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CATHERINE II THE GREAT: (1762-1796) Empress of Russia 1762-96, Catherine the Great. An excellent and very attractive D.S., `Ekaterina´, in Cyrillic, a bold and good signature example, one large page, oblong 15 x 21 folio, Saint Petersburg, 8th August 1769, in Cyrillic. The document bears to the front a splendid and very large paper seal with coat of Imperial arms and is signed by the `Empress and Sovereign of All Russias..´, being a title given, appointing a representative to the Pope Clemens XIV, who will carry out his duties from the Russian consulate established in the port city of Ancona on the Adriatic Sea. Countersigned at the base by Prince Alexander Golitsyn. It is likely that this appointment was postponed or canceled, the name of the diplomat having never been completed. It was probably part of a political strategy of Catherine II who, after the occupation of Poland, had waited only a spark to launch a war of expansion against Turkey, under the false pretext of providing help to Christians against the unbelievers. It will be done in September 1768, and the port of Ancona, natural gate to Turkey, will serve as a base for the Russian fleet already installed in the Mediterranean Sea. In 1771, Russia will seize Crimea and the Turks will finally sign peace in 1774. Accompanied by an official contemporary translation into Latin, attached to main document signed by Catherine II. Very small overall minor age wear. VG   Prince Alexander Golitsyn (1718-1783) Russian Marshal and Diplomat. Governor of Saint Petersburg. One of the main Russian military leaders involved in the war against Turks.

AGA KHAN III: (1877-1957) Imam of the Nizari Ismaili Community and the first President of the All-India Muslim League. President of the League of Nations 1937-38. Signed and inscribed 4.5 x 3.5 piece, with amusing inscription `With pleasure, I send you this specimen of my signature, Aga Khan´, being the upper portion of a red printed letterhead featuring a coat of arms and the address “Lallgarh, Bikaner, Rajputana”. The clipped page has been affixed to a same size card. Matted in black beneath an attractive 5 x 6.5 photograph of the Aga Khan, to an overall of 8 x 12 (20cm x 30cm). Overall creasing to the printed letterhead. About G  

BLANCO RAMON: (1833-1906) 1ST Marquess of Pena Plata. Spanish Brigadier and Colonial Administrator, appointed Governor of Cuba and Santo Domingo 1858-1861 and of the Philippines 1866-1871. D.S., `Ramon Blanco', in his capacity as Governor General of Cuba, one page, large oblong folio, 19 x 14, Havana Cuba, 14th July 1879, to Ricardo de Sierra y de la Cruz, in Spanish. The partially printed document is a diploma given by “The Governor General of the Isle of Cuba” to Ricardo Sierra as a recently graduated Doctor-Surgeon, bearing to the heading a coat of arms of Cuba, and certifying below his age and his outstanding qualifications, in accordance with the Regulations of the University of Havana Faculty of Medicine and Surgery with Distinction. The document bears also at the base several countersignatures. Folded. Small overall staining and creasing, one small hole, and few tears to edges. F   

MATA HARI: (1876-1917) Gertrud Margaretha Zelle being her real name. Dutch exotic Dancer, with stage name Mata Hari, who was convicted of being a spy working for Germany during World War I. She was executed by firing squad in Paris. A good A.L.S., `Mata Hari´, a bold ink attractive signature, three pages, 8vo, n.p., [Paris], n.d., [1908], on the Hotel Majestic, Paris, printed stationery, to Monsieur Gerson, in French. Mata Hari kindly asks her correspondent to give her back tomorrow the photograph she forwarded to him for the lithographs, and describes the one she specifically wants, stating in part `The one wearing the Hermine coat, with the head bowed, I wish to give it to Coquelin.´, further saying `You will find 24 similar in Berlin, in my home, which are ready yet.´ Extremely small overall minor age wear, with very light creasing, otherwise VG    Nicol Gerson was a Parisian impresario and artistic director in charge of Mata Hari´s tours and spectacles. The present letter provenance is from his correspondence archive. Mata Hari most probably refers to Benoit-Constant Coquelin (1841-1909) known as Coquelin “l´ainé” (“The Eldest”). French prominent actor.

[NAPOLEON BONAPARTE - THE LITTLE KNOWN FIRST WILL OF THE EMPEROR]: BERTRAND HENRI GATIEN (1773-1844) French General. Count Bertrand and Grand Marshal of the Palace. Bertrand was aide-de-camp to Napoleon I and the closest officer to the Emperor, who had full confidence in him. He served during the expedition to Egypt and the Battles of Austerlitz, Wagram, Leipzig and Waterloo and accompanied Napoleon I to Elba in 1814 and to St. Helena in 1815. Bertrand was condemned to death in 1816 but did not return to France until Napoleon´s death when King Louis XVIII granted his amnesty. In 1840 Bertrand went to St. Helena to bring Napoleon´s remains to France. An extremely rare and interesting Autograph Manuscript signed `C[om]te Bertrand´, two pages, 4to, Longwood, St. Helena, 2nd August 1819 and 12th December 1820, in French. Bertrand, the closest General to Napoleon in his last years, copies in full the letter he received from Napoleon I in 1819 with the Emperor´s first draft of his Last Will and Testament (predating his ultimate Will of 1821) and his instructions regarding his belongings. The autograph manuscript states, in part, loyally copying Napoleon´s letter, `My dear B[ertran]d, I send to you my codicil written in my hand in order that after my death you could claim everything that belongs to me here at St. Helene. You will dispose of it as follows. You will give half of my diamonds to Madame Bertrand and the other half to Madame de Montholon…´ Napoleon further asks Bertrand to give differing amounts of money to various individuals including Montholon, Marchand, St. Denis, Bertrand (receiving the greatest amount) and a few others, all of them the closest allies to Napoleon in his final years. The Emperor further states `You will keep my silverware, my weapons, my porcelain, my books…..for my son…´ further instructing `I will give you a letter this evening…with my instructions for the fund investment of a sum of 6.000.000, keep all this in order to be able to return them to me if it is convenient to me.´ Bertrand adds`2nd August Signed Nap. Written to the envelope To Count Bertrand, my grand Marshal…. Attached to a parcel stamped with 2 seals with coat of arms of the Emperor with the written text This is my will, written in my handsigned Napoleon…´ Marshal Bertrand adds`The Emperor gave me in the evening a parcel…. on which was written.. Bertrand will keep at my disposal or will open after my death.´ To the second page Bertrand adds an annotation, dated 12th December 1820, giving some more details about the instructions received from the Emperor. An extremely interesting historical document in the hand of Napoleon´s closest General in his last years at St Helena. Very small overall minor age wear with one crease to bottom left corner, otherwise VG     The original copy of this first draft of Napoleon's Last Will and Testament was burned, together with other documents, by Bertrand and Marchand in the afternoon of 19th April 1821 following Napoleon´s orders as his final, and more commonly quoted, Last Will and Testament had been completed. Charles Tristan, Marquis de Montholon (1783-1853) French General during the Napoleonic Wars. He chose to go into exile on St. Helena with Napoleon I after the Emperor´s second abdication. Louis Joseph Narcisse Marchand (1791-1876) Count of the first Empire. Marchand was "Valet de chambre"of the Emperor, also during his captivity in St. Helena. Alongside Bertrand and Montholon, he was one of the three executors of Napoleon's Last Will and Testament. Louis Etienne Saint-Denis (1788-1856) called by Napoleon Mameluke Ali his "French-born servant". Napoleon required him to dress in the style of the Mamelukes. Saint-Denis went to Russia with Napoleon, joined Napoleon on Elba, returned to France for the "Hundred Days," and accompanied Napoleon into exile on St. Helena, where he served as second valet and as Napoleon's librarian. Saint-Denis was born at Versailles, where his father served King Louis XVI as an overseer of the royal stables. The Mamelukes were the slave horsemen of the Ottoman Empire. They became the rulers of Egypt. Napoleon was impressed by the Mamelukes' courage and fighting skills. He formed a special Mameluke corps in the French army.

WALEWSKI ALEXANDRE: (1810-1868) Alexandre Florian Colonna-Walewski. Polish and French Politician and Diplomat. Alexandre Walewski is widely recognized to be the illegitimate son of Napoleon I by his mistress Countess Marie Walewska. A good A.L.S., `A. Walewski´, two pages, 4to, London, 9th December 1831, to Monsieur Isidore Crispin, in French. Walewski addresses this letter to his correspondent, probably his banker or financial collaborator, and refers to his recent marriage and to the difficult financial situation he his living, stating in part `Since I left Paris, I have changed my personal position, I got married here..´, and referring to all the things he had to do because of `..the marriage contract forces me to sell, and promptly, the shares…therefore please take care of these matters urgently..´ Walewski expects that the shares value has increased, and further refers to his return to Paris and again to expenses and money, stating `I will be back in Paris in fifteen days the latest. Having had lots of expenses because of my wedding I find myself very short of money. Therefore, I will be obliged to you if you could get for me for the beginning of next month about ten thousand francs, until we will be able to conclude the sale of the shares..´ At the base and to a post-scriptum Walewski forwards his London address and confirms `I leave London on the !7th or 18th of the present month.´ With address leaf, postmarked, bearing a very attractive and fine red wax seal with coat of arms. Very small area of paper loss to the address leaf as a result of the letter opening. Small overall minor age wear and creasing, otherwise G    

[CANADA]: McNAUGHTON ANDREW (1887-1966) Canadian General of World War II, GOC Canadian Corps 1940-41, GOC First Canadian Army 1942-43 and later Canadian Ambassador to the United Nations 1948-49. A World War II date Canadian Red Ensign (measuring 140 x 71”) with a red field featuring the Royal Union Flag in the canton, defaced with the shield portion of the coat of arms of Canada, with the manufacturers label of J. J. Turner & Sons, Peterborough, Ontario, stitched to the hoist, signed by McNaughton in black ink with his name alone to the upper edge of the hoist. Rare. Some age wear, otherwise VG      Provenance: The present flag dates from 1944 and was presented to the United Nations Senior Youth Federation (see lot 1091 for the original accompanying documentation, copies of which will be made available to the purchaser of the present lot).

[CANADA]: McNAUGHTON ANDREW (1887-1966) Canadian General of World War II, GOC Canadian Corps 1940-41, GOC First Canadian Army 1942-43 and later Canadian Ambassador to the United Nations 1948-49. A World War II date Canadian Red Ensign (measuring 72.5 x 35”) with a red field featuring the Royal Union Flag in the canton, defaced with the shield portion of the coat of arms of Canada, with the manufacturers label of J. J. Turner & Sons, Peterborough, Ontario, stitched to the hoist, signed by McNaughton in black ink with his name alone to the upper edge of the hoist. Accompanied by a T.L.S. by Major R. B. McDougall, Personal Assistant to McNaughton, one page, 4to, Headquarters, First Canadian Army, 20th January 1944, to the Grimsby & District United Youth Group, sending thanks on behalf of McNaughton for their good wishes and continuing to state that McNaughton 'regrets very much that the ensigns have taken so long in coming from Canada, and wishes me to tell you that he intends to take this matter up personally when he returns' and further adding 'After he has obtained and autographed the flags, they will be forwarded to you through Canadian Military Headquarters, London'. Also including a partially printed oblong 4to card stating that McNaughton personally signed the flag and that it was presented to the United Nations Senior Youth Federation and that 'to the gracious courtesy of the distinguished donor of this historic and priceless gift must ever be extended the deep and sincere gratitude and thanks of all'. Rare. Some age wear, otherwise VG, 3 

CHARLES VII: (1716-1788) King of Spain 1759-88 as King Charles III, previously King Charles VII of Naples and Sicily 1734-59. Charles resided in Naples for nineteen years and gained valuable experience as Ruler before becoming King of the Spanish Empire. Charles III is widely regarded as the most successful European ruler of his generation. An excellent L.S., `Carolus´, one page, large oblong 21 x 16, Naples, 28th June 1747, to a Turkish Royal Prince, in Latin. The cleanly written document, signed by Charles in his capacity as King of Naples and Sicily and Duke of Parma and Piacenza, states in part `The present letter which will be presented to you by D. Guglielmo de Ludorff who we have decided will remain at your court and in charge of our affairs..´, further referring to the previous envoy who is requested to return to his own Kingdom court, and reaffirming his wishes of strengthen their friendly relationships, Charles says `For this reason, D. Guglielmo de Ludorff is most of all in charge of securing the firm and particular attention we make to your person and your merit, and expect your contribution and your friendship which with very great pleasure exists at present between us and the Ottoman Porte… wishing you a long and happy life..´ Countersigned at the base by Giovanni Fogliani d´Aragona. Bearing to the verso a large and very attractive paper seal affixed showing a Royal coat of arms. G   At the time of the present letter, the Turkish ruler was Sultan Mahmud I (1696-1754) and the present letter is most probably addressed to his court.

LUDWIG II OF BAVARIA: (1845-1886) King of Bavaria 1864-86. Called the Fairy Tale King for his extravagant artistic and architectural projects, he is also remembered as the devoted patron of the composer Richard Wagner. Attractive D.S., Ludwig, a bold and large signature, one page, folio, Schloss Berg, Berg Castle in Bavaria, 18th June 1879, in German. The partially printed document shows a very attractive heading ''Ludwig II by Grace of God, King of Bavaria'', being a decree appointing Secretary Minister Max von Gietl who is promoted to the post of Legation Council in the Ministry of Foreign Affairs. The document bears beneath the Emperor´s signature a large and very attractive Imperial paper seal affixed, with embossed coat of arms and entitled ''Ludovicus II - Dei Gratia Rex''. Countersigned by the Secretary General of His Majesty. With blank integral leaf. Very small overall minor creasing, otherwise VG    

WILHELM II: (1859-1941) German Emperor & King of Prussia 1888- 1918. D.S 'Wilhelm II', one page, folio, Huis Doorn, Holland, 27th January 1936, to Professor Dr. Johann Plesch, London, in German. The partially printed document is a Royal telegram bearing the printed heading "His Majesty the Kaiser and King" beneath a Royal Coat of Arms. Wilhelm II states in full "Thank you very much for the good wishes for my birthday". Signed at the base in purple pencil. With two binder holes to the left border, not affecting the signature. Small overall age wear, mosstly to edges and two minor tears to the right edge. G  Huis Doorn, was the final residence of Wilhelm II, the last German Kaiser. Exiled after the German defeat in the First World War, Wilhelm II fled to neutral Holland where he lived from 1920 until his death.

FERDINANDO I DE´MEDICI: (1549-1609) Grand duke of Tuscany. Son of Cosimo I de´Medici. Ferdinando was made a Cardinal in 1562 at the age of 14. He founded the Villa Medici in Rome and acquired the well-known Medici lions. An excellent L.S., `Il Gran Duca di T[oscan]a´, one page, 4to, Florence, 5th August 1595, to Monsignor Visconti, Bishop of Cervia and Apostolic Nuncio, in Italian. Ferdinand explains that his correspondent´s letter dated in June only reached his hands three or four days ago, further stating in part `La Serenissima Sposaa quest'hora dovera esser arrivata et de progressi della guerra in coteste bande vengono qui  buonissime nuove con una gran confermatione del continuato valore di cotesto Principe, et della sua prudenza, et costanza nell' Heroica, et Cristiana sua resolutione´ (“The Most Serene Bride must have arrived at this hour, and about the progress of the war in these locations I come here with very good news with a great confirmation of the continued value of this Prince, and of his prudence, and his constancy in his heroic and Christian resolution”)With address leaf, bearing an attractive Royal paper seal affixed in very fine condition, bearing the Medici coat of arms of the Grand Duke. With address leaf bearing a paper seal affixed. Small overall age wear, otherwise G    Ferdinand I de´Medici, when saying “La Serenissima Sposa a quest´hora dovera esser arrivata” (“The Most Serene Bride must have arrived at this hour”) refers to Maria Christina of Austria (1574-1621) Princess consort of Transylvania. She was married by contract at the very early age of 11, to Prince of Transylvania Sigismund Bathory (1573-1613). The bride travelled on 15th June 1595 for her marriage, accompanied by her mother and 6000 German horsemen, but fell ill in Kaschau with fever, and this delayed the travel. This is why Ferdinand I thinks that `the bride must have arrived´. The wedding took place the day after the present letter was written, at Weissenburg, on 6th August 1595. However, this union proved to be unhappy, and Sigismund after a disastrous wedding night with an eleven years old girl, refused to consummate the marriage and sent his wife to a fortress where Maria Christina was kept as prisoner. Prince of Transylvania Sigismund Bathory (1573-1613) is the prudent, constant, heroic Christian Prince Ferdinand I refers to in the present letter.

A porcelain salt cellar modelled as a pipe smokerGardner Factory, Moscow, late 19th - early 20th centurymodelled as a standing bearded man, dressed in traditional 'rubakha' shirt, trousers, bast shoes, coat and a hat, smoking a pipe, his foot resting on the base of a table, on a rectangular base, marked under based with impressed and overglaze red factory marks and numbered '411' height: 22.4cm (8 13/16in); width: 15cm (5 7/8in).Footnotes:ProvenanceAcquired by a distinguished European businessman in the 1960s in RussiaThence by descent to an important private collection, EuropeFor a comparable model, see Gardner XVIII-XIX. Porcelain Plastic Arts from Private Collections and Moscow Museums, Moscow, 2002, p. 132, no. 56.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Group of miscellaneous items from Dubasov-Timachev-Sheremet'ev FamiliesRussia, c. 1900comprising: an eight-day travelling clock, Swiss-made and retailed by Paul Burhe, in original leather case; gold and bloodstone intaglio cygnet ring with coat-of-arms of Dubasov family; gold and enamel locket-pendant in a shape of St. George cross opened to reveal two miniature photographs and four engraved dates; 56 standard, St. Petersburg, indistinct maker's mark; three St. George crosses: the smaller with Cyrillic mark 'DO' on loop and engraved date '1896' between arms of the cross; second cross appears to be unmarked; third cross indistinctly marked on loop, one hand engraved in Cyrillic ' From wife'; gold and enamel award jeton for the Charitable Society of White Cross engraved in Cyrillic with the recipient's name 'N.S. Timachov', 56 standard, 1908-1917, maker's mark in Cyrillic 'DO'; bronze military belt buckle, and three framed watercolours of coat-of-arms of Dubasov, Timachov and Sheremet'ev families diameter of the clock: 7cm (2 3/4in); length of the locket without loop: 3.2cm (1 3/4in); length of jeton: 2.5cm (1 1/8in); each watercolour: 12.5 x 10cm (5 x 3 3/4in). (9)Footnotes:ProvenanceProperty of descendants of Dubasov-Timachov-Sheremet'ev familiesThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A porcelain figure of a mother 'Cruel Fate'Gardner Factory, Moscow, late 19th - early 20th centurymodelled as a barefoot woman wearing a dress, coat and a kerchief, holding a wrapped baby and a bundle, on a naturalistic circular base impressed with '1673', marked under base with overglaze red factory mark height: 24.3cm (9 9/16in).Footnotes:ProvenanceAcquired by a distinguished European businessman in the 1960s in RussiaThence by descent to an important private collection, EuropeThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A SILVER-GILT AND PLIQUE-À-JOUR ENAMEL IMPERIAL PRESENTATION TANKARDPavel Ovchinnikov with Imperial Warrant, Moscow, circa 1889the body enriched with scrolling floral cloisonné enamel motifs within twisted wirework panels, flaring to octagonal arched segments delineated by beadwork and spiral columns, raised upon conforming base with interlacing strapwork, the underside inscribed 'Souvenir DE S.A.I. Le Grand Duc Georges Alexandrovitch de Russie to Col. W.F.Cody, Paris 1889', the base revealing plique-à-jour Imperial Eagle within foliate ground, bracket handle with scaling joined to trefoil thumbpiece at hinge, the lid with smaller plique-à-jour panel within border of butterflies and birds within floral ground, 88 standard height: 16cm (6in).Footnotes:ProvenancePresented by Grand Duke Georgii Aleksandrovich (1871-99) to William Cody ['Buffalo Bill'] (1846-1917), according to inscription on base.Architectural in form and featuring brightly coloured filigree enamel panels, granulation and interlacing strapwork, the current tankard is an adaptation of the Turkish seventeenth century prototype featured in the Drevnosti Gosudarstva Rossiiskogo (Antiquities of the Russian State), compiled by Fedor Solntsev in 1850s and instantly adopted by Russian silversmiths as their favourite source of the artistic inspiration. The firm of Pavel Ovchinnikov made several identical tankards, a few of which were acquired by the Imperial Cabinet and members of the Romanov family to be used as diplomatic gifts and presentation pieces. In 1897, during the official visit of the French President Félix Faure to Saint Petersburg, one of the officers of the French squadron received a very similar tankard as an official gift. (Fig 1). In 1889 an identical tankard was presented to an anonymous official by G. Netchaev-Maltsov (Sotheby's, Geneva, 13-15 November 1995, lot 446).The Hillwood Museum and Gardens in Washington, DC has in its collection another example identical to the current tankard but without an inscription identifying the occasion for which the gift may have been presented. In addition to their traditional shape and décor, each tankard was decorated with plique-à-jour panels depicting the Russian Imperial Eagles amidst floral fields. The presence of the Imperial symbols further underscored the importance of such gifts as an official expression of friendship and appreciation. Among this group of presentation tankards, the current example stands out as the most historically significant. According to the inscription, Grand Duke Georgii Aleksandrovich presented it to William Cody, one of the most famous and popular Americans of the late 19th century.William Cody (1846-1917), who earned his nickname 'Buffalo Bill' by hunting 4,280 buffalo in eighteen months, was a soldier during the Civil War, a scout, a Pony Express rider, an invaluable tracker and experienced gunman, who at the end of his life had come to symbolize the American frontier and the nation's spirit of adventure. Cody's frontier experience and positive public image was particularly helpful during official visits of foreign dignitaries to the Western territories. During the highly publicised visit of Grand Duke Aleksei Aleksandrovich to the USA in 1871-1872, Cody was instrumental in organising a hunting adventure on a scale that surpassed anything that the Russian Grand Duke, an experienced hunter and sportsman himself, had experienced before. When the Grand Duke Aleksei, the third son of Tsar Alexander II, arrived at the hunting camp in Nevada, 'Buffalo Bill' was waiting mounted on a splendid horse. Over six feet tall, Cody cut an impressive figure in his spangled buckskin suit, a coat trimmed with fur, and a black slouch hat. Cody's leadership and assistance during the hunt was later kindly acknowledged by the Grand Duke who presented Buffalo Bill with gifts that are now part of the collection at the Buffalo Bill Historical Center in Cody, Wyoming, USA. It was probably with the encouragement and at the recommendation of his royal uncle that twenty years later, while vacationing in Paris, Grand Duke Georgii met William Cody.In the summer of 1889, William Cody was on his second tour of Europe with Buffalo Bill's Wild West show, a highly successful circus-like attraction that included horseback parades, re-enactments of famous Civil War battles, Indian attacks on wagon trains, and stage coach races. The show was enormously popular and propelled Cody to worldwide fame. Queen Victoria and Prince Albert, Crown Prince Rudolf of Austria, Russian Grand Duke Michael, and the King of Denmark were among the guests who attended the show during the tour of England two year earlier. In 1889 the Wild West show became the main attraction of the Paris Exposition Universelle and a 'must see' venue for many foreign visitors flocking to the French capitol that summer. Grand Duke Georgii Aleksandrovich (1871-99), the son of Emperor Alexander III and the brother of the Russian Emperor Nicholas II, arrived in Paris on August 26 for a few days of sightseeing. Very bright and capable, he was seen by many of his contemporaries as 'intellectual and magnanimous, with an engaging personality', and 'the one who could have become a strong and popular tsar' (1). Sadly, in the early 1890s Grand Duke Georgii was diagnosed with tuberculosis and spent most of his time travelling in pursuit of the proper medical treatments, eventually settling in the small town of Abas-Tuman in the Caucasus. Two days after his arrival in Paris the Grand Duke noted in his dairy: 'We had visited the Exposition today. Afterwards we went to see Buffalo Bill [show]. It was most interesting' (2). The scale of the performance and larger than life personality of its founder must have left an unforgettable impression on the eighteen year old Grand Duke, who arranged to have this very special gift delivered to William Cody on his behalf.1. Suzanne Massie, 'A Royal Visit: The Grand Duke Alexis in the United States,' in The Tsar and the President, Alexander II and Abraham Lincoln Liberator and Emancipator, the American–Russian Cultural Cooperation Foundation, 2008, p. 62.2. The Diaries of Grand Duke Georgii Aleksandrovich, State Archive of the Russian Federation, fund 675, unit 1, file 6, 16/28 of August 1889.We would like to thank Larisa Kriachkova, Chief Curator of Archival Depository of the State Archive of the Russian Federation and the staff of the Buffalo Bill Historical Center for their research assistance.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ivan G. Olinsky (Russian/American, 1878-1962)Red coat (Tosca in red) signed in Latin (upper right)oil on canvas76.5 x 63cm (30 1/8 x 24 13/16in).Footnotes:ProvenancePrivate collection, New Paltz, New YorkShannon Fine Art Auctioneers, Milford, Connecticut, 21 October 2004, lot 86Acquired by a private American collector from the aboveThence by descentExhibitedStorrs, Connecticut, The William Benton Museum of Art, University of Connecticut, Faces of Change: the art of Ivan G. Olinsky, 20 June - 22 August 1995, no. 49, listed with title 'The Red Coat', from the collection of Fred Radl (according to the paper exhibition label on verso)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A vintage hallmarked 18ct gold signet ring having a square head with moulded three castle coat of arms. Hallmarked London 1968. Weight 17.0g. Size P.5.

A 19th Century William IV Regency seal fob locket. The fob being set with a carnelian intaglio to the base engraved with a coat of arms. The fob with a concealed hinge opening to reveal a hand painted portrait miniature of a young girl within. Measures 4.3cm tall. Tests indicate 9ct gold. Weight 25.3g .

A set of four hallmarked silver Victorian dessert spoons. The spoons with palmette motifs to the terminals and an engraved coat of arms featuring an eagle and knight. Hallmarked for London. Date letter r for 1872. Measures 18cm. Total weight 256g. 

An unusual Prattware Toby jug, circa 1800Of traditional form, modelled seated and holding a patterned foaming jug with both hands, a pipe resting to his right, his face washed in light brown and his eyes picked out in blue, his coat elaborately striped in blue, ochre and brown, his waistcoat with brown and ochre dots, blue-spotted socks below his brown breeches, 25.1cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A rare dated pearlware Toby jug, circa 1784Of traditional form, seated and grasping a jug with both hands, a pipe resting on the ground to his right, wearing a brown coat and breeches and a blue-spotted waistcoat, his stockings and shoelaces also in blue, inscribed to the front of the base 'Ralph Simmester 1784', 25.2cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A highly important Beilby enamelled armorial light baluster wine glass, circa 1765The round funnel bowl finely decorated in polychrome with the arms of Yeoman, a red heart pieced by two arrows on a white ground, within an elaborate rococo scrollwork cartouche painted in shades of purple, pink and cream, flanked by long green palm fronds, the reverse with a crest of a winged red heart, resting on a scrollwork bracket flanked by foliate sprays, traces of gilding to the rim, on a stem with an angular knop over an annular knop, beaded inverted baluster and small basal knop, over a conical foot, 18.1cm highFootnotes:ProvenanceMrs W D Dickinson CollectionCommander Sir Hugh Dawson CollectionWith Sheppard and Cooper LtdPrivate British CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CXXXII, fig.B3R J Charleston, English Glass (1968), no.56Delomosne and Son, Gilding the Lily (1978), p.26, no.64L M Bickerton, Eighteenth Century English Drinking Glasses (1971), no.739 and (1986), p.330, no.1071Christopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), pp.78-9, no.113ExhibitedEnglish Glass, Victoria and Albert Museum, 4 July-31 August 1968In the historic literature the arms on this glass have been presumed fictitious but were identified at those of the Yeoman family of Dryburgh in Berwickshire, Scotland, see Sheppard and Smith (1990), p.79. The crest of the winged heart on the reverse was used by several families, but may be that of either Constant or Peake. Sheppard and Smith suggested that this may be a marriage glass.The Beilby workshop specialised in armorial decoration and their most celebrated productions are a series of royal wine glasses and goblets. Understandably, many proudly bear the Royal arms of George III, King of Great Britain while other specimens show Dutch royal armorials. The British royal glasses mostly have bucket-shaped bowls and opaque twist stems, forms that were popular in England at the time.Once known as 'Newcastle' balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England. It is possible that the Beilbys imported undecorated light-baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems. The Beilbys will have been aware that the best glass engravers working in Holland, such as Jacob Sang, favoured the light-baluster shape for their most prestigious commissions. Fourteen Beilby-decorated wine glasses or goblets of similar shape are recorded including the present lot. Eleven of these bear armorials or crests, while three are painted with vine in opaque white enamel. The latter include one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203) and one in the Fitzwilliam Museum (inv. no.C.513-1961).Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr. Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17), together with three glasses in private collections bearing the crest of the Tilly family of Haarlem, including one in the Durrington Collection, see Roger Dodsworth's catalogue (2006), p.35, no.29. A goblet attributed to the Beilby workshop from the Buckley Collection bearing the arms of the Van Dongen family of Amsterdam, now in the World of Glass Museum in St. Helens, is the only other heraldic goblet with a Dutch connection.A further signed Beilby wine glass enamelled with a presumably fictitious coat of arms, again from the Buckley Collection, is in the Victoria and Albert Museum (inv. no.C.623-1936) and was originally acquired in Holland. The only other light baluster wine glass with a Scottish family connection is in the Museum of London (inv. no.34.139/334) and bears the arms accollé of the Paton family of Ferrochie, Fifeshire. The cartouche on the present glass bears a number of close similarities in style and palette to that on a goblet bearing the arms of Anderson impaling Consett from the Julius and Ann Kaplan Collection, sold by Bonhams on 15 November 2017, lot 32.For further information on this lot please visit Bonhams.com

A very rare creamware 'Welshman' Toby jug, circa 1790The portly gentleman seated with a goat beneath his legs, his head turned to one side, holding a foaming jug with both hands, wearing a mottled green coat, light blue waistcoat and brown breeches, shoes and hat, 26.3cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoWhile the idea of a Welshman mounted on a goat may just be an attempt at bawdy humour, in his catalogue in 1922, Capt. Price first suggested that this curious jug was meant to represent Sir Watkin William Wynn, celebrated Master of the Cycle Club and one of the most notorious Welshmen of his day. Sadly, there is no evidence to support this claim.Welsh regiments have had a goat as their mascot since the 18th century. The tradition goes back to the American War of Independence in 1775 when a wild goat wandered onto the battlefield at Bunker Hill and ended up leading the Welsh regimental Colours off the battlefield. A decade or so later the goat mascot supports this 'Welsh Country Gentleman', to give this jug its alternative name.Only two other creamware examples are recorded, one in the Bute Collection, Christie's 8 July 1996, lot 53, and the other exhibited by Jonathan Horne in 2003. Four pearlware examples are known. One was in the Bute Collection, lot 52 and one in the Price Collection, Astbury, Whieldon and Ralph Wood Figures and Toby Jugs (1922), pl.XLVI, fig.34. An example in the Christopher Bibby Collection was sold by Christie's 6 October 1970, lot 9 and another from the Sir Harold Mackintosh Collection was sold by Bonhams on 5 June 2019, lot 113. Most early authors have stated that this is not a product of the Wood family and it is quite different to the Midshipman family by Jacob Marsh. Among other possible creamware and pearlware makers it is worth considering the Cambrian Pottery in Swansea. Some underglaze blue sprigs noted on Swansea pearlware have similarities to those used on the Welshman jugs.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A small Wood Family Toby jug, circa 1790Of 'Mould 51' type, seated and holding a jug in his left hand, a glass in his raised right hand, wearing a green coat, ochre breeches and brown shoes, 16.5cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Staffordshire pearlware Toby Jug, circa 1790Of traditional form, seated and holding a foaming jug in both hands, a novelty pipe resting on his belly, wearing a manganese coat, brown shoes and hat and blue breeches, the sides of the base washed in blue, 24.7cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Continental porcelain plaque Of Wedgwood interest, late 19th centuryOf upright rectangular form, printed with a titled oval portrait of John Egerton, Bishop of Durham in profile to sinister, his coat of arms below, inscribed below the portrait 'Drawn from a Model in Wax by Gaussel. Engraved by J T Wedgwood', 29.5cm x 24.0cm, inscribed in pencil to the reverse 'Countess Ostheim' and 'Bought by A G ???? in Paris 1889'Footnotes:John Taylor Wedgwood (1782-1856) was son of the potter Thomas Wedgwood and Elizabeth Taylor, his wife. His elder brother was Ralph Wedgwood, the pioneer of photography and both were cousins of Josiah Wedgwood. He worked as an engraver in Paris for many years, specialising in adapting portraits for printing. Isabel Neilson married Count von Ostheim in Paris in 1932.For further information on this lot please visit Bonhams.com

A creamware 'Step' Toby jug, circa 1785-90Of traditional form, seated and holding a jug in his left hand and a pipe in his right, a tiny dog lying on the base between his feet, his coat and waistcoat washed in manganese, his hands and face in light brown, 24.5cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Staffordshire pearlware 'Double Base' Toby Jug, circa 1790Of traditional form and seated on a rare 'Double Base' washed in green, holding a thinly potted jug in both hands, a pipe leaning against his right leg, his eyebrows unusually represented with fine incised lines, his coat picked out in speckled light brown, his shoes and hat in dark brown, the handle and part of the chair picked out in bright yellow, 26.1cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare Toby Jug from the 'Midshipman Family', circa 1785Attributed to Jacob Marsh, modelled seated with a foaming jug grasped in both hands, wearing a blue frock coat, ochre breeches and light brown shoes, his waistcoat left partially unbuttoned to reveal his necktie, 15.4cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis is one of a group of 'Midshipman' jugs which themselves hold drinking vessels. Twelve 'Midshipman' jugs from the group are recorded by Vic Schuler, Collecting British Toby Jugs (Third Edition 1999), p.57. Just one of these twelve holds only a jug as seen on this lot. Sadly, there is no photograph or reference but it is likely to be the same jug and thus the only recorded example of the model. Interestingly, this example lacks the distinctive tied ribbon applied below the lower handle terminal which is normally found on 'Midshipman' jugs.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Bow model of a cat, circa 1758-60Modelled seated, its fur painted in dark brown tabby stripes over delicate puce, with eyes picked out in yellow, set on an oval base with puce scrolls, 6.5cm highFootnotes:A similar model without the striped coat was sold by Bonhams on 23 June 2021, lot 122. A pair of cats, also exhibiting the same alert and somewhat indignant expressions as the present lot is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.151, fig.253. A related Bow model of a cat with a mouse from the Billie Pain Collection was sold by Bonhams on 26 November 2003, lot 37.For further information on this lot please visit Bonhams.com

A rare Wood Family 'Shield' Toby jug, circa 1785Based upon the traditional form, seated and holding an empty jug in both hands, a pipe resting on the ground to his left, the other side of the base applied with a shield impressed 'IT IS ALL OUT. THEN FILL HIM AGIAN' (sic), wearing a brown coat, green waistcoat and yellow breeches, 25.2cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoAnother example from the same collection was sold by Bonhams, 15 December 2020, lot 46. The model also occurs with a 'Roman Nose'. The inscription is similar to that found on delftware punchbowls, suggesting that these jugs were intended as drinking vessels. Only a small number of such jugs are recorded, all sharing the misspelling of 'again'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An exceptionally large Hollins Toby jug, circa 1815-20Seated and holding a foaming jug with both hands, a pipe resting on the paved base to his right, his smiling, warty face highly coloured, wearing a green coat, brown waistcoat and pale yellow breeches, characteristic stripy pale blue socks below, 31.5cm high, impressed HOLLINSFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoOther examples are illustrated by Vic Schuler, Collecting British Toby Jugs (Third Edition 1999), p.20 and by Captain R K Price, Astbury, Whieldon, and Ralph Wood Figures, and Toby Jugs (1922), pl.XLIX, no.73. Another from the same collection was sold by Bonhams on 15 December 2020, lot 71This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A small creamware 'Askew' Toby jug, circa 1800-10Seated and holding a foaming jug in both hands, wearing a bright yellow coat, green waistcoat and blue breeches, the sides of the base washed in green, 19.7cm highFootnotes:ProvenanceBute Collection, Christie's sale, 8 July 1996, lot 128James and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare 'Fiddler' Toby jug from the 'Midshipman Family', circa 1785Attributed to Jacob Marsh, modelled seated and playing a violin, a jug on the ground to his right, his hair secured at the back with a distinctive tied ribbon, particularly well-coloured with a green coat with ochre collar, brown shoes and a light blue waistcoat partially unbuttoned to reveal his necktie, his tricorn hat with a lobed border in brown and ochre, 19.5cm highFootnotes:ProvenanceBute Collection, Christie's sale, 8 July 1996, lot 97James and Timmey Challenger Collection, ChicagoThis jug is listed by Vic Schuler, Collecting British Toby Jugs (Third Edition 1999), p.56 as number ten of the eleven 'Fiddler' jugs recorded at the time of writing. Despite their rarity, remarkably a total of six jugs from the 'Midshipman' group, including three 'Fiddlers', were included in the Challenger Collection providing a unique opportunity for comparison. The other two 'Fiddlers' were sold by Bonhams on 15 December 2020, lot 39 and 23 June 2021, lot 74. The maker of the group was identified when a 'Lord Rodney' from the group was sold by Philips on 29 November 1989, lot 305a. This was inscribed on the base 'J Marsh, Folley'. Jacob Marsh is recorded as a potter in Burslem in 1803, moving to the Lane Delph Pottery in 1806. He is listed in 'The History and Gazeteer and Directory of Staffordshire' in 1834 as 'Jacob Marsh of Golden Hill House (Foley) gent'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Staffordshire pearlware 'Double Base' Toby Jug, circa 1790Of traditional form and seated on a rare 'Double Base' washed in green, holding a thinly potted jug in both hands, a pipe leaning against his right leg, his coat picked out in light blue, his shoes and hat in brown, 26cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.comPlease note the additional provenance for this lot 'Lord Mackintosh of Halifax Collection (paper label)'.

A creamware Toby jug, circa 1785Of traditional form, modelled seated and holding an overflowing foaming jug in both hands, wearing a brown coat, green waistcoat and ochre breeches, 24.4cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A small Wood Family Toby jug, circa 1785-90Of 'Mould 51' type, seated and holding a jug in his left hand and a glass in his raised right hand, wearing an olive green coat, yellow breeches and brown shoes, 16.2cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Bow figure of a Piping Shepherd, circa 1765Of large size, modelled standing by a stump on a high scrolled base, wearing ornately coloured and gilt clothes, his hat at a rakish angle and blue coat billowing, bagpipes tucked under his left arm, a sheep and his faithful dog at his side, 17.3cm highThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A TERRACOTTA PORTRAIT BUST OF A GENTLEMANIN THE MANNER OF JEAN BAPTISTE LEMOYNE THE YOUNGER, EARLY/MID 18TH CENTURY57cm high, 49cm wide, the base 13.5cm wideCondition Report: Surface is dirty.Small section of front edge of coat repaired with glue. Area of left side of cheek with infill and some colour variance suggesting possible further restoration. Area looks slightly tinted in. Small area to scarf to neck with infill.Shrinkage cracks and wear most notably to the reverse, sides and corners of stand to reverse. Condition Report Disclaimer

Y A VICTORIAN CARVED WALNUT, ROSEWOOD AND MARQUETRY HALF TESTER BED THIRD QUARTER 19TH CENTURY The footboard with an arched foliate top rail centred by a painted coat of arms for William Tyssen-Amherst above panels of carved and inlaid foliage centred by an oval medallion with the cypher 'WTA'approximately 267cm high, 207cm wide, 218cm long overall  Provenance: Christie's, 29th April 2010, Lot 245 (£22,500). William Amhurst Daniel Tyssen-Amherst (1835-1909), later Tyssen-Amherst, 1st Baron Amherst of Hackney. Possibly supplied in 1855-56 for Didlington Hall, Norfolk. Condition Report: The timber elements with marks, knocks, scratches and abrasions commensurate with age and use. Old splits, chips and losses. Some carved elements and mouldings lacking. Evidence of old worm to cornice. Upholstery in distressed condition overall with various tears, marks and losses. There are various later elements which form the frame of the bed. Dreweatts have not constructed the bed so cannot guarantee that all elements need to construct a full/functional bed are present but the basic elements appear to be there. The bolts securing the original elements to the later frame are present. The 'covers' that cover the heads of the bolts are lacking. Various detached fragments of later resin moulding. The upper frieze moulding to the cornice is in resin and not carved wood, so the cornice has been later embellished with some of the decorative mouldings. Please refer to online images for visual reference to condition.  Condition Report Disclaimer

Vintage Fashions - a 1950's gentleman's Saville Row tailored striped three piece suit, c.1956; 1920s Cambridge Tailcoat; Rocola Dress; Harris Tweed Childs jacket/coat, Little Beaut

A 9ct 'Advance Australia' wishbone brooch bearing coat of arms and stamped "No 263" "9" "W", 2.4g 

A bronze sundial inscribed '1740 lux umbra dei' and engraved with lion and unicorn, Dieu et mon Droit coat of arms, width 25cm  

Nine French silver spoons, each with a town name and coat of arms finial, length 10.5cm, weight 65g

U.S.A., Régiment de la Calotte, c. 1723, a gilt-bronze medal by J.-C. Roettiers, Folly enthroned on cloud, rev. coat of arms supported by two monkeys in livery, 44mm (Adams S-3; Betts 66-70). Good very fine £150-£200

A LEADED AND STAINED GLASS PANEL painted the city coat-of-arms for Aberdeen, 55cm x 62cm Condition Report: Available upon request

A LEADED AND STAINED GLASS PANEL painted the city coat-of-arms for Dundee, 55cm x 62cm Condition Report: Panel is in a good general condition consummate with age there does appear to be some later solder to parts of the lead work

A LEADED AND STAINED GLASS PANEL painted the city coat-of-arms for Bath, 55cm x 62cm Condition Report: Panel is in a good general condition consummate with age there does appear to be some later solder to parts of the lead work.

A LEADED AND STAINED GLASS PANEL painted the city coat-of-arms for Exeter, 55cm x 62cm Condition Report: Panel is in a good general condition consummate with age there does appear to be some later solder to parts of the lead work

A 19th century German silver tea caddy, coat of arms to lid, on ball feet, original silver key. CONDITION REPORT: 276g

A 19th Century rock crystal fob seal, the canted rectangular rock crystal matrix carved with a full coat of arms, quartered-shield within quartered-diamond surrounded by scrolls, set in a yellow metal 'C' scroll mount, matrix 18 x 20mm, 2.8cms high, 9.3g gross.

An early 20thC bentwood coat and hat stand, 197cm high.

White and red SL Benfica no.10 away jersey, circa late 1970s,long-sleeved with Portuguese coat of arms sleeve badge and club crest badge, reverse numbered 10This jersey came from the late Manchester United kit manager and have been on loan to the Manchester United Museum until recently.

A CHINESE FUR LINED SILK JACKET, the insect woven blue silk damask with coloured silk embroidered black borders, the pink silk lining over-stitched with rabbit fur, together with a rabbit fur coat with padded turquoise silk cuffs and black silk lining (2) (Est. plus 21% premium inc. VAT)Jacket approx 28" long, pit to put 26", the three central black cord fasteners all lack knots, cast gilt button "Rich Treble Gilt" HTWOWM", small hole centre left breast, back right bottom black trim unstitched, and a little lining unstitched, other wise typical minor/small pulls etcCoat has replaced collar with modern (70's?) sequin braid interior, modern buttons, lining a little ripped - no pockets

An Arts and Crafts oak hall stand, the top of square form above six hooks, on square tapering legs with an open rack to the centre for umbrellas with drip tray beneath, height 189cm. CONDITION REPORT Age related wear in the form of surface scratches, general scuffing, mainly to the umbrella stand and drip tray. Some small cracks to the top of the stand by coat hooks, hooks appear to be original, no obvious signs of retoration

BURBERRY; a vintage fold-over suit carrier in Burberry check with brown leather trim, with horseback knight ghosted intermittently through the check, with three internal coat hangers and additional pockets (af) and a further oxblood leather slim satchel (2). CONDITION REPORT The Burberry suit carrier has extensive wear throughout and has a slightly musty odour. The leather trim is heavily worn in parts, with some light surface mould and fading to some of the fabric. Some of the outer edges have bowed slightly, leaving it somewhat out of shape. The oxblood leather satchell has surface wear throughout commensurate with use, most notably, a small nick through the surface of the leather, just underneath the zip pouch to the front.

A group of sixteen 19th century hallmarked silver Fiddle pattern cutlery, each with coat of arms resembling a star above a crescent, above a length of rope, the cutlery attributed to G A Chawner, London 1865 including three table spoons, a dessert spoon, a large fork and five smaller forks, the cutlery attributed to Thomas Shepherd, London 1866 includes a large tablespoon, two dessert spoons and three large forks, combined approx 31.2ozt (16).

A GENTS VINTAGE MILITARY STYLE FULL LENGTH LEATHER COAT, complete with original belt, damage to lining, wear commensurate with age

A Small Ceramic Vase by PMR Bavaria, A Small Ceramic Vase by PMR Bavaria,10.5 cm tall, with the Wetzlar coat of arms to front, with gilding to the base and inner neck