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Uniforms and mixed equipment including an American 1950s US Army Air Force Officers Summer Khaki Jacket made by Palm Beach Suits, with Lieutenant Rank badges, United States Air Force Sleeve patch and Pilots Collar badges. An excellent condition, British RAF Cold War era 1952 Pattern Blouse No.2 Home Dress N.P. Size No.11 L. Harris (Harella) Ltd., American WW2 Camouflage Parachute Strip of material which appears to have been turned into a scarf, two pairs of gloves and a hood for an M-1943 Field Jacket and German Reproduction WWII M31 Pattern Brotbeutel Knapsack and enamel mug said to have been used on the set of the film Fury. The Bread bag made by the Hero Collection Poznan, in grubby condition.

A good Derby figure of John Wilkes, circa 1765-70Modelled standing, his left hand on his hip, his right hand resting on two scrolls draped over a plinth, a putto holding the Cap of Liberty aloft, set on a rococo scroll-moulded base, unusually left in the white, 29.5cm high, patch marksFootnotes:John Wilkes (1727-1797) was a controversial MP and journalist who played a critical role in the development of radical politics.It is rare to find this model left uncoloured, making the symbolism of political liberty more subtle. An enamelled and gilt example of Wilkes, where the scrolls are inscribed 'magna charta' and 'bill of rights', was sold by Bonhams on 14 November 2018.For further information on this lot please visit Bonhams.com

A silver cigarette case, Adolph Scott, Birmingham 1925; another silver cigarette case; a silver card case; two silver vestas, one marked Cambridge & Oxford ORA; a white metal cigarette case, marked 800 with German hallmarks; and a white metal patch box, marked 925; total weighable 9.0oz.Qty: 7

George III elm tripod table, circular tilt-top with a raised moulded edge, pear-shape column, on tripod legs, diameter 53cm, height 72cm.Condition report:The top has worm holes to the underside which may still be active (some dust falls when knocked) the centre of the top has a 2.5cm x 1.5cm patch/ old repair. Various old repairs to the circumference moulding. The top black is replaced to the underside and there is a good deal of movement to the top resting on the pedestal. The pedestal and supports all show old restoration, possibly a marriage.

A CASED .451 PERCUSSION BEST-QUALITY MATCH RIFLE WITH ALL ACCESSORIES BY ALEX'R HENRY, EDINBURGH, serial no. 657, for 1861, with 33in. browned octagonal barrel (finish thinned and with some shallow pitting), incorporating Henry patent rifling, patent no. 2802 of 15th November 1860, use no. 238, the top-flat signed 'PATENT NO. 238, GAUGE .451 ALEX'R HENRY 8 SOUTH ST, ANDREW ST EDINBURGH' and fitted with a Henry Patent front tunnel-sight with platinum register lines to the dove-tailed foot, Henry patent adjustable rear-sight, engraved bands and scrolls to the colour-hardened breech-block, the top-flat further engraved with a tiger's head, platinum plug, fully scroll engraved top-tang, border and scroll engraved bar-action colour-hardened lock signed below the hammer 'ALEXR HENRY', the lock further engraved with a running stag and a prowling tiger, sliding safe forwards of the scroll engraved dolphin headed 'C' shaped hammer, chequered pistol-grip walnut half-stock with border and scroll engraved patch-box fitted to the right side of the butt, the lid further engraved with a prowling lion, engraved iron heel-plate, the long top-spur featuring an engraving of a walking lioness, engraved trigger-guard bow, fully scroll engraved iron pistol grip cap with central trap and engraved barrel key escutcheons (some cleaning and frosting to all furniture), gold shield-shaped vacant escutcheon to wrist, chequered trigger-blade, horn fore-end tip and under-barrel brass-mounted ebony ramrod; together with its manufacturers oak storage case compartmented and lined in pale brown embossed leatherette and containing a full complement of accessories including the bullet mould, leather covered Alexander Henry Patent powder flask, nickel-silver Sykes snail capper, nickel patch tin, a pair of turn-screws, dismountable colour-hardened nipple key and a pair of cleaners, brass loading rod and funnel, wad-punch, oil bottle, ebony patch pots and further pots for caps and nipples, original leather sling and other sundry accessories, the whole retaining much finish and colour throughout except where noted, the inside of lid with indented cornered parchment Alexander Henry trade-label.

A small collection of 19th century and later treen wares to include an oak pocket snuff-box of shield shape, a box-wood light pull, a snuff shoe, a box-wood acorn shaped curtain pull, a yew-wood patch/pill box and button hooks etc. (15)

A Victorian rosewood miniature pin cushion, of squat circular form having a cushion top above a frieze with needle apertures, on a turned foot baring a label verso Edmund Nye Manufacturer Mount Ephraim & Parade Tunbridge Wells, h.3.5cm, together with one other inlaid pin cushion in the form of an acorn h.3.5cm and a Victorian rosewood Tunbridge ware patch/pill box. (3)Modest age wear only.

A George III Mahogany Straight Front Chest of Drawers, late 18th century, the moulded top above a pull-out brushing slide and four long graduated oak-lined drawers, on moulded bracket feet91cm by 48cm by 82cmSome variations in colour. The drawer fronts are slightly faded. The chest has a patch repair. Handles have been replaced and the previous handle marks are just visible if being very critical. The drawer run freely. The top of the chest is very slightly misshapen.

A French Louis XV Provincial Walnut Straight-Front Commode, late 18th century, the moulded top above three short and two long drawers with brass beading and escutcheons, with fluted column supports, on block and turned forelegs125cm by 57cm by 88cmThe left-hand handle to the bottom drawer is missing. Various old decay throughout. Numerous splits (as photographed). Reasonable colour. Some old patch repairs. The chest is structurally sound and the drawers run freely. Some of the metal beading is missing around the middle drawer and the beading is also misshapen.

A Victorian Walnut-Framed Four-Seater Conversation Sofa, circa 1870, recovered in red floral buttoned velvet, the serpentine overstuffed seats with a carved and moulded seat rail, on scrolled cabrioles with castors138cm by 95cmThe upholstery is generally good with the exception of a patch (as photographed). The framework is reasonable in that it has been previously restored/coloured. Small losses to the carved decoration and small repairs. The sofa is structurally sound.

A George III Mahogany Display Cabinet, late 18th century, the dentil cornice above astragal glazed doors enclosing fabric-lined adjustable shelves, the base as a six-drawer straight-front chest with three short over three long mahogany-lined drawers, with brass drop handles fitted to the sides, on bracket feet105cm by 47cm by 182cmThr right-hand glazed door with two small cracks. The timber to the drawer fronts on the top section is a poor colour (rather faded and dry). The right-hand side panel has small splits (see photograph). The left-hand panel is again faded and has a patch repair and some splitting. The bracket feet have various old repairs (as photographed). With two keys. The chest section is open but there is no key for this section.

A Chelsea Porcelain Tea Bowl and Saucer, circa 1755, painted with flowersprays and scattered sprigs within brown line borders, anchor marks in redFree from chips, cracks and repair. Some noted enamel and glaze wear. The teabowl with a patch of kiln speckling.

A Regency Mahogany Bowfront Chest of Drawers, early 19th century, the reeded top above four long graduated drawers, on cast metal claw feet107cm by 58cm by 104cmVariations in colour. Some fading mainly around the side panels and some sections of the top. With some small patch repairs to the veneers on the dust boards (as photographed). The drawers are cedar-lined and run freely (see further images). 

A Chelsea Porcelain Small Dish, circa 1752-53, of fluted oval form, painted in Yongzheng famille rose style with a bird perched in peony issuing from rockwork within a diaper border16.5cm wideThis style of Chinese inspired decoration is rarely found on Chelsea, and appears to be confined to the 1752-53 periodBroken into several large pieces and professionally restored. Some fritting to the rim. Glaze pitting an enamel wear. Patch of staining to the reverse. Unmarked.

A Chelsea Porcelain Vase, circa 1758-62, of hexagonal baluster form with twin scroll handles, painted with exotic birds amongst foliage and rockwork within gilt line borders, anchor mark in gold22cm highMultiple glazed over firing tears to the neck, handles and foot. Two long cracks to the neck. Patch of over spray to one side and another to one face at the shoulder. Some enamel flaking and crazing.

Frederick Daniel Hardy (1827-1911)"Hunger"Oil on canvas, 76cm by 52cmProvenance: Henry Dewhurst, Far Town Lodge, HuddersfieldChristie's, London, 19th April 1890, lot 20 as "Attributed to J D Hardy"Exhibited: Royal Academy, London, 1874, No.414Bears Christie's stencil 601C versoSurface dirt and discoloured varnish. Stretcher shadow, canvas is slightly loose on the stretcher. Push mark front to back on edge of right-hand side stretcher approx 10cm from upper edge which does not puncture the canvas. Further minor push mark directly approx 12cm below this. Odd surface scuff/abrasion, areas of varying sized stable cracquelure. Varnish has a chalky quality in places. Some general strengthening through the background and darker tones in general. Fairly fine v-shaped area of retouching to old scratch next to left-hand side edge approx 2cm in length on each line. Further vertical small patch of retouching approx 6cm below this and 1-1.5cm in length. Some general retouching and strengthening through the folds and shadows of the boys white shirt and to a lesser extent his trousers. Other further scattered small-scale touches to surface, to his shirt and hands. The lantern has possibly undergone some general strengthening.

William Woodhouse (1857-1939)Mare and foal before a tree in blossom Signed, oil on canvas, 59cm by 49cmBears Christie's stencil HL905 to stretcherIn a broadly fair to good state of preservation. Some surface dirt and discoloured varnish. Stretcher shadow. Areas of Relatively pronounced large-sized cracquelure more apparent across the sky, the flank of the horse, the upper body and the mane. Slightly diagonal relatively superficial surface scratch towards upper left-hand corner approx 2-3cm in length with a less pronounced scratch running parallel to the right. Odd tiny loss below the front part of the signature lower right-hand corner and a further horizontal back-to-front push mark to the left of this no more than 1cm in length. Canvas is slightly loose on the stretcher. Fairly high gloss varnish finish. Patch of general strengthening the upper part of mane approx centre, definition of animals left-hand shoulder and elements of the general darker shadowing of the animals left-hand leg mostly upper part. Couple of areas of retouching along the upper edge right and left of approx centre which are slightly visible by eye, the largest being the right-hand side area and which is approx 0.5cm by 1cm.

Percy Lancaster RI, RBA, ARE, RCam A (1878-1951)Two elegant ladies on a hill before an extensive landscape Signed, inscribed to artist's label, with fragments of a further inscribed label verso, oil on canvas, 75cm by 61.5cmSmall patch repair to reverse of canvas (see images), presumbaly to repair tear to canvas with associated concentrated retouching to the front. Further less consistent retouching throughout sky and background. With more minor strengthening to elements of the seated figures hands, detailing shadows and definition to her face and hair, the majority of the shadowing across the standing figures face, and also her waistline. Canvas slightly loose on stretcher. Areas of varying sized stable craquelure.

William Mellor (1851-1931)"Bolton Abbey from the Wharfe, Yorkshire""On the Wharfe, Bolton Woods, Yorkshire" Each signed, inscribed verso, oil on canvas, 39cm by 59.5cm (2)Bolton Abbey from the Wharfe - In an overall good and original state of preservation. Very slight buckle to canvas upper right hand corner. Relatively light surface dirt and discoloured varnish. Some possible sporadic strengthing through the foliage of the trees, foreground, lowlights of the cattle and possible signature? On the Wharfe, Bolton Woods - Small patch repair to reverse of canvas (see images). Areas of widely spaced craquelure most notably in the sky above the hillside centre. Light surface dirt and discoloured varnish. Possible minor retouching/strengthening to parts of the foliage, and lowlights of the rocks, cattle and reflections.

William Crabb (1811-1876) ScottishPortrait of Captain Thomas Whyte (1782-1848)Signed and dated 1838, oil on canvas, 90cm by 70cm Inscribed to partial label verso William Crabb, otherwise known as 'Crabb of Laurencekirk' was a Scottish painter of portraits and historical scenes.Crabb trained at the Trustees Academy, the precursor to the Edinburgh College of Art which educated prominent painters including Sir David Wilkie RA and Sir William Allan RA. In 1835, secretary to the Trustees James Skene remarked there is not an eminent name in the history of art in Scotland not to have trained at the Trustees Academy. Crabb’s work soon attracted the attention of Sir Francis Grant, President of the Royal Academy from 1866 to 1878. Grant employed Crabb as an assistant in London and he was tasked with painting draperies in Grant’s works.Likened to Sir Henry Raeburn, Crabb excelled at portraiture; his portraits were lauded and recognisable for their ‘decided style’, and ‘powerful colour’.Crabb would regularly exhibit his portraits at the Royal Academy, and his Fitz-James and Rodericj Dhu after the Combat was exhibited at the Edinburgh International Exhibition of 1886. Crabb’s portraiture can be found in many historic Scottish houses, and indeed in the collections of the Royal Scottish Academy of Art and Architecture, University of Edinburgh, The Merchant's Hall of The Company of Merchants of the City of Edinburgh, The Stewartry Museum, and Leeds Civic Hall.The collection of portraits of the Whyte family were painted by Crabb in 1838 and are a fine example of Crabb’s aptitude for portraiture. At the head of the family, is Captain Thomas Whyte (1782-1848), who was the husband of Jane (née Jean) Lyall, and father to Eliza Napier Whyte who married Surgeon James Smith RN (1796-1865). Crabb paints them all in an emphatic, romantic, and dramatic manner. In Pigot and Co.’s national commercial directory of “the whole of Scotland” and its “Nobility, Gentry and Clergy”, published in 1837, a year prior to Crabb’s portraits, a “Whyte Capt. Thomas, 115 High St” of Montrose, Forfarshire is listed. Captain Thomas Whyte is also mentioned at residing in 115, High Street in Montrose in 1846. Given, Montrose’s proximity to Crabb’s native Laurencekirk, and of Montrose’s and nearby Dundee’s strong shipping industry, it is quite possible that Thomas Whyte was involved in the increasing industrialisation of these coastlines of Scotland, and therefore involved in the increasing mercantile prosperity.In fully restored condition. Relined, cleaned and re-varnished. The surface is slightly flattened as a result of the restoration process. Some deterioration to the varnish slightly pitting in places. Certain amount of splashes which have a chalky or varied quality at and around his right shoulder within the background to the left of his right shoulder and running across and through his right arm and lower left-hand corner in the main. Slight stretcher shadow. Areas of mostly small-sized stable cracquelure. Odd minor surface scuff. Appears to be encapsulated bristle brush running vertically within the paint just left of his cane below handle approx 1cm in length. Fairly high gloss finish to varnish. Three patches of retouching towards upper left-hand corner, immediately below this within the background and a further notable patch to the left of this running along the left-hand side edge approx 30cm from upper left-hand corner. Further patch of retouching and strengthening lower right-hand corner which is probably the largest of those mentioned approx 7cm dia. Further retouches to the lower left corner in general. Retouches to lower edge right-hand side and corner. Concentrated patch of retouching to the upper right-hand corner and mostly running along right-hand side edge which is irregular but overall 45cm in length and approx 7cm in width. Finer and more sporadic retouches and strengthening to gentleman's hair, eyelids and some of the outline definition/shadows around the cravat. Other sporadic less notable retouches elsewhere within the background, parts of his jacket and elements of gentleman's hand. Some restoration has deteriorated and is visible by eye.

Jan Geerard Smits (1823-1910) DutchSummerWinterSigned, oil on panel, 31cm by 38.5cm (2)Winter - Cleaned and revarnished. Panel apparently stable and sound. Scattered small sized retouches through sky, presumably to replace old flaked paint. Slightly larger more concentrated patch of retouching right hand side edge which is roughly 3cm in diameter and would appear to be as a result of a fairly fine horizontal crack (probably in line with the grain of the wood). No evidence of more significant repair to reverse of panel. Further fine horizontal crack lower on right hand side in line with the tops of the snow covered trees. Summer - Cleaned and revarnished. Panel seemingly in a stable state of preservation. Some very fine essentially horizontal craquelure following the grain of the wood. The grey tones of the clouds in the upper part of the sky would appear to have had some general strengthening. A cluster of patches of retouching above and left of the windmill on the left hand side, the largest being approx. 1.5cm by 2cm (although not entirely consistent). Other more minor and very scattered retouches to sky and retouching to upper left hand corner, edges, and a further slightly more notable patch of retouching presumably to repair a horizontal fairly superficial crack to panel slightly above centre, right hand side edge and is approx 2-3mm in width and 1-1.5cm in length. Both paintings now with fairly light surface dirt and discoloured varnish.

Charles Euphrasie Kuwasseg (1838-1904) French"Bruges"Signed and dated 1873, oil on canvas, 54cm by 98cmProvenance: MacConnal-Mason & Son Limited, LondonIn fully restored condition. Relined cleaned and re-varnished. Slightly flattened in places as a result of the restoration process but retains some reasonable impasto in other areas. Some relatively light discoloured varnish and dirt to the surface and the paint is slightly thinned in some areas. Fairly light but general strengthening throughout the sky. Delicate retouches to old stretcher shadow with further delicate retouching and strengthening through the foliage of the upright trees and the upper tips of the masts belonging to the boats on the right side and addition to the tops of the sails and reinforcement to darker tones outlining buoy and vessels in general. Further fine and sporadic retouches within the figure group and rowing boat of the foreground. More concentrated vertical patch of retouching to the lower vertical stretcher shadow left of figure group by boat approx 1cm wide by 7cm in length as an overall. Further retouches within the underside of bridge left-hand side and finer detailing of some of the masonry to also include delicate parts of left-hand side tower and very sporadic and fine elements within the left-hand side of the composition. Some retouches to edges. Otherwise in a broadly good stable and presentable state of preservation.

Twelve George IV Silver Fruit-Knives, Nine Handles by Paul Storr, London, 1820 and 1821, Three Handles London, 1822, The Blades by Moses Brent, 1810 or Eley and Fearn, 1822 Kings-Husk pattern, with silver handles, the handles filled 22cm long (12)Nine handles are Paul Storr, three are marked for 1820, of these two have blades marked for Moses Brent, 1810 and one blade marked William Eley and William Fearn, London, 1822. Six handles are marked for Paul Storr 1821, of these five have blades marked for Moses Brent, 1810 and one blade marked William Eley and William Fearn, London, 1822. The remaining three are marked for London, 1822, the maker's mark on the handles is worn but is possibly that of William Eley and William Fearn. The handles and William Eley and William Fearn, London, 1822. There is some wear to the marks overall and some surface scratching and wear, consistent with age and use. The wear is noticeable as a loss to the high points. There are some signs of an erasure on some and a patch on the handle of one of the Storr examples. There is a split to the handle of another of the Storr examples. There are some minor bruises overall. The total gross weight is 810gr.

William Ewart Lockhart RSA (Scottish 1846-1900): Portrait of Mary Polson (1832-1911), oil on canvas signed and indistinctly dated 126cm x 101cm Notes: Mary was the wife of John Polson, of Paisley and Castle Levan, who discovered and patented a method for producing corn flour, transforming the fortunes of his father's muslin manufacturing plant in Paisley. William Ewart Lockhart was a family friend of the Polsons, and painted John Polson's portrait in 1893. In 1887, the couple's daughter, Mary Alice Polson, married Archibald Corbett, then the Liberal Unionist MP for Glasgow Tradeston. The pair purchased the Rowallan Estate in Ayrshire in 1901, donating their previous home at Rouken Glen as a public park to the citizens of Glasgow. Upon his retirement from the House of Commons in 1911, Corbett was granted the Barony of Rowallan, becoming 1st Baron Rowallan. Mary was made an Honorary Burgess of Paisley at the Clark Halls and was presented with a parchment and casket by a Mr MacKean on behalf of the Town Council. She also contributed funds for the erection of a nurses' home, Paisley Infirmary, and Thomas Shanks Memorial Park in Johnstone, named after her brother, Colonel Thomas Shanks.Lockhart studied at the Royal Scottish Academy from the age of thirteen in 1860, and by 1861 he was submitting work to its Annual Exhibition. He exhibited annually at the RSA for the remainder of his life, with the exception of 1864 when he went to Australia to improve his health, and 1889/90, when completing a royal commission celebrating the 1887 Jubilee. Lockhart is most renowned for his commissioned portraits, though he also painted scenes of Spanish life following several visits to the country.Condition Report:Overall good condition, indentation with paint loss to the canvas around the subject's elbow, patch of craquelure on the subject's lap. No signs of overpainting visible under UV light.

Group of Royal Crown Derby commemoratives including an HM Queen Elizabeth II 90th birthday loving cup, limited edition of 426, this example 78, a Diamond Jubilee loving cup, limited edition of 1500, this one 43 with certificate together with a further example and a Royal Crown Derby paperweight to commemorate the 50th anniversary of the coronation of Queen Elizabeth II, limited edition of 950, this one numbered 34, two patch boxes, further small Royal Crown Derby vase etc

ATTRACTIVE ARTS & CRAFTS GLASGOW SCHOOL BRASS WALL MIRROR EARLY 20TH CENTURY decorated with sinuous mushrooms in relief and single inset Ruskin-type pottery roundel54.5cm high, 92cm wideDent and crimping to upper left corner, patch of oxidisation lower right, further general wear but no major issues to note, images available; structurally sound and stable, no visible maker's marks, mirror is fine, likely replacement glass but difficult to say with certainty

VAL ROSSI FOR BEITHCRAFT, 'ORGANIC' RANGE TEAK SIDEBOARD 1960-69 with three short drawers, the upper fitted for cutlery, and three cupboard doors enclosing shelves, raised on floating base74cm high, 205cm wide, 46cm deep General scratches, nicks and marks to top, small lighter patch right front side; particular scratches and some scuffing to right side, scratches left side rear lower corner; light general wear to frontage, some small nicks and losses to drawer edges; light scuffs, some dirt and marks; scratches, nicks and wear to end sections of supports; interior generally clean, some deterioration to cloth lining of cutlery drawer; reasonably light general wear to handles; stable; images available

WWII British Medals, including two Defence Medals, Victory Medal, two medal bars, plus WWII Scottish Fifteenth Division patch.

A 9ct gold ladies patch box, weight 9.8g, together with a sovereign case, two lockets, a coin and a circular box

A group of small collectors' items, including an early/mid-20th century Chinese cloisonné cigarette case, width 9cm, an 18th century Staffordshire enamel patch box, detailed 'A Friends Gift' to the lid, width 4cm, a miniature enamelled plaque, detailed with a castle in a gilt metal frame, width 4.7cm, and a miniature Royal Worcester blush ivory miniature jug, height 4cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A collection of approximately seventy-five late 20th century American space mission related patch badges.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Victorian silver bullet shaped teapot, hallmarked London, 1841, 8.66 ozt  (269.6 grams) (AF - patch to body, replacement finial AF) Re: Ivory insulators on handle the CITES / SUBMISSION REFERENCE NO: QYL7UK3T 

An Empire Burr Elm and Ormolu-Mounted Mantel ClockCirca 1810the dial signed Le Roy, Palais Royal.Height 14 1/2 x width 7 1/2 x depth 6 3/4 inches. This lot is located in Chicago.The clock has an overall attractive appearance with a finely figured veneer. The works are unsigned. Some patch repairs to the plinth. The molded cornice with visible marks where it may have been affixed. The back door with pencil inscription No. 115. With indistinct description. Missing central star mount and further mounts to the side. The pin for the central mount still visible. The door is a differenct color and possibly an old replacement. Patch replacements to the back edge of the plinth and an old repair to the rear plinth.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

19TH CENTURY ENGLISH SCHOOL "Elizabeth Christine Frolich Somerville (nee Wiborg) wife or possibly widow of Thomas Townsend Somerville of Kristiana or Oslo" study of a lady in white chemise and long skirt seated in an elbow chair needleworking, three quarter length, oil on canvas, unsigned 65 cm x 54.5 cm housed in an Art Nouveau style floral decorated swept giltwood and gesso frame CONDITION REPORTS Whilst basically sound, there are signs of craquelure to the paint and slight looseness to the canvas. There has clearly been some repair visible from the back patch and appears to have been mounted in an almost amateur way with heavy nails and an over-folding of the canvas around the wooden framework - see images for detail, though this has clearly been done for some time. The frame appears to be moulded gesso and gilded rather than carved and the gilding requires attention in several areas throughout - again see images for detail. Close inspection of the front of the canvas shows the damage visible clearly from the back to be a rip, now repaired, 18 cm long. Under ultra-violet light, there is a little over painting to the top section of the rip just above her shirt. There is also some sign of over painting to the bottom middle and a little above that on her skirt and to the right which are obvious from the front. There is some paint loss to the extremeties/corners of the canvas - see images for further detail (Provenance: from the family directly, thence by descent)

GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot.  Please note: This work is Oil on Canvas Condition Report: Oil on canvas. This work has recently been sensitively re-stretched and very lightly cleaned. This process has revealed a study of The Veil of Veronica on the reverse. Some patches of craquelure scattered across the surface, mostly to the green background pigment. The very extreme upper and lower edges with some evidence of framing tape which has been painted, visible in current frame. This does not detract from the images. Inspection under UV reveals very light scattered retouching to the chest and lower edge. There is one small patch of retouching the left of the nose. Condition Report Disclaimer

λ ALAN SORRELL (BRITISH 1904-1974)TRENCH WARFAREPastel Signed and dated '44 (lower right)45 x 37cm (17½ x 14½ in.)With a further watercolour sketch verso.Provenance:Private Collection, Gloucestershire Condition Report: Unexamined out of glazed frame. A very small patch of mould to the back of the soldier in the foreground. Light rubbing to the extreme edges. In overall good original condition. Condition Report Disclaimer

λ MAXWELL ASHBY ARMFIELD (BRITISH 1882-1972)SEVEN TULIPSOil on gesso prepared board Signed with monogram (lower right)31.5 x 26.5cm (12¼ x 10¼ in.)Provenance:Sale, Phillips, London, 5 March 1996, lot 1 Please Note: the work is oil on gesso prepared board. Condition Report: Please note the work is oil on gesso prepared board. The are abrasions to the framed edges and some associated paint loss, not affecting the image. The work has a heavy varnish which is uneven in place. There is a triangular patch of restoration and retouching to the upper right, visible both to the naked eye and under UV light. There are some further scattered spots of retouching visible under UV. In generally good original condition. Condition Report Disclaimer

λ ELIOT HODGKIN (BRITISH 1905-1987)IN THE TICINO, SWITZERLANDOil on canvas Signed and dated 50 (lower left)76.5 x 51cm (30 x 20 in.)Exhibited:London, Royal Academy, 1950London, Hazlitt, Gooden & Fox, Eliot Hodgkin: Painter & Collector, 14 March - 10 April, 1990Provenance:Sale, Sotheby's, Olympia, 20th Century British & Irish Art, 25 November 2005, lot 69 Condition Report: Canvas has not been relined. Yellowing varnish causing some discolouration most notable to the blue in the sky. A small loss to the lower left quadrant and a small tear just above the signature with associated patch repair to the reverse. Pinholes visible in each of the four corners. Evidence of old mounting tape to the upper right corner. Inspection under UV reveals retouching to the area of damage mentioned above, otherwise no other areas of restoration or repair. Condition Report Disclaimer

11 Festival banners and a patch 

A collection of WW2 German Third Reich-style cloth patches/insignia, to include Edelweiss patch, assorted Luftwaffe (inc. Paratrooper's) chest eagles, SS Death's Head woven patch etc. Condition Report:Available upon request

WINTERS SHELLEY: (1920-2006) American actress, Academy Award winner for Best Supporting Actress in 1965 for her role as Rose-Ann D'Arcey in A Patch of Blue. Signed 9.5 x 7.5 photograph of Winters standing in a kitchen-dining area in a three-quarter length pose in costume from her Oscar winning performance as the crude, vulgar prostitute Rose-Ann, opposite Elizabeth Hartmann, in costume as Rose-Ann's daughter, the young, illiterate and blind Selina, in a scene from the drama film A Patch of Blue. Signed by Winters in black ink, and also signed by Hartmann in bold blue ink, both with their names alone to clear areas of the image. A few very minor, light traces of former mounting to the verso, otherwise VG

‘The shirt that changed everything forever’  [WESTWOOD VIVIENNE]: (1941-2022) English fashion designer closely associated with Malcolm McLaren and the Sex Pistols. Westwood was largely responsible for bringing modern punk and new wave fashions into the mainstream. An extremely rare original Vivienne Westwood and Malcolm McLaren designed 'Anarchy Shirt', the pale pink dyed cotton Wemblex shirt (size Medium) with hand-painted darker pink and pale blue stripes, featuring the stencilled slogans Only Anarchists are Pretty to the front and No Future to the right arm, two further fabric patches stitched to the shirt, both with hand-painted statements and quotations, including Every Punk has the right to be Stupid!, a further silk patch featuring the image of Karl Marx, an original God Save The Queen Sex Pistols badge pinned to the front, and an original Chaos armband loosely attached to the left arm with a safety pin. The shirt dates from around 1976-77 and features a label to the inside stating Malcolm McLaren Vivienne Westwood Seditionaries Personal Collection. A wonderful original piece of punk fashion from the King's Road Seditionaries boutique which ran from December 1976 to September 1980. There are no obvious signs of previous wear. VGProvenance: Acquired by our vendor from a Bonhams Entertainment auction held in Chelsea on 13th September 2001 (lot 374). A detail of the shirt was used on the front cover of the auction catalogue (an annotated copy of which is included with the lot) and their catalogue description stated that 'This shirt is considered to be the definitive Westwood/McLaren item and possibly the rarest'. The 'Anarchy Shirt' has been described as 'the visual equivalent of the music made by McLaren's charges the Sex Pistols; jarring, violently expressive and an act of collage representing an exciting and scrambled manifesto of desires'. Indeed, Glen Matlock and Steve Jones wore original variants of the shirt during the Sex Pistols' first live television performance in August 1976 when they performed Anarchy in the U.K.The writer and biographer of Malcolm McLaren, Paul Gorman, discussed the 'Anarchy Shirt' in an interview with the impresario in May 2013. McLaren declared 'I was working towards the idea of the Anarchy Shirt but in the event only made three or four' and Gorman's article continues 'Amid the surplus stock held at McLaren and Westwood's flat in south London were boxes containing 50 or so deadstock shirts bearing the 60s Wemblex brand brought by McLaren from an east London warehouse…..Westwood experimented with adapting one of these by adding paint stripes and showed it to McLaren, who suggested violent dyes and patches containing inflammatory slogans….', McLaren also telling Gorman 'Vivienne and I turned the shirts inside out, hand-painted each with dyes, stencilled slogans and attached specific hand-made patches…..Using my son's stencil we adorned them with slogans such as 'Only Anarchists Are Pretty'…..so that they took on the look of something disorderly and uncared for. Each shirt took four or five days to complete….As well as layering the stencils to increase the impact, Vivienne and I came up with Mao-style red armbands declaiming 'Chaos' and I attached silk patches of Karl Marx I had discovered in shops in Chinatown…..I chose him because his book started the Socialist and workers' movements in the 19th century. Also Vivienne and I liked his beard…..He represented a great significance and was important to us because he lived in London at one point'.  

WAYNE JOHN: (1907-1979) American actor, Academy Award winner for Best Actor in 1969 for his role as Marshal Reuben J. 'Rooster' Cogburn in True Grit. An excellent vintage signed and inscribed 10 x 8 photograph of Wayne in a head and shoulders pose, wearing a black eye patch, in costume from his Oscar winning performance as U.S. Marshal Rooster Cogburn from the Western film True Grit. Signed by Wayne with his nickname in black ink to a clear area of the background, 'Lucille - Hope we do a dozen more, Duke'. A couple of very light, minor corner creases, VGProvenance: Accompanied by a typed letter signed by Lucille House McCoy, a stunt woman and the original recipient of the photograph, dated 4th April 2000 and stating, in part, 'I have been in the Motion Picture Business since the early nineteen thirties. It has been my good fortune to have worked with many stars during my Professional Career….It is with pleasure that I share some of my experiences with others to enjoy the photo's (sic) I have gotten over these wonderful, exciting and interesting years'.

British School, 19th c - Portrait of a Lady, seated three quarter length in a red dress and ermine stole, oil on canvas, 90 x 70cm A number of old patch repairs to tears with consequent localised overpainting, varnish requries a clean

Underwood, British Journeyman Artist, mid-19th c - Portrait of a Horse, "Corkie", a flock of sheep, a village and its church in the background, signed, indistinctly inscribed and dated 1840 to verso, oil on canvas, 39 x 52cm Repaired patch at fore legs. Craquelure and grime. One or two stained spots. Localized discreet blistering. The gilt frame refreshed.

A South Staffordshire enamel patch box, early 19th c, painted with a mournful midshipman circumscribed A Leg and Arm the Loss Would Little Been If Nelson's Life Had Bee[n] Retained, the base blue, a mirror to the underside of the lid, 49mm l Some damp loss to silvering of mirror and professional restoration

A South Staffordshire enamel patch box, early 19th c, the lid transfer printed in black with trophy inscribed BRITISH GRATITUDE TO NELSON'S VALOUR, the lobed base light blue, mirror to the underside of the lid, 44mm l Some professional restoration

A South Staffordshire enamel patch box, c1800, transfer printed in sepia and painted in polychrome with Nelson & Victory, the base blue, mirror to the underside of the lid, 51mm l Some sporadic loss to the silvering of the mirror

A South Staffordshire enamel patch box, c1800, the lid transfer printed and painted in polychrome with BRITANNIA TRIUMPHANT, the base blue, mirror to the underside of the lid, 46mm l Some professional restoration

A South Staffordshire enamel patch box, early 19th c, the lid transfer printed in sepia with the apotheosis of Nelson, the base light blue, mirror to the underside of the lid, 45mm l Some professional restoration

Crown Devon Delph Patch Work bowl, GFB blue willow pattern jar and bowl with silver plate, Chinese copper backed bowl, Japan tea set (some damage), a pair of hardwood turtles and other items

Four boxes of dolls including Cabbage Patch Kids, Ashton Drake, etc.

A Welsh wool blanket,20th century, of Caernarfon design, with a reversible black and white geometric pattern to a pale-blue ground and fringe,227 x 168cmOriginally purchased by the vendor in Wales during the 1960s. Condition ReportMinor marks to the centre on both sides, and a small patch of wear - please see additional images. No apparent pulls.

A Renaissance-style walnut extending table 'en Croix de Lorraine',incorporating a mixture of 16th and 19th century elements, French, the rectangular top with two draw leaves, above an apron punctuated with turned toupies, raised on seven Tuscan column supports and a stepped base, terminating in bun feet, bearing two painted accession numbers,248cm long at full extension77cm wide80cm highProvenance: The Late John Scott-Oldfield, 65 Warwick Square, London, SW1;purchased by the above from Gallori Turchi, Florence, 1996;Sotheby's New York, 'European Works of Art, Arms and Armour, Furniture and Tapestries', Wednesday 13 May 1995, lot 161;The Metropolitan Museum of Art, New York, loaned 1906 and accessioned 1916 (inv. no. 16.32.44),;John Pierpont Morgan (1837-1913);Georges Hoentschel (1855-1915).Literature: D. Kisluk-Grosheid, D Krohn, Deborah & U Leben ed., 'Salvaging the Past: Georges Hoentschel and French Decorative Arts from The Metropolitan Museum of Art', 2013, p.74, 152, figs.4.9, 5.5;J Boccador, 'Le Mobilier Français du Moyen Age a la Renaissance', 1988, p.227, figs.215-6.Tables of this sort take their title from the shape of the stretcher, which bears similarity to the French Cross of Lorraine, which was initially called the Cross of Anjou, but following the marriage in 1431 of Isabelle of Lorraine to Rene I of Naples, or Rene d’Anjou, developed its new name. Along with a great deal of French Renaissance furniture design, tables ’en Croix de Lorraine’, which are commonly linked with the Loire Valley, undoubtedly take their influence from Italian architecture and the ideas of its artists and craftsmen who travelled to France to work at the court of Francis I, and subsequently his daughter-in-law, Catherine de’ Medici. This is most clearly seen in the supports of many known examples which take the form of Tuscan columns. The present example was in the collection of Georges Hoentschel (1855-1915), the successful Parisian decorator and proprietor of Maison Leys. In 1906, the financier and president of the Metropolitan Museum of Art, New York, J Pierpont Morgan (1837-1913) purchased a large number of objects from Hoentschel as a gift for the museum, including a collection of important 18th-century French decorative arts. Also loaned to the museum at the time, and eventually gifted on the death of J P Morgan by his son Jack, were pieces of medieval and Renaissance art, among which was this table. The Morgan Gift is credited for its pivotal role in establishing the Museum’s Department of Decorative Arts and we are extremely grateful to the Met for their assistance in the research and cataloguing of this lot.For similar examples, see:Christie's, 'The European Connoisseur', 4 June 2014, lot 588;Christie's, 'Au Bord Du Lac: An interior by François-Joseph Graf', 26 January 2022, lot 41.Condition ReportImage credit: Salt Images. Apparent areas of replacement, repair and restoration throughout. Old knocks, scratches, stains, marks and traces of woodworm damage to the top. Repaired splits to the centres of each leaf. A few small patch repairs. Draw action working well. Two blocks beneath longest leaf replaced. Evidence of some further structural repairs and replacement to rails, blocks and apron, with historic woodworm damage, none of which appears to be active. Turned terminals later. Some knocks, wear and small losses to column supports, which also appear later. Some chips to corners of stepped bases. General wear, knocks and small losses to stretcher, with a few small areas of repair. Feet later. All joints solid and sound. Overall presents in usable condition.

A yew wood and walnut cabinet on stand,18th century and later, the moulded frieze above a central compartment and an arrangement of drawers, over a frieze drawer and turned supports united by stretchers,74cm wide45cm deep144cm highProvenance: The Estate of Mrs Althea Lloyd.Condition ReportAppears to have undergone a fairly significant amount of professional attention, with a comprehensive level of re-veneering and probable further alterations. General small knocks, splits, scratches and wear to veneer, with some very minor patch repairs in a few places. Some small knocks and dents to edges and corners throughout. Fading and discolouration to facade and throughout. Central door is warped. A 2.5cm chip to the upper left-hand moulding of the base. Some tiny losses to beading of apron. Evidence of repair and possible staining to supports and feet, with possible replacement. Back left leg with a large old chunk out of the back-side. Some varying degrees of wear to feet. Some knocks, losses and splits to veneer of stretchers, all but one of which appear later. Splits to backboards and carcass. Minor traces of woodworm, which appears inactive. Joints relatively tight and sound. Drawers run smoothy, with splits to some liners. Both keys present.Please see additional photos.

A Persian wool carpet,20th century, the yellow field with repeating geometric foliate detail within a triple border,426 x 353cmCondition ReportWear and lower pile throughout, particularly to the field. One or two areas of patch repair. Some fading and discolouration. Please see additional photos.

A walnut and marquetry commode, mid-18th century, Italian, of serpentine outline, the top inlaid with a star and quadrilobed motifs, above two drawers, and raised on cabriole legs terminating in hoof feet, 126cm wide64cm deep84cm highProvenance: The Late Sir John Craven, The Barn, Long Newnton, Tetbury, Gloucestershire.Condition ReportSplits, scratches, marks and wear to top. Small areas of patch repair and cosmetic repair throughout. General old chips, knocks and losses. A small amount of movement in the front left corner of the top, but the joints are generally solid and sound. Handles later. Drawers run smoothly. Splits to drawer liners. Evidence of minor strengthening beneath. Historic woodworm damage, which does not appear active. Overall appears in fairly good condition and is ready for use.

A Samson porcelain Iznik-style jug,late 19th century, the bulbous body decorated with blue and white floral sprays, to a red ground, painted marks,27.5cm high,together with an Iznik-style pottery jug,19th century, the tapering neck to a bulbous body decorated with floral sprays and foliate motifs,24cm high (2)Condition ReportSamson jug) Imperfections to the glaze due to manufacture. Nibbles to the foot rim.Iznik style jug) Crack to the foot rim. Losses to the glaze, with a more noticeable patch to one of the red foliate motifs. Crazing throughout.

A George I walnut chest of drawers,c.1720, the rectangular top above five graduated drawers,83cm wide37cm deep83cm highProvenance: The Estate of Althea Lloyd.Buying this chest of drawers at auction could save up to 0.32 tonnes of CO2e compared to buying a new chest of drawers.Condition ReportSplits, scratches, knocks and wear to veneer. Some small losses and areas of patch repair. Top a little warped. Metalware later. Some apparent repairs to the left foot, which may be indicative of further repair. Splits to drawer liners, with some repairs and replacements within. 

A walnut table dressing table mirror,18th century, of angular cartouche form, with a laburnum cross-cut moulding and veneered frame, on a fitted rectangular base with bun feet,40cm wide20cm deep72cm highProvenance: The Estate of Mrs Althea Lloyd.Condition ReportThe supports and mirror element probably later, with evidence of repair and alteration. Later glass. Splits, knocks and losses to the veneer. Some areas of patch repair. Some fading and discolouration to the sides. Feet later. General surface wear and scratches. Drawers run smoothly. Joints solid and sound. Please see photos.