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9CT GOLD THREE STRAND GATE BRACELET WITH HEART PADLOCK AND SAFETY CHAIN 3.6G APPROX

19th Century school, oval study depicting a figure leaning on a gate reading with town in the far ground, possibly Norwich, unsigned 19cm x 23.5cm, contained in an oval gilt frame

Attributed to Thomas Churchyard, landscape study depicting figures on a path with nearby gate, oil on board, inscription verso to Harriet Churchyard, 13.6cm x 16cm

Attributed to George Frost, study of Wolsey Gate Ipswich, pencil sketch, unframed 

An 18th Century oak gate leg table, raised on turned supports terminating in Braganza type feet, rounded drop leaves, 73cm wide

An oak low coffee table, with two gate leg sides, on bobbin turned legs, 47cm high, 112cm long, 40cm wide when closed, 100cm wide when fully open.

Neville's Gate, Trinity College, Cambridge oil on panel 29 x 23cmFootnote: Victoria Colkett was the daughter of the Norwich School artist, Samuel David Colkett (1800-1863). She moved to Cambridge with her family in 1855. Throughout her career she exhibited at the Royal Academy, the British Institution, and the New Watercolour Society. She painted many views of Cambridge colleges. In 1874, she married the artist, Harry Hine, and sometimes showed under her married name of Victoria Hine.Condition report: Oil on artist's board. The paint layers are in a good, stable condition. The varnish is patchy, yellowed and uneven. There is a thick layer of surface dust and dirt, some of which appears to be caught in the varnish layer. There are small losses to the gilding on the sight edge of the frame and some of the wood veneer is chipped and lifting.

The Damascus Gate, Jerusalem signed indistinctly lower left 'P A F Stephenson' signed and inscribed on the reverse 'The Moon and the / Stars to rule by / Night - Ps. 136 - 9 / The Damascus Gate / P. A. F. Stephenson' watercolour on paper 26 x 18cmFootnote: Provenance: Cheffins, Cambridge, 16th January 2003, lot 371 Philippa Stephenson was an artist and explorer, best known for her colourful and detailed watercolour paintings. She lived near London, but frequently worked abroad and regularly exhibited her topographical paintings at the Alpine Club in London. She often painted scenes of Israel and Jordan as well as the Himalayan mountains. Stephenson exhibited at the Royal Academy of Art in the 1890s as well as the Walker Galleries in London. In 1919, she was awarded an OBE by King George V for her contribution to the Essex Regiment Prisoners of War Fund following the First World War.

A solid wood drop leaf gate leg table with turned legs. Some marking to top. Approx. 76cm tall x 102cm wide.

A small solid oak drop leaf gate leg coffee table. Approx 59cm x 48cm tall.

London Scottish post 1908 Officer’s glengarry badge.Fine die-cast unmarked silver example by J & Co (Jennens); title scrolls and lion on saltire in thistle sprays enclosing motto circlet. Made in three parts. Stout pin to reverse. VGC HQ Buckingham Gate

Ellen Stevens (British early 20th Century), 'The West Gate Southampton', signed, watercolours. 28.5 x 20cm approx. Framed and glazed. (B.P. 21% + VAT)

Early 20th Century oak gate legged table.(B.P. 21% + VAT)

Two hunting crops, both having braided leather lash, one Swain and Adeney, with gate push. (2)(B.P. 21% + VAT)

Early 20th Century oak barley twist gate legged table.(B.P. 21% + VAT)

Selection of silver jewellery, including Victorian paste brooch, engraved R to N 1891 on reverse, C catch, an Asprey's silver bookmark, Pat No 257529, London 1972, four early 20th century brooches, Finnish silver cross pendant and snowflake pendant, gate link bracelet with heart shaped lock clasp, St Christopher pendant, collar necklace, bangles and rings, two cigarette holders and other items Silver gross weight 383.7 grams

Otto ModersohnIn Worpswede Öl auf Malpappe, auf Hartfaserplatte aufgezogen 57,2 x 40,5 cm Gerahmt. Unten rechts rotbraun monogrammiert 'O M', unten links braun datiert 'IX. 03.'. - Der Unterrand und die Ecken etwas bestoßen. Einige wenige winzige Farbabplatzungen und kleine Retuschen.Wir danken Rainer Noeres, Otto-Modersohn-Museum, Fischerhude, für bestätigende und ergänzende Informationen.ProvenienzPrivatbesitz Niedersachsen; seitdem in Familienbesitz Nordrhein-WestfalenAusstellungenWorpswede/Fischerhude/Bremerhaven 1989 (Kunsthalle/Otto-Modersohn-Museum/Kunsthalle), Otto Modersohn in Worpswede 1890-1907Der Maler gibt in dieser Worpsweder Impression einen stimmungshaften wie suggestiven Motiv-Ausschnitt: es öffnet sich ein unbefestigter Dorfpfad in leicht hügeligem Gelände mit altem Baumbestand zu etwas entfernter liegenden Gehöften - und auf dem Weg, seitlich, schaut ihm eine Kleine in rotem Tüchlein aufmerksam entgegen. Im geöffneten Tor des breiten Giebelhauses in der Bildtiefe erkennt man eine bäuerliche Gestalt, während davor eine Frau in dunkler Gewandung sich nach links über eine nur angedeutete Form beugt, vielleicht über den zugehörigen Kinderwagen. Modersohn formuliert keine Details aus, alles ist summarisch und doch schlicht und wirkungsvoll erzählt. Alles scheint, auch heute noch, beseelt von einer Gefühlsbindung an diesen Ort, von einer persönlichen Schau auf Gegebenheiten, auf ein Stück "Heimat" und damit auf einen ideellen Wert von ursprünglicher, ländlicher Geborgenheit. Die vereinfachte Perspektive, die großen Linien der Komposition wie die verteilten Farbsetzungen und Helligkeitswerte konstituieren das Motiv. Durch auffällige Kappungen und Zusammenziehungen von Formen und Flächen wie durch gelöste Strichlagen bekennt sich Modersohn zur Farbe und zu ihrer individualisierten Erfassung. Modersohn hatte die Zeit zuvor auf Amrum mit Paula Modersohn und der Tochter Elsbeth aus seiner ersten Ehe verbracht. Zur Entstehungszeit dieses Gemäldes, im September 1903, hielt Modersohn in seinem Tagebuch fest: "Dieser Sommer und besonders seit Amrum (5. August) hat mir die wichtigsten Erkenntnisse gebracht, seit ich male... mein ganzer Standpunkt ist ein anderer geworden. Mit der Natur verbindet sich Persönlichkeit, rechtes Naturgefühl ist auch ein persönliches. Das sind die wesentlichsten Seiten guter, großer Malerei, Sie entspringen alle aus dem rechten Verhältnis zur Natur." (Zit. nach: Ausst. Kat. Otto Modersohn, Otto Modersohn Museum, Bremen 1993, S. 299). Otto ModersohnIn Worpswede Oil on artist's board, laid down on fibreboard 57.2 x 40.5 cm Framed. Monogrammed 'O M' in red brown lower right, dated 'IX. 03.' in brown lower left. - Lower edge and corners somewhat bumped. A few minte losses of colour and minor retouches.We would like to thank Rainer Noeres, Otto-Modersohn-Museum, Fischerhude, for confirmatory and additional information.ProvenancePrivate possession, Lower Saxony; since then in family possession, North-Rhine WestphaliaExhibitionsWorpswede/Fischerhude/Bremerhaven 1989 (Kunsthalle/Otto-Modersohn-Museum/Kunsthalle), Otto Modersohn in Worpswede 1890-1907In this impression from Worpswede, the painter offers an atmospheric as well as suggestive detail of his motif: a rough village path in a slightly hilly terrain featuring a mature group of trees opens on to farmsteads lying somewhat in the distance while, at the side of the path, a little girl in a red scarf looks at him attentively. A farmer-like figure can be recognised in the open gate of the wide building with a gable roof in the depth of the picture, while a woman in dark clothing in front bends to the left over a form that is only hinted at - perhaps the pram of the child. Modersohn does not articulate any particulars, all is summarily and nonetheless simply and effectively described. Even today, everything appears animated by an emotional bond to this place, by a personal look onto given facts, a patch of “home” and, with it, by a notion of virtue expressing a feeling of pristine, pastoral security. The simplified perspective and the grand lines of the composition as well as the distributed accents of colour and brightness constitute the essence of the motif. Through striking abbreviations and contractions of forms and surfaces as well as a diffuse application of brushstrokes, Modersohn professes his devotion to colour and its individualised representation. Modersohn had spent the preceding period on Amrum with Paula Modersohn and his daughter Elsbeth from his first marriage. At the time this painting was created, in September 1903, Modersohn recorded in his journal: “This summer, particularly since Amrum (5 August), has brought me the most important insights since I have been painting ... my whole standpoint has become different. Personality is joined with nature; a proper feeling for nature is also something personal. Those are the most essential facets of a good, grand painting; all of them grow out of the proper relationship to nature.” (cited in: exhib. cat., Otto Modersohn, Otto Modersohn Museum, Bremen 1993, p. 299).

Alexej von JawlenskyVariation: Purpurgold (Herbst) Öl auf leinenstrukturiertem Papier auf Karton 36,3 x 25,5 cm (50,8 x 37,5 cm) Gerahmt. Unten links grau monogrammiert 'A. J.'. - Reißnagellöcher zu den Rändern. Der unterliegende Karton mit Bereibungsspuren.Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky II 1044ProvenienzAtelier des Künstlers; Galka Scheyer, Hollywood, CA; Galerie Aenne Abels, Köln (1969); Christie's London, Impressionist & Modern Paintings & Sculpture, 25. März 1980, Lot 45 ("Herbst-Variation"), Galerie Wolfgang Ketterer München, 71. Auktion 20. Jahrhundert, 30. Mai 1983, Lot 518; Orangerie, Köln; Privatsammlung, RheinlandAusstellungenHamburg/München/Hannover/Wiesbaden/Barmen/Düsseldorf/Mannheim 1920/1921 (Galerie Commeter/Galerie Hans Goltz/Kestner-Gesellschaft/Neues Museum/Ruhmeshalle/o. Ort/Kunsthalle), Reiseausstellung, Kat. Nr. 77 (hier datiert 1919); Berlin 1923 (Galerie Twardy); Hollywood, CA 1930 (Braxton Gallery), Kat. Nr. 17; San Francisco 1931 (California Palace of the Legion of Honor), The Blue Four, Kat. Nr. 18; Oakland, CA 1931 (Art Gallery), The Blue Four, Kat. Nr. 56; Chicago 1932 (Arts Club), The Blue Four, Kat. Nr. 52 (hier datiert 1919); Paris 1956 (Galerie Jacques Fricker), Kat. Nr. 21 mit Abb. auf Farbtafel Nr. 9 ("Purple Gold"); Köln 1969 (Galerie Aenne Abels), Jubiläumskatalog 1919-1969, Kat. Nr. 14 mit Abb. (hier datiert 1916 und betitelt "Herbst")Über sechs Jahre hinweg arbeitete Alexej Jawlensky im Schweizer Exil an einem bildnerischen Komplex, offiziell von ihm „Variationen über ein landschaftliches Thema“ genannt. Der Blick aus dem Fenster seines improvisierten Ateliers in St. Prex eröffnete ihm einen Landschaftsausschnitt, dessen Elemente zu Protagonisten dieser Werkserie wurden. Das immer gleiche motivische Repertoire aus Zypressen, Büschen, Weg, Zaun und Gartentor wurde zunehmend abstrahiert und mit einem wesenhaften Charakter ausgestattet. In einem Prozess kontemplativer Versenkung während des Malprozesses gelang dem Künstler eine farblich und formal unendlich reich variierte Umsetzung. Jede Variation besitzt einen individuellen farblichen und kompositorischen Schwerpunkt und eine charakteristische Bildstimmung. Die elliptische Form einer großen Zypresse nimmt in dieser Arbeit die gesamte Bildhöhe ein und bildet den optischen Ankerpunkt der Komposition. Die weiteren Bildelemente gruppieren sich als kleinteiliges und überraschend geordnetes Gefüge in der rechten Bildhälfte. Die Farbwahl von Weiß und kühlen Blau- und Rottönen für einige Einzelformen setzt in der ansonsten von Erdfarben dominierten Variation frische Akzente. Alexej von JawlenskyVariation: Purpurgold (Herbst) Oil on linen-textured paper on card 36.3 x 25.5 cm (50.8 x 37.5 cm) Framed. Monogrammed 'A. J.' in grey lower left. - Drawing pin holes in the margins. The underlying card with traces of rubbing.Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky II 1044ProvenanceArtist's studio; Galka Scheyer, Hollywood, CA; Galerie Aenne Abels, Cologne (1969); Christie's London, Impressionist & Modern Paintings & Sculpture, 25 March 1980, Lot 45 ("Herbst-Variation"), Galerie Wolfgang Ketterer Munich, 71. Auktion 20. Jahrhundert, 30 May 1983, Lot 518; Orangerie, Cologne; Private collection, RhinelandExhibitionsHamburg/Munich/Hanover/Wiesbaden/Barmen/Dusseldorf/Mannheim 1920/1921 (Galerie Commeter/Galerie Hans Goltz/Kestner-Gesellschaft/Neues Museum/Ruhmeshalle/Kunsthalle), tavelling exhibition, cat. no. 77 (dated 1919); Berlin 1923 (Galerie Twardy); Hollywood, CA 1930 (Braxton Gallery), cat. no. 17; San Francisco 1931 (California Palace of the Legion of Honor), The Blue Four, cat. no. 18; Oakland, CA 1931 (Art Gallery), The Blue Four, cat. no. 56; Chicago 1932 (Arts Club), The Blue Four, cat. no. 52 (dated 1919); Paris 1956 (Galerie Jacques Fricker), cat. no. 21 with illus. color plate no. 9 ("Purple Gold"); Cologne 1969 (Galerie Aenne Abels), Jubiläumskatalog 1919-1969, cat. no. 14 with illus. (dated 1916 and titled "Herbst")For over six years, during his exile in Switzerland, Alexei Jawlensky worked on an artistic complex he officially referred to as “Variations on a Landscape Theme”. The view from the window of his improvised studio in Saint-Prex presented him with a passage from the landscape whose elements became the protagonists of this series of works. The unchanging repertoire of motifs consisting of cypresses, bushes, path, fence and garden gate were depicted in an increasingly abstract manner and invested with an essential character. In a process of contemplative absorption during the painting process, the artist succeeded in realising an infinite wealth of chromatic and formal variations. Each possesses an individual chromatic and compositional focal point and a characteristic visual mood. In this work, the elliptical form of a large cypress occupies the entire height of the painting and provides the composition with a visual anchor. The other pictorial elements are grouped in a finely partitioned and surprisingly orderly formation in the right half of the picture. The selection of white and cool tones of blue and red as the colours for several individual forms establishes fresh accents within this variation otherwise dominated by earth tones.

A COLLECTION OF JEWELLERY, comprising a conch shell cameo brooch, carved to depict the profile of a bacchante, stamped '9ct', a 9ct gold gate-link bracelet with padlock clasp, a 9ct gold ropetwist-link chain, a black enamel cross pendant, a stick pin, an amethyst bead necklace, and further items, first brooch length 3.8cm (qty) Approx. gross weights only: cameo brooch 16gm, gate bracelet 15gm, ropetwist chain 3gm

AN AQUAMARINE SET BRACELET, designed as a line of graduated rectangular step-cut aquamarines in four claw settings, spaced by gate links, rose precious metal mounted, length 17cm Condition report: Aquamarines of pale greenish-blue hues, most with faint ‘rain’ and fracture inclusions, all with lights surface wear, chips and scuffs. The aquamarines graduate from approx. 10mm x 8mm to 8mm x 6mm in length x width. The bracelet mount has surface wear and scuffs, some of the gate links have solder joins and some links are mis-shapen. The clasp and safety catch are functioning. Metal standard is untested. Gross weight approx. 14.5gm.

A TWO COLOUR PRECIOUS METAL GATE-LINK BRACELET, stamped '15c', (one link deficient), together with a short curb-link Albert chain, stamped '9 .375', with watch key suspension, and a belcher-link chain, stamped '9ct', bracelet length 17.5cm (3) Approx. gross weights only: gate bracelet 18gm, curb chain and suspension 20.2gm, belcher chain 6.8gm

A LATE VICTORIAN/EDWARDIAN GEM SET BRACELET, of gate-link design, alternately spaced with half pearls and turquoise coloured cabochons, stamped '15C', (half pearls untested for origin), length 19cm Condition report: Surface wear, scuffs, nicks and small chips to the mount, cabochons and half pearls, commensurate for use. Cabochons have slightly variable blue to greenish hues. Clasp is tight fitting, safety chain is broken. Width 10mm. Metal standard untested. Gross weight approx. 19gm.

A VICTORIAN WROUGHT IRON BARRED AND BRACED GARDEN GATE, with scrolled top and latch, 92 cm wide (plus hinge rings) x 92 cm high

A 9ct gold gate-link bracelet with padlock clasp, 2.8cm wide, 17.5cm long, 15.2g.

VINTAGE FURNITURE PARCEL, three items including a good oak barley twist gate leg dining table with piecrust edge, 75.5cms H, 107cms L, 54cms closed, an oak buffet sideboard, 142cms H, 123cms W, 52cms D and a three drawer mirrored dressing chest, 134cms overall H, 74cms W, 40cms D

Two gate brooches and four others, a locket and a dime 1886, all silver

Gold hinged bangle of gate pattern. 12g

A mid-late 18th century silver mounted small sword indistinctly marked, maker's mark CL/ABF, London, the hilt pommel and guard with finely pierced lattice decoration and stylised star motif, with wire bound grips, with triangular section tapered blade, with foliate scrolls and classical bust, the lacquered wooden scabbard with silver mounts with stylised star motif and scroll decoration, engraved Steven's Template Gate(Length: 98cm)

A gate link bracelet composed of stylized gate links, with heart shaped padlock stamped 9CT, with safety chain(Length: 17cm)

A 9ct gold gate link bracelet to a padlock clasp; together with another similar, composed of curb links to a padlock clasp

Various items o costume jewellery from the 1920s -1970s including 1960s gold coloured bracelet and a 1970s gate gold coloured necklace

9ct gold gate bracelet weight 5.3 g

An Edwardian Oak Barley Twist Gate Legged Oval Topped Table, 60cm wide

A Modern Oak Drop Leaf Gate Legged Coffee Table with Turned Supports, 58cm Wide

A 9ct Yellow Gold Gate Bracelet, 16.8g

A Silver Gate Bracelet with Hallmarked Silver Locket and Safety Chain, London 1979

An Aesthetic Movement brass door porter, late 19th century, attributed to Thomas Jeckyll (1827-1881) for Robbins & Co., the semi-conical weighted base with stylised roundel and geometric decoration,40cm highThomas Jeckyll was a Norwich architect and designer, best known for his metalwork designs and furniture, both influenced by Japanese design. He is best remembered for designing the 'Peacock Room' at 49 Princes Gate, London.Condition report: Handle twisted and repaired half way down, solder visible from reverse

Louis Haghe after David Roberts RA (1796-1864)Tomb of the Caliph, Cairo, and Mosque of Ayed Bey;Gate of Victory and Minaret of the Mosque El Hakim;Ruins, temple on the island of Bigge, Nubia;Approach to the temple of Wady Saboua, Nubiafour coloured lithographs, from 'Egypt and Nubia', half-plates, published by F G Moon, 1847-9each image 25 x 35cm, in mirrored frames (4)Condition report: Tomb of the Caliph: In quite good condition. A little discolouration down both sides and one or two small dots of foxing.Gate of Victory: Paper has discoloured. Some large dots of orange foxing, mostly in the sky. Ruins on Bigge: Scattered throughout with tiny orange flecks of foxing - severeApproach to the temple: Scattered throughout with tiny orange flecks of foxing - severe None of the above have been seen outside of their frames.

Attributed to Benjamin Zobel (German, 1762-1830)A farmyard scene with two heavy horses, cattle, pigs, chickens and a dog, a farmer looking on from behind a gatesand picture on board44 x 58.5cmCondition report: A little discolouration and browning visible in the sky, colours otherwise good. Some brown foxing scattered throughout, most visible in the centre section. Some cracking to the cattle and pigs lower left, and in the sky. The edge of the standing cow appears to be crumbling a little. Two small spots of loss in the building to the right of the gate. A further rubbed area close to the right hand side. Not seen outside of frame.

John Moore of Ipswich (1820-1902)A country lane with figures and a gate signed and dated 'J Moore / Oct.1885' l.r., oil on canvas30.5 x 36cmProvenance: Christie's, South Kensington, 7 December 1983, lot 161;the collection of Surgeon Vice Admiral Godfrey Milton-Thompson.Condition report: Oil on canvas which has been lined. The paint layer is in a good stable condition although the lining process has made the texture of the canvas more prominent in the surface. There are scattered retouchings which are well matched to the original. The varnish is slightly yellowed but glossy and even. The frame is in a good condition.

A marble headstone to 'Trimmer', a fox terrier,with rounded top, inscribed with lead lettering 'Trimmer / A thoroughly game fox-terrier who died Feby 4th 1901 aged 13 years / The stone is erected in remembrance of a faithful companion and the hero of many a sporting incident by his masters Captain Montgomerie, RN, Victor Montgomerie and Henry Charrington', above a dedicated poem below: 'There are men both good and wise / who [hope that] in a future state / dumb creatures we have cherished / here below /shall give us joyous greeting / when we pass the golden gate / Is it folly that we hope it may be so ?',46cm wide5cm deep101cm highProvenance: Trimmer belonged to Captain Montgomerie RN, Victor Montgomerie and Henry Charrington, the previous owners of the Hunsdon House Estate, Hertfordshire.Condition report: Old repaired crack across the width.

9k gold eight bar cross over link gate bracelet with safety chain and heart lock, w: 18.28 grams, length 7”

CHARM BRACELET ETC. A vintage gold plated charm bracelet, hung with several charms, including a 9ct. gold key. Also, two gold plated gate bracelets.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

SILVER LOCKET ETC. A modern engraved silver locket on silver chain, length of locket incl. bale, 5.5cm. Also, two silver sun pendants, a silver gate bracelet with padlock, a silver cross & chain & a Victorian silver & silver gilt oval brooch.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

Victor Demanet (1895-1964). A bronze figure of a barge man operating a lock gate, with blued green patination, signed in the naturalistic base, width 26in. height 17in.CONDITION: Good honest untouched condition, a little dusty but no faults noted.

Small 1930's oak oval drop-leaf gate leg table on barley twist supports

Box 177 - Canadian Red WineCC Jentsch The Chase 2016Dark Horse Meritage 2016See Ya Later Shiraz-Viognier 2017Rust Syrah 2017Trius The Icon 201750th Parallel Pinot Noir 2017 (2 bottles)50th Parallel "Unparalleled" Pinot Noir 2017The Foreign Affair Conspiracy 2017The Foreign Affair Conspiracy 2018Quail's Gate Pinot Noir 2017Red Rooster Syrah 2017

Box 164 - Canadian Red WineStrewn Cabernet Franc 2017Quail's Gate Pinot Noir 2017Road 13 5th Element 2017Cedar Creek Platinum Pinot Noir 2017Red Rooster Rare Bird Series Meritage 2017Indigenous World Hee-Hee-Tel-Kin 2018Megalomaniac Reserve Cabernet Franc 2017Megalomaniac Cabernet Franc 2017Rust South Rock Syrah 2017Rust Ferreira Syrah 2017Bella Terra Cabernet Franc 2016Prospects Pinot Noir 2018

Box 171 - Canadian White WineBlack Hills Chardonnay 2018The Foreign Affair Conspiracy 2019Mission Hill Perpetua Chardonnay 2018Nk'Mip Dreamcatcher 2019Indigenous World Chardonnay 2018Quail's Gate Chardonnay 2018Quail's Gate Family Reserve Chardonnay 201850th Parallel Gewurztraminer 2019Flat Rock Riesling 2018Jackson-Triggs Grand Reserve Riesling 2018Peller Signature Riesling 2018Le Vignoble du Ruisseau Gewurztraminer 2018

A LARGE JAPANESE KANO SCHOOL SIX-FOLD PAPER SCREEN, BYOBU MOMOYAMA OR LATER, 16TH CENTURY OR LATER Depicting a procession in a mountainous river landscape, the figures emerging from a wooden gate on the right-hand side of the composition, with a Chinese dignitary riding a horse in the centre accompanied by a retinue of ten attendants, one of them a Mongolian archer, three retainers leading a horse at the front of the procession, other men holding red standards and one with a fan made of peacock feathers, the nobleman wearing red robes adorned with scrolling details in gilt, holding a flowering branch of sakura flowers over his shoulder, with two large flowering prunus trees above, a river cascading from rocky outcrops at the back and with palm trees to the left side, the composition framed by scrolling clouds in gold leaf, approx. 177.5cm x 378cm overall. See the Metropolitan Museum of Art, New York, access. nos.2006.42.1,2 for a comparable six-fold screen, one of a pair attributed to Kano Takanobu (1571-1618) and painted with a similar procession of the Chinese Emperor Wen with a retinue of ten attendants.

An iron sign 'Shut & Fasten gate'

9CT GOLD GATE LINK BRACELET WITH LOCK FOB

Circle of Elizabeth Keith, 'To Dai Mon (East Gate) South Korea' colour woodblock, artist seal, inscribed, 7" x 10".

E. LEFAUCHEUX, PARIS A RARE CASED 7mm PINFIRE TWENTY-SHOT OVER-UNDER REVOLVER, MODEL 'LEFAUCHEUX PATENT', serial no. 1304, circa 1865, with over-under 5in. barrel configuration, applied fore-sight, the top of barrel signed 'E. LEFAUCHEUX BTE PARIS' in script, underside marked 'RAFAEL BASCUNAN VALLEDOR' in gothic lettering, fully fluted twenty-shot staggered cylinder firing on alternate outer and inner chambers, open iron frame, the recoil shield with full pin guard and swing open loading gate, external spurred hammer with sighting notch to the nose and decorative tail to head, iron grip-straps with chequered semi saw-backed ebony grips, separate chequered panels to the domed pommel and lanyard ring at heel, folding trigger with over-travel stop and plunge ejector rod on hinged crane, traces of probable original finish and complete in a later walnut case with rounded corners and loose brass folding handle to lid, the interior compartmented and relined in green baize accommodating the revolver and a later wood cleaning rod. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament

A CASED 7mm PINFIRE PEPPERBOX REVOLVER, UNSIGNED, no visible serial number, Belgian, circa 1870, with blued and fluted 1 7/8in. six-shot barrel group, in the white open iron frame, side loading gate, folding double action only trigger and smooth bag-shaped walnut grips with ejector-rod concealed in the heel, complete with its velvet and satin lined moulded 'pipe' casing. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament

W. MASCHEK AN 11.15x36R (WERNDL CARBINE) SINGLE-SHOT SERVICE CARBINE. MODEL '1868', serial no. 920, dated for 1869, with 22 1/4in. barrel, block and blade fore-sight, elevating ladder rear-sight, Steyr marks and date to nocksform, rotary loading gate with polished feed-ramp, isolated colour-hardened back-action lock marked 'W. MASCHEK' and '1868' (colour faded), external hammer, walnut three-quarter stock stamped with the number to both sides of butt near heel, the iron heel-plate variously marked with '10.T.D.' over '23.47.D?' on the spur and '13.D.R.' over '2124' on the face, blued furniture, provision for sling and brushed bright jag-ended ramrod, arsenal refinished in antiquity. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament

ADAMS, LONDON A SCARCE .450 SERVICE-REVOLVER MARKED TO THE R.C.M.P., MODEL '1872 ADAMS', serial no. 7409, dated for October 1874, with blued 6in. black powder sighted barrel, the right front of frame with '125' over 'C.M.P.', John Adam's oval trade mark and logo together with 'ADAMS'S PATENT' to right hand back of frame, 'WD' over 'III' to left hand side front, plain long cylinder, centre-mounted swing-out ball-tipped ejector-rod , lift-up loading gate, chequered walnut grips and butt-cap with lanyard ring, together with a Royal Canadian Police archive letter. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Sections 7.3 and 7.1 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement.

A 10MM (PINFIRE) & 20-BORE PERCUSSION COMBINATION REVOLVER SIGNED LE MAT, serial no. 1. (probably an assembly number) circa 1860, with octagonal 6 1/2in. 10mm barrel, the top-flat crudely stamped 'COLL A LE MAT BR TE', period London and Belgian proofs, dove-tailed fore-sight, standing notch rear-sight to top of barrel throat, underslung smooth-bore 20-bore barrel falsely rifled at the muzzle, nine-shot fully fluted cylinder, open iron frame with side loading gate for the cylinder and centrally mounted nipple for the lower barrel, large spurred hammer with selectable nose, chequered walnut grips, iron butt-cap with moulded loop for lanyard, side mounted ejector, guarded single action trigger and take down nut to front of frame, brushed bright finish with some mild staining and shallow pitting. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament

A CASED 7mm PINFIRE TEN-SHOT REVOLVER, UNSIGNED, MODEL 'LEFAUCHEUX PATENT', no visible serial number, almost certainly Belgian circa 1860, but with Birmingham proved 5in. barrel, octagonal throat section, applied fore-sight, fully fluted cylinder with external stops, borderline and scroll engraved open iron frame, hinged loading gate to the circular recoil shield and chequered walnut bag-shaped grips, no finish with mild staining (possibly supplied 'in the white') and complete with its original English market walnut case compartmented and lined in blue baize and containing a pewter oil bottle, original iron cleaning rod and wood handled turnscrew.. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament

SERIES OF THREE PRINTS INCLUDING NORWICH MARKET PLACE AND ETHELBERT GATE, NORWICH