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A Coalport vase, with deep blue ground, oval cartouche painted fruit, highlighted in gilt, 20 cm highPossibly lacking lid, no chips, cracks or restoration found

18th century | height: 13 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | This 18th century jar comes from faience pottery workshops, probably in Delft, and is intended for holding milk thistle syrup (S. CARD:MAR). Milk thistle has been valued for centuries for its medicinal properties, especially for supporting liver health. The jar is decorated with blue-white decor, a style popular in European ceramic production at the time. The decoration includes floral motifs, two stylized birds, and a small angel on the lower part of the cartouche, which are elements typical of the Baroque and Rococo periods. The inscription indicating the contents of the jar is located in the central cartouche, which increases the legibility and functionality of the jar. These jars were used in pharmacies to store medicines, but also served as decorative elements of the interior. The preserved condition and quality workmanship make this artifact a valuable example of 18th century pharmaceutical ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who  mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist.  This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181). 

Viceroyalty school. Peru. 18th century.‘Portrait of a bishop’.Oil on canvas. 64 x 50 cmAt the foot of the painting is a cartouche with the handwritten inscription: EI YIImo St. Dn Juan Bravo de Rivero, Colegial que fue del Colegio R.l de S.n Martin de Lima, su Patria, fundor de la R.l Avdiencia de Charcas, Maestrescvela, Tesorero y Chantre de aquella Yglesia Metropolitana Obispo de Santiago de Chile y despues de Arequipa, endonde falleció el año de 1752".(Juan Bravo de Rivero, Student of the former College R.l de S.n Martin, Lima, his homeland. Founder of the Audience of Charcas, school teacher, treasurer and precentor of the Metropolitan Church, Bishop of Santiago de Chile and later Arequipa, where he died in 1752).

Diego de Aliaga (Andean Viceroyalty, Active between 1770 - 1780)‘Patronage of Saint Joseph’.Oil on canvas. Signed ‘Didacus ab Aliaga mi P...’ and dated in Jujuy, 1774.90 x 71 cm. A work comparable to this one, although smaller in size and depicting Our Lady of Mercy with the Holy Trinity, also dated in Jujuy a year earlier, 1773, was auctioned at Christie's on 19 May 2019, fetching $52,000 (auction no. 15922 Latin American Art).As noted by Arca (Colonial art project at the University of the Andes): ‘Aliaga was an artist active in the region of Jujuy, Argentina. He is best known for ‘The Way of the Cross,’ painted in the church of San Francisco in Jujuy, Argentina, between 1772 and 1776’.This is a wonderful canvas from New Spain with one of the most popular images in New Spanish art, showing a saint (in this case) or the Virgin Mary protecting communities, religious orders, corporations and authorities under her mantle (appealing to clientelism and corporations in a way typical of the Ancient Regime), the main recipients of her heavenly benefits. Saint Joseph is crowned ‘as King’ of heaven by two flying angels, with Mary his wife portrayed in the flaming sun of his tunic, who is also protector and mediator.  Under his broad mantle, raised and supported by two other figures who serve and adore, the saint protects the King and the Pope, in short, the rulers and the faithful (almost always nobles) and the bishops and clerics of the pilgrim church, including religious orders. Clement XIV and Charles III, King by the Grace of God of Spain and the Indies, the Pope who suppressed the Society of Jesus in 1773, and the sovereign who pointed out ‘their good deeds’, since he had already expelled them from Spain in 1767, are named. They all wear a special gala costume, and the two orders are distinguished by the colour of their habit, brown on the left and black in the background. The common folk are distinguished by their colourful coats, all of them thus demanding respect for this convention.Clientelism, the link between courtiers and the king, or lower-ranking nobles and relatives, established a relationship of submission and dependence. This clientelistic scheme ‘extended to heaven’, and the saints were seen as patrons of their faithful, and from there ‘their patronage’ descended to the court, where the monarch was compared to God, as he protected and preserved his officials, who were considered ‘his creatures and his workmanship’.  However, the great distance that separated earthly sovereigns (civil or religious) from the heavenly sovereign is emphasised by these signs: before the king, the subject puts only one knee on the ground, but before God, present in the Eucharist, or before the Virgin Queen, getting down on both knees was the greatest sign of submission, as we see in this painting.A low, centred cartouche gives the location as Jujuy, a province in Argentina, and the date 1774, and those who commissioned the painting appear, ‘as humble slaves of Saint Joseph’: ‘Devajo del Poderozo Nsanto de tu Soberano Patrosino Señor Patriarca Sn Joseph, viven, y morirán Voestros humildes esclavos Dn Francisco Joseph Dias y su esposa Da Maria Petrona Araoz: Jujuy, año 1774.Didacus (Diego) ab Aliaga mi p...(pingebat)’. (Under the powerful sanctity of your sovereignty, Lord Patriarch Saint Joseph, live and die your slaves Francisco Joseph Dias and his wife Maria Petrona Araoz: Jujuy, in the year 1774, followed by the painter's name).Its imposingt period frame is outstanding, the openwork basketry and scrolls of vegetation decoration, similar to those seen in lace are finely carved and gilded.  It draws attention to the nobility and quality of this work, not only from the historical point of view, but also from the artistic point of view. Bibliographic reference: - https://arcav1.uniandes.edu.co/artworks/8694 

Regency painted silk picture, depicting a girl in white dress carrying a basket of pink roses within an oval floral cartouche, framed, 26.5cm x 23cm, together with an early 19th century needlework sampler by Mary Riley, 1818, worked with a religious verse before Adam and Eve, crowns, vases of flowers and birds, 37.5cm x 36cm 

A Victorian silver teapot by Albert Henry Thompson, Sheffield 1896, the gadrooned body with chased foliate decoration, each side with a vacant cartouche, and shaped wooden handle, 23cm wide11cm deep24cm high22.8oztCondition ReportHandle slightly loose.Minor knocks, scuffs and scratches throughout.

A silver filigree card case the central cartouche with engraved initials9cm high1.89oztCondition ReportNo damage to the filagree decoration.

A BOLD GOLDEN OTTOMAN THULUTH CALLIGRAPHIC PANEL Ottoman Turkey, dated 1318 AH (1900 - 1901 AD)Arabic printed calligraphy, ink, and gold on black-dyed card, the horizontal-format composition presenting a single straight line of bold gold-printed thuluth script reading 'My Success is due to God', with full diacritics and markers, encased in a rectangular cartouche embellished with clusters of Westernised acanthus leaf triumphs on the outer edges, dated 1318 AH, set against a solid black ground, mounted, glazed and framed, 48.5cm x 76cm including the frame. 48.5cm x 76cm including the frame Qty: 1

AN INDIAN PARCEL-GILT SILVER TEA CUP AND SAUCER Northern India, second half 19th centuryComprising a lidded tea cup, of cylindrical shape, with rounded underside and gently everted rim, with a curved handle on one side, and surmounted by a tapering, circular lid with a bulbous finial, below the rim and around the edge of the lid two decorative parcel-gilt friezes incised with scrolling floral sprays, the body engraved on one side with an oval dedicatory cartouche in Urdu in nasta'liq script, and on the latter in English reading S. M. Moens Esq.re, both cartouches surrounded by a vegetal crown; and a matching circular saucer, with everted rim, and the same parcel-gilt vegetal band present on the the lid and body of the tea cup, located around the rim on both the exterior and interior.13cm high (together)8cm diameter the tea cup14.5cm diameter the saucer501 grams 13cm high (together) Qty: 3

A SMALL QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) WITH GOL O BOLBOL MOTIF Iran, dated 1267 AH (1850 AD)With rounded ends and sliding tray, polychrome-painted, heightened with gold, and lacquered, the top decorated with the recurrent Qajar literary topos of the rose and the nightingale (gol o bolbol), with a row of large rose stems and birds perched amongst their branches, the sides with floral festoons with moths and a double pair of Mandarin ducks on the rounded ends, the underside and interior with a gilt vine scrollwork with grape bunches against red ground, the date 1267 AH inscribed in black ink inside a cusped gilt cartouche on the outer edge of the underside.2.3cm x 17cm 2.3cm x 17cm Qty: 1

A LARGE EMBROIDERED KASHMIRI SHAWL Kashmir, Northern India, second half 19th centuryOf square shape, the central field embroidered in a symmetrical arrangement of stylised palmettes, elongated buti (paisley leaves), and arabesque-like leafy scrolls in polychromes, converging towards a circular black centre marked with white numbers and letters in nagari script, the embroidered harlequin borders alternating cartouches in red, green, blue, and ochre, the border with a white wool thread-embroidered cartouche reading 'Kashmir' in Arabic characters.185cm x 192cm 185cm x 192cm Qty: 1

AN ILLUMINATED DALA'IL AL-KHAYRAT BY MUHAMMAD BIN SULAYMAN AL-JAZULI (D. 1465) Possibly Balkans, Western Ottoman Provinces, dated 1211 AH (1796 AD), signed by Muhammad Bin HassanArabic manuscript on European watermarked lined paper, 380ff. with 7 fly-leaves, with 27ll. of black ink naskh script to the page, the illuminated and polychrome-painted opening folio with a large, cusped arch in-filled with floral interlace, the text without diacritics, important passages underlined in red ink and marked with gold roundels, illustrated with an illuminated rectangular cartouche depicting a three-quarter aerial view of the two sacred enclosures of the holiest sites in Islam, the Masjid al-Haram in Mecca with the black Ka'ba in the centre and the Masjid an-Nabawi, the Prophet's Mosque, in Medina, the text set within black and red rules, and narrow gold borders, signed by Muhammad Bin Hassan and dated 1211 AH, accompanied by a note in French on one of the final fly-leaves referring to the location of its finding (Serbia), in a gilt printed brown calf leather binding with flap.16.3cm x 10.2cm the text panel23cm x 16.5cm the folio The handwritten French note accompanying this manuscript mentions that the tome was found in Serbia during WWI. It was retrieved by Maurice Guillier, the Lieutenant of the 260th Regiment, during the evacuation of the Serbian villages on the border with Ottoman territories in December 1915. The unusual horizontal format of the illuminated illustration of Mecca and Medina's sacred enclosures together with this provenance note raise interesting questions about the origins of this manuscript. The lack of diacritics in the text and rather plain naskh script point towards a provincial Ottoman production, perhaps in the Balkan regions, well before the rise of Balkan nationalism and independence movements, which triggered revolutions and anti-Islamic sentiments throughout the area from the early 19th century onwards. 16.3cm x 10.2cm the text panel, 23cm x 16.5cm the folio Qty: 1

AN INDO-PORTUGUESE CARVED COCO DE MER CUP Possibly Goa, South-Western India, late 18th - 19th centuryOf oval shape, the plain interior deeply carved, the exterior incised around the rim with a narrow band of rosette scrollwork, and a larger rectangular cartouche with Westernised floral motifs like roses and tulips, and sinuous volutes, the centre pierced, possibly once fitted on a silver stem, currently filled with an American silver coin minted in 1928.13.5cm x 23.5cm x 7.5cm 13.5cm x 23.5cm x 7.5cm Qty: 1

AN INDIAN OPENWORK SILVER HUQQA (WATER PIPE) COVER WITH LID Mughal Provinces, Northern India, ca. 1780 - 1860Of compressed globular shape, resting on a later-added, circular wooden base, surmounted by a circular lid with lotus pommel, the finely pierced and engraved decoration on the exterior of the body mirrored on the lid, consisting of a broad cartouche in-filled with birds set against lush floral scrolls and vegetal meanders, an iconic Persianate motif reminiscent of the Iranian gol-o-bolbol, with a cusped arabesque cartouche in the centre, repeated on the opposite side and lid as well.7.5cm diam. and 8.7cm high187 grams 7.5cm diam. and 8.7cm high Qty: 1

18 CARAT GOLD EGYPTIAN CARTOUCHE STYLE PENDANT ON 14 CARAT GOLD CHAIN, WEIGHT APPROX 10 8 GRAMS Condition

Map- Mediterranean- Ortelius: Peregrinationis Divi Pauli Typus corographicus (travels of Paulus. With two fine scenes showing the countries along the Mediterranean, including Cyprus and Italy). Antwerp, c.1595-1601 (with 'corographicus' in title cartouche). Latin text on verso. Hand-coloured (50 x 35cm)

ANDREWS, John, and Andrew DURY. A Map of the Country sixty five Miles round London, from surveys. T McLean, 1808-1818. Folio, bound engraved map on 20 double page sheets (52 x 73cm), which include title cartouche and list of subscribers- page 17. Individual sheets were also combined to make up maps of smaller areas - for example 4 sheets were used for a smaller map of the country 25 miles round London, and similarly for Windsor or Richmond. This is a single sheet (no 7). No binding, and a couple of the sheets are loose. A couple of small tears to margin of two maps, well away from the image. On the whole all the maps are clean.

Northamptonshire, Blaeu (Johannes), Comitatus Northantonensis vernacule Northampton Shire, Amsterdam, ci.1645, engraved map with contemporary hand-colouring, large decorative cartouche and mileage scale, very slight staining, double-glazed and framed, 41 x 49.5cm

Johann BlaeuBrasilia, hand coloured engraving, the title cartouche with coat of arms, 38.5 x 50cm

John Speede'Breknoke both Shyre and Towne described', engraving with aerial view of the town and decorative title cartouche, Bassett & Chiswell, 38 x 51cm

A NEST OF THREE EDWARDIAN PAINTED SATINWOOD RECTANGULAR OCCASIONAL TABLESthe tops variously decorated with cherub cartouche and triumphal regalia, all within flower and tendril borders, on twin turned end supports, the largest 60cm high x 48cm wide x 35cm deep

A fine Hereke 'garden' design rug, West Anatolia, the ivory compartmented field containing varied flowers, framed by a floral roundel decorated border and 'gold' guardstripes, woven in landscape format with a signature cartouche to one side, 152cm x 104cm

An 18th Century French carved walnut cresting, centred by a cartouche flanked by putti, 84cm long

France: Territorial planning - Manuscript Mémoires [des Intendants] sur les Généralités du Royaume A series of 12 volumes in manuscript on the Generalities of France, e.g. volume 1 with 338 numbered pages prefixed by a hand written title page, followed by a transcript of a letter of 20 leaves in manuscript, instructing a survey of France in the name of the King Louis XIV (1638-1714) entitled 'Lettre du Roy Ecrir a M... Intindant Commiss.r Departia dans la Province', folio, contemporary calf, gilt tooled with thistle motifs to each cornerThe paper variously watermarked including 'WB' surmounted by a coronet, 'J♡M' within an ovoid cartouche, a serpent within a circular enclosure flanked by armorial beasts and a badge below, as well as another of three balls within a laurel wreath and PHC with a fleur de lis Ombersley Court, Worcestershire A similar lot, solely for the generailty of Paris was sold Rossini, Paris, 9 July 2024, Lot 35. A similar manuscript version of certain elements of the current lot exists in the Biblioteka Jagiellońska (see link.)The text in these volumes is well documented and was republished by Arthur André Gabriel Michel de Boislisle in 1881 as 'Mémoires des intendants sur l'état des généralités dressés pour l'instruction du duc de Bourgogne'.Jean-Baptiste Colbert (1619-1683) was a French statesman who served as First Minister of State from 1661 until his death in 1683 under the rule of King Louis XIV. His lasting impact on the organization of the country's politics and markets, known as Colbertism, a doctrine often characterized as a variant of mercantilism, earned him the nickname le Grand Colbert. Colbert re-developed the French economy by raising tariffs and encouraging major public works projects, as well as strengthening the French East India Company to ensure expansion and constancy in supply chains. He became the founder of the French Merchant Navy and secretary of State for the Navy in 1669.The ambitious “Instruction on provincial administration”, spearheaded by Colbert, and the resulting comprehensive survey of France on behalf of the King issued in 1663 to the “masters of requests and commissioners stationed in the provinces” is thought of as the founding text of ‘territorial planning’. Colbert's ambitions played to the centralist ambitions of Louis XIV "Louis continued his predecessors' work of creating a centralised state governed from the capital [Paris]. He sought to eliminate the remnants of feudalism persisting in parts of France; by compelling many members of the nobility to reside at his lavish Palace of Versailles, he succeeded in pacifying the aristocracy, many of whom had participated in the Fronde rebellions during his minority. He thus became one of the most powerful French monarchs and consolidated a system of absolute monarchy in France that endured until the French Revolution"

An Erivan rug, Armenia, the indigo field of serrated leaves with Kufic cartouche endpieces, framed by a wide brick red compartmented border of tree and both motifs, 184cm x 144cmast quarter 20th century. all over good condition with even low pile. scattered areas of light wear to field, no visible repiling. Ends and selvedge good with minor wear of kilim ends. l

A galleried salverSilverEngraved centre of double foliage border forming cartouche engraved J.A. da Silva 1866Pierced gallery of floral motifs and undulating rim friezeOporto assay-mark (1861-1870) and maker's mark Manuel José Pereira da SilvaDiam.: 29 cm714 gLiterature:F. Moitinho de Almeida/Rita Carlos"Inventário de Marcas de Pratas Portuguesas e Brasileiras"séc. XV a 1887P-40.0b e P-507.0a

A suspending salverSilver 833/000Reliefs and chased decoration featuring spiralled columns, acanthus leaves and ropesCentral cartouche with caravelApplied coins from the reigns of Luis I (1838-1889), Carlos I (1863-1908) and Manuel II (1889-1932)Oporto hallmark (1938-1984)Diam.: 55 cm2177 g

Chequered vulcanite butt, chequered straight grip and forend. Top lever, automatic safety, acanthus scrolling with 'VICTOR SARAQUETA' mounted on a cartouche, gold inlaid cocking indicators. Weight 6lb 14oz, Pull 15 1/8", Barrels 25 7/8", OAL 43 1/2", Chambers 2 3/4", Choke 1/2, 1/4 Proof .729 Readings .729, .729 Walls 31, 31 FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportM - C, F - C, W - B/C

Ribbed butt, rich, dark stock, worn chequering to straight grip and forend. The plain, tapered rib engraved 'JAMES WOODWARD & SONS 64 ST JAMES'S STREET LONDON. MADE OF SIR JOSEPH WHITWORTH'S FLUID PRESSED STEEL', the breech end with '3' inlaid in gold in an acanthus frame. Arcaded fences with sideclips, blued top lever with '3' inlaid in gold, automatic safety with 'SAFE' the same. The action, bright, densely and delicately engraved throughout with fine acanthus scrolling, 'J WOODWARD & Sons' mounted on a cartouche to the sides, cocking indicators. In a leather case with interesting labels. Provenance The manufacturers have very kindly confirmed the following Woodward, No. 5389 Completed: 30th August 1899 For: Hon. Osbert C. Molyneux Description: A toplever hammerless ejector game gun Weight: 6lb. 8oz. Calibre: 12-bore Barrels: 29in. Whitworth Steel Choke: Cylinder & 3/8 Choke Stock: 15 3/8in. Notes: Action with clip sides Numbered ‘3’ on top rib, toplever and forend-tip (no note as to what it was built to match) Straight-hand stock "It may have been built to match 4991/2, completed in 1895, but it isn’t cross-referenced so that is mostly supposition." Weight 6lb 6oz, Chambers 2 1/2", Choke Pull 14 5/8", Barrels 29", OAL 45 1/2" Reproof 1954 - 1989 London Proof .740, .729 Readings .742, .736 Walls 18.5, 20 FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportM - C, F - C, W - D, B - B The engraving crisp with no wear. The barrels with silvering to the muzzle, thinning to breech and localised patching under the forend. The bores very clean with no marks nor riffling. The stock worn with a chip (see photos) and the chequering softened considerably but little other damage.

James Shoolbred & Co. (London: 1814-1934) - pair of late 19th century French design giltwood window seats, upholstered arms and seat in floral pattern fabric, on cartouche carved cabriole supports with scrolled terminals, with ivorine maker's label inscribed 'Jas Shoolbred & Co.' Dimensions: Height: 65cm  Length/Width: 78cm  Depth/Diameter: 45cm

Pair of Victorian figured walnut tea tables, moulded serpentine fold-over top with quarter-matched veneers, on four shaped and moulded pillar supports with central finial terminating to out splayed supports, cartouche carved knees and scroll carved terminals, carved with curled foliate decoration, on brass and ceramic castorsDimensions: Height: 71cm  Length/Width: 94cm  Depth/Diameter: 46cm

French-mid 19th century 8-day gilt and porcelain mantle clock with a break front plinth raised on paw feet, with recessed rectangular porcelain panels depicting two lovers and floral decoration, drum cased movement with a porcelain dial supported on two matching scroll supports, surmounted with a tapered porcelain urn and gilt finial, dial with cartouche Roman numerals on a blue ground and a depiction of cupid to the dial centre, twin train rack striking movement, striking the hours and half hours on a bell. With Pendulum and key.Dimensions: Height: 45cm  Length/Width: 28cm  Depth/Diameter: 12cmCondition Report:Hour hand missing and pendulum suspension broken.

Late 19th century French walnut bread safe or Panetière, shaped pediment with turned finials carved with central urn and extending foliate branches, enclosed by single door carved with ribbon tied wheat bunch and bird, spindle turned front and sides, the lower shaped apron carved with wheat stalks and central cartouche, on acanthus leaf and scrolled cabriole feet Provenance:Nidd Hall: acquired by Guy Reed fromRichard Butler, 17th ViscountMountgarret, in 1968Dimensions: Height: 102cm  Length/Width: 96cm  Depth/Diameter: 45cm

EDWARD FLINN, LONDON AN 18 CARAT GOLD KEYLESS WIND OPEN FACE POCKET WATCH, NO. 18903, CIRCA 1896 Movement: Three quarter plate, bimetallic split balance, flat balance spring, lever escapement Case: 18 carat gold four piece hinged case, the back cover engraved with foliate swags and a vacant cartouche, hallmarked Chester 1896 Dial: White Size: 40mm Signed: Movement Accessories: None Condition Report: Movement is currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Hinges appear intact. Crown has light scratches when viewed under a 4x loupe. 61g gross This lot does not come with box or papers. Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com                           Condition Report Disclaimer

A DIAMOND PENDANT/BROOCH The openwork cartouche set with single, brilliant and marquise cut diamonds, vacant centre, unmarked Size/dimensions: 3.6cm long Gross weight: 6.7 grams Condition Report: Marquise cut diamonds gauged to weigh approx. 0.08-0.10ct, 1.00ct total, remaining diamonds approximately 0.50ct total. Average estimated clarity Si-I1, average estimated colour J-L Metal unmarked and remains untested. Some cracks to mount near bale, evidence of previous alterations and repairs Condition Report Disclaimer

UNSIGNED A GOLD KEYLESS WIND OPEN FACE POCKET WATCH, NO. 1524 Movement: Three quarter plate, bimetallic split balance, flat balance spring, lever escapement Case: Gold four piece hinged case, the back cover engraved with foliage and flowers, a vacant cartouche, stamped 18K with a poinçon Dial: Champagne Size: 36mm Signed: Unsigned Accessories: None Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible to the naked eye. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass has some scratches and marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Hinges appear intact. Crown has light scratches when viewed under a 4x loupe. 37g gross This lot does not come with box or papers. Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com                           Condition Report Disclaimer

UNSIGNED A GOLD OPEN FACE POCKET WATCH, NO. 14831 Movement: Three armed domed balance, flat balance spring, cylinder escapement Case: Gold four piece hinged case, the back cover with engine turned decoration and a vacant cartouche, stamped 18K Dial: White Size: 45mm Signed: Unsigned Accessories: 18 carat gold chain, two keys Condition Report: Movement is currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial has a series of hairline cracks. Hands show marks and tarnishing when viewed under a x4 loupe. Glass has some scratches and marks when viewed under a 4x loupe. Case shows light scratches and marks. Engine turning worn Hinges appear intact. Pocket watch - 59g gross Chain - 55g This lot does not come with box or papers. Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com                           Condition Report Disclaimer

A Victorian pint tankard with a plain scroll engraved cartouche, 5 inches high, Exeter 1877 by JW & Co, 274 g

A Highly Decorative 9ct Gold Medallion Fob, in the form of a shield, ornate scrolling detail etched allover, with vacant cartouche on both sides, suspended on an modern elongated link chain stamped "9KT", 64cm long including medallion (16.5grams).

A Hallmarked Silver Trinket Box, Birmingham 1952, the shaped hinged lid with engine turned decoration and vacant cartouche, plush lined, raised on three scroll feet.

An Antique Chester Hallmarked Medallion Fob, Chester 1894, in the form of a shield, highly decorative etched detailing to front, with vacant cartouche and reverse; A Hallmarked Silver Partial Watch Chain, chunky curb links to swivel style clasp, a hallmarked silver T-bar with suspension loop (115.5grams).

A Hallmarked Silver Openface Pocketwatch, the unsigned white dial (lacking hands) with Roman numerals and seconds subsidiary dial (lacking hand), within engine turned case, vacant cartouche, together with another pocketwatch, the signed 'Bennett' white dial with Roman numerals and seconds subsidiary dial, within engine turned case, vacant cartouche, stamped "FINE SILVER". (2)

A large Continental antique carved, painted and parcel-gilt lime wood armorial crest plaque – 18th / 19th century, of elongated, cartouche form with foliate carved cresting and sides, 82 x 44 cm, some old (inactive) worm, repairs and repainting.

A 19th century carved giltwood Florentine-style mirror in the 18th century style – the rectangular plate within a carved and pierced foliate frame of cartouche shape, 58.5 x 50 cm.

Four small silver items: an Edwardian silver and tortoiseshell jewellery box, William Comyns & Sons, London 1909, oval, the lid inlaid with a floral and foliate cartouche and swags, 9.5cm long; an Art Deco style cut glass and silver scent bottle, marked 'Sterling Foreign', 6.3 cm high; a pair of Elizabeth II trinket dishes, A. Chick & Sons Ltd, London 1975, lozenge form with repoussé foliate, C-scroll and lattice decoration. (Gross weight excluding glass scent 211g)

A George V 9ct gold vesta case - Deakin & Francis Ltd, Birmingham 1914, of counter form with striped engine turned decoration and circular cartouche with engraved crest of a tulip, with steel suspension ring, 23g. 

A late-Regency brass-bound rosewood writing slope containing a charming collection of locks of hair -  the box with brass edges, vacant cartouche to lid and rebated handles to sides, the interior with (later) red velvet writing surface and a sprung panel revealing three secret drawers, two of the drawers containing a collection of locks of hair from the children of a single family, wrapped in paper with miniature red wax seals, one with a black wax seal (possibly for mourning), each with a handwritten note, many dated March 1831, the box 38 x 23 x 13 cm.

A Victorian silver card case - profusely engraved, the front cartouche initialled and the reverse with the Blake family crest, a cat passant and gardant; Frederick Marson, Birmingham 1893, 55g * In good condition overall - clear marks, hinge good, no thin metal in cartouches, just minor wear to decoration. Two tiny dings to top corner above hinge and two or three minor dents to the corners/edges of the main face front and back. The main faces of the case are pushed inwards slightly towards each other on both sides - this is only really apparent when the case is viewed from the top with the lid open.

A late-19th century Scottish silver thistle-shaped whisky tot - Edinburgh 1899, probably James Rettie & Son, Aberdeen, the thistle bowl and stem on a cast thistle-leaf base, 6.6cm high.* In good condition. Clear marks to bowl and base. No repairs. Engraved initials to shield cartouche. Two or three very small dings to rim. Gilt to interior surface worn. The tot does stand upright - but the centre of the base is very slightly proud of the rest of the base, so it does wobble very slightly on the base.

A mid-19th century ship engraved oversized glass tumbler - wheel engraved with a portrait of a two-masted merchant ship, inscribed above 'Sir Robert Peel of Lancaster', the reverse inscribed '1855 EG Rocklocke' within a foliate cartouche, the heavy base with ground pontil, 12.9cm high.

A collection of mostly silver plate: 1. a large octagonal fruit basket with swing handle and fruiting vine decoration 2. a L&W octagonal teapot - pedestal base, 15 cm high 3. a JD&S jug - ball feet 4. a white-metal box with intricate all over foliate scroll decoration, the hinged lid with vacant cartouche (LWH 16.3 x 10.5 x 4.5 cm) 5. various silver-plated flatware to include a berry spoon, teaspoons etc.

An Edwardian 9ct rose gold sovereign case - hallmarked Horace Woodward & Co Ltd, Birmingham 1904, of pocket-watch form, with chased foliate scroll decoration, push-button opening, 3cm diameter.Opens and closes nicely, spring operates, dent on cartouche, weight 13.5g.

** Description revised: An Indian Mughal style yellow gold and gemstone set pendant, probably mutton fat jade - probably 19th century, of cartouche form, set with diamonds and green and red stones (presumed emeralds and rubies) in the form of a tree of life within yellow gold, with two opposing birds, 3.3 x 3.8cm plus bale, on a rolled gold chain.

An antique rolled gold, silver, enamel and rock crystal brooch - possibly 18th century, of foliate cartouche form, centred with a rectangular cushion set with a reverse painted rock crystal imitating a ruby, flanked by two small square cut rock crystals imitating diamonds, enamelled throughout in dark blue, black and green, 5.1cm long; together with a 19th century gilt metal brooch set with faux-garnets and faux-turquoise stones; and a 19th century gilt metal and paste buckle, 3.3cm long. (3)

An Edwardian mahogany, satinwood, marquetry and painted kidney-shaped tray - with scalloped gallery and twin gilt brass handles, painted with two cherubs on a satinwood oval, within a floral and foliate marquetry cartouche, 70.5 cm long.

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) "Andsome is - Wot' andsome does", chromolithograph, signed in pencil and bears studio stamp lower left with cartouche lower right, 47 cm x 43 cm CONDITION REPORTS Whilst overall condition is sound, the backing paper is fairly browned and with some areas of foxing, particularly beneath the main image. See images for further detail.

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) "The timber merchant", chromolithograph, signed in pencil and bears studio stamp lower right, with cartouche lower left "Aye! and ourt in the stonemason line does not come amiss to 'im", 47 cm x 43 cm CONDITION REPORTS Whilst basically sound, the back paper is fairly browned and with some areas of foxing / staining, particularly directly below the main image in a straight line along the base. There is also an area of discolouration to the bottom right hand corner of almost flower head form. See images for further detail.

A Victorian silver sugar sifter, the handle engraved with geometric patterns and a central cartouche, Birmingham 1863; a pair of George IV silver sugar bows, Sheffield 1816; others, silver mustard spoon, berry spoon (apparently unhallmarked), sterling teaspoon, plated teaspoon, 91g silver (6)

A pair of Victorian mahogany hall chairs, each shaped back carved with scrolls and centred by an applied raised vacant cartouche, 86.5cm high, 41.5cm wide, the seat 36.5cm deep; a 19th century mahogany tripod occasional table, 67cm high, the top 43cm x 57cm (3)