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A Continental Porcelain Monkey, depicted playing a cello, with blue crossed mark to the base, approx 11 cms.

4/4 size cello late 19th/early 20th century with bow. Condition report: see terms and conditions

4/4 size cello early 20th century. Condition report: see terms and conditions

4/4 size modern Cello. Condition report: see terms and conditions

4/4 size cello late 19th / early 20th century. Condition report: see terms and conditions

3/4 size cello and two 7/8 size cellos. Condition report: see terms and conditions

A violoncello with two-piece back, bears label "Kalker, Maker, Holbeck, Leeds 1835", length of back 76cm, cased with an ivory mounted bow. CONDITION REPORT: Cello in a distressed state with numerous cracks, reattached neck etc.

LYRITA - Lovely collection of 31 x original LP's on the Lyrita label, to include many sought after titles. To include Frank Bridge - Oration (SRCS 87), Yo Yo Ma playing Finzi Cello Concerto (SRCS 112), Bax Symphony No 2 and 4 (SRCS 54, 58) and Finzi Concerto For Clarinet (SRCS 92). Also to include the titles with the following catalogue numbers: SRCS 31, 40, 43, 47, 51, 63, 74, 75, 76, 80, 81, 87, 88 and 108. Condition is generally VG+ to Ex+.

Select collection of original Scottish Airs, for The Voice, with introductory and concluding symphonies and accompaniments for the piano forte, violin and violin cello by Haydn (1805), a folio, half calf defective.

Boxed Airfix Motor Racing MR7 with two slot cars (gd, with cello tape repairs to box) plus a boxed Matchbox Steer n Go in vg condition (no car)

Boxed Corgi Major 1142 'Holmes Wrecker' Recovery Vehicle with Ford Tilt Cab complete with two operator figures (vg wiith vg box) and a boxed Corgi 64 Working Conveyor on forward control Jeep FC 150 (vg with minor paint loss, with inner display stand, box with cello tape repair otherwise vg, no figure)

Three boxed Corgi 'By Special Request' die cast vehicles including 233 Heinkel Economy Car in lilac (play worn, box gd-fair), 307 E Type Jaguar with detachable roof (vg with box showing wear, marks) and 238 Jaguar Mark X in metallic cerise (gd, scratch to roof, box with cello repair)

A cello, complete with bow, requires restoration

A modern flat screen TV by Cello, with remote control.

CLASSICAL - Collection of 16 x LP's and 2 x LP Box Sets, to include early pressings. Titles to include Karlheinz Stockhausen - Hymnen (2707 039), Jacqueline Du Pre and Stephen Dishop playing Beethoven Cello Sonatas (HQM 1029) Jacqueline Du Pre playing Elgar Cello Concerto (ALP 2106) and Rodrigo playing Falla (LXT 5492). Condition is generally VG+ to Ex+.

CLASSICAL - HMV - Collection of over 170 x LP's on the HMV label, to include many earlier as well as later issues. To include the titles Beethoven - Pastoral No. 6 ED1 (ASD 349), Beethoven - Symphony No. 7 w/ Guido Cantelli EDI ASD 254, J.S Bach - The Brandenburg Concertos ED1 ASD 327/328 and Elgar - Cello Concerto with Jacqueline Du Pre ED2 ASD 655. To include music from celebrated performers/orchestras/conductors such as David Oistrakh, Yehudi Menuhin, Artut Rubinstein, Royal Philharmonic Orchestra, Kirsten Flagstad, Harry Blech, Toscanini and Herbert Menges. Condition is generally VG+ to Ex+.

A Tatra by Rosetti Stradivarius model Cello in simulated leather case

Two Goebels Hummel figures of 'Cello Player' and 'Conductor', 13cm and 11cm high respectively

A Whitefriars glass "Cello" vase, designed by Geoffrey Baxter, in Meadow Green colourway. 18cm

A pink student's cello, with bow, in a soft case

Keti Betlemidze/Keti Betlemi, Georgian/Russian (born 1966) Circa 2014 Oil an Canvas "Lady With Cello". Signed Lower Right, Signed and Dated en verso. Good Condition or Better. Measures 27-3/4 Inches Tall and 20 Inches Wide. Shipping $95.00

A mahogany cello & soft case

An half size cello an bow from Stringers of Edinburgh.

A cello (a/f)

A COLLECTION OF VARIOUS ASIAN WORKS OF ART, to include a Yixing type agate pattern teapot, two small cloisonne vases, a mixed hardstone model of a cello, three porcelain figures of immortals and two small stoneware bowls

Cased cello and bow by Excelsion of London

CELLO CHEST OF DRAWERS, 155cm H x 41cm x 34cm.

David Oxtoby, British b.1938- "Zap"; etching with aquatint printed in colours, signed, titled, numbered 37/40 and dated 78 in pencil, 14x13cm., (unframed) (may be subject to Droit de Suite) CONDITION REPORT: stuck down to mount card with cello tape on the reverse of the corners full sheet visible in very good original condition

A cello requiring restoration with paper lable inside 'Fio: Batta Ruggeri', complete with bow and soft case

Two Meissen figures of musicians from the Gallant Orchestra, late 19th/early 20th century, one of a gentleman seated and playing the cello, the other of a lady standing and holding a songbook in her left hand, blue crossed swords marks, some restoration to the cellist, 13.5cm max. (2)

Beswick cat orchestra consisting of saxophone player, fiddle player & 2 cello players

Art Glass - A Stourbridge satin glass, air trap quilted paperweight, pale blue, 9cm (h) a Cello tear drop paperweight, and a Tweedsmuir paperweight (3) - Est £40 - £60

Circle of Francesco Renaldi (1755-1798) Portrait of a young gentleman playing his cello in an interior' circa 1780, oil on canvas, framed, 'Zoffany' label fixed to base of frame, 76 x 64cm Francesco Renaldi was an English-born painter of Italian heritage about whose life little is known. He entered the Royal Academy Schools in London in 1776, aged twenty-one. For two years after 1781 Renaldi traveled in Italy, initially with Thomas Jones, the Welsh landscape painter and pupil of Richard Wilson. Evidently on at least one occasion Jones exploited Renaldi's name to pass himself off as an Irish catholic in order to gain access to the prior of a monastery at Caserta near Naples-which would normally have been inaccessible to him on sectarian grounds-but Renaldi seems to have accepted this with good grace, even affability. Years later, in 1798, he exhibited at the Royal Academy a workmanlike but affectionate group portrait of the Jones family, which is now in the collection of the National Museum of Wales in Cardiff; it may contain the artist's discreet but cheerful self-portrait. Upon returning to London in 1783, Renaldi attempted without success to establish himself as a portrait painter at 2, Portugal Street, a modest house tucked behind Lincoln's Inn Fields, on the Thames side. On November 3, Jones was pleasantly surprised to bump into Renaldi in Fleet Street, and the two dined together not long afterwards. In 1785, perhaps frustrated by commercial sluggishness, even sensing the prospect of professional failure in a highly competitive metropolitan market for portraits, Renaldi applied to the East India Company for permission to travel to Bengal. He supplied the names and addresses of two guarantors-Mr. Job Hart Price of Aldershot House, and Robert Codd of the 59th Regiment of Foot. These sureties were obviously acceptable to the company, because the following February Renaldi was given formal approval to go. He sailed aboard the Hillsborough, and reached Calcutta in August 1786. For ten years Renaldi lived in Calcutta, Lucknow (working, it is believed, for Asaf ud-Daulah, the Nawab Wazir of Oudh), and in Dacca (now the capital city of Bangladesh). He was therefore one of only a relatively small number of European painters-among them William Hodges, Johan Zoffany, Tilly Kettle, and Ozias Humphry (all of whom are represented in the collection of the Yale Center for British Art)-who spent extended periods painting portraits of and for the nabobs (English, Scottish, and Anglo-Irish gentlemen of the East India Company whose tendency was to “go native”) and their more or less official Indian mistresses, or bibis. By 1796 Francesco Renaldi was back in England. To the following year's summer exhibition at the Royal Academy he sent paintings of two Industany ladies, and one Mogul lady-all three were presumably bibis, possibly including this one-and also listed his address as 69, Margaret Street, Cavendish Square, very close to what is now Oxford Circus. In 1798 he may have exhibited a portrait of his own family, about whom we know nothing. Thereafter he vanishes from view, but completely.

A Cello with 'Clotelle' label, together with bow and case.

BOOSEY AND HAWKES MODEL 19 CELLO BODIED ACOUSTIC GUITAR, SERIAL NUMBER 2069

A Meissen model of a seated girl playing the cello, mid 18th century, 13 A Meissen model of a seated girl playing the cello, mid 18th century, 13.5cm high, fainte trace of blue mark, incised 23

Whitefriars tangerine glass 'cello' vase, 19cm.

Jehan Daly (1918-2001) - Pastel on buff paper - Still life with bust, cello and artist's model, 9ins x 11.5ins, signed in full and dated '87, in later gilt frame and glazed Note : Label to verso for East Kent School Exhibition with title of work, artist's name and address

A 19th/20th century small German cello with bow: bearing label for 'Neunerund, Hornsteiner'

A 19th century child's cello with bow in case (unlabelled)

A 20th century students cello bearing the makers name "Glaesel", length 118cm.

Child's cello.

Nao figures Girl playing Cello and Girl playing Mandolin, height 19.5cm (2)

GALITZINE ALEXANDER: (1773-1844) Russian Statesman, Minister and confidante of Tsar Alexander I. Chairman of State Council under Nicholas I. A.L.S., , Le Prince Alexander Galitzin, (a large bold signature), three pages, 4to, Warsaw, 5th/17th September 1829, to Helbig, in French. Galitzine, acting on behalf of the Infantry General Levicki refers to the clauses of a contract which establishes the conditions according to which Mr. Helbig will move to Warsaw to take in charge the General´s son education. He explains to his correspondent the various conditions and timing established by Levicki´s family, and concludes by stating `Please address to His Excellence the General Levicki any correspondence about this matter from now on, as I am leaving right now towards Russia and I will be out of Warsaw for quite a long time.´ Some overall age wear, a very small tear to the central fold edge and small crease to the last page. G £100-150 General Michael Lewicki, Commandant of the city of Warsaw until the Polish revolution. Frederic Chopin wrote about a musical evening hosted at Commandant of Warsaw Lewicki´s home, and where Prince Galitzine would play his Polonaise with cello

A cello makers small boxwood rounder 1" tapering to 1/2" G+

Geoffrey Baxter for Whitefriers. A Cello vase, c1970. Excellent condition. Ground and polished pontil. Height: 7.2 inches.

Studio Pottery - a Bernard Rooke Cello vase, incised with musical script, signed BR, 21cn high; a Bernard Rooke Wrinkly bowl, mottled coffee and brown, signed, dated 89, 26cm diam (2)

Four Spanish porcelain figures to include clown, young girl playing cello etc. (4)

A cello, vertically striped 75cm two piece back, labelled "Copie de Antonius Stradivarius Cremonensis... 1721, and further labelled "A Thibouville-Lamy & Co., London & Paris", with a bow, cased.

A late 19th century German cello with 70 cm two piece back, bears interior label 'Wilhelm Stitundstammer' in canvas slip case with two bows

A small Ecole Grandine Cello in case & Bow P & H London

HENSCHEL GEORGE: (1850-1934) German Composer, Conductor, Pianist & Baritone. A good series of twenty eight A.Ls.S., George Henschel, and others slightly abbreviated, some signed with his initials, fifty six pages, largely 8vo (a number on correspondence cards), various places (Aviemore, London, Villefranche etc.), 1914-25, all to Louis Fleury. Henschel writes an interesting series of letters, largely with musical content concerning a composition for his correspondent, in part, 'I have not forgotten my promise to write some variations for your instrument and shall commence as soon as I have finished an Organ Prelude on a Hymn of All Saints on which I am at present engaged. I shall endeavour to make it worthy of your beautiful art' (11th June 1919), 'At last I am quite in earnest working on those variations! I have abandoned the idea of the Scottish Folksong and made a simple theme of my own which I herewith send you as I want to know if you like it….is the Key of E agreeable? I have already 3 variations sketched…' (30th July 1920), 'You will see I have changed the key to F which is really better in every respect. I hope you will agree with me…I shall take the liberty of dedicating the little work to you' (9th August 1920), 'I have made a note of your suggestion regarding the rests for respiration. There will be seven variations in all, the whole thing lasting about 8 or 10 minutes. I am greatly looking forward to hearing you play my little work' (23rd August 1920), 'Lady Sheffield, our dear hostess, would love to come and hear the piece (she is a charming woman & very musical) and I hope it will suit you' (6th November 1920), '…with an interpreter like you, my little work is sure to be a success' (30th November 1920), 'It is very good of you to play my little variations at your various concerts & I am greatly obliged to you & hope you will have a great success….As to the publication of the variations - - not a word from Chesters! Do you think a Paris publisher would take the little work?' (23rd January 1921), 'I am truly delighted the variations - thanks to your exquisite playing - have met with such success and thank you very much' (4th May 1921), 'I do hope you will be in England in October. It would be awfully nice to have that little concert at Broadway and I should love to hear you play the Bach, and my flute variations' (4th August 1924), 'I have just read Mme. Navarro's letter again and am sorry I did not follow my first impulse….and told you that, although she accepts your terms she finds them rather high. "Higher" (she writes) than Suggias or any other of the artists that play and sing here for me…." I think therefore it would be a very gracious thing on your part - and good policy too for the future if in writing to her you would say that…..you will be very glad to accept fifteen guineas….After all, Mme de N has been a very famous artist herself and all the best musicians love to play & sing for her' (17th August 1924), 'I send you here a little sicilienne with which Casals (it is originally for cello) has had a huge success in New York' (27th August 1924). Several of the letters are written in French and seven of them incorporate musical quotations of various lengths, each being corrections and suggestions to Henschel's composition and submitted to Fleury for this thoughts and comments. Also including a further three Autograph Musical Quotations, unsigned, by Herschel, again each being corrections and suggestions sent to Fleury (and referred to in some of the letters). A number of the letters are accompanied by the original envelopes hand addressed by Herschel. An interesting archive. Some light age wear, generally VG, 31 Louis Fleury (1878-1926) French Flautist.

A CELLO 154cm total height, including spike

A Continental White Porcelain Figure Group, possibly Italian, circa 1770, as four putti playing musical instruments and holding books on a rocky base applied with flowers, 19.5cm high One putto lacking right arm and head of cello and with repairs through arms and neck of cello. One putto lacking left hand. Other minor chips and losses. 210115

A Derby Porcelain Monkey Band Figure, circa 1790, the seated figure wearing a striped jacket with ruff playing a cello on a gilt lined plinth base, unmarked, 12cm high Some restoration. 210115

A three quarter size cello, with a 27½ two piece back, with a soft case (a.f.)

East German three quarter size cello, label marked 'Musima', c. 1930s, with bow and case.

A Saxony cello, circa 1900 with 76.5cm two piece plain maple back and medium grain spruce belly, 122cm overall in soft carrying case with nickel mounted bow

Ferdinand Schmautzer "The Joachim Quartet" a dry point monochrome etching Depicting Jospeh Joachim (First Violin), Robert Haussman (Cello), Carl Halir (Second violin), Andy Emmanuel Wirth (Viola), signed and dated 1904 ** provenance .. previously owned by the Oxford and Cambridge Musical Society and sold by Elizabeth harvey Lee in 2011 84x123cms, framed (Illustrated)

A SAMSON FIGURE OF A MUSICIAN the winged child in bonnet and pink and turquoise costume playing the cello, on gilt base, 10.5cm h, painted crossed swords and S, late 19th c