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Americas.- Diereville (N. de) Relation du Voyage du Port Royal de l'Acadie ou de la Nouvelle France, second edition, engraved frontispiece, title in red and black with woodcut device, 8pp. bookseller's catalogue at end of preliminaries, light marginal staining, D5 defective at lower outer corner, contemporary sprinkled calf, spine gilt, a little rubbed, [Sabin 20128], 12mo, Amsterdam, Pierre Humbert, 1710.⁂ Acadia was a French colony in northeastern America, the capital being Port Royal. The work, in verse and prose, describes the fauna and flora of the region, the beaver trade, and customs of the native tribes, of particular interest being their culinary practices making it one of the earliest gastronomical works of Canada. At the end of the work is a 7pp. appendix describing the unsuccessful attack on Port Royal by the New Englanders in 1707. The first edition of 1708 did not include the engraved frontispiece of Indians hunting deer and building a canoe.

A 19TH CENTURY SMALL GILT SCROLLED CARVED LEAFWORK CORNER BRACKET 15cm high, A 19TH CENTURY CARVED OAK CORINTHIAN CAPITAL 20 cm high A CARVED LIMEWOOD SCROLLED LEAF CARVED DECORATION WITH MASK HEAD TOP 56cm high

AN 18/19TH CENTURY CARVED LIMEWOOD CORINTHIAN CAPITAL 29cm high 28cm wide

Domitian AR Denarius. Rome, AD 93. IMP CAES DOMIT AVG GERM P M TR P XIII, laureate head right / IMP XXII COS XVI CENS P P P, Minerva standing right on capital of rostral column, holding spear and shield, owl to right. RIC 762; C. 284; BMCRE 216; RSC 284. 3.49g, 19mm, 6h. Fleur De Coin. Ex collection of a Munich doctor, acquired c. 1960s-1990s.

Karia, Antioch ad Maeandrum AR Tetradrachm. Circa 165-145 BC. Stephanophoric type. Eunikos, magistrate. Bearded head of Zeus right, wearing laurel wreath / Zebu bull standing to left, head facing, before small female figure standing right, wearing long chiton; ANTIOXE?N T?N ?PO? T? in two lines above, MAIAN?P?? to right, EVNIKO? in exergue, all within laurel wreath. BMC -; Leschhorn, Lexicon of Greek Coin Inscriptions -; McClean -; SNG Copenhagen -; SNG Lockett -; SNG von Aulock -; Weber -; CNG 108, 230. 16.00g, 27mm, 12h. Near Extremely Fine. Of the highest rarity - the finest of two known examples. The city of Antioch ad Maeandrum is not to be confused with the more famous Antioch ad Orontes, capital of the western Seleukid Empire, and indeed the legend of this coin makes this abundantly clear: “Of the people of Antioch by the Maeander”. The city was located on high ground overlooking the plain of the Maeander at its confluence with the Morsynus, near the eastern end of the Maeander valley. Founded on the south bank of the river, by the time of Strabo it had grown across both banks, and controlled a strategically important crossing (cf. Strabo 13.4.15). Probably founded by AntIochos I, little to nothing of importance occurred at this city of which records have survived, however the bridge is explicitly depicted on the city’s Roman-era coinage. While no Seleukid issues are currently attributed to this Antioch, there are many unattributed western issues from the reigns of Antiochos I through Antiochos III, so the possibility that it may have struck coinage during this period cannot be excluded. The present series probably commenced after the Third Macedonian War, when large parts of the Rhodian Peraia in Karia were separated from the territory of Rhodes and given liberty by the Roman Senate (168/7 BC) as punishment to the city-state of Rhodes, which in Rome’s view had been a little too friendly with the defeated Macedonian king. Because subsequent issues bear an abbreviated legend ("of the people of Antioch"), and due to the Stephanophoric type of the reverse (a common feature of mid-2nd century Hellenistic coinage in Asia Minor), this issue has been hypothesised to be the earliest of Antioch’s civic silver coinage.

Domitian AR Denarius. Rome, AD 92-93. IMP CAES DOMIT AVG GERM PM TR P XII, laureate head right / IMP XXII COS XVI CENS P P P, Minerva standing right on capital of rostral column, with spear and shield; owl to right. RIC 740; C. 281; BMCRE 202; RSC 281. 3.32g, 18mm, 6h. Mint State. Attractive old cabinet tone. Ex private German collection.

Kings of Armenia, Tigranes IV (Restored) and Erato Æ Dichalkon. 2 BC-AD 1. Jugate busts of Tigranes, wearing tiara and diadem, and Erato right / [???????C??], the two peaks of Mount Ararat, as seen from the Armenian capital Artaxata; A in exergue. F. Kovacs, Tigranes IV, V, and VI: New Attributions, AJN 20, 5; CAA 128 (Tigranes II?); AC 122 (Tigranes II). 6.64g, 18mm, 12h. Near Very Fine. Extremely Rare. Sold with export licence issued by The Israel Antiquities Authority. This remarkable type was only discovered in 1978, being first published by Bedoukian. Admitting that he could not arrive at a certain attribution, he placed it in his catalogue under Tigranes II, stating that 'it may have been struck by Tigranes when he conquered Cappadocia in 93 BC, forcing the ruling king, Ariobarzanes I, to flee to Rome,' and that the double-peaked mountain on the reverse resembled Mt. Argaios in Cappadocia (CAA pg. 24). It seems that Nercessian merely followed Bedoukian in his placing the coin under Tigranes II without further explanation, although he included a footnote telling the reader to see additional information in a subsequent chapter which he then neglected to provide. More recently Frank Kovacs convincingly argued for assigning the coin to Tigranes IV and his sister-queen Erato. He based his argument on four points: the reverse legend ???????C?? ('Friend of Caesar'), which was previously misread by Bedoukian as KAICAPE?N; the regnal year A in the exergue, which 'implies that Tigranes' earlier reign under the Parthian aegis was illegitimate and that Rome alone had the right to crown the king of Armenia,' and draws parallels to similar instances in the coinages issued by other client kingdoms of Rome; the extreme scarcity of the coins which of course better fit this king's short reign than do the plethora of types and number of extant pieces assigned to him by both Bedoukian and Nercessian; and finally the beardless portrait better fits the youthful son of Tigranes III than do the previously assigned bearded types.

Augustus AR Cistophorus. Ephesus, circa 25 BC. IMP CAESAR, bare head right / AVGVSTVS, capricorn to right, head turned back to left, cornucopiae on its back; all within wreath. RIC 477; RPC 2213. 12.09g, 26mm, 1h. Good Extremely Fine. Rare. Ex H. D. Rauch 94, 9 April 2014, lot 703; Ex Münzen und Medaillen 81, 18 September 1995, lot 170. The significance of the constellation Capricorn to Augustus is subject to debate, with some ancient sources reporting that it was his birth sign and others relating that he was conceived under the sign - the latter tying in with his official birthday on 23rd-24th September. Although we now view conception and birth as two separate events, the Romans viewed conception through to birth as a continuous process. Under the tropical zodiac, the sun transits Capricorn from late December to late January, marking midwinter and the shortest day of the year. For this reason, often it was considered a hostile sign but Augustus chose to interpret it positively since it had governed two major events in his life - the granting of imperium to him by the Senate in January 43 BC, and the acceptance of the title Augustus on 16 January 27 BC. The capricorn is represented as a goat with a fish tail, and is often thought to be a representation of Pan escaping an attack by the monster Typhon. Having jumped into the Nile, the half of Pan's body which was submerged was transformed into a fish. An alternative interpretation is that the goat is Amalthea, who suckled the infant Zeus after Rhea rescued him from being devoured by his father Cronus. The broken horn of Amalthea transformed into the cornucopiae, which on the present example is carried on the back of the capricorn. It is a symbol of fertility and abundance, and here accompanies the corona civica, awarded to Romans who saved the lives of fellow citizens by slaying an enemy, but in the case of Augustus for having saved the entire Roman citizenry from the horrors of further civil war. In 27 BC, Augustus had declared Ephesus capital of Asia Minor, promoting the city above the former capital Pergamum. The decision to use such striking imagery alongside his birth sign for issues minted in the new capital reinforced Augustus as the head of the new imperial regime.

North Africa, Carthage AR 1½ Shekel. Akra Leuka, circa 229/228 BC. Laureate head left (Melqart or Hasdrubal), with club over right shoulder / Elephant to right. MHC, Class III, 44 (same obverse die); ACIP 554; AB 486. 11.12g, 24mm, 12h. Good Very Fine. Very Rare. From a private European collection. The city of Qart Hadasht (or Carthago Nova, as it was known to the Romans), literally meaning 'new city' and identical in name to Carthage itself, had been re-founded by the Carthaginian general Hasdrubal the Fair in 228 BC on the site of a town named Mastia. The site was chosen as it possessed one of the best harbours in the western Mediterranean, thus enabling it to serve as the primary port and capital city of the Barcid dominion in Spain. This new 'empire' had been carved out by Hasdrubal's predecessor and father-in-law Hamilcar Barca, who had sought to replace the possessions in Sicily and Sardinia lost to Rome in the First Punic War, and to serve as a means of enriching and strengthening Carthage for any future war with Rome, a conflict he saw as inevitable. Hasdrubal ably succeeded his father-in-law in expanding the family's territory in Spain and power over the local tribes, but was assassinated in 221. He was succeeded by Hamilcar's son, Hannibal Barca, who was now of sufficient age to command the Carthaginian military forces, and who wasted little time in aggressively expanding Carthaginian influence over the surrounding regions. Barely two years later, Hannibal's army would besiege Saguntum and massacre the population, leading to renewed war with Rome. This bold type has been dated to the early period of Hasdrubal's command in Spain; in contrast to the coinage attributed to Hamilcar, this type makes no reference to the traditional naval power of Carthage, instead adopting the African elephant as the reverse type. Evidently not a war-elephant (note the absence of either a mahout or a fighting tower) it is perhaps best interpreted as a symbol of Carthage or Barcid power in general. Indeed it is known that Hasdrubal favoured diplomacy and the demanding of hostages to further expand his influence in Spain; the club-wielding Herakles-Melqart implies the threat of force rather than its open display. Though Robinson (Essays Mattingly) interpreted the beardless head of Melqart on this coin as bearing the features of Hannibal Barca, the dating of the issue (as per Villaronga, MHC) suggests it is more likely to be Hasdrubal, if indeed an individual commander's likeness is shown.

Numerian AV Aureus. Rome, AD 284. IMP NVME[RI]ANVS P F AVG, laureate and cuirassed bust right / VIRTVS AVGG, Hercules standing right, leaning on club with his left hand and resting his right on his hip. RIC 407; C. -; Calicó 4334. 4.66g, 20mm, 5h. Extremely Fine - Good Extremely Fine; pierced in antiquity. Extremely Rare, no other examples on CoinArchives. From the collection of D.I., Germany, purchased before 1992. The great rarity of this coin is in large part due to the brevity of Numerian's reign. In 282, the legions of the upper Danube in Raetia and Noricum rebelled and proclaimed the praetorian prefect Marcus Aurelius Carus emperor in opposition to Probus. Probus' army, stationed in Sirmium, decided they did not wish to fight Carus and assassinated Probus instead. Carus, already sixty, immediately elevated his sons Carinus and Numerian to the rank of Caesar. In 283 Carus determined to take advantage of a succession crisis within the Sassanid empire, and marched east at the head of an army along with Numerian, while Carinus was left in charge in the West. The invasion met with great success, and the army was able to make huge incursions into Persian lands, and even capture the capital Ctesiphon. The campaign came to a premature end when Carus died suddenly (according to some sources, from a lightning strike). Numerian made an orderly retreat from Persia, and subsequently died in mysterious circumstances during the journey west. Amid rumours of murder, the prefect Aper was executed by the man who went on to become emperor. Diocletian, previously an officer under Carus, was acclaimed by the army and proceeded to continue the march west, meeting Carinus' army in battle in Moesia and emerging as victor and emperor. The reverse of this stunning aureus typifies the propagandist nature of Roman coinage, and bestows on Numerian the quality of 'virtus', which encompassed valour, manliness, excellence, courage, character, and worth - the necessary attributes of a Roman and especially of an emperor. Coupled with the standing figure of Hercules, with his usual attributes of club and lion's skin, this reverse references the military victories that Numerian and Carus achieved in the east and likens them to the completion of Hercules' labours.

Caracalla AV Aureus. Rome, AD 204. ANTON P AVG PON TR P VII, laureate, draped and cuirassed bust right / VICT PART MAX, Victory advancing left, holding wreath and palm. RIC 78 (this coin cited); BMCRE p. 249, note * (this coin cited); Calicó 2843a (same dies). 7.55g, 20mm, 6h. Mint State. This coin cited in H. Mattingly & E. A. Sydenham, The Roman Imperial Coinage Vol. IV, Part I (1936); This coin cited in H. Mattingly, Coins of the Roman Empire in the British Museum Vol. 5 (1950); Ex Vicomte Gustave Ponton d'Amécourt Collection, Rollin & Feuardent, 25 April 1887, lot 416, sold with old collector's ticket. Septimius Severus’ Parthian campaign was concluded in 198 with the capture of the Parthian capital of Ctesiphon. On this occasion Septimius was acclaimed imperator for the eleventh time, and he received the title Parthicus Maximus. This victory was celebrated on the Roman coinage over the next few years, and a triumphal arch built in Rome in commemoration of the event that was dedicated in 203. In the wake of his great success, Septimius elevated Caracalla, who had accompanied him on campaign in the east, to co-augustus. In 204 when this aureus was struck the Imperial family had recently returned from the province of Africa, where Septimius had dramatically expanded and re-fortified the entire southern frontier of the empire along the Limes Tripolitanus. Now focussing on matters other than war, the great event of this year was the celebration of the ancient Etruscan festival, the Saecular Games, which recurred at intervals of 110 years and was commemorated on the coinage struck for both augusti. This event saw Caracalla and Geta associated with the Di Patrii, Hercules and Liber Pater, who were themselves equated with the Phoenician gods Shadaphra and Melqart, the tutelary deities of Septimius’ home city of Leptis Magna in Roman Libya (cf. Roma XV, lot 585 for a full discussion of the importance of the Di Patrii to the ideology of Septimius’ reign). Struck at the same time as coinage emphasising the important ideological connection of his sons to the tutelary deities of his regime, the reverse of this stunning aureus attests that Caracalla shared in the celebration of his father’s Parthian victory as co-augustu: we find Caracalla bearing the title given to his father, Parthicus Maximus, and a traditional representation of Victory. As Caracalla neither gained the military victory as Emperor or as a military leader, this aureus demonstrates that victory was also an abstract attribute associated with the princeps. The willingness of Septimius to share his victory titles with his son reflects his desire to create a strong and lasting dynasty following the principle of succession by birth, a theme repeated often on the coinage.

Macedon, Chalkidian League AR Tetradrachm. Olynthos, circa 382-379 BC. Laureate head of Apollo left / Kithara of seven strings, XA?KI?E?N around; all within incuse square. Robinson & Clement Group H, 14 (same dies); cf. Traité IV pl. CCCXIII, 4; cf. BMFA Suppl. 43 and 43a. 14.30g, 25mm, 3h. Extremely Fine; beautiful old cabinet tone. From a private British collection; Ex Leu Numismatik 54, 28 April 1992, lot 77. The extensive 'Group H' coinage appears to have been produced in order to finance the Olynthian war effort against a Spartan campaign to subdue the city and dissolve the Chalkidian League in 382-379 BC. Amid continuous Illyrian invasions along the northern border of Macedon, in around 385 BC Amyntas III once more mortgaged certain territories, this time formally to the Chalkidian League. By 382 the League had absorbed most of the Greek cities west of the river Strymon, and unlike in 392, it was reluctant to return control of the Macedonian territories that Amyntas had transferred to its control, which included the capital at Pella. Amyntas now sought the aid of Sparta against the growing threat of the Chalkidian League; his disposition was shared by the cities of Akanthos and Apollonia, who anticipated imminent conquest by the League. Sparta, keen to reassert its presence in northern Greece, consented and a force of 10,000 was mobilised and dispatched against the League. An advance force of 2,000 under Eudamidas succeeded in separating Potidaea from the League; meanwhile the main force under Teleutias, brother of the Spartan king Agesilaos II, proceeded slowly, being augmented by allied contingents as it went. Teleutias thus arrived in Olynthian territory at the head of a substantial army and won an initial victory outside the city walls of Olynthos. In the spring of 381 however, Teleutias allowed himself to be drawn in too close to the walls, whereupon his forces came under missile fire and were routed with heavy losses by an Olynthian sortie, Teleutias himself being killed in the engagement. With the death of Teleutias, command passed to king Agesipolis I, who in 380 recommenced operations against the League, taking the city of Toroni in an assault. Agesipolis' success was short-lived however, as he was seized with fever and died within seven days. After three years of protracted but indecisive warfare, Olynthos consented to dissolve the Chalkidian League, though this dissolution appears to have been little more than a token formality, since in the following year the League appears among the members of the Athenian naval confederacy, and twenty years later Demosthenes reported the power of the League as being much greater than before the Spartan expedition. Olynthos itself is at this time spoken of as a city of the first rank, and the Chalkidian League then comprised thirty-two cities.

Galba AV Aureus. Tarraco, April-late AD 68. IMP GALBA, laureate head right, with globe at point of bust / DIVA AVGVSTA, Livia standing left, draped, holding patera and leaning on sceptre. C -, cf. 43 (denarius); BMCRE -, cf. 167 (denarius); RIC -, cf. 14 (denarius); BN -, cf. 8 (denarius); Calicó 470 = Biaggi 252 = Hess-Divo 320, 326 (hammer CHF 14,000). 7.61g, 18mm, 6h. Very Fine; faint hairline in rev. field. Extremely Rare - apparently only the third known example. This type was known only in silver until as late as 1953, when part I of the Rashleigh collection (14-16 January, lot 19) was put up for auction. The type remained known only by that single example, which passed into the Biaggi collection, until 2009 when a further specimen came to light at NAC 52 (7 October, lot 357). The type remains an extremely rare example of Galba's early coinage produced in the capital of his province and power base, Hispania Tarraconensis. The reverse advertises Galba's association with the early Julio-Claudians, and Livia in particular - Galba had been a close personal friend of the imperial family, and Livia had made him her principal heir in her will, though Tiberius largely cancelled the generous bequests therein.

Heraclius AV Solidus. Uncertain eastern mint (Jerusalem or a mint in Syria?), late AD 610-611. ?N ?ERACLIVS P P AVI, crowned and cuirassed bust facing (which resembles Phocas), holding globus cruciger / VICTORIA AVGV I?, angel standing facing, holding long staff surmounted by staurogram and globus cruciger; CONOB in exergue. DOC 186 (Alexandria); MIB 76 (Cyprus?); Bendall, Jerusalem 3 (Jerusalem?); Sear 850 (Jerusalem). 4.46g, 22mm, 7h. Mint State. Struck on a broad flan and with lustrous, mirror-like surfaces. Extremely Rare. From the inventory of a North American dealer. After two years of fuelling discontent at the tyranny of Phocas, at last the younger Heraclius felt confident to challenge the emperor in his capital and was successful in deposing him. Struck at an uncertain eastern mint that still has yet to be definitively located, this extremely rare solidus represents one of the first issues for Heraclius as sole emperor and clearly depicts the new emperor with the likeness of Phocas, as a new imperial image had not yet been received at the mint. Originally attributed to Jerusalem, more recent scholarship has cast doubt on this without giving a definite alternative, though a date of late 610-611 is certain. Issues with the I?, I and IX mintmark were likely struck to pay soldiers who had been loyal to the Heraclii rather than being regular issues and, disappearing shortly after the Sasanian invasion of the eastern provinces in 614, may even have been the product of a military mint.

Caligula Æ Tetrassarion of Aegeae, Cilicia. Mi-, magistrate. Dated year 87 = AD 40/41. Diademed and draped bust of Alexander the Great to right / AI?AI?N TH? IE?A? KAI A?TONOMO?, bare head of Julius Caesar to right; Z? (date) over MI behind. RPC I 4036; SNG Levante 1691. 13.43g, 29mm, 1h. Near Extremely Fine. Extremely Rare; one of only four examples on CoinArchives, and in excellent condition for the type. Ex Obolos 5, 26 June 2016, lot 540. The Cilician city of Aegeae (Greek: city of goats) was apparently of Macedonian foundation. A fictitious letter of Alexander to his mother from (The Alexander Romance, 23) composed in the third century AD attributes the city’s origin to Alexander having beaten the Persians at Issos by means of fastening torches to the horns of goats so that by night his forces seemed greater than they were, and having thus won, founded a city on that spot. In any case, cities in Cilicia were the first to depict Alexander on their civic coins, often claiming to have been founded by the great conqueror whether or not there was any truth to the matter. Certainly in Aegeae’s case, the legend stuck – the city portrayed Alexander on its coinage for a period of nearly 300 years, its name recalling the capital of the Kingdom of Macedonia, and from the time of Caracalla onwards it bore the title of ‘Makedonike’ and in AD 228/9, ‘Alexandroupolis’. The city appears to have lost its autonomy in the mid first century BC, probably at the hands of Pompey during the civil war, since as Kent J. Rigsby (Asylia: Territorial Inviolability in the Hellenistic World, 1997) notes: “it is after Caesar that Aegeae is seen to enjoy both a new era and the right to strike silver”. That he should be depicted on the city’s coinage as a second founder is telling, and must argue against his having been the cause of the city’s loss of its old right (Hansjörg Bloesch, Hellenistic Coins of Aegeae in ANSMN 27, 1982). This refoundation must be assumed to have taken place in 47 BC, when Caesar reorganised the province.

Seleukid Empire, Antiochos II Theos AV Stater. Aï Khanoum, 261-246 BC. Diademed head of Antiochos I right / Apollo Delphinios seated to left on omphalos, holding arrow and resting left hand upon bow set on ground; ???????? to right, ???????? to left, monogram in left field. SC 435.1; ESM 695. 8.50g, 18mm, 5h. Good Very Fine, minor scuff on neck. Extremely Rare. Ex private German collection. Recent scholarship has reattributed a series of gold, silver and bronze coins with the mint mark of a delta within a circle, or close variants, from the ancient capital of Baktria, Baktra to previously unknown the city of Aï Khanoum in northeast Afghanistan. The history of this Hellenistic city is unclear - it was possibly founded by Alexander the Great as one of the military settlements left in this region, and could have been the settlement of Alexandeia Oxeiana. Another theory is that it was founded by Antiochos I in the early third century BC as a royal residence while Baktria was under Seleukid rule. Either way, the archaeological evidence clearly demonstrates that during the Hellenistic era Aï Khanoum was a major city. The excavations reveal that the city had a palace complex as well as a treasury, gymnasium, mausoleums and temples in addition to the discovery of unstruck bronze flans, highly suggestive that a mint was active here, although its dates of operation are not clear. Baktra had been suggested as the mint location only because, as Newell (Newell The Coinage of the Eastern Seleucid Mints. From Seleucus I to Antiochus III. 1938 pp. 229) wrote, the “only logical location for a large and active royal mint…[was] at Baktra, the political, commercial and geographical centre of the entire province.” However, a variant of the mintmark seen on this coin was found on bricks at one of the oldest parts of the ancient city of Aï Khanoum, a factor which led Kritt in his 2016 work ‘The Seleucid Mint of Aï Khanoum’ (Classical Numismatic Studies No. 9) to reattribute coins bearing this mintmark to this city. This was supported by Houghton and Lorber in ‘Seleukid Coins: a Comprehensive Catalogue’ who reassigned this whole series to Aï Khanoum and further argue that Baktra could not have issued these coins as a newly discovered bronze coin (catalogue number 283A) depicted the river god of the Oxus, which flowed by the city of Aï Khanoum, not Baktra.

Moesia, Istros AV Stater. Circa 250-225 BC. In the names and type of Alexander III of Macedon. Head of Athena right, wearing crested Corinthian helmet decorated with coiled serpent / Nike standing left, holding wreath and stylis; A?E?AN?POY to right, monogram within wreath to left. Price 969; Hill, Greek Coins 1927, 8.18, pl. i.18. 8.46g, 18mm, 12h. Extremely Fine. Extremely Rare; one of very few known specimens, none in CoinArchives. Price (cf. pp. 176-180) suggests that these late 'Alexanders' are likely to represent "protection money paid to the Gauls, similar to that paid by Byzantium." Polybius (4.46.3) relates the context of this tribute: "These Gauls had left their country with Brennus, and having survived the battle at Delphi and made their way to the Hellespont, instead of crossing to Asia, were captivated by the beauty of the district round Byzantium, and settled there. Then, having conquered the Thracians and erected Tyle into a capital, they placed the Byzantines in extreme danger. In their earlier attacks, made under the command of Comontorius their first king, the Byzantines always bought them off by presents amounting to three, or five, or sometimes even ten thousand gold pieces, on condition of their not devastating their territory: and at last were compelled to agree to pay them a yearly tribute of eighty talents."

North Africa, Carthage AR Shekel. Time of Hannibal. Carthago Nova, circa 218-206 BC. Bare male head (Hannibal?) left / Horse right, palm tree behind. MHC 142; ACIP 603; SNG BM Spain 104-5. 7.33g, 22mm, 12h. Good Very Fine; light scuff on edge. Very Rare. This coin is conventionally believed to carry the portrait of Hannibal on the obverse. In 237 BC Hamilcar Barca, after having lost the First Punic War against Rome, but having won the Mercenary War against the Libyans, disembarked at Gadir with a Carthaginian expedition with the purpose of "re-establishing Carthaginian authority in Iberia" (Polybios, Histories, 2.1.6), and within 9 years he had expanded the territory of Carthage well into the Iberian peninsula, securing control of the southern mining district of Baetica and Sierra Morena, before dying in battle in 228. Hamilcar was succeeded by his son-in-law Hasdrubal the Fair who expanded the new province by skilful diplomacy and consolidated it with the foundation of Akra Leuka, Mahon and finally in 227, Qart Hadasht (Latin: Carthago Nova) as his capital. After his untimely death in 221 he was succeeded by Hannibal (247-182), oldest son of Hamilcar Barca, and Hamilcar's second son Hasdrubal (245-207 BC). The Barcids now wielded control over much of the mineral rich Mediterranean side of the peninsula until 219 when Hannibal made the fateful move of taking and sacking Saguntum, a well established Roman ally. The wholesale slaughter of this Roman ally's population, and the arrogance with which the Roman ambassadors sent to Carthage to seek redress were met, led directly to the Second Punic War: the great statesman Quintus Fabius, speaking to the Carthaginian senate, gathered a fold of his toga to his chest and held it out, saying "Here, we bring you peace and war. Take which you will." The Carthaginians replied "Whichever you please - we do not care." Fabius let the fold drop and proclaimed "We give you war."

Prints, by Chris Manning - "The Cathedral Newcastle Upon Tyne" and "Grey Street Newcastle Upon Tyne", signed; together with a print, by Florence Biddle - "Surrey's Capital", signed and dated 1925. (3)

Tribal/Ethnographic: Saint Anthony of Padua bronze pendant, Bakongo People, DRC, 1950s, 10cm high. ‘Catholic since the late fifteenth century, the Kongo Kingdom fostered devotion to many saints. St. Anthony was among the most popular, and was called Toni Malau ("Anthony of Good Fortune") for his purported powers of healing and good luck. The popularity of Saint Anthony in Kongo was part of an early modern phenomenon in which the saint was equally popular in Europe, South America, and Africa. Born in Lisbon, Portugal in 1195, the Franciscan brother Anthony was canonized just one year after his 1231 death in Padua, Italy. Claimed as a patron saint by both Portugal and Italy, religious missionaries from both regions spread his cult globally. Soon after their 1645 arrival in Kongo, Italian Capuchin fathers began to spread the cult of St. Anthony. In the Kongo kingdom, locally made figures of Saint Anthony based on European prototypes became common around the eighteenth century. The practice most likely related to the saints popularity in the kingdom, and was possibly tied to the short-lived Antonian movement, during which the Kongo noble woman Beatriz Kimpa Vita gained a significant political following after declaring herself the reincarnation of St. Anthony. To the chagrin of European missionaries, the Antoniens adopted the metal, ivory, and wooden images of St. Anthony, wearing the sculpture of the saint they called Toni Malau as a sign of their allegiance and as a protective amulet. Known as "Little Anthonies," her followers occupied the capital and travelled throughout the Kongo kingdom wearing their medallions, spreading the message of Dona Beatriz, who believed that Africanizing the church would strengthen the Kongo state, which was in disarray after a series of civil conflicts and the rising effects of the Transatlantic slave trade. While the Antonien movement was successfully put down in 1706, St. Anthony remained popular long after. Considered the "Saint of Good Fortune" or the "Saint of Prosperity," Toni Malau figures continued to be used prominently in Kongo as forms of protection from illness, the troubles of childbirth, or other problems.

An unusual continental tin glazed earthenware dish and domed cover with blue and manganese purple painted decoration of huntsman and a stag, painted capital N mark to base 23cm diameter

John Leech (1817-1864) four lithographs - A Friendly Mount, A Capital Finish, No Consequence and The Noble Science, in original glazed oak frames, 64cm x 84cm

A Mahogany Thirty Hour Longcase Clock, signed Thos Russell, Lancaster, circa 1830, swan neck pediment, arched trunk door, 14-inch square painted Roman numeral dial, anchor escapement and outside countwheel striking on a bell, 219cm high 03.09.18, Swan neck capitals are missing, pediment with repairs and signs of glue residue, one brass column capital is missing, wooden dial surround with chips, trunk door is bowed and with dents, plinth with scuff marks to the sides and cracks to the front, dial is rubbed in parts and with scratches, some paint is slightly lifting and small losses in parts, movement needs cleaning, with pendulum and one weight.

A 20th Century Green Marble, Gilt Metal Mounted and Alabaster Pedestal, the square top above a leaf and scroll decorated capital with circular socle and square form base, 22cm by 22cm by 115m

A 19/20th century Indo-Chinese map of periously know Tsi Nan Fu. Jinan capital of Shandong province. Dated 1904 written in German. 50cm x 58cm

A 9CT GOLD FOB CHAIN WITH ATTACHED FULL SOVEREIGN the sovereign with soldered on loop, dated 1887, chain hallmarked to every link, length 42.5cm, weight 32gms Condition Report: Chain hallmarked to every link 375 9, the 'T' bar (stamped H.S 9 375 Anchor)and and the lobster claws,link joining stamped 375 9, claw stamped H.S 9 375 both sides (work fine), link of chain diameter 4.2mm. Sovereign, dinks and scratches indicative with wear. Joining link from 'T' bar to the chain stamped 9 375 Anchor (Birmingham) Capital S, tail of stamp missing so cant give a specific date probably 1917, but could still be H. Samuel from 1887 to early 20th century..  

A FRAMED AND GLAZED ENGRAVING TITLED "THE CAPITAL ROME " signed in pencil Geoffrey Wedgwood

60s Demos & Promos 7 inch inc Parlophone, Stateside, Decca, Reprise, RCA, Emerald, Capital, Mercury, Columbia, United Artists, HMV, Coral All in VG to EX condition. [W]

An Edwardian circular double sided photograph frame, the foliate cast screw-on ring capital detailed 9ct, circular glass panels, sight size, 4.5cm.

An American dip pen, Mabie Todd & Co New York, late 19th Century, Broad Point 6, with hour glass pattern stem and mother of pearl handle, 18cm long and a similar period dip pen, with lozenge pattern, the faceted agate handle with stone set capital, 14.5cm long (2).

A child's Victorian silver spoon and fork, London 1894, foliate engraved and a similar butter knife, London 1898, three prong bread fork, London 1920, with ribbon tied bellflower swags, replica annointing spoon, late Victorian silver spoon, Sheffield 1895, with twist stem and Lincoln Imp cast capital, four silver spoons with cast dog capitals, 8ozs weight combined, also a boxed set of twelve Portuguese coffee spoons, with cage set varying hardstone capitals (22).

SUNDIAL. AN ENGLISH BRONZE 10 INCH HORIZONTAL PEDESTAL DIAL, WHITEHURST DERBY, C1780 engraved Whitehurst DERBY and dated 178-, mounted on a turned stone base with square stone capital and block++Removed from a Derbyshire garden where it has stood for many decades, the sundial with green patina, not cleaned or altered, gnomon original

PROPERTY OF A CONTINENTAL LADYA MAGNIFICENT DIAMOND RIVIERE NECKLACE, BY MAUBOUSSIN, CIRCA 1955Designed as two graduating rows of round brilliant and baguette-cut diamonds, each side accented by a stylised ribbon of similarly-cut diamonds, mounted in platinum, diamonds 53.06cts total, signed Mauboussin, maker's mark, French assay marks, case stamped 'Mauboussin, 20 place Vandôme, Paris', length approximately 38cmAccording to the invoice of Mauboussin place Vendôme Paris, dated February 20th 1962, the necklace comprises of 19 principal round brilliant-cut diamonds weighing 19.67cts in total, 62 remaining round brilliant-cut diamonds weighing 12.07cts in total and 117 baguette-cut diamonds weighing 21.32cts in total, 'all of top quality'The house of Mauboussin began its days in a humble workshop in the Rue Greneta area in central Paris. Initially established by a Mr Rocher, the firm was taken over by his partner Jean Baptiste Noury in 1869. Having survived the first years of business through a period of tough economic and political instability, Noury began to exhibit the firm’s crafts at international exhibitions and fairs which were popular throughout France and across Europe during the late 19th century. This move proved to be crucial in terms of building recognition for the brand, particularly when in 1878 he was awarded a bronze medal at the ‘Exposition Universelle’ in Paris. Around this time, Noury’s young nephew Georges Mauboussin was quietly working in the background as an apprentice at the firm. Mauboussin moved quickly through the ranks, taking over the management of the workshops in 1883 and taking sole control of the company by 1898. This innovative young man was keenly aware of the need to adhere to the social norms important to his audience and his tireless efforts to align the brand with the social spirit of the time became the key to creating the house that we now know.In 1923, he moved the firm to Rue de Choiseul, taking his place near to the opera district and holding his own against competitors such as Cartier and Boucheron. At this point, in spite of the brewing excitement of the Roaring Twenties, Mauboussin’s clients remained fiercely private so Mauboussin located his new showrooms on the first floor, away from the prying eyes of the public. When it came to what they wore however, these same clients had a taste for the exotic and for the brilliance of the Parisian Art Deco style. Mauboussin again delivered, his skilled workshops constantly sourcing and manipulating the most innovative materials in bold colours - from jade and shellac from the Far East to mother-of-pearl, pearls, coral and lapis lazuli from the Middle East and carved coloured stones from India - to create magnificent stylised forms such as the famed Tutti Frutti brooches and geometric monochrome sautoirs for which the house is still known and recognised. Throughout this time, Mauboussin exhibited widely, showcasing pieces from Milan to Buenos Aires, constantly winning awards for his designs and his tireless work in contributing to the decorative arts, and all the while building the name of his brand. In fact these exhibitions were so successful in terms of marketing and promotion, that Mauboussin held three exhibitions of his own during the late twenties, showcasing the range and quality of gems and precious stones available at his Paris store. These exhibitions drew wide attention including that of the Prince of Wales and the Maharajas of Kapurthala and Indore. Indeed it would be the business of these clients that would help to support the firm through the economic struggles which would follow with the Second World War.Prior to this however, in 1928, Georges’ son, Pierre, opened new stores in New York, London and Buenos Aires. These led to a very prosperous collaboration in 1936 with the New York jeweller Trabert & Hoeffer, which, under the name Trabert & Hoeffer-Mauboussin Inc., set up a flagship store at 407 Park Avenue and later opened branches across the US. It was around this time that the famous “Reflections” line of the 1930s was launched and it immediately enthralled Hollywood’s golden girls including Marlene Dietrich, Paulette Godard and Audrey Hepburn. High-end magazines such as Vogue, Harper’s Bazaar and L’Officiel also regularly featured pieces created by Mauboussin as accessories to gowns by designers such as Lucien Lelong. Captured by famous photographers such as Horst and George Hoyningen-Huene, these served to further enhance the glittering image being broadcast across the world of La Maison Mauboussin.Following the period of the Second World War, there was a distinct change in taste and a move away from the Art Deco style. Mauboussin was quick to adapt to the new appetite for chunkier, less restrained pieces inspired by a fresh post-war optimism. By the 1950s, luxury was making a comeback with the prolific use of diamonds and precious stones adorning pieces in the form of coils and scrolls. The piece being offered in this sale is a classic example of this bold and fantastical style. It is set in a typical fine platinum setting (Paris as the international capital for expertise in jewellery, had been producing platinum settings since the late 19th century) and the lightness of this setting affords and supports the boldness of the design and the number of diamonds without causing discomfort to the wearer. Once again it is a piece which embodies the spirit of its time. Throughout the 1940s and 50s, as the economic landscape continued to improve, Mauboussin’s client base began to expand as disposable income rose amongst the middle class. Suddenly there was no longer a need for secrecy or privacy when shopping and the windows of Mauboussin’s new store at 20 Place Vendôme were opened up in 1946. By 1955, in a bid to embrace the democratization of fine jewellery and echoing the move of their neighbours Van Cleef & Arpels, the firm opened a new ‘boutique’ offering pieces produced on a larger scale and at a more affordable price. This new clientele however still understood the value of the brand and its heritage and was highly selective when it came to quality. It marked the beginning of a new era in jewellery marketing and production.Today, La Maison Mauboussin remains an independent house - a remarkable achievement in an era when almost all family-owned jewellers have been taken over by multinational conglomerates. Owned since 2002 by Dominique Fremont, it has stores in Paris, Japan, Singapore and New York and as a brand, it still remains firmly attuned to the needs and spirit of the time.

A simulated bronze column torchère with square top and garlands of flowers to the capital, having a fluted column, 104cm high

Decca / Capital / Parlophone 78s, one hundred and twenty with fifty plus on Parlophone, thirty two Decca, twenty five Capital and others featuring Benny Goodman on many records, Louis Armstrong, Maxine Sullivan and Crane River Band various years and conditions with some stickers on the record labels

78 Box Sets, five box sets comprising: Brunswick Jimmie Noone Vol 1 Album B-1006 (8002-80026) MGM 'Summer Stock' Judy Garland & Gene Kelly (30251-30254) The Capital Jazzmen (10009-10012) Columbia 'Is Everybody Happy' Ted Lewis(36299-36302) and Decca Ted Lewis Album A-353 only three records (3916-3918) various years and conditions

78 Box Sets, five box sets comprising: Brunswick Jimmie Noone Vol 1 Album B-1006 (8002-80026) The Capital Jazzmen (10009-10012) Columbia 'Is Everybody Happy' Ted Lewis(36299-36302) American Jam Music (7804-7809) and Decca Ted Lewis Album A-353 (3916-3919) various years and conditions

After Dickinson, The Entry into Pretoria, an extremely large photogravure print depicting the entry of British forces under Lord Roberts into the capital of the Zuid-Afrikaansche Republiek, pencil signed by the artist, published by Dickinson & Foster, 1903, Print Sellers' Association blind impressed proof stamp, in period gilt frame under glass, 86 cm x 116 cm

Good gothic concert birds eye maple framed harp by and inscribed Sebastian Erard Patent no. 6334, 18, Great Marlborough Street, London, the hexagonal column carved with figures to the capital and with overlaid gilded stylised flowers to the stepped base, fitted with eight pedals (one missing), 69 1/2" high (with some condition issues and in need of restoration)

Post War Headquarters Western Command Wall Sign Chester CheshireCast alloy pointing sign, 51 x 10 inches. Cast with “Headquarters Western Command”. Now with black finish. In 1938 Western Command HQ moved to Capital House at Queen's Park in Chester. It remained here until 1938

*Panoramas at Leicester Square. A collection of 36 plans and descriptions of the various panoramas exhibited at the Panorama, Leicester Square and the Panorama, Strand, London, 1803-40, comprising 21 wood folding wood engraved plans accompanied by descriptive text, 14 folding wood engraved plans without text, and one engraved plan of the Battle of Waterloo, partly hand-coloured, engraved by James Wyld after William Siborne, with accompanying descriptive text entitled Guide to the Model of the Battle of Waterloo, the folding plans various sizes (50 x 38 cm, 19.5 x 15 ins and smaller), a few waterstained or with minor soiling (generally in good condition), all disbound without covers, loose A rare collection of wood engraved plans and descriptions of the various panoramas exhibited to the public by Robert Barker, subsequently his son Henry Aston Barker, and later John and Robert Burford, mainly at the Leicester Square Panorama. First established in Leicester Square in 1793, Robert Barker's purpose built panorama rotunda exhibited 360 degree panoramas painted by the proprietors, with the exception in this present collection of the panorama of St. Petersburg, painted by John Thomas Serres (1759-1825), and the panorama of the Battle of Navarin, painted by John Wilson (1774-1855) and Joseph Cartwright (1789-1829). The folded single-sheet plans comprise: View of Paris. and, in the upper circle, the superb view of Constantinople, for a short time, 1803, Two views of Paris, 1803, Weymouth/Lord Nelson's glorious victory, gained over the French and Spanish fleets, off Trafalgar, circa 1805, Battle of Trafalgar, circa 1805 [watermarked 1802], View of Gibraltar and Bay, 1808, View of Flushing, during the siege, 1810, Grand View of La Valetta, the capital of Malta, circa 1810, View of Messina, in Sicily, circa 1810, View of the Grand Harbour of Malta, 1812, Representation of the Battle of Paris, 1815, Explanation of the view of Dover, circa 1816, View of the city of St Petersburg, 1819, Explanation of the view of Lausanne and Lake of Geneva, circa 1819, and St. Petersburg, painted by Mr. Serres, Royal Panorama, Lyceum, Strand. Plans with accompanying descriptive text comprise: A Short Dscription of Badajoz, 1813, Description of the View of the Battle of Vittoria, 1814, A Short Description of the Island of Elba, 1815, Description of a View of the Grand Harbour of Malta, and the City of La Valetta, 1839, Description of a View of the City and Bay of Dublin... painted by Robert Burford from drawings taken by himself in 1836, Description of a View of Rome painted by Robert Burford from drawings taken by himself in 1837, published 1839, Description of the Field of Battle... near Waterloo, 1816, Description of the View of Venice, 1819, Description of the View of Naples, 1821, Description of a View of the Ruins of the City of Pompeii, 1824, Description of a Second View of the Ruins of Pompeii, 1824, Description of a View of the City of Edinburgh, 1825, Description of a View of the City and Bay of Genoa, 1828, Description of a View of the City of Florence, 1831, Description of a View of the City of Milan, 1832, Description of a View of the Siege of Antwerp, 1833, Description of a View of the Great Temple of Karnak and the surrounding city of Thebes, painted by Robert Burford from drawings taken by Mr F. Catherwood, architect, in 1833, Description of a View of the City of Jerusalem, 1835, Description of a View of Isola Bella, the Lago Maggiore, and the surrounding country, painted by Robert Burford from drawings taken by himself in 1835, and A Description of the View of Berlin exhibiting in Barker's Panorama, Strand, 1814, and Guide to the Model of the Battle of Waterloo, circa 1815 (with partly hand-coloured engraved plan by James Wyld after W. Siborne). (26)

*Wolseley (Garnet Wolseley, 1st Viscount, 1833-1913). Original manuscript briefing notes entitled 'Extract from Notes to accompany Itinerary from Cape Coast Castle to Coomassie', drawn up by Lieutenant John Frederick Maurice, Royal Artillery, Private Secretary to Wolseley during the Ashantee Campaign of 1873-74, and one of the founder members of Wolseley's 'Ashantee Ring', dated 27 September 1873, comprising 11 handwritten pages on six folio sheets of blue official army notepaper, incorporating a pen and ink map of the Ashantee capital, Coomassie, signed with initials 'J.M. Cape C.C.E.' (Cape Coast Castle Expedition), accompanied by a watercolour sketch of the cape coast castle from the seaward side by acting Lieutenant (later Admiral) James Stoddart, Royal Navy (1827-1892), watercolour on card, pencil inscription to verso 'Cape Coast Castle, Admiral Stoddart, as Lieutenant, 1836', 18.5 x 26cm A surprise attack on the British Gold Coast Protectorate by the Ashantee King took place on 22nd January 1873. Months of sporadic violence followed, which the resident British forces - a battalion of the West India Regiment and one hundred Royal Marines - barely managed to contain. A punitive expedition was dispatched from England under the command of Major-General Garnet Wolseley, who embarked for the Gold Coast aboard the SS Ambris with an advance part of thirty-five staff officers, from Liverpool on 12th September 1873. Wolseley and his officers landed at the Gold Coast Castle on 2nd October 1873. This draft plan of campaign was drawn up by Lieutenant Maurice while Wolseley was at sea, being dated just five days prior to their disembarkation at Cape Coast Castle. Arriving, by design, well in advance of the main body of his force, which did not arrive until January 1874, Wolseley had a detailed plan, based on Lieutenant Maurice's comprehensive notes, in place by the time his troops arrived. After citing the various published and written sources used when drawing up the plan of campaign, including Bowdich's Mission to Ashantee (1817), Hutton's A Voyage to Africa (1820), Dupuy's Journal of a Residence in Ashantee (1820), Commander William Winniatt's Journal of his visit to the King of Ashantee (1848) and the Guide for Strangers traveling to Coomassie (1862), the notes provided General Wolseley with a detailed account of the country between the coast and the Ashantee capital, its peoples, towns and villages (with estimates of population), the jungles, rivers and swamps, climate and potential for obtaining supplies during an advance; Maurice details five different potential routes from the coast to Coomassie (7 pages of the text), outlining potential difficulties, whether the land to be crossed might prove friendly or hostile, the total distance covered by each route, along with a copied map of the Ashantee capital, taken from Bowditch, at a scale of 400 paces to the inch, indicating the position of the principal buildings and locations in the city, including Aboosaywe, or place of execution, the palace, temple, etc, and the various types of terrain in the immediate vicinity of the capital; swamp, ground cleared but rocky, yam garden, etc, as a guide to selecting the best route for the final attack. Five routes are proposed: one from the River Prah through Kairokou, Eusaguesu, Abbatea and Biaqua to Coomassie, Maurice noting with regard to this route that as the tribes to the west of Elminia have revolted, this route leaves the left flank of the line of communication so exposed that it would seem madness; a second route from the Cape Coast Castle via Anamaboe, which Maurice describes as being too difficult and dangerous; a third route from Accra to Aguieso across the rivers Birrimo, Auinee and Boosim-Prah, described as having the advantage of starting from Accra, as a base the most healthy place on the coast and well within British territory; a fourth route from Accra, passing to the north of the proposed route 3; and a fifth route to Coomassie via the River Volta, which Maurice notes as only being practicable if the river was navigable when the campaign commenced. Wolseley was able to complete the campaign successfully in only two months, evacuating his troops before the malarial wet season arrived. The plan of campaign that Wolseley put into action was essentially an amalgam of the first two options proposed by Maurice, described respectively as madness and difficult and dangerous, Wolseley overcame the problems these two routes presented by negotiating agreements with the previously hostile tribes on the left flank of his line of attack, and recruiting them to actually assist in the invasion of the Ashantee kingdom that had been previously oppressing them. The problem of passing large numbers of troops through dense jungle along narrow tracks and roads was overcome by splitting his attack into four columns, constructing an advance jumping off point in the interior at Prahsu, approximately fifty miles from Coomassie, from which the main column attacked along the Prahsu - Coomassie road, supported by the three flanking columns, and converging on Coomassie for the final assault. Captain (later Major-General Sir) John Frederick Maurice (1841-1912) obtained material and information from a wide variety sources, including Admiral James Stoddart, from whom he obtained this watercolour showing the location and strategic importance of the Cape Coast Castle, which became the base for operations during the Ashantee campaign. (2)

Leighton, Clare The Farmer's Year. Collins, 1933. Oblong folio, org. cloth, in unclipped dj; 12 woodcut plates, each month with decorative initial capital and 6 with woodcut tail-piece. idem. Four Hedges. A Gardner's Chronicle. Victor Gollancz, 1935. 8vo, org. cloth, in unclipped dj; numerous woodcut illus. by Leighton. idem. Country Matters. Victor Gollancz, 1937. 8vo, org. cloth, in dj; numerous woodcut illus. by Leighton. Illustrator and writer Clare Leighton was best known for her wood engravings. During the 1920s and 1930s, as the world around her became increasingly technological, industrial, and urban, Leighton portrayed the vanishing lives of rural working men and women. Contemporaries like Sir John Squire praised her work, Eric Gill saying that ''...no one in our time has succeeded better than Clare Leighton in presenting the noble massiveness and breadth of the life of the earth on a scale so grand.'' idem. The Musical Box. Gollancz, [1936]. Oblong 4to, org. boards, decorative endpapers; coloured illus.Jacket dulled and torn, with some loss to foot of spine, board edges sunned, also foot of spine where jacket lost, however apart from occasional very slight foxing and a couple of margins a touch dusty, a clean copy internally. Four hegdes dj spine faded, edges a little creased and torn, light foxing to jacket but despite slight, occasional, marginal foxing throughout a clean, bright copy internally. Country Matters dj has tear in lower corner of upper panel, spine faded with rubbing and creasing to edges, foxing of endpapers but internally clean. Musical Box boards used with tearing to head of spine, very slight marginal foxing but bright internally.

A large late Victorian accounts ledger, inscribed in ink MS with accounts recording Capital Account, Profits and Loss, Commission Accounts and various other financial transactions, Domestic and Continental, including Norwegian Bonds, residences in Valetta, Malta, Calcala in Bologna, further companies in Rotterdam, etc., dated from 1883 to 1888, full contemporary reverse calf, Patent Lever lock, marbled endpapers and edges, gilt lettered red leather title label to spine, medium folio

Two Checker 78 records including Sunny Boy Williamson nos. 910 and 927; together with fourteen further 78 records including Meta Johnson - Mean Black Snake and Old Old Woman (Gotham G-514), Tub Jug Washboard Band - Prove It On Me Blues and Hear Me Talking To You (Ristic 6), Six Blue Chips - Steel Roof and Cheating Cheech (Decca F7809), eight various Imperial including Lil Son Jackson - Mr Blues and Time Changes Things (no. 5131), Guitar Slim and His Band - Women Troubles and Crying In The Morning (no. 5278) and T-Bone Walker - Baby Broke My Heart and The Hustle Is On (no. 5081); also two Edison Bell and one Capital record

VOYDER 'New York capital of the world Queens', spray paint on canvas, 160cm x 110cm.

A PAIR OF GILT BRASS CLASSICAL STANDARD LAMPS, the fluted centre column with Corinthian capital and acanthus cast design on a concave panelled base with cherub masks and lion paw feet. 155cm high

Alcock (Sir Rutherford), "The Capital of The Tycoon""A narrative of a three year residence in Japan", two volumes, with numerous chronograph illustrations, published by Longman, Green, London 1863 bound in green cloth with gilt decoration and lettering, Lorne (The Marquis), "A Trip to the Tropics and Home through America", published by Hurst & Blackett, London 1867, bound in green cloth with gilt lettering.

After Thornton, 'A View of The City of Berlin, Capital of the electorate of Brandenburg...', engraving, 21 x 30cm; together with other pictures and prints. 

 NICHOLAS II: (1868-1918) Emperor of Russia 1894-1917. Assassinated. A fine L.S., Nicholas, as Tsar, in Cyrillic, two pages, folio, Tsarskoye Selo, 9th December 1908, to King Haakon VII of Norway, in Cyrillic. The Tsar writes an official diplomatic letter to announce a family death, in part, 'It was God's will that deep sorrow should arrive to Our Imperial House. Our dear Uncle, His Imperial Highness Duke Alexei Alexandrovich passed away in Paris on the 1st November after a short severe illness…..We believe that Your Majesty takes a sincere part in Our sorrow….' Signed by the Tsar at the conclusion and countersigned by Alexander Izvolsky (1856-1919) Russian Diplomat, Foreign Minister of the Russian Empire 1906-10. With blank integral leaf. Accompanied by a loose blind embossed decorative paper seal, most probably detached from the original envelope (no longer present). A letter of good content and association. Some very light, extremely minor age wear and a few stains, about VG   Haakon VII (1872-1957) King of Norway 1905-57.   Alexei Alexandrovich (1850-1908) Russian Grand Duke, son of Tsar Alexander II of Russia.    Grand Duke Alexei Alexandrovich died of pneumonia in Paris where he had lived permanently for several years, becoming a familiar sight at restaurants and theatres (particularly on first nights) as a connoisseur of the social, artistic and literary life of the French capital. His death was said to have devastated Tsar Nicholas II, his nephew, who reportedly claimed Alexei as his favourite Uncle.  

WELLS FARGO: WELLS HENRY: (1805-1878) American Businessman & FARGO WILLIAM: (1818-1881) American Pioneer Expressman, together the business partners were important figures in the founding of the modern day financial firms of the American Express Company and Wells Fargo. A good D.S. by both Henry Wells (‘Henry Wells’, in his capacity as President) and William Fargo (‘Wm. G. Fargo’, in his capacity as Secretary) individually, one page, oblong folio, New York, n.d. (1850s). The attractive printed document is an unissued share certificate for capital stock of 5000 shares at $100 each in the American Express Company. With an engraved vignette of a steam train in motion at the head. Signed by both Wells and Fargo at the foot of the document, both signatures slightly affected by two cancellation holes each. About EX

REPRODUCTION TURNED ONYX TORCHERE WITH SQUARE TOP ABOVE BRASS CAPITAL, ALL ON BRASS MOUNTED SQUARE FOOT.HEIGHT: 39 INCHES.WIDTH: 9 X 9 INCHES.CONDITION: SOME DAMAGE TO EDGE OF FOOT.

CALDERON, PHILIP HERMOGENES, RA (1833-1898)A letter to 'Waller' (Samuel Edmund Waller) referring to an item in the Daily News and 'what a capital notion it would be for a picture'…….and a variety of dogs and puppies of all nations surrounding the maid would make a telling and amusing picture - what think you?' together with a sketch, the ink drawing annotated with 'Dogs' Dogs'. Another letter in which he refers to having a bad cold - 'I can scarcely get on what with one hand holding my pallet and the other hand blowing my nose all day'.Philip Hermogenes Calderon was a Pre-Raphaelite and historical genre painter and became keeper of the Royal Academy in 1887. His brother in law was Henry Stacy Marks and he was a close friend of Frederic Leighton

George III silver and cut glass fruit bowl, the circular base standing on four reeded supports, each having a stylised foliate capital and hair claw foot and united by shaped egg and dart stretchers, the bowl having diamond cut panels and a castellated rim, sponsors mark of Rebecca Emes & Edward Barnard I, London 1815, 30cm diameter, 30.1oz approx net Condition: Glass bowl - several nibbles to the rim, Silver stand - possible repair where the stretchers join the legs although this maybe original - **General condition consistent with age

Football Memorabilia. An extremely rare prospectus for the formation of The Portsmouth Football & Athletic Company Limited. Capital £8000.00 divided into 8000 shares of £1 each. Four pages of detailed text on two leaves, the leading paragraph stating - 'This company is formed for the purpose of acquiring and laying out a piece of land with an acreage of 4.5 acres or thereabouts situate at Goldsmith Avenue, Fratton, to be used primarily for the game of football ……………….'dated 16th May, 1895. Archivally encapsulated

Quantity of football programmes including Charity Shield 1974-2012, Carling Cup/ Capital One Cup 2004-2014, FA Cup Reviews, England programmes and Euro 96 etc. (nine ring binders)

A Victorian brass lamp standard, with adjustable mechanism and stepped base and raised on paw feet. CONDITION REPORT: Height to top of bulb socket when extended is 127 cm, height to top of bulb socket when fully extended is 198 cm. The rise and fall mechanism does work as does the brake. The lion paw feet are held on with screws and one screw is a replacement. There are signs around the Corinthian capital that this has been gilded at some point, however this is now been erased. Although fitted for electricity it is not to current standards.

A Classical Revival barometer, 19th century, with gilt metal mounts above a classical face mask and ionic capital above a face mask and garland swag turn above the scale and cast acanthus terminal, 56.5 cm

An early 19th century mahogany longcase clock by Dan Brown of Glasgow, with two-train striking movement, subsidiary date and seconds dials. Height 203 cm. CONDITION REPORT: We have the weights, pendulum, door key and winding key. The clock is currently ticking away and striking. The case is in generally good order. There are some minor nibbles to the cornice and a few pieces of dentil work missing. Both the columns are slightly loose at the top but are easy to position. The left hand column has the rear of the top capital missing. The trunk door is slightly warped but does close and lock with the key. The lock and lock escutcheon are later. There are various nibbles and marks to the case however the condition is generally fairly good. The right hand blind fretwork spandrel has a small loss.

A quantity of Bus Books. Publishers Capital Transport and Ian Allan etc. Titles include - The Heyday of the London Bus, Lost London in Colour, Green Line 1930-1980, London's 1960's Buses, Tramway Memories, London Transport Garages, The South East & Eastern Counties of England, The Last Year of the RT's & RF's, Routemaster, The Heyday of the RT, London's Transport, London's Suburban Buses, London Transport Buses in Colour 1955-1969, London Transport in the Blitz, London's Trams, London's City Buses, The British Motor Bus, London Buses in the 1960's and Routemaster Omnibus. VGC £40-60