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Officer's Dress Waist Sash maroon and silver waist sash with matching tassels. Together with patent leather pouch with gilt, KC HAC Artillery badge. Plated side fittings .... 1888 pattern buff leather bayonet frog. 3 items.

Group of Ikat textilesIndonesiato include a kombu, a sash and others, largest 180cm across (4)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Two Lucknow gold silk sashesIndian, circa 1930sthe first decorated with various animals including peacocks and rabbits, 175cm long, the other sash of green ground decorated with various elephants, 170cm long (2)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

A LARGE BOX CONTAINING TWO DRESS UNIFORMS & OTHER ITEMS, as follows, Officers Mess No 1 Dress Blue, dated 1964 with jacket/trousers, red sash, stable belt and buckle with bullion Sgt stripes, together with A J Collett London Officers peaked cap named to inside WO II J Cahill, also a RRF (Royal Regiment of Fusiliers) Mess jacket/trousers with buttons badges all complete and an example of a Russian style Officers Peaked cap, olive with red trim inc badges to front

A LARGE BOX CONTAINING LOTS OF CANVAS GREEN WEBBING STRAPS, a large bags of red and green rolls of Military sash cloth and a post WW2 Bundswehr Mess tin, painted green marked IVM 65

A VINTAGE PILLAR DRILL, A LARGE SASH CLAMP AND AN ASSORTMENT OF AEROSPACE TOOLS ETC

ORANGE SASH

British School (18th Century)The Royal Observatory, Greenwich and its meridian buildings from the south-south-east, c. 1790Oil on canvas 63.8 x 86.4cm (25 x 34in).Footnotes:Whilst we have never come across an oil painting with the Royal Observatory being the sole focus of the picture, the National Maritime Museum, Greenwich has a similar view, in watercolour, probably by the same hand, which they date to 1779-89 (I.D. - NMM AST0042).Dr Pieter van der Merwe, Curator Emeritus for the National Maritime Museum, writes about the watercolour:'Watercolour of the Royal Observatory and its meridian buildings from the south-south-east, the artist's viewpoint being roughly from in front of the entrance to the late-19th-century South Building. Modern Blackheath Avenue would be to his right, where the ground is also more level than shown.Notable features include the tall chimney of the rear extension to Flamsteed House that was added under James Bradley (1692-1762) as 3rd Astronomer Royal from 1742. His extension was demolished in 1789 and replaced by a larger one (with two tall chimneys) by Nevil Maskelyne (1732–1811), 5th Astronomer Royal from 1765. The two-storey building with a classical pediment is Bradley's 'New Observatory' of 1749 comprising a ground-floor computing room with an assistant's quarters above and two single-storey wings holding a quadrant room to the west and Bradley's transit room to the east: the roof of the latter is shown open for transit observations on Bradley's Greenwich Meridian, established in 1750 (about 6 metres west of Airy's, the current Prime Meridian of 1851).The image dates to after 1779 since the so-called 'Advanced Building' – the one with the sloping (and opening) roof was built to contain new instruments in that year, south of Bradley's quadrant room and as an upward extension of John Flamsteed's 1670s sextant house: neither now survive. The side windows of Flamsteed House are also inaccurately shown as three panes wide when in fact they had four and were vertical-opening upper and lower casement pairs from 1779 until changed to single sashes in 1790. The vent-like finial on the west turret is the rotating lens of the camera obscura that Maskelyne installed there by 1778.The domed building at left seems to be at the south-west corner of Bradley's Flamsteed House extension but this is owing to misleading perspective. It is in fact the western summerhouse on the Observatory's north terrace, though it may not have been so fully visible from the artist's apparent viewpoint. Its eastern pair is hidden by Bradley's New Observatory. In 1773 Maskelyne raised the height of the summerhouses and extended them south, adding hemispherical domes and upper horizontal windows (of which one is shown here). The domes opened to observe comets using a pair of equatorial sectors installed under them.The pitched-roof building at lower left (in fact more square than rectangular) is the 1670s 'Garden House' used as a stable through the 18th century, with sloping access up to the gate shown in the perimeter wall: it is today a flat-roofed plant room. The other shed, apparently wooden, is undocumented and probably for an associated purpose (e.g. a hay store). The foreground shows former sand and gravel workings on the south-west and south side of the hill, now a partly terraced garden area. This early quarrying had stopped when the Observatory was built in the 1670s, or very soon after.The drawing arrived, originally on loan to the National Maritime Museum from the Royal Greenwich Observatory, in a rather damaged gilded wooden frame. It may be the image of the Observatory that is second on a list of a dozen pictures, formerly belonging to Nevil Maskelyne, that his wife presented to the Observatory and left at Flamsteed House when she moved out in 1811, following his death. When the Royal Greenwich Observatory closed in 1998, ownership of this and other items belonging to it was transferred to the Museum. See ZBA0692 for further details.'Into the later 19th century Blackheath itself (south and east of the Park walls) was largely gravel and sand pits between the roads until they started to be filled in. This was finished after World War II with bombing rubble from the London blitz, grassed over level as it now is, except the Maze Hill pit which still survives just outside the south-east corner of the Park - now a large grassy and gorsey declivity about 15 to 20 feet below the road: it tended to be a hangout for the highwaymen and footpads who infested the Heath in older days. However, robbery wasn't a problem in the Park which was fully walled round in 1619-25 (replacing about 200 years of only being fenced) under James I, a large job finished in the year he died.Dr van der Merwe also comments on the similarities between the watercolour and our picture – 'The (fanciful) rocks are a little different but the figures are the same, the turret domes the same (one with a vent finial) the other not, the trees at the back of the building the same and also the half-open sash window at lower right.' He also points out that our oil painting shows the central south window of Flamsteed House being three panes wide, as opposed to four in the Museum's watercolour version. As there is a watercolour of 1843 which also shows a clear view of the south window as a sash, also three panes wide, one might infer that the oil painting follows the watercolour, perhaps after the long Great or Octagon Room windows were all changed to sashes in 1790.The Royal Observatory of Greenwich is known for hosting the Prime Meridian of the world. During the second half of the 19th century, the expansion of transport networks created the need for an international time standard as almost every city in the world had its own local time. In 1884, delegates representing 25 different nations met at the International Meridian Conference in Washington DC. Greenwich was chosen to be the Longitude 0° 0' 0''; the centre between the Eastern and Western hemispheres.We would like to thank Dr Pieter van der Merwe for his help in cataloguing this picture.For further information on this lot please visit Bonhams.com

A 'Votes for Women' sashEarly 20th centuryA tri-coloured suffragette sash, woven in green, yellow and white with 'Votes for Women' printed in the central stripe on the front and reserve, with hook for banner pouch and hook and eye fastening, folded, 55cm (21 1/2in) longFor further information on this lot please visit Bonhams.com

Two part antique sash windows

MIXED COLLECTABLES GROUP - to include a set of six silver handled knives, 1929 EPNS presentation trowel, commemorative brass bookmark, copper and brass snuff boxes, ammonite fossils, Ede & Ravenscroft Ltd graduation cap, gown and sash along with a further sash/scarf for Aberconwy and various other collectable bits and pieces

Greek traditional man's costume comprising braided waistcoat, white legwear, red sash, tasselled hat

A late 18th century Louis XVI gold, shagreen, enamel and rose cut diamond set pair cased key wind pocket watch by Jean André Couppey, Paris, probably quarter repeating, with Roman dial and diamond set bezel, hands, pendant bale and buttons, verso with diamond set monogram on a blue enamelled ground, the signed movement numbered 113, case diameter 44mm, gross weight 90.1 grams.**CONDITION REPORT**Outer case missing ten studs from the perimeter. Piece of red sash from the interior of the lid now loose, but present. Piece of red sash missing from the other side of the interior of the outer case. Tiny chip the edge of the dial between 12& 1. Some very minor abrasions to the dial cover. Inner case in good order apart from some tarnishing to the gold. Two rose cut diamonds missing from the bezel. The watch is not currently running and the repeater mechanism is not functioning.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A signed colour photograph of Her Majesty Queen Elizabeth II, the Official Portrait taken by Peter Grugeon for the 1977 Silver Jubilee, signed and dated 1981, in a gilt black leather frame. image 28 x 23 cm. overall 37 x 27 cm. Taken by Peter Grugeon in 1975. One of the most popular images taken of the Queen. Used many times in different versions including portraits, engravings, postcards and our bank notes to this day. Also used by Andy Warhol for his famous screenprint.The Queen is depicted wearing Grand Duchess Vladimirs' tiara (smuggled out of Russia during the revolution), Queen Victoria's Golden Jubilee necklace, Queen Alexandra's wedding earrings and garter sash.Provenance; formerly the property of Sir Michael Newington, HM Ambassador to Brazil 1987-1992.**CONDITION REPORT**Possibly very slightly faded but still of fair colour.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A quantity of modern sash clamps

A quantity of modern sash clamps

Two sash clamps and a small vice

A lady's white metal (stamped platine) and diamond set oval cocktail watch, on a black sash bracelet, gross weight 13.9 grams.

EARLY 19TH CENTURY HEAD AND SHOULDERS PORTRAIT OF A CHILD, wearing white dress with blue sash, pastel, indistinctly signed ?Kanterman lower left, oval in a verre eglomise mount and oval gilt frame, image 27.2cm x 22.4cm, together with a 19th century miniature side profile portrait of a lady, watercolour, oval, mounted in a damaged and fabric covered papier mache frame, image 7.2cm x 5.9cm, an early 20th century portrait of a curly haired child, watercolour, circular, in a painted frame, image diameter 8.1cm, a 19th century cut out silhouette bust of a lady and two framed embroideries on silk (6) (Condition report: the pastel has some foxing but appears free from tears, the miniature of the lady has some foxing, circular portrait of child is faded, silhouette surrounding paper is yellowed, both silks have some staining)

Collection of RAOB (Royal Antediluvian Order of Buffaloes) jewels and sashes mounted in a wooden case, all awarded to Bro. F. Green, to include two silver jewels (including a silver & enamel hallmarked Roll of Honor jewel), Wiltshire President sash 1970, Wells Lodge sash, Centenery jewel, Dawn of Victory jewel, etc

Collection of RAOB (Royal Antediluvian Order of Buffaloes) jewels, sash and collarette mounted in a wooden case, all awarded to Bro. Charles G. Luck, to include 7 silver & enamel jewels (6 hallmarked), featuring a silver gilt 'Lighter Than Air Lodge' jewel, silver hallmarked secretary jewel, Egypt jewel, Singapore donor jewel, a roll of honour collarette, a R.O.H Harry Campion Lodge No. 8004 sash, etc

Collection of RAOB (Royal Antediluvian Order of Buffaloes) jewels, sash, clay pipes and certificates mounted in a display case, all awarded to Bro. Charles H. Stokes, to include four silver & enamel hallmarked jewels (Silver Jubilee, 2 x flying enterprise and a Four Seasons Lodge example), a K.O.M Independence Lodge No. 9244 K.O.M sash, Four Seasons West Germany jewel, etc

Collection of RAOB (Royal Antediluvian Order of Buffaloes) jewels, sashes and regalia mounted in a display case, to include 18 silver & enamel hallmarked jewels (featuring Roll of Honour, Past President and Secretary jewels), Jubilee Lodge No. 2859 KOM sash, Knights Regalia, etc18 silver examples

A quantity of vintage sash window pulley wheels & brass plated hooks etc.

A COLLECTION OF FOUR PURPLE TONE MID CENTURY & LATER  AFRICAN AGBADA KAFTAN ROBES, comprising a sateen tie dyed robe with extensive cream and purple embroidered panel, a purple and green tie dyed robe with headwrap, multi-tonal tie dyed effect robe and headwrap plus an abstract design on purple ground with embroidered collar and neckline -complete with 'sash' (4)Provenance: The Estate of the late Professor Lalage Bown OBE

A 1920's pale blue satin kimono, used as a dressy robe, embroidered with the cherry blossom design (original owner wore on honey moon in 1926, Berlin, they later fled the Nazi's in 1933 because she was a journalist from Palestine, she wrote about the Third Reich, the robe has a matching sash with silk fringing, and two pieces of Chinese samples (3)The writers and owners name of this garment was Gabriele Tergit

A 1940s/50s ladies vintage dress in maroon/burgundy heavy crepe with sash and satin bow detail over a vertical panel of buttons, approximate size 10/12.

Josef Kreutzinger,1757 Wien– 1829 ebendaLeopold IIÖl auf Leinwand. Doubliert.106,5 x 83 cm.Rahmenmaß: ca. 190 x 125 cm.In mit Akanthusblatt verziertem Rahmen mit geschnitztem Aufsatz.Kunstvoll geschnitztes Wappen des Großherzogtums Toskana, verziert mit Eichenlaub und Kriegstrophäen. Leopold II (1747-1792), Großherzog der Toskana und Kaiser des Heiligen Römischen Reiches, trägt die Insignien des Ordens vom Goldenen Vlies sowie den Stern und die Schärpe des Maria-Theresien-Ordens. (†)Provenienz:1801 als Geschenk an William Wickham, P.C. (1761-1840).Im Erbgang an Einlieferer von: Sotheby´s, London, 6. Dezember 1995, Lot 45.Sotheby´s, London, 11. Juli 2002, Lot 235.Sotheby´s, London, 6. Dezember 2018, Lot 218. (13306056) (13)Joseph Kreutzinger,1757 Wien – 1829 ibid.LEOPOLD II Oil on canvas. Relined.106.5 x 83 cm.Elaborately carved coat of arms of the Grand Duchy of Tuscany, decorated with oak leaves and war trophies. Leopold II (1747-92), Grand Duke of Tuscany and Holy Roman Emperor, wearing the insignia of the Order of the Golden Fleece and the star and sash of the Military Order of Maria Theresa. (†)Provenance: 1801 as a gift to William Wickham, P.C. (1761-1840). To consignor by inheritance: Sotheby’s, London, 6 December 1995, lot 45. Sotheby’s, London, 11 July 2002, lot 235. Sotheby’s, London, 6 December 2018, lot 218.

Bob Bugnand, Paris- A black sleeveless cocktail dress with Paris label dating the dress between 1965 and 1973, having applique silk floral decoration to the right of the skirt and a sweeping sash belt which crosses over and up to the rear neckline, approx size 38" chest x 42" long. Location:RailCondition: Later size reducing alterations to the vertical underarm to waist hemline on both sides, small pull to the front chest, amateur sewing to the right shoulder strap, seamstress attention required to the top of the rear fastening-see photos for all areas mentioned

A 19th Century Chinese Qing Dynasty green silk ground belt/sash finely embroidered in a satin stitch with images of colourful pumpkins, flora and butterflies having arrow form ends with brocade together with 2 Chinese partially embroidered insertions A/F, a Chinese embroidered panel embroidered in the Peking knot depicting images of jardinieres and mystical animals and 3 lengths of black silk, embroidered to both sides in a satin stitch depicting images of pink pumpkins, white flowers and green leaves A/F. Location:BWR

Portrait of a gentleman, half-length, in a red coat with a blue sash, holding a batonsigned and dated 'AD Therbusch / de Lisiewski / peintre du Roy / de France / 1771' (lower right)oil on canvas78 x 62.5cmProvenance:Christie's, London, 28th October 1998, lot 269Anna Dorothea Therbusch, born Lisiewska, initially trained as a painter under her father, Georg Lisiewski (1674-1751) a Berlin portrait painter of Polish stock. In 1761, she left Berlin for Stuttgart to paint at the court of Carl Eugen, Duke of Württemberg, before moving to Paris in 1765. She was elected a member of the Académie Royale in 1767. Therbusch befriended the art critic and philosopher, Denis Diderot, who favoured her work and she lived with him and other artists in Paris until 1769 when she returned to Berlin. She later became court painter to Frederick II of Prussia.The painting is executed in oil on canvas support. The canvas appears to be unlined but has been heavily impregnated with wax on the reverse. There is a large double patch on the reverse of the painting securing an old damage. The paint layers are stable overall. There is extensive restoration in the sitter’s face and a few other localised areas of overpaint in the background and red jacket. The varnish layer is thick, glossy and even. There is a light layer of surface dirt present.Framed 90 x 74.5cm

An Ancient Order of Foresters silver sash brooch by Hilliard & Thomason, Birmingham; together with a Black Watch brass plaid brooch and white metal belt buckle; and a white metal sporran cantle with an embossed figure of a knight Condition Report:Available upon request

Work bench, sash clamp and vintage wooden spirit level

A leather sash, set with many steward badges for Horse of the Year Show, Wembley Stadium, member of the RIHS 1977, various other horse show related badges, 4cm high, etc. (a quantity)

William Egley (1798-1870)/Portrait Miniature of a Young Officer/wearing a black coat and red sash/signed and dated 1834/watercolour on ivory, 90mm x 68mm/in a folding Morocco leather case/Ivory registration reference: K75U9ZHU/Provenance: The Estate of Anthony J Beeson/see illustration CONDITION REPORT: Case sound but thumbpiece restored and a bit worn in line with age and usage. A few minor surface scratches to miniature, mainly at corners. Red cloak has an area of discolouration where it is on top of the shoulder, possibly restoration.

Attributed to Thomas Beach (1738-1806)/Portrait of a Gentleman and Lady/half-length, he wearing a white stock with ribbed coloured collar and brown coat, she wearing a lace bonnet and brown dress tied with a pink sash/oil on canvas, 61cm x 51cm/see illustration CONDITION REPORT: Pair of portraits, these have both been cleaned and relined, in gilt frames that are a bit chipped

Pair of sash clamps

A Victorian yellow metal oval locket fob, hung from a yellow metal mounted black suspension sash, with later engraved date and initials.

A cream silk wedding dress around 1915-1920, having abundant rhinestone and beaded detailing throughout, lace panel to bodice, tulle sleeves with self covered buttons to cuffs, sash half belt to waist and train back. A beautiful piece of history, however silk is weak in places and some staining present.

A hand-painted 'Mr Bibendum' standing forecourt figure,modern, fibreglass, depicting the Michelin advertising figure with 'Le Pneu Michelin' yellow 'sash', for garage display, 113cm high. This lot is subject to the following lot symbols: ◊◊◊◊ £60 + VAT uplift and storage at £12 + VAT per lot per dayFor further information on this lot please visit Bonhams.com

A Sergeant's dress uniform of the King's Own Scottish Borderers, including a red tunic, sash, trews, cap and badges; also a dress black coat and tartan trousers (a lot)

A quantity of sash clamps

An axe, a hand slasher, sash cramp and a pair of shears

A masons briefcase containing a jewelled sash and other masonic jewels (some boxed)

A 1/12 SCALE SCRATCH-BUILT MODEL OF A DUNTON OF READING 'LEDGE' TYPE GYPSY VARDO OR CARAVAN of principally wood construction, the details including steerable front wheels, working block brakes on the large rear wheels, a reversible chained chock, opening doors and sash windows, sliding louvred shutters, chicken coops, and a lift-off mollycroft roof revealing a neatly fitted interior, the whole hand-painted, 37.5cm long (excluding shafts; 56cm long overall); together with a build log totalling of 800 hours of work, and various publications of related interest.

French school, ca. 1820."Portrait of a gentleman.Oil on canvas.Round period frame with losses.Measurements: 54 x 45 cm; 68 x 59 cm (frame).In this work we see a typical nineteenth-century portrait, with the gentleman of three quarters in the foreground. The gentleman wears a black suit and a white shirt. He covers his shoulders with a velvety burgundy sash, and appears to be looking directly at the viewer, although his proud attitude establishes a certain distance from us.

CECILY SASH. SOUTH AFRICAN. 1924-2019 Abstract composition. Signed and dated '09. Mixed media on paper 33½' x 26'

Spanish school, last third of the 18th century. Circle of Anton Raphael MENGS (Aussig, 1728-Rome, 1779)."Charles III". ca.1780.Oil on canvas.Re-framed.Back frame.Frame with xylophages. Slight lack of polychromy.Measurements: 121 x 100,5 cm; 142 x 121 cm (frame).Mengs's portrait of Charles III became the official image of the monarch and was the subject of several period versions, but there are significant variations in them. In the present painting, which is remarkably well executed, the monarch retains the pose of the original, holding a baton in his right hand while his left hand, with his forefinger outstretched, gives some kind of indication or order to a subject outside the painting. The wide pilaster provides a view of the palatial interior, although on this occasion the curtain is omitted. In analysing this painting, account should also be taken of contemporary works in which the governor wears the blue sash of the Royal Order of Charles III, such as the engraving by Manuel Salvador Carmona of 1783 (in which the motif of the icon of the Immaculate Conception on his chest is repeated) and, among others, the oil painting by Mariano Salvador Maella (now in the Banco de España Collection), who was painter of the chamber in 1774. As in Maella's painting, the king here wears a coat finely brocaded in gold and silk. Maella also painted a version with the king wearing armour, as in the original. The royal robe rests on the table, as in Mengs's painting. The rich qualities of the ermine, brocade, lace, silk, etc. are expressed with delicate brushstrokes and the right use of glazes. The courtly conception prevails over the military one in Mengs's painting. The face, like that of the German painter, is severe and regal. It is captured with the utmost naturalness. The successive interpretations of the royal effigy were intended to satisfy the demand for commissions from foreign courts and the governmental centres of the vast Spanish empire.

Spanish school, late 18th century."Archbishop of Toledo", 1788.Oil on canvas.Frame from the 19th century.It presents faults and repainting.Measurements: 98 x 79 cm; 116 x 97 cm (frame).Portrait of the cardinal Francisco de Lorenzana (1722-1804), a figure of great relevance in the ecclesiastical sphere of his time. He was a Spanish cardinal, historian, liturgist and enlightened humanist, as well as archbishop of Toledo. It is this last position and that of cardinal that is depicted in this painting, as the scroll in the lower right-hand corner shows. With his right hand, Lorenzana makes the gesture of blessing while with his left he holds a piece of paper, perhaps a letter that he is about to write. On the red muceta, which falls from his shoulders and under which the white tunic shows, he wears a crucifix next to the large cross and the sash of the order of Charles III. Following the Baroque tradition of the velvet drapery that theatricalises the scene, the figure is placed before a maroon velvet curtain and next to a raised table on which a silver inkwell can be glimpsed. Her features are skilfully rendered, conveying an alert character. His large black eyes contrast with the whiteness of the flesh of a mature man. In the late 18th and 19th centuries several versions of this portrait were produced (such as the one in the Museo del Prado by Matías Moreno González), based on a portrait in the library of Toledo cathedral.

Bhupinder Singh of Patiala. An early 20th century silver-gilt portrait miniature broochoval, watercolour on card, wearing medals, orders, sash, jewels and turban, glazed, brooch frame surmounted by a crown with simulated pearl surroundaperture 52-39 mm., overall 9 x 6.7 cm., gross weight approximately 39.1gCondition: Small chip to card surface between 2-3 o'clock. brooch in good condtion. Some loss to finish of simulated pearlsBhupinder Singh (1891-1938) Maharaja of Patiala (1900-1938) and thence by descent. Indian Royal and sportsman. Captain of the Indian cricket team that toured England in 1911 and for the 1932 Test tour of England in 1932, playing 27 first-class cricket matches between 1915 and 1937.

Lebanon, Republic, National Order of the Cedar, 2nd type, First Class set of insignia, comprising sash badge, 60mm, silvered bronze, gilt, and enamel, unmarked; Star, 70mm, silvered bronze and gilt, unmarked, with full sash riband, good very fine and better (2) £240-£280

South Staffordshire Regiment Colour Party Sash Badge c.1930. A scarce 2nd Battalion Badge, the rectangular gilding metal back plate with silvered numerals ‘LXXX’ and Staffordshire Knot,with two belt type loops to the rear, good condition £120-£160

English School c.1700 Portrait miniature of a gentleman, wearing a red coat and brown sash, and with powdered wig On copper, oval, in a gilt metal frame, in a shagreen case 47 x 37mm Provenance: The collection of the late John Taylor

λRichard Schwager (Bohemian 1822-1880) Portrait miniature of a girl wearing a white dress with pink sash Signed and dated R Schwager 1872 (lower left) Oval, in a gilt metal frame 94 x 75mm Provenance: The collection of the late John Taylor Ivory Act registration reference NFNTR3LK

English School Late 18th Century Portrait of a girl, traditionally identified as Mary Somerville, aged nine, wearing a white dress, blue sash and white bonnet Bears a signature, inscription and date Mary Somerville/Ætatis suæ 9/1789/M.A.B./fecit (lower left) On paper, oval, in an ebonised wooden easel frame 128 x 93mm

Dutch School 1669 Portrait of a nobleman, three-quarter length, wearing a yellow tunic and red sash, holding a powder horn Indistinctly signed and dated STPojch(?)/anno 1669 (centre right) Oil on canvas laid on board 102.5 x 88.5cm; 40¼ x 34¾in Provenance: Ashbey's Galleries, Cape Town, June 1968

Sir Martin Archer Shee PRA (Irish 1769-1850) Portrait of Jane Pomeroy (b.1787), three-quarter length, wearing a white dress with blue sash and a broad-brimmed hat, seated in a landscape Oil on canvas 76.4 x 64.2cm; 30 x 25¼in Provenance: Probably John, 4th Viscount Harberton; Sir Hugo Cunliffe-Owen (1870-1947), Sunningdale Park, Berks The sitter, Jane Pomeroy, was the eldest child of Reverend John Pomeroy, 4th Viscount Harberton (1758-1833) and Esther Spencer (d.1840). The Pomeroy family left Engesdon, near Harberton, Devon for Ireland in the late 17th century and, when elevated to the Irish peerage in 1783, took the title derived from the English town.

λEnglish School 19th Century Portrait miniature of a lady wearing a white dress with a yellow cloak and pearl necklace Oval, in a gilt metal frame 115 x 87mm Together with English School 18th and 19th Century, Portrait miniature of Nicholas Ridley-Colborne, 1st Baron Colborne (1779-1854); Portrait miniature of Catherine Colborne (neé Steele); Portrait of a young girl wearing a white dress and blue sash seated in a landscape; Portrait miniature of two children in an interior; Portrait miniature of Lady Seymour; Portrait miniature of a young girl wearing a white dress with a blue hat; Portrait miniature of Maria Theresa Farquhar, signed with initials HWH (lower left); Portrait miniature of a young girl wearing a white dress and hat; Portrait miniature of Rupert Farquhar holding a cat, aged four; Portrait miniature of a young lady with blond hair; Portrait miniature of a young girl wearing a white dress with blue ribbons; and Ethel and Margaret Hall, Portrait miniature of Harold Farquhar holding roses, aged four, signed M & E Hall (lower right); Two in ebonised and tortoise shell frames, one in an ebonised frame, one in a gilt metal bracelet frame, eight in gilt metal frames, eight within a gilt painted wooden easel display case; Largest 102 x 75mm; Smallest 23mm diameter (13) Provenance: Redlynch House, Salisbury, Wiltshire Ivory Act registration reference 4F6GFGN0

18TH CENTURY ENGLISH SCHOOL; oil on canvas, portrait of a gentleman wearing elaborate velvet coat with blue sash, unsigned, 43 x 36cm, framed. 

A selection of WWI era printed ephemera, including 'Deeds That Thrill The Empire', with a WWII gas mask in box, a Forester's sash, and a WWI era comprehension and sketch book, with a Paddington bear soft toy with red felt coat and red leather boots.