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A PAINTED TINWARE (TOLLEWARE) WALL MIRROR EARLY 19TH CENTURY In the manner of fret-frame examples 59cm high, 48cm wide Provenance: Supplied by Oliver Messel from the Tudor Room at 104 Lancaster Gate   

AN OAK DAY BED IN CHARLES II STYLEINCORPORATING PERIOD ELEMENTSWith caned back and seat above the voluted legs110cm high, 170cm long, 61cm wideProvenance:Supplied by Oliver Messel from the Tudor Room at 104 Lancaster Gate Condition Report: Overall scratches, knocks and abrasions consistent with age and use.This day bed is walnut and other timbers, not oak as printed in the original catalogue.There are losses, observations and restorations including: the wood is ebonised or dark stained with some wear, in places showing the underlying brown wood; the canework of the back is of an earlier date than the seat canework; there is some movement within the back/seat joints; overall there are multiple restorations with later timber, some as entire sections, for example the seat rails, other later timber bracing or inset into an earlier piece; some metal braces to strengthen the stretchers to the legs; there is evidence of worm.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A CHINESE SHIWAN TYPE POTTERY PAGODALATE QING DYNASTYwith coloured glazes, 55.5cm high Provenance:Supplied by Oliver Messel from the Dining Room at 104 Lancaster Gate Condition Report: broken in half and glued and base repaired and with glass loss and some chips to glaze and wear throughout and with extremities with some chips and old restoration  Condition Report Disclaimer

A CONTINENTAL WALNUT HIGH BACK ARMCHAIR18TH CENTURYThe rectangular padded back and upholstered seat on turned baluster stretchers, with confronting S-scroll front stretcher121cm high Provenance: Supplied by Oliver Messel from 104 Lancaster Gate  

A WALNUT AND UPHOLSTERED SIDE CHAIRPROBABLY NORTH YORKSHIRE, LATE 17TH/EARLY 18TH CENTURY AND LATERWith baluster turned back and upholstered seat, on bobbin turned supports joined by turned baluster stretchers89cm high; together with two similar chairs, 82cm and 78cm high respectively (3)Provenance:Supplied by Oliver Messel from the Tudor Room at 104 Lancaster Gate

A CONTINENTAL FROSTED GLASS TAZZA PAINTED IN COLOURED ENAMELS AND GILT19TH CENTURYThe well with gilt chevron boss within a scrolling foliate band, 29cm diameterProvenance:Supplied by Oliver Messel, possibly from 104 Lancaster Gate Condition Report: Rim and foot rim chips.Condition Report Disclaimer

NORTH ITALIAN SCHOOL (18TH CENTURY)A FOOTMAN WITH A PIKEOil on canvas33.7 x 21.6cm (13¼ x 8½ in.)Provenance: Formerly the Messel family collection in the Tudor Room at their 104 Lancaster Gate residenceThence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyCondition Report: Canvas is unlined. Some surface dirt. UV light reveals retouching in the figure's hands and head.Condition Report Disclaimer

A GERMAN DATED MILSCH GLAS PEWTER-MOUNTED TANKARD AND HINGED COVERpainted in coloured enamels with flowers, the cover inscribed BH 1794, 18cm high; and an opaque-white and gilt bird-shaped spirit flask, 18cm in lengthProvenance:Supplied by Oliver Messel, possibly from 104 Lancaster Gate       Condition Report: Bird has chips and losses.Condition Report Disclaimer

Y A CHARLES II PAINTED OAK, MOTHER OF PEAR AND BONE INLAID ENCLOSED CHEST OF DRAWERSCIRCA 1660 With cushion frieze drawer above a deep drawer, the cupboard doors to the base enclosing an arrangement of three further drawers136cm high, 115cm wide, 66cm deepProvenance:Sidney Edward Letts (1868-1940)Sold to Leonard and Maud Messel for the Sitting Room at 104 Lancaster Gate Thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley AbbeyThis mother-of-pearl, bone-inlaid and painted oak chest-of-drawers was in the collection of Leonard and Maud Messel, parents of Oliver Messel, in [approx. date of photograph] where it was photographed in the Drawing Room at their London home at 104 Lancaster Gate (private collection). Enthusiastic collectors throughout their lives, this chest-of-drawers was almost certainly purchased by them from the London antique dealer and maker of reproduction furniture, Sidney Edward Letts (1868-1940) of 98 Great Russell Street, London, who owned this chest in c. 1904-08 when it was illustrated in Percy Macquoid's The Age of Oak (London, 1904-08, reprinted 1989, pp. 76-77, fig. 141). As a young man, Oliver was surrounded by artists, collectors, connoisseurs and scholars in the 'rarefied and exotic world' of his parents (T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 18). Fashionable dealers and interior decorators of the period were also among the visitors to Lancaster Gate, Balcombe House and, from 1915, Nymans in West Sussex. Mr. Lenygon of Lenygon and Morant, specialists in period interior rooms, would take Oliver 'on fascinating expeditions through a maze of Dickensian streets to see marvellous materials being woven in Hogarthian surroundings, secret havens for fringes, gimps and tassels, master wood-carvers, gesso work, gilders, glass-blowers and engravers' (ibid., p. 24). The chest-of-drawers has mouldings applied to the facade in geometrical patterns, which are architectural in spirit. The advent of the 17th century chest-of-drawers in England, often made in two parts, is a testament to the skill of the joiner before he was replaced by the cabinet-maker in 'the creation of fashionable furniture (Benno M. Forman, 'The origins of the joined chest of drawers', Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art, Vol. 31, 1980, p. 170). It derives from continental prototypes such as the Netherlandish Zeeland Kast although it differs in that it has drawers rather than shelves. Such chests-of-drawers are identified in the London inventories of the middling sort rather than urban aristocrats or rural gentry. The inlaid mother-of-pearl and bone decoration was common on the stocks of guns made in London in the 16th century (ibid., p. 172) although the ornamentation of English chest-of-drawers is composed of larger pieces of inlay and the patterns are looser possibly undertaken by emigré craftsmen working in London (ibid.). While the bone and mother-of-pearl inlay of this chest-of-drawers is probably original, the painted ornamentation in the Neo-Renaissance style, together with the carving on the cornices and feet and the drawer handles, are almost certainly a later enhancement - possibly dating to the late 19th / early-mid 20th century. In general, no English 17th century example has carved or relief ornamentation (ibid.). Furthermore, it is unusual for not having turned half-spindles suggesting engaged architectural columns. Other examples are at: Towneley Hall Museum and Gallery, Burnley; Benthall Hall, Shropshire and Montacute House, Somerset (A. Bowett, English Furniture 1660-1714: From Charles II to Queen Anne, Woodbridge, 2002, p. 50, Plate 2:29; NT 509680 and NT 597546). Interestingly, there is a Carolean chest-of-drawers inlaid with bone and mother-of-pearl at Parham Park. At Parham, Oliver Messel was advising Clive Pearson on the interiors and prior to this Pearson was buying furniture from Sidney Letts for his Grosvenor Square address in c. 1920 (J. Cornforth, 'Parham Park Revisited - I: The Home of Mrs. P.A. Tritton', Country Life, 6 June 1985, p. 1569). Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, some losses to mouldingsOverall this has had various alterations and adaptions over the years, the top most and central deep drawers would both have had side runners, these have been filled in and cut back to allow it to run on the base, The drawers to the interior of the cupboard doors have the central runners, these appear to have been refreshedThe internal painted surface is certainly later applied The handles are replacements throughout, there are old holes where the previous handles have been visible to the interior of the drawer frontsOverall solid and stableThe bun feet are later associated and again on later castorsPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

AN OAK SOFA IN ITALIAN TASTE19TH CENTURY,The rectangular padded back and seat flanked by foliate and acanthus carved padded armrests, on turned baluster and foliate carved block feet joined by conforming stretchers, 101cm high, 175cm wide, 75cm deepProvenance: Formerly the Messel family collection in the South Landing at Nymans Until removed to their 104 Lancaster Gate residenceThence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley AbbeyCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, chips and losses, One side stretcher is detached but present with the lot, this will require some repair, there are also major structural breaks to the rear uprights where they meet the seat. Overall will require some repairs and restorations prior to use in a domestic settingThe upholstery has wear, marks, sagging, overall may well benefit from a re-coverDreweatts cannot guarantee the originality or condition of the frame beneath the later upholsteryPlease refer to additional images for visual reference to condition Condition Report Disclaimer

A GEORGE III MAHOGANY D-END DINING TABLECIRCA 1780With central drop flap section, the ends on square tapering legs 73cm high, 122cm wide, 314cm long overallProvenance: Supplied by Oliver Messel Condition Report: This table dates from the late 18th century and later.There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the top with a stain that is rubbed and scratched to some areas giving colour variation; there are adaptations suggested by fine cracks showing sectional cuts to the rounded ends; the underside with adaptations, including to hold the gate legs; the central section has gate legs to support the drop leaves; the table base is sun faded and dry to one side in particular; repairs including dowelling repairs; some cracks to the top including adjacent to the hinge areas; there is evidence of worm.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A SET OF EIGHT GEORGE II WALNUT AND PARCEL GILT DINING CHAIRSCIRCA 1730With repeating eagle motifs, each vertical splat with the Altieri crest, the six stars surmounted by a galero, mantle and tassels, each with drop in seats and cabriole legs terminating in claw and ball feeteach 104cm high, 53cm wide, 49cm deep; together with a pair of later chairs to match, 19th century(10) Provenance:Possibly commissioned by Vincenzo Maria Altieri for Palazzo Altieri, Rome Formerly the Messel family collection in the Dining Room at their 104 Lancaster Gate residenceThence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyLiterature: J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2, The Entrance Hall. Sale Room notice: One of the drop in seats are missing from the chair   J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134 and fig. 5. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, pp. 122-123, 'the entrance hall'. This set of ten walnut and parcel-gilt dining chairs together with two mahogany examples en suite bear the arms of the Altieri family from Rome. They were originally at 104 Lancaster Gate, the London family of Britain's greatest stage director and artist, Oliver Messel (1904-78). When Nymans burnt down in 1947, Oliver and his two siblings received some of the remaining contents, and after the death of their mother, Maud (née Sambourne), in 1960, Oliver inherited more of the furniture from Lancaster Gate and Holmstead Manor. The chairs were subsequently sold by Oliver to his clients, Frederick and Phyllis Watkins, for Flaxley Abbey, Gloucestershire, almost certainly around 1960 when he was assisting them with the renovation and refurbishment of the abbey; a project that he worked on sporadically until 1973. Frederick Baden Watkins wrote how very gifted Oliver was: 'Once he had an inspiration, he'd get a piece of paper and sketch it out. What could have taken me five years, would take him five minutes' (C. Castle, Oliver Messel: A Biography, London, 1986, p. 216). When a room was completed, Oliver would look to his own collection for furniture: 'I've got a pair of mirrors at Nymans that would look right there', and Watkins would buy them (ibid., p. 217). Furniture probably also came from Oliver's London house, Pelham Place, as he wrote: 'Poor Pelham Place, I gather, is now striped to the bone. George has gone down to Flaxley with another load' (ibid., p. 226). Two of these chairs were photographed in the Entrance Hall at Flaxley in 1973 (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2). The chairs with their Italian Altieri coat-of-arms complimented Oliver's large mural painting of an Italianate urn. A central arcaded recess with a Robert Adam-style doorway led from the entrance hall to the dining room where presumably the remainder of the suite was situated. Oliver's nephew Thomas Messel made a contemporary set of chairs modelled on the Altieri set for his own home at Bradley Court, Gloucestershire (J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134, fig. 5). In 1986, Thomas included this model of chair, both side and armchairs, in his firm's furniture range, which he named the 'Venetian' Cardinal Chair' (National Art Library, TL.Thom 1.1). The papal family of Altieri became extinct in 1955, with the death of the last prince, Prince Ludovico Altieri (1878-1955). It is not known how this set became part of the Messel collection but it is possible that they were collected by either Ludowig Messel or Leonard Messel- both enthusiastic collectors- in the early 20th century. The broad proportions of these chairs with their waisted upright back posts, solid shaped baluster splat, compass seat and cabriole legs are typical of high quality 'banister back' chairs of the 1730s. The arched crest rail has evolved from the milkmaid's yoke found in Chinese prototypes. The chair-back is slightly bent to ergonomically fit the back of the sitter. The introduction of the 'India back' - India or Indian being used to denote all of South and South East Asia - also sometimes called a 'bended', 'crook'd' or 'sweep' back chair is considered 'the most radical and far-reaching design innovation of the eighteenth century' (A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, p. 156). Related crest rails and splats can be found on a set of walnut chairs, 1734, supplied by Daniel How and Thomas Moore in the Lady Lever Art Gallery, Port Sunlight (ibid., p. 180, plate 4:73). Another example made in giltwood, 1730-40, was probably made for Richard Temple, 1st Viscount Cobham, for Stowe House, Buckinghamshire (ibid., p. 181, plate 4:75). The back of the splats of the present chairs have been chamfered to 'lighten' their appearance. These chairs are highly unusual for the carved decoration on the 'shoe' (where the splat joins the back of the drop-in seat) and the stylised claw and ball feet. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: missing one of the drop in seats; one of the drop in seats with a hand written label in ink 'Col. Messel'; there is evidence of worm; the parcel gilt rubbed and knocked revealing in some places the underlying washes, gesso or wood; some damage and restorations including split vase shaped splats, leg and seat rail joints, dowelling repairs, metal braces, inset wood repairs, repairs with screws. The red silk damask worn, marked and some torn, the hessian webbing visible to the undersides.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A SELECTION OF CONTINENTAL DRINKING GLASSMOSTLY 18TH & 19TH CENTURYIncluding a fluted club-shaped magnum decanter and stopper, 38cm highProvenance: Supplied by Oliver Messel from 104 Lancaster Gate Saleroom Notice: The decanter is missing a stopper.Condition Report: Two glasses have a rim chip. Decanter is missing a stopper.Condition Report Disclaimer

FIVE VARIOUS VENETIAN GLASS HEXAGONAL SECTION BOTTLES/FLASKSLATE 17TH/EARLY 18TH CENTURYEach with blue trailed ornament and one with traces of enamel decoration, 27.5cm high and smaller; and a similar two-handled vase, 11cm highProvenance: Supplied by Oliver Messel from 104 Lancaster Gate  Condition Report: The tallest cracked, chipped ornament to the others.Condition Report Disclaimer

A SELECTION OF CONTINENTAL PALE GREEN AND YELLOW GLASSVARIOUS DATES Including a leach jar30cm highProvenance: Supplied by Oliver Messel from 104 Lancaster Gate   Condition Report: Green two handled flask has a body crack; one pipe is chipped to the spout, the ribbed pale-green pear-shaped vase with pincered ornament has a possible small crack to the base of one section of ornament.Images available upon request.Condition Report Disclaimer

A GERMAN OR BOHEMIAN SCHWARTLOT DECORATED OCTAGONAL SECTION WINE GLASS, POSSIBLY IGNAZ PREISSLER WORKSHOP, CIRCA 1730Painted with figures smoking and birds within branches, on a facetted inverted baluster stem and conical foot, 15cm high; and a German/Bohemian engraved helmet jug, mid 18th century, 11.5cm highProvenance: Supplied by Oliver Messel from 104 Lancaster Gate  Saleroom Notice: The goblet has been broken off at the stem and the bowl.Condition Report: Schwartlot glass has a sizeable rim chip and has been broken at the stem, helmet jug with water damage to the well and foot rim chips.Condition Report Disclaimer

A PAIR OF DUTCH ENGRAVED GLASS BOTTLE FLASKS AND ASSOCIATED STOPPERSVARIOUS DATESdecorated with bunches of grapes and birds in flight and applied with trailed ornament, the flasks 24.5cm high; and other assorted late 19th and 20th century glass (7)Provenance: Supplied by Oliver Messel from 104 Lancaster Gate    Condition Report: Potential purchasers are advised to view the lot in person before bidding. Do not assume the lot is un damaged.Condition Report Disclaimer

A SELECTION OF MOSTLY CONTINENTAL FAIENCE18TH AND 19TH CENTURYIncluding a pair of Dutch Delft blue and white plates painted with a central flower spray, 23cm diameter; four Hoscht ozier-moulded soup plates in Meissen style, gilt wheel mark, 25cm high; and a later Delft blue and white inkstand, 22cm in lengthProvenance: Supplied by Oliver Messel from 104 Lancaster Gate Condition Report: Two chinoiserie plates painted with a figure are cracked. Small rim nibbles and wear to the restCondition Report Disclaimer

TWO GERMAN ENAMELLED GLASS AND PEWTER MOUNTED SPIRIT FLASKSMID 18TH CENTURY16.5cm high and smaller; and a later boot-shaped stirrup cup, 19cm high Provenance: Supplied by Oliver Messel from 104 Lancaster Gate Condition Report: Some wear.Condition Report Disclaimer

A SELECTION OF ENGLISH DOMESTIC GLASSLATE 18TH AND 19TH CENTURYComprising: a fluted cream jug applied with a blue rim, 12cm high; a small spirally fluted cream jug, 8cm high; a commemorative baluster cream jug inscribed IZABEL, 10cm high; and a jelly or syllabub glass, 9.5cm highProvenance: Supplied by Oliver Messel from 104 Lancaster Gate Condition Report: The jug with blue rim has a faint crack to base of handle.Condition Report Disclaimer

TWO PIECES OF MASONIC GLASSVARIOUS DATES 19TH CENTURYComprising: a commemorative pedestal jug engraved with Masonic symbols and inscribed for Oliver & Hanh. Suggett beneath a sloop, 17.5cm high; and a later Masonic engraved jar and cover with facetted shoulders, 18cm highProvenance: Supplied by Oliver Messel from 104 Lancaster Gate Condition Report: Jug, crack to base of handle. Condition Report Disclaimer

A SELECTION OF MOSTLY CHINESE EXPORT PLATES18TH AND 19TH CENTURY To include a Chinese famille rose plate painted with a bridge and flowering plant, 35.5cm diameter, together with a group of imari plates of various sizes (6)Provenance: Supplied by Oliver Messel from 104 Lancaster Gate   Condition Report: large famille rose plate cracked and restorediron red plate crackedone imari plate in good condition, the other one with small chips to the rimthe remaining three plates all with small chips and nibbles to the rimCondition Report Disclaimer

Hallmarked Silver items to include Silver salt, spoon and a gate link bracelet.

AN OLD CHARM OAK DRESSER, width 93cm x depth 44cm x height 176cm x height of base 71cm, and two oak gate leg tables (condition:-surface wear and water damage to dresser and one table) (3)

A 9CT GOLD GATE BRACELET AND 9CT GOLD LOCKET WITH CHAIN, the first a fancy spiral link gate bracelet, with padlock clasp, bracelet hallmarked Birmingham, padlock stamped 375, approximate length of bracelet 180mm, together with a 9ct gold heart locket, opening to reveal two photos, suspended from a 9ct gold trace link chain, hallmarked London 1970 and chain Sheffield, locket approximate length 15mm, approximate length of chain 460mm, approximate gross weight 9.5 grams (condition report: both in good condition, minor areas of tarnish to locket)

AN OAK BARLEY TWIST GATE LEG TABLE, two Edwardian chairs, a walnut occasional table, and a rug (5)

A MID CENTURY TEAK GATE LEG TABLE (condition:-multiple fluid stains) an oak gate leg table, oak tea trolley, a Mersman mahogany nest of three tables, and an oak nest of tables (5)

A 20th century reproduction oak gate leg table of traditional design. 74 CCM. X106CM. Sold with a reproduction mahogany bow fronted writing table with two drawers and cabriole legs. Damage to skiver. 76 CMX. 115CM.

Early 20th century walnut demi-lune side table, fold-over top with hinged storage compartment, on cabriole supports with pointed pad feet, single gate-leg action baseDimensions: Height: 71cm  Length/Width: 81cm  Depth/Diameter: 40cm

18th century elm side table, rectangular fold-over over single drawer, single gate-leg action base, on cabriole supportsDimensions: Height: 74cm  Length/Width: 97cm  Depth/Diameter: 37cm

1987 Williams Big Guns pinball machine in good working condition. Notable Features: Flippers (4), Slingshots (2), 3-bank drop targets (2), Standup targets (13), Kick-out holes (3), Center Up-post, Left outlane kickback, Right outlane detour gate. Two catapults (kickers that propel ball airborne into habitrails). No pop bumpers. One standup target is behind each set of drop targets. The backbox is very tall. Backbox animation (a captive ball is shot into a bagatelle for a bonus score.) During Invincible/Queen's Rescue (Jackpot mode), the center post is raised, the kickback stays active, and the right gate diverts the ball back to the right flipper for a set amount of time. Height: 220 cm. Width: 70 cm. Depth: 138 cm. Condition: Good. Location: The Netherlands, Tilburg.

John Hutchinson ( Northern British 1935-2018 ): 'Old Gate' and 'Door in Campiello D. Remer', two watercolour studies signed and dated with monogram '98 & '99, 25cm x 26cm and 36cm x 21cm (2)Provenance: Hutchinson was an Architect in York

An oak gate legged table

A Mixed Lot of 9ct Gold, Modern, comprising - three bar gate bracelet with clasping hands over heart design, 160mm, heart shaped St. Christopher pendant suspended from gold chain 420mm, and a flower design locket, 30mm x 20mm, suspended from fine gold chain, 460mm, total gross weight 17.4g

A pair of framed August Macke prints to include 'Garden Gate', etc.

A miniature mouth organ, two Cow & Gate advertising cards, a mesh purse, a/f, a silver plate and leather belt, a Mont St. Michel compact, etc.

A 9ct yellow gold gate bracelet, 7 bar gate bracelet, fully 9ct gold hallmarked with 375, padlock in perfect working order, approx weight 10 grams, in great condition

A 9ct yellow gold 4 bar fancy gate bracelet, clasp is a heart padlock that works perfect, in great condition, it is 7.5 inches in length, fully hallmarked, approx weight 11.4 grams,

A 9ct yellow gold 6 bar gate bracelet with safety chain + locket, Fully hallmarked 375, in great condition, approx weight 17.3grams, it is 7+1/2 inches long, in great condition

Large Collection of Farm Animals and accessories to include Cast Iron, Led and Plastic examples, Home Farm Series - Farm Waggon, Home Farm Series - Horse Rake, The Tip Cart, Farm Horse and Cart, Home Farm Series - Tree and Gate.

A William IV mahogany fold over d end side table the fold over top cross banded and with ebony inlay with single frieze drawer to front on turned and reeded supports, single gate leg terminating in castors, a/f (77cm x 108cm x 48cm)

A George III gate leg tea table the fold over top with moulded corners on turned supports terminating in pad feet (when closed, 66cm x 75cm x 37cm)

*GEORGE GUEST (B. 1939) 'White Gate' signed, titled and numbered 150/150 in pencil to the margin, lithograph, the image 32.5cm x 46.5cmProvenance: The Collection of Bournemouth & Poole College.

A Circa 1960's Tinplate Kitchen Display by Fuchs & Co Ltd. Plus a boxed 'Cha-Cha Drumming Clown' and a large quantity to Tri-ang Minic Motorway Track (seven boxes) and starters gate, etc.

Titmarsh Goodwin Style Oak Gate Leg Table, with drop leaves on turned and block supports.

A child's stair gate. Postage unavailable

A wrought iron garden gate, height 180cm, length 73.5cm.

A 9ct gold gate bracelet, weight 16.6g

A SMOKEY ROCK CRYSTAL 'DRAGON GATE' SNUFF BOTTLE, 18TH CENTURYChina. Well hollowed, of rounded rectangular form, slightly tapering towards the flat oval foot, and with a cylindrical neck. Cleverly utilizing the opaque white inclusions to depict four carps and a flying dragon, the smokey ground finely incised in low relief with crashing waves, the dragon gate, and a lingzhi shaped cloud. The translucent stone of a smokey color with opaque white inclusions and russet veining.Provenance: French private collection. Artcurial, Paris, 8 December 2014, lot 2. A notable private collector in Kensington, London, United Kingdom, acquired from the above. A copy of the original invoice from Artcurial, dated 9 December 2014 and stating a purchase price for the present lot of EUR 1,105 or approx. EUR 1,300 (adjusted for inflation at the time of writing), accompanies this lot. Condition: Good condition with minor old wear, traces of use, few minuscule nicks to exposed areas. The stone with natural inclusions and fissures.Stopper: Rose quartz, good spoonWeight: 123.6 gDimensions: Height including stopper 91 mm. Diameter neck 21 mm and mouth 8 mm.According to traditional Chinese belief, carp swimming upstream in the Yellow River must leap the rapids of the Dragon's Gate. The first to succeed is transformed into a dragon. This legend is frequently used and regarded as a metaphor for a poor scholar who passes the civil service examinations and succeeds in high office. The dragon-carp motif is thus a wish for success in achieving this.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.十八世紀煙晶“魚躍龍門”鼻烟壺中國。掏膛良好，長方圓角，頸部成圓柱狀，橢圓形底部。巧妙地利用不透明的白色紋理刻畫四條鯉魚以及飛龍，煙晶地，浮雕洶湧波濤中的龍門和如意祥雲。半透明煙晶，帶有不透明的白色和赤褐色脈絡。 來源：法國私人收藏；巴黎Artcurial，2014年12月 8日，lot 2；倫敦肯辛頓知名私人收藏。購於上述藝廊。隨附巴黎Artcurial 2014年12月 9日出局的原始發票副本，並有價格EUR 1,105，相當於現在的 EUR 1,300。 品相：狀況良好，有輕微磨損、使用痕跡和細小的刻痕，石料具有天然內沁和裂縫。 壺蓋：粉紅石英，精緻小勺 重量：123.6 克 尺寸：總高 91 毫米，頸部直徑 21 毫米，壺口 8 毫米 中國傳統文化中，在黃河上游遊的鯉魚必須躍過龍門的激流，成功的魚會變成龍，比喻事業成功或地位高升。

A GILT FAMILLE VERTE 'LEAPING CARP' CHARGER, KANGXI PERIODChina, 1662-1722. The shallow rounded sides rising from a short tapered foot to a broad flared rim, finely painted in gilt and bright enamels with a giant carp, its magnificent scales neatly rendered in gilt, rising from the swirling and crashing waves below with two smaller fish and flower heads, all below scrolling clouds, enclosed by a single line band.Provenance: Property from a distinguished American collection. Christie's New York, 27 January 2014, lot 352, sold for USD 22,500 (ca. USD 27,000 in today's currency after inflation). A private collector, acquired from the above.Condition: Good condition with minor wear and firing irregularities, some fritting and few shallow chips to mouth and foot rims, minor rubbing to enamels. The gilt is extremely well preserved.Weight: 1,674 gDimensions: Diameter 35.5 cmThe recessed base with a lozenge mark within a double circle. The rim with shaped reserves enclosing fish and floral sprays against a diapered floral ground.The carp symbolizes courage and perseverance because of the Dragon Gate fable wherein carp, defying the odds, swim up a waterfall and are transformed into benevolent and powerful dragons.During the early Qing dynasty, up until the early 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks and double circles. The mark found on the present lot, in the form of a lozenge, an important Taoist symbol, appears to be rare but is clearly part of the same group.Auction result comparison:Type: Distantly relatedAuction: Christie's Hong Kong, 31 May 2017, lot 3223Price: HKD 625,000 or approx. EUR 87,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare iron-red and gilt-decorated 'carp' rouleau vase, Kangxi period (1662-1722)Expert remark: Compare the related carp motif, note the form and colors. 康熙硬彩描金開光鯉魚躍龍門盤中國，1662-1722年。折沿，淺斜腹，圈足。盤内開光描金描繪一條巨大的鯉魚躍龍門，魚鱗描金，水中波浪翻滾，蓮花漂浮其中。盤沿上錦地如意形開光内小魚游戲。 來源：美國知名收藏。紐約佳士得2014年1月27日 lot 352, 售價USD 22,500 (相當於現在的 USD 27,000 )；私人藏家購於上述收藏。 品相：狀況良好，有輕微磨損和燒製瑕疵，邊沿和足部邊緣有一些熔塊和少量磕損，琺瑯有輕微摩擦。描金保存極好。 重量：1,674 克 尺寸：直徑35.5 厘米 圈足内青花雙圈並菱形款。鯉魚象徵勇氣和毅力，因為傳説中鯉魚不畏險阻，勇躍龍門，比喻升官等飛黃騰達，或者逆流前進，奮發向上。 清初至1680年代初，中國局勢動盪，御器製作和瓷器年號的使用受到各種限制。 在此期間，出現了不同類型的款記，包括靈芝和雙圈標記。 本拍品上發現的菱形印記是道教的重要象徵，看似罕見，但顯然屬於同一情況。拍賣結果比較：形制：些微相近拍賣：香港佳士得，2017年5月31日，lot 3223價格：HKD 625,000（相當於今日EUR 87,000）描述：清康熙灑藍地礬紅描金魚藻龍紋棒槌瓶 專家評論：比較相近的鯉魚主題，請注意外型和顏色。

A PINK SANDSTONE GOPURAM FRAGMENT, INDIA, 11TH - 12TH CENTURYThe architectural fragment most likely comes from a temple entrance gate (Gopuram). It shows a central three-headed deity seated in dhyanasana on a stepped base, originally with four arms, holding in one hand prayer beads and in another a mace, adorned with beaded jewelry and sacred thread, the face with a fine expression marked by almond-shaped eyes, gently arched brows, and a subtle smile. The deity is surrounded by smaller figures of attendants and worshippers, as well as a fierce yali to his right.Provenance: From the personal collection of Mohamed Makiya and thence by descent. Mohamed Makiya (1914-2015) was an architect noted for establishing Iraq's first department of architecture at the University of Baghdad. He is best known for his extension to the Khulafa Mosque in Baghdad. In the early 1970s, Makiya and his family relocated to London where he established the Kufa Gallery for Islamic and Arab art. In 2016, Iraq honored Mohamed Makiya with a 1,000 Dinar postage stamp.Condition: Good condition, fully commensurate with age. Extensive wear, losses, signs of weathering and erosion, few structural cracks.Weight: 8,381 g (incl. stand)Dimensions: Height 38 cm (excl. stand) and 41.5 cm (incl. stand)Mounted on an associated metal stand. (2)

A tray of gate hinges and catches.

Short metal fencing arched, 5 x 70" long, and 55" long, and a tall gate with posts, 33" wide x 70" high.

Woolf (Leonard) Barbarians at the Gate, first edition, publisher's archival copy with ink stamp to title, endpaper and upper panel, neat ink ownership inscription to endpaper, original cloth, light bumping to spine tips, else fine, dust-jacket, light toning to spine, minor chipping to spine tips and corners, slight sunning to panel margins, otherwise a near-fine example overall, 8vo, 1939.⁂ Woolf's assessment of the world as it stood in 1938. Also issued as part of the Left Book Club, the Gollancz issue is by far the rarer, especially in such attractive condition.

India.- Indore.- Deen Dayal (Lala) An Album of 45 views and portraits, 'A Souvenir of Indore', c.272 x 209mm., 45 albumen prints mounted on 22ff. stiff card, with printed captions beneath, label 'Lala Deen Dayal, State Photographer' to final leaf, some light browning and damp-staining to mounts, a couple with small tears to mount edges, original cloth, rebacked in calf, upper hinge broken, some soiling to covers, oblong folio, [c.1880]⁂ An extensive collection of images of the city of Indore, its palaces and surroundings, including: two portraits of H. H. The Maharaja Holkar (one ?studio, one in carriage); his new palace, Inderbhawan; the Lalbaag Palace and environs; the Sookh-vilas Palace gardens; views of Indore city (e.g. Sharafa Street, Tazia procession and Fort Gate); the 'Great Elephant' belonging to the Maharaja, as well as the Shikaree Elephants at the Andheri Bagh River; landscape scenery (e.g. waterfalls at Patalpani and Mehdikund, railways and viaducts) and the Sheoratri fair on the holy ghats of Mahandata, as well as views of the Nebudda River. Lala Deen Dayal, the most celebrated nineteenth century Indian-born photographer, rose to prominence when, shortly after he was encouraged by the Maharaja of Indore to open a studio in the city, he was granted permission to photograph H.R.H. the Prince of Wales during his royal visit in 1875.

A Gate Link Style Bracelet, to 9ct gold heart shape padlock style clasp.

A MIRRORED BACK CAST IRON GATE. 5ft high.

Ladies Rotary 9ct gold quartz evening watch, signed white dial with applied hour markers, circular case on gate type bracelet hallmarked .375, snap on case back, signed, hallmarked and numbered 4746, Ronda 7 jewel quartz movement, with original box, instructions, etc, gross W9g (watch currently working)

Ladies Rotary 9ct gold quartz cocktail watch, signed mother of pearl dial, oval case on matching gate type bracelet, no visible hallmarks, snap on case back stamped 9k gold, signed and numbered SQ8777, rd. no. 001483 and numbered 11169, Ronda 1 jewel quartz movement, complete with original box, guarantee, etc, gross W17g (watch is currently working)

9ct yellow gold three bar gate bracelet with heart padlock clasp and safety chain, engraved date 23/11/35, stamped 9ct, 13.8g