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A Chelsea fork, c.1752, white-glazed and moulded with sprays of flowering prunus, a larger silver-mounted Chelsea cutlery handle moulded with tea plant sprays above a shell terminal, and a Worcester dessert knife moulded with scrolls and small flowers, 18.8cm overall. (3) Provenance: The McWilliams Collection, Bonhams, 17th October 1991, lot 220 for the Worcester knife.

A Chelsea-Derby two-handled vase, c.1765, painted with six alternating panels of fancy birds in polychrome enamels, and of gilt butterflies and floral trellis on a blue ground, with elaborate scroll handles, some good restoration, 25.5cm.

A Chelsea ecuelle or tureen base, c.1756, the decoration attributed to Jefferyes Hamett O'Neale, painted to the exterior with scenes of exotic birds amidst trees and foliage, the interior with bold floral sprays and single scattered blooms, the twig handles applied with flowers and leaves, red anchor mark, broken and restuck, 26.5cm dia. Cf. Flowers and Fables: A Survey of Chelsea Porcelain, p. 62, pl.136 for a similar tureen and cover, and Stephen Hanscombe, Jefferyes Hamett O'Neale, pp.82-83 for a gold anchor tureen stand with similar decoration.

A Chelsea Gold Anchor figure of the Nightwatchman's Companion, c.1760, wearing a black cloak and holding a lantern in her left hand, a basket of fruit over her right arm, raised on a low base with gilt detailing, gold anchor mark, some good restoration, 15cm. Cf. Metropolitan Museum, Accession No. 64.101.491, for the same figure from the Irwin Untermyer Collection. This figure derives from a similar Meissen example from the Cris de Paris series.

A Chelsea Gold Anchor figure of a musician, c.1762, with a narrow drum slung over his left arm, which also holds the flageolet he plays, wearing a plumed green hat and a yellow jacket over pink breeches, a small amount of good restoration, 15.5cm.

A Catherine Walker for the Chelsea Design Co. evening dress,black silk velvet bodice to a red and black silk polka dot skirt

Football programmes, for the games Chelsea -v- Lincoln City 29/10/1910, Football League Division 2 and Chelsea -v- Clapton Orient 31/10/1910, South Eastern League

A football programme, Gerry Peyton testimonial Fulham -v- Chelsea 7/5/1986, autographed by George Best and Bobby Moore, with letter of authentication from Cliff Carr

Box containing a quantity of various porcelain including: Spode, Worcester, Chelsea etc (all for restoration)

German porcelain figure of a girl wearing a lace dress, together with a Samson Chelsea figure of a lady with a greyhound and a pair of Rudolstadt figures of musicians (a/f)

A collection of 11 limited edition prints for the Chelsea Arts Club; including Patrick Proctor; Sandra Blow; with presentation folio but missing some prints.

A mounted and signed Chelsea goalkeepers jersey, together with an insert photo, both signed by Petr Cech

A collection of 1960s 1970s football programs Chelsea and Tottenham

A mounted and framed Chelsea football shirt signed by 24 players including Vialli, Zola, Le Saux, Ambrosetti, Lambourde, Di Matteo, Melchior, Terry, Flo, Poyet, Sutton, Wilkins, Desailly, Babayoko, Cudicini, De Goey, Goldbaek, Forsell etc

A collection of 4 framed football programmes including Chelsea v Real Madrid 1971, 1966 World Cup final and the 1970 FA Cup final and replay programmes.

A framed and signed black and white print of Peter Osgood of Chelsea playing against Leeds United in the 1970 FA Cup final at Wembley together with a framed and signed photo of John Terry of Chelsea.

Three signed and framed Chelsea photos including Wise, Zola, and Hughes, an unframed signed photo of Gullit, together with a multisigned Chelsea calendar ,signatures including Osgood, Harris, Dixon, Hudson, Wise and Wilkins

Two Royal Crown Derby 'Chelsea bird' figures, one marked to base S Kinsey and J Plant, the other J Griffiths and J Plant, approx heights 15cm and 16cm.

A mixed collection of floral China trios to include New Chelsea, Tuscan, Royal Albion, Bell, Gladstone, Standard China, Shelley, etc

A collection of large Royal Doulton character jugs to include Lumberjack D6610, Chelsea Pensioner D6187, Falstaff D6287, St. George D6618, Sir Francis Drake D6805 and The Sleuth D6631 (6)

3 Royal Doulton Chatacter jugs to include Pearly King D6760, Chelsea Pensioner D6817 and Pearly Queen D6759 (3)

A mixed collection of floral China trios to include Royal Worcester, Bell, Royal Stafford, Phoenix, New Chelsea, Wellington, and Royal Albert floral decorated items

50 Ordnance Survey Maps, scale 1:1250 (or 50.688 inches to 1 mile), mainly 1960's including Chelsea, Westminster, Knightsbridge, etc

A quantity of cigarette cards football programmes Arsenal and Chelsea, and scrap albums with postcards etc.

A Chelsea Works Burslem lustre lidded pot designed by Lisa. B. Moorcroft, 15cm diameter

MIKE 'CHAI' SCOTT (born 1943); an elm bowl form, radiating flutes to top, copper gilding to central bowl and limed exterior, incised signature, maximum diameter 33cm. (D)Exhibited: Chelsea Arts and Crafts Fair, London, 1998.Provenance: Purchased from the artist, 1998. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

MIKE 'CHAI' SCOTT (born 1943); an elm bowl form, radiating flutes to top, with gilding to central bowl and limed exterior, incised signature, maximum diameter 32cm. (D)Exhibited: Chelsea Arts and Crafts Fair, London, 1998.Provenance: Purchased from the artist, 1998. CONDITION REPORT: Slight wear to gilding, otherwise appears good with no further obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

SIR GEORGE YOUNG, 3RD. BT. - 'YOUNG OF FORMOSA', I. Family History II. Memoir of Admiral Sir George Young', 'not published', Poynder & Son. Reading c. 1927. Enclosed is a handwritten letter by George Young 4th Bt. from 26 Upper Cheyne Row, Chelsea, 12 July 1930 to Mr Sharpe thanking him for writing concerning the death of his father, the 3rd Bt. author of the book

Football signed cover collection. Four Dawn football covers with lots of autographs. 14 have signed most not identified so will yield some good names with research. South Port v Huddersfield 1973, Spurs v Carlisle 1974, West Ham v Fulham1975 FA Cup, Chelsea v Stock 1972 League Cup Final. Includes Nobby Stiles, Bill Foulkes, David Sadler, Stan Gowley, A Balderstone, Peter Osgood. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95

Chelsea FC signed photo collection. 13 photos mainly 10x8 colour. Includes John Hollins, Tony Baldwin, Alan Hudson, John Dempsey 2, Paddy Mulligan 2 and 6 others. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95

Caroline Dewar (British, b. 1954) Black Magic signed on the reverse "C Dewar" mixed media and collage 24 x 35cm (9 x 14in) Other Notes: Originally trained as a textile designer at Chelsea School of Art and Middlesex University, Dewar is currently oriented towards an eclectic range of figural, semi-abstract and abstract subjects. Experimenting with a variety of media, she has received a number of awards - notably winning the Courtaulds and Leeds Textile Design competitions, as well as the International Exhibition of Miniature Textiles. Her works have been widely exhibited at the Commonwealth Institute, the Barbican and most recently at the Cambridge Open Art Exhibition. She currently lives in Huntingdon and is a published author. In a good condition. Three framed together as one.

CHELSEA SAUCE BOAT, of silver shape painted with cartouches of fruit and flowers, iron red anchor, length 19cm

Liverpool FC, eight limited edition plates Treble winners 2001 with certificates ( Dunbury Mint) plus a Champions League semi-final V Chelsea framed and glazed 27-04-05 13" X 9" together with a T shirt with Shankly saying 'Football matter of life and death…'

Wolverhampton Wanderers, seven home and away programmes 1961-1963 many with press cuttings, FA Youth cup semi-final 1962 versus Chelsea card programme together with two further publications, Cullis and a programme for special match to celebrate the completion of the Molineux and a 1961-62 FA handbook.

Chelsea, one hundred and forty programmes approximately mainly from the 1960s with a few from the 1950s and 1970s including FA cup 3rd round replay 1963/64 Chelsea V Spurs and two European games and friendlies.

Programmes, Manchester Utd programmes and reviews 100+ manly from 1980s together with programmes mainly from 1970s Arsenal (30) Everton (30) Spurs (50) Man City (20) Chelsea(20)

Autographs/Press cuttings, Fulham autographs (approx 22) Alan Mullery and Johnny Haynes from late 1950s together with seven books of football press cuttings from the same era and seven Chelsea programmes mainly from the 1960s

Blackpool V Chelsea, official programme Saturday October 23rd 1954, no writing very good condition with a horizontal crease

George Best, autograph on the back of a cheque with letter asking for cheque to be returned together with five Chelsea programmes including cup final 1970 and various other items.

Youth & Reserve programmes, 16th International Youth Tournament 1863-1963, England v Young England 1966, Football league V Scottish League 1959/60, Youth England V Luxemburg, London Boys V West Germany 1955 ( Includes Jimmy Greaves) Amateur England V Germany 1957, Chelsea v GB Olympic 1964, Combination League Chelsea V Charlton 1964 and Chelsea v Spurs South East league 1966

Football badges, `seven plastic Chelsea blue stars with photographs and names of 1960/70s players including Ron Harris and Terry Venables plus three West Ham claret badges from 1950s, Brian Rhodes, Malcolm Musgrove and Joe Kirkup together with eleven 1970 Esso World Cup coins and FA Cup Centenary Medal 1872 - 1972There should new images available for the pin badges.Pins are present and the overall condition is generally good

A 1960s and later football, rugby and cricket programs to include Manchester United, Chelsea, London Irish and others

A rare Chelsea etui case, painted with exotic birds in shaped reserves, on a mazarine blue ground, 8.5cm high, c. 1765

[Anon. - Juvenile] The Village Orphan; a Tale for Youth. To which is added, The Basket-Maker, an Original Fragment. Ornamented with vignettes on wood. Printed by C. Whittingham for Longman and Rees, [1797]. 12mo., 25 woodcut vignettes and tailpieces, original pink boards, uncut, slight marginal browning, plain paper spine renewed, edges slightly worn, inscription at head of title 'J. St. J., Chelsea 1818', [ESTC N48767; Osborne I p.316]

GEORGE BARRET SNR (c.1728-1784)A Mountainous Wooded River Landscape with a Waterfall and Three FiguresOil on canvas, 96.5 x 125.7cmProvenance: Senator Edward McGuire, Newtown Park, Blackrock, Co. Dublin; Christie's, 21st March 1969, Lot 80George Barret was a friend of Edmund Burke (1729-1797) - and their work therefore engages an Anglo-Irish perspective on landscape which requires an inherent connection between aesthetics and politics which, like other aspects of Irish history, have been underplayed in the dominant narratives of British art. The son of a tailor, Barret was born in Dublin. He was to become a founding member of the Royal Academy in 1768, and his work was popular in his lifetime. According to Thomas Bodkin, “George Barret, the elder, was reputed in his day, to be the greatest landscape painter whom Ireland, England, or Scotland had till then produced.” Despite this Barret experienced the vicissitudes of the eighteenth century art market and ended his life in relative obscurity and bankruptcy. Although he attained the title of Official Painter to the Chelsea Royal Hospital in 1782 thanks to Burke’s intervention, Barret died before he was able to take it up. In his stead, his son James assumed the role. As friend of Burke, with whom Barret shared an Anglo-Irish background, Barret’s work explores the ideas of the Sublime, reflecting the influence of Burke’s treatise A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (1756). A panoramic view of the Lake District (c.1780) commissioned by William Locke to decorate a room at his house, Norbury Park, Surrey, is considered Barret’s masterpiece. Despite Barret’s success as a painter, his position at the Royal Academy and the support he received from Burke, he has historically been seen as belonging to a lower tier of artistic merit than his better-known contemporaries. Contemporary painters such as Wilson themselves perceived this inequality, describing Barret’s paintings as depicting foliage like “spinach and eggs.” Unlike Wilson, Barret did not travel to Italy, and borrowed his classical motifs from prints or from Wilson’s paintings in order to cater to the tastes of his grand tourist patrons. Barret required to make a living from his work and many of his paintings were primarily intended for sale or as part of interior decoration commissions, for which Barret gained much contemporary commercial success - as at Norbury Park. Similarly lucrative commissions include ten views of Welbeck Abbey, Nottinghamshire, which Barret had painted in 1765-7 for William Henry Cavendish-Bentinck, 3rd Duke of Portland, and 1768 he received a similar commission from Henry Scott, 3rd Duke of Buccleuch to record the mountainous landscapes around Dalkeith Park, Lothian, as in A Rocky River Scene. These pictures were exhibited at the Royal Academy between 1769 and 1771.Based on a stylistic analysis the present picture was painted before Barret’s move to London around 1763 and is most certainly an Irish view. The composition was influenced by Burke’s ideas on the Sublime and the Beautiful. The enhanced detail of this early painting in the style of romantic realism creates a ‘sublime’ mood. It is rumoured that Burke introduced Barret to the Dargle Valley near Powerscourt Falls during the early 1760s leading to a connection with one of Barret’s earliest patrons, Lord Powerscourt, owner of this property. Patrons such as the Taylours of Headford and the Conollys of Castletown began to commission series of topographical paintings. These landscapes demonstrated the extent of Barret’s talent and helped him establish his reputation in London. Barret soon began exhibiting views of the Dargle Valley at the Society of Artists of Great Britain. This painting has several characteristics typical of Barret’s work including the framing of the trees, diffused light and the heavy application of and the use of saturated colour. To the right of the composition, a cluster of trees and foliage almost reach the top of the canvas. In the centre there is a view of distant hills beyond a waterfall in the middle ground slightly to the right. The finely detailed figures in the foreground towards the bottom right corner catch the viewer’s eye, given the complimentary use of red to depict their clothing. One balances on a fallen tree near two anglers apparently in conversation. The distinctive brown palette is vaguely reminiscent of the Dutch artist Jacob van Ruisdael whose work Barret had studied while painting under Robert West in the Royal Dublin Society.A considerable number of Barret’s early stylistic features are present in the painting and can be seen in other pictures executed around the same period. The repeated traits typically include a dominating tree on one side of the painting; a body of water or waterfall in the centre, or slightly placed to the right, and a distant view of mountains or hills. For example, an ex-Gorry Gallery piece, An Irish Landscape inspired by the Dargle Valley, must have been painted around the same time. The views are similar in size, composition and, colour palettes. Both paintings have anglers dressed in red and are lit by diffused light. The National Gallery of Ireland’s: An Extensive Wooded Landscape with Fishermen Hauling in their Nets in the Foreground also shares the same basic elements with the overall effect of creating the sublime grandeur, as inspired by Burke.Logan MorseAugust 2017

Britains Footballers five Forwards, five Midfielders and eleven Backs including players in Newcastle, Chelsea and Arsenal strip, Goalie with and without cap, Linesman (flag repaired and repainted) and two Referees (G, thirteen F) (26)

Studio stamped impressionist watercolour by Peter Collins (1923-2001) Stanley Studios Chelsea 70 cm x 61 cm

A collection of 19th Century English pottery to include a Chelsea cat, a parrot, four Staffordshire cats, a Staffordshire dog and two candlesticks.

A WILLIAM IV BRONZE GRADUATED SET OF SIXTEEN HAND BELLS the largest indistinctly engraved possibly 'J Varley, Chelsea 1837' and with further engraving to the other side including 'King's Cross London', the largest bell 13.5cm diameter, the smallest 7cm diameter (16)

Small selection of Old Chelsea blue and white tea cups, saucers, breakfast cups etc.

Pair of Clifford James brogue style Chelsea boots (9).

Royal Doulton 'Chelsea Rose' Dinner Ware, of twenty-eight pieces.

After WHISTLER Chelsea Bridge Etching, published by Virtue & Co. 13cm x 20cm

AN 18TH CENTURY WORCESTER BLUE SCALE COFFEE CUP painted with exotic birds, another Worcester cup painted with flowers similar, a Worcester sparrow beak jug in Chinese export style, a Worcester blue and white tea bowl in the rare Bird in a Ring pattern and two Worcester green plates together with a late Chelsea gold anchor pineapple moulded coffee cup and matching tea bowl with turquoise ground painted with flowers.

AN 18TH CENTURY CHELSEA COFFEE CUP AND SAUCER with twig handled cup painted with Meissen style flowers, both with red anchor marks one including numeral 27.

A 19TH CENTURY CHELSEA GOLD ANCHOR STYLE BOX AND COVER painted with birds on a claret ground, two other Chelsea style pieces with birds on a mazarine blue ground, a Coalport type vase and cover floral encrusted and painted with landscape and flowers and a two-handled blue ground vase with two landscapes.

AN 18TH CENTURY CHELSEA SILVER SHAPED DISH painted with Meissen style flowers a caterpillar, a moth and a beetle.

FOOTBALL, signed 1958 Chelsea programme for England World Cup XI v Under-23 XI, signed to field of play page by Langley & Finney and by nine foreign players, possibly Portugal who played England five days later, VG, 15

Various football programmes 1960's, etc., to include Leicester City, Chelsea, Stoke City, Arsenal V Nottingham Forest 1963-64 Season, various others, etc. (a quantity)

*Polaroids. A group of vintage Polaroid prints relating to Pat Hearn/Mark Morrisroe, circa 1980s, mostly nude studies of a single young female subject, together with a small colour photograph of Hearn holding her Polaroid camera, 9 x 11 cm Pat Hearn (1955-2000), was a founder of the Gramercy International Art Fair and a pioneer of the art scene in the East Village, SoHo and Chelsea. Mark Morrisroe (1959-1989) was an American performance artist and photographer whose work Hearn exhibited from 1985 onwards. (18)