We found 889 price guide item(s) matching your search

JAMES J ALLEN, SIGNED LOWER LEFT, OIL ON BOARD, INSCRIBED VERSO Burnham Overy Tower Mill, North Norfolk, 5 1/2" x 7 1/2"

Pair of framed, glazed, signed, 19th Century, watercolour on paper, to include one J VINCENT BARBER (1788-1838) architectural image of a large stately home framed by trees with people walking and playing on the lawns with title to mount ‘White Hall Shrewsbury’, and one JAMES BILLINGSLEY architectural image of a street of Tudor style shops and houses receding backwards and a church tower visible over the rooftops with title to mount ‘The Old Golden Lion, Deritend, Birmingham (now in Cannon Hill Park)’, 11cm x 16cm, 17cm x 12cm (2).

A Box: assorted James Bond 007 Ephemera including packet of 50+ col'd photographs of a James Bond 007 Exhibition/Show in Takashimaya Department Store Japan circa 1980s + six photocopied ptd story bd booklets of scenes from A View To A Kill, each one titled EIFFEL TOWER CHASE ONE, DIRIGIBLE SEQUENCE ONE, PRE TITLE ONE, ASCOT SEQUENCE ONE, REVISIONS DIRIGIBLE SEQUENCE, SC 295 TO SC 98, each dtd, dates ranging from 26th March 1984 to 9th July 1984, each approx A3 size, stapled, approx 10-20pp each + packet containing approx 30 port photographs of Roger Moore, majority stamped verso "copyright Moonraker ... photo, duplication; Patrick Morin" each approx 10" x 8" +packet containing five film stills of Timothy Dalton and Aston Martin for THE LIVING DAYLIGHTS, each approx 8" x 10" + packet containing good qty photographs of Timothy Dalton as James Bond for The Living Daylights with image of Eye and Bond in Pupil, as used in credits/publicity, each approx 8" x 10" + approx eight film stills/photographs from set of A View to a Kill, mainly of scene in Paris with Peugeot car, each approx 10" x 8" + approx six film stills/photographs from set of Moonraker, mainly of Roger Moore as Bond and Lois Chiles as Holly Goodhead in love scene + two film stills from The Spy Who Loved Me including James Bond (Roger Moore) rides the wet bike and Caroline Munro in bikini as "Naomi", associate of villain Stromberg + 3 others film stills/photographs from set of The Spy Who Loved Me, depicting nuclear submarines in facility, explosion in nuclear submarine facility and shot of Cubby Broccoli, Roger Moore and Barbara Bach, all seated posing for camera on aforementioned set + good qty "Top Secret 007" cards produced by Danjaq SA + good qty postcards for various Bond films + James Bond 007 bubble bath, orig card packaging, Eon Productions 1979 + James Bond playing cards in original packaging, watches (5) etc

A fine Victorian iron and brass hour-striking turret clock with four-legged gravity escapement J.B. Joyce and Company, Whitchurch, dated 1884 The movement of flatbed construction with high count lantern pinions and six-spoke crossings to the brass wheelwork, the going train with Harrison's maintaining power and regulated by four-legged gravity escapement with one-and-a-quarter seconds period compensated pendulum incorporating massive cylindrical cast iron bob, with white painted Arabic five minute setting dial signed JOYCE, WHITCHURCH and dated 1884 to centre, overhead dial take-off and cam for lifting the strike locking detent, the countwheel striking train with single-arbor warning and three-arm fly with adjustable flags, complete with crank winder, take-off and motionwork for two dials, weights and purpose-made welded oblong section steel stand fitted with a bell to left hand side, the flatbed frame 99cm (39ins) wide, 51cm (21ins) deep, the clock on frame 195cm (77ins) high by 135cm (53ins) wide by 76cm (30ins) deep overall. Provenance: The property of a private collector. Originally supplied for the church of St Paul, Kings Norton Parish, Moseley Road, Balsall Heath, Birmingham. A file compiled by the current owner containing details relating to provenance and other relevant notes (including a rare original trade publication) are included with the lot. The former firm of J.B. Joyce and Co. can trace its roots back to Shropshire village of Cockshutt where John Joyce is recorded in Loomes, Brian Clockmakers of BRITAIN 1286-1700 as working in around 1690. His descendant, William Joyce, relocated from Cockshutt to High Street, Whitchurch in around 1790. The workshop was then passed down subsequent generations with Thomas Joyce moving into the specialist field of turret clock making from1834. In around 1849 the firm adopted Lord Grimthorpe's design of gravity escapement for their larger clocks eventually settling on a four-legged version (as used in the current lot). The business subsequently expanded to became one of the most respected maker's of turret clocks of the 19th century winning many important commissions globally including Chichester and Salisbury Cathedrals, The Sydney Post Office clock and The Customs House, Shanghai. By 1902 the firm had outgrown its High Street premises hence a new purpose-built factory in Station Road was commissioned by Arthur Joyce. The business continued trading from this site until being sold to Smith of Derby in 1964 who allowed the firm to operate as a subsidiary. The factory was eventually closed in 2012 and is now used as a fine art auction house. The current clock was commissioned as a gift to the church of St. Paul by Thomas H. Barns in 1884 as 'a memento of my late uncle Mr. Thomas Barns..'. At the time of installation the church building was already thirty years old having built by Samuel Briggs in 1852-3 to a design by James Lyndon Perry to serve the district of Kings Norton parish. The tower was supplied with a forty-inch bell cast by C. & G. Mears in 1855 and the clock was configured to drive four large dials - one on each face of the tower. Unfortunately the church and tower was demolished in the 1970's to make way for modern residential development; the bell was re-used mounted in a steel campanile outside the new church hall built on part of the site. The clock as supplied was built to the highest specification utilising Lord Grimthorpe's four-legged gravity escapement and temperature compensated pendulum made with rod composed from zinc an iron tubes configured one inside the other to counter-act expansion through heat. The pendulum bob is particularly heavy and can be very finely regulated with the addition or subtraction of small weights to obtain an accuracy of within a five seconds a month. Now mounted on a purpose built steel stand the clock has been carefully restored under instruction by the vendor with the frame repainted in its original shade of light green and strike train provided with a hammer and bell mounted to the left hand side. As such the timepiece can either be used as a fascinating display piece or restored to its original purpose in a tower utilising the original take-off and motionwork (for two dials) included with the lot.

A pair of 19th century signed black and white etchings by James Reid, one showing a shore scene with fishermen and fishing boat, signed bottom right James Reid RPG, the other showing a wooded hillside beside a river with ruined tower, signed James Reid RSA, 25 x 18 cm approx together with a black and white etching showing Loch Katrine, signed bottom right Preston Gibb, 14 x 21 cm approx, all in simple black frames

WW2 signed collection. Sixteen 50th ann WW2 JS50 VIP signed covers.. JS/50/39/4c - Bomber Command North Sea Shipping Searches. Flown by RAF Phantom, Signed by 1939 search veterans Air Marshall Sir Gareth Clayton DFC & Sqn. Ldr. John Haskins. Numbered, signed & certified to reverse by Grp Capt Bill Randle DFM, WW2 Wellington pilot & Comete Line escaper. JS/50/41/6c - Operation Halberd Siege of Malta, flown by Hercules. Signed Flt.Lt. Norwell AFC. HMS Argus, flew his Hurricane in the Mediterranean, landing in Malta with 2 gallons of fuel left, fought in the defence until April 1941 & CEO Albert Saunders, HMS Regent Kator incident in Yugoslavia. Numbered, signed & certified to reverse by Grp Capt Bill Randle DFM, WW2 Wellington pilot & Comete Line escaper. JS/50/41/8c - Sinking of HMS Prince of Wales & Repulse Signed Ships Vets Lt. Graham and Cdr. Pool. JS/50/42/2c - Fall of Singapore Signed Pt. Ferguson and Gunner Lee. JS/50/42/5c - The Baedeker Raids Exeter, Canterbury & York 1942 Flown by Cessna. Signed Lord Mayors Canterbury and Exeter Pat Burke & Anthony Fry. Numbered, signed & certified to reverse by Grp Capt Bill Randle DFM, WW2 Wellington pilot & Comete Line escaper. JS/50/42/6c - Operation Millennium Cologne Raid 1942 Signed by 1000 bomber raid Wellington veterans Wg. Cdr. Gwyn Jones DFC & Flt. Lt. Gwyn Martin DFM. Numbered, signed &.certified to reverse by Grp Capt Bill Randle DFM, WW2 Wellington pilot & Comete Line escaper. JS/50/42/7c - Retreat to El Alamein Signed Major General Foote VC. JS/50/42/8c - Convoy PQ17 Signed A. Clayton and Vice Admiral Hayes. JS/50/42/11c - Battle of El Alamein Signed Major General Crichton Mjr P Watson MC. JS/50/42/12c - Operation Torch Signed Brig. James Hill DSO MC and Brig. Pearson DSO MC. JS/50/42/13c - Battle of Kumusi River 1942, flown by Concorde to RAF Changi. Signed by Australian Military VIPS Capt. P Parkins, Col. C Brewer, and Grp. Capt. A White. Numbered, signed & certified to reverse by Grp Capt Bill Randle DFM, WW2 Wellington pilot & Comete Line escaper. JS/50/44/7c - The Warsaw Uprising 1944 Flown & signed by Polish Baszata Tower Regiment veterans Sgt Mjr Wisniowiecka & Capt Witold Zlotnicki. Numbered & certified to reverse. JS/50/44/8c - Operation Dragoon Invasion of Southern France. Flown by Hercules. Signed Flt. Lt. Les R Colquhoun DFC GM DFM, 682 sqn. Numbered & certified to reverse. JS/50/45/3c - Operation Veritable, Battle of the Reichwald. Flown by Hercules. Signed by Brig Sir Jeffrey Darell MC, Tank squadron commander throughout the Battle. JS/50/45/8c - The Advance to the Elbe Signed General Sir Kenneth Darling. JS/50/45/11c - Operation Dracula Signed Capt. Richard Allen Wilding. Good condition

The Who Tommy 1996 Musical by Pete Townsend Shaftsbury Avenue Theatre poster plus HMV Springsteen, Tower Records Rolling STones, Julio Iglesias, HMV Techno, Supergrass, Country including Dolly Parton, Johnny Cash, James Taylor, Fleetwood Mac, Tap Dogs, John Williams Miami Vice, Tower Records Beatles, Dead Cities. All 40 x 60 inch folded excellent condition 13 posters.

Scotland: Alexander III (1249-85) AR 2nd coinage penny, long cross, mullets in angles, Rex Scotorum legend, NVF; James V billon Bawbee, VF/F; James VI (1st of England) AR halfpenny, obverse rose, reverse thistle (mm not clear), no legend F; penny, mm tower (1612-13) NVF (minor clipping) (4)

ENA LINEBEER Resurgam St Paul's From The Tower of St Bride's Watercolour Initialled Exhibition label to the back 64 x 46cm Together with a watercolour Houses of Parliament and a third London watercolour showing The Thames with the Shell Mex building by Norman James

James Gillray, The Impeachment', colour print I.30 x 38.5cm; together with L Knyff, 'The Tower of London...', colour engraving, 34 x 47cm; together with a 19th century ballooning print; and three further 18th century prints, latter three unframed. (6) Condition Report: Gillray: Foxed + Discoloured Knyff: Margin's trimmed, some fading and discolouration. Ballooning print: Foxed, torn + stuck down The three other prints are foxed + discoloured.

JAMES KAY RSA RSW (SCOTTISH 1858 - 1942), TOWER BRIDGE oil on card, signed 60cm x 50cm Framed Label verso: T. & R. Annan & Sons, Ltd., Glasgow

  This is a very rare and highly important 17th century Flintock Carbine. Maker: George Fisher Jnr, circa 1685. Bearing James II Cypher.It was probably used by a Dragoon Officer of James II at The Siege of Derry 1688/1689 against the forces of William of Orange.An officers carbine of very good quality by George Fisher, Kings Arms in the Minories Tower of London and Gunmakers to the Crown.

A group of ten Edward III to Charles I hammered silver coins to include; Edward III groat, Henry II short cross penny, Henry VIII groat, Mary groat, two Elizabeth II sixpences 1569 and 1570, Elizabeth II 1566 three pence, James I Irish groat, Charles I half groat and tower mint penny.

Robert Morden (c.1650-1703) - Engraved map of Cheshire, later hand-coloured, 17 x 22cm; and three topographical engravings to include; St James' Tower in Bury St Edmunds

Harris (Thomas) - [The Silence of the Lambs Trilogy], 3 vol., New York, 1981-99; James (P.D.) The Black Tower, signed by the author, jacket lightly rubbed at extremities, 1975; Death of an Expert Witness, 1977 § Grisham (John) The Firm, light damp-staining to lower corner, jacket a little creased, New York, 1991; The Pelican Brief, light damp-staining to head and foot, New York, 1992, first edition, original boards, dust-jackets ; and 36 others, by the same and similar, thrillers, 8vo (43)

•James Tower (1919-1988) Glacier 5, 1980, a rare footed earthenware bowl, painted decoration, incised Tower 30.5cm. diam. Literature Timothy Wilcox The Ceramic Art of James Tower, page 158 catalogue number 151.

CIRCLE OF WILLIAM LARKIN (c.1580-1619) PORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS LADY ARABELLA STUART (1575-1615) Seated, three quarter length, wearing a cream dress with fine lace collar and cuffs, embroidered with pink carnations and pea pods and adorned with red rosettes, her light auburn hair dressed high with red ribbons, oil on panel Overall panel size 113 x 82cm. Provenance: Collection of Norman Lamplugh, c.1931; Sothebys London, c.1963-1965 (purchased for £400 by the consignor) Exhibited: London, Grosvenor Square, Loan Exhibition of Scottish Art and Antiquities, Feb-Mar 1931, no.1147 (illustrated, as by Paul Van Somer) * The identification of Lady Arabella Stuart as the sitter is traditional. Lady Arabella (sometimes Arbella) was the daughter of Charles Stuart, Earl of Lennox, the younger brother of Lord Darnley. She stood next to her cousin James in the line of succession for the English throne following Queen Elizabeth's death in 1603 (portraits of Lady Arabella and Anne of Denmark, James's Queen, are often confused). Some supporters claimed that Lady Arabella's claim was the stronger as she was English born but James succeeded peaceably and treated his cousin with leniency by exculpating her of any involvement in plots to succeed Elizabeth. A rumour that she was to be married to William Seymour, 2nd Duke of Somerset, proved to be true upon their engagement in February 1610 but Arabella then had to swear her loyalty before the King at a meeting of the Privy Council. Her jagged descent from King Henry VII and Seymour's ancestral links to Mary Tudor strengthened the couple's claim to the throne. In contravention of this, she and Seymour wed in secret in June 1610. The King feared an insurrection: Seymour was sent to the Tower for his insubordination to the King whilst his bride was put into the care Sir Thomas Perry and then of the Bishop of Durham before trying to flee to France dressed as a man. She was seized by the King's men in the English Channel and sent to the Tower where she died of malnutrition in September 1615 after refusing all food. Lady Arabella's body was buried in Westminster Abbey, directly on top of the coffin of Mary Queen of Scots. The label on the frame ascribes the picture to Federico Zuccaro (c.1540-1609) but his 1575 portraits of Queen Elizabeth and the Earl of Leicester are Zuccaro's only undisputed works painted in England and he had returned to Italy by about 1589. No wholly undisputed portrait of Lady Arabella is known although a full length image in the North Carolina Museum of Art, c.1605, ascribed to John de Critz, is generally acknowledged to depict her. There are some evident facial similarities between that portrait and this lot, which may be dated to 1605-1610. ++ Cradled in 1929; scattered retouching of craquelure throughout; some flaked losses and incipient blistering, principally in background

James Basire engraving - The Procession of King Edward VI from the Tower of London to Westminster - Feb 19th from the original by S H Grimm engraving with hand tinting - engraving size 128 cm x 56 cm plus borders and frame Condition report: Generally good some foxing and staining, some slight losses to wooden frame and finish

JAMES KINNEAR (Scottish Fl.1870-1917) SPRING ON BRAIDS LOOKING TO LIBERTON TOWER Watercolour, signed, 49.5 x 37cm (19 1/2 x 14 1/2")

H G WELLS:THE BROTHERS, 1938, 1st edn, orig cl d/w + J B PRIESTLEY: BRIGHT DAY, 1946 1st edn, orig cl d/w + JOHN FOWLES: THE EBONY TOWER, 1974 1st edn, orig cl d/w + P D JAMES: INNOCENT BLOOD, 1961 1st edn, orig cl d/w + C DAY LEWIS: THE BURIED DAY, 1960, 1st edn, orig cl d/w + BRENDAN BEHAN: BRENDAN BEHAN'S ISLAND, ill Paul Hogarth, 1962 1st edn, signed by artist, orig cl (6)

James I gold unite, Second Coinage 1604-1619, mm. tower 1612-1613, Fourth Bust, Spink 2619, full, round, well centred, very short striking split at obverse top, a little weak at centre obverse, GF

James I silver shilling, Fourth Bust, mm. Coronet [1607-1609], Spink 2655, F, a ditto but sixpence, Second Bust, dated 1604, mm. Lis, Spink 2648 NF/F hairline crack, and a Charles I Tower Mint silver shilling, Group F, Type 4.4 mm. Star [1640-1641], Spink 2799, all Ex. Bedale Hoard 2009, full, round, F/GF

An 18th century coaching blunderbuss by James Barber, London With three stage brass barrel, signed lock plate, acorn finial trigger guard and walnut stock with rococo cast vacant cartouche, the barrel engraved Wilson & Co. Exeter Mail Coach with twin septre and crown tower proof marks; together with a photographic reproduction of The Lioness Attacking the Exeter Mail, after JAMES POLLARD (1782-1867) British, framed and glazed. The blunderbuss 78 cm long; the print 63 x 40.5 cm. (2) Note: The Exeter Mail Coach is famous for an incident that occurred 200 years ago when a lioness attacked the lead horse delaying the posts arrival by a mere 45 minutes. James Barber was free of The London Gunmakers Company in 1722, elected master in 1742 and appointed Gentleman Armourer to King George II in 1741.

Watercolour drawing Edwin Lawson James Harris (1891-1961) Landscape scene, possibly Sussex, with trees looking towards tower on hill, signed, 23cm x 30cm, see verso for details

James Mackie Smith 'Through the Royal Arch, Nairns Castle, Dundee' Two etchings, signed 23 & 12 in pencil, including another by Martin Johnstone 'The Watch Tower, Arbroath' (3)

A collection of hammered silver Coins consisting of Elizabeth I Sixpences dated 1561, 1564, 1567, 1568, 1573, 1578, 1580, 1581 and 1589, a Three Pence 1565, a James I 1607 Sixpence, Charles I Tower Shilling and two Tower Sixpences, and an Elizabeth I 1562 milled Sixpence (15)

A boxed modern hallmarked silver shallow dish commemorating the 900th anniversary of the Tower of London, decorated with three commemorative roundels and inscribed "1078-1978 Tower of London", limited edition 111/900, St James House Co., London 1978, diameter 20cm, weight approx 9.86ozt, with certificate of authenticity.

James Longueville PS RBSA (British, b.1942) - 'Below Tower Bridge', pastel, signed, bears artists label verso, approx. 44x68cm, inset swept silvered frame and stepped mount (illustrated)

JAMES TOWER - STUDIO POTTERY BOWL a large bowl, the interior with an interesting mottled white and black glazed design. The exterior glazed in black. Signed on the base. 13ins (33cms) diameter *Tower (1919-1988) was based at the Bath School of Art, Corsham during the 1950's/60's and later in Lewes until his death in 1988.

STUART. James II. 1685-1688. AR Crown (40mm, 29.89 g, 6h). London (Tower) mint. Dually dated 1687 and RY TERTIO. IACOBVS DEI GRATIA, laureate and draped bust left / · MAG · BR · FRA · ET · HIB · REX · 16 87, crowned cruciform coat-of-arms around rayed Garter star. Edge: + · DECVS · ET · TVTAMEN · · ANNO · REGNI · TERTIO · +. ESC 78; SCBC 3407. Near EF, toned, minor adjustment marks. From the RAJ Collection. Ex Ponterio 58 (17 October 1992), lot 1191.

James (P.D.) - The Black Tower, dust-jacket by Errol le Cain with some fraying and creasing, 1975 § Carey (Peter) The Fat Man in History, 1980 § Golding (William) The Paper Men, price-clipped , 1984 § Le Carré (John) A Perfect Spy, 1986 § King (Stephen) Misery, New York , 1987 § Larsson (Stieg) The Girl Who Kicked the Hornet`s Nest, fine , 2009, first or first English editions , original cloth/boards, dust-jackets ; and c.90 others, Modern Fiction, many duplicates, 8vo (c.95)

Follower of the Reverend James Bourne (early 19th century) Stone bridge over a river, hills beyond, watercolour, 26.5 x 32.5 cm, in a verre eglomise glass surround, together with three decorative furnishing prints, portrait of a Nobleman, in a veneered wooden frame, "Old Church Tower, Dundalk, Co. Louth" "Sligo Abbey, Co. Sligo" an old silkwork of "Britannia" (damaged) in a verre eglomise glass surround, and four maple wood frames with verre eglomise glass surrounds, (9)

Four Worcester blush porcelain spill vases late 19th/early 20th century, one painted with a pheasant by James Stinton, one decorated with a view of Edgar Tower, one with a peacock, and four English porcelain vases variously applied with flowers, including Spode, Minton, Coalbrookdale and Samuel Alcock, 12cm max. (8)

Four Worcester blush porcelain spill vases late 19th/early 20th century, one painted with a pheasant by James Stinton, one decorated with a view of Edgar Tower, one with a peacock, and four English porcelain vases variously applied with flowers, including Spode, Minton, Coalbrookdale and Samuel Alcock, 12cm max. (8)

James le Jeune RHA (1910-1983) THE ROUND TOWER, ARDMORE, COUNTY WATERFORD oil on canvas board signed lower left; inscribed with title on reverse 24 by 20in. (60.96 by 50.80cm) Acquired from the artist by the previous owner;Thence by descent

An Emotive Waterloo Medal to Sergeant Major J. Draffen, Grenadier Guards, Severely Wounded at Waterloo 'Through Both Thighs and the Testicles' During the Defence of Hougoumont, 18.6.1815Waterloo 1815 (Sergeant James Draffen 2nd Batt Grenad. Guards.), edge bruising, otherwise nearly very fine, with later steel clip and split ring suspension Sergeant Major James Draffen, born Hamilton, Lanarkshire, 1786; enlisted into the 1st Foot Guards, November 1803; promoted Corporal, October 1805; served with the Guards in Sicily, 1806; in the Peninsular, 1808-09, where he took part in the Corunna campaign; and at Walcheren, 1809; promoted Sergeant, April 1810; served with the Guards at Bergen-op-Zoom, March 1814; and during the Waterloo Campaign, 16-18.6.1815, where at the epic day-long defence of Hougoumont he was serving in Lieutenant-Colonel Milnes' light company of the 2nd Battalion. Early in the morning of the 18th June, Milnes' company, together with the light company of the 3rd Battalion, led by Lieutenant-Colonel Lord Saltoun, were ordered to the orchard in front of Hougoumont where they joined the other two Guards light companies (2nd battalions of the Coldstream and Scots Guards), who were inside defending the buildings, in a desperate attempt to keep the French at bay. Both Wellington and Napoleon saw Hougoumont as the key to the whole Waterloo position and the enemy attacks were pushed home with great determination. By the end of the day the 2nd Battalion light company had lost all its officers and senior non-commissioned officers, either killed or wounded, including Draffen, severely wounded through both thighs and the testicles. Wellington said of the successful defence of Hougoumont, 'You may depend upon it, that no troops but the British could have held Hougoumont, and only the best of them at that.'Draffen was promoted Sergeant-Major, July 1828. Upon discharge, May 1830, after 28 years and 173 days with the Colours, he was awarded one of the first Army Long Service and Good Conduct Medals, and was appointed a Yeoman Warder at the Tower of London; he died in February 1837, and is buried at the Tower of London.Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

James E. Hughes View from the Fondameta Narusi and Tower of San Stefano, Venice Watercolour Signed lower right 50cm x 39cm A condition report is not available on this lot. Best Bid

After James Stark, oil on canvas, Devils Tower, River Wensum, Norwich, 11" x 17"

After James Stark, oil on canvas, Devils Tower, River Wensum, Norwich, 11" x 17"

BIOGRAPHIES OF DISTINGUISHED MILITARY MEN IN INDIA - The Life and Correspondence of Field-Marshall Sir George Pollock, Bart., G.C.B., G.C.S.I., Constable of the Tower, by Charles Rathbone Low, 1873, first edition, 560pp, Orig Cloth; A Life of General Sir James Outram, Bart., G.C.B., ETC., by Captain Lionel J. Trotter, 1903, First edition, 320pp, Orig. Cloth; Hodson of Hodson`s Horse or Twelve Years of a Soldier`s Life in India, Ed. by George H. Hodson, 1883, Fourth Edition, 300pp, Orig. Cloth. (3)

James I (1603-25), second coinage, 1604-19, Rose Ryal, 13.66g, m.m. tower over mullet over coronet/tower, king, crowned seated on elaborate throne, portcullis below, rev. shield on double rose (Schneider 10 - same dies; N.2079; S.2613), light crease mark from 10 o'clock to 4 o'clock, waterworn appearance, metal removed at 3 o'clock, more than likely due to mounting, nearly very fine Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Novissima et Accuratissima Insulae Jamaicae Descriptio . This is the first state of a very rare English map showing the island divided into precincts. In 1670, Sir Thomas Modyford ordered a survey of the island, which was completed by John Man, the Surveyor General of Jamaica from 1661-71. The following year, John Seller, John Ogilby and Richard Blome each used the survey to publish maps of Jamaica. Seller`s map, which closely resembles Ogilby`s version, depicts the most prominent settlements with the landowners named in the large key at bottom. Port Royal is correctly located, and there are numerous settlements shown in the southern portion of the island. Anchorages, rocks, shoals and depth soundings are identified along the coastline. The map is handsomely embellished with a strapwork title cartouche supporting the coat of arms of Jamaica and putti holding aloft the coats of arms of Governors of the island: Doyley, Winsor, Modiford and Lynch. The large dedication cartouche is left blank, surmounted by Indians and flanked by alligators. Additional decorative elements include a man shooting a bull, a compass rose, a sea monster and a sailing ship.John Seller was a pioneering British publisher of nautical charts and one of the most important figures in the early history of British cartography. Seller`s shop, located near the Tower of London in Wapping, became a gathering place for seamen arriving with the latest news of distant places and provided Seller with information critical to his nautical chart business. In addition to sea charts he produced a vast array of cartographic material, the first to rival the large Dutch firms such as Blaeu and Jansson. Seller was appointed Royal Hydrographer by Charles II in 1671, and also served under James II and William III. Unfortunately his business was built on a shaky foundation and though he made several attempts to avoid bankruptcy, including a consortium partnership with other cartographers such as William Fisher and John Thornton, he was ultimately unsuccessful. As a result Seller`s maps are quite rare on the market . A nice impression with attractive color, light soiling, minor toning, an extraneous horizontal crease and a couple of very tiny holes. There are archivally repaired centerfold separations that enter map 1"" at top and 5.5"" at bottom. The map has been trimmed on all sides, with complete loss of the neatline and loss of the border and a small amount of the image at bottom. 21.2"" W x 16.3"" H . Seller, John . 1671

A collection of Copeland Spode Tower pattern blue and white printed wares comprising two graduated coffee pots, a sauce tureen and cover, a pair of rectangular serving plates, a pair of cake plates and six further plates together with a collection of James Kent Sandringham pattern floral tea wares and a collection of Japanese Kutani tea wares including plates with integral cup holders and cups, teapot, surcrier and cream jug, two sectional slip ware dish and further earthenware dish, etc

A James II/William and Mary lantern clock with alarm, Joseph Windmills, London, circa 1685-90, The posted countwheel bell striking movement with verge escapement and pendulum swinging within the frame of the clock between the trains, the dial signed J: Windmills, London towards the upper margin of the dial centre and with engraved flowering tulip scrolling infill beneath, the centre with alarm disc and pierced iron hand within applied silvered Roman numeral chapter ring and stylised leaf engraved angles, the standard third period ‘Lothbury’ type frame with column-turned corner posts beneath foliate engraved and pierced frets, vase turned finials and domed bell bearer, the sides now with brass doors incorporating ‘winged’ projections capped with further leafy frets, the rear with external alarm mechanism fitted along with spurs to the iron backplate beneath iron hanging hoop riveted to the top plate, on turned ball feet, (with restoration/ rebuilding) 38cm (15ins high). The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, A.J. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers’ Company as a free Brother in 1671 - the same year that Joseph Knibb, Thomas Tompion and Daniel Quare also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark lane End, next Tower Street by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to worked with his father; by 1700 the business had become a partnership between father and son which lasted until Joseph’s death in 1724.

3 x Hammered Shillings comprising: Elizabeth I, 7th issue, MM 2, bust 6B (ear shows), slightly irregular flan, good shield detail; James I 2nd coinage, 3rd bust, MM lis. rev. QVAE DEVS etc, scratches in obv. field but full flan & good portrait; & Charles I Tower Mint MM harp, rev. garnished oval shield with CR at sides, good portrait; all similarly toned, generally Fine to GFine or+

MAHOGANY WHISKY MINIATURE CABINET WITH MINIATURES Large custom built mahogany whisky miniature display cabinet. Includes the collection of approximately 500 miniatures. Glen Keith 1983 (43% vol, msf); AnCnoc 12 y/o (40%, hsf); Linkwood 15 y/o (40%, msf); Longmorn 15 y/o (43% msf); Glen Moray 12 y/o (40% vol, lsf); Benromach 15 y/o Cadenhead (65% vol,lsf); Mannochmore 16y/o Cadenhead(61%, lsf); Aultmore 12 y/o Mini Bottle (43%, bs); Glen Deveron 12 y/o (40% vol); Glendullan 12 y/o (43% vol); Glen Moray-Glenlivet 27 y/o Cadenhead (55.1% vol, bs); Glen Moriston (40% vol, bs); Glendronach 15 y/o (40% vol); Glendronach 12 y/o (40% vol); Inchgower 12 y/o (40% vol, lsf); Strathisla 12 y/o (43% vol); Benriach 10 y/o (43% vol, msf); Longmorn 15 y/o (45% vol); Glen Deveron 12y/o (40% vol); Glen Elgin-Glenlivet 14 y/o Cadenhead (80 proof, lsf); Glenburgie 8y/o (40% vol, lsf); Glendronach 12 y/o (40% vol, bs); Dallas Dhu 10 y/o (40% vol, bs). 11 CONNOISSEURS CHOICE (brown labels, all 40% vol) Convalmore 1969 ( bs); Miltonduff 1963 ( bs); Balmenach 1970 ( bs); Imperial 1969 (bs); Ledaig 1972 (bs); Glen Craig 1968 (bs); Laphroaig 1967 (bs); Dailuanie 1971 (bs); Royal Brackla 1969 (bs); Port Ellen 1969 (bs); Glenlossie 1968 (bs). 3 CONNOISSEURS CHOICE (newer map labels, all 40% vol); Mosstowie 1979; Convalmore 1981; Benrinnes 1972. 9 CONNOISSEURS CHOICE (older map labels, all 40% vol); Port Ellen 1972 (msf); Mosstowie 1975 (lsf); Caperdoniach 1968 (bs); Mannochmore 1984 (hsf); Balmenach 1973 (msf); Banff 1974 (lsf); Dailuanie 1974 (hsf); Macduff 1975 (bs); Glenlossie 1974 (msf); 46 SIGNATORY VINTAGE MINIATURES; Aultmore 1980 (43% vol); Longmorn 1973 (54.9 % vol); Braes of Glenlivet 1979 (43% vol); Dufftown 1980 (55.7% vol); Bunnahabhain1979 (58.4% vol); Glenugie 1980 (43% vol); Glendronach 1970 (56% vol); Glen Scotia 1966 (55.1% vol); Glen Albyn 1980 (43% vol); Longrow 1987 (43% vol); Glenury Royal 1975 (57.2% vol); Littlemill 1984 (43% vol); Caperdonich 1966 (53.4% vol); Glendullan 1984 (43% vol); Highland Park 1975 (52.9% vol); Inchgower 1979 (43% vol); Isle of Jura 1975 (43% vol); Bowmore 1976 (52.6% vol); Glen Mhor 1978 (43% vol); Port Ellen 1977 (58% vol); Springbank 1967 (43% vol, bs); Longmorn 1974 (46% vol, bs); Balvenie 1973 (43% vol, lsf); Highland Park 1966 (52% vol, bs); Glenfarclas 1969 (58.2% vol, bs); Highland Park 1966 (52% vol, bs); Bunnhabhain 1964 (46% vol, bs); Benrinnes 1974 (43% vol); Glen Keith 1967 (46% vol, bs); Macallan 1973 (46% vol); Linkwood 1984 (59.7% vol); Bruichladdich 1970 (46% vol, bs); Bladnoch 1966 (43% vol, bs); Ardbeg 1973 (46% vol, bs); Caperdonich 1972 (40% vol); Caol Ila 1974 (43% vol); Longmorn 1974 (46% vol, bs); Glen Albyn 1969 (55% vol, bs); Dallas Dhu 1974 (43% vol); North British 1964 (46% vol, bs); Craigellachie 1972 (46% vol, bs); Dumberton 1961 (46% vol); Rosebank 1974 (43% vol); Aberlour-Glenlivet 1970 (46% vol, msf); Glen Keith 1967 (46% vol, lsf); Springbank 1977 (46% vol, bs). 12 CADENHEAD'S OLDER BLACK LABEL Scapa 24 (45.6% vol, bs); Glenlivet 14y/o (80 proof, bs); Pittyvaich-Glenlivet y/o (58.4% vol, bs); Mortlacn 22y/o (80 proof, bs); Macallan-Glenlivet 12 y/o (55.2% vol, bs); Glenlivet 26 y/o (46% vol, bs); Tamnavulin-Glenlivet 20 y/o (46% vol, bs); Glen Grant-Glenlivet 16 y/o (80 proof, lsf); Benrinnes 18 y/o (55.3% vol, lsf); Glenglassaugh 13 y/o (59.8% vol, lsf); Craigellachie-Glenlivet 15 y/o (46%, vol, bs); Glen Grant-Glenlivet 15 y/o (46% vol, lsf) 5 CADENHEAD'S NEWER LABEL Cragganmore-Glenlivet 12 y/o (60.1% vol, lsf); Pittyvaich-Glenlivet 13 y/o (58.4% vol, bs); Glentaucher-Glenlivet 16 y/o (63.8% vol, lsf); Loch Lomond 9 y/o (64% vol, bs); Macallan-Glenlivet 30 y/o (54.7% vol, lsf) 30 ASSORTED MINIATURES Lagavulin White Horse 12 y/o (43% vol, bs); Balvenie Founder's Reserve 10 y/o (40% vol, lsf); Cragganmore12 y/o (40% vol, lsf); Glen Avon 8 y/o (40% vol, msf); Lagavulin 16 y/o White Horse (43% vol, bs); Tamdhu 10 y/o (70 proof, bs); Glengoyne 10 y/o (40% vol, lsf); Cardhu 12 y/o (40% vol, hsf); Glenallachie 12 y/o (43% vol); Glen Rothes 12 y/o (43% vol, msf); Glenforres 12 y/o (43% vol); Glenlivet 12 y/o (40% vol); Aberlour-Glenlivet 12 y/o (40% vol); Aberlour 12 y/o VOHM (43 G.L.); Tormore 10 y/o (43% vol, msf); Cardhu 12 y/o (43% vol, hsf); Bruichladdich 10 y/o (40% vol, lsf); Cardhu 12 y/o (40% vol, lsf); Balvenie 15 y/o Single Barrel (50.4% vol); Aberlour-Glenlivet 9 y/o (70 proof); Glenturret 15 y/o (40% vol); Elginshire 15 y/o (61.4% vol); Balvenie 12 y/o Doublewood (40% vol); Strathisla 12 y/o (43% vol, lsf); Miltonduff 10 y/o (40% vol); Speyburn 10 y/o (40% vol, msf); Glenlivet 18 y/o (43% vol, msf); Glenfarclas 10 y/o (40% vol); MacPhail's 24 y/o (40% vol, lsf); MacPhail's 21 y/o (43% vol, lsf) 23 CONNOISSEURS CHOICE MIXED LABELS (All 40% vol) Glencadam 1974; Caol Ila 1981; Aberfeldy 1977; Millburn 1971 (lsf); Ben Nevis 1966 (lsf); Caol Ila 1980 (lsf); Tomatin 1968; Aberfeldy 1969 (lsf); Tomatin 1970 (bs); Clynelish 1984; Millburn 1966 (bs); Glen Albyn 1963 (bs); Balmenach 1972 (lsf); Millburn 1974; North Port-Brechin 1970 (lsf0; Royal Lochnagar 1969 (bs); Brora 1982; Glenlochy 1968 (bs); Mosstowie 1975 (bs); Caol Ila 1969 (bs); Glenlochy 1977; Brora 1972; Dalwhinnie 1963 (bs) 21 MACALLAN MINIATURES Macallan 10 y/o (40% vol); Macallan Private Eye (40% vol, hsf); Macallan 26 y/o, no.4392 (43% vol); Macallan 1963 (43% vol, lsf); Macallan 1964 (43% vol, msf); Macallan 1964 (43% vol, lsf); Macallan 1966 (43% vol, lsf); Macallan 1967 (43% vol, msf); Macallan 1968 (43% vol, msf); Macallan 1969 (43% vol, msf); Macallan 1970 (43% vol, msf); Macallan 1971 (43% vol); Macallan1972 (43% vol); Macallan 1973 (43% vol); Macallan 1974 (43% vol); Macallan 1977 (43% vol); Macallan 1978 (43% vol, msf); Macallan 1979 (43% vol); Macallan 1980 (43% vol); Macallan 10 y/o (40% vol, hsf); Macallan Speymalt 1990 (40% vol) 14 JAMES MACARTHUR 500 YEARS OF SCOTCH WHISKY Blair Athol 1977 (53.1% vol); Ardmore 1977 (56.2)vol); Glen Keith 1968 (62.5% vol); Speyburn 1979 (62.9% vol); Glen Scotia 1979 (55.6% vol); Coleburn 1981 (43% vol); Carsebridge 1962. (54.7% vol); Bladnoch 1983 (43% vol); Carsebridge 1962 (54.7% vol); Coleburn 1983 (43% vol); Bunnahabhain 1978 (52.4% vol); Macduff 1978 (40% vol); Lochside 1963 (60.5% vol); Linkwood 1984 (60.5% vol) 9 JAMES MACARTHUR FINE MALT SELECTION Millburn 12 y/o distilled 1983 (43% vol); Glen Spey 21 y/o distilled 1970 (55.4% vol); Balmenach 10 y/o distilled 1983 (43% vol); Glen Rothes 10/ y/o distilled 1984 (43% vol); Dufftown 17 y/o distilled 1978 (58.5% vol); Teaninich 18 y/o distilled1973 (58.4% vol); Allt-a-Bhainne 12 y/o distilled1981 (43% vol); Glendullan 11 y/o distilled 1984 (43% vol); Bladnoch 10 y/o/ distilled1983 (43% vol) 10 BOXED MACPHAIL SELECTION (All 40% vol) Glen Calder 40 y/o (bs); Old Elgin 50 y/o distilled 1946; Mortlach 50 y/o distilled Oct 1936 (bs); Pride of Strathspey 50 y/o distilled 1937 (bs); Glenlivet 50 y/o distilled1940 (bs); Rare Highland Malt distilled 1939 (bs); Pure Malt 45 y/o distilled 1938 (bs); Pure Malt Islay 10y/o (bs); 10 y/o (lsf); 24 y/o/ distilled 1965 (bs) 7 GORDON & MACPHAIL CENTENARY RESERVE (All 40% vol) Mortlach 1984 (msf); Balblair 1973 (msf); Glenrothes 1978 (msf); St. Magdalene 1980 (msf); Caol Ila1966 (msf); Benrinnes 1978 (msf); Highland Park 1970 (msf) 13 GORDON & MACPHAIL CASK NATURAL HIGH STRENGTH Talisker 1955 (53.6% vol, bs); Highland Park 1983 (59.7% vol, bs); Tamdhu 1988 (60.8% vol, hsf); Strathisla 1962 (62.1% vol, bs); Strathisla 1974 (57.8& vol, lsf); Tamnavulin 1988 (58.9% vol); Longmorn 1969 ( 61.2% vol, lsf); Port Ellen 1980 (63.9% vol, hsf); Glenlivet 1978 (58.6% vol, bs); Highland Park 1984 (58.6% vol, msf); Millburn 1978 (65.6% vol); Port Ellen 1978 (63.6% vol, lsf); Highland Park 1982 (56.8% vol, hsf) 14 BOXED GORDON & MACPHAIL CASK NATURAL HIGH STRENGTH Caol Ila 1978 (63.7% vol, lsf); Cragganmore 1978 (61.5% vol, hsf); Glenlivet 1977 (59.5% vol, lsf); Bruichladdich 1966 (52.8% vol, hsf); Bruichladdich 1964 (50.6% vol, bs); Glenburgie 1964 (59.2% vol, bs); Benriach 1982 (60.6% vol, bs); Caol Ila 1982 (63.1% vol, hsf); Cragganmore 1978 (60.1% vol); Glenburgie 1966 (61.2% vol, lsf); Glen Mhor 1978 (62.2% vol, lsf); Benromach 1982 (63.0% vol, hsf); Bladnoch 1985 (56.8% vol, msf); Glenburgie 1966 (57.6% vol, lsf) 5 MACPHAIL'S COLLECTION MINIATURES (All 40% vol) Glenrothes 8 y/o; Highland Park 8 y/o; Glenturret Vintage 1988; Tamdhu 8 y/o; Bunnhabhain Vintage 1988 14 ASSORTED MINIATURES MacPhail's 2000 (40% vol); Isle of Jura 10 y/o (40% vol); Balvenie Over 8 y/o (70 Proof); Glenrothes 8 y/o (40% vol); Ardbeg N.A.S. White Label (80 Proof); Glenfarclas-Glenlivet 8 y/o (100 Proof); Strathisla 8 y/o (70 Proof, bs); Tamnavulin-Glenlivet (75 Proof); Dufftown Highland Games 1st edition (40% vol, bs); Linkwood N.A.S. (100 Proof); Glen Grant N.A.S. (57% vol/100 Proof); Oban 12 y/o old style (no strength stated);Glenfiddich Pure Malt (70 Proof, lsf); Bennachie 17 y/o (40% vol) 23 ASSORTED MINIATURES Ben Alder ((40% vol, bs); Auchentoshan 10 y/o (43% vol, lsf); Blair Athol 12 y/o (43% vol, lsf); Benromach 15 y/o (40% vol.); Blair Athol 21 Cadenhead's (46% vol, bs); Sherriff's Bowmore (70 Proof); Benriach 10 y/o (43% vol, hsf); Bladnoch 8 y/o (40% lsf); Banff 17 y/o Cadenhead's (60.5% vol, bs); Ben Nevis 10 y/o (46% vol); The Balvenie Founder's Reserve (40% vol); Ardmore 1977 (40% vol, lsf); Ardbeg 17 y/o (40% vol); Glenesk 1982 Connoisseurs Choice (40% vol, msf); Ardbeg 10 y/o (no strength stated); Ardbeg 15 y/o Cadenhead's (40% vol, bs); Bladnoch 13 y/o Cadenhead's (80 Proof, bs); Ardmore 1981 (40% vol, hsf); Balblair 16 y/o (40% vol, msf); Benromach-Glenlivet Centenary (40% vol); Blair Athol 23 y/o Cadenhead's (57.1% vol, bs); Bowmore 21 y/o (43% vol); Balblair 10 y/o (40% vol, bs) 23 JAMES MACARTHUR'S FINE MALT SELECTION MINIATURES Glen Scotia 12 y/o (55.8% vol, bs); Glenlossie 12 y/o (65.8% vol); Royal Brackla 12 y/o (64.6% vol, bs); Pittvaich 12 y/o (54% vol, lsf); Glen Spey 21 y/o (55.4% vol lsf); Port Ellen 12 y/o (62.7% vol, bs); Pittyvaich 12 y/o (54% vol, lsf); Teaninich 18 y/o (58.4% vol); Strathmill 11 y/o (43% vol); Imperial 12 y/o (65% vol, bs); Ledaig 18 y/o (54.4% vol); Glen Scotia 12 y/o (55.8% vol, bs); Springbank 23 y/o (53.7% vol, lsf); Blair Athol 15 y/o (53.1% vol); Macduff 12 y/o (40% vol); Ardmore 12 y/o (56.2% vol); Dailuaine 12 y/o (62.4% vol, lsf); Bladnoch 11 y/o (43% vol); Caol Ila 12 y/o (64.8% vol); Speyburn 12 y/o (63.1% vol); Mortlach 10 y/o (43% vol); Craigellachie 12 y/o (65.5% vol); Bunnahabhain 14 y/o (52.6% vol) 7 DUFFTOWN MINIATURES Dufftown Tower Malt (40% vol, bs); Dufftown Seven Stills, Limited Edition Of 500 (40% vol, bs ); Dufftown Festival 1991. Limited Edition of 200 (40% vol, bs ); Dufftown Tower Malt 150th Anniversary (40% vol, bs ); Dufftown Festival 1990 8y/o (40% vol, ) ; Dufftown Festival 1989 8y/o (40% vol,bs ); Dufftown Tower 150th Anniversary RP Scott Dufftown (40% vol, bs ); 7 SPOKESMAN MINIATURES All 40% Vol The Fisherman, The Cyclist, The Footballer, The Jockey, The Golfer, The Sailor, The Fisherman 5 SORTED MINIATURES Cairngorm Whisky Center 20y/o (51% vol ); Seven Stills Of Dufftown Malt Whisky (40% vol, bs ); Still Waters Malt Whisky (40% vol, bs); Tomintoul (40% vol); MacPhail 2000 (40% vol) ; 4 SIGNATORY VINTAGE MINIATURES Balveaile (57.1% vol ); Glenturret 1978 (53.8% vol); Glen Elgan 1973 (50.3% vol); North British 1964 (46% vol, bs ) 23 ASSORTED MINIATURES HIghland Park 12 y/o (40% vol); The Dalmore 12 y/o (43% vol); Knockando 1976 (43% vol, lsf); Longrow 14 y/o (46% vol, bs); Littlemill 8 y/o (no strength stated, bs); Knockando 1986 (40% volmsf); Lagavulin 16 y/o (43% vol, lsf); Edradour 18 y/o Cadenhead's (46% vol, bs); Knockando 1980 (43% vol, bs); Inverleven 1979 (40% vol, bs); Inchmurrin N.A.S. (40% vol, msf); Edradour 10 y/o (40% vol); Lagavulin 16 y/o (43% vol, bs); Dufftown 12 y/o (43% vol); Longrow 1974 (46% vol, bs); Highland Park 12 y/o (70 Proof); Deanston 12 y/o (40% vol, lsf); Dallas Dhu 1979 (40% vol); Bruichladdich 10 y/o (40% vol); Drumguish N.A.S.(40% vol, msf); Cragganmore 12 y/o (40% vol, msf); Mannochmore 1984 Connoisseurs Choice (40% vol, hsf); Clynelish 14 y/o (43% vol, lsf) 22 ASSORTED MINIATURES Glenordie 12 y/o (40% vol, bs); Glenfiddich Special Old Reserve N.A.S. (40% vol); Glenkinchie 10 y/o (43% vol, lsf); Glengoyne Single Cast 4855, Distilled 1971, Bottled 1998 (56.2% vol); Glengoyne Malt N.A.S. (70 proof); Glen Flagler Rare All-Malt Scotch N.A.S (70 proof, hsf); Glenavon 1958 (40% vol, bs); Glendullan 12 y/o (47% vol, lsf); Glen Garioch 12 y/o (40%); The Glen Garioch N.A.S. (70 proof); Glen Deveron 10 y/o (40% vol); Cadenhead's 13 y/o (66.5% vol, msf); Glendronach 15 y/o (40% vol); Glenmorangie 10 y/o (40% vol, msf); Glenmorangie 10 y/o (40% vol); Glen Garioch 10 y/o (86 US proof); The Glenlivet 12 y/o (40% vol);Glen Elgin (43% vol, lsf); Glenmorangie 18 y/o (43% vol, hsf); James MacArthur's Allt A'Bhainne 12 y/o (43% vol); The Glenlivet 12 y/o (40% vol); Glencadam 21 y/o Caden head (46% vol, lsf); Glencadam 21 y/o Cadenhead (46% vol, bs) 23 ASSORTED MINIATURES Cadenhead's 13 y/o Tomatin (60.5% vol, bs); Old Fettercairn 10 y/o (40% vol); Oban 1794 (43% vol, bs); Royal Brackla 1974 (40% vol, hsf); Old Pulteney 12 y/o (40% vol); Glen Scotia 1835 (40% vol); Rosebank 8 y/o (40% vol, bs);Glenfiddich 1887 (43% vol); Glenturret 10 y/o (57.1% vol, bs); Scapa 1984 (40% vol, lsf); Scapa 1988 (40% vol); Rosebank 17 y/o Cadenhead (46% vol, bs); Royal Lochangar 12 y/o (100% Malt Whisky); Longmorn-Glenlivet 12 y/o (40% vol); Glen Mhor 8 y/o (40% vol, msf);Glenury-Royal 12 y/o (40% vol, msf); Oban 14 y/o (43% vol, bs); Old Orkney N.A.S. (40% vol, bs); Laphroaig 10 y/o (40% vol); Loch Ness N.A.S. (40% vol, lsf); Scapa 12 y/o (40% vol); Old Fettercairn 10 y/o (40% vol); Glen Scotia 5 y/o (no strength stated) 22 ASSORTED MINIATURES Old Elgin 8 y/o (40% vol); The Singleton of Auchroisk 1983 (40% vol); Usquaebach 15 y/o (43% vol); The Speyside 10 y/o (40% vol, hsf); Springbank 30 y/o (46% vol, bs); St. Magdalene 15 y/o Cadenhead (80 proof, hsf); Strathayr N.A.S. (75 proof, hsf); Talisker 10 y/o (45.8% vol, msf); Tobermory1823 (40% vol, lsf); Sprigbank 25 y/o (46% vol, lsf); Set of 3 Balvenie Miniatures, Single Barrel 15 y/o (50.4% vol), Doublewood 12 y/o (40% vol), Founder's Reserve 10 y/o (40% vol); Springbank 21 y/o (46% vol, lsf); Tullibardine N.A.S. (40% vol); Glenfarclas 1836 (60% vol); Vintage 1978 14 y/o (43% vol); The Tormore Glenlivet 10 y/o (40 vol); Bunnahabhain 12 y/o (40% vol); Springbank 15 y/o (46% vol, bs); Vintage 1975 (58.6% vol); Springbank 12 y/o (57% vol, bs) 23 ASSORTED MINIATURES The Grouse Inn 15 y/o (46% vol, msf); Friar John Cor 10 y/o (43% vol); Hogmanay Dram 17 y/o (43% vol); Glen Rothers Vintage 1966 500 Year Anniversary Miiniature (51.3% vol); Sheep Dip 8 y/o (40% vol, hsf); Bowmore 10 y/o (40% vol, lsf); The Clansman N.A.S. (40% vol); The Osprey, Scottish Wildlife Series N.A.S. (40% vol, hsf);Chivas Brothers Century of Malts 100 y/o (43% vol, msf); The Forth Road Bridge 10 y/o (40% vol, msf); Pride of Strathspey 1959 (40% vol, lsf); Pride of Strathspey 1960 (40% vol, lsf);Tomatin 10 y/o (43% vol, lsf);The Wee Cooper O' Fife 10 y/o (40% vol, msf); Glencoe N.A.S. (46% vol, bs); The Prestonfield 22 y/o (43% vol, bs); Balmoral 15 y/o (46% vol, lsf); The Clan Malt Robertson N.A.S. (40% vol, hsf); Golden Eagle, Scottish Wildlife Series N.A.S. (40% vol, hsf); Thainstone House N.A.S. (40% vol, hsf); Auld Lang Syne N.A.S. (40% vol, hsf); Highland Lady Glenlivet 21 y/o (56% vol); Ardmore 1978 (56.2% vol, hsf) 451 lsf= Low shoulder fill msf= mid-shoulder fill hsf= high shoulder fill bs=below shoulder

"FRANCIS GROSE (1731-1791) St. Matthew’s Gate, Ipswich, pen, ink and watercolour 4 x 6in (10.2 x 15.3cm). St. Matthew’s gate was demolished in 1780. A grey wash drawing of South Yarmouth, Isle of Wight (initialled E.P.M. 1826); a sepia wash drawing of The High St. Bristol by James Sargent Storer (1771-1853); two watercolours by Henry Worsley depicting the Artillery Tower, Firestone Bay, Plymouth and a Figure by a building, Plymouth; and a sepia drawing by another hand c.1810 depicting the ruins of Elgin Cathedral. six (6)"

[Lot of 4] View of the Tower of the Thundering Winds on the Borders of the Lake See-Hoo... [and] A Scene in an Historical Play... [and] The Rock of Quang-Yin... [and] Section and Elevation of a Wheel Used by the Chinese for Raising Water This lot of vivid engravings appeared in the account of George Macartney`s travels to China, published by George Nicol. Macartney was Britain`s first envoy to China, and was tasked with convincing Emperor Qianlong to ease restrictions on trade between Great Britain and China by allowing the British to have a permanent embassy in the country. A. View of the Tower of the Thundering Winds on the Borders of the Lake See-Hoo, Taken from the Vale of Tombs, (17.8 x 12.8""). A cemetery in the shadow of the Leifeng Pagoda is the focus of this lovely engraving, set in what is today Hangzhou. A man kneels and pays his respects in this ""vale of tombs"" while vessels glide through West Lake in the background. The pagoda was originally constructed in 975 AD to celebrate the birth of the King Qian Chu`s son, but it collapsed in 1924 after centuries of abuse, including an attack by Japanese pirates during the Ming Dynasty and widespread stripping of the pagoda`s bricks due to their supposed healing powers. Rebuilt in 2002, the pagoda remains one of the ""Ten Scenes of West Lake,"" due to its part in the enduring Legend of the White Snake. Drawn by William Alexander and engraved by John Landseer and T. Shirt. Condition: Just a few minor spots within the image. (A) B. A Scene in an Historical Play Exhibited on the Chinese Stage, (14.1 x 10.1""). This engraving illustrates a moment from a Chinese play, apparently staged in an open air theater. A band plays behind the scene, which appears to revolve around some sort of court intrigue. Drawn by William Alexander and engraved by James Heath. Condition: Light scattered foxing that is mostly concentrated in the blank margins and a couple of unobtrusive creases near the top of the engraving. There is a crease that runs diagonally in the bottom right corner, well away from image. (A) C. The Rock of Quang-Yin, with an Excavation Near It`s Base, Serving as a Temple and Dwelling for Several Priests of Fo, (9.0 x 7.4""). This engraving shows a rock formation in Ha Long Bay, Vietnam. At its base is a Buddhist temple. Ha Long Bay, which is located in the Gulf of Tonkin, is renowned for its towering limestone pillars. Drawn by William Alexander and engraved by James Landseer. Condition: Light scattered foxing. (B+)D. Section and Elevation of a Wheel Used by the Chinese for Raising Water, (17.8 x 12.8""). This engraving depicts a well engineered Chinese water wheel. Notes beneath the image explain how the design functions. Drawn by John Barrow and engraved by William Skelton. Condition: Light scattered foxing, as well as soiling along the sheet`s edges, far from image. (B+) All on sturdy sheet with ""J. Whatman"" watermark and generous margins. See description above for additional details. Barrow, John (Sir) 1796

†BRITISH COINS, HAMMERED GOLD SOVEREIGNS, Mary (1553-1554), Fine Gold Sovereign of Thirty Shillings, Tower mint, dated 1553 in Roman numerals at end of obverse legend (issue period 20 August 1553 to 24 December 1554), mintmark pomegranate in legend both sides, crowned full figure of Queen seated facing on ornate throne, holding orb and sceptre, portcullis below extending to rim, ornate throne back with pellet sides to back and large side pillars, multi arc tressure and beaded circle surrounding, pellets in arcs, trefoils on cusps, mintmark pomegranate after Queen’s name, annulet stops in legend, legend reads :MARIA:+: D’: G’: AnG’o FRA Z: hIB’: REGInA: m:D:LIII, outer beaded circle surrounding, rev quartered shield of arms upon Tudor rose, surrounded by beaded and linear tressures of ten arcs, each cusp overlaid with alternating leaf and lis fleury device, linear circle surrounding, legend reads A: DnO+ FACTV: EST: ISTV’o Z: EST: MIRA: In: OCVL’: nRIS’: with pomegranate between O and F, outer linear circle surrounding, 15.14g (Schneider 704; North 1956; S 2488). Small short crack at centre of the obverse under sceptre hand and at upper left quarter of shield on the reverse, otherwise struck with a good portrait, toned, about very fine. ex Collection of a Southern Gentleman, Stacks, New York, 7 December 1994, lot 2446 ex St James’s Auction 5, 27 September 2006, lot 276 Queen Mary issued all her gold coinage to the fine standard of 23 carats and 3½ grains (0.995 fine) and to the weight of 240 grains (15.552g) as originally set by her grandfather, King Henry VII. Mary’s HAMMERED GOLD SOVEREIGNS, are the only issue of this hammered gold coin denomination that carry an actual date, albeit in Roman numerals, either 1553 or 1554.

Peckett Prest, Thomas ALMIRA’S CURSE; OR THE BLACK TOWER OF BRANSDORF 212x142mm About the Author: Thomas Peckett Prest, probable dates 1810-1859) was a British hack writer, journalist and musician. He was a prolific producer of penny dreadfuls. He is now remembered as the co-creator (with James Malcolm Rymer) of the fictional Sweeney Todd, the `demon barber` immortalized in his The String of Pearls. He has also been associated with the authorship of Varney the Vampire, now more often thought to be the work of Rymer. He wrote under pseudonyms including Bos, a takeoff of Charles Dickens` own pen name, Boz. Before joining Edward Lloyd`s publishing factory, Prest had made a name for himself as a talented musician and composer. Book Description: Almira’s Curse; or The Black Tower of Bransdorf is a mystery fiction novel. Book condition: Quarter leather hardcover with 198 pages. It was originally issued in 25 penny parts. Rubbing on the head and heal and along the spine. Rubbing also on the front and back boards. It has gilt writing on the spine and a decorative pattern on the front and back boards. Bottom front and back corner is bent. Slight scratches on the front cover. Offsetting on the front and rear pastedown and also visible on the front free and rear end page. Previous owners writing on the title page. It has 25 black and white illustration prints. Bit of dirt marks along the pages and dust marks on the top, front and bottom edges. Good London Edward Lloyd Circa 1842 Click here to view further details and to bid

A rare antique print depicting St. Barnabas Church, Guernsey from The Building News, Jan 25th 1884, inset panels to top showing ground plan view and an unfurled banner inscribed `Ch. of S. Barnabas. Guernsey, N.E. Prospect of Mission House`, above the name of the architect`s `Nottley and Trollope`, above an imposing view of the Church, photo. lithographed and printed by James Ackerman, 6 Queen Square, W.C., 11½ x 7½in. (29.2 x 19cm.). * St. Barnabas Church is an Anglican church on Tower Hill, St Peter Port, built in 1874 in memoriam of Reverend Charles Guille, curate of the Town Church, to serve the poorer elements of that area of the town. By the early 21st Century it had been virtually abandoned, but in 2005 was the subject of a major restoration to become the permanent home for the Island Archives Service.

JAMES NORTHCOTE RA (BRITISH 1746-1831), PORTRAIT OF A YOUNG BOY oil on canvas laid down on panel, signed and dated 1821 53cm x 42.5cm (approx 21 x 17 inches) Framed Note: Northcote was born at Plymouth, and was apprenticed to his father, a poor watchmaker. In his spare time, he drew and painted. In 1769 he left his father and set up as a portrait painter. Four years later he went to London and was admitted as a pupil into the studio and house of Sir Joshua Reynolds. At the same time he attended the Royal Academy schools. In 1775 he left Reynolds, and about two years later, having made some money by portrait painting back in Devon, he went to study in Italy. On his return to England, three years later, he revisited his native county, then settled in London, where John Opie and Henry Fuseli were his rivals. He was elected associate of the Academy in 1786, and full academician in the following spring. The "Young Princes Murdered in the Tower," his first important work on a historical subject, dates from 1786, and it was followed by the "Burial of the Princes in the Tower". Both paintings, along with seven others, were intended for Boydell`s Shakespeare Gallery. Northcote has 126 listed paintings within most of the principal UK public collections including The Tate, The V&A and The National Portrait Gallery.

†George III, pattern crown, 1817, by W. Wyon, the ‘Incorrupta Crown’, laur. head r., date below, W. WYON below truncation, rev. crowned shield of arms, edge plain (ESC.229 [R4]; L&S.159), in plastic holder, graded by NGC as Proof 65, beautifully toned, extremely rare *ex Willis II, Glendining’s, October 1991, lot 465 ex Ariagno, Goldbergs, June 1999 lot 1838 (back cover picture) ex Kardatzke III, Goldbergs, June 2000, lot 4663 (front cover picture) ex St James’s Auction 1, October 2004, lot 520 Only 18 silver and 7 gold proof examples struck. This is one of the two 1817 pattern crowns designed and engraved by a young William Wyon as entries in a competition for the production of a new crown coinage for Great Britain to begin in 1818. This would be the first crown coinage struck by the new Tower Hill Mint’s steam presses which began striking other coins in 1816. As all students and collectors of British coinage know, William Wyon went on to a very successful career as the chief engraver for the British Empire, but at this point in his life, having recently gained an assistantship at the Mint under his cousin, Chief Engraver Thomas Wyon, William was in a competitive battle with a foreigner, Italian gem engraver Benedetto Pistrucci, whose beautiful engravings had caught the eye of Sir Joseph Banks, an influential friend of the Master of the Mint. After Thomas Wyon’s death in 1817, Banks determined to make Pistrucci his successor as chief engraver but ran into problems as the law prohibited a foreigner from holding the position. Since the government had decided to produce a new Crown coinage in 1818, both men, Wyon and Pistrucci, were tasked with producing samples for the new coinage. As is well known, Pistrucci ultimately won that competition with his design of St. George and the dragon which appeared on the new crown series of 1818-1820.However, William Wyon’s design entries, the Incorrupta crown in this lot, as well as the 1817 Three Graces Pattern, show clearly the talents for design and engraving that would shortly put an end to Pistrucci’s coinage ambitions, catapult William to fame during the reigns of George IV and, most importantly, Queen Victoria, and establish him forever as one of the pre-eminent engravers in the history of coinage. The popular name of this crown, ‘Incorrupta’, derives from the reverse legend, in Latin, which translates as ‘An Untarnished Faith’, or roughly ‘A Faith that is Beyond Corruption’ or incorruptible. A superb example of this famous rarity with its masterful bust of George III, it exhibits lovely bluish purplish toning acquired over centuries, and its fields and devices show very few distractions and no wear. NGC has graded it PF65, equivalent to gem proof in the American system, FDC in the British. It is the finest graded at NGC and tied for finest at PCGS, the two main US grading services. Its rarity and outstanding condition for a 200-year old coin combine to make this a prize for the advanced collector of British crowns. That this coin’s prior ownership traces to a set of very discriminating collectors also attests to its desirability as does its appearance on the back and front covers of two previous auctions. When bidding on this coin, remember that it is almost impossible to find early 19th century proof coins in such a state of preservation given the sensitivity of proof surfaces and the lack of concern about handling and surface marks that characterized the habits of past generations of collectors.

Halfpennies 18th Century Yorkshire (2) Bedale James Metcalfe DH9c GEF, Cliffords Tower 1795 DH63 EF with traces of lustre

WWI 1914-15 star awarded to 10684 Pte A Ramage R Suss R also a WWII 1939-1945 star and a Masonic enamelled silver jewel of Preston Tower lodge 3014 certified primo presented to Bro James Marshall May 28th 1927 in fitted case

A collection of hammered coinage, comprising a Henry III short cross penny, an Edward VI shilling, an Elizabeth I sixpence 1571, a James I shilling and a Charles I half crown tower mint under the parliament issue, mint mark to obverse `(P)`, together with two James II gun money half crowns 1689.

Seán Keating PRHA (1889-1977) 'Pipes and Porter' Oil on canvas, 101.5 x 127cm (40 x 50") Signed Provenance: A Dublin Collection Exhibited: RHA, Annual Exhibition 1915 Cat. No. 78 Having won the coveted RDS Taylor Award for painting in 1914, Seán Keating moved to London to work as a studio assistant to William Orpen. The First World War had begun, and as conscription beckoned, Keating decided to return to Ireland in late 1915 or early 1916. Orpen, already a well-renowned portrait painter, remained in London and accepted an appointment to the Army Service Corps. He was sent to France under the war artists' scheme in 1917, where, initially as a Second Lieutenant and later a Major, he produced some of the most extraordinary and thought provoking images of his entire career (1). Meanwhile, Keating returned to Dublin, joined the Gaelic League (Conradh na Gaeilge), and began to make a series of paintings that placed the west of Ireland in general, and the Aran Islands in particular, at the centre of his personal sense of national and political identity. He sought to make his nationalist allegiance clear in his work, but arrest for sedition was commonplace, and as a result, his use of symbolism or allegory can be understood in the context of the socio-political conditions at that time. The best known of those images is Men of the West, a painting that Keating began in 1915, but completed and exhibited in 1917, the year after the Easter Rising had taken place(2). An allegorical work, it features a self-portrait of the artist holding the Irish tri-colour flag, and a double portrait of his brother, Joe Hannan Keating, who was then a member of the IRB and the Irish Volunteers, and both are dressed in traditional Aran Island clothing. But there was an image that prefigured Men of the West. It was shown in the RHA in 1915 and it was titled Pipes and Porter(3). An extraordinary painting, Pipes and Porter features a self-portrait of the artist with his ubiquitous beard, together with a portrait of his aforementioned brother, Joe, an unnamed young boy, and an unidentified piper(4). A castle tower dominates the background, while the lower landscape is dotted with several white-washed and thatched cottages, and the sun is setting in the western sky. Keating, his brother, and the young boy regard their audience with confidence. But the piper's gaze suggests that he is lost in concentration of his tune. He is playing the bagpipes, also known as the 'war pipes' because they were 'played in medieval Ireland to lead soldiers or sporting groups' (5). Importantly, in terms of Keating's artistic objectives, 'both the uilleann pipes and the war pipes had political links' in the early years of the twentieth century. 'Thomas Ashe was a well-known war piper', while 'Éamonn Ceannt played the uilleann pipes and was leading member of the Dublin Pipers' Club' (6). The war pipes that feature in Pipes and Porter appear to be 'an occasional set' that may have been made by 'MacCullough' of Belfast and seem to have 'two drones, beaded and combed like Highland pipes' with 'plain projecting mounts on the drones, and metal ferrules' (7). The colour combination illustrated on the piper's conspicuous hat may well refer to his place of birth, and/or his national sporting allegiance. Black and amber are the Gaelic Athletic Association (GAA) colours for Kilkenny. While the GAA was not a political organization, several members fought in the Easter Rising in 1916 (8). Although he remains anonymous at present, the man playing the 'war pipes' may have been a piper that Keating knew from among those that played at nationalist gatherings and marches in Dublin, if not from his own branch of Conradh na Gaeilge, or who perhaps played at GAA matches. Thus, far from being a simple scene of the west of Ireland, Pipes and Porter has symbolic meaning, which is amplified by the presence of the artist, and his nationalist brother, Joe, both of whom are dressed in the traditional Aran Island clothing that was to feature in Men of the West a little time later. At the same time, the realities of the socio-political conditions are evident in the painting. Irish artists were physically and geographically restricted by the rules of the Defence of the Realm Act (DORA), introduced to Ireland in 1914, as a result of which they were not allowed to paint the Irish coastline, or harbours, without written permission from the authorities. Therefore, there is little by way of a detailed coastline in Pipes and Porter or in Men of the West. Keating was a painter of honest, no nonsense portraits. It was a skill that provided him with a constant source of income throughout his life. He did not believe in flattering his models, which meant that his insightful honesty got him into trouble at times. Trained by Orpen in the necessary techniques, he never forgot to include a fleck of light in the eyes, a detail that gave life and personality to his portraits and that is seen to excellent effect in Pipes and Porter. Furthermore, although it is an early work, the painting also demonstrates Keating's expertise as a painter of still life, landscape, sky scape, and the detailed texture of clothing. What of the porter to which the title of the painting also refers? It would appear that necessity was the cause of invention, and porter, a type of beer, was served in any type of vessel that came to hand. The glass is empty, but is there porter in that mug, or does it contain a cup of tea? Keating was having a little fun with his title and content. He continued to use such puns throughout his career, evident, for example, in Good Old Stuff (1928), a painting that is also featured in this auction catalogue (lot 86). The artist typically signed his paintings using his surname in Irish or English, but he wrote his full name on the bottom right of Pipes and Porter. This detail suggests that the painting, which has not been seen in public for many years, may have been a commission in 1915, although the identity of the likely patron is not known at present. © Dr Éimear O'Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin October 2013. (1) See Bruce Arnold, Orpen: Mirror to an Age, (London, 1981), pp. 307-380. (2) Collection: The Dublin City Gallery The Hugh Lane. (3) Keating is known to have painted two images featuring pipes. The first, Pléaráca in Arainn (A Gay Time on Aran)(1913), won the Orpen Composition Award at the Dublin Metropolitan School of Art in 1913. It would appear that this painting did not include a self-portrait of the artist. It was described some years later as 'a rather large painting…depicting an Aran piper in full “war paint”…playing lustily on his Píob Mor (large pipes) for the delectation of several of his friends, who, to judge by the expression on their faces, are thoroughly enjoying themselves', John J. R. O'Beirne, 'A Coming Irish Artist: The work of John Keating' in The Rosary, Vol. 21, 1917, pp. 571-577. (4) Information on the identity of the piper and the young boy would be gratefully received by the author on info@eimearoconnor.ie (5) The author would like to acknowledge and thank Nicholas Carolan, Director of the Irish Traditional Music Archive, 73 Merrion Square, for his help and advice with regard to the pipes illustrated in Pipes and Porter. See www.itma.ie (6) The author would like to acknowledge and thank Emmett Gill, Administrator, and Terry Moylan, Archivist, Na Píobairí Uillean, 15 Henrietta Street, Dublin 1, for information pertaining to Thomas Ashe and Éamonn Ceannt, and the political significance of the uilleann pipes and the war pipes in 20th century Ireland. See www.pipers.ie (7) With thanks to Nicholas Carolan and Seán Donnelly. MacCulloughs opened premises in Dublin in the 1920s, and in 1926 the company published MacCullough's Irish War Pipe Tutor and Tune Book, written by Liam Mac Andreis (William Andrews), leader of a pipe band at Trinity College Dublin. See Adam Sanderson on (8) Coincidentally, James Nowlan, a native of Kilkenny, served twenty years, from 1901 to 1921, as president of the GAA. He was interned in England after the 1916 Easter Rising. Nowlan was a supporter of Sinn Fein and an alderman of Kilkenny Corporation for many years. See

** A RARE .600 CALIBRE QUEEN ANNE FLINTLOCK REGULATION PISTOL, THE LOCK BY I. PEDDELL, CIRCA 1702-14 with two-stage barrel stamped with Ordnance and Tower proof marks, signed lock retained by three side nails, numbered `7` on the tail, with `AR` crowned and crowned broad arrow mark, the inside stamped `ED` and with a fleur-de-lys mark, full stock carved with an apron moulding about the tang (small repairs), brass mounts comprising solid side-plate, trigger-guard with rounded finial, butt-cap with `AR` `P`, `14` and broad arrow accompanied by engraved linear borders, ramrod-pipe and brass-tipped ramrod 35.5 cm; 14 in barrel James Peddell is recorded 1688-1716 as a maker of complete arms including a government gift to New York in 1702 and 1710. See lot 224.

England James I (1603-1625) Shilling (Lis Mint Mark) Tower Mint 1604-1605 / 1623-1624

England James I (1603-1625) Shilling (Coronet Mint Mark) Tower Mint 1607-1609