A collection of George III and later silver items including a cream jug with reeded upper rim and handle, the body engraved with the initial W, 10 by 9cm, Birmingham 1916, indistinct maker's mark, a silver trinket dish or bottle coaster of rounded square form, the centre inscribed Martell Co, 1715-1965, for Martell Cognac, London 1964, BB, 9.5 by 9.5 by 1.7cm, four Old English pattern teaspoons, two with terminals engraved A.H.W., London 1795, William Eley I, the other two with terminals engraved P B, London 1796, indistinct maker's marks, a set of silver sugar nips, Sheffield 1920, James Deakin & Sons, a lady's silver handled button hook and shoe horn set, Birmingham 1910, Lionel Smith & Co, boxed, together with a silver plated ink stand with cut glass well, a white metal screw in tap, a silver backed clothes brush and a further pair of white metal sugar nips, 8.89toz weighable silver.
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A group of Victorian and later silver items comprising a beaker engraved with strap work design and hanging thistles, stamped to the base The Silver Club, London 1979, A Haviland-Nye, an Edwardian pin cushion modelled as a goat, Birmingham 1908, Adie & Lovekin Ltd, a/f missing cushion and cart, a bon bon dish of circular form with pierced decoration and three handles terminating in C scroll formed feet, Birmingham 1911, William Hutton & Sons Ltd, a Victorian shaving brush, with detatchable screw brush head and hinged base, London 1889, William Comyns & Sons 11.85toz total silver weight, and a white metal menu holder, possibly 19th century Continental silver 1.22toz. (5)
A Victorian doll's accessories set including a pair of leather gloves with tiny mother of pearl buttons, 5.6cm, an ivory double sided hair comb, 2.3cm, a set of miniature crane sewing scissors, 4cm, a slightly larger scale ivory backed hand mirror, 9.5cm, and tooth brush, 5.6cm, together with a selection of three tortoiseshell doll's hair slides, one faux tortoiseshell miniature comb and a pair of miniature glass scent bottles with silver gilt tops, each with indistinct hallmarks, 5.2cm, all in apparently original Victorian card gift box with silvered mirror inset to lid. (12)
A group of 1920s and later miscellany, including a Mutax dry cleaning brush, a Bakelite grooved buffer or clothes brush, a brass folding loop magnifier, a magnifying glass with leather pouch and a carved horn salmon, together with a group of bank notes and receipts including a 1919 10,000 Rouble note. (10)
Hunting Interest - a Victorian photograph of the Yetholm, Scottish Borders Hunt, painted with fox to mount, above armorial motifs and a poem ' Around him ride the brave and fair, in hopes the brush to goin, through Colders whim, oer Yetholm Crags, whoop Hollo killed again, signed Robson to verso, oak frame, c.1880
A Gentleman's circa 1926 Travelling Set, comprising a pair of ivory handled hair brushes, clothes brush, three ivory and cut glass canisters, silver and ivory topped scent bottle, mirror, Valet safety razor, treen-ware badgers hair shaving brush, manicure set (one oval glass canister missing, ivory lid present), T Hardy & Sons button hook and shoe horn.
Walter Frederick Osborne RHA ROI (1859-1903)Beached Rowing Boat and Figures by the ShoreOil on board, 25 x 21cm (9¾ x 8¼'')Provenance: Sale, Adam's, 16 June 1993, Lot 69, where purchased by the late Gillian Bowler.Walter Osborne’s picture depicts a sloping, high river bank upon which small rowing boats are moored. Just over the brow is a large pavilion-like building with steep roof, tall chimneys and masts. On the left, a figure in hat and white smock stands silhouetted against the sky, while in the right foreground another man in white sits in his boat, moored below the steps which climb the banks. The smooth water below reflects the boat and river bank, complementing the dark shape of the building above. Osborne’s scene is viewed against the light, so the tone of the picture is subdued. Yet a quiet sense of mystery is evoked, the two men conversing with one another perhaps, or lost in their own thoughts. Osborne’s scene has echoes of small, intimate pictures of heath or quarries by earlier landscapists such as John Crome and William Mulready.Osborne spent much of the period 1884 to c.1891 painting in English villages and coastal towns in the summer months. The setting of the present picture is probably at Rye in East Sussex.Rye had been an old fortified town on the river Rother on the Sussex coast and became one of the ‘Cinque ports’. But in the 16th century the harbour began to silt up, so that the town became situated two miles inland. The Flemish portraitist Anthony Van Dyck painted beautiful watercolours there c.1633. Osborne was working in Rye c.1889-1890, and was inspired to paint some of his finest paintings there. These include ‘Cherry Ripe’, c.1889 (Ulster Museum); ‘The Ferry’; ‘When the Boats Come In’; small oil studies such as ‘On the Quay at Rye, 1889 and the present picture; and the wash painting ‘Boats in Rye Harbour’ (National Gallery of Ireland); and he also took photographs there (NGI).English villages provided Osborne with interesting subject matter and also inspired a new palette in his paintings, the warm russets, oranges and maroon colours of brickwork and roof tiles, the browns of old woodwork, often being lit up by lovely sunlight. In the present scene, which is observed against the light, the tones, dark maroons, plum colours, raw siennas (lighter at the top of the bank) and dark blues, are more subdued. But the sky is bright, covered by light cloud and with touches of blue sky breaking through. Osborne’s brushwork is light but expressive. On the riverbank, for example, changes in direction are visible as his brush moves quickly over the picture surface, while in the clouds fluid, horizontal brush marks can be seen, creating blurred edges where the building meets the sky.Osborne’s painting belonged in the collection of Gillian Bowler, founder of Budget Travel. A very similar subject was exhibited at the Dublin Art Club in 1890.Julian Campbell, April 20181) ‘The Ferry’, Important Irish Art, de Vere’s, Dublin, 27th November 2013, Lot 39.2) ‘When the Boats Come In’, 19th Century European, Victorian and British Impressionist Art, Bonhams, London, 1st March 2017, Lot 62.3) ‘On the Quay at Rye’, 1889, Irish Sale, Sotheby’s, London, 18th May 2001, Lot 165 - this was a gift from Osborne to fellow painter Blandford Fletcher.
Hornby O Gauge 3-rail Electric Locomotive Restoration Project and Motor Units, comprising an incomplete no E220 LMS Special Tank no 2180, P, together with three low-voltage motor units, two of which have external Bakelite-type brush caps, from Metropolitan locomotives or similar, F-G, one lacks 2 wheels (4)
A collection of Chinese and Japanese collectables, 19th/20th century, comprising a Chinese agate incense burner, carved with two mask and tongue and ring handles, the cover with chilong knop, 9.5cm, wood stand; a Chinese agate brush washer, in the shape of lotus leaf surrounded by lotus flowers, 11.5cm, wood stand; a Chinese amethyst carving of Guanyin, seated with a ball in her right hand, 8.5cm, wood stand; a Japanese satsuma vase, 9cm and a Japanese kutani vase, 12cm (9)
A mixed collection of miscellaneous items to include a cast relief copper plaque with a classical scene, a driftwood bowl, a horse brush, a set of six brass napkin rings with red stone cabochon, a tribal carving, a Japanese lacquered metal bachelor teapot, patinated car head light (incomplete) and a pair of cast brass easels
A VICTORIAN PINE WASH STAND, with arched back and a turned towel rail to either side, united by a stretcher shelf. 27" (69cm) high. TOGETHER with an eight piece toilet set, comprising a cream and pink basin and ewer, with transfer printed pink flowers, matching chamber pot, two brush pots, a pair of candlesticks and a soap dish cover and stand. (a lot)
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