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A HMS Trefoil casket cased mallet and chisel, with inset shield to commemorate the launch of the vessel in October 1913, set within a deeply carved oak box with velvet lining, the lid of the casket inset with a watercolour of the ship.

HUNTING FANG | CENTRAL EUROPE, CENTRAL EUROPEAN | Country: Central Europe | Date: around 1860 | Condition: Very good | Lot information | A hunting fang, which in its design is more like a chisel for cutting game. This type of weapon was part of hunting equipment and was used for the practical processing of caught game.The blade is massive, wide, one-sided ground, with a straight edge and a slightly beveled tip, adapted for chopping and cutting. Metal guard, with a cup-shaped protector and extended crossbars.The handle consists of an antler, fixed with a metal end, which provides a firm grip even in demanding conditions. The overall design suggests practical use during hunting and the subsequent processing of game.The set includes a scabbard combining leather and metal fittings, which bears visible traces of use. | Dimensions | Length: 460 mm | Blade: 320 x 32 mm | Weight: 920 g***IMPORTANT NOTICE*** | SHIPPING ONLY WITHIN THE EUROPEAN UNION | Bidders are obliged to inform themselves about the condition of the lots before the auction, subsequent complaints will not be taken into account.

TAMPER'S AX | SLOVAKIA?, SLOVAK | Country: Slovakia? | Date: 19th / 20th century | Condition: Excellent | Lot information | Carpenter's chisel ax, used for precise processing of beams and wood. A forged iron blade of asymmetrical shape with a straight upper edge and a slightly curved edge, typical of carpentry tools of this period. | Dimensions | Length: 825 mm | Blade: 240 mm | Weight: 2 kg***IMPORTANT NOTICE*** | SHIPPING ONLY WITHIN THE EUROPEAN UNION | Bidders are obliged to inform themselves about the condition of the lots before the auction, subsequent complaints will not be taken into account.

Two Indian stone-carved figures, 19th or 20th century, one depicting the Hindu deity Krishna in the posture of playing the flute, the other likely representing one of his consorts, wearing a traditional saree. Both stand on stone-carved bases with visible chisel marks underneath. Height: 43cm and 37cm.Both with some paint and gilt losses, otherwise in good overall condition.

WW1 era postcard album dated 1914 with images of cats, dogs, children, embossed Christmas cards, floral, birds and butterflies, social history including Bhutia woman weaving, Mysore Kolattam dancers, seaside humour, H.M.S. Lion, North Express crossing Forth Bridge, Rowntree’s cocoa and chocolate works in York, topographical including Bath, Ripple nr Tewkesbury (stocks and whipping post), Bourton-on-the-Water, Birmingham, Newent (including Empire Day 1912 Infants at Newent School), Bournemouth, Symonds Yat Station, Old Falcon Tavern Bidford, various images from the British Empire Exhibition Wembley, Weston-Super-Mare bandstand and The Two Bays, Dartmoor Prison, Portland and Chisel Beach, approximately two hundred and fifty cards in a floral decorated album, together with a collection of Lilliput magazines 1942-1952 and several circus programmes including Bertram Mills 1931-2, Billy Smart and Chipperfield's

A SCARCE PEWTER QUARTER-GILL TAPPIT HENSCOTTISHwith low dome-lid having a plain central raised medallion and an erect solid bar thumbpiece, no maker's mark, although probably made in Glasgow as there is it has a Glasgow post-1880 verification mark to the rim, with ‘¼ Gill’ engraved below, and crowned X inside the base, handle has a three-part hinge, a short vestigial strut at lower attachment, and a rounded chisel shaped terminal, three incised lines to the foot, a single line to the mid-body and a pair to the neck1¼ fl. oz. capacity, 7.5cm highProvenanceThe Carl Ricketts Collection of Pewter.Formerly in the Bryan Darby Collection.

A quantity of Antique woodworking chisel tools, makers include Swift & Sons Ltd, Sorby, etc

A group of Antique and Vintage woodworking chisel tools, including C Nurse & Co, Robert Sorby, etc

5 boxes of tools, all boxed and unused - 1 box work knives, 1 box ratchet spanners, wire cutters and pliers, 1 box file sets, wood chisels etc, 1 box random screwdrivers, 1 box screwdrivers, mole grips, jig saw blades, chisel sets etc

Hilary Heron (1923-1977) Lady of the Rocks (1953) Walnut, 82cm high (32¼") Signed with initials and dated 1953 Provenance: Collection of Sir Basil Goulding, thence by descentExhibited: Dublin, Irish Museum of Modern Art, Hilary Heron: A Retrospective May - Oct 2024; travelling to Banbridge, Co Down, F.E. McWilliam Gallery, Nov 2024 - Feb 2025One of the most unique and pioneering artists of her generation, Hilary Heron (1923-1977) was born in Dublin in 1923. The daughter of a banker, the family moved to Derry and later New Ross in Wexford before Hilary returned to Dublin to study in the National College of Art in 1941. After winning a travelling scholarship from the IELA in 1947, Heron lived in Paris for several months after which she returned to Dublin and began exhibiting with Victor Waddington at his gallery in South Anne Street.Lady of the Rocks is one of several large figurative works Heron created in 1953. Carved in walnut wood, the slender head, neck and torso are raised above a series of six coarse, oblong, disc-like carvings which form the bottom half of the sculpture and are reminiscent of the cap stones on Irish Celtic Dolmens. The top half of the figure is more refined and feminine. It has features that recur in her slightly earlier works such as Adam and Eve (1951). The head features two pigtails, a playful motif which can also be seen in Girl with Pigtails (1950) and in a more abstract form in Figurehead dating to 1952.An important piece from the artist’s cannon of work, Lady of the Rocks was one of several of Heron’s sculptures included in the Irish exhibit at the Venice Biennale in 1956. Shown alongside paintings by fellow artist Louis le Brocquy (1916-2012), the tactile nature of Heron’s work is wonderfully offset by the figurative neo-romantic cubism of the paintings. Lady of the Rocks shows the influence of Surrealism and a strong pinch of Giacometti. Although Heron’s work is never derivative in nature, she clearly had a great knowledge of her international contemporaries.The work also features in one of the best-known photographs of Heron, which depicts her sitting outside, with Lady of the Rocks lying against one leg, while the sculptor carves one of the stonelike strata using a chisel and mallet. All the while a lit cigarette is hanging slightly precariously from her mouth.In 1958 Heron would move to London and share a studio with her friend and contemporary Elizabeth Frink, who would have a great influence on her work from 1959-1960. Heron then married David Greene in 1959 and moved to Dalkey in 1961, where she continued to work and exhibit with the IELA. She held her final solo exhibition at the Waddington Gallery, London in 1964 before sadly passing away in 1977 aged just 53.The recent retrospective in IMMA and accompanying publication will without doubt help restore Heron to her deserved prominence amongst Irish artists.Adam Pearson, March 2025

A FINE EARLY VICTORIAN WOODEN-DIALLED DROP-DIAL FUSEE WALL TIMEPIECEVULLIAMY, LONDON, No. 1604 CIRCA 1843The four columnar pillar single fusee movement with thick plates measuring 6 by 5.125 inches secured via brackets and thumbscrews through the bottom pillars onto a seatboard forming part of the internal structure of the case, the train terminating with half-deadbeat escapement regulated by heavy steel-rod lenticular bob pendulum with an effective length of approximately 15 inches, incorporating T-bar suspension and stamped with serial number 1604 to the rear of the bob, the backplate engraved VULLIAMY, LONDON over serial number 1604, the 12 inch light cream painted wood Roman numeral dial turned integral to the surround and signed VULLIAMY, LONDON to centre, with steel spade hands set behind hinged glazed cast brass bezel onto the ogee moulded-edge dial panel, secured via pegs to the front of the well-constructed drop-trunk box case with doors to each side behind the dial, over flame-figured front and slender waist moulding, the 'chisel' base with hinged angled cockbeaded flap to front.62cm (24.5ins) high, 38cm (15ins) wide, 16.5cm, (6.5ins) deep. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); however his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion.  The Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy workbooks still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately, the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067. There is also a third surviving Vulliamy workbook, relating only to repairs and servicing dating to the period 1846-53. Interestingly this volume records at least sixty-five clocks being in the possession of the government 'Office of Works' and another forty being in the possession of Queen Victoria at Buckingham Palace.Roger Smith in his article titled Vulliamy Clock Numbering, A Postscript published in 'Antiquarian Horology' Vol. 21 No. 5 (September 1994), used surviving data in the records of the British Horological Institute at Upton Hall and known documented examples to compile a graph from which unrecorded clocks can be fairly accurately dated. According to this chart number 1604 would date to around 1843; this date is further corroborated by the recent discovery of Vulliamy number 1630 (see Bruun Rasmussen, Copenhagen, sale of Selected furniture, clocks and carpets 15th December 2020 lot 2051/8078) which is dated 1844. 

A GEORGE III INLAID MAHOGANY TAVERN WALL TIMEPIECETHE MOVEMENT BY HANDLEY AND MOORE, LONDON, CIRCA 1805The four pillar weight-driven movement with four-wheel train incorporating small barrel and large diameter great wheel, anchor escapement regulated by seconds pendulum, and tapered plates with the front stamped with crowned HANDLEY & MOORE maker's mark beneath serial number 1717, the 20 inch circular cream painted slightly convex wooden Roman numeral dial with brass spade hands, within an ogee moulded surround and secured to the drop-trunk case with pegs, the case with side doors behind the dial over concave-topped rectangular caddy moulded door inlaid with an oval fan cartouche to centre, the canted 'chisel' shaped base with stepped ogee top moulding; with a copy of Gatto, Martin, THE TAVERN CLOCK signed by the author and numbered 376 from an edition of 500, Tavernicus Publishing, Bath 2010, dj, (2).117cm (46ins) high, 55cm (21.75ins) wide, 19cm (7.5ins) deep. George Handley and John Moore were both former apprentices of John Thwaites who formed a partnership in around 1800. The firm worked from 38 Clerkenwell Close and continued in the production of public clocks and supplying movements to other makers mostly in competition with Thwaites and Reed. George Handley retired in 1820 and died in 1824 leaving the workshops in the hands of John Moore alone. The business subsequently passed down various member of the Moore family of clockmakers, with the last, Henry James, dying aged 60 in 1899. The firm however is thought to have continued under different management into the early years of the 20th century. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements, we would however advise a precautionary gentle clean/service if intending to put into service (the pendulum will also require a suspension spring fitting). The dial retains old (possibly original) surface; there is a slight shrinkage crack to the edge between the I and II numerals otherwise panel is in good original condition albeit with rubbing and minor bumps/scuffs to the surface. There are only two (non-original odd) securing pegs present hence will require a new set of four. The trunk is in sound condition but has a replacement backboard (is plywood) and the top board is most likely non-original. The slip of timber at the base of the foot is also almost certainly a replacement and there is some slight shrinkage cracking the angles section of the base. The trunk door has a small loss/chip to the edge moulding to the upper top left corner and the left-hand side has two vacant screw holes due to relocation of the seatboard securing screws. Otherwise faults to the case are limited to minor bumps, scuffs, light shrinkage and wear commensurate with age and use.Clock has pendulum (no suspension spring) and a weight but no case key or winder. Condition Report Disclaimer

BRIAN WILLSHER (BRITISH 1930-2010) THE STORM 9/9, embossed with signature, title and number to base, verdigris bronze 64cm high, 40.5cm wide, 28cm deep (25.25in high,16in wide, 11in deep) including integral base Brian Willsher was born in the deprived south London borough of Catford in 1930 and lived in the city all his life. His was a definitively ‘non-art’ background, one that would today make him an ‘outsider artist’ and very liked fêted by an art world in search of authentic voices. He had no formal training as a sculptor – instead he studied engineering at Woolwich Polytechnic for three years from 1946 and then began a career of odd-jobbing, working as telephone engineer, farm worker and dental technician, all the while funnelling his various salaries into his passion for motorcycle racing.In the early 1950s Willsher suffered a major bike accident. During his recovery he began playing around with plaster, before moving onto wood around 1956. Initially he tried his hand at making a living carving salad bowls, to little success, although this did lead to a shop owner asking him to make lamp bases instead. They proved far more popular and were sold at Harrods, Heal’s and Liberty’s. From here, Willsher began to generate purely sculptural forms, defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore.   After a one-man show at Dunn’s furniture store in Bromley in 1965 and another at Heal’s in 1966, Willsher’s career as a sculptor took off. He was given another exhibition at Heal’s in 1967 (where he sold everything for the deliberately low price of £10 each, subverting the ‘fine art’ context). He showed in Melbourne, Australia, had three works commissioned for Dartington Hall and six for Devon Guild of Craftsmen. He also showed in the Royal Academy Summer Exhibition for five years in a row.However, just as his career was taking off, Willsher became more famous for a controversy not of his making. In 1968, Her Majesty’s Revenue and Customs (HMRC) decided his work did not count as ‘fine art’ and so was immediately subject to the 40% manufacturing tax on ‘household decorations’ – in a grim parallel of the 1926 episode when US Customs officials denied Constantin Brancusi’s Bird in Space entry into the country, arguing it was just a piece of metal rather than a sculpture. Willsher was probably not helped by his own diffidence to pricing his work as ‘art’.  And part of the Revenue’s argument may have been based on his technique - he didn’t hide the fact he used a bandsaw rather than a chisel. Indeed, he had featured in a British Pathé newsreel, which showed him at work in his suburban garden studio sawing blocks of wood, his hands just centimetres from the bandsaw blade. ‘These are no handmade shapes created with highfalutin motivations’, intones the voice-over, ‘Some purist sculptors may turn up their noses at Willsher’s efforts.’A number of artists sprang to Willsher’s defence, most notably Moore, who perhaps saw many of his own sculptural concerns within Willsher’s abstract sculptures, with their holes punched through the middle. Moore was quoted in The Guardian saying, ‘Here's pure sculpture, indeed! More than that, memorable sculpture!’ and in turn it was The Guardian and The Observer who turned the impasse into a national campaign, posing questions such as ‘When is a sculpture not a sculpture?’ Eventually, HMRC backed down and Willsher was vindicated, although the furore put him off exhibiting, just at the point when his star was in the ascendant. This may go some way to explain why his work is less well-known today than it should be – even if he has enjoyed something of a small renaissance in the last decade or so, as dedicated collectors such as Hugo Burge would seek his work out, either online or at the few galleries who showed him. This reappraisal of Willsher reached its apotheosis in October 2021, with an exhibition at Margaret Howell’s Wigmore Street atelier – a non-traditional ‘art’ space of which the artist would no doubt have approved.Willsher is known almost exclusively for his finely turned, smoothly finished carvings in exotic woods and so we are delighted to be able to also present some of his lesser-seen bronzes from Hugo Burge’s collection, as together they represent the breadth of Willsher’s sculptural vision.

BRIAN WILLSHER (BRITISH 1930-2010) MILLENIA 9/9, embossed with signature, title and number to base, verdigris bronze 29cm high, 25.5cm wide,15cm deep (11.5in high, 10in wide, 6in deep) including integral base Brian Willsher was born in the deprived south London borough of Catford in 1930 and lived in the city all his life. His was a definitively ‘non-art’ background, one that would today make him an ‘outsider artist’ and very liked fêted by an art world in search of authentic voices. He had no formal training as a sculptor – instead he studied engineering at Woolwich Polytechnic for three years from 1946 and then began a career of odd-jobbing, working as telephone engineer, farm worker and dental technician, all the while funnelling his various salaries into his passion for motorcycle racing.In the early 1950s Willsher suffered a major bike accident. During his recovery he began playing around with plaster, before moving onto wood around 1956. Initially he tried his hand at making a living carving salad bowls, to little success, although this did lead to a shop owner asking him to make lamp bases instead. They proved far more popular and were sold at Harrods, Heal’s and Liberty’s. From here, Willsher began to generate purely sculptural forms, defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore.   After a one-man show at Dunn’s furniture store in Bromley in 1965 and another at Heal’s in 1966, Willsher’s career as a sculptor took off. He was given another exhibition at Heal’s in 1967 (where he sold everything for the deliberately low price of £10 each, subverting the ‘fine art’ context). He showed in Melbourne, Australia, had three works commissioned for Dartington Hall and six for Devon Guild of Craftsmen. He also showed in the Royal Academy Summer Exhibition for five years in a row.However, just as his career was taking off, Willsher became more famous for a controversy not of his making. In 1968, Her Majesty’s Revenue and Customs (HMRC) decided his work did not count as ‘fine art’ and so was immediately subject to the 40% manufacturing tax on ‘household decorations’ – in a grim parallel of the 1926 episode when US Customs officials denied Constantin Brancusi’s Bird in Space entry into the country, arguing it was just a piece of metal rather than a sculpture. Willsher was probably not helped by his own diffidence to pricing his work as ‘art’.  And part of the Revenue’s argument may have been based on his technique - he didn’t hide the fact he used a bandsaw rather than a chisel. Indeed, he had featured in a British Pathé newsreel, which showed him at work in his suburban garden studio sawing blocks of wood, his hands just centimetres from the bandsaw blade. ‘These are no handmade shapes created with highfalutin motivations’, intones the voice-over, ‘Some purist sculptors may turn up their noses at Willsher’s efforts.’A number of artists sprang to Willsher’s defence, most notably Moore, who perhaps saw many of his own sculptural concerns within Willsher’s abstract sculptures, with their holes punched through the middle. Moore was quoted in The Guardian saying, ‘Here's pure sculpture, indeed! More than that, memorable sculpture!’ and in turn it was The Guardian and The Observer who turned the impasse into a national campaign, posing questions such as ‘When is a sculpture not a sculpture?’ Eventually, HMRC backed down and Willsher was vindicated, although the furore put him off exhibiting, just at the point when his star was in the ascendant. This may go some way to explain why his work is less well-known today than it should be – even if he has enjoyed something of a small renaissance in the last decade or so, as dedicated collectors such as Hugo Burge would seek his work out, either online or at the few galleries who showed him. This reappraisal of Willsher reached its apotheosis in October 2021, with an exhibition at Margaret Howell’s Wigmore Street atelier – a non-traditional ‘art’ space of which the artist would no doubt have approved.Willsher is known almost exclusively for his finely turned, smoothly finished carvings in exotic woods and so we are delighted to be able to also present some of his lesser-seen bronzes from Hugo Burge’s collection, as together they represent the breadth of Willsher’s sculptural vision.

BRIAN WILLSHER (BRITISH 1930-2010) BRAZ MARK signed and inscribed with title by hand on the underside of the base, carved wood 80cm high, 54cm wide, 18cm deep (31 ½in high, 21 ¼in wide, 7in deep) including integral wooden base Brian Willsher was born in the deprived south London borough of Catford in 1930 and lived in the city all his life. His was a definitively ‘non-art’ background, one that would today make him an ‘outsider artist’ and very liked fêted by an art world in search of authentic voices. He had no formal training as a sculptor – instead he studied engineering at Woolwich Polytechnic for three years from 1946 and then began a career of odd-jobbing, working as telephone engineer, farm worker and dental technician, all the while funnelling his various salaries into his passion for motorcycle racing.In the early 1950s Willsher suffered a major bike accident. During his recovery he began playing around with plaster, before moving onto wood around 1956. Initially he tried his hand at making a living carving salad bowls, to little success, although this did lead to a shop owner asking him to make lamp bases instead. They proved far more popular and were sold at Harrods, Heal’s and Liberty’s. From here, Willsher began to generate purely sculptural forms, defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore.   After a one-man show at Dunn’s furniture store in Bromley in 1965 and another at Heal’s in 1966, Willsher’s career as a sculptor took off. He was given another exhibition at Heal’s in 1967 (where he sold everything for the deliberately low price of £10 each, subverting the ‘fine art’ context). He showed in Melbourne, Australia, had three works commissioned for Dartington Hall and six for Devon Guild of Craftsmen. He also showed in the Royal Academy Summer Exhibition for five years in a row.However, just as his career was taking off, Willsher became more famous for a controversy not of his making. In 1968, Her Majesty’s Revenue and Customs (HMRC) decided his work did not count as ‘fine art’ and so was immediately subject to the 40% manufacturing tax on ‘household decorations’ – in a grim parallel of the 1926 episode when US Customs officials denied Constantin Brancusi’s Bird in Space entry into the country, arguing it was just a piece of metal rather than a sculpture. Willsher was probably not helped by his own diffidence to pricing his work as ‘art’.  And part of the Revenue’s argument may have been based on his technique - he didn’t hide the fact he used a bandsaw rather than a chisel. Indeed, he had featured in a British Pathé newsreel, which showed him at work in his suburban garden studio sawing blocks of wood, his hands just centimetres from the bandsaw blade. ‘These are no handmade shapes created with highfalutin motivations’, intones the voice-over, ‘Some purist sculptors may turn up their noses at Willsher’s efforts.’A number of artists sprang to Willsher’s defence, most notably Moore, who perhaps saw many of his own sculptural concerns within Willsher’s abstract sculptures, with their holes punched through the middle. Moore was quoted in The Guardian saying, ‘Here's pure sculpture, indeed! More than that, memorable sculpture!’ and in turn it was The Guardian and The Observer who turned the impasse into a national campaign, posing questions such as ‘When is a sculpture not a sculpture?’ Eventually, HMRC backed down and Willsher was vindicated, although the furore put him off exhibiting, just at the point when his star was in the ascendant. This may go some way to explain why his work is less well-known today than it should be – even if he has enjoyed something of a small renaissance in the last decade or so, as dedicated collectors such as Hugo Burge would seek his work out, either online or at the few galleries who showed him. This reappraisal of Willsher reached its apotheosis in October 2021, with an exhibition at Margaret Howell’s Wigmore Street atelier – a non-traditional ‘art’ space of which the artist would no doubt have approved.Willsher is known almost exclusively for his finely turned, smoothly finished carvings in exotic woods and so we are delighted to be able to also present some of his lesser-seen bronzes from Hugo Burge’s collection, as together they represent the breadth of Willsher’s sculptural vision.

BRIAN WILLSHER (BRITISH 1930-2010) CONSTRUCTION XVIII 9/9, embossed with signature, title and number to base, verdigris bronze 21cm high, 35.5cm wide, 18cm deep (8 ¼in high, 4in wide, 7in deep) including integral base Brian Willsher was born in the deprived south London borough of Catford in 1930 and lived in the city all his life. His was a definitively ‘non-art’ background, one that would today make him an ‘outsider artist’ and very liked fêted by an art world in search of authentic voices. He had no formal training as a sculptor – instead he studied engineering at Woolwich Polytechnic for three years from 1946 and then began a career of odd-jobbing, working as telephone engineer, farm worker and dental technician, all the while funnelling his various salaries into his passion for motorcycle racing.In the early 1950s Willsher suffered a major bike accident. During his recovery he began playing around with plaster, before moving onto wood around 1956. Initially he tried his hand at making a living carving salad bowls, to little success, although this did lead to a shop owner asking him to make lamp bases instead. They proved far more popular and were sold at Harrods, Heal’s and Liberty’s. From here, Willsher began to generate purely sculptural forms, defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore.   After a one-man show at Dunn’s furniture store in Bromley in 1965 and another at Heal’s in 1966, Willsher’s career as a sculptor took off. He was given another exhibition at Heal’s in 1967 (where he sold everything for the deliberately low price of £10 each, subverting the ‘fine art’ context). He showed in Melbourne, Australia, had three works commissioned for Dartington Hall and six for Devon Guild of Craftsmen. He also showed in the Royal Academy Summer Exhibition for five years in a row.However, just as his career was taking off, Willsher became more famous for a controversy not of his making. In 1968, Her Majesty’s Revenue and Customs (HMRC) decided his work did not count as ‘fine art’ and so was immediately subject to the 40% manufacturing tax on ‘household decorations’ – in a grim parallel of the 1926 episode when US Customs officials denied Constantin Brancusi’s Bird in Space entry into the country, arguing it was just a piece of metal rather than a sculpture. Willsher was probably not helped by his own diffidence to pricing his work as ‘art’.  And part of the Revenue’s argument may have been based on his technique - he didn’t hide the fact he used a bandsaw rather than a chisel. Indeed, he had featured in a British Pathé newsreel, which showed him at work in his suburban garden studio sawing blocks of wood, his hands just centimetres from the bandsaw blade. ‘These are no handmade shapes created with highfalutin motivations’, intones the voice-over, ‘Some purist sculptors may turn up their noses at Willsher’s efforts.’A number of artists sprang to Willsher’s defence, most notably Moore, who perhaps saw many of his own sculptural concerns within Willsher’s abstract sculptures, with their holes punched through the middle. Moore was quoted in The Guardian saying, ‘Here's pure sculpture, indeed! More than that, memorable sculpture!’ and in turn it was The Guardian and The Observer who turned the impasse into a national campaign, posing questions such as ‘When is a sculpture not a sculpture?’ Eventually, HMRC backed down and Willsher was vindicated, although the furore put him off exhibiting, just at the point when his star was in the ascendant. This may go some way to explain why his work is less well-known today than it should be – even if he has enjoyed something of a small renaissance in the last decade or so, as dedicated collectors such as Hugo Burge would seek his work out, either online or at the few galleries who showed him. This reappraisal of Willsher reached its apotheosis in October 2021, with an exhibition at Margaret Howell’s Wigmore Street atelier – a non-traditional ‘art’ space of which the artist would no doubt have approved.Willsher is known almost exclusively for his finely turned, smoothly finished carvings in exotic woods and so we are delighted to be able to also present some of his lesser-seen bronzes from Hugo Burge’s collection, as together they represent the breadth of Willsher’s sculptural vision.

BRIAN WILLSHER (BRITISH 1930-2010) WISHBONE signed and dated ‘2001’ by hand to underside, carved wood 25cm high, 11.5cm wide, 7cm deep (9 ¾in high, 4 ¼in wide, 2 ¾in deep) Brian Willsher was born in the deprived south London borough of Catford in 1930 and lived in the city all his life. His was a definitively ‘non-art’ background, one that would today make him an ‘outsider artist’ and very liked fêted by an art world in search of authentic voices. He had no formal training as a sculptor – instead he studied engineering at Woolwich Polytechnic for three years from 1946 and then began a career of odd-jobbing, working as telephone engineer, farm worker and dental technician, all the while funnelling his various salaries into his passion for motorcycle racing.In the early 1950s Willsher suffered a major bike accident. During his recovery he began playing around with plaster, before moving onto wood around 1956. Initially he tried his hand at making a living carving salad bowls, to little success, although this did lead to a shop owner asking him to make lamp bases instead. They proved far more popular and were sold at Harrods, Heal’s and Liberty’s. From here, Willsher began to generate purely sculptural forms, defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore.   After a one-man show at Dunn’s furniture store in Bromley in 1965 and another at Heal’s in 1966, Willsher’s career as a sculptor took off. He was given another exhibition at Heal’s in 1967 (where he sold everything for the deliberately low price of £10 each, subverting the ‘fine art’ context). He showed in Melbourne, Australia, had three works commissioned for Dartington Hall and six for Devon Guild of Craftsmen. He also showed in the Royal Academy Summer Exhibition for five years in a row.However, just as his career was taking off, Willsher became more famous for a controversy not of his making. In 1968, Her Majesty’s Revenue and Customs (HMRC) decided his work did not count as ‘fine art’ and so was immediately subject to the 40% manufacturing tax on ‘household decorations’ – in a grim parallel of the 1926 episode when US Customs officials denied Constantin Brancusi’s Bird in Space entry into the country, arguing it was just a piece of metal rather than a sculpture. Willsher was probably not helped by his own diffidence to pricing his work as ‘art’.  And part of the Revenue’s argument may have been based on his technique - he didn’t hide the fact he used a bandsaw rather than a chisel. Indeed, he had featured in a British Pathé newsreel, which showed him at work in his suburban garden studio sawing blocks of wood, his hands just centimetres from the bandsaw blade. ‘These are no handmade shapes created with highfalutin motivations’, intones the voice-over, ‘Some purist sculptors may turn up their noses at Willsher’s efforts.’A number of artists sprang to Willsher’s defence, most notably Moore, who perhaps saw many of his own sculptural concerns within Willsher’s abstract sculptures, with their holes punched through the middle. Moore was quoted in The Guardian saying, ‘Here's pure sculpture, indeed! More than that, memorable sculpture!’ and in turn it was The Guardian and The Observer who turned the impasse into a national campaign, posing questions such as ‘When is a sculpture not a sculpture?’ Eventually, HMRC backed down and Willsher was vindicated, although the furore put him off exhibiting, just at the point when his star was in the ascendant. This may go some way to explain why his work is less well-known today than it should be – even if he has enjoyed something of a small renaissance in the last decade or so, as dedicated collectors such as Hugo Burge would seek his work out, either online or at the few galleries who showed him. This reappraisal of Willsher reached its apotheosis in October 2021, with an exhibition at Margaret Howell’s Wigmore Street atelier – a non-traditional ‘art’ space of which the artist would no doubt have approved.Willsher is known almost exclusively for his finely turned, smoothly finished carvings in exotic woods and so we are delighted to be able to also present some of his lesser-seen bronzes from Hugo Burge’s collection, as together they represent the breadth of Willsher’s sculptural vision.

BRIAN WILLSHER (BRITISH 1930-2010) SORROW 9/9, embossed with signature, title and number to base, verdigris bronze 68cm high, 33cm wide, 26cm deep (26 ¾in high, 13in wide, 10 ¼in deep) including integral base Brian Willsher was born in the deprived south London borough of Catford in 1930 and lived in the city all his life. His was a definitively ‘non-art’ background, one that would today make him an ‘outsider artist’ and very liked fêted by an art world in search of authentic voices. He had no formal training as a sculptor – instead he studied engineering at Woolwich Polytechnic for three years from 1946 and then began a career of odd-jobbing, working as telephone engineer, farm worker and dental technician, all the while funnelling his various salaries into his passion for motorcycle racing.In the early 1950s Willsher suffered a major bike accident. During his recovery he began playing around with plaster, before moving onto wood around 1956. Initially he tried his hand at making a living carving salad bowls, to little success, although this did lead to a shop owner asking him to make lamp bases instead. They proved far more popular and were sold at Harrods, Heal’s and Liberty’s. From here, Willsher began to generate purely sculptural forms, defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore.   After a one-man show at Dunn’s furniture store in Bromley in 1965 and another at Heal’s in 1966, Willsher’s career as a sculptor took off. He was given another exhibition at Heal’s in 1967 (where he sold everything for the deliberately low price of £10 each, subverting the ‘fine art’ context). He showed in Melbourne, Australia, had three works commissioned for Dartington Hall and six for Devon Guild of Craftsmen. He also showed in the Royal Academy Summer Exhibition for five years in a row.However, just as his career was taking off, Willsher became more famous for a controversy not of his making. In 1968, Her Majesty’s Revenue and Customs (HMRC) decided his work did not count as ‘fine art’ and so was immediately subject to the 40% manufacturing tax on ‘household decorations’ – in a grim parallel of the 1926 episode when US Customs officials denied Constantin Brancusi’s Bird in Space entry into the country, arguing it was just a piece of metal rather than a sculpture. Willsher was probably not helped by his own diffidence to pricing his work as ‘art’.  And part of the Revenue’s argument may have been based on his technique - he didn’t hide the fact he used a bandsaw rather than a chisel. Indeed, he had featured in a British Pathé newsreel, which showed him at work in his suburban garden studio sawing blocks of wood, his hands just centimetres from the bandsaw blade. ‘These are no handmade shapes created with highfalutin motivations’, intones the voice-over, ‘Some purist sculptors may turn up their noses at Willsher’s efforts.’A number of artists sprang to Willsher’s defence, most notably Moore, who perhaps saw many of his own sculptural concerns within Willsher’s abstract sculptures, with their holes punched through the middle. Moore was quoted in The Guardian saying, ‘Here's pure sculpture, indeed! More than that, memorable sculpture!’ and in turn it was The Guardian and The Observer who turned the impasse into a national campaign, posing questions such as ‘When is a sculpture not a sculpture?’ Eventually, HMRC backed down and Willsher was vindicated, although the furore put him off exhibiting, just at the point when his star was in the ascendant. This may go some way to explain why his work is less well-known today than it should be – even if he has enjoyed something of a small renaissance in the last decade or so, as dedicated collectors such as Hugo Burge would seek his work out, either online or at the few galleries who showed him. This reappraisal of Willsher reached its apotheosis in October 2021, with an exhibition at Margaret Howell’s Wigmore Street atelier – a non-traditional ‘art’ space of which the artist would no doubt have approved.Willsher is known almost exclusively for his finely turned, smoothly finished carvings in exotic woods and so we are delighted to be able to also present some of his lesser-seen bronzes from Hugo Burge’s collection, as together they represent the breadth of Willsher’s sculptural vision.

South Eastern & Chatham Railway 14in oak cased chisel bottom drop dial English fusee railway clock. The brass chain driven movement has rectangular plates which are stamped with the SE&CRY G&B cartouches and is in good clean condition. The case with a convex and concave surround has one side door and a bottom door secured by a brass turn the SER numberplate 1384 is screwed to the right hand door. The back box is stamped 1384 SE. The original dial is lettered BR(S) JOHN WALKER 1 SOUTH MOLTON ST LONDON 1384 SE. The Southern Railway clock records show that this clock was last in use at Tonbridge East Yard Signal Cabin. In working condition complete with pendulum and key and a copy of the SR clock record.

A ADW wood chisel set (1 missing)

The unique Second War ‘London Blitz’ George Cross, O.B.E., George Medal group of eight awarded to Acting Lieutenant-Commander E. O. ‘Mick’ Gidden, Royal Naval Volunteer Reserve, ‘the man who saved Charing Cross’ A master of mine disposal operations and the first man to be awarded both the G.C. and G.M., his gallantry in dealing with a parachute mine on Hungerford Bridge, outside Charing Cross Station, in April 1941, was among the great epics of the war: in a six hour operation, in which he was unable to apply a safety device for much of that time, he had to resort to using a hammer and chisel George Cross (Lieut. Ernest Oliver Gidden, G.M., R.N.V.R.); The Most Excellent Order of the British Empire, O.B.E. (Military), Officer’s 2nd type breast badge, silver-gilt; George Medal, G.VI.R. (T/Sub-Lieut. Ernest Oliver Gidden, R.N.V.R.); 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45; Coronation 1953, mounted as worn, good very fine (8) £100,000-£140,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Just eight men have been awarded the combination of the G.C. and G.M.; the addition of the O.B.E. makes this a unique combination of awards. G.C. London Gazette 9 June 1942: ‘For great gallantry and undaunted devotion to duty.’ The original recommendation states: ‘An unexploded parachute mine dropped on Hungerford Bridge on 17 April 1941. At the time the mine was dropped, some trains and many sleepers were on fire, and Charing Cross Hotel was burning in the background. It was necessary to stop the Underground trains, and evacuate many buildings, including the War Office. Lieutenant Gidden arrived on the Bridge shortly after dawn and found the mine lying across a live electric wire at the foot of the main signal gantry, with the bomb fuse and primer release mechanism facing downwards. The electric current from the rail had melted some of the metal around the bomb fuse and primer release mechanism to such an extent that if the fuse was removed at all, it could only be done by drilling; and, further, before any attempt could be made to arrest the operation of the fuse by the insertion of a “gag”, a lump of molten metal had to be prised from the surface of the fuse itself. Before operations of any kind could be commenced the mine had to be turned to get at the bomb fuse. Turning the mine was in itself likely to detonate it, with disastrous results for railway communications and important buildings. In order, therefore, to be in a position to control the operation with accuracy, Lieutenant Gidden stood at fifty yards only from the mine, while the necessary pull was being exerted from a distance. To appreciate the danger of this case, it should be understood that the fuses in these mines are clockwork and liable to be actuated by the slightest vibration. Lieutenant Gidden had to stop firemen playing water on the sleepers and trains while he got to work, and the burning wood kept giving off loud cracks during the whole of the operations, thus hampering his ability to listen for the clockwork in the fuse running, which is essential for safety. He successfully cleared the surface of the fuse, and inserted a “gag” but the melting had damaged the part in question, and the gag was not a secure fit, and he was aware of the fact. He then attempted to remove the remains of the screw threaded ring (which holds the fuse in place) with a hammer and chisel. At the first blow the clockwork in the fuse started to run. Lieutenant Gidden, who had kept his head close to the fuse, heard the ticking, and made off as best he could, but as it was necessary to jump from sleeper to sleeper, with a ten foot drop below, there was little chance of escape. As it happened the “gag” held, and Lieutenant Gidden returned with a drill. He succeeded in removing the ring, but then found it necessary to prise the fuse out with a chisel. This he successfully did in spite of its dangerous condition. Normally fuses are removed from a distance for fear of some anti-handling device. This operation took six hours to complete. It is considered that this case is in the very highest category of courage and devotion to duty. Lieutenant Gidden has served in the L.I. [Land Incident] Section for over a year, and has dealt with 25 mines. He has successfully commanded the Blue Watch (one third of the Watch) for nine months, and is a most reliable and trustworthy officer.’ O.B.E. London Gazette 28 September 1943: ‘For great bravery and steadfast devotion to duty.’ The original joint recommendation states: ‘This was the second of two acoustic mines dropped at Seasalter, near Whitstable, which had failed to explode and over which a depth charge had been detonated, driving the mine deeper into the mud without countermining it. On this occasion a concrete shaft was used with very satisfactory results. The shaft required no support and remained stationary until the ejector was used, when it sank at a rate of about 6 inches per hour. Work commenced on 31 May 1943, and the mine was exposed on 12 June at a depth of 28 feet over 68 working hours. In order to reduce vibration and noise to a minimum, the last 8 feet were excavated by skip and crane. The mine was found in a vertical position with the tail nuts sheared. This was lifted clear by means of the crane – all unnecessary personnel having been sent to a safe distance. Lieutenant-Commander Gidden, with Leading Seaman Pickett, who volunteered to stay with him, remained at the bottom of the shaft to render the mine safe; Pickett keeping the water, which was coming in under the cutting edge, clear from the two fuses. Whilst uncovering the first fuse, air started to escape, and they were both under the impression that the clock had started. They both started up the iron rungs, knowing full well that if it was the fuse, they could not possibly hope to get clear. After a short interval, they returned and dealt with the fuse – one keep ring had to be drilled off owing to distortion. A flotation bag was then secured to the lifting lug of the mine, which was floated to the surface at high water, towed ashore and steamed out. In the officer’s own words: “I cannot express too highly the manner in which Leading Seaman Pickett worked with me under rather trying circumstances during the rendering safe operations.” It is considered that Lieutenant-Commander E. C. Gidden, G.C., G.M., R.N.V.R., and Leading Seaman F. H. Pickett showed a very high degree of courage and devotion to duty on this occasion and are recommended for awards. G.M. London Gazette 14 January 1941: ‘For gallantry and undaunted devotion to duty.’ The original joint recommendation states: ‘A “D” type mine containing 750lbs. of High Explosive was partly buried in the foundation of a house and in a narrow alley between two houses in Harlesden, in such a position it was not possible to get at the bomb-fuse or electric detonator and primer. Tackles were therefore rigged and the mine dragged out of the ground. It was then lowered into a lorry where attempts to extract the fuse failed, since it had been badly damaged. The electric detonator and primer were now removed and, after reference to the Admiralty, it was decided to sterilise the mine in situ. With the help of an R.E. Bomb Squad, this work was successfully done, with little damage to the surrounding houses. Sub.-Lieutenant Gidden and Able Seaman Lipsham are fortunate in being still alive, since...

Masonic jewels including Craft Past Master; Past Master; Senior & Junior Warden and chisel etc.

Elegant Rosenthal porcelain figurine depicting an 18th-century lady seated on a bench, attentively gazing at Cupid atop a gilded pedestal. The finely detailed figure wears a flowing gown with delicate floral patterns and lacework, her powdered coiffure styled in an elaborate updo. Cupid, in white glaze, holds a chisel, reinforcing a classical artistic motif. Rich gold accents embellish the base and column, enhancing the piece’s refined aesthetic. The underside bears the Rosenthal mark.Artist: Adolf OppelIssued: 20th centuryDimensions: 6.75"L x 7"HCountry of Origin: GermanyCondition: Age related wear.

A Dakota DK 20 96 hollow chisel morticer

An impressive Murano chisel-etched vase by the Venetian craftsman Bruno Bertoldini Bruber (b.1931- ), titled Hommage to Paolo Uccello, after the celebrated Renaissance painter, signed and titled by the artist B.B Bruber, approx. 51 cms h x 40 cms.  Biography: Born on 15th July 1931 in Venice, Bertoldini studied at the Istituto Statale d'Arte ai Carmini in Venice. He further honed his skills as a decorator on the island of Murano.  After a period in Belgium, where he specialized in glass door decoration, he returned to Murano and pioneered new techniques in chisel glass etching and the application of gold and coloured enamels on glass.  Provenance: Property of a Kensington lady. -

Bronze age socketed chisel and gouge. Circa 1150-800 BCE. 100mm & 73mm. The socket form of the chisel is similar to the Thorndon Type socketed knives, but without the rivet holes, a rare type of which very few are referenced. Socketed gouges appear to have begun in the Wilburton phase, and continued as part of the tool repertoire until the end of the Bronze Age. Ref: Pearce, 1983. The Bronze Age Metalwork of South Western Britain Part I, page 43. Both pieces have damage to the socket end.

Knabe als Bildhauer. Fürstenberg. F-Marke, um 1820. SCHUBERT, Carl Gottlieb(1730-1808) Polychrom bemalt, goldstaffiert. H 11,5 cm. An einer Büste stehender Knabe mit Meisel und Klüpfel. Meisel bestoßen. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 10:44 Uhr (CET)Boy as sculptor. Fürstenberg. F mark, around 1820. SCHUBERT, Carl Gottlieb(1730-1808) Polychrome painted, gilt. H 11.5 cm. Boy standing at a bust with chisel and mallet. Chisel chipped. Call time 28 | Feb. 2025 | probably 10:44 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Saturn mit Amoretten. Meissen. Knaufschwerter, ab 1850-1924, 1. Wahl. Modell-Nr.: D 4. Entwurf: 1770. ACIER, Michel Victor (1736 Versailles - 1799 Dresden) Polychrom bemalt, goldstaffiert. H 18,5 cm. Auf einem Natursockel stehender Gott Saturn mit Stundenglas, umgeben von Putten mit Füllhorn, Hammer und Meisel. Linke Hand des Saturn, 1 Puttenfuß und 1 Hammer restauriert. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 14:18 Uhr (CET)Saturn with cupids. Meissen. Pommel swords, from 1850-1924, 1st choice. Model no.: D 4. Design: 1770. ACIER, Michel Victor (1736 Versailles - 1799 Dresden) Polychrome painted, gilt. H 18.5 cm. God Saturn standing on a natural base with hourglass, surrounded by putti with cornucopia, hammer and chisel. Left hand of Saturn, 1 putti foot and 1 hammer restored. Call time 28 | Feb. 2025 | probably 14:18 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Tools - woodworking, garden, mechanical: Assorted wrenches, bench vice; saws, metal filers, chisel set, set square, screwdrivers, staple gun; garden-shears, shovels, handheld spades, watering cans, wicker basket, etc, qty.

Chinese tea sets: a Tangyeyao Chisel boxed set of 6 tea bowls, teapot, strainer, stand and jug in white with gilt footrim and emblem; and a boxed Qianshun set comprising six tea bowls and a teapot with transfer printed decoration of oriental figures in a garden. (2)

Axe, Chisel, etc in a toolbox together with a workbench (Two).

After Sir Edwin Henry Landseer RA Pen, Brush and Chisel, The Studio of Sir Francis Chantreyengraving58 x 63cmAfter the original painting in the Royal Collection (RCIN 403222).

A Draper 6 Piece Woodturning Chisel Set

A collection of assorted vintage carpenter's wooden hand tools. Including mostly planes, marking gauge and chisel, etc.

A crate containing various tools to include wooden smoothing planes; a drill brace; a chisel; a wooden combination plane etc.

Tools - A Chisel and plane sharpener, and a Diall IP54 work light . Items untested. (This does not constitute a guarantee) (2)

MICHEL LEVY, Literature and Music, two terracotta pottery plaques of a man and woman representing the Arts, signed to the cast with impressed seals, gilded terracotta, 70 x 25cm together with a plaque of Cleopatra, a lady with a snake, signed to bottom right, terracotta, mounted on Perspex, 23 x 16cm (3)Condition Report: Cleopatra plaque is glued to a wooden plaque which is glued to a perspex stand.Clay plaque id 6mm thick.Ply is 4-5mm thickPerspex stand is 5mm thick. I think Cleopatra can be removed from the stand with a flat chisel/scraper.The two figures are stuck to plywood and the overall thicknesses vary.Man is 6-7cm thickLady-thicknesses vary due to undulating nature of the plaque. 11-14mm

Selection of cased power tools to include Power Craft welding accessory set, Power Craft Die Grinder and Kit, Chisel set, Parkside Pneumatic air polishing set etc

Barry De More (Yorkshire 1948-2023): 'Sculptor with Chisel' and 'Sculptor with Mallet', pair charcoal signed and titled verso 38cm x 35cm (2)Notes: Acclaimed as one of the North's greatest expressionist artists, Barry De More (1948-2023) used a heavy impasto style to transfer his love of Yorkshire landscapes, townscapes and people to canvas. His work sits comfortably in the company of work by Kossoff and Auerbach, selling to collectors in the UK and overseas. De More's work can be found in the permanent collection of work by Northern Artists at Dean Clough, one of the UK's largest contemporary art galleries.

A metal Miners lamp, together with an antique camera, small chisel set, etc

A Collection of various vintage tools including a baton, sickle, chisel

A Charnwood 16mm hollow chisel mortiser, W316.

Two boxes containing a quantity of Hamilton's 902 paint brushes 1½" scale Tang chisel knives

Replicagri Trio of 1/32 diecast farm model implements including Case IH Plough and Chisel Plough plus Claas Markant Baler. Excellent in boxes.

Stephan Balkenhol 1957 Fritzlar - lebt und arbeitet in Karlsruhe und Meisenthal Architekturskizze VIII (Treppe). 1997. Wawa-Holz, farbig gefasst. Auf der Sockelunterseite signiert, datiert sowie nummeriert 'VIII'. 47,5 x 24 x 25 cm (18,7 x 9,4 x 9,8 in). [AW]. • Zentral in Stephan Balkenhols künstlerischem Schaffen steht der Mensch, nicht als Individuum, sondern als anonymisierte, durchschnittliche und doch seltsam vertraut wirkende, ausdrucksstarke Person. • Er nutzt die klassische Form der Holzbildhauerei und kehrt zur Urtechnik dieser Gattung zurück. • Charakteristische Oberfläche mit den ungeglätteten Spuren des Stechbeitels. • Die unverwechselbaren Arbeiten des zeitgenössischen Künstlers sind u. a. Teil der Sammlungen der Hamburger Kunsthalle, des Museums Ludwig, Köln, und des Kunstmuseums Basel. PROVENIENZ: Galerie Löhrl, Mönchengladbach. Privatsammlung Hessen (1997 vom Vorgenannten erworben). AUSSTELLUNG: Stephan Balkenhol. Skulpturen, Von der Heydt-Museum, Wuppertal, 17.5.-28.6.1998; Gerhard Marcks-Haus, Bremen, 5.7.-6.9.1998; Museum Kurhaus Kleve - Ewald Mataré-Sammlung, 20.9.-29.11.1998. Aufrufzeit: 07.12.2024 - ca. 17.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONStephan Balkenhol 1957 Fritzlar - lebt und arbeitet in Karlsruhe und Meisenthal Architekturskizze VIII (Treppe). 1997. Wawa-Wood, in color. Signed, dated and numbered “VIII” on the underside of the base. 47.5 x 24 x 25 cm (18.7 x 9.4 x 9.8 in). [AW]. • Man is central to Stephan Balkenhol's artistic work, not as an individual, but as an anonymous yet strangely familiar person. • Using the classic form of wood carving, he returns to the original technique of this genre. • Characteristic surface finish with unsmoothed chisel marks. • The contemporary artist's unmistakable works are part of the collections of the Hamburger Kunsthalle, the Museum Ludwig in Cologne, and the Kunstmuseum Basel. PROVENANCE: Galerie Löhrl, Mönchengladbach. Private collection, Hesse (acquired from the above in 1997). EXHIBITION: Stephan Balkenhol. Skulpturen, Von der Heydt-Museum, Wuppertal, May 17 - June 28, 1998; Gerhard Marcks-Haus, Bremen, July 5 - September 6, 1998; Museum Kurhaus Kleve - Ewald Mataré-Sammlung, September 20 - November 29, 1998. Called up: December 7, 2024 - ca. 17.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

A Chinese type 56 SKS chisel tip bayonet, 27.5cm, together with an Eastern Jambiya housed in a white metal mounted sheath, 40cm.

Three shelves of garage wares to include toolboxes and contents, boxes and bags of tools and accessories, manual mitre saw, electric mitre saw, sash clamps, screwdriver kits, wood plane, Stanley plane, Dymo tape reels, wood saws, chisel, scissors, spirit levels etc

A PAIR OF 40-BORE PERCUSSION WHITE-METAL BELT PISTOLS FOR HIGHLAND DRESS SIGNED CAMPBELL, no visible serial numbers, second half of the 19th Century, with triple-staged white-metal 6 1/2in. barrels carved with raised bands at the intersections, bold scroll engraving to breech, the central section chisel carved around a central martial trophy, foliate engraving to muzzles, the flat fore-end sides engraved with a rope-twist pattern, the underside with panels of foliage, fenced snails at breech, border and scroll engraved shaped iron sideplate signed 'CAMPBELL' on the bars, scroll engraved dolphin headed hammers, borderline and fully scroll engraved panels to the slab-sided butts, both sides with central oval panels engraved with martial trophies to the right and Scottish thistles to the left, 'ramshorn' style heels (both slightly deformed) and with central detachable prickers, the tips moulded and carved as a stylised thistles, scroll engraved back-straps with central crested monograms in an oval panel at wrists, further partial engraving to front-straps, scroll engraved trigger-plates, ball-tipped triggers, iron belt-hooks and ramrods.

A Bosch electric chisel

An Axeminster bench top chisel mortiser with various guides, vices and attachments

A Marples wood turning chisel set

A 1980s Laura Ashley riding coat, size 14 label in a wool crepe with velvet trim along with two pairs or Laura Ashley shoes, one  pair being 1940s style two tone wing tips and the other being alligator effect chisel toes, Sz 39 and a group of Laura Ashley hats to include a wide brimmed straw sun hat with petersham band, a brown felt hat with velour flowers and pumpkin binding, a brown felt 1910s style hat with velvet band and feathers and a black velvet hat with upturned brim (qty, coat and box of hats) 

A Rexon SM-16A chisel mortiser and a pillar drill

2nd-1st millennium B.C. Including a miniature chisel, dress pin, arrowhead and other items. 94 grams total, 3-16 cm (1 1/8 - 6 1/4 in.). [5, No Reserve]From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.BA26; his collection of antiquities and natural history was formed since 1948; thence by descent.

A TRAY AND A METAL TOOLBOX CONTAINING HAND AND POWER TOOLS including a Black and Decker drill (PAT pass and working), a Stanley No.4 plane, a Draper Socket set, a Marples M180 bar clamp, four Record c clamps, a Stanley three piece wood chisel set, etc

A TWELVE PIECE CARVING CHISEL SET

British Iron Age, GALLO-BELGIC, gold Quarter-Stater, Class Bb, criss-cross chisel marks forming triangles, rev. horse left with lyre below, trace of rider above, 1.61g (Sills 343ff; ABC 37; VA 37-1; ABC 37; S 9). About fine, reverse better £100-£150

Small quantity of Portmeirion Botanic Gardens ceramics to include lidded jars, flower vase etc, along with a ceramic model of a sculptor with hammer and chisel and other items (1 box)

Etching, burnished aquatint, chisel and burnished drypoint on thick paper. Dimensions: 29.9 x 20.8 cm – (21.3 x 14.9 cm stain) Edition: 4th edition (1878) Published by: Calcografía Nacional

THE LAUNCHING CASKET FOR THE TWIN-SCREW GUNBOAT H.M.S. SNAKE, 1871carved in contrasting woods inscribed SNAKE to top, with watercolour launching profile and specifications within plush lined interior containing ceremonial mallet and chisel -- 13½in. (34.5cm.) wideBuilt at Chatham DY in 1871, Snake was hulked as a cable lighter and renamed YC15 in 1907. A half model block builder's model for her is held at Greenwich, ID No.SLR1040Good overall condition, some time staining to watercolour.