We found 4924 price guide item(s) matching your search

Three share certificates including an 1807 "Provident Institution for Life Insurance and Charities London"

OLDHAM ATHLETIC SHARE CERTIFICATE A hard back certificate issued to Miriam Wild Gartside on 21/1/1925 with the Company seal and signatures of the 2 of the Oldham Athletic Directors. Slight vertical crease. Generally good

Giovanni Francesco Barbieri il Guercino (Italian, 1591-1666) Portrait of an Italian Cane Corso seated within a stone window opening, a mountainous landscape beyond oil on canvas 55.50 x 76.20 cmProvenance: Acquired by the vendor's great great grandfather in Rome in 1850; and thence by family descentOther Notes: This previously unrecorded painting is an exceptionally rare example of Guercino’s paintings of an individual animal and survives in excellent condition.In a valuation of the picture from the last century, it was given a generic attribution to Guercino. Guercino’s authorship was recently proposed by John Somerville and subsequently fully endorsed by Nicholas Turner on first-hand inspection of the painting, both before and after its recent cleaning by the Hamilton Kerr Institute (report available and also online). The attribution to Guercino has also been endorsed by Francesco Petrucci who has described it as “un vero capolavoro, molto impressionante, di grande potere inventivo e di qualità pittorica, incontestabilmente del Guercino, come giustamente riconosciuto da Nicholas Turner”.The style points to a date towards the beginning of the painter’s transitional period (circa 1625-1630) when his work began to show an increasingly classical influence, following his return to Cento in 1623 after a short stay in Rome (1621-1623).Though the painter included dogs in portraits and other compositions, Guercino’s only surviving animal painting hitherto was his famous portrait of the Aldrovandi Dog (Fig. 1) in the Norton Simon Museum, Pasadena, California, which is generally dated circa 1625.The present picture was probably executed at about the same time. Neither painting is recorded in Guercino’s Account Book (which was only started in January 1629).The robust physique and head of the dog has indicated to both the Kennel Club of Great Britain and its Italian counterpart, the Ente Nazionale della Cinofilia Italiana, that this dog is a Cane Corso, the progenitor of the present day Italian Mastiff. This was, and still is, a breed traditionally used as guard dogs and for hunting. The Italian name, Cane Corso, derives from the Italian word corso meaning ‘street’ or ‘way’. The ancient forebear of the Cane Corso was praised by the Romans for its courage, nobility and strength. When the Romans invaded Britain they found a mastiff-type dog already here and were so impressed, they took some back to fight in the Roman arenas. Over the centuries and certainly since Guercino’s own time, the breed has been bred - both in Italy and elsewhere - to have much longer legs and an even larger head. Today its overall greater size is reflected in its name ‘Mastiff’, rather than that of Cane Corso. In this painting, the dog is silhouetted against the sky and seems to be watching over a walled patch of ground, with flat open country beyond. Its owner must have held it in some affection, presumably commissioning Guercino to paint this dramatic close-up likeness of it. The animal’s body fills the foreground space and further emphasis is given to its commanding physical presence by the breath-taking description of the subtly changing colour and texture of its coat, its glistening eyes and the heavy jaws from which lolls its slightly moist, pink tongue.In the great Norton Simon picture, the dog is a brindle mastiff and though the Aldrovandi family coat-of-arms decorates its large collar, we do not, as here, know the animal’s name. The sweeping landscape in the Aldrovandi painting, against which the dog stands so majestically, competes with it for the viewer’s attention. To the right, the flat countryside may represent the Aldrovandi’s estates of Castello della Giovannina outside Cento, the distant tower perhaps that of the old castle. Guercino may have painted the Aldrovandi Dog as a gift for his friend and patron, Conte Filippo Aldrovandi, to whom he was much indebted. Whatever the circumstances, the Aldrovandi Dog is, in effect, two paintings - a portrait of a dog belonging to Guercino’s friend and a landscape that may allude to one of his estates.The combination of the two seems exceptional and had the picture been painted for one of Guercino’s regular clients (and after he began an account book in 1629), we can speculate that probably he would have been charged a double-price - for the animal and the landscape.The present painting, however, is a portrait of a dog without ‘extras’ and does not belong to the same category as the more deluxe Aldrovandi Dog in Guercino’s product range. The canvas is smaller and there is no extensive landscape background - only a glimpse of a distant countryside with trees and hills appearing between the animal’s left foreleg and the line of the wall to the right, giving a sense of context to the animal. Both pictures, however, share the life-like treatment of the dog, seen from a low viewpoint against a sinking horizon.The brushwork of the dog in the present picture is rapid, intuitive and brilliant. An idea of how the painter freely improvised the handling of the dog’s honey-coloured coat may be observed in the zig-zagging line running parallel to the lowest of the rolls of flesh at the creature’s neck - indicated with the pointed wooden end of the brush in the wet paint. The brio with which the dog is painted, with a heavily laden brush, contrasts in texture to the smooth, thinly-painted compositional framework - such as the parapet on which the dog sits and the wall to either side. These neutral areas serve as a foil to the picture’s dominating central motif. Contrasting thickly-painted key figures in a composition with thinly-painted backgrounds is a consistent feature of Guercino’s working method.Midway between these two types of paint application is the fluffy white cloud that billows out from behind the dog in the Cheffins picture. The cloud bridges foreground and background space. At the base of the cloud - where it is seen against the animal’s body and the wall - the white paint is thickly applied and creates a strong contrast with these two areas. The white paint also hides rejected trials for the contour of the animal’s back and rump. As the cloud ascends in the sky, it becomes wispy and the paint texture lightens as the form mingles with the adjacent open sky. The spontaneous brushwork with which this floating mass of moisture is represented is an extraordinary performance, showing Guercino’s handling at its very best and at the same time it plays a practical role in holding compositional space together.In the Aldrovandi Dog and the Cheffins Cane Corso, Guercino painted the soft fur of the different dogs with wonderful command of his means, as well as summarising with great understanding their physical traits. In the present picture, the impasto in the painting of the dog is set against a mostly neutral background. Yet the personality of each animal is strikingly different; the Cheffins dog has an alert but biddable and affectionate countenance, so well understood by the artist. The Norton Simon dog is depicted as if akin to his owner’s social status, a great, grand and elegant hunting hound.Dottore Francesco Petrucci has requested the loan of the painting for his forthcoming exhibition, ‘Cani in Posa’, to be held at La Veneria Reale, Turin, from 18 October 2018 to 29 January 2019.We are grateful to Dr Nicholas Turner for his help in compiling this catalogue entry.Fig. 1 Giovanni Francesco Barbieri, il Guercino - Aldrovandi Dog - oil on canvas - © The Norton Simon Foundation, California, USA Condition report: Hamilton Kerr report and high resolution images available on request

*South Sea Bubble. Afbeeldinge van't zeer vermaarde Eiland Geks-Kop..., circa 1720, uncoloured engraved allegorical map with verse below image, some rust staining, overall size 300 x 235 mm, with De Kermis-Kraam van de Actie-Knaapen, schaft vreudge en droesheid onder 't kaapen, circa 1720, uncoloured satirical engraving, 440 x 335, together with another forty-nine satirical uncoloured engravings all relating to the South Sea and Mississippi bubbles, each approximately 350 x 300 mm Stock in the South Sea Company, founded in 1711 to trade between Britain and Spanish South America, became subject to frantic speculation. In a single year, share prices rose from £100 to £1,000 - to come tumbling down in 1720. Innumerable personal fortunes were wiped out and many businesses and individuals were forced into bankruptcy. In France and Holland a similar bubble had been growing - and burst at exactly the same time. The Scottish economist/gambler John Law created a Mississippi Bubble by inflating the value of a series of companies trading in Louisiana, Stock prices shot up from 500 to 18,000 French pounds only to fall again to nothing which virtually bankrupted the French economy. Holland was only too aware of 'bubbles' having had its economy seriously damaged by the 'Tulip Bubble' which collapsed in 1637. This collection all appear to have been published in Holland. (52)

THE GIANT. A 22CT GOLD AND TRANSLUCENT ENAMEL CONUNDRUM EGG FOR CADBURY'S designed by Alex Styles, 8cm h, by Garrard & Co Ltd, London 1983, cased, 252g Exhibited: Goldsmiths' Hall London, Alex Styles Retrospective Exhibition, 1988. The 1984 Treasure Hunt for which Cadbury's commissiond twelve 22ct gold and enamel eggs from Garrard & Co, each with a declared retail value of 10,000, was launched in January of that year to promote its Easter Egg range. The promotion saw sales of the Cadbury Creme Egg (cost 14p) increase to a near monopoly market share of 94% as eager treasure hunters pored over the accompanying book by Don Shaw (with illustrations by Nick Price) and attempt to solve the twelve riddles as to the whereabouts of the twelve buried caskets each of which contained a scroll that entitled the finder to one of the gold eggs. Conundrum was based on the 1979 book Masquerade, central to which author and illustrator Kit Williams buried a jewelled gold hare. There were unintended consequences of both competitions as gold fevered prospectors armed with trowels roamed private land and historic sites throughout Britain. One Conundrum casket was located in a cemetery on the Isle of Man. Cadbury's decided to call off the competition in the face of complaints, risking the ire of frustrated treasure hunters, with several eggs yet to be won. It is rumoured a number were eventually destroyed. One was offered at auction at Bonham's, 28 November 2012 and the 'secret' thirteenth and heavier egg (326.6g), intended as the prize for a Cadbury retailer, was sold Batemans, Lincolnshire, 1 July 2017 (

WW2 “Per Ardua Libertas” Important Original MI9 Book of Gadgets for the Special Operations Executive SOE / Escape & Evasion. A rare and important original 1942 printed edition of “Per Ardua Libertas” (Liberty Through Adversity. ) produced by British Intelligence Section MI9, showing concealed gadgets produced at the time to aid SOE agents and British prisoners of War. The book one of only 100 thought to have been printed, contains, examples of silk escape maps, illustration of various ways to conceal compass, maps, saw blades in a variety of civilian and military common items. The book with original Moroccan leather cover with gilt tooling. Minor age wear. This book was printed by MI9 for a visit to the department by US intelligence officers who wanted to share and use the ideas of MI9. Classified as “Most Secret” it is believed that only 100 of these books was printed

A collection of boxed Barbie dolls including biking Barbie, Birthday party, share a smile Becky, sparkle beach Barbie, ocean friend Keith and Barbie Twinkle lights

Allister Malcolm - Engraved by Malcolm Sier - A large blown glass sculptural form of hollow drawn tear form internally decorated with citron and pink stripes to the clear crystal ground, later engraved with 'All things share the same breath', signed to the base, height 30cm.

GUSTAV IV ADOLF: (1778-1837) King of Sweden 1792-1809, the last Swedish Ruler of Finland. A good L.S., Gustavus Adolph, as King, two pages, 4to, Jonkoping, 30th May 1805, to the Comte d’Antraigues in Dresden, in French. The King acknowledges receipt of his correspondent’s letter asking whether his son may join the King’s services ‘if any unexpected events were to deprive him of the one to which he is attached at this time’, and continues ‘Having always noted with satisfaction the zeal with which you embraced the cause of your legitimate ruler, and knowing the feelings you have constantly followed and loudly proclaimed, I am very sure that your son will be brought up in the same principles, and that he will never deviate from the career of honour and fidelity’, further adding ‘Such praiseworthy conduct will always deserve my benevolence, and if the case you speak of happens, I will try to show my satisfaction in a manner analogous to your prayer’. A letter of interesting association. Some very light, extremely minor age wear and some slight traces of former mounting to the right edge of the verso, not affecting the text or signature, otherwise VG Emmanuel Henri Louis Alexandre de Launay (1753-1812) Comte d’Antraigues. French Pamphleteer, Diplomat, Spy and Political Adventurer during the French Revolution and Napoleonic Wars. D’Antraigues fled France in 1790 and resided in a number of different European cities as an émigré, for a time living in Vienna on an allowance provided by Czar Paul I of Russia. Whilst in Austria, D’Antraigues became friends with the Swedish ambassador to the Holy Roman Empire and in 1802 Czar Alexander I of Russia sent him to Dresden as an attache. However, in 1806 he was expelled by the Government of the Kingdom of Saxony in response to a violent pamphlet he published against Napoleon and the French Empire. From there he went to London where, in 1812, he was controversially assassinated along with his wife by an Italian servant using a stiletto.  The Comte d’Antraigues married his mistress, Antoinette Saint-Huberty (1756-1812, French Soprano known as Madame de Saint-Huberty) in 1790. One of the favourite opera singers of Marie Antoinette, Saint-Hubery left Paris with d’Antraigues to share his fate as an émigré. Whilst in Italy the couple had a son, referred to in the present letter, who was born in 1792 and baptized Pierre-Antoine-Emmanuel-Jules. As the Comte d’Antraigues wished for his marriage to remain a secret, his wife’s chamber maid, Madame Sibot, was declared to be the mother of the child.

ROCKEFELLER JOHN D.: (1839-1937) American Oil Magnate, often regarded as the richest man in history. D.S., J D Rockefeller, one page, oblong folio, New York, 20th February 1888. The attractive, partially printed document is a Standard Oil Trust share certificate issued to the International Navigation Co. for a total of one hundred shares. Signed by Rockefeller at the foot in his capacity as President of the company and also countersigned by the Treasurer and Secretary. With two neatly affixed associated documents, one to the verso, including a transfer certificate for the shares. VG

CRIPPEN DR. HAWLEY HARVEY: (1862-1910) American Homeopathic Physician, hanged for the murder of his wife. Crippen was the first criminal to be captured with the aid of wireless communication. T.L.S., H H Crippen, one page, 4to, Kingsway, London, 26th May 1910, to Mr. W. Rice, on the printed stationery of The Aural Remedies Company. Crippen acknowledges receipt of his correspondent's letter and thanks them for showing him confidence 'in so frankly stating the circumstances of your case', continuing to quote a testimony received from a Mr. J. Hanrahan of Co. Tipperary who had been deaf for 56 years, who wrote to Crippen and stated 'I want to let you know that your remedies have entirely cured my Deafness. Yours is the very best treatment that was ever known….'. Crippen adds 'I feel so confident, that you will share the happy experience of Mr. Hanrahan, that I am going to make you the following special offer. This places within your reach the possibility of being speedily and permanently cured…..If you will send me half the amount mentioned in my last letter, namely 10s 6d., I will at once forward the full and complete Outfit “On Trial”. If, at the expiration of a sufficient time, say three weeks, you feel you have derived no benefit you can return what is left of the Outfit and need not pay me another penny….' and concludes 'I believe that you will agree that this offer is just as fair to both of us as I can possibly make it. By assuming the risk of no further payment, I want to make you feel that I believe that my treatment will do what I claim for it. I need hardly point out to you the desirability of taking advantage of this concession without delay'. Scarce. Some light overall dust staining and age wear, as is usually encountered with Crippen's letters, only very slightly affecting the text and signature, and with some splitting at the folds, FR

CHINESE GOVERNMENT BONDS EARLY 20TH CENTURY to include two CHINESE GOVERNMENT 5% reorganisation gold loans of 1913 for £25,000,000, 79cm x 32cm; a SOUTH MANCHURIA RAILWAY CO. LTD share certificate, 1930s, 18cm x 23cm; and a CHINESE IMPERIAL RAILWAY 5% gold loan of 1907 for £1,500,000, 51cm x 32cm (4)

ROCK/PROG/FOLK ROCK - Lovely collection of 36 x Lps. Artists/titles include Brian Eno - Taking Tiger Mountain (By Strategy) (UK 1st Island ILPS 9309 A-3U/B-4U 'RAYS' etched - clean Ex/VG+), Tom Waits - Blue Valentine (K 53088), Archaeopteryx - First Flight (RSPB 1), Neil Young - Journey Through The Past (K 64015), The Beatles - Rubber Soul (2 box RE), The Guess Who - Share The Land, Brian Wilson - S/T (WX 157), Emerson Lake & Palmer, Yes (K 40034), Genesis - Selling England By The Pound (CAS 1074 with insert), Van Der Graaf Generator, Procul Harum, Mike Rutherford, ELO, Various - The Sophisticated 70's (Vertigo Netherlands box set) and Area Code 615. Condition of the records is generally VG+ to Ex+ with the sleeves generally VG to Ex.

The Reverend John Marriott Correspondence +Archive (Legal Advisor to the Protestant Bishops of England-1808 Grand Junction Canal - Transfer of one share, No.6539 to John Marriott

Preston North End, a superb collection of 6 original share certifciates issues by the Preston North End Football Club Limited, all of the certificates are signed by 2 directors and the company secretary (Certificates dated 22/09/1920, 17/09/1921, 05/09/1923, 17/09/1925, 26/02/1925, 26/06/1929)

A box containing stamp albums and world stamps, postal history and share certificates

A tray of various ephemera including Austin Princess Triumph 2000 owner's manuals, theatre programmes, share purchases etc

Photography - A Kodak Six-20 Brownie C box camera, box; A Kodak Brownie 127 camera, plastic case; a Kodak Brownie Cresta II camera, carrying case; a No.2 Brownie model D box camera; a Canadian Kodak Co. No 2 Brownie model E box camera; a Kodak No.2 Brownie model F box camera; a Kodak Portrait Hawkeye No.2 box camera; a Kodak Popular Brownie box camera; a Kodak Bantam F8 camera, leather case; a Kodak Easy Share Digital Camera, red, boxed; (10)

APPROXIMATELY EIGHTEEN 1864 ITALIAN SHARE CERTIFICATES AND APPROXIMATELY TWENTY-TWO 1913 RUSSIAN SHARE CERTIFICATES

WOODEN CRATE OF FRAMED SHARE CERTIFICATES, card signs and taxi plates, together with an oak framed mirror and a pair of oriental paintings on glass

Ephemera glory box with lots of early GB/Ireland revenues on relevant papers, share certificates, cheques, old papers and legal papers etc..a really good lot to break and worth a look, very little modern approx. 150 items to sort through, some multiple,

Share Certificate. USA, Canadian Gold Mines 1924 (99)

A collection of mainly Chinese share certificates, framed (10)

A collection in leather folder of 17th, 18th and 19th century ephemera including share certificates, cemetry certificate, map, letters, legal documents, needs viewing

A selection of printed ephemera including share certificates and bonds etc

KODAK EASY SHARE ETC

*Bonds & Share Certificates. A group of approximately 1200 certificates, cica 1910-1970, including pre-printed decorative certificates from America, France & Greece, several hundred for General Foods Corporation, One Hundred Pounds, circa 1960-70s, National Tea Co, circa 1920s, etc, with many attractive vignettes, various sizes, folio and smaller (approx. 1200)

Two framed and glazed share certificates

A collection of Football ephemera including Southend United share certificates, a Henry Cotton signature and West Ham autographs etc.

A collection of various Deeds, share Certificates, Dividend Statements, maps etc

Framed Share certificate, opera magazines, postcards, etc.

Constantine I. Gold Solidus (4.49 g), AD 307/10-337. Nicomedia, AD 324/5. Diademed head of Constantine I right, gazing upward. rev. CONSTANTINVS AVG, Victory seated left, holding small Victory and cornucopie; behind seated, shield set on ground; SMN. RIC 70; Depeyrot 34/1. Rare. NGC grade Ch AU; Strike: 5/5, Surface: 4/5. Estimated Value $10,000 From the Dr. Patrick Tan CollectionEx 51 Gallery (2 December 2013), 233;Ex Leu 7 (9 May 1973), 437. The obverse portrait of Constantine can also be seen to reflect the epoch-making events of AD 317. Thanks to his victories, Constantine no longer had to share imperial power with anyone, but could rule unfettered in his own right. To advertise this development, the emperor appears differently than usual. He is now depicted with an elevated gaze and wearing a plain diadem, rather than the usual pearl diadem or laurel wreath that he wore at other times in his imperial career. Both the gaze and the plain diadem are intended to cast him as a latter-day Alexander the Great, who wore a plan diadem and was known for tilting his head.

A tray of coinage, bank notes and share certificates

CASK NO 312 - SELECTED FOR THE ANGELS SHARE - DISTILLED IN 1975 - BOTTLE NUMBER 312/251 - PRESENTATION SLIEVE 700ML - 43% VOL - LEVEL TOP SHOULDER

A framed 'Consolidated Railroads of Cuba' bond together with a framed 'Ceskomoravská Kolben-Danek' share bond.

FRAMED DISPLAY RELATING TO THE LIVERPOOL OVERHEAD RAILWAY INCLUDING SHARE CAPITAL CERTIFICATE

*Bonds and Share Certificates. A group of more than 200 certificates, mid 19th century to early 20th century, including pre-printed decorative certicates from UK, China, Russia, USA, France, Hungary, Romania, etc., many with attractive vignettes or coupons, folio sizes (approx. 200+)

A collection of Stockton and Darlington Railway documents - including 'Remarks on Comparative Merit - Railways 1827' two copies, Fry on Wheel Carriages 1820, Scotts Railway Companion 1837, Liverpool and Manchester - Report of The Directors, Walker 1829, other leather bound books and booklets, engraving High Level Bridge Newcastle 1835 card showing train times, Half Share Certificate, 1000 Mile ticket, The World's First Railway Jubilee Richardson 1876, quantity of 19th century Railway Act, etc. Sold in canvas and leather travelling trunk (qty)

Toulon.- Archive of papers and contemporary copies relating to a dispute between Admiral Hood and Lieutenant-General David Dundas over the capture of French vessels in Toulon in 1793, many to Colonel John Drinkwater, author of "A History of the Late Siege of Gibraltar", Dundas (11 ALs.s.), John Drinkwater (1 ALs) & 8 letters and documents by French officers, manuscripts in French and English, c. 70pp., folds, browned, folio et infra, 1804-05.⁂ After the Treaty of Amiens, Admiral Hood was granted, on the submission of a petition, prize money for himself, officers and men of the Royal Navy, for the "capture" and removal to England of ships from the French fleet during the siege of Toulon in 1793. In 1804, when the award was published, General Dundas, commander of the British army in Toulon, first heard of Hood's claim and immediately contested the matter, claiming a share of the money for himself and the other soldiers who had served at Toulon. Many of the letters are by General Dundas and attempt to show that Hood had deceived the Privy Council and presented "a varnished tale".

Dickens (Charles, novelist, 1812-70).- [Journal of a tour to Italy], manuscript, 383pp., slightly browned, original red straight-grained morocco, extensively rubbed, corners worn, metal clasp, lacks spine, 8vo, 1844-46.⁂ Meeting Dickens in Genoa.The diary of a young English woman, travelling with her father and her Aunt Emily to Italy from 1844 to 1846. In Genoa they meet the Dickens' family, and in Naples, the Hickman's of Newnham Hall, Northamptonshire."Tuesday 16th of July [1844]. Mr. Dickens and family entered Genoa at four o clock, they occupy a palace at Albaro, he is the star of the day. Tuesday 23rd. of July... we set off to Mrs. Babbage's. The evening passed pleasantly Mr. & Mrs. Dickens the attraction of the evening arrived, in due time and receiving a due share of gaying - Mr. Dickens is quite different from what we had imagined them; he is... rather thin than otherwise his features well formed and a good humorous kind smile plays about his mouth, he was very conversant. Mr. Babbage introduced him to us all and he had a pleasant agreeable conversation with Aunt Emily. Mrs. Dickens is rather stout but elegant in her manner - they left early... . Saturday 28th... we did not go out, have been much interested with Dickens Oliver Twist lent to us by Mrs. Currie - we quite felt for the poor little in his great vicissitudes."

Share certificates. A large collection of share certificates (including several Russian examples), circa late 19th to mid 20th century, including Charles Laffitte & Company, The United Malaysian Rubber Co., Mondego Tin Dredging Company Limited, Daggafontein Mines Limited etc.

A GEM-SET AND DIAMOND 'SPIDER WEB' PENDANT NECKLACE, BY CHAUMETWhimsically designed as a spider web set with brilliant-cut diamonds, suspending an insect set with an oval-shaped amethyst cabochon and similarly-cut diamond, linked by a circular-cut pink sapphire, to a double trace-link chain, mounted in 18K gold, diamonds approximately 0.80ct total, chain and pendant signed Chaumet Paris, numbered, French assay marks, pendant length 7.5cm, necklace length 42.5cm* Please note that the suspending insect is detachableChaumetChaumet was founded in 1780 by Marie-Etienne Nitot, with an establishment at the heart of place Vendôme. His creativity and quality of workmanship, led him to become one of the most sought-after jewellers in Europe and thus establish a loyal and prestigious clientele. The history of Chaumet has been entwined with the History of France, with Nitot and his son, Francois Regnault Nitot becoming the official jeweller to Napoleon during the Consulate and the Empire. Napoleon's marriage to Joséphine, then to Marie-Louise of Habsburg-Lorraine, Queen Marie-Antoinette's great-niece, resulted in some impressive commissions for Chaumet. Following the fall of the Empire, Nitot's successors Jean-Baptiste Fossin and his son, Jules dedicated themselves to romantic jewellery inspired by the decorative arts of the Italian Renaissance and of the French 17th-century.In 1848, Jules Fossin set up a London branch in partnership with J.V., Morel, assisted by his son Prosper. On his return to Paris in 1954, Prosper Morel joined Jules Fossin whom he succeeded in 1868. Prospers Morels daughter married Joeseph Chaumet in 1875. With exceptional creativity and inspired by the re-enchantment of nature, Joseph Chaumet came to be recognised as an undisputed master of the Belle Époque. In 1889, Chaumet took over the company and gave his name to the House.In the 1920’s Chaumets jewellery styles became more geometric in line, following art deco style, characterised by strong contrasts in colours and materials, the use of semi-precious stones, black and white, as well as exotic inspirations. The 1930s saw Chaumet becoming more feminine, continuing its style while exploring a certain modernity that echoed fine Parisian taste, ever in search of novelty and the avant-garde. In 1970, gold jewellery, sometimes set with hardstone, bronze or mother-of-pearl, was on offer in a new boutique concept.Chaumet’s legacy of bucolic beauty is a deep well of inspiration that bridges past and present designs. Today, the bees share Chaumet's garden-inspired Jardins Collection with the spider, weaving its perilous web, playing their game of amorous hide-and-seek. The Hortensia collections invite us into a delicate garden filled with vibrant colour, the Bee my love collection, including the diamond bee and the honeycomb motif celebrate an imperial pledge of love and the Attrape Moi collection once again highlights the bee. For more than 230 years Chaumet’s excellence in high Jewellery has been passed down through generations of jewellers. Diamonds and precious stones, carefully selected for their exceptional clarity and brilliance, are sculpted into round, cushion, oval, emerald or the House’s signature pear-shaped cut and then the jewellers, stone setters, polishers and engravers give life to the jewels, exhibited in magnificent pieces of jewellery.

δ Pablo Picasso (1881-1973)La Pique (Bloch 908; Baer 1227A)Linocut printed in red and yellow, 1959, signed and inscribed 'Essai' in pencil, a trial proof aside from the edition of 50, on thick wove paper, with margins, sheet 621 x 750mm (24 3/8 x 29 1/2in) (unframed)Footnote:Working trial proofs of Picasso's linocuts are incredibly scarce. The present impression printed with particularly deep relief and with vibrant colours is identical in scale and configuration to another trial proof sold at Artcurial, Paris, on May 31, 2011, lot 229, which was dedicated to Picasso's master linocut printer Hidalgo Arnéra. Notably both works share the same slightly right aligned registration of the yellow block, which suggests that the proofs are from the same state and were printed at the same time in order for the artist to resolve the image for the final state. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

CLITHEROE CENTRAL Four legal printed documents relating to the short life of this Pennine football club, Clitheroe Central. The Club existed for only three years between 1907 and 1910. The documents are the Memorandum and Articles of Association dated 28-9-1907, Prospectus to raise Share Capital 30/9/1907, Special Resolution to wind up the Clitheroe Central Football Club dated 19/9/1910 and Notice of Appointment of Liquidator dated 15/9/1910. The club made several FA Cup appearances in the early rounds in the Burnley/Blackburn area and actually won 3 Cup games. Generally good

A quantity of costume jewellery together with a collection of ephemera including a 1907 indenture, an 1895 marriage certificate, a Kelly's Directories Ltd share certificate and a 1927 letter from the Home Secretary to Viscount Curzon

Banknotes/Shares = Norfolk Estuary Company -1847 £50 Share Certificate, Grade GVF.

Gerard Dillon (1916-1971) ITALIAN WITH FOWL, 1948 oil on board signed lower left; titled on reverse; with Irish Exhibition of Living Art label on reverse Purchased directly from the artist;Private collection;Adam's, 1 June 2011, lot 80;Private collection Irish Exhibition of Living Art, Dublin, 1949, catalogue no. 65 The inspiration for Italian with Fowl is Gerard Dillon's visit to Italy in the summer of 1947. Travelling with his friend Pino Saglietti, who had family in Borgotaro in Northern Italy, Dillon visited Florence, Lucca and Parma where he saw some of the highlights of Italian art and architecture. Much to Pino's chagrin, Dillon was not impressed by the wonders of Italian art history and reputedly told his friend, 'I can't be bothered with all those old things. I am only interested in the world around me and the people in it. Anyhow I can't paint in Italy, everything is too bright and gleaming'. 1. Despite this statement, Dillon found that he could work once they returned to the country. He found the rustic way of life there much more interesting and inspiring than the grandeur of Italian history and joked to Pino that Borgotaro was not Italy but 'Ireland up the hills'. 2. Dillon exhibited three paintings inspired by his time in Italy in the Exhibition of Living Art in 1949. Italian Washerwoman, Memory Pool and Italian with Fowl, all depict ordinary villagers going about their daily work. In Memory Pool a woman imagines a young, handsome man whose image appears in the pool. The boy's reflection is reminiscent of the figure in Italian with Fowl and both share the dark good looks that Dillon admired in his friends Dan O'Neill and Tom Davidson.If we compare Italian with Fowl with contemporary images that Dillon painted in the west of Ireland it is only the characteristic shape of Cypress trees and the architecture of the church that suggest the Italian setting. It is tempting to read some cultural significance into the black and white hens, though whether they are being prepared for sport or for slaughter is unclear. Arguably, if it were not for the title, it would be possible to situate this image in the west of Ireland where Dillon found so much of his inspiration. Dr Riann CoulterOctober 2017 1. Gerard Dillon, quoted in Gerard Dillon: An Illustrated Biography, James White, Wolfhound Press, Dublin, 1994, p. 58.2. Ibid. 24 by 20in. (61 by 50.8cm)

CATHERINE II: (1729-1796) Empress of Russia 1762-96, known as Catherine the Great. An excellent L.S., Caterine, a good and clean signature, one page, 4to, Saint Petersburg, 10th January 1766, to Count Princess heiress of Courland, in French. The Empress congratulates her correspondent for her recent marriage, stating in part 'My affection for the House you have recently entered will remain steadfast. Your marriage with the Prince, who will someday become its ruler, guarantees that you will share and receive that affection but your own merits give you special rights upon it, rights that I will grant you with great pleasure...´ Very attractively mounted, with a picture painting showing Catherine the Great, in full red morocco clamshell case with gilt-lettered spine, `Czarina Catherine II´, to an overall size of 10 x 15. VG £2000-3000 Princess Caroline of Waldeck and Pyrmont (1748-1782) married at the age of 17 the Duke of Courland Peter von Biron (1724-1800) in October 1765. He abused her and the unhappy relationship ended in 1772 with a divorce.

Letters from The Great Central Railway, Railway and other Share Certificates etc, 1920's

CHINESE BONDS: Chinese Government 5% Reorganisation Gold Loan of 1913, two framed and glazed (2), together with a sheet of Chinese Republic share coupons partially excised, unframed.

SHARE CERTIFICATE: an old Russian bond, framed and glazed (1).

SHARE CERTIFICATES: Republic of Bolivia 1872 £100 Government Loan Bond Certificates (100)

Philip Flanagan (b.1960)Portrait Bust of Seamus Heaney Bronze on limestone base, 31.5 x 57cm overall (12½ x 22½'')Signed with artist's device and signed AC (Artist's Copy), edition of 9Signed also by poet Seamus Heaney and dated 1990 on plaque insideProvenance: The Eamonn Mallie Collection, bought from Shambles Gallery, Hillsborough.If knowing your sitter as a sculptor stands for anything then there was no excuse for Philip Flanagan not unlocking the soul of Seamus Heaney. TP Flanagan, Sheelagh his wife, Seamus Heaney and his wife Marie had been friends for over half a century. Terry responded to Heaney's poems in paint and vice versa and TP's son Philip, who trained as a sculptor at Camberwell College in England, would have known Seamus Heaney from childhood.I purchased this Heaney (AP) head from Sheelagh Flanagan in the early Nineties. I had no reticence in parting with my money. I had met Heaney several times down the years and despite the fact that our legs hung out of the same nest in many ways, we did not get beyond a passing acquaintance. I loved the way Flanagan latched onto Heaney's rural ruggedness and his unruly head of hair. The artist didn't play at nicey nicey…..he went rural. I had a discussion with the Irish sculptor Rowan Gillespie about when is the right time to paint or sculpt a head. He contends this is a matter of judgement. Gillespie lamented he had not had the opportunity to sculpt Polish Pope John Paul II, not as the handsome fatherly figure he was when he surfaced firstly, but as he was dying in public wracked with disease. Over the years I have seen some very poor sculptural attempts at winning the essence of Heaney. Flanagan left me with no doubts in his choice of timing to capture Heaney. For some time Heaney's head has faced motionlessly out into our street as its maker Flanagan walks by. I wonder what thoughts go through Philip's head Perhaps he will share those thoughts with me one day. I will not have that luxury in the case of Heaney. My neighbour who went to Annahorish Primary School attended by Heaney, told me The day Seamus Heaney was leaving our school our teacher Mrs Murphy told us 'a genius' is leaving our school today”. I still find it hard to believe, having penned the words 'Noli timere’, the book closed on this genius son of a South Derry farmer. Think however of what Heaney left us in 'Cure at Troy.' So hope for a great sea-changeOn the far side of revenge.Believe that further shoreIs reachable from here.Believe in miracleAnd cures and healing wells. Eamonn MallieBeneath my finger and my thumbMy snug pen restsUnder my windows, a clean rasping soundWhen the spade sinks into gravelly groundMy father digging, I look downTill his straining rump among the flowerbedsBends low, comes up twenty years awayStooping in rhythm through potato drillsWhere he was diggingThe coarse boot nestled against the leg, the shaftAgainst the inside knee, was levered firmlyHe rooted out tall tops, buried the bright edge deepTo scatter new potatoes that we pickedLoving their cool hardness in our handsBy God the old man could handle a spadeJust like his old manMy grandfather cut more turf in a dayThan any other man on Toner’s BogOnce I carried him milk in a bottleCorked sloppily with paper. He straightened upTo drink it, then fell to it right awayNicking and slicing neatly, heaving sodsOver his shoulder, going down for the good turf,DiggingThe cold smell of potato mould, the squelch and slapOf soggy peat, the curt cuts of an edgeThrough living roots awaken in my headBut I’ve no spade to follow men like themBetween my finger and my thumb The squat pen rests. I’ll dig with it.Seamus Heaney, Digging from Death of a Naturalist, 1966This head of Seamus Heaney was made in the cottage at Roughra in August 1990. Seamus Heaney agreed to sit with me and we made it up in Donegal. There were three sittings for the head, each sitting lasting two hours. I decided that, because I had such a limited time to make the head, I would make it more like a large charcoal drawing, in that I would keep everything very general - very loose kind of modelling, but at the same time a tight framework of measurement under the surface, so that the head would not sway away from my intentions to get a likeness and to express Seamus Heaney’s personality.In Seamus Heaney’s head, I am particularly pleased with the modelling of the hair. As this head was sculpted in 1990, this was a kind of breakthrough for me in terms of the way I was modelling. Before that, I had been tutored in a very academic kind of way, but the Heaney head was a departure in that I really buttered the clay on, giving a casual feeling to the hair, but at the same time strong directional lines so that it is quite a forceful piece of modelling. The way that the clay is modelled also reminds me of bog cuts. Around the cottage in Donegal, we are surrounded by bog and it gives me great pleasure to walk in the bog and let the feeling of that dark solid earth take over. I find it very sculptural. This head has a classical feel to it and I hope it gives the impression of Heaney as a bog king.Philip Flanagan

Sundry cameras including an Olympus zoom 140, an Olympus shoot and go, a Pentax MG and a Kodak easy share cx6200 etc

Pair of American Classical Figured Mahogany Corner Cabinets, early 19th c., New York, likely Duncan Phyfe, marble top, flared cornice, columnar stiles, paneled door, conforming base, blocked feet, h. 64 in., w. 36 1/4 in., d. 21 1/2 in. Provenance: Reputedly from Millford Plantation, SC. Note: The corner cabinets offered here are comparable in form to cabinets made by renowned New York maker Duncan Phyfe. Featuring marble tops, highly figured mahogany, flared cornices, and blocked feet, these cabinets share the same aspects as a Phyfe sécrétaire à abattant in the collection of the Metropolitan Museum of Art. When John Laurence Manning, who served as governor of South Carolina from 1852 to 1854, and his wife Susan Hampton Manning completed their palatial Greek Revival residence at Millford Plantation in 1841, they commissioned Duncan Phyfe to furnish the entire home. Many of the pieces remain in the home today, or are held in prestigious collections such as the permanent collection of the Metropolitan Museum of Art. Ref. Kenny, Peter M. et. al. Duncan Phyfe: Master Cabinetmaker in New York. The Metropolitan Museum of Art: New York, 2011, pp. 144-151; 230-231.

An early Victorian period Borough of Newbury share certificate copper printing plate, for the Gas Light & Coke Company, twenty pounds for one share plate c1840, 24cm by 36cm, in good condition

A group of seven vintage mining and other share certificates, two 1930s examples from the Magma Copper Company and others from the 1950s and 60s (7)

A collection of thirteen pieces of 19th century Persian Qujar period ephemera, including an unused Royal Ramily's paper seal with the lion and sun motif, a share certificate, various letters, handwritten poetry (all in Farsi) and a sheet of unused stamps.

1926 Football League share certificate acknowledgement signed by Manchester United secretary 14th October 1926One week earlier the Football Association announced that Manchester United manager John Chapman had been suspended from taking part in football or football management for improper conduct in his position as secretary-manager of Manchester United FC. No further explanation for the suspension was ever given.

9ct. gold & enamel medal from the inaugural Charity Shield in 1898 originally known as the Sheriff of London Charity Shield,the obverse inscribed SHERIFF OF LONDON CHARITY SHIELD, the reverse inscribed PRESENTED BY T.R. DEWAR ESQ., SHERIFF OF LONDON, 1897-8, mounted in a frame with blow up photographs of the obverse & reverse of the medal and printed information, 41 by 34cm.The above medal represents the first-ever match in the competition. In the opening match played on 19th March 1898 at the Crystal Palace, the Corinthians drew 0-0 with Sheffield United. It was decided by the committee that a replay was to be staged. In the replay played on 4th April again at the Crystal Palace the Corinthians and Sheffield United drew the match 1-1. It was then decided that the teams would share the honours and became joint-holders of the inaugural competition.