Breché Marble Fireplace with Matching Clock Dated 1865 Medal D'Argent Gold Winner from 1855 and Candelabras.

OVAL CAMEO BROOCH IN DECORATIVE MOUNT MARKED 9CT (70-90)

A Naples casket 19th century, of oval form with gilt metal mounts and polychrome decoration, the hinged lid decorated in raised relief with Amphitrite riding on a sea serpent with four putti attendants, the sea with realistic waves enclosed by gilt painted border, the base with a depiction of Poseidon and two sea horses and attendants in high relief, 8.5in wide (21.5cm)

A pair of Oriental blue glaze soli fleur vases decorated with applied lacquer (now worn), 11in. high.

A large bevelled wall mirror in ornate Florentine giltwood and gesso frame, decorated with leaf motifs and acanthus scrolls, 37 x 46in. high.

**A RARE 80 BORE FOUR BARELLED FLINTLOCK TRAVELLING PISTOL BY DURS EGG, CIRCA 1800 with plain barrels numbered 4-7, border-engraved breech numbered en suite, box-lock action signed on the left within a rectangular panel carried by trophies-of-arms, fitted with tap-lever on the left for exposing the upper and lower pans, and with sliding lever on the right for covering the right-hand chambers, engraved thumb-piece safety-catch also locking the steel, engraved tang, rounded figured walnut butt (probably an early association), engraved trigger-guard, and vacant silver shield-shaped escutcheon 6.7cm; 2 5/8in barrels Durs Egg (1748-1822), son of the Swiss gunmaker Leonz Egg, came to London and worked for John Twigg in 1772. He is recorded Contractor to the Ordnance 1784-1820, and Gunmaker to George IV and the Duke of York.

SILVER SALVER, SHEFFIELD 1946, 30GMS (200-300)

BRAM BOGART. Framed, signed oil on canvas. 20th Century Belgian school. Modernist composition. 60.5cm x 40cm.

An Armand Marseille 'Flapper' lady doll, having a composition head, weighted eyes with eyelashes, and an open mouth with teeth, her body being straw filled cotton, wearing her original apple green linen dress with felt flower trims and cloche hat, marked Germany, 390, A.5/OX.M, 37 cm

A pair of 18ct white gold CARTIER cufflinks, accompanied with Cartier Box. The stirrup style cufflink fitted with a hinged bar which locks into place. Signed Cartier, marked 750, numbered 75662

An Art Nouveau glass pot with brass lid.

A ladies platinum and diamond HAMILTON wristwatch circa 1920's, weighing approx. 25g and set with both single and full cut diamonds. Set with approx. 2.5cts of diamonds in total. Bracelet is fitted with double hinged fastener and safety chain.

A Famille Vert plate, in Kangxi style, but later, decorated with a river landscape, 12in. (30cms) wide.

Kinkozan: a Satsuma plate, painted with a Geisha and attendant, within gilded and floral borders and with four floral medallions, impressed and painted seals, 8 1/2in. (21.5cms) wide.

Alberto Morrocco (1917-1998). Italian male, oil on board, signed and titled verso 26cm x 49cm

A framed etching ‘H.M.S. Victory’ sig. Chas H. Clark.

An impressive collection of used stamps of Great Britain in 4 SG Windsor albums, sparse in earlier years but many better stamps present incl. 1883 5 s. red (SG 180), 10s. blue (SG 183a) and £1 green (SG 212), all fine used. 1902 5s. red ( SG264 good used), good seahorses, £1 blue silver wedding issue (SG 494 ) fine used and sets of King Geo VI higher values also noticed, requires viewing

A Chinese moonflask with raised bat decoration to sides, mark to base, 9½'' high

Irish Silver 5 Pod Candlestick by Irish Silver Limited Dated 1971.

An early C20th African carved ivory oval box and cover decorated with elephants, 5'' wide

A FINE AND RARE 80 BORE THURINGIAN WHEEL-LOCK SPORTING RIFLE, CIRCA 1590 with very heavy swamped sighted barrel, small bore, probably for birding, rifled with eight slender grooves, flat lock struck with the maker's initials 'V.S.' , retained by two side nails, fitted with external wheel with low domed brass cover engraved with scrollwork and retained by an engraved moulded brass band decorated with trellis pattern interrupted by fruit and foliage, finely engraved pan-fence, engraved sliding pan-cover decorated by a grotesque and with button release, engraved dog formed as a scaly monster rising from a scroll of foliage, and a later grotesque rondel, the inside with filed spring and details retained by a shaped bridle delicately engraved with a grotesque mask, full stock profusely inlaid over its entire surface in staghorn with scrolling ball flower tendrils inhabited by exotic birds within ropework frames, a broad ropework panel along the entire length of the underside of the fore-end, a staghorn panel decorated with a bird-of-prey plucking fruit beneath the lock, the tang enclosed by staghorn panels decorated with bearded profiles within scrollwork frames, the butt applied with staghorn veneer engraved with strapwork involving masks, garlands of round fruit and podded legumes on the spine, with raised cheek-piece decorated en suite including a stag set upon by a hound on the left and with patchbox with sliding cover veneered in staghorn with a Wildman clutching an arrow and a flaming orb beneath further matching garlands of fruit on the right, later engraved staghorn butt-cap, steel trigger-guard shaped for the fingers, engraved staghorn ramrod-pipes and fore-end cap (the inlay with minor restorations and lifting, the butt with a small crack), and wooden ramrod with staghorn tip, perhaps the original 100cm; 39 3/8in barrel Provenance The Lord Astor of Hever, sold Sotheby's, London, 5th May 1983, lot 75. A sporting rifle, formerly in the collection of Beriah Botfield at Norton Hall, signed by the same lockmaker and decorated in an identical manner is preserved in the Royal Armouries, Leeds (inv. no. XII.1197). The armouries rifle is of larger bore, shorter barrel length and is engraved with the arms of Saxony on the butt-cap. It is evident that these two guns were made for the same patron and probably formed part of a larger garniture. See G. Rimer 2001, p.42. This rifle belongs to a distinctive group of highly decorated wheel-lock firearms that have been attributed to the hand of Klaus Hirt of Wassungen, Thuringia on the basis of a single pistol that is signed by him and is preserved in the Historischen Museum, Bern. A pistol from this group signed by the stockmaker 'L.B.' was sold Sotheby's Olympia, 5th December 2002, lot 241. Another unsigned pistol decorated in this manner was sold in these rooms, 5th December 2012, lot 303.

William III silver sixpence Exeter stamp 1697 slight pitting otherwise good condition

A Georgian mahogany chest of drawers, having satinwood cross banding, single frieze drawer flanked by two false examples, two short over three graded long drawers with ivory escutcheons and later turned handles, gadrooned stiles, shaped apron and bracket feet, 123 x 52 x 121 cm (a/f)

A Chinese carved jade/quartz box and cover modelled as a Kylin on fitted carved wood stand, height 5.25'' and a carved soapstone group of birds of paradise on fitted stand.

A 1930s oyster tambour-worked lace and satin wedding dress, as worn by Miss Mary Heath in 1937, comprising panelled and darted bodice with ribbon straps, above a tiered skirt, together with scallop-cut satin jacket, green velvet belt and trimmings (a/f)

A Fine and Rare Anglo Indian Rosewood and Ivory Inlaid Gentleman's Desk Bureau. Late 19th century. With a hinged cover opening to reveal invory buttons to adjust the days of the month above a tambor front enclosing letter compartments, all above a sliding wriritng slope with blue velevet lining. 54cm high. 48cm wide. 33cm deep. Two very small ivory inlay losses otherwise in almost pristine condition.

A rare and unusual 15 carat gold Photo Locket engraved with a floral bouquet and birds and floral sprays verso, with a 15 carat gold Chain

A Fine Silver and Coloured Enamel Desk Timepiece. 20th century. the white enamel dial with Roman numerals. The case decorated in polychrome enamels with exotic birds and flowers on matted ground. The movement with platform lever escapement and signed M Norman London No. 1742. All surmounted by a Dragon finial. 8 cm high, 4.5 cm wide. Lacking key. This piece was a special commission to a New Bond Street Jeweller in about 1980 for a client. In excellent condition. No damage at all.

Very Rare Pooh Calender 1930 decorated by Ernest Shepard verses by A.A.Milne Methuen & Co. London some deterioration in corner light staining and scuffing

OPAL & DIAMOND CLUSTER RING, THE LARGE OVAL OPAL SET WITH A SURROUND OF BRILLIANT-CUT DIAMONDS & THE SETTING MARKED 18K (480-550)

A Pair of Japanese Shibayama Silver Vases. Meiji period (1868-1912) ,circa.1880. Decorated with birds and flowers in mother of pearl ,silver,copper and shakudo, With gold laquered panels. With two character gold seal mark below a further two character engraved onto the base. Also with applied mother of pearl two character seal to gold lacquered panel. 30.2 cm high. some losses to mother of pearl. Silver has dark grey patination. Gold lacquer in good condition. No dents or cracks.

† Curtis (William) The Botanical Magazine, or, Flower-Garden Displayed, vols 1-46 in 25, 8vo, early 19th-century diced calf gilt, spines gilt in compartments, portrait, 2110 engraved plates (some folding), all but 3 hand-coloured, index leaf to each volume, 'General Indexes to... the first twenty volumes' bound at the end of vol 20, 1793- 1819 See illustration 120, 903B uncoloured

A George V two-handled presentation cup, by Horace Woodward & Co. Ltd., London 1913, circular tapered with embossed mid rib, engraved inscription 'Presented to Daniel Thornton in Commemoration of 50 Years Continuous Service with the firm of Edward Ripley & Son Ltd....', engraved facsimile signatures, 9in. (23cms), 27.380oz.

Spanish Netherlands Silver Brabant Patogon, Thaler Crown. Date 1634 Philip IV. Weight 27g

Alex Doig Musselburgh Mahogany inlaid slim longcase clock with a hand painted early golfing scene to the half moon face top c/w with Roman Coliseum pillars, scroll cornices, the face features roman numerals, ornate skeleton hands together with veneer motif to the base - c/w pendulum and weights – overall 87”x 9.5” x 9” Note Alexander Doig (1780-1853) was noted clock maker who moved from Edinburgh to Musselburgh in 1814 and carried on his watch making business up until the time of his passing in 1853. There were two marriages recorded in the family both who had sons named Alexander who more than likely carried on in the family clock making business

Laurence Stephen Lowry (1887-1976). Berwick Upon Tweed, artist signed coloured print, 53cm x 43cm

An Austrian cold painted bronze depicting a Bedouin riding a camel, 13cm (5'') high/see illustration

EDWARDIAN SILVER BOOT PIN CUSHION S. BLACKENSEE AND SONS LIMITED, CHESTER 1909, VELVET CUSHION AND WOODEN BASE, 12.7CMS LONG (180-220)

Hassall, John (1868-1948) SET OF FOUR CHROMOLITHOGRAPHS C. 1900 TITLED “THE DRIVE”, “A BAD LIE”” BUNKERED” AND “PUTTING” – in original oak frames with gilt slips – mage 10x 26 – overall 15.5x32” – some staining otherwise good sharp colours Note John Hassall was born in Kent in 1868 and lived until 1948. He was one of the most influential illustrators of the early twentieth century and illustrated ads, prints, pottery and postcards in England. He was a contemporary of Cecil Aldin and similarly a member of the London Sketch Club and produced several well known golfing images

A pair of brass candlesticks on square bases, 10in. high; a pair of brass candlesticks on stepped square bases, 10in. high; a pair of brass candlesticks on plain circular columns on circular bases, 10in. high; a pair of brass candlesticks on spiral twist columns and circular bases 10in. high; a pair of brass candlesticks with turned columns and knop stems on circular bases, 8 1/2in. high; and one small circular chamberstick on dish base.

Norman Stansfield Cornish (b.1919-) "MAN AND HIS DOG" signed; with gallery label verso pastel 75 x 55cms; 29 1/2 x 21 3/4in. PROVENANCE The Stone Gallery, Newcastle upon Tyne. See illustration

Nautical – White Star and Cunard luggage labels and menus etc.

William John Caparne (British 1856=1940) Rocks at Bec du Nez, Guernsey watercolour, signed 21.5 x 30in (54.5 x 76cm).

A German Field Artillery Officers pickelhaube, c.1897-1915, with ball pattern finial on a black leather skull mounted with a brass helmet plate, red and black painted rosettes holding scaled chin strap and metal-rimmed front peak, 8in. (20cms) high; with original canvas cover.

A large Chinese famille-vert bowl, bearing banded decoration incorporating animals and birds, surrounding a central circular reserve containing two mythical creatures frolicking within a stylized garden, 38 cm

A cased 5 piece silver and tortoiseshell back dressing table set, Birmingham 1923

A Chinese silver pedestal bowl makers mark indistinct, of circular form with engraved rim and engraved hexagonal segmented interior, set on a raised and engraved circular foot, weight 20.3 oz 578 grams, 10in (25cm) diameter, 5.5in (14cm) high.

A FINE PAIR OF 20 BORE AUSTRIAN LONG FLINTLOCK HOLSTER PISTOLS BY JOHAN SCHIFTER, CIRCA 1720 with swamped scratch rifled barrels fitted with brass bead fore-sights on a shaped bed, signed in silver on a chiselled moulded panel and engraved with a classical warrior bust in a further shaped panel over the breeches, engraved breech tangs decorated with a devilish monster and incorporating the back-sights, stepped bevelled brass locks signed behind the cocks, decorated with trophies on the tails and with a reclining figure, probably of Victory beneath the pans, fitted with faceted pans, engraved steel cocks chiselled with foliage on the necks and engraved steels, figured walnut full stocks carved with foliage and mouldings in low relief about the tangs, locks and mounts (light bruising, the forward portion of the fore-ends expertly replaced, one butt expertly repaired), gilt-brass mounts cast and chased in low relief, comprising openwork foliate side-plates, spurred pommels engraved with strapwork and with small warrior profiles en suite with the breeches, matching trigger-guards, a pair of ramrod-pipes and escutcheons with the owner's coat-of-arms, horn fore-end caps, traces of early gilding, and later horn-tipped wooden ramrods 37cm; 14 1/2in barrels (2) Provenance Charles Draeger, sold Sotheby's Monaco 7th December 1987, lot 178 Johan Schifter is recorded in Wiener Neustadt circa 1694-1730. Two guns by this maker are preserved in the Hofjagd-und Rüstkammer, Vienna (inv. nos. WS.G210), and another in the Musée de l'Armée, Paris (M2004). See H. Schedelman 1972, p.214, and H. Stöcklein 1926, p. 26.

FRANK WILLIAM WARWICK TOPHAM. Framed signed and dated 1886 oil on canvas. Continental fishing village with soldier and his wife, watching their children playing with toy boats. 84 x 60 cms

A Charles II oak dresser, the planked top with a moulded edge and frieze above three drawers, the central drawer with geometric panels and fitted brass handles, shaped apron below, panelled sides, the whole on baluster turned and block legs, approx. 82cm high x 42cm wide

Rare 1967 Ryder Cup Victory Dinner signed menu - held at The Champions Club Houston Texas October 1967 – fully signed by both teams and captains alongside their team details to incl US Captain Ben Hogan, Arnold Palmer, Julius Boros, Billy Casper, Johnny Pott, Bobby Nicols, Gardner Dickinson, Gene Littler, Doug Sanders, Gay Brewer and Al Gieberger and US PGA President Max Elbin – and GB Captain Dai Rees, Peter Allis, Bernard Hunt, Tony Jacklin, Brian Huggett, Neil Coles, Christy O’Connor, George will, Malcolm Gregson, Hugh Boyle and David Thomas and PGA President Earl of Derby – minor marks to cover otherwise (VG)

A Chinese long necked white ground bottle vase with 6 character mark to base, 11'' high

A JAPANESE LACQUERED HELMET (JINGASA), LATE EDO OR MEIJI PERIOD of very low conical form, slightly raised brim, the outer surface lacquered black and decorated in red and gilt with a pattern of densely scrolling foliage, and three differing mon, and the inside lacquered black (areas of wear, small chips) 42cm; 16 1/2in diameter

A Ruskin pottery handled jug of necked ovoid form with flambe glaze of sang de boeuf red and purple glaze with green speckles throughout, impressed mark to base RUSKIN England 1933, approx. 20cm high

A highly unusual Italian Renaissance style carved giltwood and faux tortoiseshell Folio Stand, foliate carved sides with 'C' scrolls and on four short scrolling legs, original collection labels to underside, 45cm wide

After REMBRANDT. Two volumes numbers 32 of prints of the artist's etchings. Titled "Rembrandt's samtliche radierungen" by Jaro Springer and Hans W. Singer, (500 approx)

A sapphire and diamond cluster ring, the oval mixed cut sapphire claw set within a bezel of mixed cut diamonds millegrain set in shaped mount above tapering shoulders, hoop stamped 18ct., ring size J.

A JAPANESE FULL ARMOUR (TOSEI GUSOKU), EDO PERIOD comprising thirty-two plate kabuto with lacquered peak and neck-guard (losses), lacquered mempo, black lacquered cuirass and a pair of full arm and leg defences formed of lacquered plates and mail on fabric (the lacquer with losses, areas of rust) Stand not included

Karl Heffner 1849-1925. A fine gilt framed oil painting on canvas ‘Flood Time’ 11x14ins signed.

A Fine Mid 19th Century Cut glass and Gold Mounted Scent bottle. Complete with stopper. With deep cut and faceted body. Engine turned mounts. Unmarked but tests as 18 carat gold..8.5 cm long. In excellent condition.

A pair of Indian, Moghal style chandelier earrings set with table cut diamonds with smaller rose cut diamonds on articulated links and an intricate enamel design to rear. Suspending 9 pear shape droppers, each diamond set. Approx. 12cts per earring.

An early 20th Century glass table lamp, the hexagonal cut stem with knop towards base, starcut underside and metal mount.

LIN FENGMIAN. With stamped signature and character mark, framed watercolour on paper. Mountainous lake scene. See Chinese storage invoice verso. 32.5cms square.

Robert Jobling (1841-1923) "WHITBY ABBEY" signed and inscribed watercolour 34 x 24cms; 13 1/2 x 9 1/2in.

† A lion skin rug, by Rowland Ward, London,with stuffed head fitted glass eyes, mounted on blue baize, 81 x 100in. (206 x 254cms).

A Peranakan Chanab (Offering Box) Straights Chinese, late 19th century, of rectangular form in two sections, the top section front and back ornately carved and pierced with red lacquered and gilt decorated pinewood, depicting battle scenes, the sides with birds, flowers and leaves, the base with six division open interior offering section with cinnabar red decoration, the exterior with pierced and gilded decoration depicting dragons, 10.5 (26.5cm) wide, 8in (20.5cm) high, 5in (13cm) deep.

A Pair of early 19th Century Staffordshire pearlware bocage figures by Walton of a Showman and Show woman, the man playing a trumpet and the lady a tambourine, decorated in enamel colours and each marked to back with scroll each approx. 17cm high, with another 20th Century figure marked 'Tenderness' with a Walton mark to back

A Ruskin vase with mottled decoration and a Doulton Lambeth green glazed ewer

Marathon Horse Carriage with 4 Hydraulic Disc Brakes and Hand Brake Feature. New

A blue glass snuff bottle painted with coloured flowers to sides, 3'' high

A Fine Chinese green Glaze Vase. With moulded decoration throughout. Bears a six character Quinlong mark to base. 31 cm high

A very large Chinese Republic Period (1912 - 1949) famille rose porcelain Landscape Vase decorated with mountainous rocky outcrops, pine trees and brightly robed figures at leisure in pavilions with musicians and children playing between decorative bands of pendant's and lappets. The base with an apocryphal iron red Qianlong seal mark, (A/F drilled base and hairline to neck), Height 56 cms. 一个非常大的中国民国时期（1912年 - 1949年）粉彩山水瓷花瓶。花瓶装饰与山区的岩石露头，松树和鲜艳长袍的人物，在休闲亭台之间装饰吊灯和乐队的音乐家和孩子们玩。底座与一个杜撰铁乾隆红色印章标记，（钻基地和颈部的发际线），身高56厘米。

A Victorian sugar basket, by Charles Thomas Fox, London 1840, of circular tapered form, with openwork leaf and twig design, swing handle, on leaf pattern feet, 5in. (13cms), with associated glass liner, 6.580oz.

A FINE PAIR OF 20 BORE SILVER-MOUNTED FLINTLOCK HOLSTER PISTOLS FOR PRESENTATION TO A POTENTATE, CIRCA 1830 in the English taste, with swamped barrels formed in three stages, engraved and inlaid in gold with a sunburst behind the muzzles, lines over the medians, foliage, flowers and strapwork over the breeches, matching tangs, stepped bolted locks engraved and gilt en suite with the breeches, fitted with rainproof pans, rollers and 'French' cocks, and matching top-jaws and steels, full stocks profusely inlaid in silver with scrolling leafy tendrils and flowers, full silver mounts cast, chased and parcel gilt with flowers and leafy scrolls in low relief against a matted ground, comprising shaped solid side-plates, spurred pommels, trigger-guards, a pair of ramrod-pipes, and escutcheons, engraved barrel bolt escutcheons, and original silver-tipped ramrods 22.8cm; 9in barrels (2)

A PARTIAL GERMAN SPAUDLER FOR THE LEFT SHOULDER, BY VALENTIN SIEBENBURGER, NUREMBERG, CIRCA 1535 formed of three lames overlapping outwards from the second, the first struck with the mark of its maker (defaced by a later hole), the quality-control mark of the City of Nuremberg and five dots indicating the position of the spaudler within its garniture, its main edge formed with a roped inward turn accompanied by a double recessed border of which the broader outer one is finely etched on a stippled and blackened ground with running foliage involving vine-leaves, and the centre of its second lame formed with a lenticular recess divided medially by a roped rib and etched to either side of it with a narrower version of its border-design 17.0 cm; 6¾ in Provenance The Marques of Breadalbane, Taymouth Castle, Scotland Gerald I. Mungeam, London Anthony. B. L. Dove, London Ian Eaves, London The spaudler was among a group of pieces that came to light in a tea-chest in an out-house of Taymouth Castle in the 1960s, having evidently been overlooked at the time of the dispersal of the collection of the Marquess of Breadalbane by Christie's on 20 May 1895 and 5 June 1917. The armour for man and horse of the Pfalzgraf Philipp in the Musée de Rennes, Brittany, possesses exactly the same kind of double borders, lenticular recesses and running-vine ornament as the spaudler (Alexander von Reitzenstein, 'Ein Harnisch Valentin Sibenbürgers in französischem Museumsbesitz', Waffen- und Kostûmkunde, Vol. 3, pt. 2, 1973, pp. 99-108). Other pieces showing these features can be recorded in the Musée de l'Armée, Paris, Inv.Nos. G. 314, G. 591, G.436-6 & G.568, and in the Hermitage Museum, St Petersburg. All bear the mark of Valentin Siebenburger (circa 1510-1564), the leading Nuremberg maker of his day. His house, opposite that of Albrecht Dûrer, is now a public house named 'Zum Geharnischten Mann".

A second half 20th Century Art Deco style figural table lamp, modelled as a nude girl wearing a sash, leaning backwards holding the lamp above her, raised on stepped marble base, 33in. (44cms) high.

A Monart vase, of "RA" shape of mottled green/black colour with adventurine inclusions to rim, 5in. (12.5cms) high.

Bohemian Armorial green glass goblet with enamelled decoration and painted anchor and cross makers mark underneath

Mickey Mouse ''Silly Symphonies,'' set of records in original presentation book.

An Edwardian 9ct gold necklace with a central pear shape precious opal set into a claw setting, surrounded by a decorative foliate wreath frame, set with old cut diamonds and pearls.

A 1930's Clarice Cliff jug (hairline crack)

18CT GOLD EMERALD & DIAMOND CLUSTER RING. THE OVAL EMERALD IN A SURROUND OF 12 BRILLIANT CUT DIAMONDS (3000-4000)

Emile Vernon (1872-1919). Flowers and pink bowl, oil on canvas, signed and dated (18)96, 61cm x 77cm

Hand painted enamel of wood and river scene mounted in gold metal brooch with niello work and eleven claw set pearls

A Royal Worcester vase of ovoid 2 handled form, decorated with highland cattle by Harry Stinton, ht 8.5"

<p>Subject to more than 30 years' research into its provenance and materials, this Renaissance painting of the Madonna and Child, believed to be by Raphael as the prototype for the Sistine Madonna, is now offered for sale by auction.</p> <h2>Evidence of its originality includes</h2> <ul> <li>Pentimenti&nbsp;-&nbsp; underdrawing - where the artist has experimented with the composition which would not appear on a copy.</li> <li>The blue coloration is a vegetable-derived dye <em>turnsole</em> (or similar organic indicator dye), known to be used only up to about 1600 for manuscript illumination, and not previously recorded in an oil painting.</li> <li>X-ray analysis shows pounce-marks exclusively across the knuckles and&nbsp;around the fingers of the Madonna's right hand and around the upper bicep of the Child. This indicates use of an auxiliary cartoon – a&nbsp;technique peculiar to Raphael.</li> <li>And its size (approx. 98 cm diameter) is consistent with the size of&nbsp;Raphael's known tondos</li> </ul> <h2>Important scientific and historical evidence includes</h2> <ul> <li>&nbsp;Analysis by eight independent laboratories, including Raman spectroscopic analysis by Professor Emeritus Howell Edwards, University of Bradford, which showed the yellow colour to be <em>massicot</em>,&nbsp;substantiated the date of the painting to pre-1700.</li> <li>The monogram on the reverse of the canvas substantiates that the picture was in the collection or possession of Queen Henrietta Maria (1609-69), wife of Charles I.</li> </ul> <p>The opinion of Professor Dr Jürg Meyer zur Capellen, scholar at the forefront of Raphael research, of the University of Münster and of the Raphael project jointly with Würzburg university, &nbsp;confirms:</p> <blockquote>"I believe it very likely that the tondo had once been in the collection or possession of Sir Richard Wynn of Gwydir coming from Queen Henrietta Maria, wife of Charles I.&nbsp; The painting might have had a certain significance in the catholic aims of Henrietta Maria, fostered by the Holy See.&nbsp; So it is possible that the painting was done in Rome for this purpose".</blockquote> <h2>Condition Report</h2> The painting is of a circular image within a square canvas. The canvas size is (height x width) 102.5 (+) x 103.7 - 104 cm. The horizontal diameter of the image is between 95.5 and 98 cm. and the vertical diameter is between 99 and 100 cm. The painted "frame", between the circle of the image and the square of the canvas, is loosely painted brown. The stretcher is of dressed wood and is constructed in a square with uniform diagonal battens across the corners. The stretcher is tensioned by wedges at the corners and the intersections. The canvas is secured to the stretcher by hand-made tin-tacks. Two areas of overpainting are clearly visible: the folds of the sleeve of the Madonna, and Her bodice. The overpainting is crude, especially on the sleeve where the brushwork is out of character with the rest of the painting. The fold is a stylised fold, without any unique detail which observation would have provided. Excerpt quotations as above from Dr Murdoch Lothian PhD thesis 'The Methods Employed to Provenance and to Attribute Putative Works by Raphael'. Liverpool University 1991 The painting was reframed and glazed at the National Conservation Centre, Liverpool 1, following conservation work on the painting undertaken at the Centre in the period January to May 2000.

A Rene Lalique opalescent glass bowl, Ondines pattern no 380, relief moulded with six swimming female nude mermaids to sides, etched mark to side, approx. 20cm dia

A pair of Naples cabinet plates with decoration in raised relief depicting Louis XVI and Marie Antoinette,with gilt ground centres, 10in (25.5cm) diameter (2).

A gold, enamel and diamond pendant, of marquise shape centred by a diamond set monogram on a red guilloché enamel ground within a border of white enamel swags, the reverse with applied monogram on mother of pearl, hung on an articulated neck chain, the pendant 6cm (2.25'') high including bail/see illustration

Chrysler New Yorker de Luxe St. Regis by Revell Great Britain Kit # H 1201-6 and a Pyro 32 Scale 1930 Bentley Blower.

Irish school of artists – Maurice Canning Wilks 1911-1983. Attributed. A framed oil painting on canvas ‘Autumn near Bryansford, County Down’. 20x24ins. Purchased by the vendor, in Ireland c1974

A Victorian oak and marquetry inlaid work table, circa 1860, the rectangular moulded edge top inset with flowerheads and fleur-de-lys, initialled ''R.B.'' centred with an eagle crest, upon a Gothic trefoil and quatrefoil carved frieze and octagonal carved stem with carved crossover base, 76cm x 56cm (30'' x 22'')/Provenance: Wells House, Gorey/ Co. Wexford/see illustration

John Boyd (1940-2001). Still life model ship, oil on canvas, signed, 74cm x 89cm, bears artists label verso

Inlaid Edwardian Bookcase Display Cabinet. Needs Some Repair. Attractive.

Two pairs of Cauldon two-handled bowls, one pair circular, the other square-shaped, decorated with painted flowers, the exteriors with gilt foliate motifs on gros-blue ground, 9in. diameter and 8 1/2in. wide.

A sterling silver decorative egg locket by Saramai. The locket inlaid with a royal blue enamel and set with marcasite and seed pearls. Marked 925

An interesting Collection of Roman and other Ancient bronze and silver coins (117 pieces.) A genuine old collection, still with their Victorian collectors envelopes.

A 19th Century mahogany folding games table, a pair of hinged flaps opening to reveal the green baize lining, fitted a single drawer to the frieze with slide under, raised on turned tapering legs, 18 x 18 x 28in. high.

A set of four 19th Century William IV Classical Revival Walnut Salon Chairs decorated in the manner of Thomas Hope (Dutch / British, 1769 - 1831). Each chair decorated with gilt highlights to the stop fluted legs, the uprights, backs and front rails inlaid with exotic wood (possibly Thuya or Amaranth). The turned legs united by turned and block 'H' form stretchers with the front legs terminating in miniature cup bun feet complete with original gilt metal castors, (later upholstery), (4) cf. The Phillips Guide to Chairs by Peter Johnson p. 58 and 59 for two examples of similarly decorated chairs.

LIN FENGMIAN. With stamped signature and character mark, framed watercolour on paper. Mountainous coastal scene with cormorant fisherman. See Chinese storage invoice verso. 30cm x 36.5cm.

Fine and early McEwan feather ball longnose curved face long spoon c.1840 – the elegant dark stained beech wood head measures 5.25” x 1” deep face x 1 7/8” w – fitted with a scarce 45” extra long and slender whippy shaft with two small bands of whipping – retaining nearly two thirds of the original grip and underlisting

A child’s elephant teething ring, Birmingham 1953

A 19th Century mahogany decanter box with hinged lid enclosing six plain square-shaped decanters, each with mushroom-shaped stoppers, fitted brass carrying handles, 10 1/2 x 7 1/4 x 8 1/2in. (27 x 19 x 22cms) high.

A George III mahogany writing table with rectangular gadrooned top, with fitted drawer and square chamfered legs, the frieze and legs carved with blind fret work, 96.5cm (38'') wide/see illustration

A James Macintyre & Co Florian Ware vase by WilIiam Moorcroft, Iris pattern of narrow necked baluster form with flaring rim painted in shades of blue, printed mark, incised monogram, numbed M. 705, approx. 23cm. high A/F

Fred Yates (1922-2008). Beach scene, oil on board, signed, 30cm x 36cm

2 Victorian carved Cameo panels.

British School c.1800 A MINIATURE PORTRAIT OF A YOUNG MAN IN MIDSHIPMAN'S UNIFORM (said later to be Admiral Manners) bodycolour on ivory 7.3 x 6cms; 2 7/8 x 2 1/4in. See illustration

**A FINE AND RARE CHINESE DECORATED HELMET, 17TH/18TH CENTURY, PROBABLY FOR A MEMBER OF THE IMPERIAL HOUSEHOLD with tall skull formed of four iron plates each decorated on the outside in damascened gold with four Lentsa characters above a running five clawed dragon, the plates joined on the inside by a slender iron panel and the outside with two gilt iron panels with engraved shaped foliate projections (two outer panels missing), the top of the skull with a large pierced iron central boss retained by four bud-shaped rivets all thickly encrusted with gold, decorated at the top with an expanded flowerhead, and at the front with a pair of dragons on either side of a central flaming jewel motif, all framed by a pair of ropework bands, the base of the skull encircled by an iron beadwork band surmounted by matching foliate projections secured by a pronounced bud-shaped rivets, all thickly encrusted in gold and with traces of a cheek and nape defences (probably of leather), fitted at the front with a brow-plate decorated in inlaid gold with a symmetrical pattern of scrollwork filled with differing flowerheads, topshells and a central flaming jewel design, pierced shaped peak thickly encrusted in gold and decorated with a design of scrollwork and a central monstrous mask, and retaining much gold throughout (the skull plates with small areas of pitting) 23cm; 9 1/8in high Provenance Morris J. Pinto, Geneva 1990 A helmet with two-piece skull and decorated in a closely related manner is preserved in the Metropolitan Museum of Art, New York (inv. no. 2005.270. See D. Larocca 2006, no. 18 pp. 83-4. The five clawed dragon was adopted as a motif on the robes of Government Officials and members of the Imperial family from the 14th Century. It is one of the twelve ornaments, all twelve being present only on the robes of the Emperor.

A FINE PAIR OF 25 BORE FLINTLOCK DUELLING PISTOLS BY TWIGG, LONDON, CIRCA 1785-88 with browned twist octagonal swamped sighted barrels signed in block capitals, case-hardened breeches inlaid with a pair of engraved gold lines, gold-lined vents, stamped with London proof marks and one with the barrelsmith's initials 'TP' beneath, engraved case-hardened tangs fitted with standing back-sights, stepped bevelled locks signed in first form of signature and engraved with a sunburst, fitted with bolt safety-catches also engaging the steels, gold-lined rainproof pans, rollers, blued detents, blued mainsprings, set triggers, highly figured walnut half-stocks with finely chequered butts (light bruising, minor scratches), engraved blued steel mounts comprising spurred trigger-guards with pineapple finials and ramrod-pipes, silver vacant shield-shaped escutcheons, silver barrel bolt escutcheons (one cracked, barrel bolts with chips), horn fore-end caps, with one original steel-tipped and an associated horn-tipped ramrod, retaining much original finish, and in untouched condition throughout: in original mahogany cased lined in red baize (the interior worn, the lid slightly warped), the lid with flush fitting carrying handle and rectangular escutcheon engraved 'Captain Coghlan Royal Navy, and with a steel bullet mould 25.5cm; 10in barrels Jeremiah Coghlan (1774/5-1844), naval officer, was in January 1796 mate of a merchant ship at Plymouth, and on the occasion of the wreck of the East Indiaman Dutton displayed such energy and courage that Pellew offered to put him on the Indefatigable's quarter-deck. He continued for three years in the Indefatigable and in March 1799 followed Pellew to the Impétueux. In June 1800 Coghlan was put by Pellew in command of the cutter Viper, and while watching Port Louis proposed to cut out a French gun-vessel at the entrance of the harbour. Pellew lent him a ten-oared cutter, and in this, with eighteen men and a midshipman - Silas Hiscutt Paddon - on the night of 29 July, he boarded the gun-brig Cerbère and after a hard fight captured her 'within pistol-shot of three batteries, surrounded by several armed craft, and not a mile from a 74 bearing an admiral's flag, and two frigates' (E. Pellew, Despatch). Both Coghlan and Paddon received several severe wounds, six of Coghlan's men were wounded, and one was killed; but the Cerbère was taken and towed out under heavy fire from the batteries. The squadron, to mark their admiration, gave up the prize to the immediate captors; and Pellew, in his official letter to Lord St Vincent, emphasized the courage and skill 'which … effected so daring an enterprise' (ibid.). St Vincent, in forwarding Pellew's letter to the Admiralty, praised the achievement and in a letter to Pellew privately asked him to present to Coghlan a sword of 100 guineas' value. On St Vincent's representation, Coghlan, though he had served in the Navy for only four and a half years, was promoted lieutenant on 22 September 1800 and continued in command of the Viper until she was paid off in October 1801. In spring 1802 he was appointed to the cutter Nimble, and on 1 May 1804 was promoted to command the sloop Renard on the Jamaica station. On 20 March 1805 he brought to action the French privateer Général Ernouf, which, after an action of thirty-five minutes, was set on fire and blew up with the loss of upwards of a hundred men. In August 1807 Coghlan was moved into the brig Elk on the same station, and for nearly four years was senior officer of a light squadron for the protection of the Bahamas. He was promoted captain on 27 November 1810 but continued in the Elk until the following summer. In September 1812 Coghlan was appointed to the Caledonia as flag captain of Pellew, then commander-in-chief in the Mediterranean. At the end of 1813 he exchanged into the frigate Alcmène and continued in her until the end of the Napoleonic wars. On 4 June 1815 he was nominated a CB, and from 1826 to 1830 commanded the frigate Forte on the South American station. Coghlan married a daughter of Charles Hay of Jamaica, widow of Captain John Marshall RN; he had one son Sir William Marcus Coghlan (1803-1885). Taken from <http://www.oxforddnb.com/view/article/5817?docPos=4> , 26th March 2013, with amendments pending for the next edition, September 2013. John Fox Twigg (1732-90) is recorded gunmaker in Charing Cross 1755-60, 132 Strand 1760-76 and at Piccadilly circa 1776-9. He was in partnership with his nephew, John Bass, from 1788 until his death.

An Imari charger, decorated with floral and landscape panels on a gold ground, 18 1/2in. (47cms) wide, broken and re-glued.