Fryer and Brown

A very large and heavy copper and brass kettle, the overhead brass handle stamped J.M.B. Corin to top and REV. Biddell to underside, 39cm high and 42cm wide max. approx., 10kg

An oak infant's rocking cot, possibly 17th century, 95 x 53 x 72cm max. approx.

A Point de L'Halluin tapestry, French, 'L'Art due Feu', no. 3879, in the William Morris style, the border of flowering and fruiting vines, depicting a man with scales and a blacksmith hammering at an anvil, all over motifs of flowering plants, the motto 'Ghonargianus trouva l'art de paisser aus pois' and 'Tebaoaih trouva l'art de forger en tous metauls', 170 x 320cm approx.

A Greek style bronze footed jug of small proportions, with lion masks applied to spout and female figure to handle, 13cm high; a bronze figural jug in the form of a female head, 13cm; and a Bronze Age style figure of a horse (3)

An Ackworth Quaker School sampler by E. Ladd, worked in black with medallions and wreathed motifs of birds and flowers, two enclosing EL to HW 1814 and EL to IH 1813, others enclosing further initials within a half medallion border, the linen 34 x 43cm, framed and glazed 42 x 52cm approx.

A fine Irish cut glass kettle drum pedestal bowl, c1820, with diamond cutting on plain knopped stem and circular conical foot, 22.5cm diameter

Lalique, France, 'Danseuse Bras Leves', a frosted glass figure, nude standing in balletic pose with arms above her head and head turned to one side, clear glass oval base and rockwork support to rear of legs, Lalique France script engraved mark, 23.5cm high approx.

A multiplication table sampler, Elizabeth Nield's work, 1816, the table worked in black within a floral meander border, the outer border of blue vermiculation, 27 x 26.5cm, framed and glazed 35.5 x 34.5cm

A wirework and silk chalice veil, possibly Italian, early 19th century, of scrolling fruiting vines in goldwork intertwined with polychrome silk rose bud sprays about a mirror form cartouche enclosing a reliquary motif with palm fronds, the border of silver wirework lace, 21cm square, in bird's eye maple frame, 31.5 x 32cm approx.

A pair of wirework on velvet slipper faces, uncut on single panel of black velvet, worked in goldwork and orange silk detail with design of scrolling foliage and daisy form floral motifs, 19th century, panel 35 x 30cm approx.; and a Georgian chainstitch on silk small cushion slip worked with pink rose and peacock feathers (2)

An Ottoman, Turkey, silver wirework embroidered boçha silk panel, 19th century, cream silk with foliate and crescent moon form designs, 79 x 56cm approx.

A large Scottish needlework sampler by Agnes Fairbairn, dated July 22 1816, worked with a design of a large house beneath figures with rabbit, sheep, and dogs, verse and inscription 'John Jamieson D.D.F.A.S.S.', stylised thistle motif and family initials, 44 x 33cm, framed and glazed 50 x 60cm approx. * John Jamieson, leading advocate of anti-slavery trade views in Scotland, author of 'The Sorrows of Slavery' and 'A Dictionary in the Scottish Language.'

A sailor's sweetheart needlework panel, 19th century, oval, worked with a tall masted ship with red sails beneath a rainbow, possibly depicting HMS Rainbow, a British Royal Navy 28 gun war ship, 5cm max.

A Victorian mother of pearl and tortoiseshell card case; and a Victorian tortoiseshell card case (2)

A late Victorian patch and pocket sampler, worked by GT and dated 1894, demonstrating the needlework techniques of patches, buttonholes, pockets and fancy hemwork in red on cream coloured flannel, 51cm max. excluding ties

A beadwork religious panel, 19th century, worked in many types of beads with scattered scenes from the life of Christ including his birth in a stable with Mary & Joseph and the Last Supper, flesh tones of coral with silver, gold and copper highlights, pearlised pins and metal studs, with script 'Crown him Lord of All', 73 x 32cm

A pair of Victorian woolwork and glass bead face screen panels, worked with rose wreathes en grisaille on a claret and blue ground with gilded highlights, work 17 x 22cm and panels 34 x 29cm; together with a woolwork panel of 'central design' paisley type motifs, 37.5 x 26.5cm (3)

A quantity of needlework school example pieces, first quarter of the 20th century, worked by Florence Benjamin, darning exercises, mending and dressmaking techniques; and knitting samplers by Leonie de Moerloose (qty)

An English Arts & Crafts needlework panel, late 19th/early 20th century, the top section worked in script 'Flowers are the beautiful hieroglyphics of nature by which she indicates how much she loves us' above a central panel of blue tit birds amidst wild rose blossom and buds flanked by panels of cornflowers and love-in-a-mist type flowers interspersed with flower sprigging, polychrome silks on a linen ground, satinwood frame, linen 49 x 39, framed and glazed 66 x 57cm max. * Quote attributed to Johann Wolfgang Goethe (1749-1832)

Empire Exhibition, Glasgow 1938 - a machine woven tapestry panel, depicting a Highlander, castles, stags and Exhibition buildings, 28 x 44cm

A needlework on linen fire screen panel, 20th century, worked as kingfishers and dragonfly amidst flowering bushes, signed R.W. lower right, 39 x 54.5cm

A cross stitch panel, 20th century, worked as wild flowers including poppies, grasses and harebells in polychrome colours, 40 x 29.5cm

A late Victorian oak dresser, c1900, with carved detail, 122 x 40 x 178cm

A large painted pine dresser, cream colouration, the base of three cupboards beneath three drawers, the top of three long shelves with plate rack cuts