We found 24353 price guide item(s) matching your search

Small group of silver and objects of vertu, to include pair of ribbed glass match pots with silver rims, Contiental heart-shaped pill or patch box, pair of bud vases, Palais Royal-style miniature glass display case, scent bottle, etc.

MAGINI COPY FULL SIZE VIOLIN,with Magini and F. N. Vuillaume labels to interior, two-piece back, cased with nickel and ivory mounted bow.Ivory Act 2018 (2022) compliant with APHA registration reference: M6UQNVAG.Bow requires rehairing. Grip unwinding and coming loose. Some tarnish, grime and staining to the slide and ferrule of the frog. Small split in the wood to frog. Some general surface wear in keeping with age and use to varnish on bow. Moderate surface wear to violin body, including some nicks, scratches and spots of loss to varnish. Some discolouration and a patch of abrasion to back. Total length: 60cm Additional images available.

A Georgian enamel patch box of oval form, with inscription to the lid Esteem the gift for those who give, and joy attend you while you live, length 4cmLid has a couple of tiny enamel chips on the edge and light crazing, the base has a couple of tiny chips around the edge

A Victorian silver oval covered box, together with two silver patch boxes, and another

Good collection of military and civilian enamel badges, pins, cap badges etc. Inc. Womens Land Army badges, Australian AIF war service silver lapel, Womens Land Army cloth patch etc

Mid C20th Green Howards swagger stick together with two Green Howards arm cloth patches and a misc. maroon patch 'STI'

Collection of approx. 57 PenDelfin rabbit figures as new in original boxes, figures inc. Vanilla, Patch, Bandito and many others

A small quantity of assorted collectable items comprising RAF Officer's cap, Naval Officer's cap, a sew-on school patch and tie

Clothing. A 1930s wedding or court dress, full length fitted cream lamé gown with train, handmade, patterned with leaves and fully lined with cream sillk, with round neck, long sleeves (padded on shoulders and buttoned at cuffs), and metal eye and stitched hook closure to side, a few pulled threads, staining to underarms, lining of train marked, bust 90 cm (35.5 ins), waist 74 cm (29 ins), sleeves 63 cm (24.75 ins), length 139 cm (109.5 ins), length including train 213 cm (84 ins), together with 6 items of 1920s clothing, comprising: a rare girls' robe de style dress of gold lace over silk, with ribbon straps, metal stud closures at back, flower trim at neck and around waist and stiffened panniers, and a corsage of grapes at waist, somewhat damaged, with losses, bust 66 cm (26 ins), waist 62 cm (24.5 ins), length 61 cm (24 ins); a gold lamé dress with foliate pattern, with lined and boned fitted bodice, padded bust, metal zip closure at back, narrow self straps, and a flared skirt with gathers at rear, occasional light marks, bust 82 cm (32 ins), waist 66 cm (26 ins), length 97 cm (38 ins); a pink and silver lamé unstructured jacket, with 3/4 length sleeves, silk-lined patch pockets at front, and 3 short slits in hem at rear, bust 117 cm (46 ins), sleeves 39.5 cm (15.5 ins), length 61.5 cm (24.25 ins); a gold lace overdress, with pattern of stylised roses, round neck (self button at rear), petal sleeves of net (one with loss of gather stitching), and short train at rear, bust 84 cm (39 ins), waist 60 cm (23.5 ins), sleeves 19.5 cm (7.75 ins), length 107 cm (42 ins); a full-length bias-cut lamé flapper dress, sleeveless, with floral pattern in orange and yellow, and self pendant to neck, small hole to left shoulder, v-neck at rear slightly torn, short tear in hem, bust 90 cm (35.5 ins), waist 80 cm (31.5 ins), length 140 cm (55 ins); and a sleeveless cutwork black overdress with cream stitching, bust 83 cm (33.5 ins), waist 86 cm (34 ins), length 113 cm (89 ins), plus a 1940s full-length chiffon and embroidered net gown (some damage), and a 1950s full-length blue taffeta evening dress with ruched bodiceQTY: (9)

Stoiloff (Konstantine, 1850-1924). Cossack Sledge chased by Wolves, oil on canvas, depicting a wintry scene with cossacks on a speeding sledge, drawn by four horses and being chased by wolves, signed lower right, small area of repair to lower centre with patch to verso, 68.7 x 105.7 cm (27 x 41 5/8 ins), framed (79.5 x 116.5 cm), frame verso with partial early ink manuscript label 'Motiv aus Russland', together with: cossacks Repelling a Wolf Attack, oil on canvas, depicting a wintry scene with Cossacks defending their speeding sledge from attacking wolves, signed lower right, some flaking and lifting with a little loss, a couple of small repairs, 69 x 105.5 cm (27 1/8 x 41 1/2 ins), framed (79.5 x 116.5 cm)QTY: (2)NOTE:Provenance: Private Collection, Wiltshire, UK. Purchased at a house sale in the 1930's by the current owner's grandfather, thence by decent.

A George IV / William IV silver three-piece tea set, London 1829 by Edward, Edward junior, John & William Barnard, but bearing the crowned Dismore retailers marks. With segmented compressed bodies, the teapot with decorative cast silver thistle finial and all supported by lappet feet with stylized honeysuckle decoration. 42.9 ozt gross weight. 30 cm wide the teapot. (Note: Ivory act submission reference: 16LHTWUT).The teapot has had a patch to the body

A framed Pink Floyd display montage, with plaque 'Presented by Pink Floyd to Storm Thorgerson in recognition of your contribution to the success of our 'Momentary Lapse of Reason'', including a Pink Floyd 1989 concert guest patch, Pink Floyd ticket, silver vinyl and tape.

A vintage retro 20th century Bergamot Brass Works belt buckle in the form of a pirate wearing eye patch and bandana. Measures 10cm in length.

A collection of vintage 20th century Lilliput Lane ornaments to include Rydal Cottage, Bunny Burrows, Bargate Cottage Tea Room, Windsor Cottage, Fruits of the Sea, Writing With Lewis Carroll, Pretty as a Picture, Langdale Cottage, Afternoon Tea, The Pig Sty, Amberley Rose, The Toy Box, Here We Go Round, Holy Post, Cabbage Patch Corner, Nutkin Cottage, Hazelnut Hall and Tranquillity Limited Edition 2500. Ornaments boxed and unboxed with some having deeds. 

RARE NINE CARAT GOLD CATERPILLAR CLUB BROOCH AWARDED TO SGT. J. I. BURBRIDGE,modelled as a silk worm with ruby eyes, engraved to the reverse 'SGT. J.I. BURBIDGE', 20mm wide, approx. 1g, along with his RAF 214 Squadron patch, RAF wings patch, two half brevet O patches and Royal Coat of Arms patch.Note: Sargeant Jarvis Isted Burbridge (958282) served in RAF 214 Squadron, and was part of the crew of the Wellington Mark IC X9884 that was shot down 29th September 1941 near Hamburg. He was then captured and held as a Prisoner of War (no. 18331) at Stalag 357 Kopernikus. He later received his Caterpillar Club brooch as per the requirements.

OMEGA - a steel-cased Air Ministry Cockpit Mk V Deck pocket watch, black dial with Arabic numerals and subsidiary seconds dial, serial no. 5008119, case no. 5926375, dial inscribed "BB 4758", case width 52mm, working orderMovement - currently working Dial - a few faint hairline cracks between 9 and 1Glass - cleanHands - goodCase - general wear and discoloured patch on casebackCrown - hands adjust smoothly

THREE CABBAGE PATCH DOLLS / KIDS

THREE PIECES OF ART DECO CARVACRAFT DESK ACCESSORIES IN AMBER BAKELITE, comprising a desk stand fitted with red and black inkwells with sliding covers, width 29cm x depth 17.5cm, a desk tidy / paperclip holder and a notepad holder of rectangular form, all three pieces bearing 'Carvacraft A Dickenson Product' mark, together with an Art Deco style blue Formica and green bakelite rectangular cigarette box and cover, rounded corners, bears label to base 'Belvane Ltd Andover. Eng', length 19cm x width 11.4cm x height 7cm (4) (Condition report: the desk stand has a lighter coloured patch at the back of the red inkwell, the back of the back of the black inkwell is marginally lighter but isn't so obvious, there is one small chip visible beneath both the sliding covers, a number of tiny white paint splatters throughout and scuffs / scratches along the front edge, the notepad holder has chips to both front corners and damage around the hinges, the spring is broken, small chip along the back edge of the clip, the desk tidy has white paint splatters and three chips along the back edge, all three pieces are dusty along the stepped edges, the cigarette box blue has faded to the exterior, some of the screw heads have been covered with a blue coloured plastic substance but is in fairly good condition)

A 19TH CENTURY TREACLE GLAZED STONEWARE BUST OF AN EARLY 19TH CENTURY GENTLEMAN WEARING GARTER STAR, SASH AND EPAULETTES , possibly Nelson, on a plinth style base, height 20cm, together with two Victorian treacle glazed flasks of a man in a top hat seated on a barrel, both unmarked, heights 21.5cm x 24cm (3) (Condition report: the bust a broken and chipped front corner, a portion of which has been glued back in, a number of chips around the foot rim, the back of the bust has a glaze chip below the moulded hair ribbon, glaze fault at the base of the sash, the larger flask has a patch of Sellotape residue on the back but is in good condition, the smaller one has a chip to the front of the hat, a hand written label and residue of a label is on the back, patches of glaze loss to the underside)

D'ANVILLE (JEAN BAPTISTE BOURGIGNON) A COMPLETE BODY OF ANCIENT GEOGRAPHY.....NEATLY ENGRAVED ON THITEEN PLATES, half calf folio, twelve double page and one single page, all with hand coloured outlines, printed and published by Robert Laurie & James Whittle of No.53 Fleet Street, 1810 (Condition report: wear to outer corners and spine but all intact, title page has a singe or burn mark to the top, some paper patch repairs noted, some staining and general dirt marks commensurate with age)

HENRY STANTON LYNTON (BRITISH ACT. 1886-1912), Arabian desert landscape, and companion study, watercolour, signed and dated 1900 lower left and right, framed and glazed, bear old Sotheby's Chester lot labels verso, image size 26.8cm x 68.5cm and H A Lintor, figures with camels at the water's edge and companion study, gouache, signed lower right to one only, mounted, framed and glazed, image size 16.5cm x 45.5cm (4) (Condition report: the Lynton watercolours are overall brown in hue, one has a patch of damage to the centre, the Lintor gouaches are still bright in colour, the unsigned one has some staining)

After Joris van Son,Still life of fruit and flowers oil on canvas65 x 54cmProvenance: Bracken Knoll, Highgate, London, N6.Condition ReportThe painting is executed in oil on canvas support which has not been lined. The canvas tension is slack and there are undulations across the surface. At the lower edge of the picture is an old tear which has been repaired from the reverse with a canvas patch. The damage to the front of the picture has been filled and retouched. The paint layer has a network of age cracks, visible in the darker paint passages. Overall the paint layer is stable. The varnish is degraded and yellowed, becoming opaque with age. There is a layer of surface dirt present.

Persian runner, with four concentric medallions on biscuit ground in main flowerhead border, 269 x 90cmPatch repair towards one end - see images. Slight deterioration at periphery, some minor losses to pile, otherwise generally ok

Five assorted bears/dolls including Cabbage Patch, Georgio, Beverly Hills 1996, Boyds, Keel Toys, Good Luck,m Ireland bear. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A silver cigarette case, Barrett & Thompson, Birmingham 1917, plain polished finish, engraved initials to front, presentation inscription to back, 8.5cm x 7.5cm; a Masonic silver ashtray, engraved with Masonic emblems and 5102; another silver ashtray; four silver vestas; one silver-plated vesta; a silver patch box; and a small silver scent bottle; total weighable approx. 10.5oz.Qty: 10Condition report:There are a few small dings to the lid and base edges of the scent bottle, there is no inner stopper. The vester cases range in condition, a few have a few small dings to the corners, all hinges are good. One of the vester cases is silver-plate, the catalgue has now been undated. Please see the added photos online.

Mid 20th Century Speedway interest, three small albums containing a collection of photographs and newspaper cuttings of various riders, some signed together with a small quantity of related ephemera including badges, scarf, sew on patch etc.

An antique oil on canvas, portrait of a 17th Century Dutch lady, gilt framed26.5ins x 23ins Small patch repairs to back (in her hairline)Also slight overpaint on forehead from damage and small hole. Has not been relined and would need cleaning

A Continental patch box, marked Dreyfous, with striped decoration and central oval micromosaic of roses to lid, 4.5cm diameter CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Various silver and white metal pill and patch boxes etc.

A box of miscellaneous porcelain and enamel patch and pill boxes etc.

Pedigree - A vintage 1950 Pedigree golden mohair bear, with jointed arms and legs, black vertically stitched nose and mouth, brown and black plastic eyes, brown velveteen pads with Pedigree label to top of neck on rear of torso. The bear also has bells within the ears. The bear appears to be in Very Good condition overall with a small patch of balding to the rear of the torso and some along the seem of one arm. (This does not constitute a guarantee)

Steiff - Three Steiff plush toys. Lot includes a brown horse with red bridal and bell 25cms (H); a lying lamb with yellow ribbon and bell 25cms (L); plus a white teddy with brown patch to chest with red ribbon around neck 29cms (H). Toys all have the Steiff button to the ears but have the majority of their yellow ear labels missing or are frayed. Toys appear to be in Good condition overall with signs of play / TLC. (Measurements are approximate) (This does not constitute a guarantee)

An early 19thC Bilston type enamel Patch Box, decorated in typical style with the verse 'THINK NOTHING STRANGE CHANCE HAPPENS UNTO ALL, MY LOT'S TO DAY TOMORROW THINE MAY FALL', with mirror within, chips to enamel, together with another of dark blue ground reading 'THO ABSENT NOT FORGOTTEN' with interior mirror, cracked, and chips to enamel, and a Halcyon Days replica Bilston enamel Box (3)

John Atkinson (1863-1924)Horse Fair, possibly ApplebySigned, pencil and watercolour heightened with white, 46.5cm by 61.5cmEvident time staining across sheet which is tempering some of the colour in general. With some general fading from original intensity. One particularly prominent brown foxing spot within sky above horizon towards upper right hand corner. Further evident patch of staining to upper left hand corner. Further sproadic less notable and small sized foxing spots within sky and odd very minor scuffs. Some subtle cockling in evidence. Not examined out of the frame.

Robert L Alexander RSA, RSW (1840-1923) ScottishBay mare and foal standing in a stableSigned and dated 1907, oil on canvas, 69.5cm by 82.5cmIn a broadly good and original state of preservation. One small patch repair to reverse of canvas with associated retouching (see image). Glazed. There is an amount of dirt and organic matter trapped beneath the glass, mostly collecting along edge of lower slip. Slight buckle to lower left hand corner. Small vertical loss in lower left hand corner approx. 0.5-1cm in length. The odd very tiny loss to surface above the neck of the standing mare. The canvas is showing through in places by execution. Not examined with a UV light.

Attributed to John Frederick Herring Snr. (1795-1865)"The Flying Dutchman"Indistinctly signed and dated 1849, oil on canvas laid onto panel, 65cm by 83cm Provenance: Tennants, Summer Fine Art Sale, The Property of the Lady Clarissa Colin, 25th July 2014, Lot 568The Flying Dutchman (Bred 1846) winner of the Derby at Epsom and the St Leger at Doncaster 1849. Rider - G Marlow, trained by J. Fobert. In 1850 won the Emperor of Russia's Cap at AscotRepaired horizontal split just below centre secured with three wooden staples (see images). Covered in a thick layer of dirt and discoloured varnish. Vertical dark abrasion/scuff approx 0.5-1cm away from left-hand side edge mostly contained to lower 50%. Areas of fine stable cracquelure. Vertical narrow patch of slightly abraded paint approx 1.5cm in length (images can be supplied). Due to having been laid onto a panel the surface does have a tendency towards exaggerated flatness. Small loss to upper left-hand corner including panel, some general retouching to edges slightly more consistently to lower left-hand corner, possible strengthening to the outline, nose, mouth, horses head and neck. Sporadic and fine retouching through old cracquelure within horses left shoulder, some likely over painting within the upper clouds approx 15cm from upper right-hand corner and no more than 8cm by 5cm overall approx.

P* Herbert (19th century)Two pointers in a mountainous landscapeSigned and dated (18)76, oil on canvas, 49.5cm by 70cmIn restored condition, relined, cleaned and revarnished. The paint is thin in places and the surface is somewhat flattened as a result of the restoration process. Horizontal line of retouching lower edge left hand side approx. 5cm in length. Demi-lune shaped patch of retouching above the front pointer's outstretched neck and is approx. 1cm along flat edge. Small patch of retouching/strengthening below back pointer's muzzle along top edge of vegetation and approx. 1cm in length. Small patch of retouching to possible old repair approx. 4cm above the nose of the front pointer within mountains and approx. 1cm in length. Very small and sporadic retouches elsewhere. Relatively light dirt and discoloured varnish. Areas of fine stable craquelure. Some minor rubbing to outer edges. Slither of losses right hand side edge below centre. Small amount of losses of gilt to top edge of frame.

Henry Stacy Marks RA (1829-1898)"Pelican" Signed and dated 1884, with inscribed label verso and dated 1889, fragments of a likely original artist's label verso, oil on canvas, 85cm by 59.5cm With Christie's stencil 499CK to reverseHenry Stacy Marks is perhaps best remembered today for his extraordinary depictions of birds. Born and trained in London, the artist’s early career focused on historical scenes frequently sourced from Shakespeare. However, in 1888 the Fine Art Society planned an exhibition on birds, and Marks took the opportunity to study the subject in depth, becoming a frequent visitor to London Zoo. Drawing birds with accuracy, and focusing on exotic and colourful species, Henry Stacy Marks mastered the art of ornithological painting and this impressive depiction of a pelican on a shore shows the artist at the height of his artistic powers.Glazed. Covered in a layer of dirt and discoloured varnish. Small patch of fine stable cracquelure within the sea right-hand side approx 4cm from the bird's neck and also within the pink cheek plumage. Odd bristle encapsulated within the paint, sky and rock lower right foreground. Small amount of old paper/debris along lower edge. Very slight buckle to upper right-hand corner. Otherwise in an overall very good stable state of preservation. For more information please contact the department.

Benjamin Williams Leader RA (1831-1923)"On a Surrey Common"Signed and dated 1901, inscribed verso, oil on board, 20.5cm by 28cm Provenance: T. Richardson & Co. Gallery, LondonGlazed. Possible patch of strengthening or retouching within the darker area of the vegetation immediately below the figure left-hand side. Some major abrasion on right-hand side edge, paint thinner in some areas likely by execution. Otherwise in a seemingly stable state of preservation.

Henry Bright (1810-1873)Cattle watering beside Abbey ruins Signed, oil on canvas, 43cm by 69cm, with arched top cornersIn fully restored condition, relined, cleaned and revarnished. General surface dirt and discoloured varnish now in evidence. Fairly stiffly relined, surface is slightly flattened and the paint is thin in places as a result of the restoration process. Areas of fine stable cracquelure. The pinky tones within the wispy clouds along the upper edge are later. Patch of general retouching within sky immediately above mountains upper right-hand corner, the largest being approx 3cm by 6cm overall although it is not uniform. Further sporadic and delicate infilling within sky to restore old cracquelure, likley strengthening to some of the darker tones and shadows present within the foliage within the trees left-hand side and to a lesser extent within the more shadowy foliage immediately right of this and moving towards the centre of the composition including architectural features in this area. The building a spire centrally placed on the horizon line in addition to the foliage on the right-hand side of the painting also shows evidence of likley intervention. The rocks towards the lower right-hand corner have minor dashes of strengthening to elements of the definition. In addition to other more minor parts of the foreground. Varying sized areas of cracquelure most evident within the sky.

Wilhelm Melbye (1824-1884) Danish"The Ligurian Coast"Signed, oil on canvas, 43.5cm by 67cm Indistinctly inscribed to old stretcher versoIn fully restored condition. Relined, cleaned and revarnished. Retains good impasto and surface. Small amount of fine infilling to the lower right hand side of the most prominent rocks approx. centre. Small circular patch of retouching within the rocks towards lower left hand corner approx. 10cm from edge. The signature and date may have undergone some strengthening. Small patch of retouching to upper right hand corner. Small patch of retouching to sky approx. 6cm from upper edge and just right of centre no more than 1.5cm in length. Small amount of retouching to upper left hand corner. Odd retouch to edges in general and very minor retouches elsewhere. Otherwise in a broadly good and stable state of preservation.

Circle of Sir William Beechey RA (1753-1839)Portrait of a young lady, half length, standing in a wooded landscape, wearing a white empire style dress with red wrap and her hair in a chignonOil on canvas, 75.5cm by 62.5cmRelined, cleaned and revarnished. Now covered in a layer of dirt and discoloured varnish. Evidence of over painting consistently within the upper left hand 20% of the background and less consistently within the background immediately beside her hair upper right and to a lesser extent above her left shoulder. Further patch of retouching / strengthening above the horizon left-hand side which is approx 7cm by 3cm overall with less consistent strengthening to the outline and definition of the tree against the lower left-hand side edge. Further restoration and retouching, some old widely spaced cracquelure across the sitters face and reenforcement to the colour of her cheeks. Further retouch/strengthening to some of the folds of her red shawl particularly at her right arm inner elbow point. Minor abrasions and rubbing to edges especially top edge which is slightly adrift of the frame. Retains reasonable surface with some impasto remaining particularly through the white of her dree. Pronounced essentially widely spaced cracquelure mostly throughout, with more deep crazing within the dark background immediately above her head possibly a result of bitumen to the artist's pigment.

Alexandre Mosses (1793-1837)Portrait of an elegant gentleman wearing a yellow waistcoat and a black neck tie Portrait of a lady, likely his wife, seated in a red upholstered chair and wearing a black silk dress One signed and dated 1826, oil on canvas, 75cm by 63cm (2)Provenance: Brancepeth Castle, County Durham; Franco Cosulich GalleryExample with the gentleman, relined, cleaned, and revarnished. Now with general surface dirt and discoloured varnish in evidence. Canvas slightly slipped in frame revealing top edge. Slight rubbing marks to the edges, widely spaced stable cracquelure throughout canvas although more notable towards the top half. Paint surface has lost some texture and definition owing to the restoration process. Small wax repair visible to verso, see images. Fairly consistent strengthening throughout the background. Approx four patches of retouching of varying sizes across the forehead. Retouching and strengthening around his left eye and along the outline of his nose on his left-hand side in addition to a further area of vertical restoration which runs from the lower quarter of his nose (his left-hand side down to and incorporating his top lip and no more than 0.4cm wide and approx 2cm in length). Further small damage with retouching at the left of the cravat no more than 2cm by 2cm, a further small horizontal area of retouching at the intersection of shirt and cravat, likely repair to damage running horizontally through the waistcoat just above top button to the lower edge of the canvas, approx 10cm in length by 0.5cm width. Further minor sporadic retouches in the jacket. Example with the lady, various patch repair to reverse, see images to include lower left-hand corner (2) lower edge centre, right-hand side centre and centre. Relined, cleaned and revarnished. Now covered in a layer of dirt and discoloured varnish, areas of relatively isolated cracquelure, general minor rubbing to edges, approximately four small nicks to surface towards upper right hand corner. Retouching to edges in general, more pronounced in parts but not overly significant. Retouching/restoration, right-hand side of lips and extending down across chin approx 2cm by 1cm overall. Some relatively sporadic retouching and strengthening to the darker definition of her curls. Retouching along the right-hand side of her neck and outline. Retouching and overpainting at top side of her left sleeve, through her arm and more consistently to emphasise the shadow at her inside upper arm, a further patch of circulr retouching at wrist level within the dark area of the arm of the chair and approximately 1-1.5cm diameter. Retouching and strengthening broadly across the outside and inside of her right arm, approx 1-2cm at the widest point and also at her right elbow within background approx 4cm in length. Further common worthy patch of retouching within background left of her head towards right-hand corner etc. The paint is a little thin in places and flattened as part of the restoration process.

Circle of Mary Beale (1633-1699)Portrait of Katherine Lowther, Duchess of Bolton (by repute), head and shoulders, wearing a white dress and blue sash, in a feigned ovalOil on canvas, 74.5cm by 56cm Glazed. Reline likely relatively old clean and revarnish. Covered in a layer of dirt and discoloured varnish, due to the glazing it is less easy to fully discern the surface however clearly evidence of impasto remaining although parts of the drapery show filling of paint in areas. Visible stretcher shadow, slightly more prominent along top edge. Areas of fine stable cracquelure mostly within areas of more thickly applied paint. Some general strengthening throughout background. The hair shows more solid and consistent good sized circular patches of retouching and restoration. Delicate infilling to old cracquelure through face of a fairly low level. Odd small patch of more concentrated retouching to nose and left hand side point of lip which joins the cheek and small cluster left hand side of chin. Likely area of retouching and overpainting across the left shoulder and the flesh which sits against the white chamois. The shadows and definition of the drapery throughout the teal coloured silk dress show signs of general strengthening. Otherwise in a stable state of preservation.

Follower of Alonso Sanchez Coello (1531-1588) Spanish Portrait of Eleanor of Austria (by repute), standing, full length, wearing an elaborate embroidered court dress, a white ruff, plumed hat and holding a handkerchief Oil on canvas, 75.5cm by 57.5cm Provenance: Christie's, London, T.G Arthur Sale, 1914, Lot 145, 32 guineasBears Christie's stencil 1016CFOld reline. Cleaned and revarnished. Slight evidence of reline along top edge and three circular marks possibly denoting old nailheads? towards upper right hand corner with one closest to upper right hand corner missing paint to surface (see images). Essentially fine stable craquelure throughout surface. Some surface dirt and discoloured varnish now in evidence. There has been some general flattening to brush work and the paint is slightly thin in places, most notably her right hand. Evidence of old circular damage to her skirt approx. centre roughly 6cm in diameter. Further smaller damage approx. 3cm to the right of this which is L shaped and no more than 0.5cm on either length with small losses revealing weave of canvas (see images). Likely upright rectangular repair/restoration approx. 12cm by 6cm overall situated across the lower right of her skirt and into nearest background. Further small area of retouching or possible old damage approx.3cm to the left of her outstretched left hand index finger and within her costume which is no longer than 3cm overall in length and 0.5cm in width. Some old retouching/strengthening around her right hand grasping the furniture and immediate background in this area. Further odd and fairly small areas of retouching to background including rectangular patch top edge left approx. 2cm by 3cm, background around the ploom of her hat no more than 1cm in width, some general definition to her outline and the odd patch elsewhere etc... Otherwise in a broadly good and stable state of preservation. With the odd minor imperfection to the surface.

Manner of Campin (c.1375-1444) Flemish Lamentation of ChristOil on panel, 30.5cm by 20cm Fully cradled panel. Covered in a thick layer of dirt of discoloured varnish. Covered in essentially fine stable cracquelure throughout the surface except at Christ's right pectoral and under arm which is more pronounced and has a more precarious appearance. Further vertical minor arranged area of cracking below Christ's right knee and a further slightly more evident crack to surface across middle of Christ's right foot etc. Slightly loose in frame with no particular signs of rubbings or abrasions by eye. Evidence of strengthening and retouching to the inner and outer outlines and definition of all three halos. Fine and sporadic retouches to old flaked paint or cracquelure within the mostly lower parts of the green robe worn by the left-hand side figure with one slightly larger patch just right of the foot and is no larger than 0.5-1cm overall. This is visible by eye. The retouching to the outer parts of the white fabric worn on the heads of the two right-hand side figures also shows signs of intervention likely of a different date. The small figure/s present between the two halos of the two right-hand side figures is possibly a later invention. Minor retouching to the lower and central parts of the crucifix with some possible retouching and overpainting to the upper vertical and horizontal. No evidence of retouching of a result of historical cracks to panel which appears stable at present. A degree of very minor rubbing to extremities

A Chinese Porcelain Lozenge Shaped Vase, Qing Dynasty, 18th century, moulded with symbols on an underglaze whorl ground within stiff-leaf borders22cm high, on hardwood standFritting and glaze pitting, the foot with a heavily abraded patch, some glaze scratches, free from restoration, the wooden in good order

A Chinese Embroidered Silk Panel, Qing Dynasty, worked in colours and metal threads with peacocks amongst flowering branches122cm by 51cmMounted on a stretcher, but not framed, some fading and discolouration throughout, the silk backing perished in numerous spots with tear and patches lacking throughout, another patch detached but retained, next to the largest bird

A George II Oak and Mahogany Crossbanded Free-Standing Corner Cupboard, 2nd quarter 18th century, of broad proportions, the moulded cornice above four bowfront cupboard doors enclosing a green-painted interior, on a plinth base107cm by 72cm by 202cmVariations in colour. Water and other marks throughout (which could be improved). Small repairs around the hinges and the interior, the interior seems original and is green painted. The right cupboard door is slightly misshapen (see photographs). Sections of moulding replaced around the top. Small sections of crossbanding are missing or have been patch repaired.

A Mahogany Waterfall Bookcase Cabinet, the associated top section with three-quarter gallery and spindle supports, with two shelves below between reeded supports and an oak-lined drawer, two moulded cupboard doors below, on turned feet72cm by 36cm by 155cmCosmetically good. Reasonable colour. Cupboard doors sit slightly proud (see photograph). Some chips and bruising to the largest shelf, there is also a patch repair on the middle shelf (see images). With key.

A Chelsea Porcelain Silver Shape Dish, circa 1755, painted with scattered flower sprays and sprigs within a brown line border, anchor mark in red22cm wideTypical very minor wear to enamels, no chips or cracks, one small patch of restoration to the top right of the rim 

A pair of Chelsea Patch Mark porcelain soup bowls decorated with panels of flowers.

A novelty patch box in the form of a violin, 56mm

A Korean Slip-Inlaid Celadon Bowl, probably Goryeo Dynasty (918-1392), the exterior with four foliate roundels within line borders, the interior with four flowersprays within line and meander borders, 18cm diameterTwo large sections broken out of the rim, but retained, heavily crazed and with a small patch of staining to the well

A Chinese Porcelain Tea Bowl and Two Saucers, Qianlong, of fluted form, painted in "Indian"-style with panels of foliage on an orange and gilt ground; A Similar Saucer, finely painted with a bird perched on bamboo; Four Various Saucers; Three Tea Bowls; A Beaker; and A Cover (qty)Fluted tea bowl and two saucers, the tea bowl with a flat rim chip and loss to the foot rim, one saucer with two rim chips, one with associated crack, the other saucer with a patch of professional restoration, both fritted, bamboo saucer, good condition, no damage or repair, Famille Verte saucer, with some glaze scratching only, flower sprig saucer, section reglued to the rim with associated hair crack, cockerel saucer, broken into four and stapled some small rim chips, Dutch basket saucer, with a large flat section of loss to the rim, Imari tea bowl in good condition, Butterfly tea bowl with a section of loss to the rims and associated crack, two further small rim chips, beaker with a small section reglued to the rim, two short hair cracks and rim chipping.

A Japanese Iron Tetesubin (Tea Kettle), 19th century, of conical form with loop knop and handles, with a dimpled band depicting a frog beside a tree, signed, 30cm high; and A Japanese Bronze Koro, 19th century, cast as Mount Fuji with a hare and terapin on the slopes, 24cm long, on a hardwood back (2)The tea kettle is pitted, with slight losses to the spout, repair patch to the bottom, Koro missing four wooden feet on the stand, metal in good order

WHITE METAL UNMARKED CUT GLASS CORNUCOPIA SCENT BOTTLE,along with a chain stamped Sterling and a patch box stamped 835 (2)

A late 18th / early 19th century Italian red marble and silver lined rectangular box inset with three small Roman oval micromosaic panelsRoman, circa 1795, the hinged silver lined case with makers mark C62P for Camillo Picconi (1792-1826)the lid inset with three plaques depicting The Forum, Pliny's Doves and a colonnaded façade, possibly the Forum of Augustus, the box, 2.8cm high, 11cm wide, 3.5cm deep, the central micromosaic panel 2cm high, 2.8cm wide, the flanking micromosaics 2cm high, 2.4cm wide Footnotes:The elongated shape of the present lot may suggest that its intended use was as a patch box which would imply that its date could be slightly earlier. Popular in the late 18th century, elegant patch boxes were a fashionable accessory for carrying decorative faces patches used to emphasise the whiteness of one's skin and also conceal blemishes. Cosmetic face patches fell out of favour when the fashion for more natural looking skin became the vogue at the turn of the 19th century.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Adams (Richard) Watership Down, first edition, signed by the author "Yours sincerely Richard Adams" on title, a few spots to title, original cloth, spine ends and corners a little rubbed and bumped, patch of fading to lower cover, dust-jacket, light toning to spine, spine ends and corners a little chipped, light creasing to head and foot, short tear to head of upper joint, light surface soiling, shadowing from old tape repair to head of spine verso but without show-through, an excellent example overall, 8vo, 1972.⁂ Adams' children's classic, an increasingly difficult title to find signed and in good condition.

Dulac (Edmund).- Andersen (Hans Christian) Stories from Hans Andersen, one of 750 copies signed by the artist, 28 tipped-in colour plates by Edmund Dulac, bookplate of Amy Shaw, minor offsetting, endpapers slightly browned, original gilt-stamped pictorial vellum, very lightly toned, small patch of staining to foot of spine, with original ties, t.e.g., others uncut, 4to, 1911.