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An 18th century South Staffordshire enamel oval patch box, the hinged lid finely decorated with Cupid and the Altar of Love, width 5.3cm, together with a Birmingham enamel circular snuff box, decorated with a harbour scene, diameter 5cm.

An 18th century South Staffordshire enamel oval patch box, the lid with inscription 'May Charms like thine Be ftill my Lot...', width 4.3cm, together with two other 18th century enamel boxes.

Two 18th century South Staffordshire enamel and silver circular patch boxes, each interior inset with steel mirror, diameter 2.8cm, together with two other 18th century Staffordshire enamel patch boxes, one inscribed 'A Trifle from Sidmouth'.

An 18th century South Staffordshire enamel canted rectangular snuff box, the lid painted with two figures, width 6cm, together with an 18th century South Staffordshire oval patch box, the lid painted with a gentleman watering a pot plant, length 5.5cm.

A group of three 18th century South Staffordshire enamel oval patch boxes, the lids all decorated with love birds, width 4.3cm.

Wallet on chain, Bottega Veneta. Schwarzes Intrecciato-Leder, bronzefarbene Hardware. Zwei Kettenriemen, verstärkt mit Leder-Patch. Schließt mit Magnet-Knopfverschluss. Innenmaterial beiges Wildleder mit Leder-Patch "BOTTEGA VENETA MADE IN ITALY". Innen zwei Hauptfächer, seitliches Einsteckfach mit Reißverschluss. Tragespuren, vor allem im Inneren der Tasche. Ca. 16x 26x 8 cm.

Vintage Tote Bag, Louis Vuitton. Monogram Canvas, messingfarbene Hardware, gem. "LOUIS VUITTON". Braune Beschläge aus Rindsleder, gerollte Tragegriffe (sehr starke Abnutzungserscheinungen und Verfärbungen). Innenmaterial gummierter, beiger Canvas mit Leder-Patch "LOUIS VUITTON PARIS made in france". Innen ein Hauptfach. Starke Altersspuren. Ca. 38x 36x 9 cm.

Early 20th century fiction & poetry. A collection of approx. twenty-two titles. The lot comprising two copies of Sir Agravaine by P. G. Wodehouse illus. Rodger McPhail; Folio Society editions of Love in a Cold Climate and The Pursuit of Love by Nancy Mitford; Shaman and other Poems by Alan Sillitoe; The Briar Patch by Charity Blackstock; Number 56 by Catullus Mendes; Green Song and Other Poems by Edith Sitwell; an Edwardian edition of King Solomon's Mines by H. Rider Haggard; 1903 The Alchemist by Ben Jonson printed at the De La More Press; 1936 I Will Repay by Baroness Orczy in dw; 1920 The Unfortunate Traveller by Thomas Nashe, Percy reprint in dw; signed Poems of the Three Shires and of the Sea by Katherin Minta Garner; Am Bolg Solair - The Pedlar's Pack, containing a poem by John Buchan; & 1919 The New Decameron Volume the First in scarce dust wrapper, as well as other titles. Approx. 22 titles. Largest oblong 4to.

A LATE 19TH CENTURY DIAMOND SET DOVE BROOCH/PENDANT CIRCA 1880 The dove with outstretched wings, set with various shaped old mine and rose cut diamonds, mounted in silver and gold, with swivel pendant loop and brooch fitting Size/dimensions: wingspan 3cm Gross weight: 9.4 grams Condition Report: The dove has had a replaced eye, one eye is a cabochon ruby the other is a cabochon garnet, the diamonds are all present and correct, the old mine cuts bright and lively, the rose cuts are typical, there is a lead soldered patch at the back of the setting, not visible to the front. The brooch hinge and pin are replaced, later bale, but in good working order. the brooch clasp in hinged, and there is a loop to the reverse which is possibly not originalCondition Report Disclaimer

AN ANTIQUE AND LATER TOPAZ AND ENAMEL FLORAL SPRAY BROOCH The flowerhead with oval cut topaz with pink foiled backs, with green enamelled leaves, to a leaf spray with a fringe of graduated pink foil backed topaz drop buds suspended from green enamelled trumpet shaped leaf sections, the later brooch clasp stamped 14K Size/dimensions: 9.1cm long Gross weight: 40.5 grams Provenance: Private Collection Condition Report: The topaz sections are the oldest parts of the brooch, mid 19th century, possibly been converted from a necklace, they have scuffs and scratches to the backs of the settings, the scrapes testing as silver, with gilding worn, the pink foiling's behind the stones have some perishing as commensurate with age, the stones themselves are pale, some nicks and small chips to some of the stones. The green enamelled sections are later, probably mid 20th century, there are some small chips to the enamel, and the one leaf at the top has damage to the folded section noticeable losses, one of the enamelled leaves has been totally re-enamelled and chipped, and another has a fracture to the enamel and a small patch of re-enamelling, the brooch fitting is fairly modern, it is stamped 14k.Condition Report Disclaimer

Pair of Bloor Derby figures of Gleaners, richly decorated in colours and gilt, painted mark and incised model number '123', heights 18cm and 16cm; also two Derby cherubs emblematic of Spring, patch marks, height 11cm; and a porcelain flower posy (a/f), height 14cm (5) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).

A RUSSIAN GEM SET GOLD BOX WORKMASTER AH, ST. PETERSBURG PRE-1899 The rectangular box of hammered finish applied with a foliate branch set with cabochon rubies, sapphires and rose cut diamonds, with cabochon sapphire corners and a ruby button, struck with workmaster initials AH, 56 standard Size/dimensions: 5.4cm long Gross weight: 38.5 gramsProvenance: Private Collection Condition Report: Base with small patch, possibly from construction. Some tarnish to gold. Stones are bright and lively, some scuffing to tops of central cluster and thumb piece. Rubbing to cornersCondition Report Disclaimer

FABERGÉ, A GOLD, ENAMEL AND GARNET BUTTON LOOP WORKMASTER ERIK KOLLIN, ST. PETERSBURG, CIRCA 1895 The tapering hexagonal handle enamelled in translucent green over hatched engine turned ground, with a cabochon garnet terminal, struck with workmaster's initials EK, scratched inventory number 59864, 56 standard, in original fitted holly wood case Size/dimensions: 8.5cm long Gross weight: 10.6 gramsProvenance: Private Collection Sale, Sotheby's 'Russian Works Of Art, Fabergé and Icons' 10 June 2009 Lot 553 Condition Report: Evidence of reenamelling under UV, one patch at hook end, lighter patches along middle and most of the top. Chip under reenamelling near hook end still visible. Garnet in good condition. Later French import mark small guarantee. Silk lining of case frayed at hinge and edges and generally wornCondition Report Disclaimer

FABERGÉ, AN ENAMEL EGG PENDANT WORKMASTER AUGUST HOLLMING, ST. PETERSBURG, CIRCA 1900 Decorated with a cornflower on a light orange guilloché enamel ground, struck with workmaster initials A*H, 56 standard Size/dimensions: 2.5cm including bale Gross weight: 3.4 grams Provenance: Private Collection Sale, Sotheby's New York, 16 April 2007, lot 78 Condition Report: Some pitting and scratches to enamel, one reenamelled patch possibly a knock under the enamel.Condition Report Disclaimer

KHLEBNIKOV, A RUSSIAN SILVER AND PLIQUE-À-JOUR ENAMEL BOWL MOSCOW, CIRCA 1910 With lobed sides, with panels of scrolling foliage within blue and transparent white dot frames, rope twist border, 84 standard, struck with Khlebnikov mark in Cyrillic with Imperial warrant Size/dimensions: 4.8cm high Gross weight: 140.7 gramsProvenance: Private Collection Condition Report: Slight tarnish/rust to a patch inside bowl. Some bleaching to blue enamel on the outside on one side, more vibrant inside. Some enamel crazing and small losses. tarnish to silver in recessed areasCondition Report Disclaimer

A Display of Second World War Polish Badges and Insignia, including two 13th Vilnius Rifle Battalion "Lynx" badges, a 5th Kresowa Infantry Division breast badge with screw fixing post and spinner, a lapel badge, a brass and white metal plaque and an embroidered cloth insignia, a 25th Regiment of Greater Poland Uhlans white metal and enamel breast badge with screw fixing post and spinner, a 4th Wolyn Infantry Brigade enamelled breast badge with screw fixing post and spinner, a 10th Battalion collar patch and badge, a 6th Lwow Infantry Brigade white metal breast badge with screw fixing post and spinner, and embroidered cloth insignia

A Second World War German Waffen-SS Autumn Camouflage Tunic, with four patch pockets with buttoned flaps, the left arm set with a machine embroidered pale grey cotton on black felt eagle, Infantry white piped black slip-on shoulder straps, each with a single strip of silver bullion for an NCO Candidate, brown painted metal pebbled buttons.Good condition.

A Second World War Polish Group of Five Medals, awarded to 265/111 Acting Sergeant (Plutonowy) Leonard Pohl, 1st Rifle Battalion, 1st Carpathian Rifle Brigade, 3rd Carpathian Rifle Division, Polska 2nd Corps, (Unit name "Peszek"), comprising Polish Cross of Valour, Polish War Medal, 1939-45 Star, Africa Star with clasp 8TH ARMY, and Italy Star, with his dog tags, Free Polish Army cap badge and 3rd Carpathian Rifle divisional patch, also, seven miniature medals, in a glazed display.

Two Glazed Displays of Second World War Polish Badges and Insignia, including embroidered POLISH shoulder titles, a Polish Volunteers from South America embroidered insignia, one embroidered and two printed 1st Polish Armoured Division patches, a printed and an embroidered 4th Polish Infantry Division patch, a 16th Polish Armoured Brigade embroidered patch, cgilt metal cap badges, a pairt of 6th Armoured Carrier Battalion Anti-aircraft Division beret pennants, etc

A Second World War German Waffen-SS Man’s Early Type Collar Patch, in black felt with machine embroidered pale grey SS runes and large ‘3’, with black and silver piping along the edges, the reverse with a paper RZM and SS maker’s label, removed from a tunic.Slight wear, otherwise good condition.

A Second World War Display of Polish Badges and Insignia, including a Military Chaplaincy white metal and enamel breast badge with screw fixing post and spinner, a Medical Corps collar badge and pennant patch, an Armoured and Technical Training Centre brass breast badge with screw fixing post, a School of Infantry Cadets and Motorized Cavalry brass and white metal breast badge with screw fixing post, a Reserve Artillery and Cadet School (Italy) white metal breast badge with screw fixing post, a "Young Boys" Cadet School white metal badge,a College of War (Military Academy) white metal breast badge with screw fixing post and spinner, a pair of red and yellow enamel pennant badges and a pair of collar tabs to the Military Police etc

A Second World War German Waffen-SS Man’s Collar Patch, of black felt with machine embroidered pale grey SS runes, removed from a tunic.Very slight wear and some loss of border stitches, otherwise good condition.

Russian white metal and gilt liquor set, 1970s USSR period, the bottle of tapering form with textured patch work design, with conforming liquor cups and plain tray, in original packing box, bottle H19cm.

A small silver and enamel patch box, the lid decorated with a horse and jockey AF; three silver matchbox holders and a white metal plaque decorated with a 1920's lady and initialled M.M. on oak plinth with reverse plaque, inscribed '1a Piccadilly Arcade, 67 St. James Street, 25 Bruton Street'

A JOINED OAK PANELLED CHEST, Yorkshire, Bradford/Halifax area, late 17th century, the hinged moulded edged plank lid opening to a void interior, three panelled fascia each carved with a lozenge within hatched trilobes and incised foliage, the moulded stiles inlaid with zig-zag banding, 47 1/2" w x 21 1/2" d x 30 1/2" h (Illustrated) (Est. plus 24% premium inc. VAT)Condition Report: Possibly some replaced planks to lid and small patch to rear right corner of same, replaced hinges. Shrinkage split to left front panel of fascia. Split and some shrinkage to floorboards resulting in some joint movement. Replaced lock plate. Good depth of colour.

TWO PIECES OF HALLMARKED SILVER TO INCLUDE A SHEFFIELD NAPKIN RING AND A MARLED 925 PATCH BOX, GROSS WEIGHT 111g

A large Derby porcelain figure, Britannia, circa.1765, standing beside a lion, and with trophies at her feet, patch marks, some possible restoration, 32cm. (D)

Late eighteenth century silk embroidered skirt, possibly Spitalfields c. 1780, the skirt is front panel only attached to a calico waistband, the back of the skirt also calico with hook and eye fastening, a small patch of silk is added to the front of the waistband, there are two metal eyes sewn into the front of the skirt, the hem of the skirt has been turned up in recent times, altogether this garment has seen alteration (there is small hole and some light staining)

WWII American 23 HQ (Special Troops) SQN “Ghost Army” Patch. A small unit of sound Engineers and Prop Makers from the Theatre and Movie Companies whose task was to convince the enemy there were troops and artillery nearby. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

7th Armoured Division Desert Rats WWII embroidered division patch. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

A collection of treen, to include two letter openers, two whist markers, two cribbage boards a castellated vessel, a playing card box, a collection of patch boxes and related items (qty.)

TV & Film mixed collectibles group including: Cabbage Patch Kids, Wallace & Gromit, Doctor Who, Tweenies, plus others, unchecked for completeness or correctness, Fair to Good, (Qty).

A SET OF THREE LORNA BAILEY CATS, Hear No Evil, See No Evil, Speak No Evil, all signed to bases, heights 13.5cm and 14cm, together with 'Lorna Bailey: The First Millennium' by Lorna Bailey and Dave Lee (3 + book) (Condition Report: cats appear in good general condition, See No Evil has a tiny unglazed patch/glaze chip on its left ear, book has several loose pages, a small tear on the spine and some wear)

An original map of Zeeland, published in Amsterdam by Johannes Janssonius van Waesberge c. 1676. The map is part of the work Nieuwe en beknopte uytbeeldinge en vertooninge der gantscher aerdbodem... The map features detailed cartographic representation of Zeeland, including a scale (Miliaria Zelandica) and geographical features relevant to the region. The first state of this map was issued in 1630 by Jan Evertsz. Cloppenburch. The verso has text. This map is a fine example of Dutch cartography from the 17th century. Condition Report: Damage to the right-side margin and slight staining to the top right patch. Image Size: 18.5 x 25 cm (7.3 x 9.8 inches). Keywords: Zeeland map, Janssonius van Waesberge, 17th-century Dutch map, Zeelandiae Comitatus, historical map of Zeeland, Miliaria Zelandica, cartography, Dutch regional maps, Johannes Janssonius, early Dutch cartography, Zeeland atlas, Dutch maritime maps.

CHEN SIEW MIN (SINGAPOREAN, B. 1940) - SPARROWS ON A BRANCH Ink and colour on paper, inscribed and signed with seal to lower right 46 x 34.5cm Condition Information: There is moderate foxing to the mounting board, and a toned patch to the lower left Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Late 18th/early 19th century Staffordshire enamel patch box, the hinged cover painted with coastal scene and inscribed above 'A View of Scarborough', opening to reveal a mirror to the underside, over a turquoise green base, W4cmCondition Report: General wear commensurate with age and use, including surface scratches and general wear.Some cracks to top, around lettering, and base also with a number of cracks to enamel.Mirror to underside of cover cracked.

A collection of patch boxes to include Crummels and Lesley Cresy

Gerard van Soest (1600-1681) Dutch Portrait of Oliver Jones (c. 1654-1685), son of Colonel Phillip Jones (1648-1685), by repute, half-length, wearing fine costume and resting his hand on the head of his hound Oil on canvas, 74cm by 62.5cmProvenance: The Property of Sir Brooke Boothby, 15th Bt., removed from Fonmon Castle, Glamorgan possibly Soest circa 1600-1680/1 London Sotheby's London, December 7 2023, Lot 44, Old Master Paintings Day AuctionLiterature: J. Steegman, "A Survey of Portraits in Welsh Houses", vol. 2, Cardiff 1962, p. 93, no. 9, reproduced pl. 15 c (as anonymous, c. 1660); A.D. Fraser Jenkins, "The Paintings at Fonmon Castle", in S. Williams, Stewart Williams' Glamorgan Historian, vol. 7, Glamorgan 1971, p. 62 (as Gerard Soest).Catalogue Note: The sitter in this portrait is traditionally identified as Oliver Jones (c. 1654-1685), the heir of Colonel Philip Jones (1618-1674). Despite living a relatively short life for the period, Oliver is recorded to have married Mary Button and sired an heir, Robert Jones (d. 1715), who continued the family line. Lined with a secondary loose lining canvas at the reverse. Unusual stretcher with corner bars. All keys present but a little lacking in tension. Brittle age and impact cracks throughout. Slightly raised, but secure. A history of flaking in the past, with micro losses throughout - the larger ones suppressed by retouching. Scattered fruther minor losses of paint and ground throughout - retouched. Mostly in the background. A few touches of overpaint in the face. Larger passages of overpaint to the bottom centre above the plaque, around the bottom left edge of the drapery, in the dog's neck and in the background above right of his head and the hand. There has been some abrasion to the paint layers, and likely loss of glazes. These areas include the shadows/halftones of the face and the dog, and in the background particularly over the raised cracks. Likely this is what the overpaint is suppressing. A little ingrained dirt and varnish. There has been some more recent knocks/movement to the canvas - there is one small area of slighly raised area of paint to the right of the red collar. This patch, together with several others, appear white. This whitening, however, is the result of delamination of varnish, and the paint is intact underneath. The rest of the upper varnish layer is even, and not appreciably yellowed. Light surface dirt.

French School (c.1850) Portrait of Jane Octavia Maitland, Mrs Valpy, three-quarter length, seated, wearing a maroon dress decorated with fine lace detailing Oil on canvas, 98cm by 76cmContained in a carved wood gilt frameProvenance: The Property of Sir Brooke Boothby ex Fonmon Castle Unlined. All keys present but a bit lacking in tension. The edge of the canvas is visible at the right side. A quantity of dirt and debris behind bottom stretcher. A lumpy distortion to the canvas bottom right corner, likely from having something trapped behind the stretcher in the past. One small pin-sized hole to canvas and paint top left corner. Brittle age craquelure throughout, presenting as raised mostly vertical lines of paint, but not actively flaking (see images). One apparent restored loss to the top of the drapery at the chest surrounded by a patch of abrasion. Further abrasion in the neck, which has a greyish material surrounding in places, below the left hand and to the shoulder. A thick yellowed/degraded varnish, difficult to see the paint layers or any further overpaint in the dark areas. Mould bottom edge. Bird dropping, scuffs, minor marks and surface dirt. Scuffs in the varnish at the edges.

Margaret Lindsay Williams (1888-1960) Portrait of Oliver Henry Jones, of Fonmon Castle, JP., EL (1846-1917), three-quarter-length, standing, wearing hunting pink Signed and dated 1918, with family crest, oil on canvas, 139.5cm by 101cmProvenance: The Property of Sir Brooke Boothby ex Fonmon Castle Unlined, all keys present, a little lacking in tension, which has casued draws/undulations at the corners, particularly at the bottom. Low-level stretcher bar marks. A very slight dent to the left of the neck - no loss of paint visible. Brittle age craquelure in passages, much stable not elevated but there are raised cracks in the thicker paint of the red drapery, and a patch with a history of flaking to the shadow of the armpit at the left. This has raised 'crispy' paint and has at least two campaigns of retouching to losses. There are scattered fairly minor restored losses, including one to the right knee, one to the right of the left knee (these two have a yellow ring around them), one in the background to the mid right and one to the lower portion of the red jacket. There is further brushy overpaint around the edges, and around and through the coat-of-arms which is a little more crudely painted with a few drying cracks. There has been a campaign of tiny, careful dots of retouching to suppress marks etc (see uv images), particularly in face and drapery.A little dirt and ingrained varnish, an even, fairly matt upper varnish perhaps a little yellowed. Layer of surface dirt and accretions including flyspotting and a few splashes. Scattered fairly minor scuffs/scratches to the varnish.

George Clarkson Stanfield RA (1828-1878)"Richmond, Yorks"Signed and indistinctly dated, oil on canvas, 58.5cm by 74cmLined. One key missing, good tension. A little pressed from restoration in the past. Brittle age craquelure throughout, flat and stable. Scattered minor retouched losses. Paint in the top left corner has a strange texture - possible scratches, cracks, brushmarks that have been abraded? A bit of further abrasion in the sky and in the delicate dark passages, with brushy overpaint in the sky (see uv iimages). Old ingrained dirt and varnish. An upper fairly matte varnish. Light surface dirt. A cloudy patch of varnish bottom left corner.

Follower of Cornelius Johnson (1593-1661)Portrait of a gentleman, head and shoulders, wearing a wide white ruff with a black doublet with grey floral embroidered sleevesOil on panel, 68cm by 60cmReverse: A panel comprising three boards, chamfered at all edges. Right join at the reverse appears staggered/overlapped, and the ends are slightly open at the reverse. The left join has been planed down and a batton affixed along the length just short of the bottom edge where the join is slightly open. There is a split 3 inches from the left running approx 13 inches up the painting from the bottom, and a further split 1..5inches from the left edge at the top running 4 inches down the panel. There is a patch of disrupted wood - likely a knot lower right side of the middle board. Framed with pins going across the grain, likely causing tension.Face: Both splits have been open/mobile at the face and the shorter split has been filled and retouched. The right hand join has been opened up and filled and retouched down the full length, and the left join appears to have been opened most of the way, with associated retouching. There has been some damage, cracking and loss to the area associated with the knot in the wood, with some restoration in this area. There is a finescale brittle age craquelure throughout, mostly associated with the grain of the panel. Some very slight and minor raised areas at the bottom edge, but mostly the paint layers are flat and stable. The filling and retouching at the joins/splits is cracking and beginning to flake. There are further scattered minor restored losses throughout, mostly retouched. There is some futher broad, brushy overpaint around the joins, and further possible overpaint to abrasion in the background and drapery. The very thick old varnish makes it difficult to establish the extent of the overpaint in the dark areas. There has been some abrasion to the paint layers, particularly the face, hair and ruff that are thin, again it is difficult to see the extent of this in the darker areas. There has been a campaign of overpaint to suppress this in places, including in hair, face, beard (see images). Some further touches of overpaint to suppress wood grain. A bit of ingrained dirt and varnish. Very thick upper varnish layer/layers, which are yellowed and degraded. A surface dirt layer. Minor scuffs and scratches, surface accretions.

Maud Earl (1863-1943) Portrait of a black Scottish Terrier, seated Signed, inscribed "Painted for Lady Suffolk" and dated 1911, oil on canvas, 59cm by 44cmProvenance: The Property of the Earl of Suffolk and Berkshire, Charlton Park Unlined, varnish has seeped through to the back of the canvas. Two keys missing, one of which is stuck behind the stretcher bar. The canvas is a bit slack, and there is a pronounced corner draw/undulation in the top right corner (see raking light image). Slight distortion to the middle right side from a blow from the reverse, and a slight bulge bottom left from where the key is behind the stretcher. Slight stretcher bar marks, particularly at the left and top. Brittle age craquelure and impact cracks throughout. Slightly raised/pulling at the canvas. Appears to have been treated/consolidated previously to secure and put down raised passages. A few very slightly sharp areas but mostly stable. Some tight stable drying cracks in a few areas. A small flaked loss below signature, and a small blow with associated minor loss of paint above this (both unrestored). A small disruption to the paint to the left of the left front paw. Possibly a patch of overpaint to the background at the middle of the dog's back. A little abrasion in the thinner passages around the edges of the dog. Slightly degraded varnish reducing visability in the darks. Likely slightly yellowed varnish. A long vertical scuff bottom left corner and further minor scratches above the head. Further minor marks and surface accretions. Slightly uneven surface gloss, and light surface dirt layer.

Sidney Richard Percy (1821-1826) "On the Glaslyn" Signed (partially obscured by slip), oil on canvas board, 23cm by 43cmProvenance: The Unicorn Gallery, Wilmslow, Cheshire Private Collection, South Yorkshire Canvas laid on board flat and even. A few flat and stable brittle age and impact cracks in opaque areas of paint. A broad approx. 2.5inch x 1 inch area of overpaint top centre of sky - it is not clear what this covers. There are two further smaller areas of overpaint presumably to damages - on to the right of the top of the second highest hill top, and a further smaller patch in the top of the trees below this. A little old ingrained yellowed varnish in patches and a line of the same along the top edge. Some minor abrasion at the edges. The upper varnish has an even gloss, there is a light white layer of surface dust.

Robert Cree Crawford RSW (1842-1924) Scottish Portrait of David W Shaw Esquire, three-quarter length, standing, in hunting attire Indistinctly initialled and dated 1911, with original artist's inscribed label verso, oil on canvas, 126cm by 100.5cmPlaque to the lower frame reads 'David W Shaw Esquire, presented by the Eglington Hunt (1911)'Provenance: Sir Graham Wylie Unlined, two keys missing, adequate tension. One old patch repair to a tear in the top left quadrant, with associated loss of paint and ground and restoration and a slight dent at the face. Brittle age craquelure and stretcher bar cracks, starting to lift and there has been a continuing history of micro-flaking throughout. Some of these losses are fresher and unrestored, but there has been a campaign of brushy overpaint to cover some of these in the past. There are open drying cracks in the white passages and flesh, and the background has had drying issues resulting in aligatoring, which has been suppressed with a broad brushy campaign of overpaint (see images in ultraviolet light). Scuffs and damages at the edge of the canvas, which has slipped in the frame a little. Fairly patchy upper varnish, likely a little degraded. A quantity of surface dirt and accretions.

Nameplate TIVERTON CASTLE ex British Railways Class 43 HST 43172. Allocated new to Laira Sep 1981. Previously named Harry Patch (11/15-2019). Named at Laira depot Apr 2022 and removed on withdrawal Sep 2023. Exported to Nigeria Nov 2023. Rectangular cast aluminium in as removed condition measures 41.75in x 13.75in. Sold on behalf of Great Western Railway for their chosen charities and comes with an official GWR certificate of authenticity confirming the original owner.

A Brass-Studded Teak or Hardwood Zanzibar Chest, early 20th century, decorated and embellished with engraved and chased brass panels, the reeded hinged lid enclosing a candle box and engraved and pierced brass clasp, the base with three small drawers and brass solid backplate handles to the sides128cm by 53cm by 56cmReasonable decorative order. Some small decorative elements of brasswork missing throughout, including to the lid. The locks have been removed from the three base drawers. Some faults to the brassware around the top border (as photographed). Some small sections of studs missing. The handle to the left-hand side is detached. One of the small loop handles is missing. Some general scuffs and bruises throughout the chest. Losses, small faults and repairs, including to the front-right hand corner (see image). The left-hand corner has a small patch repair. The timber is also rather dry throughout. Please see additional images online.

A George I Walnut, Crossbanded and Featherbanded Chest on Chest, early 18th century, the moulded cavetto cornice above three short and three long deep oak-lined drawer all between canted fluted stiles, the base of three deep drawers, on bracket feet 103cm by 49cm by 177cmProvenance: The Selected Contents of Eden Lacy, Lazonby, from the Estate of Victor Gubbins Reasonable uniform colour throughout. However, the right-hand side panel is badly split, the left-hand side panel also has splits. The drawers are open and with key and working locks. The drawers are very slightly misshapen. There are some small veneers and patch repairs. The chest is structurally sound. Please see additional images online.

A Late George III Mahogany Bookcase, early 19th century, the fret carved scrolled swan neck pediment above a blind fret moulded dentil cornice and lancet glazed doors enclosing four adjustable shelves, two moulded cupboard doors below enclosing a sliding tray, on shallow bracket feet 140cm by 63cm by 250cmProvenance: The Selected Contents of Eden Lacy, Lazonby, from the Estate of Victor Gubbins The right-hand glazed door is cracked in two places with sections of moulding also missing (as photographed). The left-hand glazed door also has a small crack. The scrolled pediment has had some repair work which is visible. There is a section to the left-hand side panel which has some splitting. The right-hand side has sections of moulding missing. The right-hand front corner has a patch repair. The left-hand corner has two patch repairs (see additional images). The doors have some slight bowing – with key. Some traces of old paint visible in some places. The timber to the side panels is poor in colour. The bookcase splits into three sections - the base cupboards, the middle glazed section and the pediment. Please see additional images online.

A Set of Eight Carved Mahogany Dining Chairs in the Manner of Gillows, circa 1820/30, recovered in beige velvet, with scrolled and curved toprails above acanthus-carved horizontal splats with reeded frames, the overstuffed seats on turned and reeded tapering forelegs 50cm by 44cm by 84cm All chairs are useable. The upholstery is clean. One of the chairs is missing both roundels and another chair is missing a roundel. Some of the chairs have had some repair work and strengthening but this is done to a reasonable standard. One of the single chairs has a patch repair to the top corner (see image). Please see additional images online.

An Imposing Mahogany, Satinwood-Crossbanded and Boxwood-Strung Circular Dining Table, 19th century, the removable top on a block support above a tapering column with moulded panels and triform base, on carved claw and ball feet with recessed castors 220cm by 75cmProvenance: Sir Graham Wyllie Numerous scratches. The veneers to the top are rather thin. The veneer is lifting slightly in places throughout the crossbanded section and with a small patch repair. The table is structurally sound. 220cm diameter. English made - no maker's mark. Please see additional images online.

A George IV Mahogany, Boxwood Strung and Satinwood Banded Triple Pillar Dining Table, 2nd quarter 19th century, in three sections, comprising a pair of conforming D ends with pivoting supports and a free-standing middle section with two hinged dropleaves and a small frieze drawer, on turned supports with scrolled sabre legs, brass-capped toes and castors 318cm extended by 121cm by 72cmProvenance: Private Collection, Victoria Lodge, Tweedsmuir, Biggar Slightly faded but uniform condition. One of the leaves has a deep scratch (as photographed). 4 clips are available but 4 clips are missing. A section of the D end has a small split (as photographed). The opposing end has an old repair (as photographed). Various scratches consistent with age as well as some patch repairs. Please see additional images online.

A French Style Walnut Framed Three-Seater Sofa, late 19th century, upholstered in yellow floral damask, the moulded and carved show frame above a buttoned back support with three feather-filled cushions above a serpentine seat rail, on stout cabriole forelegs with scrolled toes195cm by 66cm by 87cmStructurally sound. The fabric is in good condition, so it is likely that it has been fairly recently recovered. The underside of one of the cushions has a mark (as photographed). The framework is structurally sound. Previously polished/with some repair work which has been done to a good standard, however, there are some small losses and a small patch repair (as photographed). Please see additional images online.

Jules Gustave Le Roy (French 1856-1921): Kittens in a Basket of Flowers on the beach, oil on canvas signed 32cm x 40cmCondition Report:Good overall condition, well presented, ready to hang. Small re-enforcement patch verso, very minimal signs of over-paint under UV light

A flower head honey-comb patch work bedcover, on white cotton, some signs of staining. (167cmx231cm)

A 20TH CENTURY AFGHAN BALUCH WOOL PRAYER RUG. The central field woven with a mihrab enclosing lozenges, within borders of repeating geometric flowerheads, on a dark red and brown ground, 85cm x 130.5cm Some areas of wear and small threadbare patches, possibly moth eaten, overall colours are still bright and it is an attractive rug. There is a two-tone patch to mihrab in the centre which was probably in the making.

Railway interest; Railway conductors hats two with actionable Railway badges another with patch, red flag, aslef items etc. One Box

Royal Doulton, 101 Dalmations Patch in Basket DM9 and Penny DM2. Boxed. (2)

A Chinese Porcelain "Immortals" Bowl, Yutang Jiaqi mark, 17th century, probably Shunzhi, painted in underglaze blue with the eight immortals visiting Shoulao seated with a stag and attendant, the interior with river landscape, four-character mark in underglaze blue 35cm diameterThe Yutang Jiaqi mark (beautiful vessel for the Jade Hall) was much used on blue and white porcelain in the late 16th and 17th centuries, being particularly popular during the reign of Shunzhi Short, tight crack to the rim (see image). Four flat chips to the rim with some further glaze fritting.A patch of missed glaze during manufacture and another small manufacturing flaw to the side of the foot. Pitting to the glaze throughout. Some general wear and scratching to the glaze, mainly internally.The bowl sits squarly on the table, the top rim raised slightly in one area. Potted and fired in good form with no excessive warping elsewhere other than the top rim.Examined under UV lighting and strong transmitted light, no restoration.

A Japanese Bronze Figure of Kinko, Meiji period, riding on a back of a large carp, signed14cm highTriangular patch of repair under the base (see image). Fingers of left hand slightly flattened. Slight notches to the edge of the tail fin. General wear to the surface patination and minor scuffs. No deep scratches.