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A CMX Clean Machine, in box; and a Gauge Master Track Brush

A pair of Chinese bamboo brush pots carved fingers to front height 23,5.

CHINESE SOAPSTONE BRUSH POT, 20TH CENTURY along with shell and a mineral specimens

A Large Chinese Carved Bamboo Figure, 87cm high, together with a pair of similar brush pots, a hardwood tripod table base, a pair of Middle Eastern textile tools, variosu hunting horns and pipes, etc (qty)

A Collection of Assorted Items, including various items of flatware, a hand-mirror; a clothes-brush and a group of assorted pencil leads (qty)

Taxidermy: A Group of Late Victorian Red Fox & Badger Masks, circa 1880-1900, two European Red Fox masks, each looking straight ahead, one with attached brush, each mounted upon a shaped oak shield, a European Badger mask with mouth agape, looking straight ahead, mounted upon a shaped oak shield, together with a full mount adult Magpie with head turning to the left, perched upon a cut ash tree stump, (4).

A Kawasaki strimmer with bump feed (good compression) and a Lawn Flight brush cutter.

A Ryobi brush cutter - good compression.

A Partner strimmer with bump feed, (good compression at time of lotting) together with a McCulloch brush cutter, (cord broken).

MARC CHAGALL (1887-1985)Couple signed, inscribed and dated 'Marc Chagall Vence 1954.' (lower right)watercolour, pastel, brush, pen and India ink on paper39.1 x 60.5cm (15 3/8 x 23 13/16in).Executed in Vence in 1954Footnotes:The authenticity of this work has been confirmed by the Comité Marc Chagall.ProvenancePrivate collection, Sardinia (acquired by 1991).Private collection, Rome (acquired in 2014).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

TAKANORI OGUISS (1901-1986)Marchand de couleurs ('Sunlight Savon') signed 'Oguiss' (lower right); signed and inscribed 'Marchand de couleur [sic] Oguiss 103 rue de Vaugirard Paris 6e' (on the reverse)oil on canvas60 x 73cm (23 5/8 x 28 3/4in).Painted circa 1929-1932Footnotes:The authenticity of this work has been confirmed by Emiko Oguiss Halpern. This work will be included in the forthcoming Takanori Oguiss catalogue raisonné, currently being prepared by Les Amis d'Oguiss.ProvenancePrivate collection, South Australia; their sale, Leonard Joel, Melbourne, 3 November 1976, lot 208.Private collection, Melbourne (acquired at the above sale).Intent on offering a candid and unpretentious glimpse into the heart of Paris, Takanori Oguiss delighted in its quaint and humble urban landscapes. He did not embellish imperfect details, in fact, he revelled in them, the battered brickwork, tattered placards, and weathered walkways. His work reminisces on the blueprint of Paris in its twilight years, prior to the assembling of glossy apartment blocks, shopping centres and wide boulevards. The physical remnants of wear in his scenes therefore evoke a nostalgia for old Paris, now a dim and distant memory. Peering into the crumbled and cluttered exterior of an ordinary Montparnasse shop, Marchand de Couleurs bears testament to this. Even the distorted perspective of the scene alludes to the meandering alleyways, now concealed within the arrondissements of contemporary Paris.In the present work, Oguiss sketches en plein air and forms a rich impasto layer, applying his paint in thick strokes and quick daubs. This creates a sense of urgency, an attempt to capture a scene on the brink of change. Though there appear to be no figures within this cropped composition, the shopfront is bursting with life. On display is an eclectic mix of colourful hardware tools and painting utensils, combined with flashy advertisements, hand-painted onto wooden blocks. Oguiss presents a charming local scene, with a variety of goods crammed into worn wooden cabinets, while the excess dangle in clusters from the awning.Declared the epicentre of Modern Art, Paris in the early twentieth century became a magnet for artists all over the world, including Oguiss. Born in Inazawa, Japan in 1901, he first studied at the Tokyo School of Fine Arts where he participated in numerous exhibitions. However, 1927 marked a pivotal shift in his artistic career, as he ventured to Montparnasse, Paris. As a pupil of Léonard Tsuguharu Foujita, he swiftly became an integral member of the Parisian avant-garde and began working in one of the ateliers of the 'Montmartre aux artistes'. He frequented La Ruche, a popular space for young artists, while also participating in esteemed exhibitions such as the Salon d'Automne and the Salon des Indépendants. Through his work, Oguiss sought to emulate the artists of the École de Paris, in particular Maurice Utrillo and Maurice de Vlaminck. This is evident in Marchand de Couleurs, as he employs a quintessential Post-Impressionist oil technique with his thick application of paint, patterned brush strokes and vivid colour. What is striking however is that he combines this with the renowned Japanese concept of wabi-sabi, a celebration of the imperfect and impermanent. The work therefore exists as a compelling fusion of aesthetics and attests to twentieth century Paris, as a concoction of cultures, in a period of flux.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

LÉONARD TSUGUHARU FOUJITA (1886-1968)Profil de jeune femme signed and dated 'Foujita 1930' and further signed in Japanese (centre right)brush and India ink on paper36.5 x 29.4cm (14 3/8 x 11 9/16in).Executed in 1930Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson, ACRB (Art Cataloguing Research Buisson), Paris. This work will be included in the forthcoming Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceFrederick Christian Schang Collection, New York.Private collection, Vancouver (by descent from the above).Acquired by the present owner in 2022.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JULIO GONZÁLEZ (1876-1942)Tête à la fenêtre ouverte signed with the artist's initials and dated 'J.G. 1936' (lower left)gouache, brush, pen and India ink and wash on card15.8 x 12.5cm (6 1/4 x 4 15/16in).Executed in 1936Footnotes:ProvenanceManuel Barbié Galería de Arte, Barcelona.Private collection, Barcelona (acquired from the above circa 2000).LiteratureJ. Gibert, Julio González, dessins, Vol. VIII, Projets pour sculptures, figures, Paris, 1975 (illustrated p. 58).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

EMIL NOLDE (1867-1956)Im Café signed 'Nolde.' (lower right)brush, pen, India ink and wash on paper29.5 x 33cm (11 5/8 x 13in).Executed circa 1910-1911Footnotes:The authenticity of this work has been confirmed by Prof. Dr. Manfred Reuther.ProvenanceTekla Hess Collection, Germany.Herald Goddard Collection, UK (acquired from the above on 27 February 1941). Private collection, UK (by descent from the above).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

BERNARD BUFFET (1928-1999)Plage en Bretagne signed and dated 'Bernard Buffet 64' (upper right)watercolour, wax crayon, brush, pen, India ink and ink on paper49.5 x 64.9cm (19 1/2 x 25 9/16in).Executed in 1964Footnotes:The authenticity of this work has been confirmed by Galerie Maurice Garnier.ProvenancePrivate collection, France.Anon. sale, Sotheby's, Paris, 23 March 2017, lot 145.Private collection, Italy (acquired at the above sale); their sale, Christie's, London, 6 February 2020, lot 204.Private collection, UK (acquired at the above sale).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FRANÇOISE GILOT (B. 1921)Le hibou signed 'F. Gilot' (lower left)oil, watercolour and ink and brush on paper76.4 x 56.6cm (30 1/16 x 22 5/16in).Executed in the 1960sFootnotes:This work is registered in the Françoise Gilot Archive.ProvenanceThe Leicester Galleries, London (acquired directly from the artist).Private collection, UK (acquired from the above in 1968).Private collection, UK (by descent from the above).ExhibitedLondon, The Leicester Galleries, Françoise Gilot, 26 June – 20 July 1968, no. 23.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

THÉO TOBIASSE (1927-2012)La fille de la taverne signed and dated '69 Theo Tobiasse' (upper right) and inscribed 'la fille de la taverne' (upper left)gouache, brush, pen and India ink and wash on paper50.9 x 66.5cm (20 1/16 x 26 3/16in).Executed in 1969Footnotes:ProvenanceMadden Galleries, London.Private collection, South Africa (acquired from the above).Private collection, South Africa (by descent from the above).LiteratureC. Tobiasse, Théo Tobiasse, Catalogue raisonné, online catalogue, no. 01770 (illustrated).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Art Deco thirteen piece silver mounted blue guilloche enamel dressing table set, comprising two hair brushes, two clothes brushes, hand mirror, two cut glass jars, buffer and a cut glass scent bottle, hallmarked J W Tiptaft & Son Ltd, Birmingham 1930 and 1932, and a silver handled manicure set, hallmarked Daniel Manufacturing Company, Birmingham 1930, with a pair of base metal scissors, each contained within three original fitted cases with black and cream silk and velvet lined interiors, one with removable mirrorCondition Report:General wear commensurate with age and use, including surface scratches and nicks. Some wear to edges of enamel throughout. Loss and wear to enamel of scent bottle lid and small amount of loss to one brush handle. Compression to one side of larger glass jar lid. Several small nibbles and chips to each piece of cut glass. Some items have been previously gilded but this has now rubbed away. Some manicure set items with bent handles and larger knocks. One box has a space for a comb, which is missing. Hallmarks with varying degrees of wear, some worn and indistinct. Boxes with some scuffs to exteriors particularly at corners. Interiors with fraying to silk edges, splits to elastic supports and small amounts of discolouration to velvet/silk.

American cut glass dressing table box with silver cover, probably late 19th century, of heart shape, the silver cover with engraved monogram and beaded surround, marked for Gorham and stamped Sterling, W10cm, together with a pair of Edwardian silver mounted candlesticks, hallmarked Charles Boyton & Son Ltd, London 1904, H11cm, and an early 20th century matched silver mounted hand held mirror and hair brush with vacant circular panel and vertical engine turned banding (5)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Dressing table box with some nibbles and small losses to glass.Candlesticks with some knocks around edge of bases. Hair brush with a number of knocks and indentations.Hallmarks with varying degrees of wear, particularly makers marks to candlesticks.

1920s silver mounted dressing table set, comprising two hair brushes and a clothes brush, each inset with mother of pearl, and engraved with initials to silver, hallmarked George Betjemann & Sons, London 1922, together with an early 20th century silver and tortoiseshell mounted cut glass scent bottle, with spherical fluted glass body, the silver and tortoiseshell hinged cover opening to reveal an internal glass stopper, hallmarked Walker & Hall, Birmingham 1915, 1930s silver lidded circular glass jar, the silver cover embossed and the glass etched with sunflowers, hallmarked W J Myatt & Co, Birmingham 1932 and a set of six modern coffee bean spoons, hallmarked Cooper Brothers & Sons Ltd, Sheffield 1972, in original fitted caseCondition Report:General wear commensurate with age and use, including surface scratches, nicks, and small indentations and knocks. Tortoiseshell bottle compression to cover and crack to tortoiseshell. Mother of pearl loose in brushes. Heavy knocks to lid of jar. Hallmarks with varying degrees of wear.

Steven Smith (British, b. 1974), seated female nude, air brush on board, signed lower left, 60 x 60cm, framed.

A silver hand mirror and clothes brush; an Asian brass bowl on stand; a plated cake basket and a plated photograph frame

A Stihl petrol brush cutter with two attachments

Dowler Patent corkscrew, bone handle with brush, double screw action with steel worm, brass barrel, 18.5cm.

Thomason Patent Kings screw corkscrew by Dowler, turned bone handle with brush, rack and pinion action with turned bone handle, brass barrel with coat of arms Dowler Ne Plus Ultra, steel worm, 19cm.

Two Thomason type Kings screw corkscrews;1. turned bone handle lacking brush, rack and pinion action, bronze barrel, steel worm, 19cm.2. turned bone handle, rack and pinion action, nickel barrel, steel worm, 19cm.Qty: 2

Samuel Henshall Soho Patent corkscrew, Obstando Promoves, turned wooden handle lacking brush, waisted stem, inscribed button, steel worm, 10.5cm.

Samuel Henshall type corkscrew, turned wooden handle, ringed and waisted stem, button marked Patent Improved with four spurs underneath, steel worm, 13cm.Condition report:Is the shaft well attached to the handle, ie no mouvements / loose handle? - Yes the handle is well attached and the joint nice and tightCondition of the wooden handle, ie no missing part, chip or split in the wood? - There is a hairline crack to one side of the handle, along with some other small chipsWas there a brush there in the past which is missing today? - No signs of previously having a brushIs the rust, surface or deep? - Quite deep old rust marks on the stemThe reading « IMPROVED PATENT » seems to be well embossed on the button, please confirm. -Yes the impressing here is good.Shipping:Should I bid and win, what are the shipping cost to a London address? Please see this page for our recommende third party shipping suppliers, https://www.gildings.co.uk/buying-with-gildings/

Charles Hull Patent Presto corkscrew, turned wooden handle lacking brush, brass barrel, brass screw and steel worm, 23cm extended.Condition report:The button does lock the stem and worm, some chips to the handle most notable around the hole for the brush (missing).

Thomason variant IV patent corkscrew, turned wooden handle with brush, single action, fluted brass barrel, steel worm, 19cm.Condition report:The handle is firm and there is no movement, some minor chips and wear consistent with age, replaced brush.Addiditional images have been uploaded to the lot page on our website for you to view.

Thomason type corkscrew by Heeley & Sons, bone handle with brush, double action, steel worm with point, brass barrel, 18.5cm.

Two Charles Chinnock type corkscrews;1. turned wooden handle with brush stub, brass barrel with fluted top and oval windows, pointed steel worm, 15cm2. turned wooden handle lacking bruch, brass barrel with oval windows, steel worm lacking point, 14cm.Qty: 2

Chinnock type corkscrew, turned wooden handle with brush, open frame, pointed steel worm, 18cm, and five other corkscrews.Qty: 6

Thomason III variant Patent Ne Plus Ultra corkscrew, brass ring above a double action, turned wooden handle with brush, brass barrel, steel worm reduced, 17cm.

Two 19th Century simple direct pull corkscrews;1. turned wooden handle with knife and brush, steel worm, 13.5cm.2. horn handle with spike, steel worm, 12cm.Qty: 2

Wolverson type lever corkscrew with roller handle, worm damaged, 11cm, and three other lever corkscrews, one with brush handle.Qty: 4

Five simple direct pull corkscrews with buttons, including two with turned brush handles, one with turned wooden handle and two with horn handles.Qty: 5

Three Thomason type corkscrews;1. turned bone handle lacking brush, double action, brass barrel, steel worm, 17cm.2. turned wooden handle (replaced), double action, brass barrel, steel worm (replaced), 18cm.3. turned bone handle, single action, brass barrel, steel worm, 18cm.Qty: 3

Eight Henshall type corkscrews with brush handles, various.Qty: 8

Seven Henshall type corkscrews, all with brass stems and buttons, some with brush handles, various.Qty: 7

Direct pull corkscrew, turned wooden brush handle, detachable worm, 15.5cm, and a small corkscrew with turned wooden handle, double helix, 8cm.Qty: 2

Thirteen direct pull corkscrews, all with brush handles.Qty: 13

Two Thomason patent corkscrews;1. turned bone handle lacking brush, doubel action, brass barrel with coat of arms Ne Plus Ultra, steel worm, 17cm.2. turned wooden handle (replaced), double action, brass barrel with coat of arms Ne Plus Ultra, steel worm bent, 20cm.Qty: 2

Lund Patent London Rack corkscrew, brush handle, 20cm, and two other London Rack corkscrews with brush handles.Qty: 3

Thomason Patent corkscrew, turned bone handle with worn brush, double action, brass barrel with coat of arms Ne Plus Ultra, steel worm, 17cm.

Thomas Patent corkscrew, turned bone handle lacking brush, double action, brass barrel with coat of arms Ne Plus Ultra, steel worm, 18cm.

Dowler Patent corkscrew, turned bone handle with brush, double action, brass barrel with coat of arms, steel worm, 19cm.

A collection of assorted silver flatware, 71.5ozt, together with a silver trinket box, hand mirror and brush

A silver sauce boat, 11 silver napkin rings, a silver basting spoon and a silver backed clothes brush together with a mustard, two silver plated ladles and a silver plated basting spoon, 18.5ozt weighable silverBallykeel House, Hillsborough, Northern Ireland

Lancelot Speed Brush Tailed Rat-Kangaroo; the frontispiece illustration for The Romance of Animal Arts & Crafts, H. Coupin and J. Lea, London, 1913signed 'Lancelpt Speed' (lower right)gouache and watercolour en grisaille55.5 x 36.5cm

A group of three modern pictures, to include: an unsigned brush and wash of a storm, 15 x 22cm; Allan Neal, Crows, signed and numbered 2/30, linocut, 24 x 18cm; and a reproduction print after Johnny Gruelle of a magical toadstool village, 31.5 x 24cm, unframedProvenance:Collection of the late Sir Georg and Lady Solti

Barbara Tribe, A pottery vessel. With pierced lug handles, signed and numbered 11, height 10cm, together with a Barbara Tribe small bowl and a porcelain brush pot by another potter (3).The small bowl has chips to the underside of the rim, no other condition issues.

Four large silver spoons and a collection of other items. Two of the large silver spoons by Goldsmiths & Silversmiths Co Ltd, London -, the other two spoons by --- both hallmarked London; Together with two smaller silver spoons, a silver handles brush, a Seager's London Gin travel corkscrew another travel corkscrew, three pairs of Victorian nutcrackers and a collection of costume jewellery. Combined weight of silver -

A silver mounted hand mirror and hair-brush with raised scroll decoration, small silver rectangular tray, Chester marks and a small silver rectangular photo frame

A silver and enamelled rectangular clothes brush with matching comb in part fitted case together with a gentleman's gold plated pocket watch case and one other wristwatch

A collection of miniature bone dominoes, possibly Napoleonic, in a brass glazed case, damaged, width 4.3cm, and a Victorian travelling inkwell with brush and pen rest, width 8cm. (2)

A parcel lot of assorted hallmarked silver items to include two cream jugs, a cased quaiche, a pedestal cup, a hand mirror and brush etc, total weight of weighable silver 17oz, various styles and dates. (qty)

A hallmarked silver twin handled pedestal bowl, Birmingham 1936, Adie Bros Ltd, 10oz, a silver topped globular scent bottle, a hallmarked brush and a hallmarked button hook. (4)

RETRO BRUSH SETS, TROUSER PRESS ETC, 6 ITEMS