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Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)"The Annunciation"Oil on canvas. It has lacks of painting.157 x 218,5 cm.Provenance: this lot is the couple of lot 81 from the auction, "Beauty and Devotion. Picasso between the Old and New World", 25th of April, 2024. A palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century.Specifically, our painting was placed next to its partner, "The Holy Family in the workshop of Nazareth".It is obvious that these two pieces were a pair, because the model used to portray Mary is the same in both paintings, as well as the basket with clothes that we find centering the scene is the same in both paintings.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission.It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context.In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter.Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez

Rudolf Marcuse (1878-1940), German, 'Junge Griechin', (1905), an alabaster figure of a girl seated on a Corinthian capital, on a rectangular marble base, 27 cm high.

Achille or Lodovico Farina (circa 1867-1932), two small faience albarelli, probably produced at William De Morgan's Sands End Pottery, one decorated with a shield and vines, the other with foliate motifs, both incised with a capital ‘F’ in a hexagram, and one further incised 'Earls Court, 1893'10cm high

A Charles I oak livery cupboard, of architectural form, the upper section with central arched panel flanked by doors with lozenge carved panels and with projecting column supports above an open shelf with similar column supports, 127.5cm wide, 55cm deep, 122cm highOverall appearance good, general wear, knocks and splits commensurate with age. The roof board with repaired front corner (using original piece), shrinkage gap to roof board has been filled with a fillet. Later locks. One applied moulding to front of bottom shelf is missing. Feet original with pleasant level of wear. One column has replaced section of capital but is hardly noticeable.

A carved alabaster capital of Corinthian design, initialled RI/CI, 39cm square, with a glass table top, glass 90cm square

France: Territorial planning - Manuscript Mémoires [des Intendants] sur les Généralités du Royaume A series of 12 volumes in manuscript on the Generalities of France, e.g. volume 1 with 338 numbered pages prefixed by a hand written title page, followed by a transcript of a letter of 20 leaves in manuscript, instructing a survey of France in the name of the King Louis XIV (1638-1714) entitled 'Lettre du Roy Ecrir a M... Intindant Commiss.r Departia dans la Province', folio, contemporary calf, gilt tooled with thistle motifs to each cornerThe paper variously watermarked including 'WB' surmounted by a coronet, 'J♡M' within an ovoid cartouche, a serpent within a circular enclosure flanked by armorial beasts and a badge below, as well as another of three balls within a laurel wreath and PHC with a fleur de lis Ombersley Court, Worcestershire A similar lot, solely for the generailty of Paris was sold Rossini, Paris, 9 July 2024, Lot 35. A similar manuscript version of certain elements of the current lot exists in the Biblioteka Jagiellońska (see link.)The text in these volumes is well documented and was republished by Arthur André Gabriel Michel de Boislisle in 1881 as 'Mémoires des intendants sur l'état des généralités dressés pour l'instruction du duc de Bourgogne'.Jean-Baptiste Colbert (1619-1683) was a French statesman who served as First Minister of State from 1661 until his death in 1683 under the rule of King Louis XIV. His lasting impact on the organization of the country's politics and markets, known as Colbertism, a doctrine often characterized as a variant of mercantilism, earned him the nickname le Grand Colbert. Colbert re-developed the French economy by raising tariffs and encouraging major public works projects, as well as strengthening the French East India Company to ensure expansion and constancy in supply chains. He became the founder of the French Merchant Navy and secretary of State for the Navy in 1669.The ambitious “Instruction on provincial administration”, spearheaded by Colbert, and the resulting comprehensive survey of France on behalf of the King issued in 1663 to the “masters of requests and commissioners stationed in the provinces” is thought of as the founding text of ‘territorial planning’. Colbert's ambitions played to the centralist ambitions of Louis XIV "Louis continued his predecessors' work of creating a centralised state governed from the capital [Paris]. He sought to eliminate the remnants of feudalism persisting in parts of France; by compelling many members of the nobility to reside at his lavish Palace of Versailles, he succeeded in pacifying the aristocracy, many of whom had participated in the Fronde rebellions during his minority. He thus became one of the most powerful French monarchs and consolidated a system of absolute monarchy in France that endured until the French Revolution"

A Neoclassical plaster cast capital of a female mask with flowers in her hair, 53cm high x 31cm wide

Elizabethan design oak 5' Kingsize four-poster bed, the canopy with projecting moulded and gadrooned cornice over applied strapwork frieze, Ionic capital over tapering fluted posts with cup and cover balusters carved with gadroons and acanthus leaves, terminating to square supports with applied strapwork and split turnings, the panelled headboard carved with a coat of arms and inscribed 'WJR' dated '1857', possibly for the Rawson Family who rebuilt Nidd Hall in 1825, with motto 'Reddens Laudes Domino', decorated with arcades and further applied strapwork, with floral and urn pattern chintz curtains and matching bedspread Provenance: Nidd Hall: acquired by Guy Reed from Richard Butler, 17th Viscount Mountgarret, in 1968Dimensions: Height: 232cm  Length/Width: 183cm  Depth/Diameter: 223cmCondition Report: The head and posts are connected by VONO bars, later side and end rails. The side rails do not close up completely and may need attention. Mattress is not included.

Near pair of large 19th century cut glass table lamps, each of columnar form with diamond cut tapering stem and silver plated Corinthian capital, raised upon a circular faceted foot (one slightly smaller), H71cm overall

Mid 20th century studio pottery shaped rectangular dish, painted with a stylised cockerel with a dash border in blue, in the style of Gustave Reynaud for Le Murier Pottery, black capital G mark to reverse, 34.5cm wide 

A pair of Delft tile inset carved and stained hardwood pilasters, elements 18th century and later; each with Composite Order capital in openwork high relief, above tiles decorated with birds on Solomonic stems, rising above musical amorini; 191cm high, 28cm wide

A brass standard lamp in Neoclassical style, 20th century; the electrical fitment on a Corinthian capital, with reeded shaft and stepped base, on four paw cast feet; 154cm high overall

A Pre-Columbian, Costa Rica, dark green jade pendant in the form of a turtle, 6cm longFound by the vendor's grandfather Charles Herbert Lankester (1879-1969), whilst farming for coffee in the Chachi and Las Concovas Cartago region, Costa Rica in the early 1900s. It is believed by the vendor that this item was brought to England before World War II.Charles Herbert Lankester (1879-1969) was a dominant figure of Central American orchidology. Better known as 'Don Carlos', Lankester was born in Southampton, England, on June 14 1879 he was offered a position to work as an assistant to the recently founded Sarapiquí Coffee Estates Company in Costa Rica. Many of the plants he saw and collected were new species. With no literature at his hand to determine the plants he collected, Lankester started corresponding with the assistant director of the Royal Botanic Gardens at Kew, Arthur Hill in 1910.He returned to England in 1920 to enrol his five children in English schools. Lankester travelled to Africa from 1920 to 1922, hired by the British Government to conduct research into coffee plantations in Uganda.In 1955, after his wife's death and already 76 years old, Lankester decided to sell his farm but retained the small part which contained his garden, a piece of land called "El Silvestre". Lankester moved to a house he had bought in Moravia, one of the suburbs of the capital, San José. On this farm, Lankester began his wonderful collections of orchids and other plants, which formed the basis of the Charles H. Lankester Botanical Garden of the University of Costa Rica.

A collection of carved wood columns, previously architectural and bedposts, 18th and 19th century; including a set of four with Normal capitals and knopped tapering shafts, 172cm high; a pair with simple Tuscan style capitals, 202cm high; a fluted example with Corinthian capital; and various others

A Pre-Columbian, Costa Rica, green/ grey tube pendant, on a modern leather thong, 7.2cm longFound by the vendor's grandfather Charles Herbert Lankester (1879-1969), whilst farming for coffee in the Chachi and Las Concovas Cartago region, Costa Rica in the early 1900s. It is believed by the vendor that this item was brought to England before World War II.Charles Herbert Lankester (1879-1969) was a dominant figure of Central American orchidology. Better known as 'Don Carlos', Lankester was born in Southampton, England, on June 14 1879 he was offered a position to work as an assistant to the recently founded Sarapiquí Coffee Estates Company in Costa Rica. Many of the plants he saw and collected were new species. With no literature at his hand to determine the plants he collected, Lankester started corresponding with the assistant director of the Royal Botanic Gardens at Kew, Arthur Hill in 1910.He returned to England in 1920 to enrol his five children in English schools. Lankester travelled to Africa from 1920 to 1922, hired by the British Government to conduct research into coffee plantations in Uganda.In 1955, after his wife's death and already 76 years old, Lankester decided to sell his farm but retained the small part which contained his garden, a piece of land called "El Silvestre". Lankester moved to a house he had bought in Moravia, one of the suburbs of the capital, San José. On this farm, Lankester began his wonderful collections of orchids and other plants, which formed the basis of the Charles H. Lankester Botanical Garden of the University of Costa Rica.

Box containing a quantity of USA related books including ' Washington, The Capital ', ' Nixon, Ruin and Recovery ' and others

Ca. AD 500 - 600.A Merovingian silver ring composed of a round hoop that enlarges on the shoulders and connects to a circular bezel. The bezel is engraved with a cross in the centre and capital letters on top of the crosses arms. For similar see: El legado de Hefesto, n.594.Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 9.9gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s.

A Collection of Japanese Woodblock Prints, including: Katsushika Hokusai "The Suspension Bridge on the Border of Hida and Etchū Provinces", "Fine Wind, Clear Morning (Red Fuji)", Shōtei Hokuju "View of Ochanomizu in the Eastern Capital" and Utagawa Hiroshiga "Sayo Mountain Pass", together with a further seven framed examples and various loose (qty)

History, horses, and general literature. The British Turf, and The Men Who Have Made It. Biographical Press, 1906, folio, 87 plates, morocco, rubed in places; BIEGEL (Peter) Racing Pictures, 1983, slip case; MUNNINGS (Sir A) Autobiography, 3 vols., 2001 reprint edition, slip case; Australian School Atlas, Collins Brothers, no date, circa 1900, 8vo, 40 coloured maps, cloth gilt; DOYLE (Sir A Conan) The Great Boer War, complete edition 1902, cloth; TELLEEN (M) A Century of Belgian Horses in America, 1991, gift inscriptions, half morocco; STREET (A G) Shameful Harvest, 1st edition 1952, 8vo, good in dust jacket, with others by Street; GOODE (J M) Capital Losses, a Cultural History of Washington's Destroyed Buildings, 1979, Smithsonian Institution, one of 133 signed numbered copies, full morocco gilt; AUSTEN-LEIGH (R A) Bygone Eton, 1936, folio, cloth, slightly soiled; others

LYSONS (Rev. Daniel) The Environs of London, being an Historical Account of the Towns, Villages, and Hamlets, within Twelve Miles of that Capital, 2 vols. in 4, 2nd edition, 1811, 4to, plates, some spotting and browning, calf, rebacked; DUGDALE (James) The New British Traveller, or Modern Panorama of England & Wales, 4 vols., J. Robins & Co. 1819, 4to, additional vignette half-titles, folding engraved map of England and Wales, county maps and plates, variable spotting and staining, recent half calf (8)

Two capital silver candlesticks, 3 lights, 2 parts, candlestick with attachment. Oval base and column with bandelwork and fluting. The attachment is provided with a large ball with fluting and 2 curled arms with acanthus leaf. The oval lights are provided with a pearl rim. The middle round light is clamped in a holder decorated with 4 lion macrons. The round light is also reversible as a decorative element. Candlestick, 925/000, MT.: WCFordham & A.Faulkner, Sheffield, jl.:S:1910. Attachment, 934/000, MT.: Hendrik Smit, Amsterdam, jl.:S:1827. Total size 12x41x49cm. Total with filled base approx. 3438 grams. One foot is somewhat dented, the whole is slightly out of shape, otherwise in good condition.

Garnet necklace and blood coral necklace with gold clasp, 585/000. Necklace with 4 rows of finely faceted (glass) garnets attached to a yellow gold rectangular clasp with yellow gold end pieces. The clasp is decorated with a garnet and seed pearls, 2 are missing, 36 cm. And a necklace of small round blood corals, ø 3.5 mm. length 70 cm. The necklace has a gold capital stick with eye. In good condition.

Capital silver bread basket, 833/000, oval sawn model with Biedermeier pattern with 4 claw feet and 2 handles of volutes with floral decoration. Around the bottom is an engraving: 8 May 1937 - 8 Nov. 1949. J.P.Rijkens - N. Kooijman. 36x26x14.5cm. approx. 735 grams. In good condition.

Capital yellow gold clasp, 585/000, with garnet and diamond. Large clasp in the shape of a flower with a silver top set with 8 oval faceted garnets and a round faceted garnet. In between set with diamonds with a rose cut. The clasp has 2 large yellow gold end pieces with single-cut diamonds. The yellow gold back of the clasp has beautiful floral engraving. 39x53mm. approx. 37.1 grams. In very good condition

Capital silver vase, 800/000, Amphora model richly decorated with acanthus leaves, garlands and 4 claw feet. 19x14x45cm. approx. 1728 grams. A single dent otherwise in good condition.

Capital teapot on stove, 934/000. Large teapot, belly model, placed on an elaborate foot with floral decoration. The pot is decorated with lobes, floral decoration and cartouches. A clamp lid with a flower as a knob. The curled handle and spout are decorated with flowers and acanthus leaves. The teapot is placed on a large round stove with 4 flower curled legs, decorated volutes and a rim with floral decoration. MT.: J.H.Schmidt, Amsterdam, 1854-1885. Total approx. 2345 grams. 28x18x40cm. In very good condition.

Registration No: JAS 767 Chassis No: BC26BY MOT: Exempt1 of just 23 RHD Bentley S2 Continental chassis to be bodied by James Young to their design number CV100Well specified with power steering, automatic transmission, electric windows and air conditioningVeteran of numerous BDC and RREC rallies and toursThe subject of over £100,000 in expenditure in its current ownership, now coming up to 19 yearsFresh from a complete engine overhaul with Overton at a cost of c.£30,000'In the twilight of their coachbuilding years, James Young had with these cars reached the pinnacle of excellence.' - Martin Bennett, Rolls-Royce and Bentley. In the 1950s and 1960s the Bentley Continental was the world's ultimate Grand Tourer, a car in which you could set off from any European capital in the morning and arrive at Monte Carlo fresh enough to play the tables that same evening. Introduced in the autumn of 1959, the Rolls-Royce Silver Cloud II and Bentley S2 appeared externally unchanged from their 'Cloud and S-Type predecessors, though the duo's performance was considerably enhanced by the new 6230cc aluminium-alloy V8 engine. Although wider and shorter than the 'six' it replaced, the new power unit fitted relatively easily within the engine bay, relocation of the steering box from inside to outside of the chassis frame being the most obvious alteration to the previous arrangements. Externally the new models appeared virtually unchanged, while beneath the skin Rolls-Royce's own four-speed automatic transmission was now the only one on offer and power steering had been standardised. Despite the popularity of the 'standard steel' bodywork, introduced when production of Rolls-Royce and Bentley cars resumed after WWII, a steadily declining number of independent coachbuilders continued to offer alternatives. Arguably the most stylish were those produced to clothe the Bentley Continental which, of course, was only ever available with bespoke coachwork. One of the most prominent of these surviving firms was James Young, a company that had established itself among the foremost coachbuilders for upmarket chassis by the end of the 1930s. The Bromley-based carriage-maker had bodied its first automobile in 1908, affiliating itself with a succession of quality marques throughout the 1920s and 1930s before being acquired by the Jack Barclay Group in 1937. Its factory was devastated by wartime bombing such that the company did not resume exhibiting at the London Motor Shows until 1948, continuing to offer coachbuilt designs of distinction on (mainly) Rolls-Royce and Bentley chassis until the arrival of the unitary construction Silver Shadow/T-Series range in the 1960s. One of just twenty-three, right-hand drive Bentley S2 Continentals to be fitted with four-door sports saloon coachwork by James Young, chassis BC26BY was initially earmarked for John Rogerson Esq, however, it was actually built to the special order of Greek businessman C.H. Dracoulis. Finished in Glasso Green with Beige leather upholstery, extras comprised of a private lock to the passenger door, rear reading light, electric front windows and leather-covered steering column levers. With Mr Dracoulis changing his mind too, the Bentley was actually supplied new to W. Turner Esq. in 1961. Entering the current ownership some forty-four years later, ‘JAS 767’ has since covered some 35,000 miles on various BDC and RREC tours with highlights including: ‘Arabian Gulf Adventure’ (2009), Northern Italian Lakes (2011). North West America / Canada (2013), South East America (2017). Touring Sweden in 2018, the S2 Continental has since restricted its sorties to the UK. Treated to more than £100,000 worth of maintenance and improvement work over the past nineteen years, some £41,000 was spent in the first two years of the vendor’s custodianship, on the engine, steering, brake and exhaust plus the discreet fitment of air-conditioning. Another £33,000 followed with the last major bill being for a thorough engine overhaul carried out by marque specialist Overton Vehicle Overhauls Ltd in 2022 (c .£30,000). Offered for sale with V5C Registration Document, tool kit, spare wheel and history file (invoices, hand-written notes, build records etc). For more information, please contact: Andreas Hicks andreas.hicks@handh.co.uk 07943584762

Registration No: GF 5087Chassis No: 46163MOT: ExemptSupplied new by Col. Sorrel to 'Montmorensie' and subsequently the property of J.M. Carrick, J. Montgomerie, A.R. Gooda, R.J. Rickards, D.E. Crowther and the vendorOriginal chassis, engine and transaxle. Front axle understood to be of Molsheim manufacture but no number discernedDecidedly elegant Weymann coachworkThere is no doubt ‘La Petite Royale’ succeeded where ‘(La Grande) Royale’ failed in terms of cementing Bugatti’s status as a luxury motorcar manufacturer; little wonder then that the model was reputedly among Ettore’s favourites. Le Patron would surely have approved of this particular example – chassis 46163 – too on the basis that it sports a scaled-down version of the magnificent semi-panelled Weymann Coach body which adorned his personal Type 41 ‘Royale’ when it won the 1929 Grand Prix d'Honneur Concours d'Elegance complete with ‘letterbox’ windscreen, kick-forward A-pillar, D-back and asymmetric rear windows. Invoiced to UK concessionaire Colonel Sorrel on 7th January 1930 for the princely sum of FF63,000 (including FF2,570 of extra fittings), the two-door Fixed Head was delivered a month later. Issued with the London number plate ‘GF 5087’ on April 2nd 1930, the Type 46’s first owner is simply recorded as ‘Montmorensie’ who we presume to have been the artist Sir Miles Fletcher de Montmorency, 17th Baronet Morres of Knockagh. Deriving an income from his Irish estates but residing in the English Capital, de Montmorency seemingly kept the four-seater until 1939/1940 when it was bought by Rodney Clarke Esq. for a mere £30! The co-founder of renowned Bugatti and Maserati specialists Continental Cars (and later Connaught), Clarke believed chassis 46163 to have been the Type 46 that he loaned to Cecil Clutton and Laurence Pomeroy for a test drive which was subsequently written-up in the April 1942 issue of Motor Sport magazine. Hand- and typewritten correspondence on file also reveals that ‘GF 5087’ was the car in which Pamela Clarke ‘missed being born by five minutes’ during 1943.Migrating to Scotland thereafter, the close-coupled four-seater belonged to J.M. Carrick Esq. of Coldstream, Berwick and then John Montgomerie Esq of Castle Douglas. The latter acquired it in 1954 and as the proprietor of James Gordon (Engineers) Ltd set about a ‘chassis up, body off’ restoration. Amazingly, much of the work is chronicled via a series of accompanying black and white photographs. Done on a piecemeal basis, the project had yet to be completed when Robert Prosser (acting on behalf of Robert Gooda Esq.) tracked the Bugatti to Castle Douglas during 1973. In two minds about selling, Montgomerie asked what he felt was an overly ambitious £4,000 for chassis 46163 and was somewhat taken aback to be pretty much handed a deposit there and then. Custodian for less than a year, Mr Gooda had the Type 46 re-registered as ‘GF 5087’ but apparently did little else prior to his premature demise. Advertised for £6,500 in the Thursday February 21st 1974 issue of Exchange & Mart, the Bugatti had in fact changed hands earlier that month being bought by R.J. Rickards Esq. Entering into correspondence with Mr Montgomerie, Mr Rickards received a wealth of information about the mechanical overhaul and was even sent the water pump. The engine is the original factory-fitted unit and is clearly stamped with the numbers ‘79’ and ‘195’. The former is the actual engine number, while the latter is the assembly number (and not that of a correct-type replacement, as had been previously posited). Mr Rickards would own the Bugatti for no less than thirty years during which time he repaired the ash frame, had the fabric panelling renewed in Blue by coachbuilder I. Wilkinson & Son of Derby and retrimmed the interior etc but, like his predecessors, did not finish it. Sold to its previous keeper Douglas Crowther Esq via the agency of Gavin McGuire Fine Automobiles in 2004, the Type 46 was further improved with all six of its alloy wheels being expensively refurbished before entering the current ownership a decade later.An automotive engineer by profession whose career took him all over the globe on various troubleshooting and project management missions, the vendor has had a lifelong passion for motorcars. Inspired by a petrolhead stepfather and racing driver mother, he has undertaken numerous restorations over the years and still has a 1932 Alvis which has been in his family since new. As well as completely rewiring the Weymann Coach including rejuvenating the ignition system (no mean feat given the lack of available information on the twin-plug set-up), he has had the instruments restored and the interior trim completed. Thought to have begun life with Marchal lighting, ‘GF 5087’ switched over to Scintilla components early in its life (the fuse box and horn are marked Scintilla too). More original than many surviving Bugattis, chassis 46163 has recently been inspected by the marque historian and Honorary Registrar of the Bugatti Owners’ Club, Mark Morris. Keen to be as authentic as possible in his endeavours, the seller has persisted with the Smith-Bariquand carburettor and reinstated the full-length running boards (a task made easier by the presence of the factory mounting holes). The ‘Metro Fully Flush Sliding Roof’ remains in situ and operational. Although a going concern, ‘GF 5087’ has yet to be run-in and / or de-bugged since the completion of its protracted, seven-decade, refurbishment. Housed within an engine-turned aluminium panel, the Jaegar instruments encompass a 150kmh speedometer and zeroed odometer.Aesthetics are subjective but we consider chassis 46163 to be among the most attractive Type 46s to have survived. Our sentiments being presaged by Cecil Clutton in Motor Sport eighty-two years ago: ‘This particular car is undoubtedly one of the most handsome ever, as is universally agreed by all beholders . . . The body is a two-door, four-light Weymann, with a large travelling trunk behind. The wheels are of the aluminium type. Some 5-litres are rather “lumps” in appearance, but this one is essentially “sleek.” An overall height of only 5’ 3”, as against a wheelbase of no less than 11’ 6”, largely contributes to the exceptionally fine appearance’. The potential jewel in many a collection and a fabulous opportunity for Bugattistes everywhere, this glorious ‘Petite Royale’ is offered for sale with V5C Registration Document, history file, Mark Morris report and spare block (which was purchased from marque specialist ‘Ivan Dutton’ on a ‘just in case / you never know’ basis).For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737

Great Indian Peninsula Railway Coffee Pot, A Copeland Spode Porcelain Coffee Pot, white ground, decorated with blue and gilt decoration, with the Crest of the Great Indian Peninsular Railway 1849 to centre, Condition: body excellent condition, no losses , lid with small chip to lug The Great Indian Peninsula Railway (GIPR), which later evolved into the Central Railway under the umbrella of Indian Railways, had its headquarters at the Boree Bunder in Mumbai, known today as the Chhatrapati Shivaji Maharaj Terminus. Established on 1 August 1849 through the Great Indian Peninsula Railway Company Act 1849 (12 & 13 Vict. c.83) by the Parliament of the United Kingdom, it started with a share capital of £50,000. In a significant move, on 21 August 1847, the GIPR entered into a formal contract with the East India Company to construct and operate a 56 km long railway line. This line aimed to serve as part of a crucial trunk line connecting Bombay with Khandesh and Berar, thus establishing vital transportation links across various presidencies of colonial India. The Court of Directors of the East India Company appointed James John Berkeley as the Chief Resident Engineer, with Charles Buchanan Ker and Robert Wilfred Graham serving as his assistants. Their expertise was instrumental in the successful execution of the project. The inauguration of the GIPR marked a milestone in India's transportation history, as it became the country's first passenger railway. The initial 21 miles (33.8 km) section, connecting Bombay (now Mumbai) and Tanna (present-day Thane), commenced operations in 1853, heralding a new era of railway travel in the subcontinent. On 1 July 1925, the management of GIPR was transferred to the Government, signifying a shift towards greater state control in the railway sector. Eventually, on 5 November 1951, the GIPR was merged into the Central Railway, consolidating its operations within the broader framework of India's national railway network.

Crummles hand painted enamel pill boxes including; places, Harrow, St Peter’s Church, The Capital Washington; etc (27)

Coins - a Royal Mint Piedfort Silver Proof Coin Set 2010, Capital Cities, London, Edinburgh, Cardiff and Belfast, each encapsulated, cased with certificates

Royal Flying Corps Insignia and Button. A good selection of Royal Flying Corps Insignia comprising of an original very fine tailor’s example of a Pilot’s qualification wing in fine cream and brown cotton, an Other Ranks’ original text book cloth issue shoulder title, ‘Royal Flying Corps’ in white capital cotton letters on a black background, an original four bladed propeller & star worn above the three rank chevrons of a Sergeant denoting the rank of Flight Sergeant, all in white and brown cotton on a khaki backing, a Royal Flying Corps other ranks scarce full size brass button, much rarer that the officer’s version as many other ranks wore the general service button, all with signs of wear, some cloth badges with signs of having been very carefully removed from uniforms, one with a small moth nip on the khaki backing, generally very good condition, scarce (4) £240-£280

Australia. The Admiralty (publisher), East Coast Queensland - Brisbane River, 1875 [but 1899], large uncoloured engraved sea chart, old folds, some repaired marginal closed tears, old folds repaired on verso, 1010 x 690 mmQTY: (1)NOTE:This important landmark of the coastal surveying of Australia depicts the first advanced scientific survey of the estuary of the Brisbane River, featuring the capital of Queensland and its route of access to Moreton Bay. It is based on surveys conducted in 1873 by Commander Edward Parker Bedwell and Lieutenant Edward Connor, as part of an extraordinary effort jointly sponsored by the British Admiralty and the Queensland government.

-- Bismarck umfassend über Finanzpolitik-- Bismarck, Otto Fürst von, Reichskanzler, Begründer eines geeinten Deutschen Reiches (1815-1898). Eigh. Brief m. U. "v Bismarck". 7 S. Gr. 4to. Varzin 31.X.1869.An den (nicht genannten) preußischen Finanzminister Otto von Camphausen, vier Tage nach dessen Berufung durch König Wilhelm I. Sehr umfangreicher und bedeutender Brief über die Finanzkrise, den Staatshaushalt und die Steuerpolitik Preußens. "... Bezüglich der beiden ersten Punkte in Ihrem gefälligen Schreiben vom 29 habe mich telegraphisch schon ausgesprochen. Was den dritten, die Convertirung der Schatzscheine unter Erweiterung der Schuld um 2 bis 3 Millionen zur Deckung des Deficits betrifft, so konnte ich mich nicht mit telegraphischer Kürze fassen. Ich schicke voraus, daß ich in dem Augenblicke wo ich den Geschäften fern stehe, Sie aber eine schwierige Erbschaft, cum beneficiis natürlich, angetreten haben, und in wenigen Wochen eine seit 2 Jahren verschleppte Krankheit heilen, oder doch den Patienten bis zum 1 Januar marschfähig machen sollen, daß ich unter solchen Umständen natürlich nicht den Anspruch auf ein von hieraus zu übendes veto gegen irgend ein[e] der von Ihnen angeregten Maßregeln erheben kann ... Ich halte es für unrichtig, daß ein Deficit, welches aus einem dauernden, durch nachhaltige Einnahmeausfälle u. Ausgabensteigerung bedingten Mißverhältniße zwischen laufenden Einnahmen u. Ausgaben, sich als Nothwendigkeit ergiebt, durch Capitalbestände des Staates oder gar durch neue Schulden gedeckt werde, weil man Hoffnungen auf Steigerung der Einnahmen sezt, die durch keinerlei Bürgschaft zur Sicherheit gemacht sind. Meiner Überzeugung nach ist es die Pflicht jedes guten Haushalters, in solchem Falle ungesäumt für Vermehrung der Einnahmen zu sorgen, die Nothwendigkeit davon überall öffentlich in den Vordergrund zu stellen, u. ... eine vom Capital zehrende Wirthschaft zuzulassen; wenigstens nicht ohne Versuch soliderer Abhülfe, u. nicht ohne Protest gegen Landtagsbeschlüsse welche den Staat zu unsolider Wirthschaft nöthigen. Es ist gewiß nicht von Bedeutung, ob wir 2 Million[en] Vermögen oder Schulden mehr haben; aber von Bedeutung ist das Einreißen der kindischen Art mit welcher nachher im Landtage der nöthige Geldbedarf versagt u. die Regirung für dessen Beschaffung u. Verwendung dennoch verantwortlich gemacht wird. Die Abgeordneten u. die Wähler werden auf diese Weise niemals ihrer eigenen Verantwortlichkeit für das Staatswohl sich bewußt, u. der Wähler gewöhnt sich jedem Schwätzer zu glauben der auf die Regirung schimpft, Geld von ihr verlangt, aber jede Steuer abzulehnen verspricht. Diese Krankheit ist eine sehr ernste u. liegt tief in der Unselbständigkeit eines Volkes, welches seit Jahrhunderten gewöhnt ist, die Regirung allein für alles sorgen zu lassen. Wir werden ohne ernste Krisen zur Heilung dieser Verkehrtheit nicht gelangen, namentlich so lange wir mit Abgeordneten zu thun haben, deren letztes Argument in der Frage wurzelt, ob sie wiedergewählt werden ...". Es folgen 4 weitere Seiten solcher Erörterungen, und der Brief gleicht einer finanz- und wirtschaftspolitischen Grundsatz-Rede Bismarcks. - 1 Faltenriss; sonst gut erhalten.

Sir William MacTaggart FRSE, RA, PPRSA (1903–1981) Scottish "La Logie" (1929) Signed, oil on canvas, 54cm by 74cm Provenance: The Collection of Donald McKay, Scotland On loan to Kirkcaldy Art Gallery & Museum Duncan R Miller Fine Arts, London Thence by descentExhibited: "William MacTaggart", Scottish National Gallery of Modern Art, Edinburgh, 1998 "Anne Redpath and the Edinburgh School", Duncan R Miller Fine Arts, London, 2004.no.1Born in Midlothian, MacTaggart was grandson of the leading Scottish landscape artist William McTaggart (1835-1910). Having studied at Edinburgh College of Art from 1918 to 1921, he later returned to the capital to teach between 1933 to 1959, before becoming President of the Royal Scottish Academy for five years. The artist drew inspiration from French artists such as Georges Rouault as well as the works of Edvard Munch, as well as being interested in the use of colour as a way of conveying emotion, using this passion to expressively depicted both landscapes and still lifes. Some light surface dirt. Slight stretcher shadow. Area of fine craquelure upper left side approximatley 3cm vertically within the strecther shadow and an area to the centre of the right stretcher shadow. Repair to a small hole upper right of the sky (see patch to the reverse). The canvas is very slightly loose on the stretcher. There is the odd small sporadic area of scattered fine craquelure, mostly within the pale aqua colour within areas of the sky, the white impasto of the waves, see images. The work is glazed and has some light surface dirt and debris trapped under the glass.

Viktor Deni (1893-1946) – Lithograph in colours – Poster – “The Wave Of Revolution Grows Against Capital, Fascist Terror, Hunger And War” (1931), printed by Ogiz-Izogiz, Moscow, 28.25ins x 40.5ins

A pair of 19th century mahogany brass mounted candlesticks. With cast urn capital and drip pan, raised on tapering spiral carved column and circular foot, height 32.5cm. (2)

A BRONZE SUNDIALBY NEGRETTI & ZAMBRA, LONDON, 19TH CENTURYwith concentric bands for minutes, hours, 'Watch Fast Watch Slow' and months around a compass, with a shaped gnomon and on three short feet, on a pedestal with a foliate carved capital on a cylindrical granite column and a stepped, octagonal foot35.8cm diameter (sundial), 135cm high (max)ProvenanceFrom the collection of Charles William Martin, 1850-96, of Quorn Place, Leicestershire. In 1886, Martin founded the Quorn Ranch Company in Alberta, Canada, one of the most famous British North American ranches, importing British horses and Angus cattle to the area.

A PAIR OF POLYCHROME PAINTED PINE HALF-COLUMNSPROBABLY ITALIAN, 19TH CENTURY AND LATEReach decorated to simulate marble, with a leaf carved capital above a stem hung with drapes (2)163.5cm high, 39.5cm wide, 21cm deep

Nine Lego Architecture building sets, comprising No. 21029 Buckingham Palace, No. 21006 The White House, No. 21020 Trevi Fountain, No. 21022 Lincoln Memorial, No. 21042 Statue of Liberty, No. 21015 Leaning Tower of Pisa, No. 21034 London, No. 4000010 Lego House and no. 21030 United States Capital Building, boxed with instructions (contents unchecked, light corner scuffs and creases to boxes).

A French gilt-bronze mounted breche violette marble pedestal column, late 19th century, with a Corinthian capital and stepped, square base, losses to foot of shaft, 136.5cm highCondition Report: The top plateau is missing and there are two protruding brass dowels where the top would have originally been secured into place.  The gilt capital and other mounts to the base of the shaft and plinth have light wear and tarnishing consistent with age and use.  The top of the shaft with some nibbled to the edge where it joins the capital.  There is a small area to the middle of the column shaft with a small amount of in-fill. There is a section of loss to the foot of the shaft and two further chips also to the foot.  The plinth base with nicks and losses to the leading edges and corners.  Some of these losses have been infilled.  The top dimensions are: diagonal across the top - 33.3cm; wide left-->right - 26.5cm.

Entertainment autograph collection includes Joe Brown, Rosko, Roger Scott Capital Radio and more. May yield good value. Appx 8 in collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Assorted badges comprising of sepia photograph of Sheffield United Football Club 1901-1902, 35mm diameter; two Fattorini gilt brass flag shaped Church Army Hut Day badges with blue building on white background, 25mm long; a Fattorini gilt metal with blue and white enamel Thumbs Up flag shaped badge, 28mm long; Fattorini gilt brass and coloured enamel flag shaped badge, with two smoking males and red cross and blue enamel banner, 31mm long; gilt brass flag shaped with white and yellow enamel and central coat of arms, 25mm long; a commemorative boxed Salvador Dali Museum square shaped badge, with blue enamel Mickey Mouse, 32mm square; unnamed brass and black enamel A.R.P. badge with central red capital E, 22mm long; a pressed tin 1951 Festival of Britain souvenir badge, 35mm wide; an unnamed brass and red enamel O.R.A. coat of arms badge, surmounted with a head of a dear, 25mm long; unnamed mounted badge with two green houses on orange background, 35mm diameter; Union Made 'I Do Too'  blue lettering on white background with red stripes, 30mm diameter; similar 'I Like Ike' badge, 30mm diameter; Allied Printing Eisenhower in Morse Code, white badge with blue Morse Code, 30mm diameter; a Green Duck Al Sirat Grotto Circus Official badge, cream tin plate badge with blue lettering, 60mm diameter; two Damian Hirst design multi coloured spots badges, on white background, 30mm diameter; Whitehead & Hoag Hummingbird badge, 21mm diameter; Bastian Brothers Aubudon Society badge, decorated with 20mm diameter; one similar with a thrush on blossom branch; and one other; six vegetable pins, possibly made from papier mache; two coloured Bakelite eagles in flight, 48mm wide; one in blue and other in red; two Nenette and Rintintin woollen figures

A REGENCY GILTWOOD AND GESSO AND FAUX MAPLE GRECIAN HARPBY SÈBASTIEN ÉRARD (1752-1831), EARLY 19TH CENTURYwith a fluted column, the capital decorated with winged classical maidens, the plinth with palmettes and with eight pedals on paw feet, the brass plate inscribed 'Sebastian Erard's Patent N.2879, 18 Great Marlborough Street, London, Maker To The Royal Family his most Christian Majesty the King of France and H.I.M. The Emperor of all the Russias', together with a brass music stool with velvet seat (2)170.2cm high, 84cm deepProvenanceThe contents of The Grange, Wendover.

A PAIR OF GILT BRASS AND PATINATED TABLE LAMPSIN EMPIRE STYLE, 20TH CENTURYeach with a Corinthian capital above a grapevine wrapped column, with shades, fitted for electricity (2)57.8cm highProvenanceThe contents of The Grange, Wendover.

A Frisian grandfather clock, Friesland, mid 19th century. Oak case, the curved hood is crowned by brass cartouches, pilasters with Corinthian capital and base as styles, brass decorated dial with a fantasy landscape in the arch, brass applications with four seasons on the corners, the dial ring with Roman numerals indicates the hours and minutes, h 130 cm.

A Groningen model mayor's clock, 19th century. Oak case, double hood with crowning of Atlas and trumpet-blowing angels, pilasters with brass Corinthian capital and base as styles, polychrome decorated dial, arch with fantasy landscape and moon indication, dial ring with Roman and Arabic numerals indicates the hours, minutes and alarm setting, the clockwork with going, alarm and striking mechanism on the whole and half hour, h 165 cm.

A two-door cabinet, Northern Netherlands, circa 1800. Curved hood with carving of a vase on a foot, surrounded by leaf motifs, ebonised columns with brass capital and base as styles, door panels with rosettes and band ornament, three drawers in the lower cabinet, brass ring fittings, fluted styles, resting on similarly conical legs, h 265 x w 190 x d 56 cm.

A walnut veneered column clock, France, Napoleon Trois, ca. 1870. Capital and base with marquetry in floral motifs, white enamelled dial with black Roman numerals, gilded surround with relief in leaf motifs and provided with a ditto flower garland, h 42 cm.

Large collection of Railway and Underground books with some general transport titles (135), including Mr Beck's Underground Map, Underground Maps after Beck, Gresley's A3s - Tuffrey, Garretts by Essery and Toms, by the same authors Claughtons/Patriots, Jubilees, Capital Transport - London's Secret Tubes, Southern Branch Lines - Welch, Queen Elizabeth 2 - Thatcher, with many other general railway titles, some items on model collecting and train/overland travel, F-E, (135)

Fernando Torres blue and white No.9 Chelsea short sleeved shirt 2011/12 , Player issued, Adidas, size 9, crew neck collar, embroidered badge with Help a Capital Child printed on the front, the reverse lettered TORRES and the Barclays Premier League flash on both sleeves. 

A harp, carved wood and gilt plaster en relief, spiral column topped by medieval capital with figures, burr-walnut, Scot pine and Brazilian rosewood veneered wooden resonance case, French, 19th C. (2nd half), missing some strings, minor defects, signs of use, mechanism requiring maintenance, Scot pine base, marked PIERRE ERARD - 13 RUE DU MAILE PARIS, numbered 2818, Dim. - 177,5 x 89,5 x 48 cm

ITEM: Ring fragment, Ankhesenamun, Tutankhamens queenMATERIAL: FaienceCULTURE: EgyptianPERIOD: Amarna period, 1330 B.CDIMENSIONS: 20 mm x 12 mmCONDITION: Good condition, fragmentary and repairedPROVENANCE: Ex Museum Exhibiton of the Arbeitsgruppe für Biblische Archäologie, Germany (Deaccession)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Ankhesenamun was the queen of Egypt during the 18th Dynasty, most famously known as the wife of Pharaoh Tutankhamun. She was born Ankhesenpaaten, the daughter of the heretic king Akhenaten and Queen Nefertiti, during a period of significant religious upheaval in Egypt when Akhenaten attempted to establish a monotheistic worship of the sun god Aten. Like many members of the royal family, Ankhesenamun's name originally reflected her allegiance to the Aten, but after the death of Akhenaten and the restoration of the traditional polytheistic religion, her name was changed to Ankhesenamun to honor Amun, the chief god of the restored pantheon. Her life was deeply intertwined with the political and religious shifts of her time.As the wife of Tutankhamun, Ankhesenamun played a significant role in the young king’s short reign, which began when he was about nine years old. Together, they sought to restore Egypt to its former religious traditions, moving the capital back to Thebes and reinstating the worship of Amun. Despite their efforts to stabilize Egypt, their reign was brief, lasting only around nine years, and they faced personal tragedies as well. Archaeological evidence suggests that Ankhesenamun may have borne several children, but none survived infancy, as revealed by the discovery of two mummified fetuses in Tutankhamun's tomb.After Tutankhamun's untimely death around 1323 BCE, Ankhesenamun's fate becomes more obscure. Historical evidence indicates that she may have made a desperate bid to secure her position by writing to the king of the Hittites, requesting to marry one of his sons, a move that was highly unusual and indicative of her precarious situation. However, the prince was killed on his way to Egypt, and Ankhesenamun disappears from the historical record soon after. It is believed that she may have been forced to marry Ay, a high-ranking official who succeeded Tutankhamun as pharaoh, but her ultimate fate remains a mystery, leaving scholars to speculate about the end of her life.

A small silver owl desk seal/stamp by Sampson Mordan, Chester 1905 - capital P in reverse to underside, 1.25".

Brass lamp base in the form of a fluted column with Corinthian capital. Measures approx 56cm tall.

"1000 US dollar" share dd 1968 of Ford International Capital Corporation "1000 US dollar" aandeelpapier dd 1968 voor Ford International Capital Corporation - 35 x 25

A mahogany cased time piece, late 19th Century, the case with Corinthian capital columns to the corners, the dial with Arabic numeral chapter ring, with brass movement, 14.5cm high

dating: 1870 provenance: Kingdom of Italy, Made of gilded bronze. On the obverse, the king (left), standing in military uniform, receives the urn containing the plebiscite votes from a winged genius; on the left, the allegorical armoured and helmeted figure of the city of Rome greets the king, holding a staff with 'S.P.Q.R.'; on the left side, the Capitoline Wolf at the base feeding the twins; on the exergue line 'FINARDI INV / SIOTTO SC'. On the reverse, 'SPLENDIDISSIMO RIASSUNTO 40.785 VOTI AFFERMATIVI SOVRA 40.831 VOTANTI'; in the field, between laurel and oak branches tied at the bottom by a ribbon ‘'ALLA FAUSTA MEMORIA DELLO SPLENDIDO PLEBISCITO DI ROMA AVVENUTO IL II OTTOBRE MDCCCLXX IN CUI CONCORDE AI VOTI IN PARLAMENTO L’ETERNA CITTA SECONDAVA LA PROPRIA ASPIRAZIONE E DEGLI ITALIANI TUTTI DUCE VITTORIO EMANUELE II CHE A FRONTE DI MILLE OSTACOLI VOLLE COMPITA LA GLORIOSA OPERA INIZIATA DAL MAGNANIMO DI LUI GENITORE CARLO ALBERTO DEDICATO A S.A.R. IL PRINCIPE UMBERTO DI SAVOIA'; sotto 'CONCEPI G. SARACENI'. In original red Moroccan leather box imprinted with gilded floral motifs. The Plebiscite of Rome took place on Sunday 2 October 1870 to sanction, through the vote of the Roman people, the annexation of the territories of Rome and Lazio to the Kingdom of Italy after the Fall of Rome. In the city of Rome the victory of the YES was overwhelming. On 3 February 1871 the Capitoline city was then proclaimed Capital of the Kingdom of Italy. diameter 10.8 cm.