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

A quantity of watches including Capital, Dual time, etc.

A 19th century oil lamp, with glass shade and chimney above a cut glass reservoir, supported by a brass corinthian capital on square base, the shade of hexagonal form, acid etched and cranberry edged over a cut glass reservoir raised on a fluted Corinthian column 90 cm

Elizabeth II silver sauce boat, the scroll handle having an acanthus capital and standing on triple pad feet, London 1965, 8toz approx Condition:

A late Victorian silver plated lamp with a Corinthian capital, a reeded column, on a plinth with wreaths and a stepped base, 21" h, excluding fittings

A Regency walnut narrow pier mirror with looking glass and gesso cornucopia decorated panel flanked by twin gilt capital pilaster columns over an applied gilt decorated lower frieze, approx height 103cm.

A set of eight Sheraton style mahogany dining chairs, each with a serpentine top rail above reeded and leaf capital vertical splats, with a drop-in seat on panelled square tapering front legs, late 19th / early 20th century, comprising: a pair of open armchairs and six side chairs. (8)

A George I walnut bureau cabinet, the broken arch cornice centred with an Ionic capital carved with leaves and husks, above a pair of doors inset with later arched mirror plates, enclosing a fitted interior, with eleven cross and feather banded drawers flanking a central concave cupboard door, the interior with two drawers, with architectural pilasters and three large pigeonholes, above a pair of candle-slides, the hinged fall revealing seven further drawers, one with divisions for inkwells, above four long graduated drawers, on later bracket feet, with an ivorine trade label for 'S. & H. Jewell, 131-2, High Holborn, London, W.C.1.', 230.7cm high, 104.5cm wide, 60.5cm deep.

Set of four 20th century table candlesticks, each of shaped octagonal form with turned removable sconce above the turned and girdled capital, the faceted knopped column raised upon a stepped faceted base, Goldsmiths & Silversmiths Company, London 1937 (weighted)

PAIR OF CANDLESTICKS 19th Century Gilt-bronze and patinated bronze, on square base, column stems with a Corinthian capital, with garlands of grape vines and a cherub. 12.6 x 4.1 x 4.1 in.

Hunting - 'A Capital Finish', 19th century coloured lithograph with text after John Leech (British 1817-1864), pub. Thomas Agnew 1865, 51cm x 71cm Condition Report Click here for further images, condition, auction times & delivery costs

Hull City AFC - a prospectus for the raising of capital to complete works at Boothferry Park, June 1946. Boothferry Park was home to Hull City A.F.C. from 1946 until 2002, when they moved to the Kingston Communications Stadium.

Paine (Thomas).- French Revolution.- Trial of Louis XVI.- Paine (Thomas) Opinion de Thomas Payne [sic.] Député du Départment de la Somme, concernant le Jugement de Louis XVI, Précédée de sa lettre d'envoi au Président de la Convention, Paris, L'Imprimerie Nationale, 1792 [and] Paine (Thomas) Opinion de Thomas Payne [sic.] sur l'Affaire de Louis Capet, Addressé au Président de la Convention Nationale, [Paris], [L'Imprimerie Nationale], [1793] bound with a large quantity of other 'Opinions', 'Appels' and 'Pieces Justicatives' relating to the trial and sentencing of Louis XVI, bound together in 6 vol., some spotting and light browning, 19th century half calf, spines gilt (dulled) and with red and black morocco labels, rubbed, 8vo⁂ In 1792 in gratitude for his fervent support of the French Revolution the revolutionary government of France granted Paine honorary citizenship and elected him as a deputy to the Convention Nationale. Before, during and following the trial of Louis XVI the opinions of Paine and his fellow deputies were canvassed, Initially, the question was whether the monarch should be tried; and later how; and then finally upon the verdict of guilty for high treason what punishment should be meted out. Paine believed that Louis XVI should receive a fair and unbiased trial and if found guilty his sentence should be decided upon by the citizens of France. In the second pamphlet mentioned, which follows the guilty verdict, Paine argues against the king's execution, favouring exile instead. He believed that capital punishment was linked to the corruption of the monarchy. Our volumes also contain contributions by Robespierre, Marat, Carnot, and Saint-Just, amongst many others. In all an excellent snapshot of the sentiments and events surrounding the trial and execution of Louis XVI, or 'Citoyen Louis Capet', as he was referred to during this period.

After Robert Taylor, Assault on the Capital, number 33/500 bearing five signatures, framed, the print measures 51cm x 75cm

Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, London, whence purchased in the 1920s; hence by descent.Exhibited: The Dublin Art Club, 1887, Catalogue No.129.Literature: Sheehy, Jeanne, 'Walter Osborne', Gifford & Craven, Ballycotton 1974, p.121, no.174; Bodkin, Thomas, 'Four Irish Landscape Painters', Dublin and London, 1920, Appendix XI, p.133; le Harival, Adrian and Michael Wynne, 'Acquisitions, 1984-86, National Gallery of Ireland', Dublin, 1986, p.68, illustrated fig.60b.(note: Osborne titled this picture with the spelling ‘Sutton Courtney’ and this spelling will be used when referring to the painting. The correct spelling of the village is Sutton Courtenay.)Journeying along the river Thames, Cork-born artist Robert Gibbings wrote in 1940 that: “Sutton’s Pool by Sutton Courtenay is a fairy world of falling waters. By moonlight… it is a setting for the rarer moments in life”. Gibbings did not linger in the village, “leaving the last golden hours of evening to the boys fishing on the weirs” (1).In 1887, Walter Osborne had stayed at Sutton Courtenay (then in Berkshire but today in Oxfordshire) and painted the present picture A Bit of Sutton Courtney, A Village by the Thames. It shows a boy leaning against a wooden railing, fishing, while across the river a woman stands and tall red buildings are lit by sunlight. Walter Osborne observes the scene meticulously and the picture has a wealth of detail and a strong human presence. In spite of its rural setting, the painting is aflame with warm, glowing reds and browns, almost unprecedented in Irish art at this time.Having earlier studied in Dublin and Antwerp and painted in Brittany, Osborne spent much of the second half of the 1880s working in English villages and towns, painting a series of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Sometimes he had the company of fellow artist Blandford Fletcher and his friend from Dublin, writer Stephen Gwynn, was in nearby Oxford, 1882-1886, and was teaching at Bradfield School in 1888 (2).Sutton Courtenay was a tranquil and picturesque village just south of Abingdon and north of Didcot, situated in a curve in the river Thames. It had been settled by the Saxons, who built a causeway on the river. In the twelfth century, the village took the name of the Courtenay family, who lived in the manor (3). All Saints’ Church and other fine buildings date from later centuries (4). In the mid-19th century, many villagers were employed in the local paper mill and in domestic service. The most striking features of the village were the causeway and weirs that separated the millstream from the Sutton Pools and Osborne was attracted to the streams where boys fished.From his early days in Ireland, he had depicted several pictures of lads fishing in a stream or canal (5). In A Bit of Sutton Courtney, the figure is placed close to the viewer, leaning against a wooden fence. He holds a fishing rod and looks down at the river. He wears a kind of deer-stalker hat, white shirt and brown waistcoat. Sunshine falls upon his cheek and sleeve. His figure is viewed from behind and his legs are cut by the lower edge of the picture, suggesting a photographic influence. Across the river, a woman with hat and violet apron stands upon the river bank looking at the barge. Even though the figures are separated by the river, visual and, perhaps, emotional affinities between them are evoked - both looking down and both holding a rod or a stick.There is a wealth of detail in the scene: the rough grain of the sturdy wooden fence, with an upright post just visible behind the boy's legs; the reflections and ripples in the river and the little fishing float; the tall buildings with steep roofs, including the uneven structure of the barn and an old cart with large wheels. Although the sky in the background is overcast, here Osborne was inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage. A Bit of Sutton Courtney is enlivened further by little points of colour; the mauve of the woman’s apron, reds, greens, blues, whites and yellows in the barge and reflected in the water; the stripes of the upright post; red in the boy’s cheek and pocket; the mauve patch on the railing; and the blue of the float.Equally, Osborne’s brushwork is lively and varied: crisp and controlled in some areas, fluid and expressive in others. The ‘square brush style’ is employed, for example, in parts of the boy’s clothing, the woman’s apron and the walls of the barn. Meanwhile, the ripples are painted in a softer, more lyrical way and parts of the foliage and undergrowth are more ‘blurred’, for instance, in the rough grass draped over the river bank.If we look closely at the painting, we notice an interesting detail: the impastoed brushstrokes that depict the fence are visible beneath the figure of the boy. This suggests that Osborne may have added him to the picture at a later date than the landscape. This was not an unusual practice amongst painters, such as Canaletto or Caspar Friedrich (6), but Osborne may have decided to include the figure to give a greater sense of focus, psychological interest and human warmth to his composition. The motif of the figure, viewed from behind, looking into the picture, the Rückenfigur of German Romanticism, can be seen in the paintings of Caspar Friedrich and in Realist pictures by François Bonvin, Henri de Braekeleer and Joseph M. Kavanagh. As in several Osborne pictures of the period, for instance Counting the Flock, 1887 (sold at Adam’s, 30th May 2018) (7), the figure viewed from behind is an individual, but also an archetype, engaging the viewer and adding a sense of mystery.A Bit of Sutton Courtney is painted on a wood panel and is signed lower right with the squared capital letters which the artist employed in this period. Osborne exhibited the picture at the Dublin Art Club (of which he was a co-founder), in 1887, modestly priced at twelve guineas. He made a tiny pencil drawing after the painting, the figure being outlined in ink (in sketchbook in NGI, catalogue number 19, 202, p.14).Sutton Courtenay continued to attract Irish and other artists and writers. John Lavery painted Asquith in an 1891 Elizabeth boat on the river in 1917 (Dublin City Gallery, The Hugh Lane). George Orwell fished there as a boy. Francis S. Walker illustrated a book on the Thames in 1891 (8) and, as noted above, Robert Gibbings passed through Sutton Courtenay and wrote lyrically about it.I am very grateful to Niamh MacNally, Anne Hodge and Andrew Moore, National Gallery of Ireland; John Hutchinson; and Maria O’Mahony for assistance in my research.Julian Campbell, January 20191) Robert Gibbings, Sweet Thames Run Softly, London 1940, p.106.2) Jeanne Sheehy, Walter Osborne, NGI, 1983, p.77; and J. Sheehy, Walter Osborne, Ballycotton, 1974, p.22.3) https://en.wikipedia.org/wiki/Sutton_Courtenay4) Nikolaus Pevsner, The Buildings of England. Berkshire, Penguin 1966, All Saints’ Church and the Norman Hall were built in the late 12th century, and the Abbey about 1300.5) Eg. A Glade in the Phoenix Park, exhibited RHA 1880.6) Canaletto seems to have painted the background of his Grand Canal series first, then added the figures afterwards. See also Joseph M. Kavanaggh, Sheep in a Snowy Field, 1895, where the horizon line is visible beneath the bodies of the sheep. (‘Exhibition of Irish Paintings and Sculptures’, Gorry Gallery, Dublin 2018, no.50.)7) See Counting the Flock, 1887, Important Irish Art, Adam’s, 30th

BEATLES RELATED LETTERS & STATIONERY. Two framed items to include a blank Apple remittance document c1968 and a 1969 letter from Capital Records to a US Radio Show Program Director re Abbey Road LP and its broadcast in the US.

An early 19th century share certificate document between John Pleurs and John Bilke, five shares worth £500 - Capital stock of and in the Waterloo Bridge (previously the Strand Bridge, dated 1819 transfer number 1545)

WW2 Propaganda Leaflets, interesting propaganda leaflet dropped by the German Luftwaffe regarding the V1 bomb, shows Londoners running from the burning capital. Accompanied by a damaged RAF propaganda leaflet dropped on German soldiers, safe conduct pass, Eighth Army printed message from Montgomery, plus other. All show wear and some damaged. (5 items)

A LARGE 19TH CENTURY CUT RUBY GLASS AND GILT BRASS COLUMNAR TABLE LAMP, the brass burner within an open mount raised on a capital boldly cast with scrolls above beading, the faceted ruby glass stem issuing from a large and impressive lobed base cast in relief with scrolls. Overall 79cm

~ A French Marble and Gilt Metal Mounted Plant Pedestal, late 19th/early 20th century, the revolving square platform top above a column support with scrolled capital, the base of stepped form on shallow bracket feet, 29cm by 29cm by 111cmTop with various fritting. Two corners have been repaired. Base section with numerous fritting and chips, mainly around the corners. 211118

A Pair of Late Victorian Silver Candlesticks, Hawksworth, Eyre & Co, Sheffield 1899, in the George III taste, the Corinthian capital above a tapering stem spirally decorated with acorns and oak leaves, the square base with neo-classical urns and gadroon borders, detachable sconces, filled, 30.5cm high (2)

A Pair of George III Silver Corinthian Column Candlesticks, Louis Black, London 1763, with pierced capital, on a fluted stem and fluted square base with foliate corners and gadroon border, detachable sconces, 27.5cm high, 21ozt (2)

ATTRIBUTED TO JOHN KNOX (SCOTTISH 1778-1845) IONA CATHEDRAL Oil on canvas, 55 x 76.5cm (21 1/2 x 30") The Scottish National Gallery have in their collection a watercolour, pen and ink over pencil study by John Knox of the same view and approximate date Sold on behalf of the Iona Community Capital Appeal Condition Report: The painting has been lined and on close inspection there is cracking to a fairly light degree of the pigment over most of the surface area of the canvas. Under Ultra violet light there are visible at least seven small individual areas of retouching as well as a cluster of at least six tiny dots of retouching located near the middle of the canvas. There are also two very small damage marks to the pigment visible, one close to the centre of the canvas and the other in close proximity to the bottom left hand corner.

AN ALEXANDER RITCHIE BRASS VASE of tapering form and embossed with a Celtic knotwork cross to both sides, dated 1933 and R.E.M.R. incised AR Iona and with Gaelic inscription ' Cha bhi maith air bith a dhith ach orra-san a dh'iarras an tighearn' (roughly translated 'Goodness awaits those who seek the Lord,) 34.5'cm high Sold on behalf of the Iona Community Capital Appeal We are grateful to E. Mairi MacArthur for her assistance in cataloguing this lot Condition Report: Has a few dents, one quite substantial one near the top shoulder of the vase. Wobbly to base.

U.S.A. (Confederate) 1863-100 Dollars, Richmond, Steam Train, Milkmaid at left, water stained, and 1863 20 dollars, Richmond State Capital T58 - both VG but quite scarce (2)

Shares + Bonds- Baku Consolidated Oilfields Limited 1908-17 Capital £2,500,000 share certificate unissued, printed by Waterloo + Sons

An 18th century carved oak bedding box, with twin plank top above a Westmorland scroll carved frieze, with three arched panels beneath and raised on tall stile feet, width 139 cm. CONDITION REPORT: The coffer is in generally good condition. The top is manufactured from two planks and there is a shrinkage gap between the two planks but no movement. The moulded edge is in good condition all round. The hinges are probably later but very old and in good functional order. The interior of the piece is in good order and there is no evidence of any woodworm. The lock plate and keeper are both in place. There is a wooden applied panel behind the lock plate in order to retain it. The panelled front is in generally good condition. However there is a loss to the right-hand capital of the centre panel. The stile feet are nice and tall. The side panels are in generally good condition on the left-hand side. To the right-hand side the front side panel has a stress fracture as does the side support. All rear panels are in good order as are the original back legs. The piece is structurally very sound.

AN EPNS CORINTHIAN COLUMN ELECTRIC TABLE LAMP BASE, maker Fattorini, the ribbed globular triple bulb fitting issuing from a foliate capital on a swag stamped tapering cylindrical semi-fluted column and stepped square base with leaf angles, 20" high over fitting (Est. plus 21% premium inc. VAT)

A mahogany barley twist standard lamp, on square pedestal base with a corinthian capital, 73cm high, a Continental style oak and parcel gilt demi-lune pier cabinet, the central panel flanked by fluted ionic pilasters and cupboard doors, 131cm wide, 40cm deep, 93cm high

A CONTEMPORARY WOODEN CARVED PLINTH of Corinthian column capital, 47cm x 43cm

A bronze 3 part shoulder title of the City Imperial Volunteers, capital C, I and V, blade fastener. Near VGC Plate 7

An unmarked yellow metal propelling pen/pencil, the dual pen and pencil with retractable slides, Corinthian capital style top with inset shield shape agate, 10cm long, (13g)

Lewis 'Improved Grand Action' Gothic concert harp inscribed no. 1044 (in need of restoration), the sound board painted with trailing foliage and the hexagonal Gothic column terminating in a gilded capital applied in relief with saints playing musical instruments, the base fitted with eight pedals and lion paw feet, 70.50" high

TWO VICTORIAN BRASS SPIRAL MOULDED TABLE LAMPS, corinthian capital, above square form bases, 40cm high

A Capital Elongated Plated Tray, Walker & Hall teapots, condiments, Wedgwood Jasper trinket box, glass bowls, etc.

Cased set of six sterling teaspoons with green jade-type handles together with similar silver trowel-shaped slice, the spoons engraved with a capital letter 'A' Condition reports provided on request by email for this auction otherwise items purchased `as seen`

A set of Ascension Island stamps, 1934, GV set, in a glass frame, with a label on the reverse stating 'taken from the Purser's Office from one of the Capital Union Castle Line Ships'

A matched set of six cast silver candlesticks by James Robinson Inc., London 1969 (2) and London 1973 (4), the first two stamped James Robinson Inc., New York as retailers, in George II style, each with a detachable sconce, a waisted capital, an inverted baluster and knopped stem, on moulded concave sided base, 24cm (9 1/2in) high, 3987g (128.15 oz)

TINDAL AFTER RAPIN (1687 - 1744)Mechlin, or Malines the Capital of one of the ten Provinces of the Netherlands, Tindal's Continuation of Mr Rapin's History of England.Handcoloured, 370 x 460mm; together with another Tindal after Rapin, Plan of the City and Citadel of Antwerp, handcoloured, 390 x 490mm; and 19th century map of Belgium, handcoloured, 280 x 340mm. (3)Provenance: Neptune Gallery, Dublin

Parian ware group of two laughing clergymen seated by a table, titled 'A Capital Joke' (damages and losses)

ELTON JOHN/WEMBLEY POSTERS. Fourteen posters to include Midsummer Music At Wembley featuring artists such Elton John, Beach Boys and Eagles (VF condition, some creasing, 25x35"), Midsummer Music 1975 Elton John posters (x4, generally NM, 20x30"), Capital Music Festival posters featuring artists such as Bob Dylan, Santana, UB40 and Nick Lowe (x9, generally NM, 13.5x20").

LARGE JAZZ PHOTOGRAPH ARCHIVE. Fantastic archive of 8x10" photographs and promotional materials, used by acclaimed and veteran designer Bogdan Zarkowski to compile three programmes between 1979-1981; Capital Jazz at the Ally Pally, Capital Jazz Festival 1982, Nice's 'Grand Parade Du Jazz' 1981. Along with the three programmes, there are 300+ mostly 8x10" black and white photographs and stamped press/promotional photographs used in the design process, as well as some printed biographies, colour transparencies and other paraphernalia. There are some fantastic images (many with David Redfern's stamp to verso) and some super artists: Billie Holiday, Charlie Parker, Sarah Vaughan, Buddy Rich, Louis Armstrong's funeral procession, Newport Jazz Festival, Oscar Peterson, Sammy Davis Jr, Milt Jackson, Art Blakey, Lionel Hampton and many more.

A set of four Walker and Hall silver plated and gilt condiments, modelled as baskets with rope twist handles, each 7.5cm wide, in fitted case CONDITION REPORT: These baskets are each stamped to the base with the W&H flag, and impressed numerals 1471 and 96. I would suggest that this is an early period mark indicating circa 1860-1900 time period. There are four spoons with the set, which have beaded rims and gilt bowls, they may be associated, but have the Walker and Hall flag mark and date letter capital B. All appear to be in good order, with some minor surface scratching and wear, but generally condition is good. The box is a little tatty in places and lacking some of the leatherette covering.

Lyson, Daniel. The Environs of London: Being an Historical Account of the Towns, Villages and Hamlets within Twelve Miles of that Capital, 6 volumes, including supplement, second edition, engraved additional titles, numerous engraved plates, EXTRA-ILLUSTRATED with 114 additional portraits and plates laid down to size, contemporary diced calf, worn, rebacked, volume one with boards detached, 4to, London: T. Cadell and W. Davies, 1800-1811, sold not subject to return

Granville, Augustus Bozzi. St. Petersburgh, A Journal of Travels to and from that Capital, 2 volumes, second edition, 37 engraved plates and plans, 3 folding, waterstained, contemporary calf, stained, rubbed, 8vo, London: Henry Colburn, 1829

Lyson, Daniel. The Environs of London: Being An Historical Account of the Towns, Villages and Hamlets within Twelve Miles of that Capital, 5 volumes, including supplement, 5 engraved titles, 72 engraved plates and maps, 4 partly hand-coloured, a few folding, some spotting and browning, 4to, London: T. Cadell and W. Davies, 1792-1811; An Historical Account of those Parishes in the County of Middlesex, first edition, engraved title, 16 engraved plates, some spotting, 4to, London: T. Cadell and W. Davies, 1800; together 6 volumes, contemporary etched calf, worn, joints cracked, sold w.a.f. (6)

Vicente López Portaña (Valencia, 1772-Madrid, 1850). "Retrato de Fernando VII con uniforme de Capitán General", óleo sobre lienzo, 102x75 cm. Procedencia: Colección del Marqués de Amparo, Barcelona.   Vicente López, a lo largo de su carrera como pintor de Cámara del Rey, realizó varias versiones autógrafas de este retrato oficial de más de medio cuerpo del monarca Fernando VII. El retratado se presenta vestido con uniforme de capitán general ostentando las grandes cruces y bandas de Carlos III y laureada de San Fernando, además de la cruz de Isabel la Católica y la insignia del Toisón. Apoyando la mano derecha en el bastón y sujetando en la izquierda los guantes, además del bicornio del uniforme, bajo ese brazo. Detrás del monarca, el tronco de un árbol y fondo de celaje. Es muy probable que el primer modelo de este retrato fuera iniciado por el pintor en Valencia, al paso del rey por esta capital a su vuelta del exilio, algo que el pintor menciona en una carta al Duque de San Carlos, escrita antes de su partida hacia la Corte en agosto de 1814: "el retrato de S.M. esta concluido y quedo trabajando en el del señor Infante D. Carlos (...) el de V.E. esta igualmente concluido y todos tres le he hecho colocar con unos magníficos marcos de oro, del mejor gusto, para mas dignamente poderlos presentar a S.M. a S.A. y a S.E. como una pequeña dabida de mi agradecimiento".  Así mismo, este debió ser el modelo de retrato del rey copiado en yeso por el escultor de Cámara José Ginés, del cual pretendía hacer un busto en mármol. El retrato fue grabado por Manuel Albuerne a partir del dibujo de Antonio Guerrero, con su formato reducido a busto y como pareja de la efigie Carlos María Isidro, hermano del monarca, copiando a su vez el retrato realizado por Vicente López al mismo tiempo que el retrato del Rey en Valencia, y del que ha de considerarse pareja.   Bibliografía de referencia: Diez, J.L., "Vicente López (1772-1850). Catálogo razonado, Fundación de Apoyo a la Historia del Arte Hispánico, Madrid, 1999 (vol. II); pp. 89 y 648; lám. 136.

George III silver baluster shaped mug having an ogee scroll handle with acanthus capital and standing on a circular foot, untraced sponsors mark S.C., London 1763, 12.75cm high, 12.6oz approx Condition: Terminal of handle may have been reattached - **General condition consistent with age

George III silver baluster shaped mug having a scroll handle with acanthus capital and standing on a circular foot, sponsors mark of William Shaw II, London 1762, 12.75cm high, 11.9oz approx Condition: **General condition consistent with age

Victorian silver baluster shaped coffee pot having a scroll handle with acanthus capital, the hinged cover with foliate knop, lower body with embossed and engraved foliate scrolls and standing on four scroll feet, sponsors mark of John Mortimer & John Samuel Hunt, London 1840, 23.75cm high, 32.3oz approx Condition: **General condition consistent with age

A 17th century style Continental oak cabinet on stand, inlaid with ebony to the frieze and panels, carved with masks and capital details to three pillasters, on a stand with undertier and carved legs 187 x 112 x 46cm (73 x 44 x 18in) Ve ry good overall, usual wear and tear, one ebony dot missing from the side and some knocks and scratches but overall good with good colour

Liverpool & Merseyside Interest - Garston Land Company Limited, Journal of Accounts from October 31st 1865 - December 31st 1941, 338 pages inscribed and tabulated in ink MS with payments in and out, red ruled, contemporary half-calf and gilt lettered buckram, marbled endpapers, recto pastedown with stationer's ticket: Manufactured by the Liverpool Printing and Stationery Co: Ltd, square 8vo; Ledger, August 20th 1908 - 1931, noting capital, interest, revenue and estate accounts, directors' dividends, etc., prefixed by an alphabetical index, loosely inserted 19th century manuscript receipts, contemporary oxblood half-calf and gilt lettered buckram, marbled endpapers, recto pastedown with stationer's ticket: J. Mawdsley & Son, Wholesale Stationers, Liverpool, square 8vo, [2] According to notes in the Garston Land Co Ltd's records, held at the Merseyside Record Office, part of the Garston estate was acquired for speculative development in 1862 and later conveyed in 1865, when the Journal in this lot commences, to Arthur Sinclair who formed the Land Company. The Company continued to acquire land in the docks area of Garston - this was subsequently sold off, but the Company retained perpetual interest in the railway sidings which had been provided to service the land.

A mahogany torchere, or plant stand, Victorian, formerly a bed post of heavy reeded form with acanthus capital and raised on square concave base and flat bracket feet, 113cm high

HM Queen Elizabeth The Queen Mother 90th Birthday official coin FDC PNC. Cover contains a 1990 Turks and Caicos Islands One Crown coin, based around Great Britain's own issue, features the intricate cypher in the form of a letter 'E' for Elizabeth, flanked by two of the tropical plants that illuminate the island's shores. Four commemorative HM Queen Elizabeth The Queen Mother stamps. Postmarked on the stamp's first day of issue in Cockburn Town, the official capital of Turks and Caicos' largest island, Grand Turk, in August 1990. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

John Leach, hand coloured humorous hunting caricature "A Capital Finish", 42.5cm x 62.5cm; and another "Gone Away" (2)

A pair of fine quality 19th Century French Louis XVI style decorative ormolu and crystal two branch Wall Sconces, by Baccarat, with bulbous drops and drapes with pointed finial capital and scroll arms, approx. 58cms x 43cms (23" x 17"). (2)

A Georgian period carved wooden Wall Mirror, with fret work design capital and central gilt decorated HoHo bird with plate mirror and gilt moulded edge, approx. 92cms h x 49cms w (36" x 19 1/2"). (1)

THE WHISKY OF 1990 Blended Scotch Whisky Produced to celebrate Glasgow as the Cultural Capital of Europe 1990. 75cl, 40% volume, in box with certificate of authenticity.

English School The One-legged black beggar in Cirencester Gouache, mid 19th century The reverse with hand-written paper label ‘Rowlandson’ and another paper label in capital letters ‘THE ONE LEGGED BLACK BEGGAR COULD BE THE CELEBRATED BILLY WALTERS WHO PLAYED HIS FIDDLE IN THE 1820 LONDON PRODUCTION OF TOM & JERRY. WHEN THIS CLOSED IN 1822 HE WAS OUT OF A JOB AND TOOK TO BEGGING. HE DIED OF DRINK 4 YEARS LATER. IN THE 1840’S A STAFFORDSHIRE FIGURE WAS PRODUCED OF HIM. In a gilt frame 12.5cm x 16cm

JOY DIVISION "UNDERCOVER JUN TAKAHASHI" CLOTHING RANGE - MACKINTOSH. Two clothing items from the exclusive Japanese designer Jun Takahashi's "Undercover" clothing range. To include Mackintosh style raincoat with Unknown Pleasure design on inner lining (Size 4) and white "He's Lost Control Again" shirt (Size 3). All as new with tags."Ian's actual Macintosh was left in Walthamstow at Dave Pils house, by Ian himself after a gig in the capital. Dave even running after the car with it to no avail. He gave it to a charity Shop. I wonder who bought it? "l

A pair of hallmarked silver candlesticks with plain columnar capital and green enamelled wide circular spread foot, height 7.5cm, Birmingham 1938, Albert Carter. (2)