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A 20thC Chinese brush painting of Bamboo, black ink on paper, signed and dated in Characters, probably 1985, mounted on silk, glazed and framed, 64.5cm x 32cm.

A four piece silver mounted dressing table set, by W I Broadway & Co, Birmingham 1978, repousse decorated in the Victorian taste, comprising; hand mirror, hair brush, clothes brush and comb, together with another silver mounted hand mirror, a silver mounted hair brush and a white metal three piece dressing table set. (9)  

A silver easel back photograph frame, by Douglas Pell Silverware, London 1990, height 20cm, together with a silver hand mirror, by "H.H.B", Birmingham 1902, repousse cherubs. and a silver mounted brush. (3)

A silver backed dressing table brush and a silver banded ebony brush.

† MICHAEL CASSON (1925-2003); a stoneware teapot with cane handle covered in green ash glaze with tenmoku brush decoration, impressed MC mark, height 14cm (excluding handle).Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† MICHAEL CASSON (1925-2003); a large stoneware teapot with cane handle covered in oatmeal glaze with iron brush decoration, impressed MC mark, height 15.5cm (excluding handle).Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† DAN ARBEID (1928-2010); a rectangular stoneware tray with broad brush decoration, painted signature, 21 x 16cm (af). Condition Report: Tray has been broken in two and re-glued, chip to one corner, otherwise appears good with no further signs of faults, damage or restorations.

† DEREK EMMS (1929-2004); a porcelain teapot covered with iron brush decoration on off white ground, impressed DE mark, height 14cm.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† DAVID FRITH (born 1943) for Brookhouse Pottery; a tall stoneware bottle with textured surface partially covered in running green ash glaze with iron brush decoration, impressed DF and pottery marks, height 38.5cm.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† KYRA CANE (born 1962); a tall stoneware jug covered in silky cream glaze with broad brush decoration, incised signature, height 35.5cm, and a matching beaker, height 13cm (2).Condition Report: Appears good with no obvious signs of faults, damage or restoration.

A selection of vintage cutlery and manicure set with hallmarked silver brush

A 1950s silver mounted Atkin Brothers Ltd dressing table set, having engine turned decoration and engraved "L" monogram, together with a Victorian silver-backed brush

A group of shaving mugs, including "The Vulfix Shaving brush Company", etc, tallest 11 cm

A George V silver backed engine turned hand-brush, Birmingham, 1942, and an embossed white metal clothes whisk, marked sterling, former 25 cm

A 1940s Japanese kitsch cast aluminium trinket dish of a geisha, a 1920s porcelain figural handled crumb brush, a Wade 'Whimtray' and a crested ashtray

A hallmarked silver dressing table brush along with two silver clothes brushes

A hallmarked silver hair brush along with an amethyst coloured glass vase with etched owl to front and '57' to base

A collection of vintage shaving items including WW1 period straw-work containers, razors, brush etc

A Collection of Assorted Silver, comprising two globular scent-bottles, the silver-mounted cover with yellow enamel over an engine-turned ground; a clothes-brush, oblong and enamelled with a bird over a green ground and a silver jewellery-box, the hinged cover with engine-turned decoration (4)

A Collection of Assorted Dressing-Table Items, comprising a cased pair of silver-backed brushes and a cased silver-backed dressing table set, comprising a hand-mirror; a clothes brush and a hair-brush (qty)

COLLECTION OF PLATED WARE including two wine slides, silver mounted brush, rose bowl, cream jug, thimbles and other items

SILVER THREE PIECE BRUSH SET EARLY 20TH CENTURY engraved TC Qty: 3

ART DECO SILVER VANITY SET BIRMINGHAM 1935 comprising a pair of brushes and another brush, each with simulated wood and green enamel decoration, one brush and hand mirror lacking, in original fitted case

A quantity of new boxed items, including floating shelf, wall unit, corner shelf, dustpan and brush, etc COLLECT ONLY

A pair of carved wood Japanese brush pots, both cracked.

A silver backed hand mirror and a silver backed hair brush.

Four old corkscrews including one with a brush and another with a mother of pearl handle.

Buckingham Palace.- Flaxman (John) Original design for the interior of Buckingham Palace, pencil with brush and ink, inscribed with scale in ink and titled 'Love and Harmony', on Whatman wove paper with date '1824', sheet 215 x 340 mm (8 1/2 x 13 1/2 in), old handling creases, minor toning and surface dirt, unframed, [circa 1824-1826]Provenance:John Kenworthy-Browne (b. 1931, art historian, specialising in architecture and sculpture, chiefly of the neo-classical period)

Birds.- Keulemans (Tony) & Jan Coldewey. Feathers to Brush: The Victorian Bird Artist John Gerrard Keulemans 1842-1912, number 143 of 500 copies signed by the authors, original half morocco, privately printed, Epse & Melbourne, 1982 § Sitwell (Sacheverell), Handasyde Buchanan and James Fisher. Fine Bird Books 1700-1900, [one of 295 copies but lacking colophon leaf signed by the authors], some spotting, original half red morocco, spine faded, slip-case (rubbed), London & New York, 1953 § Fleming (C.A.) George Edward Lodge Unpublished Bird Paintings, 1983 § John Gould's Hummingbirds, 1990, plates and illustrations, many colour, the last two original cloth or boards with dust-jackets; and 12 others on bird artists, folio & 4to (16)

A GEORGE V SILVER WAITER OF 18TH CENTURY DESIGN Sheffield 1926, with gadrooned piecrust rim, on pad feet, 2cm high x 15.5cm, engraved 'RADELLA 1928', a George III silver oval pen tray, London 1796, an Eastern white metal hand mirror and clothes brush and a selection of white metal and silver plated cutlery (16), combined silver weight 8 tr. ozs

AMERICAN ELECTROPLATE CUTLERY, A SILVER BACKED CLOTHES BRUSH, CARVED BOOTS WALKING STICK POMMEL, ETC.

George V four piece silver and tortoiseshell piqué table brush and hand mirror set, decorated with circular harebell garlands, maker I S Greenberg & Co Birmingham 1926 (mirror 1928), mirror 10.5" long; also a silver and tortoiseshell desk calendar by William Harrison Walter, Birmingham 1907, 3.5" high (5)

Chris Gilmour (20th/21st century) - Figures on a street, possibly a scene in Bath, signed Gilmour, pen, ink and watercolour, dry brush technique, 8.25" x 5.75" **The artist studied art in Bristol in 1997 and opened a studio in Manchester, he settle in Italy in 2000 in Udine in the heart of the Fruli. He is primarily known for his sculptures, he has exhibited extensively in Europe and America

Attractive George V silver and blue guilloché enamel five piece dressing table brush and hand mirror set, maker E.D, further marked Drew & Sons, Piccadilly Circus, London 1930 (one brush 1932), mirror 10.25" long (5)

19th century tortoiseshell snuff box, with a ribbed body, 3" wide; together with a tortoiseshell vesta and pocket tortoiseshell mounted brush (3)

An old carved soapstone brush pot with prunus decoration

Victorian miniature silver watercolour painting box with pendant loop, the interior with eight divisions for paints and a folding bone handled paint brush, makers mark WW. Chester 1899 4.5cm x 2cm x 1cm

Pair of silver candlesticks Birmingham 1921, ( fitted for electricity ), engine turned brush and mirror set, Birmingham 1963, set of six coffee spoons, and a small quantity of other cutlery, weighable silver 4.1oz 204128.4gm

A collection of silver items to include brush backs, broken flatware, etc. Approx.36 troy oz.Condition Report: All items have damage.

Asprey & Co. a green leather vanity case with canvas cover and brahmah lock, the interior fitted with silver gilt and glass accessories including, pin box, toothbrush holder, hair brush, clothes brush, rouge pot, pair of scent bottles, three jars with silver covers, hand mirror, pencil holder, pen knife and comb. London 1913,

Embossed continental silver basket form vinaigrette, marks rubbed , and three piece yellow enamel and engine turned silver brush and mirror set by William Devenport , Birmingham 1930

Victorian embossed silver pin tray by William Comyns & Sons, London 1897, monogram to the central cartouche, 8.5oz 265.5gm together with a similar clothes brush and hair brush by William Comyns & Sons London London 1895 and two dressing table jars with embossed silver covers

Modern collection of eight pairs of miniature silver shoes, place card holders Sheffield 1997, cigarette case, Continental 830 standard silver bowl, embossed clothes brush, nail buffer, scent bottle and pair of stem vases, weighable silver 9oz 277gm

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Africa Dances, 1991 signed and dated 'BEN ENWONWU 1991' (lower left)oil on canvas70 x 60cm (27 9/16 x 23 5/8in).(framed)Footnotes:ProvenancePrivate collection, Nigeria.This late work by Enwonwu demonstrates the mastery of his painting techniques in his latter years. Completed only a few years before the end of the artist's life, the current work synthesizes some of the most striking and dynamic elements from Enwonwu's artistic career. First displaying an interest in the theme of dance during his time as a student, the artist's consistent fascination with re-creating movement, in both sculpture and paintings, is quintessentially displayed in the present work.The most aesthetically significant aspect of this work is Enwonwu's ability to convey grace and movement with such purposeful and limited brush strokes. In this painting, the artist uses his preferred palette of bright blues, yellows, and browns, which one often sees in his African Dances and Ogolo series in both water colour and oil paintings. Evoking a near aquatic atmosphere, the swirling blue sky and the bright streaks of yellow in the primary dancer's dress and finger tips expertly convey the dramatic and poised forward movement of the dancer. The presence of the muted dancers in the background create an additional sense of motion for the viewer providing an echoing effect. As noted by Ogbechie, the formal structure of compositions in the artist's work had, by this stage, evolved through the 1990's, 'eliminating all suggestions of physical and contextual boundaries by setting his dancing figures in an ambiguous pictorial space'. (S. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), p. 182.). Indeed, the structural composition of this work adheres to the angular yet rhythmic arrangement of the figures that possessed a consistent element within the series. Enwonwu first encountered the book 'Africa Dances' by Geoffrey Gore in 1945 when he was studying in Oxford. Concluding that Gore did not understand the true significance of dance in Africa, the artist embarked on his own representation of what he believed Africa Dances to be. Enwonwu began working in this theme during his studies in England and would continue to revisit this series throughout his life, with this painting being one of his last in the series. A lifetime of experience and dedication has therefore been captured in this single canvas.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), p. 182.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

Irma Stern (South African, 1894-1966)'Palm Trees', Zanzibar signed and dated 'Irma Stern/1945' (lower left)oil on canvas 69.8 x 69cm (27 1/2 x 27 3/16in).within artist's original Zanzibar frame.Footnotes:ProvenanceAcquired at the Argus Gallery in 1946 by Mrs Schutz;By direct descent to Mrs Peta Schutz;A private collection.ExhibitedCape Town, Argus Gallery, 1946.In a review of her 1946 exhibition at the Argus Gallery, Cape Town, of which the present work was a feature, the Cape Times review began with the emphatic statement:Rarely in Cape Town's art history has there been an exhibition of contemporary South African painting of such importance.(P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p. 14).History, of course, has tended to confirm the significance of Irma Stern's work from this trip. The artist herself noted 'the first class success' of the show in a letter to her Johannesburg friends, the Feldmans, on March 10 1946: 'Having about 3-400 people in daily and just when I want peace at home – some more to come and buy from studio'. Previously she had written from Zanzibar that 'I have had a most successful time here'. And she wrote that she was 'conquering new ground for my work and development': she even anticipated that some people would be 'shocked to death about my work', presumably indicating the 'vigorous brush work and lavish pigment' that one enthusiastic reviewer applauded in her landscapes and figure studies at this time (see below). In fact, this 'development' proved to be the foundation of the aesthetic achievement of her Zanzibar works. While the sense of increased proximity – or presence - of Stern's figures distinguish the work of her second Zanzibar trip from the first, 'Palm Trees', 'Zanzibar Garden', 'Seascape', and a few other works, introduce a new planarity into her method of painting. In 'Palm Trees', the tall forms of the coconut palms stretch from the bottom to the top of the format focussing attention on the very surface of the work where impasto paint and broken lines flicker in the light. Similarly, in 'Lelemama Wedding Dance' (sold at Bonhams in 2021), also from her second visit to Zanzibar, Stern concentrates attention on the picture plane to suggest the dissolution of form into a sense of shimmering movement in the textiles and jewels of the dancers. This attention to surface is one of the principal concerns of Modernism, from the Impressionists to the Abstract Expressionists: compare the 'Palm Trees' with Monet's 'Poplars'. Although Irma Stern rejected abstraction with contempt, her focus on surface in these works amounted to a neglect of both space and topography that is actually a form of abstraction. On this basis, within a short time, Stern was to reject the sheer physicality of subject-matter in a search for a spiritual or symbolic interpretation of the world. Family tradition held that this beautiful painting represents a Congo Landscape and that it was acquired at an exhibition at the Argus Gallery, Cape Town, in 1946 or 1947. The title of the work has been incorporated into the major monograph on Irma Stern, but the difference in date between the two exhibitions is crucial. The 1947 exhibition was indeed largely devoted to work that Irma Stern had made during her second expedition to the Democratic Republic of the Congo between April and June 1946. But the earlier exhibition in March 1946 consisted mostly of work done by Stern on her extended second trip to Zanzibar between late July and the end of October 1945. In fact, Stern's Cashbook for March 1946 records that she sold #5 Palm trees, oil from this exhibition to the previous owner's family for £70 proving beyond doubt that the work was made in Zanzibar. Moreover, a review in the Cape Times, after praising the splendid figure studies that constituted the major part of the exhibition, confirms the origin of this painting:Vigorous brush work and lavish pigment account for the effect of shimmering heat in 'Zanzibar Garden' and 'Palms' and reflect the exuberance of the local flora in the still life subjects. (P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p.14.)Significantly, the two works picked out in this excerpt are very similar in size and have almost identical frames. Although Stern made little reference to the Zanzibar landscape in either her book Zanzibar (1948) or her correspondence with the Feldmans, Palm Trees was certainly painted on the island. We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyP.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946)Marion Arnold, Irma Stern, A Feast for the Eye, (Vlaeberg: Fernwood Press, 1995), pp. 81- 84.National Library of South Africa, Cape Town, MSC 31,3, Cashbook, p.83.Irma Stern, Zanzibar, (Pretoria: J.L. Van Schaik, 1948) Sandra Klopper, Irma Stern, Are you Still Alive? Stern's life and art seen through her letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), pp. 129-130.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

Alan Furneaux (British, born 1953)Mousehole Still Life With Yellow Jug and Bottle Brush signed 'A Furneaux' (lower right); titled and dated 'Mousehole still life/with Yellow Jug/and bottle Brush/2019' (on canvas verso)oil on canvas76 x 61.5cm (29 15/16 x 24 3/16in).(unframed)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

A Chinese brush pot, of shaped square section, decorated with a boy and buffalo with inscription and red seal mark, 12.5cms; and a Famille Rose footed square dish, decorated with flowers and rocks, iron-red seal mark, 13cms. (2)

A taxidermy Red Fox Mask with Brush (Vulpes vulpes), mounted on a shield shaped stained wood wall plaque, 28cms high, 28cms from the wall. 

A group of silver dressing table items to include a silver topped and glass powder bowl and cover, two glass scent bottles with silver collars, a silver clad dressing table brush, along with a silver plated fork, and a frosted glass scent bottle Location:

Dressing table brush set to include three brushes and a mirror, hallmarked Birmingham 1926, Birmingham 1924, Birmingham 1949Location:

A mixed lot containing various leather collar boxes, old tie presses, assorted round boxes, glove boxes including kid glove boxes, desk blotters, brush sets etc.

An olive wood miniature easel, two jewelled boxes, two carved boxwood figures, bone mounted brush, two Chinese brass items, two small Limoges boxes.

A Chinese zitan-type stone inlaid brush pot, in 17th century style, worked in relief with diversely coloured soapstone. mother of pearl and jade type minerals, with three scholars and an attendant facing a five-clawed confrontation dragon among clouds19.5cm highThe base of the wooden vessel with old natural crack (filled?). Two small chips off dragon cloud wisps and several bruises and cracks. The figures are generally good. Minor cracks and bruises. Leading scholar holding objects-considered partially missing

William Powell, a 12 bore shotgun cleaning kit, the fitted hardwood case containing ebonised cleaning rod, assorted brushes and jags, antler handled turnscrews, chamber brush and soft brush, brass choke gauge, oil bottles and a pair of snap caps; together with a good quality leather shotgun slip with sheepskin lining120cm long overall

§ José Checa Galindo (b. 1950) The Grand Canal, Venice signed 'J. Checa' (lower right)oil on canvas36.5 x 54cmProvenance:From the artist's studio, Valencia, SpainPaint layer is stable and canvas tension is good. Few brush bristles appear to be caught in the paint layer in the sky area.

Shoji Hamada (1894-1978), attributeda pair of stoneware dishes, each with painted brush design in cobalt on an ash ground, the rim tenmoku,unsigned13.5cm. diam. (2)

‡ William Bill Marshall (1923-2007)a Leach Pottery stoneware teapot and cover, circa 1955/56, ovoid with over-slung cane handle, resist decorated with brush design in ash, and another smaller covered in a tenmoku glaze,impressed mark, incised monogram10cm. high (4) ProvenanceThe Estate of Richard Batterham.

Atsuya Hamada (1932-1986)a stoneware dish, 1958, hexagonal section, covered in a ying-ching glaze and applied simple brush line,unsigned, small bruise to top rim,15.5cm. wide ProvenanceThe Estate of Richard Batterham.

‡ William Bill Marshall (1923-2007)a Leach Pottery stoneware canister and cover, cylindrical form, painted simple brush grass motif on an ash glaze, and another smaller,impressed seal mark, incised monogram,10.5cm. high (4) ProvenanceThe Estate of Richard Batterham.

An Oriental bamboo Brush Pot, finely carved and pierced with figures in a landscape, 6in