We found 1759 price guide item(s) matching your search

Wm & Jn Rigby of Dublin An Irish 36-Bore Box lock Percussion Turn-Over Pistol by William & John Rigby, Dublin. Rigby serial No. 10271. The barrels 1¾” long, 8 points turn off and numbered ‘3’ & ‘4’. The breech and frame chisel engraved with foliage in typical Rigby style, signed ‘Wm & Jn Rigby’ within scroll on the lhs and ‘Dublin’ on the rhs. Walnut chequered grip with flattened butt & shoulder, both with vacant silver escutcheons, the action with folding trigger, 3 bents, scroll nipple protector. Serial number inscribed to rear of trigger. 6-3/4” overall length. GWO. Barrels frozen

Wm. & Jn. Rigby of Dublin An Irish Cased Percussion Sporting Rifle by Rigby, Dublin, c.1850 Rigby serial #7585. Supplied with two 31” barrels, each supplied with their own brass tipped ramrod; a 26-Bore rifled barrel and a 17-Bore smooth bore barrel. Beautiful Damascus proved octagonal break-off barrels signed ‘Wm. & Jn. Rigby, Dublin’ and stamped underneath with serial#; the 17-Bore with dovetailed bead fore-sight and flip-up rear-sights with ranges 50-100yds; the 26-Bore with dovetailed blade fore-sight and flip-up rear-sights with ranges 100-200yds. Both come with case-hardened breeches with 2 platinum lines and vent; scroll engraved breech tang. The back-action lock and hammer chisel engraved in typical Rigby manner, the lock-plate signed ‘Wm & Jn. Rigby’, with set trigger. The walnut stock (with working repair under breech), chequered wrist, horn fore-end, steel mounts including engraved butt-trap, butt-plate decorated at heel and stamped with Irish census S6354, engraved t/guard stamped with Rigby serial#, sling mounts, wedge plates and vacant escutcheon on wrist. In original brass bound mahogany case with fold down handle, vacant escutcheon; lined in green baize with original maker’s trade label on lid, comes with accessories including pincer moulds, powder flask, mallet, cleaning rods, nipple wrench, spring clamp and others, including original handwritten note from Rigby dated 10th August 1857 replying to a query over powder charges. GWO. #7585: Second best rifle purchased by J Wood in 1834. J Wood paid £15 15s 0.

LePage of Paris A Cased Pair of French 34-Bore Percussion Target or Duelling Pistols by LePage a Paris, c.1830. Serials #2027. With 8.7” octagonal sighted poly-groove rifled barrels individually numbered 1 & 2, matched with numbered breech tangs. Each barrel signed in gold with ‘LE PAGE ARQER DU ROI’ & ‘ET DE MGR LE DUC D’ORLEANS’, with two gold lines to rear, dovetailed fore-sight and gold decoration around the muzzles. The 1” case hardened breeches with sighting groove, the chisel engraved breech tangs with turn adjusted elevating rear sights. Case hardened back action locks engraved with borders and foliage, signed ‘LE PAGE A PARIS’ within scroll, with foliate engraved dolphin hammers and set triggers. Figured half-stocks each carved with a shell on the fore-end, finely chequered grips, each carved with a border of flower heads and foliage around the ebonised ovoidal pommels. Steel mounts comprising spur t/guards incorporating hunting scenes, one engraved with a wild cat, the other a wolf to the bows and highly decorated scroll engraved finials. 15-3/4” overall. Both GWO. In contemporary brass-bound flame mahogany fitted case. With accessories including brass-mounted horn powder-flask, case hardened pincer mould, oil bottle, turn screw, mallet, clearing & cleaning rods. Refer to CAAM Vol. XVI Issue 1. 2940 dated 1827, (these are 2027) so these are earlier, but can’t be before mid 20’s (B/A locks would make one date 1830’s/40’s!). Boutet had had his premises looted & destroyed by Prussians at the end of the war & never recovered, leaving the field to Le Page. Neville Whitley 19/02/09 

Wogdon of London A 27-Bore Flintlock Duelling Pistol by Wogdon, London, c.1780. Swamped 10” octagonal barrel signed ‘Wogdon LONDON’. Chisel engraved breech tang with rear-sight. Bevel stepped lock signed ‘Wogdon’ with plain swan-neck flint-cock, bolted safety. Fully stocked in walnut with ‘Wogdon’ flattened grip sides, silver escutcheon to left side inscribed ‘JP’, flush engraved steel butt-cap, large steel t/guard, acorn finial, flower head engraved on bow. 15½” overall. GWO & C (cock, frizzen, frizzen spring, ramrod and one barrel wedge restored, some age wear, barrel cleaned bright, area of fore-end missing around rear barrel wedge on right side). Signed R Wogdon under barrel & Crown over P then RW underneath then crown over V also under the barrel.

A SELECTION OF POWER TOOLS ETC TO INCLUDE CHAINSAW, STRIMMER, DRILL, GRINDER AND DISCS, BOXED RECIPROCATING SAW AND AIR CHISEL

Group of 3 Survival Knives - Jensen Survival Tool with chisel point in black finish, together with 2x Nit Picker knives in grey finish, all with sheaths (3)

Chinese Type 56 S.K.S. Chisel tip bayonet, this variant would fold into the rifle stock and is an excellent example.

A NUTOOL NM2-2 BENCH MORTICER with 1/2in chisel, height 65cm (PAT pass and working)

A variety of workshop equipment including chisel, G-clamp, copper hammer, etc., and a tray of various tools in a wooden tool chest.

A new boxed three piece bolster/chisel set.

A drill press stand base, various tools parts, and a AC motor type BKS 2408 240V, and a basket with chisel and other toolsLocation:

A Brett Bristol chisel point drop dial 30 hr clock. H65cm

A RED FOUR DRAWER TOOL BOX AND AN AIR CHISEL

COLLECTION OF SEVEN ZULU ASSEGAI, 19TH/EARLY 20TH CENTURY each with steel tip, one with lower chisel toolthe largest 150cm longIn general terms majority of blades with oxidisation and nicks, one has lost the tip, some further oxidisation, general wear and tear, some additional images provided

Jack hammer drill and chisel set. Not available for in-house P&P

New unused three piece wood chisel set. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

A collection of 19th century and early 20th century wooden carpenters tools to include marking gage, chisel, drill bits, auger, clamps, spokeshave, Held within a black wooden chest with interior of two tiers. 

Penck, A. R. "Standarts". Herausgeber: Galerie Michael Werner, Köln. Ca. 150 Bl. in Blaudruck. 30 x 21 cm. Illustr. OHalbleinenbroschur. München, Jahn und Klüser, 1970.Exemplar der "Normalausgabe" von 1000 Exemplaren. - Sehr gutes Exemplar. - Dabei: Wolf Vostell. Happening Calvario. Genua 1973 (Chisel Book 3). - Gerhard Falkner. Gebrochenes Deutsch. Mit 6 doppelt gefalteten farbigen Orig.-Siebdrucken von Horst Münch. (Nürnberg 1989). - Hans-J. Spesshardt. Beauties. (Köln), W. Hake, 1967. - Simon Traston. Passion. Mit Linolschnitten von C. N. W. (Berlin, Privatdruck) 1966. - Franz Wanner. Avt tace avt logqvere meliora silentio. Zürich, Edition Unikate, (1996). - Von Wanner signiert.

A BOXED RECORD NO.044 PLOUGH PLANE, a Record no.078 chisel plane, a Stanley no.4 carpenter plane and a Stanley no.78 Rabbet plane (4)

A Roughneck Bolster & chisel set, (3 piece) COLLECT ONLY

Jonathan Walker (British 1966-) "The Chisel-Beak" Signed and titled, watercolour and ink.24 x 17.5cm (framed 40.5 x 34cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.

Carpenter's Cottage: A selection of antique carpenter's tools including walnut handled chisel, saw, a carpenter's plumb level, makers including R&S along with Thomas Turner & Co.

AN ASSORTMENT OF TOOLS TO INCLUDE A CHISEL SET, FILES AND A STANLEY KNIFE ETC

Guttie Golf Ball Mallet Hand Hammer - with circular face and wide chisel and wooden handle, plus 2 similar style hammer heads and a selection of wrapped golf balls Penfold Dunlop, a Dunlop Sixty Five Tin, loose golf balls of Silver King, International mesh ball both with wear

Bahco Laplander folding saw knife, Moraknil stainless companion knife, Hultafors carbon steel STK chisel (3)

A wooden box containing a quantity woodworking tools including chisel, plane, etc. - sold with a metal lock box with later black painted finish

An air chisel

New unused wood chisel set. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

Three jemmies, a bolster chisel and other chisels

A CLARKE DBM-1B BENCH MORTICER with a 1/2in chisel fitted (PAT pass and working) (Condition: dents to motor casing but doesn't impede use)

Quantity of vintage tools to include mallets, wooden calipers, plain, large chisel, etc (2 boxes) 

A group of props from the production of Brian Levant's prequel film, The Flintstones in Viva Rock Vegas (Amblin Entertainment, 2000) including a "Backstage VIP Jungle Room" pass and a hammer with two writing chisels.The plaster pass is painted green and white to resemble stone and features red lettering on the front. It hangs from a length of twine. The hammer comprises a resin head and wooden handle and the chisels are made of metal, with all three items further painted to resemble wood and stone.This prequel to Levant's The Flintstones (Amblin Entertainment, 1994) follows how the two main couples get together, the narrative centering on the class differences between Wilma Slaghoople (Kristen Johnson) and the others: Fred Flintstone (Mark Addy), Barney Rubble (Stephen Baldwin), and Betty O'Shale (Jane Krakowski). Following a disastrous dinner at Slaghoople Manor, the wealthy Chip Rockefeller (Thomas Gibson) invites the four to his casino and resort in Rock Vegas. He plans to encourage Fred, rival for Wilma's affections, to gamble away all of his money, thereby rendering him less desirable to Wilma (or so he thinks). These items were created for the sequences at the casino and resort, with this style of hammer and chisel seen resting on desks and being used by Chip to sign contracts. This bizarrely cast box office bomb featured special appearances from William Hanna and Joseph Barbera and received 11 combined "Razzie" and "Stinker" nominations in categories such as Worst Supporting Actor, Worst On-Screen Hairstyle (both for Stephen Baldwin), Worst Song (for Ann-Margret's "Viva Rock Vegas"), and Most Unfunny Comic Relief (for Alan Cumming in his dual roles of The Great Gazoo and Mick Jagged). However, it only took home one: Worst Resurrection of a TV Show. 13 x 5 x 2.25 inches (largest)

2nd millennium B.C.-18th century A.D. Comprising: rectangular bronze plaque with fluted surface; pair of bronze curved horns; round-section C-shaped child's bracelet; baroque furniture mount with scrolled palmette detailing; small bronze chisel with scooped end. See Pendleton, C.F., Bronze Age Metalwork in Northern East Anglia. A Study of its Distribution and Interpretation, B.A.R. British Series 279, Oxford, 1999, for discussion. 244 grams total, 45-70 mm (1 3/4 - 2 3/4 in.). Found Berkshire, UK, by M. Ruczynski; the mount found Boxford in 2016. Accompanied by a copy of a report for the Bronze Age Chisel by the British Museum's Portable Antiquities Scheme (PAS) with report no.BERK-DEF089. [6, No Reserve]

11th-12th Dynasty, 2023-1862 B.C. Rectangular wooden base supporting two opposed crouching figures each holding a tool (axe, chisel) in one hand, working on a model boat; the figures wearing white linen kilts and with carefully painted hair and facial features. Cf. Taylor, J.H., Death and the Afterlife in Ancient Egypt, London, 2001, pp.99-103, for discussion. 436 grams, 18 cm (7 1/8 in.). Acquired in the 1960s.From the collection of the late Egyptologist Surgeon Commander PHK Gray RN.From a Surrey, UK, collection.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11832-207092. Crafted for the tomb to accompany the deceased and provide for him in the afterlife.

Wood turning chisel, clamps etc

Delta Hohlmeisel machine 14-650 chisel mortise machine

Two as new quality wood chisel sets with high impact resistant polypropylene handles. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)

An assortment of tools. Including an oil can, saw, Marples Ridgway chisel, etc.

Chisel and plane sharpener.

A 20th century wooden case with various tools inside to include; planes, rules, chisel, screwdrivers, set squares and others. (The case originally having working locking system and carry handle - both either missing or not working) Further Details: Wear to case and tools commensurate to age.

A Kufo SK-19CT chisel mortiser machine with attachments

A vintage chisel point Drop Dial 8 day wall clock. With 30cm dial and a sprung movement striking on a bell, contained in a mahogany and walnut inlaid case H71cm Condition Report: All is present and correct no reason why this will not run however we have not had it going as with all clocks we will never guarantee an item with a moving part, we recommend that it it is set up properly by a clock expert.

A book on British plane makers from 1700 by W L Goodman together with a W Marples & Son bladed plane, hammer and a mortice chisel

A JET JDP-8 drill press and a JET JML-1014I wood lathe, along with a boxed Axminster Tool Centre chisel set and a protective visor

A set of three 18th century Indian arrows, with small plain leaf shaped heads; another, with rectangular section chisel pointed head; another with broad flat head and partly painted shaft; another, with flattened diamond section head; and four others, on cane shafts. GC (10) £80-120

A tool box with contents of vintage tools. To include Rabone Chesterman spirit level, Stead & Co (Sheffield) chisel, Rabone folding ruler, Draper Drainmaster etc.

New unused wood chisel set. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Three piece wood chisel set. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Large selection of assorted tools includes stanley chisel, drill stand etc

London Brighton & South Coast Railway 14in oak cased drop dial chisel bottom chain driven fusee railway clock supplied to LB&SCR in 1860 by Richard Webster of Cornhill London. The oak chisel bottom case has one side door and a bottom door secured by a brass latch and both have BR-W brass hinges, the case is stamped in the front 89B and has the BR-W traffolite clock numberplate BR-WR 5164 screwed onto the left hand side, it also retains its original cast brass bezel. The rectangular plated chain driven fusee movement is in good working condition and is complete with its original pendulum. The original dial repainted post 1950 at Reading is lettered BR-W. The Southern clock records show that this clock was supplied by Richard Webster in 1860 and was previously deployed at Barrier No 15, Victoria station before being transferred to the S&DJR line where it was used at Evercreech junction Station Platform and taken over by the Western Region in October 1950. An impressive timepiece from the Somerset and Dorset route, in working condition complete with pendulum, key and a copy of the clock record, but not tested for timekeeping.

A good and rare late 18th century mahogany drop dial timepieceMatthew and Thomas Dutton, LondonThe 13.5 inch signed Roman and Arabic dial with minute track and original heart shaped hands framed by a cast concave brass bezel within a convex moulded surround over shaped side pieces to the drop trunk terminating in a moulded chisel foot with locking door (key present). The substantial single gut (now wire) fusee movement with large plates united by four tapering pillars, the anchor escapement with heavy steel-rod pendulum on a T-bar suspension 66.5cms (26ins) high. Footnotes:A similar wall clock by Thomas Mudge and William Dutton is illustrated in Birch Thomas Mudge and William Dutton, a perfect partnership 2019, page 44.William Dutton was apprenticed to George Graham in 1738, suggesting 1724 as a likely birth year. His father is listed as Matthew Dutton, a gentleman from Marton, Buckinghamshire. William gained his freedom in 1746, possibly marrying Ann Millward a year later, though this is not confirmed. Around 1760, a William Dutton is recorded living in Bolt Court, which was quite near to Fleet Street. Another former Graham apprentice, Thomas Mudge, was living very close to William Dutton. The two eventually entered into partnership, though exactly when is unsure. It seems that for most of their partnership, Mudge was solely responsible for paying the Land Tax, meaning Dutton's name doesn't appear in the Tax books until the 1770's. The earliest proposed date for the start of the partnership is 1750/51, with most sources agreeing that the two were certainly in partnership by 1765, operating out of 151 Fleet Street. Around the time that the partnership was forming, William and Ann had two children; Matthew, likely born around 1757, and Thomas, likely born around 1762, who would both become horologists. The couple would have at least four other children; Sarah, Hephzibah, Nancy, and Dorothea. In April 1771, Matthew Dutton was apprenticed to Thomas Mudge. However, this same year Mudge departed London for Plymouth, to concentrate on his chronometer construction. It appears that Matthew's apprenticeship was turned over to his father at this point, and he gained his freedom in 1779. His younger sibling, Thomas, was apprenticed to their father in 1776, and gained his freedom in 1791. William Dutton managed the business for Mudge and is recorded as being the rate holder for 151 Fleet Street, beginning in 1772. By 1774, Dutton had moved the premises to 148 Fleet Street, though the shop continued to be called Mudge & Dutton. Around this same time, Mudge began submitting chronometer's to the Board of Longitude, and Matthew Dutton appears to have acted as a go between. He would deliver the chronometer to be tested to the Observatory, taking it apart to demonstrate Mudge's modifications, monitor it when it was on test, and then communicate to Mudge any questions or rulings from the Board. Interestingly, Mudge Jr. noted that the 'Green' and 'Blue' chronometers were delivered to 'Mr. Dutton' in 1790 and had since remained with the Duttons. When, and under what circumstances, the chronometers left 148 Fleet Street, remains unknown.William Dutton died in 1794, having left all the tools, engines, and utensils of his trade to Matthew and Thomas. He also left the shop and, presumably upstairs, apartment to Matthew, and the adjoining apartment to Thomas. Thomas Mudge also features heavily in William's will, being left one-third of all William's estate, land, and tenants in Bedford, the other two-thirds to be shared by Matthew and Thomas. The three horologists were also appointed his executors, as well as the appraisers of all the stock in his shop, with the option of appointing additional appraisers, should they see the need. Money was also left to the other four children, as well as a small annual pension to be paid to Elizabeth Dutton, and her daughter Caroline. It seems quite likely that Elizabeth and Caroline Dutton where the wife and daughter, respectively, of Benjamin Dutton, William's nephew and a horologist. He was apprenticed to John Holmes in 1755, though it is unclear when he gained his freedom. Interestingly, it has been suggested that John Holmes was one of the first manufacturers to supply 'Mudge & Dutton' with movements, before Holmes moved out of the area around 1760. Benjamin died in 1786, leaving everything to his wife Elizabeth.William Dutton also left some money to Thomas Mudge and John Priest, another of Graham's former apprentices, to thank them both for their firm friendship throughout the years. It appears that William's wife, Ann, died in 1787, the same year that the majority of William's will was written. It was updated in 1792, to include leaving some money to his daughter in law Katherine, who appears to have been Matthew's partner (possibly Catharine Dunant), and his future grandchildren. As there was some confusion regarding the validity of this amendment, Thomas Mudge and James Bullock, a Holborn clockmaker and long-time friend, both appeared in person to swear to the amendment's validity. Matthew and Thomas entered into partnership together, operating out of the 148 Fleet Street premises. Oddly, the 1794 entry lists 'M. & J. Dutton, watchmakers' working out of this address. It is possible this was a misprint for 'T'. Matthew and Katherine would have at least four children; Louisa, Catherine, Matthew, and Jane. Of these, only one would go on to be a horologist; Matthew, who was apprenticed to his father in 1799.In 1802, two years after Matthew (Sr.) had been made Master of the Clockmaker's Company, the partnership between Matthew and Thomas was mutually dissolved, with notice given that Matthew Dutton would be continuing the 148 Fleet Street business alone. It is not known what happened to Thomas; he isn't listed as a horologist in any trade directory for London, Plymouth, or Buckinghamshire after the dissolution. It has been suggested that he married Sarah Kingdom in 1794, and that one of their children, Thomas (Jr.), became a Captain with the Royal Navy and eventually emigrated to Tasmania. However, this has not been independently confirmed, and still doesn't clarify what Thomas (Sr.) was doing after 1802..For further information on this lot please visit Bonhams.com

Three Roman Period jewellery items of two bracelets and one hair pin (6cm), one of the bracelets appears to be a silver alloy (5.5cm). With two iron grape shot and a Roman Period copper alloy chisel. Approximately 16cm long

AN 18-BORE FLINTLOCK INDO-PERSIAN HOLSTER PISTOL SIGNED 'PARIS', no visible serial number, circa 1800, the earlier 11in. two-stage iron barrel with flared moulded band at muzzle, moulded bands at girdle and deeply chisel-carved floral panel to top of breech, shallow sighting notch to the engraved top-tang, slightly curved and radiused plain lock signed 'PARIS' below the rainproof pan, carved and moulded swan-necked cock with gilt wash to the carved detail, walnut full-stock profusely inlaid with white metal wire decoration, mother of pearl geometric pieces and pink coral beads inlaid along the back of wrist, florally carved and moulded long-eared white-metal butt-cap and trigger guard bow, no provision for ramrod.

A collection of vintage garden tools to include pickaxes etc, a pair of Draper sash clamps, hose on portable winder, a collection of hand tools to include various saws, spirit level, Irwin Marples chisel set, a modern aluminium step ladder and a Youngman three way combination ladder etc

A GEORGE IV MAHOGANY DROP DIAL WALL CLOCKBY VULLIAMY, C.1825the brass eight day chain driven twin fusee movement with five pillars and striking on a gong, the backplate inscribed '814 / VULLIAMY / LONDON', on a 14" silvered dial with black Roman hours and Arabic minutes, inscribed to the centre 'Vulliamy / LONDON', with a domed glass cover and brass bezel, the case with two side doors and a chisel base with a pendulum access door, the heavy brass bob pendulum with an ebony shaft, with keys69cm high, 43cm wide Catalogue NoteIncluded with this clock is a copy of a page from Vulliamy's workbook giving details about the clock and when it was delivered to the Hon. A. Chichester.The majority of similar clocks by Vulliamy have a 12" dial and a single fusee movement suggesting that this example is rarer in having both a slightly larger 14" dial and a twin fusee movement.

AN ASSORTMENT OF TOOLS TO IBNCLUDE A HAMMER, CHISEL AND PLIERS ETC

Marksman four piece wood chisel. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Six piece air chisel set. Not available for in-house P&P

Dekton four piece wood chisel set, new and unused. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Malcolm Appleby and Jane Short 'Storm', Edinburgh, 2015 Sterling silver and enamel A spiral engraved silver dish enamelled in shades of blue and overlaid with gold leaf Of oval form with shaped spiral sides Signed and dated to the underside: Malcolm Appleby, Jane Short, 1-12-15, KW  Approx. 11.0 x 14.5 x 4.2cm. Approx. weight 9.9oz (ARR) Provenance The Hamme Collection FootnoteIn 'Storm', Malcolm Appleby and Jane Short worked in collaboration to create a one-off piece showcasing their exceptional silversmithing, engraving and enamelling skills. Malcolm Appleby has dedicated his artistic practice to 'pushing the boundaries of metalwork' and this piece is a case in point. In 'Storm' the silver has been pushed to its very limits and the stress is visible to the underside of the piece.Malcolm Appleby has provided a description of the creative process behind this dish: "At some point I had rubber moods made of a sheet of my hammer and chisel engraving in silver not really knowing what I would do with it. I found that molten wax flowed around the engraving to make very different forms. Some of the results created a totally different aesthetic to the normal approach to silversmithing; the metal sometimes beginning to disintegrate with the stress of making. I related the results to adverse weather conditions we are experiencing due to global warming. These storm bowls would also be the ultimate challenge for Jane Short to successfully enamel, the earthquake cracks on the reverse side being a phenomenon close to destruction. Short rose to the challenge and has created with her exceptional colour palette some of her finest abstract enamels. I gave her a completely free hand within the bounds of the title Storm. The initial KW relates to Karen Wallace, my workshop assistant at the time." Awarded an MBE in 2016 for her services to the craft of enamelling, Jane Short is a highly accomplished enameller and a leader in her complex and highly technical field. She uses traditional techniques of champlevé and basse-taille to create work described as, 'a rich and evocative exploration of colour and imagery'. Jane trained in jewellery design in the 1970s at the Central School of Art and Design, and later studied  silversmithing at the Royal College of Art. Her work is displayed in several major collections including the V&A, the Fitzwilliam and Ashmolean Museums, the Queens Collection, and the Goldsmiths’ Collection. The British enameller, Jessica Turrell describes Jane as: 'pre-eminent in her field, creating exquisitely executed pieces that exploit her profound knowledge and understanding of materials and techniques.' Jane has provided the following comment regarding her work with Malcolm Appleby: "Working with Malcolm is fascinating, as it gives me a canvas to work on that evokes a different (and sometimes challenging) response to my own enamel work and prompts me to explore the qualities and colours of enamel that I love in a different way."Footnotes: Jessica Turrell (Surface and substance: A call for the fusion of skill and ideas in contemporary enamel jewellery, Jessica Turrell, Craft Research Volume 1, University of West England, 2010, pg. 88)