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Lot 332
A Glasgow Corporation Special Constable's services rendered silver medal 1914-1919 with bar 2 Years, (named George Adamson City of Glasgow Special Constabulary), GVF. Pair: Defence Medal; Police LS medal, EIIR issue (Sergt Victor Honess, stated to be Kent County Constabulary) NEF, mounted as worn. National Fire Brigade's Association medal in bronze with 2 bars Ten Years and Five Years (10314 James R Moles) VF and a UN Civilian Police Support Group Medal for Croatia 1998 EF (5)
Lot 328
A Geo V Special Constabulary Long Service medal, with clasp "The Great War 1914-18" (Inspr. Arthur Spredbury), with miniature; a Metropolitan Special Constabulary bronze lapel, similar War Star (for continuous service from 1914, approx 8000 issued) sleeve badge and Long Service breast badge 1914; a half length studio photo of Spreadbury wearing breast and sleeve badges, and peaked cap, mounted and framed 10" x 8"; peaked cap with badge; ebony truncheon with small stamp "M/ crown/ P" at top, shaped grip, 15½" overall. GC
Lot 336
A most interesting group to W. Stephenson, Leeds City Police Fire Brigade comprising: Castleford Explosion, Devotion to Duty medal 1930 (engraved to Sgt W. Stephenson, Leeds Fire Brigade); National Fire Brigades Association bronze LS medal with bars Ten Years and Five Years (Walter Stephenson); ditto silver with Twenty Years bar (4906 Walter Stephenson); WWII Defence medal (un-named as issued); EIIR Exemplary Fire Service LS medal, 1st pattern (impressed Walter Stephenson) VF-EF, with NFS cap badge, Leeds Fire Brigade cap badge; Yorkshire Fire Brigade Society badge and Royal Life Saving Society badge. Note: the explosion at Castleford was on 4th July 1930 at the acid mixing plant of Messrs Hickson & Partners. The explosion killed 13 workers at the plant and injured 50 others. 300 nearby houses were severely damaged with many others in the town losing windows etc; Fire Brigades from other towns were called in to help. For Castleford Explosion medal see Plate 1
Lot 140
A small collection of George III coinage: an 1817 silver shilling VF, an 1816 silver sixpence VF, two other silver shillings, 1816 & 1818 and three George III copper coins, all in low grade. Also a very large collection of later British coins, including: nine assorted pre-1921 silver threepences, numerous cupro-nickel crowns, pre-decimal bronze coinage and others. (qty)
Lot 155
A Louis XVI style white marble and gilt-bronze garniture de cheminee, the portico-style clock with drum movement, painted enamel Arabic dial and urn surmount, the pair of candelabra of urn form with twin acanthus-wrapped branches on tapered pedestals and square plinth bases, H 26cm W 17.5cm (clock)
Lot 93
Phil Irons (UK) burr elm and plywood hollow form 11x17cm. Signed I think many of us have started to turn pieces of our favourite wood and found flaws in it or the piece had more rot than initially thought but it’s too good to throw away so we put it in the “I’ll finish that when I’ve got more time” pile. Or am I the only one? I think both these pieces came from Ray’s said pile. I was fortunate to have two pieces of Ray’s work to finish. They are both Burr Elm, a favourite of Ray’s and mine. The first piece was spalted as well as having a lot of woodworm and rot in it, almost half and half, I filled the worm holes with bronze epoxy (powdered bronze in two part epoxy) as a nod to Ray’s early pattern making days. Before the epoxy had properly cured I went over the whole piece with a filament flap brush eroding the soft rot and texturing the the harder areas including the bronze epoxy. I normally put a small flare on the opening of my pieces but I kept the shape as close as possible to how Ray had left it and hollowed it out with a reasonable thickness so as not to go through the eroded areas. The finish is three coats of hardwax oil. The second piece was more of a challenge. For various reasons this was the piece that made me think it was a very early piece of Ray’s work. The fact that it had a good quality Birch plywood glue block plus it had been put on a screw chuck, the shape wasn’t typical of Ray and the fact that it had the bark inclusion in the underside which would have created an unsightly hole. Ray had partly hollowed it but stopped before he got to the bark inclusion because I think he knew it wouldn’t look right. What to do with it? All the time there was Ray in my ear saying “keep it simple stupid”, then I had the idea to invert it. So I glued a piece of Ebony into the opening which also acted as a chuck spigot, then hollowed it through the waste block leaving some of the plywood as a contrasting collar. I had already pyrographed his name onto the Ebony before I glued it in, positioning it so that it faced the natural opening but it didn’t stand out so I gilded it in copper and then 22ct gold leaf. Now with the interior painted matt black your eye is really drawn to to the disc. It was sanded down to 1000 grit before applying four coats of hardwax oil and then reverse turned to remove the chuck spigot. I think he would approve. The Ray Key Collaboration Auctionn
Lot 94
Phil Irons (UK) textured burr elm hollow form 17x13cm. Signed I think many of us have started to turn pieces of our favourite wood and found flaws in it or the piece had more rot than initially thought but it’s too good to throw away so we put it in the “I’ll finish that when I’ve got more time” pile. Or am I the only one? I think both these pieces came from Ray’s said pile. I was fortunate to have two pieces of Ray’s work to finish. They are both Burr Elm, a favourite of Ray’s and mine. The Ray Key Collaboration Auctionn The first piece was spalted as well as having a lot of woodworm and rot in it, almost half and half, I filled the worm holes with bronze epoxy (powdered bronze in two part epoxy) as a nod to Ray’s early pattern making days. Before the epoxy had properly cured I went over the whole piece with a filament flap brush eroding the soft rot and texturing the the harder areas including the bronze epoxy. I normally put a small flare on the opening of my pieces but I kept the shape as close as possible to how Ray had left it and hollowed it out with a reasonable thickness so as not to go through the eroded areas. The finish is three coats of hardwax oil. The second piece was more of a challenge. For various reasons this was the piece that made me think it was a very early piece of Ray’s work. The fact that it had a good quality Birch plywood glue block plus it had been put on a screw chuck, the shape wasn’t typical of Ray and the fact that it had the bark inclusion in the underside which would have created an unsightly hole. Ray had partly hollowed it but stopped before he got to the bark inclusion because I think he knew it wouldn’t look right. What to do with it? All the time there was Ray in my ear saying “keep it simple stupid”, then I had the idea to invert it. So I glued a piece of Ebony into the opening which also acted as a chuck spigot, then hollowed it through the waste block leaving some of the plywood as a contrasting collar. I had already pyrographed his name onto the Ebony before I glued it in, positioning it so that it faced the natural opening but it didn’t stand out so I gilded it in copper and then 22ct gold leaf. Now with the interior painted matt black your eye is really drawn to to the disc. It was sanded down to 1000 grit before applying four coats of hardwax oil and then reverse turned to remove the chuck spigot. I think he would approve. The Ray Key Collaboration Auction
Lot 103
Sally Burnett (UK) carved and coloured spalted beech hollow form 14x11cm. Signed As a relative newcomer to woodturning I had never met Ray Key. He surprised me however, when, after being awarded a bursary from the Worshipful Company of Turners, Ray took the time to call me and offered words of encouragement. It was a huge boost for me and a testament to the warmth and generosity of the man. The responsibility to create something worthy of the project coupled with a less than promising piece of spalted beech was rather daunting. The easy option was to fully colour the piece, hide the crack and the holes, but the collaboration deserved more. There must have been something about this piece of spalted beech that had made Ray turn a rough shape and put it to one side? So I looked at it again. The grain colour and pattern were spectacular, not something to be hidden. The result, is a unique ‘Corvus Nero’ style piece with marbled bronze silver leaf to complement the rich natural colour of the wood and the background not muted, or hidden or bleached but oiled to really make it sing. I hope that Ray would approve. The Ray Key Collaboration Auction
Lot 114
Tom Gall & Bud Hohlfeld (USA) coloured and textured hollow form 16x10cm. Signed After receiving Ray’s rough turned piece we realized that we should try to maintain the basic shape of the hollow form and do what we could to embellish it. We thought that Ray’s pagoda box form would add a nice base for a finial so we drew on that shape as well. Of course we wanted to add a bit of our own style so we hope the finished finial, texturing and colouring complete the work. Bud did the finish turning of the form and the finial, made from hard maple & African blackwood. Tom used modelling paste to add texture to the body of the form with a sponge texture near the top and bottom and a toothbrush swirl to the main body of the vessel. Tom airbrushed the body in two opposing directions with purple, aqua and white acrylic paints to high points and then airbrushed a thinned metallic bronze acrylic around the top and bottom of the vessel. Then dry brushing a little added bronze to some of the high ridges for additional accents. Finally the cap and finial were assembled. We are honoured to be included in this tribute to Ray. The Ray Key Collaboration Auctionn
Lot 142
19th century brass trivet, stamped JW, 18th/ 19th century bronze mortar, 1940s GEC Safety torch, 19th century brass snuffers tray, small pewter tankards, ebony glove stretchers, 19th century papier mache snuff box, qty of O.S Maps, City of Leicester Street Plan, gents chrome & bakelite vanity case, watercolour by W. W. Holdick and miscellanea in two boxes
Lot 425
A large French bronze mantel clock, Japy Freres, Paris, circa 1855, the gilt dial with white enamelled chapters and blue Roman numerals, all surmounted by a seated figure riding a caprinised elephant with trunk raised, upon an elaborate rococo scrolled and pierced base with anthemion detail, the eight-day movement striking on a bell, stamped with 'Japy Freres & Cie, Medaille D'Honneur' numbered '4286' 54cm high, 42cm wide (at fault) For condition information please view this lot on our website HERE
Lot 692
A pair of Bohemian blue glass potpourri holders, modelled as cornucopia, set in turned and shaped mahogany bases, 20cm long, together with a pair of bronze candlesticks by E G Zimmermann modelled as water carriers, mounted on circular bases with Greek key decoration, 23.5cm high, and a Salopian pottery 'Raised Work' vase, 17.5cm high (5) (at fault)
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350105 item(s)/page