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Scripophily: a japanned tin box 52 x 36 x 31cm marked on the side: Joe?s Luck and Bon Accord (Sheba)/Gold Mining Company Ltd. to contain: 21 share certificates chiefly in gold mining concerns, all made out to David Alexander Traill Christie (1844-1906):Balki?s Eerstelling Ltd. (goldminer, Transvaal) 100 shares 29/1/1895Hannan?s Kalgoorlie Proprietory Ltd. 300 shares 14/7/1896Kuranui Caledonian Gold Mining Co. 198 shares 24/8/1896Mashonaland Consolidated Development Co. Ltd. 131 shares 24/1/1900Menzies Crusoe Gold Claims Ltd., 150 shares 26/6/1896;Pardy?s Mozambique Syndicate Ltd. 100 shares 29/11/1895Perseverance Gold Miners Ltd. 480 shares 27/6/1903Sherlaw?s Gold Mining Co. Ltd. 480 shares 2/7/1901Trust Company Ltd., The, 20 shares 18/8/1904Victory Gold Mining Co. Ltd. 200 shares 17/12/1896Wenham Company, The (five certificates for varying numbers of shares, 9/5/1888-31/7/1891)Yankee Girl Silver Mines (for 100, 150 & 75 shares) 27/7/1891, 24/12/1890 & 17/4/1891, alsoNew English Bank of the River Plate Ltd., (2 both for 25 shares) 30/6 & 30/8/1892Mortgage Insurance Corpn. Ltd. 500 shares 7/1/1887The Triumph Leases Ltd., 200 shares 3/8/1897all in registered envelope addressed to Percy Barlow (of Torkington House, Acton, Middlesex, d. 1931) containing correspondence, also certificate of incorporation of Electrotone Talking Pictures Ltd. 4/10/1929 and a certificate of 2000 ordinary shares in Danescroft Ltd 6/12/1934, also death certificate of Henry Heacock Mansell 3/12/1919 with frankings by a number of railway companies, also other related correspondence to Barlow, Henry Charrington of Mickleover House, Derby (1865-1928) some on Charrington?s headed paper (Abbey Brewery Burton-upon-Trent), and to D A T Christie concerning an estate at Evanger, Norway. The deposit also contains other ephemera, including 27 vellum deeds many relating to the lease of 12 Henrietta St., Covent Garden from the Duke of Portland (and his agent, W Ford) to William and Francis (Frank) Debenham, the address where they opened their second London store, 1853-1906 and others, various (qty)*William Debenham (1824) and his brother Frank (1837-1917) were the sons of William Debenham (1794-1863) who in 1813 joined draper William Clark in Wigmore Street to found the firm. Frank was father of Sir Ernest Debenham, (cr. 1st Bt. 1931)

The Man Who Would Be KingColumbia Pictures / Allied Artists Production, 1975,British quad cinema poster, artwork by Tom Jung, signed in black ink by Sir Michael Caine, 76cm x 102cm (30in x 40in)Footnotes:The Man Who Would Be King sees Sir Michael Caine share top billing with Sean Connery, as British officers visiting Kafiristan where one is mistaken as a god. This star pairing was seen on screen again just two years later, in A Bridge Too Far (1977).For further information on this lot please visit Bonhams.com

Alice Ella ( born 1969), We share Love , acrylic colours on canvas , signed 60x70 cm

A quantity of old share certificates etc.

Rest einer Einlieferung mit u.a. Anteil Österreich, III. Reich, Medaillen, Medaillen-Ersttagsbriefen, Album mit Anteil USA und gemischten Weltmünzen. Am besten ansehen, Erhaltungen verschieden| Rest of a consignment with i.a. Austria, III. Reich, medals, medals first day covers, album with share USA and mixed world coins. Best to look at, conditions varying

Waterlow & Sons, a note advertising their services in engraving and printing banknotes, cheques, drafts, bills of exchange, letters of credit, share warrants, debentures, government bonds and postage stamps, on thick paper with very minor mounting traces, about uncirculated and a lovely design £150-£200

Spanish school; early 17th century."Crucifixion".Oil on canvas. Re-coloured.It presents damages in the frame.Measurements: 49 x 36,5 cm; 63 x 51 cm (frame).In this representation of the expiring Christ that shows us a torso resolved through a naturalistic language, the cloth of purity and the extremities turned following classical models. Nails and thorns make the blood gush out, the intense red of which stands out against the sallow tone of the flesh tones, in the case of the feet. The tenebrist lighting and chromatic transitions model the body, giving the illusion of perfect volumetry, which testifies to an in-depth anatomical study. The composition, the bold iridescence of light and the rapid brushstrokes are very close in composition and language to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667 and possibly purchased by the wife of Philip V, Isabella of Farnese, it entered her collection in 1746 and was documented three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court.

Circle of CARLO MARATTA (Camerano, 1625 - Rome, 1713)."Nativity.Oil on canvas.Re-coloured.Measurements: 66 x 90 cm; 85,5 x 109 cm (frame).Due to its stylistic characteristics, this work is very close to the Marian paintings of Carlo Maratta: the intense contrast between the background and the flesh tones, from which an inner light seems to emanate, is typical of this painter. Likewise, Mary's humble gesture, with her head lowered, gazing at the newborn child, is typical of Moratta's young virgins. The seraphim share this mystical radiance in their plump countenances. Also known as Carlo Moratti, Carlo Maratta was born in Camerano, then part of the Papal States of Rome, where he travelled in 1636, apparently with Taddeo Barberini's secretary, and became an apprentice in Andrea Sacchi's workshop. At this time his style was close to Sacchi's classicism, more restrained and harmonious than the baroque style of Cortona and influenced by Carracci, Guercino, Guido Reni, etc. He carried out numerous commissions for Pope Alexander VII (reign 1655-1667) and, from around 1660, his "portfolio of clients" spread throughout Europe and belonging to the upper classes, which led to the establishment of the main workshop in Rome after Bernini's death in 1680, at which point he became the most important artist in the city.In 1664 he became director of the Accademia di San Luca in Rome, further promoting the study of classical antiquity. He produced works that are preserved in the Palazzo Altieri, Palazzo Pitti in Florence, Santa Maria in Vallicella, the Cybo Chapel of Santa Maria del Popolo, etc. It should also be noted that, in addition to his frequent religious themes, he was highly appreciated as a portraitist, and also for his works on mythological subjects. From the beginning of the 18th century, due to the economic situation, he devoted himself above all to the "pictorial restoration" of works by Raphael Sanzio, Carracci, etc. Works by the master are kept in important private collections all over the world, as well as in institutions such as the Prado Museum in Madrid, the National Gallery in London, the Hermitage in St. Petersburg, the Thyssen-Bornemisza Museum in Madrid, the Getty Museum, the Royal Museums of Fine Arts in Belgium, etc.

FOOTBALL, selection, inc. photographs, Chelsea v Cardiff City match action 1952/3 season, Newport County press photos, Cardiff City, 1959/60-1968/9, inc. showing match action, team photographs, tours, post-match celebrations; Welsh non-League programmes; original Cardiff City Share certificate with seal, 15th August 1932 etc., FR to VG, 233*

A well Documented post-War C.V.O., M.B.E., R.V.M., and Second War B.E.M. group of ten awarded to Chief Petty Officer Writer L. A. J. Treby, Royal Navy, later Chief Clerk and Accountant to H.R.H. The Duke of Edinburgh’s Household The Royal Victorian Order, C.V.O., Commander’s neck badge, silver-gilt and enamel, the reverse officially numbered ‘1888’, with full and miniature width neck ribands, in Collingwood, London, fitted case of issue, minor blue enamel damage to motto around central medallion; The Most Excellent Order of the British Empire, M.B.E. (Civil) Member’s 2nd type breast badge, silver, with Royal Mint case of issue; British Empire Medal, (Military) G.VI.R., 1st issue (C.P.O. Wtr. Leslie A. J. Treby. D/Mx.51084); 1939-45 Star; Burma Star; Defence and War Medals 1939-45; Royal Victorian Medal, G.VI.R., 1st issue, silver, unnamed as issued, with Royal Mint case of issue in outer card box; Coronation 1953, unnamed as issued; Jubilee 1977, unnamed as issued, with card box of issue, mounted court-style for display; together with the recipient’s related miniature awards, these lacking the Jubilee Medal, these mounted court-style as worn; Commemorative Medallion for the Royal Visit 1947, in Royal Mint case of issue; Commemorative Medallion for the Royal Visit 1953-54, in Royal Mint case of issue, lacquered, extremely fine (lot) £2,200-£2,600 --- C.V.O. London Gazette 15 June 1974. M.V.O. IVth Class London Gazette 13 June 1964. M.V.O. Vth Class London Gazette 15 May 1954. M.B.E. London Gazette 13 June 1957. R.V.M. London Gazette 20 May 1947: Awarded for the Royal Tour of South Africa in H.M.S. Vanguard. B.E.M. London Gazette 1 January 1946. Leslie Alfred John Treby served during the Second World War as a Chief Petty Officer Writer in the Royal Navy, and subsequently entered Royal Service as Chief Clerk and Accountant in the Household of H.R.H. the Duke of Edinburgh. Sold together with the following original Documents: i) Bestowal Documents for the C.V.O. and M.V.O.; together with Central Chancery enclosures; copies of the Statutes of the Order; and various letters of congratulations, including two by Lord Mountbatten ii) Bestowal Document for the M.B.E.; together with a copy of the Statutes of the Order iii) Bestowal Document for the Royal Victorian Medal (Silver), dated 20 May 1947 iv) Bestowal Document for the Coronation Medal and Jubilee Medal v) Bestowal Document for the Commonwealth Tour Commemorative Medallion vi) Ceremonial for the Funeral of H.M. King George VI vii) Letter (a facsimile sent to multiple recipients) on Prince of Wales headed writing paper from H.R.H. The Prince of Wales thanking the recipient for his share in the present given to him on his 21st Birthday, signed ‘Charles’ viii) Letter (a facsimile sent to multiple recipients) on Buckingham Palace writing paper from H.R.H. The Princess Anne thanking the recipient for his share in two horses and some saddling given to her on her 21st Birthday, dated October 1971, and signed ‘Anne’ ix) Ceremonial and Order of Service for the Thanksgiving Service for the Silver Wedding Anniversary of H.M. The Queen and H.R.H. the Duke of Edinburgh, Westminster Abbey, 20 November 1972 x) Letter (a facsimile sent to multiple recipients) on Buckingham Palace writing paper from H.M. The Queen and H.R.H. the Duke of Edinburgh thanking the recipient for his share in the bird bath and trees given to them on the occasion of their silver wedding anniversary, signed ‘Elizabeth’ and ‘Philip’ xi) Ceremonial and Order of Service for the Marriage of H.R.H. The Princess Anne to Captain Mark Phillips, Westminster Abbey, 14 November 1973 xii) Letter (a facsimile sent to multiple recipients) on Buckingham Palace writing paper from H.R.H. The Princess Anne and Captain Mark Phillips thanking the recipient for his share in the dinner service given to them on the occasion of their wedding, dated 13 November 1973, and signed ‘Anne’ and ‘Mark’ xiii) Ceremonial and Order of Service for the Silver Jubilee, St. Paul’s Cathedral, 7 June 1977 xiv) Telemessages from H.M. the Queen and H.R.H. the Duke of Edinburgh to the recipient on the occasion of his Golden Wedding Anniversary, June 1986, and 80th Birthday, March 1996 xv) Copy of the Special Order of the Day by Commander in Chief Plymouth Command, Commending the Recipient, dated 26 November 1945 xvi) Various Royal Invitations; and other ephemera, including a double pack of E.II.R. embossed playing cards; a Canadian Coronation Medallion; and a H.M. Yacht Britannia Commemorative Medallion and ash tray.

Pair: Major F. de C. Helbert-Helbert, Royal Welsh Fusiliers, later Royal Fusiliers, who served as Aide-de-Camp to The Maharaja Holkar of Indor India General Service 1854-95, 1 clasp, Burma 1885-7 (Lieut. F. de C. Helbert-Helbert. 1st-R. Welsh Fus.) a later issue impressed in small sans-serif capitals; Jubilee 1887, 1 clasp, 1897, silver, unnamed as issued, good very fine and better (2) £400-£500 --- Frederic de Courcy Helbert-Helbert was born in Brighton on 14 July 1862 and was educated at Winchester College. He was commissioned a Lieutenant in the Somerset Light Infantry on 22 October 1881 but transferred to the Royal Welsh Fusiliers in November the same year. With the 1st Battalion he went to Burma in 1885 but was invalided home sick. During the Jubilee celebrations of 1887 he was A.D.C. to The Maharaja Holkar of Indor. He was placed on Half Pay in April 1888 but returned to Full Pay in May 1889 and was appointed A.D.C. to the Governor and C-in-C., New South Wales, a post he held until November 1891. In November 1892 he transferred as a Captain to the Devonshire Regiment but retired with a gratuity in February 1895. On 28 August 1895 he became a Major in the 5th (Militia) Battalion, Royal Fusiliers. Helbert-Helbert was removed from the Army on 23 April 1902, ‘His Majesty having no further use for his services’. The reason for this is not known exactly but it seems it was bankruptcy. He was imprisoned in February 1904 for obtaining credit while a bankrupt and stealing a ring. He was incarcerated in Wormwood Scrubs. Yet again in November 1907 he was incarcerated in Wormwood scrubs for 18 months for three offences against Francis McCarthy: altering a cheque, misuse of a share certificate and misuse of cash. The Officers Mess Minute Book records on 15 May 1908: ‘Pieces of silver presented by F de C Helbert should be made away with out of the mess for obvious reasons but decided to hold over until the Regiment is together again.’ A further entry on 5 December 1910 records: ‘The Cup presented to the Mess by Major Helbert should be sold and the proceeds given to a charity to be decided on at the next meeting.’ The recipient’s Bankruptcy papers held at the National Archives also describes how in 1896 Helbert-Helbert was at sea and made friends with a young man of wealth and position who died on the voyage. On Helbert-Helbert’s return to the UK he produced a will purportedly made by the young man leaving him his estate. The young man’s friends contested the will but a settlement was reached out of court with Helbert-Helbert receiving £25,000. Sold with copied research. Note: The India General Service Medal roll shows that a replacement medal was issued on 30 November 1937; the naming style on the IGS in this lot is consistent with the style used at the time.

Rolex. A rare stainless steel Military issue automatic wristwatch being sold by a former member of the Royal NavyModel: SubmarinerReference: 5513/5517Date: Circa 1975Movement: 26-jewel Cal.1520 automaticDial: Black, 200m=660ft, luminous dot hour markers, baton quarters, gilt outer minute divisions, polished dagger hands with luminous inserts, centre secondsCase: Brushed and polished tonneau form, screw down back and shouldered crown, case back inscription reads '0552/923-7697' '704/77', inside back date coded I.72, fixed lugs, black calibrated bezel insert, No.3926793Strap/Bracelet: Grey NATO fabricBuckle/Clasp: Steel buckleSigned: Case, dial & movement Size: 39mm Accompaniments: Rolex service box, an extensive archive of original photographs, further copied photographs and newspaper cuttings relating to the vendors military service, Rolex service paperwork dated November 2020, individual Rolex presentation bookletFootnotes:In the early 1970s, the British Ministry of Defence commissioned a very limited batch of Rolex reference 5513 Submariners, designed to enhanced specifications to meet the demands of their Special Forces. These 'Military Submariners', or 'MilSubs', differ in many ways from standard production pieces. They feature thicker, sword-shaped hands for enhanced legibility, a rotating bezel calibrated to 60 minutes (not present on this watch), an encircled 'T' on the dial indicating the use of luminescent Tritium, and solid steel bars fixed between the lugs.The owner of the current lot had a distinguished military career and is happy for us to share the following record of his career:- 10th September 1957- joined Royal Navy at shore base Collingwood Fareham for training as an aircraft electrician- completed 19th April 1958 to Royal Naval Air Station Culdrose -796 sqdn Gannet a/c. - Left Culdrose for HMS Eagle 16th July 1958 as a flight deck electrician. Left HMS Eagle for Culdrose 3rd March 1959 to 750 Sqdn Sea Prince a/c.With 750 Sqdn moved to RNAS Hal Far Malta. Arrived at RNAS Yeovilton from Hal Far 25th March 1961 until 9th October 1961 when joined HMS Hermes as Flt deck crash crew.- February 1964 to RNAS Lee on Solent as a member of Fleet Air Arm Field Gun Crew training for Royal Tournament at Earls Court July 1964.- 9th November 1964 joined RNAS Yeovilton until 15th November 1966 when returned to Lee to prepare for 1967 Field Gun Crew. After 1967 FAA Field Gun at Lee for leading electricians course.- 13th May 1968 to RNAS Portland 829 Sqdn. Wasp helicopters training as a/c electrician/aircrew missile aimer. While at Osprey completed ships diving course.- 22nd January 1970 joined frigate HMS Tartar as aircrew/electrician until 30th January 1972, when joined the 1972 FAA Field Gun Crew for training for Earls Court.- Left Lee for Osprey Portland on 28th January 1973 for Search and Rescue divers course, on passing to training as SAR crewman and on completion to Lee SAR August 1973.- 13th July 1975 left Lee for HMS Ark Royal SAR Flt. until August 1976 when rejoined Lee, vetting men volunteering as aircrewmen in Pre Flight Training Deptmnt.- 19th June 1978 joined frigate HMS Gurkha as aircrew missile aimer until June 1979 when required back at Lee SAR as chief aircrewman.- Stayed with Lee SAR from June 1979 until 22nd April 1981 when joined RNAS Yeovilton for training as a commando crewman. On completion of the courses joined 845 Sqdn wessex.- Left 845 November 1983 for Lee SAR-Stayed with Lee SAR until 7th August 1984 when left the RN after serving for 27 years.- Applied for a job with Bristow Helicopters and joined on 1st July 1989, staying with them working from a platform in the North Sea flying in Bell 212 helos until 1999 (when decided to quit while ahead).The vendor represented the Fleet Air Arm three times in the Royal Navy Field Gun Competition and videos are available online.For further information on this lot please visit Bonhams.com

James IrwinThree views taken at station 2 at St George Crater, the first (showing Dave Scott with the Rover) in the first B&W panoramic sequence taken at station 2, the second and third in the second B&W panoramic sequence taken at station 2, photographs from a black and white film magazine 85/LLApollo 15, 31 July 1971Three vintage gelatin silver prints on fibre-based paper, each 25.4 x 20.3 cm (10 x 8 in), two BLACK NUMBERED NASA AS15-85-11426 (b) and AS15-85-11461 (c), and one (a) with NASA Kennedy Space Centre caption numbered AS15-85-11451 on the versoFootnotes: Station 2 near St George Crater was one of the most spectacular stations traversed during the Apollo missions. The Rover was parked near a meter-sized boulder sitting on the hillside about fifty meters above the Hadley-Apennine valley floor and offering a perfect site for sampling (first photograph). The location, on the edge of Hadley Rille, provided an extraordinary panorama toward the lunar canyon. Thanks to the Rover-mounted TV camera, Scott and Irwin could share the view with watchers back on Earth, exulting over scenery long characterized as barren and drab. Condition Report: AS1585-11426 small restoration in the white marginCondition Report Disclaimer

Colour RCA TV camera mounted on the Lunar RoverGene Cernan and Harrison Schmitt's salute from Taurus-Littrow landing site, EVA 3, before the end of the last moonwalk and leaving the lunar surfaceApollo 17, 7-19 December 1972Vintage chromogenic print on resin-coated paper, 25.3 x 20.5 cm (10 x 8 in), [NASA S72-55420], with THIS PAPER MANUFACTURED BY KODAK watermarks on the versoFootnotes:The astronauts paid their respects to over 70 young overseas scientists who were visiting the Manned Spacecraft Center. Noting that they had collected a very significant rock composed of many fragments, Cernan said "It's a rock composed of many fragments, of many sizes, and many shapes, probably from all parts of the Moon, perhaps billions of years old. But fragments of all sizes and shapes - and even colors - that have grown together to become a cohesive rock, outlasting the nature of space, sort of living together in a very coherent, very peaceful manner. When we return this rock or some of the others like it to Houston, we'd like to share a piece of this rock with so many of the countries throughout the world. We hope that this will be a symbol of what our feelings are, what the feelings of the Apollo Program are, and a symbol of mankind: that we can live in peace and harmony in the future." In his closing remarks to the students Cernan remarked, "We salute you, promise of the future." (https://www.hq.nasa.gov/alsj/a17/a17.clsout3.html)

FOUR BOXES OF HOUSEHOLD ITEMS, to include a Royal Doulton Angela HN3419 figurine signed by Michael Doulton (sd to foot), a Disneyland Cinderella mug, a brass oil lamp with chimney and shade, a boxed glass candy pot, a pair of cream Home Trends Panama pencil pleat curtains (as new in packaging) with tie backs, width 167cm x drop 137cm, fourteen glass pint glasses, a Pyramid camera tripod, a boxed Kodak Easy Share System digital photo system, a boxed Garland glass punch bowl set, a handbag etc, (sd) (4 BOXES)

Kodak Easy share P7 20S photo frame

Kamerasammlung Minox, Leica: u.a. Sehr schöne Sammlung aus Kleinbild- u. Kleinkameras. U.a. dabei Minox MX + MX-Flash 1998-2005. - Leica Z2X - Minox 35 PL mit Anleitung u. Blitz FC 35. - Minox C Spionkamera im Lederfutteral. Lederschließe lose. - Rollei 35 mit Rollei Blitz. u. Rollei EF 15 Ladegerät - Agfamatic 2008. - Olympus AF - 1. - Sowie Kodak Easy Share C 913 u. Kodak Power Kit. Digitalcamera. (Diese Neuwertig, unbenutzt). Gepflegter Zust. Funktionen nicht geprüft. Batteriefächer sauber. D

The British Isles and Commonwealth Banknotes, Cheques and Shares, comprising: Bank of England: 7 x 10 shillings series C, including two consecutively numbered: C03N 311037 and C03N311038 signed J.S. Fforde, and prefixes: B38N, B61N, C45N, C32N and C51N, all Fforde; and 12 x £1 series D, including 4 x consecutively numbered pairs: DY08 770781 and DY08770782 signed D.H.F. Somerset; BU29 058354 and BU29 05835, Somerset; CY22 911747 and CY22 911748, Somerset; and CS23 220307 and CS23 220307, Somerset; together with prefixes 56T, J23, BX74CN83, BN57 and BZ68; Bank of Ireland: £20 2008 issue, CC972273, and £1 1980s issue, H984938; Central Bank of Ireland: 2 x £1 dated 12th June 1957 93E704781, and 2nd October 1969 80H259877; Royal Bank of Scotland: 2 x £1 1992 commemorative issue European Summit at Edinburgh December 1992, EC0939066, and 1987 issue, A/42 68675, 5 x £5 B/96 215978 2005 issue, AL138103, 2005 commemorative issue Jack Nicklaus JWN0513854, AS828417, and 1972 issue A/57 112582; and 2 x £10 2012 Diamond Jubilee commemorative issue, TQDJ1232089 and TQDJ1721247; Bank of Scotland: 3 x £1, D/99 0688562, D/99 0688564, and 1986, D/99 0688704, signed Risk and Pattullo, and £5 2007 issue, AL138103; Clydesdale Bank: £1 1988 ‘sterling issue’, D/DW 783650, signed Hamilton Chief Executive, and £20, 2005 commemorative issue, A/BM 328063; 4 x Welsh Black Sheep notes: £5 898579, £10 898736, £1 772003, 10s 772118, all stamped CANCELLED; Isle of Man: 50p 1979 issue, C712896, 4 x £1, including reduced size issue prefix W(x2), a 1979 issue prefix P, and combined note and coin 1972 issue, PM 123456; £5 reduced sized issue, prefix L; Guernsey: 2 x £1, R887561 1990 issue signed Trestain, and F132815 1969 issue signed Hodder, £5 D000060, and 2 x £20 2012 commemorative issue QE/60 036160 and QE/60 061041; Jersey: 10 shillings 1963 issue, B861745, and 3 x £1 PB003684 1976 issue, LJ066217 1995 commemorative issue and LC500895 signed Baird; Northern Bank Limited £1 1978, C6996310; Canada $20 2015 commemorative issue, FWS9880338; HSBC: 2 x $5, 898763 EY and 898658 EY, and 2 x $20, BA770344 and DE831807; Gibraltar: 3 x £1 1988, continuous serial numbers L554925, L554926 and L554927, and 2 x £5, 2000 issue, MM409316 and A/AA 023579; New Zealand $1, 1981-1992 issue, signed Brash, ANS 968459; British Armed Forces £5, second series, EE/1 25800; Reader's Digest Association: £1000, 2 x £2000, £5000, and £10,000 promotional notes; 3 x Wilts & Dorset Banking Company cheques: on for £3 13/, dated April 15th 1901, A87177, another cheque for £30, dated 28th July 1909, A140652, and the last for £1443.3.9, dated October 19th 1876, no.91; 2 x North Wilts Banking Company cheques: one for £5.18.6, dated February 25th 1874, C4544, and the other for £11.8.0, dated 22nd March 1873, A6002; Stuckey’s Banking Company Bristol, cheque for £42.6.3, dated 29th April 1889, No.34273; and The Loom Improvement Company Limited, one share (£10), dated 3rd August 1869, no.1415. Majority AUNC.

FREEMASONRY,20th century, a pair of Masonic tracing boards, for the first and second Degree, with stylised imagery, the former showing the tools of the Mason and the ascending ladder, the latter with an interior view of the Great Temple with the pillars of cloud and fire surmounted by celestial spheres, each oil on canvas laid on to board, set within oak frames, each mounted with an inscribed presentation plaque to the front, the first inscribed 'Presented to Peace & Concord Lodge No. 3947 by Wor. Bro. Edward Wood J.P., founder & first treasurer. 1919-1921', the latter inscribed 'Peace & Concord Lodge No. 3947', both with ivorine plaques to the verso inscribed 'Spencer & Co. 19 and 21 Gt Queen Street London',123 x 77 (2)Tracing boards are meant to represent the allegorical journey of a Freemason, beginning in the material realm with the tools of the trade, transcending up the ladder toward the temple, indicative of the second stage following on as a natural development of the first. The second degree set within the temple is meant to emphasise the Fellowship found within, and the eventual continuation of the journey deeper into the temple, and the mysteries found within. The third tracing board is rarely seen and is all the more complicated to interpret. Partly because the ritual it entails is rarely performed today, but also that those who have undergone it, rarely share any knowledge about it, or even its existence.Condition report: Both with stains and marks throughout. Some scuffs along the edges, but the images are both highly legible.

Flemish school; early 17th century."Saint Hermenegild".Oil on canvas.Measurements: 104 x 125 cm.Saint Hermenegild was the son of the Visigoth king Leovigild. In 579 he confronted his father and married Ingund, the daughter of the Frankish king Sigebert I of Austrasia, who was a Christian. Later he started a rebellion, in which he tried to replace Arianism with Christianity. During the conflict Hermenegild fled to Seville and when it fell to a siege in 584, he made his way to Cordoba. After Leovigild paid 30,000 gold pieces, the Byzantines withdrew and took Ingund, his wife and son with them. Hermenegild sought refuge in a church and his father sent Recaredo, Hermenegild's brother, to offer peace. In this scene the artist depicts the saint kneeling, praying and turning his face towards the crucifix on the tree on the left-hand side of the composition. However, despite the pious subject matter of the scene, we are struck by the multitude of animals that share the composition with Saint Hermenegild: a white horse, from which he seems to have immediately dismounted as he is saddled, three dogs in the lower part of the foreground and a deer standing on a promontory, looking directly at the saint. This feature creates a confusing situation in the conception of the work, as it seems that Saint Hermenegild is also looking at the animal, to some extent losing sight of the presence of the deer.The painting belongs to the Flemish school, which can be deduced from certain characteristics associated with that school. In this painting, there is a realistic reaction to the fantasy of the international Gothic, it is a painting very influenced by the art of sculpture, oil painting is usually generalised, it is a painting with a great symbolic sense which allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter's eye, the presence of many details is evident, a painting in which real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, achieving perspective in an intuitive manner.

John Bodger. A Share of the Beautiful Fishery of Whittlesea Mere, 18th century print on silk, (circa 1786), old damage to edges, 47 x 67cm, gilt framed.Note: This has been backed and restored by the V & A restorations team.

Lina Redford, "Balearic Deep Yellow Dream", acrylic on canvas, 50 x 40cm, c. 2021. Yellow is a colour of happiness. Lina wanted to share happiness and joy with this artwork.Artwork created with palette knives and layers of acrylic paints to represent the vividness and happiness of life and everything that surrounds us.Flowers bring you happiness, yellow flowers simply put this happiness on a different level. This artwork will brighten up your mood and always remind you of cheerful moments in life.Yellow stands for freshness, happiness, positivity, clarity, energy, optimism, enlightenment, remembrance, intellect, honor, loyalty, and joy.Balearic yellow is not only lemon colours that you can find on a bright fruit trees, but also a vivid saturated deep yellow of a Mallorcan sunflower fields. UK shipping £30.

A mixed lot, including a Lewis chessmen set, a desk cannon, two Hervey Naval History engravings framed, two bed warming pans, two Brazil Railway Company share certificates, etc, (qty) Note: No in house shipping available for this lot

Five various computer accessories including a Canon fax machine, HP printer, Canon scanner, Kodak easy share and a Fellows shredder

HARDCORE/ JUNGLE/ BREAKBEAT - 12" PACK. A superb pack of 8 12" singles. Mostly 90s hardcore, jungle, breakbeat etc. Artists/ titles include Menace Makes 3 - Can I Share My House With You (DC 1206, white-label identified by matrix. Record Ex), Pascal & Sponge - Nosebleed (RAIN-T-003, 1993 white label. Record Ex), Liquid Crystal - Chromatic EP (ROWT-1, Ex), The House Crew - The Theme (PNT 047R, Ex), Addiction - Mind Penetration EP (Ex), Mo2vation & Apex - Animation EP (HG 002, Ex), Body Snatch - The Strength (BC 003, Ex), Ramona 55 - Touch (TACT 003, VG+).

THE THIRD LANARK ATHLETIC CLUB LIMITED - SHARE CERTIFICATE,numbered 728, 'to Certify that Herbert George Henderson Esq. ... is the Registered Proprietor of five Shares (Fully Paid) of One Pound each Numbered 3965 to 3969 inclusive...' and dated 23/10/1923, signed by two directors and the club secretary

BONDS & SHARES. Two share certificates, one for Lehigh Valley Railroad Company, the other for Lamport and Holt Limited, together with a Turkish certificate for Compagnie des Eauz de Constantinople with coupons, all framed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Ada Lovelace (née Byron) interest Commonplace Book, 1828 Commonplace book dated 1828, belonging to J.H. Stampe, entitled "Extracts &c., Bifrons, Christmas 1828", including a transcribed poem, "Ada to her Cat", attributed to "A. Ada Byron, Christmas day 1828" and seemingly narrated to Stampe by "Lady N.B." [Lady Noel Byron, Anne Isabella Noel Byron, née Milbanke], with an illustration of the cat ("The lovely Puff in a Sweet Slumber") drawn by Lady Byron pasted to the reverse, which Sharpe has captioned: "Given me by Ada - Decmbr 1828 at Bifrons I.M.S.", a total of 56 MSS. leaves, several with poems and writings by I. Noel, and extracts from the romantic poets, contemporary red straight-grained morocco gilt, 19 x 24cmFootnote: Note: Following a separation from Lord Byron in 1815, and Lord Byron's death in 1824, Lady Byron and her daughter, Ada, became the tenants of Bifrons Mansion House, near Canterbury. This album seems to have been a Christmas present to a relative or friend named I. Sharpe who celebrated with the family at the house in 1828, when Ada was just 14 years old. The poem, "Dear object of my tender care,/ Which neither dog nor bird may share,/ Of all the feline tribe most rare, My pussy!" is attributed by Sharpe to the young Ada and runs to four stanzas. The quantity of writings later in the album attributed to I. Noel suggests that Sharpe may have been Ada's maternal aunt or a cousin, Noel being one of Lady Byron's family names. Ada Byron, Lord Byron's daughter, became Ada Lovelace in 1835 and is renowned for having published the first computer algorithm. Provenance: From the Library of the Late William St Clair

Large quantity of various mainly Railway share certificates

Original vintage propaganda poster issued by the Labour party - Labour sees that you get these. A fair share at a fair price. - featuring a black and white photograph of meats, cooking fat, butter, sugar, potatoes, milk, and bread, in front of a basket and a hand holding a wallet and ration book, red and white lettering set over yellow background around the image. Published by The Labour Party. Printed by Bell Press. Rationing in the UK lasted up to 1954. In the late 1940s, the Conservative Party utilised and encouraged growing public anger at rationing, scarcity, controls, austerity and government bureaucracy to rally middle-class supporters and build a political comeback that won the 1951 general election. Excellent condition, minor creasing. Country of issue: UK, designer: Unknown, size (cm): 59x42, year of printing: 1940s

Four large Russian share certificates

German East Africa share certificated rare

TOYOKAZU: A FINE WOOD NETSUKE OF A SHISHI PLAYING WITH A BALLBy Toyokazu, signed Toyokazu 豊一Japan, Tanba, 19th century, Edo period (1615-1868)Well carved as a shishi clutching a smooth ball with all four paws, the bushy tail sweeping around it, the beast with a comically fierce expression, appearing unwilling to share the toy, with neatly incised tail and mane, the eyes inlaid in pale translucent horn with dark pupils. Natural himotoshi between the ball and one leg, the same leg with the signature TOYOKAZU within an oblong reserve.LENGTH 3.8 cmCondition: Very good condition, appealingly worn, some surface wear and few light scratches. Fine, dark patina.Provenance: European collection.Toyokazu was a member of the Tanba school, a son and pupil of Naito Toyomasa who clearly shared his father's affinity for animal carvings.Literature comparison: Compare a related wood netsuke of a shishi by Toyokazu, illustrated in Sagemonoya (2002) Netsuke, Ojime & Masatoshi's Kabuki, p. 37, no. 91.Auction comparison: Compare a closely related wood netsuke of a shishi by Toyokazu at Sotheby's, Netsuke from the Collection of Raymond and Frances Bushell, 18 November 1999, London, lot 313 (sold for 4,140 GBP, approx. 8,557 EUR today).

Compania Salitrera de Tarapaca y Antofagasta - share certificates (34 )each dated 1934, serie K & M, signed by Director & Secretary, £117-6-8 & £69-0-0.

Neuen Wiener Bankgesellschaft, Wein - share certificates (25) 500 Kronen - 100 Aktien, coupons attached, not stamped, dated 1923.

Car Trust Realisation Company Limited - share certificates (75+) various denominations to include one in red, numbered 96, £1000, dated 9th June 1906, having orange embossed stamp, signed by Director and Secretary, together with fifty x £100 dated 1906; three x £100 dated 1908; three x £100 dated 1910 and twenty x £10 dated 1906.

The Famatina Company Limited - share certificates (7) scrip certificates - one x £50; four x £100; two x £500, each dated 1913, stamped.

Columbia Valley Irrigated Fruit Lands Limited - share certificate / bondsmost coupons attaches, each $1000, together with two Egyptian Consolidated Lands Limited share warrants, together with others. (8)

Eight: Corporal S. Cree, Royal Irish Regiment General Service 1962-2007, 1 clasp, Northern Ireland (25037191 Rgr S Cree R Irish); N.A.T.O. Medal 1994, 1 clasp, Kosovo; Operational Service Medal 2000, for Sierra Leone, without rosette (25037191 Rgr S Cree R Irish); Iraq 2003-11, 1 clasp, 19 Mar to 28 Apr 2003 (25037191 LCpl S Cree R Irish); Operational Service Medal 2000, for Afghanistan, 1 clasp, Afghanistan (25037191 Cpl S Cree R Irish); Jubilee 2002; Jubilee 2012; Army L.S. & G.C., E.II.R., 2nd issue, Regular Army (Cpl S Cree R Irish 25037191) last two loose, remainder mounted as originally worn, very fine (8) £1,400-£1,800 --- Typed biography provided by recipient gives the following: ‘Ex 1 Royal Irish for 19 years and 3 Scots for a further 5 years.... I served in Northern Ireland 6 times on Operational Tours. Was in Besbrooke when the troubles were still happening my 1st Tour was scary as patrolled near the border of Republic of Ireland. Thankfully nothing happened to me or the guys in the Royal Irish. One of the Tours in NI I was in the middle of public riots and was a Medical Assistant we had a few lucky scrapes and some unlucky ones. My Regimental Sergeant Major got whacked in the goolies by a returning rubber bullet. We all flanked our shields I never had one as I was running around helping the troops with any cuts or scrapes and zoned in to locate the person who threw the rubber projectile. We found him and surrounded him and got him into an army heavily armoured Land Rover where him and our RSM sorted things out. Basically he came out of the vehicle like a rag doll and we threw him over to the police. Who were cowering behind us whilst we got the brunt of it all. The best time was in Forkhill were I was in charge of my own little medical bay and went on patrol with the troops every few days as well to support them with any minor injuries and had authority to call in air support for any major injuries. I was in Milan Platoon in the Kosovo War in 1999 and was the platoon medic as well. I was young as only in 5 years and kept myself to myself. I enjoyed brushing up on medical skills. I was not employed as a medic joining army. I was infantry but it didn’t suit me because I always thought there was much more than just running around with a machine gun which I did carry most of the time in Kosovo GPMG. Medical Stuff suited me at that time and one of the troops shouted my name one morning when I was guarding a compound. Alarm bells where going off in my head and I shouted for someone to relieve me as someone needed me ASAP. When I got there someone I dearly knew was holding his throat gasping for air as I found out on closer examination something he ate was lodged in his throat. I got that out and at the same time requested for transport to get him to nearest hospital. Everyone that morning were panicking I was so calm and not afraid to tell people what to do and afterwards when he came back from hospital he thanked me and said he was glad I was there to help him. I finished that awful tour and got posted to the medical centre where I worked for 5 years. I enjoyed it but did many exercises and was a medic on Tour in Iraq during the war. Op Telic 1 it was the one with the Lt Col in 1 Royal Irish whom said his famous speech and was one of the many who stood there listening to it before we went to War against the Iraqi’s. I had my fair share of casualties to deal with on that Tour. I just kept going and did my best to stay away from stray bullets I also did a Operational Tour in Sierra Leone West Africa. The heat was horrendous 55 degrees and even with the constant rain. Awful. But in the Royal Irish we made the best out of it with what we had. Just before I arrived as the regiment split the tour in half 11 of our troops were captured by the west side boys. The commander in charge of going in and killing 50 of the west side boys with having 1 casualty themselves was my Platoon and Commanding Officer in the Royal Irish. I was away a lot from my wife so needed something different. After speaking to my RSM whilst being his medic for his troops said he was looking for someone to work with him. I jumped at the chance. I worked as a Regimental Police NCO. They gave me a nice name. Sammy the Bastard. I was friendly, fair but firm. It was a different position before I was caring for the troops as their medic now I was educating and instilling discipline towards them but I showed them how to do things the correct way that I was taught. I did achieve section student whilst in basic training God knows how. I always messed up with the wrong step at drill practises and took ages to iron my clothes to get them nice and sharp for parades. I went on tour to Afghan Op Herrick 1 and worked with the Commanding Officers Tactical Group and my RP duties when not on Patrol. A few things happened that made me lose the plot. My boss the Provost Sgt always made excuses to get off duties and not do his bit. No one had the guts to say anything. I had enough one day and he pushed my buttons I came off a 2 day duty shattered and told him he was on next and he said for me to do it I just lost it and the air turned blue. He could have charged me but I said he was sorry and got up and did his duty. I didn’t know at the time that the RSM was in the next tent and he heard everything. Later that night he asked if I wanted to work with the Garrison Provost who patrolled the whole of Helmand base in Afghan. It was a blessing in disguise and I enjoyed the experience. We were the first troops that all the Afghan civilians seen who helped work and stay on the massive base and we did patrols around the different camps inside. I finally returned back to the Royal Irish and did a few weeks before heading back home to UK. I left that job because didn’t get on with the Provost Sgt but couldn’t wait to see the back of him. I worked in the WO’s and Sgt’s Mess as Mess 2 I/C for a year just as a stop gap until something else turned up as I was due Promotion to Full Corporal. The Sgts and above didn’t want me to leave the Mess as they said I worked hard and provided them a great service. I worked there the weekend after I left after a year as a Full Corporal and they all bought me drinks as a thank you which was nice of them . The next job I did was as a Regimental Postal NCO in peace time and war did both in Iraq again and Afghan. I worked as a Post NCO until my end of service and got recommended as a Sgt to work in another department but actually because I thoroughly enjoyed my job and was actually getting paid as a Sgt I declined moving. I worked with 3 Scots in Fort George as their Post NCO and enjoyed my time there I never deployed with them on exercise or tours but made sure their important mail was sent to them ASAP when requested and some few extra welfare parcels. When I was a Post NCO with the Royal Irish on tour in Iraq I was given an exemplary record by the Bastion Camp Commander one of the QM’s out of 42 personnel I was the Top of the League. My time in the army has had its ups and downs but I wouldn’t have changed it for the world.’

A well documented Royal Household pair awarded to Mr. Herbert Heuston, Sandringham Game Department, who took part in the vigil over King George VI at Sandringham Church in 1952 Coronation 1953, unnamed as issued; Royal Household Faithful Service Medal, E.II.R., suspension dated ‘1945-1965’ (Herbert Oliver Heuston) extremely fine (2) £300-£400 --- Herbert Oliver Heuston was born on 19 April 1907 and served as a gamekeeper at Sandringham for 28 years, from 1945 to 1973. He died at King’s Lynn, Norfolk, on 19 November 1991- the Prince of Wales was amongst he mourners at his funeral. Sold together with the following letters to the recipient (the majority facsimilies sent to multiple recipients): i) Letter on Government House, Cape Town writing paper from H.R.H. The Princess Elizabeth (later H.M. The Queen) thanking the recipient for his share in the diamond brooch given to her on her 21st Birthday, dated 21 April 1947, and signed ‘Elizabeth’ ii) Letter on Buckingham Palace writing paper from H.R.H. The Duchess of Edinburgh (later H.M. The Queen) thanking the recipient for his share in the dessert service given to her on the occasion of her wedding, dated 26 November 1947, and signed ‘Elizabeth’ iii) Letter on Balmoral Castle writing paper from H.R.H. The Princess Margaret thanking the recipient for his share in a cigarette case given to her on her 21st Birthday, dated 21 August 1951, and signed ‘Margaret’ iv) Letter on Buckingham Palace mourning writing paper from H.M. The Queen thanking the recipient for the part which he took in the Vigil over the late King in Sandringham Church from 8-11 February 1952, and signed ‘Elizabeth R.’ v) Letter on Prince of Wales headed writing paper from H.R.H. The Prince of Wales thanking the recipient for his share in the present given to him on his 21st Birthday, signed ‘Charles’ vi) Letter on Buckingham Palace writing paper from H.R.H. The Princess Anne thanking the recipient for his share in two horses and some saddling given to her on her 21st Birthday, dated October 1971, and signed ‘Anne’ vii) Letter on Buckingham Palace writing paper from H.M. The Queen and H.R.H. the Duke of Edinburgh thanking the recipient for his share in the bird bath and trees given to them on the occasion of their silver wedding anniversary, signed ‘Elizabeth’ and ‘Philip’ viii) Letter on Buckingham Palace writing paper from H.R.H. The Princess Anne and Captain Mark Phillips thanking the recipient for his share in the dinner service given to them on the occasion of their wedding, dated 13 November 1973, and signed ‘Anne’ and ‘Mark’ ix) Letter on Buckingham Palace writing paper from H.R.H. The Prince and Princess of Wales thanking the recipient for his share in the magnificent table given to them on the occasion of their wedding, dated 28 July 1981, and signed ‘Charles’ x) Letter on Buckingham Palace writing paper from H.R.H. The Duke and Duchess of York thanking the recipient for his share in the glasses given to them on the occasion of their wedding, dated 26 September 1986, and signed ‘Andrew’ and ‘Sarah’. Sold also with the following invitations, all named to the recipient: i) Invitation to Tea at Sandringham Park to celebrate the Coronation, 5 June 1953 ii) Invitation to the Marriage of H.R.H. The Princess Anne to Captain Mark Phillips, Westminster Abbey, 14 November 1973; together with admittance ticket; a copy of the Order of Service; and other related letters iii) Admittance Ticket to the wedding of H.R.H. The Prince of Wales to Lady Diana Spencer, St. Paul’s Cathedral, London, 29 July 1981 iv) Invitations to Receptions held at Sandringham on 8 January 1980, 25 January 1983, 21 January 1985, and 15 January 1991 Sold also with other ephemera and copied research.

A box of various vintage and other cameras to include Brownie Junior, Ensign E28, Hitachi 12OMPX, Kodak Brownie 127, Kodak Easy Share DX3640 (x 2), Fuji Film DX10, Kodak Instamatic 133, pair of Prinz 10 x 50 binoculars, SV5 slide viewer, Digit Now! converter, etc

JOHN WHITE (1851-1933) SHARE AND SHARE ALIKE, BRANSCOMBE, DEVON Signed, watercolour and bodycolour 34.5 x 24.5cm. ++ Slight fading in sky

THE MERSEY and IRWELL NAVIGATION COMPANY, an original Share Certificate issued to Abram Haworth, June 10th 1724, printed on vellum and signed 29 x 30cm. A note on the verso records that only one other issued example is known

Collection of framed bond certificates inc: The Norton Iron Company Ltd £100 share c1860 (handwritten signatures of the Secretary and four Directors at the time), 1858 Stafford Meadow Coal Iron City Improvement Company £100 of Stranton (signed by Chas Coane - Treasurer and President), Cunard Steam Ship Co Ltd 1961, US Railway Company, Western Countries Shipping Co 1920 etc (7)

Five various computer accessories including a Cannon fax machine, HP printer, Cannon scanner, kodak easy share and a Fellows shredder

Savoy Brown LP, Lion's Share LP - Original UK Release 19872 on Decca (SKL 5152) - Laminated Sleeve with Decca Inner - Blue / Silver labels - Sleeve Excellent, Vinyl EX+

17th century Spanish school. Circle of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690)."Tobias and the Archangel Saint Raphael".Oil on canvas. Relined.Size: 71 x 51 cm; 83 x 74 cm (frame).Placed in a mountainous landscape and on the bank of what looks like a stream, two figures, the Archangel Saint Raphael and Tobias, are presented in the foreground. A dark wooded landscape adds a certain dramatic presence to this tranquil landscape. The deuterocanonical book of Tobit or Tobit tells the story of the two who share this name in the Bible, father and son. The latter is accompanied by the Archangel Raphael, sent by God to his aid, on a journey from which he returns with remedies (taken from a fish that the archangel makes him catch in the waters of the Tigris River) for his father Tobiah's blindness and to scare away the demon that killed all the men Rachel married. It is this fishing event that is depicted in the oil painting. Due to its formal characteristics, this work can be related to the circle of Valdés Leal, a prolific and powerfully inventive artist active in Cordoba and Seville. Despite the difficult character with which he is portrayed in the sources, the fact is that Valdés Leal's work is quite varied and is in line with the painting that was being done in his circle. We do not know when he moved to Córdoba, although it is likely that he had already trained as an artist in his native city. It has been speculated that he was influenced by the workshop of Herrera the Elder, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the Saint Andrew in the church of San Francisco in Cordoba, dated 1647. In it he was able to combine the monumentality of the figure of the saint with a naturalistic approach with visible success. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino set out on his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to become acquainted with the works of the great masters in the royal collections. In 1667 he joined the Brotherhood of Charity in Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse on Truth, to which Valdés would remain attached from then on. In 1671 Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the Seville cathedral had installed to celebrate the canonisation of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draughtsman, perspectivist and architect". He also produced two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating this event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, and Palomino took the opportunity to meet him in person. This gives added value to the Cordovan treatise writer's affirmation of Valdés Leal's literary interest, as he describes him as possessing "the ornament of all good letters, not forgetting those of poetry". Shortly before his death he suffered an illness that prevented him from continuing to work, forcing him to leave his commissions in the hands of his son, a painter in his workshop.

A selection of vintage film cameras to include a Minolta XG-1 in cameral bag with various accessories, Minolta Dynax 500 si, Kodak Easy Share CX7430 digital camera, tripods, and two eared binocularsLocation:

A small collection of banknotes and cheques, comprising; a USA Virginia treasury one dollar note July 1862, a USA $20 cheque 'OTSEGO county bank Cooperstown' dated dec 9th 1836, signed 'J.Fenimore Cooper', a British Midland bank cheque dated 1954, a German one thousand mark banknote dated 1910, six modern foreign banknotes and a share certificate 'The Baltimore and Ohio Railroad Company', dated 1926Note- Fenimore Cooper was author of 'Last of the Mohicans'

Mel Crawford (Canadian, B. 1925) "Great Seal of Montana" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood Great Seal of the State of Montana Commemorative Cover issued November 8, 1984. The Great Seal of Montana has not been without its share of controversy. When it was a territorial seal, the Governor and Secretary were designated to share its custody. However, soon Secretary James Callaway decided his salary was too meager and came upon the idea of charging for use of the seal, then in his possession. This left Governor Potts with a problem since he needed the seal to legalize all official documents. Eventually, Potts ordered another seal, causing great furor over the use of two seals and the legality of those certified with the governor's copy. Finally, the situation was resolved when Governor Potts resigned. Shortly thereafter a bill was passed giving custody of the seal to the Secretary. The seal that was the focal point of this controversy -- and is today the Montana state seal -- bears a shovel, plow and pick in the foreground, denoting agriculture and mineral wealth. In the background are the Great Falls of the Missouri River and towering mountains. The motto Oro y Plata -- Gold and Silver -- sets Montana apart as the only state with a Spanish motto on its seal. Image Size: 12 x 12 in. Overall Size: 15 x 15 in. Unframed. (B99042)

E J Riley Ltd, Share certificate for 1000 shares, no 106, dated 18th June 1908, f/g, 40cm wide

Andalusian School; second half of the XVII century."The Good Shepherd.Oil on canvas.Relined in the nineteenth century.Repainting: 5%.Measurements: 125 x 100 cm; 150 x 127 cm (frame).This composition testifies the hand of a skilled painter of Andalusian school. It presents a theme that became popular in the Andalusian religious painting of the Baroque period. Following the iconography that identifies Jesus with the Good Shepherd, and the sheep with humanity, the flock is here crowded around the representation of Christ in full body. A faint celestial light falls on his shoulders, emphasizing the central axis occupied by his figure. Jesus extends a bundle of grass to those closest to him, and the rest of the flock is distributed around him in peaceful attitudes. In the distance, and in contrast with the calm tone of this first scene, a confrontation is taking place: a character (possibly St. Michael) defends himself from a serpent, the incarnation of evil. Due to its formal and compositional characteristics, we can relate this work to the Sevillian school of the Baroque period, belonging to the Murillo circle. Although Murillo favored the characterization of the Good Shepherd as an infant of young age, the way of resolving the landscape, veiled by faint atornasoladas ranges, and also the fluffy and cottony fur of the sheep, denote the influence of the Sevillian master. We can also relate the present canvas to a painting by a Sevillian painter of a later generation, Alonso Miguel de Tovar. We refer to La Divina Pastora (Carmen Thyssen-Bornemisza Collection), where two scenes also coexist: the main one, with the Virgin as the Shepherdess and a distant scene of St. Michael the Archangel fighting against a wolf that tries to attack a lamb. The bucolic tone of the landscape and the tenderness of the gestures is also similar to the present painting.The theme of the good shepherd is very old in Christian art, and has its roots in ancient Western art, specifically in the Muscophores of Ancient Greece. Christians will follow these iconographic models for their first representations, as we see in examples such as the catacombs of St. Callixtus. As for its meaning, the good shepherd is a biblical allegory, originally referring to Yahweh and later to Jesus Christ. The good shepherd is interpreted as God, who saves the lost sheep (the sinner). The theme appears in the Old Testament, and in the Gospels the same allegory is applied to Jesus as the Son of God. This iconography shows the Parable of the Good Shepherd that appears in the Gospels (John 10:1-6; Luke 15:3-7), which speaks of the shepherd who goes in search of the lost sheep, and which was prefigured in Psalm 23 and in the Book of Ezekiel (34:12), uniting God with the figure of the shepherd who takes care of the sheep, of his flock. In art, the theme is the most represented in Paleochristian iconography, and testimonies can be found from the 2nd century onwards. From the 4th century onwards, its representation declined until it disappeared completely in the Middle Ages, but it finally recovered between the 15th and 16th centuries. In the 17th century, it will share the limelight with the Divina Pastora, a theme that became popular during the Baroque period.

Spanish school mid-twentieth century."St. George and the Dragon.Carved and polychrome wood.Measurements: 60 x 47 x 14 cm.This is a carving of St. George and the Dragon from the mid-twentieth century, following the models of the fifteenth century. The legend of St. George is one of the most recurrent passages in Christian literature and iconography. The first mentions of St. George as a martyr appear as early as the 5th century, and are initially limited to a specific territory: Cappadocia (the legend says it was his birthplace), Nicomedia and Diospolis (Lydia). According to the first versions of hagiography, George suffered torture at the hands of the Persian king Dadian; this character was later replaced by the historical figure of Emperor Diocletian. In the period after the iconoclastic period, around the 11th century, to the account of George's numerous tortures is added the developed cycle of miracles. It is believed to have been created mainly among Eastern monastic circles. The most popular of the miracles, "The miracle with the dragon", the one depicted in this carving. This legend dates back to the oral tradition of the 8th century; in manuscripts it is not recorded for the first time until the 12th century. However, these dates can find variations in different historical sources.According to Christian tradition in general, this miracle happened after the death of the saint. There are different versions of the miracle, the traditional one relates, that in a lake near a certain city, a dragon settled, and destroyed the city with its poisonous breath. The ruler of this pagan city invoked the gods and they advised him to sacrifice a young man or woman to the beast every day. The ruler promised that if the fate fell on his only daughter, he would share the fate of the other victims. When his turn came, he was led to the shore of the lake, where the monster dwelt. Suddenly a rider on a white horse appeared, and pounced on the snake that had emerged from the lake. He pressed the monster's larynx against the ground with his spear, and the horse began to trample it with its hoofs. Then the warrior ordered the maiden to put a belt on the subdued snake, and take it to the town. The townspeople, seeing the beast led like a docile dog, stood still in amazement. Then St. George explained to them that he had defeated the serpent by the power of Christ. In gratitude for what had happened, the inhabitants were baptized.In compositional terms, the carving presents some characteristics, typical of the painting of Christian models. In the foreground appears the saint, in larger size, marking the hierarchy. The only architectural motif appears in the background and compositionally it is almost irrelevant, all the attention is on the sacrifice of the dragon by St. George.

Five pins and an applique; Roman Empire, 2nd-3rd century A.D.Bronze.Measurements: between 5,2 and 4,4 cm.(pins); 4 cm.(applique).Lot consists of a wall lamp and five pins for clothes, in bronze. Although they present different typologies, they share the cupulated form of the ends. The appliqués were often decorated with human or zoomorphic figures. These types of pieces were very common in the Roman Empire, but also in other cultures that, directly or indirectly, had contact with them.

Share Certificates: a collection of share certificates and debentures. 

Napoleonic Wars - Privateer Warship. Articles of Agreement between the Owner (Hannibal Curnow Blewett, Merchant of Plymouth, Devon), Commander (John Davey), Officers and Crew of the Private Ship of War, Queenborough, 12 July 1806, 4-page manuscript document on vellum with cloth cross-stitches to lower margins, giving explicit details of the obligations of the owners and crew, together with a detailed breakdown of the distribution of the prize money, the final page signed and sealed by 46 of the crew members, giving their position on ship and details of share, salary and wages, some dust soiling and marks, approx. 60 x 85 cmQty: (1)A rare and detailed document, confirming that a Letter of Marque had been obtained for a private ship of war and that the owners were to pay to fit it out for a two month cruise from Plymouth. According to this Agreement the crew consisted of 4 officers, 5 petty-officers, 29 able seamen, 3 ordinary seamen and 4 others. The owner is liable for the costs of all war-like stores, changes of clothing, sea bedding as well as advance money and wages. The crew agree to comply with orders from the owner or his agent. The details include noting that the first man on board a captured vessel is awarded 5 guineas, the protection of a departing crew on a return prize vessel and how it affects their share of profit, discussions on mutiny and its effect on shares. The 'Queenborough', was a Royal Navy 12-gun cutter, operating 1800-1806. Records show that she was employed on the Channel Station between 1800-01 under Lt Berry and again between 1804-05 when she captured the Vrow Elizabeth. It was one of Blewett's larger vessels, was very successful under John Davey's command and, along with others, took at least 16 ships into Plymouth for appraisal and condemnation. Hannibal Blewett owned several private ships of war, the Betsy and Queenborough, others noted being Happy Return, Hero, John Bull and Caesar. His ships were put up for sale between 1807-09.

An interesting collection of Share Certificates and Bonds, 1898 Chinese Imperial Government £100, 1911/1912 £20 bonds, 1922 Chinese Republic Railway Loans, 1908 and 1912 City of Moscow loans etc

SHARE CERTIFICATES, approximately 2300 Share Certificates, (2000 Adelphi Bank Ltd from the 1800's) London & North Eastern Railway and others.

A WILLIAM IV SIX-LIGHT GILT AND DARK BLUE-PAINTED BRONZE AND PAPIER MACHE CHANDELIER first half 19th century, the circular deep dished bowl with foliage-wrapped underside, the upper edge with palmettes and scrolled foliate branches with etched glass later shades, suspended from six chains of interlaced foliage, hung from a turned ceiling boss, now fitted for electricity, lacking interior colza oil fitting and reservoir, 143cm high x 130cm diameter. The design of this chandelier is comparable to the 'design for a lustre or chandelier' that is found on page 47 in 'Tracings by Thomas Wilkinson from the designs of the late Mr. George Bullock 1820'. Notably both designs share a neoclassical aspiration, alluding to works such as the Etruscan Chandelier, in the museum at Cortana (Martin P. Levy, pg179). The scrolling, and richly chased, arms are also reminiscent of the works of Hancock, Shepherd and Rixon, London, who had lighting commissioned for George IV, among others. For a similar example see Chastleton House, Oxfordshire, National Trust 1430194.

Registration No: 244 YUUChassis No: 3276915MOT: ExemptGenuine Gordini presented in Silver Green with contrasting red interiorSubject to extensive works since 2019 including engine overhaul and moreRacing history including participation in the ‘Rally 4 Regioni’ in 2011 before coming to the UK Introduced in March 1956 the Dauphine was revolutionary in the world of popular 5CV. The only inclusion from the 4CV were the wheels with five nuts and a few mechanical elements. The small family sector was a bestselling market in France at the time, and the Dauphine was quick to gain a large market share. However the Renault Dauphine’s appeal saw it sell well in countries beyond its French homeland, selling more than two million in the 11-year production run. The engine was still mounted at the rear, a habit of Renault at the time, with a 845cc straight-four engine which allowed a maximum speed of 110km per hour.Since the 1950s, Amédée Gordini, known as ‘Le Sorcier’ for his almost magical ability to extract high power outputs from engines has been synonymous with performance versions of Renault saloons. In the late 1950s/early 1960s, competition tuned Dauphines did exceptionally well in many forms of motor sport. Their rallying victories were numerous and indeed, a Dauphine was the first car ever to win outright the three most important rallies of the day; the Tulip Rally (1957), the Monte Carlo Rally (1958) and the Alpine Rally (1959) while also enjoying considerable great success on the track. For several seasons the Dauphine dominated national 1,000cc classes around the world, carrying off overall and class victories in such events as the Mille Miglia, 12 Hours of Sebring and Tour de France.Manufactured in 1960 and presented in Silver Green with contrasting red interior, this A610 Dauphine Gordini has been confirmed by the UK Alpine Club as a genuine Gordini, designated R1091 car. 244 YUU spent much of its life in Italy, where it participated in the ‘Rally 4 Regioni’ in 2011 amongst many other events before coming to the UK in 2013, where it was subsequently subject to much recommissioning work.More recently, since 2019 the car has benefited from further extensive works including an overhauled block and pistons, overhauled head with specially made valve seats, guides and replacement valves, replacement wheel cylinders, drums and shoes, water pump, fuel pump, alternator with 12v conversion, exhaust, battery and distributor overhaul with replacement plugs and an oil service for good measure. In addition, 244 YUU also received replacement door and window seals, front carpet and rubber floor mats, replacement wheels and tyres, period roof rack and further assorted finishing accessories including pipes, rear grille mesh, rear side vent, hub caps and more. The vendor states that although the car has received a replacement Solex Carburettor, it would benefit from a smaller carburettor and could also benefit from an interior fettle. Fitted with a 670-05 type 850cc motor and ‘Loved by all that see it’ 244 YUU comes accompanied with a number of invoices, the V5 document as well as a copy of the French registration document. The vendor rates the condition of the interior trim as ‘Good’, with the bodywork, engine, electrical equipment, paintwork and transmission as ‘Very Good’.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762