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A patch work throw, 170cm x 126cm and a patch work quilt, 190cm x 106cm

A RARE GERMAN OR AUSTRIAN WHEEL-LOCK RIFLE octagonal barrel, stag horn or bone profusely inlaid and engraved with mythological figures, grotesques , the butt with  sliding patch box cover and old internal label ?J.E Lamble No 32? 61 cm barrel

An RAF cap badge - sold with a World War II New Zealand Air Force uniform patch

A late 19th century English school portrait of Lawrence Heyworth 1786-1872, oil on canvas. The gilt frame stamped T.L. Clemments Patent to the reverse. 126 cm x 97 cm. Lawrence Heyworth was born in 1786 at Greensnook Estate in Bacup, Rossendale, Lancashire in northwest England, to Elizabeth Ormerod (ca 1751 – >1805) and Peter Heyworth (1743 – 1799). He was christened on 28 March 1786 at Newchurch, Rossendale. His family was prominent cotton manufacturers at Backup and active churchgoers. His father died when he was 13 years old. He had four brothers named John, Ormerod, James and George and two sisters, both named Susanna, although the firstborn of the two died at the age of two years. Lawrence started his basic schooling in Bacup but later went to Hipperholme Grammar School near Halifax in West Yorkshire where he became the pupil of Dr John Fawcett of Ewood Hall. He then completed his education under Rev. T. Hudson at the Grammar School of Hipperholrae, also near Halifax. In 1802 at the age of sixteen, Lawrence left school and joined his brothers at his late father’s woollen and cotton manufacturing business in Bacup. He was probably best known and admired for his campaigning against the bread tax easing the plight of the hungry poor. Footnote: Condition report: Re LinedA small patch of paint loss on the gentleman's lower torso

A Royal Dux Art Deco pottery figure of a female dancer with patterned high collared cape and skull cap hat. Standing on a stepped base. Indistinctly signed to the reverse. with a pink triangle patch mark to the underside. 36 cm highCondition report: No apparent major defects

19th century English School after an 18th century original - portrait of Holled Smithby of Egmonton, Lincolnshire, father of Anne Horlock (according to a label on the stretcher). Half length, bewigged and wearing a blue coat. 26 x 21 ins (66 x 53.5 cms), Ebonised frame.(CONDITION REPORT: Craquelure, bitumen blistering & retouching throughout, a single patch)

AN 18CT WHITE GOLD DIAMOND SOLITAIRE RING the main diamond is estimated approximately to be just over two carats, with dimensions of 7.98mm x 8.00mm x 5.02mm, in classic four claw setting. The tapered shoulders further set with diamond accents, finger size N1/2, weight 3.2gms Condition Report: I cannot give you a full diamond appraisal, i.e the 4 C's as I am not qualified to do so. I can tell you what I can see with knowledge of inclusions and quality of gem stones up to Gemmology Association Certificate level. Mount light general wear, claws all good, I would say barely worn. diamond has a slightly hazy patch with a few miniscule carbon spots, to one side of the table, which can't be seen by eye, the girdle has two cleavage flakes that have been polished over and there is a flea bite chip to an upper girdle facet, otherwise a well cut bright diamond, colour approx G-H. .

AN 18CT WHITE GOLD SIX STONE DIAMOND RING set with two 0.20cts and four 0.30cts brilliant cut diamonds taking the estimated approximate total to 1.60cts. Finger size P1/2, weight 5.7gms Condition Report: All the diamonds have clear feather type inclusions, one of the side diamonds has a patch of carbon dots none of the inclusions are eye visible. Overall a white bright and sparkly ring, a couple of the claws need attention but there are other claws to hold the diamond so, they wont fall out.

A pair of Derby figures and a dish, late 18th centuryFrom a set of the 'French Seasons', modelled by Pierre Stephan, Autumn modelled as a girl with a basket of grapes, Winter as a boy in a fur-trimmed coat carrying a bundle of firewood, the round bases picked out in gold, 26cm high, patch marks, the dish of lozenge shape painted with a spray of fruit, 25.2cm wide (3)Footnotes:ProvenanceRalph Kenber CollectionFor further information on this lot please visit Bonhams.com

Mixed Imperial German Insignia. Comprising a set of red cuffs for the blue tunic piped Corps colour for an officers tunic; a Veterinary officers collar patch; a matched pair of Artillery officers collar patches; one Generals collar patch for the field grey uniform, light moth; and one Generals collar patch for the full dress uniform, reasonable condition (7) £140-£180

Beineingelegte Radschlossbüchse, deutsch, um 1700 Achtkantiger, in rund übergehender und sechsfach gezogener Lauf im Kaliber 14 mm. Kimme fachmännisch entfernt. Glattes eisernes Radschloss mit (defektem, abgebrochenem) Nadelstecher und nicht mehr identifizierbarer Meistermarke. Reich beschnitzter Nussholzvollschaft mit dunkler Hornnase, Schuber. Mit Szenen der berittenen Jagd gravierten, geschwärzten Beineinlagen (die Einlage einer Daumenauflage und jene auf der Kolbenunterseite ergänzt). Kleiner Riss am Vorderschaft, dieser mit kleinen Restaurierungen. Abzugsbügel und Pfeifen aus Messing (das Holz um den Abzugsbügel teilweise mit kittähnlicher Masse ausgebessert). Lauf leicht narbig. Ergänzter Ladestock, Dopper fehlt. Länge circa 114 cm.Sehr ansprechende Radschlossbüchse, welche wahrscheinlich unter Verwendung eines vorhandenen Laufes gefertigt wurde. Durch behutsame Reinigung noch stark zu verbessern. Aufgrund des defekten Stechers wurde die Funktion des Schlosses nicht überprüft und dieses nicht ausgebaut.Zustand: II - IIIA German wheellock rifle with bone veneer, circa 1700 Octaganol to round barrel, rifled with six grooves. calibre 14 mm. Front sight professionally removed. Smooth iron wheellock with dual trigger (front is set trigger - defective, broken). Unknown maker's mark. Nicely carved walnut full length stock with dark horn cap and sliding patch box lid. Engraved and blackened bone inlays with hunting scenes (a thumb rest and an insert on the lower side of the butt replacements). Small crack on the fore-end (with some minor repairs). Trigger guard and ramrod pipes of brass, with some repairs to the stock at the trigger guard with wood putty. Barrel with some pitting. The ramrod (no tip) a modern replacement. Length circa 114 cm.A very nice wheellock rifle, that can be significantly improved by cleaning and some restoration. Lock function not tested, lock not disassembled.Condition: II - III

Radschloss-Müllerbüchse, Georg von der Fecht, Berlin, um 1700 Schwerer, mittig leicht eingezogener achtkantiger Lauf mit sechzehnfach gezogener Seele im Kaliber 16 mm. Die Oberfläche leicht narbig. Eingeschobene Visierung aus Messing und Eisen. Schloss mit innenliegendem Rad und leicht gewölbter Radabdeckung. Gefederte Pfannenabdeckung mit Auslöseknopf. Auf der Innenseite der Schlossplatte geschlagen Signatur "G.v.d. Fecht". Abzug mit justierbarem Stecher, Stecher rastet nicht ein. Leicht verschnittener Schaft aus Nussbaumholz mit Nase und Kolbenkappe aus hellem Horn. Am Ansatz des Vorderschafts vereinzelte Wurmlöcher. Kolbenfach mit federverriegeltem Schubdeckel. Eingeschobener hölzerner Ladestock (angebrochen) mit Horndopper. Länge 126 cm.Georg von der Fecht (1675-1740), Büchsenmacher in Berlin. Ab 1710 als "kronprinzlicher Hofbüchsenmacher" geführt, ab 1713 Hofbüchsenmacher von König Friedrich Wilhelm I. Zustand: II -A wheellock rifle, the "Müllerbüchse", by Georg von der Fecht of Berlin, circa 1700 The heavy, octagonal barrel slightly constricted in the middle with sixteen-groove rifled bore in 16 mm calibre. The surface lightly pitted. Dovetailed sights in brass and iron. The lock with internal wheel and slightly domed wheel cover. Spring-lock pan cover with a release button. The signature "G.v.d. Fecht" stamped on the inside of the lock plate. Adjustable set trigger, the release does not engage. The stock lightly carved in walnut, the nose and butt cap in light horn. Scattered, minor worm damage at the root of the forearm. The patch box with a spring catch and sliding lid. Inset wooden ramrod (cracked) with horn tip. Length 126 cm.Georg von der Fecht (1675-1740) was a gunsmith in Berlin. Documented as "the crown prince's court gunsmith" from 1710 and as court gunsmith to Friedrich Wilhelm I from 1713. Condition: II -

English school, circa 1650,Portrait of two ladies, both half length,Patch marks to their faces inscribed 'I black with white bespott y white with blacke this evil proceeds from thy proud hart then take her: Devill',Oil on canvas, 64cm x 75cm, Gilt framed Provenance: The Estate of Lord Kenyon, GredingtonPlease note that if you are successful with purchasing this lot we will be asking you for two forms of identification to prove your name and registered address to comply with anti-money laundering regulations.Should an export license be required, we suggest you contact Richard Tomkinson at Cadogan Tate. We do not deal with export licenses in-house.Payment will be required strictly within 7 days of the date of the auction by bank transfer only. If you cannot adhere to these payment terms, please do not bid.As you will expect, we have had an overwhelming amount of interest in this lot and we appreciate your patience.To avoid an embarrassing conversation after the auction, please do not ask us NOT publicise this lot, we will be publicising it via our usual channels. This painting provides the viewer with a fascinating insight into politics, gender hierarchy and society in 17th century England. The style of the sitters dress, hair and jewellery would appear to date this painting to the 1650’s during the Interregnum when low cut, off-the-shoulder bodices were the height of fashion and the hair was worn in loose waves to the shoulders on the sides, with the remaining hair gathered at the back of the head. The addition of pearl necklaces and earrings was typical of this period. The depiction of face patches in this painting is quite extraordinary, face patches have been used since ancient times for purely practical purposes to cover up scars and blemishes. However, in the mid 17th century some men were outraged by the way women dressed and wore make up. In 1650 parliament debated whether to pass an act against ‘The vice of painting and wearing black patches, and immodest dress of women’, the bill did not make it to law but had some popular support. The Puritan obsession with sexual promiscuity was also reflected in a crackdown of all forms of ‘nightwalking’ aimed at removing prostitutes from the streets. The implication was that a ‘patched woman’ had something to hide, which may have been as innocent as a birthmark or small-pox scar, but she could also be hiding something much more sinister, perhaps a syphilis scar or other sexually transmitted diseases. The association of patches with sexual immorality, deceit and aristocratic affectation was everything Cromwell and his Puritan government sought to outlaw. http://eighteenthcenturylit.pbworks.com/ provides an interesting insight: ‘A patch is defined by the Oxford English Dictionary as “A small piece of black material, typically silk or velvet, cut into a decorative shape and worn on the face, either for adornment or to conceal a blemish”. The art of patching one’s face became popular in the seventeenth century, and continued to be fashionable until late in the eighteenth century. Among women, wearing patches on the face was a part of a larger cosmetic fashion movement characterised by a desire to emulate youth by achieving the “perfect” complexion. The art of patching is said, apocryphally, to aim to emulate the beauty spot of Venus, whose one dark imperfection highlighted the flawlessness of her complexion and thus made her beauty complete (Downing 22 and Fairholt 1:303). Patching was also popular among men, particularly for the “dandy” meaning that the patch was a part of both male and female attire. The response of the seventeenth century Puritans in England to the practice of any use of cosmetics was not favourable; a response which could not fail to include the art of patching. A sermon written by divinity student Andrew Jones titled “Morbius Satanicus, The Devil’s Disease, or The Sin of Pride Condemned and Arraigned” uses Ezekiel 16:49, in which Jerusalem is related to the ancient city of Sodom, to draw a parallel between the unfaithful Israelites of the time of Ezekiel, and the unfaithful state of England at the time. The key to this unfaithfulness, he suggests, is the abundance of pride, which partly manifests itself in the painting and patching of the face. In 1683, another Puritan text, “England’s Vanity, or the Sin of Pride” is printed, a text which again damns the abundance of Pride in England. The author, talking specifically of patches, calls them “the very tokens of death”.While “England’s Vanity” begins as an address to all mankind, it quickly begins to concern itself solely with women, comparing painted and patched women to Jezebel, the infamous whore of Babylon. This speaks of a societal misogyny that fears the ability of women to change their appearance. Perhaps it was because patching and wearing cosmetics gave women the power to present themselves as they wanted, that the Puritans were so critical of the practices. Perhaps it was that the Puritans really believed that if women could improve their appearance, men would not be able to resist themselves from being tempted by them and would fall into sin. In either case, the texts show that the male authors were particularly indignant to the art of patching on women. Patching, then, posed a problem for the Puritans. The idea of changing one’s appearance opposed their theology that God has made everyone as they should be, and therefore that to alter one’s appearance was to tamper with God’s creation. This was blasphemous, as tampering with God’s creation was seen to be, in effect, “playing God”. It would also pose a threat to the patriarchal power structures in the religion if it were true that made up women gained some power over men through the act of hiding something from them. The inflammatory indignation with which the Puritans of the late 17th century responded to the fashion of patching and painting seen in these texts is indicative of their fear of it. There was an attempt to make all cosmetic use illegal as early as June 1650, when parliament ordered “an Act against the Vice of Painting and wearing black Patches and the immodest Dresses of women” to be read. The act did not get far as there is no further record of it in Journals of the House of Commons (Downing 21). Even had the Act passed, it is unlikely that the efforts of the Puritans to halt the art of patching and painting would have got very far; indeed even such damning arguments as have been seen here do little to halt the rise of patching as an everyday fashion.’The depiction of a black woman sat alongside, and not subservient to, her companion, at this date is also an important factor to note, where both sitters are depicted as ‘social equals’ denoted by the style of the dress and jewellery.It would appear that the painting here is a moralistic warning to the viewer, set to highlight the mortal dangers of vanity and pride in 17th century Puritan England. Of course, patches came back in to fashion in England under King Charles II who grew up in France and brought the fashionable phenomenon of ‘patching’ back to England with him where it flourished.PLEASE SEE 'SHIPPING / REMOVALS' SECTION BELOW FOR CONDITION REPORT: 

RIC PATCH

A pair of ovoid porcelain vases and covers, circa 1860, each with panels of flowers within jewelled gilt borders to a turquoise ground, 24cm high/see illustration CONDITION REPORT: one cover broken through and restored, the other cover with a patch of gilding flaked off. Both vases in good condition.

A Royal Worcester cabinet cup and saucer painted flowers, signed E. Phillips, a teaplate signed E. Barker, a Copelands cup and saucer and a Royal Crown Derby cup and saucer CONDITION REPORT: Phillips cup with a tiny chip to footrim. Small patch of rubbed gilding on handle of Copelands cup. All other items in good condition.

An 18th century ivory and hand painted fan, decorated with figures and a putto in classical dress within a landscape scene and rococo scrolls, the ivory frame carved and pierced with figures and painted with birds and insects, in box frame, 50cm wide (fan only), the frame measuring 34.5 x 58.5cmCondition report: Unexamined out of frame. Wear to the paint in some areas, losses and tears to some areas. An old patch repair to one spot. Some losses to ivory.

Collection of coinage including some pre 1947 silver, WWI Commemorative King's Shilling presentation pack, 1939 Iron cross badge with German eagle cloth pieces, 1914 Princess Mary Christmas tin, First Field dressing, pips on shoulder patch.

Continental School, 19th Century - Portrait miniature boxes, comprising: a Dutch white metal box with enamel portrait of a young lady reclining, 3 x 4 x; a gilt metal patch box with central miniature of a woman in a lace bonnet, 2 x 9 x 6cms; an ivory patchbox with central miniature of a woman with a white headband, watercolour on ivory, 2.5 x 7.5cms diameter. (3)

A collective treen lot to include, 2 ladels one with a Baline handle, 2 pipe tampers, a lignum Vitie patch box and a Victorian papier-mâché patch box.

ROBERT MCGREGOR RSA 1848-1922 OIL ON BOARD - TENDING THE CABBAGE PATCH - SIGNED -18CM X 23CM

Six vegetable patch signs (164)

Six vegetable patch signs (165)

H. NOCK, LONDON A RARE .650 FLINTLOCK RIFLED VOLUNTEER CARBINE WITH ENCLOSED SCREWLESS LOCK, serial no. 11, circa 1800, with octagonal to round 26in. barrel rifled in the Baker style, applied blade fore-sight, standing notch rear-sight on shaped foot, Baker style bayonet bar at muzzle, the top of the knock-off breech signed 'H. NOCK PATENT', special enclosed screwless lock signed in script 'H. NOCK', a starburst engraved over the retaining hook on the bar, walnut full-stock with brass furniture including patch-box to right hand side of butt, the spur of heel-plate engraved 'No 11', applied leather cheek-piece, stirrup swivels and split ramrod channel with pan-head iron ramrod.

MASSACHUSETTS ARMS, USA A .54 CAPPING BREECH-LOADING CARBINE, MODEL 'GREENE'S PATENT BRITISH ISSUE', serial no. 1914, dated for 1856, with blued tapering round 18in. barrel, dove-tailed block and blade fore-sight, elevating ladder rear-sight, central section of outer barrel faceted for grip, plain receiver, long plain top-tang marked 'GREENE'S PATENT JUNE 27 1854', back-action lockplate fitted with 'Maynard's' tape priming system and marked 'MASS. ARMS CO. CHICOPEE FALLS USA 1856' a 'VR' crown cypher and 'MAYNARD'S PATENT SEPT 22 1845', plain hammer, walnut butt-stock (repair at head) with iron patch-box and semi-crescent heel-plate, saddle-ring to the trigger-guard tang, large trigger-guard bow with two triggers, the front one unlocking the barrel for loading, ordnance stamps and no provision for fore-end, the whole an older refinish with much remaining, overall length 34 1/2in., weight approximately 7lbs..

ALEXANDER HENRY, SCOTLAND A .451 PERCUSSION MATCH-RIFLE, serial no. 431/1926, originally a Best Sporting Rifle from circa 1860 with patent use number '15' but remodelled by the maker to a Match-Rifle circa 1872, with blued tapering heavy round 35in. barrel, the top signed 'ALEX'R HENRY, 12 SOUTH ST. ANDREW ST. EDINBURGH. PATENT NO. 1926', micro-adjustable tunnel fore-sight, no provision for rear-sight, short sighting-rib forwards of the colour hardened breech, fully scroll engraved top-tang with raised foot carved with a dove-tail containing a long folding ladder tang-sight, engraved platinum plug, borderline scroll and gamescene engraved flat colour hardened bar-action lock signed in script 'ALEX'R HENRY' below the hammer and engraved with prowling lions and tigers, sliding safe forwards of the scroll engraved colour hardened hammer, chequered walnut pistol-grip half-stock (working inlet repairs at wrist), fully engraved patch-box, recovered adjustable cheek-piece operated via a winder below the stock, engraved iron heel-plate and pistol-grip cap, the latter with central trapdoor, single set trigger, engraved trigger guard bow and retaining original ramrod pipe throat, the whole with much period finish and colour.

THIRTY SIX LILLIPUT LANE SCULPTURES AND VARIOUS BADGES, comprising twenty eight from Symbol of Membership Pack Horse Bridge, 1986/87 (no deeds), Little Lost Dog 1987/88 (no deeds), Wishing Well 1988/9 (no deeds) (chipped roof), The Dovecot 1989/90 (no deeds), Cosy Corner 1990/91 (no deeds), Puddlebrook 1991/92 (no deeds), Pussy Willow 1992/93 (no deeds), The Spinney 1993/94 (no deeds), Petticoat Cottage 1994/5 (no deeds), Thimble Cottage 1995/96 (no deeds), Wash Day 1996/97 (no deeds), Hampton Moat 1997/98 (no deeds), Kiln Cottage 1998/99, Fresh Today 1999/00, Little Bee 2000/01, Little Scrumpy 2001/02, Gold Top 2002/03, The Chocolate Box 2003/04 (badge), The Toy Box 2004/05 (badge), Cabbage Patch Corner 2005/06 (badge), Sugar Mouse 2006/07 (badge), Afternoon Tea 2007/08 (badge), Nutkin Cottage 2008/09 (badge), Fruits of the Sea 2009/10 (badge), The Pigsty 2010/11 (badge), Arithmetic At The Old School House, Walney 2011/12 (badge), Parsley Cottage 2012/13 (badge) and An Apple A Day (no deeds, has badge), Seven Visitor Centre Special Aira Force, It's For You, Rose Cottage Skirsgill, The Story Begins.....Third Edition, Honeysuckle Dovecot, Little Lost Dog II, Moot Hall Keswick and Skirsgill Lodge (no deeds) and Yew Tree Farm The Home of David Tate (collectors Club 1987/88, no deeds), various badges 10yr, 15yr, 20yr, 25yr etc

A SET OF THREE BESWICK SEAGULL WALL PLAQUES, NO'S. 922/1/2/ and 3 (Condition Report:- 922-1 the largest has a chip to the beak on the wall facing side, 922-2 middle size has a patch of rough glaze to the beak on the wall facing side)

Artist: Steve Wheeler (American, 1912 - 1992). Title: "Dan Patch with His Girlfriend". Medium: Color wookcut. Date: Composed c1950. Dimensions: Overall size: 6 9/16 x 14 in. (167 x 0 mm).Lot Note(s): Signed "Wheeler" in pencil, lower right. Edition size unknown (perhaps never editioned, with only a few proofs pulled). Handmade cream paper. Ample margins. Fine impression. Good condition; printed off-center; a very small skilfully repaired puncture in the far upper center of the image, with no paper loss; creasing inherent in the paper in the left margin, away from the image; minor paper loss in the upper left margin, away from the image. Comment(s): Wheeler’s prints in woodcut and etching are rare. ‘Gordon’s Print Prices’ lists only his silkscreens – not a single woodcut or etching. He is often spoken of as one of the least appreciated, but most deserving, of 20th Century American artists. The influence of Arshile Gorky on Wheeler’s oeuvre is often overlooked. His work is increasingly being "discovered," as evidenced by the sale of his painting "W22 (Man Looking at Pork Chop)" at Christie's New York, 05/21/2008, lot #8, at $109,000 (including premium). There has been recent increasing interest in his fine prints as well. Image copyright © The Estate of Steve Wheeler. [30113-2-1200]

Royal Doulton 101 Dalmations figure Patch Rolly and Freckles DM5. 1298/3500. With box and cert. In good condition with no obvious damage or restoration.

Workshop of Robert Mouseman Thompson (Kilburn): An English Oak Circular Fruit Bowl, tooled interior and exterior, with carved mouse trademark to the interior, 29cm diameter .Black felt tip mark? to interior 2cm long. Worn circular patch and pencil? lines to the interior.

Hamish MacDonald DA, PAI (1935-2008) Scottish Scottish harbour with stormy seas Signed, oil on board, 77cm by 87cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Some very light surface dirt. Slightly loose in frame. Areas where the paint is thin in places by application and the odd loss, it is not always clear which is by design due to the impressionistic nature of the piece. Especially a patch to the upper left of the sky, and one to the lower left of the sea and upper right. Fine craquelure in places, in particular to areas of the green above the houses and possible losses in this area where the brown is exposed, also above this to the lower section of the cottage and to the right of this. Fine craquelure and losses within the dark blue left of centre and the turquoise extreme right. Small worm hole to blue left of centre to the cove and one below this within the harbour wall. See additional images.

Peter Brook RBA (1927-2009) ''Bolton Bridge'' Signed and inscribed, oil on canvas, 50cm by 75cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration ''You have to get a feeling for a person or a place before you can paint them. You have to get to know them. It's not until you impregnate yourself, saturate yourself in the qualities of a place that you can paint it well.'' Peter Brook This maxim clearly resonates in the West Yorkshire born artist's stark depictions of the Yorkshire Pennines, moors, and mills. Infused with the artist's personality, his signature taglines and the appearance of his trusty sheepdog. A farmer's son, Peter Brook grew up in West Yorkshire where he spent most of his life. He was educated at Barnsley Grammar School before moving on to teacher training at Goldsmiths College, London, where he visited galleries, attended life drawing evening classes and further developed his art, alongside his teaching career back in Yorkshire. It wasn't until his 40's that he became a full-time artist, being elected as a member of the Royal Society of British Artists in 1962. He was represented by Agnews in London where he held a number of solo shows, whilst also exhibiting in America and Australia. His works can be seen in the V&A, the Tate, Wakefield Art Gallery, Leeds City Art Gallery, Leeds University & Spring Ram PLC and in major private collections worldwide. Overall framed dimensions 62.5cm by 88.5cm Covered in a layer of surface dirt and discoloured varnish. The odd brush bristle trapped within the paint. Canvas slightly buckling lower right corner. Patch to centre of the sky approx 2cm with a small scratch and associated paint loss. Very slight push mark to sky right of centre.

Pedigree, Sindy, Patch - An unboxed vintage Sindy doll with an unboxed vintage Patch (Sindy's little sister) doll. The Sindy doll has auburn hair and marked 'Made in Hong Kong to the back of the hairline,with soft vinyl head and arms, legs and hard torso, appears to be in Excellent condition. The Patch doll has soft vinyl head, auburn hair with hard torso and rigid limbs., marked 'Made in Hong Kong' across shoulders, and measures approximately 22cms in height, and also appears to be in Excellent condition. (2) Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.

French violin stamped D. Nicolas Aine, á la Ville de Cremonne to the inner back, the one piece back of faint fine/medium curl with similar wood to the sides, the head of medium curl, the table of a fine width grain widening to the flanks and the varnish of a plum red colour on a golden ground, 14 5/16", 36.40cm *This violin has a good sound post patch repair to the back

Good 19th century German violoncello labelled Louis Noebe...Hamburg and inscribed in ink on the label L.N. no. 375, 1884, the two piece back of medium curl with similar wood to the sides and head, the table of a medium width grain and the varnish of a reddish-brown colour on a golden ground, 31 1/2", 80cm *This violoncello has a good sound post patch repair to the back

A WWII Second World War Chindit Division / Long Range Penetration Groups cloth patch / badge. The navy blue circular patch with yellow embroidery depicting the half lion, half dragon ( Chinthe ) in front of a Burmese pagoda.The Chindits, known officially as the Long Range Penetration Groups, were special-operations units of the British and Indian armies which saw action in 1943–1944 during the Burma Campaign of World War II.

An original WWII Second World War Civil Defence ARP Air Raid Precautions officers side / forage cap and x5 cloth patches. The navy cap with yellow piping having the hallmarked ARP Air Raid Precautions badge to the side. The cloth patches comprising a pair of Warden shoulder titles, x2 Civil Defence patches and x1 Plymouth patch. 

A WWI First World War Imperial German Army / Prussian Infantry related Pickelhaube canvas helmet cover. Usual form, with central peaked section for covering the spike. Red number ' 8 ' patch to the front. Metal hooks to the seam. Marked to the inside ' BAVI 1915 '.

Two WWII Second World War type Third Reich Nazi German replica items comprising a white cloth patch / pennant with black Swastika symbol and a green painted MG34 or MG42 magazine drum, unmarked. Measures approx 16x14cm.

A collection of x3 Edwardian Suffragette ' Votes For Women ' / WSPU related cloth clothing patches. The first being a rectangular ' Votes For Women ' patch in the three colours of the WSPU - Purple, White & Green. The second in the shape of a shield in back and green, and the third with ' Votes For Women ' notation and WFL. The largest (shield) measuring approx; 6cm tall. Rare.

A collection of assorted WWII Second World War British and Canadian Army uniform items and cloth patches. The collection to include and original Sam Browne belt, a pistol holster, a RAF Royal Air Force map case, Dispatch Riders cloth patch, medal ribbon bar and a selection of Canadian Army cloth patches. 

Pair of early Derby figures of recumbent Stag and Doe with floral bocage decoration, patch marks to base 12cm high

20th century Continental porcelain flower encrusted bowl supported by three cherubic figures on a naturalistic base, blue cross sword mark, h18.5cm, and a pair of oval strut mirrors in a similar style with flowers and cherubs on a scroll base highlighted in gilt, blue cross hatch mark, h31cmCondition Report: Mirrors: surface marks and dirt, wear to the gilt, poss 5mm patch of overpainting to top of head of cherub mounting the top of one mirror, possible other minor patches of overpainting to hair, no significant damage found.

Collection of military equipment and medals, to include W&G (1932) Ltd gas mask, Fox Wellington Somerset FIP Patent puttees, khaki puttees, belts, straps, metal eye mask, 'Ever Ready' chauffer's lamp with bullseye glass front, magnetic marching compass mark 1 with broad arrow mark, bosun's whistle, Gardener & Co. buttons, World War Two Era Police Whistle, Marked "The Metropolitan" Patent J. Hudson & Co., Birmingham, another whistle, collection of daggers and knives, cigarette holders, Ronson safety ashtray, brass patch pot and brass cigar cutter/ashtray, in the form of a ship's wheel, 13cm high

William Henry Bartlett - - 1858 London - 1932 London A bad wind for fish, but a good one for drying. 1884. Öl auf Leinwand. Rechts unten signiert und datiert. Verso auf dem Keilrahmen handschriftlich bezeichnet und nummeriert. 82 x 122 cm (32,2 x 48 in). PROVENIENZ: Wohl Jacob Hecht Kunst- und Auktions-Haus, Berlin (1928, in Kommission). Privatbesitz Berlin (seit drei Generationen in Familienbesitz). AUSSTELLUNG: The 116th exhibition of the Royal Academy, London, 1884, Nr. 51. LITERATUR: Wohl Jacob Hecht Kunst- und Auktions-Haus, Berlin, Sammlung A. H. Wätjen, Bremen: Tapisserien, Aubussons, Perserteppiche, antike Möbel, Bechstein-Flügel, Beleuchtungen, Fächer-Sammlung, Bibliothek; aus Berliner und österreichischen Sammlungen: Keramik, Glas, Kleinkunst, Auktion 2.-3.10.1928, Los 739 (hier datiert: 1881). Im Jahr 1884 kommt William Henry Bartlett in das malerische kornische Fischerdorf St. Ives und macht sich sofort an die Arbeit. Bei Besuchen des kleinen, vom georgianischen Ingenieur John Smeaton errichteten Piers und des nahegelegenen Porthmeor-Strandes beobachtet Bartlett die Aktivitäten der Dorfbewohner, die nach Sandaalen fischen, während sie auf die aus dem Norden kommenden Sardinenschwärme warten. Daneben widmet er sich den dortigen Szenen der Freizeitgestaltung wie den im Hafen stattfindenden Schwimmwettbewerben. Der aus London stammende Bartlett ist der Sohn eines Kunsthändlers. Noch vor seinem zwanzigsten Geburtstag reist er nach Paris, wo er sich an der Académie Julian einschreibt und schließlich an die École des Beaux-Arts wechselt. Nach einer Studienreise durch Tirol verbringt er den Winter in München und zeichnet an der Akademie am lebenden Modell. Dort beobachtet er die in Deutschland vorherrschende Tendenz zur Idealisierung des Modells, der „Zufälligkeit“. Seinen ersten Erfolg im Pariser Salon von 1880 bringt ihm jedoch das beeindruckende Interieur der Julianschen Akademie in der rue d‘Uzès ein, „Un atelier de peinture dans le repos“ (Standort unbekannt). Wie viele Künstler seiner Generation widmet er sich einem Plein-Air-Naturalismus, der von den Werken Jules Bastien-Lepages inspiriert ist. Der französische Maler rät jedem seiner Anhänger, seinen eigenen „coin de terre“ zu entdecken – so malt Bartlett in den folgenden Jahren im Westen Irlands und in Venedig, bevor er schließlich auf dieser Hügelkuppe in St. Ives ankommt. Hier – wie das vorliegende Gemälde bezeugt – vernachlässigt Bartlett auch nicht die Arbeit der Frauen. Wie auch andernorts in Europa wird die Wäsche bei ruhigem Wetter oft zum Trocken auf Wiesen oder Hecken gelegt. Während die Frauen ihre Körbe füllen, harkt ein älterer Fischer mit einem Ruderblatt sein Gemüsebeet, unter dem wachsamen Auge einer Frau im oberen Fenster eines nahegelegenen Cottages. Der bewölkte Tag an der Küste Cornwalls bietet Bartlett darüberhinaus eine reiche Harmonie an Farben und Tönen. [Prof. Kenneth McConkey] Aufrufzeit: 17.06.2021 - ca. 18.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilliam Henry Bartlett -1858 London - 1932 London A bad wind for fish, but a good one for drying. 1884. Oil on canvas. Signed and dated in lower right. Inscribed and numbered on the reverse. 82 x 122 cm (32.2 x 48 in). PROVENANCE: Presumably Jacob Hecht Kunst- und Auktions-Haus, Berlin (1928, on consignment). Private collection Berlin (family-owned for three generations). EXHIBITION: The 116th exhibition of the Royal Academy, London, 1884, no. 51. LITERATURE: Presumably Jacob Hecht Kunst- und Auktions-Haus, Berlin, Sammlung A. H. Wätjen, Bremen: Tapisserien, Aubussons, Perserteppiche, antike Möbel, Bechstein-Flügel, Beleuchtungen, Fächer-Sammlung, Bibliothek; aus Berliner und österreichischen Sammlungen: Keramik, Glas, Kleinkunst, auction on October 2-3, 1928, lot 739 (here dated: 1881). In 1884 William Henry Bartlett arrived in the picturesque Cornish fishing village of St Ives and immediately set to work. Visiting the small pier constructed by the Georgian engineer, John Smeaton, and the nearby Porthmeor beach, Bartlett observed the activities of villagers who fished for sand eels while awaiting the shoals of pilchards that descended from the north. These were accompanied by scenes of recreational activity – such as the swimming competitions held in the harbour. A Londoner, Bartlett was the son of an art dealer. Before his twentieth birthday he travelled to Paris where he registered at the Atelier Julian, eventually transferring to the École des Beaux Arts. Following a sketching tour of the Tyrol, he over-wintered in Munich, working from the life figure at the Academy, where he observed the powerful tendency to idealise the model – Zufälligkeit – that prevailed in Germany. However, it was Un atelier de peinture dans le repos (unlocated), an impressive interior of Julian’s new studio in the rue d’Uzès, that brought his first success at the Salon in 1880. Like many artists of his generation, he went on to practice the type of plein air Naturalism that drew its inspiration from the work of Bastien-Lepage. The French painter advised each of his followers to discover their own coin de terre and during the following years Bartlett painted in the west of Ireland and at Venice before arriving on the hilltop at St Ives. Here, as the present canvas indicates, Bartlett did not neglect women’s work. As elsewhere in Europe, washing was often laid on the grass or on hedgerows to dry when the weather was calm. As the women fill their baskets, an elderly fisherman, using an oar, hoes his vegetable patch, under the watchful eye of a woman in the upper window of a nearby cottage. It is an cloudy day on the Cornish coast when color and tone provide a rich harmony. [Prof. Kenneth McConkey] Called up: June 17, 2021 - ca. 18.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A Collection of Dolls, to include three Sindy's, one Patch and one Paul, two Tressy's, one Mary Quant Daisy Doll and similar unmarked doll, some original clothing and shoes, some handmade, includes other smaller dolls and figures, playworn.

Good selection of guitar cables, patch cables and jack adaptors held within a sectioned Union Jack flight case

A pair of 18th century Derby porcelain figures of recumbent stags, resting beneath flowering bocage, patch marks to base, each 21.5cm high

A group of militaria items including postcards, an officer's whistle, a hallmarked silver cigarette case with engine turned decoration, a silk map of East Asia, a cloth patch with a skull and crossbones, etc.Additional InformationThe cloth patch with skull and crossbones has tarnishing, stains and possibly mould. It looks as though it may have been pinned at some point with sticker residue to the reverse and there is a large crease down the middle. The silk map is fraying at the edges. 

ENGLISH SCHOOL EARLY 19TH CENTURY; pair of pastels, portrait of a husband and wife, in verre eglomise mounts and gilt wood and gesso frames, one with a partial label verso for Claridges Hotel, 29cm x 25cm (2).Additional InformationImages with general dirt specks and some slight blooming to the darker areas. His portrait with a small raised patch just above his hand, not clear if this is sitting on the surface of the image or not. Frames with general wear and some slight chips.

ROYAL WORCESTER; three figures emblematic of countries decorated in shot enamels and modelled by James Hadley comprising 'Irish Girl', shape number 1874, height 16cm, 'Welsh Lady', shape number 1875, height 17.5cm, and 'Welsh Man', also shape number 1875, height 18cm (3).Additional InformationThe figure of the Irish Girl with some light rubbing to gilding, perhaps a little heavier around the bonnet, the Welsh Lady is signed Hadley to the stump at the back, general wear to gilding throughout, and some rubbing to the shot enamels, there is a white patch to the front left of the base where it appears the shot enamels and gilding have not taken, the Welsh Man with light rubbing to gilding and shot enamels, a slight colour imperfection to his right arm, there is a thin surface chip to the underside of the base at the back of the figure.

An early 20th century bamboo mirror back dressing table, with two drawers raised on column supports, height 152cm.Additional InformationWidth 75.5cm, depth 43cm. General wear throughout, there are splits to the bamboo in places, some losses to the ratan. Some surface losses, patch repairs, some knocks, etc.

ANDREW VARAH (1945-2012); a unique maple and myrtle burr wood lady’s writing desk and chair, c.1998, the desk with an inlaid top set with two drawers and a compartment, each formed as a book, one leather mounted, and one removeable to access a secret compartment (a trademark of Andrew Varah’s work), on tapered legs, the underside with stamped date 11.05.98 and triangular maker's mark, height 72cm (not including books), width 62.65cm, depth 99.5cm.  This lot is subject to Artist's Resale Rights (D).Provenance: The desk and chair were privately commissioned in 1998 at a cost of £4000. The desk was awarded was awarded a Guild Mark (No 255) by the Worshipful Company of Furniture Makers in 1998; the original framed certificate accompanies this lot along with a folder of original documents related to the commission.Additional InformationTop with a few light knocks and minor scratches through use. Small patch to the bottom right corner of the myrtle which has faded a little and another small patch to the inlay towards the bottom left corner. Varnish with a craquelure throughout the myrtle and inlaid section. A few light scratches and scuffs to the legs. Chair with a couple of slight knocks or scratches but generally OK.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

CONWAY; a 19th century brass barrelled blunderbuss, inscribed maker's name to the lock plate, the barrel further inscribed 'London' with various proof marks and fitted with brass furniture, length 75cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe barrel is in fairly good order although the finish is slightly dulled. There are strap repairs and patch repairs to the stock which is also heavily scuffed and scratched throughout and appears to have been over-polished. This lot does not require a licence.

LEE ENFIELD; a .303 bolt action fully stocked rifle manufactured by B.S.A. Co, the breech stamped 'Regulated by Fulton', SN:8688.Provenance: The Captain Allan Marshall Collection.Additional InformationHeavy wear throughout with several patch repairs and splits to the stock, however appears complete and functional.

Silver patch box with powder blue enamel lid opening to reveal a mirror Birmingham 1916, silver pill box with floral repousse decoration stamped 925 and import mark, Victorian silver miniature pot on 3 ball feet, 2 silver covered glass dressing pots, glass pot with silver rim, another glass pot with enamel and silver cover and a silver pill box. (8)

A Good Collection of Vintage Sterling Silver Jewellery Items. All Hallmarked for Sterling Silver. Comprises Chains, Pendants, Patch Box, Charms etc. Various Sizes and Condition - Please See Photo. Total Weight 4 ozs.

An 18th century bone cylindrical small box, the cover inset with an enamel roundel inscribed 'Sweets to the Sweet', 2.7cm diameter, together with two 18th century enamel patch boxes, one with cover painted en grisaille with a courting couple, and inscribed 'Look Without and Think of Me, Look within my Love you'll see', the other with a bird on a fence, on a deep blue ground (all AF) (3)

A pair of Lemaine de Paris mother of pearl mounted opera glasses; others Jockey Club; Wills Cut plug advertising tins; James Dixon & Sons Pewter patch box etc