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A brass lantern clock, 12 cm high, with a battery movement, a Chinese style desk set, comprising of an inkwell, letter rack, and pen stand, a bronze figure, 9 cm high, and three silhouettes (qty)

Novohispanic School. Guatemala. 17th - 18th century."Virgin Mary" and "Mary Magdalena"Pair of carved, gilded, stewed and polychrome cedar wooden sculptures.Virgin measurements: 36 x 20,5 x 20,5 cm. Mary Magdalene measurements: 35,5 x 18 x 22 cm.These images serve as splendid examples of the refinement of sculpture in Guatemala in the 18th century. Fully covered in gold, with estofado technique and "picado de lustre" - a patterned effect achieved using small chisels or burins.  It is painted with various colours by brush. The sclptures are adorned with flowers, palm leaves, and small delicate geometric motifs. The mastery of the carving is evident in the multitude of folds in their elaborate garments, the emotion and sadness conveyed by the faces, and the beautiful strands of Mary Magdalene's hair.These images are comparable in quality to two sculptures that are part of the collection of the LACMA Museum in Los Angeles: the Archangel Saint Michael (collection number M.2021.1a-b) with significant similarities in the rich and fine polychrome, and the Virgin of the Rosary, polychromed by the artist Felipe de Estrada.It is important to highlight that in the society of that era, both in New Spain and in Europe, there was an enormous demand for this type of figure. Writings from the time reflect the society's desire to possess these excellent images. As indicated by Professor Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles), "in a letter to a fellow priest in Guatemala, the Franciscan commissioner in New Spain, Manuel de Nájara, thanked him for obtaining some images, emphasizing that the fame of Guatemalan carvings was widely recognized throughout the viceroyalty."Reference Bibliography:- Katzew, Ilona. "Archive of the World. Art and imagination in Spanish America, 1500 - 1800." Los Angeles County Museum of Art.

SAS War Diary 1941-1945, The Services Edition, limited edition no. 347 / 1000, facsimile with colour and monochrome illustrations, original blind-stamped light brown leather over boards, large folio, London: Extraordinary Editions Ltd., 2011, with letter from publisher dated 2011.

A large and fine Sevres Porcelain charger, mid-19th century, depicting a portrait of Margaret Valois, wife of Henry IV, signed 'Leber', within a blue border and gilt highlighted, painted mark to underside, 45 cm diameter, together with a later wooden display stand.Sotheby's consignment receipt from 1994 present, together with a letter of attribution from Albert Amore Ltd, dated 1943.No chips or cracks. small area of gilt loos to the border

Morrissey: collection of tour-related ephemera - includes 'Kill Uncle' 1991 tour programme, 'Your Arsenal' 1992 tour programme, one red tour pass and three turquoise,'Boxers' 1995 tour pass, two Japan 1995 tour passes, and American 2002 tour pass on lanyard, together with two Creation signed photos of Alan McGee and Ball. (12)Steven Patrick Morrissey (b. 1959 ) is an English singer and songwriter. Beginning his career in The Smiths, he has since gone on to have a successful solo career within the alternative and indie rock genre. From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. Overall good condition. Creases to the letter signed Ball. Multiple pinhole marks on Alan McGee's signed poster. Scuffs and creases to Your Arsenal tour booklet. Scuffs, creases, and a minor stain to Kill Uncle tour booklet.

Peter Cushing (1913-1994) Three Mabel Lucie Attwell colour postcards - each sent at the same time by the actor to his wife Helen, handwritten in pencil, dated '20.vii.52'.The first reads, 'In a café ‘on the front, Worthing, having a HARLICKS!! My dearest dear - thank you ever so much for your lovely letter . . . Cushing advised her he had just finished rehearsing a new scene with Bolling, 'I made them laugh by suggesting that Edith ? should be offered a special wish to play the ? Brown role in Cardiff . . .';The second postcard continues, 'with a Welsh accent! I’ve got a seat for you for the evening performance, darling, on Saturday and I’ve enquired about your trains from Victoria direct to Worthing (Central I think) so you don’t have to change at Brighton. I wasn’t sure if you would like to come earlier so as to have the morning here . . .' Cushing has also listed three Pullman train times departing from Victoria and arriving at Worthing arrival times;The third postcard (with a slight stain at top continues) '. . . it would be lovely to have you here dearest as long as it’s not a BARR FAR MUMMAR' and 'if (she) arrives in the morning I can meet you at the station, if you come in the afternoon will you come along to the theatre . . . Thank you for taking my shoes dear, the pairs I have are not comfy. I loved what Benhams said! All my love xxx', Cushing signs off with a doodle of a dog bone and paw print. (3)Peter Cushing was a prolific writer to his wife whilst they were apart, and frequently used pet names as in this case, and often sent postcards by Mabel Lucie Attwell. He was famously devoted to his wife, Violet Hélène Beck, and in later years Cushing became increasingly reclusive following her death in 1971.Provenance: ex- Peter Cushing Collection: Canterbury Auctions, 2023.

Peter Cushing (1913-1994) and Peter Ustinov (1921-2004) – a small selection of four original and one copy correspondence between the two actors. In 1955, whilst Cushing was appearing in a BBC drama based upon a play written by Ustinov, they commenced an exchange of humorous correspondence by fictional characters they created. Although their correspondence ended shortly after the play was broadcast, they remained great friends and occasionally reprised their characters’ correspondence in later years, usually with deliberate mis-spellings of names and events.Included in this lot is:1. A Comical handwritten telegram from Peter Ustinov (of Houltworthy, Riller, Riller, Spraffe & Bullim, Solicitor-at-law) being a summons (to Peter Cushing) for non-payment of monies. Laid down to a single, plain sheet of A4 paper;2. A photocopy of Peter Cushing's reply, an autographed letter, dated 23. Feb. 1955, 'mie veree dere Morrie' . . . Cushing has acknowledged the receipt of the telegram which has left him 'hart-broken', appeals to Ustinov to 'retrackt your ackshun’, and suggests they ‘meat at a mewtually conveneant tyme and playce’ to sort it out ‘frend too frend’, signed Peter;3. Orginal autographed letter signed from Peter Cushing, to Messrs. M. & D. Grosvenor, also dated 23. Feb. 1955, hand-written on the reverse of the page of an unknown play or film script. Cushing states . . . 'I am in receet of yore a/c receeved of toodai’s dayt and franklee, sirs, I am horryfyed – I never – repeet NEVVER – had me nipples done and me switch’s arr spynsters tew thys veree dai – further moor – yore pryces arr Xorbeedant. Reelucktantlee I am refurring thee whole soordyd ayefare too mi solelissiturs – Messurs Renfrick, Renfrick & Renfrick & Sons Ltd who no dout wil bea getting in touch wiv yew (?) Moyst unfaythfooly Yrs Peter Cushing';4. A further original autographed letter signed from Peter Cushing, also dated 23. Feb. 1955, sent to Mie Veree dere Morris (Ustinov) in which he states 'as old frends and busyness assosheates . . . he was ‘hart-broken' to have received the letter from his solicitors, Howuntrusty, Riller, Riporf, Swagge and Bullion, and asks how he (Morris/Ustinov) could have done it knowing his (Cushing’s) ‘sirkumstanzez’ with a wife, several children and his mother-in-law to feed, Cushing pleads with him to ‘retrackt yore ackshun’ and to meet at a ‘moochully conveneant tyme and playce and diskuss this busyness in a atmossfear of konvivealitty’ signing ‘Yrs Sinceerley, Peter’;5. A further autographed letter signed from Peter Cushing to Morris Grsovenor, dated '24 of Feb 1955', written from Hotel D’Or, Place de la Konkord, Paris, France, in which he says he has gone for a ‘breff vaykayshun wiv the family. I cannot nor I will not be kowtow’d by yore attitood which I do not lyke. I am on too a good busyness deel hear (tyres and sundries) and if yew dew rite by me, I mite be abel to kut yew inn on a gude thing. I shal be a abzentea from the Kalleydonian Road for sum tyme and wil deam it only write if you wil cease yore insessant korrespondence until such tyme as I am abel too meet yew harf way. Yrs without ackrinimy, Peter Cushing’; Provenance: ex- Peter Cushing Collection: Canterbury Auctions, 2023.

A collection of 18 stick pins, early 20th century, comprising: a stick pin set with three cushion-shaped diamonds; one set with a ruby and seed pearls; one set with a star sapphire; one set with a pale blue chalcedony; one composed of the entwined intials SF in bicoloured gold, fitted case with tooled initials SF to exterior; one with a shell cameo of a Bacchante; one with pietra dura inlay depicting a forget-me-not; one with a lava cameo; one set with a tiger's eye cabochon; one set with bloodstone; one with a quartz cat's eye; one set with a faceted rock crystal and cabochon pale green stone, possibly beryl; one with a micromosaic panel depicting the Colosseum; one inlaid with jasper an hardstone depicting a crown over the letter X; one set with a cabochon sapphire; two set with lines of half pearls; and one with a glazed locket compartment within a quatrefoil border, variously mounted in gold and silver, some pins of base metal, four cases

Movado, a lady's gold, malachite and diamond wristwatch, circa 1970, the oval malachite dial with gold hands, within a textured gold border accented with bands of brilliant-cut diamonds, to a textured gold bracelet, bracelet length 18cm, case width 3.6cm, manual winding movement, dial and movement signed Movado, case back numbered 394Y, bracelet and case back with British hallmarks for 18ct gold, sponsor's mark RCK, date letter for 1970, gross weight 86 grams

Two 9ct gold pill boxes, London, circa 1971 and 1969, each of rectangular outline, opening to reveal a plain interior, one with a samorodok finish with a cabochon sapphire clasp, 4.0 x 2.3 x 1.0cm, British hallmarks, sponsor's mark SJR, date letter for 1971, gross weight 26 grams; the other with a led set with polished sections of tricoloured gold the sides and base with engine turned designs, with a floral clasp, 4.5 x 2.7 x 1.0cm, British hallmarks, sponsor's mark SJR, date letter for 1969, gross weight 35 grams

An unusual 18ct gold and diamond bangle, circa 1984, of rectangular outline, set to the front with lines of brilliant-cut diamonds, opening via a hinge, inner circumference 18cm, maker's mark V&Co, British hallmarks for 18ct gold, date letter for 1984, gross weight 57 grams

A collection of silver and enamel Arts and Crafts jewellery, including a brooch by Charles Horner, early 20th century, and an opal doublet ring, comprising: a gold ring set with an opal doublet, size K; together with two brooches, a pendant and a pair of earrings, each designed in the Arts & Crafts style, applied with blue and green enamel, earring length 3.1cm each, screw fittings, the smaller brooch, length 3.5cm, with British hallmarks for silver, sponsor's mark CH for Charles Horner, date letter H for 1908, the larger brooch length 5.2cm, likely adapted from a buckle, later brooch fittings, partial British hallmarks; pendant length 5.7cm, central paste possibly later replaced

A George III gold and enamel mourning ring, circa 1808, centring on a glazed panel of hairwork, within a rectangular black enamel frame, the inscription 'IN MEMORY OF' in reserve, to shoulders engraved with floral scrollwork, mounted in 18ct gold, size N1/2, British hallmark, date letter for 1808, sponsor's mark GMH

Φ Φ Stuart Devlin, a pair of gold ear clips. circa 1972, each of domed circular form, decorated with abstract human figures against a textured background in 18ct gold, 2.4cm diameter each, British hallmarks, date letter for 1972, sponsor's mark for Stuart Devlin, fitted case stamped Collingwood & Co.

Asprey & Co., a ruby and diamond demi-parure, circa 1977, comprising: a necklace and bracelet, each composed of oval linking, set with oval rubies and brilliant-cut diamonds, mounted in 18ct gold, necklace length 36.5cm, bracelet length 17.5cm, each with French assay marks and British import hallmarks for 18ct gold, sponsor's mark A&Co. Ltd for Asprey & Co., date letter for 1977, French maker's marks for Pierre Brun, combined gross weight 99 grams, caseThe workshop of Pierre Brun was established in 1935 and for much of the 20th century was one of the leading manufacturers of high jewellery in Paris, who made for Cartier, Van Cleef & Arpels and Boucheron amongst others, before being bought by Cartier in 2000.

A collection of jewels and pocket watches and an Asprey case, comprising: a pair of mother of pearl, enamel and sapphire cufflinks in 9ct gold by Cropp & Farr, British hallmarks, case stamped Garrard; an 18ct gold open-faced pocket watch, British hallmarks, date letter for 1876; a malachite and green glass bead necklace; a gold chain necklace suspending two gold medallion pendants, pendants each with French assay marks for 18t gold and indistinct maker's marks; a lorgnette in low-carat gold; a diamond pendant mounted in bicoloured gold, on a fine gold chain, chain stamped 750; a brooch designed as the letter A, set with rose-cut diamonds, within a square border applied with light blue enamel, in silver and gold; a Regimental badge for the 12th Royal Lancers (Prince of Wales's) in bicoloured gold, a gold rope twist chain necklace, stamped 18K; together with a collection of silver and base metal jewels and pocket watches, in a black case, measuring 30.5 x 20.3 x 15.5cm, signed Asprey London

Two pocket watches, late 19th/early 20th century, each of open-faced design, one in steel with a white enamelled dial with subsidiary seconds dial, within a 9ct gold outer case, length 6.7cm including suspension hoop, British hallmarks, date letter for 1924, gross weight 83 grams; and the other with a gilt dial, the case back with engine turning and a blank escutcheon within a garter border, 5.8cm including suspension hoop, British hallmarks for 18ct gold, gross weight 59 grams

A George III gold and enamel mourning ring, circa 1795, designed as a wide gold band, applied with black enamel, the commemorative inscription 'Wm RADCLIFFE ESQ OB 22 SEP 1795 AE 85' in reserve, between borders of white enamel, size M, British hallmarks, date letter for 1795, maker's mark TM

Hallmark: London silver standard mark ‘Lion passant facing left’, date letter ‘R’ for 1812-1813 5.8 x 5.8 cm gross weight: 70 gr.

John Wragg (1937-2020) sculpture, female figure, 67cm high (possibly jesmonite).  Purchased at the RA Summer Exhibition 2001 (with receipt and letter from John Wragg) From the collection of the late Maurice Costley 

George Rowlett (b.1941)  Oil  “Walmer Beach, Bathers”, 2000, signed, labelled and dated verso, purchased from Art Space Gallery by Craigie Aitchison, Art Space Gallery label verso, 11cm x 16cm From the collection of the late Maurice Costley George Rowlett was born in Scotland, studied in Grimsby and the Camberwell School of Art and also the Royal Academy. He studied under Frank Auerbach, who’s influence is seen in Rowlett’s work. He uses a plate knife with bold strokes with thick layers of paint creating a textural work. He is known for his landscapes and seascapes. George Rowlett exhibits internationally and can be found in many well known collections including the Hiscox Collection and the Nuffield Foundation.

Eileen Cooper OBE, RA (1953) Oil on canvas “In Night Shade”, female nude with foliage, with Rabley Contemporary label verso, with letter from the Rabley Gallery regarding the purchase and related paperwork, 90cm x 60cm, unframed From the collection of the late Maurice Costley  Eileen Cooper was born in Derbyshire, She studied firstly at Goldsmiths College and then for her MA at the Royal College of Art. She is a painter, print maker and ceramicist. Her work is figurative, imaginative and her inspiration comes from mythology, fairytales, the Bible and stories in general. The female form and identity is important to her work. She was elected to the Royal Academy in 2001 and in 2010 started serving as the Keeper of the Royal Academy, the first woman to do so in its 250 year history. Eileen has had numerous solo exhibitions both in England and abroad. Her work can been seen in many public collections including the Art Council, National Portrait Gallery, Dallas Museum of Art, The Royal Collection Trust and the Royal College of Art. Condition ReportRecto: canvas in very good condition, no obvious signs of wear and tear on paintwork, unframed. Verso: canvas inscribed 'Eileen Cooper 2018 Night Shade', gallery label on back, cross-stretcher in good condition.

Michael Scott (1946-2006) Oil on canvas  “Studio Dreams”, young man asleep at a table, with Fosse Gallery receipt dated 2000, 77cm x 77cm From the collection of the late Maurice Costley Michael Scott was born in Aberdeenshire, Scotland and was at first a teacher after studying political science at Liverpool University. However he studied art, including life classes at the Glasgow School of Art under the painter John Boyd. His work is figurative, often quite intimate. Growing up in a fishing town, his work has the recurring theme of fish or fishing. He won two awards, the David Cargill Award in 1990 and the Paper Tiger award in 1991. He participated in the Royal Academy summer exhibition from 1988 and had solo shows at the Contemporary Fine Art Gallery at Eton and at the Portland Gallery London. His work is also in the Fleming Collection. Condition ReportOverall in good order. Minute wear to frame. Canvas uninspected out of frame. 

A set of seven Royal Worcester porcelain cabinet plates decorated by H Ayrton, painted to the centre with fruit, to a cobalt blue and cream ground, with gilt border, signature to each, and a copy of the letter of authentication from The Royal Worcester Porcelain Co. Ltd.,24cm diameter,Condition ReportNo apparent chips, cracks or restoration.

A group of silver items comprising a pair of bud vases, Sheffield 1919, on weighted bases, 14.5cm high, three dressing table jars, to include an example with a blue guilloche enamel lid, the largest 6cm wide, and an ashtray, by Adie Brothers, Birmingham 1947, with an engraved letter 'K', 11cm wide2.3ozt weighableCondition ReportTarnishing and wear throughout. No damage to the enamel.

WG Grace, signed letter on Lord's headed notepaper, with Buckingham Covers Certificate of Authenticity,

CHARTERIS, Leslie (The SAINT- 16 books, all Signed and Inscribed to Beryl), Plus a Signed typed letter: 1- The Saint's Choice. 1967, 1st UK edn; 2- The Saint and the Fiction Makers. 1968, 1st US edn; 3- The Saint and the People Importers, 1971, 1st UK edn; 4- The Saint and the People Importers, 1972, 1st US edn; 5- The Saint's Getaway. White Lion Publishers, 1973; 6- Catch the Saint, 1975, 1st US edn; 7- The Saint around the World. White Lion Publishers, 1976; 8- the Saint and the Hapsburg Necklace, 1976, 1st US edn; 9- Send for the Saint: The Midas Double and The Pawn Gambit, 1978, 1st US edn; 10- the Saint and the Templar Treasure, 1979, 1st US edn; 11- Count on the Saint: The Pastor's problem and the Unsaintly Santa., 1980, 1st US edn; 12- Catch the Saint. Magna print books, 1980, large print edition; 13- The Fantastic Saint, 1982, 1st US edn; 14- The Saint: Five complete Novels, 1983, 1st US edn. Thus; 15- Salvage for the Saint, 1983, 1st UK edn; 16- The Saint in Pursuit. Chivers Press, 1986, large print edition. All Very Good+/Fine copies, with Dust Jackets (Except for the two 'large print', which were not issued with DWs?. plus: TLS: A charming letter sent On his letter headed paper, 19 August 78. 'Dear Beryl, I had this book signed and wrapped…' Goes on to praise her 'steak-&-kidney pie that we love so much. It must still be the best in the world...' 22 lines, and signed Leslie & Audrey (16+1)

Black Forest carved dipping pen with stanhope of the "Lion of Lucerne", similar letter rack, a cased Sykes Hydrometer by Loftus of London and other wooden items

2 Letter racks and a jewellery box

A mixed lot of Brass items, to include Brass Fire Tools, Bradley & Harrari brass letter holder, Brass Tray's, A set of ten singing bowls, A Bronze gentlemens bell

*AURELIO DE FELICE (1915-1996) 'Battaglia di Ragazzi', (Battle of the Boys), 1941, bas-relief panel, bronze, 100cm x 160cm, Note: This work is represented in the permanent collection of the Museo Aurelio De Felice, Terni, Umbria, Italy.De Felice was born in Torre Orsina, a small town on the hills around Terni. Of humble origins, he began his studies in contrast with his family at the Scuola Romana in the 1930s. He earned a degree at the Academy of Fine Arts of Rome, becoming a professor there. De Felice alternated lessons and artistic activity with many personal exhibitions. The most important in that period was the one in the Gallery of Rome, introduced by Renato Guttuso.At the end of the Second World War, De Felice started to travel across Europe. In those years he exhibited in Switzerland, Germany and France, where he created, in Paris, on behalf of the Italian Ministry of Foreign Affairs, the School of Italian Art. There he met Pablo Picasso, Fernand Léger, Jean Cocteau, Kees van Dongen, Ossip Zadkine, Mark Tobey and Constantin Brâncuși. He did not allow himself to be involved in the big debate between realism and formalism in the 1950s, continuing on his own road.In 1961 De Felice created the Institute of Arts in Terni. In those years he continued to exhibit all over Europe (Italy, Germany, Switzerland, France). In 1967 he was in charge of the Italian Institute of Culture in Hamburg and the Center of Italian Studies in Zurich.In 1977 he was invited to the National Museum of Modern Art, Tokyo, for a conference on Orneore Metelli, a "painter-shoemaker" from Terni, and father of the Naïve Italian movement, whose art had become famous thanks to De Felice's work.His last exhibition took place in 1982; after that, disease forced the sculptor to limit his activity. He spent the last years of his life in the quiet of his house on the hills of Torre Orsina, where he died on June 14, 1996.The celebrated Italian artist and politician Renato Guttuso (1911-1987) commented on the impact of the work offered here, in a letter to De Felice, remarking "I remember a work of yours from that time, a relief, which was your contribution to the approach of the two directions of research. The relief represents a battle. But a battle of boys. You had found the only possible poetic key (not heroic) to depict a battle! Even today, after twenty years, thirty years, reviewing your work, following its path, observing the changes, I find the same emotion in looking at your sculptures".

Margaret Rowe - oil on canvasA Study of Cape Cornwall with Mermaids, signed 16" x 19" together with letter from the artist relating to the painting

Ornate handwritten letter dated 1906 to George Edward Woodhead Esq on The Occasion of His Retirement from The Mill Dept, 71 cm x 54 cm

A mixed lot of 9ct yellow gold pieces of jewellery, letter A, cufflink, earring, 6.2g in weight approx

Frank Cadogan Cowper (1877-1958)A welcome letter, signed and dated 1890 or 96, oil on canvas, 76 x 50cm

TWO SIMILAR HÖCHST PORCELAIN FIGURES marked to the base with blue wheels and the letter 'D', the boy figured holding a chicken, 15.5cm high, the girl 16cm high; together with another similar figure, 10.5cm high (3)

ATTRIBUTED TO ALEXANDER KUCHARSKI (1741-1819) AFTER ELISABETH-LOUISE VIGEE LE BRUN (1755-1842) 'The Countess Potocka' a bust-length portrait of Zofia (Sophie) Potocka, wearing a blue ribbon in her hair, pastel on paper, 46cm x 37cmNote: Born Zofia Clavone in modern day Turkey in 1760, Zofia was a Greek slave courtesan and a Russian agent, later a Polish noblewoman. She was famous in contemporary Europe for her beauty and adventurous life.A 1943 letter penned by Reginald W.M. Wright, Director of Victoria Art Gallery and Municipal Libraries, Bath, is affixed verso, in which he details his opinion that the sitter is Countess Alexandra (Anna) Potocka (née Tyszkiewicz) the wife of Count Aleksander Stanisław Potocki. A further newspaper clipping housed in an envelope verso refers to the sitter being the Delfina Potocka, the Polish Countess, friend and muse to Frederic Chopin.

A KPM PORCELAIN PLAQUEstamped KPM and the letter 'F' to the reverse, painted with a lively tavern interior scene after David II Teniers (1610-1690), signed 'N. Teniers', 26cm x 40cm

A MEISSEN PORCELAIN FIGURE OF A COURTLY LADY19th century, modelled standing, reading a letter and with multi-coloured feather muff, 21cm high

A KPM PORCELAIN PLAQUEstamped KPM and the letter 'H' to the reverse, painted with a subdued tavern interior in the manner of David II Teniers (1610-1690), inscribed to the reverse 'N Teniers Ranchgerellshaft', 26.5cm x 23.5cm

Anne & Philp Plant, 'Pegmatite', 1968Glazed hexagonal stoneware ceramic forms of varying size and height, mounted to a brown hessian covered board.51cm sq.Footnote:A letter accompanying this lot, hand-written by the artists to the present vendor in 1968, explains that the title of the work comes from the mineral pegmatite, a crystalline rock containing feldspar, which was used in the glaze recipe.

▲ Michael Cardew (1901-1983), a large Winchcombe Pottery stoneware teapot, of bellied form with a medial band and two applied handles, finished in a tenmoku glaze, impressed seal marks, complete with a letter signed by Michael Cardew outlining the delivery of the teapot to the original purchaser,36cm wide27cm high (2)Condition ReportNo chips or cracks. Minor surface wear commensurate with age. Some rubbing to the glaze towards the lower section. Othwerwise structurally sound. Please see additional images.

Berndt Friberg (Swedish, 1899-1981), a stoneware bowl, c.1956, for Gustavsberg, of rounded square form, raised on a narrow collar foot, the whole with an ochre hare's-fur glaze, incised 'Friberg', 'Å' date letter, and with Gustavsberg studio mark,16cm wide6.7cm highCondition ReportNo chips or cracks. Minor surface wear.

Dr Christopher Dresser (1834-1904), c.1881, a silver-plated letter rack designed by Dresser for Hukin & Heath, with seven adjustable dividers, raised on an arched base with four compressed globular ball feet, with 'H&H 2555' marks to the base,17.5cm wide9.5cm deep13cm highProvenance: From the collection of Dr William Lind.Condition ReportWith tarnishing throughout. Some of the dviders with denting and misshapping commensurate with use.

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"

A Sèvres green ground cup and saucer, 1764, the decoration probably later, with birds in branches by Antoine-Joseph Chappuis, blue factory mark, date letter L and CP initialsVery small footrim chip to saucer, some slight rubbing and flaking to gilding at well of saucer, slight wear to gilt rims, dentil rim of cup extensively worn and gilding to handle very slighting worn, minute scratching to green ground, some small areas of misfiring

A letter opener featuring the Portuguese crest of armsSilver 916/000Pierced decorationLisbon hallmark (1887-1937), goldsmith's mark Augusto Luís de Sousa and commercial mark A.L. DE SOUZA LISBOAComp.: 18,5 cm86,6 gLiterature:VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 77 e 259

A Daum France "Cheval Sur Les Flots" letter openerGlass paste and gilt bronze mountsMarked "Daum France"Comp.: 27,5 cm

Angus & Coote of Sydney Letter Knife, featuring enamel motif S.S. Himalaya, the handle as an anchor 21.5cm long, silver spoon, lighters, pewter pipe stand, cigarette cards, et:- One Tray.

HERMÈS, RIO, A VINTAGE BLACK LEATHER CLUTCH BAG CIRCA 1976 With gold tone hardware H upon a wooden disk, opening to a suede interior with small slip pocket Dimensions: 22.5 x 15cm Condition Report: Date letter of F in a circle, with a 2. Some light scratches and scuffs commensurate with age and use, slight rubbing to corners, stitching in good order, slight rubbing to stitches to the corners Condition Report Disclaimer

Box of Beatrix Potter ornaments - Border Fine Arts Peter Rabbit Ate Some Raddishes, Peter Posting a Letter and Timmy Willie and Strawberry

Queen Elizabeth 2008 £5 silver proof coin, boxed with a letter of authenticity

A small collection of silver and white metal items to include: a George V sauce boat; a George V oval open salt with blue glass liner; four pairs of 20th century sugar tongs; a pair of Continental cast 835 silver sugar tongs; a silver cased open face pocket watch (a/f, lacks glass); a Malaysian three-piece white metal cruet set; a white metal and horn tea-strainer; a French Art Nouveau style silver-plated and brass letter writing set with seal and letter knife (pen missing). (Gross weight of silver and white metal items 257g.)

A pair of Continental porcelain figures of a flower girl and boy - underglaze blue Berlin style marks, early 20th century, 15cm high, both restored; together with a 19th century faience glazed pottery figure of a young lady with a letter, blue painted  "back to back letter C's" (possibly Neiderville), 19.2cm high, letter from hand missing. (3)

A large letter 'E' sign, probably originally from a shop or venue frontage - second half 20th century, in grey painted steel with a frosted glass front to allow illumination. (LWH 56 x 15 x 88.5cm)

HENRY MAURICE PAGE (BRITISH 1845-1908) THE LOVE LETTER Oil on canvas 89 x 69cm (35 x 27 in.)

A PAIR OF WEDGWOOD LILAC-DIP JASPER TRI-COLOUR CLASSICAL FLASKS AND COVERS LATE 19TH CENTURY Each applied with four sage green ground medallions sprigged in white with classical figures and suspending swag bands, impressed factory marks and three letter potting codes 26.5cm high   Condition Report: One foot with a few minute chips. One cover with a sizeable rim chip. some small firing faults generally. Please see additional images available from the Dept. upon request.Condition Report Disclaimer

A collection of Maltese silverwares of varying grades to include sugar scoops, decorative spoons, paper knives, letter/serviette stands, small dish etc (5 oz weighable marked 800, 8.5 oz weighable marked 917, 8 oz weighable marked 925) together with a cased knife, spoon and fork set and a cased fish serving set CONDITION REPORTS Items have general wear and tear conducive with age and use to include some tarnishing, some rubbing, light surface scratches etc. Odd one or two pieces are ever so slightly bent. Otherwise general wear and tear conducive with age and use - see images for more details

A box containing three pairs of brass twin light sconces together with a selection of other single examples and various other brass lights and a painted metal letter box

Antoni Miro, after, a bronzed resin sculpture, of a young woman reading a letter, numbered 355/3999, 29.5cm high, signed and dated in the maquette, 1991