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A Pair of W & T Avery "Patent Agate" Balance Scales, in brass and cast iron, together with a composite set of brass bell weights.

LARGE SET OF VICTORIAN SCALES, WIDTH APPROX 28cm One weight deficient

ALEXANDER CALDER (1898-1976)Cantilever signed with the artist's monogram and dated '73' (on the red element)sheet metal, wire and paint 86.3 x 162.4 x 28.4cm (34 x 63 15/16 x 11 3/16 in).Executed in 1973 Footnotes:This work is registered in the archives of the Calder Foundation, New York under application no. A08148.ProvenancePerls Gallery, New York. Acquired from the above by the present owner in 1974.ExhibitedPalm Desert, Heather James Gallery, Alexander Calder: Painting the Cosmos, 2 March - 12 August 2022.On the greatest of cosmic scales, down to the atomic bonds of every element, equilibrium is the constant that allows the fabric of this reality to remain. For with every action in nature, there is an equal and opposite reaction. There is surely no greater, more poetic demonstration of these immutable laws than Alexander Calder's standing mobile sculpture Cantilever from 1973. Elegantly poised and masterfully constructed to counterbalance the weight of a single red plate against that of six others, Cantilever is elongated and grand, reminiscent of Edmund Husserl's notion that the present possesses a 'width.' Simultaneously interconnected and individual, parts of a whole, three outstretched metal and wire forms arc into space, capturing the eloquence with which Calder discussed his practice as a manifestation of the dynamism of the universe and the disparate qualities of forms and masses. Seemingly rooted in a Derridean experience of the now, Cantilever has an ingrained flow that moves in response to its surrounding environment, changed by the slightest breeze or a trailing touch; a room's air flow becomes an active participant with the art object.It is inconceivable to imagine that any artist could attempt to create a sculpture that suspended objects in perfect balance, poised between delicate armatures and simple joins, without living long in the shadow of Alexander Calder. Indeed, such is the scope and impact of his career and place centre-stage on the arc of Modernism, there is little in the way of comparable feats of artistic accomplishment. Duchamp coined the term 'mobile' to describe Calder's kinetic sculptures; the artist deeply attuned to how subtle, intermittent, and entirely unpredictable motion could induce a psychic experience in its viewers, resisting the urge towards past or future. The modernist master's emphasis on movement is not merely an aesthetic choice but rather a manifestation of his relational approach—by creating sculptures that are in constant motion, he creates a sense of temporal fluidity and change: his mobiles can never be viewed or captured the same way twice, forever evolving, suggesting that everything in the universe is subject to change and impermanence.Cantilever boasts a wonderful variety of motion. Whilst the rotational qualities of its trailing limbs with delicate white elements at their tips are more sweeping and gestural, the subtle and robust passage of the red mass delivers a fantastic compositional counterpoint. Beyond the overwhelming visual impression of its scale and structure, the spectator is titillated in an almost haptic, phenomenological sense. Approaching the feeling of vertigo, Cantilever impresses upon us the appearance of an object at the very limits of its existence – testing the universal laws that permit it to freely stand, suspend, and stretch across the space it occupies. In doing so, it divides space – shifting as it does – with the slender black lines of wire and places the panels of sheet metal in red, yellow and white, squarely against its surroundings. Discussing his aesthetic rationale as it pertains to colour, in 1962 Calder explained that colour is really secondary and he wanted 'things to be differentiated. Black and white are first – then red is next – and then I get sort of vague. It's really just for differentiation, but I love red so much that I almost want to paint everything red. I often wish that I'd been a fauve in 1905' (the artist quoted in Katharine Kuh, The Artist's Voice: Talks with Seventeen Artists, Illinois 1962, online). In Cantilever we see the typical black and white elements, wonderfully contrasted against the foundational elements in red that support the entire work, from its darting prop to open ballast. Adding a single yellow element, however, Calder heightens the visual impact of the piece. Colour was, for Calder, not a representational concern, but an emotional one. Calder's choice of bold colours and their juxtaposing reflects a singular and intuitive approach to sculpting. His interest in Abstraction was first piqued when he visited Mondrian's studio in Paris in 1930, where he was impressed not by the paintings but by the environment. He remarked about the visit, 'I was particularly impressed by some rectangles of colour he had tacked on his wall in a pattern after his nature. I told him I would like to make it oscillate - he objected' (Calder, 'What Abstract Art Means to Me,' The Museum of Modern Art Bulletin 18, no. 3, spring 1951).Although unrelated, Mondrian's sublime abstractions can be seen as very closely tied to Calder's works. The fine lines of wire connecting each coloured element can be compared to the black dividing lines of Mondrian's paintings. The white voids in the paintings tantamount to the negative space surrounding the elements of Calder's sculptures. Both of the artists' works convey fine lyrical qualities, but it is only Calder's standing mobiles that are able to express such a sublime sense of movement combined with a delicate balance of structure and colour. The addition of yellow to the typical red, black and white, imbue Cantilever with an even more intense ethereal quality that, when confronted from either up close or afar, present an almost divine vision of artistic perfection.By creating kinetic sculptures that interact with their surroundings, Calder sought to convey a deeper understanding of the nature of reality and our place within it, blurring the boundaries between the artwork, its viewers, and its surroundings. Not simply geometric abstraction, Calder's standing mobiles benefit from a rich interplay with the kinetic art movement as well, inspiring new forms of sculpture. A type of sculpture that incorporates movement into its design, creating a dynamic and ever-changing experience for the viewer, it emphasizes interactivity and engages with new technologies and materials, breaking down traditional barriers between art and its audience. Its ongoing influence can be seen in a wide range of contemporary art and design practices today.Presented here, Cantilever is undoubtedly one of the finest standing mobiles to come to market. Drawn across the space, whilst mechanically planted on an achingly elegant base in Calder's iconic red, it has all the hallmarks of the finest works by the artist. Instantly recognizable, and utterly unrepeatable, Calder's standing mobiles demonstrate his artistic aim with a technical rigor and physical beauty that makes Cantilever a true masterpiece of its time.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Social Interest - mid 20th century ephemera including match boxes, weighing scales, silk bookmarks, sewing equipment and tins, ration booklets, etc, cased in a leather briefcase (qty)

Bronze Lady Justice with scales and sword, standing on black marble base. Dimensions: 34 x 13 x 13 cm. In good condition.

Late 19th/Early 20th Century brass justice scales. 41cm

This exquisite gold ring, dating to approximately 100 B.C., showcases the fusion of Roman and Egyptian artistry through its elegant depiction of a cobra snake. The ring is intricately crafted with the coiled body of the cobra forming the band, while the head and raised hood are rendered in remarkable detail, capturing the lifelike essence of this revered creature. The fine texture along the serpent's body mimics the scales. In Egyptian culture, the cobra, often associated with the goddess Wadjet, symbolized protection and royal power, and its incorporation into jewelry would have served not only as a decorative piece but also as a powerful amulet. The combination of goldâ€â€a metal linked with the divineâ€â€and the cobra motif underscores the significance of this ring, likely worn by someone of high status to convey both their wealth and their connection to protective divine forces. D:2.1cm  Weight: 7g  

A set of kitchen scales.

Registration No: BXO 32 Chassis No: 6027484 MOT: ExemptSubject to a full restoration in the 1980s and kept in fine running order sinceOwned by the vendor since 2013, with over £20,000 of expenditure in that period with receipts to showMatching original chassis and engine numbersExtensively uprated for competition work, with some 57hp on tap, as shown by the dynograph print out on file Spiritual successor to the ‘Brooklands’ competition model which had achieved such success around its namesake not to mention on the Tourist Trophy, Irish Grand Prix and Le Mans 24-hours etc, the Riley 9hp ‘Imp’ debuted in prototype guise at the October 1933 Olympia Motor Show. Fast enough to accrue silverware but tractable enough for road use, the newcomer was also among the prettiest automotive designs of the 1930s. Notably compact, its 7ft 6in wheelbase chassis featured all-round leaf-sprung suspension, four-wheel drum brakes and an underslung rear axle. Fed by twin carburettors and utilising an (optional) Scintilla magneto, the two-seater’s free-revving 1.1 litre engine developed some 42bhp and was allied to four-speed transmission. Tipping the scales at just 17cwt, the Imp was reputedly capable of 80mph (a speed few class rivals could match). Total production figures are unknown but have been estimated at 120–150 cars of which some 80 are known to have survived. According to its accompanying buff logbook, chassis 6027484 was first issued with the London number plate 'BXO 32' on 20th May 1935. Surviving World War Two, the Riley belonged to K.F. Rouse Esq of Birmingham for almost thirty years (1948-1977) before being bought by noted collector Graham Galliers. Finished in White with Cream upholstery at the time, the Imp then passed to Tony Smith of Cheshire who had specialist Bill Morris overhaul and uprate the ENV four-speed pre-selector gearbox (needle roller bearings supplanting the original bronze bushes) as well as attending to the oil pump and brakes etc. Taking possession in 2006, the two-seater’s previous keeper entrusted it to marque specialist Blue Diamond Services for a full service and thorough going over. The same company were tasked with repainting the Riley in its original Maroon hue and overhauling its factory-fitted engine. The latter having its white metal bearings renewed, Omega pistons fitted, power-sapping, lag tappets removed and crankshaft balanced etc. The SU carburettors were refurbished and the copper piping renewed / replaced as necessary. A dyno report on file shows an increased power output of 57bhp (some thirty-five percent up on standard). Entering the current ownership via Bonhams’ 2013 Goodwood Revival auction for £74,300, the Riley is said to have since benefited from a further £20,000-plus worth of expenditure. A former yacht skipper and horologist with a consequently fine eye for detail, the vendor has had the rear axle ratio raised from 5.25 to 4.55 which he feels has ‘transformed the car’ by making first gear a usable ratio and increasing the cruising speed. A Riley Register member, the seller considers the Imp to be in ‘very good’ mechanical condition such that he is ‘not afraid to use it for any occasion’. Deemed to be ‘very good’ cosmetically aside from the odd blemish, ‘BXO 32’ is potentially eligible for a variety of Vintage Sports Car Club events. Pretty and rare in equal measure, this delectable Imp is offered for sale with V5C Registration Document, numerous bills / invoices and history file. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430

Victorian Apothecary / Chemists Chest, English, c.1850, signed to a Label at the back of the case 'Godfrey & Cooke, london Established 1680' the cabinet constructed of French polished flame mahogany with a campaign-style brass handle to the lid, red velvet lining to the case with 11 mould blown bottles with glass stoppers arrange around the edge, centre with lift out tray containing scales an glass medicine spoon, tray below containing 5 smaller bottles and a glass mortar and pestle, compartment below containing wooden support for scales, case width 27cm

An Unusual German Boxwood Rule, German, 19th Century, stamped ‘A FORSTER ELBERFELD’ the rule delicately engraved to both sides with scales, inlaid with dark wood stringing, large letters also inlaid, scales for different units of measure M (metric), F (French inch), E (English Inch) R, with other finely engraved logarithmic scales to both sides, 23.8cm x 6.9cm 4mm thick

A Good 19th Century Domestic Medicine / Apothecary Chest, English, mid 19th Century, bottles with various labels including 'Belfast Apothecaries Hall', and others, the French polished mahogany cabinet with campaign style recessed handle to lid, the lid lined with crushed purple velvet, with 17 stoppered bottles surrounding a lift out center, containing scales, weights, glass mortar, bottles and jars, case 30cm wide Important: Flints Cannot post this item as some of the bottles have original contents. Please arrange collection or your own courier

2 Boxwood Rules, The Barrel Guage English, 19th Century, stamped ‘T. O. BLAKE (SIKES HYDROMETERS) Ltd’, with scales stamped ½ PIN ST & ½ PIN LY; FERKIN ST & FERKIN LY; KILDERKIN ST & KILDERKIN LY; BSRREL ST & BARREL LY; HOGSHD ST & HOGSHD LY, with brass tip and brass compass type joints, 91.6cm long The other, a bottle gauge, English, 19th Century, stamped ‘L. LUMLEY LTD MAKERS 1 AMERICA SQUARE LONDON’, the scales stamped for CYLINDER BOTTLES & BOUGE BOTTLES, with brass tip and brass compass type joints, 60.6cm long

Victorian Medicine Apothecary Chest, English, mid 19th century, some labels for 'Savory & Moore' the chest constructed of French polished mahogany with brass campaign style handle, double opening front with 16 glass stoppered bottles, with 2 drawrs containing glass mortar & Pestle, jars and a bottle scales and a glass measure and other items, at the back are a further 4 bottles behind a wood door at the back, case width 24cmImportant: Flints Cannot post this item as some of the bottles have original contents. Please arrange collection or your own courierFootnote: This lot contains ivory and has been registered in accordance with the Ivory Act (Section 10), Ref.TQB35PPXFlints Auctions CANNOT ship this item out if the UK

Victorian Domestic Medicine / Apothecary Chest, English, mid 19th Century, with rade label to inside of lid for 'SAVORY & MOORE, Chemists to the Royal Family, 136 New Bond Street, London' the French polished case with campaign style handles opening to reveal 8 glass bottles with original lables for 'SAVORY & MOORE, Chemists....' with drawer below containg a small set of scales, glass mortar graduated measure, and 5 small bottles, case 25cm wide Important: Flints Cannot post this item as some of the bottles have original contents. Please arrange collection or your own courier

Georgian Domestic Medicine / Apothecary Chest, English, Early 19th Century, label to inside of lid for 'Hingstone & Company, Cheltenham' the chest of typical Georgian form, with lid opening to reveal 3 of 4 wide necked jars, scales and other items, front door opens to reveal 7 drawers for dry herbs, one with glass ointment jars, glass mortar & pestle, and other items, rear door opens to reveal 8 large bottles (2 replacements), case25cm wide Important: Flints Cannot post this item as some of the bottles have original contents. Please arrange collection or your own courier

County of Bedford Capacity Measure, English, dated 1900, engraved 'W & T Avery London' the scale profusly engraved along the sides 'Measure the diameter with the scale marked "DIAMETER" and take the reading. measure the depth with the scale marked "DEPTH" and take the reading. Add the two readings, the sum will be 10 for 1/2 Gill, 20 for Gill, 30 for 1/2 Pint, 40 for Pint, 50 for Quart, 60 for 1/2 Gallon70 for Gallon, 80 for Peck, 90 for 1/2 Bushel, 100 for Bushel', and engraved to the top and bottom with the scales for DIAMETER & DEPTH, with multiple exchequer marks, the earliest being 1900, in a fitted French polished mahogany case58cm wide

Victorian Domestic Medicine / Apothecary Chest, English, mid 19th Century, French polished mahofgany cabinet, double doors open to reveal 17 glass bottles, 3 drawers of accessories and 2 dry herb drawers, accessories include a silver funel, glass measure, scales, door at rear contains a further 4 large glass bottles, case width 30cm Provenance: sold at Sotheby's Auctions, London lot 110 30th September 1997 Important:Flints Cannot post this item as some of the bottles have original contents. Please arrange collection or your own courierFootnote: This lot contains ivory and has been registered in accordance with the Ivory Act (Section 10), Ref.12JQJKKHFlints Auctions CANNOT ship this item out if the UK

Astronomical Transit Instrument, Schmalcalder, London, English, c. 1840, signed in script along the vernier arm ‘Schmalcalder 82 Strand, London’, standing on a delicate brass frame with fine height adjustment via geared wheel, tall uprights with lamp mounts (lamp missing) to both sides, telescope with a 6inch scale with 2 vernier scales, clamp with fine screw adjustment, spirit level, telescope with 90degree eyepiece with cross hairs in place, rack and pinion focus, achromatic cell to front behind lens cap, telescope length 60cm, with original spirit level with engraved scales to read the bubble position, height 48cm, width 34cm, circle 14cm, telescope focuses, lenses dusty, image inverted

A 19th Century Domestic Medicine /Apothecary Chest, English, mid 19th Century, French polished mahogany case with brass bindings, recessed campaign style handles, lid opens to reveal 16 stoppered bottles (6 original 10 replacements), with drawer below containing glass mortar & Pestle, scales, 5 of 6 glass bottles, and other items, case 26cm wide

Large Victorian Medicine / Apothecary Chest, English, Early Victorian, French polished mahogany, double doors open to reveal 23 glass bottles, 2 drawers of accessories including 4 small glass bottles, a glass mortar and pestle, a small set of scales, a glass mesure and silver funel, and 3 dry herb drawers (empty), the large drawer at the base contains old documents and papers, section at the rear behind a sliding door contains 1 of 4 glass bottles cabinet height 40cm Important:Flints Cannot post this item as some of the bottles have original contents. Please arrange collection or your own courierFootnote: This lot contains ivory and has been registered in accordance with the Ivory Act (Section 10), Ref.V1FTBJ18Flints Auctions CANNOT ship this item out if the UK

Chassepot bayonet and Spanish Bolo bayonet, each with scabbard. The Chassepot with impressed mark of scales flanked by the letters AS to the bladed at the hilt. The Bolo with impressed number 7836C and Toledo to either side of the blade, at the hilt. (2)

Mattocks Automatic Scales Ltd Eureka vintage green enamel and chrome shop scales or balance, with double sided scales showing weight and also to one side the price, height 61cm, being sold by the now closed Bath Postal History Museum

Three retro sets of postage scales comprising Esselte Dyno Graduate with postage rates to top and letter of provenance regarding their use at Peel, Isle of Man, Salter with postage rates to dial and Waymaster, height of tallest 16cm, being sold by the now closed Bath Postal History Museum

Five sets of letter or parcel scales or balances comprising Waymaster with rates to top, two Salter No 11 and two Autoway, one having rates to top, height of tallest 19cm, being sold by the now closed Bath Postal History Museum

Five sets of GPO and other postage scales or balances including a John Heath example, height of tallest 26.5cm, being sold by the now closed Bath Postal History Museum

Large Victorian brass and oak parcel scales with brass plaques to base giving parcel and letter rates and with seven weights, some marked for Parnall & Sons Bristol, one also marked for G.H.James scale maker Bath, length 40cm, being sold by the now closed Bath Postal History Museum

Four sets of double swinging weight type letter or parcel scales or balances, continental, likely German, together with another single swing weight example, height of tallest 19cm, being sold by the now closed Bath Postal History Museum

Set of 19th or early 20th century shop scales with ceramic pan and marble topped wooden base, together with four chrome plated weights, overall length 51cm

Twelve sets of postage scales or balances including swinging weight examples, Gem postal scale with rates to dial, Salter, pocket type and spring inland parcel scale, height of tallest 21cm, being sold by the now closed Bath Postal History Museum

Two sets of late 19th or early 20th century postage scales or balances, one with plinth base set with ivorine plaque for Eden Fisher & Co. 50 Lombard St. London EC, the other marked S. Turner's Patent, with sliding weight, length of longer 29cm, being sold by the now closed Bath Postal History Museum

Four sets of late 19th or early 20th century postage scales or balances including Mordan and John Heath, two having ivorine plaques giving postage rates, together with two sets of weights, length of longest 31cm, being sold by the now closed Bath Postal History Museum

Cased set of late 19th or early 20 century diamond scales with weights from 64 down to one carat, width of case 14cm

Victorian four tier GPO ladder postage scale or balance with flip over weights for different scales on each tier covering both metric and imperial, by Degrave, Short & Fanner, London, stamped multiple times with broad arrow and GPO, together with a stack of five weights and a 2oz GPO square weight, being sold by the now closed Bath Postal History Museum

Nikon binocular microscope, serial number 115660, with Vernier scales to stage, overall height 38cm

Leitz Ortholux trinocular microscope, serial number 592106, with Periplan GF 10x eyepieces and Vernier scales to stage, overall height 44cm

A set of late 19th Century gilt brass 'tear drop' Hall's Patent letter scales, by Parnell London c.1890, in leather covered case with a hinged lid and catch, 8 x 13.5cms long.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.

A set of late 19th Century beam scales, by T. Avery Ltd of Birmingham, in an Arts and Crafts style, with a black and gilt decorated steel frame and brass pans, with a lever to the front lifting the pans off the surface so that the balance works, with a graduated set of seven brass weights, 51 x 25 x 58cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.

A late Georgian mahogany and brass bound apothecary box, c.1830, the hinged cover opening to reveal a red velvet lined and compartmentalised interior with lift-out trays and spaces for bottles. the cover with military style brass plate handle engraved 'John Bruce Esq', with scales and weights but no bottles or other apothecary items, 26 x 15 x 14cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.

A set of Victorian postal scales, 'S. Turner's Patent', with unusual counterbalance weight and scale in ounces from 1/3 to 12, mounted on a rectangular beechwood base, 26.5 x 12.6 x 16cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.

A Hardy canvas and leather trimmed fishing bag, together with GP Graham & Son of Cockermouth fishing spoons ranging in Sizes 6 cm to 3 cm, together with a Hardy Priest, Salter scales etc.

Harry Boden a fixed blade knife, with 3 1/2" hollow grind blade, stamped Harry Boden with hardwood scales. Overall length 20 cm and with leather pouch. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.

* Fishing. James (John, manufacturer), Fish Hooks, Victoria Works, Redditch, circa 1860, a salesman's sample booklet containing approximately 130 fish hooks (both salt and fresh water) on 7 cards, each card with manufacturer's labels, prices annotated in manuscript, folding concertina style into a morocco gilt wallet with 'envelope style' fastening, gilt title to the upper cover, some wear to binding, 223 x 1030 mm when open, 225 x 125 when folded, together with Farlow (manufacturer). A leather fly and leader wallet, circa 1880, containing 15 'vellum sleeves' each containing numerous fishing flies and leaders, and 2 felt 'pages' holding numerous fishing flies, a small spring-loaded set of scales is housed in the front pocket, contemporary blindstamped pig with a securing strap and buckle, 170 x 120 mm QTY: (2)NOTE:John James & Sons was established in 1835 in Redditch, Worcestershire, becoming a limited company in 1912 when it merged with Henry Milward and Sons. They were known as manufacturers of fishing hooks and needles.

Europe. Onwyn (Thomas, after), Komische karte des Kriegschauplatzes, Hamburg: Verlag von B. S. Berendsohn, circa 1856, etched allegorical map with contemporary outline colouring, old folds with slight wear where old folds cross, contemporary publisher's paper title wrapper to verso, the whole backed with later paper, 465 x 670 mmQTY: (1)NOTE:A scarce derivative German map, taken from Onwyn's 'Comic Map of the Seat of War with Entirely new Features'. An anamorphic map which can rightly claim to be the origin of the comic maps of Europe which would become so popular in the 19th century. The map shows the Russian bear as the aggressor in the Crimean War, with the Allied Fleet attempting to clip the bear's claws in the Black Sea, and its coat being emblazoned with the words 'Oppression', 'Tyranny', 'Bigotry' 'Treachery and 'Cruelty'. Other nations have been given anthropomorphic national characterisations that will be reprised and revised during the next seventy years. It is worth noting the set of scales below the title with the 'balance of power’, shows the Russian bear outweighed by the combination of a French cockerel, Turkeys, and a British Lion.

A vintage set of scales with weights

5 boxes of mixed items to include glassware, cutlery, bundle of walking sticks, brassware, Roberts radio, mixed table wares, figurines, drinking glasses, vintage mechanical bathroom scales etc.

A box of assorted china, ornaments & watches to include Royal Worcester, Border Fine Arts & vintage scales with weights etc.

A set of brass scales with four weights.

A box of collectables including playing cards, sovereign scales, draughts set, chrome cigarette case, gun lighter etc

A PAIR OF VINTAGE CAST IRON BALANCE SCALES

A PAIR OF LIBRA SCALES AND NINETEEN BRASS BELL WEIGHTS

A SET OF RETRO TOWER KITCHEN SCALES

AN ASSORTMENT OF BRASS ITEMS TO INCLUDE A BED WARMER, SCALES AND SPRAYERS ETC

AN ASSORTMENT OF ITEMS TO INCLUDE SCALES, FRAMED PRINTS AND VASES ETC

A SET OF VINTAGE AVERY SCALES WITH THE WEIGHTS

24k gold accented Hand painted collection of law books facing out on a shelf porcelain mini box. Skillfully realistic. Gilded feather closure at hinge opens to reveal the scales of justice inside. SP Peint Main Limoges France MB 2000 26 of 50. Artist: SP,MBIssued: 20th c. Dimensions: 1.5â€L x 1.25â€W x 1.75â€HEdition Number: 26Country of Origin: FranceCondition: Age related wear.

Miscellaneous Tokens and Checks, West Yorkshire, Leeds, Maclea & March, brass, unissued, 31mm; Robert Middleton, Sheepscar Foundry, brass, stamped 63, 31mm; Morton & Joynt, brass, unissued, 27mm; David Nichols, brass, stamped 27, 32mm; W. Nicholson & Son, uniface brass, stamped 116, 31mm; Ja[me]s Parker, brass One Shilling and Sixpence, 31mm, brass Shilling, 25mm; Redfern’s Hats, brass, 26mm; Royal Casino Concert Hall, brass (2), by Hiron, 32mm, unsigned, 24mm (W 720, 721); Salter & Salter, uniface brass, 31mm; Scales & Salter, uniface brass, stamped M37, 31mm; Scriven & Co, brass (2), stamped 32, 292, both 30mm; Steam Plough Works, brass, unissued, 31mm; Thornton’s New Music Hall, brass Threepence, 27mm (W 723); The Tramway Dining Rooms, uniface brass, stamped 1/6, 31mm; Wellington Foundry, uniface brass, unissued, 32mm; Ja[me]s Whiteley & Son, brass, stamped 49, 32mm; Wilcock & Sons, brass Threehalfpence, 22mm; James Wood, brass, 31mm [21]. W 723 excavated, others generally about very fine, some better, a few rare £120-£150

18th Century Tokens, GLOUCESTERSHIRE, Badminton, Kempson’s mule Halfpence (4), bust of George III, revs. legend, 9.89g/6h (DH 24), scales 1796, 9.39g/6h (DH 30), plough, rev. wheatsheaf, 9.56g/6h (DH 40), scales 1795-6, rev. scales 1796, 9.61g/6h (DH 55); Brimscombe Port, Thames and Severn Canal Co, Halfpenny, 1795, 10.21g/6h (DH 60); Bristol, Hawkins Bird, Halfpenny, 1793, 9.57g/6h (DH Somerset 89), J. Chester, Halfpenny, 9.70g/6h (DH 90); Gloucester, Kempson’s City Penny, 1797, St Michael’s Church, 17.38g/6h (DH 5); Newent, John Morse, Halfpenny, 1796, 10.43g/12h (DH 64) [9]. Good very fine and better, wiped £120-£150

18th Century Tokens, Co DUBLIN, Dublin, James Maculla, Penny, 1731, fleur-de-lis, rev. Justice standing between pillars, holding sword and scales, edge plain, 13.98g/9h (D 52; Macalister 541). Excavated, obverse about fine, reverse mediocre, very rare £100-£150

Vintage Golf Bag and Clubs, Guitar, Baskets, Balance Scales, Storm Lamp etc