Winter Fine Art & Antiques Catalogue Sale
on Saturday 14th March 2009
1. WALTER MOORCROFT POTTERY JARDINIERE, the cylindrical body raised on a foot, tubelined and hand painted with columbine against an eau-de-nil ground, painted initials and impressed marks. 17.5cm
Estimate: 100-150
2. MOORCROFT POTTERY GINGER JAR, DESIGNED BY SALLY TUFFIN, in the Rain Forest pattern, tubelined and hand-painted in orange, yellow, pink and purple against a shaded blue/green ground, impressed and painted factory marks. 16cm
Estimate: 100-150
3. WALTER MOORCROFT POTTERY VASE, of shouldered ovoid form, tubelined and hand-painted with anemones against a shaded green/blue ground, green painted initials and impressed factory marks. 12cm Estimate: 120-180
4. WILLIAM MOORCROFT POTTERY PLATE, c.1945-49, tubelined and hand painted with leaves and berries against a green ground, facsimile signature. Diameter 19cm
Estimate: 120-180
5. WILLIAM MOORCROFT SALT-GLAZED "FISH" PATTERN BOWL, c.1930, of circular footed form, tubelined and hand-painted with fish amidst seaweed, blue painted signature and impressed marks. 6.5cm by 16.5cm Estimate: 500-700
6. JAMES MACINTYRE & CO. FLORIAN WARE VASE, DESIGNED BY WILLIAM MOORCROFT, the squat body tubelined and hand-painted with cornflowers against a shaded blue ground, incised signature, registration no. for 1898, painted no. M669, brown printed factory mark. 21cm Estimate: 400-600
7. MOORCROFT "SPIRIT OF THE LAKES" LIMITED EDITION VASE, DESIGNED BY DEBBIE HANCOCK, tubelined and hand-painted with a Lakeland landscape, no. 152/250, signed and dated D.J.Hancock 22.9.00, printed and script marks, boxed. 14.5cm Estimate: 350-450
8. FALCON WARE "MISTY MORN" VASE, c.1930, the ovoid body painted with flying ducks over over bulrushes against a blue ground, impressed shape no. 221, green printed factory marks. 38.5cm Estimate: 80-120
9. DAME LUCIE RIE (AUSTRIAN/BRITISH 1902-95), a black glazed bowl of compressed form, with white rim and impressed seal mark. Diameter 14.5cm Estimate: 500-800
10. WEDGWOOD "TAURUS THE BULL", DESIGNED BY ARNOLD MACHIN WITH THE ZODIAC PATTERN BY ERIC RAVILIOUS, the simplified body printed with the signs of the Zodiac interspersed with stars, green printed and impressed factory mark, c.1960's. 41cm Estimate: 200-300
11. LINTHORPE POTTERY "AZTEC" TWO-HANDLED VASE, DESIGNED BY CHRISTOPHER DRESSER, with green and brown glaze, no. 337, impressed factory marks, facsimile designers signature. 20cm Estimate: 200-300
12. ROYAL DOULTON BRANGWYN WARE VASE, c.1930's, the ovoid body incised and painted with blue and green sea kale type sprays against a mottled ground, painted no. D5081, green printed factory mark. 30cm Estimate: 100-150
13. KESWICK SCHOOL OF INDUSTRIAL ART: "STAYBRITE" PLANISHED STEEL BOWL, of circular form with wired-and-rolled edge rim, with school Firth Staybrite mark. Diameter 25.5cm Estimate: 60-80
14. KESWICK SCHOOL OF INDUSTRIAL ART: COPPER PIN TRAY, of circular form, repousse with a woodpecker and a fish, stamped KSIA. 9cm Estimate: 50-70
15. MATCHED PAIR OF CARTER STABLER & ADAMS POOLE POTTERY "BLUE BIRD" PATTERN VASES, c.1930, painted by Marian Jones to a design by Truda Carter, with stylised birds amidst foliage, impressed, incised and painted marks, one slightly taller, 18cm; together with another smaller vase in the same pattern, (drilled). Estimate: 200-300
16. POOLE POTTERY BRUSH POT, c.1970, of cylindrical form, moulded and glazed with an abstract linear band against a red ground, black printed dolphin mark. 15cm Estimate: 30-50
17. 1930's SHELLEY VASE, of ribbed ovoid form, painted in shades of orange, green painted factory mark. 23cm Estimate: 30-50
18. WHITEFRIARS PEWTER "BARK" VASE, DESIGNED BY GEOFFREY BAXTER, of cylindrical form, pattern no. 9690. 18.5cm Estimate: 60-80
18A. WHITEFRIARS TANGERINE "DRUNKEN BRICKLAYER" VASE, DESIGNED BY GEOFFREY BAXTER, of characteristic form. 21cm Estimate: 200-300
19. KESWICK SCHOOL OF INDUSTRIAL ART: COPPER TRIVET BY JOHN TOLSON, the rectangular top with stylised foliate repousse decoration against a stippled ground, raised on four S-scroll legs, scratch signature to underside J.Tolson, stamped KSIA mark. 10.5cm by 30cm by 22cm
Note: John Tolson is recorded at the school in the period from 1888 to his death in 1906. See Bruce, Ian, The Loving Eye and Skilful Hand, Bookcase, p.139. Estimate: 200-300
20. KESWICK SCHOOL OF INDUSTRIAL ART: A COPPER POST BOX, the back panel embossed with the word "POST", further embossed with stylised foliage and with cut-out to front, stamped KSIA. 18.5cm by 20cm by 9cm Estimate: 250-350
21. BURLEIGH WARE "GARLAND" PATTERN VASE, DESIGNED BY CHARLOTTE RHEAD, late 1920's, of waisted hexagonal form, tubelined and hand-painted with two ribbon-tied bands of leaves interspersed with oranges between two powder blue borders, pattern no. 1401, printed factory mark and tubelined signature. 14cm Estimate: 150-200
22. PEWTER CHARGER, EARLY 20th CENTURY, the rim repousse with stylised foliage, stamped no. 02470. 49cm Estimate: 50-70
23. GROUP OF BOURNE DENBY DANESBY WARES, with electric blue glaze, comprising trumpet-form bud vase, single-handled vase and a jug, black printed factory marks, c.1920's. (3) Tallest 25cm Estimate: 80-120
24. ITALIAN ART POTTERY TWO-HANDLED VASE, the pierced baluster body with green lustrous glaze, incised mark to lower body "TITO/FUBEDA". 24cm Estimate: 40-60
25. LALIQUE PEDESTAL BOWL, frosted and moulded with small stylised birds amongst foliage, on a square foot, etched "Lalique France". 13.5cm Estimate: 250-350
26. LALIQUE FOOTED BOWL, the globular bowl on a frosted stem moulded with three large lion paws, on a circular foot, signed "Lalique France", modern (two small chips to rim). 22cm Estimate: 80-120
27. CLARICE CLIFF FOR NEWPORT POTTERY "TEEPEE" NOVELTY TEAPOT, of tapering cylindrical form, the spout moulded as a Native American, the handle as a totem pole, the body and lid moulded with moose and maple leaves, the base printed with "Greetings from Canada" and factory mark, moulded no. 30s. 17cm Estimate: 500-700
28. PAIR OF LIBERTY & CO. TUDRIC PEWTER VASES, of tapering cylindrical form and raised on a flattened circular foot, chased with stylised flowerheads and stems, no. 0821, stamped marks. 15cm Estimate: 150-200
29. LIBERTY & CO. TUDRIC PEWTER TANKARD, with sinuous handle and later inscriptions including "Peter's Pewter Pint Potte", dated to top of handle 1943, no. 066, stamped marks; together with a 1920's hammered pewter tankard. (2) First 12.5cm Estimate: 30-50
30. LIBERTY & CO. TUDRIC PEWTER CREAM JUG AND SUGAR BOWL, planished, no. 01075, stamped marks. Cream jug 6.5cm Estimate: 60-80
31. LIBERTY & CO. TUDRIC PEWTER VASE, the ovoid planished body raised on a circular spreading foot, no. 01546, stamped marks. 16cm Estimate: 40-60
32. LIBERTY & CO. TUDRIC PEWTER THREE PIECE CRUET SET, comprising open salt, pepper shaker and mustard (lacking spoon), with blue-glass liners, each planished and raised on a circular foot, no. 01079, stamped marks. Estimate: 70-90
33. LIBERTY & CO. ENGLISH PEWTER JUG, DESIGNED BY ARCHIBALD KNOX, the cylindrical body issuing stylised seed pods, with rattan covered handle, the hinged cover with thumbpiece, no. 0279, stamped marks. 18cm Estimate: 200-300
34. PAIR OF LIBERTY & CO. TUDRIC PEWTER VASES, possibly designed by Archibald Knox, each having tapering cylindrical body with flared foot and rim, chased with a band of stylised honesty, stamped marks and no. 02510. 19.5cm
Estimate: 350-450
35. LIBERTY & CO. TUDRIC PEWTER ROSE BOWL, DESIGNED BY ARCHIBALD KNOX, of half oviform, chased with an entrelac band of stylised honesty, the pair of loop handles continuing to four wedge-shaped feet, no. 0229, registration no. for 1903, stamped TUDRIC. 14.5cm by 30cm Estimate: 400-600
36. PAIR OF CHINESE PORCELAIN CELADON GROUND VASES, of bottle form, each moulded in relief with birds, flowers and foliage and painted in enamels, iron red painted marks. 31cm Estimate: 120-180
37. LARGE SATSUMA POTTERY VASE, c.1900, of hipped form, characteristically decorated with figures and Oriental motifs. 79m Estimate: 150-250
38. TWO STAFFORDSHIRE FLATBACK COTTAGE MODELS, 19th CENTURY, both painted in enamels, one modelled as a Gothic cottage with pink roof, the other a three-storey house. (2) First 21.5cm Estimate: 100-150
39. ROYAL CROWN DERBY IMARI PALETTE TEA SERVICE, comprising six cups, saucers, tea plates, cream jug and sugar/slop bowl, pattern no. 2451 Estimate: 150-250
40. 19th CENTURY STAFFORDSHIRE POTTERY MODEL OF A MILKMAID AND COW, the figures glazed in white and highlighted with gilding, on a naturalistic base, picked out in greens, browns and yellows. 20cm Estimate: 60-80
41. GOOD 19th CENTURY WHITE-GLAZED POTTERY TWO-HANDLED MILK PAIL, of banded tapering cylindrical form, black transfer-printed decoration of two cows above the script "PURE MILK", unmarked. Height 30cm, diameter 39cm Estimate: 800-1000
42. 19th CENTURY SCOTTISH SPONGEWARE TOILET JUG AND BOWL, with blue decoration. Height of jug 24cm Estimate: 70-90
43. 19th CENTURY STAFFORDSHIRE FIGURE GROUP, "TAM O SHANTER & SOOTER JOHNNY", each modelled seated flanking a barrel and with vessels in their hands, picked out in colours, titled base, (repair to hand of O'Shanter). 33cm Estimate: 150-250
44. BURMANTOFTS GREEN-GLAZED JARDINIERE STAND, of fluted columnar form, incised and impressed factory marks. 0.76m Estimate: 80-120
45. PAIR OF STAFFORDSHIRE POTTERY MODELS OF SEATED CATS, c.1900, the brown glazed naturalisticlly moulded bodies set with glass eyes, (a/f). 32cm Estimate: 80-120
46. CONTINENTAL POTTERY VASE, 19th CENTURY, of baluster form, printed with a frieze of Classical figures against a terracotta ground (formerly converted to a lamp). 38cm Estimate: 100-150
47. 19th CENTURY MEISSEN FIGURE OF ATALANTA, bending down to pick up a golden apple, her robe shaded in green and pink, on a gilt-highlighted circular socle, (apple missing) blue crossed swords mark, incised Q180B, impressed no. 16. Height 29.5cm Estimate: 500-700
48. MEISSEN BACCHANALIAN GROUP, 19th CENTURY, the figure of Bacchus clad in a cheetah skin and seated on a barrel with attendants, blue crossed swords mark, painted puce numeral 22, incised G35 and stamped with nos. 70 and 76. 32.5cm Estimate: 700-900
49. ROYAL CROWN DERBY COMMEMORATIVE CUP AND COVER, to commemorate the wedding of the Prince of Wales to Lady Diana Spencer, painted with armorial panels against a blue ground highlighted with gilding, limited edition, 107/200 (repair to cover). Height 22cm Estimate: 80-120
50. TWO DERBY PUTTI, c. 1770, the taller carrying a nest of birds, the smaller a basket of flowers. First 14cm Estimate: 100-150
51. 19th CENTURY STAFFORDSHIRE FLATBACK ARBOUR GROUP, of seated lovers, mainly white; together with a pair of Staffordshire flatback groups, "Going to Market" and "Returning Home" (repair to head of male figure in "Returning Home"). First 35cm Estimate: 100-150
52. PAIR OF STAFFORDSHIRE FLATBACK FIGURES OF A FISHERMAN AND WIFE, each carrying nets and baskets of fish. 34cm Estimate: 120-180
53. GROUP OF 19th CENTURY MINIATURE FLORAL-ENCRUSTED WARES, comprising a pair of vases of baluster form each modelled with a cat (losses); and a pair of "nests" each with a bird perched on the rim. (4) First 8.5cm Estimate: 100-150
54. GROUP OF ROYAL CROWN DERBY IMARI PALETTE TEA WARES, PATTERN NO. 1128, comprising coffee pot, two cream jugs, four breakfast cups and saucers, six coffee cans and saucers, five tea cups and saucers, six tea plates, a bowl and a vase (significant no. of pieces with damage). Estimate: 80-120
55. IMPOSING CAVERSWALL FRUIT-PAINTED CAMPANA URN AND COVER, decorated with apples, pears, grapes etc, painted by Keith Hancock and dated 1977 and with inscription to underside, "specially painted for Mr. Alan Fulton". Height 50cm Estimate: 300-500
56. ROYAL WORCESTER FRUIT-PAINTED TANKARD, decorated by P. Stanley, black printed mark. Height 12cm Estimate: 200-300
57. ROYAL WORCESTER FRUIT-PAINTED CABINET PLATE, decorated by P. Platt, the central roundel of apples and blackberries against an elaborately gilded cobalt ground, gold printed mark. 27cm Estimate: 250-350
58. ROYAL WORCESTER FRUIT-PAINTED CACHEPOT, decorated by P.Platt with peaches, cherries and grapes, black printed mark. Height 11cm Estimate: 300-400
59. LARGE ROYAL WORCESTER FRUIT-PAINTED COOLER AND COVER, decorated by P. Platt with peaches, cherries and grapes, black printed mark. 17cm
Note: The cover is wrongly illustrated with lot 76. Estimate: 500-700
60. UNUSUAL ROYAL WORCESTER FRUIT-PAINTED BASKET, decorated by J. Skerrett internally and externally with peaches, berries, grapes etc, of shaped oval form, with circular pedestal foot and leaf-moulded handle, black printed mark and pattern no. 2650. Height over handle 24cm Estimate: 600-800
61. ROYAL WORCESTER FRUIT-PAINTED CACHEPOT, painted by P. Platt with apples, peaches and berries, black printed mark. Height 14.5cm Estimate: 300-400
62. ROYAL WORCESTER THREE-PIECE FRUIT-PAINTED TEA SERVICE, comprising teapot, cream and sugar, the teapot decorated by T. Nutt of compressed spherical form with flowerhead and leaf knop, the cream jug decorated by B. Cox and the sugar bowl of flared circular form, decorated by T. Nutt. (3) Length of teapot across spout and handle 24cm Estimate: 800-1200
63. ROYAL WORCESTER FRUIT-PAINTED PEDESTAL VASE AND COVER, decorated by T. Nutt with apples, grapes and peaches, gilt domed cover, acanthus handles and gilt domed foot, black printed mark and pattern no. 2701. Height 20cm Estimate: 400-600
64. UNUSUAL ROYAL WORCESTER FRUIT-PAINTED SOUP TUREEN, LADLE AND UNDERPLATE, each piece signed and decorated by T. Nutt, the tureen of shaped oval form with scrolling gilt handles under a domed cover with c-scroll handle, the conforming underplate with scalloped rim and with matching ladle, the bowl decorated with peaches and berries, en suite with tureen and underplate, black printed marks. Length across handles 38cm Estimate: 3000-4000
65. ROYAL WORCESTER FRUIT-PAINTED TANKARD, decorated by J. Reed with apples, berries and grapes, black printed mark. Height 12cm Estimate: 200-300
66. ROYAL WORCESTER FRUIT-PAINTED LOW COMPORT, decorated by J. Skerrett with apples and berries, of scalloped circular form, black printed mark. Diameter 24cm Estimate: 500-700
67. ROYAL WORCESTER FRUIT-PAINTED LOW COMPORT, decorated by T. Nutt with gooseberries and peaches, black printed mark. Diameter 24cm Estimate: 500-700
68. HANDSOME PAIR OF ROYAL WORCESTER FRUIT-PAINTED TWO-HANDLED PEDESTAL VASES AND COVERS, each with lion mask and acanthus handles, the bodies painted with apples, grapes and peaches, one decorated by Freeman, the other by C. Hughes, black printed marks and pattern no. 1691. Height 35.5cm Estimate: 4000-6000
69. ROYAL WORCESTER FRUIT-PAINTED CABINET PLATE, decorated by P. Platt with apples, grapes and berries, black printed mark. Diameter 27cm Estimate: 200-300
70. ROYAL WORCESTER FRUIT-PAINTED CABINET PLATE, decorated by J. Skerrett with apples, berries and cherries, black printed mark. Diameter 27cm Estimate: 200-300
71. THREE ROYAL WORCESTER FRUIT-PAINTED TEACUPS AND SAUCERS, two decorated by P.Platt, the third by N. Bunegar, with a saucer by P. Stanley, each with black painted marks. (3) Estimate: 300-500
72. ROYAL WORCESTER FRUIT-PAINTED DESSERT PLATE, decorated by J. Reed, black printed mark; together with a Royal Worcester fruit-painted tea plate, decorated by P. Platt (mark obscured by plate hanger). (2) First 20cm Estimate: 100-150
73. ROYAL WORCESTER FRUIT-PAINTED TWO-HANDLED VASE, of slender ovoid form, decorated by D. Buckle with grapes, peaches and apples, black printed mark and pattern no. 2710; together with a Royal Worcester fruit-painted two-handled vase, painted by S. Weston, extensively restored. (2) Estimate: 300-500
74. LARGE ROYAL WORCESTER FRUIT-PAINTED TWO-HANDLED JARDINIERE, decorated by T. Nutt with grapes, peaches, cherries etc, applied with ring and flowerhead handles, black printed mark and pattern no. 8/18. Height 21cm Estimate: 800-1200
75. SET OF SIX ROYAL WORCESTER FRUIT-PAINTED COFFEE CUPS AND SAUCERS, decorated by Skerrett, Nutt and Creed with peaches, apples, berries etc, the cups with gilt interiors, black printed marks. (6) Estimate: 600-800
76. ROYAL WORCESTER FRUIT-PAINTED POT POURRI VASE WITHOUT COVER, the vase with pierced neck applied with swags, decorated by C. Hughes with peaches, grapes and apples, black printed mark, pattern no. 1428; the associated cover decorated by P. Platt, with shaped loop handle and black printed mark. Height of vase 25cm
Note: The "associated cover" for this lot actually belongs with lot 59 and being sold with it. This lot is therefore being sold as a pot pourri vase without cover. Estimate: 800-1200
77. TWO COALPORT FRUIT-PAINTED DRESSING TABLE TRAYS, decorated by Lynda Dale and Linda Owen, blue printed marks. (2) Estimate: 100-150
78. COALPORT MINIATURE FRUIT-PAINTED THREE-PIECE TEA SERVICE, comprising teapot, sucrier and cream jug, two pieces decorated by Alexandra Goodwin, the jug unsigned, blue printed marks. (3) Estimate: 120-180
79. COALPORT MINIATURE FRUIT-PAINTED THREE PIECE TEA SERVICE, comprising teapot, sucrier and cream jug, the teapot decorated by Rita Blyth, the sucrier by Manfred Pinter, the jug unsigned. (3) Estimate: 120-180
80. PAIR OF COALPORT FRUIT-PAINTED VASES, each of cylindrical form, characteristically decorated with apples, berries etc, one signed Michael Cooke, the other Manfred Pinter, blue printed marks. 22cm Estimate: 150-250
81. COALPORT FRUIT-PAINTED VASE, of faceted baluster form, decorated by Norman Lear, blue printed mark. Height 21.5cm Estimate: 80-120
82. PAIR OF COALPORT FRUIT-PAINTED GOBLETS, each with circular domed foot and gilt interior, decorated by C. Hollinshead, blue printed marks. 13cm Estimate: 80-120
83. COALPORT FRUIT-PAINTED GINGER JAR, decorated by Manfred Pinter, blue printed mark; together with a Coalport fruit-painted cream jug, also decorated by Manfred Pinter. (2) Height of first 11.5cm Estimate: 70-90
84. COALPORT FRUIT-PAINTED FOOTED CENTRE BOWL, raised on three gilt legs, decorated by Manfred Pinter, blue printed mark. Diameter 27cm Estimate: 60-80
85. TWO COALPORT FRUIT-PAINTED CABINET PLATES, one with boldly scalloped rim, decorated by Manfred Pinter, the other, larger, decorated by John Ravenscroft, each with blue printed mark. (2) First 23cm Estimate: 60-90
86. PAIR OF COALPORT FRUIT-PAINTED TWIN-HANDLED DESSERT SERVING PLATES, each of scalloped circular form, one decorated by Rita Dale, the other B. Higham (mark obscured by plate hanger). (2) Diameter across handles 25cm Estimate: 100-150
87. COALPORT FRUIT-PAINTED SIX-PIECE TEA SERVICE, comprising six cups and saucers and six tea plates, decorated by Manfred Pinter, Carole Gidman, Linda Owen and others, the cups with gilt interiors, blue printed marks (some obscured by plate hangers). Estimate: 200-300
88. PAIR OF COALPORT FRUIT-PAINTED MINIATURE TRIOS, each comprising teacup, saucer and tea plate, all decorated by Michael Cooke, blue printed marks. Estimate: 70-90
89. VICTORIAN SILVER-MOUNTED AND MOULDED GLASS SCENT BOTTLE, WILLIAM COMYNS, LONDON 1896, of unusual form with flowerhead base beneath a faceted body, with trellis-pierced silver mount and original glass stopper. 14cm Estimate: 250-350
90. 19th CENTURY PINK AND WHITE OVERLAY GLASS SCENT BOTTLE, of baluster form with white metal top. 9.5cm Estimate: 50-70
91. TWO SETS OF FOUR 19th CENTURY GLASS FINGER BOWLS, all with star-cut bases. (8) 9cm by 11cm Estimate: 100-150
92. SET OF SIX EARLY 19th CENTURY GLASS RUMMERS, each with rounded bowl above ring knops, clear stems and circular foot. 14cm Estimate: 150-200
93. PAIR OF 19th CENTURY AMETHYST GLASS DECANTERS, each of baluster form with mushroom stopper. 18cm Estimate: 40-60
94. JAMES DEAKIN & SONS SILVER-PLATED AND ETCHED GLASS EPERGNE, LATE 19th CENTURY, the trumpet-shaped vase etched with fruiting vine, the stand cast with an eagle perching upon rocks. 34.5cm Estimate: 60-80
95. 19th CENTURY AMETHYST GLASS FLASK DECANTER, with silver-plated collar and stopper, with simple loop handle; together with a 19th century Bristol Blue glass footed sugar bowl. Decanter 21cm Estimate: 80-120
96. EARLY 19th CENTURY GLASS COMPORT, c. 1830, the plain galleried top raised on a moulded twisted baluster stem, on a domed circular folded foot. 16.5cm by 26cm Estimate: 180-250
97. EDWARDIAN SILVER-RIMMED CUT-GLASS SALAD BOWL, SHEFFIELD 1907, the body hobnail-cut, with associated plated servers. Diameter 21cm Estimate: 40-60
98. BOHEMIAN ETCHED SODA GLASS CUP AND COVER, mid-19th century, in 17th century style, the domed cover with faceted knop and etched with a band of acorns and leaves, the cup with deer in a wooded landscape, on a baluster stem and domed circular foot. 43cm
Estimate: 150-200
99. CONTINENTAL CASED GLASS VASE, LATE 19th CENTURY, of baluster form, painted with a large spray of lilies, roses and other flowers within a cartouche, against a lilac ground. 36cm Estimate: 120-180
100. VICTORIAN CRANBERRY GLASS OIL LAMP, with brass baluster stem beneath a cranberry reservoir and a cranberry and etched clear glass shade with frilly rim. 55cm (exc. funnel) Estimate: 100-150
101. VICTORIAN CRANBERRY GLASS OIL LAMP, with brass standard beneath a cranberry reservoir under a moulded shade with frilly rim shading from green to cranberry. 52cm (exc. funnel) Estimate: 100-150
102. VICTORIAN OVERLAY AND CRANBERRY GLASS OIL LAMP, the brass base cast with scrolls and acanthus and raised on paw feet beneath a baluster-form cased reservoir cut from white to cranberry, beneath a cranberry shade. 44cm Estimate: 100-150
103. VICTORIAN CRANBERRY GLASS AND BRASS OIL LAMP, with brass columnar standard beneath a shaded cased and moulded reservoir (lacking shade) 69cm (inc. funnel) Estimate: 60-80
104. ROYAL BRIERLEY SILVER-PLATE MOUNTED CUT-GLASS CLARET JUG, with elongated handle, the body with diamond cutting, etched mark. 27cm Estimate: 60-80
105. EDWARDIAN SILVER-MOUNTED CUT-GLASS HIP FLASK, MAPPIN & WEBB, LONDON 1904, the lower body in a silver sleeve, with twist and lift cap. 15cm Estimate: 60-80
106. EDWARDIAN SILVER-TOPPED SCENT BOTTLE, GOLDSMITHS & SILVERSMITHS COMPANY, LONDON 1905, of cylindrical form, engraved with a monogram. 8cm Estimate: 40-60
107. GEORGE V SILVER, ENAMEL AND GLASS SCENT BOTTLE, BIRMINGHAM 1920, the silver top inset with an engine-turned and floral swag blue enamel disc. 6.5cm Estimate: 50-70
108. SOUTH EAST ASIAN BRONZE TWO-HANDLED BOWL, with serpent handles and engraved decoration. 27cm Estimate: 60-80
109. CONTINENTAL PATINATED METAL RENAISSANCE REVIVAL STUD BOX, late 19th century, of oval form, cast with panels depicting hunting scenes, with original buttoned silk and velvet interior. 9cm Estimate: 60-80
110. EDWARDIAN SILVER-PLATED BOTTLE COASTER, ROBERTS & BELK, with pierced stylised foliate panels and twin handles. 19cm Estimate: 40-60
111. PAIR OF FRENCH LATE 19th/EARLY 20th CENTURY BRONZE FIGURAL CANDLESTICKS, each modelled as a stylised devil in exaggerated pose above a fire with arms at full stretch supporting an urn-form candle cup cast with bats, unmarked, mid-brown patina. 27cm Estimate: 200-300
112. LATE 19th CENTURY SILVER-PLATED FOUR-PIECE TEA SERVICE, JOHN ROUND & SON, comprising teapot and hot water pot with ivory knops, cream and sugar, all elaborately engraved with stylised anthemion and vacant cartouches. Tallest 21cm Estimate: 150-250
113. SET OF FOUR REGENCY REVIVAL SILVER-PLATED CANDLESTICKS, c.1900, the vase shaped nozzles, with detachable drip pans, above elliptical stems and conforming bases. 30cm Estimate: 180-250
114. WMF SILVER-PLATED BASKET, c.1900, the shaped-elliptical pierced frame cast with stylised foliage, fixed handle, enclosing a clear-glass bowl with part fan-cut rim. Height 18cm, length 23cm Estimate: 70-90
115. PAIR OF GOTHIC REVIVAL BRASS THREE-LIGHT CANDELABRA, 19th CENTURY. 30cm Estimate: 70-90
116. PAIR OF GERMAN SPELTER FIGURES OF ATHLETES, c.1930, with green/brown patina, on granite bases, (javelin thrower lacking javelin). 29cm Estimate: 70-90
117. 19th CENTURY WHITE METAL PILL OR PATCH BOX, of oval form, with gilt interior, maker's mark "H.J. & Co.". Length 4.5cm Estimate: 30-40
118. GEORGE V SILVER CHALICE, LONDON 1928, with knopped stem and stepped circular base, the bowl with presentation inscription. 17.5cm 8.5oz Estimate: 80-120
119. GEORGE VI SILVER CHALICE, LONDON 1950; together with a George V silver goblet, London 1924. (2) Height of first 14cm. Total weight 8oz Estimate: 80-120
120. PAIR OF VICTORIAN NAVETTE-FORM SILVER SALTS, CHESTER 1898, in George III style, decorated with swags and vacant cartouches. Length 9cm Total 4oz Estimate: 120-150
121. VICTORIAN SILVER CHAMBERSTICK, WILLIAM COMYNS, LONDON 1892, the pierced heart-shaped tray decorated with ribbon-tied swags, flowers and c-scrolls beneath a fluted candle cup and drip tray and with ring handle. Length 13cm 3oz Estimate: 150-200
122. GEORGE II SILVER MOTE SPOON, marks indistinct, with foliate-pierced bowl and pointed terminal. 13.5cm Estimate: 150-200
123. WILLIAM IV SILVER VINAIGRETTE, TAYLOR & PERRY, BIRMINGHAM 1831, of rectangular form with monogrammed tablet against an engine turned ground, with pierced silver gilt grille. 4cm Estimate: 120-180
124. VICTORIAN SILVER SOVEREIGN CASE, BIRMINGHAM 1900, maker's mark SML, with engine-turned decoration and monogrammed cartouche. Including loop 4.75cm Estimate: 50-70
125. GEORGE II SILVER MARROW SCOOP, LONDON 1752, maker's mark indistinct. 23cm 2oz Estimate: 180-250
126. PAIR OF GEORGE IV SCOTTISH SILVER TABLE SPOONS, EDINBURGH 1827, maker's mark JH, fiddle pattern. 4 1/2 oz Estimate: 80-120
127. SET OF SIX VICTORIAN SILVER TEASPOONS, CHARLES BOYTON, LONDON 1890, Old English pattern with 18th century style bright-cut decoration; together with a set of six Victorian silver teaspoons, James and Josiah Williams, Exeter 1873, fiddle pattern. (12) Total 8oz Estimate: 80-120
128. PAIR OF VICTORIAN SILVER "APOSTLE" SALT SPOONS, HENRY HOLLAND, LONDON 1865, with gilt bowls and twisted stems. Estimate: 50-70
129. EDWARDIAN SILVER DRESSING TABLE MIRROR, WILLIAM COMYNS, LONDON 1901, with easel back, the heart-shaped bevelled plate within mounts pierced and chased with birds amidst flowers, leaves and scrolls, surmounted by a vacant cartouche. 29cm by 24cm Estimate: 200-300
130. EARLY VICTORIAN SILVER TEAPOT, EDWARD, EDWARD JUNIOR, JOHN & WILLIAM BARNARD, LONDON 1839, the slightly squat body chased with elaborate scrolls and stylised foliage, the domed cover with flowerhead finial, with scroll cast handle (with ivory insulators) and spout, raised on four leaf and scroll feet. 17cm, 24oz Estimate: 250-350
131. GEORGE V SILVER SUGAR CASTER, MAPPIN & WEBB, LONDON 1924, the pierced domed cover with urn finial above an ovoid body, raised on a circular foot. 16cm, 4.5oz Estimate: 80-120
132. TWO GEORGE V SILVER VESTA CASES, BIRMINGHAM 1914 AND 1921, each with engine-turned decoration, one engraved with a monogram. 2oz Estimate: 70-100
133. SET OF SIX EARLY VICTORIAN SILVER TEASPOONS, JOHN OSMENT, EXETER 1840, Old English pattern engraved with a monogram; together with a pair of Victorian silver condiment spoons, John Stone, Exeter 1853, Old English pattern, engraved with a monogram. (8) 3oz Estimate: 60-80
134. GEORGIAN STYLE SILVER THREE-PIECE TEA SERVICE, ELKINGTON & CO., BIRMINGHAM 1911, comprising teapot, cream and and two-handled sugar bowl. Gross 34oz Estimate: 150-250
135. EDWARDIAN SILVER CALLING CARD CASE, BRIMINGHAM 1904, of characteristic form, chased to each side with a stag being brought down by a hound, within a cartouche surrounded by scrolls, engraved with a monogram, makers mark GL?. 10cm by 7cm, 2oz Estimate: 120-180
136. EDWARDIAN SILVER CALLING CARD CASE, DEAKIN & FRANCIS, BIRMINGHAM 1907, the plain case of shaped rectangular form, engraved with a monogram lower right. 9.5cm by 6.5cm, 2.5oz Estimate: 100-150
137. ART DECO SILVER CALLING CARD CASE, ADIE BROTHERS, BIRMINGHAM 1923, the concave case with engine-turned linear decoration. 8cm by 4cm Estimate: 80-120
138. EDWARDIAN SILVER CALLING CARD CASE, CHESTER 1903, engraved with scrolls, foliage and a monogram within a cartouche, the interior with fabric dividers, makers mark CC. 9cm by 6cm, 2oz Estimate: 100-150
139. GROUP OF THREE LATE 19th CENTURY SILVER VESTA CASES, comprising Birmingham 1896, of concave-form, engraved with scrolls, foliage and a monogram within a cartouche; Birmingham 1898, engraved to one side with leaves and a vacant cartouche, the opposing side with scrolls and foliage; Birmingham 1895, engraved with a monogram within a cartouche surrounded by scrolls. (3) First 5cm by 4cm, gross 3.5oz Estimate: 80-120
140. PAIR OF EDWARDIAN SILVER NAPKIN RINGS, CHESTER 1908, in a fitted domed case, elaborately cast with scrolls and foliage, each with monogram within a cartouche against an engine turned band (differing maker's marks). Estimate: 50-70
141. EDWARDIAN SILVER SUGAR CASTER, HOLLAND, ALDWINCKLE & SLATER, LONDON 1909, the domed pierced cover with urn-form finial above a faceted baluster body. 18cm, 5oz Estimate: 150-200
142. GEORGE V SILVER-MOUNTED TORTOISEHSELL ASHTRAY, LONDON 1925, of circular form with integral matchbox holder; together with a George III style silver cream jug, Chester 1904, retailed by Asprey, marked to base "ASPREY LONDON/Reproduction of 1804". (2) Cream jug height 10cm, 4oz Estimate: 100-150
143. GEORGE III SILVER CREAM JUG, LONDON 1799, with bright-cut linear decoration, vacant cartouche and elongated loop handle. 11cm, 2.5oz Estimate: 200-300
144. GOOD PAIR OF GEORGE II STYLE SILVER CANDLESTICKS, HAWKSWORTH, EYRE & CO. LTD., SHEFFIELD 1923, each faceted nozzle, with detachable drip pan, above a conforming baluster stem continuing to a stepped base. 16.5cm, (weighted) Estimate: 500-700
145. REGENCY STYLE SILVER CREAM JUG AND SUGAR BOWL, SHEFFIELD 1947, each of ovoid form with elongated handles. Length of sugar bowl 19cm, 8oz Estimate: 100-150
146. EDWARDIAN SCOTTISH SILVER BREAD BASKET, EDINBURGH 1902, of elliptical form, profusely chased with stylised foliage and scrolls, also pierced with four pierced panels, makers mark R.S within a rectangle. 30.5cm by 22cm Estimate: 150-200
147. TWO GEORGE V SILVER PIERCED DISHES, the first, Alexander Clark & Co. Ltd., Birmingham 1931, elliptical-form; the second Birmingham 1923, scalloped circular form, raised on three c-scroll feet. (2) First 18.5cm, combined 6oz Estimate: 150-200
148. SET OF FOUR EDWARDIAN SILVER MENU HOLDERS, WILLIAM COMYNS, LONDON 1901, each engraved with a coronet. Gross 3oz Estimate: 150-200
149. EDWARDIAN SILVER JEWELLERY BOX WITH PINCUSHION COVER, BIRMINGHAM 1908, of oval form, the frieze chased with bellflower swags, raised on ball and claw feet. 8cm by 16cm by 11cm Estimate: 150-200
150. GEORGE III SILVER CADDY SPOON, RICHARD CROSSLEY, LONDON 1797, Old English pattern, engraved with a monogram. 9cm Estimate: 80-120
151. GEORGE V SILVER AND TORTOISESHELL RING BOX, BIRMINGHAM 1925, the circular hinged tortoiseshell lid inlaid with a silver vacant cartouche, raised three outswept legs. 4.5cm by 8.5cm Estimate: 150-200
152. VICTORIAN SILVER DRESSING TABLE MIRROR, WILLIAM COMYNS, LONDON 1889, with easel back, the heart-shaped bevelled plate within mounts pierced and chased with putti and birds amidst flowers, leaves and scrolls, surmounted by a heart-shaped vacant cartouche. 34cm by 27cm Estimate: 200-300
153. SILVER-MOUNTED DRESSING TABLE MIRROR, LATE 19th/EARLY 20th CENTURY, marks indistinct, easel backed, the circular bevelled plate within an arcaded mount chased with flowers. 22cm by 21cm Estimate: 120-180
154. GOOD LATE VICTORIAN SILVER CAKE BASKET, MARTIN HALL & CO., SHEFFIELD 1898, of eliptical form with entwined beaded swing handle, with beaded rim above pierced panels, the well engraved with swags and cross-hatching, raised on a pierced domed foot with beaded rim. 30cm by 21cm, 20oz Estimate: 300-400
155. GEORGE V SILVER CHRISTENING MUG, BIRMINGHAM 1925, of simple form with out-turned rim, tubular-section handle and stepped domed foot. 11.5cm, 7oz Estimate: 150-200
156. PAIR OF EDWARDIAN SILVER BUD VASES, S.MORDAN & CO. LTD., LONDON 1903, of tapering cylindrical form with undulating rims and stepped domed foot, chased with a band of stylised foliage, weighted. 16cm Estimate: 100-150
157. GEORGE V SILVER VASE, BIRMINGHAM 1922, of square section tapering form, with lion-mask ring handles, raised on a stepped domed foot, weighted. 18.5cm Estimate: 80-120
158. SET OF SIX EDWARDIAN SILVER AND SILVER-GILT "APOSTLE" TEASPOONS, BIRMINGHAM 1901, with shell bowls, in a fitted case.
Estimate: 50-70
159. EDWARDIAN BOXED SET OF SIX SILVER COFFEE SPOONS AND SUGAR TONGS, Sheffield 1902; together with a set of six George V silver tea knives, boxed, Sheffield 1921. Estimate: 70-90
160. SET OF SIX GEORG JENSEN SILVER TEASPOONS, IMPORT MARKS, for various dates, 1935, 1937 1938 etc, each with stepped terminal in a fitted Jensen case; together with a Georg Jensen tea knife in the same pattern, import marks for 1938. Estimate: 250-350
161. GEORGE V SILVER SALVER, CHARLES & RICHARD COMYNS, LONDON 1918, of octagonal form, the pierced gallery with rams heads joined by swags between beaded borders, raised on four similarly decorated concave feet, with presentation inscription. 33.5cm, 51oz Estimate: 250-350
162. EMERALD AND DIAMOND FRINGE NECKLACE, the front composed of nine graduating emerald drops each suspended from a diamond collet, on a fine trace link chain. Estimate: 800-1200
163. PAIR OF CULTURED PEARL AND DIAMOND EARRINGS, of pendant design, the oval cultured pearl drops suspended from articulated diamond-set drops. 3.7cm long Estimate: 600-800
164. PAIR OF DIAMOND EARRINGS IN EDWARDIAN STYLE, each old brilliant-cut diamond collet suspended from a pave-set kite-shaped mount with petal surmounts and smaller diamond collet, hook fittings. 3.3cm long Estimate: 1000-1500
165. DIAMOND-SET NECKLACE, the trace link chain set to the front with five millegrain collet set brilliant-cut diamonds. 39cm long, clasp stamped "Italy 750". Estimate: 300-500
166. VICTORIAN CORAL PENDANT, c. 1850, composed of five coral beads each with plain gold fluted cap suspended from gold wires or chain links of varying lengths, from a textured gold cap, probably later converted from an earring, total length of drop 4cm Estimate: 100-150
167. PAIR OF EMERALD AND DIAMOND EARRINGS, of pendant design, the three circular cut emeralds in claw or fluted setting with trace link chain connecting links with two circular-cut diamond highlights, total length of drop 2.9cm Estimate: 400-600
168. DIAMOND DRESS RING, the central graduating row of baguette-cut diamonds within outer rows of brilliant-cut diamonds. Estimate: 1800-2200
169. A VICTORIAN PIQUE WORK BROOCH, c. 1870, the circular domed and faceted tortoiseshell brooch inlaid with gold and silver pique work of foliate and floral type, 4cm diameter, brooch pin fitting; together with a Victorian pique work pendant, c. 1879, the heart shaped tortoiseshell plaque inlaid with gold and silver pique work, hoop fitting, 2.5cm wide and 3.2cm long. (2) Estimate: 70-100
170. PAIR OF VICTORIAN PIQUE WORK EARRINGS, c. 1870, tapering faceted drops each side inlaid with silver circular motifs and gold borders, hook fittings, 3cm long; together with another pair pique work earrings, each side inlaid with gold and silver scroll and floral work. Estimate: 120-180
171. 9 ct GOLD CURB LINK BRACELET, with padlock clasp, 16gms; another curb link bracelet with padlock clasp, 10gms; gilt metal necklace and locket; a late Victorian silver brooch; and a silver gate link bracelet (6) Estimate: 100-150
172. A VICTORIAN HARDSTONE AND GOLD BROOCH, c. 1860, the oblong moss agate plaque within a rub-over mount with outer pierced border. Estimate: 80-120
173. DIAMOND AND GOLD TIE PIN, c. 1890, the old brilliant cut diamond collet set within an entwined yellow gold mount. Total weight 1gm Estimate: 100-150
173A. GARNET AND PEARL BROOCH, c.1890, centred by a heart; together with a peridot and diamond tie pin. (2) Estimate: 30-50
174. A DIAMOND JABOT PIN, c. 1900, modelled as an arrow, the feathers and point set with sixteen rose-cut diamonds. Mounted in platinum and yellow gold. 5.5cm long. Total weight 2gms Estimate: 300-500
175. LATE 19th CENTURY GOLD, DIAMOND AND RUBY RING, modelled as the head of an Egyptian woman with a headband of square cut rubies and rose-cut diamond set "earrings". Estimate: 300-500
176. SAPPHIRE AND DIAMOND RING BY CHOPARD, the broad band inset with a heart-shaped pink sapphire forming the "o" of "love", the remaining letters each set with uniform brilliant-cut diamonds. Signed "Chopard" and stamped "750". Accompanied by Chopard certificate of origin. Estimate: 300-500
177. SAPPHIRE AND DIAMOND RING, the oval mixed-cut sapphire claw set between brilliant-cut diamonds in claw and square setting. Estimate: 250-350
178. ENAMEL AND SILVER BROOCH, BY RUSKIN, the circular plaque with blue enamel within a silver collet mount and outer pierced undulating mount, stamped RUSKIN to the reverse. Estimate: 30-50
178A. A SILVER BROOCH BY GEORG JENSEN, of vine and bunch design, the vine leaves with articulated bunch of grapes drop, brooch pin fitting, stamped "Georg Jensen, Denmark 925". Estimate: 200-300
179. MASONIC SYMBOL BALL FOB, EARLY 20th CENTURY, the yellow metal sphere opening to reveal Masonic symbols in white metal, suspended from a ribbon with a 9ct gold bar and 9ct gold suspension loop and chain. Estimate: 150-200
180. SET OF FOUR 18ct GOLD DRESS STUDS, the three smaller studs each set with a small diamond, cased. Estimate: 180-250
181. LATE 19th CENTURY PEARL RING, the pave half perls set within a marquise shaped mount between scrolling shoulders, 18 carat gold, cased. Estimate: 120-180
182. LATE 19th CENTURY RUBY, DIAMOND AND GOLD RING, the three circular-cut rubies spaced by old brilliant-cut diamonds within oval moulded mount and scroll shoulders, 18 carat, cased. Estimate: 100-150
182A. 18 CARAT GOLD AND GARNET PENDANT IN ART NOUVEAU STYLE, c.1890. Estimate: 100-150
183. EDWARDIAN GOLD, RUBY AND PEARL BROOCH, the circular mixed-cut ruby within a surround of half pearls on a fancy gold mount, hallmarked for Chester 1902, 9 carat, cased. Estimate: 40-60
184. EMERALD AND DIAMOND RING, the centre set with four square-cut emeralds within marquise shaped mount, above brilliant-cut diamond set shoulders. Estimate: 100-200
185. 9 CARAT GOLD SCOTTISH BROOCH, with foliate decoration Estimate: 50-70
186. EMERALD AND DIAMOND RING, the uniform row of baguette-cut diamonds channel set within diamond set scrolling mount and shoulders Estimate: 250-350
187. VICTORIAN 15ct GOLD LONG CHAIN, c. 1880, of fancy link, suspending a fob set with carnelian and quartz, Weight of chain 37gms Estimate: 400-500
188. AN EMERALD AND DIAMOND RING, c. 1890, the step-cut emerald within a bezel of fourteen old brilliant-cut diamonds above pierced mount and trifurcated shoulders. Estimate: 300-500
189. A CULTURED PEARL NECKLACE, composed of a uniform row of cultured pearls on a marquise-shaped clasp set with three graduating cultured pearls within a border of eight circular-cut turquoise stones. 36cm long Estimate: 300-500
190. COLLECTION OF JET AND SIMILAR JEWELLERY, including an oval brooch with pierced foliate decoration, an enamel leaf brooch, etc. Estimate: 30-50
191. AQUAMARINE AND GOLD PENDANT, c.1900, the circular aquamarine collet set between gold leaves, within an oval mount, suspending an aquamarine drop, on fine tracelink chain. Estimate: 120-180
191A. LATE 19th CENTURY ANIMAL CLAW BROOCH SET WITH A CITRINE. Estimate: 20-30
192. PAIR OF ONYX AND GOLD CUFFLINKS, the octagonal plaques within white gold mounts. Estimate: 100-150
193. PAIR OF GOLD AND SILVER CUFFLINKS, the oval two tone discs with engine turned decoration. Estimate: 30-50
194. SINGLE STONE DIAMOND RING, the brilliant-cut diamond claw set between pierced shoulders. Estimate: 500-700
195. SEVEN STONE DIAMOND RING, the uniform row of brilliant-cut diamonds claw set, on broad hoop. Estimate: 300-500
196. CITRINE AND GOLD RING, the oval mixed-cut citrine claw set within textured mount and shoulders. Estimate: 60-80
197. SAPPHIRE AND DIAMOND DRESS RING, the oval mixed cut sapphire four claw set above a uniform row of baguette-cut sapphires, set between brilliant-cut diamond borders on a broad band. Estimate: 200-300
197A. VICTORIAN HAIR DRESS STUDS IN SERPENT FORM, c.1850. Estimate: 300-500
198. PAIR OF GOLD EARRINGS MODELLED AS HUNTING HORNS, screw fittings: and another pair, each modelled as an abacus, with screw fittings. (2) Estimate: 60-80
199. PAIR OF DIAMOND EARRINGS, each brilliant-cut diamond claw set; and a pair of diamond earrings of pendant design, the brilliant-cut diamond claw set below bead surmount. (2) Estimate: 200-300
200. COLLECTION OF VICTORIAN BONE AND IVORY JEWELLERY, to include a brooch carved as a sailing ship, a locket brooch with a stag within a forest, within revolving scroll work frame; a carved bead necklace, various earrings of pendant design. (a quantity) Estimate: 70-100
201. SAPPHIRE AND DIAMOND CLUSTER RING, the circular mixed-cut sapphire eight-claw set above eight brilliant cut diamonds in rub-over setting; a three stone diamond ring ; and a late 19th century garnet and diamond ring. (3) Estimate: 200-300
202. DIAMOND CLUSTER RING, the principle old brilliant-cut diamond claw-set above a bezel of eight smaller old brilliant-cut diamonds. Estimate: 1000-1500
203. CULTURED PEARL AND DIAMOND NECKLACE, the two uniform rows of cultured pearls on a marquise shaped clasp set with brilliant-cut diamonds; together with a single row of cultured pearls on a cluster clasp. Estimate: 700-900
204. ENAMEL WATCH PENDANT, the circular case enamelled throughout with turquoise blue guilloche enamel with foliate detail, enclosing a watch by "NADINE", on a long fancy link chain. Estimate: 70-100
205. EARLY 19th CENTURY CONTINENTAL PASTE BROOCH, in the belle epoque style, the crescent shaped mount ribbon tied with graduating circular collet set paste detail. Estimate: 40-60
206. HARDSTONE CAMEO BROOCH, 19th CENTURY, the oval hardstone carved to depict Cupid dancing with a goddess, within plain mount and ropework outer border, brooch pin fitting; together with an early 19th century hardstone ring, the oval carnelian carved with a Classical figure holding a lyre, in plain collet mount above broad band. (2) Estimate: 300-500
207. TRIBAL BUST CARVING OF A MAN SMOKING A PIPE. 0.70m Estimate: 200-300
208. GROUP OF FOUR BOOKS RELATING TO HUNTING WITH BOW, ARROW AND GUN, comprising Heath, E.G. "The Grey Goose Wing", limited edition pub. 1994; Douglas, James, "With Gun, Rifle and Bow", pub. 2003, first edition; Pope, Saxton, "Hunting with the Bow and Arrow", 1947 edition; and Hill, Howard, "Hunting the Hard Way", first edition 1953. (4) Estimate: 120-180
209. SCOTTISH SILVER-MOUNTED NUT OR SEED CUP, SECOND QUARTER 18th CENTURY, of stirrup cup form, the scalloped silver rim inscribed, "The gift of William Glegg of Grange Esq. to John Bird of Harthill for your use of the club - 1729", silver unmarked. Diameter 7.5cm Estimate: 100-200
210. AUSTRIAN COLD-PAINTED BRONZE MODEL OF A CROCODILE AND A NEGRO CHILD, EARLY 20th CENTURY, the child trying to run away from the savage beast. 5.5cm Estimate: 100-150
211. STANLEY TECHNICAL DRAWING SET, LATE 19th CENTURY, extensively fitted with dividers, trammels, plotters, compasses, etc., in a brass-bound light oak case, lined and labelled Stanley, 3 Great Turnstile, Holborn, London, the cover with presentation plaque dated 1898. 7.5cm by 27cm by 15.5cm Estimate: 200-300
212. CESCINSKY, HERBERT, "ENGLISH FURNITURE OF THE 18th CENTURY", THREE VOLUMES, pub. c. 1911, 4to, half morocco gilt spines. Estimate: 120-180
213. GROUP OF 19th CENTURY AND LATER CUT-STEEL AND WHITE METAL BUCKLES Estimate: 70-90
214. GROUP OF 19th CENTURY AND LATER PEWTER, WHITE METAL AND OTHER BUCKLES Estimate: 70-90
215. GROUP OF 19th CENTURY AND LATER GILT-METAL AND BRASS BUCKLES Estimate: 70-90
216. RONSON BEAUTICASE CIGARETTE CASE AND LIGHTER COMBINATION, c.1936, of rectangular form, with swing-out automatic petrol lighter and spring-loaded push button cover, engine turned and with ivory-coloured case. 12cm by 7.5cm Estimate: 150-250
217. AN UNUSUAL BIRCH GENTLEMAN'S CANE, early 20th century, with yellow metal mounts and monogram and ivory handle decorated in stained ivory with a polka dot pattern. 87cm Estimate: 80-120
218. CHINESE CANTON IVORY CALLING CARD CASE, 19th CENTURY, of characteristic form, intricately carved with numerous figures and pagodas. 10.5cm by 7.5cm Estimate: 200-300
219. 19th CENTURY MOTHER-OF-PEARL CALLING CARD CASE, of rectangular form, with geometric diamond design. 9cm by 5.25cm Estimate: 60-90
220. 19th CENTURY BOULLE WORK DOME-TOPPED CORRESPONDENCE CASKET, the ebonised interior fitted with three compartments. 11cm by 14cm Estimate: 250-350
221. M.WAGMULLER, PAINTED CERAMIC BUST OF JOHN ROBINSON McCLEAN, inscribed Munchen 1869. 0.75m Estimate: 250-350
222. ALFRED MEAKIN COMMEMORATIVE COFFEE POT, RMS TITANIC, printed with images of the ship and with printed marks; together with a circular pot stand printed with an image of the ship, gold anchor mark. (2) Estimate: 80-120
223. EARLY 20th CENTURY VIOLIN BOW, stamped Made in Saxony. 74cm Estimate: 40-60
224. R.WESTAL, THE FOUR SEASONS, ENGRAVED BY F.BARTOLOZZI, set of four coloured stipple engravings, pub. 1789 by Simpson, St.Pauls Churchyard, in gilt gesso frames. 17cm by 13cm Estimate: 100-150
224A. AFTER JAMES GILLRAY (1757-1815), "ELECTION-TROOPS, BRINGING IN THEIR ACCOUNTS TO THE PAY-TABLE", pub. 19th century with later hand-colouring, framed. 25cm by 35cm Estimate: 80-120
225. AFTER JONES, "ROYAL MAILS, STARTING FROM THE POST OFFICE, LOMBARD STREET", aquatint, pub. G.Hunt 1827, in a Hogarth frame. 37cm by 44cm Estimate: 80-120
226. AFTER VELASQUEZ, INFANTA MARGARETA TERESA, colour print, with The Pallas Gallery Ltd, London, paper label verso, framed. 51cm by 40cm Estimate: 80-120
227. THOMAS ROWLANDSON, "PUSS IN BOOTS OR GENERAL JUNOT TAKEN BY SURPRISE", hand-coloured engraving, pub. Thomas Tegg 1811, framed. 33cm by 22cm Estimate: 120-180
228. ROWLAND HILDER (1905-1993), VIEW OF ST.PAULS, limited edition print, signed in pencil, with Fine Art Trade Guild blindstamp, framed. 46cm by 62.5cm Estimate: 100-150
229. ARTHUR BRISCOE (1873-1943), "ON THE HARD", etching, signed in ink and numbered 17/25 to the margin, framed. 15.5cm by 21cm Estimate: 150-200
230. SIR DAVID YOUNG CAMERON (1865-1945), "PERTH BRIDGE", etching, signed in pencil to the margin, framed. 20cm by 27.5cm Estimate: 50-70
231. ERNEST STEPHEN LUMSDEN (1883-1948), SACRED TEMPLE, etching, signed in pencil lower centre and numbered lower left 19.63, framed. 26cm by 39.5cm Estimate: 50-70
232. DAVID HOCKNEY R.A. (b. 1937), PLEADING FOR THE CHILD, ETCHING, single image taken from Illustrations for Six Fairy Tales from the Brothers Grimm, framed with a pencil dedication from the portfolio from Hockney to Heiner (Bastian), the credited translator of the text. 27cm by 26cm Estimate: 400-600
233. DAVID HOCKNEY R.A. (b. 1937), MAN RIDING A WOODEN SPOON, ETCHING, an illustration from Grimms Fairy Tales. 17cm by 25cm Estimate: 180-250
234. HENRY MOORE O.M., C.H. (1898-1986), ETCHING FROM THE ELEPHANT SKULL SERIES, PL. XIX, signed in pencil and further inscribed in pencil with plate no. and edition of 81/100. 23.5cm by 31cm
Estimate: 250-350
235. PAIR OF 17th CENTURY ENGRAVINGS OF MYTHOLOGICAL SUBJECTS, each inscribed in pencil in the margin with a plate no. 11.5cm by 16cm Estimate: 50-70
236. FREDERICK CARTER A.R.E. (BRITISH 1885-1967), WOODCUT ENGRAVING OF A CLASSICAL FIGURE, signed in pencil. 13.5cm by 7cm Estimate: 50-70
237. ELYSE ASHE LORD (1931-71), BIRD ON A FLOWERING BOUGH, ETCHING WITH COLOUR, limited edition 14/75, signed in pencil in the margin and further inscribed "Chinese", unframed. 32cm by 23cm Estimate: 60-80
238. SAMUEL PALMER (1805-88), THE VINE, ETCHING, with two images and text. 30cm by 21.5cm Estimate: 400-600
239. GIOVANNI BATTISTA PIRANESI, "CHAMBER NEAR VIGNA CASOLI", ENGRAVING, framed; together with an unframed engraving, Francesco Piranesi, "Vestigie delle Terme Diocletiane. (2) First 14cm by 21cm Estimate: 40-60
240. FRANK SHORT AFTER J.M.W. TURNER, BEN ARTHUR, SCOTLAND, mezzotint, signed in pencil, pub. 1888 Robert Dunthorne, framed. 21.5cm by 29cm Estimate: 60-80
241. JAMES ABBOTT MCNEILL WHISTLER, THE MENPES CHILDREN, FROM WHISTLER AS I KNEW HIM, dry point etching, c.1900, framed. 6.5cm by 10cm Estimate: 200-300
242. FRANK SHORT AFTER CONSTABLE, A SUSSEX DOWN, mezzotint, c.1898, signed in pencil, framed. 16cm by 27cm Estimate: 60-80
243. PERCY LANCASTER (1878-1951), "THE CELLO PLAYER", etching, signed in pencil and numbered 30.50 to the margin, framed. 29cm by 25.5cm Estimate: 50-70
244. THOMAS HAMILTON CRAWFORD, VENETIAN LAGOON, print, signed in pencil to the margin, framed. 32cm by 45.5cm Estimate: 50-70
245. T.L. ROWBOTHAM, FIGURES BY A THATCHED COTTAGE, chromolithograph, in a gilt-composition frame. 17.5cm by 47.5cm Estimate: 60-80
246. GEORGE ALGERNON FOTHERGILL (1868-1945), "A BIT OF OLD YORKSHIRE", print, signed in pencil, inscribed to old paper label verso "Bobby Dowson/Huntsman/Bilsdale Hounds/York", in an oak frame. 52cm by 44cm Estimate: 80-120
247. AFTER THOMAS BLINKS, SET OF FOUR MONOCHROME HUNTING PRINTS AND A SET OF FOUR MONOCHROME STEEPLE CHASING PRINTS, each set framed as one, the oak frames applied with horse shoe and crop motifs, tin title bar beneath each plate. Each plate 16.5cm by 25cm, frame 31.5cm by 122cm Estimate: 80-120
248. AFTER W.R. ROBINSON (fl. EARLY 19th CENTURY), "A VIEW OF THE RUINS OF BARNARD CASTLE...", ENGRAVING, drawn and engraved by W.R.Robinson, Richmond, Yorkshire, pub. July 23 1820, in a modern frame. 41cm by 51cm Estimate: 200-300
249. JOHN SPEEDE, "THE BISHOPRICK AND CITIE OF DURHAM", A HAND-COLOURED ENGRAVED MAP, William Hall edition 1611, with small margins, framed and glazed to each side. 39cm by 51cm Estimate: 300-400
250. HENRICUS HONDIUS, 17th CENTURY HAND-COLOURED ENGRAVED MAP OF NORTHUMBERLAND, CUMBERLAND AND DURHAM, framed and glazed to each side. Estimate: 200-300
251. PAIR OF LARGE CONTEMPORARY CHINESE PRINTS, GREAT WALL OF CHINA AND WATERFALL, in black frames. 65cm by 58cm Estimate: 60-80
252. KEN HOWARD (b.1932), ROYAL MONMOUTHSHIRE ROYAL ENGINEERS AND BEATING RETREAT BY THE ROYAL ENGINEERS, TWO PRINTS, one signed and dated in pencil to the margin (19)77, printed vignettes to each corner of the margin, framed. 43cm by 56.5cm Estimate: 100-150
253. SAMUEL & NATHANIEL BUCK, THE NORTH WEST VIEW OF THE CHAPEL AND TOWER IN DOVER CASTLE AND THE NORTH VIEW OF DOVER CASTLE, IN THE COUNTY OF KENT, TWO ENGRAVINGS, c.1735, in oak frames. 20cm by 37.5cm Estimate: 60-90
254. "A VIEW OF THE SOUTH FRONT OF BAYNARD'S CASTLE, LONDON", PROOF ENGRAVING, printed with text and a vignette to the margin, pub. Boydell & Co., London, 1818, in a birds eye maple frame. 21.5cm by 27cm Estimate: 40-60
255. EMANUEL BOWEN, "AN ACCURATE MAP OF DEVONSHIRE...", hand-coloured engraved map, with inset plan of Plymouth, c.1760, framed and glazed. 54cm by 69cm Estimate: 100-150
256. PIERROT & COLOMBINE AND JOCRISSE & LE PERE CASSANDRE, TWO 19th CENTURY PELLERIN UNCUT PANTINS (JUMPING JACKS), no. 1353 and 1352 respectively, framed as one. Each 26cm by 38cm Estimate: 60-80
257. JOHAN BAPTISTA HOMANN (1663-1724), 18th CENTURY HAND-COLOURED ENGRAVED MAP OF NORTH GERMAN STATES, HOLLAND, FLANDERS, ETC., framed. 50cm by 59cm Estimate: 80-120
258. 18th CENTURY HAND-COLOURED ENGRAVED MAP OF THE DUCHY OF WURTTEMBERG, c.1710, framed. 59cm by 50cm Estimate: 80-120
259. GROUP OF SEVEN 18th/19th CENTURY HAND-COLOURED ENGRAVINGS OF ANIMALS, including fish, insects, etc. (6) (two framed as one) Estimate: 50-70
260. FOUR FRAMED SETS OF COLOURED ENGRAVINGS OF ANIMALS, BIRDS AND INSECTS ON CARD, early 19th century, comprising one of insects containing six cards including hornet, scorpion etc, the second containing nine cards of birds, monkeys etc, the third containing ten cards, of exotic animals including hyena, tiger, leopard etc, the fourth containing eight cards of further exotic animals including elephant, gnou etc. Average size of cards 8cm by 14cm Estimate: 100-150
261. SET OF FOUR FRAMED SETS OF COLOURED ENGRAVINGS OF FISH, 19th century, three with numbered plates of grey mullet, pollack, carp, plaice etc (four engravings in each frame), the fourth twelve coloured engravings on card of exotic fish including red gurnard, cuckold fish, fire flaire etc. Estimate: 100-200
262. AFTER SIR WILLIAM RUSSELL FLINT, "MADAME DU BARRY AS A BACCHANTE" AND "MADAME DU BARRY RECLINING BEAUTY", two prints, in silvered wooden frames. 40cm by 24.5cm Estimate: 120-180
263. JOHN FULLWOOD (1854-1931), A STROLL BY THE THAMES, signed lower right, watercolour, framed. 35cm by 52cm Estimate: 250-350
264. WILLIAM LANGLEY (1852-1922), CATTLE WATERING BY A LAKE, signed lower left, oil on canvas, framed. 40cm by 60cm Estimate: 400-600
265. LOUIS VAN STAATEN (1836-1909), DUTCH CANAL SCENE, signed lower right, watercolour, framed. 36cm by 54.5cm Estimate: 400-600
266. HERMINE GARTNER (1850-1905), A GLASS OF WINE, signed lower left, oil on panel, in a gilt-composition frame. 20cm by 15cm Estimate: 200-300
267. SAMUEL GILLESPIE PROUT (1822-1911), TOWN IN NORMANDY, signed and dated lower right 1864, titled "Normandy" lower left, watercolour, framed. 26cm by 17.5cm Estimate: 150-250
268. ENGLISH SCHOOL, GENTLEMEN MUSICIANS AND GENTLEMEN ROWING, A PAIR OF WATERCOLOURS IN THE ROUND, the figures in 18th century costume, each signed with initials K.W.A. and dated 1907, in gilt frames. Diameter 20.5cm Estimate: 150-250
269. MANNER OF THOMAS SIDNEY COOPER, THREE CATTLE IN A LANDSCAPE WITH A MILK MAID, painted in the round, oil on canvas, unframed. Diameter 44cm Estimate: 100-150
270. 19th CENTURY SCHOOL, THREE-MASTED SCHOONER, unsigned, oil on canvas, unframed. 42.5cm by 60.5cm Estimate: 80-120
271. ENGLISH SCHOOL (19th CENTURY), SAILOR AND HIS WIFE CONVERSING IN A DOORWAY, unsigned but with indistinct pencil inscription to stretcher, oil on canvas, unframed. 46cm by 35.5cm Estimate: 100-150
272. SCOTTISH SCHOOL, PORTRAIT OF A HIGHLANDER, first half of the 19th century, in a bonnet holding a tankard of ale, oil on canvas, framed. 38.5cm by 29.5cm Estimate: 80-120
273. ENGLISH SCHOOL (19th CENTURY), SHIPPING IN STORMY SEAS, unsigned, oil on oak panel, in an oak frame. 27.5cm by 38cm Estimate: 80-120
274. SIR BARNES WALLIS, A PORTRAIT, signed upper left Kit Cottril, oil on canvas, framed. 66cm by 50cm Estimate: 100-150
275. SYDNEY MANNOOCH (fl. c.1900), "EARLY SPRING, EARL SOHAM", signed lower right, inscribed to old paper label verso, watercolour, framed. 31.5cm by 46cm Estimate: 80-120
276. S.MARN (EARLY 20th CENTURY), GULLS ABOVE THE ROCKS, signed lower left, watercolour framed. 26.5cm by 36.5cm Estimate: 50-70
277. MARY EVELINA KINDON (ex.1881-1919), THE RIVER BANK, signed lower right, watercolour, in a gilt frame. 19.5cm by 29cm Estimate: 150-200
278. CAYGILL (CONTEMPORARY), "DERWENTWATER", signed, titled and dated 2002 lower left, watercolour, framed. 33cm by 47cm Estimate: 50-70
279. NOEL HARRY LEAVER (1889-1951), NORTH AFRICAN TOWN SCENE WITH AN ARCH AND MOSQUE IN THE BACKGROUND, signed lower right "Noel H.Lever A.R.C.A", watercolour, framed. 26.5cm by 37cm Estimate: 1500-2500
280. ATTRIBUTED TO LAURENCE STEPHEN LOWRY (1887-1976), STREET SCENE WITH FIGURES, signed lower right, pencil with crayon and watercolour, paper laid on card, framed. 17cm by 12cm Estimate: 2000-3000
281. FREDERICK (FRED) LAWSON (1888-1968), DALES COTTAGES, POSSIBLY HELMSLEY, A PAIR, signed, pencil and watercolour, framed. 22cm by 17cm Estimate: 150-200
282. DOUGLAS PITTUCK (20th CENTURY), BARNARD CASTLE SCHOOL COMMON ROOM, unsigned, oil on panel, framed. 80cm by 90cm
Provenance: Purchased direct from the artist's gallery by the vendor. Estimate: 300-500
283. ANNE MASON (CONTEMPORARY), TEESDALE LANDSCAPE, signed lower right, watercolour, framed. 53cm by 71cm Estimate: 80-120
284. ANTON VAN DEN HOEVEN (DUTCH, b. 1940), WINTER LANDSCAPES, A PAIR, signed, oil on panel, in gilt composition frames. 15cm by 20cm Estimate: 250-350
285. ALEXANDER COWAN (BRITISH 19th CENTURY), ON THE FIRTH OF CLYDE, AILSA CRAIG IN THE DISTANCE, signed and dated lower right 1889, oil on canvas. 60cm by 90cm Estimate: 500-700
286. GERTRUDE CUBLEY (BRITISH 19th CENTURY), SHERE, SURREY, signed lower left, inscribed verso, oil on canvas, framed. 39cm by 59cm Estimate: 300-500
287. JOHN FALCONAR SLATER (1857-1937), CHICKENS IN A FARMYARD, signed lower right, oil on canvas, in a gilt-composition frame. 21cm by 33.5cm Estimate: 400-600
288. (REV) ARTHUR BENJAMIN BATEMAN (1883-1970), DURHAM CATHEDRAL, signed lower right, oil on canvas, in a gilt-composition frame. 74cm by 99.5cm
Provenance: Ex Dr.Greenwood Collection. Estimate: 400-600
289. CIRCLE OF SIR THOMAS LAWRENCE P.R.A. (1769-1830), PORTRAIT OF A LADY IN A TURBAN, unsigned, oil on canvas, in a period gilt gesso frame. 74cm by 61cm Estimate: 1500-2000
290. CIRCLE OF SIR THOMAS LAWRENCE P.R.A. (1769-1830), PORTRAIT OF LORD BYRON, unsigned, oil on canvas, in an elaborately carved giltwood frame. 74cm by 61cm Estimate: 1500-2000
291. DOROTHY MARGARET AND ELIZABETH MARY ALDERSON (1900-1992) (1900-1988), THREE HORSES WATERING, signed and dated lower right 1976, watercolour, framed. 27.5cm by 39.5cm Estimate: 200-300
292. ENGLISH SCHOOL (19th CENTURY), COTTAGE IN A LANDSCAPE, unsigned, oil on thin board, in a gilt-composition frame. 33cm by 51cm Estimate: 80-120
293. R.W. TYSON (20th CENTURY), MOORED VESSELS IN AN ESTUARY, signed lower right, oil on canvas board, in a gilt gesso framed under glass. 55cm by 75cm Estimate: 200-300
294. J.CHESTER (EARLY 20th CENTURY), COASTAL SHIPPING, signed lower right, watercolour, framed. 29cm by 43cm Estimate: 50-70
295. JACQUES BIRODE (FRENCH 20th CENTURY), STILL LIFE OF A BOOK, BOWL OF FRUIT, GLASS AND A JUG, signed "BIRODE" lower right and inscribed to the canvas verso, oil on canvas, in a limed composition frame. 49cm by 59cm Estimate: 100-150
296. CHILDREN AT REST ON A COUNTRY PATH, signed D.*. Holt and indistinctly dated lower right, oil on canvas, framed under glass. 26cm by 29cm Estimate: 150-200
297. HARRY KINGSLEY (b.1914), "THE CENTENARY, DENMARK HOTEL, MOSS SIDE 1977", signed and dated (19)77 lower right, oil on canvas, framed under glass. 49cm by 74cm Estimate: 200-300
298. GILES ELIOT (BRITISH 20th CENTURY), DEER BY A MOUNTAIN LAKE, signed lower left, oil on canvase, in an elaborate gilt-composition frame. 1.21m by 0.90m Estimate: 600-800
299. FREDERICK JOHN WIDGERY (1861-1942), NEAR OKEHAMPTON, DARTMOOR, signed lower right, watercolour, framed. 40cm by 60cm Estimate: 350-450
300. ALICK RIDDELL STURROCK (1885-1953), SCOTTISH LANDSCAPE, signed lower right, oil on canvas, framed. 23.5cm by 33.5cm Estimate: 200-300
301. MAY MARSHALL BROWN (1887-1968), SELLING THE CATCH, signed lower left, watercolour, framed. 25cm by 37cm Estimate: 200-300
302. WILLIAM GRYLLS ADDISON (d.1904), OLD STONE BRIDGE OVER A KENT RIVER, signed lower left, watercolour, framed. 21.5cm by 36cm Estimate: 200-300
303. HAL YATES (1907-1979), "THE S-BEND STYAL, WILMSLOW", signed and dated lower left 1951, watercolour, framed. 35cm by 52cm
Note: Yates was largely self taught apart from a short period at Manchester School of Art. He became an important member of the the Manchester Group. Estimate: 120-180
304. MAX PARSONS (BRITISH 20th CENTURY), CLIPPER AT FULL SAIL, signed lower right, oil on board, framed. 34cm by 59cm Estimate: 200-300
305. STAN KAMINSKI (BRITISH, b.1952), ST.IVES HARBOUR AT LOW TIDE, signed lower right, watercolour, with Christie's British and Continental Pictures lot label verso dated 10 May 2006, framed. 34cm by 48cm Estimate: 200-300
306. STAN KAMINSKI (BRITISH, b.1952), EASTBOURNE PIER AT SUNSET, signed lower right, watercolour, with remnants of Christie's British and Continental Pictures lot label verso dated 10 May 2006, framed. 31.5cm by 47cm Estimate: 200-300
307. W.NOEL JOHNSON (fl. 1887-1914), SUMMER ON THE CLIFFS, signed lower right, watercolour, framed. 36cm by 53cm Estimate: 200-300
308. HUGH WRIGHT RUDBY (fl. 1900), GARDEN IN SPRING WITH A CHURCH BEYOND, signed and dated lower right 1906, watercolour and pencil, framed. 38cm by 26cm Estimate: 80-120
309. VIBRANT IMPRESSIONISTIC LANDSCAPE, signed in red with a monogram lower right, oil on canvas board, in a gilt-composition frame under glass. 24cm by 29cm Estimate: 50-70
310. ATTRIBUTED TO ROBERT WEIR ALLAN (1852-1942), YARMOUTH, ISLE OF WIGHT AND COASTAL SHIPPING, PAIR OF WATERCOLOURS, one signed "R. Allan" lower left, the other indistinctly inscribed in pencil verso, "Yarmouth Isle of Wight" and trimmed to the left side, framed. 24cm by 39cm Estimate: 250-350
311. ITALIAN SCHOOL, 19th CENTURY, THE VIRGIN AND CHILD WITH ST. ANNE AND THE INFANT JOHN THE BAPTIST, in 17th century style, oil on canvas in an elaborate gilt composition frame. 1m by 0.78m Estimate: 800-1200
312. GEORGE SOPER (1870-1942), COWS IN THE SNOW, unsigned, watercolour and bodycolour, unframed. 27.5cm by 37cm
Provenance: Chris Beetles Limited, 8 & 10 Ryder Street, St.James's, London
Literature: Wootton, David, The Art of George and Eileen Soper, pub. Chris Beetles Limited 1995, ill. p.31. Estimate: 300-400
313. RETURN FROM FISHING, indistinctly signed lower left, oil on canvas, in a gilt-composition frame. 49.5cm by 39cm Estimate: 200-300
314. E. CHARLES SIMPSON (1915-2007), STILL LIFE OF DAFFODILS IN A BLUE AND WHITE VASE, signed lower left, watercolour, framed. 25cm by 32cm Estimate: 60-80
315. DOROTHY MARGARET ALDERSON (1900-1922), STILL LIFE OF A DAFFODIL, c.1930, signed lower right, watercolour, framed. 8.5cm by 13cm Estimate: 60-80
316. DORA SUMMERHAYS (1883-1955), PORTRAIT MINIATURE OF A BESPECTACLED GENTLEMAN, c. 1930, monogrammed under the mount, watercolour on ivory, in a period style ebonised frame. 8.5cm by 7.5cm Estimate: 80-120
317. WILLIAM BRADLEY LAMOND R.B.A (1857-1924), CATTLE WATERING BY A COPSE, signed lower left, oil on canvas, in a limed gilt-composition frame. 34cm by 52cm Estimate: 1200-1800
318. WILLIAM BARNES WOLLEN (1857-1936), "INVESTITURE BY THE PRINCE OF WALES OF STAR OF INDIA", signed lower right, watercolour, framed. 18cm by 12.5cm Estimate: 100-150
319. L.S.SMITH (20th CENTURY), WHITBY OLD TOWN, signed and titled lower left, also titled and dated to the mount 1946, watercolour, framed. 20cm by 31.5cm Estimate: 60-90
320. E. MABEL SOUTHBY (exh.1906-1915), FIGURES BY THATCHED COTTAGES, PROBABLY NEAR NEWBURY, signed lower left, watercolour, framed. 15.5cm by 28.5cm
Note: The artist lived at Aldern House, Newbury, and showed pictures at the Royal Institute of Painters in Watercolours and the Society of Women Artists. Estimate: 80-120
321. MISS MERCY CREED (fl. c.1920), STUDY OF A TERRIER, signed lower right, pencil and watercolour, framed. 14cm by 12cm Estimate: 100-150
322. ENGLISH SCHOOL (19th CENTURY), ENGLISH CANAL SCENE, inscribed lower right "Emile Cobbold copied after Davy", exhibition label verso, pencil and watercolour, framed. 12cm by 20cm Estimate: 60-80
323. F. BEATTIE (19th CENTURY), STORMY SHORE SCENE, signed and dated lower left 1875, pencil and watercolour, framed. 16cm by 24cm Estimate: 60-80
324. ENGLISH SCHOOL, SUNSET AND MOONLIT WATERS, A PAIR, painted in the oval, unsigned, oil on panel, framed. 17.5cm by 11cm Estimate: 60-80
325. GORDON N. GUNN A.I.A.S. F.R.S.A. (BRITISH 20th CENTURY), "EIGG FROM CAMASDARACH", signed lower left, exhibition label verso, watercolour, framed. 21cm by 30cm Estimate: 60-80
326. FIGURES IN A WOODLAND GLADE, signed W.Brandreth, dated lower left 1905, oil on canvas, in a gilt-composition frame under glass. 48cm by 75cm Estimate: 150-200
327. BENJAMIN D. SIGMUND (fl.1880-1904), WATERMILL, signed and dated lower left (18)82, watercolour, framed. 68.5cm by 49.5cm Estimate: 300-400
328. MANNER OF JOSEF VON SCHLOGL (AUSTRIAN, b.1851), FISHING ON A LAKE AND FIGURES OVERLOOKING A LAKE, A PAIR, oils on card, unsigned, framed. 7.5cm by 12cm Estimate: 100-150
329. NO LOT Estimate: 50-70
330. DOROTHY COX (b.1882), UNLOADING AT LOW TIDE, signed lower right, watercolour, framed. 29cm by 45cm Estimate: 100-150
331. JOSEF PITTERS (1877-1957), STILL LIFE OF WHITE ANEMONES, signed lower right, oil on board, framed under glass. 29cm by 39cm Estimate: 80-120
332. J.MUIR (19th CENTURY), ROADSIDE THATCHED COTTAGE, BERKSHIRE, signed lower right, watercolour, framed. 32cm by 48cm Estimate: 100-150
333. IDA LILLIE STROTHER-STEWART (NEE TAYLOR) (fl. c.1920), MOORLAND VALLEY, signed lower right, watercolour, framed. 54cm by 37cm Estimate: 70-90
334. DOROTHY SAY (20th CENTURY), GIRL IN A HEAD SCARF, signed lower left, pastel sketch, framed. 46cm by 38cm Estimate: 60-80
335. K.BOND (19th/20th CENTURY), BRETON WOMEN, signed lower left and titled lower right, watercolour, framed, 26cm by 17cm; together with English School (19th/20th century), a Cavalier's Return, signed with a monogram lower right, watercolour, framed, 26cm by 19cm. (2) Estimate: 70-90
336. C.W.MORSLEY (19th CENTURY), COASTAL SHIPPING, A PAIR, each signed lower right, watercolour, framed. 22cm by 31cm Estimate: 300-400
337. EVELYN CHESTER (NEE DAVY), STILL LIFES OF FRUIT AND FLOWERS, A PAIR, signed, oil on panel, framed. 19cm by 29cm Estimate: 200-300
338. J.FIBLA, STILL LIFE OF ORANGES, signed lower left, oil on panel, unframed. 16cm by 22cm Estimate: 80-120
339. CIRCLE OF JOHN RUSSELL R.A. (1745-1806), PORTRAIT OF A YOUNG GIRL, oil sketch for a larger work, in a gilt composition frame. 16.5cm square. Estimate: 180-250
340. KATE GRAY (BRITISH, fl. LATE 19th CENTURY), YOUNG GIRL WITH A BIRD, oil on canvas, signed and dated 1886. 57cm by 48cm Estimate: 700-900
341. VICTOR NOBLE RAINBIRD (1888-1936), "INCOMING TIDE", signed lower left and titled lower right, watercolour, framed. 25cm by 38cm Estimate: 300-500
342. STILL LIFE OF POMEGRANATES, BLUE AND WHITE PLATE AND A VASE ON A LEDGE, oil on canvas, signed and dated lower left Debbie Wood 1893, framed. 59cm by 44cm Estimate: 200-300
343. W.CLARK, EDWARDIAN LADY IN A LACE TRIMMED TEA DRESS, signed lower left, oil on panel, framed. 26.5cm by 19cm Estimate: 70-90
344. GEORGE A. BOYLE (1842-1940), HAY FILLED CART IN A WOODED LANDSCAPE, signed lower left G.Boyle, oil on board, in a limed composition frame. 22cm by 29cm Estimate: 200-300
345. BERNARD EYRE WALKER (1887-1972), "THREE SHIRE STONE, WRYNOSE", signed and dated lower right 1947, with Abbot Hall Art Gallery label verso and a further typed label from Mr & Mrs B. Eyre Walker, watercolour and pencil, framed. 20.5cm by 35.5cm Estimate: 120-180
346. ARTHUR TUCKER (1864-1929), "THE SOUND OF RAASAY", signed lower left, with Abbot Hall Art Gallery label verso and a further two old exhibition labels, watercolour, in a gilt-composition frame. 29cm by 46.5cm Estimate: 200-300
347. EARLY VICTORIAN NEEDLEWORK SAMPLER, THE STAR OF BETHLEHEM, worked with verse within foliate sprigs and border, by Rhoda Mary Eynon, Aged 11 1840, framed. 42cm by 30cm Estimate: 50-70
348. ANTIQUE NORTH WEST PERSIAN RUG. 2.09m by 1.19m Estimate: 60-80
349. ANTIQUE BELOUCH RUG. 1.63m by 0.86m Estimate: 50-70
350. PERSIAN KASHAN RUG. 2.31m by 1.45m Estimate: 150-200
351. ANTIQUE AFSHARI RUG. 1.93m by 1.43m Estimate: 120-180
352. ANTIQUE NORTH-WEST PERSIAN RUNNER. 3.30m by 1.18m Estimate: 150-200
353. ANTIQUE AFGHAN RUG. 1.77m by 0.94m Estimate: 50-70
354. TURKISH KAZAK STYLE RUG. 2.38m by 1.54m Estimate: 100-150
355. ANTIQUE ANATOLIAN RUG. 2.20m by 1.27m Estimate: 80-120
356. TURKISH KARS RUG. 2.70m by 1.78m Estimate: 100-150
357. SMALL TABRIZ CARPET. 2.63m by 1.72m Estimate: 80-120
358. AFGHAN SULAYMAN STYLE CARPET. 3.64m by 2.72m Estimate: 150-200
359. ANTIQUE TURKEMAN YOMUD TORBA, with original backing. 1.12m by 0.72m Estimate: 120-180
360. GROUP OF THREE VICTORIAN ALPHABET AND NUMERICAL SAMPLERS, including 1896 sampler worked by Betty Knott aged ten. (3) Largest 39cm by 30cm Estimate: 100-150
361. GROUP OF THREE VICTORIAN ALPHABETICAL AND NUMERICAL SAMPLERS, including an 1851 sampler by Sarah Brandon aged seven. (3) Largest 46cm by 30cm Estimate: 80-120
362. GROUP OF THREE 19th CENTURY SAMPLERS, each worked with religious text. (3) Largest 39cm by 37cm Estimate: 80-120
363. 19th CENTURY SAILOR'S WOOLWORK PICTURE OF HMS EXMOUTH, c. 1860, the fully rigged vessel flying the ensign with harbour building, lighthouse and gulls above, in a period maple frame. 48cm by 72cm
Note: The Exmouth was laid down at Devonport in 1840 but was not commissioned by the Royal Navy until the mid-1850's. In 1876 she became a training ship moored on the Thames. Estimate: 500-700
364. 19th CENTURY SAILOR'S WOOLWORK PICTURE OF A SHIP IN FULL SAIL, the single-masted vessel flying the Union flag, in a period maple frame. 34cm square Estimate: 100-200
365. PAIR OF SILK NEEDLEWORK OVAL MINIATURES OF YOUNG GIRLS, c. 1800, one of a girl in pink sash with arm outstretched, the other wearing a feathered hat and carrying a basket, in gilt-metal-mounted ebonised frames. Each 9cm by 7cm Estimate: 200-300
366. POLISHED SLATE MANTEL CLOCK, c.1890, with circular enamelled dial, signed J.Sykes, Paris, complete with two train spring driven drum type movement striking the hours and half hours on a gong. 34cm Estimate: 150-200
367. 9 CARAT YELLOW GOLD OMEGA DE VILLE GENTLEMAN'S PERPETUAL WRISTWATCH, with circular champagne dial and baton numerals, complete with gold mesh bracelet, presentation box and papers. Estimate: 500-700
368. 9 CARAT YELLOW GOLD OMEGA GENTLEMAN'S PERPETUAL WRISTWATCH, with circilar silvered dial, centre sweep seconds and baton numerals, complete with yellow metal expanding bracelet, complete with presentation box. Estimate: 150-250
369. LATE 19th CENTURY MAHOGANY AND BRASS STRING-INLAID DROP-DIAL WALL CLOCK, the 30cm cream painted convex dial with brass bezel, signed EDMUND WALTER, WHITNEY, complete with single fusee timepiece movement with shaped plates. 55cm Estimate: 400-500
370. ARCHED SHAGREEN CASED MANTEL CLOCK, RETAILED BY ASPREY, with signed gilded circular dial and with drum pattern timepiece movement by Buren. 14cm Estimate: 200-300
371. 18th CENTURY OAK AND CROSSBANDED LONGCASE CLOCK, with long arched trunk door and flat moulded hood with free-standing knopped pillars, 28cm square brass dial, signed BARNARD, NEWARK, to a reserve, with single hand and circular date wheel, four pillar thirty hour pull-up movement with outside countwheel strike on a bell. 1.93m
Note: William Barnard is recorded 1707-1784. Estimate: 1200-1800
372. ATTRACTIVE FIGURED MAHOGANY DRUM HEAD LONGCASE CLOCK, with long tapered trunk door flanked by repeating bobbin pattern moulded pilasters, the slide-off hood with single brass finial, circular 36cm painted white dial with subsidiary seconds and date pointer, signed FRENCH, ROYAL EXCHANGE, two train four pillar eight day weight driven movement with maintaining power and dead beat escapement, striking the hours on a bell, c.1835. 2.26m Estimate: 2500-3500
373. ROBERT WINSTANLEY, ORMSKIRK, AN ATTRACTIVE FIGURED OAK AND MAHOGANY CROSSBANDED LONGCASE CLOCK, IN THE "LIVERPOOL" TRADITION, with long trunk door, the swan neck hood with freestanding brass capped Corinthian columns, 33cm arched brass dial with rolling moon in the arch, signed above, subsidiary seconds and date crescent, four pillar eight day weight driven movement striking on a bell. 2.26m
Note: Robert Winstanley recorded as working c.1800. Estimate: 2000-3000
374. THOMAS SHAW, LANCASTER, A FIGURED OAK AND MAHOGANY CROSSBANDED LANCASHIRE LONGCASE CLOCK, with long trunk door, the hood with swan neck pediment and freestanding tapered cylindrical brass capped pillars, 33cm brass arched dial inscribed "SIC TEMPUS FUGIT" in the arch, and signed in reserve above "6", centre sweep date pointer, four pillar weight driven eight day movement with rack strike on a bell. 2.25m
Note: T.Shaw is recorded as working 1776-1795. Estimate: 1500-2000
375. WILLIAM TAYLOR, WHITEHAVEN, AN OAK CASED CUMBRIAN LONGCASE CLOCK, with plain shaped long trunk door, the architectural hood with broken pediment, 32cm arched brass dial with rolling moon in the arch and centre sweep date pointer, eight day weight driven movement with anchor escapement, rack striking on a bell. 2.22m Estimate: 2000-3000
376. MID 19th CENTURY "ONION TOP" GILDED ROSEWOOD WHEEL BAROMETER, with hygrometer, thermometer, convex mirror, 20cm circular silvered register and level, mercury bubbled. 95cm Estimate: 150-200
377. COOKE, TROUGHTON & SIMMS JAPANNED BRASS THEODOLITE WITH STAFF HEAD MOUNTING, vertical and horizontal silvered degree scales with scale magnifiers, the vertical scale of classic circular style, complete with lacquered mahogany carrying case, signed and numbered 18886. 35cm Estimate: 400-600
378. ATTRACTIVE LATE 19th CENTURY BRASS AND CHAMPLEVE ENAMEL GARNITURE DE CHEMINEE FOUR-GLASS CLOCK, with free standing architectural pillars, polychrome dial and bevelled glass panels, Samuel Marti drum pattern two train spring driven movement, with mercury compensated pendulum, striking the hours and half hours on a gong, complete with two matching vasi-form urns. 33.5cm Estimate: 300-400
379. TIMOTHY ROBERTS, OTLEY, A LATE 18th CENTURY YORKSHIRE OAK LONGCASE CLOCK, the rich oak case with long trunk door and flat moulded hood styled without pillars, 30.5cm square brass dial with superior engraving, dummy winding holes and seconds with date wheel (connected), thirty hour pull-up wind movement with four pillars and unusual skeletonised plates, outside countwheel strike on a bell. 2.00m Estimate: 700-1000
380. BRASS CARRIAGE TIMEPIECE, with typical rectangular white enamelled dial (stained), signed Mappin & Webb, the spring driven movement with cylinder escapement (balance staff intact). 11cm excluding carrying handle Estimate: 60-80
381. EDWARDIAN MAHOGANY TRIPOD TABLE, the circular top inlaid with a floral spray within a cartouche above a slender baluster standard, raised on downswept legs. 0.73m by 0.40m Estimate: 60-80
382. GEORGE III MAHOGANY DINING CHAIR, with arched back and pierced splat, over a drop in seat, raised on tapering legs joined by stretchers. Estimate: 60-80
383. GEORGE III OAK AND MAHOGANY INLAID HANGING CORNER CUPBOARD, the panelled door beneath a moulded cornice, with shelved interior. Height 0.98m Estimate: 120-180
384. 1920's MAHOGANY THREE-PIECE BERGERE SUITE, in Georgian style, comprising sofa and a pair of armchairs, each with double arched back above scrolling arms, raised on short cabriole legs. Estimate: 300-400
385. 19th CENTURY PAINTED DOME-TOP SEAMAN'S TRUNK, the top decorated with a vessel in full sail within a cartouche, entitled "The Dove 1875", the front inscribed "Capt. P. Hollyoak, Whitby" (decoration possibly later). 0.42 by 0.60m Estimate: 150-200
386. EARLY VICTORIAN MAHOGANY SMOKER'S BOW CHAIR, of characteristic form, with tablet crest, outscrolled arms, pierced backsplat, raised on baluster legs. Estimate: 120-180
387. 19th CENTURY WALNUT AND EBONISED DESK STANDISH, of shaped outline, with twin pen wells flanking a pair of cut-glass inkwells centred by a loop handle, raised on bun feet. 32cm Estimate: 100-150
388. GILLOWS 19th CENTURY MAHOGANY HALL CHAIR IN THE GOTHIC TASTE, with pierced pointed arch back centred by a shield, the downswept arms pierced with trefoils flanking a bowed seat and raised on trestle legs, stamped GILLOWS LANCASTER on seat rail. Estimate: 500-600
389. GEORGE III STYLE MAHOGANY WRITING TABLE, c.1900, the galleried inverted top above two cock-beaded conforming frieze drawers, raised on square section tapering legs. 0.82m by 1.25m by 0.64m Estimate: 350-450
390. REGENCY MAHOGANY TORCHERE, with circular dish top above a tapering standard, carved with stylised lotus, raised on a platform base issuing three downswept legs. 1.45m Estimate: 100-150
391. WALNUT AND NEEDLEWORK OPEN ARMCHAIR, EARLY 20th CENTURY, the rectangular needlework back in 18th century style depicting a lady in a turban amidst flowers and foliage, with reeded downswept arms flanking a stuffed over seat, raised on block and baluster legs joined by stretchers. Estimate: 120-180
392. PAIR OF JACOBEAN REVIVAL OAK OPEN ARMCHAIRS, LATE 19th CENTURY, each with serpent crest above a panelled back, over a plank seat flanked by downswept arms with lunette carved seat rail, raised on baluster and block legs and stretchers. Estimate: 300-400
393. WILLIAM AND MARY STYLE HIGH-BACKED WING CHAIR, c.1900, with boldly arched crest above a loose cushion seat, flanked by outswept arms, raised on reeded cup legs joined by moulded scrolling stretchers. Estimate: 400-600
394. SMALL OAK SETTLE IN 17th CENTURY STYLE, c. 1900, with lunette carved crest rail above a three panel back flanked by wings carved with masks and reptiles with plank seat, raised on trestles. 1.18 by 1.25 by 0.60m Estimate: 150-200
395. VICTORIAN MAHOGANY TILT-TOP BREAKFAST TABLE, the moulded rectangular top with rounded corners, raised on a massive baluster standard, issuing four downswept legs terminating in scrolls, raised on castors. 0.74m by 1.44m by 1.08m Estimate: 300-400
396. EDWARDIAN OAK MIRROR-BACKED HALLSTAND, POSSIBLY WYLIE & LOCHHEAD, with moulded canopy above three small panels with chequer banding, fitted with glove box and copper hooks. 1.83m by 0.84m by 0.38m Estimate: 200-300
397. PAIR OF EARLY 19th CENTURY MAHOGANY DINING CHAIRS, each with arched crest rail above a pierced waisted splat, raised on tapering square section legs terminating in spade feet. Estimate: 60-80
398. EARLY 19th CENTURY MAHOGANY FOLDOVER CARD TABLE, the rectangular top opening to reveal a baize playing surface, over a plain frieze raised on square section tapering legs terminating in castors. 0.70 by 0.90m (Open) Estimate: 150-250
399. EARLY 19th CENTURY INLAID OAK AND MAHOGANY HANGING CORNER CUPBOARD, with dentilled cornice, above a glazed door enclosing painted shelves. 0.96 by 0.79m
Estimate: 70-100
400. EDWARDIAN INLAID MAHOGANY DOUBLE-BOWED VITRINE CABINET, the moulded cornice above a frieze decorated with ribbon-tied swags, above a central glazed panel inset with an oval cartouche enclosing a basket of flowers, flanked by a pair of glazed bowed doors, raised on similarly decorated square section tapering legs joined by a shelf stretcher and terminating in spade feet. 1.85m by 1.22m by 0.42m Estimate: 300-400
401. OAK PROVINCIAL LOWBOY, c.1700, with moulded top above a frieze drawer, raised on baluster legs joined by an H-form stretcher. 0.69m by 0.67m by 0.47m Estimate: 350-450
402. MID VICTORIAN WALNUT AND BEADWORK NURSING CHAIR, the oval back above a stuffed over seat, raised on fluted legs, upholstered in beadwork with floral sprays. Estimate: 200-300
403. 19th CENTURY MAHOGANY TRIPOD TABLE, the square top with rounded corners (associated), on a baluster standard, supported on downswept legs. 0.73m by 0.69m by 0.65m Estimate: 150-200
404. EDWARDIAN BRASS AND COPPER STANDARD OIL LAMP, the standard with scrolling and undulating supports applied with copper flowerheads, raised on a triform base with gadrooned copper collar and cast with paw feet. 1.72m Estimate: 120-180
405. GEORGE III MAHOGANY MULE CHEST, THIRD QUARTER OF THE 18th CENTURY, of characteristic form, with hinged moulded top above an arrangement of dummy drawers, over four further drawers, all flanked by cluster column corners and raised on ogee bracket feet. 1.07m by 1.70m by 0.55m Estimate: 400-600
406. PAIR OF EDWARDIAN MAHOGANY DINING CHAIRS, IN CHIPPENDALE STYLE, each with yoke crest above a pierced waisted splat, over a stuffed-over seat, raised on cabriole legs terminating in ball and claw feet. Estimate: 120-180
407. 19th CENTURY GILTWOOD AND NEEDLEWORK POLESCREEN, the square leaf-moulded banner enclosing a needlework panel depicting a bird and a basket of flowers, raised on a standard decorated with foliage, on a tripod base with further decorative carving. 1.45m Estimate: 300-400
408. WILLIAM IV MAHOGANY TORCHERE, the dished circular top raised on a reeded baluster standard supported on four hipped downswept legs carved with acanthus terminating in ball and claw feet. 1.68m Estimate: 250-350
409. 19th CENTURY WALNUT PRIE DIEU CHAIR, with spirally turned uprights above a scrolling seat continuing to castors. Estimate: 100-150
410. LATE 19th CENTURY INLAID WALNUT OCCASIONAL TABLE, the octagonal top with "sunburst" inlay, raised on tapering turned legs joined by a spindle x-form stretcher. 0.67 by 0.49m
Estimate: 120-180
411. FRENCH EARLY 20th CENTURY BRASS-MOUNTED LEATHER STEAMER TRUNK, M.Privat, Paris, the exterior with brass corners, fittings and studded throughout, fitted interior. 0.50m by 1.15m by 0.57m Estimate: 100-200
412. 19th CENTURY MAHOGANY AND WALNUT FOUR PIECE BEDROOM SUITE, IN THE AESTHETIC TASTE, the wardrobe with projecting dentilled cornice above a pair of doors inset with clear glass and foliate carved panels, flanking a central mirrored door, on a plinth base; the dressing table with a central rectangular swivelling mirror flanked by a pair of arch-topped hinged mirrors, over a moulded rectangular top above two banks of two drawers centred by a recess, raised on turned legs terminating in castors; the washstand with moulded rectangular top, fitted with a backboard, above a pair of panelled doors, raised on turned legs terminating in castors; the pot cupboard with square moulded top above a twin-panelled door. (4) Wardrobe 2.14m by 1.94m by 0.60m Estimate: 700-900
413. REGENCY MAHOGANY TOILET MIRROR, the cushion moulded rectangular plate swivelling between turned uprights, the platform base fitted with three drawers, each with ivory pull, raised on ball feet. 0.59m by 0.72m Estimate: 80-120
414. 18th CENTURY OAK HANGING CORNER CUPBOARD, the moulded cornice above a geometric inlaid band, over a fielded panelled door enclosing a painted interior. 1.06m by 0.85m by 0.46m Estimate: 120-180
415. 19th CENTURY MAHOGANY SUTHERLAND TABLE, of characteristic form with leaf-carved trestles. 0.71m by 1.22m (open) by 0.76m Estimate: 120-180
416. GEORGE III PROVINCIAL OAK OPEN ARMCHAIR, in Chippendale style, of characteristic form with downswept arms and drop-in seat, raised on square-section legs. Estimate: 80-120
417. 1920's WALNUT CANEWORK TUB CHAIR, with bowed drop-in seat and tapering square section legs terminating in spade feet. Estimate: 50-70
418. LATE 17th/EARLY 18th CENTURY OAK TWO-PANEL COFFER, the two panel lid above a conforming case, raised on bracket feet. 0.54 by 0.99 by 0.46m Estimate: 150-200
419. 19th CENTURY STAINED PINE ROCKING CRIB Estimate: 60-80
420. 19th CENTURY OAK HALL TABLE, c.1870, the pedimented backboard above a moulded rectangular top over a frieze fitted with a full-length drawer to the side, raised on ring-turned legs. 0.92m by 0.92m by 0.38m Estimate: 250-350
421. EDWARDIAN INLAID GOLDEN OAK COMBINATION HALL WARDROBE AND STAND, the mirror-backed right-hand side with copper hooks above a stickstand, the left-hand side with panelled and inlaid door above a recess, all on a plinth base. 2.01m by 1.00m by 0.31m Estimate: 300-500
422. EDWARDIAN INLAID AND BRASS-MOUNTED JARDINIERE, the bowl with vertical splats enclosing a metal liner and fitted with lion-mask ring handles suspending a decorative chain, raised on string-inlaid splayed legs joined by a stretcher, decorated with a paterae. 0.84m Estimate: 150-250
423. PAIR OF PAINTED AND GILTWOOD MARBLE-TOPPED PIER TABLES, each with rectangular grey marble top set within a plain simulated marble frieze, raised upon a giltwood dolphin, flanked by fluted pilasters to the rear, on a stepped simulated marble plinth. 0.84 by 0.55 by 0.43m Estimate: 300-400
424. 19th CENTURY AMBOYNA TEA CADDY, the hinged rectangular lid opening to reveal twin lidded compartments. 13cm by 20cm by 12cm Estimate: 80-120
425. PHILIPS' CHALLENGE GLOBE, the 13 1/2 " globe spinning on a white-metal meridian issuing from a teak base, c.1970's. Estimate: 60-80
426. 19th CENTURY OAK REVIVALIST BUFFET CUPBOARD, in Flemish late 16th century style, with moulded cornice above a gadroon carved frieze, over a pair of panelled doors with figural carving in relief, the lower section with frieze drawer above a pair of twin panelled doors also with figural carving, bears label Hewetson, Milner & Thexton, Tottenham Court Road. 1.82m by 1.21m by 0.51m Estimate: 300-400
427. LARGE MODERN DOLLS HOUSE, with a quantity of dolls house furniture in period style. 0.84m by 1.14m by 0.64m Estimate: 200-300
428. 19th CENTURY REVIVALIST OAK SIDE CABINET, in Flemish 16th century style, with moulded rectangular top above two frieze drawers carved with lion masks, over a pair of panelled doors with figural carving in relief, on a stepped architectural plinth. 1.00m by 1.24m by 0.54m Estimate: 200-300
429. LATE 19th CENTURY REVIVALIST OAK PIER CABINET, in Flemish 16th century style, the moulded rectangular top above a frieze drawer over a single panelled door with figural carving in relief, on a stepped architectural plinth. 1.05m by 0.96m by 0.52m Estimate: 200-300
430. 19th CENTURY OAK REVIVALIST BOOKCASE, in Flemish 16th century style, with moulded cornice carved with lion masks, above a pair of arched glazed doors, flanked by masks, raised on a platform base. 1.32m by 1.06m by 0.37m Estimate: 200-300
431. EARLY 19th CENTURY MAHOGANY PEMBROKE TABLE, of characteristic form, with a drawer opposed by a dummy drawer, raised on slender ring-turned baluster legs terminating in castors. 0.71m by 0.96m (open) by 0.86m Estimate: 150-250
432. MID-VICTORIAN BURR WALNUT DAVENPORT, with wooden splayed gallery, the top opening to reveal a satin birch interior, above four drawers opposed by dummies, raised on s-scroll legs terminating in flattened bun feet with castors. 0.82 by 0.53 by 0.57m Estimate: 300-500
433. VICTORIAN GENTLEMAN'S SPOON-BACK ARMCHAIR TOGETHER WITH A LADY'S SPOON-BACK ARMCHAIR. Estimate: 150-250
434. OAK TILT-TOP TRIPOD TABLE, c.1800, the boldly figured circular top above a baluster standard over three hipped downswept legs. 0.70m by 0.74m Estimate: 300-500
435. 19th CENTURY BRASS-BOUND WALNUT WRITING SLOPE, with gilt tooled leather writing surface and vacant brass presentation plaque. 18cm by 40cm by 25cm Estimate: 120-180
436. GOOD GEORGE IV MAHOGANY AND ROSEWOOD CROSSBANDED LIBRARY TABLE, c. 1825, the rectangular top with rounded corners above a plain frieze fitted with a drawer above a bead and reel carved border, raised on a trestle base with boldly reeded standards continuing to acanthus carved hipped downswept legs terminating in leaf-cast casters, joined by a turned baluster stretcher. 0.75m by 1.37m by 0.63m Estimate: 700-900
437. PETER "RABBITMAN" HEAP OF WETWANG OAK PLATE RACK, two tiers, adzed throughout, carved rabbit signature. 0.42m by 0.76m Estimate: 50-70
438. 19th CENTURY SPINDLE-BACK CHILDS CHAIR. Estimate: 50-70
439. 18th CENTURY ELM MILKING STOOL, with splayed chamfered legs. Estimate: 60-80
440. 19th CENTURY OAK FOOTSTOOL, with moulded rectangular top raised on trestle ends. Estimate: 50-70
441. GEORGE III MAHOGANY BUREAU CYLINDRE, IN SHERATON STYLE, the attractively figured roll-top with string-inlay opening to reveal a fully fitted interior with pull-out writing slide, above an arrangement of five drawers over two banks of three drawers flanking an arched recess, the finished reverse with a pair of fielded panels above an arrangement of dummy drawers and two further fielded panels, raised on ogee bracket feet, locks stamped Hobbs & Co. Cheapside. 1.19 by 1.41 by 0.73m Estimate: 2000-3000
442. 18th CENTURY OAK BOWFRONTED HANGING CORNER CUPBOARD, with swan neck pediment over a pair of doors enclosing a shelved interior. 1.0 by 0.63m Estimate: 200-300
443. SET OF FOUR REGENCY MAHOGANY DINING CHAIRS, each with tablet scroll-carved back above a foliate horizontal splat, over a drop-in seat and raised on channelled sabre legs. Estimate: 200-300
444. 19th CENTURY BRASS-BOUND MAHOGANY WRITING SLOPE, with gilt-tooled writing surface, presentation plaque dated 1901. 17cm by 39cm by 24cm Estimate: 120-180
445. 19th CENTURY WALNUT WRITING SLOPE WITH TUNBRIDGE INLAY, with vacant brass presentation plaque and velvet lined writing surface. 18cm by 50cm by 26cm Estimate: 100-150
446. 19th CENTURY BIRCH DESK-TOP BOX, STAMPED J.HINDLEY & SONS, LATE MILES & EDWARDS, of serpentine form, with hinged "piano" cover, raised on flattened bun feet (sconces replaced). 0.24m by 0.64m by 0.30m Estimate: 100-150
447. 19th CENTURY OAK TILT-TOP TRIPOD TABLE, the moulded rectangular top above a baluster standard, raised on hipped downswept legs terminating in pads. 0.74m by 0.61m by 0.46m Estimate: 100-150
448. GEORGE III OAK TILT TOP TRIPOD TABLE, the circular top raised on a baluster standard terminating in hipped downswept legs. 0.76 by 0.88m Estimate: 100-150
449. 19th CENTURY MAHOGANY AND NEEDLEWORK POLESCREEN, the circular banner with needlework panel depicting fruit, on a brass standard with quadform base. 1.33m Estimate: 100-150
450. LATE 19th CENTURY BEECH AND BRASS OCCASIONAL TABLE, the circular top in brass chased with leaves, on three splayed legs of baluster form. 47.5cm by 43cm Estimate: 70-90
451. EDWARDIAN BRASS FENDER, pierced throughout with a trellis pattern applied with flowerheads and raised on paw feet. 1.39m Estimate: 200-300
452. 1920's CANEWORK OPEN ARMCHAIR, the faceted rectangular back above a loose cushioned seat, flanked by chamfered uprights continuing to splayed legs. Estimate: 70-100
453. SET OF FOUR JACOBEAN REVIVAL OAK DINING CHAIRS, c.1900, each with stamped leather seat, grape and vine carved back, raised on baluster legs joined by stretchers. Estimate: 180-250
454. VICTORIAN PAPIER-MACHE TILT-TOP OCCASIONAL TABLE, the top painted with a floral spray and with mother-of-pearl inlay, the domed base and standard applied with scraps. 0.70m by 0.51m Estimate: 100-150
455. VICTORIAN BRASS FENDER, with a sphere topped gallery. 1.32m Estimate: 180-250
456. VICTORIAN OAK AND BEECH BREAKFAST TABLE, the oak rectangular top (not original), on a baluster standard with four foliate carved hipped downswept legs. 0.73m by 1.10m by 0.90m Estimate: 100-150
457. SUBSTANTIAL CAST-IRON OVERMANTEL MIRROR, LATE 19th CENTURY, with vasiform spindled crest rail, above a band of acanthus, fitted with five mirror plates, of architectural form. 1.28 by 1.70m Estimate: 400-500
458. 19th CENTURY OAK REVIVALIST BOOKCASE, in 16th century style, the projecting cornice above a lion-mask frieze, over a pair of coloured leaded glass doors flanked by masks, on a plinth base. 1.36 by 1.31 by 0.42m Estimate: 150-250
459. 19th CENTURY OAK GATELEG TABLE, in late 17th century style, of small proportions, the oval top raised on a trestle base with turned baluster uprights. 0.65 by 1.04 by 0.84m Estimate: 200-300
460. LATE 17th CENTURY OAK THREE-PANEL COFFER, with moulded top opening to reveal an interior fitted with a candle box, above a stylised leaf-carved frieze, over three fielded panels, flanked by stiles continuing to legs. 0.65m by 1.19m by 0.53m Estimate: 250-350
461. GEORGE III MAHOGANY TOILET MIRROR, the rectangular plate swivelling between turned uprights issuing from a bowfronted platform base fitted with two drawers, raised on bracket feet. 0.47m by 0.41m Estimate: 100-150
461A. CONTINENTAL PAINTED AND GILT HANGING SHELF, decorated with flowers, scrolls and trellis against a green ground. 0.55m by 0.59m by 0.17m Estimate: 60-90
462. ELM AND PINE COUNTRY SETTLE, OF BOWED FORM, c. 1800, with planked panelled back between shaped wings continuing to trestles. 1.55m by 1.30m by 0.32m Estimate: 400-600
463. EARLY 19th CENTURY OAK TRIPOD TABLE, the square top above a baluster standard, raised on three hipped downswept legs. 0.72m by 0.78m by 0.76m Estimate: 80-120
464. GEORGE IV ROSEWOOD FOLDOVER TEA TABLE, with cut-off corners above a boldly moulded frieze, raised on a massive faceted baluster, issuing from a stylised leaf-carved platform, raised on large paw feet. 0.70m by 0.91m (open) Estimate: 250-350
465. GOOD REGENCY MAHOGANY FOLDOVER TEA TABLE, the top with rounded corners above a frieze applied with reeded tablets, supported on a leaf-carved u-form stretcher above a platform raised on four reeded downswept legs with brass caps and castors. 0.76 by 0.90 (open) Estimate: 600-800
466. ATTRACTIVE REGENCY MAHOGANY BREAKFAST TABLE, with rounded rectangular top raised on a massive columnar standard, issuing four reeded downswept legs terminating in brass caps and castors. 0.72m by 1.33m by 1.02m Estimate: 300-500
467. MAHOGANY MIRROR, the bevelled plate within a moulded frame. 1.00m by 1.15m Estimate: 100-150
468. 18th CENTURY STYLE WALNUT FRETWORK MIRROR, the glass within a cushion-moulded frame. 0.78m by 0.46m Estimate: 80-120
469. 19th CENTURY OAK DESK STANDISH, the gilt-brass gallery centred by a portrait medallion, fitted with cut-glass inkwells and pen recess, raised on bun feet. 35cm by 21cm Estimate: 100-150
470. GEORGE III SATINWOOD SIDE TABLE, the top of rectangular form above a frieze drawer, raised on square section tapering legs. 0.70m by 0.77m by 0.39m Estimate: 80-120
471. GEORGE III MAHOGANY CHEST OF DRAWERS, the moulded rectangular top above two short and three long graduated cock-beaded drawers, raised on bracket feet. 0.79m by 0.81m by 0.51m Estimate: 250-350
472. OAK CHEST OF DRAWERS, c. 1700, the moulded rectangular top above two short and three long graduated drawers, each with lozenge-shaped wooden escutcheon, raised on bun feet. (19th century handles). 0.93 by 0.97 by 0.54m Estimate: 450-550
473. EDWARDIAN WALNUT OCCASIONAL TABLE, the shaped circular top raised on serpentine legs joined by a shelf stretcher. 0.70 by 0.52m Estimate: 50-70
474. YORKSHIRE OAK COFFEE TABLE, the rectangular top raised on a trestle base with faceted baluster uprights, carved seated fox signature. 0.43m by 0.92m by 0.39m Estimate: 150-200
475. PAIR OF ARTS & CRAFTS OAK OCCASIONAL TABLES, the circular tops raised on shaped legs joined by shelf stretchers. 0.62m by 0.51m Estimate: 250-350
476. WYLIE & LOCHHEAD WALNUT OPEN ARMCHAIR, the bowed and pierced top rail above a slatted back flanked by outswept arms with c-scroll supports, over a drop-in seat, raised on square section tapering legs joined by stretchers, stamped WYLIE & LOCHHEAD, GLASGOW. Estimate: 250-350
477. WILFRED "SQUIRRELMAN" HUTCHINSON OAK STOOL, the dished rectangular adzed top raised on faceted baluster legs terminating in blocks joined by stretchers, with carved squirrel signature. 0.38m by 0.40m by 0.28m Estimate: 150-250
478. GREEN-STAINED OAK POT CUPBOARD, POSSIBLY SHAPLAND & PETTER, c.1900, the cartouche-shaped top above a panel-door with copper hinges and handle, with open slatted back, raised on a barleytwist and turned stand. 0.74m by 0.45m by 0.41m Estimate: 150-200
479. LIBERTY & CO. OAK TILE-TOP OCCASIONAL TABLE, the square top enclosing a central panel of nine red tiles, raised on splayed square-section legs joined by a shelf stretcher, stamped no. 964 otherwise unmarked. 0.70m by 0.41m by 0.41m Estimate: 250-350
480. LIBERTY & CO. WALNUT AND CANEWORK LOW CHAIR, the grid-back above a canework seat, raised on turned legs and stretchers, retailer label J.TONKS & SONS LTD, SCARBOROUGH, also stamped FW. Estimate: 120-180
481. LIBERTY & CO. OAK HALL TABLE, the rectangular top above a frieze drawer fitted with copper handles with tree-cast backplates, raised on baluster legs flanking panels with stylised motif cut-outs, stamped L & CO. 0.76m by 0.91m by 44.5m Estimate: 300-500
482. LIBERTY & CO. MAHOGANY SECRETAIRE CABINET, the galleried top above a pair of cupboard doors, with blue bulls eye glazing, flanking a recess, over a pair of short drawers above an arcaded recess, over a foldover writing surface, the stand with shelf stretcher, with brass pulls, unmarked. 1.41m by 0.65m by 0.39m Estimate: 300-400
483. ARTS & CRAFTS BRASS AND WROUGHT IRON COAL BUCKET, with stylised frame. 0.38m excluding handle Estimate: 100-150
484. EDWARDIAN OAK TILE-TOP OCCASIONAL TABLE, the shaped rectangular top with green and grey tiled panel, raised on square section tapering legs joined by a shelf stretcher. 0.73m by 0.63m by 0.40m Estimate: 100-150
485. ARTS & CRAFTS OAK OCCASIONAL TABLE, the octagonal top raised on square section legs joined by a shelf stretcher, trade label JAMES HOWELL & CO., CARDIFF. 0.50m by 0.45m Estimate: 100-150
486. ROBERT "MOUSEMAN" THOMPSON OAK BOWL, c.1980, of circular form with heavily adzed exterior, carved mouse signature. Diameter 16.5cm Estimate: 120-180
487. ROBERT "MOUSEMAN" THOMPSON OAK PIN OR ASH TRAY, of characteristic form, adzed, with carved mouse signature. 10cm by 7.5cm Estimate: 40-60
488. 1930's ROBERT "MOUSEMAN" THOMPSON OAK FRUIT BOWL, the deep circular bowl adzed inside and out and with rich colour, with carved mouse signature to exterior. Diameter 20cm Estimate: 300-400
489. ROBERT "MOUSEMAN" THOMPSON OAK FRUIT BOWL, of shallow circular form, adzed inside and out, with carved mouse signature to well. Diameter 26cm Estimate: 150-200
490. OAK TRESTLE TABLE, IN THE LIBERTY STYLE, c.1910, with rectangular planked top raised on massive trestles joined by an H-form stretcher. 0.74m by 1.37m by 0.75m
Provenance: Removed from Sidney Sussex College, Cambridge. Estimate: 300-400
491. ARTS & CRAFTS INSPIRED YORKSHIRE OAK TWO-PANEL COFFER, c.1920, the panel top above a conforming case carved with stylised linenfold. 0.58m by 0.91m by 0.44m Estimate: 100-150
492. RARE SET OF SIX 1930's ROBERT "MOUSEMAN" THOMPSON OAK DINING CHAIRS, each with arched top rail over twin shaped splats, raised on turned baluster legs terminating in blocks joined by stretchers, one chair with carved recessed mouse signature to rear leg.
Note: These chairs have recently been re-upholstered with Thompson tan leather. It was common practice in Robert Thompson's early days, when supplying a large order for church and school commissions, not to have carved a mouse signature to each chair. Estimate: 2500-3500
493. ALAN "ACORNMAN" GRAINGER OAK COFFEE TABLE, c.1950, the rectangular top raised on a trestle base, adzed throughout, with carved acorn signature. 0.45 by 0.84 by 0.40m Estimate: 150-200
494. PAIR OF 1950's ROBERT "MOUSEMAN" THOMPSON PANEL BACK CHAIRS, the rectangular back above a plank seat raised on faceted baluster legs terminating in blocks joined by stretchers, adzed, with carved mouse signature. Estimate: 700-900
495. 1930's ROBERT "MOUSEMAN" THOMPSON OAK STANDARD LAMP, the faceted tapering standard above a conforming stepped base, adzed, with carved mouse signature, excellent colour. 1.48m (inc. fitting) Estimate: 700-900
496. DAVID LANGSTAFF YORKSHIRE OAK DINING TABLE AND SIX CHAIRS, the table with rectangular adzed top, raised on a trestle base with faceted baluster uprights and carved leaf signature, the chairs with lattice backs, raised on faceted baluster legs terminating in blocks joined by stretchers, all with carved leaf signature. Table 0.74m by 1.83m by 0.88m
Note: David Langstaff was an apprentice of Robert Thompson. Estimate: 1800-2500
497. OAK MAGAZINE RACK, c. 1900, PROBABLY WYLIE & LOCHHEAD FOR FINNIGANS, the back with square cut-outs above three compartments. Height 0.94 Estimate: 200-300
498. LIBERTY & CO. OAK HANGING SHELF, with pierced heart cut-out, ivorine trade label. 0.33 by 0.74 by 0.36m Estimate: 200-300
499. COLIN "BEAVERMAN" ALMACK OAK COFFEE TABLE, c.1960, the octagonal top on a cruciform standard and base, adzed, carved with a beaver. 0.43m by 0.51m Estimate: 300-400
500. PAIR OF THOMAS "GNOMEMAN" WHITTAKER OAK THRONE CHAIRS, c.1950, each of Savonarola form, each with pointed arch-back centred by a Tudor rose, the arms boldly carved with a recumbant lion, bowed leather seats, with recessed carved gnome signature. Estimate: 1000-1500
501. 1930's ROBERT "MOUSEMAN" THOMPSON OAK COFFEE TABLE, the boldly figured octagonal top raised on a cruciform standard and conforming base, adzed, with carved mouse signature, excellent rich colour. 0.48m by 0.58m Estimate: 700-900
502. ROBERT "MOUSEMAN" THOMPSON OAK PEDESTAL DESK, MID 20th CENTURY, the rectangular top with cut-off corners, above two banks of three graduated drawers flanking a kneehole, raised on faceted block feet, panelled and adzed throughout, with carved mouse signature, excellent colour. 0.73m by 1.37m by 0.54m Estimate: 3000-4000
503. ALAN "ACORNMAN" GRAINGER OAK DROPLEAF OCCASIONAL TABLE, c.1950, the adzed oval top raised on splayed square section legs terminating in blocks joined by stretchers, carved acorn signature. 0.43m by 0.62m by 0.54m Estimate: 250-350
504. 1930's ROBERT "MOUSEMAN" THOMPSON OAK STOOL, the dished rectangular seat raised on faceted baluster legs terminating in blocks joined by stretchers, adzed, with carved mouse signature. 0.37m by 0.41m by 0.28m Estimate: 500-700
505. ROBERT "MOUSEMAN" THOMPSON OAK COFFER, c.1970, the adzed top with cut-off corners above a panelled case, raised on faceted block feet, with carved mouse signature. 0.46 by 1.04 by 0.39m Estimate: 1000-1200
506. PAIR OF MARTIN "LIZARDMAN" DUTTON OAK TUB CHAIRS, each with arched top rail above a splat carved with a crest and motto, tan leather seat, raised on faceted baluster legs terminating in blocks joined by stretchers, carved lizard signature, with carved inscription to rear, "Presented by the Parents Association 1955".
Note: Martin Dutton was an apprentice of Robert Thompson. Estimate: 600-800
507. ROBERT "MOUSEMAN" THOMPSON OAK MILKING STOOL, the reniform seat with carved mouse signature, raised on three splayed faceted tapering legs, c.1980. 0.36m Estimate: 100-150
508. EDWARDIAN GOLDEN OAK MIRROR-BACKED SIDEBOARD, POSSIBLY LIBERTY & CO., the upper section with galleried top centred by a small cupboard with Art Nouveau style lead glazing, above a mirror, the lower section with a pair of drawers over a pair of panelled cupboard doors, fitted with copper strap hinges and handles, raised on square section feet. 2.32 by 1.83 by 0.60m Estimate: 300-400
509. GOOD ARTHUR SIMPSON OAK AND LEATHER FOOTSTOOL, the bowed leather lattice work seat with brass studs, raised on chamfered square section tapering legs, with label "Arthur W. Simpson, The Handcrafts, Kendal", stamped no. 7862 and registration no. for 1923, excellent rich colour. Estimate: 250-350
510. ARTS & CRAFTS OAK HALLSTAND, PROBABLY WYLIE & LOCHHEAD, the crest with heart-shaped cut-out above a bow-fronted moulded top over a frieze drawer with copper hand and backplate, above a three-section stickstand, all backed by splats with heart-shaped cut-outs, unmarked. 1.35m by 0.80m by 0.35m Estimate: 400-600
511. ARTS & CRAFTS INLAID MAHOGANY PIANO STOOL, the opposing pierced ends inlaid with stylised motifs, raised on tapering square section legs joined by a stretcher. Estimate: 200-300
512. 1930's ROBERT "MOUSEMAN" THOMPSON OAK PUB TABLE, of unusual form, the substantial one-piece irregular oval top raised on chamfered splayed tapering legs, with carved mouse signature, good rich colour. 0.72 by 1.75 by 0.70m
Note: This table was used as a dining table in The Masons Arms, Hopperton, Harrogate, for over seventy years.
Estimate: 1000-1500
513. UNUSUAL ART NOUVEAU OAK SIDEBOARD, ROBSON & SONS, NEWCASTLE, of small proportions, with crenellated gallery above a bowed top, backed by a large copper repousse panel with whiplash, flanked by pierced sides with heart cut-outs, over two drawers, raised on square section legs joined by stretchers, ivorine trade label. 1.27m by 1.12 by 0.42m Estimate: 300-500