* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SEA KELP gouache on paper, signedmounted, framed and under glass (slipped in the mount)image size 21cm x 29cm, overall size 42cm x 47cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
534325 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534325 Los(e)/Seite
* DRONMA (SCOTTISH b. 1947), BERWICK LAW FROM THE LEITHIES oil on canvas, signed, titled verso framed and under glassimage size 61cm x 61cm, overall size 72cm x 72cm Note: Dronma was born in Glasgow in 1947 and studied at Laurel Bank and then Glasgow School of Art, where she graduated in 1969. After her studies at Jordanhill College of Education, and a period of teaching she was appointed Art Director of Glasgow Arts Centre. Until April 2008 Drӧnma was a part time lecturer at Forth valley College. She now devotes her time fully to her painting, and a member of the Glasgow Society of Women Artists.(GSWA). Awarded Scottish Amicable Award 2007 at their 125th Anniversary Exhibition. Dronma's vibrant landscapes have gained her a fine reputation amongst discerning buyers of contemporary art, as a modern Scottish colourist. Her bold expressive style evokes the character inherent in Scotland's mountains and shores. Dronma has been a Tibetan Buddhist since 1976. Her landscapes may be wild and wind swept, but they also gleam with an inner light. Her work has been exhibited all over the United Kingdom, and in private collections world-wide.
* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), CLOUD REFLECTIONS, BARRA oil on canvas, signed, titled versoframed and under glassimage size 51cm x 61cm, overall size 74cm x 84cm Artist's label verso.Note: Robert Kelsey was born in Glasgow and studied at the Glasgow School of Art (1966-1970) under David Donaldson, Alexander Goudie and James D. Robertson. Kelsey has earned a formidable reputation as one of Scotland's finest and most sought after contemporary artists. His numerous one man shows in London in particular enjoy huge success and his sell out exhibition at Thompson's Gallery (London) in 2004 was reported on BBC's "Breakfast" as "one of the biggest contemporary art exhibitions in London in recent years". The prestigious Thompson's Gallery described the event as "the most successful solo exhibition we have ever had". Robert has been a regular exhibitor for many years at The Royal Glasgow Institute, The Royal Institute of Oil Painters, Paisley Art Institute, The Royal Scottish Society of Painters in Watercolour and The Royal Scottish Academy. He has enjoyed success in New York , Budapest and Chicago and is widely exhibited throughout the UK. He has featured in many magazines including "Homes & Interiors" and "Scotland Magazine" and BBC News 24 has reported his achievements. The book "Robert Kelsey-the artist" was published in 2004. His style is distinctly "Contemporary Scottish Colourist" and although his work reveals his GSA training the strongest influences remain Peploe and Cadell. Robert writes : "I love the loneliness and serenity to be found at certain locations such as the beaches of the Outer Hebrides. I say "loneliness", which sounds like a bad thing, better to describe it as being at peace in serene places, where you can be alone with your thoughts, listen to the sea birds and the trickle of water". Robert's home and studio are in Paisley but his commercial success has allowed him to travel the world in search of the light and colour that are such strong features within his work. This broadening of horizons has been reflected in his "gallery prices" as his career and reputation continues to flourish. Kelsey collectors include : Sir Arnold Clark, The Duke of Bedford, Lord McFarlane of Bearsden, Cairn Energy PLC, Credit Lyonnais Bank, Taylor Woodrow, The Dunfermline Building Society, Highland Spring Water, Enterprise Oil, Paisley Art Gallery, Turnberry Hotel & Golf Club, Alliance & Leicester Building Society, Arisaig Partners (Asia) and The Fleming Collection.
* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), THE PAPS OF JURA oil on canvas, signed, titled versoframed and under glass image size 51cm x 61cm, overall size 74cm x 84cm Artist's label verso.Note: Robert Kelsey was born in Glasgow and studied at the Glasgow School of Art (1966-1970) under David Donaldson, Alexander Goudie and James D. Robertson. Kelsey has earned a formidable reputation as one of Scotland's finest and most sought after contemporary artists. His numerous one man shows in London in particular enjoy huge success and his sell out exhibition at Thompson's Gallery (London) in 2004 was reported on BBC's "Breakfast" as "one of the biggest contemporary art exhibitions in London in recent years". The prestigious Thompson's Gallery described the event as "the most successful solo exhibition we have ever had". Robert has been a regular exhibitor for many years at The Royal Glasgow Institute, The Royal Institute of Oil Painters, Paisley Art Institute, The Royal Scottish Society of Painters in Watercolour and The Royal Scottish Academy. He has enjoyed success in New York , Budapest and Chicago and is widely exhibited throughout the UK. He has featured in many magazines including "Homes & Interiors" and "Scotland Magazine" and BBC News 24 has reported his achievements. The book "Robert Kelsey-the artist" was published in 2004. His style is distinctly "Contemporary Scottish Colourist" and although his work reveals his GSA training the strongest influences remain Peploe and Cadell. Robert writes : "I love the loneliness and serenity to be found at certain locations such as the beaches of the Outer Hebrides. I say "loneliness", which sounds like a bad thing, better to describe it as being at peace in serene places, where you can be alone with your thoughts, listen to the sea birds and the trickle of water". Robert's home and studio are in Paisley but his commercial success has allowed him to travel the world in search of the light and colour that are such strong features within his work. This broadening of horizons has been reflected in his "gallery prices" as his career and reputation continues to flourish. Kelsey collectors include : Sir Arnold Clark, The Duke of Bedford, Lord McFarlane of Bearsden, Cairn Energy PLC, Credit Lyonnais Bank, Taylor Woodrow, The Dunfermline Building Society, Highland Spring Water, Enterprise Oil, Paisley Art Gallery, Turnberry Hotel & Golf Club, Alliance & Leicester Building Society, Arisaig Partners (Asia) and The Fleming Collection.
* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), THE SPANISH HOUSE, ANDALUCIA oil on board, signed, titled versoframed and under glassimage size 29cm x 29cm, overall size 50cm x 50cm Note: Robert Kelsey was born in Glasgow and studied at the Glasgow School of Art (1966-1970) under David Donaldson, Alexander Goudie and James D. Robertson. Kelsey has earned a formidable reputation as one of Scotland's finest and most sought after contemporary artists. His numerous one man shows in London in particular enjoy huge success and his sell out exhibition at Thompson's Gallery (London) in 2004 was reported on BBC's "Breakfast" as "one of the biggest contemporary art exhibitions in London in recent years". The prestigious Thompson's Gallery described the event as "the most successful solo exhibition we have ever had". Robert has been a regular exhibitor for many years at The Royal Glasgow Institute, The Royal Institute of Oil Painters, Paisley Art Institute, The Royal Scottish Society of Painters in Watercolour and The Royal Scottish Academy. He has enjoyed success in New York , Budapest and Chicago and is widely exhibited throughout the UK. He has featured in many magazines including "Homes & Interiors" and "Scotland Magazine" and BBC News 24 has reported his achievements. The book "Robert Kelsey-the artist" was published in 2004. His style is distinctly "Contemporary Scottish Colourist" and although his work reveals his GSA training the strongest influences remain Peploe and Cadell. Robert writes : "I love the loneliness and serenity to be found at certain locations such as the beaches of the Outer Hebrides. I say "loneliness", which sounds like a bad thing, better to describe it as being at peace in serene places, where you can be alone with your thoughts, listen to the sea birds and the trickle of water". Robert's home and studio are in Paisley but his commercial success has allowed him to travel the world in search of the light and colour that are such strong features within his work. This broadening of horizons has been reflected in his "gallery prices" as his career and reputation continues to flourish. Kelsey collectors include : Sir Arnold Clark, The Duke of Bedford, Lord McFarlane of Bearsden, Cairn Energy PLC, Credit Lyonnais Bank, Taylor Woodrow, The Dunfermline Building Society, Highland Spring Water, Enterprise Oil, Paisley Art Gallery, Turnberry Hotel & Golf Club, Alliance & Leicester Building Society, Arisaig Partners (Asia) and The Fleming Collection.
* ETHEL WALKER (SCOTTISH b. 1941), BLACK HILL, LOCH AISLE gouache on paper, signed, titled and dated label versoframed and under glassimage size 25cm x 18cm, overall size 46cm x 38cm Handwritten artist's labels verso.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" (a slightly smaller oil on board than "Study in Blue") achieved £3000 (hammer).Condition is good overall.
* ALISON MCGILL (SCOTTISH b. 1974), FADING LIGHT pastel on paper, initialled, titled and dated 2015 labels versomounted, framed and under glassimage size 17cm x 22cm, overall size 34cm x 39cm Artist's label verso. Label verso: The Scottish Gallery, Edinburgh.Note: Alison McGill lives and works in Edinburgh and has been a practicing artist since graduating from Edinburgh College of Art in 1998. Her central subject is the Scottish landscape and shores, which she creates in her distinctive abstract style. As a student, under the tutelage of Victoria Crowe, Alison first experimented in mixing wax and paint to create heavily impastoed textures and painterly surfaces. The mastery of technique in allowing the wax to flow and evolve has been honed and developed over years of practice; excavating and melting the layers of the painting to reveal multiple layers of melded colours, to capture earth contours, rock strata and impressions of the land in its elemental state. In the hands of Alison McGill the landscape moves from real, observed locations to lyrical abstraction. Alison is represented by The Scottish Gallery (Edinburgh).
* CHRIS BUSHE RSW (SCOTTISH b. 1958), OLIVE GROVES oil on paper, titled label versomounted, framed and under glassimage size 26cm x 30cm, overall size 54cm x 56cmLabel verso: The Open Eye Gallery, Edinburgh.Note: Born in Perthshire, Chris Bushe is one of Scotland’s greatest living landscape painters. Initially, he studied Archaeology and Ancient History at Edinburgh but from his earliest years, he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day. His paintings have won him a plethora of awards at national exhibitions. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016. In Scotland, his principal gallery is the prestigious Open Eye Gallery (Edinburgh) where his most recent (widely praised) solo show was "Chasing Light" (4th - 25th June 2022).
* NAEL HANNA (IRAQI/SCOTTISH b. 1959), GLENCOE oil on board, signedframed and under glassimage size 51cm x 81cm, overall size 68cm x 100cmNote: Based in Angus, Scotland, Nael Hanna has long been regarded as one of the UK's most visionary landscape painters. His love of the Scottish north east coastline has provided the inspiration for much of his long career as a modern contemporary artist. He returns to the colours, textures and natural light that he encounters whilst out walking near his home in rural Angus, each time capturing something new, and detail previously unseen in his art. The wonders of the natural world and nature, are captured and form the essence of his painting. Nael first arrived in Dundee in 1983, the year in which he began his studies in drawing and painting at Duncan of Jordanson. In 1987, he won a scholarship to further his study at the acclaimed Hospitalfield Summer School, Arbroath, and it was during that time that he began to depict the dramatic coastline and imposing mountain ranges and spectacular waterfalls that he encountered in his travels throughout Scotland. Nael’s work has attained numerous awards and widespread acclaim in the UK and in many other countries including Malaysia, Egypt and the USA. As well as exhibitions at the RGI, RSA, SSA and the SSAC, Nael has exhibited in countless prominent galleries throughout the UK and his work is included within major public, corporate and private collections worldwide.
* ETHEL WALKER (SCOTTISH b. 1941), BRIGHT SPRING FLOWERS oil on board, signedframed and under glassimage size 46cm x 50cm, overall size 67cm x 72cm Comment: probably a relatively early work by Ethel Walker and another exceptional example following several outstanding paintings by Walker to feature in our auctions over the last couple of years.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer). In our December 2021 auction "The Lace Cloth" achieved £3000 (hammer) and "Study in Blue" sold for £2400 (hammer) in The Scottish Contemporary Art Auction of 8th December 2022 (lot 16).
Star Wars Millennium Falcon in RARE variant box (has light sabre ball, false floor & instruction sheet but lacks cannon), Scout walker (works), Battle damaged X-wing fighter (missing 1 cannon), Rebel transport (missing escape hatch), Mini rig INT-4 (Interceptor & missing front cannon), Vehicle maintenance energizer (with 2 tools / hydrospanners), Jabba the Hutt EMPTY box with instruction sheet & snowspeeder instruction sheet
Qty of miniature / small books - 1828 Novum Testamentum Græcum, The Tale of a tub by Jonathan Swift, 1854 The Teacher taught, 1777 The adventures of Roderick Random (2 vols), c.1885 Rays of light, 1819 The Adventures of Telemachus, 1886 Martin Paz the Indian patriot by Jules Verne, Barnaby Rudge with Passmore Edwards Settlement bookplate, 1699 bible (vol 2 of 2 !?) containing half of old testament & new testament ~ some faults
An early model Jaeger Le-Coultre Atmos II Clock, 1950s, with 4¾in. champagne chapter ring with gilt batons and Arabic numerals to the quarters, the movement numbered 19728 to front plate, black lined pendulum, 9¼in. (23.5cm.) high, in original marbled box case. * Condition: Movement is currently running and functioning, but the time keeping cannot be guaranteed. In good condition overall, with some gilt wear to top facing surfaces of case and some light scratches. Light spotting to dial. Marbled paper covered case has some edge and corner wear, scratches and paper loss.
A large French gilt brass carriage clock with repeat, late 19th century, with Corinthian column gorge case, the silvered Arabic chapter ring with gilt rosette to centre, within a gilt dial plate with decorative mask with a bird, flowers and leafy tendrils, the twin train movement striking the hours and half hours on a gong, 8in. (20.25cm.) high, handle up.* Provenance: N. St. J. Paint & Sons, Guernsey, c.2008 * Condition: Winds and runs. Spotting and light pitting to upper surfaces of case. Silvered dial tarnished. Small scratch to inside top corner of front glass.
A French bronzed spelter and marble mantel clock, late 19th century, the figure of a seated female musician after Moreau, with light to dark brown bronzed finish and verdi antico marble plinth base with fluted toupie feet, the 10cm. white Arabic dial with painted rose swags fronting an 8 day movement with outside countwheel striking the hours and half hours on a bell, indistinctly signed with Medaille, 15½in. (39.5cm.) high, 20¾in. (52.7cm.) long, no key.* Provenance: Derbyshire Clocks, Glossop, c.1992 * Condition: Winds and runs, strikes correctly. Dial original and in good condition. Overall in good condition, with some engrained dirt and dust and some wear to painted bronzed finish to raised detail and edges. No damage to spelter. Small chips to marble to back right corner of the plinth.
Private Robert N. Shaw (British, early 20th century), The Somme, watercolour, signed and dated lower left "Pte. Robert N. Shaw 1st Batt D.C.L.I. 19/3/18" and inscribed on reverse "The Band played Trelawney (sic) Midday 23rd March 1918, The Somme. 1st/5th Battalion D.C.L.I. were given orders to immediately attack and take the village of Verlaines. Painted 4 days before".* Trelawny, also known as The Song of the Western Man" is a Cornish patriotic folk song, and this would have had special meaning for members of the D.C.L.I (Duke of Cornwall's Light Infantry) such as Private Shaw who executed this watercolour. * Condition: Lightly but evenly faded with slight discolouration at the edges.
A late Victorian Naval dress sword, with wire bound shagreen handle, lion pommel and brass hand guard, with an engraved 81cm. steel blade with maker's mark Gould & Son, black & gold tassel, in a leather scabbard. * Condition: Leather section of scabbard with bend, blade showing light pitting etc, couple of very small nibbles to blade edge.
Charles Meigh - two white porcelain tankards with vine handles, 19th century, bisque glaze to exterior with raised figures in a Bacchanalian orgy, the base with print of medal presentation by 'The Society of Arts', 5¼ and 6¾in. (13.3 & 17.2 cm.) high. (2) * Condition: The smaller with old chip to foot rim and hairline to upper rim, running down 1in., large with light wear only.
A Japanese Arita porcelain 'cranes' vase by Fukagawa, 20th century, baluster form, painted with five white and gold cranes in flight above a tumultuous sea, a band of Vitruvian scroll to the rim, factory underglaze blue marks to base, 10in. (25.3cm.) high. * Condition: Good condition overall. A little very light wear to the gilt decoration.
Two Chinese porcelain covered bowls, 20th century, of scalloped form with conforming domed covers with top finials, one painted with dense gilt floral decoration on an iron red ground, one with Canton style millefeur decoration, 6¼in. (15.8cm.) high, one cover repaired; together with a similar miniature covered bowl, 3¼in. (8.25cm.) high; and a miniature covered bowl of globular form with polychrome peony and lotus flower decoration. (4) * Condition: All in good condition, with light gilt wear, apart from the larger Canton style bowl, which a large repaired break to the cover, with chips missing from the ends of the break.
A fine 18th century Chinese cloisonne enamel and gilt bronze box, possibly Imperial, of rounded, rectangular form, the snugly fitting cover decorated with lotus flower sprays and scrolling flowers and foliage, on a turquoise ground, the inside of the lid and the base in gilt bronze, 4¼ x 2 7/8in. (10.8 x 7.3cm.), 2in. (5cm.) high. * Condition: In good condition overall - the only damage to the enamel is to the very lower edge of one corner of the lid, where there are a few tiny flakes missing. The gilt has some light scratching and light wear from the removal of the lid from the base. There are also a few small spots of verdigris type tarnish to the surface of the gilt bronze to both the base and inside of the lid. The box has been incredibly skillfully constructed, with the lid fitting exceptionally snugly, with a near airtight seal.
A Japanese gilt metal and niello compact in the style of Komai, 1920s-30s, the exterior decorated with two dragons and a palace garden landscape, the niello interior with two lidded compartments, vacant mirror aperture and Mount Fuji mark, 3½ x 2½in. (8.9 x 6.3cm.). * Condition: Lacks mirror. Otherwise good - light scratches to interior and faint water mark to the cigarette case side of the interior. Push button missing from closure (therefore does not remain shut). Exterior good with a few scratches.
A Royal Doulton ‘Belmont’ pattern part dinner service, with gold encrusted band and gold scrolls and leaf design comprising of oval platter, lidded vegetable tureen, seven dinner plates, sauce boat and associated under-plates, seven coffee cans and eight saucers, eight tea cups and saucers, eight twin handle soup bowls and saucers, eight salad plates, eight side plates and a further plate. (67) * Condition: One tea cup with hairline crack, bottom rim of sauce boat foot with tiny chip, a couple of pieces with very light rubbing, overall very good.
A Chinese inlaid black lacquer brush pot, probably late 19th or early 20th century, inlaid and applied around exterior with various hardstones and mother-of-pearl, depicting a hunting scene amongst pine trees and rocky outcrops, Chinese characters below the rim, red four character seal mark to base, 6 1/8in. (15.6cm.) diameter, 6½in. (16.5cm.) high. * Condition: Small chip to base rim and surface wear to underside. Surface of lacquer dulled and with light scratches. Small patch of possible old glue residue just below rim. No losses or restorations visible to inlays. Good overall.
A black soft buffalo leather Mulberry oversized 'Alexa' handbag, ref. HH7541/671A100, with brushed brass hardware and two magnetic front buckle straps, front postman's lock closure, woven top handle and detachable shoulder strap, black suede and black Mulberry logo cloth interior with large side zip pocket, 14 x 9½in. (35.6 x 24.1cm.), 6in. (15.2cm.) wide, with dust bag, barcode label and care cards. * Condition: Very good, sparingly used condition. Very slight wear to edges and corners and light scratching to hardware.
A vintage bed throw, having white and paisley striped detail on red ground, 100 x 84in., together with a patchwork measuring 53 x 56in.; and a foliate decorated throw with tasselled edge. (3) * Condition: the large throw with some staining, the foliate piece with holes to centre, all with light wear.
A Fendi black and red leather shoulder bag, the black, perforated leather bag with gold toned hardware, brown leather zipped front pocket with black and gilt swing tag, red leather top handles and magnetic closure, two compartment interior with bright blue grained leather base insert and central, removable hot pink leather zipped compartment with popper attachments, 15½in. (39.4cm.) long, 10in. (25.4cm.) high. * Condition: Good, used condition. Some darkening to top of handles from use. A few scuffs and light scratches to exterior and light wear to lower corners. Interior in good condition. The inside of the pink central compartment is dirty from use.
A fine quality Davidoff Eucalyptus No.4 Humidor c.2012, serial no. 35070, for 100 cigars, rectangular with clipped corners, brushed brass rebated handles and escutcheon, interior with lift-out inner tray, magnetic humidifying cassette, key and instruction booklet, 15 x 9 ½ x 5 ½in. (38 x 24 x 14cm.), contained in the original dark green box with white silk lining. * The vendor states that this humidor has remained empty since purchase from Davidoff in Geneva and has been stored in its box, out of the light, ensuring that it has remained in 'as new' condition. * Condition: In near mint condition - basically unused and as purchased from Davidoff. Box very good with light edge wear.
An impressive Victorian vulcanite musical drawing room photograph album, the front cover with high relief carved decoration of a courting couple in garden setting, music box working (later matched key), opening to reveal many of the period photographs, various Guernsey studios, 12 x 9½in. (30.6 x 24.2cm.). * Condition: Inner pages with light spotting and discolouration, some small rips and tape fixes etc.
Two 19th century silhouettes of military officers, oval, watercolour on wove paper, the larger 3 1/8 x 2½in. (7.9 x 6.3cm.), in ebonised frames; together with a 19th century profile portrait miniature of a military officer, oval, 2½ x 2in. (6.3 x 5.1cm.), in an ebonised frame, faded. (3) * Condition: - Silhouettes: Both have light toning to paper. Colours strong. The larger with two small holes to the paper to the margin - one top centre, the other centre right - a a little faint spotting.- Profile miniature: Colours heavily faded. Heavy surface dirt to paper. Sheet is toned.
A rolled gold Mabie Todd Swan Pen lever filling fountain pen, engine turned chevron decoration, no.2 nib, VG; together with a (worn) matching propelling pencil, in original dark blue morocco box. * Condition: - Pen: VG condition - light scratching only. Needs cleaning as lever does not lift due to dried, hardened ink deposits.- Pencil: Very worn showing base metal beneath in places, clip missing.- Case: Good, with some edge wear and scratches. Leather lifting to one side of back edge of lid.
A Victorian papier-mâché souvenir card case, the front panel with bevelled glass cover, printed & painted with image of Crystal Palace, the whole decorated with stylised patterns in bright colours, comprising of red, green, white, highlighted in gold, on deep blue ground, the hinged cover opening to reveal void with red baize covering, 4 1/8 x 3 1/8in. (10.5 x 8cm.), hinge a/f.* Probably a souvenir from the Great Exhibition 1851. * Condition: Hinge and area surrounding with restoration and repair needed, hinge no longer attached, light rubbing to gilt and paintwork.
A stained pine apprentice piece chest, the moulded top over two short and three long graduated drawers with turned wooden handles, the middle long drawer with internal compartments, raised on block feet 12¾ x 6¾in. (32.3 x 17.1cm.), 12in. (30.4cm.) high, plus a miniature stool with stuff over seat on turned wooden supports, 7in. (17.7cm.) high. (2) * Condition: staining has faded, surface with paint splatter and scuffing, light wear to edges, stool has loose leg.
A pair of modern Louis XVI style brass figural table lamp candelabra, each figure holding cornucopia with six cast foliate branches around central stem, all with light fitting and silk shades, 33¼in. (84.5cm.) high. (2) * Condition: Both working when in situ, light wear to brass, overall very good.
A French Napoleon III burr amboyna, ebonised and brass cave a liqueur, c.1870, the serpentine shaped tantalus with boulle, brass and cross banded inlay, hinged lid with centralised brass engraved cartouche surrounded by ebony inlaid frame, lifting with hinged swing back front to reveal a removable tiered tray with gilt relief metal armature, containing four etched glass decanters with balloon form stoppers, each with matched silver labels, and six cordial glasses with faceted stems, and three further glasses, the whole raised on four bun supports, 14 x 10 1/2in. (35.5 x 26.75cm.), 10 1/2in. (26.75cm.) high. * Condition: Some light surface wear, glasses and labels etc, matched, , no key, overall good.
Loading...-
534325 Los(e)/Seite