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A replica cast iron L.N.E.R notice 'Any person who omits to shut and fasten this gate is liable to a penalty not exceeding forty shillings', 7 x 97 cm

OAK GATE LEG TABLECondition report: Scratches and chips throughout the woodwork, dust, residue and stains also present. Table top heavily scratched.

A 9ct gold gate bracelet with padlock clasp, 25.3g

Unrecorded.- Gildas. The History of the Destruction of the Brittaines, [translated by Thomas Abington], title in double-rule border with woodcut ornament, woodcut initials and headpieces, title rather stained and soiled, scattered spotting and occasional staining, front free endpaper detached, 19th century diced calf, gilt, spine rubbed, [not in Wing], small 8vo, by T. Cotes, for William Cooke and are to be sold at his shop neere Furnivalls-Inne gate in Holborne, 1638.⁂ Seemingly unrecorded. ESTC lists a 1652 edition of the same work under the title A Description of the State of Great Britain but nothing under this title. Both the first edition and 1652 editions call for a frontispiece portrait not present here.

Workshop of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)."Purísima Concepción".Oil on canvas. Re-tinted.It has restorations and repainting.Measurements: 159 x 105 cm.In this devotional work, the author follows the aesthetic precepts developed by Murillo, example of this is the compositional similarity of this piece, with paintings of the same subject of the Sevillian author. There is a particular resemblance to the Immaculate Conception in the Oratory of San Felipe Neri, in which this circular composition can be seen, in which the angels are arranged next to the Virgin in such a way that she is inscribed in a border. The Virgin is crowned by two angels who hold a crown above her, in this particular case a golden crown, while in Murillo's work the crown is made up of the twelve stars, alluding to the 12 tribes of Israel, typical of the iconography of the Immaculate Conception. Medieval Christianity passionately debated the belief that Mary had been conceived without the stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around her head, like a halo, she wears the twelve stars. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, and the spotless mirror, which in this particular case is held up by two little angels in a way that is somewhat reminiscent of the angel holding the mirror in Velázquez's Venus.Little is known of Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, for which reason he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court.Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. The fact that he became the leading painter in the city, surpassing even Zurbarán in fame, motivated his desire to raise the artistic level of local painting.

Circle of DOMENICO FETTI (Rome, 1589 - Venice, 16 April 1623)"Jacob's Dream.Oil on canvas. Re-tinted.It has repainting, restorations on the pictorial layer and missing parts in the frame.It has a 19th century frame.Measurements: 78 x 51 cm; 92 x 65 cm (frame).Aesthetically the work follows the compositional and stylistic precepts of the painting by Dominico Fetti, which belongs to the collection of Domenico Fetti, and has the same title. The canvas narrates the mysterious dream of the patriarch Jacob who, according to Genesis, dreamt on the road to Haran of a heavenly ladder on which angels ascended and descended. This vision of Jacob narrated by the sacred text is usually interpreted as a symbol of the contemplative life, according to Benedictine interpretation. The Genesis account tells us that Jacob set out from Beer-sheba in the direction of Haran. By chance he came to a place and stayed there to spend the night, because the sun had already set. He took a stone from there, put it on as a pillow, and lay down to sleep in that place. And he had a dream: a stairway was leaning against the earth, with its top touching the sky. Angels of God were ascending and descending it. The Lord stood on it and said, "I am the Lord, the God of your father Abraham and the God of Isaac. The land on which you are lying, I will give it to you and your descendants. Your descendants will multiply like the dust of the earth, and you will occupy the east and the west, the north and the south; and all the nations of the world will be called blessed because of you and your descendants. I am with you; I will keep you wherever you go, and I will return you to this land and will not forsake you until I have fulfilled what I have promised." When Jacob awoke, he said, "Truly the Lord is in this place, and I did not know it." And, in awe, he added, "How terrible is this place; it is but the house of God and the gate of heaven."Domenico Fetti was a Roman-born artist who began his artistic education at the hands of his father, the renowned painter Pietro Fetti. He later continued his studies with Andrea Commodi and Lodovico Cigoli. His career took off thanks to the patronage of Ferdinando Gonzaga, who, following his appointment as Duke of Mantua, made the painter move to that city. His stay there brought him into contact with the paintings of great artists such as Rubens and Titian. In 1622 he moved to Venice with the support of important patrons. Fetti's painting was characterised by his experimentation with various genres such as portraiture, allegory, history and religion.

Silver charm bracelet with 3 charms & padlock catch together with a silver 3 bar gate bracelet, total weight 23.3g

Nan Youngman, collection of pencil drawings including 'Gateway, 1979', 'Door with Figurehead 1981', and loose small size portraitsCondition report: Door scene signed lower right Nan Youngman 1981Gate scene signed lower right NY ' 79Portraits are without signatureFrom a local private seller

Three ESCI 1:72 scale model kits, to comprise "Arnhem, The Last Bridge", "El Alamein, The Desert Battle", and "Tobruk Africa Gate"

Two boxed Britains Napoleonic Wars North Gate Diorama sets to include 00146N With Osprey Publication Waterloo 1815 &00148

Five boxed Britains Napoleonic metal figure sets & accessories to include 17880 Waterloo Hougomont Well Set, 17878 Waterloo Hougoumont North Gate Set #1, 2 x 17909 Waterloo Hougoumont Brick Wall with working gate and 17908 Waterloo Hougoumont Brick Wall Straight sections, all excellent

Postcards - Local Interest - Congresbury Well presented postcard and photograph album with views of High Street, School, Vicarage, Meadows, Grave of Hannah More, The Greem, Lcyh Gate,Burrington Combe, The Cross, Village, Ship & Castle, Church Corner, Cadbury, Woodhill, Railway Station, Yeo Meads, The Weir, The Square, River Yeo, Hewish, Bowling Green Waterfall.   Approximately 80 cards and photos.  From the private collection of local historian Ian Bishop.

Postcards - Local Interest - Coombe Dingle, Henbury, Hallen, Almondsbury, Tockington, Rudgeway, Olveston & Alveston. Well presented postcard and photograph album with views of Coombe Dingle, The Old Cottage & General Views, Henbury, Village, Salutation Inn, The Dell, Post Office, Arbutus Grove, Shops etc. Hallen Village & General Views. Almondsbury Post Office, Tea Gardens, Village, The Old Pound, River Severn, Church, Vicarage, Swan Inn, Views from Almondsbury Hill, Hospital, Hotel,  Lower Almondsbury, Oaklands, Knole Park, Gloucester Road, Village Shop, St Marys Church,   Old Quarry, Vale of the Severn. Rudgeway Methodist Chapel, Stone Quarries, Railway Station etc. Alveston to include Davids Lane, The Ship Hotel, The Square, Olveston Flower Show, New Road, Village, The Gate House, Parish Hall. Pilning Village, Post Office, Railway. Aust  general views, Village School, Post Office, Boards Head, Cliffe Boarding House, Pier & Cafe, Pond etc. Approximately 150 cards and photos.  From the private collection of local historian Ian Bishop.

Postcards - Local Interest - Bitton Kelston North Stoke Upton Cheyney.  Well presented postcard and photograph album with views of Bitton to include Village, High Street, Bristol Road, Post Office, Kings Square, Westover, Paper Mills, Vicarage, rectory, shop, mill, church, Church road, Lych Gate, Internal views of Church, The Grange, New School, Eastover, Bitton Hill Lodge, Bitton Station, Railway, St Mary's, Elm Cottage, YMCA Hut, The Lawns, Misty Morning in the hunting field, bus, Royal Visit. Swineford and Kelston Round Hill, Swineford village, River Avon at Swineford, Avon Valley, Bath Road, Swineford Church, Swineford Ferry, The Weirs, Beach Convalescent Home, Pub, School, Village, Chapel, Wick Lane, Pipley Lane etc, Kelston Lock, Kelston Weir, Fishing at Kelston, Kelston Church. North Stoke Church,  Village, General Views. Also, The Towers at Kelston, The Old Cock Inn at Kelston, Kelston Well, Tithe Barn, Post Office., Rood Cross, The Granary, Dovecote,. Upton Cheyney Approximately 160 cards and photos.  From the private collection of local historian Ian Bishop.

A group of figures conversing in a ruined building, watercolour, 10" x 14", along with another watercolour of a large house and garden, 6" x 9", and a pair of watercolour views by the same hand, one a country lane the other, a view of a house from a gate, both 6.5" x 4.5", (4).

Attributed to Rowland Hilder (1905-1993) British, A landscape with trees, farm gate and fields beyond, oil on canvas board, signed, 14" x 19".

Swain after A.F.A Sandys, A wood engraving on India paper, 'The King at the Gate' 5" x 4.25" and two others similar, (unframed) (3).

A large quantity of costume jewellery and silver, to include a single row uniform imitation pearl necklace, by Christian Dior, with Christian Dior pouch, a sterling silver whistle, a sterling silver ingot pendant, London 1977, a sterling silver hollow engraved bangle, an Estee Lauder Aquarius compact, with outer case, a Movado 'Museum' quartz strap watch, c.1993, with pouch, outer case, and paperwork, a silver amber set bracelet, a pair of gold faceted cognac amber drop earrings, with hook fittings, tested as approximately 14ct gold, 60mm long, a wide sterling silver gate bracelet, etc. (qty.)

A 19th Century oak hanging corner cupboard, Edwardian mahogany drop leaf Sutherland table with fan marquetry inlaid medallion, small country oak oval gate leg drop leaf occasional table, caned low arm chair, Victorian maple and cane backed hall chair, coffee table, Edwardian mahogany dressing table with central bow fronted drawer flanked by two pairs of drawers, oak dressing mirror, caned seated bedroom chair, mahogany pot cupboard and a box of various glassware including decanters, drinking glasses, brass oil lamp and shade etc

A Georgian mahogany drop end gate leg dining table on square tapering supports, 70cm high x 184cm long x 132cm deep Condition report: Available upon request

A 9ct gold amethyst pendant, and trace chain, together with an (af) 9ct gold gate bracelet, weight combined 11.2gms and a small collection of costume to include items by Miracle Condition report: Available upon request

A group of Lincolnshire related engravings, to include The Jews House, Lincoln, 12cm x 11cm, Newport Gate at Lincoln, 8cm x 10cm, Grimsthorpe Castle, 8.5cm x 12cm, etc. (a quantity)

A group of 19thC and later engravings, to include King's Gate, Kent, 9cm x 14.5cm, Forland Lighthouse, 8.5cm x 12cm, Outside The Cobb Lyme Regis, Dorset, 14cm x 9cm, etc.

A Geneve lady's 18ct gold cased wristwatch, hexagonal dial bearing Roman numerals, on a three colour gold gate bracelet, on a snap clasp, 21.3g.

Joseph H Barnes (1867-1887), watercolour, young maid with pitcher standing at gate, 33cm x 47cm, signed 'J. H. Barnes, Langham Chambers 76', framed and glazed.

A REVRODS 'FLYING FINISH GATE AND DRAG 'CHUTE SET' and some Hornby railways items

A Mid 20th Century Oak Drop Leaf Gate Legged Oval Topped Table, 91cm Wide

An 18th century oak gate-leg table with oval top, on bobbin-turned supports with plain stretchers, fitted end drawer, 36” wide x27” high x 19” deep (top measures 47” x 36” when open).

A small oak oval gate-leg table with a carved foliate border, & on barley-twist legs & turned feet with plain stretchers, 30½” wide x 26½” high.

Thomas A Pote,The bridge, ST Ives, Hunts.,oil on board, unsigned,32x43cm;Barn,oil on board, unsigned,32x43cm;Abington Mill Lane,oil on board, signed,29x39cm,The missing gate,oil on board, signed,29x39cm;Edge of town,oil on board, unsigned,23x33cm;The road by the church,oil on board, signed,23x29cm;Lane to the farm, summer evening,oil on board, unsigned,23x33cm;Red roses,oil on board, unsigned,32x22cm.

Two oak drop leaf and gate leg tables, raised on barley twist supports, 71cm x 93cm x 122cm & 72cm x 60cm x 90cm

A Barry Watkin giclee print, depicting a country road titled Crowcombe Park Gate, certificate of authenticity on the reverse, framed and glazed, 37cm x 56cm

A gold gate bracelet and padlock,  marked 9ct, 9.8g

One mahogany gate leg drop leaf table.

Jacobus Bijtel (1893-1983)Entrance gate at havezate, canvas 40.5x35 cm

A metal and wrought iron garden gate

An oak gate leg tea table

A 1930's oak gate leg tea table on barleytwist supports

WW2 German Air Raid Police location plaque. This would be on a gate or door to a house to show that amember of the Air raid police lives there.

A CHERRYWOOD GATE LEG TABLE with four fold away chairs, and two balloon back chairs (7)

AN OAK DRESSER with various cupboard doors, width 122cm x depth 51cm x height 195cm and an oak gate leg table (2)

A SELECTION OF OCCASIONAL FURNITURE, to include an oak gate leg table, open length 134cm x closed length 49cm x depth 110cm x height 73cm, walnut coffee/nest of three tables, three wine tables, oak tea trolley, and an occasional trolley (7)

A TEAK FINISH GATE LEG TABLE, a teak effect three door sideboard, a teak nest of three tables, a Nathan teak dressing table a contemporary rug and a stool (5)

A SELECTION OF JEWELLERY AND WATCHES, to include two ladies 'Accurist' quartz wristwatches, a lady's boxed white metal bangle wristwatch, a ladys 'Helveta' wristwatch fitted with a flexi link bracelet, a yellow metal gate bracelet (unmarked), two costume necklaces, a yellow metal paste set pendant and a single white metal drop earring

AN OAK CHEST OF THREE DRAWERS, an oak barley twist gate leg, and a Georgian tripod table (3)

AN OAK GATE LEG TABLE, four wheel back chairs, six other chairs and an oak 4ft6 bedstead (11)

John Blakemore (1936-), six gelatin silver prints, Wind Series 3, 32 x 40cm, Wind Series 2, 32 x 40cm, Amber Gate, Derbyshire, 1981, 31 x 40cm and signed, Wind Series 1, 32 x 40cm, Studio still life, 30 x 22cm and Black Falls, Wales, 1977, signed, 32 x 40cm

Photo of W. Volz ** Reichstag Brandenburg Gate **, Signed: Javacheff Christo **, size: 50 x 70 cm. - size height and width 50 x 70 cm - frame 72 x 91 cm

A large Ipswich quality (possibly Titchmarsh & Goodwin) oak drop leaf dining table in the mid 17th century style on a turned gate leg action base with stretchers, 192 cm x 182 cm x 75 cm h o/a 

A 9ct gold gate bracelet, 16.4g

A quantity of old gate posts

A reproduction oak twin flatp coffee table, single gate leg action on turned and blocked legs

GATE BRACELET,24mm wide, with heart shaped padlock clasp, in nine carat gold, 14.6g

A pair of 9 ct gold lozenge shaped gate-link ear pendants, together with a conforming yellow metal pendant and a 9 ct gold S-link necklace, latter 45 cm, 7.1 g aggregate weight

A late 19th / early 20th century rolled gold gate link watch chain

Hot Wheels - A 1968 Double-Dare Race Action Set. Includes 14 x track sections, 10 x joiners, a universal clamp, a starting gate with tripper, a finish gate with flag, instructions and a catalogue. There are no cars or collectors buttons with it. The contents appear in Good condition overall, the box is Fair to Good with all end flaps intact but some tears near the end. (This does not constitute a guarantee)

DICK TWINNEY watercolour - Tawney Owl on a Gate, signed and dated 1974, titled verso, 44 x 31cms

STANLEY ORCHART (1920-2005) A framed and glazed watercolour, meadowside trees and gate. Signed bottom right. 18cm x 23.5cm

EDWARD HALD (1883-1980)Glass centre, design Edward Hald. Sweden 1960s.Signed on the side, " G...Po... Sweden nº 24066".Measurements: 6 x 14 x 17 cm.Small Tall graal centrepiece designed for Orrefors, in crystal glass with green shades. Beautiful underwater fish motif, in which the layers of glass create a lively, aquatic effect with fish and algae.Edward Hald was determined to become an artist and began his studies as a painter in 1904.Copenhagen (under Johan Rohde) and later in Stockholm and Paris (partly under Matisse).He first exhibited as an artist in Stockholm in 1909. In 1917, after a major exhibition in Lund, he became interested in glass and ceramics. After designing important ceramics for Rorstrand, Hald joined Orrefors Glass in 1917. For almost thirty years he formed a close partnership with Simon Gate, another important Orrefors designer. He was responsible for a number of important early works, including the famous Graal fish vase which first appeared in 1937. Along with other designers at Orrefors he continued to experiment with Graal, other glass and manufacturing techniques. In 1973 Orrefors held a retrospective exhibition of his works in honour of his 90th birthday. His last exhibition was held in 1978 in Oslo.

EDWARD HALD (1883-1980).Glass vase, design Edward Hald. Sweden 1960s.Signed on the reverse "Orrefors, Graal 146 n Edw... Hald".Size: 20 x 14 x 14 cm.Tall graal vase designed by Edward Hald for Orrefors, in crystal glass with green shades. Beautiful underwater motif with fish, in which the layers of glass create a lively, aquatic effect with fish and algae.Edward Hald was determined to become an artist and began his studies as a painter in 1904 in Copenhagen (under the supervision of Johan Rohde) and later in Stockholm and Paris (partly under Matisse). He first exhibited as an artist in Stockholm in 1909. In 1917, after a major exhibition in Lund, he became interested in glass and ceramics.After designing ceramics for Rorstrand, Hald joined Orrefors glassworks in 1917. For almost thirty years he formed a close association with Simon Gate, another important Orrefors designer. He was responsible for a number of important early works, including the famous Graal fish vase, which first appeared in 1937. Together with other designers at Orrefors he continued to experiment with Graal, other glass and manufacturing techniques. In 1973 Orrefors held a retrospective exhibition of his works in honour of his 90th birthday. His last exhibition was held in 1978 in Oslo.