1942. The text has been taken from a mercator tract printed by John Windet in 1594 being the first published account of a Sir Francis Drake's voyage around the world. This is number 98.

A white and grey marble cylindrical column, the moulded circular rotating capital over a tiered cylindrical column and moulded base, capital 28 cm diameter, total height 112 cmVisible signs of scratching throughout and the remains of an old label on the column body, extensive professional repairs throughout, please see photos

Vivienne Westwood & Malcolm McLaren: An 'Anarchist Punk Gang' Seditionaries Muslin Shirtc.1979/80,in white muslin, front with black, green and red printed design, Malcolm McLaren Vivienne Westwood Seditionaries Personal Collection label stitched within the fabric lower right (now moved due to stitching coming away), with D-ring to each shoulder, and D-ring and dog-clip to each long sleeve, accompanied by a letter of provenanceFootnotes:ProvenanceOffered by the vendor who purchased it at the time of creation.'Anarchist Punk Gang', or as it is also known 'The One Per Centers', is one of the final, and darkest, designs by Malcolm McLaren and Vivienne Westwood to be introduced at Seditionaries. In 1979 McLaren regularly spent time away from London in Paris and later said that while he approved the design, Westwood was principally responsible for the genesis and realisation. The bleakness of the artwork not only reflects the beleaguered state of affairs experienced by the pair and their coterie but also acts as a memoriam for Sex Pistols bass-player Sid Vicious, who had died in February 1979 from a heroin overdose. The Pistols, around whom McLaren and Westwood's design work revolved from 1976, split up at the beginning of 1978 and in October that year, Vicious had been arrested in New York for the murder of his partner Nancy Spungen. His death four months later coincided with the commencement of an extremely acrimonious court case brought against Pistols manager McLaren by the surviving members of the group with the backing of Richard Branson's record company Virgin Records. Since Punk had gone overground, Seditionaries was by this time regularly closed as a result of it being vandalised and graffiti-ed by passing punks and football hooligans, while members of the staff pilfered stock to fund their drug habits. The appropriately death-cult design takes its text and imagery from Hell's Angels biker gangs, and features a skull at the centre surrounded by the phrase 'As You Were I Was As I Am You Will Be.' This derives from a graffiti scrawl attributed to Heinrich Himmler the gonzo writer Hunter S. Thompson included as a chapter heading in his 1966 book Hell's Angels. The skull is positioned between two banners, with all text in so-called 'blackmail' lettering as if cut out of newspaper headlines, just as in the Sex Pistols band logo, 3 and both feature the encircled capital 'A' anarchy sign which first appeared as a radical political symbol in the 1860s as a protest design of the International Workingmen's' Association of Spain. One flagpole is emblazoned '1%' above the statement 'Anarchist Punk Gang'; in contrast, the other carries a quote from a recording of Vicious in an interview circulated after his death: '99% is shit.' This appears above the slogan: 'Create hell and get away with it.' Underneath the red, green and black vector bearing the skull is the statement: 'The barrier between friend and foe is thin 'At certain times of day there are only us.' This is from a quote by a biker in Raymond C. Morgan's book Angels Do Not Forget, which was published in the summer of 1979. The final statement in the design announces: 'We're the 1% who don't fit and don't care.' As well as looping back to Vicious's original statement, this quotes from the chorus of the Pistols' anthem Pretty Vacant, which ends with Johnny Rotten declaring: 'And we don't care.' Note: the opposing texts '1%' and '99% is shit' are absent from this shirt due to the shoulder insets of the muslin design.For further information on this lot please visit Bonhams.com

An unusual pair of late 16th century oak terms, circa 1580 Each male, wearing a round-brimmed cap, with a long beard unusually swept to one side, naked torso, folded arms and swollen belly, over pendant fruit and topped by an Ionic capital, and unusually with short paired legs to base, painted museum accession number to rear ‘A.B.646’ over 'D.126' and 'D.36’, height 53.5cm, (2)

Utagawa Hiroshige (1797-1858), Listening to insects at Dokan Hill, from the series Famous Places in the Eastern Capital (Tot Meisho) (circa 1900), with early 20th century gallery label Walter Jones Sloan Street London SW1 verso. 25 x 37.5 cm (SH) (see illustration). CONDITION REPORT: This print has Walter Jones, Sloan Street label to the back. The backboard itself looks to be pine in keeping with early 20th century framing. Again it has not been taken out of its frame since Walter Jones frame this print. Looking at the front, the indication is again that this print is stuck down in places, this would be totally in line with framing practices at that time. The paper of the print is entirely intact. There are no significant holes or areas of foxing or discolouration. There are occasional scuff marks and bits of dirt but overall in reasonable condition. This has not been examined out of its frame. One small light 0.5 cm tear to the margin top left, this probably does not run through the entire print.

A PAIR OF BRASS AND COPPER STANDARD LAMPS LATE 19TH OR EARLY 20TH CENTURY Each with floral caged urn above composite order fluted capital, plinth base on bold paw feet 160cm high 

A PAIR OF MARBLE PEDESTAL COLUMNS 20TH CENTURY IN THE 16TH CENTURY MANNER Each with floral capital above mask carved stem approximately 92cm high, tops 44 by 44cm Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with some wear to edges, stains to top plateau, there are additionally signs of some remedial restoration to the lower sections of some of the scroll volutes beneath the tops and some loss to their ends, natural stone flaws, faults and veins. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

THE CLASH - CAPITAL RADIO EP (PROMO - CL 1). A lovely promo copy of The Clash - Capital Radio EP (promo, CL 1). In Ex condition with some wispy marks on the playing surfaces, clean labels. The sleeve is in VG+ condition with some light creasing.

An American Jerome & Co. drop dial wall clock with panel depicting Capital at Washington.Hx66cm Mechanism recently fully refurbished, veneer missing in areas to the front.

Manufacturer - Britbus | Description - First Capital Citybus Olympian Double Decker - Route 91 | Stock Code - R906 | Notes - GC - Box Good| Scale - 1:76 | Certificate - 695/1008/

Silver and faceted glass memorial box 25 years of the St. Petersburg branch of the Sazikov firm. 1880 Made in a laconic and businesslike style directory. It retains the practical transparency of glass and a strict array of the frame, placed on spherical legs. The surface of the profiled lid with a safety button bears a dedicatory engraving: 1855 -1880, 17.12. F.F. and overlaid Roman numerals 25, in honor of the anniversary. On the inner side of the lid, and on the inner surface of the casket, there are capital stamps of Sazikov, with exhibition medals and the double-headed eagle of the supplier of his imperial court. Petersburg 84 sample of silver of the last quarter of the 19th century, as well as the hallmark of I.E., 1880. Dimensions: 17X11X8 cm. Total weight: 898 gr. Width: 17cm, Height: 8cm, Depth: 11cm, Weight: 0.898kg, Condition: Good, Material: Silver 84, Glass

A large porcelain decorative plate with a genre scene made in the technique of polychrome painting, located in the mirror of the plate and a stylized Russian-style leaf ornament along the flat side of the dish. The picturesque painting of the plate is made by hand. On the relief edge of the side of the plate, gold and blue decorative stripes are applied. Such decorative decoration and a flat side give the plate the appearance of a genre picture, framed in a beautiful painted frame. The reverse side of the plate is decorated along its side with a golden cover and an inscription with the name of the painting plot. The genre scene in the center of the plate is made to the motive of the Russian epic Mikula Selyaninovich, as evidenced by the inscription on the bottom of the dish - the epic Mikula Selyaninovich. The episode of the summoning of Mikula Selyaninovich by the bogatyr Volga Svyatoslavich to collect taxes is depicted. Typical is the image of the epic hero not in elegant boots, but in simple peasant bast shoes. Some researchers of the Russian epic interpret this scene as a meeting of the hunter god with the plowman god. This interpretation is due to the fact that Mikula Selyaninovich in Russian culture personified the god of agriculture. In the lower left part of the genre picture is the signature of the artist-ceramist, presented in the form of a monogram consisting of Latin and Russian capital block letters DB (unknown artist of the Kuznetsov factory). The plate is part of a series of several similar plates decorated on the theme of the Russian folk epic (at least 9 pieces), made in the Russian style in the second half of the 19th century (1870-1880s) at the Tver faience factory of M.S. Kuznetsov. The Tver faience factory was acquired by M.S. Kuznetsov in 1870, which already under the first owner and founder of the factory (the Auerbach family) became famous in Russia for products in the pseudo-Russian style. A series of epic plates from the Tver factory may have been exhibited at the Polytechnic Exhibition of 1889. Production mark of the factory M.S. Kuznetsov in Tver in the form of a small state emblem - a double-headed eagle and the inscription M.S. Kuznetsov Tver province located on the tape. The printed stamp is filled with gold, which testifies to the special purpose of the subject. Russian Empire, Tver province. Factory of M.S. Kuznetsov. 1870-1889 years.Porcelain, hand-painted polychrome, gilding, golden cover. Collection safety. Diameter - 25.5 cm, weight - 668 gr. Width: 24.5cm, Height: 24.5cm, Depth: 10cm, Weight: 0.668kg, Condition: Good, Material: Porcelain, Hand Painted, Gilding

Kappata, Stephen (1936-2007) „The Annual Ku-Omboka Ceremony for Western Province enroute from Lealui to the summer capital Limulunga“, Acryl- und Lackfarben/Hartfaserplatte, verso sign./bez., o. betit., 55,5x100,5cm, leichte Altersspuren