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The rare 'H.M.Y. Helga, Irish Sea 1918' D.S.M. group of six awarded to Leading Deck Hand E. E. Duff, Royal Navy and Merchant Fleet Auxiliary, who was in charge of Helga's gun when she was credited with sinking a German submarineDespite her Irish heritage, Helga was commandeered by the Admiralty in March 1915 and later used by the Royal Navy to shell Liberty Hall in Dublin from the River Liffey with her pair of 12-pounder naval guns during the Easter Rising of 1916Distinguished Service Medal, G.V.R. (Ldg. Dk. Hd. E. E. Duff, (A.P.) H.M.Y. Helga. Irish Sea 4. Apl 1918); Naval General Service 1915-62, 1 clasp, Persian Gulf 1909-1914 (210674. E.E. Duff, Lg. Sea. H.M.S. Highflyer.); 1914-15 Star (E.E. Duff, A.B. M.F.A.); British War and Victory Medals (E.E. Duff. D.H. M.F.A.); Mercantile Marine War Medal (Ernest. E. Duff), good very fine (6)D.S.M. London Gazette 29 November 1918, the original citation states:'HMY Helga attack on enemy Irish Sea 4 April 1918. In charge of gun when HMY Helga sank an enemy submarine.'Ernest Edwin Duff was born at Deal, Kent on 12 April 1885. A telegraph boy, he enlisted in the Royal Navy as a Boy 2nd Class on 12 April 1903. A succession of shore and sea-based appointments followed and on 21 February 1911 he was drafted to Highflyer, serving aboard her until 29 May 1913. Later that same year he was invalided from the service with myopia on 9 October.Duff married Kathleen Power in Dublin in September 1916 and despite his disability enrolled in the Merchant Fleet Auxiliary, joining H.M.Y. Helga for service during the Great War.1916 Easter UprisingChris Shouldice takes up the story in his online article 'The Captain's Table':'HMY Helga is infamously known for its role in shelling Dublin during the 1916 Rising but before she was pressed into war service, she had a far more benign profession as a protection cruiser and research vessel for the Department of Agriculture and Technical Instruction. Built in the Liffey Dockyard in Dublin in 1908 and originally named the Helga II, her purpose was to engage in fishery patrols, monitoring the coast for any illegal fishing activity. She was also equipped with a laboratory for marine research and took part in research projects like the survey of Clare Island in 1909.As the British found themselves in an unexpectedly lengthening war in Europe, she was taken over by the Admiralty in 1915 for military purposes as an armed auxiliary patrol yacht. She was renamed the HMY Helga and served as an anti-submarine patrol vessel and an armed escort.It was however in Ireland during the 1916 Rising that the Helga's most notable acts occurred. The Helga was summoned by British forces to the capital to use artillery to root out Irish Volunteers. On the 26th of April 1916, positioned on the Liffey, she raised her 12-pound artillery guns over the Loop Line railway bridge and fired at her first target Liberty Hall, the headquarters of the Citizen Army. Her shots were less than accurate, and her shells destroyed much of the surrounding buildings and beyond. She also targeted the GPO and Bolland Mills which Eamon De Valera had occupied.1918 rescuing survivors from R.M.S. Leinster.In 1918, she successful sank a German U-Boat Submarine off the coast of the Isle of Man. This was the Helga's first and sole confirmed sinking during the war. However, the presence of U-boats continued to be a real threat to the merchant and passenger vessels in the Irish Sea.In 1917, the Germans began placing their U-boats in the Approaches, the name given to the region near the entrance and exit to the Irish Sea. This was an attempt to stifle the British attempts at Trans-Atlantic trade. The RMS Leinster was typical of their targets, a passenger ship which, along with three other sister ships, made daily crossings from Kingstown (now Dún Laoghaire) to Holyhead. Known for its exceptional speed, the RMS Leinster held a place of pride in Irish eyes, as it was seen to be their representative in the commercial competition over the Irish Sea. The Leinster along with its sister ships, had won the tender for the Royal Mail delivery from Ireland to the British mainland. While it provided valuable employment to the people of Kingstown and Holyhead in Wales, the requirements of this contract were strict. There was a stipulation that the post collected in Dublin had to be delivered to the mainland the following day. This meant that the RMS Leinster ran daily, and on-time no matter the circumstances.On the morning of the 9th of October (1918), the RMS Leinster set out from Dun Laoghaire, filled to capacity, for what was to be its final voyage. Despite the U-boat warnings, that morning was no different, the war had been in action for four years, and the crossings were routinely unprotected. Furthermore, the level of censorship which the British government exercised over the press meant that many civilians were largely unaware of the danger that awaited them. Lurking under the waters off Kish Island was U-boat 123, which had already sunk two boats since it left Germany days earlier. At 09:45, the first torpedo was fired, shooting past the brow of the Leinster. The second was a direct hit, and a third torpedo sunk the entire vessel.Coaling, or refuelling, that same morning in Dublin was HMY Helga, the same ship which had been shelling the city two and a half years earlier. That day however, the Helga succeeded in being first on the scene of the Leinster sinking, and managed reach it just in time to rescue approximately 90 passengers, though there is some confusion as to the exact number. These passengers were not returned to Kingstown but disembarked in Wales. Due the controls on wartime press, the British government were keen to keep any such disasters out of the public eye'.Duff died on 11 November 1935 at Dover, at the time he was employed on the Trinity House Pilot Cutter, S.S. Prudence. (The Dover Express of 22 November 1935 refers).Sold together with his silver wound badge, this numbered B158828, a copy photo of Helga, a postcard of Highflyer, copy of Helga's ships log from the National Maritime Museum for 4-5 April 1918 and a copy of Irish Naval service.…

The campaign group of six awarded to Private W. R. P. Seymour, Gloucestershire Regiment, late Royal West Kent RegimentSeymour was wounded in action in Italy in October 1944 and went on to be one of the 'Glorious Glosters' who was taken a Prisoner of War with 8 Platoon, 'C' Company at the Battle of Imjin River, April 19511939-45 Star; Italy Star; War Medal 1939-45; Korea 1950-53 (3959731 Pte. W. R. P. Seymour. Glosters.); U.N. Korea 1950-54, mounted court-style as worn, good very fine, together with his United States Presidential Unit Citation riband (6)William R. P. Seymour was born in Dublin in 1923 and during the Second World War served in the 5th Battalion, Royal West Kent Regiment. He was wounded in action on 20 October 1944, when the unit were thrown to attack the Gustav Line. He was transferred to the Army Reserve, by this time his family living at Ravenhill Avenue, Belfast.Recalled to the Army with the outbreak of the Korean War, Seymour would served with the 8 Platoon, 'C' Company, 1st Battalion, Gloucestershire Regiment. He shared in the actions at taken Prisoner of War at the Battle of Imjin River, 22-25 April 1951.As part of the United Nations Forces, the 1st Battalion was despatched to Korea in 1950 when the Communist North Koreans invaded South Korea without warning. Later, a Chinese Communist Army came to the assistance of the North Koreans. ln April 1951 the British 29th Infantry Brigade was holding a wide defensive position behind the lmjin River. The Glosters occupied a vital part of this front, astride the main track to Seoul, the capital city of South Korea, which was the traditional invasion route from the north.For days a Chinese attack had been expected and on the evening of 22 April, small parties of the enemy were observed approaching and then crossing the wide river bed. A patrol of 'A' Company at "Gloucester Crossing" did great execution to these parties, but soon the trickle of Chinese became a flood, and by 2330hrs the patrol had used up all its ammunition and was recalled.By 0300hrs on the morning of the 23rd, St George’s Day, 'A' Company’s position on a commanding feature named Castle Hill was under extremely heavy attack, as was 'D' Company on their right, and an hour later 'B' on the right of 'D' was equally engaged. After six hours fighting, much of it hand to hand, 'A' Company was driven back from Castle Hill and a desperate but unsuccessful counter-attack was launched to retake it, during which Lieutenant Curtis lost his life but gained a posthumous Victoria Cross. 'D' Company’s position was now untenable, so it was later withdrawn after further fighting, together with the remnants of 'A'. 'B' Company was later pulled back, and the whole Battalion now took up position on the hills around the village of Solma-Ri.The Chinese did not closely follow up this withdrawal, but meanwhile very large numbers of them had crossed the river and infiltrated past the Glosters. Their attacks on other parts of the front had been equally severe, and now the other United Nations units on their flanks had been forced back so that by mid-day the Glosters were completely separated from the rest of the Division, and indeed almost surrounded.That night 'B' and 'C' companies were heavily attacked, the former being reduced to one officer and 20 other ranks. Early the following morning, Colonel Carne decided to concentrate the remnants of his Battalion on the top of a steep and rugged feature known as Hill 235 on the map, but now as Gloster Hill (presumably one and the same 'Battalion Hill as recalled by Seymour). On the 24th no major attack developed against the Battalion, but two relieving columns of armour and infantry, sent forward by Division, failed to fight their way through. The Glosters were now completely cut off, but although short of ammunition and water they were in good heart and determined to hold out for as long as possible.ln the very early hours of the 25th, the Chinese launched an all-out attack on the hill wave after wave of shooting, screaming men surged forward, regardless of the defenders fire. Chinese trumpets directed them and encouraged them. ln order to confuse them it was decided that one of the British bugles should be blown. The adjutant then ordered Drum Major Buss to sound his bugle and on being asked what calls, replied everything except Retreat. Of all the calls the Long Reveille was the one which made the deepest impression. The battle continued with every weapon involved, and then at 9 o'clock a highly successful air strike was delivered by the US Air Force which for the time being halted the Chinese decisively. lt was during this pause that the Colonel received instructions over the wireless to fight his way out, his job done, and Brigadier Brodie wrote in the Operations log book at Brigade HQ 'Nobody but the Glosters could have done this.'The Battalion split up into groups which tried to work their way back independently, but the United Nations forces were now consolidating after their withdrawal fully seven miles to the rear, and only one party succeeded in reaching them, the rest being killed or captured. Out of 750 men of the Battalion only 150, including the rear echelon, remained on which to rebuild the unit. Lieutenant Colonel Carne, who survived his harsh imprisonment, later received the V.C., and the Battalion was awarded the Presidential Unit Citation to commemorate its magnificent stand. The Queen graciously granted permission for the emblem of the Citation to be worn by all members of the Regiment.Having been captured, Seymour was one of a band of British and American captives who were (probably) forced to sign a Statement of Protest against the bombing og a POW Camp in North Korea, their names being broadcast on Peking Radia at 0900hrs on 9 November. After his return home on his debrief he gave two statements:'My reason for my statement is that Pte. R. T. Othen was in my Squad and was taken to Hospital where he died.''Pte. E. K. Gudge was wounded on C. Coy. 8 Plt. position and when we had to withdraw back to what was so called Batt Hill [Gloster Hill] he was taken to the RAP where he died on the 24.4.51. Who was with him when he died I have forgot. Best we were told that he had died before we moved to the last position.'Sold together with a letter from RHQ and copied research.…

Military General Service 1793-1814, 1 clasp, Java (Samuel Whittle, 22nd Light Dragoons.), traces of brooch mounting at 3 and 9 o'clock respectively, suspension sometime re-affixed, some edge bruising and contact marks, otherwise very fineWhittle is one of only 54 members of the cavalry with entitlement to a clasp for Java.Samuel Whittle was born in Whitley, Chester circa 1778 and made his living as a hatter prior to his enlistment with the 22nd Regiment of Light Dragoons on 1 July 1795 upon reaching eighteen years of age. Whittle was to embark on what would be a twenty-four-year career with the Colours, twenty-one of which were to be spent serving abroad in the East Indies.The 22nd Light Dragoons were renumbered from the 25th Dragoons in 1794, which had been raised by Francis Edward Gwyn that same year for service in India. Whittle, therefore, joined the Regiment whilst it was still in its infancy and was likely first embarked to India with the rest of his unit to serve in the Anglo-Mysore War in 1799. Whittle would remain in the region for the next two decades. The conflict in Mysore saw the 22nd Light Dragoons fight with distinction at the Battle of Seringapatam, which was awarded to them as a battle honour.During the Napoleonic Wars, Whittle and his Regiment took an active role in the British effort to seize Java from Franco-Dutch forces in 1811. They landed on 4 August and the next day a small number escorted Colonel Robert Gillespie to the capital of Batavia. They reached the undefended city on 8 August, which immediately surrendered to Gillespie and his men. They next advanced on Dutch General Janssens stronghold at Weltervreeden, which fell to a British attack on 10 August. The British sustained under 100 losses while the enemy lost over 300 men. The nature of the island made the deployment of cavalry difficult, however after the action at Weltervreeden the 22nd were utilised in their traditional role of pursuing the retreating enemy. Some of the Regiment may have taken part in the fighting dismounted, as Gillespie's Brigade Orders refer to:'I have also to thank Captain Gall of the Body-guard, Lieutenant Dudley of the dismounted dragoons twenty-second regiment, and Captains Smithwayte and M'Craith of the Madras pioneers, for their support in the affair.'Lieutenant Dudley's Dragoons also participated in the siege of Fort Cornelis which took place later that month. The column was guided into position by a Franco-Dutch deserter who rode at their head with Serjeant Smith of the 22nd, capturing two enemy redoubts in the surprise attack after a fierce battle, at which the critical moment Gillespie led the mounted detachment of the 22nd after the fleeing enemy. The Batavians rallied several more times prolonging the conflict, however in the end most of the force was cut off and the British seized the fort on 25 August. The British sustained 630 casualties, with the 22nd suffering 6 dead and 17 wounded. The wounded included the commander of the dismounted detachment, Lieutenant Dudley, who was again 'mentioned' although this time by the Adjutant General. The Battle of Cornelis ended effective resistance in Java, though the stubborn resistance of General Janssens carried on into September.The 22nd remained in Java until 1813, after which Muster Lists indicate that they served in Bangalore, India. British occupation of the island came to an end in 1814 when Java was returned to the newly independent Netherlands. Whittle was promoted Corporal in India on 22 February 1814 and served in this capacity with John Floyd Patterson's troop. The Regiment remained there and as such did not fight at the Battle of Waterloo in 1815.Whittle was at some stage advanced Serjeant, and served as such at the Battle of Maheidpoor in Captain Vernon's troop on 21 December 1817. This battle saw a decisive British victory over the Marathas, resulting in the conclusion of the Anglo-Maratha War and the cession of much territory to the British, which were incorporated into the British Raj. It was just a few years after the engagement at Maheidpoor that Whittle's time in the service finally came to an end. He was discharged in India in consequence of 'being worn out by length of service & unable to ride' on 25 August 1819. While this poor state of health is certainly understandable given his twenty years in the harsh Indian climate, one wonders if his discharge might have been influenced by his Regiment being disbanded the following year.Whittle is further entitled to an Army of India 1799-1824 Medal with a clasp for Maheidpoor, being one of only 167 Europeans with entitlement to the clasp, 28 of which were awarded to the 22nd Light Dragoons; sold together with copied research including medal rolls.… 25001 SALEROOM NOTICE:Lot is NOT subject to 5% Import Tax. 

The Most Honourable Order of the Bath, C.B. (Military) Companion’s, Chapel Stall Plate, gilded brass with engraved and painted image of a C.B. Badge, inscribed 'Edward Lowther Crofton Esquire, Post Captain in the Royal Navy, Companion of the Most Honourable Military Order of the Bath, Nominated 4th June 1815.', reverse with maker's stamp for Hughes, 8 Peterboh. Co.., Fleet Str., London, 191mm x 114mm, corners pierced for attachment, very fineThis stall plate was produced between 1826 and 1838, during which time Hughes copper and steel plate makers was headquartered at Peterborough Court, Fleet Street.Edward Lowther Crofton was born on 24 November 1783, likely in County Roscommon, Ireland, the son of John Frederick Lowther Crofton and the grandson of Anglo-Irish politician Sir Marcus Lowther Crofton, 1st Baronet. Crofton embarked on a career in the Royal Navy, with whom he was commissioned Lieutenant in March 1804, Commander in February 1805 and was promoted Post Captain on 4 March 1811.Crofton was active during the War of 1812 and served as Post Captain in the Naval Brigade of Rear-Admiral Sir George Cockburn during the Battle of Baltimore in September 1814. Following the British burning of the enemy capital at Washington D.C., they returned to their ships and travelled up river towards Baltimore, Maryland and proceeded to bombard the harbour's Fort McHenry in an attempt to take the city. The fort was well-defended and stood up to the 25-hour bombardment after which the British fleet departed. The conflict notably inspired the American national anthem.Crofton's conduct during the engagement was praised by the Rear-Admiral in his public letter, in which he stated: '...the brigade of seamen with small arms, commanded by Captain Edward Crofton, assisted by Captains Sulivan, Money, and Ramsay, who commanded divisions under him, behaved with a gallantry and steadiness which would have done honour to the ablest troops, and which attracted the admiration of the army.'A year after the battle, Crofton was made a Companion of the Order of the Bath in June 1815. The following year he married Mary Leader on 23 April 1816 and the couple went on to have issue of at least one son and one daughter, who was born at Putney Hill in Surrey on 10 September 1818. Their son, also named Edward Lowther Crofton, was a Captain in the 77th Regiment of Foot who died of cholera in the Crimea on 27 September 1854 during the march from Alma to Balaclava.Crofton died just a few years after his award of the C.B. in September 1818; sold together with copied research. …

A WOODEN CORINTHIAN CAPITAL PEDESTAL CONTEMPORARY 44cm high, 34cm diameter TOGETHER WITH another wooden pedestal 41cm high, 34cm x 34cm at base Provenance: Private Collection, Lancashire Estate Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW.With wear, marks, knocks and scratches commensurate with age and use Some old chips, splits, and losses, see images Solid and stableADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot.  Condition Report Disclaimer

Girolamo Ruscelli (1500-1566) map of India. Calecut Nuova Tavola. Venice / 1561, first state, an enlarged engraving of Giacomo Gastaldi's 1548 miniature map of the Indian peninsula, entirely based on Portuguese sources and the latest discoveries, the Portuguese strongholds of Cochin, Calecut, Cananor, Goa (capital of Portuguese India and seat of the Viceroy and Archbishop) and Diu are prominently shown, Ceylon and part of the Maldives are also shown, hand-coloured engraved map.18.5 x 24.5cm (framed 30.5 x 36.5cm)The map is in good, original condition. The paper has browned slightly across the sheet and there are some minor spots of foxing and other stains across the map. There is a small hole in the paper at the top of the central crease and one or two minor tears and surface marks across the sheet. The map is framed and glazed. The frame has some scuffs and knocks.

Corgi The Aviation Archive 1:144 scale boxed diecast aircraft, including 47402 Frontier Airliners Avro Lancastrian BOAC, AA30505 Airliners of the World Vickers Viscount 700-Capital Airlines N7443-1956, 47505 Frontier Airlines Lockheed Constellation Braniff International Airways, and 47504 Frontier Airlines Lockheed Constellation KLM. (4)

Carlos Botelho (1899-1982)UntitledGouache on paperSigned and dated 57(slight dirt and spots)36,9x57,5 cm"Botelho. Os anos diferentes", Palácio Galveias, Lisboa, Cat. p. 98, img. 114 (no contexto "Lisboa 94 Capital Europeia da Cultura").

TA 5% Vat. SHUGETSU (1440? — 1529)Daruma on a ReedAshikaga period, 15th/16th centuryA Japanese hanging scroll painting, kakejiku, ink on paper, depicting the Bodhidharma Daruma crossing the Yangtze River in China on a reed as he proceeds to the capital city of Luoyang, signed Nyūtō Shugetsu and sealed, together with certificate of authenticity signed Kanō Einō (1631-1697) and a tomobako.Image 87cm x 23cm; total 173cm x 35.5cm Provenance: the Claudio Perino Collection, Turin, acquired mostly in Japan in early 2000s.Exhibited: MAO Museo d'Arte Orientale, Turin, and MUSEC Museo delle Culture, Lugano, 2020 - 2022.Literature: the exhibition catalogue Kakemono, Five centiuries of Japanese painting. The Perino Collection, p. 86, no 66. In his depiction of the founder of the Zen sect of Buddhism, Shugetsu focussed on the arhat’s face, painted with a few simple lines, but full of expression: his eye, wide open and looking skyward is present and piercing. This contrasts the minimalist outline of his cape and only the suggestion of a foot poking from underneath, reminiscent of the traditional depictions of Daruma as a round doll. According to legend, following an unsuccessful encounter with the Chinese Liang Dynasty Emperor Wu, Daruma is said to have sailed up the Yangtze River on a single reed to continue his journey to promote Zen. This lot has been imported from outside the UK for sale and placed under the Temporary Admission (TA) regime. Import VAT is payable at 5% on the hammer price. Standard VAT at 20% will be added to the buyer’s premium. Buyers are invited to familiarise themselves with these rules prior to bidding.

TA 5% Vat. MARUYAMA ŌKYO (1733 — 1795)Dragon and Mt FujiEdo period, 18th centuryA Japanese hanging scroll painting, kakejiku, ink on silk, depicting a fierce-looking beast with sharp claws, piercing through mist and clouds towards a silhouette of a majestic mountain in the distance, signed Ōkyo, sealed Kōto Marunouji (From the Maru family in the Imperial Capital) together with a box.Image 45.5cm x 55.8cm; total 130cm x 67cm (3) Provenance: the Claudio Perino Collection, Turin, acquired mostly in Japan in early 2000s.Exhibited: MAO Museo d'Arte Orientale, Turin, and MUSEC Museo delle Culture, Lugano, 2020 - 2022.Literature: the exhibition catalogue Kakemono, Five centiuries of Japanese painting. The Perino Collection, p.182, no 166. This lot has been imported from outside the UK for sale and placed under the Temporary Admission (TA) regime. Import VAT is payable at 5% on the hammer price. Standard VAT at 20% will be added to the buyer’s premium. Buyers are invited to familiarise themselves with these rules prior to bidding.

Corgi - Base Toys - Lledo - Others - A large unboxed collection of playworn diecast and plastic model vehicles in various scales. Lot includes Base Toys TT-02 Thornycroft Twin Axle Flatbed; Oxford Diecast Green Goddess; Corgi #43214 Leyland Olympian Alexander Double Deck Bus 'Capital Citybus' and similar. Models all have varying degrees of play wear generally appearing to range Poor - some Good, a lot with missing / broken parts, most very dusty. All items are unchecked for completeness. (3) (This does not constitute a guarantee) (K)

New Kingdom, Ca. 1550 - 1069 BC.A turquoise glaze faience papyrus sceptre amulet with a cylindrical body that tapers towards a rounded end. The upper section features a flaring capital with a ridged collar beneath it. A circular suspension hole is pierced through the top, allowing for attachment.Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: Andrews C., Amulets of Ancient Egypt, British Museum Press, Cat. 46; The Metropolitan Museum of Art, Object Number: 10.130.1818.Size: 57mm x 15mm; Weight: 8gProvenance: Private UK collection; Ex. European collection formed since the 1970s.

A pair of vinatge 20th century gilt metal & onyx Classical column shaped desk table lamp lights. Each having a canted cream fabric shade over a Corinthian capital & reeded column support. All raised on a two-step onyx and gilt metal base with scrolled acanthus leaves feet. Sold as untested.Each measures approx. 80cm tall x 35cm in diameter including shade.

A Romanesque marble capital, possibly 13rd/14th C.H 35,5 - L 36,5 - D 32,5 cm

Rorke's Drift.- England (Edward Lutwyche, army officer serving with Col Evelyn Wood's column, later Major-General, d. 1910) Autograph Letter signed to his sister Frances Catherine England, 5pp., 8vo, Camp Col Woods Column [South Africa], 28th January [1879], a contemporary account of the Battle of Isandlwhana and the subsequent action at Rorke's Drift, Battle of Isandlwhana, "I suppose you will have read in the papers before you received this of the terrible disaster that has befallen the Generals Column on the 22nd... as far as we can make out the Generals camp was about 7 miles in advance of Rorke's drift and having heard of a large body of Kaffirs in the neighbourhood left the camp in charge of Col Pulleine 24 Regt with 4 companies and two guns... He seems to have missed the Kaffirs but Col Durnford... fell in with them in another direction and being hard pressed sent to Col Pulleine for assistance the Col went out with 3 companies but in the meantime Col Durnfords force had been defeated. The Kaffirs then fell on the camp and destroyed it taking the guns and killing all the gunners and nearly every man in it...", Rorke's Drift, "A few fugitives fled to Rorkes drift where there was one company of the 24th Reg. under a subaltern named Bromhead (brother of the officer who married Miss Huntington...) this one company threw up a defence of bags of grain and held out against 4000 Kaffirs from 4 oclock in the afternoon until 4 next morning when they were relieved by the general they lost 9 killed and 13 wounded. Several officers that I knew will have lost their lives a good many of them will be remembered in Dover where the regiment was quartered...", describing the fall back across the blood river and a skirmish at Ingwe, "I am still in capital health but the disaster to the other columns have cast a gloom over all nothing else is talked of", folds. *** A contemporary account of the disaster of Isandlwhana and the subsequent heroic action at Rorke's Drift. England served with the Somerset Light Infantry in the Indian Mutiny, and in the Transvaal and Zulu Wars. Succeeded to command of 2nd Battalion, May, 1880, and exchanged to 1st Battalion December, 1880, and commanded it to May, 1885. Retired pay, Hon. Major-General in 1900.

Roman - An Honorius gold Solidus (393-423 AD), 20mm, 4.3g. Honorius was the Western Roman Emperor, his brother Arcadius ruled the Eastern part of the Roman empire from 395AD. The reign was troubled by the continuing barbarian hostilities in Gaul, Hispania and Italia. His capital was based in Ravenna from 401AD and in 410AD Rome was sacked for the first time in over 800 years, by Visigoths.

A bronzed plaster human torso back together with a plaster pilaster capital

A Continental gilt and painted metal table lamp stand, the capital and base decorated with vines and grapes, 62cm high.

A pair of late 19th century Sevres, French porcelain Napoleonic urn shaped vases, each twin handled and upon cobalt blue socles with gilt highlights and capital N under crown; the vases both finely hand painted with Napoleonic war scenes including Napoleon himself, gilt scrolled handles and cobalt blue and gilt areas surrounding painted scenes, each approx. 27cm high. (2) Condition: some loss to gilding; general wear.

A late 19th century crescent and serpent brooch, given by Captain Henry Peel Ritchie VC, the crescent set throughout with old brilliant-cut diamonds, the applied serpent set with circular-cut demantoid garnets and with an old brilliant-cut diamond eye, the tongue modelled as blister pearl, mounted in silver and gold, fitted cased by S. Lanyon, Portsmouth, total diamond weight approximately 1.85 carats, length 6cm. £3,000-£4,000 --- Provenance: Formerly the Property of Captain Henry Peel Ritchie VC. This brooch was a gift from Henry Peel Ritchie to his wife Christiana, purchased from S. Lanyon Jewellers, 4 Ordnance Row, the Hard, Portsmouth. Ritchie ‘s naval career started at aged 14, and he quickly rose through the navy due to his keen intelligence and impressive strength. At aged 20 he was promoted to lieutenant and served the next 15 years as a junior staff officer at Sheerness Gunnery School. Whilst stationed at Sheerness, Ritchie met Christiana ‘Chrissie’ Jardine, only daughter of a wine merchant. The couple married in Edinburgh on 31 March 1902. HMS Goliath, the pre-dreadnought battleship, was transferred to the Portsmouth Division of the New Home fleet on 15 March 1907. Based at Portsmouth, she underwent a machinery overhaul there from August 1907 - February 1908. Upon completion of her refit, HMS Goliath was commissioned on 4 February 1908 for Mediterranean Fleet service. Whilst stationed on shore, Ritchie may well have purchased this brooch for his wife in Portsmouth, the brooch being retailed by the well known Portsmouth naval jewellers, S. Lanyon. Ritchie’s shore service ended in March 1911, when he was posted as senior Lieutenant on HMS Goliath. Promoted to Commander later that year, he managed the ship’s gunnery exercises and procedures whilst Goliath was part of the Channel Fleet stationed in British waters. Commander Ritchie’s war service was to prove exceptional. He was awarded the first Royal Navy Senior Services Victoria Cross of the Great War for his gallant command of H.M.S. Goliath’s steam pinnace at Dar-es-Salaam, the capital of Germany’s East African empire (now part of Tanzania) on 28 November 1914. 
 The Citation in the London Gazette, 10 April 1915 read: ‘Commander Henry Peel Ritchie, Royal Navy, for the conspicuous act of bravery specified below: For most conspicuous bravery on the 28th November 1914 when in command of the searching and demolition operations at Dar es Salaam East Africa Though severely wounded several times his fortitude and resolution enabled him to continue to do his duty inspiring all by his example until at his eighth wound he became unconscious. The interval between his first and last severe wound was between twenty and twenty five minutes’. Commander Ritchie was presented his Victoria Cross by King George V at Buckingham Palace in April 1915. Ritchie retired in 1917, deemed unfit for further service as a legacy of the wounds he had received, returning to his home city of Edinburgh. He was promoted Captain on the Retired List in January 1924. He lived at Craig Royston House in Edinburgh until his death on 9 December 1958, aged 83. Noonans Mayfair were privileged to sell Captain Ritchie’s VC and medal group, part of the Collection of the Late Jason Pilalas, lot 140, on 23 July 2024 for £240,000. Caption of photographs: Captain Henry Peel Ritchie and his wife Christiana, circa 1918, (Images reproduced by kind permission of the vendor). Condition Report Strengthening plate and solder evident to reverse of snake head section where it joins crescent - has been repaired / reattached. Construction suggests crescent brooch adapted to accommodate addition of serpent sections. Blister pearl with crack, evident in photo - solder also evident around pin attaching pearl to mouth. Diamonds bright and lively - variety of colour and clarity grades, demantoids generally well matched. Gross weight 12.3gm.

Y A GEORGE III KINGWOOD, AMARANTH, TULIPWOOD PARQUETRY AND LACQUERED GILT BRONZE MOUNTED BUREAU PLAT PROBABLY BY AN EMIGRE CRAFTSMAN IN THE MANNER OF PHILIPPE-CLAUDE MONTIGNY AND RENE DUBOIS, LAST QUARTER 18TH CENTURY The gilt-brass banded rectangular top inset with a gilt-tooled blue leather writing surface, above a panelled frieze inlaid with Greek-key motif with two frieze drawers centred by masks headed by acanthus flanked by rosettes and opposing false drawers, with lateral writing slides, the lower border with a ribbon-twist mount, the brass reeded incut square tapering legs headed by laurel swags with square sabots terminating in castors, with a paper label to the pine panelling to underside inscribed in ink 'Brynkinalt RM' 72.5cm high, 122cm wide, 63cm deep Provenance: Possibly supplied to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) or acquired by Arthur Hill-Trevor, 3rd Viscount Dungannon (1798 - 1862) for 3 Grafton Street, London, thence by descent at Brynkinalt Hall, Denbighshire until sold, Of Royal And Noble Descent; Sotheby's, London, 19 January 2017, lot 382, where acquired by present owner. Although this sophisticated desk, with its 'Etruscan' decoration and interlaced key frieze, has the outward appearance of a French bureau à la grec, a number of constructional idiosyncrasies help to identify it as an unusual example of English craftsmanship. Until recently the bureau plat formed part of the resplendent Hill-Trevor collections at Brynkinalt Hall in Denbighshire and is most likely the output of an émigré ébéniste working in London in the last quarter of the 18th century. London had long tradition of attracting émigré craftsman with the perpetual cycle of European political and religious turbulence of the 17th and 18th centuries spurring their arrival. The lure of the capital reached new heights following the favourable conclusion of The Seven Years' War (1756-1763), a pan-European conflict which did little to dampen the appetite for French fashions in Britain. The maker of the present bureau plat would certainly have had excellent knowledge of French workshop practices and prototypes, namely the output of the celebrated Parisian cabinet-makers Phillippe-Claude Montigny (1734-1800) and René Dubois (1737-1799). The goût grec style swept to popularity in France from the mid-1750s with the celebrated suite of furniture supplied for the collector and financier Ange-Laurent Lalive de Jully. Veneered in kingwood, amaranth and tulipwood and decorated with rosette and laurel swag mounts, the Brynkinalt bureau plat closely follows a well-documented group of bureau à la grec by Montigny and Dubois. However, the Brynkinalt bureau plat diverges in several distinct ways which preclude the possibility of a French origin. Whereas French-made bureau plat use oak, the present desk employs pine in the construction. Further, the oak-lined drawers have front-to-back oak drawer bottoms, where French antecedents would have the grain running side-to-side. The dovetails, with the pronounced fan-shaped tails, are distinctly un-French and quite idiosyncratic being covered by a very thin veneer. The original locks are English, and the lacquered-gilt-brass banding to top, mounts, capping and castors (French models typically employ sabots without castors) all present as English derivatives or casts taken the originals. The presence of a distinctly English 'rococo' influenced ring-pulls to the writing slides further anglicises the French character of the present lot. Interestingly, an almost identical version of this model, sharing the same constructional traits but lacking brass reeding to the legs, is preserved in the collections of the Marquesses of Bute at Mount Stuart, Scotland. The Bute bureau plat is almost certainly from the same émigré workshop and points to a definitive group made for the most prominent families of the day. The present desk formed part of the collections of the Hill-Trevors at Brynkinalt Hall, Denbighshire, on the English-Welsh borders. The family fortune was built at first by Sir John Trevor (1637-1717), an unscrupulous lawyer-turned-politician, who twice held the position of Speaker of House of Commons before being unseated because of a bribery scandal involving the East India Company. He also served as Master of the Rolls 1685 to 1689 and from 1693 until his death in 1717. The financial gains Sir Trevor accrued in these prominent positions allowed him to acquire two London houses on St Clements Lane and Trevor Square, Knightsbridge. All four of his sons predeceased him and his estates, including Brynkinalt, passed to his daughter Anne who married Michael Hill of Hillsborough in Ireland.Arthur Hill, 1st Viscount Trevor (1694-1771), later Arthur Hill-Trevor, 1st Viscount Dungannon, was the second son and also pursued a political career, this time in Ireland as Chancellor of the Irish Exchequer and Commissioner of Irish Revenues. Arthur built Belvoir house in Ireland to designs of Christopher Myers in circa 1750. His son, the Hon. Arthur Hill Trevor (1738-1770), predeceased him also, making him an unlikely candidate for the acquisition of the present bureau plat. Instead, the Dungannon estates, including Belvoir and Brynkinalt, passed to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) who inherited the title at the age of eight. In 1795, at the age of thirty-two, he married the Hon Charlotte Fitzroy, daughter of General Charles FitzRoy, 1st Baron Southampton (1737 -1797) and grand-daughter of Charles FitzRoy, 2nd Duke of Grafton (1683-1757), and consequently sold Belvoir Park choosing to live between No. 3 Grafton Street, London (built by the Augustus Henry FitzRoy, 3rd Duke of Grafton (1735-1811) to designs of Robert Taylor in 1767) and Brynkinalt Hall. It is conceivable to bureau-plat was acquired before or during this phase of ownership as the Viscountess was a woman of highly cultivated taste and oversaw the significant re-modelling of Brynkinalt which had not been altered since the early 18th century. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.Observations include: the leather to the top has a different gilt tool edging and is either different to the leather on the sliding ends or is faded; the leather to the top also has cracks along the underlying constructions joints; some ormolu mounts are slightly loose eg the edging to to the top of the desk, one of the swags (with a later screw), some of the ribbon edging has vacant holes from missing pins, one brass inlay to one leg is sprung; it is not possible to remove the right frieze drawer as there is a fixed peg/screw preventing it from sliding out; there are two keys that operate the two different locks that suggest one is a later replacement; there is some evidence of old worm; some fading to the back.The Greek key parquetry and ormolu mounts to all sides.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

Thirty 1/76 scale die-cast model buses and coaches by Corgi and The Original Omnibus Company, to include a 45002 The Varsity Set; a 97097 Bridges & Spires Set; a 45001 Dorset Delights; a 97096 Capital & Highlands Set; a 97095 Lancashire Holiday Set; a 97056 The Crossville Bristol Set; a 97057 Leyland PSI - Leyland Leopard Southdown Motor Services; etc (30)

A George II cast silver taperstick. John Cafe, London, 1754. The shaped, square base with shell corners to a knopped baluster stem supporting a spool-shaped capital, the removable sconce unmarked, engraved with the initials AG to underside, 12.5cm high, approx. weight 4.9oztCondition Report: The taperstick is in good condition commensurate with age. Some general scratching, nicking and minor pitting. Steady on foot. Some light bruising to high points. A small split and very unobtrusive repair noted under 10x magnification towards base of stem. Sconce unmarked and sits slightly raised in socket.  Further images available to download via this link: https://we.tl/t-wwnY1nznJz

A Victorian silver gilt five light candelabra. George Fox, London, 1873. In the Dutch style, the cast candelabra raised on a scrolling trefoil base stamped Lambert, Coventry St., London, the baluster stem to an urn-shaped capital supporting a removable five light scrolling branch section, each capital with a foliate drip pan, marked on base and socket of branch section, 59cm high, approx. weight 118ozt Provenance: Property from a UK private collection. Footnotes: cf: for similar examples, please see Lot 93, Christie's, Fine English, Continental and American silver, 23rd May 2007,  https://www.christies.com/en/lot/lot-4910944?ldp_breadcrumb=back 

A Regency giltwood triple plate overmantel mirror, the cornice above three bevelled plates between barley twist columns with Corinthian capitals59 x 157 x 16cmMinor spotting to the platesMultiple knocks and losses to the gildingCapital of the left pilaster with losses and signs of restoration, scolling corner has been stuck to the front centreGeneral wear and touching up of the gilt in placesSee images

A QUANTITY OF ASSORTED TOYS, to include boxed Corgi Classics Aviation Archive 'Airliners of the World' Vickers Viscount 700 - Capital Airlines N7443 - 1956, No.AA30505, appears complete with all accessories & limited edition certificate and in good condition, some damage to box, boxed and unboxed diecast vehicles, to include boxed Corgi OOC Guy Arab Utility - East Kent, No.OM43910, unboxed Matchbox King Size Audi Quattro Rally Car, No.K95, boxed and unboxed Brumm Morgan three wheeler models, unboxed models by Corgi Classics, Matchbox, Joal, Polistil and Bburago etc., all in playworn condition

Approx. 50 78's classical recordings from various companies, Capital, Decca etc.

A VICTORIAN SCOTTISH CARVED MAHOGANY EIGHT-DAY LONGCASE CLOCKH. CONNEL, GLASGOW, MID 19th CENTURYThe four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch circular white painted Roman numeral dial with subsidiary seconds and calendar dials and inscribed H. CONNEL, GLASGOW to centre, with blued steel spade hands, the drumhead case with foliate scroll carved crest applied to the hinged moulded glazed dial surround incorporating gilt canted insert to interior, over a stylised foliate carved cradle and half-round lip mouldings, the trunk formed as a hall-oval section tapered fluted Greek Doric column incorporating removable concealed access segment to right hand-side beneath a projecting moulded capital, set on a five-section faceted plinth base fronted with three moulded panels over a canted skirt with bun feet, (dial re-touched).209cm (82.25ins) high, 52cm (20.5ins) wide, 29cm (11.5ins) deep. A Hugh Connell is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Glasgow circa 1860. Condition Report: Movement is in w0rking condition with no visible evidence of alteration or noticeable replacements. The mechanism is generally a little dirty/neglected hence a precautionary gentle service/lubrication is advisable if intending to put into long-term service. The dial has been refinished to a good standard with blemishes limited to a loss to the surface behind the centre of the subsidiary seconds hand (only visible on close examination). The movement and dial retains original seatboard which rests at the correct level in the case with no packing beneath the cheek uprights hence we are of the belief that the movement and dial are original to the case. The case is generally in sound original condition with faults very much limited to minor bumps, scuffs, wear and other light historic blemishes. The side access panel to the trunk is currently locked and we do not have the key.Clock has pendulum (no suspension spring) and two weights only. Condition Report Disclaimer

A neoclassical Siena marble and patinated bronze table lamp, late 19th/early 20th century, the Ionic capital over a stepped square base, on ball feet, 13.5cm wide13.5cm deep70cm highProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportMinor chips present to the marble at corners and edges, with small dings and dents to bronze. Some fine internal fissures to column and base, although these do not appear to be recent or repaired breaks, therefore the marble appears structurally stable throughout. Light surface wear. Please see additional photos. Ball feet are attached via small pilot holes to base. Passed PAT test.

A pair of neoclassical oak and painted pine occasional tables, 19th century and later, each of Corinthian capital form, adapted from architectural elements, 63cm wide 63cm deep 55cm high (2)Provenance: A Chester Jones Interior - The collection of Robert and Jenny Borgerhoff Mulder, Kensington, London W8.Condition ReportGeneral knocks and losses consistent with age and use. Each oak top with splits and some old scratches. Some chips and losses to foliate scrolls, some loose elements, some rubbing, loss, wear, and refreshment to paint decoration. Overall structurally stable and usable.

A pair of painted and parcel-gilt pine column pilasters, 19th century and later, Italian, each with a Corinthian capital above a stop-fluted body, raised on a plinth base, 48cm wide 24cm deep 270cm high (2)Provenance: The property of a European collector.

Late 19th/early 20th century Neoclassical satinwood column stand Of tapered form with inlaid decoration to the body.27cm wide x 25cm deep x 114.5cm highQty: 1Some losses to the veneer throughout notable to the edges. A notable loss to the left-hand corner at the base of the capital. Some cracking in the veneer in the capital and losses to the veneer round the base.

JOHN DICKSON & SON A 12-BORE 'A&D CAPITAL' BOXLOCK EJECTOR, serial no. 7630, Birmingham proof for 1962, 28in. nitro barrels, the rib engraved 'JOHN DICKSON & SON. EDINBURGH.', 2 3/4in. chambers, bored approx. imp. cyl. and 3/4 choke, automatic safety, border and scroll engraving, the sides with scrolling banners engraved 'JOHN DICKSON & SON', retaining some original colour-hardening and finish, 15 7/8in. stock including 1 1/2in. wooden extension, weight 7lb. 1oz., in its canvas case S2 - Sold as a Section 2 Firearm under the 1968 Firearms Act

A gent's C.W.C. military chronograph wristwatch, the black dial with military broad arrow and capital T, Arabic numerals with 12 and 6 being luminous and the rest with luminous dot markers, twin subsidiary dials, centre seconds, outer minute track manual wind 17-jewel movement stamped CWC, the case back stamped 6BB/924-3306 above a broad arrow and further numbered 2522/72 below, further numbered to the inside 1395118, case dia.39mmNote: This watch is affectionately celebrated as one of the members of the esteemed 'Fab Four' group consisting of Hamilton, CWC, Newmark and Precista. It has been suggested to us that parts of this watch are not original, case back could be from an earlier Hamilton and the dial is unsigned. Buyers must satisfy themselves to originality prior to bidding. Watch runs.All functions working.Movement good and clean.Glass heavily scratched and worn all over.Dial appears all original, some discolouring to all luminants.Luminants to minute hand with major losses.Some discolouring to white detail on dial.Case generally good but the back with numerous scratches.No bracelet.

Pair of carved marble columns with octagonal base, central column with a cordoned edge and octagonal capital with leaves, Late 18th century H cm 50 - base cm 23x23 Late 18th century

A French Empire style giltwood torchère, barley-twist column, marble effect pedestal base, 94cm to top of capital, 20th century

AFTER CECIL ALDIN "Terrier and man in armchair" humorous print, 20 cm x 15 cm together with AFTER CECIL ALDIN "The model who wouldn't sit still" colour print, 25 cm x 37 cm, AFTER GERALD COX "Circencester capital of the Cotswolds", two colour printed pictures and AFTER HOWARD PHILIPS "Laura at Whittington from Lost Days by Jim Turner", sixty copies printed at The Whittington Press for the Summer Show 5th September 1981 together with other assorted decorative prints, photographs etc

A lady's black onyx and diamond initial ring, the square table with a raised capital A, inset with old cut diamonds, in a basket mount, yellow metal, unmarked, size I, 3.4g.

A 19th century neoclassical brass table lamp in the form of a Corinthian column having a pale red pagoda shaped shade over an ornately cast scrolling acanthus leaf capital and a fluted pillar raised on a square moulded plinth base with 'Fleet BCo' marks to the underside, possibly from a ship. H.56cm

A TURQUOISE GLAZED BARREL STOOL AND A PLASTER COLUMN CAPITAL The turquoise glazed stool with openwork coin sides The stool 45cm high Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Pair of cast composite Corinthian architectural columns, the Corinthian capital decorated with scrolls and curled acanthus leaves, bulbous fluted shaft on moulded foot and square base Dimensions: Height: 238cm Condition Report:One column is off its base.

Nazanin Moradi Cycle of Strength I, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Nazanin Moradi is a London-based artist with a Master's degree in Fine Art from Chelsea College of Art, UAL (2016). Her dynamic career spans continents, with exhibitions in the UK, EU, USA. As a classically trained painter who also specializes in digital art, body painting and performance art, Moradi explores the profound interplay between the body and its environment. Her work delves into the complex relationship between movement and space, enriched by cultural history, mythology, and memory. Through the abstraction of form and the use of fluid, expressive techniques, she captures the vulnerability and transformation of the human body. Her compositions evoke a sense of dreamlike motion, where figures blend with their surroundings, highlighting the tension between identity and physicality. This fusion creates immersive, emotionally charged works that challenge perceptions of the body in space.   Education 2016 MA Fine Art, Chelsea College of Art, London, UK Solo Exhibitions 2024 28 Clarendon Road, Watford, UK 2019 King St Studios, Lancaster, UK 2013 SOAS University, London, UK Group Exhibitions 2024 Black & Global Majority Art Fair, CasildArt Contemporary Gallery, London, UK Senses, Performance, HDN Mayfair, London, UK Londoners, Capital Art Gallery, London, UK Dawn Unveiled, Performance, Folklore Hoxton, London, UK Olympiada, 6 Charlton Place, London, UK 2023 WomenEmpowerment, Performance, Gustave, London, UK Art for Relief, charity auction organised by Sothebys in Turkish ambassador's residency, London, UK 2022 Crossing, V.O Curations, London, UK Concept, CICA Museum, Gyeonggi, South Korea The Body Language, Venice, Italy 2021 Circle, 44 Great Russell st, London, UK Dialogues of Distance, One Paved Court Gallery, London, UK 2020 MKCalling2020, MK Gallery, Milton Keynes, UK Restless Elements, Re:Centre, London, UK 2019 Flourish Award, West Yorkshire Print Workshop (WYPW), Bristol, Mirfield, Preston, UK Peace in the Middle East, Asia Movie Festival, Lahore, Pakistan Statement About AOAP Submitted Artwork My work explores the body in perpetual motion, using circle and rotation as central themes. Through gestural brushstrokes and muted tones, I depict figures that hover between abstraction and figuration, their forms dissolving and reforming in an endless cycle. The circular motion in each piece suggests fluidity, capturing the body as a vessel of transformation. The figures, caught in mid-turn, exist in a space where time loops rather than progresses. The rotation of their movements echoes both the physical rhythm of dance and the internal shifts of emotion. Each brushstroke mirrors this energy, creating a dreamlike atmosphere where the boundaries of self and space blur. By using the motif of the circle, at times resembling a hula hoop, an orbit, or a rippling current, I explore the tension between control and release, presence and absence. The repetition of movement suggests both liberation and entrapment, inviting viewers to consider the cyclical nature of experience. In this way, my paintings are not just about figures in motion but about the sensation of transformation itself. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Tyrolean carved limewood relief plaque, 'The Hunter's Farewell', an interior with family and dog, attributed to the Steiner workshop, faintly entitled in pencil in German verso, photolithographic label of Fr. Unterberger, Innsbruck, 20.5cm x 16cm, framedFranz Unterberger was an art gallery owner based in Innsbruck, the capital city in the state of Tyrol in western Austria. It was here that Unterberger sold works by prominent woodcarver artists such as Sebastian Steiner(1836-1896) and later by his son Ernst Steiner(1864-1934). The Steiners were well known Tyrolean court sculptors and carvers, and worked for various members of the Austrian Imperial Family.

LATE 19TH C. SCAGLIOLA & WHITE MARBLE COLUMN PEDESTAL, with revolving carved capital on bearings, 104cms (h)Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

LARGE PAIR OF VARIEGATED MARBLE PEDESTALS, modelled as columns, moulded capital and bases, 107cms (h)Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

Aethelstan (924-939), silver Penny, portrait type, City of London Mint, moneyer Liofhelm, crowned and draped bust right to bottom of coin, circles and legend surrounding, commences lower left, + ÆÐELSTAN REX, rev. legend LIOFHELM MO LOND CI, weight 1.55g (BMC VIII, 67; Blunt 276, pl.VIII; SCBI 6:186; N.675; S.1095). Dark perhaps artificial tone, weak in the hair otherwise good very fine. North lists twelve moneyers working in the reign of Aethelstan including Liofhelm at London, which is one of 28 mints in operation.Aethelstan was the first King to use the title King of all Britain - Rex Totius Britanniae and he also decreed that each borough should have a moneyer to issue coin and that the more important boroughs could have more than one moneyer. For further reading see the special volume XLII of the British Numismatic Journal (1974) celebrating the 70th birthday of Christopher Evelyn Blunt with his monumental work on Aethelstan filling the whole tome. Liofhelm is listed as a London moneyer for this type with ten others, as number 276. There is also a Liofhelm working in BMC types I and V for London.The eldest son of King Edward the Elder by his first wife, Aethelstan was born circa 894 though later the prestige of his mother's marriage was called into question as it seems he was not at first destined for the throne, as it was younger half-brother Elfweard was elected by the council of Wessex, whereas the Mercian magnates preferred Aethelstan. The issue was resolved as Elfweard died on the way to Kingston on the 1st August 924 leaving Aethelstan to unite the throne and he was eventually crowned at Kingston on the 4th September 925. His 25 year reign kept the Kingdom united as he quelled revolts in the West country and along the Welsh border and even carried out the first West Saxon invasion of Scotland in 934. Aethelstan as the first King of all England, died unexpectedly in Gloucester aged around 45 on the 27th October 939, unmarried, though with an adult heir in his half-brother Eadmund the elder son of Edward the Elder's third marriage. Capital City London upon the River Thames following Roman occupation, minted some of the earliest Saxon coins with gold Thrymsas and silver denarii with a "Londuniu" signature. Mercian Kings beginning with Offa minted coins there, but the first coin to actually say City of London upon it is the unique Ludica portrait Penny that was found in 2016, followed by subsequent coins of Ecgberht. In 871 the Danes wintered in London for the first time but was King Alfred of Wessex who settled and fortified the capital circa 880 to resist further invasions. Edward the Elder incorporated the City in Wessex in 911 and it resisted a major attack in the reign of Aethelred II in 1009. However London submitted to the Danish Swein in 1013, but three years later the citizens accepted Eadmund Ironside as King and resisted a siege by Canute. Later unsettled times occurred in the anarchy period of the reign of King Stephen, remaining loyal to the King except for a few months in 1141 when Empress Matilda was admitted but within a short time expelled.In the reign of King John, the city was captured by the insurgent barons and visited by their leader Prince Louis of France. The obverse legend translates as "Aethelstan King" and the reverse as "Liofhelm Moneyer of the City of London."Provenance:Ex J. Kite Collection, purchased by Michael Trenerry of Truro.

* IRENE LESLEY MAIN (SCOTTISH 1959 - 2023), LUNAN BAY oil on board, signed, titled versomounted, framed and under glassimage size 39cm x 55cm, overall size 61cm x 78cm Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship, and in Italy. She travelled extensively throughout Europe, America and Africa and exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. She was a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and had studios in Glasgow, Athens and Brodick, Isle of Arran. Lesley Main was strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpinned her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, the late Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.

* IRENE LESLEY MAIN (SCOTTISH 1959 - 2023), CHAINE DE MONTAGNES, PROVENCE oil on board, signed and dated 1981, titled label versoframed and under glassimage size 53cm x 73cm, overall size 73cm x 93cm Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship, and in Italy. She travelled extensively throughout Europe, America and Africa and exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. She was a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and had studios in Glasgow, Athens and Brodick, Isle of Arran. Lesley Main was strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpinned her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, the late Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.

* IRENE LESLEY MAIN (SCOTTISH 1959 - 2023), STILL LIFE, FLOWERS IN VASE oil on board, signed and dated 1995 mounted, framed and under glassimage size 78cm x 53cm, overall size 110cm x 84cm Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship, and in Italy. She travelled extensively throughout Europe, America and Africa and exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. She was a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and had studios in Glasgow, Athens and Brodick, Isle of Arran. Lesley Main was strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpinned her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, the late Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.

* TOM MACKENZIE (SCOTTISH 1947 - 2018), NEIST POINT coloured etching on paper, signed, titled and number 41/60mounted, framed and under glassimage size 56cm x 80cm, overall 83cm x 108cmNote: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.

* KIRSTY WITHER (SCOTTISH b. 1968), CORNER OF THE PARLOUR oil on canvas, signed, titled and dated 1999 label versoframed image size 54cm x 54cm, overall size 72cm x 72cm Label verso: The Gatehouse Gallery, Glasgow.Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).

MONET CLAUDE: (1840-1926) French Impressionist painter. A poignant A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 27th May 1899, to Francois Depeaux, written in the artist´s characteristic purple ink on black bordered mourning stationery. In the months following the death of his fellow Impressionist artist, Alfred Sisley, Monet writes with concern for Sisley´s children and their finances, in full, ´Je comprens parfaitement que vos occupations d´affaires ne vous laissent pas tout le loisir que vous voudriez, mais il y a l´affaire des enfants Sisley à laquelle nous nous sommes attachés et qu´il faudrait terminer une fois pour toutes. Il ne faudrait pas que ces enfants s´habituent à demander de l´argent chez M. Chevalier au fur et à mesure de leurs besoins et se figurent qu´ils ont un capital inépuisable. Vous etes de cet avis je le sais, mais il faudrait qu´ils soient mis au plus tot au courant de leur situation. Je n´ai pas qualité pour m´occuper de cela, et j´ai du reste assez payé de ma personne pour vous prier de ne pas perdre de vue le role final de nos efforts communs. Je sais que Pierre Sisley ne travaille que d´une facon intermittente, ce qui est facheux et cela peut etre parce qu´il ne sent pas pris par la nécessité. Il y a aussi à s´assurer que toutes dettes sont payées. Enfin mon grand souci c´est la responsabilité qui nous fait un devoir de conseiller ces enfants et de placer leur avoir en de bonnes conditions. J´ai beau vouloir n´y pas penser, c´est plus fort que moi et je trouve que nous devons au plus vite régulariser tout cela. C´est urgent selon moi et c´est ce qui me fait insister à vous demander un entretien qui me procurera le plaisir de vous voir. Bien en hate et avec l´espoir de votre prochaine venue´ (Translation: ´I fully understand that your business commitments do not leave you all the time you would like, but there is the matter of the Sisley children to which we have become attached and which must be settled once and for all. These children should not get into the habit of asking Mr Chevalier for money as and when they need it and imagine that they have an inexhaustible supply. I know you are of this opinion, but they should be made aware of their situation as soon as possible. I am not qualified to deal with this, and I have already put in enough personal time and effort, so please do not lose sight of the ultimate goal of our joint efforts. I know that Pierre Sisley only works intermittently, which is annoying and it may be because he doesn't feel driven by necessity. There is also the matter of ensuring that all debts are paid. Finally, my main concern is the responsibility that makes it our duty to advise these children and to place their assets in good conditions. I can try as I might not to think about it, but I can't help it and I think we need to sort all this out as quickly as possible. I think it's urgent and that's why I'm insisting on asking you for an interview, which will give me the pleasure of seeing you. I look forward to it and hope you will come again soon´). A letter of fine and compassionate content. Some light creasing and one small tear (repaired to a very high standard and not affecting the text or signature). About VGFrancois Depeaux (1853-1920) French industrialist, art collector and patron.Alfred Sisley (1839-1899) British Impressionist landscape painter, a friend of Monet and Pierre-Auguste Renoir. Together the three artist would paint landscapes en plein air rather than a studio. Sisley died on 29th January 1899, just a few months after his wife had passed away, leaving two children, a son, Pierre, and a daughter, Jeanne.

COCTEAU JEAN: (1889-1963) French Poet, Playwright, Novelist, Artist, Filmmaker and Critic. A very private and tender letter with excellent content, also referring to Hitler, A.L.S., with his star, as was his occasional custom, by Cocteau, one page, 4to, n.p., n.d., to Jean Marais, in French. Cocteau sends this warm letter to his lover Jean Marais, during WWII time, stating in part `Mon Jeannot, Dire que j´ai la chance d´avoir des lettres qui s´envolent de ton clocher en zig zag et arrivent au Palais Royal. Rien au monde n´existe en dehors de tes nouvelles. Sache-le...´ (Translation: "My Jeannot, I have to say that I am lucky enough to have letters that fly from your bell tower in a zigzag and arrive at the Palais Royal. Nothing in the world exists apart from your news. You have to now it..") Further Cocteau refers to the Parisian apartment he shares with Jean Marais, saying `Hier je craignais de perdre notre appartement car le propriétaire me faisait un contrat inacceptable, hélas. Je l´ai vu cet après-midi et nous avons fini par nous mettre d´accord sur un bail... tu vois que, lorsqu´il s´agit de notre avenir, je ne chôme pas. J´ai un espoir sans bornes...´ (Translation: "Yesterday I was afraid of losing our apartment because the owner made me an unacceptable contract, unfortunately. I saw him this afternoon and we ended up agreeing on a lease... you see that, when it comes to our future, I am not idle. I have boundless hope...") Further again, and before concluding, Cocteau refers to Hitler using his capital initial "H", and stating `Tout ce qui arrive est atroce. On paye des fautes. Mais lui, H commet des fautes dans l´espace et dans le temps que seuls des gens comme nous devinent et sentent... Son apothéose ne peut qu´aller en queue de poisson. Je guette, je veille et je dors dans ta tour.´ (Translation: "Everything that is happening is atrocious. We are paying for mistakes. But him, H, commits mistakes in space and time that only people like us guess and feel... His apotheosis can only end in a damp squib. I watch, I look after and I sleep in your tower.") Very small minor age wear to edges, otherwise VG

NIKOLA I OF MONTENEGRO: (1841-1921) Nikola I Petrovic-Njegos. He first reigned as Prince 1860-1910 and later as the first and only ever King of Montenegro 1910-18. His grandsons were kings Alexander I of Yugoslavia and Umberto II of Italy among others.Rare D.S., `Nikola´, in Serbian Cyrillic, two pages, folio, Cetinje, former Royal capital of Montenegro, 4th June 1868, in Serbian Cyrillic. Wriiten to the first and third pages of the bifolium, being the second page an official contemporary translation into French. The document bears to the heading the large printed title "By the Grace of God, Nikola I, Prince of Montenegro and Berdas", and is the grant of a decoration to Monsieur Clairval, stating `In consideration of the services you have rendered to our people and to us, we have deemed it appropriate to grant you the decoration of the Order of the Cross of Prince Danilo I, instituted in memory of the independence of Montenegro...´ Bearing at the base and alongside the Prince´s signature a Royal ink stamp, also stamped to the third page. Small overall age wear, with small tear to the edge fold, otherwise GDanilo I Petrović-Njegoo (1826-1860) Ruling Prince of Montenegro from 1851 to 1860. Danilo was assassinated in August 1860, as he was boarding a ship at the port of Kotor (Cattaro).While he was still a student in Paris, Nikola succeeded his assassinated uncle Danilo I as prince of Montenegro.

ALBERT I: (1848-1922) Prince of Monaco 1889-1922. A fine black fountain pen ink signature (´Albert, Prince de Monaco´) and place and date, Lisbon, 23rd July 1904, in his hand to the recto of an attractive vintage blue and white embossed picture postcard featuring a small inset photograph of the Portuguese capital. Some very light, extremely minor age wear, VG

D´INDY VINCENT: (1851-1931) French composer. A.L.S., Vincent d´Indy, two pages, 8vo, n.p., 8th May n.y., to [Wilhelm] Enoch, on black bordered mourning stationery, in French. The composer states that he has read the Harmonium pieces by Cesar Franck that had been entrusted to him, and continues to remark ´Elles n´offrent pas, en realite, une manifestation capitale du genie du maitre. Neanmoins, elles pourraient presenter quelque interet, je dirais presque, historique, la 1ere (No. 4) etant comme une esquisse du petit choeur du "Vannier" et les deux autres se tenant mutuellement par un rappel de themes´ (Translation: ´They do not, in reality, offer a capital manifestation of the master's genius. Nevertheless, they could be of some interest, I would almost say historical, the 1st (No. 4) being like a sketch of the little choir of the ‘Vannier’ and the other two being held together by a reminder of themes´) and further adding ´J´ai corrige pas mal de fautes restees dans la copie et que votre correcteur avait laissees en litige. Faites ce que vous voudrez. La publication pourra en etre interessante pour quelques uns, mais evidemment ce ne sera pas une revelation´ (Translation: ´ I have corrected quite a few mistakes that remained in the copy and that your proofreader had left in dispute. Do what you like. Publication may be interesting for some, but obviously it won't be a revelation´). With blank integral leaf (a few very minor, small, light stains). VGThe music publishers Enoch Pere et Fils was founded in Paris in 1853 by Carl Enoch (1810-1883) and in 1880 Enoch´s eldest son, Wilhelm, took over the management of the business in France, whilst another son, Charles, managed another branch in England. Cesar Franck (1822-1890) French Romantic Composer whom d´Indy had studied under.

Vikings in East Anglia, St. Edmund (c.895-910), AR Penny, memorial coinage but barbarous, Capital A in inner circle, +SCE.AIDM, rev. Small cross pattée in inner circle, +M.AN.NAI, 1.34gm. (N.483; S.961), Good Very Fine, toned.

**SPRINGBANK 1969 44 YEAR OLD LOMBARD JEWELS OF SCOTLAND CAMPBELTOWN SINGLE MALT **the hammer price of this lot is subject to VAT at the standard rate**VAT may be cancelled or refunded, if the lot is exported from the UK within 90 days of the sale date. However, upon the buyer importing the lot to their destination, it may be subject to local import VAT, import duties and/or taxes, which is solely the responsibility of the buyer. For more information click here.Distilled: 16/07/1969 Bottled: 14/04/2014 Matured in Cask #7 Bottle Number: 116 / 260 41.1% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction."Classic, dusty, very mature, grippy but soft ...... I'm lost for words" - Whisky Magazine #130 Scored 9.3/10Lombard Tasting Notes - Delightful, slightly salty dimension to this whisky. It develops into a beautiful, well balanced, creamy finish. There are no condition issues to note. Please see additional photos.

**SPRINGBANK 1969 45 YEAR OLD LOMBARD JEWELS OF SCOTLAND 75CL CAMPBELTOWN SINGLE MALT **the hammer price of this lot is subject to VAT at the standard rate**VAT may be cancelled or refunded, if the lot is exported from the UK within 90 days of the sale date. However, upon the buyer importing the lot to their destination, it may be subject to local import VAT, import duties and/or taxes, which is solely the responsibility of the buyer. For more information click here.Distilled: 16/07/1969 Bottled: 29/07/2014 Matured in Cask #15 Bottle Number: 125 / 237 40.6% ABV / 75cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Lombard Tasting Notes - Great length with the lightly salted dried fruit and sweet, violet incense and dusty peat lingering. There is some minor damage to the bottom edge of the label. Please see additional photos.

**SPRINGBANK 1969 44 YEAR OLD LOMBARD JEWELS OF SCOTLAND CAMPBELTOWN SINGLE MALT **the hammer price of this lot is subject to VAT at the standard rate**VAT may be cancelled or refunded, if the lot is exported from the UK within 90 days of the sale date. However, upon the buyer importing the lot to their destination, it may be subject to local import VAT, import duties and/or taxes, which is solely the responsibility of the buyer. For more information click here.Distilled: 16/07/1969 Bottled: 14/04/2014 Matured in Cask #7 Bottle Number: 217 / 260 41.1% ABV / 70cl There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction."Classic, dusty, very mature, grippy but soft ...... I'm lost for words" - Whisky Magazine #130 Scored 9.3/10Lombard Tasting Notes - Delightful, slightly salty dimension to this whisky. It develops into a beautiful, well balanced, creamy finish. There are no condition issues to note. Please see additional photos.