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beginning of the 17th century | height: 28 cm | region: Montelupo | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello comes from the town of Montelupo in Italy and dates back to the 17th century. It is made of earthenware, a typical ceramic material for the Montelupo area, which was an important center of ceramic production in the Renaissance and Baroque periods. The inscription "Gom Elemi" refers to elemi resin, used in traditional medicine mainly for its antiseptic and healing properties. The decoration of the jar includes typical blue floral motifs complemented by yellow and orange stripes around the inscription. In the lower part, an ornamental coat of arms is depicted, which often decorated ceramic products from this area and gave them a prestigious character. This jar is an example of high-quality Montelupe faience, which was characterized by strong colors and detailed design. It combines both practical use in pharmacy and high artistic value, typical of Italian ceramics of this period. | condition: restored, retouched in the lower part | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 28 cm | region: West Europe | provenance: private pharmacy museum | Albarello faience pottery | The albarello inscribed "Pvlchamo" dates from the 18th century and is an excellent example of apothecary faience from this period. The vase is permeated with elegant blue decorations in combination with a coat of arms on the front, a typical sign for apothecary jars from southern Europe, specifically Spain or Italy. The expressive hand-painted blue-white glaze and the finely shaped body of the vase testify to the masterful work of the ceramic workshops of the time. These jars were used to store medicinal mixtures and herbs, thus reflecting the rich history of medicine and pharmacy. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1rqikAoS2vfneIn1FKDvR_RYHtLh9uMpp?usp=sharing

20th century | height: 24 cm | region: Central Italy | provenance: private pharmacy museum | Albarello faience pottery | Inscribed "Althea Nobilis", this jar is an example of a work from the 20th century that draws inspiration from the Renaissance style. Although not a Renaissance jar, its decoration and design mimic traditional Italian majolica – the tin-glazed pottery that was popular in the 16th century. The design of the jar includes rich ornamentation, including heraldic elements and winged mythological figures, typical of the Renaissance aesthetic. The central part is decorated with a coat of arms, which evokes the impression of historical nobility. jars of this type were traditionally used to store medicines and herbs, and the inscription Althea Nobilis refers to the medicinal herb (Althaea officinalis), a medicinal plant used in traditional medicine. This jar is an interesting example of modern craftsmanship that revives and honors the traditional aesthetic values ​​of the past, while serving as both a decorative and functional object in the spirit of Renaissance design. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1tHSw43dCOlBuPJtIywuHT2HDUSqUuHsm?usp=sharing

end of the 17th century | height: 24 cm | region: Montelupo | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello comes from the Italian town of Montelupo and dates back to the 17th century. At that time, Montelupo was an important center for the production of high-quality faience, a ceramic material that was mainly used for the production of pharmacy jars. Albarella of this type was used to store medicinal preparations or dried herbs. The jar is decorated with typical blue floral motifs on a white background, which are characteristic of Montelupe faience. Yellow and orange stripes run through the center of the jar, enclosing the space for the inscription, while the lower part is decorated with an ornamental coat of arms, which often decorated ceramics from this area. This albarello is a great example of the combination of a functional pharmaceutical object and a decorative work of art, which was for Italian ceramics typical of this time. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1ayRbU1j6LgFnWX_CfswyAAPBNQXFKFoi?usp=sharing

18th century | height: 25 cm | country: Spain | provenance: private pharmacy museum | Albarello faience pottery | Probably from Catalonia, this jar dates from the 18th century and is a beautiful example of majolica, a traditional type of glazed pottery. In this case, the jar is richly decorated with a polychrome coat of arms that dominates its front. This coat of arms, consisting of a crown, tower, stars and sun, is an example of the Baroque style that was very popular in Catalonia at the time and reflects the aesthetic and symbolic values ​​of the time. A jar of this type was used in pharmacies to store medicines and substances. Its elegant shape with a wide neck and narrowing in the middle part allowed for easy handling and closing. The rich decoration, along with heraldic motifs, suggests that it may have been made for an important family or a prestigious apothecary, adding to its historical and artistic value. This specimen is an exceptional example of Spanish faience, which combines a utilitarian function with a high degree of aesthetic decoration and testifies to the highly developed craftsmanship of the period. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1sMAGUNRUmdKTyUJ3ALV94CLfrBx1_LNm?usp=sharing

end of the 19th century | height: 24 cm | region: West Europe | provenance: private pharmacy museum | Albarello faience pottery | This impressive 19th-century faience albarello is decorated with blue and white painting and bears a heraldic motif with a crowned eagle and coat of arms, suggesting that it may have been a jar associated with an important family or an apothecary under aristocratic patronage. The combination of sword, cross and plant motif symbols on the coat of arms emphasizes the importance of both spiritual and worldly power. Such jars were used to store medicines or herbal mixtures, and their decoration testifies to the high level of craftsmanship and prestige of the owner. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1FkRllBbRXBsGHe5guCMHgDuKWmDDR20g?usp=sharing

18th century | height: 22 cm | country: Spain | provenance: private pharmacy museum | Albarello faience pottery | This 18th century jar is another fine example of traditional majolica used in pharmacy. It is decorated with a polychrome coat of arms, which is placed in the center, and gives the impression of prestige and nobility. The coat of arms contains a lion and other heraldic elements, suggesting a possible link to a specific family or institution, probably associated with pharmacy. On the top of the jar we can see a biret, a symbol of church authority, which refers to the connection of church power with science and medicine at the time. The inscription on the top of the jar probably lists the name of its original owner or apothecary, while other texts on the bottom of the jar may indicate the type of medicine or mixture the jar contained. This specimen of Spanish ceramics is not only a functional pharmaceutical object, but also a work of art that combines practicality with baroque aesthetics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1fz4hzkO7D4hpWRVmoyx5IvE39IGoU9_o?usp=sharing

1725 | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This Savona albarello from 1725 is a typical example of the faience pottery of the area, known for its underglaze blue painting. The jar is decorated with a rural landscape scene with architectural elements, complete with a decorative coat of arms with the inscription "Charitas", which refers to the Christian virtue of love and charity. This motif was often used to decorate jars in pharmacies, where these moral values ​​had a special meaning. On the back of the jar is the date "1725", confirming its origin in the first half of the 18th century. The slender shape and widened neck allowed for easy storage and handling of medicinal preparations, which is typical for this type of apothecary ceramics. This piece represents an important historical and aesthetic artifact, sought after by collectors of Italian ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1iLLjGlpF9zwuwX3mt3aOoy8jnBx9u2zf?usp=sharing

20th century | height: 21 cm | region: Central Italy | provenance: private pharmacy museum | Albarello faience pottery | This is a 20th century ceramic jar that was made in the Renaissance style, which is evident both in its shape and in its decorative elements. This type of jar, known as an albarello, is inspired by Renaissance pharmaceutical jars that were used to store herbs and medicines. The inscription "CICORIA" refers to chicory, which was often used in traditional medicine. The jar's decoration includes blue ornamental motifs and a coat of arms, evoking the aesthetics of Italian majolica, which was very popular during the Renaissance. The jar is a valuable example of artistic revivalism of the 20th century, when the creators drew inspiration from historical styles and techniques. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

end of the 17th century | height: 20 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 17th century albarello from Naples is richly decorated with polychrome heraldic motifs. On the front of the jar is an emblem depicting an eagle crowned with three stars, a typical symbol used in heraldry to represent power and majesty. A saint is depicted above the coat of arms, emphasizing the jar's religious significance. It was used to store medicines in pharmacies, but thanks to its precise artistic processing, it also fulfilled a decorative function. This artifact represents a highly prized example of Neapolitan faience pottery. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 22 cm | region: Central Italy | provenance: private pharmacy museum | Albarello faience pottery | This is an albarello, i.e. a type of ceramic apothecary jar characteristic of European medieval and early modern apothecaries. This particular artifact, dating from the 18th century (dated 1742), bears typical majolica features, with a glazed surface decorated with rich, colorful paintings. The obverse shows a coat of arms crowned with a royal crown, suggesting possible affiliation to a prestigious apothecary or noble family. Two figures on the sides of the shield and decorative motifs in the style of rococo ornamentation give this jar a rich aesthetic character. Albarella of this type were used to store medicines, often in the form of dried herbs or powders, and are prized collectibles for their artistic and historical value. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1AZrIwOfuMmOZxMMKn7bJoG3tkbc46jLT?usp=sharing

turn of the 19th/20th century | height: 61 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This large 18th century albarello comes from a Neapolitan ceramic workshop and is decorated with rich polychrome decoration. The front is dominated by a heraldic coat of arms with the initials "A.G.P." and is surrounded by angelic figures, symbolizing protection and spiritual significance. The beautiful color combination of yellow, blue and green underlines the significance of the jar, which was used in pharmacies to store medicines. The detailed workmanship and spectacular decoration rank this artifact among the significant examples of Neapolitan faience ceramics, which are highly valued among collectors. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1-hdhFMR5DlfNi1UwU9zfy9xM1wYI8p0L?usp=sharing 

1740 | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Dating from Savona in 1740, this albarello is a typical example of 18th century Italian faience pottery. The front of the jar is decorated with a coat of arms with the inscription "Charitas" and a landscape with architectural motifs, which refers to the moral value of charity and love. This type of decor was often used on apothecary jars, which were intended to serve not only as functional objects, but also as aesthetic artefacts in pharmacies. The back of the jar bears the date "1740", confirming its origin in the first half of the 18th century. This piece is not only historically valuable, but also an excellent example of the savoir-faire of Savon ceramic masters, who were famous for their blue-decorated products. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1RguPUzCIJ0xX9xh1w-3Q68rWUhzbo6_7?usp=sharing

Viceregal school. Perú. Central decades of the 18th century (reign of King Ferdinand VI, 1746-1749)“Inauguration of the office of alderman of Lima, of the viceroyalty of Peru, Don Fernando de Rojas Marres” and ”The Exaltation of the House of Nobility of the alderman of Lima, Don Fernando de Rojas Marres”Pair of oil paintings on canvas. 100 x 73 cm. each.The first painting is divided into two parts, the upper part possibly showing the swearing-in or oath of office of the new alderman of Lima, Don Fernando de Rojas Marres of the viceroyalty of Peru, as he climbs the semicircular stairs to the throne from which he will make government decisions. The golden throne is topped by a red curtain and an open crown, clear symbols of power. Behind it, the two Tuscan columns symbolise the strength and fortitude that every ruler must have in order to lead their people. Above the crown, apart from the word ‘fortune’, an allusion to this virtue, the scene is accompanied by two other virtues linked to power and dignitaries, science on the left and fame on the right. The two female figures who bestow symbols of power, the ruler's sceptre and the crown are the ruler's acolytes and witnesses to the scene.The central figure is dressed in the fashion of Ferdinand VI's reign, which dates the painting and its companion piece to the middle decades of the 18th century. To complete the parallelism of the central scene at the top, two noble coats of arms are placed at either end. The one on the right, topped by the helmet of a warrior, indicates the rank of knight or order of nobility of the person, who would in turn belonged to the order of knighthood of Santiago, one of the four most important orders of knighthood in Spain along with those of Calatrava, Montesa and Alcántara. During the restoration of the painting, the change in the iconography of the area of the coat of arms where the eagle is located came to light. Initially there were three vertical golden bands which were covered by the bird, although it is not clear whether this change was made while the painting was being executed or after the work was completed. The other coat of arms, this time with the crown of government, shows very different heraldry with no distinction of knighthood.The change the coat of arms underwent in this painting also affected its counterpart in the other painting.The noble coats of arms could have belonged to Rojas Marres' paternal branch, that of Don Feliciano de Rojas Ponce de León, and to his maternal branch, that of Doña Juana de Marres, or it is also possible that the one on the left could have been his own, that of the alderman, and the one on the right that of his wife, Doña María María Ana Concepción del Castillo Castañeda.Whilst the upper part of the painting represents political power and command over the people and the virtues that accompany the governor in order to govern well, the lower part, the most didactic part of the canvas, shows the values and qualities of the new government through the representation of 32 squares with elements divided into two panels of 16 squares each.The panel on the left represents objects that have explanatory symbolism linked to elements of power, while the panel on the right shows scenes with a written phylactery above them. These panels would have helped to explain the iconological programme, which symbolised the political programme of the new ruler, to the illiterate population, who made up the majority of the indigenous or native peoples at the time.The second painting shows that the importance of the family and its service to the empire rests on the Spanish monarchy and the Catholic faith.As if it were a ‘Tree of Jesse’, the distribution of the different elements that make up the rich and varied composition of the painting are arranged in a highly symmetrical and rational order.The base of the tree rises above the strong figure of the Child Virgin Mary on her throne, iconography that was very popular during the 17th and 18th centuries throughout Latin America, partly due to Zurbarán's paintings that came from the old continent to the ‘New World’. The feather below could refer to the feather of the archangel Saint Gabriel in the Annunciation. Given that the dogma of the Immaculate Conception was a matter of State and of protection by the Hispanic monarchy, the weight of the Crown rests on it and rests on the figure of the Virgin Mary; as one of the columns of Hercules in the coat of arms of Spain, legendary founder of the Hapsburg dynasty, acts as the trunk of the tree with the phylactery bearing the motto ‘NON PLUS ULTRA’, before Charles V and the anagram ‘Victor’ in golden letters.This anagram is flanked by the lion of Spain and the eagle of Saint John, protector of the Spanish monarchy, both also with golden crowns. On this rests the royal crown of the Bourbons, thus constructing the trunk of the compositional tree, where monarchy and religion are the pillars on which the family's noble coat of arms rests, which in turn is crowned by a laurel wreath bearing an angel and a scroll with golden symbols.The different branches of the ‘tree’ are divided according to the symbols and their distribution.In the upper part, the elements depicted are linked to the litanies of the Immaculate Conception, symbols related to the Virgin Mary. At the top is the sun, the eight-pointed star which has been linked to the Virgin Mary since antiquity, and the moon. The king of the day and the queen of the night contemplate the scene. Between there and the middle of the painting are a rose bush and an olive tree on the left, and a bunch of lilies and a cypress on the right, flowers and plants associated with Mary. All the iconographic repertoire, together with the symbols of the Marian litanies in the upper part of the painting, the elements of science (the book, the compass, the globe and the candle that is not extinguished by the four winds, also depicted) and the six virtues in the lower part, justify the service and work of this noble house to the royal house and the Catholic religion, the foundations of the Spanish empire in the Latin American colonies.In conclusion, these two paintings present a political programme for the government of the new ruler of Lima in the 18th century. The importance of this pair of canvases lies precisely in the way they represent this political programme by justifying the noble house as being in the service of the King of Spain and the Catholic faith. To this end, it also makes use of a graceful play of symbols, something rare to see in paintings from Spain itself, but common in the Americas, to educate and explain to the people how their new rulers will exercise their power.We are grateful to the art historian and restorer Ignacio Panicello for cataloguing and identifying these paintings.Provenance: Former collection belonging to Adrián de Rojas Maestre (descendant of the regent of Lima, Don Fernando de Rojas Marres).This family, or part of it, with important historical links, settled in Spain before 1950 at the Finca El Maestre in Seville. The paintings have always belonged to the family.The subject of our paintings, Fernando de Rojas Marrés, was born in Ceuta and died circa 1800 in Madrid.There is a record in the Spanish Historical Archive of his transfer to the Americas as a ‘Merchant of textiles, he went to South America on the ship Aquiles under the charge of Captain Martin Joseph de Echenique, bringing cargo directly to the port of Callao Lima. Record of information and passenger licence to the Indies of Fernando de Rojas y Marres’.

Novo-Hispanic school. Mexico. 18th century.‘Stabat Mater Dolorosa, iuxta crucem lacrimosa’.Oil on canvas. Measurements: 69,5 x 54,5 cm. Devotional and catechetical canvas, creating the effect of an altarpiece of Our Lady of Sorrows. In a central oval, and as the base of a Christ on the cross, ‘stabat Mater Dolorosa’, mother Mary remains under the cross of her crucified Son. The painting is clearly devoted to Mary.Six angels of the Passion surround the cross: two weeping angels are at his feet, with the symbols of the Passion; two fly with scrolls reading respectively: ‘Christi sub cruce Mater erat’ (The Mother of Christ was under the cross), and ‘Maria pendens fuit in cruce Christi’ (Mary was hanging on the cross of Christ). Both texts are from ‘Epigramatum Libri 3’, a book written by Jacob Biderman, a Jesuit priest, and published in 1620 with ingenious religious epigrams in the manner of the classical writer Martial. Of the two remaining angels, one has the book EPs (a reference to the Epigrams) and the other holds an hourglass, symbol of the inevitable passing of time, of death and the end of time on earth, a clear allusion to the souls in flames.Under the Virgin of Sorrows are the blessed souls in purgatory: as their lives transition, they take the Virgin as their ‘ascent and mediator’ in their sufferings (which they compare with their own and know ‘they are heard’) and look towards the final horizon (clean and close after the cross) to Christ who suffers on the cross and who crowns everything.  In short, the Christian theology of, ‘one must suffer to reach glory’.The presence of a heraldic coat of arms flying in the upper right-hand corner is a clear reference to the person who commissioned the work, the owner or donor of the painting.

A Chinese 18th-century style cast patinated bronze Bixie form scroll weight, the recumbent beast raising its head, it's coat with "Damasked" silver alloy wire markings, on its own shaped hardwood stand, 10 cm long x 8 cm wide.good condition.

An 18th century Indo -Portuguese rosewood Contador (chest on stand) first half of the 18th century probably Goan the upper section with a series of ripple moulded block fronted drawers, above a typically elaborately turned stand with a carved coat of arms to the frieze. 117 cm overall width x 55 cm overall depth x 165 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire Some damage to the facias of the carcass and ripple moulding, left hand handle swan neck broken.The stand has some damage to the turned rings but structurally it is stable.It is possible that the chest section was married with the stand but both of a similar era and both Portuguese.

Borek Sipek for Driade A gilt metal "Acate" gilt brass standing hat and coat stand,175 cm overall height

Fabergé, a dendritic agate miniature animal study, early 20th century, realistically modelled as a reclining Gloucester Old Spot pig, finely carved in dendritic agate, its eyes set with cabochons of red paste, measuring 8.0 x 3.0 x 2.1cm, eyes later replacements The quality of this carving and the sensitive treatment of its subject compare favourably with a number of hardstone animal studies produced by the workshops of the Russian imperial jeweller Fabergé. Animal carvings are among the jeweller's most celebrated creations, adored and collected by some of the most prominent figures of the early 20th century. Russia's stone carving industry centred on the city of Yekaterinburg, where Fabergé acquired the workshop of lapidary Karl Woerffels around 1884, and it was this workshop that produced the majority of them - the carvers Kremlev, Derbyshev and Svetchnikov, managed by the German Alexander Meier. The stones were carefully selected by Carl Fabergé's son Agathon, and were mostly of Russian origin, taking advantage of the rich mineral resources of the Ural mountains and Siberia. The animal carvings found immense popularity with a number of the firm's key patrons, most notably the British Royal Family, whose collection boasts more than 350 animals, and Léopold de Rothschild, who had his racehorses similarly immortalised by Fabergé's sculptors. The dendritic or 'moss' agate used here is an unusual choice for an animal study, its distinctive patterning more commonly employed by Fabergé for inlays and panels in its jewels and objets de vertu. Traditionally found in India but eventually sourced by Fabergé from Siberia, its use here is likely a clever attempt to mimic the distinct patternings of a particular breed of pig known as the Gloucester Old Spot, whose 'lop' ears are also distinctively forward folding as in the present carving, partially shielding its eyes. A number of realistically modelled farm animals including pigs were produced from life at the Sandringham estate in 1907, following a suggestion made to King Edward VII by Fabergé's London agent Henry Bainbridge that the firm recreate a number of the animals across the estate. With subjects ranging from the King's own terrier dog Caesar, to the cows, pigs, ducks and chickens that populated the farmland around them, the animals of this 'Sandringham Commission' were reproduced in wax sculptures by the carver Boris Frödman-Cluzel, before being sent back to the Russian workshops to be immortalised in hardstone. They were then sent back to Fabergé's London branch for purchase, mostly, but not exclusively, by those who wished to gift them back to the Royal Family. Such was the appeal that some were even acquired by members of the family themselves, such as Princess Victoria, who bought a model of a recumbent white sow in pale pink aventurine quartz in 1912 (RCIN 40041). It is not known whether the present study would have been part of the Sandringham commission, but the close attention to detail and the choice of this lesser known breed of pig reflect a close observation of the animal, likely in its agricultural setting, and a desire by the sculptor to capture the distinctive characteristics of this specific breed. King Edward VII was particularly proud of his pigs and sent the best of his herd to The Royal Society Show in June 1911. Pigs were one of Fabergé's more popular animal studies in their native Russia, with several examples recorded in the collection of Empress Maria Feodorovna, and are also among the most humorous and varied of their miniature sculptures. Cf.: a series of carved hardstone pigs by Fabergé in the Royal Collection, collection nos. RCIN 40041, 40038, 40421 and 40422, commissioned by the Royal Family and studied by Fabergé's sculptor Boris Frödman-Cluzel from life at the Sandringham estate in 1907. Cf.: The Robert Strauss Collection of Works of Art by Fabergé, Christie's, 9th March 1976, lot 28, and A. Kenneth Snowman, The Art of Carl Fabergé, 1972, no.237, for studies of dalmatians, their spotted coat also depicted in dendritic agate Cf.: A La Vieille Russie, Fabergé exhibition catalogue, New York April-May 1983, no. 445, for a dendritic agate model of a spaniel with an enamelled gold collar by the chief workmaster Henrik Wigström. An English private family collection

λ A mixed lot of jewellery, comprising an amethyst ring, the three circular-cut amethysts mounted in a yellow gold setting accented with diamonds, size N1/2, fitted case stamped T Harland, a tortoiseshell locket applied with roundels of Mercury and a bearded Classical figure, diameter 2cm, case stamped Butt & Co, and rock crystal intaglio with a coat-of-arms, length 2.2cm

A gold charm bracelet, the 9ct gold bracelet of curb linking suspending thirteen charms including a 22ct gold wedding band, British hallmarks; a poodle, a barrel, a Toby jug, an iron, a Capricorn goat, and enamelled coat of arms for Wareham, the Eiffel tower, a church opening to reveal a bride and groom, an ocean liner opening to reveal a rope and anchor, all with British hallmarks for 9ct gold, the number 13, stamped 9ct, and a candlestick, fastened by a 9ct gold heart padlock clasp, British hallmarks, bracelet length 20cm, gross weight 47.5 grams

A collection of fob seals, first half 19th century, comprising: three fob seals including a plain foiled amethyst, a plain foiled citrine, and a carnelian intaglio depicting a leaping fox beneath the inscription 'Tally Ho', each within a gold cannetille mount accented with turquoise cabochons and purple pastes, on a gold split ring, length 4.2cm; and a white chalcedony fob seal engraved with a coat of arms, mounted in gold, length 4.0cm

Hallmarks: silversmith's mark 'G.F.ST' for Stang Gotthard Ferdinand (1780 - 1821); assay master's mark in Cyrillic 'A.Y.' for Alexander Yashinov (assay master in St. Petersburg 1795-1826), silver mark '84', coat of arms of the city of St. Petersburg H. 13 cm, W. 18 cm gross weight 308 gr.

Hallmarks: silver mark 84 (zolotnik), coat of arms of the city of Moscow, assay master ‘I. K’ over the date ‘1878’, mark of the factory ‘KHLEBNIKOV, coat of arms under the crown silver, cast, engraved, mounted, polished, gilding 23.2 x 17.3 x 7.5 cm gross weight: 747 gr.

Hallmark: silver standard mark ‘84’, maker’s mark in Cyrillic ‘?.S’ , the coat of arms of the city of Moscow ‘St. George’ 12.5 x 3 cm gross weight: 25.92 gr.

Hallmark: silver standard mark ‘84’, essay master’s mark in Cyrillic ‘A.A above the date 1888’ for Artsybashev Anantoly (Moscow, 1988-1998), the coat of arms of the city of Moscow ‘St. George’, marked ‘19’ 10.7 x 6.3 cm gross weight: 125.90 gr.

used as a Musical Trophy, largely engraved ‘Leighton Sea Musical Festival’, ‘Frank Hard Trophy’ Hallmarks: silver standard ‘84’ and ‘woman’s head in kokoshnik facing left’, maker’s mark in Cyrillic, ‘FS’ for Fedor Stroganov (?), coat of arms of the City of Moscow, silversmith’s mark in Cyrillic ‘M. Lombardo’ H. 10.5, D. 16 cm gross weight: 641 gr. Mattei Mikhailovich Lombardo, a well-known goldsmith from 1880 to 1917, owned a workshop and, in 1895-1917, a jewellery store on Kuznetsky Most in Moscow.

Marks: silver standard mark ‘84’, the coat of arms of the city of Moscow ‘St. George’ (?) silver, enamel 15.5 x 2.5 cm gross weight: 27.36 gr.

Various mid-20th century nightware to include a cotton turquoise house coat, a David Nieper negligee, a pink nylon and white lace dressing gown with matching night gown, a cream and blue shortie night gown, a purple nylon Kayser night gown trimmed with lace, a St Michael shortie blue nylon night gown with ruffled V-neck, ruffled hem and ruched waistline, an apricot night gown with lace bodice and a blue crepe mid-century slip/night gown with blue lace neckline and later added straps (8) 

Black crepe 1920's dress with an embroidered and sequin detail panel to the front, the drop waist with a tie, the chiffon sleeves with split to the elbow, there is an extra detailed piece of embroidery, probably a collar as it looks to have been removed, a wool and coney cream coat, the lining panels of coney, shawl collar and cuffs in coney, a 1920's plum-coloured satin dress, V-neck, diamante detail to the shoulders and neckline, a lace three-quarter length jacket with two belts, 1920's/30's buttons to the front and detail to the belts, a pink satin possible nightgown trimmed with lace, with puff sleeves, a cotton blouse in apricot with floral insert, square neckline and ruched bodice, a black silk slip with drop waist with box pleats, V-neck, labelled 'KB Art Silk Fabric, English Made' and a 1920's cotton peasant-style dress with cross-stitch embroidery, red tassels to the bodice and sleeves (8) Condition ReportThe black dress with embroidered and sequin panel is as described in the catalogue description. The wool and coney coat has slight discolouration to the fur lapels and the the back of the coat skirt. Possibly from being folded and put away, the pink dress has a slight hole by the drop waist and a small mark, the peasant style dress has an ink stain to the front of the skirt, the black slip has the faintest white mark just under the waist to the front.

A 1920's linen duster coat/dressing gown embroidered on the back in wool a briar rose, with a padded mandarin collar, two button fastening and embroidery to the one front panelCondition ReportThe coat is approx 136cm long from shoulder to hem The measurement from armpit to armpit across the front is approx 55cm

Evening tailcoat - red and cream - mess jacket or hunt jacketCondition ReportThe tail coat is a small size, approx size 10.  From armpit to armpit across the front is approx 15". The cream lapel has staining on the front and considerable damage to the inside.  The main red of the coat has some small staining.

A 1940's velvet house coat/dressing gown with cream satin quilted shawl collar (with stains), with a velvet tie belt, full length, a black crepe sleeveless evening dress bias cut, deep 'V' neck which is trimmed with cream beads and silver sequins (a/f), a black chiffon dress with blouson top, at one point would have had diamante decoration and a black silk velvet jacket (4)

A Scrimshaw horn powder flask, 19th century, 'Engraved on Holy Island January 10th 1868', engraved with hunters and coat of arms,17.5cm highCondition ReportImperfection given nature of item and age.

A Elizabeth II Gordon Highlanders officers basket hilt sword, by Wilkinson, regulation double edge blade cut with a single fuller and etched with royal cypher and thistles, regimental details and panel with coat of arms Wilkinson number to the edge '90733',the basket hilt with wire bound fish skin covered grip, red felt covered buckskin liner, in its leather covered scabbard, blade, 83cm, 102cm overall, in scabbardCondition ReportSome wear to the blade. Knock and dent to the end of the scabbard. Red felt with rubbing through.

A painted glass panel 18th/19th century, painted with a coat of arms,28 x 21cmCondition ReportSome chipping and nibbling to the edges. Wear and slight losses to the decoration.

BENTWOOD COAT STAND 

LADIES FUR COAT 

CHURCHILL (Winston S) Collected Works in 38 volumes. 34 vols. Of the Works, Plus 4 vols. of the Collected Essays. The Centenary Edition, Library of Imperial History, 1973-76. Numbered Limited Edition, #483 of 1750, with numerous maps and illustrations. Publishers’ full vellum and original bookcase. The upper covers are gilt stamped with Churchill's coat of arms, the spines are lettered in gilt and all edges are gilt; PLUS: A folder with the relevant paper works. Very Good+ set and bookcase.

WESTMINSTER- SMITH, John Thomas Antiquities of the City of Westminster, 2 Vols. In 1, London, T. Bensley for J.T. Smith, 1807 [-1809], first edition. 4to. Two title pages, the second with hand-coloured coat-of-arms. 38 plates in the first vol. and 62 in the second, making a total of 100 plates, many hand-coloured. Cont. full panelled calf, rebacked; rubbed and the main block is detached from the covers. Internally clean.

S.T Dupont Paris lighter with the coat of arms of Bahrain

Steiff Auction Bear (Caramel 28cm) Wearing his black waist coat with his champagne coloured bow tie, in his right hand he holds his wooden auction hammer with a brass head, A small teddy bear made of red mohair sits on his walnut coloured stained beechwood desk. [No.00467]

Steiff Baby hot Water Bottle Bear (14") has original metal hot water bottle [No.01889] together with Angus The Steiff Scottish Bear (brown 27cm) wearing his charming tartan waist coat [No.191]

Steiff Livingstone bear 9 Caramel 28cm) Wearing his beige coat with belt and matching cap. [No.798] Together with Bocuse d'or Steiff (Blond 35cm) Dedication to French chef de cuisine Paul Bocuse, wearing his traditional chefs jacket and 2003 medal. [No.00948] comes in original box / Bag & with certificate

A pair of mid-century 'atomic' coat hooks, of black painted zigzag form with wooden ball hooks painted in primary colours47cm wide

A faux-bamboo wall mounted coat rack, 20th century, with original brass hooks and three hinged mushroom shaped hooks, all in its original French polished finish21 x 70cmsuper colour and silky finishno damage or repairs and hooks operate smoothly

An Aesthetic oak hat and coat stand, the revolving top with five brass hooks on three fluted supports and feet203cm high

A 'Pullman' style nickel-plated luggage rack, the luggage shelf above a row of thirteen sliding coat hooks21 x 97 x 30cm

Eric Ravilious for Wedgwood, a Queen Elizabeth II commemorative coronation mug, 1953, printed in black over pink banding with the date and 'ER' monogram flanking the Royal Coat of Arms, printed marks to underside, further hand-painted 'CL6485 / IR to the underside10.5 x 11cmIn good condition, very lightly faded and a couple of minor scrathes around the lower 1/4.

White painted coat rack

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

English School (early 19th century)A miniature oval portrait of a young gentleman, in navy blue coat with white stock and cravat, watercolour on ivory, the reverse with glazed gilt thread and seed pearl heightened hairwork panel, with oval reserve inscribed 'Wil Treadwell Obt 23 Sep 1826 Aet 33', 7.2 x 5.7cm, in leather case.Ivory registration submission reference number 2WPPH6GS

DANIEL GARDNER (1750-1805) A portrait of Thomas Cholmondeley of Vale Royal circa 1778, depicted full-length standing beside a tree, wearing a blue top coat, white waistcoat and breeches, holding a whip, a distant landscape beyond, pastel and bodycolour, 84cm x 59cmProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Thomas Cholmondeley (1726-1779), of Vale Royal, Cheshire, was a British landowner and Tory politician who sat in the House of Commons between 1756 and 1768. He was elected MP for Cheshire in 1756 and 1761. His son, also Thomas, was the 1st Baron Delamere.Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, page 55.

A matching set of large carved oak angel corbels circa 1450-1480, each holding a polychrome painted heraldic shield, the angels with hair in wavy rolls and with feathered wings, each surmounted by a crenelated parapet, one shield indigo with a gilt cross motif and the other red shield with a central horizontal gilt line and three gilt carved buckles, 53cm high and 50cm high The Cell, Wyesham, Monmouthshire. During the Medieval period Wyesham was the site of a chapel, the Church of St Thomas the Martyr; the site is first mentioned in 1186 in a papal bull of Urban III and was known as the King's Chapel by 1500. Its later history is somewhat chequered; it remained in use as a place of worship until becoming the vicarage of Dixton Church in 1740, subsequently by 1815 the local Poorhouse. It has been a private house since the end of the nineteenth century. This pair of corbels exhibit characteristics which are typical of 15th Century workmanship including the arrangement of hair in rolls and the carved feathering detail seen here on the wings. Also characteristic are the crenelated parapets, which can be seen on three 15th Century angel corbels in the V&A Museum Collections (collection number W.21-1911; W.22-1911 and W.23-1911).The red shield appears to bear the arms of Sotterley (Soterly) of Suffolk. The Dictionary of British Arms (Vol. III, p.379) notes the arms as: ‘Gules a fess between three buckles argent’ (ref. Ca Ms. L1 603, 4 and Suff. HN 26 - Suffolk Heraldic Notes by William Hervey [Society of Antiquaries Ms. 676]) where the buckles in Sotherley [sic] Church are described as ‘flory’. The church of St. Margaret of Antioch, Sotterley, Suffolk was built in the 14th century and corbel heads there depict the three buckles as the arms of the Sotterley family. Various other ecclesiastic artefacts and carvings have been documented at Sotterley church bearing the family arms.Although the family that originated with Edmund de Soterle in the early part of the 14th century was based mainly in Suffolk and Norfolk, they also owned further estates in Cheshire. The present corbels would most likely have originated from the Sotterley church or an associated building or tomb.The indigo shield bears a medieval merchant mark. Merchant marks are regularly found in everyday medieval life as carvings above door frames or in letters and deeds validated by these distinctive devices in lieu of signature. Merchants’ marks may also be found inside churches - either engraved in stone or rendered upon stained-glass - to indicate donation toward restoration or otherwise an endowment. Upon the passing of a merchant, their mark would occasionally appear on their gravestone. It is likely that this mark may either refer to the merchant mark of a member of the Sotterley family, another possibility may be that the mark was used as an emblem of a non-armigerous benefactor's generosity. An interesting parallel may be found in Lavenham Church, Suffolk, which owes its building chiefly to the rich clothiers who took advantage of the wool trade. His merchant's mark is on the plinth of the tower and at that time he had no coat of arms. A tantalisingly close design of a merchant's mark can be bound in that of John Gosse (Ipswich 15th century, see: Harleian Society vol. 108 (1959) ed. by Leslie Dow, Mark #84We are indebted to Thomas Lloyd and Robert Colley for their kind assistance in this research.

Two Meissen figures of Turks, circa 1750, the decoration later, modelled by J F Eberlein, one of an officer and the other of a lady, later enamelled in floral costume and detailed in gilding, 15.5cm high.The turbanned Turk - chipping to staff in right hand, tip of plume to turban is lacking and has been gilt, edge of coat cracked off and restuck with associated chip, chip to small left finger, minubte chipping to left hand fingers.Female Turk - with chipping to tip of left hand fingers, to the tip of her nose, to the implement (flag?) in her right hand, regilt chip to her hat, regilt chip to front corner of base, small chip to the orange sash.

Dutch School, 18th CenturyPortrait of a Gentlemanbust-length, wearing a black coat and hatoil on copper10cm x 9.5cm In a gilt foliate frame (bearing some wear). Some clear wear to the artwork, including severe fading, as well as undulation to the copper sheet.

An embroidered coat of arms on a maroon velvet background, 53.5cm x 47cm, a middle eastern silk embroidered panel with drawstring top

Dr Christopher Dresser (1834-1904), 'The Empire Quilt', 1887, a Barlow & Jones satin appliqué produced for Queen Victoria's Golden Jubilee, unbleached cotton, decorated with heraldic devices from the British colonies around a central royal coat of arms, embroidered 'Patent No. 2196.A.D.1881.', 280.5 x 246cm Provenance: From the collection of Dr William Lind. Literature: Widar Halén, 'Christopher Dresser', Phaidon, 1990, p.114, pl.113. Condition ReportIt has been professionally restored and in very good order with very few signs of marks or issues.

Pair of armorial salt cellarsChinese export porcelainDecorated with Famille Rose enamels, featuring a central coat of arms of a European familyQianlong period (1736-1795)8x6 cm

A George II coffee potEnglish silverRelief and chiseled decoration depicting urn with flowers, shell cartouches and family coat of armsCarved ivory handleLondon assay mark (1763), Lewis Herne & Francis Butty makers mark (1758-1763)Alt.: 29 cm1010 g