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RAD Carrying faggots over stream Signed with monogram lower right, oil on canvas, 50cm x 40cm.CONDITION REPORT: Signed with monogram RAD.  There is a patch to the top and the picture requires cleaning.

A Derby biscuit figure group. The awakening of Cupid. Depicting Cupid sleeping resting upon his quiver with a pair of Virgins stood by his side. Modelled before a bocage and raised on a rockwork base. Four patch marks, incised B and N. 195, 31cm. One vigin with loss to her right hand fingers. Some loss to the applied work. Numerous firing cracks.

Edward Henry Holder (1847-1922) gilt framed oil on canvas. Mountainous landscape with a river, figures and cattle in the foreground, 50cm x 75cm. Good condition. No signs of over painting. No patch repairs. Frame in good order.

A 19TH CENTURY NELSON COMMEMORATIVE PEARLWARE JUG decorated in the round with sepia transfer decoration of Nelson, Victory and swags of arms, with Nelson's principal battles and titles to front -- 5½in (14cm.) high; together with a gilt brass patch box, impressed with a medallion of Nelson to lid and principal actions behind, lined with Venetian red paint (2)Condition report: Patchbox, gilt and red paint worn. Jug good overall condition.

British WWII type Chindit Far East circular patch. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

OZZY OSBOURNE / REO SPEEDWAGON / JUDAS PRIEST SIGNED. Three signed items to include: Ozzy Osbourne - Shot In The Dark (A 6859) with original patch and autograph as issued, a History of Metal magazine with multiple signatures to inner pages from members of: Anthrax, Blue Cheer, Judas Priest, Ratt, Led Zeppelin, Rainbow, Riot, Slayer, Saxon, W.A.S.P. Also a copy of REO Speedwagon - Good Trouble (32789) signed to front of sleeve by all five members.

ERICS LIVERPOOL/HACIENDA - MEMORABILIA. Collection of Liverpool and Manchester music memorabilia to include: Pink Military – Blood & Lipstick (ERICS 002), a temporary FAC51 Hacienda membership card, a Hacienda zine Vol IV, a 'Last Trumpet' music zine from 1975 (first issue), a Casablanca Club card, a Hawkwind Log and patch, ten badges.

19th century American School, a naive oil on canvas of two children standing in a landscape, in gilt frame, 74 x 60cmCondition report: The images best show the condition of this work - several patch repairs visible verso and the one on the green dress is also visible from the front. Another tear lower in the picture (see image) and some evidence of overpainting carried out over the decades.

Alfred Hartley (1855-1933) oil on canvas - A Patch by a Wood, artists labels verso, in good gilt frame, 61cm x 51cm

Circa 1930s Patchwork Top, comprising printed floral and striped cottons in rectangular shapes with central square, two pieces of fabric dated '6 Feb 1928', 214cm by 195cm; a Late 19th Century Patchwork Cover, incorporating printed cotton sprigged, striped printed fabrics including a patch of tennis racquets, with modern wadding and backing, 224cm by 235cm (2)

Assorted Early 20th Century Silk and Cotton Robes, comprising a pink single breasted wool dressing robe with collar, patch pockets and belt; green and black checked wool dressing gown with shawl neck collar; floral printed cotton robe with towelling lining and button fastening; Toguette Model blue cotton robe with white trim; red brocade silk robe; another in pale green Chinese brocade; dark cream brocade stole; black and gold silk woven short jacket with long sleeves, side pockets; four assorted cotton printed house coats including Lido Creation with button fastenings; and machine lace blue full length robe (13) . Pink wool robe - slight wear. Green and black wool dressing gown - no belt, waist seam open and repaired, bttons missing and wear. Floral print robe - fading and slight wear. Blue cotton robe - some marks and wear, shoulder seam open and belt missing. Black and gold jacket - lining discoloured. Others show slight wear overall.

Early 20th Century Cream Silk Robe with drawn thread work, inserted lace panel to the reverse, patch pockets, long sleeves and a Nehru style collar; Chinese gold brocade jacket with quilted collar, cuffs and pocket mounts, toggle fastening; cream silk lady's robe with long sleeves split to the elbow, with lace mounts, cut work and embroidered work, silk waist tie; included is a photograph of the Little Sisters of the Poor Home for the Aged, Sheffield in the 1920s, showing residents making the following crochet lots including the tea time cloth, part of a valance with crochet trim, crochet runners, a white linen and crochet trimmed table cloth worked with teapots, kettle, milk jug and cups and saucers '4 o'clock tea', and two similar tea cosies (rail and box). Cream Silk robe - slight staining under both arms and some slight wear. Chinese brocade robe - small brown spotting to the front, rubbing to the quilting, one pocket repaired, some fading and staining to the lining; Ladies silk robe - small light brown stains, small hole to the shoulder, slight wear overall.

Assorted Circa 1930/40s Black Crepe Dresses, comprising a Marcos black dress with long sleeves, wrap style bodice with white trim, long skirt with sash (size 42); Larissa Model black dress with three quarter length sleeves, black bead circular decoration to the front, bow to the front, and belt to the reverse; another dress with similar length sleeves, V-neck line, sequin decoration, pleated panel to skirt; short sleeved dress with net panel to the chest decorated with sequins, pleated detail to the front of the dress; dress with elbow length sleeves, wrap style bodice and beaded detail to the waist with peplum; another with blue beads to the collar, three quarter length sleeves, front patch pockets and full skirt; black short sleeve crepe dress, with tab details to the neck and black bead decoration; black sleeveless dress with satin trims to sleeveholes (8) . Marcos dress - belt missing, some wear, white trim grubby and possibly later. Black dress black circular beads - some bead losses, some wear and fading. Sequin dress - sequins missing, belt missing, some loose threads and wear. Net and sequin dress - sequins missing, belt missing, slight wear. Wrap bodice dress - belt missing, slight wear, stitched repair to the top and bottom of side opening, slight fading to shoulders. Blue bead collar dress - belt missing, side seam a little bit, slight wear and fading to shoulders. Black bead and tab bodice dress - slight fading, small mark near the hem on the skirt, slight wear. Sleeveless dress - small hole to the reverse near the hem, slight wear.

Assorted Circa 1930s/50s Crepe Dresses, comprising a Linda Leigh brown dress with capped sleeves, self woven with boteh and appliqued with diamante to the bodice, silk bow, attached belt; an O Slender Model blue long sleeved dress with button and tab detail to the neck, horizontal pleats to the body; rust coloured long sleeve crepe dress with long sleeves, multi pleat details to bodice, grosgrain trim, button fastening, pleated skirt; navy crepe jacket with long sleeves, three button fastening, shaped patch pockets appliqued with white beads; Alexon Size Right grosgrain coat with three quarter length sleeves, turn back cuffs, side pockets and double breasted button fastening; two black crepe dresses with bead and sequin decoration; Hepworths black wool tailored coat with four button fastening and collar (8). Linda Leigh brown dress - slight wear, stitched repairs to the waistband, some thread pulls and diamante missing. o.Slender dress - fading to shoulders, small part of arm hole seam open, kick split open along the seam to back of the skirt. Rust crepe dress - two small holes to the shoulder, belt missing, slight wear. Navy jacket - some bead losses and slight wear. Alexon coat - some fading mainly to the back of the shoulders, both buttons have staining, small area of staining near button and wear, button holes worn. Two black dresses - both have bead and sequin losses and some wear. Hepworths coat - mark to the front (possibly from a sticker), lining has some staining and holes around the sleeve hole, small stitched repair to collar and slight wear.

Circa 1930s/40s Ladies' Day and Night Robes comprising a silver coloured long sleeved silk robe with button fastening, a shawl like collar with pleated trim and two patch pockets; Elegant pale blue silk robe with quilted patch pockets, matching cuffs and collar, smocking to the bodice, button fastenings; pale pink brocade type robe with Peter Pan collar, decorative self coloured toggle fastenings, patch pockets and belt; similar coloured quilted and embroidered robe with long sleeves; a Frearsonia pale green quilted double breasted robe with pleated shoulders, embroidered with white crescent shapes; similar quilted and embroidered bed jacket in pale green, with pink silk lining; pink wool robe of tailored design with black velvet mounted collar and buttons, fabric belt; a Thistledo blue velvet double breasted robe with long sleeves, collar, belt; paisley printed cotton robe with buttons to the front, patch pocket, burgundy mounted collar and cuffs and belt; a burgundy coloured corduroy robe with buttons to the front, peter pan collar, pockets with white trim, belt; a cerise long sleeved wool robe with Peter Pan collar, pink silk trim (11). Silver coloured robe - belt is missing, bit of wear and discolouring and rubbing to the pattern and waistband, some buttons missing. Pale blue robe - stitched repairs around button holes, staining to one arm and to the reverse, fading/discolouration to the collar, belt missing and overall wear. Pale pink robe - one toggle missing, back seams are stretched and worn, fading from shoulders to back of sleeves, general wear. Pink quilted robe - faded to back of neck and shoulders, area of wear to the back where rubbed and slight wear overall. Green robe - fading to the back, couple of the buttons need re-stitching and slight wear. Bed jacket - stitched repairs to drawstring neck and slight fading to the back. Pink wool robe - stitched repairs and a few holes to the back of the collar, repair under one arm, stitched repair and damage around the upper button holes, rubbing overall, the black appears to be faded, some staining around hem and some of buttons missing. Blue velvet robe - slight discolouration overall, and slight wear overall. Paisley robe - buttons missing, some rubbing and wear, some colour bleeding to the centre. Burgundy robe - one button missing and slight wear overall. Cerise robe - pencil mark to the collar, satin trim v rubbed to the back of the neck.

Circa 1950s Cotton Printed Dresses, comprising a Horrockses Fashion short sleeve dress with buttons to the waist and flared skirt in red and white small gingham checks with large blue stars and attached belt, two side pockets; another Horrockses Fashions dress printed with purple flower heads on a mauve ground, short sleeves, V-shaped neckline and to the back, flared skirt; a red and white spotty Marlborough Dress with shawl style collar, double breasted buttons, gathered skirt and large matching belt; Mary Black Model black floral cotton sun dress with pleated shoulder straps, star burst detail to bust with pleated skirt; Judy Graduate cotton dress retailed by Harrods Ltd, a yellow cotton printed 'Austrian' style dress with broderie anglais modesty panel, short sleeves, tiered gathered skirt; purple and white patterned sleeveless dress with collar, buttons to the waist and pleated skirt with patch pockets; blue and floral sleeveless dress with fabric waist tie, scoop neck; Caressa sleeveless dress with peach flower heads and with belt (size 14); Glarama glazed cotton dress with short sleeves in rust colour, printed with hats, with multi pleated skirt attached pockets with white trim (size 36); sleeveless cotton dress with collar and patch pockets trimmed with black, buttons to waist (10). Gingham and star dress - belt is stained, mark inside the neck from a sticker, small stitched repair to bottom of the pocket. Horrockses floral dress - waistband has been re-stitched at the front, belt missing, stitched repairs to either side of the head opening, some fading. Marlborough dress - front of waistband badly re-stitched, very slight staining. Mary Black dress - slight wear overall. Judy Graduate dress - hole to one sleeve, and some fading and wear. Purple sleeveless dress - staining to the collar to the back of the dress, belt missing and slight wear. Blue and floral sleeveless dress - zip is stuck and slight wear. Caressa dress - slight wear. Sleeveless dress - waist re-stitched, fading and some wear.

Circa 1940s/60s Ladies' and Gentlemen's Day and Evening Wear, comprising a Kaycee tailored black wool self striped jacket; navy wool long skirt with kick pleats; Banner brown floral cotton house coat with buttons to the front; pink patterned cotton top with scoop neckline and patch pockets; St Michael white cotton short sleeved top with buttons to the reverse; bright yellow cotton jacket; Kitty Copeland black jersey evening dress with spaghetti straps and ruched detail to the front; Peggy French turquoise cocktail dress with cut out and bow detail to the back and embroidered hem; Melbray of London silver sleeveless shift dress; Carrie Couture bronzed quilted long sleeved dress; and four others; short floral brocade wedding dress with scalloped neckline and long sleeves; Led Edwards turquoise wool and sequinned short sleeve top; crimplene textured two piece suit and long A-line skirt; gentleman's Trevira retailed by R M Forsyth plum coloured dinner suit with black trims and a green evening jacket with black trims (20)

Circa 1960s/70s Ladies' Day Wear, comprising a Carnegie of London red, white and blue sleeveless dress with blue neck tie, faux tabs and covered buttons to the waist and pleated skirt (size 8); blue and white sleeveless dress in a blue and white geometric pattern, wide collar and pleated navy skirt (size 12); black silk sleeveless dress, with silk embroidered flower heads to the collar and hem, buttons to the reverse; similar embroidered dress in white silk with patch pockets; a blue sleeveless textured dress with white trims overall, faux wrap skirt, buttons to the reverse; a navy cotton sleeveless dress with a double white silk trim and six faux pearl buttons; cream linen jacket and skirt with buttons to the front and pleated skirt; a Marcel Fenez Designed by Roland Klein navy dress with chiffon bodice embroidered in red, white and blue, multi pleated chiffon skirt (size 12); a Ein Fink Model navy long sleeve dress with zip to the bodice, printed with tulips to the front and back in purple, pink and orange (size 42); a Polly Peck by Sybil Zelker long sleeved dress, multi coloured with white cotton collar and cuffs, large black buttons to the front; a Mark Russell green double breasted coat with black and green trim to the collar and top of pockets and belt; pink wool long sleeved double breasted dress with a pink and blue checked contrasting collar and cuffs; Dollyrockers Designed by Sambo long sleeved orange and green checked wool dress with a tunic style bodice and laces, attached purple shirt with large collar; multi coloured sleeveless day dress with buttons to the front, collar and patch pockets (size 14); Peter Barron sleeveless cotton dress and matching long sleeved coat with collar and buttons to the front (15). Carnegie dress - slight discolouration and wear. Blue and white sleeveless dress - slight discolouration and wear. Black silk dress - hem has been cut and slight wear. white dress - seams loose under sleeve holes, rubbing to embroidery and some loose threads. Blue sleeveless dress - couple of small marks to the white trims and slight wear. Navy sleeveless dress - slight discolouration under both armpits and slight wear. Linen suit - small marks and some discolouration. Marcel Fenez dress - hole under one arm, belt missing, slight wear. Marcel Fenez dress - belt missing, little bit of fading to the shoulders and slight wear. Polly Peck dress - bit of discolouration around the collar and slight wear. Mark Russell dress - some holes and staining to the lining, couple of marks to actual coat, and slight wear. Pink dress - light wear overall. Dollyrockers - hem is down and slight wear. Peter Barron dress - hem has been re-done on the dress and slight wear overall.

Circa 1980s/90s Burberry Men's Single Breasted Classic Coat, with fly fastenings and a detachable zip in wool liner, pockets and belt, 100% cotton; Burberry Men's Short Style Double Breasted Raincoat, patch pockets (2) . Appears to be in good condition. Single breasted coat - 46'' chest and 43'' long. Raincoat - 50'' chest and 33'' long.

Circa 1980s/90s Burberry Men's Classic Trench Coat, with signature checked lining, raglan sleeves, pockets and belt; Burberry Men's Short Outdoor Walking Coat, with zip fastening, wool lining, storm cuffs, patch pockets with flaps (2) . appears to be in good condition. Classic Trench Coat - 42'' chest and 45'' long. Walking coat - 48'' chest and 36'' long.

Modern Chanel Green Tweed Two Piece Skirt Suit, comprising a cropped double breasted jacket with pockets and collar, and a matching skirt with patch pockets (both size 42); and a Modern Chanel Green Leather Wrap Skirt, with three gilt metal button fastening (size 42) (2)

Liberty and Co Tudric English pewter tray, hammered finish, 35 w x 24cms. Condition ReportPolish square patch to tray top. 

An oak dresser by Rabbit man, Peter Heap. 47 d x 153 w x 178cmsh. Condition ReportLight water marks and cup ring mark to the base top, small patch of dark stain otherwise in a very good condition. 

Thomas Gibson (London, circa 1680-1751), Portrait of George Vertue, oil on canvas, 74 x 59cm Condition Report Canvas relined. The paint surface is generally sound with a scattered craquelure pattern, particularly to the background, consistent with a work of this age; this is currently stable. One small patch of minor surface staining, upper left. Ultraviolet light reveals an opaque varnish, retouching to an approx. 2cm horizontal repair halfway down the sitter's right lapel, further infilling to the sitter's left hand, to frame abrasions along the lower border; the aforementioned varnish prevents further conclusive examination.

An Early 18th Century Ivory Biblical Fan with simple monture, and reasonably bulbous head. The vellum leaf, mounted à l'Anglaise, shows an elderly man in long brown robe, and hat with upturned rim, seated under a tree, a lady in blue robe and brown cloak, the latter wrapped around a naked child at her feet, sits to converse. Perhaps a depiction of Abraham and his former mistress Sarah, and their son Ishmael, after she has been forced to leave after taunting Abraham's wife Sarah about her continued barrenness. A large house and tower are just visible in the background. The leaf borders are all adorned with small gold foil leaves, and flowers. The verso is plain. Guard length approx. 10.5 inches or 26.5cm. Together with Another Early Ivory Fan with shaped and bulbous head, the upper guards painted in pink, green and lilac with vines and bunches of grapes. The gorge sticks are shaped and carved with naked children striking poses, perhaps relating to sporting or musical activities. The double leaf is painted with a simple scene of a maiden conversing with a stranger, dressed in rather flamboyant costume and large hat, possible a street player or actor. A house in the background appears to be built on stilts with access by ladder. The simplicity of the scene is balanced by the addition of gold highlights to the costume, house and elegant weeping willow. The verso is plain. Guard length approx. 9.75 inches or 25cm (2). The first fan is sound, although loss to two of the ribs have caused the gorge sticks to detach. Rubbing to the folds. One or two of the foil leaves are missing. A small patch of clear tape is noted along the top border on the verso. The second fan has retained good bright colours and gold highlights. A central gorge stick has broken and a small section between the break and the head is missing.

1959, chrome, serial no. 1703529, body, VG, elements, VG-E, tiny patch of internal haze, with caps, in maker's bubbleNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.

black, serial no. 108388, body, E, elements, VG-E, one tiny fungal patch, together with Zuiko Auto-Macro f/2 50mm lens, black, serial no. 105051, body, VG-E, elements, VG-E (2)

1952, chrome, serial no. CH11856, with Kodak Ektar f/2.8 80mm lens, chrome, serial no. ET1489, body, E, shutter not firing, lens, VG-E, complete with Kodak Ektar f/3.5 135mm lens, chrome, serial no. ET961, body, G-VG, elements, VG, one tiny fungal patch, together with additional back, caps, lens hood, filters, flash-sync adapter, cable release, strap and paperwork, in maker's fitted outfit case (a lot)

Pine (John, engraver).- Horace. Opera, 2 vol., first edition, first issue, with 'Potes' on p.108 of vol. II, engraved throughout with frontispieces, vignette titles, dedications, lists of subscribers, portraits & illustrations (some full-page) and numerous head- & tail-pieces and initials, slightly browned, ink signatures in red ink on titles, contemporary crushed olive morocco, gilt, gilt panelled spine, vol. I 2 very small holes on lower cover, vol. II upper cover with small patch of surface wear, corners slightly rubbed, spine olive dulled, g.e., [Cohen-de Ricci 498; Ray, England p.3; Rothschild 1548], an attractive set, 8vo, John Pine, 1733-37.

Eliot (T.S.) Four Quartets, first English edition, card signed by the author loosely inserted, light spotting and ink gift inscription to endpapers, original cloth, light bowing to covers, dust-jacket, spine browned, spine ends and corners a little chipped, light spotting and toning to panels, lower panel with a few heavy indents and patch of soiling running onto spine, rubbing to extremities, 8vo, 1944.

Fleming (Ian) Moonraker, first edition, issue with "shoot" on p.10, a few small patches of spotting to margins, small patch of light staining to pp. 14-15, dust-jacket, price-clipped, spine lightly faded, spine chipped at head, but a remarkably bright example with strong colouring to upper panel, 8vo, 1955.

Fleming (Ian) The Spy Who Loved Me, first edition, cut signature of Roger Moore to title, small ink inscription to pastedown, small patch of tearing to hinge, original boards, dust-jacket, spine browned, toning to panels, lower panel with patch of browning to foot, spine ends and corners chipped, extremities rubbed, 8vo, 1962.

Fleming (Ian) The Man with the Golden Gun, first edition, ink ownership inscription to half-title, original first state boards with golden gun on upper cover, upper cover with patch of discolouration and 2 small bumps to foot but with the gun clean and bright, dust-jacket, very light toning to spine, minor rubbing and light creasing to spine ends and corners, but a near-fine example overall, 8vo, 1965.⁂ The rare first state, discontinued by Cape due to the prohibitive cost of stamping every copy in gilt. Around 940 copies were produced with this binding with the majority sent to Commonwealth countries.

A mahogany chest of drawers, early 19th century, with three short and three long drawers, on turned feet, height 98.5cm, width 129cm, depth 57.5cm.Condition report: Scratches to the top and one side of chest. A split on the top and also a patch to the corner of the top. Extra photos added to the listing.

David Bomberg (British, 1890-1957)The Old City and Cathedral, Ronda signed and dated 'Bomberg 35' (lower left)oil on canvas64 x 76.1 cm. (25 x 30 in.)Footnotes:ProvenanceAsa LingardSale; Jackson-Stops, Cirencester, 1-2 May 1957, lot 149, where purchased byMrs E. C. Bowes, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, David Bomberg 1890-1957: Paintings And Drawings, 2 March-9 April 1967, cat.no.61 (as Ronda); this exhibition travelled to Hull, Ferens Art Gallery, 22 April-13 May, Manchester, City Art Gallery, 20 May-10 June, Bristol, City Art Gallery, 17 June-8 July, Nottingham, Castle Museum and Art Gallery, 15 July-5 August 1967 Looking at this prime example of David Bomberg's Spanish paintings is like accepting an irresistible invitation. Here, in 1935, he encouraged viewers to explore the most ancient part of a city which had captivated him immediately when he discovered it a year earlier. Once Bomberg settled in Ronda with his family, 'he painted day after day, without much of a pause' according to his partner Lilian. Enthralled at first by what he described as 'the gorge -- a stupendous rent' splitting the city at its very centre, Bomberg then committed himself to exploring Ronda's awesome and inexhaustible identity.Taking a vantage which leads our eyes towards the heart of the old quarter, he reveals the full extent of his fascination. At the bottom of this canvas, two female figures can be detected standing next to a doorway. The older woman stretches out an arm and, with a maternal gesture, clasps the young one beside her. Either waiting for someone to arrive or simply savouring the view, they are the only people detectable in Bomberg's painting. As its title suggests, The Old City and Cathedral, Ronda focuses on buildings rather than their inhabitants.In the same year, Bomberg executed a powerful charcoal drawing called Rooftops, Ronda from almost the same viewpoint, disclosing just how fascinated he felt when gazing down at the tight-knit structure of the architecture congregated around the historic cathedral in the distance. This large drawing, included in a major celebratory exhibition of Bomberg's career held at the Daniel Katz Gallery in 2007, testifies to his eloquent draughtsmanship. And the painting, doubtless created soon after he completed the charcoal study, proves that he was eager to capture the old city with brush in hand.Although Bomberg remains faithful to Ronda's identity throughout this canvas, there is no hint of topographical dullness anywhere. On the contrary: the marks enlivening his painting have a life of their own. He revels in the dramatic contrast between one side of his composition and the other. On the left, the foreground buildings are relatively dark. Viewed close-to, the freedom of Bomberg's brushstrokes makes us realise how far he is prepared here to push himself towards abstraction. He handles the pigment with surprising forcefulness, giving the thick paint an exemplary sense of dynamism and excitement. Whereas on the right, the tall foreground house asserts its substance even while appearing far paler, as if preparing to dissolve in the dramatic brightness of the light.Bomberg, a Londoner who had grown up in the grime of a smoky and polluted East End, was enchanted by the sun's potency in Spain. It transformed his vision of the world, and the potency of light is evident throughout The Old City and Cathedral, Ronda. Wherever we look, the luminosity emanating from the sky plays a crucial role in defining the buildings below. The pale house on the far right is alive with deft and subtle diagonal shadows cast by the roof and the window-sills below. Then suddenly, further along the sloping street leading deep into the city, sunshine hits at least two more houses. Doors and windows are painted with extraordinary liberty as our eyes pursue them down the street. Bomberg clearly relishes treating them as a sequence of energetic, vertical paint-strokes. They take on a near-abstract vivacity and independence. So does the curving surface of the street itself, evoked with generously loaded swipes of his brush. We share the artist's relish as he claims the freedom to summarise the essence of Ronda in such an emancipated way.Alongside this emphasis on freewheeling vividness, though, Bomberg also conveys his awareness of the city's vulnerability. As he lets us penetrate the tightly-knit clusters of buildings in the distance, we become aware of their poignant fragility, too. Ronda's allure had seduced him into staying there, but he remained acutely conscious of the ravine plunging downwards at the city's heart. In the most distant part of this painting, the land suddenly rears up on the left and proclaims the presence in Ronda of what Bomberg himself described as 'the amphitheatre of mountains by which it is surrounded.' This city had been erected in an intensely dramatic location, and the sheer strength of its surroundings is asserted in this area of his painting. The mountain looms over the city, forever reminding all its inhabitants of the geological violence which must once have created the immense fissure running through Ronda.That is why the near-silhouetted bulk of the cathedral itself makes such an assertive contribution to Bomberg's painting. He gives the spire a thrusting prominence by ensuring that the patch of sky directly behind it is very pale indeed. Later in his life, Bomberg was sufficiently impressed by the architecture of St. Paul's Cathedral in London to make several outstanding drawings of its near-miraculous ability to survive Nazi bombs during the Blitz. He subsequently drew Notre Dame's spires and towers in Paris as well as the side façade of Chartres Cathedral. So although Ronda's cathedral occupies a distant position in Bomberg's painting, he made sure that its impact is assertive. Undisturbed by the restlessness evident in the sky all around, this cathedral presides over Ronda's historic city with unequivocal strength and assurance. The linear elegance of the spire is equally impressive, asserting its poised presence in the air while the secular buildings below almost seem to be jostling with each other in a far more confined space.Looking at The Old City and Cathedral, Ronda today makes us realise how much stimulus and sustenance Bomberg gained by painting it. In 1935 he also became a father here, for the first and only time in his life. Lilian recalled that the birth made him 'very worried and frightened all the way through', especially at the alarming moment when 'the baby was born purple and black because she was tangled up with the umbilical cord.' But little Diana survived, and Bomberg then ecstatically declared she was 'the loveliest thing one could wish for.' Ronda occupied such a special place in his life that he returned there in 1954, executing many of his finest late paintings and drawings before a terminal illness prompted his reluctant, gruelling return to England three years later. Seen in this light, The Old City and Cathedral, Ronda can be viewed above all as a celebratory painting, executed with admirable verve by an artist who had fallen in love with Spain. We are grateful to Richard Cork for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Browning (Robert) Bells and Pomegranates, nos. 1 - 8, all but the fifth part first editions, fifth part second edition as usual, general half-title, without the half-title to part 2, ink inscriptions to endpapers, original decorative cloth stamped in blind, lower joint splitting at head, small patch of splitting to upper joint, spine ends and corners a little bumped, some light repair to upper portion of spine, light bumping to extremities, but a sharp and excellent example overall, 1841-46 § Browning (Elizabeth Barrett) Poems Before Congress, first edition, half-title, some pulling to gatherings, original cloth, lettered in gilt and stamped in blind, spine darkened, corners a little bumped, 1860; and another by the same, 8vo (3)⁂ The first is one of Browning's most significant publications, including some of his most celebrated poems "Pippa Passes", "The Pied Piper of Hamelin", "My Last Duchess" (here titled "Italy") and "Porphyria's Lover" (here as the second part of "Madhouse Cells").

German Prog Rock CDs, twenty-five CDs comprising twelve by Faust, seven by Guru Guru and six by Embryo - titles include The Faust Concerts Vols I and II, You Know Faust, Edinburgh 1997, Patch Work, Faust Tapes, Steig Aus, Rache, Opal, We'll Keep On, Guru Guru 98 Live, 2000 Gurus, Hinten and more - mainly Excellent condition

Moody Blues Box Set, Timeless Flight - 11 CD / 6 DVD Box Set released 2013 on Threshold (534 248-2) - with 120 page Hardback Book, Poster, Press Pack, Programme and Patch - Original Sticker and all in EX+ condition

A foil-backed flat cut garnet brooch, possibly formerly an aigrette, with a pierced and arched leaf-shaped section, set with a central line of foil-backed flat cut octagonal garnets, with open scroll sections to each side, set with circular and oval foil-backed flat cut garnets. A ribbon and cluster to one end, set with foil-backed flat cut garnets. A later hinge, curved pin and revolver clasp. 73 x 23 x 8.5mm, 13.2gProvenance: The Estate of Virginia Chapman, late of Debden Manor.Condition report: Tested and valued as sterling silver.This piece was probably originally an aigrette, c.1710.Remnants of gilding.Remnants of a previous fitting to the main spine.An additional patch where the roller catch is fitted and at the hinge.Garnets bright and lively, no obvious deterioration to the foil.No obvious abrasion.A small chip to one corner of a garnet at the end, and a very small garnet cracked at the same end under 10x magnification.

An early 19th Century brass patch box inscribed and dated JC J White 1838, inscribed decoration depicting a drinking glass and jug, inscribed to back J Colclough

A collection of assorted costume jewellery, comprising various brooches, pendants, earrings, an Art Deco necklace, a gilt metal bangle, mostly 20th Cenutry and later, a patch box etc

A late Victorian novelty silver combination cigarette case and hip flask, plain body with comparments, hallmarked Chester, 1897, 5.38 ozt (167.3 grams) CR: maker's mark worn, patch to back right corner, hinge bar of flask loose, requires restoration - AF)

A 19th century ash, beech and elm Windsor wheelback armchair and a Windsor wheelback single chairCONDITION: Windsor chair slightly wobbly in the frame particularly the upper structure with some splits running along the arms and an old repair to the top of the right arm, original elm seat has one infilled patch, slight wear to legs, single chair with fair wear from use.

A large Persian cream ground carpet, 280 x 387cmCONDITION: Dirty in places, brown staining in one quarter, patch of staining to fringe.

A George III mahogany four-drawer chest of small proportions, width 90cmCONDITION: Repolished at some point, one repaired patch to the back left corner otherwise light scuffing, some small loss of cockbeading to the front right top corner, handles are later replacement.

A George III ivory, bloodstone and yellow metal mounted patch case

THREE BOXES OF CERAMICS AND GLASS to include Foley china 'Fern' tea wares by Maureen Tanner, Midwinter tea wares by the Marquis of Queensberry, T G Green 8.5cm storage jars - green backstamps, Royal Osborne 8324 tea wares, Mabel Leigh dish for Shorter Brothers, Denby one and half pint blue glaze jug, Buckingham Palace patch pot souvenier, Canadian animal sculptures, Caithness bowl, drinking glasses etc

A Swiss or German Gold Patch-Box, Maker's Mark GB Incuse Crowned, First Quarter 19th Century, oval, the hinged cover, sides and base each decorated with quatrefoils within discs, 4cm wide, 9dwt (14.2gr) . Marked inside base and cover with maker's mark only. The marks are clear. In generally good condition with only some minor scratches.

Circle of William Shayer Snr. (1787-1879) Unloading the day's catch Oil on canvas, together with a companion by the same hand, 21.5cm by 29.5cm (2) See illustration . Images of frame and verso will be uploaded in due course.In fully restored condition. Fairly stifled relined, cleaned and revarnish with relatively high gloss finish. Each of the examples displays comprehensive strengthening throughout the sky mostly excluding the clouds.Example with fisherfolk with baskets of fish in foreground – the brow of each ship and the end of the ships immediately behind the standing figures have been strengthened in addition to the outline of the basket held by the figure bending on the left. Paint slightly thin within the green of the landscape beyond. Surface slightly flattened former the restoration process. Extremely fine barely perceptible diagonal scratch within the varnish running from the sail through the landscape. Other example- small patch of retouching within the hillside next to the far away beached vessel. Elements of the paint are thin mostly within the landscape. Each with light surface dirt and discoloured varnish. Otherwise in a good and stable state of preservation.

James Webb (1825-1895) 'View of Mont Orgueil Castle, Gorey, Jersey'' Signed, oil on canvas, 75cm by 126cm Provenance: Gentleman's club, Vancouver, British Columbia; Chomé Fine Art; Private collection, North Yorkshire There is a similar, smaller composition by Webb in the Manchester City Art Gallery See illustration . Images of frame and verso will be uploaded in due course.In restored condition. Relined, cleaned and revarnished. Slight stretcher shadow. Varying sized essentially stable craquelure – most evident throughout the sky. Reasonably limited retouching to essentially all edges. Sporadic and fine infilling to some old craquelure within the sky, mostly contained to the left-hand side. Odd further small patch of retouching and infilling within the sky approx. 3rd of distance above the horizon to far left side – approx. 10 in total none being more than 1cm in diameter with some additional general overpainting. There are two clusters of retouches immediately above the boats at horizon level on left-hand side and a further cluster approx. 8cm just left of these. Small loss within the sea below the left-hand side of shipping vessel on left hand side of the painting approx. 1cm in diameter. Some delicate retouches and infilling within the sky, between the mast of the ship and the castle, in addition to some of the masonry of the castle and the shadows and definition of the rock at the base of the castle. Small circular patch of retouching/overpainting at the end of the buoy attached to the prominent ship just right of centre and is approx. 1cm in diameter. Most likely some general strengthening throughout the sail of this ship.  Patch of later paint at horizon level around the seagull towards lower right-hand corner and some further general strengthening to essentially darker tones of figures and sea etc… Retains fairly good degree of brushwork and impasto. Light surface dirt and discoloured varnish.

George Graham (1881-1949) Seascape Signed, oil on panel, 40cm by 55cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration . Images of frame and verso will be uploaded in due course.Cleaned and revarnished. Small patch of retouching along the top of the cliffside nearest far left hand side edge - no more than 0.5cm wide and 1cm in length. Small amount of broken retouching along upper edge left hand side and corners in general. Small area along right hand side edge approx. 3cm above horizon line and roughly 0.5cm in diameter. Some surface dirt and discoloured varnish.

William Mellor (1851-1931) ''On the Rothay, Near Grasmere, Westmoreland'' Signed, oil on canvas, 48.5cm by 74cm Provenance: Haynes Fine Art, Broadway . Images of frame and verso will be uploaded in due course.In restored condition, re lined, cleaned and re varnished. Some light surface dirt and discoloured varnish now in evidence. Minor retouching to upper left hand corner. Sporadic and fine retouching to some of the darker shades amongst the vegetation above the signature and further odd strengthening to darker tones within the rocks in general. The shadows of the sheep and that delineated beneath the rocks in the foreground appear to be broadly strengthened. Small patch of retouching, presumably to flaked paint approx. 7cm left of centre within the sky and above the clouds of the regular shape and no more than 1cm across. Odd minor horizontal dash of retouching lower right hand side edge and corner and possibly parts of the branches and trunk of trees right hand side. Paint slightly thin in places and surface flattened from restoration process. Otherwise in a good and stable state of preservation.

William Mellor (1851-1931) Cattle watering at Bolton Abbey Signed, oil on canvas, 49cm by 74.5cm Provenance: Cooling Galleries, London See illustration . Images of frame and verso will be uploaded in due course.In restored condition. Somewhat stiffly re lined, cleaned and re varnished. There is a perceptible large patch of overpainting to the sky within the foliage and canopy of the trees left hand side and probably extending through a large majority of the sky in general. Some of the fine linear dark pigments towards lower right hand corner may have been strengthened, including the signature. Tiny patch of retouching below and just left of the cattle reflections which may have also had some enhancement. Sporadic horizontally applied area of retouching right hand side edge approximately 2cm from lower corner and 5cm in length with widest applied brushstroke no more than 1cm across. Fine stable craquelure throughout, more evident within the sky and more thickly applied areas of paint. Some surface dirt and discoloured varnish now in evidence. Otherwise in a stable stat of preservation.

Continental School (19th century) Shepherd boy in a landscape Milkmaid in a landscape Each indistinctly signed and dated 1859?, oil on canvasboard, 76.5cm dia. (oval) See illustration . Images of frame and verso will be uploaded in due course.The example with milk maid – cleaned and revarnished. Now a reasonable amount of surface dirt and discoloured varnish. There is little to perceived under a UV light in terms of restoration or later paint, however with the naked eye one can see approx. 4 areas of retouching which have discoloured at a different rate to original paint. These are upper left hand side edge. To approx. centre and just left of centre around 5cm below the canopy of trees and another directly above the goats head. The largest is not entirely uniform but is approx. 1-1.5cm by 0.5cm. Isolated fine stable craquelure. Example with shepherd – There is a small amount of sporadic small sized retouching within the canopy of the trees on the left hand side towards outer edge and elsewhere within the trees although insignificant. There is the odd further minor dash of retouching to edges and elsewhere. Cleaned and revarnished. Some surface dirt and disclosed varnish now in evidence. Isolated fine stable craquelure. Similar slightly paler patch of paint just right of centre background to that seen on the other example. Minor rubbing to some edges and slight transference of gilt paint to upper edge. Paint slightly thin in places on each example. Both broadly in good stable condition.

Frederick (Fred) Hall (1860-1948) Goats in a landscape Signed, oil on board, 18.5cm by 27cm See illustration . Images of frame and verso will be uploaded in due course.In effectively overall good and stable state of preservation. Light surface dirt and discoloured varnish. There is a patch of later green paint to the left of the standing goats’ outstretched hind leg which would seem to be disguising a vertical scratch or scuff. The green is slightly incongruous compared to other original green pigment.

Karl Maria Schuster (1871-1953) Austrian The New Dress Signed, oil on canvas, 116cm by 97cm See illustration . Images of frame and verso will be uploaded in due course.Possibly relined, cleaned and revarnished. There is likely retouching and strengthening to some of the general shadows and darker tones within the plates displayed on the furniture and within the upper right hand corner. There is a further small amount of retouches within the background behind the lady wearing a green bonnet and are perceptible by eye. Further small area of retouching within the right angle of the open window. Two further small areas of retouching at the left hand side standing lady’s elbow, patch within the lower area of the skirts belonging to the seated lady approx. 1cm by 1cm. Retouching to lower left hand corner and the shadow cast by the chest on chest on the left hand side has also been strengthened, in addition to an area approx. 3cm  by 5cm between the arms of the standing and seated lady. There are other minor retouches here and there. Light surface dirt and discoloured varnish. Some of the mentioned overpaint and retouching is visible with the eye. Otherwise in an overall good and stable state of preservation.

William Maw Egley (1827-1916) The Posy Signed and dated 1859, oil on canvas, 29cm by 24cm See illustration . Images of frame and verso will be uploaded in due course.Broadly in a good and original state of preservation. Surface dirt and discoloured varnish. A fine to larger sized craquelure throughout surface. White coloured scuffing along top edge, possibly as a result of the canvas moving in the slip. Relatively minor retouching along top edge, upper corners, left hand side edge, lower left-hand corner, two vertical lines of strengthening within the background, mostly in the upper area above her left shoulder. Slightly more consistent patch of retouching in the background immediately behind her left shoulder and is approx. 3cm in length and 0.5cm wide. Further effectively circular patch of retouching within the background immediately right of her right eye and approx. 1cm in diameter. Odd other sporadic retouch here and there. Slight stretcher shadow. Cleaned and revarnished.

Erskine Nichol RSA, ARA (1825-1904) Scottish The Angler's Repast Signed and dated (18)86, oil on canvas, 98cm by 74cm See illustration . Images of frame and verso will be uploaded in due course.Relined, cleaned and re varnished. There is a patch of retouching and over painting where the original paint has possibly been abraded by the cleaning process within the lower part of the sky meeting the horizon on the left hand side and darker tones describing shadows within the water beneath this. Small patch of retouching waist height of gentleman next to lapel of his coat, approx. 1.cm in diameter. The paint remains somewhat thin elsewhere in the sky and in and around the rushes and boat described within that area and to a lesser extent, the area opposite to this on the left hand side of the figure. Some surface dirt and discoloured varnish, minor rubbing to left hand side edge due to movement in slip and frame. Otherwise in an overall good and stable state of preservation.

Alfred Seifert (1850-1901) Czechoslovakian Portrait of a beauty, head and shoulders amongst flowering Oleander Signed, oil on panel, 41cm by 32.5cm See illustration . Images of frame and verso will be uploaded in due course.Cleaned and revarnished. There is fairly consistent strengthening throughout the darker tones and shadows around the leaves and Oleander flowers across the background. There is evidence of infilling to old craquelure across the lady’s face and within the flesh in and around her decolletage. A minimal amount of retouching to her hand and a larger consistent patch to the right of the sprig of flowers she holds in her hand within the white garment. Two tiny losses above her left shoulder and another tiny loss within the strand of hair upon her shoulder. Paint slightly thin in places, particularly within the background which maybe the incentive for the strengthening previously described. Isolated fine stable craquelure. Panel slightly adrift of frame at upper edge. In an overall stable state of preservation.

Circle of Sir Godfrey Kneller (1646-1723) Portrait of Peter Vanderbank, c.1695, head and shoulders Oil on canvas, 60cm dia. (oval) See Illustration . Images of frame and verso will be uploaded in due course.Old reline, cleaned and revarnished. There is a relatively small amount of retouching and general strengthening to the gentleman’s face including his eyebrows, the shadowing and definition of the upper and inner part  of his right eye, lower lid of left eye and a fair degree of the left hand side of his face. Further generally less consistent strengthening to shadows and definitions in the lower part of his face below his nose and in and around the lips chin and neck area. There is a larger patch of overpainting and restoration above his right shoulder and in the hair, which is essentially circular and approx. 5cm in diameter, with a further small irregular patch below and right of this area of retouching. Probably some general strengthening throughout background and darker areas of clothing – probably of a different date.  Paint thin in places, particularly within the background and the surface is slightly flattened from the restoration process. Isolated areas of medium sized stable craquelure. Patch repair to reverse of canvas upper right quarter (which associates to retouching and overpainting described as above shoulder). Feint inscription of sitter and date 1690?  and signature within background towards lower right. Slight stretcher shadow.