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

Ruskin Pottery - A miniature high fired vase of tapering barrel form with a squat collar neck, the whole decorated in a red glaze with a patch of dark grey veining, impressed WHT monogram, height 5.5cm

A 9ct gold banded cheroot holder, miniature pipe and patch pot

.925 purple guilloche enamel patch or pill box with import duty marks (some loss of enamel)

A Victorian turned ivory and tortoiseshell patch box with an inset lock of hair, Dia.5cm. (Prov. Samy collection).

Foreign patch box in a form of a whistle, 1.5" long marked Stirling

Percussion .600 sporting rifle, with octagonal Damascus barrel bearing indistinct name and London, figured chequered stock with patch box engraved with a lion, pineapple finial trigger guard and iron furniture, barrel length 83cm overall length 124cm. Section 58(2) Antique /obsolete calibre, can be owned without a licence.

ACORN SHAPED SMELLING SALT/ VINAIGRETTE, ONE OTHER, BOOK FORM NEEDLE CASE WITH EMBOSSED COVER AND A WILLIAM COMYNS SILVER CIRCULAR PATCH POT SET WITH VICTORIAN COIN

Three 19th century enamel patch boxes, a 19th century tortoiseshell oval snuff box with yellow metal cartouche and another (5)

Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, London, whence purchased in the 1920s; hence by descent.Exhibited: The Dublin Art Club, 1887, Catalogue No.129.Literature: Sheehy, Jeanne, 'Walter Osborne', Gifford & Craven, Ballycotton 1974, p.121, no.174; Bodkin, Thomas, 'Four Irish Landscape Painters', Dublin and London, 1920, Appendix XI, p.133; le Harival, Adrian and Michael Wynne, 'Acquisitions, 1984-86, National Gallery of Ireland', Dublin, 1986, p.68, illustrated fig.60b.(note: Osborne titled this picture with the spelling ‘Sutton Courtney’ and this spelling will be used when referring to the painting. The correct spelling of the village is Sutton Courtenay.)Journeying along the river Thames, Cork-born artist Robert Gibbings wrote in 1940 that: “Sutton’s Pool by Sutton Courtenay is a fairy world of falling waters. By moonlight… it is a setting for the rarer moments in life”. Gibbings did not linger in the village, “leaving the last golden hours of evening to the boys fishing on the weirs” (1).In 1887, Walter Osborne had stayed at Sutton Courtenay (then in Berkshire but today in Oxfordshire) and painted the present picture A Bit of Sutton Courtney, A Village by the Thames. It shows a boy leaning against a wooden railing, fishing, while across the river a woman stands and tall red buildings are lit by sunlight. Walter Osborne observes the scene meticulously and the picture has a wealth of detail and a strong human presence. In spite of its rural setting, the painting is aflame with warm, glowing reds and browns, almost unprecedented in Irish art at this time.Having earlier studied in Dublin and Antwerp and painted in Brittany, Osborne spent much of the second half of the 1880s working in English villages and towns, painting a series of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Sometimes he had the company of fellow artist Blandford Fletcher and his friend from Dublin, writer Stephen Gwynn, was in nearby Oxford, 1882-1886, and was teaching at Bradfield School in 1888 (2).Sutton Courtenay was a tranquil and picturesque village just south of Abingdon and north of Didcot, situated in a curve in the river Thames. It had been settled by the Saxons, who built a causeway on the river. In the twelfth century, the village took the name of the Courtenay family, who lived in the manor (3). All Saints’ Church and other fine buildings date from later centuries (4). In the mid-19th century, many villagers were employed in the local paper mill and in domestic service. The most striking features of the village were the causeway and weirs that separated the millstream from the Sutton Pools and Osborne was attracted to the streams where boys fished.From his early days in Ireland, he had depicted several pictures of lads fishing in a stream or canal (5). In A Bit of Sutton Courtney, the figure is placed close to the viewer, leaning against a wooden fence. He holds a fishing rod and looks down at the river. He wears a kind of deer-stalker hat, white shirt and brown waistcoat. Sunshine falls upon his cheek and sleeve. His figure is viewed from behind and his legs are cut by the lower edge of the picture, suggesting a photographic influence. Across the river, a woman with hat and violet apron stands upon the river bank looking at the barge. Even though the figures are separated by the river, visual and, perhaps, emotional affinities between them are evoked - both looking down and both holding a rod or a stick.There is a wealth of detail in the scene: the rough grain of the sturdy wooden fence, with an upright post just visible behind the boy's legs; the reflections and ripples in the river and the little fishing float; the tall buildings with steep roofs, including the uneven structure of the barn and an old cart with large wheels. Although the sky in the background is overcast, here Osborne was inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage. A Bit of Sutton Courtney is enlivened further by little points of colour; the mauve of the woman’s apron, reds, greens, blues, whites and yellows in the barge and reflected in the water; the stripes of the upright post; red in the boy’s cheek and pocket; the mauve patch on the railing; and the blue of the float.Equally, Osborne’s brushwork is lively and varied: crisp and controlled in some areas, fluid and expressive in others. The ‘square brush style’ is employed, for example, in parts of the boy’s clothing, the woman’s apron and the walls of the barn. Meanwhile, the ripples are painted in a softer, more lyrical way and parts of the foliage and undergrowth are more ‘blurred’, for instance, in the rough grass draped over the river bank.If we look closely at the painting, we notice an interesting detail: the impastoed brushstrokes that depict the fence are visible beneath the figure of the boy. This suggests that Osborne may have added him to the picture at a later date than the landscape. This was not an unusual practice amongst painters, such as Canaletto or Caspar Friedrich (6), but Osborne may have decided to include the figure to give a greater sense of focus, psychological interest and human warmth to his composition. The motif of the figure, viewed from behind, looking into the picture, the Rückenfigur of German Romanticism, can be seen in the paintings of Caspar Friedrich and in Realist pictures by François Bonvin, Henri de Braekeleer and Joseph M. Kavanagh. As in several Osborne pictures of the period, for instance Counting the Flock, 1887 (sold at Adam’s, 30th May 2018) (7), the figure viewed from behind is an individual, but also an archetype, engaging the viewer and adding a sense of mystery.A Bit of Sutton Courtney is painted on a wood panel and is signed lower right with the squared capital letters which the artist employed in this period. Osborne exhibited the picture at the Dublin Art Club (of which he was a co-founder), in 1887, modestly priced at twelve guineas. He made a tiny pencil drawing after the painting, the figure being outlined in ink (in sketchbook in NGI, catalogue number 19, 202, p.14).Sutton Courtenay continued to attract Irish and other artists and writers. John Lavery painted Asquith in an 1891 Elizabeth boat on the river in 1917 (Dublin City Gallery, The Hugh Lane). George Orwell fished there as a boy. Francis S. Walker illustrated a book on the Thames in 1891 (8) and, as noted above, Robert Gibbings passed through Sutton Courtenay and wrote lyrically about it.I am very grateful to Niamh MacNally, Anne Hodge and Andrew Moore, National Gallery of Ireland; John Hutchinson; and Maria O’Mahony for assistance in my research.Julian Campbell, January 20191) Robert Gibbings, Sweet Thames Run Softly, London 1940, p.106.2) Jeanne Sheehy, Walter Osborne, NGI, 1983, p.77; and J. Sheehy, Walter Osborne, Ballycotton, 1974, p.22.3) https://en.wikipedia.org/wiki/Sutton_Courtenay4) Nikolaus Pevsner, The Buildings of England. Berkshire, Penguin 1966, All Saints’ Church and the Norman Hall were built in the late 12th century, and the Abbey about 1300.5) Eg. A Glade in the Phoenix Park, exhibited RHA 1880.6) Canaletto seems to have painted the background of his Grand Canal series first, then added the figures afterwards. See also Joseph M. Kavanaggh, Sheep in a Snowy Field, 1895, where the horizon line is visible beneath the bodies of the sheep. (‘Exhibition of Irish Paintings and Sculptures’, Gorry Gallery, Dublin 2018, no.50.)7) See Counting the Flock, 1887, Important Irish Art, Adam’s, 30th

A GEORGE III SILVER RECTANGULAR SNUFF BOX, of slightly curved, reeded form, by John Shaw, Birmingham 1809, 5.5cm; and a similar patch box, by Matthew Linwood, Birmingham 1806, 7cm (2)

A large framed Watercolour by Llewelyn Petley- Jones entiltlied RAF Lauadrey The Patch. Signed in pencil Petley69 with inscription and Gallery label to the reverse. 56x37cm

A Spode oval dish printed with City of Corinth pattern from the Caramanian series, 32.5cm wide and a Davenport Chinoiserie Ruins pattern plate Condition Report: 216 - The dish with a small patch of glaze fritting to the edge of rim at 4 o'clock but otherwise in very good condition with little to no signs of wear; the plate in very good condition.

A Victorian tea set by H & R Daniel, comprising teapot, jug, slop bowl, two plates, eight saucers and twenty cups various Condition Report: Pattern number 3713Teapot has a crack to the spout along the top line of moulding, otherwise some light rubbing to gilding on the high points.Milk jug has a stained hairline crack to the footrim below the handle, approx. 2 cm. long.Slop bowl has a 7.5 cm. long crack from the rim, with an associated shard of porcelain lacking at the rim.Both cake plates are without damage, and only have some stacking wear to the gilding around the edge of the well. The saucers are all without damage, only rubbing to the gilding around the centre. One has a patch of staining to the underside.Of the nine coffee cups: one has a very short hairline crack to the rim above the handle and two very small footrims chips. One has a small but noticeable chip to the front of the foot. One has a tiny chip to the footrim. One has a minute chip to the footrim. The remaining cups are all without fault. Of the eleven teacups: two have a single hairline crack each from the rim to the gilt garland. The remaining cups are all without fault.

Two Georgian Battersea/Bilston enamel patch-boxes - Salisbury Cathedral and 'Look within and You may view A Maid to who I will be True', both with mirrored lidsSalisbury example heavily damaged lid and detached at hinge, other box with hairline cracks to left hand side

English school - Study of two long legged Jack Russells in a landscape, oil on canvas, indistinctly signed lower left, 25 x 30 cm, unframedPaint losses, marks, blemishes overall, restored - patch to canvas see verso

A Papier Mache Patch Box with a colour depiction of a lady Velocipède rider in a countryside setting, on the hinging lid.

A 1904 Sunbeam 'The Golden' Gentleman's Roadster An imposing bicycle with a black-enamelled 27-inch frame numbered 69227, and retaining all original equipment, to include its oil bath chain-case, Sunbeam brakes operated by roller levers, 22-inch flat handlebars, nickel-plated with threaded caps and cylindrical patch holder, nickel-plated pump and 7-inch cranks with block rubber pedals, a correctly fitted two-speed bottom bracket and a (later) B.S.A. three-speed rear hub with quadrant control correctly fitted to the top tube, deep profile mudguards, 28-inch wheels and good tyres, A recovered Brooks leather saddle with the early 'OO' Brooks logo, tool bag containing spare brake blocks, four Sunbeam inscribed and other tools, oiler, etcetera. A delight

A mixed lot of dolls which includes, Cabbage Patch Kids, Cabbage Patch Kids Baby, Fisher Price Julie, Tiny Tears Timmy.

A rare Derby baluster-shaped coffee pot, c.1758, painted in 'Cotton-stem painter' style with a loose bouquet of flowers and floral sprays, puce scrollwork pendant to the handle, patch marks, h. 16.7cm, cover lacking and some restoration.Provenance: The Dennis G. Rice Collection of fine early Derby Porcelain (1750-1770)As well as being an avid collector of early Derby porcelain, Dr. Dennis G. Rice was an academic and wrote one of the key reference works on the subject - 'Derby Porcelain, The Golden Years 1750-1770' published in 1983. A number of the pieces illustrated in the book will be offered for sale.

A rare Derby scalloped butterboat, c.1758, painted in 'Cotton-stem painter' style with a loose bouquet of flowers and floral sprays, red brown line rim, patch marks, l. 12.3cm, minor faultsProvenance: The Dennis G. Rice Collection of fine early Derby Porcelain (1750-1770)As well as being an avid collector of early Derby porcelain, Dr. Dennis G. Rice was an academic and wrote one of the key reference works on the subject - 'Derby Porcelain, The Golden Years 1750-1770' published in 1983. A number of the pieces illustrated in the book will be offered for sale.

A STAFFORDSHIRE ENAMEL PATCH BOX, 18TH CENTURY, circular, the domed cover centred by an urn against a blue ground, the box further decorated in blue and green against a white ground, the cover inset to the inside with a mirror. Diameter 4cm

AN 18TH CENTURY ENAMEL PATCH BOX, of waisted rectangular form with hinged cover, painted with floral sprays. 5.5cm wide

Follower of Alfred de Breanski (1852-1928) - The old mill at Brora Sutherland, oil on canvas, 49 x 78.5cm. Inscribed to stretcher.Eight small patch repairs verso, with small areas of overpaint to obverse.Paint good and stable, no crazing or breaking out.Would benefit from a light clean.Frame with minor losses to extremities.

Dent of London - a Victorian mahogany bracket clock, having signed white enamel dial, with single winding hole for a brass eight day wire-driven single fusee movement, with anchor escapement, the backplate with further applied plaque signed Dent London, the case with applied acanthus leaf moulding and on lacquered brass bun feet, h.34cm. Dial is overpainted.Some minor surface scratches between 5-9 o’clock.Case polished.Two fine veneer splits to top.Glass goof.Rear door good.Two patch veneers to back above door.In running order.Backplate with no unexplained holes.With pendulum and non-original key.

An early 18th century joined oak dresser base, the top having a moulded edge over twin frieze drawers and panelled doors on iron hinges, and raised on stile end supports, with restoration, w.143cm, d.51cm, h.89cm. Provenance: ex-Suffolk House Antiques, Yoxford, Suffolk. Handles are replacement.Moulding to top drawer is later.Hinges have been moved and/or replaced.Locks and escutcheons do not match.Replacement patch to top.

~ A George III Mahogany and Crossbanded Serpentine Front Chest of Drawers, late 18th century, the four graduated drawers and moulded plinth base on bracket feet, 110cm by 60cm by 90cmSome variations in colour and fading. Right end panel split. Left side panel with small split and scuff which has been partly filled and polished. Drawers oak lined with later additions for strengthening. Top right drawer with rectangular patch to timber between escutcheons. Front covers with some shrinkage splits which have been partly filled and polished. 211118

Follower of Marcus Gheeraerts the Younger (1561/62-1636) Portrait of a young child, standing full length, wearing a black dress, with a fine lace collar, a gold chatelaine and holding a chaffinch Dated 1616, 3 December, oil on canvas, 84cm by 61cm See illustration Relatively old re line, clean and re varnish. Section of over painting within the upper left hand corner around the inscription. Further patch of infilling/over painting in line with the child's left eye in the background approximately 1cm by 1cm. The outline/left hand side hair line and throughout the crown of hair has been in filled and strengthened. Further more minor and sporadic retouches throughout background within the upper half. More consistent strengthening to darker shadows and definition of the costume and within the foreground on which the figure stands. The shadow of the chin has been re painted and the lips of the child appear to have received some treatment. Some of these areas of re touching are visible with the eye and have probably been executed at various different times. Fine stable craquelure throughout, particularly more evident within the flesh tones where the surface dirt etc. compounds the craquelure. Covered in a relatively thick layer of discoloured varnish. The darker tones of the dress/surface generally slightly flatter and more abraded. Very slight push mark to left hand side collar at shoulder hight. In otherwise a fair and stable condition.

An early 19th century side lock/Flintlock fowling piece, engraved 'LODER' (John & Edward), London, overall length 121cm. Condition Report: Old splice repair, to the fore end of stock (well done). Small patch on stock behind lock on the hammer side.Action spring is weak but cocks and half cocks.

J A HENDERSON TARBET (SCOTTISH C.1865-1937) FISHING A RIVER IN AUTUMN Oil on canvas, signed, 61 x 91.5cm (24 x 36") Condition Report: There is a small patch verso corresponding to an area in the top right hand quarter section close to the top edge where there has been retouching recto. Retouching is also noticeable in a small area in the top left hand quarter section. On close inspection light cracking in the pigment is most apparent over a large part of the right hand section of the canvas, much of the bottom left hand quarter section, in the area middle and right, at top and to a lesser extent in the top left hand corner section over the area of the sky.

DUNCAN CAMERON (SCOTTISH 1837-1916) HARVEST TIME Oil on canvas, signed, 51 x 77cm (20 x 30 1/4") Condition Report: On close inspection there is light cracking in the pigment over large areas of the top half section of the canvas and stretcher bar lines are noticeable down the left and right sides where the pigment has sustained light cracking in places. There are four areas verso, one of which has a patch, that correspond to restoration work recto, located within the left hand section of the canvas. There is also a small darkish area verso, that corresponds to a small area of restoration recto, located within the lower right hand quarter section.

A FAIRBAIRN-SYKES FIGHTING KNIFE with ribbed hilt, the double edged blade marked the F-S Fighting Knife and Wilkinson Sword, London, in metal tipped leather sheath, the blade 17cm long, 29cm overall length Condition Report: - No rattling, a bit of rust where the blade meets the hilt and a patch of what looks like Verdigris on the bulbous part of the hilt on one side. Blade is in OK condition and is 16.5 cm. long. 

A BRITISH ARMY XI TEAM LINE-UP PHOTOGRAPH possibly relating to the match against Ireland played on 13th September 1941, the margin bearing numerous player autographs including Cullis, Swift, Beattie etc, 25 x 30cm overall and a collection of other wartime photographs and embroidered Army Football Association patch Condition Report: Available upon request

AN 18CT GOLD AND PLATINUM DIAMOND SOLITAIRE of estimated approximately 1.60cts, dimensions approx 7.54mm x 7.54mm x 4.45mm. Finger size R, weight approx 4.2gms Condition Report: Clear feathertype inclusion towards one girdle and a patch opersite of clear crystals and feathers minute amount of carbon, slight rubbing to the bottom of the mount from rubbing on another ring, otherwise good, claws all sound.

WILLIAM MOORCROFT: A "HIBISCUS" VASE, shouldered form, decorated with flowers on a blue and green ground, signed and impressed markings, 25cm high Condition Report: Item appears to be in good overall condition with no visible damage or restoration. Crazing to flowers and top section of vase close to rim. White patch in photograph simply a glaze reflection from light box.

Vintage Mink Coat Ladies swing style female ranch mink coat. Pelts in wonderful condition, approx size UK 12, front patch pockets, hook and eye closure, lined in deep chocolate brown poly-satin. Please see accompanying image.

A early silver plain vesta case and a engraved silver vesta case and a silver patch box.

George III silver bowl, London 1812, 13.5 cm diam., together with a pair of silver tazze, 7.5 cm high, 10 oz. (311 gr.) (3). Pair of dishes - Light rubbing to marks. Decoration worn. One leaning.Other - Marks almost rubbed out. Patch repair. Probably had swing handle or handles. Dents.

Louis Vuitton Gold Monogram Leather Mat Wildwood Shoulder Tote. Brushed gold silver tone hardware, beige canvas interior with zippered and patch pockets, vachetta leather handles. Labeled appropriately. Pre-owned as new condition, with plastic covers on hardware. Measures 14-1/4" L x 12-1/4" H x 4-1/4" D. Dustbag included. (estimate $400-$600) Shipping $85.00

A selection of collectables including patch/pill boxes; watches; police whistle; an ornate bronze drain cover; etc.

British Army Air Corps Cloth Arm or Blazer patch, excellent large insignia with QC and gold braid eagle surrounded by a laurel.

Collection of Vintage and Modern Patch Boxes, etc.

A George III silver oval Patch Box with bright-cut hinged lid, Birmingham 1796, maker: S. Pemberton

A George III silver Patch Box in the form of a book with leafage engraving, Birmingham 1816, maker: Cocks & Bettridge

A Grand Tour style variegated marble model of a Roman bath, 19th century, the carved roll top and loop form handles upon shaped rectangular supports, width 40 cm, height 17 cm, depth 18 cm (see illustration). CONDITION REPORT: This appears to be in good order throughout with no obvious faults. The underside of the rim has very few nibbles and very slight undulations which only become apparent when touched. There is a dark patch to one side of the rim which looks to have been repaired but under close inspection it is just a natural striation of the stone. Overall this piece is in good order, there are no large chips, cracks or obvious restorations.

A Russian silver enamelled and jewelled cigarette case, with classical scene, 84 Kokoshnik mark, Moscow (1908-1926), maker HT, 208 grams. 105 mm x 85 mm (see illustration). CONDITION REPORT: At the top centre of the enamel panel there is a 12 mm x 2 mm repaired patch. On the enamel panel with the buildings there are very tiny nibbles on the top right hand side, these are not notable to the naked eye but can be seen using a jewellers loupe. In our opinion these are not detrimental. The interior would have had two bands to hold the cigarettes, these are now missing. On the right hand side of the lower section of enamel metalwork just above the jewelling there is a line across the silver, this looks like it was produced in its manufacture and not a later repair. There is a similar line on the opposing side. The gilding on the tassels on the left hand side is almost completely erased. Approximately 1 cm from the opening clasp on the main picture there is a 2 cm line which looks like a fracture but using a jewellers loupe this again appears to be a manufacturing flaw. There is a small cluster of jewels just above the left hand side of the lower enamel panel and to the right of these jewels there are two very small apertures which may or may not have taken a small stone. These apertures are now vacant. There is a similar vacant aperture on the right hand side of the case which is located just below the lower green stone, again this is vacant. In general an attractive piece. All faults listed should be visible using the zoom facility on the website.

A Furstenberg type porcelain figure group, early 20th century, modelled as a gentleman and lady in 19th century dress, the gentleman on one knee, 18.5 cm high, approximately 26 cm wide (see illustration). CONDITION REPORT: The ribbon tips in the ladies hat have been professionally restored to a high standard. There is a tiny white speck on the tip of the gentleman's right shoe. There is a further small patch on the gentleman's right shoe where the black enamel has not taken to the porcelain just to the right of the bow. The ladies left shoe has been professionally restored to a high standard. Other than those faults mentioned the item appears to be in good decorative order.

Four English porcelain trios, five Continental and English cabinet cups and saucers. CONDITION REPORT: The pink quatrefoil shaped cup has a small interior rim chip and a small patch of rubbing to the gilt handle. Its matching saucer is in good order. The gilt and white 19th century coffee cup has two tiny rim chips. Other than those faults mentioned all other items appear to be free from any post production chips, cracks, flaws or restorations.

A GEORGE III SILVER ARGYLE, of cylindrical form, beaded rims, ebonised fitments, engraved crest to the pull off cover and body, maker William Grundy, London 1778, approximate weight 13.9ozt, 432 grams, height to top of handle 12.5cm (condition: some marks on the slightly uneven base are rubbed, the interior rim has a gap in the silver, possibly a damaged section that was removed so the cover would fit, the inner rim of the cover is slightly mishapen but sits in fairly well with a very slight gap between cover and jug)(The crest on the body is rather out of proportion and isn’t very clear but it does seem to match the one on the cover very well, no signs of erasure, the pull off cover has lion passant and WG sponsor’s mark, also if you look at the photo with the handle and the spout facing front you will see a lion passant and rubbed sponsor’s mark to the right of the handle and the sponsor’s mark rubbed.Looks like a little bit of solder under the spout, the photo that shows inside the pot you can see a spot of solder or rough patch, there is another similar level a bit further round.)

A GEORGE III SILVER PORRINGER, 'S' scroll strap handles, cartouche blind, engraved on reverse side 'RICHD : BURROUGH 1770', fluted lower body, makers James Stamp & John Baker, London, 1769, approximate weight 7.8ozt, 244 grams, height approximately 12cm (condition: handles are slightly mishapen, possibility of erased crest but gauge of cartouche is still good and not springy, small patch of soldered repair above ribbed band more visible on the inside, a vertical crease from the rim, partial rubbing to the marks, base a bit uneven and some dents)

A GEORGE III SILVER HELMET SHAPED PEDESTAL CREAM JUG, crimped rim, engraved initial under lip, on a square foot, maker possibly Hester Bateman, London 1784, with incuse duty mark, approximate weight 3.3ozt, 105 grams, height approximately 15.5cm, together with a George III silver cream jug of baluster form, 'S' scroll handle, beaded rim and foot rim, stepped circular foot, marks partially rubbed, London 1776, approximate weight 3.4ozt, 106 grams, height approximately 11.5cm (2) (condition: helmet jug has solder repairs to top and bottom of handle, small patch of solder above join to pedestal, base slightly mishapen, the other jug has several spots of solder repair)

AN ELIZABETH II SILVER COFFEE POT, of oval form, bakelite fitments, husk decoration to band, on four foliate scroll feet, makers Joseph Gloster Ltd, Birmingham 1976, approximate weight 21.4ozt, 666 grams, together with an Elizabeth II silver rectangular cigarette box, engine turned hinged cover, on flattened bracket feet, maker Joseph Gloster Ltd, Birmingham 1975, width 18cm x depth 10.5cm x height 5.5cm and a pair of silver plated sugar tongs (3) (condition: coffee pot has a rough patch above bottom section of handle, the cigarette box has a dent on the lid)

AN EARLY 19TH CENTURY ROSEWOOD TEA CADDY, of sarcophagus form, brass shield escutcheon, the interior fitted with two covered caddies and a central mixing bowl well containing a later pressed glass dish, on four brass ball feet, width 28cm x depth 15cm x height 16cm, together with a Victorian burr walnut and inlaid work box, mother of pearl lozenge to top of box and escutcheon, re-lined interior, comes with a small quantity of needlework accessories, etc, with key, width 30cm x depth 22.5cm x height 12.5cm (2) (condition: caddy has horizontal split through the underside, work box has some fading, a circular patch filled on either side, interior relined)

A GEORGE III OAK CHEST OF FOUR LONG GRADUATED DRAWERS, later short back, replacement brass swan neck handles and back plates, bracket feet, width 93cm x depth 51cm x height 81.5cm (condition: added short back, lacks brass escutcheons and has replacement handles, light patch to bottom drawer)

A PERCUSSION SPORTING GUN, mid 19th century, with 32" sighted barrel octagonal at the breech inscribed "E & W BOND 45 CORNHILL GUNMAKERS TO THE HOMBLE E I COMP" and etched to the rear with pheasants and foliage, action with lion rampant, steel scroll trigger guard, brass patch box, walnut stock and wood ram, 48 1/4" long (Est. plus 21% premium inc. VAT)

Georgian enamel patch box

TWO ROYAL DOULTON FIGURES, '101 DALMATIANS PATCH ORLY AND FRECKLES' (2) (both boxed)

A pair of late 18th century Derby porcelain figures, modelled as a lady and gentleman with instruments and a lamb to their side, all below pierced candlestick, patch marks to base, height 23cm, together with a similar figure of a deer, length 10cm, and a Staffordshire pottery pastille burner, height 11.5cm (4)

A Third Reich Narvik arm shield, of grey metal on black cloth patch with backing plate. GC

A Third Reich Demjansk arm shield, of zinc on field grey cloth patch with backing plate. GC

A Third Reich Kuban arm shield, of bronzed zinc on field grey cloth patch with backing plate and paper backing. GC