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Pair of classical columns in polished reddish brown, black and white veined marble with base and capital in black marblePaar klassieke zuilen in gepolijst roodbruin, zwart en wit geaderd marmer met basis en kapiteel in zwart marmer101 x 20 x 20 cm

Pedestal in white marble with grey veins in neoclassical style, consisting of four columns on a square base and square capitalPiedestal in wit marmer met grijze aders in neoclassicitische stijl, bestaande uit vier zuilen op een vierkante sokkel en vierkant kapiteel94.5 x 26 x 15.5 cm

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. 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.

A gilt bronze candelabra, 19th century, with a faun capital supporting two branches,56cm highCondition ReportOne drip tray missing. General knocks and wear.

1607 BIBLE, Etc: The Holy Bible: Translated according to the Ebrew and Greeke, and conferred with the best translations in divers languages.. L, Robert Barker (Bakker on main title page), 1607 (lacks top quarter of TP, & all A2). PP: A-D8, (ii) To the reader, 1-435 (356 capital letter cut out, & 440 torn, no loss); Bound With: New Testament, Robert Barker, 1607 (TP lacks 1/4 of bottom corner). PP: (4 Leaves, including TP), 441-554 Leaves; Bound With: Two Right and Profitable. R Barker, 1607. PP: A-L2 (L2 torn, with loss); Bound With: The Whole Book of Psalmes. Company of Stationers, 1607. PP: A-G5, (iv) prayer., not complete and last page torn with loss. Cont. full leather and later spine. (23x17 cm).From the library collection of Mulberry House, a former rectory of High Ongar church.

FIVE PLAN AND ELEVATION DRAWINGS FOR PROPOSED HOLY CROSS CATHEDRAL, COLOMBO, 1947 watercolour and ink on paper, laid on card, 70 x 103cm approx. each In 1945, the Diocese of Colombo commissioned the Royal Society of Arts to organise a competition for a new Anglican cathedral in the Ceylonese capital to be assessed by Sir Giles Gilbert Scott. Scott was scathing about the overall standard of submissions. These drawings were entry number 29 of 59 competitors, but the winner was no.9, a design by Messrs. Pinckney and Gott, of 7, Gray's Inn Square. All the designs including this were exhibited in the RSA library between August 25th-30th in 1947. See JRSA, No. 4702 (OCTOBER 12th, 1945), pp.598-599; Vol. 95, No. 4742 (MAY 9th, 1947), pp. 377-379; Vol. 95, No. 4743 (MAY 23rd, 1947), pp. 409-410; vol. 95, No. 4751 (SEPTEMBER 12th, 1947), p. 712

Ca. 330 BC.A large red-figure chalice krater is characterised by its wide, flaring rim, high pedestal foot, and robust profile, adorned with opposing horizontal handles. The side "A" features a finely detailed funerary scene: a central bearded male figure, possibly representing the deceased or an idealised version of him, is seated atop a richly decorated Ionic column capital. He holds a scepter and is flanked by two standing female attendants one offering a tray of food, and the other holding a phiale and possibly a tambourine, which suggests chthonic rituals.The side "B"showcases a typical naiskos-style composition, where two elaborately robed female figures approach a central naiskos shrine. Each figure carries garlands and votive offerings, including a pyxis and sprigs of foliage. Above them, hanging drapery and clusters of dotted rosettes symbolize a sacred or commemorative context. The decorative scheme features a laurel band beneath the rim, an ovolo at the edge of the rim, and a frieze of meander and saltire squares at the base of the scene.For similar see: Trendall, Red Figured vases of Apulian, Volume II, 1982, Plate 10, n. 1 and 2.Size: 230mm x 190mm; Weight: 1.2kgProvenance: Private UK collection, acquired on the Dutch art market; previously acquired on the Dutch art market; Frederik Van Driel, Maastricht 1993. 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.

Ca. 350 BC.A large red-figure chalice krater features a wide, flaring rim, a high pedestal foot, and a robust profile with opposing horizontal handles. The "A" side is beautifully painted with a funerary scene: a central bearded male figure, possibly representing the deceased or a heroic version of him, sits upon an intricately detailed Ionic column capital. He holds a scepter and is flanked by two standing female attendants—one offering a tray of food and the other holding a phiale and possibly a tambourine, suggesting rituals associated with the chthonic realm.On the "B" side, there is a typical naiskos-style composition. Two elaborately robed female figures approach a central naiskos shrine, each holding garlands and votive offerings, including a pyxis and sprigs of foliage. Above them, hanging drapery and clusters of dotted rosettes symbolize a sacred or commemorative context. The decorative scheme includes a laurel band under the rim, an ovolo along the rim edge, and a frieze of meander and saltire squares at the base of the scene.Size: 530mm x 490mm; Weight: 9kgProvenance: Private UK collection, acquired on the Spanish art market; Ex. Galerie Saint Honore, 1997, France. Accompanied by a Spanish export license. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.The piece is accompanied by a TL report from QED, a laboratory based in France. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Late Period, Ca. 600 - 450 BC. A limestone figure of a male with a broad, angular torso and arms bent at the sides. The head is carved with large, almond-shaped eyes and a faint smile, framed by a striated tripartite wig. A stylised papyrus column is held upright against the right shoulder, its capital rendered in shallow relief.For similar see: Egyptian Sculpture of the Late Period, The Brooklyn Museum, 1960, f. 147, Plate 59.Size: 120mm x 100mm; Weight: 470gProvenance: Private UK collection; Ex. M. H. collection, Kensington, acquired on the UK art market in the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.

After Wolfgang Hartmann (German-Swedish, c.1606-1663), "Then Konungslige Residens Och Hufvudstaden Stockholm", cityscape depicting The Royal Residence and Capital City of Stockholm, originally for Queen Christina's Coronation in 1650, hand coloured engraving, 39 x 60.5cm, in a glazed frame, 53.5 x 74.5cm

Set of 4 Elizabeth II George III style silver candlesticks, each with a reeded capital, on a knopped cylindrical column, dished foot and stepped circular base, by R H, Birmingham, 1994, H.12.7cm. (4)

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

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

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

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

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

An Edwardian silver three piece tea set, all of oval shape with gadrooned lower bodies, tea pot engraved "Presented to Henry Curtis Cook, by his colleagues in The Capital & Counties Bank, on his marriage, 30 May 1908", with ebonised handle and finial, hallmarked by TW possibly T. Wilkinson & Co, Birmingham, 1907. Weight approx. 1137.2 grams (36.5ozt) Further details: tarnished, with wear and slight scratching.

Seven Corgi Aviation Archive Airliners of The World 1-144 Scale, AA30505 Vickers Viscount 700 Capital Airlines, AA30506 Vickers Viscount 803 KLM, AA31702 Short Sunderland BOAC, AA32907 Boeing 707 323C American Airlines and AA32909 Boeing 707 338C Quantas, models are mint, never been removed from box, boxes have some storage wear. 5 Items.

1890-93 1r black/rose-lilac, capital "P", from setting II, R1/2, showing error "Postagc", fine unused with large margins. Rare. SG 24c, £1,000.

A WWII British ARP Messenger helmet, blackened steel with MESSENGER lettering over SPBC ARP coat of arms (denoting St. Pancras Borough Council), the opposite side with capital M letter, liner dated 1939, with chinstrap

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

A weathered two sectional composition stone garden sundial, the pierced gnomon raised on a classical fluted column with Doric capital, 90cm high

Eclairage Electrique De St. Petersbourg Capital Social: Dix Million De Francs. Action Privilegiee De 250 Francs. No. 25708

The Russian General Oil Corporation, 5 Societe general Naphifere Russe Limited Capital £2,500,000. Framed behind glass.

Companhia Colonial de Navegacao, Capital $4,500,00 1922. Framed behind glass.

Diego Quispe Tito (Cuzco, Perú, 1611 - 1681)"Saint Joseph with the Child in its workshop"Oil on canvas.71 x 63 cm.The painting we present is attributed to Diego Quispe Tito, a master of the 17th-century Cuzco School.  In addition to its devotional purpose, this painting of Saint Joseph with the Child Jesus serves as an example of a rolled format painting. This unusual canvas, rich in iconography and symbolism, is presented rolled like a parchment, a format typically created for ease of transport, whether for outdoor masses or services in villages near the main parish, or to display a religious motif that would unify catechesis, homilies, or talks given by missionaries.  From a technical perspective, this format required durable materials and painting techniques resistant to wear, as the paintings were repeatedly rolled and unrolled.  With a background characteristic of Quispe Tito, and later of the entire Cuzco School, we see a landscape filled with birds, vegetation, and flowers, including native elements such as Andean birds (macaws and parrots) and typical trees of the Andean region. The painting portrays backgrounds with mists and radiant clearings; gardens in intermediate planes with well-defined plants and vegetation, and a bridge.  There is an unreal architectural perspective to the right, a wall and a plinth are hinted at, on which the saint has his carpentry tools, as if he were a surgeon. There are also meticulously detailed elements. At the center, we contemplate the chaste Joseph holding the Child in his arms. To his left, as if representing an independent reality, we see Saint Lucy, as a donor, appearing timidly, with independent vanishing points and horizon lines, yet sharing the same pictorial surface without any clear division between them.We have three possible hypotheses: a) It is a religious painting, commissioned by a priest, featuring two primary devotions of the place where he ministers, one larger and more intense at the center, and another on the side; b) The commission was made by a man named José, who places his patron saint at the center, and near the end of the work, requests the artist to include Saint Lucy, who seems to stumble into the composition but integrates perfectly as she shares the same compositional plane; c) The painting was commissioned by a donor, placed to the left, named Lucía, or devoted to the saint, and she is depicted in an unreal plane next to the central saint she wishes to venerate.Whichever of these are true, this is a devotional painting, full of goodness and light, blessed from heaven by the Holy Spirit, which becomes a refreshing window of pure reality, a haven of peace, calm, and tenderness.  In the painting, we can observe the mastery in the use of vibrant colors, the richness of meticulous details, and the depth of color, all hallmarks of Quispe Tito’s style. The reds in the garments of Saint Joseph and Saint Lucy, and the whites of the Child Jesus, contrast with the background landscape, which features softer and more natural tones.  The textures of the clothing, the carpentry tools, and the natural elements of the landscape are rendered with precision, creating a harmonious composition that guides the viewer's gaze through the scene.  With the inclusion of carpentry tools, local landscapes, and native fauna, Quispe Tito not only narrates the sacred story but also documents life in his homeland. It is a work that encapsulates a cultural mix, speaking both of faith and identity, achieving not only its religious and spiritual function but also becoming a reflection of daily life in colonial Andes, creating a visual language that captivated both the Indigenous and Spanish populations.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, he is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. 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 maturity and originality, 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 with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of 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, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters."Bibliographic reference:- Gisbert, Teresa. “Iconografía y mitos indígenas en el arte”. Editorial Gisbert, 1999.- Vargas Ugarte, Rubén. “Historia del Arte en el Perú”. Editorial Studium, 1969.- San Agustín. “Sermones sobre San José”, Biblioteca de Patrística, siglo IV.- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

Bernardo de Legarda (Quito, Ecuador, circa 1770 - 1773)‘Martyrdom of Saint Barbara’.Carved, polychromed and gilded wooden relief.35,5 x 27 x 3,5 cm.Wonderful relief, in which Legarda magnificently narrates the dramatic moment in which the saint is about to be beheaded, while a lightning bolt is about to fall on her executioner, killing him. Next to her is the tower in which her father, Dioscorus, had her locked up to protect her from being harassed by suitors. Before entering the tower the saint baptised herself in a pool. She escaped, but was arrested and brought before the judge Martinianus, who condemned her to death. In this relief, the tower, according to tradition, has three windows to recall the words of the saint, who stated that the light had entered her through the three windows of the Father, the Son and the Holy Spirit.The relief is an example of absolute mastery as well as virtuosity in polychromy. The characters are dressed in rich and elaborate robes in vivid colours, with polychrome brushwork of flowers enriched with motifs painted in gold. It is ornamented down to the smallest detail. It is presented in its original carved, wooden, niche type frame, which even has its inner edge decorated with a border of flowers.Bernardo Legada, an enormously talented sculptor and painter, stands out as one of the most important artists of the Viceroyalty of Ecuador.The magnitude, variety and aesthetic quality of his work is unparalleled in the entire viceregal period. Legarda, while consolidating the validity of the Quito School as a differentiated style, is a pioneer in the vision of the artist as an individual.When we speak of this Master we usually think only of his free-standing sculptures, but Legarda is perhaps one of the few artists of the South American region who inherited the multidisciplinary versatility of the first artists who arrived or developed in Latin America, as was the master Bernardo Bitti, one of the three pillars of viceregal art in South America at the end of the XVI century. He was an outstanding and fine sculptor, prolific image maker, skilled painter, painstaking gilder, silversmith and mirror maker.His workshop, large and prosperous, located near San Francisco, was a centre of great activity. There is a large number of artworks by the master Bernardo de Legarda in the different churches in the capital of Ecuador that attest to his genius. Amongst his most important artworks is the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits.This relief is especially remarkable because there are very few artworks by Legarda on the market today, and even fewer with this type of relief carving.Its small size and quality, together with its magnificent polychromy, make this relief a coveted jewel that could certainly be a museum piece. The sweet expressions of the characters, who seem oblivious to the scene depicted where Saint Barbara is about to have her throat slit, are classic Legarda.  This type of expression and idealised faces reminiscent of porcelain dolls are repeated over and over again in his sculpture. It is sufficient to see just some of his works to notice that this was undoubtedly the great Master of kind, serene and sweet faces.We take two artworks by the author as typological references of his relief carving. On the one hand, a relief sculptural ensemble conceived within its own niche, representing the Apocalyptic Immaculate Virgin with a choir of angels, in the BEAEP Cultural Center Museum. And on the other hand, an exquisite relief sculpture of a larger size representing the Assumption of Mary, in the Church of San Francisco, in Quito, Ecuador.  Furthermore, when analysing the carving, we compared its clothing, polychromy and sweet features with those of the Archangel Saint Gabriel in the same church in Quito; and also with the Archangel Saint Michael of the Primate Cathedral of Quito, whose sweet face is especially reminiscent of that of the Saint Barbara we have here. 

Antonio Vilca (Cuzco, Viceroyalty of Peru, active from 1778–1803)"The Holy Trinity, Our Lady of Mercy, and Other Saints" Oil on canvas. Relined.  30 x 20 cm.  This small-scale painting is rich in color, composition, stylistic figures, and iconographic meaning, showcasing fine, detailed brushwork, which, in view of what we will detail in this file, we attribute to Antonio Vilca, an outstanding disciple of Marcos Zapata, perhaps the most important artist along with Cipriano de Toledo.Filled with grace and sensitivity, it encapsulates the devotion of a Mercedarian religious figure, possibly a redeemed slave or a devotee of this image.  A lower cartouche reads: “LA S. Sma. TRINIDAD. Nuestra Señora de las Mercedes, Sn. Joachin y Sª Anna. Sn. Sn. Joseph y Sn. Pedro Apóstol”. (THE HOLY TRINITY. Our Lady of Mercy, St. Joachim and St. Anne. St. Joseph and St. Peter the Apostle.)The composition is divided into three distinct planes:  the heavenly plane, where the Divine Persons and the Holy Trinity reside; the middle plane, dominated by the Virgin Mary, Mother of God and our Mother, holding the Child Jesus and wearing the Mercedarian scapular under the title "Our Lady of Mercy".  Finally, the lower, earthly plane, featuring Saints Joachim and Anne, embodying tenderness - the tenderness of grandparents.  It is interesting to note that Our Lady of Mercy is depicted treading on an orb or egg containing the seed of evil—original sin, symbolized by Adam and Eve in Eden. This imagery metaphorically represents her role as “liberator of captives,” overcoming the slavery of sin inherited from birth. She stands firm as the “Tower of David” and merciful “Helper of Christians.”  Beside her, Saints Joseph (the just man) and Peter (keeper of heavenly gates) flank the Virgin, while Saints Joachim and Anne gaze upward, interceding with the tenderness of grandparents caring for their “grandchildren.”  The painting is framed by elaborate rocaille motifs in dominant blue, red, and white tones—colors historically associated with divine imagery since the 16th century (red for Christ, blue for Mary).  Antonio Vilca was one of the few Cuzco painters who embraced Rococo ornamentation, a style less prevalent in Cuzco than in Quito. A distinguished disciple of Marcos Zapata, Vilca’s work reflects the legacy of Cuzco’s Baroque tradition. The rocaille framing, color palette, and stylistic quality make this canvas a small pictorial gem.  Comparable work by Vilca include his "Litany of Loreto" series ("Mother of Divine Grace, "Purest Vessel", "Cause of Our Joy") in the Church of Surite, Cuzco, and "Our Lady of the Rosary of Lima" in Peru’s Banco de Crédito collection.  The Virgin of Mercy is depicted in a white tunic adorned with the Mercedarian shield on her scapular, a white mantle draped over her shoulders, and a lace veil covering her hair. She stands holding the Child Jesus, mirroring the venerated image in Lima’s Basilica of Mercy, which was enthroned in the early 17th century, being considered the Patron of the capital. Our Lady of Mercy was proclaimed “Patroness of Peru’s Fields” in 1730 and “Patroness of the Republic’s Arms” in 1823.  When the first centenary of the independence of Peru took place, the image was crowned solemnly and given the title Grand Marshal of Peru,” receiving annual military honors.Throughout its history, the Virgin of Mercy has been honored with distinctions such as the “Keys to the City of Lima” (1970) and the Peruvian Grand Cross of Naval Merit (1971), reflecting her deep ties to national identity. Reference Bibliography:- Obras coloniales restauradas. La Paz, Cochabamba, Sucre, Potosí. La Paz: Fundación Cultural Banco Central de Bolivia. 2001.

BOYDELL (John & Josiah) A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty The Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk; with Plans, Elevations, Sections, Chimney Pieces & Ceilings, 2 vol., title dated 1788, approximately 68 x 51cm, text in English and French, vignette title, engraved portrait frontispiece of Empress Catherine II to Vol. 1, 28 plates of architectural and design features, 60 plates, straight grain morocco gilt, boards detached; Vol. II with portrait of Walpole, (partial tear along top of platemark just affecting image), and 69 plates, all as required, some old staining and creasing (2)Please note that this is printed on wove paper indicating a 19th century printing. No watermarks detected on spot checks to several leaves and plates.

An album of early manuscript and printed leaves, mainly 15th century, from Books of Hours and similar, sizes vary: 20 illuminated vellum leaves including a large coloured capital, all mounted, mainly comprising French Horae, and a Ferrara Breviary leaf c.1470 with coloured and gilt floral scroll borders (27 x 20.5cm); plus a Sarum Processional fragment c.1400; a leaf from Interpretationes Nominum Hebraicorum c.1250, English; a fragment of a Cistercia Gradual, 15th century; Simon Vostre 1508 Horae leaf with figural border; 2 others similar for Guillaume du Puy 1506; and 22 incubabula leaves, including: Ulrich Zell, Albertus Magnus, Sermones; Johann Guldenschaff 1483, Petrus de Harentals; Cronica van der Hilliger Stat van Coelle 1499, Johan Koelhoff; Johann von Amerbach 1486, Petrus Comestor; Johann Schonsperger 1499, Eyke von Repgow; Mantua, Joh. Schall 1479, Eusebius Historia; Strassburg, Drucker der Vitaspatrum 1483, Petrus Paludanus Sermones; Strasburg, George Husner 1483, Voragine's Golden Legend; Martin Schott 1483, Otto von Passau, Die vierundzwanzig Alten oder der goldene Thron; Venice: Bernardinus Venetus de Vitalibus 1498, Opera leaf; Venice, Vindelin de Spira, Dante's La Commedia 1477, leaf; Venice, B. Zani 1497, Petrarch leaf; Venice, Erhard Ratdolt 1481, Rolewinck Fasciculus Temporum; Augsburg, Ratdolt 1490, Breviarum Pataviense; Rome, Sweynham and Pannartz, Thomas Aquineas, 1470 Catena Aurea leaf; and a few others, not identified, some of which with worm damage. All within a modern album, tipped in to corner mounts

Two illuminated vellum leaves in 16th century style, one painted in colours with a resurrection scene within a foliate border, without text, 18 x 13cm; the other with capitals only within a three quarter border; (2)An elaborate capital 'B', 10.5 x 10.5cm, is not part of this lot (this was originally part of the catalogue description when 3 items were present).what is illustrated are the 2 items on offer in the sale.

BOYDELL (John & Josiah) A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty The Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk; with Plans, Elevations, Sections, Chimney Pieces & Ceilings, 2 vol., title dated 1788, approximately 70 x 52cm, text in English and French, title vignette, engraved portrait frontispiece of Empress Catherine II to Vol. 1 (with tear and crease), 28 plates of architectural and design features, 60 plates, circular bookplate of Thomas Walpole; Vol. II with portrait of Walpole, and 69 plates, all as required, some old staining and creasing, boards (detached and rubbed)Please note that this is printed on wove paper indicating a 19th century printing. No watermarks detected on spot checks to several leaves and plates.

Capital yellow gold Riviere ring, 585/000, with a high white gold setting set with 5 brilliant cut diamonds, total approx. 0.75 ct. ø 61. approx. 2.6 grams. In good condition.

Two capital Chinese Foo dogs of granite. Weight each approximately 1000 kilos. 20th century. Dimensions: 129 x 80 x 56 cm. In good condition.

Capital, antique, gilded mirror with console. With original gold leaf gilding. Circa 1850. Dimensions: 250 x 90 x 32 cm. In good condition.

MARBLE COLUMN TABLE LAMP WITH GILDED ROCOCO CAPITAL, HEIGHT APPROX 58cm

A carved sandstone capital, 15" square (for restoration)

Lysons (Daniel). The Environs of London: being an historical account of the towns, villages, and hamlets, within twelve miles of the capital, 5 volumes, 1st edition, London: A. Strahan, 1792-1800, frontispieces, vignette titles, engraved plates throughout (some folding), some toning, bookplate residue to front pastedowns, all edges gilt, contemporary gilt-panelled full calf, rebacked with original spines relaid (somewhat dulled), some wear, 4to, together with:Pennant (Thomas). A Journey from London to the Isle of Wight, 2 volumes in 1, 1st edition, London: Oriental Press, 1801, half-titles, folding map frontispieces, 47 engraved plates, small blind stamps of Wigan Free Public library to some blank margins (with bookplate to front pastedown), spotting, contemporary diced calf, rebacked, spine lettered in gilt, worn and stained, 4to, plusBoswell (Henry). Historical Descriptions of a New and Elegant Collection of Picturesque Views and Representations of the Antiquities of England and Wales, London: Alex Hogg, [1790], lacking frontispiece, full-page engraved maps throughout, list of subscribers at rear, contemporary sprinkled calf, joints cracked, some wear, folioQTY: (7)

A LATE VICTORIAN ADJUSTABLE BRASS STANDARD LAMPLATE 19TH CENTURYthe reeded column beneath a Corinthian capital and on a stepped square base with lion's paw feet, together with a similar non-adjustable standard lamp on a stepped square base with stiff-leaf decoration (2)132cm high (max)

A FRENCH GILT BRASS AND PORCELAIN MOUNTED CARRIAGE CLOCKLATE 19TH CENTURYthe brass eight day repeating movement with a platform lever escapement and striking on a gong, the dial with Roman numerals, the porcelain plaques decorated with gallant figures in a corniche case with Corinthian capital columns16.7cm high

The Browne Family’s Picton Medal for the Defence of Gibraltar, contemporarily gilded and named to the American-born Major Arthur Browne, 58th Foot, who was standing beside General Wolfe when he was mortally wounded on Quebec’s Plains of Abraham; he defended Gibraltar throughout the Great Siege and commanded Ireland’s largest Military Fortification during the United Irishmen uprising - his medal passed down the remarkable Browne family, whose extensive network of international connections spanned North America, Ireland and India Defence of Gibraltar 1779-83, General Picton’s Medal, silver, with later but still contemporary gilding, fitted within an additional silver rim, 59mm, the edge with contemporary inscription ‘This Medal presented in 1784 to Major Arthur Browne, 58th Regt. for his services during this Memorable Siege and by him when Lt. Govr. of Kinsale to his eldest Son Thomas Browne Lt. Col. 69th Regt. and a Colonel in the Army’, this inscription and the gilding dating from 1810-12, some rubbing to the edge, otherwise nearly extremely fine and very rare Together with a related Portrait Miniature of Mrs. Thomas Browne, painted by her sister-in-law Maria Bellet Browne, circa 1816, 90mm x 71mm, in original Indian horn frame with gilt brass hanger, 168mm x 140mm overall, signed M B Browne and inscribed on the reverse ‘Mrs General Browne/Maria Browne Pinxt’, good original condition (2) £3,000-£4,000 --- Provenance: Dix Noonan Webb, September 2004 (Medal); Mellors & Kirk, February 2022 (Portrait). Arthur Browne was born in 1743 at Portsmouth, New Hampshire, in what was then British North America, the third son among eight siblings. His father, the Reverend Arthur Browne (1699-1773), was of Scottish ancestry and Irish parentage, and had been born in Drogheda, Ireland. After marriage and ordination, he was expatriated to America in 1729 by the Society for Propagating the Gospel in Foreign Parts. Arthur Senior had a degree from Trinity College Dublin and was a prominent citizen of Portsmouth, a prosperous Anglican minister and a Tory. His status as a leading New England dignitary is confirmed in a 1757 quarter-length portrait by John Singleton Copley. With Wolfe at the Battle of the Plains of Abraham, Quebec On 7 February 1759, aged about 16, Arthur Browne entered military service as a Lieutenant-Fireworker, an artillery officer equivalent to an Ensign. This was probably due to the influence of a relative, Brigadier-General George Williamson, who commanded the Royal Artillery in North America. In the Spring of 1759, Browne embarked with General Wolfe’s expedition to take Quebec. During the Battle of the Plains of Abraham on 13 September 1759, Browne was summoned to act as Brigadier Williamson’s Brigade-Major (Aide de Camp in the field). Lieutenant Browne took post beside Williamson and Wolfe on a small rise near the positions of the 28th Foot and the Louisbourg Grenadiers. Wolfe chose the spot as it enabled him to better observe the attack made by the French under the command of the Marquis de Montcalm. The French forces included about 2,000 irregulars who were good shots and used to guerilla warfare. Wolfe’s command group made a conspicuous target, and early on Wolfe was wounded in the wrist. He allowed the French line to advance within 30 yards of the British before giving the order to fire. Within a few moments he had been hit twice, in the stomach and, mortally, in the chest. The French turned and fled, while a cry went up "They run, see how they run." Wolfe, on the ground, opened his eyes and asked who was running. Upon being told that the French had broken, he turned on his side and said "Now, God be praised, I will die in peace" and expired. The victorious British force spent a miserable winter in the captured city, losing men from scurvy and disease. By the spring of 1760 the garrison had shrunk to 4,000 regulars and before the ice melted Montcalm’s successor marched to Quebec with 7,000 men, aiming to recapture the city before British ships could return with vital supplies and reinforcements. On 28 April 1760, 3,000 men with 22 guns left the city to attack the French at the Heights of Abraham. Arthur Browne was in command of two six-pound field guns and attached to the 35th Regiment. During the battle, Browne was ordered to take one of his guns forward to support Captain Ince’s grenadier company. The grenadiers were massacred, with Ince and 54 men becoming casualties (out of a total of 64 - 86% losses). Two of Browne’s gun team were killed, four wounded and Browne was himself wounded in the hip. The British attack failed completely, with the loss of 1,100 troops and their guns. The survivors retired within the city walls. A month later the British fleet arrived, the French lifted their siege and retreated to Montreal. Further Service in the Seven Years War Soon afterwards, Lieutenant-Colonel William Howe of the 58th Foot (later Commander-in-Chief in America during the Revolutionary War) invited Browne to leave the artillery and join his regiment. On 18 October 1760 Browne was gazetted an Ensign in the 58th Foot. After the capture of Canada was completed, the 58th marched via Lake Champlain to New York. In 1762 the 58th Foot was part of a reinforcement, which, despite the loss of 500 men to French naval attacks while en route from North America, was decisive in enabling the storming of the great Morro Fortress that guarded the entrance to Havana bay and thus the subsequent capture of Havana, the capital of the Spanish West Indies. In February 1763 Browne commanded a detachment of the 58th serving as marines on board H.M.S. Ripon (60). On 29 April 1763 Browne purchased a Lieutenancy in the 58th Foot. After the Peace in 1763, the 58th moved to Ireland. Browne bought a Captain-Lieutenancy in 1770. The Great Siege of Gibraltar In June 1770 Spain forced the British to leave their settlement in the Falkland Islands. The colony was quickly re-established, but the countries nearly declared war. The 58th Foot embarked at Cork and was sent to strengthen the garrison of Gibraltar. Arthur purchased his company in April 1772 aged 29, becoming Captain Browne. Spain entered the American War of Independence on 16 June 1779, at a time when the British were hard pressed. Within a week, Spain began its blockade of Gibraltar. The small (5,400 man) garrison under Governor-General George Eliott was hampered by shortages of men and supplies. Despite these difficulties, Eliott mounted a vigorous defence. Many of the infantry were hand-picked to assist the artillery in serving the guns. Given Browne’s previous artillery experience, he is thought to have been among them. He received his second wound, a severe contusion caused by a shell-splinter, but remained on duty. During the winter of 1779 the garrison began to suffer from lack of fresh provisions, which caused a debilitating outbreak of scurvy among the troops. Small quantities of salt meat and biscuits were the standard meal, with an occasional issue of four ounces of rice as a full day's ration. Due to lack of fuel, fires were only made with difficulty, using salt-encrusted timbers from old ships. Despite their privations, morale remained high, and the troops continued to take their turns in the trenches and batteries. In January 1780 Admiral Rodney defeated the Spanish screening squadron and replenished the Rock with 1,000 reinforcements and a limited quantity of essential supplies. The Spanish stepped up the bombardment and blockade, which was broken a second time by Admiral Darby in April 1781. By this time the garrison consisted of 7,000 British and Hanoverian regulars. The French and Spanish...

Corgi, The Original Omnibus Company, a boxed Bus and Commercial group to include 97096 Capital & Highland Set, 41501 AEC Breakdown Lorry "Macbrynes" and others. Although not checked for completeness conditions generally appear Good to Excellent in generally Fair to Good boxes, rigid Perspex cases and slip card cases. Please note some duplication. See photo.

Two C.1900 Art Nouveau style brass and coloured glass oil lamps to include one with a tall clear chimney over a ovoid green glass chamber raised on a neoclassical marble column with a cast metal scrolling capital raised on a square stepped and footed base with Depose maker's marks along with one with a baluster form chimney over a globular yellow body raised on a cast openwork pyramid base by F.S. & Co Duplex with maker's marks. H.63cm

Original vintage travel poster for Cape Verde featuring a black and white aerial photograph of the city coastline and the port, hills in the distance with a large white fishing hook over the image, the caption over the image reads - Cape Verde islands of contrasts. A paradise for fishermen. - with the red lettering below - For Enquiries: Agencia Geral do Ultramar, R.De S.Pedro de Alcantara 81 Lisboa. Printed by Patria - Porto, Portugal. Cape Verde or Cabo Verde, with its capital in Praia, is an archipelago volcanic island country in the Atlantic Ocean to the West from Africa. Good condition, creasing, staining, tears. Country of issue: Portugal, designer: Gravito, size (cm): 100x63, year of printing: 1960

Original charcoal and pencil drawing on paper featuring an illustration of a lady laying down in bed and a gentleman smoking at her side. Signed. Joan Cardona i Llados (June 30, 1877 – September 16, 1958) was a Spanish painter and illustrator associated with the Modernist movement. Born in Barcelona, he studied at the Escola de la Llotja, where he developed his skills in painting and drawing. While he initially focused on landscape painting, evolving from Impressionism to Post-Impressionism, he gained greater recognition as a draftsman and illustrator. Cardona was heavily influenced by French artists such as Henri de Toulouse-Lautrec and Théophile Steinlen, which is reflected in his realistic yet expressive style. In 1900, he moved to Paris, where he became well known for his depictions of female figures, both Parisian and Spanish, in a manner reminiscent of Hermenegildo Anglada Camarasa. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. His work was featured in numerous publications, including Catalan magazines such as Hispania, El Gato Negro, and La Ilustració Catalana, as well as French (Le Rire, La Vie Parisienne) and German (Jugend, Simplicissimus) periodicals. His illustrations captured the vibrant and sometimes bohemian life of the early 20th century. Poor condition, paper losses, several large tears, staining, foxing, pinholes, blue pencil mark on top left corner. Country of issue: Spain, designer: Joan Cardona Llados, size (cm): 54x44, year of printing: 1900s.

A 19th century Neoclassical carved limestone Corinthian Column Capital, deeply carved in the classical style with acanthus leaves, flowers and scrolls. Decorative patina

Framed 1920's/ 30's share certificate for Campagnie de Mines et Minerais, a mining company based in Brussels, with a capital of £25,000,000 Francs.

A vintage Eastern knife with incised patterning to blade, the handle inscribed with various capital cities- Rome, Jerusalem, Haifa, Tel-Aviv, Alexandria, Cairo etc. length 26cm

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

A Corgi Routemasters in Exile boxed set, edition 4942/5000, to include Kentish Bus, Southend Transport, Southampton Citybus and Capital Citybus

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

A plaster capital from the procession arch of St Marys Sunday school Houghton ground, 1906-1971, mounted on board, some losses. Not available for in-house P&P

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

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

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

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

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

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

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

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