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A LLadro figure group of two children on a bench; together with two others similar and a quantity of boxed Chantilly glassware (a lot)

20th century Chinese Blue and White Fertility Vase applied with six climbing children, 35cm high

Framed oil painting - an impressionist beach scene with children looking for minnows

A quantity of 1953 Ordnance Survey Maps of Cirencester and a 1923 Map of Hampton; Severnhampton, Brockhampton, plus two books 'Games for children' and 'Countryman's' Bedside Book.

Three Simonetti figures on Carrara marble bases, one holding fruit, another serving drinks and two chalk figures a/f of Scottish children with dogs at their feet a/f.

20th century Chinese blue and white vase of inverted baluster form, decorated with dragons chasing a flaming pearl amidst clouds, above a tumultuous sea, raised on a turned wooden stand, together with blue and white charger, decorated with children playing blind mans bluff with a moth and cell boarder H36cm

Late 18th century Prattware figure representing Charity, modelled as a mother with baby in her arms and two small children clutching at her robes, upon a square base, overall H21cm.

Angela Palmer, a terracotta with bronze resin seated mother with children reading (number 143)

A Lladro figurine children and goose, boxed , 26 cm

A pair of Sitzendorf Rococo influenced early 20th Century porcelain figurines, comprising husband and wife with children on their shoulders, decorated with polychrome enamels and gilt highlights, 21 cm, together with a pair of smaller Sitzendorf figurines, holding a bonnet and flowers, 12 cm

A 19th Century depiction of children riding a bareback horse through a stream, mother looking on from an adjacent stone bridge, oil over-painted engraving, gilt framed, 38 x 31 cm

C20th Dresden style table lamp, encrusted with flowers with pierced shade, with children dancing around tree, H42cm, another similar figure (2)

SET OF ROYAL WORCESTER 'DAYS OF THE WEEK' FIGURES OF CHILDREN, including Monday's child if full of face, 3257, modelled as a girl in white dress with blue sash (7)Comments: Tuesday's child ballerina figure broken, others appear good

SET OF ELEVEN ROYAL WORCESTER 'MONTHS' BONE CHINA FIGURINES OF CHILDREN, including January, 3452 modelled as a boy in red jacket, all approximately 5-8cms high (11)Comments: April figure badly damaged, July figure missing

A mixed lot including 19th Century wall plaque depicting three children in gilt frame a/f, vintage Mickey & Minnie mouse wallpaper rolls, a tin of buttons and a 1928 King George V and Queen Mary booklet commemorating their visit to Newcastle Upon Tyne and Gateshead

A framed steel engraving of children playing in the groins after Ulysse Butin 1881, 40cm x 26cm

A fine Chinese Jingdezhen eggshell porcelain bowl with scalloped rim painted with children at play

Two large boxes of antique photography dry negative plates, one Eclipse contains six people and buildings plates including fox hunt gathering outside 'Carter King's Head Hotel', school children (one as found), the second box from H T Cave Photographers Dereham including five plates of social gatherings and dinner for the same group of men, 30.5cm x 25.5cm

A collection of 18 T REX / MARC BOLAN 7" records to include a 1971 GET IT ON in good condition , a 1971 HOT LOVE with minor scratches and writing on the label , a 1968 DEBORA in good condition , a 1971 GET IT ON with minor scratching and writing on the label , a 1970 RIDE A WHITE SWAN in good condition , a 1972 JASPER C DEBUSSY with one small scratch , a 1975 NEW YORK CITY in good condition , a 1974 LIGHT OF LOVE in good condition , a 1974 ZIP GUN BOOGIE in good condition , a 1973 TEENAGE DREAM in good condition , a 1973 TRUCK ON in good condition , a 1973 THE GROOVER in good condition , a 20th CENTURY BOY in good condition , a 1975 DREAM LADY in good condition , a 1972 CHILDREN OF THE REVOLUTION in good condition , a 1972 METAL GURU in good condition , a 1972 TELEGRAM SAM in good condition and a 1972 SOLID GOLD EASY ACTION in good conditionApprox 18 pieces

Continental ceramics including a pair of floral encrusted rococo style wall brackets bearing blue AR mark, Capo di Monte figures of children and a pair of relief moulded resin plaques, framed together with a Caolport Coalbrookdale pot and cover with floral encrusted decoration (7)

A collection of ceramics and glass to include Lladro figures, Shepherdess with ducks 4568, Honey Lickers 1248, two others, Neo figure, Chinese enamelled ginger jar decorated with figures and children, metal mounted glass jug, blue ceramic ewers, etc (1 tray)

Charles Noke for Royal Doulton, a Kingware Dutch children tobacco jar

Two Royal Doulton vases, Blue Children pattern, ovoid bottle and square form (2)

TWO LLADRO FIGURES OF SLEEPING CHILDREN,5cm high, along with four other Lladro figures (6)

EIGHT NAO FIGURES OF CHILDREN,the largest measuring 19.5cm high, along with a Natureworld collection figure group of badgers (9)

MAMERTO SEGUÍ ARECHAVALA (Bilbao, 1862 - 1908)."Venice".Oil on panel.Signed and located in the right margin.Size: 22,5 x 30 cm; 32 x 39 cm (frame).Mamerto Seguí immortalizes in this work a corner of Venice that moves away from the bustle and the classic ducal buildings that the painters of this period used to paint. Instead he depicts a secluded scene with a group of children playing by the canal.A painter of landscapes, mansions, genre and oriental themes, Mamerto Seguí studied at the Schools of Fine Arts in Madrid and Barcelona, and subsequently travelled to Rome on numerous occasions. He combined his artistic practice with painting, which he practised first as a teacher of ornamental drawing at the Bilbao School of Arts and Crafts (1887) and from 1891 in different schools and official institutes. In 1903 he temporarily took over the classes of his colleague Anselmo Gómez, who was to finish the ceilings of the Palacio de la Diputación. Throughout his career Seguí took part in the following official exhibitions: the Provincial Exhibition of Vizcaya, held in Bilbao in 1882, and the National Fine Arts Exhibitions of 1884, 1887, 1890, 1897 and 1901. In the Vizcaya Provincial Exhibition his painting "Zamácola dictando a sus escribientes" ("Zamácola dictating to his scribes") won him a silver medal, and he was also awarded a silver medal in the National Exhibition: third medal in the 1884 exhibition for "Idilio", and he won the same award again later for "La preferida" ("The Preferred"). His work "Una boda" ("A Wedding") was also awarded a prize at the Basque festivals in Guernica, a canvas that was later exhibited at the Salón Velasco in Bilbao. In recent years, Mamerto Seguí's work has taken part in exhibitions such as the Basque art exhibition held at the Sala Garibai-Kutxa in San Sebastián in 1995. He is currently represented in the Museum of Euskal Herria.During the second half of the 19th century, Spanish painters achieved a position in Rome never before attained by any other type of artist. The presence of Eduardo Rosales and Mariano Fortuny in the Eternal City, from 1857 and 1858 respectively, was a milestone in the development of Spanish painting. The technical advances made by these two painters from the 1860s onwards, as well as their international successes, encouraged their peers and artists of the following generations to move to Italy. According to a prominent Italian critic of the time, Diego Angeli, in "Le cronache del Caffè Greco", the Spaniards, during the period 1865-1885, were the arbiters of the Roman painting scene, to the extent that the most exclusive salons opened their doors to them.It was they who monopolised most of the foreign art market, to the point of encouraging Italian artists to create new schools to counteract Spanish success. The so-called "Spanish School of Rome" was one of the most brilliant periods of Spanish art.

STIK (B. 1979)Children of Fire 2011 spray paint on steel garage door 211.3 by 211.2 cm.83 3/16 by 83 1/8 in. This work was executed in 2011. Footnotes:Provenance Private Collection, UKLamberty Art Gallery, LondonAcquired directly from the above by the present owner in 2013LiteratureJack Fogg Ed., STIK, London 2015, p. 114, 117, illustrated in colourInsightful and unwavering, Children of Fire is a masterful meditation on our political moment by the renowned street artist STIK, capturing a sense of community and the significance of togetherness in the face of political and social strife. Created in response to the infamous London Riots which took place across the capital in August 2011, Children of Fire documents the civil unrest, triggered in the wake of the death of 29-year-old British man Mark Duggan, who was fatally shot by police in north London. It is a work that distils an unnerving sense of despair and yet exudes an unshakeable hope. It is as invigorating as it is simple and reticent. In the nascent history of contemporary Street Art, few works embody the spirit of the street artist as a documenter; a phantom beyond reciprocity, creating artworks in the public sphere that stand to call attention to the architecture, the arbitrators, and headlines of our day. Children of Fire is such a work. A 'street' piece – such examples are rarely granted permission to be sold publicly – it is testament to its time and the importance of the movement over the last two decades. Lasting for five days, the London Riots in 2011 sparked outrage and shook London, with widespread violence, looting, arson and ultimately five fatalities. A chain reaction of unrest took hold of the nation as the violence spread across the country, raising fists and fire in protest against perceived injustice. Images of burning vehicles and damaged buildings are reminiscent of an apocalyptic scene from a movie rather than the streets of the country's capital. STIK experienced the riots first hand in his home borough of Hackney in East London. Taking to the streets, he was surely one of the only artists to have documented this historic event in the moment. Preparatory studies were drawn amid the riots, and the present mural was painted in the following days on the garage door of Pogo Café, a vegan café and anarchist information centre. Two years later, Pogo Café sold Children of Fire to fund proceeds for related social causes. In the present work, the artist sets the scene against a vibrant canary yellow backdrop. A bright flame rises from the bottom of the composition surrounding three children in a golden, fiery halo. With proportions that are distinctly childlike, the figures are depicted in STIK's iconic, rudimentary, and enigmatic style. An array of emotions are subtly implied. Bewildered, and imbued with a vulnerable innocence, the children glance at their surroundings in apparent dismay. There is a whisper of sadness emanating from the hunched figures, yet there is, nonetheless, a defiance and ambition that shines through. Like a phoenix rising from the ashes, those who have burnt the city to the ground are countenanced by those who would build it from its rubble. It illustrates a city and generation in flux. Many of the perpetrators of the London Riots were adolescents and young adults. The legacy of the events of August 2011 has undoubtedly been one of horror, of the brutality that gripped a country and the criminal opportunism that led to the snowballing of an initial spark. Yet the riots left the country with a deeper sense of obligation and community, and in Children of Fire this feels asserted in the most striking of images.STIK's dynamic six-line two dot figures have become superbly iconic, with their friendly figures appearing across buildings and walls across the globe. Like other acclaimed street artists such as Banksy and his emblematic Girl With Balloon or OSMGEMEOS' memorable cartoon-like characters, STIK's figures are much loved landmarks and members of the community in their own right. Despite their seemingly simplistic form, each figure possesses its own distinguishable character as the artist assembles them with idiosyncratic personalities. A tilt of the head, a slight curve in the back, a raised arm, or the positioning of their remarkably expressive eyes can communicate as much emotion as a fully painted portrait. It is testament to STIK's ability as an artist and his sensitivity to body language and sentiment. Executed in 2011, this impressive work by STIK is arguably the most significant piece to come to market. It is an artwork that establishes some wonderful dichotomies: undoubtedly one of the rarest and most monumental paintings by the artist, it is humbly executed on a commonplace garage door. Making it rarer still, additional elements including the backdrop with the burning flame are scarcely seen, the artist generally favouring a single or two-figure image set against a monochrome surround. The inclusion of a rare third character is a composition STIK only employed in a short period of his output. Furthermore, this particular garage door became a repeat canvas for STIK at the Pogo Café, where he would revisit and paint three separate works over three years. The first mural was to appear in 2008, Radical, a painting showing a defiant vegan holding an asparagus raised high and proudly above the figure's head. The second mural titled Woman featuring a lone figure on the garage door, and the third and final work Children of Fire were both executed sequentially in 2011. Originally found in the artist's neighbourhood in East London, STIK's connection to this object as a surface and message-board for his paintings makes it a piece that is utterly unique amongst comparable works to be offered. Signalling the importance of community, brotherhood, and political action, Children of Fire is unquestionably one of the great works by STIK and represents an opportunity to acquire a painting that is laden with history and lore by one of the definitive street artists of the last two decades.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Fred Wilde (British 1910-1986) Northern street scene at night with children playing under a street light, signed, oil on canvas.40cm x 44.5cm (15.75in x 17.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.

ENGLISH SCHOOL, 19TH CENTURY A family group of pastel portraits Edward Henry Dalton Esq. (c.1788-1837) his wife Johanna and two children, each 24cm x 21cm (4) Edward Henry Dalton, was a sugar planter, and later Postmaster of the Colony of British Guiana.

AFTER LAWRENCE. The Calmady Children, oil on board, 12" diameter.

TWO VINTAGE COLOUR PRINTS A FLORAL STILL LIFE AND CHILDREN AT THE BEACH

20th CENTURY SCHOOL TWO PASTEL STUDIES OF CHILDREN ONE ENTITLED "THE LITTLE MERMAID" SIGNED INDISTINCTLY SIZES VARY.

A GROUP OF FOUR (3) PORCELAINS INCLUDING A VERY FINELY PAINTED ‘SQUIRREL AND GRAPES - SONGSHU PÚTAO - 松鼠葡萄’ FAMILLE ROSE PORCELAIN DISH CHINA AND POSSIBLY CANTON, LATE QING DYNASTY, CIRCA 1880-1900 This lot is comprised of: - a ‘squirrel and grapes’ porcelain dish; - a suite of two (2) porcelain plates adorned with musicians D (the squirrel dish): 24 cm Note: Grapes combined with squirrels form a popular motif that represent the wish for many children and ceaseless generations of sons and grandsons. 一组三（3）件松鼠葡萄粉彩瓷盘 中国及可能为广东，晚清，约1880-1900 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A Chinese silk needlework Thousand Children rectangular panel, embroidered in colourful threads, 63cm x 33cm, early-mid 20th century

CONTINENTAL SCHOOL (XIX). A naive harvest scene with young children and goats, oil on canvas, framed and glazed, 51 x 76 cm

CONTINENTAL SCHOOL (XIX). A naive harvest scene with young children and stock, oil on canvas, framed and glazed, 51 x 76 cm

JOHN FREDERICK PASMORE (1820-1881). An elderly lady reading with children and a dog, signed lower left, oil on canvas, gilt framed, 29 x 39 cm

A COLLECTION OF APPROXIMATELY 180 BRITISH CARTE DE VISITE PORTRAITS ETC., comprising examples from Shrewsbury, Birmingham, York, Cardigan, Rhyl, Dublin, Hereford, Yarmouth, Margate etc, together with a collection of approximately 100 mostly American carte de visite comprising examples form Philadelphia, Boston, Broadway New York, Brooklyn, Springfield Mass., New Jersey, Pittsburg, Indiana etc., a selection from Paris and Germany etc., plus a collection of approximately 50 men, women or children with their dogs / cats portraitures etc. (Approximately 330)

A PHOTO ALBUM CONTAINING APPROXIMATELY 80 AMERICAN CARTE DE VISITE PORTRAITS, mainly female portrait images with two men and eight children, many with annotations below of name and place of origin, to include Ohio, Texas, New Jersey, Boston, New York, New Orleans etc., contained in a modern photo albumCondition Report:All images are contained in individual pouches mounted for protection beneath the plastic cover

A 19TH CENTURY CONTINENTAL BRONZE FIGURE OF TWO CHILDREN 'au cinematographe', signed to the base but indistinct, H 18 cm

Peter Paul Rubens,1577 Siegen – 1640 Antwerpen, zug.SCHWEBENDER PUTTO Schwarze, rote und weiße Kreide auf Büttenpapier, verso von feinem Japanpapier restauratorisch unterlegt. Maße des Blattes: 27,2 x 13,5 cm (links Anstückelung zu 16,1 cm). Im Passepartout, hinter Glas gerahmt.Rubens hat diese Studie in schwarzer und roter Kreide auf Büttenpapier gezeichnet, das Weiß im Sinne einer Glanzhöhung eingesetzt. Das Alter des Papiers ist durch Untersuchung für die Zeit um 1618 gesichert. Dies gilt als ein umso wichtigeres Indiz, als die Ausführung des großen Altarblattes „Die Hl. Jungfrau umgeben von den Unschuldigen Heiligen Kindern“ auch im Jahr 1618 gemalt wurde. Dabei sind für die Bedeutung unseres Blattes mindestens zwei Kriterien zu nennen: zum einen findet sich unser Putto in nahezu exakter Wiederholung im genannten Gemälde, nämlich links oben, neben den weiteren Kinderfiguren, zum anderen ist das Grundthema des Puttenreigens ohnehin ein ausgesprochen eigentypisches Phänomen in der Bilderfindung des großen Flamen. Damit ist auch unser Blatt in der Bedeutung für das Rubensschaffen als ein Werk von Rang zu sehen. Der Zeichnung ist die entsprechende Virtuosität und Reife der Blütezeit des Rubens´schen Wirkens eigen. Selbst als Darstellungsdetail für das Altarblatt zeigt sich die Zeichnung bereits in der künstlerischen Wirkung als eigenständiges, autonomes Kunstwerk. Die Verwendung dreier Farbstifte, die Hintergrundschattierung links, vor allem aber auch die Weißhöhung, verleihen dem Blatt diese Wirkung. Auf die Wiedergabe der Arme hat Rubens hier bewusst verzichtet, sehen wir sie doch in der Gemäldeausführung etwa von der Kinderfigur daneben überdeckt. Dass unser Putto im Altarbild nicht völlig exakt wiederholt wurde, ist etwa an der Form der Haarlocke zu sehen, auch darin, dass das Gesicht dort weiter abgewandt erscheint. Solche Beobachtungen lassen sich zurecht auch als Indiz der Echtheit sehen – schließlich wurde unser Blatt von keinem der Experten der Rubensforschung in Frage gestellt. Es würde zu weit führen, für die zahllosen Kinderdarstellungen, die im Altarbild die Marienfigur umschweben, lebende Modelle im Rubensumfeld zu suchen. Jedenfalls aber wissen wir, dass Rubens nicht selten seine eigenen Kinder, wie etwa den Sohn Albert (geb. 1614) als Modell zum Vorbild hatte, wie wohl auch in jenem Werk in der Albertina, Wien, (Inv. Nr. 17639). Jedenfalls erweckt auch unser Blatt eher den Eindruck einer Zeichnung nach einem lebenden Kindervorbild, als nach idealisierter Idee. So ist auch das Gesicht weit realistischer gegeben, als dann im Ölbild, was zudem für die Authentizität spricht, von sämtlichen namhaften Rubensexperten bestätigt. So handelt es sich bei unserem vorliegenden Werk nicht zuletzt auch um eine bedeutende Ergänzung des graphischen Oeuvres für Rubens.Provenienz: Georges Bourgarel, Paris. Gutekunst & Klipstein, Bern, 22.11.1956, Lot 272. Privatsammlung, England. Angeboten bei Christie‘s, New York, 28.01.2015, Lot 62.Literatur: A.-M. Logan and M. C. Plomp, Pieter Paul Rubens, The Drawings, exh. Cat. New York, Metropolitan Museum of Art, 2005, pp. 192-3, Nr. 59., S. 237-238, Nr. 81, Fig. 126, Inventar Albertina, Wien, Nr. 8296, Logan – Plomp op .cit. S. 204 f. N. 65. (1321992) (11)Peter Paul Rubens,1577 Siegen – 1640 Antwerp, attributedFLOATING PUTTOBlack, red and white chalk on laid paper. Mounted on card.Dimensions of the sheet: 27.2 x 13.5 cm (Sheet added to 16.1 cm.).Mounted and framed with glass.The present drawing in swift lines probably shows a live drawing of a figure of a small child. Pentimenti on the left foot, the realistic rendition of the head and a few single outlining lines suggest that this is a sketch. A comparison with Rubens´ work quickly reveals similarities: a painting titled “The Virgin and Child Surrounded by the Holy Innocents” held at the Louvre was created ca. 1618. A young child can be made out in the top left which is identical to the child in the drawing in this lot, particularly its posture and expression. Rubens created numerous sketches for his paintings and children often acted as models. These sketches were incorporated into paintings at various times. In this instance, it could be assumed that Rubens drew his own son Albert, who was born on 5 June 1614 and this seems to also be the case for a drawing held at the Albertina Museum, Vienna (inventory no. 17639). According to the description at Sotheby´s no relevant Rubens expert doubts the authorship of the sketch in this lot. According to the paper expert Pieter Bower the paper dates to ca. 1618. The paper was extended on the left by ca. 23 mm, with slight foxing and darkened within the mount, especially around the edges. However, overall it is in a beautiful and crisp condition.Provenance:Georges Bourgarel, Paris.Gutekunst & Klipstein, Bern, 22 November 1956, lot 272.Private collection, England.Offered at Sotheby´s, New York, 28 January 2015, lot 62.Literature:A.-M. Logan and M. C. Plomp, Pieter Paul Rubens, The Drawings, exh. Cat. New York, Metropolitan Museum of Art, 2005, pp. 192-3, Nr. 59, S. 237-238, Nr. 81, Fig. 126.Inventar Albertina, Wien, Nr. 8296, Logan – Plomp op .cit. S. 204 f. N. 65.

Jan Zoetelief Tromp, 1872 Batavia – 1947 BreteuilSPIELENDE KINDER AM STRAND Öl auf Leinwand. Doubliert. 39,5 x 48,5 cm.In Nahsicht fünf sommerlich bekleidete Kinder im seichten Wasser, dabei mit Schaufeln im Sand spielend. Im Hintergrund sind im leicht welligen Wasser einige Schwimmer und ein paar Seegelboote sichtbar. Atmosphärische Malerei in frischen sanften Farbtönen.Anmerkung: Authentifizierung als eigenhändiges Werk des Künstlers wurde durch seine Tochter vorgelegt (in Kopie). (12821038) (18)Jan Zoetelief Tromp,1872 Batavia – 1947 BreteuilCHILDREN PLAYING ON THE BEACHOil on canvas. Relined.39.5 x 48.5 cm. Notes:A copy of a certificate of authenticity by the artist’s daughter is enclosed, confirming that the painting is by the artist’s own hand.

Jenny Agutter signed Railway Children 10x8 black and white photo. Jennifer Ann Agutter OBE (born 20 December 1952) is a British actress. She began her career as a child actress in 1964, appearing in East of Sudan, Star!, and two adaptations of The Railway Children-the BBC's 1968 television serial and the 1970 film version. She also starred in the critically acclaimed film Walkabout and the TV film The Snow Goose (both 1971), for which she won an Emmy Award for Outstanding Supporting Actress in a Drama. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Set of Children's building blocks, depicting a cow, made in Germany, maker JAKCBS, and one other set of block, depicting children with animals, with five posters (2)

Collection of tins, mostly depicting children, a Christmas example, "The Nipper" by permission of Brian White etc., (10)

Collection of various children's books and booklets, to include Enid Blyton Magazine, Favourite Tales for the Nursery, Andy Pandy's Kite and the ginger bread man, A Soldiers Children, Louis Wain book plates. with a collection of sheet music etc., (qty)

A CHINESE FAMILLE VERTE PORCELAIN BOTTLE VASE, painted with a figure and children in an outdoor setting, the reverse with calligraphy, 18.5cm high.

A 19TH/20TH CENTURY CHINESE FAMILLE ROSE PORCELAIN JAR, decorated with shou lao and children playing, the base with four charcter mark in red, 13.5cm high.

A LARGE CHINESE YIXING TEAPOT, each side glazed and with famille rose children, the base with an impressed mark. 16cm (spout to handle)

A CHINESE FAMILLE VERTE PORCELAIN BOWL decorated with children in a garden, the base with a six-character mark. 16cm diameter

Jan Zoetelief Tromp (1872-1947)'Children sledging with a dog', oil on canvas, signed lower right, 28.5cm x 39cmGood original condition, three very small specks of black paint visible to the right which doesn't belong with it

Royal Worcester Various porcelain figures including: 'Children of the week', 'Masquerade boy', 'Woodland Dance', 'December', miniature figures etc (19)'Friday's child' bird tail is broken. Otherwise overall ok with minimal firing faults.

Royal Worcester Full set of twelve 'Children of the month' porcelain figures modelled by Freda Doughty, (12)One of 'January' hands has suspect repair/restoration. They vary in date from the late 1950's through to the 1990's.

Group of porcelainChinese, comprising of a blue and white porcelain base, decorated with kylins around the exterior, 7.5cm high, a small lidded blue and white prunus ginger jar, with four character mark to base, 14.5cm high, a blue and white phoenix shape ewer, 15.5cm high, a blue and white bowl decorated with dragons in flight, with six-character mark to base, 9.5cm high, a blue glaze dish with six sections around the body, six character mark to base, 17.5cm across, a famille rose teacup decorated with mothers and children, 6.5cm high and a famille rose plate decorated with peaches and bats, 25.5cm across (7)All have wear, scratches and scuffs. Blue and white vase scratched and worn. Hair cracks. Drilled to base. Teacup cracked and damaged. Plate is chipped, cracked and worn. Teapot badly damaged and repaired. Blue and white stand is damaged. Blue dish is scratched. Some glaze faults. Ginger jar lid damaged and partly repaired. Ginger jar scratches and worn.

THE 'GREGSON HOUSE' AN IMPORTANT EARLY VICTORIAN CUPBOARD DOLL'S HOUSE FROM 1830, THE VAST MAJORITY OF THE CONTENTS EARLY AND ORIGINAL the pine cupboard complete with original un-restored pale graining and with a moulded cornice above a pair of six panelled doors, over three short drawers, the whole raised on short shaped bracket feet; the pair of panelled doors opening to reveal nine room settings on three floors (three bedrooms above a music, dining and drawing room and the lower floor with hallway flanked by kitchen and rare still-room) the rooms communicating with thick opening latched brass handled doors and with marbled fireplaces with steel and brass inserts, cornicing and skirting to the main reception rooms, the original carpets mainly of thin velvet or oil cloth or baize, the walls covered with original coloured paper, sometimes hand painted or embossed and often edged in gilt or printed flowers and the whole containing the original furniture of wood, tin, card and in one instance pressed bread dressed in watered silks and other original fabrics, the walls hung with watercolours many painted by the original owner Bessie Wilkinson who also worked the drawing room carpet, also containing extensive fittings in ceramic, glass, alabaster and lead, the whole house peopled with the original dolls, including a cook doll with leather hands The cupboard: 204cm high, 168.7cm wide, 61cm deep; each room: 51cm high, 50.5cm wide and 51cm deep. Provenance Ordered, made for and furnished by Miss Elizabeth 'Bessie' Wilkinson (died 1857) of Aston Hall, Birmingham. By descent, to her nephew Henry Gregson 1857 who lived at Moorlands. By descent, to Annie Canon-Cox Little. By descent, to her daughter Lady Wenlock until about 1957 of Knockin Hall, Oswestry, Shropshire. Thence by family descent, until 2010 when sold by private treaty to the present vendor, a family friend. Elizabeth 'Bessie' Wilkinson was the scion of a great iron making dynasty being daughter of William Wilkinson (1744 - 1808) and niece of John 'IronMad' Wilkinson (1728 - 1808) most famous for instigating the famous Ironbridge in Coalbrookdale in the 1770's and who both had interests in iron works in North Wales and Shropshire. Both were tied in with Matthew Boulton senior and James Watt seniors' business making boilers in Birmingham. On the death of their father William in 1808 'Bessie' and her sister Mary Anne were made guardians of James Watt junior (1769 - 1848) who from about 1817 until his death leased and lived at the fine Jacobean prodigy house Aston Hall in Birmingham; ancestral home of the Holte family, it is listed Grade I and now owned and run as a museum by Birmingham City Corporation. 'Bessie's' sister Mary Anne had on 24th February 1817 married Matthew Robinson Boulton (1770 - 1842), only son of the great 18th century entrepreneur Matthew Boulton (1728 - 1809) who was also a member of the Lunar society and manufacturer of small metal trinkets, ormolu, silverware and in conjunction with James Watt senior of the steam engines that revolutionised industrial Britain. Mary Anne and Matthew Boulton lived at Soho House in Birmingham, built by his father to designs by Samuel and James Wyatt - the latter also providing designs for silver ware to Boulton senior. The fine Georgian house still exists as a museum run by the council. Mary Anne Boulton sadly died in childbirth on 7th June 1829, leaving seven children and a new born baby girl who was also named Mary. It was this tragedy that precipitated the creation of this wonderful doll's house to help her little nieces and nephews recover from this great sadness by their maiden aunt Elizabeth 'Bessie' Wilkinson. The doll's house was originally called 'Maryland Lodge' after her sister and baby niece. The house itself was possibly made for Aunt Bessie by estate carpenters but is fine enough to have been supplied by a more sophisticated cabinet maker. The nieces visited nearby Aston Hall where Aunt Bessie lived and between the years 1830 and 1850 they worked on it together collecting items, making some of the furniture and Aunt Bessie herself painted the watercolours and worked the carpet in the drawing room. Aunt Bessie died in 1857. Her sister Mary Anne is commemorated in a fine monument by Sir Francis Chantrey R. A. at St Michael's Church, Great Tew, Oxfordshire where the Boultons had their country estate. The contents of Great Tew House were sold by Sotheby's in 1987 and included furniture supplied by George Bullock who had also supplied furniture to James Watt junior. Bullock's associated cabinet maker and designer Richard Bridgens was furnishing Aston Hall from the 1820's onwards from his Birmingham workshop. Exhibited At No. 1, Royal Crescent Bath c.1985/6. Literature Vivien Greene, Family Dolls' Houses, pp.101-106 where the 'Gregson House' is discussed in detail and illustrated. Catalogue Note This remarkable doll's house has not only a fantastic provenance and has never been on the open market before, it is also in remarkably good and original condition with its original contents, the main reason being (according to family repute) 'no child has ever been allowed to play with it'. Doll's houses or 'Baby Houses' were originally conversation pieces of wealthy adults with the earliest examples dating from the 16th century. They were not meant to be used as toys, but as items of wonder of a world in miniature or sometimes as an educational tool. Vivien Greene (wife of Grahame Greene the famous author) in her book 'Family Doll's Houses' of 1973 wrote that the Gregson House was a 'splendid example of a 'cupboard house'. She thought the Still Room was unique in her experience 'and it is a delight to survey the ranges of built-in cupboards, curved round the room, some filled with china'.

THREE CONTINENTAL BOXES LATE 18TH CENTURY AND LATER including: a two tone gold mounted circular box with a central ivory miniature of children playing cards, a circular box with a triple profile portrait of Napoleon, Marie Louise and Francois, a Belgian Spa rectangular box with a printed scene of a romantic couple (3) 8.3cm (max) Provenance Redlynch House, Salisbury, Wiltshire.* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.G1ZDYT6C

A SPERM WHALE TOOTH WITH SCRIMSHAW DECORATION 19TH CENTURY carved with a mother and two children to one side and a mother and a young child on her lap to verso 15.3cm long Provenance The collection of Vice-Admiral Reginald Vesey Holt, C.B., D.S.O., M.V.O. (1884-1957), and thence by descent.

Society for the Protection of Life from Fire, 1st type, silver, the reverse inscribed ‘To William Jones who (aided by others at the risk of their lives) rescued several individuals from death by fire, at Messrs. King & Witts’, Stores, Southampton, 7th November 1837’, with swivel ring suspension, some edge bruising, very fine, scarce £700-£900 --- The Fire at Southampton, 7 November 1837 ‘The premises where this catastrophe happened consist of a large brick store, about 60 feet square, comprising four floors besides the basement, and containing a very large stock of turpentine, oils, resin, wax and gunpowder, and other inflammable materials. Adjoining this large store, and connected with it by a kind of room over an iron shed, is a smaller store, under part of which is a stable. It was in this smaller store that the fire was first discovered issuing from the roof. At this time it might have been extinguished by a few buckets of water, but it could only be reached by the engines, and great delay was experienced in getting a supply of water, as is always the case in county towns, and too often, indeed, in London itself. One of the partners of the firm, who lives close by, was instantly aroused, and proceeding to the top floor of the large store, with the assistance of several persons removed all the gunpowder, consisting of about 190lb. This danger now being generally known to be averted, a large number of persons, principally tradesmen and respectable mechanics, volunteered their services to remove as much as possible of the turpentine, oil, &c, from the premises, jointly apprehending the consequences to the neighbourhood should such dangerous materials be offered for the extension of the flames. While engaged in this praiseworthy office, several carboys of turpentine were accidentally broken, spreading, as is its well known property, over the whole floor, and saturating the lower garments of many who were employed in its removal. At this time several engines were actively at work, but, alas! Too late, for the flames had already communicated to the upper floors of the large store. It does not distinctly appear whether the persons engaged below on the ground floor, as above related, were aware of the dangerous proximity of the fire; indeed, it is not to be wondered at, the catastrophe which followed seems to have erased the recollection of preceding circumstances from the minds of most of them. It appears, however, to be pretty distinctly ascertained that the second and third floors at least were in flames some time before the occurrence of the melancholy catastrophe. Suddenly some red-hot materials fell through the apertures in the floor through which goods were hoisted up; a fragment in flame followed, and the whole floor was instantly in a blaze, the flames ascending to the ceiling, and reverberating to the floor again. Several explosions followed, caused it is supposed by the bursting of the carboys of turpentine, and in a few seconds the whole front wall of the building fell into the street. Several persons were literally blown through the open door into the street, others were seen running wildly about with blazing garments, and were necessarily rolled in the kennel to extinguish the flames, and several it was evident were buried under the wall; while of the number whose fate was evidently sealed in the burning building, all shuddered to conjecture. As soon as the ruins could be approached, workmen were set on, and six bodies were dug from the mass of brickwork in front; a seventh, a young man named Sellwood, clerk at the Bank, whose cries for help were heard three hours before he could be released, survived a few days, to expire in horrible tortures. A day or two necessarily elapsed before workmen could be safely employed in the interior, when nine dead bodies in all were found, three of them being burnt to a cinder, so as to be utterly unrecognisable, and the two others being known only by the contents of their pockets and other extraneous indicia. Eight more sufferers have since died in agonies which would almost lead their friends to wish that they had met the quicker fate of those who were pent in the building. Some of these survived nearly a fortnight; and it is apprehended that the melancholy list is not yet complete, as four others still lie in a dangerous state. One person moreover died from the effects of fright, and one of the widows has been deprived of her reason. By this calamity, which casts into shade all previous catastrophes of the kind, at least 70 individuals, including survivors, widows, and children of deceased, and two or three utterly maimed for life, are left dependent on the benevolence of the inhabitants of Southampton, whose property they risked their lives to save.’ (The Times, 4 December 1837, refers). The Society for the Protection of Life from Fire presented ‘a silver medal, together with the thanks of the society, on velum, to Mr. Richard Young; and silver medals also to William Jones, John Foote, and police-sergeant Terry, who aided his exertions on the above occasion. It was stated that on the above melancholy occasion 15 persons perished; eight had since died, and several remained maimed, whose final recovery was doubtful, whilst the lives of 12 individuals had been preserved through the exertions of the above, together with seven others, to who medals were likewise awarded, whose names were George Carr, Walter Anderson, William York, John Foster, John White, Henry George Graves, and William Whitcher’ (The Times 28 April 1838 refers).

A J Coombes Brass Sextant With Provenance,the sextant, English, c. 1900, signed in script to the bottom of the arc 'J. Coombes Devonport, 11151' with magnifier to verner scale, filters, polished wooden handle, with 3 telescopes in square fitted mahogany case with adjustment certificate to inside of lid dated 1917, lid with brass plaque engraved 'E S F Fegen, R.N.' and receipt from Arthur Middleton, Covent Garden, dated 1981. Captain Edward Stephen Fogarty Fegen, VC, SGM (8 October 1891 – 5 November 1940) was a Royal Navy officer and a recipient of the Victoria Cross, the highest award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces. Fegen was born into a naval family, one of four children his father being Vice-Admiral F. F. Fegen MVO. He was born at 42 Nightingale Rd, Southsea, Hampshire, on 8 October 1891. At the age of 12, he entered Osborne Royal Naval College and in 1909, he was appointed Midshipman on HMS Dreadnought where this sextant was probably used. He was 49 years old, and an acting captain in the Royal Navy during the Second World War when the following deed took place for which he was awarded the VC. On 5 November 1940 in the Atlantic, Captain Fegen, commanding the armed merchantman HMS Jervis Bay, was escorting 38 ships of Convoy HX 84, when they were attacked by the German heavy cruiser Admiral Scheer (often termed a pocket battleship). Captain Fegen immediately engaged the enemy head-on, thus giving the ships of the convoy time to scatter. Out-gunned and on fire Jervis Bay maintained the unequal fight for 22 minutes,although the captain's right arm was shattered, and even after he died when the bridge was shot from under him. He went down with his ship but 31 ships of the convoy managed to escape – including San Demetrio. He was remembered in Winston Churchill's broadcast speech on 13 May 1945 "Five years of War",as having defended Ireland's honour: When I think of these days I think also of other episodes and personalities. I do not forget Lieutenant-Commander Esmonde, V.C., D.S.O., Lance-Corporal Kenneally, V.C., Captain Fegen, V.C., and other Irish heroes that I could easily recite, and all bitterness by Britain for the Irish race dies in my heart. I can only pray that in years which I shall not see, the shame will be forgotten and the glories will endure, and that the peoples of the British Isles and of the British Commonwealth of Nations will walk together in mutual comprehension and forgiveness. The citation for Fegen's Victoria Cross was published in the London Gazette on 22 November 1940, reading: The KING has been graciously pleased to approve the award of the VICTORIA CROSS to the late Commander (acting Captain) Edward Stephen Fogarty Fegen, Royal Navy. for valour in challenging hopeless odds and giving his life to save the many ships it was his duty to protect. On the 5th of November, 1940, in heavy seas, Captain Fegen, in His Majesty's Armed Merchant Cruiser Jervis Bay, was escorting thirty-eight Merchantmen. Sighting a powerful German warship he at once drew clear of the Convoy, made straight for the Enemy, and brought his ship between the Raider and her prey, so that they might scatter and escape. Crippled, in flames, unable to reply, for nearly an hour the Jervis Bay held the German's fire. So she went down, but of the Merchantmen all but four or five were saved.

Two Small Bibles,to include a King James Bible, c.1854, signed & dated by an owner 'Dennis Keeble, March the 19th 1860', there is also a written list of names & birth dates, assumedly of the owner's children, from 1865-1872, totalling five children, marked 'Printed by George E. Eyre & William Spottiswoode', 'M.DCCC.LIV', together with another similar later volume, rebound & gilded, with fixing clasp,