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RICHARD PATON (BRITISH 1717-1791) THE REVIEW OF THE BRITISH FLEET AT SPITHEAD BY KING GEORGE III, ON BOARD THE FLAGSHIP BARFLEUR, 24 JUNE 1773, WITH THE ROYAL OAK FIRING A SALUTE, AND NUMEROUS OTHER SHIPS OF THE LINE Oil on canvas 123.5 x 147cm (48½ x 57¾ in.) Provenance: William Tennant (1783-1835), Little Aston Hall, Little Aston Thence by descent to his son, Captain Charles Edmund Tennant (1811-1862), Needwood House, Burton-on-Trent Thence by descent to his son, Major Charles Richard Tennant (1851-1937) and his wife the Hon. Mrs Ruth Tennant (d. 1943), Needwood House and St Anne's Manor, Sutton Bonnington Thence by descent to their nephew, Sir Charles Buchanan, 4th Baronet (1899-1984), St Anne's Manor Thence by descent to the present owner The present picture depicts a key incident in George III's review of the fleet at Portsmouth, 22-25 June 1773. The fleet specially assembled for the purpose was in three divisions: nine line-of-battle ships, commanded by Thomas Pye, Vice-Admiral of the Red, four ships commanded by George, Lord Edgcumbe, Vice-Admiral of the Blue (of whom there is a fine portrait by Reynolds in the National Maritime Museum), and six ships commanded by Richard Spry, Rear-Admiral of the White and commander-in-chief at Plymouth. The last came up from there for the occasion. The painting commemorates the honours conferred on Pye as commander-in-chief at Portsmouth and in overall operational charge of the 1773 review. The King is on board the Barfleur, shown flying the Royal Standard at the main, the Admiralty flag at the foremast and the Union flag at the mizzen. This was a 90-gun, second-rate ship of the line which was to enjoy a distinguished career in the War of American Independence (1775-83) and the French Revolutionary and Napoleonic Wars (1793- 1815). At this time, however, it was Pye's Portsmouth flagship, from which he had been displaced for the period of the royal visit into the 74-gun Royal Oak, seen to the right. Having dined in state on the Barfleur shortly after 2 p.m. the King knighted a number of senior officers on the quarter-deck of the ship, including Pye and Spry, and formally advanced Pye from Vice-Admiral of the Red to Admiral of the Blue. As Spry's blue flag was broken out at the mainmast-head of the Royal Oak, all the ships of the fleet other than Barfleur saluted him 'by the King's permission'. In return, as the London Gazette reported the moment and as this painting shows: 'The Admiral, in acknowledgement of the Honor conferred upon him, saluted the Royal Standard with all the Guns on board the Royal Oak.' In comparison to Pye's new blue flag at the main in the Royal Oak (as shown here) denoting his rise to full Admiral of the Blue, the same colour at the foremast of the ship to rear left in the painting identifies it as the Dublin, Edgcumbe's temporary flagship for the review as a Vice-Admiral of the Blue. At 5.30 p.m. George III left the Barfleur for the Augusta, yacht, in which the royal party returned to Portsmouth harbour, accompanied by flag officers and captains in their barges, landing at the dock at 7.30. Despite the high honours conferred on Pye, he did not enjoy an unblemished reputation. He was known among his junior officers as 'Goose Pye' and is described by the naval historian Nicholas Rodger as 'something of a naval grotesque who aroused mingled amusement and contempt.' Who commissioned this painting is unknown but Pye is a strong possibility. Condition Report: The canvas has been lined. Craquelure throughout, and heavier in some places than others, most noticeably an area about 10cm long to the cloud in the upper left corner. There is also some old paint shrinkage, some of which has been filled in. Rubbing and abrasions to the framing edges, including some associated loss. There is a small area in the sky to the right of the union jack flag (approx. 3cm) where the canvas has been knocked and the paint is starting to lift, and flake. Inspection under UV light reveals light scattered retouching throughout, however this has been very sensitively done. Also with a green cloudy varnish.Condition Report Disclaimer

A group of Roman carved marble fragments, c.190 CE-200 CE, each carved in high relief with figures and sea creatures, originally forming a sarcophagus frieze panel,largest 90cm wide9cm deep35cm high (11)Provenance: Thomas Coke, 1st Earl of Leicester (1697-1759), Holkham Hall, Norfolk;thence by descent. Literature: Holkham Archives F/TC 4 (Account book of Thomas Coke's expenses on his Grand Tour, 1712-1718), p.167;Holkham Archives F/TC 5 (Account book of Thomas Coke's expenses on his Grand Tour, 1716-1718), p. 253;M Brettingham, 'The Plans, Elevations and Sections, of Holkham in Norfolk, the Seat of the late Earl of Leicester', London, 1773, p.20;C C Vermeule, 'Notes on a New Edition of Michaelis: Ancient Marbles in Great Britain', AJA, vol. 59, April 1955, p.136;A Moore, 'Norfolk and the Grand Tour' (exhibition cat.), Castle Museum, Norwich, 1985, p.38;E Angelicoussis, 'The Holkham Collection of Classical Sculptures', Mainz, 2001, no. 52;Forschungsarchiv für antike Plastik 979/13; 2665/12-22. Arachne no. 7499.Thomas Coke, 1st Earl of Leicester is recorded to have purchased these fragments, together with a portrait of Marcus Aurelius, in Rome on 11 September 1716 for 65 crowns.Condition ReportThe panel has fallen into pieces and is incomplete. There are eleven fragments remaining, two of which are connected by an iron pin (pieces 5/6). Surfaces throughout are heavily weathered and one fragment has very little decoration remaining. Dowel holes, iron pins and remains of repairs show that the relief had once been restored. The underside of the lower ledge has slots and dowel holes for mounting the panel.For further images, please contact the department.

A pair of Edwardian electric estate bells, early 20th century, by 'Cowtan & Sons Ltd., 309 Oxford St., London', each with applied label on a wooden bracket,24 x 24cm (2)In 1910, upon inheriting the house, the 3rd Earl of Leicester embarked on a monumental programme of modernisation and refurbishment. Principally carried out by the London firm of Cowtan & Sons, this included the installation of a new system of electric bells in the Hall.

Selection of memorabilia relating to 60s Scottish group The Poets. To inc: New Theatre Oxford listings card with mention for The Poets and The Kinks (8.5x14cm), a page from an autograph book (18x12cm) signed by five members of The Poets, a handbill for 'Big Beat Sessions' at Kidderminster Town Hall with billing for The Poets, an Immediate release sheet, a folded Immediate promotional poster for The Poets, Strangeloves, Jimmy Tarbuck (53 x 34cm).

Dolls House Kits - Furniture & Greenhouse. RRP £200. (9) (1200g)Half Scale Greenhouse by Mercury MiniaturesTerraScenic Dolls Furniture in 1:12 ScaleWonnacott Workshops - CACH1 Chippendale Carver Chair - RRP £34Wonnacott Workshops - Gill Bow Fronted Side/Serving Table RRP £39Wonnacott Workshops - Chippendale Double Chair/Settee RRP £59Wonnacott Workshops - Hepplewhite Urn Stand RRP £19Scale Model Kit - Honeysuckle Cottage 1:48th Scale.Fire Grate Kit & Hall Bench Kit - Condition Report - All appear as New and complete.

Hornby R3447 Class B17 4-6-0 2842 "Kilverstone Hall" in LNER green (550g) Boxed and appears to be undisturbed from packaging, so Not Tested Appears 'As New' - Condition Report - Locomotive - Excellent Box - Excellent

Various Draughtsman Equipment, together with "Turner's Watercolours at Farnley Hall", published by The Studio, Ltd., London, Paris, New York, three volumes, a 19th century mahogany desktop letter box and a further 19th century mahogany box, the cover fitted to the inside with a mirror etc. (qty)

Magic.- Houdini (Harry) Magical Rope Ties and Escapes, 'British Edition', 7 black and white photographic plates, illustrations, without printed dedication slip to Harry Kellar, title and final f. very lightly browned, light soiling to head of rear pastedown, original printed boards, soiling to spine and lower cover, some rubbing to extremities, Will Goldston, [1921] § Hoffman (Professor [Angelo Lewis]) Puzzles Old and New, frontispiece and illustrations, advertisement leaf at end, very occasional cracking at gutter, original pictorial cloth, gilt, spine very slightly toned, extremities rubbed, Frederick Warne and Co., [c.1893] § Hall (Trevor H.) A Bibliography of Books on Conjuring in English from 1580 to 1850, one of 250 copies signed by the author, plates, A.L.s from the author and prospectus for the work loosely inserted, some foxing, endpapers browned, original cloth-backed boards, dust-jacket, short closed tear to head of upper panel, spine slightly sunned, edges rubbed, Lepton, Palmyra Press, 1957; and others magic, card tricks etc, 8vo & 4to (9)

Carter (John) Percy H.Muir & others. Printing and the Mind of Man: A Descriptive Catalogue illustrating the Impact of Print..., second, revised, edition, 1983 § Loudon (J.H.) James Scott and William Scott, Bookbinders, 1980 § Middleton (Robin) & others. The Mark J.Millard Architectural Collection, vol.II: British Books, Washington & New York, 1998 § Gumuchian & Cie. Les Livres de l'Enfance du XVe au XIXe Siècle, 2 vol., reprint, 1985 § Darton (Lawrence) The Dartons: An Annotated Check-list of Children's Books...1787-1876, London & New Castle, De., 2004 § Herrmann (Frank) The English as Collectors: A Documentary Sourcebook, second edition, signed & inscribed by the author, New Castle, De. & London, 1999 § Hall (H.) A Bibliography of Books on Conjuring in English from 1580 to 1850, one of 500 copies, original cloth-backed boards, rubbed, Minneapolis, 1957, illustrations, all but the last original cloth or boards with dust-jackets, the first slightly frayed at edges, a few with faded spines; and c.145 others, general bibliography, art & architecture, children's books etc., 4to & 8vo (6 boxes)

Circle of Anthony van Dyck (1599 - 1641) St Paul Oil on panel With antique label verso inscribed 'Rubens', and inventory number '10769' Unframed Provenance:  Probably with Charles Sedel-Meyer, Paris, 1907, his catalogue, no. 35 There are obvious similarities to three other saints by Van Dyck. The planks of this particular panel are from the same tree as The Holy Family by Jordaens in Saint Gilles town hall, Brussels. There are also paintings from the same tree of James The Greater, related to a Van Dyck in a private collection in Germany, and a Thomas (see Christie's, New York, 19 April 2018, Lot 18). Given that the panels of these were made by Guilliam Aertssen, we can be confident that our panel support was also made by Aertssen. We are grateful to the Jordaens/Van Dyck Panel Paintings Project and Mr Justin Davis for their help in cataloguing the panel. A copy of their report and the dendrochronological report is available on request. Dimensions: (Panel) 25 in. (H) x 19.5 in. (W)

A rare New Hall coffee cup and saucer, c.1790, painted in the manner of James Giles with sprays of flowers and fruit, a New Hall coffee cup painted with spotted fruit in the Worcester manner, a coffee can painted with flowers in pattern 426, and a pair of Coalport cups painted by Thomas Pardoe at Bristol with botanical specimens of pink rose and iris, 13cm max. (6)The cup and saucer acquired from Rod Jellicoe.

A rare New Hall coffee cup, c.1783-87, painted by Fidelle Duvivier with birds in flight and perched on trees above a watery landscape, beneath a continuous gilt formal foliate border reserved on a dark blue band, some gilt wear, 6.5cm.This particular service by Duvivier is characterised by tall rockwork and rather oversized birds. A saucer dish is illustrated in David Holgate's article for the Transactions of the English Ceramic Circle, Volume 11, Part 1, Fidelle Duvivier Paints New Hall.

A collection of New Hall teawares, c.1800, including a pair of teacups and saucers printed in pattern 495 with monochrome landscapes, five further cups and saucers plus three teacups, variously printed and coloured with rural landscapes, including a titled view of Pinxton Hall, and a distant view of smoking kiln chimneys, 14.2cm max. (17)

A New Hall trio painted by Fidelle Duvivier, c.1784-90, comprising a coffee cup, teabowl and saucer, painted in sepia monochrome with figures in rural settings before distant buildings, one showing a smoking pottery kiln, with a similar coffee cup painted by Duvivier in puce monochrome with figures before a church, 12.8cm. (4)Provenance: the trio formerly in the collection of Geoffrey Godden.Cf. Transactions of the English Ceramic Circle, Vol. 20, Pt. 1, p.139 onwards for similar pieces illustrated and discussed by Jonathan Turner.

A group of New Hall and other teawares, c.1795-1810, including two coffee cups painted with scenes from Samuel Ireland's Picturesque Views on the River Medway, a panelled teacup in pattern 436, a bat printed saucer in blue with children, the same print coloured, and a teacup with a young girl, three coffee cups with formal floral designs, a Miles Mason saucer bat printed with a putto and animals in puce, a large cup, possibly Minton, printed and coloured with a young couple squabbling, a Factory Z coffee cup with an urn of fruit, two Staffordshire coffee cups printed in black with a tall ship at sail, and a large teacup painted with a chapel beside water, 13.7cm max. (15)

A New Hall coffee cup and saucer, c.1782-87, painted by Fidelle Duvivier with figures beside trees on the shore of a lake, the rims with a continuous gilt foliate scroll on a blue band, some gilt wear, 13.3cm. (2)Cf. Transactions of the English Ceramic Circle, Volume 11, Part 1, for David Holgate's article, Fidelle Duvivier Paints New Hall, pl.9a for a tea canister from the same service.

TWO FAMILY BIBLES, each leather bound, one page with text reading Presented By Mrs Walker for use in the New Hall in connection with North Leith Parish Church 1886

Baker, Richard A Chronicle of the Kings of England from the Time of the Romans Government unto the Raigne of our Soveraigne Lord King Charles & others. London: for Daniel Frere, and are to be sold at his shop, 1643. First edition, folio (33.5 x 21.5cm), [10] 181 [1] 163 [1] 108 163 [37] pp., contemporary calf, engraved portrait frontispiece, engraved title-page by William Hole, errata leaf present, printer's waste from a contemporary edition of the Bible (containing the Apocrypha) used as printer's waste, ownership inscription ‘A M’ (i.e. Anthony Murray of Dollerie) to head of title-page, early manuscript marginalia from pp. 1-42, early pen-and-ink sketch of a man-of-war to rear free endpaper, marginal loss to F1, damp-staining to index [Wing B501]; Camerarius, Philippius. The Living Librarie, or, Meditations and Observations Historical, Natural, Moral, Political, and Poetical. Done into English by John Molle. London: Adam Islip, 1621. Folio in sixes (29 x 19cm), [12] 403 [5] pp., contemporary calf with gilt armorial lozenges to covers (rubbed), title-page with woodcut strapwork border, initial and terminal blanks possibly original, vellum manuscript waste spine-lining, ownership inscriptions ‘Ex libris Jacobi Murravii 1701’ and ‘This book was read by Alexander Murray anno 1702’ to title-page and initial blank respectively, Hebrew annotations to front free endpaper, title-page slightly marked and with small hole to lower margin, closed tears to foot of A6 and Z1, a few other minor blemishes [STC 4529]; Douglas, Gawin (translator). Virgil's Aeneis, translated into Scottish Verse. A New Edition. Edinburgh: Andrew Symson, and Robert Freebairn, 1710. Folio (31 x 18cm), later calf, ownership inscription (Anthony Murray) to title-page, bookplate (Murray Esqre of Dollerie) to front pastedown, 1553 title-page bound after list of subscribers instead of in first gathering, bound without pi4 (blank), small hole to head of title-page, intermittent damp-staining (stronger to index); [Estienne, Charles]. Dictonarium historicum, geographicum, poeticum … Editio novissima, recensuit, supplevit, locisque pene infinits emaculavit Nicolaus Lloydius collegii Wadhami … socius. Oxford: ex typographeo Gulielmi Hall; impensis ejusdem, et Guilielmi Downing. Prostant Amstelodami, 1670. Folio, [8] 830 pp., contemporary vellum, manuscript spine-title, yapp edges, ownership inscription ‘A M’ to title-page, damp-staining, front free endpaper and initial blanks working loose; Calvinus, Johannes (c.1550-1614). Lexicon Juridicum Juris Caesaeri simul, et canonici. Geneva: apud Petrum Balduinum, 1622. Folio, 1047 pp., contemporary vellum (textblock loose in binding), ownership inscription ‘Anthony Murray, Leyden 22 Feb 1700’ to initial blank, light marginal worming, damp-staining (5) From the library of the Murrays of Dollerie, Crieff, Perthshire.

Art and Architecture Group of 21 books White, John. Rural Architecture, illustrated by a new series of designs for ornamental cottages and villas… Glasgow: John White, 1845. Folio, contemporary half calf;Hall, James. Essay on the Origin, History, and Principles of Gothic Architecture. London: John Murray…, 1813. Folio, contemporary black russia gilt, some rubbing;Gibbs, James. Rules for Drawing the Several Parts of Architecture. London: W. Innys and J. Richardson…, 1753. Third edition, folio, 59 (of 64) plates, plus 5 supplied in photocopy, modern cloth, several repairs;MacGibbon, David and Thomas Ross. The Castellated and Domestic Architecture of Scotland. Edinburgh: David Douglas, 1887-92 [but actually one of 250 20th century reprint copies]. 5 volumes, 8vo, brown quarter morocco gilt;White, Gleeson. English Illustration. “The Sixties”: 1855-70. London: Archibald Constable and Co., Ltd., 1906. Royal 8vo, original cream cloth gilt;Gray, William J. A Treatise on Rural Architecture. Edinburgh: W.H. Lizars, 1852. Original cloth;Devonshire Illustrated in a Series of Views. London: Fisher, Son & co., 1829. 4to, later red half morocco gilt;and 10 others, sold not subject to return (21)

Bannatyne Club Complete set of the Bannatyne Club Garlands Edinburgh: Bannatyne Club, [1823-48]. 11 works in 1 volume, 8vo, contemporary (possibly original) olive-green half morocco, contents comprise: 1) A Bannatyne Garland, quhairin the President Speaketh; 2) Ane Ballat, brevit be ane Learnit Councillar in the Kingis Chekar; 3) Ane richt pithie and pleasant Ballat of Bannatyne, eftir the maner of ane Garland, followis, jocund and mirrie, 1824; 4) A Bannatyne Garland, 1824; 5) Ane Bannatyne Garlande, brevit be Maister Patrick, of the Kings, 1826; 6) Ane plesand Garland, beand ane lytill and merie conceittit geste callit Ye Coirne-clyppis [the text present in two substantially different states as noted in other copies]; 7) A New Bannatyne Garland; compylit be Doctor Jehan of the Hall Ryal, 1828; 8) Ane New Bannatyne Garland, 1829; 9) Two Bannatyne Garlands from Abbotsford, 1848; 10) To my Brother Bannatynian Banqueters, this Little Tractate is with every Kind Sentiment Inscribed, 24 February 1848, W. B. D. D. T;Together with 4 similar works, spine-titles reading: Bannatyne Club Catalogues 1830-1845; Bannatyne Club Rules 1823-1844; Bannatyne Club Albums 1825-1854; George Bannatyne's Poems 1568-1824 (5) 1. George Stirling Home Drummond of Blair Drummond and Ardoch (1813-1872), Scottish landowner and antiquarian, with his bookplate to each work; 2. The Library of a Scottish Gentleman. The Bannatyne Club was an antiquarian printing society founded in Edinburgh in 1823 by Sir Walter Scott on the model of London's Roxburghe Club. 'The playful mode of identification with the past manifested in the Bannatyne [Club's] affiliation with George Bannatyne also finds expression in the Bannatyne Garlands, a series of ten occasional publications spanning 1823–48, printed in limited numbers of around forty copies each. Several Garlands mimic the appearance and language of early modern printed books' (Elliott, 'Walter Scott’s Bannatyne Club, Elite Male Associational Culture, and the Making of Identities', Review of English Studies, volume 67, issue 281, September 2016, pp. 732–750).

Peter Brannan (1926-1994). New hall bowl, oil on board, signed, dated 1980 and titled verso, 29cm x 32cm.

Large framed print 'New Music Hall, The Spa, Scarborough' W Brooke Lith (76cm x 59cm) along with 3 smaller framed prints - Helvellyn, from the north west, Cumberland ,T.Allom - North Fleet Kent, Tombleson - Valley of Troutbeck, Westmorland, T.Allom 

A collection of porcelain tea wares, 18th century and 19th century mainly English, probably New Hall, painted with stylished foliate decoration, garlands and bouquets,the largest bowl 14cm diameter (qty.)Condition ReportVarying condition. Most with crazing and minor damage.

A pair of New Hall tea bowls and saucers, circa 1780-90, decorated in the Chinoiserie or Boy and the Windmill pattern no.20, together with one other New Hall? tea bowl and saucer, of wrythen shape enamel decorated with a band of purple flowers. (6)

A collection of 19th century English porcelain teawares, possibly New Hall

A selection of 18th century Chinese Famille tea bowls and saucers, plus an early New Hall tea bowl, (some as found).

New Hall Hanley, Art Deco pattern 1231 Dinnerware including two tureens, sauceboat, dinner plates, graduated platters (2 Trays)

CHAUCER (GEOFFREY) & SZYK (ARTHUR) The Canterbury Tales, 1946 translated by F.E. Hill, no. 1180 of 1500 copies signed by the artist, printed in blue, red and black, colour plates by Arthur Szyk, original pigskin-backed patterned cloth, spine gilt and very slightly rubbed at head and foot, slip-case, 8vo, New York, Limited Editions Club, 1946.Provenance: sold on behalf of Gregynog Hall, surplus to the collectionComments: corners bumped, some pages with a few minor finger marks, plates fresh.

ENGLISH SCHOOL, 19TH CENTURY Major Charles John Ewen depicted three-quarter length in dress uniform, pencil and watercolour on card, 29cm x 21.5cmProvenance: Hunstanton Hall, Norfolk and by family descentNote: Charles John Ewen (1826-1883), then a Lieutenant in the 65th Regiment, travelled to New Zealand to write of military movements in the country between May 1846 and March 1851. He then retired by sale of commission in December 1854, before later becoming a Captain in the 2nd West Yorks Light Infantry Militia Feb 1855. He retired as an Honorary Major on the 11th April 1867.

* ANGUS MCEWAN PRSW RWS AWS NWS AWI RGI (SCOTTISH b. 1963), CELLULA MEMORALIS acrylic on board, signed and titled versoframed and under glass image size 58cm x 46cm, overall size 75cm x 63cm Artist's label versoNote: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary. Angus McEwan's solo show "Liminal Spaces" is taking place at The Open Eye Gallery (Edinburgh) from 30th August - 21st September 2024.

A Late 18th Century English soft paste cream jug by New Hall. Circa 1780.

New Hall. Two Late 18th Century English porcelain Chinese style bowls. Circa 1780. 12x6cm. 12.5x6.5cm.

Group of 20 souvenir silver items including:One vesta case marked Denver 1906 with design of moose and Latin name (cervus alces) and clock.One vesta case featuring the electricity building from the World's Fair St. Louis, 1904. The other side commemorating the Louisiana Purchase.One vesta case featuring buildings from the World's Fair St. Louis, 1904 including the Palace of Manufactures and the Palace of Mines and Metallurgy.One vesta case featuring buildings from the World's Fair St. Louis, 1904 including the Festival Hall & Cascades and the Eads Bridge.A group of 12 souvenir spoons, all marked sterling. Souvenirs from World's Columbian Exposition (2); Kansas City; Covington, Kentucky; St. Louis; Pittsburgh post office; Palm Beach, Florida; 1893 Centennial, Countess of Bath; Estes Park, Colorado; New Convention Hall, Kansas City, Missouri; Missouri (2).A group of four unmarked souvenir spoons. Souvenirs from Banner Buggies; World's Fair St. Louis; General Grant's Log Cabin; and Missouri.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Length ranges from 2 1/4 in to 6 in. Gross weight: 537.4 g.Condition: Tarnishing, scratching and some dents. Vesta cases open and close firmly. Some significant rust and accretions to two of the vesta cases (Denver & Cascades).

Hall (Captain Basil) Extracts from a Journal written on the Coasts of Chili, Peru and Mexico. Moxon, London 1840. 2 parts in 1. 8vo. marbled boards plus Ewbank (Thomas) 'Life in Brazil' with illustrated appendix. Harper Bros, New York 1856 plus three associated titles (5)

Dickens (Charles) Ed. 'All The Year Round, A Weekly Journal' 'First Series'. Vols. 1-20. April 1859-28 November 1868 'New Series' Vols. 1-3 5 December 1868 to 28 May 1870. 1st Editions. Chapman and Hall, London. Half red calf. 4to. b/ps and owners signature for Lowther (Ampthill) Spotting etc., throughout bindings bumped (23)

Dickens (Charles) The Works London, Chapman & Hall, no date, fifteen volumes, half-bound in brown calf, 12mo Together with assorted New Punch Library titles and The Royal Air Force 1939-1945 in three volumes Condition Report:Available upon request

A New Hall fluted coffee cup and saucer,  painted with roses in a triangular gilt panel,  pattern 83, c.1795

A collection of Regency and later china, including Dollar pattern, Spode, New Hall, etcOverall condition appears to be good - no immediate signs of damage.

(Rugby Union) Dinner in honour of the Irish Rugby Union Team 19th February 1994 at the London Hilton Hotel, Park Lane A Signed programme: Jeff Probyn, Dean Richards, Graham Rowntree, Phil De Glanville, Tim Rodber, Tony Underwood, John Hall and Neil Back; Together with R.F.U. AWARDS DINNER programme and tickets 9th May 1996. Programmes for Eng v Australia 15th Nov 1997, Eng v South Africa 29th Nov 1997, Eng v New Zealand 6th Dec 1997, all played at Twickenham, all in bespoke faux green leather boards with gilt tooled lettering.

Original vintage advertising poster for a show at the famous French cabaret music hall Folies Bergere - The new revue by Helene Martini with direction, set design and costume by Michel Gyarmathy. Colourful pin-up style illustration by the notable artist and designer Erte (Romain de Tirtoff Erte; 1892-1990) showing a stylised image of a semi-nude dancer with a feather headpiece swirling down around her elegant body as she holds a large red fan above her head with the stylised lettering for Folies Bergere on it, set against a blue background with the rest of the text below in white letters. Helene Martini (aka The Empress of the Night; b 1925) was a showgirl who managed the Folies Bergere from 1974-2000 (she bought the club in 1977) with the Hungarian set and costume designer Michel Gyarmathy (Miklos Ehrenfeld; 1908-1996). Printed in France by Editions Martinet, Paris. Large size. Good condition, creasing, small tears. Country of issue: France, designer: Erte (Romain de Tirtoff), size (cm): 150x101, year of printing: 1971.

Middle Kingdom - New Kingdom, Ca. 2055 - 1069 BC.An Egyptian green faience scaraboid with back in form of African head. On the base is cut a geometrical motifs.For similar see: pp. 254 n° 2535 H. R. Hall, Catalogue Egyptian Scarabs, Etc., in the British Museum. Vol. I pp. 254, n°2535. Provenance: Private UK collection; From an old British collection formed in the 1990s. This piece is accompanied by an authentication statement by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.

Group of English porcelain wares including a New Hall type helmet shaped jug, Worcester cup with puce design together with a Worcester coffee can etc

New York: Crown Publishers, 2000. First Edition. Autographed by Derek Jeter, legendary New York Yankees shortstop and Hall of Famer. The Life You Imagine, a 279-page memoir, shares his journey to baseball greatness, highlighting lessons in determination, discipline, and achieving dreams. ISBN: 0-609-60786-3. Certificate of Authenticity included. Artist: Derek Jeter & Jack CurryIssued: 2003Dimensions: 5.75"L x 1"W x 8.75"HManufacturer: Triumph BooksCountry of Origin: United StatesCondition: Very good.

New York: HarperCollins Publishers, 2008. First Edition. Autographed by Frank Gifford, Pro Football Hall of Famer and broadcasting icon. The Glory Game, a signed 285-page book, reflects on his football career and the historic 1958 NFL Championship Game. ISBN: 978-0-06-154255-8. Artist: Frank Gifford & Peter RichmondIssued: 2008Dimensions: 5.75"L x 1"W x 8.5"HManufacturer: HarperCollins PublisherCountry of Origin: United StatesCondition: Very good. Browning.

New York: Grand Central Publishing, 2011. First Edition. Autographed by Shaquille O'Neal, NBA Hall of Famer and cultural icon. Shaq Uncut, a signed 290-page memoir, chronicles O'Neal's legendary basketball career and personal life. ISBN: 978-1-4555-0441-1. Artist: Shaquille O'NealIssued: 2011Dimensions: 6.25"L x 1"W x 9.25"HManufacturer: Mine O' Mine INCCountry of Origin: United StatesCondition: Very good. Browning.

New York: Workman Publishing, 1998. First Edition. Autographed by Yogi Berra, legendary MLB catcher and Hall of Famer. The Yogi Book, a 127-page collection, shares his memorable quotes and the stories behind them, offering humor and wisdom from his baseball career and life. ISBN: 0-7611-1568-4. Artist: Yogi BerraIssued: 1998Dimensions: 5.5"L x 0.5"W x 7.5"HManufacturer: L.T.D. EnterprisesCountry of Origin: United StatesCondition: Fair. Book spine detached from the opening cover

New York: HarperCollins Publishers, 2003. First Edition. Autographed by Lawrence Taylor, Hall of Fame linebacker and NFL legend. LT: Over the Edge, a 260-page memoir, provides a candid account of his football career, struggles off the field, and ultimate redemption. ISBN: 0-06-018551-1. Artist: Lawrence Taylor & Steve SerbyIssued: 2003Dimensions: 6.25"L x 1"W x 9.25"HManufacturer: HarperCollins PublishersCountry of Origin: United StatesCondition: Very good.

Aurora in her ChariotWatercolor and gouache on paperSight 13 x 26 inches (33 x 66 cm)Frame 19 1/2 x 32 3/4 inches (49.6 x 83.3 cm)The original work from which this watercolor is derived is a fresco painted in 1621 by Giovanni Francesco Barbieri, known as Guercino, on the ceiling of the central hall of the Casino Ludovisi in Rome. This beautiful "garden house" is all that remains of the magnificent Villa Ludovisi, which was pulled down in the 19th century.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

THOMAS HUDSON (BRTISH 1701-1779) PORTRAIT OF CHARLES LEGH; AND HIS WIFE HESTER Oil on canvas, a pair 124.5 x 99cm (49 x 38¾ in.) (2) Provenance: Probably commissioned by the sitter for Adlington Hall, and thence by descent Literature: Adlington Guide Book: 'The Dining Room'. This pair of portraits were presumably commissioned by the sitters to proclaim their status, joint fortunes and influence on the fabric of Adlington Hall. Charles Legh (1697-1781) was the son and heir of John Legh (1668-1739) and Lady Isabella Robartes, sister of the 2nd Earl of Radnor. He married his wife, Hester (née Lee), in around 1730. Hester was the daughter of Robert Lee and through him inherited an estate at Wincham. Charles Legh perhaps made the most extensive and fashionable improvements to Adlington Hall and its parkland. Evidently, he valued the historical part of his house ensuring that the older areas were incorporated into his new scheme. He created a new west wing comprising a principal staircase, dining-room, drawing-room, library and ball-room, completed in around 1749. The south front has a pediment frieze above the tall portico entrance with its four Ionic columns, and is inscribed 'Charles and Hester Legh 1757'. Charles Legh was also responsible for creating the stables, although there is no record of him having employed an architect for any of the architectural works at Adlington. It seems likely that he designed the additions himself, and used local builders and materials to implement his designs. Charles Legh was a friend of Handel, who is said to have visited Adlington Hall to play on the magnificent organ in the Great Hall, which was probably installed during the tenure of Charles' father, John, when he inherited Adlington in 1696. Charles Legh's only son, Thomas Legh (1735-75), predeceased him, and when he himself died in 1781, the male line of the family became extinct, and the inheritance descended through the female line to his niece Elizabeth Rowlls, nee Davenport, who upon her inheritance took the name Legh. Condition Report: The Gentleman: The canvas is relined and presents a subtle craquelure across the whole surface. UV light reveals a few retouches on the white dress at the height of the chest, as well as a few dotted retouches on the on the sitter's left cheek and forehead - such retouches, however, a very minor. In addition, UV light reveals some infilling of the craquelure to the left of the sitter, and a heavy varnish unenvied applied in wide brush strokes. Further restoration is alp present on the background curtain. To conclude, various superficial damages are visible to the border of the painting, as well as a few dotted losses of paint in the background. The Lady: The canvas is relined and presents a visible craquelure across the whole surface. A few dotted losses of paint caused by the craquelure are present to the lower left corner and lower right. UV light reveals various infills of the craquelure at the height of bust, as well as a curved shaped retouch to the right of the lady's visage, which travels the length of the cheek. To conclude, various scattered retouches are visible near the bottom border, as well as damages to the edges. Condition Report Disclaimer

AN ELIZABETHAN REVIVAL OAK HALF-TESTER BED CIRCA 1860 The tester with an urn finial and boldly carved strapwork apron, pendants and brackets above a panel of modern Flemish tapestry and a four panel headboard with foliate and strapwork cresting and centred by a winged mask, the footboard with barley-twist columns and centred by a mask of Queen Elizabeth I above a cartouche, the square panelled posts with ball finials 270cm high, 158cm wide, 210cm long  Provenance: Probably acquired by Charles Richard Banastre Legh (1821-88) for Adlington Hall, Cheshire, possibly as part of a refurbishment of the mansion, and thence by descent. Literature: Adlington Guide Book: 'No 10 Bedroom' 'Jacobean Oak Half Tester Bed, c. 1860. The four panel headboard is contained by a canopy with boldly carved strapwork details, while the footboard has twist turned columns and is centred by a mask of Queen Elizabeth above a vacant cartouche'. This impressive Elizabethan-Revival bed is a fine example of antiquarian taste fashionable in the 19th century. The bed offered here is enriched with heavy historicist carving liberally applied to the cornice, head-board and bottom of a half tester of a 19th century double bed. 19th century decorative art dealers supplied original antique furniture and pastiche furniture to meet an increasing demand by collectors interested in the relics of the past, and who wanted to emphasize the antiquity of their family lineage. One of the most prolific dealer/cabinet-makers was George Shaw (1810-76), a Yorkshire architect, who had an early interest in ancient beds (P. Lindfield, 'George Shaw Revisited: Ancient Oak and Beds', FHS Newsletter 225, February 2022, pp. 2-12). In the early 1840s, Shaw began to create 'modern' pastiches of antique furniture offering what he variously described as 'Henry VIII', Elizabeth I or 'James I', including a tester bed to which he added a footboard and royal arms that he sold to James Deardon (1798-1862) of Rochdale Manor, and, in 1847, the well-documented carved 'Paradise' bed, made for the Duke of Northumberland (sold 'Syon Park, Sotheby's, 14-16 May 1997, lot 197, and again, Christie's, London, 25 November 2004, lot 142). As early as 1811, it was noted that 'young fellows of the better classes, in Paris' were 'ornamenting their bed-chambers and particularly their bed's head, with arms and armour of all kinds' (C. Edwards, The Romantic Interior: the British Collector at home 1750-1850, London and New Haven, 1989, p. 63). This historicist style was probably inspired by drawings of state beds in A. W. N. Pugin's, Gothic Furniture in the Style of the Fifteenth Century (1835), pl. 11, and Henry Shaw's Specimens of Ancient Furniture drawn from existing authorities, London, 1836, which included four antique beds: The Great Bed of Ware, an Elizabethan bed, now in the Victoria & Albert Museum (W.47:1 to 28-1931), two 17th century beds from Goodrich Court and a bed from Hardwicke Hall, Derbyshire (plates XXXVII, XXXVIII, XXXIX, XL). In the official catalogue of the 1851 Exhibition, the furniture exhibits were respectively described as Elizabethan, Tudor, Gothic, Louis XIV, Renaissance, Italian, Arabian and Old English Illuminated style (R.W. Symonds, Victorian Furniture, London, 1987, p. 35). Designs for half tester beds in the antiquarian style were subsequently included in Art industry: furniture, upholstery, and house-decoration, illustrative of the arts of the carpenter, joiner, cabinet-maker, painter, decorator, and upholsterer (1879), ed. by G.W. Yapp, an Assistant Commissioner and Compiler of the Official Catalogues of the Great Exhibition of 1851, who on describing a bed in the 1851 exhibition noted: 'It is a State bed in the Elizabethan style, but judiciously treated in a lighter manner than is common' (Symonds, ibid., plates 17, 22). In 1857, the state bedroom at Abney Hall, Cheshire, was refurbished probably by J.G. Crace (1809-89) in the antiquarian style to mark the visit of the Prince Consort to the Manchester Art Treasures Exhibition that year (E. Aslin, 19th Century Furniture, New York, 1962, plate 73).  Condition Report: There are the inevitable minor dents marks and scratches and shrinkage cracks due to age and use.Condition Report Disclaimer

FOLLOWER OF SIR GODFREY KNELLER PORTRAIT OF LADY ISABELLA LEGH IN A BROWN DRESS Oil on canvas 125 x 100cm (49 x 39¼ in.) Lady Isabella Legh née Robartes (1674-1725) married John Legh of Adlington Hall in 1693. Both Lady Isabella and her husband were interested in music, and it is probable that the organ in the Great Hall was a gift to her from him shortly after they arrived in Adlington. Stylistically, the organ case can be dated around 1700, and it is surmounted by a coat of arms celebrating the marriage of Lady Isabella and Sir John. The organ's arrival at Adlington preceded the friendship between the couple's son, Charles, and the great musician, Handel. Condition Report: The canvas has been lined, and needs a new varnish. The paint is wearing thin, most noticeably to the darker areas in the background and on the sitter's dress. There is also in-filling throughout which is now darker than the original paint and visible in a natural light. Stretcher marks visible. Craquelure throughout, some of which is starting to lift. Some very small scattered spots of loss throughout. Inspection under UV light reveals infilling and retouching throughout, as well as traces of a green cloudy varnish. Overall the work is in need of some restoration before it is ready to hang.Condition Report Disclaimer

THE ADLINGTON HALL OAK HALL ARMCHAIRS A PAIR OF VICTORIAN OAK HALL ARMCHAIRS MID-19TH CENTURY Boldly carved throughout with shells and foliage, each with a shaped back carved with the unicorn crest of the Legh family the scrolled arms with downswept supports above a solid seat, the carved front seat rail centred by a cabochon on turned tapering legs, one with replaced brass ball castors 122cm high, 63cm wide, 60cm deep Together with a Victorian oak hall chair, the shaped back also centred with a unicorn crest 99cm high, 49cm wide, 51cm deep Provenance: Probably acquired by Charles Richard Banastre Legh (1821-88) for Adlington Hall, Cheshire, possibly as part of a refurbishment of the mansion, and thence by descent. Literature: 'Adlington Hall, Cheshire: The Seat of Mr. A.M.R. Legh', Country Life, 29 July 1905, p. 129, 'The Old Hall' (one chair without arms); p. 131, 'The Fresco, North Corner of Hall' (one chair without arms)  G. Nares, 'Adlington Hall, Cheshire-II: The Home of Mrs Legh', Country Life, 5 December 1952, p. 1829, fig. 3, 'The West End of the Hall' (one chair without arms); p. 1830, fig. 5 'The Mullioned Windows on the South Wall of the Hall' (one chair without arms); p. 1831, fig. 8 'The Gallery in the North-West Corner of the Hall' (one chair with arms). Adlington Guide Book: The Great Hall: 'One of a pair of oak armchairs' Adlington Guide Book: 'The Great Hall' 'Pair of oak armchairs with boldly carved downswept arm supports, solid seats and back panels carved with the crest of the Legh family' Condition Report: One armchair has later castors,both armchairs have splits to the back and the seats and new blocks under the seat. The side chair has a split to lower back. The seat is split and has new blocks. Overall condition consistent with age.  Condition Report Disclaimer

THOMAS BARDWELL (BRITISH 1704-1767) VIEWS OF ADLINGTON HALL AND PARK Oil on canvas, a set of four Each 61.5 x 101cm (24 x 39.3⁄4 in.) (4) Provenance: Charles Legh, descent to current ownerLiterature: County Life, 28 November 1952, p.1734, fig. 1; 12 December 1952, p. 165, fig.9. J. Harris, The Artist and the Country House, London, 1979, p.321, no.360. P. de Figueiredo and Julian Treuherz, Cheshire Country Houses, Chichester, 1988, pp.17-18, fig.9. G. Tyack and S. Brindle, Country Houses of England, 1994, pp.84-85. J. Harris, The Artist and the Country House. London, 1995, p.84-5, fig. 57-8.  Exhibition: Sotheby's London, The Artist and the Country House, no.57 and 58. The present lot is a striking example of English country house portraiture, commissioned as a painterly record of a generation's contribution to the family seat. The tradition of estate painting arrived in England relatively late in comparison with the continent, where Renaissance rulers and aristocrats sought to document their palaces and homes. While oil paintings on canvas of a standalone property are unrecorded in England before 1600, the tradition was taken up with great enthusiasm and the art form reached its zenith in the eighteenth-century.Born in Suffolk in 1704, Thomas Bardwell was a painter with a varied oeuvre; he travelled across England and Scotland executing country house views, portraits and conversation pieces. He began his artistic career decorating house interiors and initially owned a paint supply business. Although he lacked formal training, in the 1720s he was employed by the successful country house painter Peter Tillemans (c. 1684-1734) to paint Livermere Hall in Bardwell's native East Anglia. Tillemans' influence on Bardwell is discernible from his earliest topographical pictures. Notably, his painting of Hedenham Hall (1735) adopts Tillemans' distinctive equine staffage, shown most prominently in his view of Chatsworth (1720s). Though charmingly naïve, this early work is also notable for its sensitive observation of detail and miniature-like quality.Previously attributed to James Shrigley, The Adlington views demonstrate how Bardwell's proficiency in country house painting evolved in his mature years. First and foremost, the works memorialise the architectural achievements of Charles Legh (1697-1781), including the south wing portico, detached stable block, domed Temple of Diana and garden follies. Although early continental estate pictures certainly display a keen interest in preserving specific details, decorative concerns often came at the expense of accuracy and views were compressed to create broad pictorial maps. By the turn of the 18th century, however, artists and patrons responded to the growing study of topography and sets of elevational views proliferated to provide a comprehensive record.Bardwell's interest in perspectival accuracy therefore made him a fitting choice for the commission. Published in 1756, his study The Practice of Painting and Perspective Made Easy offers the reader a guide to the principles of perspective using illustrations of buildings, gardens and avenues. His principles are brought to fruition in the present works, through geometric precision, carefully manipulated areas of light and shadow and the incisive rendering of architectural detail.Bardwell's views also act as a celebration of the English estate, with its bucolic scenery and rural pleasures. Following Charles Legh as he strolls around the grounds, the paintings provide a pictorial tour of the landscape. The parkland is characteristic of the mid eighteenth-century designs popularised by Lancelot 'Capability' Brown, with rolling pastures and clusters of trees. Horses graze, deer and rabbits frolic, and Charles Legh is accompanied by a crowd of his cherished dogs. Indeed, the lines between portraiture, landscape, sporting and country house painting blurred in English eighteenth-century conversation pieces and works began to speak to the symbiotic relationship between the home and family. Thomas Bardwell's portraits, for instance, often include the sitter's home in the background and his estate views show figures riding or promenading through the grounds.John Steegman wrote that 'a house may be called Castle, Abbey, Priory, Park, Hall, Court, Manor, or just a House...But they are all houses, which have been born-in, lived-in and died-in by the family, and which are centred the family's affections and pride'. Bardwell's pictures animate the country house by reflecting the delight and fulfilment of those who inhabit it. In one view, Charles Legh stands proudly before the imposing new facade. Another shows him looking across his sweeping vista and admiring Adlington Hall from a distance. In each picture, however, the figure moves unobtrusively across the landscape; there is an awareness of his transience. While one generation travels through, the home and park remain the constant focus, a testament to one family's enduring legacy. Condition Report: White picket fence, centrally located The paintings has been wax lined. There are multiple chip losses evident and a strong pattern of craquelure present. Examination under UV light reveals touches to many of the chip losses, along with work to a 4 ½ in. (approx.) vertical tear to the canvas, located in the sky on the right, and to a few additional infills in the sky. In the foreground there are some more dispersed spot touches and some glazing to thinness. Dogs in front of lake The painting has been adhered onto an oil tempered hardboard. This structural treatment is designed to support the original canvas which has several repairs to it along with a strong pattern of craquelure. Examination in a raking light suggests a good adhesion within the work and a certain level of structural stability. Examination under ultra violet light reveals some scattered retouches to a combination of isolated chip loses, some of these combine to form a more concentrated area of work, and to a few infills in the sky, one above the buildings on the right and two more Man with blue coat The picture has been adhered to an oil tempered hardboard. This structural treatment designed to support the original canvas which has several repairs to it across the sky. Examination in a raking light suggests a good adhesion within the work and a certain amount of structural stability. Examination under a UV light shows restoration to what appears to be a number of holes and some linear breaks to the canvas. The two largest of these are above the trees on the right and in the sky in the upper left quadrant. Horses The painting has been wax lined. This lining is designed to support a 3" vertical tear in the right of the sky and a strong pattern of craquelure Examination under ultra violet light shows scattered retouches across the sky, to chip losses and age cracking. This pattern of chip losses continues across the foreground which also has several patches of old varnish.   Condition Report Disclaimer

A FLEMISH STAINED FIELD MAPLE, EBONISED AND MARQUETRY CUPBOARD CIRCA 1720 With a plain frieze above a pair of doors each centred by an oval within chequer stringing and enclosing shelves, the base fitted with a long drawer above six tapering facetted supports joined by a flat stretcher on bun feet 208cm high, 165cm wide, 61cm deep  Saleroom notice: Please note the measurements have been corrected online  Literature: Adlington Guide Book: 'No 10 Bedroom' 'Flemish mulberry press, c. 1720 with a plain frieze above a pair of doors each featuring an oval within chequer stringing. The lower part off the press is fitted with a long drawer above six tapering facetted supports joined by a flat stretcher on bun feet'.  This Dutch marquetry cabinet-on-stand belongs to a group of late 17th/early 18th century cabinets that originate from the Low Countries or were made by indigenous craftsmen working in England. They generally have a deep convex cornice and a long drawer on the top of the stand. Pillar legs, as found on the cabinet offered here, replaced earlier scroll legs from c. 1690 onwards (A. Bowett, English Furniture 1660-1714 From Charles II to Queen Anne, Woodbridge, 2002, p. 200). One of the most celebrated cabinets is at Kingston Lacy, Dorset, which is signed in pencil to the inside by Jan Roohals and I Hoogeboom, two Dutch journeymen who were likely employed in the workshop of one of the great Dutch cabinet makers, Jan van Mekeren (1658-1733) (NT 1254596). Closely related examples to the present cabinet include: a cabinet in the collection of the Hesketh family at Rufford Old Hall, Lancashire (NT 784091); another sold Christie's, New York, 12 December 2012, lot 779, and one at Christie's, London, 24 February 2015, lot 370. Condition Report: Upper carcass is with restorations. Doors with splits to both panels, left with old restored split (no information available about original restoration) replaced ebonised beading to left hand door. Splits to both side panels. Base with signs of restoration to draw rail. Veneers lacking and there is some damage to the base. Condition Report Disclaimer

ATTRIBUTED TO JOHN SOUCH OF CHESTER (1593-1645) PORTRAIT OF COLONEL THOMAS LEGH THE ELDER, AGED 39 Oil on canvas Inscribed 'Aetatis suae 39' 'And Dou 1632' (upper left) 104.5 x 89cm (41 x 35 in.) Provenance: Probably commissioned by the sitter for Adlington Hall, and thence by descent Literature: Julian Treuherz, New Light on John Souch of Chester, Burlington Magazine. May I 997. p.306. fig. I G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1963 and p. 1961, fig. 3.,Adlington Guide Book: 'The Drawing Room'. Thomas Legh The Elder was the son of Sir Urian Legh (1566-1627) and Margaret Trafford, daughter of Sir Edmund Trafford. He married the heiress, Ann Gobart (1590-1675) in 1610. He was twice High Sheriff of Cheshire (1629 and 1642) and a Colonel in the Royalist Army during the Civil War. He lost Adlington Hall in December 1642 but regained it soon after. In February 1644 the house was again besieged. This time it had to be surrendered to the Parliamentarians in order to prevent severe damage. Later that year, Colonel Legh died at Chester, to be succeeded by his son, also Thomas (1614-87). The estate was not returned to the family until 1656 after heavy fines had been paid. Condition Report: The canvas is relined and presents various damages to the borders. UV light reveals a few dotted retouches in the 'background area to the right of the sitter, a horizontal 4 cm wide retouch on the hair, a few retouches on the sitter;s left sleeve, one of which is visible to the naked eye and of about 3 cm in width; another patch of retouching on the sitter's right arm of about 3 cm in diameter, and, to conclude, a layer of cloudy varnish applied across. Condition Report Disclaimer

A New Hall porcelain tea service for four, flower sprays pattern, picked out in gilt, comprising teapot and stand, sugar bowl and cover, cream jug, cups, saucers, etc, c. 1790

Copoclephily - Military Interest - a Victorian Scottish silver-gilt presentation key, Presented to Major General Lockhart of Milton Lockhart on the Occasion of His Opening of the New Volunteer Drill Hall, Carluke, 21st Dec 1895, 14cm long, J R & W Laing, Glasgow 1895, cased, 110g

English porcelain part tea-service, circa 1790, Keeling or possibly New Hall, puce/blue XX marks, painted with blue rockwork and flower before terracing, comprising: an oval teapot and cover, a slop-bowl, a milk-jug and six teabowls and saucers, together with a faceted waisted flared vase decorated with a Mandarin pattern, 17.5cm high (damages)

Small library of books on New Hall ceramics (cf ceramics lots 43-47) (8)

Thomas CarlyleSeven Volume Set 'Critical Essays'. Published by Chapman and Hall, London 1888. One shilling per volume edition. Matching red publisher's boards, titled in black and gilt. All 7 volumes offered as one Lot. 2. The Life of Fredrich Schiller: Comprehending An Examination of His Work. Published by Chapman and Hall, London, April 1888. (One Shilling Edition.) Publisher's red boards, titled in black and gilt. 3. Sartor Resartus. The Life and Opinions of Herr Teutelsdrockh. Published by Chapman and Hall, London, 1886. Publisher's red boards, titled in black and gilt. (One Shilling Edition.) 4. Past and Present. Publishers Chapman and Hall, London, Jan. 1888 (One Shilling Edition.) Publisher's red boards, titled in black and gilt. 5. The Life of John Stirling. Published by Chapman and Hall, London, May 1888. Publisher's red boards, titled in black and gilt. 6. Reminiscences, by Thomas Carlyle, edited by James Anthony Prowde. In Two Volumes - Vol. 1 and 2. Published by Longmans, Green and Co., London 1881. Publisher's green boards and dec. in blind, titled in gilt. 7. Thomas Carlisle. Past and Present. Signed by Adam Smith. Published by Chapman and Hall, London, 1845. 2nd Edition. Green publisher's boards, dec. in blind, titled in gilt. 8. Thomas Carlyle by David Gascoyne. Supplement to British News: No. 23. Published for The British Council and the National Book League by Longmans, Green and Co. London, New York, Toronto. 1st Edition 1952. Publisher's paper wrapper. Est £