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Lot 296
A 1.38m Edwardian inlaid walnut parlour display cabinet by Jas (James) Schoolbred & Co., with arched top, galleries, three bevelled mirrors and shelves to top over three frieze drawers, two central shelves and flanking mirror panel doors, set on turned and tapered legs - stamp mark to drawer
Lot 325
A modern Oris Big Crown Timer Automatic stainless steel gentleman's wristwatch, 44mm, Ref. 7660-42, c2014, black dial with day and date apertures, rotating bezel, glazed rear panel, 26 jewel movement, serial no. 32-68627, appears to be running well, on brown leather strap, with box and paperwork, overall in very good condition but with some signs of wear such as light scratching and strap also with some wear
Lot 326
A modern Maurice Lacroix Pontos Chronographe Automatique stainless steel gentleman's wristwatch, 39mm wide and 55mm high, ref. PT6187/97, c2000, silvered dial with three subsidiary dials and date aperture, two button stopwatch facility, appears to be running well, serial no. AO73194, glazed panel to rear, 25 jewel movement, in box, cushion perished, overall the watch is in good condition with some signs of wear, sapphire glass in good condition, strap with some wear
Lot 141
Chinese Dragon Robe. A kesi silk nine-dragon robe, late Qing Dynasty, finely woven silk robe, predominantly blue and green on a gold ground, with long sleeves and horse-shoe cuffs, depicting nine five-clawed dragons, three on each side, one on each sleeve, and one on interior flap, densely surrounded by various other auspicious symbols, including clouds, bats, lotus flowers, sacred vases, etc., wide lishui border to hem, vent to centre of front and rear, bauble fasteners (one loop and adjacent fabric frayed), sleeves lined with stiff linen, cuffs lined with turquoise silk, 33cm closed tear (fraying) to lower part of right-hand front panel, left sleeve with 22cm vertical split (fraying with slight loss), a few other small holes and short splits, length 137.5 cm (54 ins), width cuff to cuff 226 cm (89 ins)QTY: (1)NOTE:A magnificent dragon robe in overall good condition; notwithstanding the points aforementioned, the delicate finely-woven silk is robust and the colours are bright.
Lot 142
Chinese. A large unused embroidered silk panel, circa 1930s, pieced royal silk panel with vertical central seam, hand-embroidered in polychrome silks, with large central circlet of flowers and 2 butterflies, floral cornerpieces, and scattered small flowers, selvedges to sides, top and bottom edges raw, 1 or 2 small marks, but apparently unused, 198 x 147 cm (78 x 58 ins), together with 3 Chinese embroidered table mats, 2 circular and the other rectangularQTY: (4)
Lot 150
Clothing. An Edwardian tea gown, circa 1910, & others, full-length dress of fine white cotton lawn, with high neckline, long sleeves, and asymmetrical fastening at front with 10 self buttons, heavily embellished with pin tucks and lace insertions/trims, a few minor fox spots, bust 80 cm (31.5 ins), waist 70 cm (27.5 ins), sleeves 58.5 cm (23 ins), length at front 141.5 cm (55.75 ins), length at back 24.5 cm (62 ins), together with an Edwardian overdress of net, with short-sleeved unstructured lace bodice (some short breaks in lace), pale green silk sash, side panels of net lace and ribbon embroidery (one panel missing), and decorative diamanté buttons at waist and shoulders (a few stones missing), and an Edwardian gown of stiff striped white cotton, with metal hook and eyelet closure to front, and bow decoration, long sleeves with ruffled cuffs, a small and large v-shaped pocket, and a ruffled hem, some scattered fox spots, plus 7 other early 20th century garments, various sizes and condition QTY: (10)
Lot 151
Clothing. Embroidered skirt for a Robe à la Française, British, circa 1730-40, hand-stitched wide skirt, composed of 5 pieced cream silk panels, each 72.5 cm (28.5 ins) wide, 1 panel unadorned, with 31 cm long stitched opening from waistband, the other 4 panels elaborately hand-embroidered in polychrome silk threads with a wide border (46 cm/18 ins) depicting an abundance of flowering and fruiting meandering stems including roses, tulips, carnations, and pomegranates, some of the stems gathered together with a bow, using a variety of stitches, including stem stitch, long and short stitch, latticework, basket weave, and satin stitch, the skirt shaped for pannier hoop with gathers to sides, original tape edging and drawstrings to waist, hem and one side seam stitched, the other side seam raw, a few small marks and 1 or 2 minor pulled threads, pale brown stain to blank area above embroidery (6 x 3 cm), 2 cm closed tear to hem almost touching a leaf, 99.5 x 362 cm (39.25 x 142.5 ins)QTY: (1)NOTE:Provenance: The Farquhar Collection, Redlynch House, Salisbury, Wiltshire (see also lot 160).A rare, beautifully-preserved, large portion of embroidery on a wide skirt, intended to be part of an 18th century gown, but seemingly never used. The condition of this almost 300-year-old piece is remarkable, with the colours still vibrant and the silk fabric robust. The finished gown would have been worn with a pannier beneath, made of metal, cane or whalebone supports, to give the skirt its shape. The voluminosity of the gown would accentuate the small waist of the wearer, whilst the large expanse of costly material would indicate the wealth and status of the lady. As the 18th century wore on skirts expanded in width so that by the middle of the century some ladies wore panniers seven feet wide.The Farquhar family were bankers and collectors of fine art and antiques. Celebrated members of the family include John Farquhar who bought Fonthill Abbey, Wiltshire, in its entirety from William Beckford in 1823, and Alfred Farquhar who was one of the partners of the private bank Herries, Farquhar & Company, which eventually merged with Lloyd's at the beginning of the nineteenth century. The bank lent money to Napoleon III, and in 1871, when Napoleon was exiled, he sought refuge with banking partner Sir Walter Rockcliffe Farquhar. According to family tradition, the former Emperor struggled to repay his debts, so instead paid in kind, with valuables from French royal palaces which had been brought to England by bullock carts.
Lot 157
Embroidered panel. A large whitework panel, British, circa 1580-1620, stitched in cream and light brown threads on a cream linen ground, depicting a gentleman and lady in the centre, both wearing neck ruffs, the former receiving a goblet from the latter, within a circular laurel wreath, on a ground of large scrolling stylised trumpet flowers and foliate motifs, pieced strip 23cm high to lower edge (pattern not quite matching), uniformly toned, somewhat worn, with some loss of threadwork and linen ground threadbare in places, 3 patches, including 1 above the figures' heads (23 x 13cm), 135 x 162.5 cm (53.25 x 64), framed and glazed (143.4 x 170.7 cm) QTY: (1)NOTE:A large, intricately stitched portion of early embroidery, probably originally a bedcover made for a marriage.
Lot 158
Embroidery. A large portion of early silk and metalwork, British, second half 17th century, worked in polychrome silks and silver metal threads, on a ground of cream silk mounted on coarse linen, with all-over mirror-image pattern of exotic birds and butterflies, amongst entwining flower stems, including tulips, irises, carnations, Tudor roses, paeonies, and pomegranates, central large metalwork flower embellished with beads (some lost) and incorporating 2 trailing ribbons in metalwork, stitched in brown silk with the legend 'Simileest' on the left ribbon and 'Regnum Celorm [Caelorum]' in mirror-writing on the right ribbon, the whole on a ground of long and short stitch worked in cream silk, background stitching and silk fabric perishing in places with small losses, occasional loose threads and other minor losses but threadwork generally largely intact, all edges raw but only lower edge obviously truncated, approximately 48 cm (19 ins) x 260 cm (102.5 ins)QTY: (1)NOTE:A wonderfully exuberant and - even now - vividly coloured piece of early embroidery. Its Latin inscription, which translates 'resembling the kingdom of heaven', instructs the viewer clearly in the theme of the piece, should there be any doubt. It also goes further, in that one half of the panel is a mirror-image of the other and one half of the legend is in mirror-writing, so that there is a delightful play of words indicating that the needlework holds a mirror up to heaven but also to itself.
Lot 160
Embroidery. An apron panel, British, circa 1730-40, a large portion of early embroidery on cream silk, elaborately hand-worked with various floral and foliate motifs, volutes, and entwining tendrils, incorporating a central urn flanked by baskets, and 2 pocket slits, stitched in silk threads in shades of red, pink, blue, and green, using satin stitch, and long and short stitch, partially unpicked, with original brown ink outlines visible, hems also unstitched, a number of short splits in silk, 50 x 100.5 cm (19.75 x 39.5 ins)QTY: (1)NOTE:Provenance: The Farquhar Collection, Redlynch House, Salisbury, Wiltshire (see also lot 151).
Lot 167
Indian. A Deccan painted fragment, possibly part of a throne cover, 19th century, painted in polychrome and silver with central panel of foliate stems on a red cotton ground, and pointed arch and border of scrolling floral motifs on a dark green cotton ground, pigments flaking with losses, some staining and small holes to fabric, stitch-mounted to a fabric-covered wooden frame, 67 x 49 cm (26.5 x 19.25 ins)QTY: (1)NOTE:Possibly part of a khandpaat or piece of cloth made to cover a throne in a Shrinathji shrine. The throne would have been set in front of the pecchavai (temple hanging), sometimes flanked by smaller thrones. The technique is similar to that used in a pecchavai held by Boston University (accession number 67.837), as well as a throne cover recently sold at auction (Bonhams, 'India in Art', 7th June 2022, lot 28).
Lot 174
Needlework slips. A collection of mounted slips, English, early 18th century, hand-stitched in crewelwork, in plant-dyed wools, in shades of green, pink, brown, and cream, depicting floral and foliate motifs, a stag, and 2 birds, worked in long and short stitch, satin stitch, French knots, and stem stitch, some wear and loss of stitching, each worked on a thick twill ground, sometime later stitched to a thick tan fabric backing, and subsequently stitch-mounted together on a cream linen panel, 142 x 133.5 cm (56 x 52.5 ins)QTY: (1)NOTE:These decorative needlework motifs would have been executed to embellish the soft furnishings of the wealthy. They were typically used to adorn curtains, bed hangings and valances, cushions, and picture and mirror frames, amongst other furnishing textiles.
Lot 175
Needlework. A needlepoint panel, English, 1st quarter 19th century, composed of 12 square sections, each with a different design, including a dog, flowers, a figure wearing a turban, and 2 ladies, one playing a lute, with a pageant tent in the background, finely hand-worked in polychrome wool in tent stitch on a canvas ground, some overall fading, one square with very small hole, each square 12 x 12 cm (5 x 5 ins), overall size 50 x 36 cm (19.25 x 14.25 ins), together with:A large needlepoint table cover, English, 1841, with central panel of a seascape with large vessel approaching a land mass, surrounded by star-patterned and floral panels, and border of flags and initials with a building at each corner, top and bottom with wide border containing various motifs, e.g. crowns, a watering can, a flaming heart, a cornucopia, flora and fauna, including a prancing pony, etc., hand-worked in polychrome wool in tent stitch on a canvas ground, initialled 'CP' and dated lower right, lightly faded and dust-soiled overall, small losses to stitching in places, backed with linen (stained), 100.5 x 86.5 cm (29.5 x 34 ins), plus 3 other items of needlepoint, comprising a large floral panel, 70 x 52 cm (27.5 x 20.5 ins), and 2 small panels of bargello work, each approximately 30.5 x 23 cm (12 x 9 ins)QTY: (5)
Lot 182
Sampler. An 18th century darning sampler, 1774, stitched with 8 large samples of darning (7 being even-armed crosses), showing a variety of darning stitches, in polychrome threads, on cream linen, centre of upper margin worked in cross-stitch with initials 'EVP' and 'OUT' within a floral wreath, lettered below 'AN1774NO', and topped by a crown flanked by putti, lightly toned and some fox spots, 2 small holes (not affecting threadwork), 46 x 45 cm (18 x 17.5 ins), framed and glazed (48.5 x 47.5 cm), together with:An early 19th century darning sampler by Charlotta Sandee, 1813, stitched with 8 large even-armed crosses showing a variety of darning stitches, in green and dark cream, on cream linen, central panel with cross-stitch name and date within a rectangular border of various darning stitches, corners each with a cross-stitch flower and 3 initials various, toned, 39.5 x 40 cm (15.5 x 15.75 ins), framed and glazed (42 x 42.5 cm) QTY: (2)
Lot 187
Samplers. A needlework sampler by Esther Court, 1835, hand-worked in cross-stitch in blue silk with 2-stanza moral verse, separated by a line of coronets, each with an initial beneath denoting the rank (King, Queen, Prince, Duke, Earl, etc.), with alphabets and numerals above and below, and maker's name and date to lower margin 'Esther Court, Barford, 1835', decorative borders worked in beige, on a linen ground (slightly toned), 33 x 32 cm (13 x 12.5 ins), framed and glazed (39 x 38 cm), together with:A needlework sampler by Catherine Birch, 1823, hand-worked in cross-stitch with text in black, and symbols and borders in coloured silks (predominantly green, yellow, cream, pink), on a linen ground, upper panel with 3-stanza religious verse in centre, flanked by flower stems (some in urns), and black dogs, lower panel with birds perching on a flower basket, flanked by candelabra, birds, and deer, above the maker's name and date 'Catherine Birch's Aged 10 Years 1823' within a foliate wreath flanked by crowns, the whole within a floral border, somewhat toned and faded, linen ground perishing in a few places to left-hand side (only slightly affecting stitching), 36 x 30 cm (14.25 x 11.75 ins), framed and glazed (46.5 x 40.5 cm),A needlework sampler by Ann Appelbee (1786-1855), hand-worked in polychrome cross-stitch with alphabets and decorative borders on a linen ground, incorporating hearts and crowns, with maker's name to lower margin above a stylised tree flanked by birds and lions, some small holes (stitching largely intact), 19.5 x 13.5 cm (7.75 x 5.25 ins), framed and glazed (23.2 x 17.1 cm) QTY: (3)NOTE:Provenance: The maker of each needlework by descent to the current owner.1] Esther Court was the great granddaughter of Leonard Court of Barton, near Alderminster. She lived at Barford, near Warwick, and her husband, Charles Sheaf, was from Evesham.2] Catherine Birch (born 1813?) was the daughter of James Birch, a brazier of Church Street, Birmingham. The sampler passed to her brother, George Birch, an estate agent in Birmingham.3] Anne Appelbee (1786-1855) was the mother of Esther Court.
Lot 188
Screen. A mahogany room divider, late 19th century, a large 4-part hinged mahogany screen, front side of panels with modern patterned woven fabric, in red, blue, and gold, on a pale gold ground, the 2 outer panels depicting stylised flower urns between coronets, the 2 inner panels with pairs of dogs in the style of Chinese Dogs of Fo between coronets, both designs linked with foliate volutes and arabesques, reverse side of panels with modern pale gold linen, each panel 183 x 75cm (72 x 25.5ins) QTY: (1)
Lot 189
Shawl. A Parsi work shawl, Canton, circa 1900, hand-embroidered with ivory silk on a black silk ground, with large panel filled with oriental figures, animals, pagodas, butterflies, flowers, and vegetation, enclosed by a wide border of similar motifs between narrow border of pheasants and flowers, ivory hand-knotted wide macramé edging (tassels tangled), dimensions excluding edging 127 x 124.5 cm (50 x 49 ins), edging approximately 53 cm (21 ins)QTY: (1)NOTE:A striking shawl in very good condition.
Lot 232
Florentine School. Saint Anthony of Padua miraculously healing the leg of a young man, circa 1480-1520, large scale pencil and sepia wash on sturdy laid paper, depicting Saint Anthony in the brown habit of the Franciscan Order, in an Italian town square, surrounded by a circle of onlookers including a standing and kneeling Franciscan monk, in the left foreground a standing halberdier, a passing horse and cart and others, in the right foreground a group of men in earnest discussion, with figures emerging from a church in the midground and a landscape with trees beyond, some repairs and lined with archival tissue, 44.7 x 58.5 (17 5/8 x 23 ins)QTY: (1)NOTE:This large scale drawing could well have been a preparatory drawing for a fresco or work on panel, although there are no signs of squaring up. The kneeling Franciscan monk could possibly represent the donor who may have commissioned the work. Anthony, the patron saint of Padua (1195-1231) miraculously restored the leg of a youth who had severed off his leg in a fit of remorse after kicking his mother. This many figured narrative representing the miracle and the measured responses to it, with its carefully distributed groups of figures, is articulated with clarity and gravitas. The group of figures to the right is particularly reminiscent of the rightmost group of three male figures in the circle surrounding Christ in Masaccio's Tribute Money of 1425, in the Brancacci chapel, Florence.
Lot 254
Italian School. Salome with the Head of St John the Baptist, later 16th century, oil on oak panel, bevelled to left and right-hand sides and lower edge on verso, 118 x 85 mm (4 5/8 x 3 3/8 ins), late 19th or early 20th century moulded gilt frameQTY: (1)NOTE:Provenance: Private Collection, Somerset, UK.
Lot 263
Debucourt (Philibert-Louis, 1755-1832). La Fête de Village, circa 1780, oil on panel (cradled), 21.5 x 17 cm (8 1/2 x 6 3/4 ins), two early wax seals and label of Arthur Tooth & Sons, London to verso, French rococo gilt frame (35 x 28 cm)QTY: (1)NOTE:Provenance: Etienne Le Roy & Cie, Commissaire Expert du Musée Royale, Bruxelles, Belgium, their red wax stamp verso; a black armorial wax stamp verso, unidentified; Arthur Tooth & Sons Ltd of Mayfair, their label verso; Woolley & Wallis, Salisbury, Old Masters, British & European Paintings, Day 2, 12 August 2021, lot 588.The present work is similar in treatment and subject matter to Scène de noces villageoises, oil on panel, sold Artcurial, Paris, Old Master and Nineteenth Century Paintings and Drawings, 27 March 2015, lot 153. In both paintings, Debucourt places the principal dancing couple, in front of the shadowed larger group of figures, emphasising the young woman's luminous ivory skin and white dress. The artist is represented in various museums, including the Louvre: La Façade du Louvre avec le Pavillon de l'Horloge, vue de la rue Fromenteau (RF 2005 19).
Lot 265
Simons (A. A., 18th century). Two Views of Antwerp and Port, 1788, a pair of oils on canvas, one showing a rich merchant and his wife inspecting barrels being unloaded at the harbour on the Scheldt, with two boats flying the pennant of the Dutch East India Company, view of the town of Antwerp to the left including Het Steen and the Cathedral of Our Lady, and (on the far side of the river to the right) Borgerweertpolder (now known as Linkeroever), the other showing a group of richly dressed figures disembarking at a jetty, with view of Het Steen to the left, the first signed A. A. Simons to lower right (above a barrel), and dated (on the wooden crate being used by a gentleman as a seat), relined and with modern professional restoration, unframed, both 214 x 223 cm (84 x 87.75 ins)These are both in generally good condition, although they have been professionally restored in modern times. Both works are relined with several patches of the relining adhesive showing through on the back of the relining canvas. There are also one or two strips of additional strengthening. Each panel has a small dark red/burgundy stamp to the upper left corner on the back, which we have not been able to decipher. It may be a restorers stamp or possibly a collector’s mark. Each picture has been cleaned, and there is evidence of retouching.QTY: (2)NOTE:Provenance: Private Collection, Shropshire, UK (purchased in Holland on the open market in 2017).A similar panoramic view of Bayonne with figures in the foreground, by the same artist, was sold by Pierre Bergé & Associés, Brussels, Belgium, 23 November 2009, lot 404 (218 x 155 cm).
Lot 268
Studio of Johann Heinrich Schmidt (circa 1741-1821), Portrait of Generalissimo Alexander Suvorov (1730-1800), oil on panel with a feigned oval, 31.4 x 25.4 cm (12 3/8 x 10 ins), ornate gilded frame with moulded vine, honeysuckle and egg and dart motifs (48.5 x 42 cm) QTY: (1)NOTE:This work is a well-executed version in oil of the the pastel drawn from life in 1800, in Prague, by Johann Heinrich Schmidt, four months prior to the death of Alexander Suvorov, the last lifetime portrait of the commander. He is dressed in the white Austrian uniform of a field marshal. The original pastel portrait is now in the collection of the Hermitage (inventory no. ???-3766). For another version by Schmidt, also in oval format, see Neil Jeffares, pastellists.com online catalogue J662.227). Alexander Suvorov was a sickly child, due to this his father had assumed that as an adult Suvorov would work in the civil service. Suvorov learned to read French, German, Polish, and Italian, and devoted himself to intense study of several military authors including Plutarch, Quintus Curtius, Cornelius Nepos, Julius Caesar, and Charles XII. A meeting between Suvorov and General Gannibal persuaded Suvorov's father to allow him to pursue a career in the military. Suvorov entered the army in 1748 and served in the Semyonovsky Life Guard Regiment for six years. After repeatedly distinguishing himself in battle Suvorov became a colonel in 1762, aged around 33. He is traditionally remembered as an unbeated military leader managing 93 battles and never being beaten. His name lives on in numerous tributes to him such as the Suvorov museum in St Petersburg, The Order of Suvorov - a military award for successful offensive actions against superior enemy forces, the town of Suvorovo in Varna Province, Bulgaria, the Russian ship which discovered Suwarrow Island in the Pacific in 1814 and numerous monuments.
Lot 277
Leslie (Charles Robert, 1794-1859). Young woman and little girl walking on a country lane, oil on thick wood panel, showing a young lady and little girl walking along a sunlit wooded country lane, with Winsor & Newton Prepared Panel printed label to verso, unsigned, 23 x 18 cm (9 x 7 ins), gilt moulded frameQTY: (1)NOTE:Provenance: Spink & Son Ltd, May 1968, with a copied receipt; Private Collection, Bedfordshire.
Lot 278
Flemish School. Portraits of Two Military Commanders of the Holy Roman Empire, a pair of 19th-century oils on panel each depicting a gentleman in 17th century military uniform in an elegant interior, one bearing the date 1634 beneath a coat of arms, 288 x 230 mm (11 3/8 x 9 ins) and 288 x 223 mm (11 3/8 x 8 3/4 ins), respectively, antique-style black and gilt frames, each 40.5 x 33.5 cmQTY: (2)NOTE:Provenance: Formerly Schloss Ramholz Collection, Schluechtern, Germany. Possibly copied after larger original oil paintings of the 17th century.
Lot 295
Heath (Frank Gascoigne, 1873-1936). Whiffing, oil on wood panel, depicting a man in a white sailor's smock and red beret steering a boat, frame aperture 36.5 x 27 cm (14 3/8 x 10 5/8 ins) framed (52 x 42 cm)QTY: (1)NOTE:The present work has been authenticated by the art historian Catherine Wallace.This work is a preparatory study for the finished painting sold at Christie's on the 3rd November 1999, lot 26, which was exhibited by David Messum at Penlee House in 2004.
Lot 390
Susie Gradwell (20th/21st century) - 'Galleon, after 14th century Italian Shrine to St. Simeon', signed and inscribed with the title verso also bearing the artist's original label for her stencilling, paint finishes, workshops, icons and paintings based near Bridgewater, Somerset, mixed media on panel with shaped pointed top, unframed, 19.75" x 11.75"
Lot 407
B* Whitford (20th century) - 'Trees', signed also inscribed with the title of the work, the artist's name, his address possibly in Canada Garran A.C.T. 812132 and the original price of $60, oil on canvas board, 14.5" x 11.75"; together with a small oil painting on panel possibly after David Teniers, figures in an interior, 10.25" x 8" and lastly an oil painting by P* Connor entitled 'Langs Crossing', signed also inscribed with the title verso with a personal plaque and inscription 'To John Cameron D.O.D. Canberra September 1978', oil on board, 12" x 15" (3)
Lot 272
A Meissen turquoise-ground leaf-shaped box and cover, c.1745-50, blue crossed swords mark, gilder’s G. to both pieces, each side reserved with a gilt-edged quatrefoil panel painted with flowers, the stem finial with flowering terminals, 12.9cm wide; together with a Meissen two-handled circular basket, 19th century, blue crossed swords mark, Pressnummer 30 and incised |||, the exterior applied with fruit, flowers and nuts, the basket-moulded interior painted with flowers, 18.8cm wide; and a Berlin (KPM) rectangular basket, 19th century, blue sceptre mark, the interior with figures in landscapes, 11.3cm wide (3)Provenance: The leaf-shaped box with Brian Haughton Antiques, London (according to the paper label attached to the base). Box:Overall this box is in good condition. The very minor condition faults are listed in more detail below:There is a small chip to two of the leaf terminals on the cover. A small rim chip the edge of the cover is gilded with what appears to be original 18th century gilding, so it dates from the time of manufacture. There are some minute flakes and wear to the gilt rim of the box, and a few minute scratches to the surface. All of these are extremely minor. Meissen Basket:One handle has probably been broken off and re-stuck, and the surrounding area has been overpainted. With time this overpainted area has yellowed, but as the porcelain in these areas is still translucent, it appears as though this area is not restored, and it is merely over-zealous overpainting extending far beyond the re-stuck handle. There is some chipping to the flowers and foliage and handle terminals. Berlin basket:Overall this basket is in good condition. There are a few minute areas of wear, which are extremely minor.
Lot 344
An original archive of artwork relating to John Player & Sons 'Player's Navy Cut’ cigarettes, c1950's, comprising original hand-painted packaging designs and concepts relating to a packaging redesign circa 1959/1960, including: various versions of the Player’s Cut emblem both printed and painted, part-painted concept background artwork, test printings with over-painted additions, a hand-painted full packet mock-up depicting the 'Hero' sailor emblem and rear panel with Nottingham Castle, a panel of three black and white hand-painted Player’s Cut emblems laid on board, projector transparency sheets, and hand-painted advertisement artworks for use in marketing materials and magazines (qty) Note: The Player's Navy Cut emblem was one of the best recognised in the world. The sailor image was known as ‘Hero’ because of the name on his hat band. The image was first used in 1883 with the lifebuoy added five years later. The two ships behind him are thought to be HMS Britannia and HMS Dreadnought or possibly HMS Hero. Please refer to department for condition report
Lot 505
A relief carved pine panel, early 20th century, with Corinthian capital and scrolling foliate decoration, 196cm high, 28cm wide, together with a stained pine panel, relief decorated with floral urns, dolphins and vacant cartouche, 195 x 15cm (2)Please refer to department for condition report
Lot 541
An Italian gilt wood cassone, late 17th/early 18th century, the top panel hand painted with two dragons within carved border, the side panels hand painted with a heart shaped crest flanked by two dragons, the front panel hand painted with St George on horseback slaying a dragon, raised on scrolling feet, 60cm high, 115cm wide, 50cm deepPlease refer to department for condition report
Lot 114
A large Chinese brooch and two Chinese carved jade pendants; The brooch has a carved jade panel of the Immortals of Harmony and Union 'He-he Erxian', beneath a swivel chrysoprase flower with agate leaves, white metal-backed, approximately measuring 12.5 x 8.5 cm; One of the jade pendants is in the shape of 'Longevity Lock'; Another depicting two magpies amid plum blossoms, which means luck and blessings.
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