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A William IV Silver Cup and Cover, by Edward, Edward, John and William Barnard, London, 1833, Retailed by Braithwaite and Jones, London campana-shaped and on foliage chased lobed foot, the rim and detachable cover with similar foliage, the body with a band of chased trailing foliage, flowers and fruiting grapevines, with two branch-cast handles, each side with a vacant cartouche, one surrounded by three horses and riding tack the other with foliage and rocaille, the interior gilded, the cover with an associated French finial cast as a cauliflower and leaves, on a later ebonised plinth with an applied plaque engraved with an inscription33cm wide over handles, 37.5m high excluding plinth, weight of silver 129oz 9dwt, 4,026grThe inscription on the plinth reads 'The Thirsk Hunt Cup 1956 won by L. B. Holliday's "Sonorous" 4 Years Carrying 93'.Fully marked on body near handle. Further part marked inside cover. The finial marked with French post 1838 standard mark. There is some wear to the marks, though each is generally clear. The foot engraved 'Braitwaite & Jones Fec't London'. There is some wear to the engraved signature. There is some overall surface scratching and wear, consistent with age and use. The two cartouches have each been erased. There is the remains of gilding to the exterior though this is almost entirely gone. The gilding inside is pale. Part of one leg on one horse is lacking. There is a small patch on the cover, perhaps where a notch had been cut to accommodate a ladle. The later plinth with some scratching and wear. The later finial with a crack to one leaf.

A George II Oak Side Table, mid 18th century, the boarded top above an oak-lined frieze drawer and wavy-shaped apron, on turned baluster legs with block feet joined by stretchers 90cm by 65cm by 75cmProvenance: Dutton Manor, Lancashire Top with numerous old splits, one approx 45cm long partly filled and polished. Further patch repair. Later brasses. Old handle marks visible on right-hand side. Front board to the top replaced, reasonable matching colour. Decay to underside, legs and block feet. Some slight movement in joints. Right-hand side of back right leg with 3 small drill holes. Lef-hand side of section of timber spliced - see images

A George III Carved Giltwood and Walnut Trumeau Overmantel Mirror, incorporating an oil on canvas of figures by a river and an extensive landscape, by a follower of John Wootton (d.1764), three mercury mirror plates below, all within a stiff leaf carved border 111cm by 134cm PAINTING:A fairly stiff lining, keys missing but good tension.The canvas has been extended on the left edge by approximately 8cm, and painted by a later hand which extends in places onto the original canvas. There is one long slightly raised crack over the join.There is a largescale brittle age craquelure throughout and impact cracks. Slighly raised/cupped, but currently secure. One slightly sharper minor patch of cracking from an impact to the top of the water right of the reflection of the tree (see images). There are scattered tiny losses associated with the cracking, some retouched, some unretouched but all under upper varnish layer. Retouching in sky slightly discoloured. There is a slighly larger passages of small losses approx 5cm in diameter in the bush between the 2nd and 3rd tree from the right. This has been retouched and the overpaint extends down into the grass. There is a line of thick brown overpaint at the bottom edge, below the fisherman and scattered small passages in the foliage to the left.There has been some abrasion to the thinner paint layers, most evident in the outer delicate foliage and in some of the figures.The picture has been partially cleaned in the past, and remnants of thick old yellowish brown varnish and dirt remain in places, such as the tall trees on the left (here the varnish has flaked in places and is now shiny), the bridge, around the boat etc.There is a good even surface gloss on the upper varnish layer with the exception of a few very small matte retouchings. There is cotton wool fibre stuck in a few places and a series of minor white scuffs towards the bottom edge. The mirror plate is heavily tarnished. The frame has various small losses throughout. 

~ A Chinese Celadon Jade Inscribed “Luohan” Boulder, Qianlong, carved with Ańgaja in a grotto, seated cross-legged in loose flowing robes, his left hand holding a sutra and walking stick, the right counting prayer beads, flanked by the Imperial eulogy and seal marks 20cm highWith original receipt from Trollope & Sons (London) Ltd, West Halkin Street, London dated 25 November 1955 for £85, as well as a transcription of the eulogy The inscription can be translated as “Wearing a hundred-patch robe and leaning on a proper bamboo staff, his Vedic ritual texts in a bookcase, he stares at his akshamalika straight across his chest. What he has remembered is not nothing, although there are no words for it.”The iconography of this depiction of Ańgaja is derived from the portrait series of the sixteen Luohans painted in 891 by the Tang dynasty painter-poet-monk, Guanxiu for the Shengyinsi or 'Temple of Sage Reason'; the temple was later destroyed during the Taiping Rebellion. In this series the artist depicted the enlightened disciples with grotesque bodies, hunched backs, bushy eyebrows, and pronounced foreheads, as they had allegedly appeared to him in a dream.In 1757, the Qianlong Emperor visited the Shengyin Temple during his Southern inspection tour to study these images of the Luohan as an act of religious devotion. He recorded that, having seen the masterpieces, he was inspired to personally write a eulogy comprising two colophons for each painting. The Emperor believed the paintings to be the same set that had been recorded in the Xuanhe Huapu [The Xuande catalogue of paintings], the inventory of the Song dynasty emperor Huizong.Subsequently, Qianlong commanded the palace painting master, Ding Guanpeng (act.1708-ca.1771) to copy the paintings and to include new inscriptions of the eulogies. Ding’s copies are now in the collection of the National Palace Museum, Taipei and were widely copied in various media.In 1764, the abbot at Shengyin Temple, Master Mingshui, instructed local stone engravers to copy Guanxiu’s paintings and the Emperor’s colophons and seals. The sixteen engraved stone panels were installed on the sixteen sides of the Miaoxiang Pagoda in Hangzhou. Almost immediately rubbings of the panels were being produced. Knowing the Emperor’s fondness for them, in 1778, the military governor of Shandong province, Guotai (d.ca.1782), presented the Qianlong Emperor with a magnificent zitan folding screen set with black lacquer panels inlaid with white jade in imitation of the rubbings.A similar jade boulder, depicting the second Luohan, Kanakavasta, was recorded in the collection of the Wou Lien-Pai Museum as published in Rose Kerr et al., Chinese Antiquities from the Wou Kiuan Collection, Surrey, 2011, pl. 177 (fig. 2).Another example depicting Kanaka is in the Metropolitan Museum of Art, New York, accession number 02.18.640 and a further example as Cudapanthaka is in the National Palace Museum, Taipei.A sixteen-fold screen with inlaid jade plaques portraying the sixteen luohans, including a depiction of Angaja derived from the same source as the present jade, dated to the forty-second year of the Qianlong reign (1777) is in the Palace Museum, Beijing, exhibited at the Hong Kong Museum of Art (22 June 2012 - 14 October 2012), and illustrated in A Lofty Retreat from the Red Dust: The Secret Garden of Emperor Qianlong, Hong Kong, 2012, pp.216-233, no.53.A Qianlong Imperial jade screen with the same image of Ańgaja and inscribed with the same script and seals as the present examples was offered by Bonhams Hong Kong, 24 November 2012, lot 307 and Christie’s Hong Kong, 29 November 2022, lot 3049.Please note that there will be no internet bidding on this lot. All bidders on lots 1-10 will be required to provide identification and a deposit of £1,000. Registration for commission and telephone bidding on these lots will close on Wednesday 13th March at 12 noon. To register please email enquiry@tennants-ltd.co.uk A natural internal small crack towards the top section of the staff. Sutra with tiny corner flakes. Other minimal small imperfections to the stone, none detrimental. Slight wear to the gilt inscrpitions.

A 19th Century Dutch Mahogany and Marquetry-Inlaid Writing Table, with green velvet inset writing surface flanked by a border of trailing flowers and leaves, each side fitted with one long and two short oak-lined frieze drawers flanked by nulled corners, on square tapering legs with spade feet143cm by 115cm by 77cmGreen baize faded and worn, surface is uneven and with some shrikage splits. Lefthand corner with some patch repairs, as photographed. Drawers run freely and are open apart from one small drawer. No key. Timber rather dry in places, particularly around frieze and legs. Various patch repairs to veneers including below escutcheons Front right leg split. Table structure slightly weak. Numerous fading 

A George III Mahogany and Satinwood-Banded Linen Press, early 19th century, the swan neck pediment centred by an urn finial above moulded cupboard doors enclosing five mahogany and oak-lined sliding trays, the base with two short over two long drawers, on bracket feet 127cm by 59cm by 229cmProvenance: Dutton Manor, Lancashire Cupboard doors with gap at base, as photographed. Moulded on panelled doors with some slight movement and small splits, as photographed. Later turned knob handles. General scuffs consistent with age. Lefthand side panel with patch repair and splits, as photographed. Interior trays oak-lined and run freely. Patch repair to moulding around middle section. Righthand side panel with small splits and patch repair. Rear right leg repaired but structurally sound.

~ A Chippendale-Style Carved Mahogany and Fretwork Four-Tier Whatnot, 19th century, with square chamfered supports surmounted by acanthus leaf carved scrolled brackets suspending small bells and surmounted by a later carved and painted ho-ho bird, the middle section with an oak-llined drawer, each tier divided by a pierced gallery and fret-carved side panels, on chamfered supports with brass-capped feet and castors 59cm by 45cm by 208cm Carved bird of a later date. Drawer with patch repair around lock - as photographed. Structurally sound. Small repairs/faults/losses around the gallery and fretwork. Each tier with general scuffs and scratches. Cockbeading on drawers with some faults. Some scuffs and bruises throughout (as photographed). Overall reasonable.

A George II Walnut, Crossbanded and Featherbanded Straight-Front Chest of Drawers, 2nd quarter 18th century, the quarter-veneered top above two short and two long pine-lined drawers with engraved brass handles and escutcheons, on later bracket feet87.5m by 48.5cm by 76.5cmReasonable uniform colour. Small sections of veneer patched/repaired. Small section of veneer missing to lefthand panel. Some natural? and small splits to the end panels. Feet later. Small sections of timber missing around the moulded base and bracket feet, with small patch repairs.

A 19th Century Mahogany, Tulipwood-Banded and Marquetry-Inlaid Bureau, possibly Irish, the fall front enclosing a fitted interior of pigeon holes and small drawers all around a central cupboard door flanked by secret compartments, the base with five pine-lined drawers around an arched apron, on square tapering legs100cm by 55cm by 108cmTop section with general scuffs and scratches consistent with age. Small patch repair above lock. Fall front with some minor natural? shrinkage splits, just visible, mainly around the left hand corner - as photographed. Slight colour loss to drawer fronts compared to top section. Drawers run freely and are open. Small section of moulding missing around kneehole. Otherwise good.

A Late 19th Century French Rosewood, Kingwood and Tulipwood Bonheur du Jour, circa 1870, decorated allover with trompe l'oeil marquetry, the pierced brass gallery above a fall front enclosing a leather writing surface and two small drawers, a mahogany-lined wavy-shaped frieze drawer below, on slender cabriole legs with gilt-metal cast mounts and sabots76cm by 45cm by 88cmProvenance: With original purchase receipt from Weybridge Antiques, 43 Church Street, Surrey dated 26.4.1998In very good cosmetic condition. Beaded drawer with small fault to verso. Very minor shrinkage? split around legs. Right side around apron with small patch repair. Leg timber slighly dry, lifting in places. Section on fall front with patch repair, to a good standard - as photographed.

~ A Pair of Mahogany Foldover Card Tables, circa 1810/20, of D shape form, the hinged leaf enclosing a baize lined interior with a moulded frieze flanked by scrolled brackets, on a column support with carved socle, quadripartite base and scrolled and carved sabre legs with brass-capped feet and castors91cm by 45cm by 73.5cmTable 1 - the darker example. Top with numerous scratches, some deep. Green baize interior rather faded and worn. Rear edge with split, approx 90cm long.Table 2 - lighter in colour, rather orange. Split/patch repair to front edge. Top with scratches, some deep. Green felt interior in similar condition, worn and faded. Column support with some old worm holes which have been partly filled and polished. Further worm holes to underside. Metal brackets added for strengthening

A Late 17th Century Oak Straight-Front Chest of Drawers, the boarded top above four oak-lined two-as-one long drawers with later brasses and ivory escutcheons, on stile feet 99.5cm by 62cm by 97.5cmProvenance: Dutton Manor, LancashireWith Non-Transferable Standard Ivory Exemption Declaration Number X469GAMD Top with gaps and several patch repairs, mainly to back left corner and middle section – as photographed. Some movement in joints. Later brasses with various old handle marks. Later locks. All drawers open, but no key. Front left foot retipped/repaired.

An Early 18th Century Joined Oak Chest, dated 1705 and initialled BI, the boarded hinged lid enclosing a later paper-lined interior, three moulded panels below all between moulded stiles and muntins119cm by 51.5cm by 68cmTop with numerous scratches, some deep, and also a patch repair. Interior paper-lined with later batons to underside of lid. Lock removed. Good colour. Old decay around legs, underside and back of lid.

Frederick Richard Say (c.1827-1860) Lady Elizabeth Buteel, half length seated before a landscapeBears later inscription to the reverse, oil on canvas, 75cm by 62cm Provenance: Sothebys "Royal and Noble", January 20th, 2002, Lot 27 (Property Removed from Fenton House to be sold on behalf of the 7th Earl of Durham) A fairly old lining with asociated stretcher, fair tension with two keys missing. Original tacking margins removed which are visible at the top of the picture from the front. A fine network of brittle age cracquelure most noticable in between the stretcher bars, and a series of diagonal cracks in top right corner and associated with the stretcher bars. Larger scale brittle age craquelureand impack cracks more visible in the thicker, paler paint. Mostly currently stable and not elevated, with only a couple of minor slightly raised areas. Scattered tiny pinpoint losses associated with the cracking, mostly unfilled and unretouched. Fairly wide drying cracks are also evident, most prominently in the dark background and red drapery, mostly suppressed by retouching. Resulting in a slightly lumpy surface. There is what appears to be an old lumpy filling and retouching to the top of the sitter's forearm 2 inches long, and a wider passage of restoration above the back of the chair but this is difficult to see the extent of. Further small scattered unretouched and retouched minor losses, with slightly bigger filled and retouched losses at the bottom of the landscape and in the hand. There has been some minor flaking of the upper paintlayers in the red passages, particularly the flowers. There is a brown patch of overpaint here too. It is likely that there are several campaigns of restoration (although it is difficult to see i nthe darker areas), with the retouchings in the paler areas now noticably lightened in the flesh and sky. There has been some abrasion to the thinner paint layers, for example the hair, which has been reinforced, along with the sky. There is old dirt and varnish ingrained in the canvas weave and brushstrokes, and remnents of old discoloured varnish. One more recent white loss to arm, 1.5mm long, and a layer of dust and surface debris. Mostly stable condition, with visible discoloured retouching.Examined in frame, not examined under ultraviolet light.

Owen Bowen ROI, PRCamA (1873-1967) Mother and child beach combing Signed and dated (19)08, oil on canvas, 39cm by 74.5cm Wax lined, possibly original margins removed. Fairly rigid, but good tension. All keys present.One small unfilled/retouched puncture through paint ground and canvas just above the red shawled head (see images).Brittle age craquelure predominantly in the sky and thicker passages of paint, not appreciably raised and all appears secure at present. There are also passages of drying cracks. Both sets of craquelure have had some suppressing retouching in places.There is one larger patch of retouching in the centre of the sky, approximately 12cm in diameter, likely to a series of losses of paint and ground.There are a few small patches of tiny losses of varnish in the sky, revealling whiter paint below. Minor scuffing to top layers at the lower left edge from the frame rebate, and two minor scuffs to the sea at the left edge and further tiny scuffs to the seashore.There are scattered further minor retouching to places in the sky, and an unretouched or filled loss to the middle of the two rocks approximagely 3mm wide.There is a yellowed varnish with ingrained dirt and pools of thick varnish in the textured brushstrokes, and old fibres caught in the varnish in places.An even surface gloss.Examined in frame.

Attributed to Benjamin Cam Norton (1835-1900)Portrait of a gentleman seated in his library, wearing a black suit, with his attendant dogsOil on canvas, 140cm by 111cmAn unusual partial / supporting lining, with the original canvas restretched over a thin white cotton material but not adhered. There is an old repaired split to the centre of the cross members. All keys present, slighly slack tension on the canvas.There are raised stretcher bar marks in passages, particularly at the top horizontal member, the top of the vertical cross member, and the bottom of the horizontal cross member (see images in reflected light). There is some minor brittle age craquelure, particularly associated with the corners and some minor impact cracks in places. Some slighly cupped/raised but all stable and not history of flaking. A few minor passages of drying cracks/aligatoring in the black of the dog's head.There are scattered tiny unrestored losses, and a few scattered retouched and partially retouched tiny losses particularly at the top of the painting.There is a patch of abrasion revealing white underpaint above the spaniel's left paw (see images), and some further light abrasion to the it's paw.The picture has been partially cleaned to remove old yellowed varnish in the face, and lighter passages of the drapery and fur. The thick old yellowed and slighly opaque varnish has been left on in the rest of the painting, now visible in certain lights as slighly streaky in the background (see images). There is a fairly even upper varnish and surface gloss, with slighly shiny pools of varnish in the top right edge. There are minor scuffs/abrasion/gold residue from frame at the left edge, and a layer of surface dirt/dust.Examined in frame.There are scattered tiny white drips/spots, small yellow patches.

Christian Meyer-Ross (1843-1904) Norwegian Portrait of an elegant lady, three-quarter length standing, wearing a fine pink evening dress, an ermine stole, and holding an ostrich feather fan Signed, inscribed "Roma" and dated (19)03, pastel, 134cm by 75.5cm A good flat even picture plane, one very small bump in the top right corner visible in raking light. An approx 1cm band of disturbed/smudged pastel along the bottom edge likely from movement in the slip (see images). Scattered lumps of dust and fibres, with larger ones towards the bottom of the picture, with futher scattered fibres. An incised squiggle to fur sleeve - part of artist's technique? A futher scratch like mark below the highlight on the neck near the jaw line.A dark stain to the top edge emerging from under the slip (see images), and a possible patch of timestaining to top left corner where the pastel is slighly disturbed in places?There is a slighly bumpy surface to the pastel in places, appearing to be under the pastel layers (see images).

John Ferneley Snr. (1782-1860) A gentleman standing in a landscape, holding the reins of a chestnut hunter Signed and indistinctly dated 1816?, oil on canvas, 70cm by 89.5cm Provenance: Tynte-Irvine family, Ireland The painting is lined, and there is a loose extra canvas to the back of the painting. All keys are present and the canvas has fair tension. Original tacking margins removed. In places the original canvas edges have been filled and overpainted and these are lifting and cracking in places for example the middle of the right edge and middle of the top edge. The impasto has been slighly flattened in the lining process.Old brittle age and impact craquelure throughout along with cracking along the stretcher bars. Very slighly elevated and cuppefd in places but all appears secure with no history of flaking or loss. Some of the cracks along with drying cracks are fairly wide, especially across the middle of the painting in a horizontal band, which have been retouched (see images). There are small scattered retouched losses, for example midway between the hind hoof and the ledge, and to the left of the far fore hock. Futher discoloured retouchings top left corner.There is some minor unretouched abbrasion to the figures and the landscape, but there has been some abrasion to the sky, possibly retouched/strengthened with thin scumbles of overpaint. It is difficult to see the extent of this.The picture has been partially cleaned in the past, with an old yellowed varnish left on in the figures and landscape. This autofluoresces green under uv, with darker lines over this possibly artists retouchings. The old varnish has slighly broken up and cloudy/crizzled, for example in the top hat. There is milky white residue above the bright green patch of grass, and scattered dirt and debris. There are a series of matt spots across the surface.Examined in frame

Circle of Sir Peter Lely (1618-1680) Portrait of a lady, three-quarter length seated, before a draped velvet curtain, wearing a blue velvet dress with white chemise and holding a posy of flowers in her lap, a landscape beyond Oil on canvas, 124cm by 100.5cm With Christie's stencil FM494 to reverse The picture is lined, with all keys present and good tension. Some small splits to the corners of the linign canvas. There is fresh worm damage to the frame. Original tacking margins have been removed. Small old and fresher losses visible to the left and top edges where the picture has moved in the frame slightly. Some retouched. There is an old brittle age craquelure throughout, with some very slight elevation in passages of thicker paint for example the face, but barely noticable and appears secure with no real history of flaking and loss. There are numerous minor old filled and retouched losses mostly to the background. There is a passage of cracks to the left top edge in the trees that have been opened up slighly by cleaning in the past. The picture has been partially cleaned, removing the thick old yellowed and opaque varnish from the face, neck, sky and some of the drapery. It is difficult to see exactly what is happening in the background due to the obscuring varnish which is slightly broken up in places. Possibly further old restoration. However, there are scattered old losses including one patch of fresher cracking paint 1.5 inches right of the head, a small lifting filling to the hair to the left of the pearls, in the red curtain top right corner, and a possible retouching in a horizontal line above the head. The old varnish has left greeny yellow patches in places, for example in the darker glazes of the blue boddice, and to the right of the elbow. Some of the old varnish has been left on to the left of the sitter's face which is visible pooled in the troughs of the canvas/brushstrokes. There are passages of more recent retouching to the bottom left of the dress, and further patches of dark overpaint to the bottom of the dress. There has also been some possible loss of glazes or pigment degredation in this area as the blue has a greyish hue. There is slight abrasion to the ringlet over the shoulder and in the right hand proper, but the sitter is in generally nice condition. There is a fairly patchy and uneven surface gloss, and surface dirt and debris. Examined in frame

August von Brandis (1859-1947) "Interieur mit Figurim Jagd-kostüm" Signed, with inscribed label verso, oil on canvas, 85cm by 134.5cmWith Christie's stencil CG642 Slight quilting to the canvas evident at the reverse. All keys present, slighly slack tension. Original tacking margins loose and rucked. Old patch, delaminating slightly to the bottom right from the reverse, associated with a tear or damage in the bottom left quadrant of the painting running approx. 12cm diagonally through the table legs (see images). This is filled and retouched (slightly matt), with a few small losses of filling material. The paint is very textured and impasted, and there is a brittle age craquelure throughout, which has caused the quilting at the reverse. Secure, and no major problem with flaking/ lifting. Some small unretouched losses at the top left and bottom left corners, and tinly losses at some edges. A few tiny flaked losses from impasto, and a few scattered very small losses including an approx 0.3 loss from behind the heal of the shoe on the floor. Possible retouching to exposed reserves below the sole of shoe on floor - but possibly by the artist? There has been some slight abrasion to surface layers along bottom edge from movement within frame. A glossy varnish, fairly thick, with some debris caught in the varnish/paint in places. Some brown lines/drips? in the floor (see images), it is unclear what these are.Examined in frame, not examined in UV

Richard Henry Brock (exh.1897-1915) Penning the Turkeys Signed and dated 1901, oil on canvas, 54cm by 90cm Provenance: John Noott, Broadway Sold together with a copy of the sales invoice from John Noott, Broadway, dated 3/9/84 Unlined, all keys present, fairly slack tension to the canvas. The canvas appears quilted at the reverse, where the thick paint layers have cracked and pulled the canvas out of plane, and varnish has seeped through.One lump of paint on the reverse of the canvas associated with an impact and small loss of paint and ground at the face (unrestored) at the boy's left shoulder. The impact cracks are slightly elevated (see image in normal and raking light).Largescale and finescale brittle age and impact craquelure throughout. This is cupped and elevated (see images in normal, raking and reflected light), but appears secure with no history of flaking and loss. There are just a very few slightly more raised sharp points mostly associated with impact cracks. One small 0.5cm long paint-from-paint flake from trees at the top middle edge (see image), and a couple of tiny pinpint unrestored losses.There is a small patch of white residue to the right of the man's head (see image), and two small losses at the bottom edge from contact with the frame, and a further slighly larger loss top left corner by the frame rebate.A good glossy even varnish, a light layer of surface dirt and a thicker band of dust down the left edge.No overpaint apparent in normal or UV light. Likely an early to mid 20th century frame.

William Woodhouse (1857-1939) Partridge shooting Signed, oil on canvas, 49.5cm by 60cm The canvas is unlined with original tacking margins stuck down with adhesive tape to the stretcher. One key is missing, but there is fair tension. There is a line of old wax impregnated into the back of the canvas at the reverse. There is a significant distortion to the canvas over the largest partridge in flight, and a futher convex horizontal distortion from a blow from the reverse (see images in raking light). There is a patch of active flaking above the head of the partridge and to the horizontal distortion (see images).There is a brittle age craquelure throughout, especially associated with the stretcher bar, and diagonal cracks across the corners. Most of the cracking is secure, except a patch of tight raised, slighly flaking paint approx. 2.5inches below the dog (see images in raking light).There has been a series of losses along the bottom edge, now filled and retouched and associated with the wax on the reverse. The filling has since cracked and is flaking (see images). The losses are located just above the frame sight in the centre, centre right, and further retouched losses below the signature and to the right edge just above the signature. There are some minor drying cracks in the white cloud, and very minor micro-flaking in the dark of the dead bird's tail.There is some old ingrained varnish, and some light abrasion to the surface layers along the top edge with some small unretouched losses to the top right corner and around the sight.A good even surface gloss, with scattered flyspotting and accretions and a light layer of surface dirt.Examined in frame

Frederick Daniel Hardy (1826-1911)The LetterSigned and dated 1890, oil on panel, 19cm by 14cm Provenance: Rowles Fine Art, PowysPrivate Collection, North YorkshirePanel mostly covered at reverse, but no splits evident at face. A couple of small holes to the reverse of the panel, which is held flat in frame. Paint and ground layers stable, no cracking or lifting. There has been minor fresh abrasion/transfer to the upper layers down the right hand side from contact with the rebate. There is what seems to be the imprint of canvas to the sky in the window (see images), highlighted by dirt in the hollows. No major losses apparent, but a line of dark brown opaque retouching to the mid & lower right edge through the fireplace and teapot (see images), and to the bottom two inches of the left edge and a small patch to the top left corner. Slight abrasion, unretouched to the darkest area of the fireplace, and possibly to the wall which may have some slight reinforcing. An even surface and varnish layer, with a slighly milky wipe mark bottom left visible in reflected light. A layer of surface dust.

Attributed Richard Buckner (1812-1883) Portrait of General Sir Patrick Grant of Tullochgorm, three-quarter length standing in a landscape, in his full military attire and regalia Oil on canvas, 141cm by 110cmSir Patrick Grant was Governor of Malta 1867-1872 Lined, original tacking margins removed. All keys present, slightly lacking in tension. A slight lumpy surface to the canvas visible in reflected light (see images) possibly from the lining process. The painting is loose in the frame, and all original edges are visible, revealing scuffs and losses (both restored and unrestored) at all edges.There is a largescale brittle age craquelure in passages, mostly present as long diagonal cracks particularly to the sky either side of the head, and in the red sash. These are only slightly raised, and all appear secure (see images in reflected light).One indentation approx 3cm diameter from an impact to the left of the shoulder, which has cracked the varnish. There are a few scattered larger losses in the sky, with filling and slightly discoloured overpaint, and scattered small, minor unrestored losses (see images). Possibly some minor abrasion/wear in the beard with associated retouching. Due to the opaque varnish, it is difficult to see the darker passages of the sky.The paint layers of the bottom of the red sash have sustained some damage possibly from liquid. Darker disrupted spots sit above the belt, and flaking of the upper paint layers in vertical bands below the belt. There are futher white drip marks in the varnish that run to the bottom of the painting (see images). This damage has not been restored.There is a patch, uneven surface gloss (see images in reflected light), with the upper varnish layer partially broken up becoming opaque and whitish in places, following largescale brushstrokes presumeably from the application of the varnish by brush.There are scattered further drip marks particularly to the bottom portion of the painting, tiny white flecks to a patch of the sky top left, tiny black deposits on the face (see images), and a layer of surface dust and dirt and a scattering of cobwebs.

Follower of Jacob van Walscapelle (1644-1727) Dutch An abundant still life with silver plate and spoon, a cut lemon, oysters, wild strawberries, a vine and grapes, pink Roses, cherries, and glassware, with butterflies and insects Oil on panel, 40cm by 33cm Frame size: 54cm by 47.5cm The panel is one single board, with a horizontal batten in the middle of the back, minor old knocks to all sides, and canvas stuck to the back of the panel. There are no splits visible, and the panel is held flat in the frame.There is a fine brittle age craquelure throughout, all stable with no elevation or history of flaking. In passages the cracks are wider, and these have been suppressed in a campaign of retouching, slightly discoloured (see images). The cracks are most evident in raking light and a higher concentration through the table top and plate. Small scattered retouchings to suppress the cracks in the background, and small retouched losses to the right of the righthand glass, further retouched losses in the left hand glass, and above this near the top edge. A small newer unretouched loss to the left of the lefthand glass. There is a diagonal line of retouching running towards the top left corner from the top of the vineleaf, a retouched loss to the end of the vineleafe above the grapes and further small scattered minor retouched losses. Some retouching to cracks in strawberrys, lemon, and a small filling and retouching to the right end of the cherry stem. There is a larger brown retouching above the oyster.Possibly some minor losses to the delicate glazes, but mostly intact.There is what appears to be a retouched or removed? signature or inscription above the butterfly on the left. Visible clearly in UV (see images) and as a pale milky patch in normal light. Wipe marks in the varnish bottom left and right. An old varnish layer, slighly opaque in places.Examined in frame.

Silvio Giulio Rotta (1853–1913) Italian Street urchins playing cards Signed and inscribed “Venezia”, watercolour, 18.5cm by 28cmProvenance: The Estate of the late David Middleton A good flat even picture plane. Top edge, particularly above the fence, there are patches of a yellowish brown shiny adhesive, with remnants of paper stuck to it (see images). Further small traces of the adhesive visible in places along the rest of the top edge.There are patches of brown staining and light coloured associated mould growth/accretions. The largest is approx. 2cm long, surrounded by smaller blobs, to the right of the head of the lefthand boy. Futher larger patches of staining/mould include one above the cards on the ground, and a patch top right of the jug. Smaller scattered further brown stains/growths.Light timestaining, and possibly some minld fading particularly in the greens that appear to have a blueish hue.

William Mellor (1851-1931) "On the Derwent, Derbyshire" Signed, inscribed verso, oil on canvas, 38.5cm by 74cm Unlined. Two squares of impregnated wax on the back of the canvas, likely associated with consolidation of flaking. Fair tension, all keys present, but stretcher keyed quite far out and there is a split to the top left stretcher member. The picture plane is good and even.Minor brittle age craquelure throughout. Mostly secure but there is some minor microflaking to the bottom centre (see images), and the sky has had a history of micro-flaking which has been retouched/overpainted throughout (see images in UV and raking light). The white impasto appears fairly flat, possibly associated with consolidation. There is one patch of more active impact flaking/cracking top left in the sky, and stable cracks through thicker areas of impasto. There are minor patches of drying craquelure to the horizon of the water (retouched), and on some of the rocks. There are scattered minor retouched but unfilled losses, and possibly some thinning to the dark, glaze-rich brown passages in the water.There is some very minor abrasion associated with the rebate in places along the bottom edge. There is a light layer of dirt and debris and an even glossy varnish.

Richard Ansdell RA (1815-1885) A Spanish Encounter Signed and indistinctly dated 1856/8?, oil on canvas, 60.5cm by 53.5cmProvenance: Dutton Manor, Lancashire This painting is probably a collaboration between Ansdell and John Phillip. Phillip and Ansdell travelled to Spain together in 1856 and Ansdell travelled to Spain alone in 1857. Ansdell also produced paintings from sketches in his studio after his second trip to Spain.Our thanks to Sarah Dean (formerly Kellam, nee Ansdell) – great, great granddaughter to the artist for her assistance in cataloguing this lot (www.richardansdell.co.uk) Unlined, one key has dropped out and is stuck between canvas and stretcher at reverse. Slighly slack tension.There is an old tear to the canvas, which has a piece of tape stuck over it at the reverse. At the face you can see two punctures to the canvas, the largest 1cm approx, and there is a surrounding area of loss of paint and ground (see images).There is a network of brittle age craquelure and impact cracks, fairly largescale, including those associated with stretcher bars, diagonal ones across the corner. Slightly cupped and raised mostly in areas of thicker paint such as the sky (see image in raking light). Here there are a few sharp raised points where the paint and ground are lifting from the canvas, but mostly secure. There are a few further patches of sharp, raised and actively flaking paint, with tiny associated losses. There are three such patches in the blue trousers and a patch to the house on the right.There are a few minor scattered unrestored losses: one to the bottom right corner below signature, and two in the group of birds to the left of the tower. There is one small sharp flaked loss in the flowers in the girl's hair.Possibly some minor thinning/abrasion of the paint in the blue trousers? See images.There is an old yellowed, slighly opaque varnish, with yellow varnish visible pooled in the troughs of the paint (see image of Donkey's nose). There is further old ingrained varnish/dirt visible in the blue of the sky.There has been some minor rubbing in frame rebate and a loss by the rebate in the top right corner.There are scattered dark surface accretions and fly spotting, including one brown/white one in the cheek of the man (see images).The varnish is slighly opaque and a slighly matte/uneven varnish, and likely a layer of surface dirt.

Stanley Royle ARA, ARWA (1888-1961) Harbour with fishing village beyond at dusk, probably Mevagissey Oil on board, 28.5cm by 39cm The edge of the panel are not visible at the reverse. The panel is flat with no distortions or curvature. There are three small 1cm cracks in the paint running with the direction of the grain - one centre top, one centre bottom and one bottom left. All are slighly raised, with a worn spot perhaps from an attempt to consolidate/flatten in the past. Appear stable at present. Cotton wool trapped in the bottom one (see images). Slight further lump/disruption to paint at the bottom left corner and top left corner.There are further tiny losses under the upper varnish along the top edge, with a larger loss to the right. A small loss/indentation to the left of the top chimney. A small accretion with matte patch middle of the right edge, and above this is a blow which has crushed/flaked the paint slightly 1cm long (see images), and a similar larger blow lower left edge which has a few minor unrestored losses.A few further scattered tiny losses in the houses. One dent in the grey roof of the house on the skyline with yellow windows. Appears original paint extends into this. The house below has a slight matte patch.There has been some transfer of other coloured paint, likely from the artist's studio; orange at the bottom edge, and white at the top centre edge, in the boats/harbour wall, and tiny bit at the bottom edge.A fairly even surface gloss with some slight matte patches.

Circle of Gaspard Dughet (1615-1675) French An extensive Classical landscape with figures and exercising horses Oil on canvas, 111cm by 152cm Provenance: Stephen, 5th Baron Deramore (by repute) An old lining, with seam 6 inches from bottom. Two big blobs of wax (?) on back of canvas associated with tears (see main images). The lining canvas has split at the stretcher joins. The stretcher is missing keys and there are worm holes along the bottom member. The canvas is lacking tension and there is slight undulation to the canvas associated with this. The canvas weave is more evident, perhaps as a result of the lining, with some light pressing of the impasto.There is old brittle age and impact craquelure throughout, which is lifting/cupping in places most visible in raking and reflected light (see images), for example in patches to the left tree, the water, passages in the foliage in the middle and bottom of the painting. Doesn't appear to be actively flaking, but has flaked in the past and there are a myriad of tiny unretouched losses of flakes under the current varnish.There are two tears, associated with wax on the back of the canvas, so likely through the canvas. These have been filled and retouched. One 2 inch tear runs vertically in the mountain to the left of the building, and the second is a compound tear approx 4in x 2in in the foliage to the left of the water an figures. There are slight distortions to the canvas in these areas. There are futher scattered minor small losses, including three flaked damages to the sky exposing the lower layers of paint/ground and a paint-from-paint flake at the peak of the mountains, unretouched. A few minor retouched losses in the foliage at the bottom, with a larger retouching to losses four inches below white patch of water and to old flaking to the centre stretch of the bottom edge. These are darker than the surrounding areas.Much of the foliage has a greyish hue, possibly a combination of pigment degradation and loss of upper glazing layers. There are glossier patches of warmer coloured material, possibly remaining glazes and/or old varnish layers. These result in a slightly mottled appearance.There are several matt drips/splashes including a larger one through the mountain buildings, brown spotty accretions throughout but most evident in the sky. A fairly uneven surface gloss and old ingrained dirt and varnish.There has been slight movment in frame causing minor rubbing to the varnish visible at the top edge.Examined in frame.

Follower of Melchior de Hondecoeter (1636–1695) Dutch Cocks Fighting With extensively inscribed, indistinct label verso, oil on panel, 85cm by 117.5cm The panel, which has dropped in the frame to leave a gap at the top, comprises pieces of wood; three roughly equal sized boards, the outer two chamfered top and bottom, with a later 1.5inch batten along the bottom edge and a 3 inch piece of wood at the top possibly a later addition. Both the top and bottom pieces of wood have a square insert/peg, with the one on the top protruding through cracked paint at the face. Evidence of old instability and splitting. All joins likely to have been opened and reglued, and there is a split running 1/4 of the width of the panel from the left edge when looking from the reverse, repaired with a canvas strip but slightly open at the end and likely mobile. Seven old fixed battens at the reverse, both with and across the grain, with the panel thinned in places to accommodate them (see image). No other splits noticable with panel in frame. The plane of the panel is distorted and undulates with the splits/joins (see images). From the face, the top join is filled and retouched but has opened slightly across the whole length with tiny pinpoint losses to the restoration. The second join has been opened 2/3rds of the ledge, filled and retouched and now slightly open. Bottom join has been filled and retouched across whole length with some minor cracking to the filling. The split has cracked through the restoration, and appears raised but stable.The narrow board at the top has some larger scale stable cracking to paint and ground, but the rest of the painting largely has minor cracking associated with the panel grain - some slighly opened through cleaning in the past but all stable and not elevated. Minor losses to joins likely, now covered in filling and retouching. Scattered minor losses from past flaking, all stable. There are likely successive campaigns of restoration, with more extensive overpainting in the sky and foliage in the tres, as well as to joins/split and the scattered losses. There has been abrasion to the sky, and to the trees/landscape as well as the more delicate glazes of the birds - for example see image of bird's head. Large patches of reinforcing and thin overpaint to the ground, for example the reddish patch below the hen on the right. The bottom batten has a thick line of overpaint across the width of the painting. There is less retouching on the birds themselves. Most of the retouching/overpaint is under a thick old varnish layer, with remnants of a thick yellowed varnish left on which gives the painting a mottled appearance and is slightly shiny in reflected light. A light layer of dust and debris.Not examined in UV. Examined in frame.

After Thomas Gainsborough RA (1727-1788) Portrait of Lord Frederick Campbell (1729-1816), half length, in a feigned oval Oil on canvas, 66cm by 62.5cmChristies stencil to reverse: IS0RWThe sitter was Lord Chief Registrar of Scotland, 1768-1816 Member of Parliament, Glasgow, 1761-1780 Member of Parliament, Argyllshire, 1780-1799A biography of the sitter can be found in the Oxford Dictionary of National Biography. Literature: "Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters", New Haven and London 2019, p.144, no. 144h The original portrait was a full length portrait commissioned in 1785 by the sitter's brother, John, 5th Duke of Argyll and it hung at Inverarey Castle until it was destroyed in a fire on 5 November 1975. The literature (as referenced above) lists ten copies of the original. Some are preparatory drawings for an enamel by Henry Bone that is now in the Mead Art Museum, Amherst College, Mass (92003.78) others are head and shoulder copies as shown here. One of the recorded copies held in the Drummond Collection at Cadland, Hampshire was engraved and probably painted by Gainsborough Dupont, although confusingly it bears the date 1769, which may actually record the date of the sitters marriage. It is assumed that the present work is a copy taken from Dupont's Cadland canvas that was first recorded at Inverarey in 1817. Sold together with a cache of letters & documents relating to the picture.We are grateful to Hugh Belsey for his assistance in cataloguing this lot. Appears unlined, but there is a line of thick restoration around the edge. All keys present, slighly slack.Large and finescale brittle age craquelure and impact cracks throughout, plus slight stretcher bar marks with associated cracking. In places lifting slightly with some sharp raised points (see images in raking and normal light). One more prominent curved series of cracks from a blow from the reverse running approx. 15cm in the left background just inside the oval.A few minor scattered retouched losses in the background, with a few further tiny unrestored losses. There has been some abrasion to the darker paint layers and mid-tones, especially see in the background top right of head, hair, jawline, around eyes, nose and mouth, shadows of hand, black lapel and around tassle. There are passages of retouching/reinforcing, slightly discoloured and opaque, to suppress cracks, to reinforce abrasion in places, and larger patches to the bent middle finger and surrounding drapery, to a patch in the shirt, to the collar, to the cheek, around the features, to the hair, and to a rectangular area across the bridge of the nose (see images in UV).Scuffs to varnish top right of head, middle right edge, and matt patches down right hand side (see images). A thick old varnish, likely discoloured, remains in background and darker drapery, removed over paler passages. Old ingrained dirt, a slighly patchy upper varnish layer, and a light layer of surface dirt.Examined in frame.There are several knocks and losses to the frame, with a chunk of composition lost from top right corner decoration. The corner decorations have a thick painted surface (see images).

Charles Hodge Mackie RSA, RSW, PSSA (1862-1920) Scottish "Pastures..." (In the Esk Valley) Signed, signed and inscribed to stretcher verso, oil on canvas, 48cm by 55cmProvenance: Phillips and Sons Fine Art, Marlow All keys present, and canvas has good tension.The very coarse canvas and thick paint and ground have cracked at the turnover edges, which are visible from the face all around. There are a few scattered small losses associated with this, particularly to the top right corner, middle left top edge, bottom left edge some of which have been retouched. Mostly secure. There is a larger patch of retouching to the top right corner, which is matt in reflected light. There is some further minor, secure cracking to the bottom right corner associated with the coarse canvas.There are some larger scale cracks in the thick paint of the sky, the bottom of the sea, and in the far land on the right hand side. These are very slightly raised with some sharp edges but mostly secure and no flaking evident. There is a diagonal scratch top right, possibly retouched or likely done during the painting process?.Some old ingrained dirt, and a good fairly even surface gloss.Examined in frame.

A Gents outdoor Tweed coat by Grenfell in olive green with red, black and mustard check, zip and button fastening, size M, small patch of wear to the front and lining.

George Graham (British 1881-1941): Beach Huts, oil on canvas signed 24cm x 34cmCondition Report:Good original condition, small re-enforcement patch verso does not show in the picture, well presented, ready to hang

Charles James Lauder (Scottish 1841-1920): Tall Ship at the Quayside, oil on canvas laid on to board signed 34cm x 23cmCondition Report:Fleck of paint loss on the signature, patch of overpainting above the quayside, otherwise good condition.

'True Bugs'The Hemiptera Heteroptera of the British Islands. A descriptiveaccount of the families, genera, and species indigenous to GreatBritain and Ireland, with notes as to localities, habitats, etc, byEdward Saunders. pub. L. Reeve & co. 1892. Quarto. The large paperedition. 350pp. 32 plates (31 coloured, 1 uncoloured.) Half-leather,wine-red patterned cloth with gilt stylings. Gilt titles to spine (raisedbands) with gilt tooling. The spine slightly darkened. Some areas ofrubbing, and a small patch of colour loss to the front of the book, but ahandsome copy of this large-paper edition of Saunders' work.WithThe Hemiptera-Homoptera (Cicadina and Psyllina) of the BritishIslands, A descriptive account of the families, genera, and speciesindigenous to Great Britain and Ireland, with notes as to localities,habitats, etc. by James Edwards. Pub. L. Reeve and Co. 1896. Largepaper edition (so stated in a pencil note to the pastedown). Quarto.271pp. 30 plates (28 coloured). Half leather. Marbled edges to the textblock. Gilt titles to spine, raised bands. Green cloth, the leather of thespine faded. A handsome copy of this large-paper edition of Edwards'work.WithA Biology of the British Hemiptera-Heteroptera, Edward A. Butler,pub. H.F. & G. Witherby 1923. Quarto. 682 pp. VII plates, somecoloured. Brown cloth with vignette gilt illustration to the front panel.Pencil note to pastedown. 'This work is a necessary supplement to thebooks on Hemiptera-Heteroptera by Saunders....' Manuscript copy of areview of the book in Nature has been loosely inserted. A solid copy.(3)The following lots of books represent the library of George West.West's biographical details are hard to pin down, his date of birthunknown, (probably around the 1880's) and his death sometime after1945. He is known to have worked as an assistant and then lecturer inBotany at the University of Dundee from 1906. At that time theuniversity was a constituent college of St Andrews University. Westseems to have remained there until around 1926. In his publication'Practical Principles of Plain Photo Micrography' (1916) he describeshimself as a lecturer in Botany. Most of the books in the sale bear thehandstamp, 'George West' to the front pastedowns. Many volumes bearextracts from booksellers' catalogues with prices of the titles,suggesting that West liked to keep up with the current values of hislibrary.The books represent a working library and many are alsoannotated in pencil in his hand, cross-referencing other works andadding his comments. To the front of the first volume of Walker'sDiptera (see lot no.) he has inserted his handwritten poem, 'To theFuture Owners of this book'.Geordie has now turned up his toesAnd gone aloft to seek reposeFrom various varmints nips and stings,Especially those base mankind brings...........He trusts the child who gets this bookWill on the various notes just lookAnd feel that every pencil strokeHelps on the game dear Walker wrote...Although a botanist by profession, his main interest, judging byhis library appears to have been entomology and amongst the booksare some rare titles in that field many dating from the nineteenthcentury, a golden age for the natural sciences. Many of the giants inthe field of Entomology are represented in the books and there aregood sets of Curtis, Donovan and Stephens with many exquisite, hand-coloured illustrations. Geology was another of his interests, as well asmicroscopy.What little is known of George West is largely gleaned from apublication from Hereford Museum published in 2007. West haddonated a large collection of mineralogical specimens to the Museumin 1945. His connection with Hereford, however, appears to betenuous and the man remains something of an enigma.

Friend of Charles Darwin, Henry Denny (1803-1871)Monographia Psephalidarum et Scydmaenidarum Brittaniae, HenryDenny, pub. Norwich S Wilkin, Upper Haymarket, sold also by Burksand Kinnebrook; Matchett and Stevenson; J. Parsons, and John Stacy,Norwich: and in London by Baldwin, Cradock, and Joy, PaternosterRow and W. Wood 428 Strand. 1825 First edition. Octavo, publisher'stextured cloth, few small marks, nothing egregious. Paper label tospine. 74 pp. 2pp subscribers' list, slightly loose but still attached totext block. 14 hand-coloured plates. One or two pencil annotations. AVG copy in the original publisher's cloth of this scarce title on beetles.WithMonographia Anoplurorum Britanniae, or An Essay on the BritishSpecies of Parasitic Insects belonging to the Order Anoplura of Leach.by Henry Denny, pub. Henry G. Bohn, York Street, Covent Garden.1842. 262 pp. 26 coloured plates to rear. Publisher's catalogue.Original cloth decorated in blind. Small patch abraded to the frontboard. Spine ruled in gilt with gilt title. Couple of abrasions to thespine cloth with wear at the top and bottom. The back strip isdetaching but still in place. West's pencil annotations to the frontinclude a note where he chastises Denny writing 'The author of thisbook would have greatly increased its value had he reserved his piousoutbursts for a more suitable publication....'Hand stamp of George West to pastedowns of both titles.(2)The following lots of books represent the library of George West.West's biographical details are hard to pin down, his date of birthunknown, (probably around the 1880's) and his death sometime after1945. He is known to have worked as an assistant and then lecturer inBotany at the University of Dundee from 1906. At that time theuniversity was a constituent college of St Andrews University. Westseems to have remained there until around 1926. In his publication'Practical Principles of Plain Photo Micrography' (1916) he describeshimself as a lecturer in Botany. Most of the books in the sale bear thehandstamp, 'George West' to the front pastedowns. Many volumes bearextracts from booksellers' catalogues with prices of the titles,suggesting that West liked to keep up with the current values of hislibrary.The books represent a working library and many are alsoannotated in pencil in his hand, cross-referencing other works andadding his comments. To the front of the first volume of Walker'sDiptera (see lot no.) he has inserted his handwritten poem, 'To theFuture Owners of this book'.Geordie has now turned up his toesAnd gone aloft to seek reposeFrom various varmints nips and stings,Especially those base mankind brings...........He trusts the child who gets this bookWill on the various notes just lookAnd feel that every pencil strokeHelps on the game dear Walker wrote...Although a botanist by profession, his main interest, judging byhis library appears to have been entomology and amongst the booksare some rare titles in that field many dating from the nineteenthcentury, a golden age for the natural sciences. Many of the giants inthe field of Entomology are represented in the books and there aregood sets of Curtis, Donovan and Stephens with many exquisite, hand-coloured illustrations. Geology was another of his interests, as well asmicroscopy.What little is known of George West is largely gleaned from apublication from Hereford Museum published in 2007. West haddonated a large collection of mineralogical specimens to the Museumin 1945. His connection with Hereford, however, appears to betenuous and the man remains something of an enigma.

A late 18th century patch box. Bearing the inscription 'I Present this to you as a trifling mark of my Esteem', width 4cm, together with four early 20th century brooches, plus a miniature silver fronted hymn book, a small silver photograph frame containing a photograph of a gentleman shooting, a pin cushion and two other miniature dolls, and four carved hardstone eggs - all cased within a Japanese box with foliate decoration to lid, signed.

A George III mahogany bureau. Full front opens to reveal an arrangement of drawers and compartments. Over four long drawers raised on bracket feet. Height 101cm width 95cm depth 49.5cm.Extra images are now online.There is no evidence of woodworm. The handles and feet are replaced, some veneer has been patched, and there is a patch covering where a central hinge was located.

Three modern silver novelty boiled sweet form pill boxes - sold with a Georgian silver patch box, two brooches and a small enamelled panel

* Household Linen. A pair of 18th century linen sheets, circa 1716, and a third, 1764, two linen sheets with ink inscription 'EJ Manser 1825 Spun by my Great Grand-Mother', both with stitched monogram 'K W E' and accompanied by a manuscript note dated 3rd August 1899 entitled 'History of these Sheets copied by Elizth S. Spriggs the Great Great Grand Daughter of Catherine Green who spun them', largest patched to one edge and wearing thin in places, smallest with one small patch and a little faint foxing to one corner, both with some neat period darns, 339 x 200 cm (133.5 x 79 ins) and 323 x 200 cm (127 x 79 ins), the other with ink name and date 'I. Findlater 1764', a few very small holes and marks, 272 x 245 cm (107 x 96.5 ins), together with 6 other items of early household linen, comprising: 2 pairs of pillowcases with ink name of E. Mitchell, 1 pair with ties, dated 1859, and the other pair with self buttons, dated 1862; a large napkin, inscribed in ink 'Isabella Forsyth 18'; and a small linen square with a pair of ties to one corner (part of a baby's layette?), inscribed in ink 'Lady Chitty 12 87' QTY: (9)NOTE:Accompanying the pair of sheets is a manuscript genealogy outlining the provenance: 'This pair of Sheets were spun by Catherine Green, daughter of Wm. Green, who married in 1716 - Bullis, their daughter Eliza Bullis married in 1756 ... ' with the line of descent continued up to 1929, and including Elizabeth Manser who annotated the sheets.

Quantity of Second World War Polish insignia, cap badges and buttons to include silver bullion ‘Poland’ red shoulder titles, 2nd Polish corps silver bullion divisional patch, private first class epaulette slips, silver bullion British 8th army divisional patch, second Polish corps screw back bap badge with black felt backing stamped 041177 to reverse, Polish screw back officers eagle cap badge marked: Guzpol B.M to reverse, Badge of the Security Corps of the Krakow District of the Home Army, number 279, together with further Military adaptation of the Foresters screw back badge stamped 1262 to reverse, and 14 Polish military buttons dated 1937-8 (24)

Quantity of Victorian silver bullion insignia and qualification patches to include corporal chevrons, marksman trade patch, skill at arms, 47th London infantry division, etc

λ&nbspFRANK AVRAY WILSON (BRITISH 1914-2009) PAINTING Oil on canvas Signed (verso) 101.5 x 76cm (39¾ x 29¾ in.)Provenance: New Vision Centre Gallery, London Exhibited: Nottingham, Commonwealth Festival Exhibition, 1966 Condition Report: A small patch of very fine craquelure marks to the lower left corner, hardly noticeable. Inspection under UV reveals a thick varnish and no obvious evidence of restoration or repair. Appears to be in good original condition. Condition Report Disclaimer

Parachute Regiment Falklands War Attributed Combat Para Smock. An extremely rare attributed para smock worn by Sergeant Bob Hilton, during the Falklands War a young Squaddie serving with 2 Para at the Battle of Goose Green. The DPM Para smock is the pre 1984 pattern without field dressing pocket to the right arm. To the right sleeve is a Parachute qualification badge and blue cloth square DZ Patch. The smock is with some service wear, but remains in good condition ... Accompanied by Bob's Red Beret, with blackened cap badge, leather sweatband, heavy service wear ... Parachute Regiment waist belt with chrome buckle ... Two snap shot photographs showing him wearing the smock, one with Prince Charles ... Accompanied by a second post 1984 pattern smock worn by Sgt Hilton, this example with both British and Dutch parachute qualification wings ... Also a pair of DPM trousers. Overall GC some service wear. (7 items). A number of photographs and description of Sergeant Hilton's Falklands War Para Smock appears in the book "Denison" (A history of Airborne Smocks) by Bruce Wilson published by Mode Publishing 2013. it states "Bob wore this very garment during the Falklands conflict Bob literally left the training depot and found himself bound for the South Atlantic. He proudly guarded the smock throughout his career in the Regiment". Sergeant Bob Hilton enlisted into the 2nd Bn Parachute Regiment at Brighton 3rd July 1981. Little did he know at the time, that within weeks of finishing and passing out with his Red Beret he would be boarding transport and embarking to war in the South Atlantic. He served throughout the campaign with 2 Para seeing action at the Battle of Goose Green, where the Commanding Officer Colonel H Jones Victoria Cross was killed in action. The Battalion later saw action on Wireless Ridge and along with 3 Para were the first to enter Port Stanley. Returning to the UK his service would see 7 Northern Ireland tours, his last being in 2003 and number serving with the Int Cell. In May 2000 he was deployed to Sierra Leone and served as a Section Commander, his main task to secure the Aberdeen Peninsular outside Freetown for the evacuation of foreign Nationals. Between August and October 2001 he served with the Int Cell during NATO operations in Macedonia and in February 2002 in the same role was deployed to Afghanistan serving with 16 Air Assault Brigade. Bob a war veteran himself understood the importance of tradition and sacrifice his Regiment had made in past conflicts and volunteered for commemoration Parachute jumps to mark the D-Day landings in 1992, 1993, 1994 and the Battle of Arnhem 1994 and 1997. He left the Regiment on the 11th July 2003. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY

German Shoulder Boards and Collar Patches. Three officers pairs of heavy bullion wire shoulder boards. One enlisted ranks pair of shoulder boards with black piping. One officers shoulder board with black and silver lace with white underlay with further black underlay. One pair of blue centred collar patches. One purple piped shoulder board and one single gold piped collar patch, belonging to an unidentified German Third Reich period organisations. Three pieces have glue on the reverse side where once adhered to a collectors display board, generally good condition (lot) £80-£100

German Second World War Luftwaffe Insignia. Two separate sizes of the black embroidered insignia of the Generalluftzeugmeister personnel. Accompanied by two different sizes of the yellow Luftwaffe eagle on black background on the L & G 2nd variation. Also accompanied by a scarce printed multi colour patch for a badge worn by civil foreign employers of the Air Force in occupied countries. This is information received by the collector from Doctor Klietmann, which is printed on the back on the display card. The badge is lightly tacked to the display card and can be removed without damage to the badge. Two small circular NSBO 1st type arm eagles and one smaller cap eagle for the NSBO but unusually with the swastika produced in reverse order, reasonable condition (8) £180-£220

A group of various boxes, including Georgian Bilston enamel patch box "Make virtue fill thy confiant guard and heaven will grant a fure reward", a brass safe box, etc (6)

AHSOKA (T.V. SERIES, 2023) - Crew Gift Patch, Pair of Stickers and Water Bottle - A crew gift patch, a pair of stickers, and a water bottle from the series Ahsoka. Former Jedi knight Ahsoka Tano (Rosario Dawson) investigated an emerging threat that could harm the galaxy following the fall of the Galactic Empire.This lot consists of one black metal water bottle with yellow and black "Blackbird Stormcrow" vinyl stickers; and a red and blue embroidered Ahsoka patch and two white and blue vinyl stickers mounted to a red acrylic display. This lot exhibits minor peeling vinyl on the water bottle, as well as glue residue on the display. Dimensions: (bottle) 3" x 3" x 11" (7.75 cm x 7.75 cm x 28 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.

SONS OF ANARCHY (T.V. SERIES, 2008-2014) - Jackson "Jax" Teller's (Charlie Hunnam) SOA Reaper Jacket Costume - Jackson "Jax" Teller's (Charlie Hunnam) SOA reaper jacket costume from Kurt Sutter's Sons of Anarchy. Jax wore his reaper jacket instead of his traditional leather kutte due to bond restrictions as he made his way to Belfast, Ireland to find his son in the Season 3 episodes "Widening Gyre" and "Lochan Mor."This lot consists of a black cotton and black silk lined Chopt-Up Industries jacket featuring a large black, white, and gray embroidered reaper patch on the back marked "JAX 2" in red ink and "JAX #2" in silver-color ink in the inside pocket; navy cotton Levi Loose Straight denim jeans (size 34x34) marked "Jax"; black leather Churchill Glove Co. gloves (size L); and black plastic KD's sunglasses. This lot exhibits scuffing to the sunglasses.Estimate: $1,000 - 2,000Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

THE LOST WORLD: JURASSIC PARK (1997) - Crew Jacket - A crew jacket from Steven Spielberg's The Lost World: Jurassic Park. Production gifted jackets of this style to cast and crew members after filming.This forest green, suede Timberland jacket (size L) features both snap-button and zippered closures on front, a production tag labeled "Lost World Crew Suede [sic] Jacket (1997)" on the interior, two front pockets, an elasticized waist and wrists, and a leather patch on the left chest engraved "The Lost World Jurassic Park Crew." The leather and label exhibit creasing from handling, and the suede exhibits minor stains from storage.This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.

SPACE JAM: A NEW LEGACY (2021) - Crew Gift Set and Parking Placard - A crew gift set and parking placard from Malcolm D. Lee's Space Jam: A New Legacy. This lot consists of one black vinyl OGIO duffle bag with "Sj2" embroidered on the front in red; one green microfiber wristband with an orange and black embroidered basketball patch; one purple microfiber Buff towel with a black-and-white vinyl "Goon Squad" label; a black metal water bottle with a white vinyl "Space Jam" sticker; two black rubber basketballs with "Space Jam 2" and Warner Bros. stickers; one gold-color rubber basketball with "Space Jam" in white vinyl and a color vinyl image of Bugs Bunny and LeBron James; and one blue and green vinyl "Space Jam 2" parking placard featuring the profile images of Bugs Bunny and LeBron James. This lot exhibits notable loss of deflation in the basketballs, grime on the towel, and scuffing to the water bottle. Dimensions: (largest) 20" x 30" x 10" (51 cm x 76.25 cm x 25.5 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.

EVEL KNIEVEL - Evel Knievel's Stars-and-Stripes Leather Jacket - Evel Knievel's Stars-and-Stripes leather jacket from various photoshoots. Upon switching to riding a Triumph motorcycle in 1967, Knievel adopted a new style of patriotic-colored leathers featuring an early version of the iconic V-shape design made popular by the 1971 Evel Knievel film. A variant of that style, this specific jacket was worn by Knievel in many different photo shoots over the years, including numerous magazine shoots, personal appearances, and a late 1990s print ad for the California Motorcycle Company (CMC) Limited Edition Signature Series "Amer-I-Can Dare Devil [sic] Motorcycle."This jacket originated directly from Knievel's personal collection. Made of leather, this jacket (size 44) features a blue chevron across the chest lined in red, with three full white stars and half a star on each side of the zipper on the blue. The right shoulder bears an embroidered canvas "Live Life Full Throttle" CMC patch with blue rings. The left shoulder bears a "1" leather patch in red, white, and blue with "Evel" cut out of it. The back of the jacket features two crossed finish line flags and checkered patterning along the sides. The interior of the jacket features Evel Knievel's autograph in black ink on a card in an interior window pocket. This lot exhibits discoloration.Additional Provenance: Letters of Authenticity from Knievel's children Krystal Kennedy-Knievel and Kaptain Robbie Knievel with signed photograph from Kaptain Robbie.Estimate: $8,000 - 16,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

THE GREAT DICTATOR (1940) - Adenoid Hynkel's (Charlie Chaplin) Dress Uniform Jacket - Adenoid Hynkel's (Charlie Chaplin) dress uniform jacket from Charlie Chaplin's The Great Dictator. Hynkel wore his dress uniform throughout the film.This jacket consists of a beige wool double-breasted military style jacket with a navy blue collar, lapels, cuffs and metal eagle crest buttons. It has a black embroidered patch on the right side collar with gold-color lining around the edge and two staggered X's at center. The jacket is lined with black sateen fabric and quilted cream-color satin. The back interior features an internal Western Costume Co. "WCC" stamp, largely illegible due to discoloration, and a Western Costume Co. label hand-marked for "Chas Chaplin" "No. 24457 # 6-A" "Chest: 37 1/2" in black ink. The interior of the right sleeve features a red Western Costume Co. stamp, also marked with an "80," and another stamp for "E248." Small holes along the front of the jacket show the previous placement of the left line of buttons, which were moved over slightly at some point. This costume exhibits discoloration, snapped threads, loose lining, frayed fibers, and a hole in the lining of the collar.Estimate: $20,000 - 40,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

THE SHAWSHANK REDEMPTION (1994) - Ellis Boyd "Red" Redding (Morgan Freeman) Screen-Matched Prison Costume - Ellis Boyd "Red" Redding (Morgan Freeman) screen-matched prison costume from Frank Darabont's The Shawshank Redemption. Red, the go-to man for contraband, wore his inmate uniform throughout the film as he befriended Andy Dufresne (Tim Robbins) where they created a grand prison library in memory of their friend, inmate Brooks Hatlen (James Whitmore) before they departed from Shawshank Prison to Zihuatanejo, Mexico. This shirt screen-matches to the theater scene before Dufresne was attacked by "The Sisters" by the stitching and coloring around the inmate number. The Shawshank Redemption earned a total of seven Academy Award® nominations, including Best Picture, and was selected by the United States Library of Congress in 2015 to be preserved in the National Film Registry for being "culturally, historically, or aesthetically significant."This costume consists of a black-and-white striped cotton Five Brother shirt (size XL) that buttons up in front, two chest pockets, and a patch with Red's inmate number "30265" stitched above the left pocket marked "Red #1"; and a pair of blue denim Western Costume Co. jeans (size 36) marked "#2 Red 31 Summer 1947 Spring 1949."Estimate: $25,000 - 50,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

BLADE RUNNER (1982) - Crew Jacket - A crew jacket from the production of Ridley Scott's sci-fi classic Blade Runner. Satin jackets like these were gifted to crew members who worked on the film.This bomber jacket is made of black satin polyester with "Pat" embroidered in red thread on the chest and a silver-and-red patch reading "Blade Runner" in both English block and Japanese characters on the reverse. This jacket features a zip-closure and knitted hems. Due to age and exposure, the jacket exhibits discoloration in that the satin's original jet-black hue has faded to a glossy burgundy.Estimate: $1,000 - 2,000Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

QUARK (1977 - 1978) - Gene/Jean's (Tim Thomerson) United Galaxy Sanitation Patrol Costume - Gene/Jean's (Tim Thomerson) United Galaxy Sanitation Patrol costume from the comedy sci-fi television series Quark. Gene/Jean was a humanoid who operated as the United Galaxy Sanitation Patrol Cruiser engineer, and wore their official uniform throughout the series.The all-in-one jumpsuit with a blue denim-like appearance features sparkly, silver-color trim on the collar, undersleeves, and a blue shoulder patch on the right shoulder. The costume features stitched badges, including a name patch on the right pectoral and a United Galactic Sanitation badge on the left.Estimate: $800 - 1,600Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

CONTACT (1997) - Pair of Dr. Ellie Arroway's (Jodie Foster) Birth Certificates, Articles, and Hat - A pair of Dr. Ellie Arroway's (Jodie Foster) birth certificates, articles, and hat from Robert Zemeckis' Contact. Dr. Arroway worked on deciphering signal codes she received from space when S.R. Hadden (John Hurt) revealed he had been watching her and her work by showing her a video of her childhood including her yearbook photo at MIT and an article from her childhood achievements. This lot consists of two printed "Certificate of Live Birth State of Wisconsin" birth certificates with one featuring handwritten signatures; one black-and-white printed article of young Ellie with the caption "Local Girl Wins Science Fair Award Three Years Running"; one black-and-white printed yearbook page proof of the MIT Senior's page with a photo of Eleanor Arroway; and one white and blue acrylic-wool H-Kap snap-back hat featuring a science patch on the front and a green underside visor. This lot exhibits minor stains to the inside of the hat. Dimensions: (yearbook page) 11" x 12" (28 cm x 30.5 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.

ARNOLD SCHWARZENEGGER - "Join Arnold" Gubernatorial Campaign Jacket and Hat - A jacket and matching hat from Arnold Schwarzenegger's 2003 "Join Arnold" campaign to become the 38th Governor of California. The legendary bodybuilder and film star won the historic special recall election on November 17, 2003. This lot consists of a black Tony Nowak bomber jacket (size XL) with American flag-patterned inner lining, an American flag patch emblazoned on the right sleeve, a State of California bear patch on the left sleeve, and the campaign slogan "Join Arnold: Let's Bring California Back" on the front and back, as well as an adjustable navy blue baseball cap emblazoned with the tagline "California Comeback Express." Both exhibit minor stains on their fronts from storage.This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.