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Ca. AD 200 - 300. A gold ring with a shallow D-section round hoop with enlarged column-capital shaped shoulders. The round bezel secures a carnelian intaglio depicting a standing Artemis holding a bow and arrows in her right hand. Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 12.91g Provenance: Private UK collection; previously acquired on the Swiss art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 350 - 300 BC. A red-figure pottery bell krater with a large body, short splayed foot, a flanged mouth and two well-preserved horizontal handles. The krater features traditional patterns, such as the laurel wreath under the lip, and the meander pattern along the bottom of the body. Side A is decorated with a standing naked Nike resting on top of a column with ionic capital, with outstretched wings, embellished with pearls and holding a large mirror in her right hand. In front of her, a seated noblewoman wearing a long chiton, holding in her left a large case. Side B is decorated with two standing men around a column-shaped altar decorated on the top. They each wear a long cloak and a diadem. The handles are surrounded by a large palmette motif. Size: 325mm x 310mm; Weight: 2.49kg Provenance: Private UK collection, acquired on the Dutch art market; previously acquired on the Belgian art market; Peter van der Elst, Liege, 1987. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

BARRY McGHEE FOR PARTICK THISTLE F.C., LIMITED EDITION FOOTBALL, 2015 This is one of 2,000 produced in conjunction with visual artist Barry McGhee, and exclusively handed out to attendees at Firhill in 2015 to celebrate the clubs partnership with Kingsford Capital.

WILLIAM BRADLEY LAMOND RBA (SCOTTISH 1857 - 1924), MAKING BANNOCKS oil on canvas, signed, titled label verso framed image size 36cm x 46cm, overall size 47cm x 55cm Label verso: Forrest McKay, Edinburgh Provenance: Bonhams, Edinburgh, 9th June 2011 lot 167. Note: William Bradley Lamond was born at Newtyle, Angus. He had no formal art training and worked for the Caledonian Railway company for many years. He initially specialised in portraits and later worked on landscapes which have been described as "vigorous impressionistic scenes in oil – with a strong use of colour". He was elected a member of the Royal Society of British Artists in 1906, and exhibited at the Royal Academy (London), Royal Scottish Academy and Glasgow Institute of the Fine Arts. William Bradley Lamond first publicly exhibited his work at Dunfermline's Fine Art Exhibition in 1883, followed by the Dundee Fine Art Exhibition in 1884. Five years later he showed at the Royal Scottish Academy for the first time with the painting "A Mile Abune Dundee". In 1890 he became one of the founding members of the Dundee Graphic Arts Association and had work shown at Robert Scott's gallery in the city. His first notable commission came the following year – a presentation portrait of Sgt Major Kilgour of the Dundee Highlanders. Around 1894, he hit on one of his most profitable subjects – shore scenes featuring seaweed gatherers at work with horse and cart. He showed one such scene at Scott's which the Evening Telegraph hailed alliteratively as "a brilliant bit of brightsome work". It was soon bought by a local collector and Lamond painted many more variations on the same theme, including "A Breezy Day" (1896). In 1895 he had his most successful year yet, showing at the Glasgow Institute and the RSA and ending with an exhibition of paintings and sketches in his studio at 61 Reform Street. Although Lamond eschewed modern art, his compositions were often regarded as distinctive due to his preference for capturing particular effects rather than selecting subject matter because of its social or symbolic meaning, in contrast to other Dundee painters such as John Duncan or Stewart Carmichael. In 1898, 60 of his paintings were auctioned by William Fyfe at the City Assembly Rooms, fetching prices of up to 19 guineas. In 1900 he showed at the Royal Academy (London) for the first time and soon began to cultivate a London audience. In 1902 he opened his first one-man show in London, at Clifford's Gallery in Haymarket. Although many Dundee illustrators and cartoonists had enjoyed success in London (such as Martin Alexander and Max Cowper), the city's painters had rarely made such an impact in the capital. Lamond returned to London in 1903 to undertake a number of commissions and later that year was elected a member of the Royal Society of British Artists, recognised as "a painter of strength, with a true eye for colour harmonies and a special aptitude for interpreting the beauties of northern landscape and coast scenery". He continued to show work at the exhibitions of the RBA, RSA, Glasgow Institute and GAA but A, but in 1906 his health broke down. By summer 1908 Lamond was back in Dundee, where he held an exhibition of his latest work in his new studio at 3 Constitution Road; the following year he moved to 27 Bank Street where he would remain for the rest of his life. In 1915 he gained a celebrity patron in the person of music hall legend Harry Lauder, who commissioned two paintings from him and visited him periodically in both Dundee and Auchmithie. During the Great War, Lamond continued to paint as much as ever, spending his summers in Auchmithie then showing the results in exhibitions in his studio each autumn. Lamond died of pneumonia in 1924 at his home in William Street. Thirty-two of William Bradley Lamond's paintings are held in Scottish public collections.

ARUNDEL SOCIETY; an 'Alphabet of Capital Letters' folio from Italian Choral Books, 58 x 45cm, and a large volume of 'Architectural Studies in France', with illustrations, 57 x 40cm (2).

A reclaimed architectural painted pine doric column capital together with one other, (incomplete) 28 cm high x 56 cm x 17 cm (af)

Lysons, Rev Daniel: The Environs of London…within 12 miles of that Capital (5 vols.). T Cadell, 1792-1800. Complete with all maps and plates, but without the supplement volume. Later half leather over marbled boards and new endpapers. VG (5)

Two Japanese woodblock prints, 20th century, after Utagawa Hiroshige (Japanese, 1797-1858), one Mimeguri bosetsu (Twilight Snow at Mimeguri) from the series 'Tōto meisho no uchi Sumidagawa hakkei (Famous Places in the Eastern Capital: Eight Views of the Sumida River)', the other Kameido Tenmangû keidai yuki (Snow in the Precincts of the Tenman Shrine at Kameido), from the series 'Famous Places in the Eastern Capital (Tôto meisho)', oban,22.5 x 34.5cm and 25.5 x 38cm (2)Condition ReportMimeguri bosetsu - creasing marks to edges, stained to top corners.

Pair of Neoclassical Empire design mahogany open bookcases, the rectangular top with reeded edge over a plain frieze decorated with a brass mount of the Greek god Hermes, the single shelf flanked by reeded square pilaster uprights, surmounted by a brass capital in the form of a female Egyptian bust, with human feet terminals, lower moulded edge on skirted baseDimensions: Height: 79cm  Length/Width: 78cm  Depth/Diameter: 27cm

I19th century Neoclassical Italian bronze standard lamp, the globe finial surmounted with a bronze statue of Mercury after Giambologna (1529-1608), on a triple sconce branch decorated with a relief mask of the goddess of the moon, Luna, surrounded by moulded scrolling foliage, the light fittings on anthemion decorated branches, with draped chains attached, over an urn shaped capital with floral decoration, the fluted column over a gadrooned collar, the tripod base in the form of three out-splayed cabriole supports with lappet knees and paw feet, separated by anthemion finials and pierced inverted palmette bracketsDimensions: Height: 225cm Condition Report: Requires re-attachment

A white and grey mottled marble column with a gilt composition Corinthian capital

A 20thC Royal Dux ceramic table lamp, fashioned as a Biblical group, depicting a young man and woman, producing water vessels beside a pillar with a decorative capital  bears an impressed, moulded mark  17"h

* GERARD BURNS (SCOTTISH b. 1961), RED COAT IN WINTER oil on canvas, signed framedimage size 39cm x 60cm, overall size 59cm x 79cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* SYLVIA ALLEN (SCOTTISH b. 1951), SEATED NUDE oil on canvas, signed, titled versoframedimage size 86cm x 71cm, overall size 98cm x 83cmNote 1: Handwritten label verso and further study versoNote 2: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989. Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery,Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

* HAZEL NAGL RSW RGI PAI (SCOTTISH b. 1953), BOUQUET mixed media on board, signed, titled versomounted, framed and under glassimage size 29cm x 25cm, overall size 54cm x 50cm Note: Hazel Nagel is a graduate of Glasgow School of Art, where she studied Drawing and Painting. Following graduation, she lived and worked at the Art School’s workshop at Culzean Castle where she developed an interest in landscape painting in response to the varied and dramatic surroundings. She is widely known for her still life and landscape paintings, her preoccupations being imparting a sense of space and light and an expressive impulse. She handles watercolour superbly, layering veils of translucent colour through her work. In 1988 she was elected to the RSW and to the RGI in 2000. She has won a number of awards including the RGI - Sir Alexander Stone Prize, RGI - Mabel Mackinlay Award, RGI - Eastwood Publications Award, SAAC Prize, PAI Prize, 1st Prize Laing Competition. She exhibits widely and has work in a number of Public Collections including The Fleming Collection (London), The Royal Bank of Scotland, Glasgow University, Common Market Enterprises, Combined Capital and Scottish & Newcastle Breweries.

A rare and exceptionally well-documented Great War A.F.M. group of four awarded to Bristol F.2b fighter pilot, Sergeant W. ‘Cockney’ Rogers, 11 and 48 Squadrons, Royal Flying Corps and Royal Air Force - decorated in recognition of his hazardous work with the Ferry Service, he went on to become one of civil aviation's 'Greats' Described as a ‘man bereft of nerves’, Rogers was a founder pilot of Imperial Airways, and set about blazing a trail of 'firsts' in the 1920s and 1930s. His friend 'GPO' Olley may have beaten him to the one million miles flown mark in 1931 but 'Cockney' claimed a 'royal first' in March 1928, when he flew King Amanullah of Afghanistan over London. His Majesty - the first King to have taken to the skies over the capital - rewarded his pilot with the Order of the Throne, in gold. Rogers had already flown the first commercial flights to Norway and Sweden, and had amassed 10,500 flying hours by 1935 - finally retiring from Civil Aviation in 1948, doubtless having lost count of how many flying hours he had amassed! Air Force Medal, G.V.R. (1018 Sergt. Mech. Rogers, W., R.A.F.) on 1st type horizontal striped riband, suspension slightly loose; 1914-15 Star (1018 1. A.M. W. Rogers. R.F.C.); British War and Victory Medals (1018 Sgt. W. Rogers R.F.C.) together with the case of issue for the Afghan Order of the Throne (awarded in 1928, lost in 1933), nearly extremely fine (lot) £3,000-£4,000 --- Provenance: Dix Noonan Webb, June 1996 A.F.M. London Gazette 1 January 1919. Walter ‘Cockney’ Rogers was born in Vauxhall, London, 31 May 1895. He left school at the age of 14 and had several jobs locally before he joined the Royal Flying Corps, 2 January 1914, aged 18 years and 9 months. Initially attached to 6 Squadron as a mechanic on the home establishment, Rogers went to France with 10 Squadron in late 1914 and witnessed active service as a Gunner and Observer before returning to the U.K. in November 1915, to be hospitalised after an appendix operation. When fit Rogers was posted to Castle Bromwich, and from there to Flying School in May 1917, where he gained his Royal Aero Club Certificate No. 5800 in August 1917. Rogers was again posted to France, this time as a pilot, serving with 11 and 48 Squadrons flying Bristol F.2b’s from La Bellevue. In February 1918, he was attached to Ferry Service Duty at Orchard Hotel, Portman Street, London W2. His job was to collect crash repairs from various factories or airfields, test them and fly them to the Squadrons in France. Rogers came home to take up an appointment in the Ferry Service, a challenging - and hazardous - occupation. His fellow 'ferryman', 'GPO' Olley, M.M., takes up the story: ‘This work of testing new and untried craft certainly had its exciting moments. Cylinders would suddenly blow off engines. Mechanical defects of all kinds would develop in the air. One had to make hurried forced landings in all sorts of awkward places. But, though it was all rather trying, it was, of course, fine experience from a flying point of view, teaching one to be ready for any sort of emergency that might arise.' Rogers - who was injured in an incident on 24 February 1918 - was awarded the A.F.M. He nonetheless made light of his exploits, for his modesty was as well-known as his skills as a pilot. Thankfully, his demanding role as a Ferry Pilot had been the subject of lighter moments, such as the occasion he was returning from delivering an aircraft to France. On disembarking at Dover - covered in grease, oil and mud - a group of ladies thanked him for 'doing his bit against the Hun' and presented him with chocolates and cigarettes. A humbled Rogers could not summon the courage to tell them he made the same trip at least twice a week. On leaving the Royal Air Force in February 1920, Rogers took a job with Handley Page flying passengers in converted bombers. He then joined Imperial Airways when they were formed (one of the original 16 founding pilots). Rogers had the distinction of being the first pilot to fly a commercial flight to Norway and Sweden during June 1920, and also the honour of being the first pilot to fly a King over London. This was King Amanullah of Afghanistan who visited England in early 1928, and presented Rogers with the Order of the Throne in celebration of the flight. As reported in The Times, King Amanullah asked to be introduced to Rogers when they landed back at Croydon. He 'complimented him on the skilful way in which the aircraft had been handled, expressed his pleasure at the smoothness of the flight, and remarked that he had never before flown in a commercial airliner'. During the 1930’s he was Senior Captain with Imperial Airways flying from Croydon to the continent on their passenger routes, mainly with HP 42’s and Argosy aircraft. Rogers did many trailblazing flights to Italy, Greece and the Middle East as well as freelance work for newspaper reporters and sport promoters, and had some busy times during the Munich Crisis 1938. In 1935 Rogers completed his millionth mile flown in the air, some 10,500 actual flying hours. A feat that was recorded in The Daily Express, 16 November 1935, thus: “Pilot Has a Million Reasons for Saying "Flying is Safe" Do you know what Captain W. Rogers, Imperial Airways senior pilot, says? "I have flown more than a million miles and have never had an accident. That shows how safe flying is." Bald facts about Captain Rogers apart from the million-mile achievement are: He has just completed 10,500 hours in the air. He has crossed the Channel more than 4,000 times. Human facts about Captain Rogers are still more interesting: He is the fittest, most invigorating man you could hope to meet. He told me: "Yesterday I was taking up a small aeroplane; left the ground in a few seconds, naturally. Yet I can remember when one got into the forerunner of that aeroplane and friends on the aerodrome would lay odds as to whether you would ever get off the ground, or, if you did, which tree you would hit before you got clear." ' The following year, Rogers had the misfortune of being the subject of brutal treatment by Italian soldiery in Libya. A newspaper feature takes up the story: 'Reports of "brutal treatment" of an Imperial Airways "crack" pilot and his crew of three men, by the Italian army authorities in Libya, are being investigated by the Foreign Office. It is alleged that the four men were treated with extreme harshness by the Italian soldiers, and that one least one occasion they were paraded as objects of derision, and at the point of bayonets, before Italian troops … The machine landed at Mesylam, in Libya, and was immediately put under armed guard. The pilot and crew were also put under escort and closely questioned. All their documents were seized … ' It was a deeply unpleasant experience but ended the following day, when 'Cockney' and his crew were permitted to continue their journey. The Italians claimed his aircraft had flown over 'military areas' at Amsat, even though these areas were - by earlier agreement with the Italians - on a pre-arranged flight path. When the Second World War broke out, Rogers was once again involved in flying and testing crash repairs and other aircraft. In 1946 Rogers was one of the first pilots to start flying commercial aircraft again, this time with the Hunting Group, and eventually retired from Civil Aviation some time in 1948 after 34 years association with all aspects of flying and many different aircraft. Rogers retired to the Sussex coast and died in 1977, aged 82. Sold with the following origi...

The most important India General Service medal awarded to Ensign Henry Haversham Austen (later Lieutenant-Colonel Godwin-Austen, F.R.S., F.Z.S., F.R.G.S.), who was gazetted to the 24th Foot in 1851 and served as A.D.C. to General Godwin in the 2nd Burmese War, and later on special duty with the Bhootan Field Force; as a young British army surveyor he ‘undertook one of the most remarkable expeditions in British mountaineering history; not only did he open the way to the mountain now called K2 but, beyond the village of Skardu, gateway to the Karakoram, he became the first Westerner to explore the world’s most extensive and awesome glacier system; explorations in Ladakh, Tibet, Bhutan and Burma soon followed’ India General Service 1854-95, 2 clasps, Pegu, Bhootan (Ensign H. H. Austen. 24th Foot. A.D.C.) second clasp loose on ribbon as issued, fitted with silver ribbon buckle, toned good very fine £4,000-£5,000 --- Henry Haversham Austen was born at Teignmouth, Devon, on 6 July 1834, son of Robert A. C. Austen, F.R.S., a distinguished geologist, and Maria, daughter of General Godwin, a marriage that produced no fewer than 17 siblings to Haversham between 1834 and 1856, one of whom, Frederick, was killed at Isandhlwana. Haversham, by which name he was always known, was educated at R.M.C. Sandhurst which establishment he entered at the age of 13. Gentleman Cadet H. H. Austen was appointed as Ensign in the 24th Foot on 26 December 1851, and in June 1852 set out for Burma, as aide-de-camp to his grandfather General Godwin, the commander-in-chief of the British forces in the second Anglo-Burmese war. Following the death of General Godwin in 1854 his name was changed to Godwin-Austen by personal decree of Queen Victoria. He was appointed a Topographical Assistant to the Trigonometrical Survey of India and joined the Kashmir Survey party in 1857, with whom he surveyed a very large extent of country in Kashmir and Baltistan. In the latter country the enormous glaciers at the head of the Shigar river and Hunza Nagar frontier, which included the Baltoro glacier, which he was the first to discover, coming down in part from the second highest mountain in the Himalayas and named after him [since renamed as ‘K2’]. In 1862 he surveyed the lofty country of Rupshu and Zaskar in Ladakh, and in July and August of that year he made 13 different ascents of a mean height of 17,900 feet, the highest peak, Mata, being 20,607 feet. The following year he took up the Changchenmo and carried the topography to the eastern end of the Pang Kong lake, close up to Rudok in Chinese territory, where he was met and stopped by the Lhassan Governor. During the winter of 1863-64 he was on special duty with the last mission to Bhutan, and mapped the country between Darjeeling and Punakha, the capital. In 1864-65, having accompanied the political mission of Sir Ashley Eden to the Rajas of Bhutan, he served on special duty with the left column of the Bhutan field force as Surveyor, and was present at the storm and capture of of the fort of Dalimkot and the stockade of Chamoorchi in December 1864. In 1866, and for the following ten years, he was in charge of Survey Operations in the Garo, Khasi, Jaintia, North Cachar and Naga Hills, and Manipur, including in 1874 the expedition against the Dafia tribe at the base of the Eastern Himalayas, when a large area of new country was mapped and many distant peaks fixed. He was President of Section E (Geography) of the British Association, 1883; President of the Maalacological Society, 1897-99; President of the Conchological Society of Great Britain and Ireland, 1908-09; awarded the Founders’ medal of the Royal Geographical Society in 1910 for his exploration work. He was author of On the Land and Fresh-water Mollusca of India, 1882-1920; (jointly with Dr W. T. Blandford) of The Fauna of British India, vol. Mollusca, 1908; together with some 130 papers in the Journals of various Scientific Societies on Geology and Physical Features, Ethnology and Natural History. Lieutenant-Colonel H. H. Godwin-Austen died at his house near Godalming in the Surrey hills on 2 December 1923. Sold with a copy of Catherine Moorehead’s outstanding 2013 biography of this important but long-forgotten explorer, The K2 Man (and his molluscs) The extraordinary life of Haversham Godwin-Austen, the dust jacket of which carries an excellent précis of the story to be discovered therein: ‘Haversham Godwin-Austen (1834-1923), from an ancient and interesting Surrey aristocratic family with royal connections, not only found the first way to the savage mountain, K2, but went on to be the first serious explorer of the Karakoram, Ladakh, Western Tibet, Bhutan, Northern Burma and Assam. He broke the Asiatic high-altitude summiting record three times, using a ‘garden hatchet’ as an ice-axe, saw his assistant killed by headhunters and socialised with everyone from his ‘coolies' to the Maharajah of Kashmir. Back in England, he became one of the UK's greatest Natural Historians, a Darwinist collector among collectors of geological and ornithological specimens. His collection of freshwater molluscs forms the basis of all modern science in the subject. And he became one of the UK's greatest surveyors, covering over 22,000 square miles of new territory, including 23 new glaciers and at least two dozen first ascents of peaks over 5000m. Remarkably, he also found time to paint a vast portfolio of watercolours, including the first close sighting of K2, described by the British Library as a 'national treasure’. (Several of these watercolours are illustrated in this book.) His personal life was equally interesting: three marriages - to an Afghan landowner's daughter, an English socialite, then a civil servant's daughter 23 years younger than himself - were complicated by religious conversions from Anglicanism to Islam then to Buddhism. His strong character as a scholar at great London institutions such as the Natural History Museum is still the stuff of legend, while his bankruptcy in later life required the selling of the 'family pile’, the magnificent, royally-furnished Shalford Park. And thanks to a youthful indiscretion in Kashmir, he harboured a dark secret which came back to haunt him near the end of his long and colourful life. This is the first and authorised biography of an outstanding man. Godwin-Austen's private papers are being made public for the first time. They prove that he was one of the UK's greatest explorers, on a par with Sir Richard Burton, while surpassing the explorations of David Livingstone, Captain Cook or Captain Scott. For mountaineers, scientists, students of biography and historians of the Raj and the Great Game, this biography offers new and original material - a 'must' for the explorer's bookshelf.’

The Posthumous Lloyd’s Bravery Medal awarded to Third Radio Officer Richard Phillips, S.S. Empire Byron, killed in action on Convoy ‘PQ17’ and awarded a Posthumous Commendation Lloyd’s Medal for Bravery at Sea (Third Radio Officer Richard Phillips, S.S. “Empire Byron”, 4th July 1942) in case its gilt embossed fitted case of issue, extremely fine £800-£1,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Posthumous Commendation London Gazette 6 October 1942: ‘For services when SS Empire Byron was torpedoed and sunk whilst part of North Russian Convoy PQ17 in July 1942.’ Posthumous Lloyd’s Medal for Bravery at Sea Lloyd's List and Shipping Gazette 31 August 1943 [joint citation]: ‘SS Empire Byron. This ship took part in a North Russian Convoy which was subjected to heavy enemy air attacks. When his vessel was hit by a torpedo Captain Wharton saw the crew away and then left by a raft, from which he transferred to a lifeboat. He divided the men in the three boats between the two big boats. After covering a distance of 250 miles in 52 days they were rescued. Captain Wharton’s courage, determination and powers of command were outstanding during the enemy attacks and it was mainly due to his leadership fine example in the boat that many lives were saved. Third Radio Officer Phillips gave his life through splendid devotion to duty. He carried the portable wireless set to the lifeboat, and despite entreaties to get into the boat he returned to the Bridge to see if he was required by the Master. He lost his life while trying to get away in the port bridge boat’. P.Q. 17: ‘Empire Byron’ and her brave Radio Officer At the end of June 1942, the new 6,645-ton Ministry of War Transport Empire Byron joined 35 Merchantmen to form the ill-fated North Russian Convoy PQ17. Carrying vital war supplies for the Red Army, and under the Close Escort of 11 Destroyers and Corvettes, the Merchantmen followed the usual summer route north of Iceland and, after the Escorts had refuelled at Reykjavik, north of Bear Island in the Barents Sea, and into Kola Inlet, North Russia. To as far as Bear Island, the Convoy and Escort was to be covered by the 1st Cruiser Squadron, comprising H.M.S. London, H.M.S. Norfolk, the U.S.S. Tuscaloosa and U.S.S. Wichita. Standing off to the north-east of Jan Mayen Island, distant heavy support was to be further provided by the Commander-in-Chief Home Fleet, Sir John Tovey in the York, the Battleship U.S.S. Washington, the British Cruisers Cumberland and Nigeria, and a further 14 Destroyers. Incomplete intelligence was received at the Admiralty that the Battleship Tirpitz had put out of her Norwegian anchorage and was at sea heading for PQ17. Staff Officers at the Admiralty and Tovey at sea disagreed, but were unfortunately overruled, and in an unfortunate example of ‘back-seat driving’, Admiral Pound ordered the 1st Cruiser Squadron to withdraw westward at nigh speed, and signalled PQ17’s Close Escort Commander at 0923 hours on 4 July: ‘Immediate. Owing to the threat of surface ships convoy is to disperse and proceed to Russian ports’. Minutes later, the First Lord urgently repeated: ‘Most Immediate. My 9.23 of the 4th. CONVOY IS TO SCATTER’. By evening, the east-bound Merchantmen and Close Escort were fatally strung out over 25 miles of wild Arctic sea. Junkers 88 aircraft from the Third Squadron of KG30 swarmed in to cripple the cordite-laden Bolton Castle and Zaafaran, while Admiral Schmundt’s ‘Ice Devil’ Submarines hastened to pick off stragglers ‘in a U-Boat’s’ paradise’. All in all they sent to the bottom in the holds of 25 ships, 210 aircraft, 430 tanks, 3,350 trucks and nearly 100,000 tons of spare parts and other supplies desperately needed by the Red Army; it reeled before the murderous advance of German Army Groups A and B. To the survivors of PQ17 it appeared that the preservation of British and American capital ships was more valuable than the convoy, the war material carried, and indeed, the seamen who perished. 6 a.m. found the crew of the PQ17’s Rear-Commodore’s Ship Empire Byron exhausted after 36 hours at action stations. The Master, Captain Wharton, had fallen asleep in an armchair having given up his bunk to the Lieutenant-in-Charge of the Maritime Artillery Unit who had been on alert even longer. It was the Empire Byron’s second North Russian Convoy and in her hold she carried a precious cargo of the new Churchill Tanks. Two miles away, at 07:15, Lieutenant-Commander Bielfeld of U -703 launched two torpedoes, both of which passed harmlessly ahead of the target. Biefeld believed he had missed astern, so added a couple of knots to the Merchantman’s estimated speed, and fired tubes II and IV. When the torpedoes missed even farther ahead, he hastened his crew to turn the boat round so as to bring her stern tube to bear. An hour later U-703 was again in an attacking position, but this time the ship’s speed had been accurately determined at eight knots. There was no doubt about the fifth torpedo, and at 08.27 Empire Byron received a direct hit in the Main Engine-Room. Wharton was so soundly asleep that he had to be woken by the Gunnery Lieutenant who informed him of the torpedoing. ‘He looked outside: there was pandemonium as the crew were already struggling to leave the ship; three of the four lifeboats had been lowered, and the fourth was on its way down. Wharton went to the Bridge to see that all papers and documents were destroyed. The Second (sic) Radio Officer, a Manchester man, asked whether he should fetch an emergency wireless for use in the boats, but Wharton told him the set had already been sent aboard them . . . Wharton dived into the sea. He was picked up by a raft, and transferred to one of the lifeboats. He ordered all the men to concentrate in two of the lifeboats, one of which had an engine. There were several bodies in the sea, one of which he recognised to his horror as being that of the young Manchester Radio Officer to whom he had spoken only minutes before . . .’ Together with the Mancunian Third Radio Officer Richard Phillips, the sinking of the Empire Byron resulted in the loss of two other crew, three Gunners trapped below, and one passenger.

A PAIR OF JAVANESE TARGET BOWS, 19TH/20TH CENTURY the first with reflexed limbs made of horn running the full length of the bow (some cracks near the handle), with reinforcing binding on the ears and pointed designs on the nocks, a large circular handle made of wood bound and wrapped with red cloth; the second similar, with silver bands around the handle and a dark limbs along with possible string-keeper holes in both nocks, the longest bow 139.0 cm overall (2) For a similar example see two bows dated to 1679 on display in the Rijksmuseum, Amsterdam (acc. nos. NG-NM-6093-A and NG-NM-6093-B). These bows were sent to the Dutch Naval commander Cornelis Tromp as part of an arms rack by Cornelis Wemans from Batavia, the capital of the Dutch East Indies. See Rijksmuseum 2024.

SPRINGBANK 1993 20 YEAR OLD PRIVATE CASK #575 CAMPBELTOWN SINGLE MALT Distilled: 1993Bottled: 2013Matured in Cask #57554.8% 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. There are no condition issues to note. Please see additional photos.

SPRINGBANK 1993 20 YEAR OLD PRIVATE CASK #575 CAMPBELTOWN SINGLE MALT Distilled: 1993Bottled: 2013Matured in cask #57554.8% 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. There are no condition issues to note. Please see additional photos.

A concrete sundial stand, with a circular top, raised above a capital topped column, on a square base, 94cm high, 42cm wide.

Architectural salvage - a set of four wood, plaster & resin Neoclassical inspired decorative columns pillars. Each having a Corinthian capital over a turned straight plain column. Raised on circular plinth bases.Each measures approx. 200cm tall x 30cm in diameter.

London Bus Destination Blind - BAKER STREET STN - white capital font against black paper ground, mounted and framed, overall 26.5x111cm.

London Bus Destination Blind - CROUCH END BROADWAY - white capital font against black paper ground, mounted and framed, overall 26.5x111cm.

London Bus Destination Blind - GREEN PARK - white capital font against black paper ground, mounted and framed, overall 26.5x111cm.

London Bus Destination Blind - BRIXTON - white capital font against black paper ground, mounted and framed, overall 26.5x81cm.

London Bus Destination Blind - HOLLOWAY / NAGS HEAD - white capital font against black paper ground, mounted and framed, overall 26.5x111cm.

London Bus Destination Blind - KINGS CROSS - white capital font against black paper ground, mounted and framed, overall 26.5x111cm.

London Bus Destination Blind - ISLINGTON ANGEL - white capital font against black paper ground, mounted and framed, overall 26.5x111cm.

London Bus Destination Blind - TRAFALGAR SQUARE - white capital font against black paper ground, mounted and framed, overall 27x111cm.

London Bus Destination Blind - PIMLICO / GROSVENOR RD - white capital font against black paper ground, mounted and framed, overall 26.5x99cm.

London Bus Destination Blind - LONDON BRIDGE STN - white capital font against black paper ground, mounted and framed, overall 26.5x111cm.

A SMALL BRONZE OF A BOY'S HEAD POSSIBLY ROMAN Now mounted to an inverted white marble Corinthian capital 11.5cm high overall, the head 5cm high Provenance: Property of a Lady of Title. Inherited from her mother in 2003 who, in turn, is believed to have inherited it from her parents in the mid 20th century.   Condition Report: With small indentation or hole in the crown of the head - possibly be mounted with a further (now missing) element. Glued to base. Mottled dark patina Some small marks, knocks, scratches, chips to the capital base, later red baize to the underside Condition Report Disclaimer

A pair of glass and gilt-metal table lamps, 20th century, each of classical form, with a Corinthian capital over a twisted glass column, on a square base,35cm wide27cm deep37cm high including shade (2)Condition ReportPAT Test - Passed. Overall the lamps are in good condition with only light traces of age and wear. No chips or cracks to glass. Slight tarnish to metal components. Please see additional images for reference.

A pair of Empire-style table lamps, 19th century, French, each with a Corinthian capital above a fluted column, raised on a stepped base with applied wreaths, with a toleware shade,30cm diameter55cm high including shades (2)

Capital - A vintage 20th century Capital brass anniversary clock. With white enamelled face, Arabic ebonised chapter ring and rotating pendulum. All under a glass dome, circular brass base.21cm height approx.

A RARE WATERCOLOUR DEPICTING A LADY OF THE CITY OF LIMA, THE CAPITAL OF PERUFrom the collection of Captain James Muddle.22cm x 15cmJames Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm

A Meissen porcelain figure of a female tambourine player in folk costume, seated on an upturned Corinthian capital, 7.75" high.

Pair of George II brass candlesticks, each with a tall capital on a knopped baluster column and "petal" base, H.18.8cm; pair of George III brass candlesticks, each with a tapering cylindrical column, raised circular base, H.23.5cm; 4 other candlesticks, copper kettle, warming pan, and 2 oil lamps. (12)

Set of 4 Regency Old Sheffield Plate candlesticks, each with a campana shaped capital, gadrooned decoration, and a tapering column, on a circular base, the revolving nozzles operating a telescopic ejector movement, and marked "Soho Patent", by Matthew Boulton, H.25.5cm. (4)Condition: All mechanisms work, all correct, 1 nozzle dented and mechanism worn, 2 other nozzles slight dents, v slight defects throughout.

A 19th century glass lamp base, converted to electricity, with brass topMultiple chips to foot. Drilled for conversion Silver plate on capital worn.

The icon depicts a waist-length image of the Lord Almighty in traditional iconography: Christ holds an open book in his left hand and blesses with his right. The image was created by a professional master in the academic style typical of Moscow workshops of the 19th century. The massive silver frame is decorated with high-relief gilding, shining enamels of the Gospel and decorative inserts with inscriptions in the Old Russian language, made in the technique of enamel. The chamber and solemn image of the Savior carries a spiritual message to people, recorded in the Gospel of Matthew: Come unto me, all ye that labour and are heavy laden, and I will give you rest. Take my yoke upon you, and learn of me, for I am meek and lowly in heart (Matthew 11:28-29). Hallmarks: 84 assay value with the Moscow coat of arms St. George the Victorious slaying the serpent, the initials of the assay master I.A. and the date 1859 corresponding to the assay master I. Avdeev, as well as the name of an unknown master monogrammist with capital letters DT in a rectangular shield. Materials: wood, gesso, tempera. The frame is made of silver using the techniques of forging, chasing, graver engraving, finishing and gilding. Dimensions of the icon: height - 31.5 cm, width - 27 cm. The weight of the frame is about 430 grams. Width: 27cm, Height: 31.5cm, Depth: 3.5cm, Weight: 2kg, Condition: Signs of wear commensurate with age, Material: Enamel, ID: ID-ANTQ-11532

Ludolfs Liberts, an outstanding Latvian painter and stage designer, masterfully conveys the atmosphere of Paris in his work The Seine Embankment in Paris. The canvas is executed in the impressionist style, where every stroke of the brush reflects the vivid sensation of light and air so characteristic of this movement. In the foreground are bridges crossing the calm waters of the Seine, their smooth arches creating an elegant rhythm, smoothly directing the viewer`s gaze into the depths of the composition. On the river, ships are visible, slowly floating past, their dark silhouettes contrasting with the soft, blurred outlines of the city panorama. In the distance, among the chaotic scattering of roofs, the dome of the Pantheon rises majestically, and in the left part of the composition, the characteristic towers of Notre Dame Cathedral can be discerned. These architectural dominants create a recognizable image of the capital of France, filling the canvas with poetic melancholy. The painting demonstrates the artist’s exceptional sense of color and composition, attention to detail and ability to convey the emotional state of the moment. Signed by the artist in the lower left corner, this work is a striking example of Lieberts’ creative legacy and is evidence of his deep penetration into the atmosphere of the city, which inspired many masters. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Good, Material: Oil on cardboard, ID: ID-ANTQ-11588

Ludolfs Liberts, an outstanding Latvian artist and stage designer, masterfully conveys the unique atmosphere of Paris in his work Embankment of the Seine in Paris. Painted in an impressionist manner, the painting is filled with light and air, conveying a vivid sense of lightness and ephemerality. In the foreground is a bridge over the Seine, along the banks of which brightly lit barges rest. Their warm, rich tones create a contrast with the cool tones of the water and sky, attracting the viewer`s attention. The composition of the work is skillfully balanced. The movement of the carriages on the bridge adds dynamics, while the majestic silhouette of Notre Dame Cathedral and the slender spires of churches in the background lend the landscape poetic calm and eternity. These architectural landmarks serve as a reminder of the rich cultural heritage of the French capital, highlighting the characteristic silhouette of the city. The painting demonstrates the artist’s brilliant mastery of color palette and compositional techniques, attention to detail and the ability to convey the emotional state of a fleeting moment. Signed by the artist in the lower right corner, this work is a fine example of Lieberts’ creative legacy. It testifies to his ability to deeply penetrate the atmosphere of the city that has inspired artists for centuries. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Signs of wear commensurate with age, Material: Oil on cardboard, ID: ID-ANTQ-11589

Painted cup and saucer from the Biedermeier era, with a scene of a conversation between a holy monk and children. On the outside of the saucer there is an inscription: Riga. Only the capital S remained on the cup from the text. Height of the cup: 8 cm. Saucer diameter: 15cm. Europe, probably Germany, 1840-60. Width: 15cm, Height: 13cm, Depth: 15cm, Weight: 0.3kg, Condition: Good, with traces of use, Material: Porcelain, Hand Painted, Gilding, ID: ID-ANTQ-8097

1912 Titanic survivor B V Dean signed rare 1985 Found Wreck of SS Titanic cover. Bertram Dean was born on May 21, 1910, in London. His parents, Bertram Frank Dean and Eva Georgette Light, owned a pub in the British capital but planned to emigrate to the United States, to Wichita in Kansas. Members of their family were already living there. Their aim was to open a tobacco store. Bertram had a younger sister, Elizabeth Gladys Dean, nicknamed Millvina who was born on February 2, 1912. She would later become one of the most famous, most popular and longest living Titanic survivors ever, while she was also officially the youngest passenger aboard the ship. Bertram boarded the Titanic with his parents and sister at Southampton on Wednesday April 10, 1912, as a Third Class passenger. He was soon to be two years old while Millvina was only a few weeks old. The Deans were originally to board the Adriatic but a coal strike caused the transfer of passengers to the new White Star liner which was then making its inaugural crossing. The Deans were in their cabin when the liner struck an iceberg on the evening of April 14, 1912. Bertram Frank, awakened by the noise, came up on deck to find out what was happening. Alerted by the news, he went back down to his cabin and woke up his wife, ordering her to dress the two children warmly and get on the Boat Deck. Once there, it is difficult to establish with certainty the sequence of events. Although Eva Dean did embark on the same lifeboat as her daughter, we cannot however know whether the young Bertram Vere was also with his mother or whether, or was lost in the crowd and the confusion, and been in another lifeboat. In any case, the two children were saved, which was not the case for Father Bertram Frank Dean who died in the sinking and whose body, subsequently, was probably never found. 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

Capital of Virginia recreated in this decanter with dates 1699 to 1780. Part of the American Traditional Series. American Distilling and Heirlooms of Tomorrow marks. Artist: J. YoungIssued: 1969Dimensions: 8.5"L x 2.5"W x 10"HManufacturer: Heirlooms of TomorrowCountry of Origin: United StatesCondition: Age related wear.

A pair of lamps, in the neoclassical style, with brass Corinthian capital and base. Glass spiral twist. Property of a gentleman From the collection of Peter Roe Dimensions: 22 in. (H)

George Orwell [i.e. Eric Arthur Blair]: 'The Road to Wigan Pier', London, Victor Gollancz/Left Book Club, 1937, 1st edition, 1st impression, 33 black & white illustrations from photographs complete (on 16 leaves full page recto and verso), xxiv,264pp, original limp orange cloth wrappers lettered in black; Arthur Koestler: 'Spanish Testament', London, Victor Gollancz/Left Book Club, 1937, 1st edition, 1st impression, original limp orange cloth wrappers lettered in black; Leonard Woolf: 'Barbarians at the Gate', London, Victor Gollancz/Left Book Club, 1939, 1st edition, 1st impression, original paper covered boards lettered in black; plus 3 others Victor Gollancz/Left Book Club titles 1930's/40's, and a Marx/Engels 1938 reprint of 'Wage-Labour and Capital (7)

Daniel Lysons: 'The Environs of London: Being an Historical Account of the Towns, Villages, and Hamlets, within Twelve Miles of that Capital. Volume II, Part I. County of Middlesex. Acton - Heston. The Second Edition.', 1811. Large thick 4to. Pp 921. 19 plates, as called for, including additional engraved title, with vignette; map. Later half green calf.

*Please note, all starred lots are sold at no reserve.*Stephen Kappata (1936-2007), 'The Maramba Cultural Dancing Troupe in Livingstone, A Tourist Capital', an unframed oil on canvas, signed and titled, inscribed verso and dated 30.4.05, 45 x 45cm.

SEVEN BOXED SETS OF COMMEMORATIVE COINS, comprising Capitals of the European Union, The Mayflower, The Great War 1914-1918, Capital Cities of the European Union ingots (part set), Historic Moments of Queen Elizabeth II Reign, another set relating to Queen Elizabeth II and Queen Elizabeth II Jubilees Qty: 7 cased sets

A Victorian cased propelling pencilunmarkedhexagonal barrel with foliate engraved and engine turned decoration, the foliate capital set with vacant shield shaped agate sea, contained in a fitted case length extended 9.9cm., total weight approx. 18.8gCondition:Good condition. Acid stain to collar

A Victorian propelling pencilunmarked the hexagonal barrel with foliate engraved decoration and citrine set capital, slide action and collar with suspension ring length extended 11.1cm., total weight approx. 10.6gCondition:Good condition. Slightly stiff action

King (Jessie Marion, illus.) The Enchanted Capital of Scotland: A Tale of Mystery and Adventure Plaid stationary of Scotland, Edinburgh, three copies (one lacking dustjacket and pages 17-24 Cameron (Katharine, illus.) Legends and Stories of Italy By Amy Steedman, T.C. & E.C. Jack, London (4) Condition Report:Available upon request

This lot contains a fantastic collection of original Beatles singles from Capital and Apple Records including Hey Jude, Do you want to Know a Secret, Help, Love Me Do, and Can't Buy Me Love. Also includes I'm a Believer by the Monkees and Barbara Ann from The Beach Boys. Issued: 1960sDimensions: 7.25"L x 7"WCondition: Age related wear.

Roman Period, 30 B.C.-323 A.D. The large liturgical rattle with a columnar handle composed of a bifacial figure of Bes standing on a lotus capital, flanked by seated sphinxes, his feathered crown supporting the bust of goddess Hathor wearing a broad collar and a curling wig, two rearing uraei emerging from the sides to support the base of the rattle, both wearing the pschent crown, above the cobras a standing figure of the goddess Hathor in cow form, wearing a tripartite wig and a sun disc between the horns; the rattle with a looped body with flared outer rims and set with three metal rods to accept metal discs, a pair of reclining lions to the base and the top with three felines surrounding a cockerel, and resting one of their front paws on the bird. Cf. Lacovara, P. et al., The Collector’s Eye: Masterpieces of Egyptian Art from The Thalassic Collection, Atlanta, 2001, for a sistrum with a Bes figure incorporated into the handle; see a late Egyptian prototype of a bronze sistrum with handle in the shape of the god Bes, 30th Dynasty, c. 350 B.C. (Neues Museum, Berlin); see a Roman sistrum in MET, accession no.97.22.2; a bronze sistrum, in the British Museum, inv.no.1756,0101.541; Daremberg, C.V. & Saglio, E. (eds.), Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917. 1.52 kg, 39.5 cm (15 1/2 in.).[A video of this lot is available to view on Timeline Auctions Website]German art market. European private collection, 1970s-early 2000s. Acquired from the above; thence by descent. Private collection, London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12348-225588.The sistrum (seshesh in ancient Egyptian) was a rattle-like musical instrument, played exclusively by women in religious ceremonies. It was often decorated with the bust of the goddess Hathor to whom the sistrum was sacred. Their use continued into the Roman period in ceremonies associated with the cult of Isis.

An original c 1984 billboard (approx 40x60") poster for The Smiths - What Difference Does It Make. On blue backed paper stock, printed by 'Capital Studios'. Rolled. VF condition.

An original c 1986 billboard (approx 40x60") poster for The Smiths - Bigmouth Strikes Again. On blue backed paper stock, printed by 'Capital Studios'. Rolled. VF condition.