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A pair of small Derby figures of a shepherd and shepherdess, late18th century, with bocage supports and scroll moulded bases, patch marks, 14cms; and a pair of 19th century German small figures of lovers, 8cms. (4)Provenance: select items removed from Carrycoats Hall, Northumberland.

A matched pair of Derby figures of a shepherd and shepherdess, circa 1780. The shepherd depicted playing a flute, the shepherdess dancing with a posy of summer flowers, flower-encrusted bocage supports, and scroll bases, patch marks, 21cms and 24cms. (2)Provenance: select items removed from Carrycoats Hall, Northumberland.

A Canon FD L f/5.6 150-600mm Lens, converted to Arri PL, white, serial no. 10317, body, G-VG, elements, G-VG, some light internal haze and a small patch of fungus, together with soft leather lens hood in a fitted aluminium flight case

A Good Selection of Zeiss Ikon Contax Accessoires, together with a Contax III, serial no. G9756, shutter not working, rangefinder patch clear, together with a Carl Zeiss Jenna Sonnar f/2 5cm lens, serial no. 2228471, optics G, some haze present, in maker's case, together with a Zeiss Ikon Contatest, a part-complete Contaprox set, a selection of macro & closeup attachment, a Carl Zeiss Sonnar f/4 135mm lens, serial no. 2287195, optics F-VG, some separation present, otherwise VG, in maker's case, together with a Zeiss Ikon Contax I camera case, also with a Zeiss Ikon Contameter,

A Leica IIIf Rangefinder Camera, 1950/51, chrome, serial no. 536536, with Leitz Elmar f/3.5 50mm lens, chrome, serial no. 688505, body, VG, shutter working, rangefinder patch faint, lens, VG, some light cleaning marks, complete with red felt Leitz box

A Foca Universal Model III 35mm Rangefinder Camera Outfit, to include a Foca U, serial no. 205.014R, body G, some chrome peeling to base plate, shutter working, rangefinder patch bright & clear, together with a Foca Oplarex f/1.9 50mm lens, serial no. 132765, body G, optics P-F, some fungus present across all elements, with front cap, also with a Foca Oplar f/3.5 3.5cm lens, serial no. 71619, body G-VG, optics G, some haze present, in maker's box with front & rear caps, also with a Foca Oplar f/3.5 9cm lens, body G, optics P-F, some fungus present, with front & rear caps, also with a Foca Teleoplar f/4.5 13.5cm lens, body G, optics P-F, fungus present, with maker's case & front & rear caps,

A Leica IIIf Rangefinder Camera, 1952/53, chrome, red dial, serial no. 649778, body, G-VG, shutter working, rangefinder patch very faint

Edward Sylvester Hynes (1897-1982) Irish, Portrait of a happy pirate holding a drink,watercolour, 15" x 10.25", (38x26cm), along with a small portrait of a man with an eye patch, watercolour, signed and inscribed, 6.75" x 6.75", (17x17cm), (unframed) (2).

BULGARIAN MILITARY OVERCOAT SECOND HALF OF THE 20TH CENTURY double breasted, with stitched arm patch

indentures-An 1801 Georgian Assignment of Mortgage indenture, John Barnes and John Patch to John Smith and Robert Walker in reference to land at Middleton, County of York together with later 19th Century vellum and cloth indentures mostly with red wax seals; 2.1866 Mortgage Mr Thomas Fawcett to Mrs Elizabeth Cooper, 3.1844 Conveyance Charles Marshall and others to Mr W. Simpson drawn by Hirst Solicitor, Boroughbridge, 4.1849 Conveyance Mr W. Simpson to Rev Edward Duncombe and his Trustee, 5.an 1879 Conveyance Mr John Naylor Warwick to G.A.Hutton Croft Esq signed and sealed by Thomas Binks Gray in the presence of Mr Capes, Boroughbridge, 6.1859 Conveyance Mr Thomas Rennison to Mrs Ann Carr drawn by Henry Jackson, Malton, 7.1841 Reconveyance Mr Richard Cass and Mortgagee to Messers Thomas Danks and Roger Sedgwick, 8. 1866 Conveyance Mr John Fawcitt and others to Mr Thomas Fawcett, 9. 1877 Transfer of Mortgage Mr F W Cooper to Miss Ann Lovel and Miss Elizabeth Lovel and 10. Duplicate Conveyance The Venerable James Croft to Miss Elizabeth Croft and others. Of interest-Venerable James Croft was born on 2 July 1784. He was the son of Reverend Robert Nicholas Croft and Elizabeth Wanley Bowes. He married Charlotte Manners-Sutton, daughter of Most Rev. Charles Manners-Sutton and Mary Thoroton, on 5 October 1812. He died on 9 May 1869 at age 84 and held the office of Archdeacon of Canterbury.

WW2 American 8th Air Force ‘Ike’ Jacket Set, good example of a 2nd Lieutenant’s Ike jacket with embroidered 8th Air Force arm patch, pin back sterling silver pilots wing above medal ribbon bar. Presidential unit citation ribbon bar to right breast. Gilt metal winged propeller collar lapels and brass US collar badges. Accompanied by tan cloth shirt and original metal identity discs of Joseph F Lively Jr. Good overall condition. Also accompanied by a folder of paperwork and photographs relating to his service

WW2 American 8th Air Force Other Ranks Tunic, good example of a four pocket wool tunic with gilt metal tunic buttons, embroidered 8th Air Force tunic patch and second air force patch. Staff sergeant rank badges. Interior size marked ‘36R’. Generally good condition.

British South African Police Recce Unit Patch, accompanied by BSAP gilt collar / headdress badge, Southern Rhodesia Military Police cap badge and Rhodesia Military Police cap badge. (4 items)

WW2 German Waffen-SS Tunic Collar Patch, well worn uniform removed collar patch with embroidered SS runes to the centre of a ribbed black cloth. Backing material to the reverse and stitched lines. Possibly made in occupied territories.

Third Reich NSDAP Membership Book Grouping of SA / NSKK Member Max Wolfram, the group consists of a well worn and used NSDAP party membership book with uniform photograph to the inside of Wolfram in SA uniform with kepi, his party number being 1689276. Member since 1933. Membership paid stamps up to 1944. Book is well worn. Accompanied by his NSKK ausweis card with same SA uniform photograph, SA Ausweis with uniform photograph of NSKK wearing leather 1st pattern crash helmet, NSKK pass book with uniform photograph with collar patch for NSKK Motorsturm 22/M47, German armed forces wehrpass which details his service with the SA and his service in German panzer replacement unit up until February 1940, plus other documents, photographs and paperwork items. Good grouping of documents to one early SA member. Many NSDAP membership books were destroyed at the end of the war as people did not want to be caught as members of the party due to the risk of reprisals by Soviet and other allied forces. As such these are now hard to find complete. Late Colin Kluth collection.

WW1 German Prussian Enlisted Ranks Feldmutze / Kratzchen, field grey wool cap with red cloth central band and red piping to the crown. Complete with enlisted ranks cap cockades for Deutsche Reich and Prussian state. Cloth lining to the interior with the remains of ink issue stamp. Period patch repair to the reverse of the cap. Late Gordon Anderson Collection

Grouping of WW1 Period American Tunic Patches, including 2nd division (Indian Head) painted on white star with purple backing for the Machine Gun Company 23rd Infantry regiment; 2nd division (Indian Head) embroidered felt on white start set upon red diamond for 1st battalion 6th Infantry Regiment USMC, 11th Marine Regiment 5th Marine Brigade USMC embroidered felt patch, 3rd division patch, 77th division patch and Service & Supply units patch. (6 items)

2x WW2 American Air Force Shirts, being a brown enlisted ranks example with wool air force patch and officers tan cloth example. Both in good condition. (2 items)

WW2 American Type A-4 Flight Suit, single-breasted overalls type flying suit of olive drab gabardine, featuring a turn-down collar, vertical front zipper fastening from crotch to neck concealed by a press-stud fastened fly, integral fabric waistbelt with sliding metal buckle to fasten, two belt loops to the front waistband, a vertical opening to either side of the waist, an angled open patch pocket to the right chest and a large open bellows pocket to the right shin. The arm and leg cuffs are closed both by zippers and a press-studs. Machine embroidered label to the interior collar.

Scarce Variation WW2 German Police Officers Tunic Arm Eagle, being an unusual flat wire example which has been mounted onto a denim oval patch in Police blue / green cloth

WW2 American Type A-4 Flight Suit, single-breasted overalls type flying suit of olive drab gabardine, featuring a turn-down collar, vertical front zipper fastening from crotch to neck concealed by a press-stud fastened fly, integral fabric waistbelt with sliding metal buckle to fasten, two belt loops to the front waistband, a vertical opening to either side of the waist, an angled open patch pocket to the right chest and a large open bellows pocket to the right shin. The arm and leg cuffs are closed both by zippers and a press-studs. Machine embroidered label to the interior collar.

WW2 USAAF Insignia and Paperwork Archive of Corporal Walter Mroz, grouping includes a sterling silver Aircrew wing with clutch back pin fittings to the reverse, 2nd Airforce cloth tunic patch, identity discs, headdress badge, collar badges and medal ribbons. Also accompanied by a whole archive of paperwork, books, photographs etc.

Royal Air Force No 600 (City of London) Squadron Flight Suit Patch, fine example of a embroidered flight suit patch in the form of RAF eagle above City of London shield. Possibly for the white flight suit. Accompanied by an embroidered cloth blazer badge for the unit. (2 items)

Carlo Labruzzi, Italian 1748-1817- An Italian landscape with ruins and figures; pencil, watercolour and grey wash on laid paper, numbered '128' (on the upper margin), with a rough pencil sketch of a landscape on the reverse, 40.5 x 55.8 cm. Provenance: David Carritt. Lady Alexandra Naldera Metcalfe, CBE (1904-1995). By descent to the present owner. Note: Carlo Labruzzi was a highly talented artist and topographical draughtsman, who constituted a serious rival to other such foreign topographers as Giovanni Battista Busiri (1698-1757), Charles-Louis Clérisseu (1721-1820), Abraham-Louis-Rodolphe Ducros (1748-1810), Giovanni Battista Lusieri (1755-1821) and Gaspare Vanvitelli (1653-1736) – all active in Italy at this time. Labruzzi was largely forgotten in Britain until an album of a hundred of his drawings was broken up and sold in an exhibition entitled 'Carlo Labruzzi: An Exhibition of Fine Water Colour Drawings of the Appian Way' at 71 New Bond Street, London, in 1960. Labruzzi was born in Rome, the son of Giuseppe, a weaver. Little is known of his early life. He was initially intended for the Church but trained as a painter and engraver, spending time in Nuremburg and returning in 1780/81 when he was admitted to the Congregazione dei Virtuosi al Pantheon. Like Thomas Patch (1725-1782) he may have spent some time in the studio of Claude-Joseph Vernet (1714-1789). At some point before this he appears to have left Rome to work for the Russian and Polish courts. His pictures can be found there at Pavlosk near St Petersburg and at Willanou and Potecki, near Warsaw. His delightfully fresh drawings, made ‘en plein air’, anticipate the Impressionists' approach by a century. His work can be found in the British Museum, Vatican Library, Victoria and Albert Museum, Stourhead, and the Whitworth Art Gallery. David Carritt (1927-1982) was a distinguished dealer, art historian, critic, and a chairman of Christie's. He was known for his discoveries of works by major artists over the course of the 20th century, including those by Rogier van der Weyden (1399-1464), Giovanni Battista Tiepolo (1696-1770), and Jean-Honoré Fragonard (1732-1806). Lady Alexandra Naldera Metcalfe (née Curzon) was the third daughter of George Curzon, 1st Marquess Curzon of Kedleston and Viceroy of India, and Lord Curzon's first wife, the American mercantile heiress, Mary Victoria Curzon, Baroness Curzon of Kedleston (née Leiter). She was named after her godmother, Queen Alexandra and her place of conception, Naldehra, India. She and her two older sisters were the subjects of a biography by Anne de Courcy in 'The Viceroy's Daughters: The Lives of the Curzon Sisters'.

A Royal Worcester fifteen piece dessert service painted by James Stintonto include twelve dinner plates, two oval serving dishes and a square serving dish, each piece painted with a variety of game birds, Pheasant, Red Partridge, Red Grouse, Black Grouse, Ptarmigan, Snipe, Mallard in woodland, moorland and marsh landscapes, all with waved gilt edges and signed 'Jas Stinton', puce factory marks, bearing 1912/14 date code, of which six stamped RD312259, (15)plates diam. 22cm, oval dish 31cm, square dish 29cmCondition: All in good condition overall. There is a patch of wear to the handle of the square serving dish. There is very minor crazing to the edges of two plates and one dish. 

A group of 19th Century prints including Richard Dighton (1752-1814) 'A View from Baxter's Livery Stables, Cambridge' etching with hand colouring, titled beneath image and inscribed 'Drawn, etch, & Pub By Dighton, 6. Char. Crofs, Jan 1810'; John Hamilton Mortimer (1740-1779) 'Sleeping Monsters', etching, titled below image, inscribed 'I. Mortimer Del et Sculp'; Jacob Gillberg (1724-1793) 'Paysage au bord d'une riviere' stipple engraving and etching in red ink, inscribed to lower right 'J Gillberg sculp'; 'A rider on horse back', trimmed etching and a set of three folio aquatints from the original drawing in the collection of R.P. Knight Esq No. 16, No. 31 and No. 37 (7)plate size (illustrated): 300 x 200mm, framed size 44 x 32.7cmCondition: 'Paysage au bord d'une riviere' - patch of foxing to the centre right margin, and general foxing to the surface of the paper. Foxing to the general surface of the three folio prints. Viewing recommended in person.

Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Peaks Fantasia," depicting a pavilion with craggy mountain peaks rising out of the mist behind it. Silver gelatin print. Inscribed "Peaks and Pavilion" in ink along the verso.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 8 7/8 in x width: 16 1/4 in. Matted; height: 15 3/8 in x width: 22 1/8 in.Condition: The emulsion is smooth and without breaks. There are no major tears, rips, losses, or discolorations. No signs of restoration. Along the right and left side of the photo there are some minute areas of creasing. There are some marks along the surface throughout. There are some minute spots in the negative. There is some very light undulation along the left edge. The artwork was previously affixed to a matboard; there is discolored residue throughout the verso that does not affect the recto. The residue is a rough texture and discolored yellow. Some wear to the matboard; there is a large rectangular patch of residue where the photograph was previously attached.

Four hallmarked silver items:  sovereign/half sovereign case; 2 vesta cases; a patch box, various dates and assay offices, 3.2oz

A George III silver patch box, chased and engraved with geometric design around a vacant cartouche, hallmarked Birmingham 1803, makers mark Samuel Pemberton, 2.5cm diameter

Roman Republican Coinage, Albinus Bruti f., Denarius, 48, head of Pietas right, [p]ietas behind, rev. two hands clasped over winged caduceus, alb[invs br]vti f below, 3.84g (Craw. 450/2; BMCRR 3964-5; RSC Postumia 10). Flat patch above head (and corresponding on reverse), otherwise very fine, attractively toned £90-£120 --- Provenance: Steve Clarke Collection

Andre Foneche (1851-1942) Shipping Scenes,  a pair, both signed,  oil on canvas, 55 x 100cm (2) One with two patch repairs

A honeycomb moulded Monteith or bonnet glass, mid 18th c, 73mm, a moulded glass patch stand, second half 18th c, a faceted glass toddy lifter and syrup cup, early 19th c and a glass oil lamp  on folded foot (5) Lamp lacking handle, the other items in good condition

Henry Hadfield Cubley (1888-1934) - Near Fort William Inverness-Shire, signed, signed again, dated 1889, inscribed with the title and artist's address Montpellier Matlock-Bath verso, oil on canvas, 59 x 90cm Patch repair centre left, condition otherwise very good, in what is probably the original late Victorian gilt frame

Two Derby figures of Dresden shepherdesses, c1770 and c1830, 23 and 21cm h, patch marks or incised No 55 and red painted crown and DERBY Earlier figure - some chipping of the flowers and leaves, restoration to left hand and bonnet. Later figure - restoration to left arm, stump at back, lamb's ear and fingers of right hand

A pair of Derby figures of Garland Shepherds, c1775, 21cm h, patch marks Man - some typical chipping of the bocage, old restoration to left hand and left leg. Woman - some typical chipping of the bocage, small chips on rim of bonnet, restoration to right forearm and waist

DC Thomson The Beano comic 1945 (22), various issues, 1945, No 251, 252, 253, 256, 257, 258, 259, 260, 261, 262, 263, 264, 266, 267, 268, 269, 270, 271, 272, 273, 274, Jimmy and His Magic Patch, Tick Tock Timothy, Big Eggo, Lord Snooty, Tom Thumb and others, overall wear with age, P-G, (22)

DC Thomson The Beano comic 1947 Near Complete Year (25), various issues, 1947, No 301, 302, 303 (2), 304, 305, 306, 307, 308, 309, 310, 311, 312, 313, 314, 315, 316, 317, 318, 319, 320, 321, 322, 323, 324, Jimmy and His Magic Patch, Big Eggo, Shipwrecked Circus, Tom Thumb, Freddy Flipper Feet and others, overall wear with age, F-G, (25)

DC Thomson The Beano comic 1948 (12), various issues, 1948, No 326, No 327 first appearance of Biffo the Bear (G), 328, 329, 330 (with tear), 331, 332, 333, 334, 335, 336, 337, Jimmy and His Magic Patch, Big Eggo, Sammy be Smart, Freddy Flipper Feet and others, overall wear with age, P-G, (12)

DC Thomson The Beano comic 1946 Appears to be Complete Year (22), various issues, 1946, No 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286, 287, 288, 289, 290, 291, 292, 293, 294, 295, 296, 297, 298, 299, 300, Jimmy and His Magic Patch, Big Eggo, Shipwrecked Circus, Tom Thumb, Sooty Solomon and others, overall wear with age, F-G, (22)

DC Thomson The Beano comic 1944 (26), various issues, No 222 first appearance of Jamie and His Magic Patch, 223, 224, 225, 226, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 241, 242, 243, 244, 245, 246, 247, 248, Big Eggo, Strang The Terrible, Lord Snooty, Tom Thumb and others, overall wear with age, P-F, (26)

Regency rosewood chiffonier, shelf back, two drawers and two fabric-covered doors under, width 92cm, depth 35cm, height 125cm.Condition report:The back board to the upper section is quite significantly bowed but it doesn't necessarily effect the shelf or brass supports. A small length of veneer missing from the shelf front. Another patch of veneer missing front bottom right corner of the right hand side. Other small lengths of veneer have been repaired/ replaced. The righthand side has a large triangular veneer patch towards the top. Otherwise generally in good condition, some colour fading and patchiness to the colour of the lower section, either side of the cupboards.

After Provin Serres a pair of bronze effect spelter figures, La Romance and Le Croquis, 47cm, on wooden plinths with title.Qty: 2Condition report:Both are loose from their plinths, with one plinth being darker stained than the other and the darker one is split. The sculptures themselves, the one with the artist's palette is missing something from her left hand, possibly missing a small element from the end of the brush in her right hand, there is a small surface scratch above her breast, otherwise patina is ok. The sculpture with the harp is also missing elements from her hands, with an obvious soldering mark to the left hand, there is a patch of scratching to the back of the left shoulder, white marks surrounding the front of the base.

Late George III mahogany chest of drawers, the sop with stringing and crossbanding, four long graduating drawers, bracket feet, width 101cm, depth 45cm, height 107cm.Qty: 1Condition report:Large (6x2inch) patch to the top. The veneer on the top is lifting and has losses to the front left corner and repaired patches front right and along the back. It is lifting so much the top looks to be undulating. Sides are stained pine rather than veneered. Old repairs, marks and wear throughout. front left leg replaced. Drawer linings heavily stained.

George III oak coffer, hinged lid with two panels, carved three panel front, width 124cm, depth 62cm, height 74cm.Condition report:Panelling to the top has split, heavy circular dark ring mark to the right hand panel of the top. Later repaired strips along the outlines of the top. The left hand side panel has been adapted to a door allowing side access to the main cavity. The door panel has also split, and there is a 10cm reglued patch to the frame of the door. The right hand side is just panelled. There are some worm holes to the front face, just above the right hand leg, but very few, and none immediately evident in any great number elswhere. The planks are all secure. The interior has some mildew buildup. Base panels are later. The left hand side uprights are also later replacements.

Victorian mahogany chest of drawers, the top with reeded edge, three long graduating drawers, bracket feet, width 87cm, depth 43cm, height 86cm.Qty: 1Condition report:The top has general old marks and wear. The Reese's outlines have various repaired lengths and the back right hand length is split and loose. There is a split patch of veneer between the top and middle drawer on the left hand side, and similar to the right hand side. There is a previous repaired veneer patch between the middle and lower drawer. Drawer linings are sound, some staining. Feet with old repairs.

A French oak sideboard, 1950s, in the manner of Charlotte Perriand, the front with a pair of white laminate doors on rails, each sliding to reveal adjustable shelves, the right-hand side with a cupboard door opening on to shelving and drawers,199.5cm wide62cm deep112cm highCondition ReportWith scratches and scuffs throughout. No keys, the cabinet opens. Some notable knocks to the corners. The back right corner with a notably darker patch. Additional images uploaded.

Vintage Retro : A James Bond 'Blofeld' G-Plan button back wing back swivel armchair. Model 62350R, upholstered in dark leather. H100cm Condition Report: The leather is showing its age, cracked and worn, there is a patch on the bottom of the seat cushion. Some stains. There is a small hole in the leather on the back. It looks like the top has been stratched by a cat clawing it. The paint is coming off the studs. Wheels function and it swivels.

A large collection of porcelain and enamel trinket and patch boxes, together with miniature animals in glass and porcelain, (approximately 80 pieces)

Size 50. Handcrafted genuine leather brown coat, with a leather belt.By Brioni for Neiman Marcus stitched patch inside. Hem length: 38"L. Shoulder width: 19"W. Sleeve length: 24"L. #Coat #Brioni Artist: BrioniCountry of Origin: ItalyCondition: Good

A custom design beige fur coat with grey leather trimming and silk interior. With pockets. J.S.R. patch sewing to interior. Coat from shoulder to shoulder: 19.5in L; shoulder to end of coat: 23in H. Condition: Age related wear.

Kit/Scratch Built 3 3/4" Gauge Live Steam Atlantic Locomotive course scale, with 6-wheel tender (locomotive simply painted in green with black/white lining, tender unpainted), with planslocomotive paint has some flaking with significant patch missing on left side of boiler

Charles Thomas Burt (1823-1902)Changing PastureSigned and dated 1861, oil on canvas, 24.5cm by 35cmRelined, cleaned and re-varnished. Some likely strengthening through the white clouds of the sky. Small patch of retouching immediately above the right hand side of the horizontal fence post within the pasture before the trees which is approx 3mm wide and 1cm across. Some slight rubbing / tiny loss to outer edges of canvas. Paint slightly flattened from restoration within sky. Light surface dirt and discoloured varnish, otherwise ein a good and stable state of preservation.

Edmund John Neimann (1813-1876)"Richmond Castle"Signed, oil on canvas, 63.5cm by 124cmProvenance: Arthur Ayres, Auctioneer, Valuer, Estate & House Agent, Reading, July 14th 1885Sold together with original invoice and correspondence from the aboveGlazed. Relined, lightly cleaned and re-varnished. However some surface dirt in evidence. Slight pressure mark from back to front approx 10-12cm on the diagonal from upper left-hand corner, with a degree of small losses plus flaking. Further small patch of losses approx 0.5cm in dis. immediately below by approx 10-12cm and approx right of that previously mentioned. Minor abrasion to the upper left corner. Slight buckling of canvas along the lower section especially left-hand side. Band of bloom running through the line of trees and foliage next to the river foreground and across the hill of the right-hand side and to a lesser extent some of the rocks and foreground. Very slight stretcher shadow. Some likely sporadic retouches and strengthening through landscape and foreground in general within darker tones and shadows. Areas of subtle stable cracquelure. Tiny brown mark above clouds, left-hand side within sky. One tiny area of lifting paint within sky in line with stretcher approx 30cm right of central point.

William Mellor (1851–1931)Waterfall scene in an Autumnal landscapeSigned, oil on canvas, 64.5cm by 125cmFairly stiffly relined, cleaned and re-varnished. Small retouches to the upper left corner, approx 1.5cm away from the upper left corner, the second being the larger 0.5-1cm across. Two further areas of retouching presumably to old damages. Approx centre, left-hand side edge, one approx 1cm away from left-hand side edge and although slightly irregular roughly rectangular at approx 1cm by 2cm overall. The second more linear band or patch or retouching is approx 7cm to the right of this and runs vertically approx length of 6cm and roughly 1cm across. Further patch of retouching towards lower left-hand side corner around 3cm at widest diameter although not a regular circle. Some general retouching throughout lower right-hand corner, across the rock. Two small retouches closer to the upper right-hand side edge, above the foliage. Retouches to the upper right corner. Further patch of retouching within sky just left of centre and approx 4cm away from the upper edge roughly 2-4cm by 1.5-2cm overall. Further more sporadic retouches to composition elsewhere. The surface is slightly flattened from the restoration process, areas of varying-sized stable cracquelure, more notable to sky. Light surface dirt and discoloured varnish. Otherwise in a stable and presentatble state of preservation.

Charles Edward Wilson RI (1854-1941)"The Fisher Boy" Signed, watercolour, 37.5cm by 26cmIn a broadly very good clean and bright state of preservation. Odd foxing spot to top step leading into cottage and possible small and mild patch of staining towards lower left-hand corner. Possible slight reduction to colour. No evidence of cockling. Not examined out of the frame.

Attributed to William Routh c.1760-70Portrait of Peter Leggat of Barwick-in-Elmet-Yorkshire, half-length, with hand in waistcoat pose, wearing a fine jacket decorated with gold buttons, a rose corsage pinned to his lapel and holding a stickA portrait of Sarah Leggat, wife of Peter, half-length, wearing a fine white satin stomacher dress with blue satin detail, ribbons and lace trimmings, a matching mop cap and choker, standing before a draped curtain and before an urn of assorted flowersA portrait of Jane and Elizabeth, daughters of Peter and Sarah Leggat, half-length, wearing white dresses and pretty headpieces holding a basket of flowers with their attendant dog before a landscapeEach initialled and indistinctly dated? oil on canvas, 66.5cm by 64cm, 67cm by 64cm and 74.5cm by 63cm respectively (3)This lot is sold together with the Leggat Book of Common Prayer and a small cache of documents relating to the family.Each relined, cleaned and re-varnished. The gentlemen - some surface dirt and discoloured varnish in evidence. Stretch shadow with traces of historic retouching by eye. Further vertical line of separated paint and possible old restoration approx 1cm to right of evident upright right hand side stretcher shadow approx 30cm in length. Further areas of apparent cracquelure and crazing e.g. immediately above the ledge of right hand side near his left-hand side shoulder. Similar degree of crazing, cracquelure, cracking, addition of bitumen? to background and curtain upper left. Surface is somewhat flattened from restoration, paint is thin in places. Delicate retouching and infilling all be it relatively consistently presumably to old flaked paint across the sitters face, collar, and shirt, his right hand shoulder, a good degree of his waistcoat, right hand cuff and his right hand in addition to his left hand. Further infilling generally within lower left-hand corner and more sporadically elsewhere. Som likely general strengthening through background and his left-hand arm and sleeve. Slightly adrift of frame along upper edge. The lady - In broadly similar condition to the gentlemen with regards to stretcher shadow, flattening and thinning of the paint as result of restoration particualrly the expanse of lace within the lower right hand corner. Varying sized patches of cracquelure, some being more pronounced than others. Surface dirt and discoloured varnish. Some horizontal creasing like effect within the lower area approx 10cm from lower edge. Some more apparent crazing to areas of paint particularly extremeties of background with more pronounced separation. Consistent retouching to more areas of paint within background upper left area, within stretcher shadow section. Delicate fairly consistent retouching and infilling to old flaked paint across the sitters face, left hand side hand and arm, and less consistently evident to other areas of her costume. Fine retouching and infilling to bulls eye shaped cracquelure within the urn. Some more general strengthening to background and sporadic retouches probably of a different date to background and floral arrangement etc. The children in broadly comparible state of preservation, stretcher shadow, varying sized and separated cracquelure, surface dirt and discoloured varnish. Minor rubbing to edges, especially top edge. Circular patch of restoration in background approx 8cm from upper left hand corner and 1.5cm dia. Delicate retouching and fairly consistent infilling to cracquelure across the faces of the two children. Further delicate but again consistent retouching to old flaked paint through the other flesh areas and costumes of the two girls. Couple of approx 1cm by 1cm patches of restoration along right hand side edge. More sporadic retouches and infilling across the hound and background in general with likely more consistent areas of general strengthening to background etc. This painting also displays a similar degree of flattening of surface and thinning in places due to restoration process. For more information please contact the department.

Félix Ziem (1821-1911) FrenchWindmills in the evening hour, Holland Signed, oil on canvas, 70cm by 104cmProvenance: The estate of Denton Hall in Ilkley, Yorkshire which has been part of the NG Bailey group of companies for over 40 years. NG Bailey is the UK’s leading independent engineering and services business and is owned by the Bailey family. In fully restored condition. Fairly stiffly relined, cleaned and re-varnished. Surface is slightly flattened as a result of the restoration process. Some surface dirt and discoloured varnish now in evidence. It would seem that a good amount of the sky particularly the darker clouds in general has been retouched/strengthened/overpainted. An amount of this or the surface in general has deteriorated leaving fairly large areas, particularly along the upper edge and upper right-hand side section and now displays a chalky quality. The upper part and outline of the centrally placed copse and foliage has been retouched and strengthened as has parts of the outline and darker tones and shadows of the windmill on the right-hand side as well as to a lesser degree the outline and sails of the smaller left-hand side windmill. Mostly vertical patch of retouching just left of centre, lower edge approx 1-1.5cm in length. Further fine retouches to left-hand side edge, lower section, corner, sporadically lower edge and scattered within the foreground. Some effectively vertically arranged fairly pronounced cracquelure most notably above the copse of trees and within the sky of the left-hand side. Further less notable and varying sized cracquelure elsewhere etc. For more information please contact the department.

Horatio Henry Couldery (1832–1918)The Best of Friends Signed, oil on canvas, 27.5cm by 39cmIn fully restored condition. Fairly stiffly relined, cleaned and re-varnished. Retains a degree of surface within the brushwork of the coat of the dog and the hay for example. Some light surface dirt and discoloured varnish. There is likely a patch of restoration within the hay immediately beneath the stomach of the recumbent puppy and another running across and through the hay below the puppy's left-hand leg or certainly an irregularity to the original paint/surface, see images. Otherwise in a stable and presentable state of preservation. Provenance: Private collection

Robert W. Wright (fl.1871-1889)In disgrace - a young boy apprehensively returning home Signed and dated 1881, oil on panel, 18cm by 24cmProvenance: Possibly anonymous sale 12 August 1992 & 24th September 1992 In an overall good and highly presentable state of preservation including the frame. Cleaned and revarnished. Paint is possibly slightly thin in places such as the background but equally the artist has probably applied diluted pigments. Patch of delicate retouching across the floor tile in the furthest lower left-hand corner and along lower left-hand corner edge. There is little else to easily discern under a UV light by way of later paint or restoration but may not entirely preclude the possibility of further minor intervention.

Jane Maria Bowkett (1837-1891) Powder and Puff Signed, oil on canvas, 75cm by 62.5cm Fairly stiffly relined, cleaned and re-carnished with a fairly high gloss finish. Some flattening to the surface and the paint is thin in places as a result of the restoration process. Minor rubbings/abrasion to edges and corners. Scattered small-sized retouches visible with UV, right-hand side upper edge and background upper right-hand side. Larger likely patch of retouching and overpainting, right of the dollys neck. Patch of retouching and overpainting within the foreground and is the area between the discarded string of beads and the hand and wrist of the dismembered doll's arm. Further cluster of retouches and more consistent overpainting to denote some of the darker decoration within the foreground immediately below the left-hand side of the girls pink skirts which extends across to include the area between the pot lid. Further sporadic retouches elsewhere to background e..g. the space below the doll towards the right edge and further similar size delicate retouches here and there. Areas of varying sized stable cracquelure, some minor transferred gilt paint, upper left hand-side corner, left-hand side edge, upper area. Loss/damage approx 1cm from lower edge between lower edge and pot lid. See image. Light surface dirt and discoloured varnish. There is a collection of varnish? to upper right hand corner, see image.