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A late Victorian hall lantern, with leaded glass panel, and two brass wall lights (box)

A painted French armoire, having a pair of central glazed doors, flanked by two panel doors 190 x 200 cm

A piano stool, a three panel screen, decorated flowers, five mirrors, a pouffe, a milking stool with a carved back, an occasional table and two stools (qty)

A 19th century oak corner cupboard, the panel door to reveal shaped shelves, 101 cm wide

A firescreen, in a carved walnut frame, inset with a tapestry panel, 10 x 75 cm

A Chinese silver coloured metal reliquary, with a glass panel inset with buddha, in an embroidered case, 10 cm wide

A Chinese textile panel, decorated dragons, 66 x 64 cmSome water and other staining, the black thread in particular is in poor condition, and there is general loss and damage.

A Chinese four panel folding screen

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’.

Valencian School. 16th century."The Flagellation"Oil on panel. Cradled.63 x 36 cm.

Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory,  the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.

Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven.  As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work. 

Hispano-Flemish School. 16th century."Saint Catherine of Siena"Oil on panel. 67 x 51 cm.

Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.

Spanish School. 17th century."The apparition of the Virgin"Oil on copper stick to panel. Accompanied by a carved and gilded wooden frame from the 19th century.16 x 13 cm.

Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm.  Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him.  Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil.  While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood.  The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity.   A true example of love is the pelican that restores its young with its own blood.  Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love). 

A Krasnogorsk-3 Cine Camera with Meteor 5-1 f/1.9 Lens, black, body F-G, slight rippling to front panel, winding spring works and motor runs, with a Krasnogorsk Meteor 5-1 Camera Lens, black, serial number 855594, f/1.9 17-69mm, barrel VG, optics G with light dust, with front cap.

A Sony VPL-W400 Video Projector, grey, G, powers up, control panel illuminates , LCD lamp illuminates, with cap, instructions, mains lead.

A Mamiya 23 Standard Medium Format Camera, body F-G, sports finder held on with tape, some wear marks to front panel, shutter works, iris works, rangefinder works, with a roll film back, lens is a Mamiya-Sekor f/3.5 90mm, barrel G, optics F-G.

Vickers Binocular Microscope, Vickers binocular microscope, shear head with control panel and PSU, mechanical stage, 5 objective turret, binocular head with 2 eyepieces, untested

A Selection of Mixed Photographica, to include a Jessop light panel, some darkroom equipment, approx. 6 waterproof data card holders, a few rolls of some expired film, two quarter inch audio tape reels, some audio cables.

Heavy duty wooden scratch built workshop bench, with 2 drawers, under shelf and back panel for tool storage. Bench includes a Woden 189B/3 woodwork vice and measures 112cm high to top of back panel, 78 cm bench height, 186cm wide, 75cm deep.

Vintage "Sonnette" keyway panel for identifying key patterns.

A George III oval mahogany snap-top breakfast table with a central book-matched burr walnut panel with broad satinwood crossbanding, on a quadrupedal base of sabre legs with captive satin wood banded detail and box toe brass castors. 152 cm wide x 117 cm deep x 72 cm overall height.The top is un-split or warped, the cross banding is intact.The finish of the top has become dry in places and has blistered and flaked off in some small areas.The block that the top pivots on has been badly repaired, causing the table to to not sit quite vertically when flipped upright.

A Chinese Famille Rose porcelain melon form jar and cover, bearing an indistinct zhuanshu mark, probably Guangxu, painted with insect and flowering peony, the flush cover with root form handle, 14 cm diameter, x 12 cm high, together with three Chinese Famille Rose pedestal pickle dishes of lobed form one with a panel of poetry both with indistinct Zhuanshu seal marks probably Tongzhi/Guangxu. 13 cm and 10 cm diameter respectively.Qty: 4Some rubbing to the enamels of the jar.Generally Good Order.

R. Taylor, an early 19th-century 8-day oak long-case clock, the painted broken arch dial bearing the portrait of Queen Caroline, the hood with swan neck pediment, 47 cm wide x 25 cm deep x 220 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire The glass of the hood is cracked. There are no weights or pendulum, so not in working order.Updated:The movement looks very clean and looks as if it has been recently restored and re-gutted.The cheeks that support the movement are uneven. It would seem that a packing block is missing from the right-hand side. This causes the dial to sit awkwardly in the hood/mask. It is common for these to be replaced.The hood door has a cracked glass panel, the clock has some patches to the veneers.The trunk door does not have a key.The clock does not have either weights or a pendulum.In short this clock would need some work to make good but it looks as if most of the horological work has been done, but sadly it will require a pendulum and weights.

A Regency-style painted satinwood open-arm carver chair with split cane panel back and seat, early 20th century supported by splay legs, together with a matching three-tier cake stand (AF)The chair; 55 cm wide x 61 cm deep x 90 cm overall height, 43 cm height to seat,

An early 19th-century figured satinwood bonheur du jour of inverted breakfront form, the "D" shaped back with a pierced gilt metal galley on a raised superstructure housing a rise-and-fall mirror panel, above a single-shaped frieze draw, with applied gilt brass moulding and fittings throughout, supported by well-drawn square tapering legs with brass socket castors. 60 cm wide x 46 cm deep x 81 cm overall height, 65.5 knee clearance.A private estateThe top has an old crack that has a glue and fabric repair to the underside of the top. The brass gallery is a little dented at the back right-hand side.The drawer runs as expected the frame has a bar below that doesn't look period to the item but I cant see why it has been applied as the frame seems quite firm.

A pair of Napoleon III marble-topped mahogany pedestal night cupboards with brass inlaid decoration each fitted with one frieze drawer supported by turned columns above a single panel cupboard door and turned feet, 41 cm wide x 41 cm deep x 89 cm high. A private estate One stand is faded and shows perhaps some old repairs to natural fault lines in the marble top.Some of the brass infills on the fluted columns are a little loose but are all present.The faded cupboard has two veneer bubbles to the door panelGenerally good structural order but may need some cosmetic work to rectify the fading.Please see the extra images taken

A 19th-century oval West Indian satinwood two-handled gallery tray table, the quartered top with central oval fan and feather burst marquetry panel with crossbanded border, and serpentine gallery, on a later fixed splay-legged base. 79 cm x 58 cm x 49 overall height.A private estate

American Naïve school (20th century), a pair of half-length portraits of a 17th-century couple, initialed 'A J H' (on woman's brooch), oil on panel, 45 x 38 cm, both framed, overall 59.5 x 52.5 cm; together with two dog portraits of similar American Folk Art style, the largest measuring 41 x 47.5 cm overall.Qty: 4

A George IV mahogany folding oval butlers tray with panel and stile construction, shaped hand holds and mounted on a craftsman-made base coffee table, 76 cm x 54 cm x 58 cm overall height, flaps up, together with a George III and later oval mahogany butlers tray on stand, 56 cm high x 66 cm x 42 cm.

A set of four probably late 18th/ early 19th-century architectural plaster on wooden panels, each panel emblematic of the arts including a musical trophy, songbird cage, floral basket and other on a tied ribbon motif, in carved and giltwood frames, 108 cm x 19 cmA private collectorGood order

A yellow coloured metal and seed pearl panel ring, probably 19th century, ring size K

A George V silver and enamel cigarette case, the top inset with oval panel decorated a golfer, Birmingham 1918, 107 g (all in)

A pair of 18ct gold oval cufflinks, 13.3 gcufflink panel 17 x 12 mm approx, light scratches

Φ Φ Jacqueline Gruber Stieger, a gold and moonstone brooch/pendant, 1977, designed as a segmented textured panel set with oval and semi-circular opal cabochons, maker's mark AGS, London hallmarks, length 5.8cm Jacqueline Steiger adopted her late husband Alfred Gruber's maker's mark AGS after his death in 1972.

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

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

An unusual enamel mourning ring, late 18th century, centring on a glazed oval panel containing hairwork on vellum in the design of a tree with a broken branch, the reverse engraved with the initial B, to a wavering band applied with white enamel, with foliate designs and the inscription 'HOPE IS NO MORE' in reserve, mounted in gold, size K

A George III diamond ring, late 18th/early 19th century, the front designed as a tapering panel pavé-set with cushion-shaped diamonds, to shoulders engraved with floral designs, mounted in silver and gold, size Q

1940's/50's brown jacquard cocktail dress, three quarter length sleeves, peplum waist, brown velvet trim to the bodice, the skirt with a split showing a brown velvet panel, a Peggy French Couture brown cocktail dress, draped bodice, square neck, three quarter length sleeves, a Simpson's St. Regis Room silk cocktail dress brown paisley style pattern, draped bodice with grosgrain ribbon detail to the waist, a black satin cocktail dress, a black lace cocktail dress with a chiffon drape to one side and a moire silk full circle skirt (6)

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.

19th century suzani, scrolling pattern in dark red, indigo and yellow colours, hand stitched, six panels, each panel 37cm wide, some slight fading to the centre, 220 cm x 270 cm approxCondition Reportthere is wear to the corners possibly where hung up. There is slight fraying to the edges. please see additional images

A Blanes cotton sleeveless summer dress, black, grey and white squares, labelled size 12, a broderie anglaise white mini dress, empire waist, folded rose detail to the waist, cap sleeves, size 10 approx., a cotton sleeveless sundress printed in greys and pinks on a white ground, 'V' neck, missing its belt, a checked silk skirt, a pair of neon green capris pants labelled 'Lausanne' size 6, a bikini, and a black wool skirt front panel with button detail (7)

Mick Rooney RA (b.1944)  Oil on board "The Prodigy", Fosse Gallery label dated 2000, 26cm x 20cm  Original Fosse Gallery receipt dated '9th December 2000 Provenance: artist's studio'. From the collection of the late Maurice CostleyCondition ReportThere is a linear patch of wear running along the top of the painting, having a matt appearance, perhaps where it was framed previously, there appear to be some small patches of retouching to the dark brown ground to the background and possibly to the arms and edges of the figures, although it is possible that this is part of the original paintwork. The panel is sealed at the back and has not been inspected out of the frame. 

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

Mary Potter (1900-1981)  Oil on panel  "Across the Sea", Messum's label verso, 15.5cm x 23cm, framed and glazed   Messum's receipt invoice no.6424 dated 4th June 2003. From the collection of the late Maurice Costley

Large fragment panel of Floral Rococo, in cinnamon, Mulberry, 1991 (a second according to label with a misprint of ground colour), large fragment of Nina Campbell, Pepita, 1990, embroidered cream silk fragments, woven with flowers in the 18th century style, fragments of Lelievre (Paris) chintz silk and other textile samples

Sir John Alfred Arnesby-Brown (1866-1955) Oil on panel "Haddiscoe Church", initialled and titled verso, with Mandell's Gallery label verso and with Mandell's Gallery receipt dated 1984, 21cm x 26cm From the collection of the late Maurice Costley  John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall in good condition, a little surface dirt, no signs of restoration under UV, including initials lower right. Frame in good order, canvas slip slightly dirty. Verso: Inscribed with pencil and original Mandell's label, panel in good condition, slight signs of wear and tear.

Campbell Archibald Mellon (1878-1955) Oil on board “Gorleston Sands”, figures on beach, signed, with Mandell's Gallery label verso and with Mandell's Gallery invoice dated 1983, 22cm x 29cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportIn good order overall. Minute wear overall, the mount is slightly discoloured and worn, the painting is mounted with a wooden panel at back so has not been fully inspected, but it appears to be in good order. There is some very light wear to gilt frame. 

Paul Fordyce Maitland (1869-1909)  Oil on panel  Cheyne Walk, initialled, with Messums Gallery label verso and Messums receipt dated 2011, 12.7cm x 10.8cm  From the collection of the late Maurice Costley Paul Maitland was a British artist known for his urban scenes and landscapes. Born with a spinal deformity he mostly painted locally to where he lived, around Chelsea and Kensington in London. He studied at the Royal College of Art and was mentored by Theodore Roussel. He became a member of the New English Art Club and his circle of friends included Whistler, Walter Sickert and Phillip Steer. His work can be viewed as early Impressionism. In 1889 he exhibited at the Goupil Galleries in Paris. Maitland’s paintings can be found in the Tate, Ashmolean and the Government Art Collection. Condition ReportRecto: In good order overall, no signs of restoration under UV. Surface has small amount of dirt. Verso:  The two large Messums labels obscure the back of the panel, some typical wear is apparent to the panel, with two very short splits visible at one edge, otherwise this is in good order, but has not been inspected out of the frame. Minor wear to gilt frame.  Messum's labels - Exhibition of NEAC 2010 Ex. No 7, 2nd Label stock Cat. 2010, Exh No 2

Maggi Hambling CBE (b.1945) Oil on panel “August Sunrise” (North Sea painting), inscribed, signed and dated 66 verso, labelled verso, with David Messum Gallery receipt dated 2007, 8cm x 21cm From the collection of the late Maurice Costley Maggi Hambling is a British artist, both a painter and sculptor who was born in Suffolk. She went to the Camberwell School of Art and then the Slade. Her body of work includes many portraits but her love of the Suffolk Coast leads her back time and time again to themes of the sea, waves and scallops, saying that water is the metaphor for life. Also know for her portrayal of friends and family after death, Maggi Hambling has always been a controversial figure, particularly with regard to her public sculpture. She received the Jerwood prize in 1995 and her work appears in many public collections including the Tate, National Gallery and the Victoria and Albert Museum. Condition ReportAll appears in good condition.  Some wear to one corner of the frame please see additional photo

Six Victorian beadwork pincushions and the front panel from a beadwork offertory bag, including a pink velvet cushion embroidered with A Happy New Year, two with clear and coloured beadwork depicting birds and vases, two with floral designs in faux pearls and beadwork, with beadwork tassels, a small pink velvet pin cushion with yellow and green flowerhead and silver sequins, the offertory bag decorated in coloured glass beadwork with flowering leaves below a swagged tasselled border, on perspex stand, 3cm high overall (7) Property of Dunkirk Manor, Theescombe, Stroud

Panel of late 19th century embroidered black damask silk by Lorenzo Rubelli (Venice), with scrolling leaves and flowers in blue, cream, green and gold thread, with original labels, 51cm x 147cm, together with a small bolt of fine blue velvet 

Two Halcyon Days enamel panel pictures, ballerina doll and Petrouchka, each 15cm x 11cm approx. excluding frame (2)  From the collection of the late Maurice Costley

A Leicestershire Yeomany Cavalry Officer’s silver shoulder belt and pouch Birmingham 1872, mounted with a crowned LYC Cypher 'Prince Albert's Own', the silver braided strap with silver mounts backed with red morocco the pouch 18cm wide (2)Shipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportWear to red morocco strap very minor dents to front panel of silver pouch

A 4th Lancashire Artillery volunteers officer's sabretache 19th century, for full dress occasions, woven in silver bullion with Royal Arms, 28 x 33cmCondition ReportOne quarter panel missing from the Garter centre of the Arms.Wear to backing cloth at the lower corners.

A carved and painted wood crest, 18th century, French,23cm wide29cm highand a carved giltwood furniture mount of a Cherub mask and wings13cm wide23cm high (2)Condition ReportCrest carved panel with moulding losses to the cresting and apronevodence of old worm, and paint lossesFurniture mount with some very small gilding losses

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.