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Small elm and pine dresser base, boarded top with cleated ends, two drawers, shaped apron, turned legs pot board base, width 122cm, depth 41cm, height 76cm.Condition report:Fundamentally it is structurally sound with some old splitting to the top along the grain. It has certainly had its fair share of worm activity over the years with evidence of historic holes and worm tracks throughout, but all appear historic and the wood is currently stable. Heavily stained, marked, and with some splashes of wax throughout. The linings are quite primitive but again, fundamentally sound.

DECCA/ RCA - ROCK LP RARITIES PACK. A wonderful selection of 5 LPs, all released on Decca and RCA. Artists/ titles include The Deviants - Ptooff! (SKL-R 4993, UK stereo unboxed blue label. Record is strong VG+), Sam Apple Pie (SKL-R 5005, UK stereo unboxed blue label. Record Ex), Brainticket - Celestial Ocean (SF 8389, Italian RCA label. Record Ex), Savoy Brown inc S/T (SKL.4994, VG+, some inner sleeve transfer sheen) & Lion's Share (SKL.5152, Ex). Please note that all sleeves will contain archival stickers from the BBC. The majority of these stickers are 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve.

DECCA - ROCK/ PROG/ PSYCH - LP PACK. A smashing selection of 9 LPs, all released on Decca. Artists/ titles include Savoy Brown inc S/T (SKL.4994, record is VG+, has some light inner sleeve transfer sheen on one side), Lion's Share (SKL 5152, side 1 VG+/ side 2 is VG, has heavy inner sleeve transfer sheen) Sam Apple Pie (SKL-R 5005, record Ex), Belle Gonzalez - Belle (SCX 6484, strong VG+), Sundance - Chuffer (SKL.5183, VG+, has some inner sleeve transfer sheen), Solution - S/T (SKL-R 5124, VG+), David Campbell - Sun Wheel (SKL 5139, side 1 Ex/ side 2 VG+), Barbara Dickson - From The Beggar's Mantle Fringes With Gold (SKL 5116, VG+) & The Poppy Family - Poppy Seeds (SKL.5114, VG+). Please note that all sleeves will contain archival stickers from the BBC. The majority of these stickers are 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.

Original vintage advertising poster for a British national newspaper The Times (founded 1785). Great design featuring a copy of the newspaper against a blue background with the text in yellow above and below. Good condition, restored loss, staining on right margin, backed on linen. The Times is a British daily (Monday to Saturday) national newspaper based in London. It began in 1785 under the title The Daily Universal Register, adopting its current name on 1 January 1788. The Times and its sister paper The Sunday Times (founded in 1821) are published by Times Newspapers, since 1981 a subsidiary of News UK, itself wholly owned by News Corp. The Times and The Sunday Times do not share editorial staff, were founded independently, and have only had common ownership since 1967. In 1959, the historian of journalism Allan Nevins analysed the importance of The Times in shaping the views of events of London's elite: For much more than a century The Times has been an integral and important part of the political structure of Great Britain. Its news and its editorial comment have in general been carefully coordinated, and have at most times been handled with an earnest sense of responsibility. While the paper has admitted some trivia to its columns, its whole emphasis has been on important public affairs treated with an eye to the best interests of Britain. To guide this treatment, the editors have for long periods been in close touch with 10 Downing Street. The Times is the first newspaper to have borne that name, lending it to numerous other papers around the world, such as The Times of India and The New York Times. In countries where these other titles are popular, the newspaper is often referred to as The London Times or The Times of London, although the newspaper is of national scope and distribution. The Times is the originator of the widely used Times Roman typeface, originally developed by Stanley Morison of The Times in collaboration with the Monotype Corporation for its legibility in low-tech printing. In November 2006 The Times began printing headlines in a new font, Times Modern. The Times was printed in broadsheet format for 219 years, but switched to compact size in 2004 in an attempt to appeal more to younger readers and commuters using public transport. The Sunday Times remains a broadsheet. The Times had an average daily circulation of 417,298 in January 2019;[2] in the same period, The Sunday Times had an average daily circulation of 712,291. An American edition of The Times has been published since 6 June 2006. It has been heavily used by scholars and researchers because of its widespread availability in libraries and its detailed index. A complete historical file of the digitised paper, up to 2010, is online from Gale Cengage Learning. Country:UK. Year:1956. Designer:. Size (cm):76x51

Original antique poster for The Russian General Oil Corporation / Societe Generale Naphthifere Russe featuring share certificates with share warrant of 25 shares of 1£ sterling each. Horizontal. Fair condition, folds, creasing, tears, some paper stickers, large paper loss cut out, paper skimming, staining, ink stamps, blind embossed stamps, signed by hand, double sided. Country of issue: France, designer: Unknown, size (cm): 39x51 (unfolded) 39x26 (folded), year of printing: 1912.

Original vintage advertising poster for a British national newspaper The Times (founded 1785). Great design featuring the late London edition of The Times newspaper dated 15 August 1956 set against a blue background with the text in yellow above and below. Good condition, restored tears and minor loss, rust marks, backed on linen. The Times is a British daily (Monday to Saturday) national newspaper based in London. It began in 1785 under the title The Daily Universal Register, adopting its current name on 1 January 1788. The Times and its sister paper The Sunday Times (founded in 1821) are published by Times Newspapers, since 1981 a subsidiary of News UK, itself wholly owned by News Corp. The Times and The Sunday Times do not share editorial staff, were founded independently, and have only had common ownership since 1967. In 1959, the historian of journalism Allan Nevins analysed the importance of The Times in shaping the views of events of London's elite: For much more than a century The Times has been an integral and important part of the political structure of Great Britain. Its news and its editorial comment have in general been carefully coordinated, and have at most times been handled with an earnest sense of responsibility. While the paper has admitted some trivia to its columns, its whole emphasis has been on important public affairs treated with an eye to the best interests of Britain. To guide this treatment, the editors have for long periods been in close touch with 10 Downing Street. The Times is the first newspaper to have borne that name, lending it to numerous other papers around the world, such as The Times of India and The New York Times. In countries where these other titles are popular, the newspaper is often referred to as The London Times or The Times of London, although the newspaper is of national scope and distribution. The Times is the originator of the widely used Times Roman typeface, originally developed by Stanley Morison of The Times in collaboration with the Monotype Corporation for its legibility in low-tech printing. In November 2006 The Times began printing headlines in a new font, Times Modern. The Times was printed in broadsheet format for 219 years, but switched to compact size in 2004 in an attempt to appeal more to younger readers and commuters using public transport. The Sunday Times remains a broadsheet. The Times had an average daily circulation of 417,298 in January 2019;[2] in the same period, The Sunday Times had an average daily circulation of 712,291. An American edition of The Times has been published since 6 June 2006. It has been heavily used by scholars and researchers because of its widespread availability in libraries and its detailed index. A complete historical file of the digitised paper, up to 2010, is online from Gale Cengage Learning. Country:UK. Year:1956. Designer:. Size (cm):76x51

Kodak Easy Share DX 6490 digital camera (boxed), Olympus OM System 1=1.8 camera lens, Maxwider Super White Aux lens, Olympus flashlight, etc, Lowerro camera case.:- One Box

Hummel porcelain figure featuring big sister teaching her younger siblings to share a rocking horse toy. Goebel backstamp TMK8. M. I. Hummel impressed backstamp. Issued: 2007Dimensions: 8.75"L x 5.75"W x 7.25"HEdition Number: 565 of 3000 Manufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.

A 1940 German share certificate

Black hat trimmed with white feathers; white lace collar.A character in Alexandre Dumas' lively 19th-century fiction. D'Artagnan came to Paris to join the celebrated band of Three Musketeers and share their adventures. Artist: Stanley J. TaylorIssued: 1987 - 1995Dimensions: 4"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good.

A green upholstered 'Egg chair' by Arne Jacobsen for Fritz Hansen, purchased from Adrian Share Interiors, Sunderland

Bond and Share Certificates - The Silver Bird Cobalt Mines;  The Cuba Railroad;  Troitzk Railway Company;  etc

Revenues, world revenue range in small stockbook, including Grenada Provisionals, Canada War Tax, British Guiana Jurisdiction issues to 96c, Cuba, Indian States with Court Fee, Foreign Bill & Share Transfer issues, plus selection of Exhibition stamps etc.

An assorted collection of studio pottery, including vases, beaker, goblet, lidded tureen, novelty animal ornaments including fish, chamber sticks, and hen on nest The fourth image all share the same maker's mark, as seen on the folliwing two images. Other makers marks as seen on extra images.

Kodak Easy Share camera and printing system

FREDERICK WILLIAM JACKSON (1859-1918); large oil on canvas, landscape with sheep, unsigned, inscribed on Chas. A. Jackson label, 'This sheep picture was painted by my father Fred. W. Jackson about 1912 being a scene opposite his home at Hinderwell, Yorkshire, signed Chas Jackson', 57 x 83cm, framed and glazed.When returning from Italy Jackson married Carrie Hodgson, a farmer's daughter, and they moved to Hinderwell in North Yorkshire near the fishing village of Staithes. It was here that he met Gilbert Foster who had initiated the formation of the Staithes Group, of which Jackson was a member. Other noted members included Dame Laura Knight, and Frank Henry Mason. With the expansion of the British Railway, the end of the 19th century saw many more artists flock to Staithes to share in the prosperity of the Staithes Group. However, this inundation soon proved too much for the limited market of the North East, leading the group to disperse by the end of 1909. Provenance: Private collection, Cheshire. Condition Report: The overall condition appears to be good, the frame has cracks and losses throughout. The frame also has a larger loss to the bottom left corner - please see additional images.

Ephemera, Transport, a good Aldershot District Traction Company selection, inc. season ticket for 1943, booklet for conductors regulations (1927) and rules for drivers (1928), bus tickets (23), share certificate which also shows a map of Traco bus services for 1927 and 6 parcel labels. Sold with Ordnance Survey map of Aldershot linen backed and published in 1900 (mainly gd)

Ephemera, a collection of approx. 28 mixed items of ephemera mostly related to the Aldershot area inc. shop receipts at Seymour's Farm Ewshott, Helen Meiklereid Hairdresser and Hosier 1886, Red Cross Society attendance register, 'Heath End explains itself' booklet, printed flyer 'Horse for Sale', 'The Bird' 1892, certificate from Army Veterinary School 1888, share certificate in the Aldershot Gas & Water Co 1891, copy of rail plans for North Camp Station, Girl Guide and Red Cross certificates (4), VAD enrolment forms 1902, Freedom of the Borough of Aldershot conferred on Hampshire Regt (mixed condition)

The Waterloo medal awarded to Lieutenant John Coen, 28th Foot, who was slightly wounded at Vittoria in June 1813 and again wounded at Quatre Bras on 16 June 1815 Waterloo 1815 (Lieut. John Coen, 28th Regiment Foot.) fitted with contemporary replacement hinged silver bar suspender engraved on either side “QUATRE BRAS” and “16th JUNE 1815”, the obverse with contact pitting, otherwise better than good fine, the reverse nearly very fine £3,400-£4,000 --- On 16 June 1815 at Quatre Bras the 28th in company with the 1st Royal Scots marched to the support of the hard-pressed 42nd and 44th, forming square and standing firm in a tall field of rye while subject to continuous attacks from French cavalry. Major Llewellyn wrote: ‘The rye in the field was so high, that to see anything beyond our own ranks was almost impossible. The Enemy, even, in attacking our Squares, were obliged to make a daring person desperately ride forwards and plant a flag, as a mark, at the very point of our bayonets. On this they charged, but were invariably repulsed. It fell to the lot of the 28th to bear a leading share in this Action, and I may say they lost none of their former reputation. They were frequently hardly pressed, but never lost their discipline and their self-possession. Once, when threatened on two flanks by what Sir Thomas Picton imagined an overwhelming force, he exclaimed, “28th, remember Egypt.” They cheered and gallantly beat back their assailants, and eventually stood their position.’ Two days later at the Battle of Waterloo the 28th repeatedly displayed both its renowned dash and steadiness when it played a critical part in defeating the first attack of D’Erlon’s French 1st Corps. Wellington’s controversial Waterloo Despatch, written in the night of the 18-19 June, mentioned only one English Infantry Regiment by name – the 28th: ‘The troops of the 5th Division, and those of the Brunswick corps, were long and severely engaged, and conducted themselves with the utmost gallantry. I must particularly mention the 28th, 42nd, 79th, and 92nd Regiments, and the battalion of Hanoverians.’ John Coen was appointed Ensign in the 28th Foot, from the Sligo Militia, on 7 April 1808, and was promoted Lieutenant on 29 January 1810. He served in the Peninsula with the 1/28th from September 1810 to March 1811, and from July 1811 to the end of the war in April 1814. He was present at Tarifa, Barrosa, Cadiz, Almaraz, the retreat from Burgos, Vittoria, Pyrenees, Nivelle, Nive, Garris, Orthes, Aire, and Toulouse, being slightly wounded at the battle of Vittoria on 21 June 1813; also in the campaign of 1815 where he was wounded at the battle of Quatre Bras on 16 July 1815. He was still serving as a Lieutenant in 1827 but appears to have left the regiment before 1830 and did not live to claim a medal for his Peninsula service. The medal is accompanied by an old copy of a cover from Lieutenant Coen, then apparently serving with the regiment at Corfu, dated 2 January 1827, addressed to his wife at ‘Millbrook, St Heliers, Jersey

A LARGE CHARLES II LIGNUM VITAE WASSAIL BOWLC.1680the body turned with reeded bands, with engraved initials 'D E', on a conforming circular foot26cm high, 23.3cm diameterProvenanceThe Simon Castle Collection of Treen.LiteratureThe current lot is illustrated in the Illustrated History of Antiques, general editor Huon Mallalieu, p.257. Catalogue Note A legacy of Anglo-Saxon culture, wassailing ceremonies traditionally occurred on important feast days, especially Twelfth Night. The term 'wassail' itself derives from the Anglo-Saxon 'waes hael', meaning 'good health'. This expression of well-wishing was exchanged as the wassail bowl was passed round the table for guests to share its contents of mulled ale. The bowl had become, by the Stuart period, a significant status symbol and grew greatly in size during the 17th century, thanks to the adoption of lignum vitae as a turnery wood around 1660. With its large hardwood core and its particular durability, this timber revealed itself ideal for making large drinking vessels, especially as its sap was also considered to have healing properties. The pinnacle in this production is arguably epitomised by Post-Restoration wassail bowls, such as the example offered here. Recent examples of this date sold in these rooms include lot 14, 4th October 2017, which fetched £14,000 hammer, as well as lot 101, 6th July 2021, which achieved £8,500 hammer and lot 392, 4th & 5th October 2023 which fetched £28,000.

A 1786 hand written contract for property sale, a transfer or mortgage, also other interesting ephemera to include share certificates, a Chinese railroad bond, Russian bills of exchange etc. (qty)

Arnold Marc Gorter. 1866 - 1933. Puddle view in forest. (Share?) Watercolor on paper. Dimensions: H 23 x W 24 cm. In good condition.

Collection of assorted ephemera including: share certificates, reproductions of Acts of Parliament, Indenture, Last Will and Testament etc. (B.P. 21% + VAT)

Three vintage Oil and Railway company share certificates. Framed and glazed.

Steve Lazarides (British, b. 1969) after Banksy Girl with Balloon Tate Installation 320gsm Hahnemuhle Photo Rag Pearl print Limited Edition number 22 of 200 Signed, numbered & stamped by Steve Lazarides Printed by Magic Max 42 x 59.4cm (16" x 23.5") With certificate of authenticity from Steve Lazarides' private collection. Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001.  Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community.  In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Steve Lazarides (British, b. 1969) after Bansky Spray It Loud 320gsm Hahnemuhle Photo Rag Pearl print Limited Edition number 17 of 200 Signed, numbered & stamped by Steve Lazarides Printed by Magic Max 42 x 59.4cm (16" x 23.5") With certificate of authenticity from Steve Lazarides' private collection. Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001.  Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community.  In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Steve Lazarides (British, b. 1969) after Banksy And I Love You 320gsm Hahnemuhle Photo Rag Pearl print Limited Edition No. 18 of 200 Signed, numbered & stamped by Steve Lazarides Printed by magic Max 42 x 59.4cm (16" x 23.5") With certificate of authenticity from Steve Lazarides' private collection. Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001.  Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community.  In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A Tray of Digital Compact Cameras, a Nikon Coolpix 2500, Olympus Camedia C-18, both in makers boxes, unboxed Nikon Coolpix S4, Sony DSC-S75, kodak Easy Share DX4900 and a DC280 Zoom, all untested, overall G

A Canon AV-1 SLR Camera, shutter working, meter responsive, responsive in auto, self timer working, body G, A4003 scratched into base plate, with FD 50mm f/1.8 & Vivitar 70-150mm lens, G, lot includes a Kodak Easy Share DX6490 digital camera, Kodak folding camera, filters and Vivitar 283 flash unit

Two shelves of collectables, including Solent charts and United States Lines Company framed and glazed Share Certificate

A 'JUN' KILNS BLUE-GLAZED STONEWARE BUBBLE BOWL金代 鈞窯天藍釉茶盞China, Jin DynastyThe shallow rounded bowl covered with a thick lustrous soft greyish-green glaze, which fades to yellowish-brown at the rim and the straight foot unglazed the grey stoneware body. This type of bowl is often termed a bubble bowl.D: 8.6cmProvenance:Irish private collection, acquired from an English private collection.出处： 愛爾蘭私人收藏, 購於英國私人舊藏NOTEThe Jun kilns located in the counties of Yu and Linru in Henan province are best known for wares applied with rich opaque pale blue glaze. However, they also produced fine wares that were applied with a similarly unctuous glaze of a soft green colour as seen on the present pair. These green Jun wares share similarities with their blue counterparts, but have a higher alumina content indicating that the potter's were mindful of the difference and created them specifically.

KAWS (Né en 1974) X MEDICOMTOYCompanion Share, 2020 Figurine en vinyle peint, bras articulés, état d'origine proche du neuf. Estampillé sous le pied. Edition Share Médicom Toy.Hauteur : 30 cm

A COPPER-INLAID BRONZE RITUAL WINE VESSEL AND COVER, HU, EASTERN ZHOU DYNASTY 東周錯銅蓋壺Expert's note: For further research and a comparative analysis with published examples in major institutions, see Charles D. Weber, Chinese Pictorial Bronze Vessels of the Late Chou Period. Part III, published in Artibus Asiae, volume 29, number 2/3, 1967, pages 115-192. In this publication, the author provides a comprehensive analysis of pictorial bronze vessels from the late Zhou period and suggests that this type of decoration originated from Huixian, Henan province, from the 6th into the early 5th century BC.To properly evaluate the current lot, it is essential to compare it with the related examples found in the Fogg Art Museum and the Metropolitan Museum of Art (see literature comparison). These institutions possess vessels attributed to significant tombs in the vicinity of Huixian. These vessels share several identical pictorial elements with the present lot, as illustrated in the accompanying diagram. These pictorial elements also serve as a basis for dating the current lot, as referenced in fig. 70 of Weber's work, where the sinuous feline pictograms suggest a manufacture date of 500 B.C.Furthermore, page 151 of Weber's work highlights a pertinent observation. During the late Zhou period, pictorial decoration on these types of vessels was arranged irrespective of the placement of handles. Consequently, handles were often affixed over a portion of the pictorial representations, partially covering the design. This alignment further strengthens the connection of the present lot to the published examples, suggesting that it is not only closely related, originating from the same period and region, but also having a strong possibility of it originating from a neighboring site.China, late 6th-early 5th century BC. Superbly cast, the globular body supported on a tall spreading foot and rising to a waisted neck with a flared mouth, the shoulder set with two small lug handles. The body is finely inlaid with copper in five registers depicting geometrically arranged designs of pairs of birds, felines, and deer within lozenge borders which also encircle the foot, the body further interspersed by elaborate ruyi-like designs, the mouth and rim of the cover with line borders. The similarly decorated domed cover surmounted by a loop finial. The vase has retained its original cover for well over two millennia, which makes it exceedingly rare.Provenance: From a noted private collection in Southern California, USA.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, expected minor casting flaws, small nicks and losses, light scratches. Magnificent patina overall, the copper inlays naturally patinated to a distinct auburn color, the bronze with malachite encrustations and lustrous hues of cuprite.Weight: 2,496 gDimensions: Height 34 cm Literature comparison:Compare a related copper-inlaid bronze hu, 43 cm high, dated to the Warring States period, in the Fogg Art Museum, Harvard Art Museums, object number 1943.52.121.A-B. Compare a related related copper-inlaid bronze hu, lacking the cover, 44.5 cm high, dated ca. 5th century BC, in the Metropolitan Museum of Art, accession number 29.100.545. Compare also a related copper-inlaid bronze hu, lacking the cover, 44.7 cm high, dated to the Warring States period, in the Art Institute of Chicago, reference number 1928.143. A similar hu is illustrated by J. So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, vol. III, no. 44, where the author, p. 257, describes how the motifs “were first cast in copper, then inserted into the mold and held in place with spacers”. This technique was more effective in keeping the copper decoration in place than the more conventional method of hammering the copper into cast or incised depressions. Another similarly decorated hu lacking cover is in the museum collection of Fujii Yurinkan Museum, Kyoto, where it is registered as an Important Art Object by the Japanese government. Another hu with a cover was included in the exhibition Chinese Archaic Bronzes, Sculpture and Works of Art, J. J. Lally & Co., New York, June 1992, no. 24.Auction result comparison: Type: Closely related Auction: Christie's, New York, 21 March 2002, lot 70 Price: USD 23,500 or approx. EUR 36,500 adjusted for inflation at the time of writing Description: A rare copper-inlaid bronze wine jar, hu, Eastern Zhou dynasty, late 6th-early 5th century BCExpert remark: Compare the closely related form and inlays. Note the size (39.7 cm).Auction result comparison: Type: Closely related Auction: Christie's, New York, 23-24 September 2021, lot 705 Price: USD 32,500 or approx. EUR 32,500 adjusted for inflation at the time of writing Description: A rare copper-inlaid bronze ritual wine vessel, hu, Warring States period (475-221 BC)Expert remark: Compare the closely related form and inlays. Note the size (45.7 cm) and the obvious condition issues. 東周錯銅蓋壺中國，公元前六至五世紀初。壺口外撇，長頸微束，下方鏨刻變體蕉葉紋，溜肩，肩部兩側分鑄雙耳，腹部下收，壺口和腹部飾凹弦紋，圈足高而外撇。器身嵌紅銅，菱形邊框內有成對的鳥、貓、鹿等幾何排列圖案；足部周圍亦有精緻的如意圖案；口部及蓋緣亦點綴有如意紋。圓頂蓋頂部有一個環形鈕。皮色暗沉古穆。專家注釋：如需進一步研究以及與主要機構已發表實例的比較分析，請參閱 Charles D. Weber，《Chinese Pictorial Bronze Vessels of the Late Chou Period（中國晚期週時期青銅器圖案）》第三部分，發表於 Artibus Asiae，第 29 卷，第 2/3 期，1967 年，第 115-192 頁。 在本書中，作者對周晚期的青銅器圖案進行了全面的分析，認為這種裝飾起源於公元前六世紀至五世紀初的河南省輝縣。為了正確評估當前拍品，有必要將其與Fogg Art Museum和大都會藝術博物館的相關拍品進行比較（參見文獻比較）。 這些機構擁有來自輝縣附近重要墓葬的器皿。這些青銅器與本拍品有幾個相同的圖案元素，如附圖所示。 這些元素也可作為當前拍品年代測定的基礎，如圖 1 所示。Weber書中的 70 幅圖片中，貓科動物表明其生產日期為公元前 500 年。此外，Weber著作的第 151 頁強調了一個相關的觀察結果。周代晚期，此類器物上的圖案裝飾與手柄的位置無關。因此，手柄部分覆蓋設計。這種排列進一步證明了當前拍品與已發表的例子的聯繫，表明它不僅密切相關，起源於同一時期和地區，而且很有可能起源於鄰近地點。 來源：美國加利福尼亞州南部私人知名收藏。 品相：狀況極佳，大面積磨損、風化和侵蝕的跡象預計會出現輕微的鑄造缺陷、小刻痕和損失、輕微劃痕。整體上呈現出華麗的銅綠，銅鑲嵌物自然地呈現出獨特的赤褐色，青銅上鑲嵌著孔雀石和赤銅礦的光澤色調。 重量：2,496 克 尺寸：高 34 厘米文獻比較： 比較一件相近的戰國時期錯銅壺，高43 釐米，收藏於哈佛藝術博物館，館藏編號1943.52.121.A-B。比較一件相近的西元前五世紀嵌紅銅青銅壺，高44.5 釐米，收藏於大都會藝術博物館，館藏編號29.100.545。比較一件相近的戰國時期錯銅壺，高44.7 釐米，收藏於芝加哥藝術博物館，館藏編號1928.143。一件相似的壺，見J. So，《Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，1995年，卷三，編號44，作者在頁257提到，「首先用銅鑄造，然後插入模具並用墊片固定到位」。與將銅錘入鑄造或切割凹陷的傳統方法相比，這種技術更能有效地將銅裝飾固定在適當的位置。另一件相似的錯銅壺，收藏於京都藤井有鄰館。另一件青銅壺，《Chinese Archaic Bronzes，Sculpture and Works of Art》，J. J. Lally & Co.，紐約，6月 1992年，編號24。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2002年3月21日，lot 70 價格：USD 23,500（相當於今日EUR 36,500） 描述：西元前六世紀末和五世紀初東周青銅錯紅銅壺 專家評論：比較非常相近的外形和鑲嵌。請注意尺寸 (39.7 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年9月23-24日，lot 705 價格：USD 32,500（相當於今日EUR 32,500） 描述：戰國青銅錯紅銅壺 專家評論：比較非常相近的外形和鑲嵌。請注意尺寸 (45.7 釐米) ，以及明顯的品相問題。

A BRONZE DRUM, HAN DYNASTYChina, Yunnan, 202 BC-220 AD. The round instrument supported on a waisted base, the top and sides finely cast in relief with multiple concentric geometric designs including key-fret, triangles, and beads centered by a star design, with pairs of loop handles to either side. The drum produces a clear and distinct sound.Provenance: From a private collection in Berlin, Germany, acquired before 2007.Condition: Good condition commensurate with age showing extensive wear and weathering, some casting flaws, small losses, nicks, dents, scratches, and a minor old repair. Fine, naturally grown patina with a lustrous dark hue. All as expected from a bronze drum with an age of roughly two millennia.Weight: 15.8 kgDimensions: Height 27.4 cm, Diameter 54.5 cmExpert's note: Bronze drums such as the present lot are a percussion instrument used by various ethnic groups from the southwest of China. They were popular in Yunnan, Guizhou, Sichuan and Hunan Provinces, among which Yunnan and Guangxi have the largest numbers recorded. Both provinces share a border with Vietnam, home to the Dong Son culture, which in turn is well known for its own drums. Applied to sacrifice rituals, the drums were usually used to play music or accompany dance rites.The Yunnan Provincial Museum in Kunming houses an important collection of early bronze drums (Warring States through Western Han period) that were excavated from royal burials at Shizhai Shan and other locations in the vicinity of Lake Dian. This part of Yunnan, whose people and language were not originally Han Chinese, had been ruled by the independent Dian kingdom from about 500 BC. Bronzes from this period through the middle Western Han Dynasty (about 100 BC) are unique to the region and share many characteristics with bronze artifacts of Southeast Asia. Their decoration was also influenced by artistic styles of the Eurasian steppe.After surrendering to Han Wudi in 109 BC, the Dian kingdom was administered as a frontier commandery of the Han empire. Dian kings were retained as local rulers. From then on, the distinctive Dian regional bronzes were gradually replaced by Han-style bronzes, by the type of cultural assimilation that is called "Sinification" (literally, "becoming Chinese") by Chinese historians.Literature comparison:Compare a closely related but smaller drum in The Complete Collection of Treasures of the Palace Museum, Bronze Articles for Daily Use, Beijing 2007, number 78. Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 29 September 2022, lot 265 Price: EUR 7,800 or approx. EUR 8,500 adjusted for inflation at the time of writing Description: A bronze drum, Han dynasty Expert remark: Note the similar central star medallion and the related forms of decoration. Note the size (51.5 cm).

A LARGE WOOD FIGURE OF SONGZI GUANYIN AND CHILD, CHINA, EARLY MING DYNASTY, 14TH-15TH CENTURY 明初十四至十五世紀大型送子觀音木像Boldly carved as Guanyin with hair piled up into a high topknot beneath her flowing cowl, holding a child seated in her lap, both wearing voluminous robes with deeply carved folds, their faces with wide heavy-lidded eyes, broad noses, and full lips. The soft wood of an attractive grain with a rich, naturally grown patina overall.Provenance: From an old private collection on the Upper East Side of Manhattan, New York, and Bridgehampton, NY, acquired before 1979, and thence by descent in the family. A copy of a signed insurance declaration, on the letterhead of the Chubb Group, dated 25 August 1978, describing the present lot as an 'Unusual Large Wooden Figure of Kuan Yin', accompanies this lot. Condition: Extensive wear, weathering and erosion, worming, losses, chips, and natural imperfections including age cracks. The condition of this statue is commensurate with age and contributes to its unique beauty. The aged wood has seen extensive weathering, which displays exceptionally well.Weight: 13.8 kg (incl. stand) Dimensions: Height 92.5 cm (excl. stand) and 95.2 cm (incl. stand)With a fitted wood stand. (2) The Songzi representation of Guanyin, or the 'Bringer of Sons,' is identifiable by the boy seated on her knee. Male children were extremely important to Confucian family structure. They ensured not only the continuity of family and clan, but that there would be uninterrupted generations to carry on the rituals of ancestral worship. The Child-Giving Guanyin was prayed to by worshipers for healthy children and intelligent male heirs. Extant depictions of Songzi Guanyin from the later Ming dynasty are known in various materials, including bronze, wood, stone, and ivory, but such an early example must be considered extremely rare.Quoted from 'Compassion, Mercy, and Love: Guanyin and the Virgin Mary - How two independent cultures - feudal Europe and imperial China - depicted divine figures with incredible visual similarities.' By Kevin D. Pham, Metropolitan Museum of Art, New York, May 7, 2021:'During the Middle Ages - a period of over one thousand years - people of various cultures across the world practiced independent religious faiths, ranging from western feudal Europe to imperial China, while also maintaining cross-cultural exchange. Surprisingly, certain works of art in both western Christian and eastern Buddhist cultures seem to share visual similarities. Both contexts produced images of divine figures that represent concepts like compassion, mercy, and love: the Virgin Mary in medieval Europe, and Guanyin in imperial China.''These examples pose interesting questions about how pre-modern artists visualized different aspects of divinity in their respective cultural contexts. The Christian and Buddhist devout understood the Virgin Mary and Guanyin, respectively, in similar manners and archetypes of imagery, despite the fact that they did not directly influence one another until later periods of Imperialism and Colonialism in Asia. Centuries of shifts in these representations illustrate how people across the world have envisioned human compassion and mortal emotions.' (article continued below)'The Virgin Mary', Jesus Christ's mother, was a popular focus of personal devotion in western Christianity. She was often depicted with her infant child, emphasizing her role as a holy maternal figure and mediator between humanity and the divine. Through this easily understood archetype, she became a popular intercessor for devout Christians across Medieval Europe, where various types of 'Virgin and Child' works of art proliferated.Guanyin is the Chinese translation of Avalokiteshvara, the bodhisattva of compassion. Bodhisattvas are enlightened beings who chose to stay on earth as accessible examples for Buddhist faithful to follow. Originally depicted as a male or gender-neutral entity able to take on thirty-three manifestations, Avalokiteshvara is a compassionate savior who hears the woes of humankind, regardless of age, gender, or social class. However, in imperial China, Guanyin became increasingly cemented as a female figure. Similar to the Virgin Mary, Guanyin became a popular intercessor for humanity to understand divine salvation.Enthroned Virgin and Child (1150-1200), currently on display at The Met Cloisters, is a counterpart to a sculpture from about 1175 to 1200 included in the exhibition Crossroads: Power and Piety. In both sculptures, mother and child are rendered in a stiff and rigid form that typifies the theological concept Sedes Sapientiae or “Throne of Wisdom.” The infant Jesus, depicted as a diminutive mature figure rather than a child, represents divine wisdom and is seated upon the Virgin, who acts as his throne. Both the Virgin and Child's emotionless expressions, coupled with the strongly linear symmetry, suggest the timeless permanence of divine authority in the Christian context.The eleventh-century Bodhisattva Avalokiteshvara in Water Moon Form (Shuiyue Guanyin), currently on display in the Met Gallery 208, depicts Avalokiteshvara in a relaxed, leisurely pose, with one knee raised and the other crossed in front. This posture represents the “Water Moon” manifestation of the bodhisattva in his personal paradise. Avalokiteshvara is adorned within an ornate crown and necklace. Relaxed but strong and formative, Avalokiteshvara beckons the audience forward, ready to hear the cries of the world.Both of these sculptures would have been placed in public churches or temples. The Virgin and Child also might have been carried in religious processions outside the architectural setting of the church, while Avalokiteshvara would likely have been shown at a monastery altar. Despite their different poses, both figures convey a divinity distinctly removed from the real experiences of mortal humans.'Expert's note: This lot offers an astounding example of the symmetry between two separate worlds - Imperial China and medieval Europe, Western Christianity and Eastern Buddhism - with similar archetypes of imagery illustrating compassion and emotion. Compare the famous wood sculpture of the Enthroned Virgin and Child from the Cloisters Collection, 102.9 cm high, dated ca. 1130-1140, in the Metropolitan Museum of Art, accession number 47.101.15. Compare also two wood sculptures from 13th century France depicting the Virgin Mary and infant Jesus, 68.6 cm and 79.5 cm high, in the Metropolitan Museum of Art, accession numbers 67.153 and 16.32.194a, b. 明初大型送子觀音木像觀音，髮髻高束，膝上抱著一個孩子；兩人都穿著寬大的衣袍，衣紋流暢；眼睛微閉，表情安詳。柔軟的木材，紋理迷人，整體具有自然包漿。 來源：來自紐約曼哈頓上東區和紐約州布里奇漢普頓的私人舊收藏，於 1979 年之前購得，在同一家族保存。該拍品隨附一份帶有Chubb Group安達集團出具的的保險聲明副本，日期為 1978 年 8 月 25 日，將本拍品描述為“不尋常的大型木觀音像”。 品相：大面積磨損、風化和侵蝕、蠕蟲、損失、碎裂和自然缺陷，包括老化裂紋。重量：13.8 公斤 (含底座) 尺寸：高 92.5 厘米 (不含底座) 與95.2 厘米 含底座) 木底座 (2)

2 GREAT NORTHERN RAILWAY COMPANY SHARE CERTIFICATES

Earl Wandesford's Claim, c. 1765 Co. Cork Lands: M/ss., 7 large foolscap pages listing in great detail the property in Cork city held by Eponetus Cross, who died in 1702, and mentions more vaguely his “large estate” in the county. The descent of the property is then given in equal detail, the principal beneficiaries being his granddaughter Susannah, wife of George Wandesford, Viscount Castlecomer, and grandson William Wallis. Lady Castlecomer left Cork when very young and lived in England. On finding out that she was entitled to a share of the property in Cork, she employed “a Person” to collect her rents, but she was only allowed to receive whatever William Wallis was prepared to give her. On her death (1757), her son John (created Earl Wandesford in 1758) claimed the missing bits and the arrears of rent, but on coming over to Cork he found that the property had greatly deteriorated.  With William Wallis now dead, as is his only son “the late” Barachias Wallis (died 1765), so Wandesford claims his share of the property from William’s daughters, Helena (the wife of John Colthurst) and Clotilda (a minor, through her uncle and guardian Robert FitzGerald Uniacke).  The notary tasked with drawing up the case is enjoined to “make the Bill full strong as the nature of the Case will require so as that we may have satisfactory answers from all parties”. As a m/ss., w.a.f. (1)

American Revolution. Autograph M/ss document signed Oliver Arnold, of the town of Norwich in the County of New London, State of Connecticut, dated 20 May 1784. Witnessed by Roger Griswold, then an attorney, later Governor of Connecticut. Arnold was a sailor on the Continental frigate Alliance, commanded by Peter Landais, for two years, 'in which timesaid. Frigate made captures of several legal prizes from the then enemies of the United States - to a share in which prizes I was & am entitled, but have never received my share & proportion thereof...'. He assigns the forty shillings he feels due to him to Dudley Woodbridge. With a long typescript account of the record of the Alliance in the fight against the British, including a collision with the U.S. flagship Bonhomme Richard during a storm, as a m/ss, w.a.f. (1)

QTY OF VARIOUS SHARE CERTIFICATES - BONDS IN ALBUMS - OVER 100 PCS

GROUP OF 13 SHARE CERTIFICATES, BONDS RELATED TO GOLD MINING

PAUL HORTON (BRITISH 1958) 'THE GOODNIGHT KISS', a signed limited edition print on paper, depicting a couple about to share a kiss under a full moon, 376/495 with certificate, approximate size 44cm x 30cm frame 71cm x 56cm, Condition Report: paint rubbed with light scratches to the frame (artist resale rights apply)

THE GRAPES OF WRATHFirst Release Italian Photobustas (3) (19" x 13.5")Fine Rolled; Artist M. Fuganti 20th Century Fox, 1948These 3 photobustas all have staple marks in the corners and some slight toning on the left side, with some on the right side of the photo featuring the woman. That one also has some corner crimping in the lower left and right, some scattered surface scuffs, extra creasing in the upper left edge, and two tiny tears in the left border that have been reinforced with archival tape. With the photo featuring the two men and one woman, there is extra wear to the staple mark on the upper and lower left and a V-shaped tear near the staple mark on the lower right. Legendary director John Ford won his second Oscar for directing this impactful adaptation of John Steinbeck's Great Depression-era odyssey. Henry Fonda stars as Tom Joad, whose impoverished share-cropper family must make a dangerous journey from Oklahoma to California in search of employment.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

SUNSET BOULEVARDOne-Sheet (27" x 41"); Style AFine+ on Linen Paramount, 1950Most of the poster formats for this film share the same graphics, as it's hard to top the image of a seething, maniacal Swanson casting a scorching glare upon young lovers Holden and Nancy Olson. The style B one sheet is much less impressive as it is merely a logo without actors.This poster has been restored to fix previous issues including fold line wear, chipping, and some tearing. There is also some light airbrushing in the upper center face image. Now, on linen, this one-sheet displays wonderfully."All right, Mr. DeMille, I'm ready for my close-up." Gloria Swanson showed true professionalism when she took on the role of aging actress Norma Desmond in this sensational and dark look at Hollywood. Billy Wilder directed this nightmarish film noir thriller and it became one of the absolutely timeless classics. Erich von Stroheim and William Holden (as Joe Gillis) co-star, but it was Swanson's show and comeback vehicle. The film was nominated for 11 Oscars and took three: Best Art Direction, Score, and Screenplay. This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

A rare Nantgarw porcelain cabinet plate decorated by Thomas Pardoe, the porcelain c.1818-22, the decoration c.1821-23, painted with a landscape vignette of two exotic birds perched on tree branches to the centre, contained within a six lobed cartouche of gilt bands with iron red stylised flower surmounting each lobe and trios of gilt-highlighted leaves to the creases, on a turquoise and duck-egg blue caillouté ground with six ornamental reserves bordered in blue and gilt and containing further painted exotic birds in landscapes, the gilded rim with six large and six small lobes, old collector's label to underside, 21cm diameter  The present lot is being offered on behalf of a charity. Footnotes: Note: Thomas Pardoe (1770-1823) was one of the most versatile painters of pottery and porcelain in the late 18th and early 19th century in England and Wales.  Born in the parish of St. Alkmund in Derby, Pardoe was apprenticed to the Derby porcelain works at the age of 15, and by age 20 had moved to Swansea as a skilled artisan by request of George Haynes, owner of Cambrian Pottery.  Between 1802 and 1804 Pardoe was acting manager and chief painter.  Around 1809 Pardoe moved to Bristol, where he is recorded as having a decorating business.  While in Bristol, Pardoe acted as go-between in the development of a new venture of porcelain manufacture at Nantgarw, aiming to manufacture the finest porcelain available for the English market.  In 1821 Pardoe was invited by William Weston Young to work with him and decorate the large stock of porcelain that remained.  Pardoe’s Nantgarw painting was based on his standard repertoire, including Japanese-influenced ‘Imari’ styles, Chinese-influenced ‘famille rose’ styles, botanical decoration, naturalistic flower groups, and caillouté or ‘pebbled’ gilding.  Pardoe’s painting at Nantgarw was among his very finest, a reflection of his great admiration for the factory and the culmination of some thirty years of painting experience. The present lot is most likely a single-item commission rather than from a named service or registered pattern, and therefore bears a possibly unique decorative scheme in Pardoe's oeuvre. It bears no impressed mark, but this is not universal for Nantgarw porcelain, see below in the related literature for other examples. The turquoise caillouté ground is strongly reminiscent of Sèvres porcelain and illustrates the prevailing taste and demand for Sèvres porcelain among wealthy families and connoisseurs in London in the first decades of the nineteenth century.  Related Literature: Andrew Renton et. al., Thomas Pardoe 1770-1823, Nantgarw, 2023: Nantgarw China Works. Cf. N18 for a plate decorated by Thomas Pardoe in the National Museum of Wales in Cardiff, item number NMW A 31449, and N20 for a plate decorated by Thomas Pardoe in the Andrews Collection, Oriel Plas Glyn-y-Weddw. The examples mentioned above share the six lobed cartouche with iron red stylised flowers, ornamental reserves painted with exotic birds, and caillouté ground found on the present lot. These unusually elaborate plates showcase the range of Pardoe's skills from figurative and landscape painting to East Asian motifs. The NMW example equally bears no impressed mark and yet is undoubtedly from Nantgarw and decorated by Thomas Pardoe. W. D. John, Nantgarw Porcelain, Newport, 1948: R. H. Johns Ltd. Cf. 53 D. for a small plate decorated in the Kildare S. Meager Collection decorated with similar ornamental reserves to the present lot, albeit containing single pink roses. See also 54. A for a small plate in the E. M. Bythway Collection with a similar treatment of a distant background of conventional mountains in pale bluish-grey colouring to the centre of the plate. We are grateful to Andrew Renton of Amgueddfa Cymru – Museum Wales for confirming the attribution of the present lot based on inspection of photographs.Condition Report: Overall in good decorative order.  Some light scratches to the porcelain visible on the centre, some pitting present to the centre and border, some bubbling and tarnishing to the gilt lobed cartouche on the right side, some loss of gilding to the rim, some areas of surface dirt.  UV examination reveals a now-defunct postcode inscribed in UV-susceptible ink to the underside. 

A 1926 share certificate for "The Venezuela Central Railway Company Limited" for 400 shares, framed and glazed

A Cornish Mining share certificate dated 1912 for Condurrow Mines Limited - Debenture £25, framed and glazed

An old share certificate for "The United Reefs (Sheba) Limited Company" for 25 shares, frames and glazed

TWO VINTAGE FRAMED SHARE CERTIFICATES, A PAIR OF PRINTS BY MARILYN KINSELLA, TWO FIGURINES, A BOHEMIAN GREEN GLASS VASE ETC.

Two Old Share Certificates And A Banknote 1927

Marc Quinn (b.1964)We Share Our Chemistry with the Stars, 201114/150, signed, dated, and numbered in pencil (in the margin)screenprint25.9 x 25.9cm.

Collectables : 20 Very large crate of ephemera including stamps, postcards, tea/trade cards, share deeds, theatre programmes, railway tickets, unused phonecards, toy bus, all sorts

The 46th (South Devonshire) Regiment of Foot was raised in 1741 and saw extensive service in North America during the latter half of the 18th Century and early 19th Century, including in the Caribbean, and subsequently took part in the Crimean War. It amalgamated with the 32nd (Cornwall) Regiment of Foot in 1881 to become the 2nd Battalion, Duke of Cornwall’s Light Infantry, and saw further service in the Egyptian campaign and in South Africa during the Boer War, as well as extensive service in both the Great War and the Second World War. Following the Second World War the Regiment amalgamated successively with the Somerset Light Infantry to form the Somerset and Cornwall Light Infantry in 1959; with the Durham Light Infantry, the King’s Shropshire Light Infantry, and the King’s Own Yorkshire Light Infantry to form the Light Infantry in 1968; and then with the Devonshire and Dorset Light Infantry, the Royal Gloucestershire, Berkshire, and Wiltshire Light Infantry, and the Royal Green Jackets to form The Rifles in 2007. A Second War ‘North Africa’ M.B.E. group of seven awarded to Lieutenant-Colonel J. H. Spiers, Duke of Cornwall’s Light Infantry, who experienced a meteoric rise through the ranks during the Second World War; was present at the evacuation from Dunkirk; Commanded Troops in Rome; and was twice Mentioned in Despatches The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 2nd type breast badge, silver; 1939-45 Star; Africa Star, 1 clasp, 1st Army; Italy Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Army L.S. & G.C., G.VI.R., 1st issue, Regular Army (Lieut. (Q.M.) J. H. Spiers. D.C.L.I.) mounted as worn; together with the related miniature awards, these similarly mounted, good very fine (7) £360-£440 --- M.B.E. London Gazette 13 December 1945. The original Recommendation states: ‘During the period under review, in fact from the first day he joined the Administrative Staff of this Headquarters early in November 1942, this officer has been outstanding in his devotion to duty. Joining originally as the Quartermaster he was soon made an assistant Camp Commandant in which capacity he has worked since May 1943. His services throughout have been of an exceptionally high degree of merit, and it can be truly said that on numerous occasions he has undertaken special duties superior to his rank and ordinary work, and has performed them brilliantly. During the move to North Africa from the U.K., the hectic days of settling down in Algiers, the move to Italy in July 1944, and ever since, he has played a major part in the local administration of the British section of A.F.H.Q. Possessing a remarkable knowledge of man-management, a capacity for hard work day in and out without easing up, this officer’s boundless energy, tact, cheerfulness, and contagious enthusiasm for the job in hand has been an inspiration to all around and there is no doubt whatever that he has had a very considerable share in the smooth running of the local administration, and he has earned the respect and friendship of all ranks, both British and American, with whom he has had to deal. The general well-being of the 4,000 British Officers and Men here at A.F.H.Q. has always been his particular concern, and the high standard of messing, accommodation, and general welfare of the other ranks has been ever of the highest priority with him. His exemplary conduct and efficiency throughout the two and a half years he has been with this Headquarters is worthy of special recognition.’ M.I.D. London Gazettes 11 November 1943 and 20 February 1945. John Henry Spiers was born in Guildford, Surrey, on 24 July 1906 and attested for the Somerset Light Infantry at Winchester on 26 May 1925, transferring to the Duke of Cornwall’s Light Infantry the same day. He was advanced Colour Sergeant and appointed Company Quartermaster Sergeant on 7 April 1937, and was promoted Warrant Officer Class III on 1 October 1938, and Warrant Officer Class II on 15 November 1938. He served with the British Expeditionary Force during the Second World War in France from 30 September 1939 until being evacuated from Dunkirk on 1 June 1940; given the fact that he was a Platoon Sergeant Major at the time, it is more than likely that Spiers played a key role in the Battalion’s successful evacuation from Dunkirk in H.M.S. Kingfisher on the evening of 1 June 1940, whilst still an effectively formed body with high morale. Promoted Warrant Officer Class I on 29 September 1940, Spiers experienced a meteoric rise during the War, being commissioned Lieutenant (Quartermaster) on 9 December 1941, and posted to the 7th Battalion. He subsequently served as Second in Command to the Camp Commandant of General Headquarters, North Africa, and would thus have got to know well all the great and good of Allied High Command (see M.B.E. Recommendation), before seeing further service in Italy, and was promoted Captain on 9 December 1944; temporary Major on 24 February 1945; and temporary Lieutenant-Colonel on 1 November 1947. For his services during the Second World War he was twice Mentioned in Despatches and was appointed a Member of the Order of the British Empire. He relinquished his commission on 20 October 1948, being granted the honorary rank of Lieutenant-Colonel, and died on 29 January 1953. Sold with copied research.

Four: Admiral Sir W. R. Mends, G.C.B., Royal Navy, Flag Captain to Admiral Sir Edmund Lyons in the Crimea, later Director of Transports at the Admiralty for which services, especially in relation to the Egyptian War of 1882, he was advanced to G.C.B. Crimea 1854-56, 1 clasp, Sebastopol (W. R. Mends. C.B. Capt. H.M.S. Agamemnon. 17th Octr. 1854.) contemporary engraved naming; France, Second Empire, Legion of Honour, Officer’s breast badge, gold and enamels; Ottoman Empire, Turkish Crimea, Sardinian issue, unnamed, fitted with Crimea suspension; Ottoman Empire, Order of the Medjidie, 3rd Class neck badge, silver, gold and enamel, with period silk neck cravat, the first three mounted on a contemporary pin bar as originally worn, the first with light contact pitting, the second with usual damage to enamels, especially points of the arms and reverse centre, otherwise nearly very fine or better and an attractive contemporary group (4) £2,000-£3,000 --- Admiral Sir William Robert Mends was the eldest son of Admiral William Bowen Mends (1781–1864), and nephew of Sir Robert Mends. He was born at Plymouth on 27 February 1812. In May 1825 he entered the Royal Naval College at Portsmouth, and on passing out in December 1826 was shortly afterwards appointed to the Thetis, a 46-gun frigate, going out to the South American station. He was still in the Thetis when she was wrecked on Cape Frio on 5 December 1830. It was Mends's watch at the time the ship struck, but as the night was dark and thick and it was raining heavily, he was held guiltless, the blame falling entirely on the Captain and Master. Mends was considered to have behaved very well in a position extremely difficult for one so young and inexperienced, and several of the members of the court offered to take him with them. After passing his examination he joined the Actæon in the Mediterranean, which in 1832 was at Constantinople when a Russian army of upwards of twenty thousand men was there, consequent on the terrible defeat of the Turks by Ibrahim Pasha at Konieh. The intervention of the Western Powers demanded the withdrawal of this force, and Mends was deeply interested in watching its embarkation, making careful notes of their manner and methods of embarking the cavalry and guns. Men, horses, and guns, with all their stores and baggage, were got on board within 12 hours, and Mends treasured up the experience for future use. In the summer of 1834, the Actæon returned to England and was paid off; in January 1835, Mends was appointed to the Pique with Captain Henry John Rous. In July the ship was sent out to Canada, and on the homeward voyage, on 22 September, it struck heavily on a reef off the coast of Labrador. After several anxious hours she was got off, and, though she was much damaged and leaking badly, and her main and mizen masts were badly sprung, Rous determined to proceed. Five days later her rudder, which had also been injured, was carried away, and the ship left helpless in a heavy westerly gale. With admirable seamanship she was steered for several days by means of a weighted hemp cable towed astern and controlled by a spar lashed across the ship's stern. It was not until 6 October that they were able to ship a jury rudder; and on the 13 they anchored at St. Helen's after a voyage that has no parallel in the annals of the nineteenth century. Mends then learnt that he had been promoted to the rank of Lieutenant on 11 August. In December he was sent out to join the Vernon at Malta. A year later he was moved into the Caledonia and then to the Rodney. In July 1838, he went to be Flag-lieutenant of Sir John Louis, the second in command on the station and superintendent of Malta dockyard. He continued with Louis, sometimes afloat, but mostly at Malta, until July 1843. From November 1843 he was in the Fox frigate with Sir Henry Blackwood on the coast of Ireland and in the East Indies; on 2 January 1847, he received the news of his promotion, on 9 November 1846, to be Commander. In January 1848 he was appointed to the Vanguard, in which, a couple of months later, he had the misfortune to lose some of the fingers of his left hand, which was carried into a block and badly crushed. It was this, more than the loss of the fingers, which caused trouble; and for years afterwards he suffered from severe attacks of neuralgia. The Vanguard went home and was paid off in March 1849. In July 1850, Mends was appointed to the Vengeance, again with Blackwood, who died after a short illness at Portsmouth on 7 January 1851, and was succeeded by Lord Edward Russell. Towards the end of the summer the Vengeance went to the Mediterranean, but came home in December 1862, when, on 10 December, Mends was advanced to post rank in acknowledgement of the excellent order the ship was in. In October 1853 he was selected by Sir Edmund (afterwards Lord) Lyons to be his Flag-Captain in the Mediterranean, if Captain Symonds, then in the Arethusa, should prefer to remain in the frigate. If Symonds should prefer to join Lyons, it was understood that Mends should have the Arethusa; Mends accordingly took the Agamemnon out and joined the fleet in the Sea of Marmora on Christmas Eve, when, as previously arranged, he took command of the Arethusa. In her he took a particularly brilliant part in the bombardment of Odessa on 22 April 1854: 'we stood in twice,' Mends wrote, 'tacked close off the Mole and engaged the works on it in reverse . . . pouring in a destructive fire as we went about.' He was promptly recalled by the Commander-in-Chief, who seems to have considered that he was needlessly risking the ship. 'I expected a reprimand when I went on board the Admiral to report, but the enthusiasm of the fleet and the cheers given to us as we passed along the lines mollified the chief, and I was simply told not to go in again.' The French officers who had witnessed the manoeuvre called on Mends to compliment him on it; and many years afterwards a French writer in the 'Revue des Deux Mondes' referred to it as a brilliant tour de force. In June, Lyons and Symonds had found that they did not get on well together, and it was proposed to Mends to re-exchange into the Agamemnon, which he did. From that time his individuality is lost in that of the Admiral, except that, as chief of Lyons's staff, he had the direction of many points of detail on which much depended. By far the most important of these were the embarkation of the troops at Varna and the subsequent landing of them in the Crimea on 14 September. The whole thing was admirably done without a hitch and without loss; and though, to the world at large, it appeared to be done by Lyons, Lyons himself and the Navy fully recognised that the credit belonged to Mends. In February 1855, Lyons moved his flag to the Royal Albert, with Mends accompanying him. In all the operations of the year he had his full share; he was nominated a C.B. on 5 July, and in December was ordered to take the ship to Malta, the Admiral remaining in the Black Sea with his flag in the Caradoc. While crossing the Sea of Marmora, the stern-gland (the metal bearing of the screw-shaft as it passes through the stern-post) gave way, and an alarming rush of water followed. During the next day the ship pursued her voyage, the engines pumping the water out, but on 28 December Mends decided that it was necessary to beach the ship, which was cleverly done in Port Nicolo, in the island of Zea. There a cofferdam was built inside round the hole, and, the ship's safety being thus secured, she proceeded to Malta under sail, and arrived there on 7 January 1856. Mends continued in command of the Royal Albert till March 1857, when he was appointed to the Hastings, guardship in the Mersey, from which, four years later, he was appointed Deputy-Controller-General of the Coastguard at the Admiralty. He held this office for about a year...

A very rare Thomas Bowles South Sea Bubble Stock-jobbing Cards or The Humours of Change Alley playing cards circa 1720, complete set of fifty-two cards with red tax stamp on Ace of Spades, engraved cards with hand coloured hearts and diamonds, plain verso —just over 3 1/2in. (9cm.) height of card (some with worn corners, mainly square, possibly from two sets, Queen of Hearts with staining and fading to speech bubbles, some red pips discoloured) - The South Sea Bubble was the financial collapse of the South Sea Company in 1720. The company was formed to supply slaves to Spanish America.The South Sea Company was formed in 1711 in London and its purpose was to supply 4800 slaves each year for 30 years to the Spanish plantations in Central and Southern America.Britain had secured the rights to supply slaves to Spanish America at the Treaty of Utrecht in 1713. The South Sea Company bought the contract from the British government for £9,500,000, a large proportion of Britain’s national debt. The sum was so huge because it was hoped that more lucrative trading rights with South America could be won once Britain got a toehold in the market. It was also assumed that the profits from slave trading would be enormous, which proved not to be the case.Speculators paid inflated prices for the stock, leading eventually to the company’s spectacular financial collapse in 1720. A large number of people were ruined by the share collapse, and the national economy greatly reduced as a result. A parliamentary inquiry held afterwards, found that many had profited unlawfully from the company and had their assets confiscated.

Bagel & Crumpet ‘Kindred Souls’ Bagel and Crumpet are young girls, who came into the Centre together as strays back in August. In their heartwarming painting, ‘Kindred Souls’ the canvas comes alive with the purest essence of companionship and joy. Soft golds and earthy browns paint the furry coats of the dogs, while the surrounding nature is alive with lush greens and hints of playful yellows. These girls have a special bond and can trust, rely on, and share life's joys and challenges with each other. Measuring approximately 50 x 60 cm. Each unique piece of artwork has been created by the animals, using card or canvas and animal-safe paints, which are squeezed onto the medium and covered with a protective film. The animal's favourite food is then placed on the film, and the paint underneath is 'painted' onto the canvas as they enjoy their tasty treat! Animal painting is an activity that carers at the Rescue Centre do with dogs as part of their rehabilitation programme, to help them get ready for rehoming. Jodie Bennett, Community & Engagement Officer at Bristol Animal Rescue Centre says 'Part of the rehabilitation process is doing a series of enrichment activities to help the animals bond with carers and learn to have fun again. Many of the animals really enjoy painting, it’s a fantastic enrichment activity for them that gets them out of the kennels and gives them that one-on-one attention that they love.' Bristol A.R.C. has been caring for the city’s pets and wildlife since 1887, helping, healing and homing thousands of vulnerable animals each year. They are the longest-standing and largest local animal charity, and although we are proud to be affiliated with the RSPCA, they receive no automatic funding from it. They rely entirely on local support within the community to fund their vital work. More information can be found on their website www.bristolarc.org

A DIAMOND 'DESTINÉE' ETERNITY RING, BY CARTIERThe continuous row of brilliant-cut diamonds weighing 1.52ct total, within claw-setting, mounted in platinum, signed Cartier, numbered, Swiss assay mark, European convention mark, ring size K¼ (EU 51)Accompanied with a certificate of authenticity from Cartier in Florida, dated February 28th 2007 Condition Report: Diamonds: weight stamped: 1.52ct - estimated colour F/G, estimated clarity VS-VVSSignature + Swiss assay mark + EU size + European convention mark = located inside hoopNumbered 60039B inside hoop and on certificateNormal signs of wear, overall in good conditionTotal gross weight approx. 3.1gRetail price: for a similar ring on Cartier website: retail price €12,000https://www.cartier.com/fr-fr/alliance-cartier-destinee_cod25458910981306219.html?share=%7B%22size%22%3A%2251%22%7D#dept=EU_Cartier-Destinee_Wedding-Bands

10 BOTTLES RUM AND 2 GRAPPAHotham's Spiced (50cl); Dead Man's Fingers Spiced; Duppy Share White; Wildjac Homegrown Distillery Cherry Wood Spiced; Diotisalvi 2 x Essenziale Grappa (20cl); Bangyikhan Distillery Mekhong; Havana Club Cuban Spiced; Caribú Black-Strap Spiced; Captain Cook's Original; Admiral Nelson's Premium Spiced; Hattiers Eminence White

LARGE COLLECTION OF VARIOUS SHARE CERTIFICATES AND BONDS IN VARIOUS CONDITIONS A/F (400+)OVER 400 PIECES

POSTCARDS, BOX OF APX 750 CHIEFLY OLDER POSTCARDS UK AND SOME WORLD Box with an estimated 750 or so postcards, much older, with lions share being EVII-GVI era. Mix of used and unused cards.

POSTCARDS, BOX OF APX 750 CHIEFLY OLDER POSTCARDS UK AND SOME WORLD Box with an estimated 750 or so postcards, much older, with lions share being EVII-GVI era. Mix of used and unused cards, with chiefly GB noted although some foreign scattered throughout.