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A 17th/18th century brass tripod brazier/cooking cauldron, diameter 52cm, height 36cm

An aluminium lidded cooking pot, diameter 30cm.

A large metal cooking pot, 28cm width with lid, together with two miners lamps and two early 20th century motor vehicle lights (5)

Two copper plant pots with pierced rims and circular details, elaborately engraved exterior depicting birds, tribes people, a hexagonal brass plant pot with foliate engraving and Greek eternity pattern to rim, two copper cooking pans, circular, one with handles, a brass decorative plate inscribed HMS EPIN with mermaid harp emblem, a set of Harper weighing scales, a brass circular pot with lid decorated with Eastern-style and a brass lion  

A collection of Beatrix Potter figures. (8) Beswick, Royal Albert, Royal Doulton. 'Peter in the Gooseberry Net', 'Peter in Bed', 'Mrs Rabbit and bunnies', Mrs Rabbit cooking''Mrs Rabbit' etc

Two boxes of mostly kitchenalia to include a Le Creuset cooking dish and cover

An enamel cooking dish and a stainless steel cooking pan and cover

A quantity of various cooking dishes, tureens etc

An aluminium cooking pan and cover

THIRTEEN BESWICK BEATRIX POTTER FIGURES, comprising Benjamin ate a lettuce leaf, Foxy Whiskered Gentleman, Hunca Munca, Hunca Munca Sweeping, Jemima Puddleduck (chipped hat), Jemima Puddleduck with Foxy Whiskered Gentleman, Jeremy Fisher, Mr Benjamin Bunny, Mr Drake Puddle-duck, Mrs Rabbit Cooking, Timmy Willie Fetching Milk, Tom Kitten and Tommy Brock, mostly BP-10a and BP-10c (13) (Condition report: no obvious damage except where mentioned)

TWELVE BOXED ROYAL ALBERT BEATRIX POTTER FIGURES, comprising Benjamin ate a lettuce leaf, Gentleman Mouse Made a Bow, Hunca Munca Spills the Beans, Jemima Puddleduck, Miss Dormouse, Miss Moppet, Mother Ladybird, Mr Benjamin Bunny, Mrs Rabbit Cooking, Peter Rabbit, Peter with Daffodils and Rebeccah Puddle-Duck (12) (Condition report: no obvious damage, some labels are not correct on boxes)

Victorian Copper Cooking Pot with Lid

A box of books to include; cooking, gardening, Charles Rennie Mackintosh, etc.

A set of scales with weights, a Swain cast lidded cooking pot and two kettles

A small quantity of books including; cooking, gardening, etc, plus a restaurant sign.

Three galvanised buckets and old cooking pan.

A box of vases, cooking utensils, etc.

A large quantity of Christmas lights, plus a cooking pot.

Large quantity of dolls house/ shop furniture and accessories to include; shop cabinets, cooking equipment, four-poster beds, gateleg table, fireplace, etc.

An unusual Japanese pepper in the form of a cooking pot - 2.5" high - stamped STERLING - 26 g.

A British WWII army helmet for the 4th Battalion Middlesex Regiment with name inscription for F G Taylor, along with his gas mark in canvas bag, a child's gas mask in metal canister, and an E Pugh & Co Wednesborn cast iron cooking pot, along with a painted wooden model of a train carriage and a flat iron Location: A3B

A collection of cookery and other books, to include, ACTON (E), THE PEOPLE’S BOOK OF MODERN COOKERY, 35th Ed; DAVID (E), FRENCH PROVINCIAL COOKING, 2nd, 1965; THE ORIGINAL PICAYUNE CREOLE COOK BOOK, 13th ed; TRISTRAM (E), ENGLISH WALL PAINTING, 1955 (Quantity) 

A large 19th century copper Country House sized oval cooking vessel, with wrought swing handle, unmarked, height 38cm, width 48cm.

An Oval Copper Lidded Cooking Pan Together with Small Lidded Saucepan, Atelier Du Cuivre and Two Copper Hand Beaten Dishes by Oldbury

Three Boxes of Glazed Kitchen Wares, Oven to Table Wares, Cooking Pot

A box of various kitchenalia to include Le Creuset cooking dish

LARGE OVAL IRON COOKING POT

COLLECTION OF ALUMINIUM COOKING POTS

Books, consisting of hardback fiction novels, British history, cooking, Shakespeare, the New Testament in Italian, and others (qty)

Circa 200-300 ADA large terracotta storage amphora with large bulbous shaped body and tapering neck, two finely moulded ribs to the centre, the rim everted with two looped identical handles with stylised nodules. Most likely from the region surrounding the Holy Lands. Excellent and large example of pottery. Supplied with a display stand.Pottery was manufactured in large quantities in ancient Rome, mostly for utilitarian purposes. It is found all over the former Roman Empire and beyond. The site of Monte Testaccio is a large waste mound in Rome made almost entirely of broken amphorae used for transporting and storing liquids and other products. It was common to divide Roman domestic pottery broadly into coarse wares and fine wares, the former being the everyday pottery jars, dishes and bowls that were used for cooking or the storage and transport of foods and other goods, and in some cases also as tableware, and which were often made and bought locally. Fine wares were serving vessels or tableware used for more formal dining, and are usually of more decorative and elegant appearance.For references to Roman pottery see:Hayes, John W. 1972. Late Roman Pottery. London: British School at Rome.Hayes, John W. 1997. Handbook of Mediterranean Roman Pottery. Norman: University of Oklahoma Press.Peacock, D. P. S. 1982. Pottery In the Roman World: An Ethnoarchaeological Approach. London: Longman.Peña, J. Theodore. 2007. Roman Pottery In the Archaeological Record. Cambridge (UK): Cambridge University Press.Robinson, Henry Schroder. 1959. Pottery of the Roman Period: Chronology. Princeton, NJ: American School of Classical Studies at Athens.Allison, P., Pitts, M. and Colley, S. (Eds). 2018. Big Data on the Roman Table: new approaches to tablewares in the Roman world.Internet Archaeology. Size: L:870mm / W:470mm; 25.55kg Provenance: Private London collection; acquired in the 1990s on the UK art market.

Irish Blarney turned wooden box (5cm diameter with chip to outer rim), bone stanhope binoculars, antique papier mache box & bog oak cooking pot (a/f)

Royal Daylight Oil - A vintage 20th Century double sided shop display point of sale advertising enamel sign with hanging flange. Light blue ground with black writing to each side reading "Royal Daylight Oil For Lighting Heating Cooking". Measures approx; 47cm x 56cm. 

An old cast iron cooking pot with three feet, lip and hanging handle - sold with a smaller similar

An unused boxed set of Green Cooking stainless steel saucepans

A COLLECTION OF BOOKS: COOKING, GARDENING, NEEDLE WORK AND COUNTRY HOUSE ESTATES

Enamel bread bin, painted pine folding table, cooking saucepans & other items

19th Century cast iron handled cooking pot, with a hanging stand and a miniature wrought iron chair (3)

A TRAY OF CERAMICS AND GLASSWARE TO INCLUDE A ROYAL WORCESTER HAND PAINTED BLUE TIT DISH, LAURA ASHLEY CAKE STAND ETC TOGETHER WITH A STAINLESS STEEL COOKING POT

A TRAY OF ASSORTED METALWARE TO INCLUDE COPPER COOKING PANS, DRESSING TABLE ITEMS, BOOT LAST ETC

a quantity of miscellaneous metal wares, including Brass bellows, toasting fork, fire shovel, door stops, paper weights, grinder, cooking scales weights etc

A collection of Victorian and later dolls house furniture, including dressers cooking range, bed with lace top; ceramic accessories; dolls heads and others.

Twin handled copper karahi type cooking pot; set of brass kitchen hooks; brass and steel grater; brass pans, etc. opper two handled pot- diameter 25cm. 1.5kg

Postcards, a dressed animal selection of 11 comic cards illustrated by Arthur Thiele inc. parading dressed ducks in their Sunday best published T.S.N. no 919 (5/6), Chicks rushing for a train and spilling their belongings (Easter Eggs), published C W Faulkner no 1376 (3/6) and chicks home life (bedtime, shoe mending and cooking) published T.S.N. no 1753 (3/6) (mainly gd)

Lilanga, Georges, signed, dancing figures with cooking pot, canvas 60 x 60 cm.LILANGA, GEORGES (1934-2005), ges. r.o., dansende figuren bij kookpot, doek 60 x 60 cm.

A cast iron cooking pot

FOUR BOXES AND LOOSE LPS, CDS, WICKER BASKETS, LOOSE KITCHEN CUTLERY, METALWARE AND HOUSEHOLD SUNDRIES, ETC, including a twin handled enamelled cooking pot, a plastic cased glokenspeil, novelty cushion covers, wooden chess boards, modern stove top kettle, two Spillers Homepride sifters, the smaller one, s.d., DVD player, wall clock, table lamp, (4 boxes and loose)

SEVEN BOXES OF KITCHEN/COOKING EQUIPEMENT, ETC, including metal mug trees, place mats, saucepans, baking equipment, tins etc (7 boxes)

THREE BOXES AND LOOSE KITCHEN EQUIPMENT, ETC, including wooden salad bowls, bread boards, pizza boards, mug trees, plastic picnic ware, insulated jugs, cooking pans, etc (3 boxes and loose)

1945 dated Catering and Cooking for Field Forces book

An early 20th century Eastern-style waisted copper cooking pot with iron swing-handle, together with a copper kettle (2)

A quantity of copper and other cooking pans.

Two brass cooking pans.

A LARGE STAINLESS STEEL COOKING POT

AN ASSORTMENT OF ITEMS TO INCLUDE A COPCO COOKING POT, A CUT GLASS JUG AND TEA AND SOFFEE CADDIES ETC

AN ASSORTMENT OF KITCHEN ITEMS TO INCLUDE LE CREUSET CASAROLE POTS, TRIVET STANDS AND FURTHER COOKING POTS ETC

Three boxes of assorted books to include The Complete John Lennon Songs by Paul Du Noyer, The Beatles Album by Album, Imagine John Yoko by Thames & Hudson, Yann Martel Life of Pi, Modern Beeton's Book of Household Management, Folio Society A Month in the Country J L Carr, The New Yorker Encyclopaedia of Cartoons 2 volumes, Gilbert & George The Complete Pictures and Jack Freak Pictures, Italian Food Elizabeth David, French Provincial Cooking, Marcus Aurelies, etc.(B.P. 21% + VAT)

Ayse Wilson Can We Touch Now? Acrylic on Painted Wallpaper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ayse Wilson is a visual artist currently residing in New York City. American and half Turkish, she grew up in Boston, studied classical painting in Florence then attended the New York Academy of Art and worked as a painting assistant to Jeff Koons. Her work draws from memories and emotions uncovering impressions of youth, innocence and the timeless space we occupy when young. She is interested in expressing the uneasy transition to adulthood, the borders of relationships, the delineation of worlds, and the edges where innocence and experience intersect. Education Wellesley College - BA, New York Academy of Art-MFA, Southern Connecticut State - MA, Art Education   Select Exhibitions/Awards New York Academy of Art, Scholarship   Gallery Representation Geary Contemporary New York, PG Gallery, Istanbul, Amy Simon Fine Art, Connecticut   Statement about AOAP Submitted Artwork Ayse Wilson's latest series employs toile wallpaper samples as a backdrop for her ambiguous and complicated feelings toward quarantine and domestic confinement. Hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contribute to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represents a nod to the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. The colorful inscriptions, some original, some appropriated, remind us of our contemporary connectivity allowing awareness and mindfulness as well as the occasional glossily veiled hostility expressed in certain so-called "love" declarations.

Ayse Wilson Friday I'm In Love Acrylic on Painted Wallpaper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ayse Wilson is a visual artist currently residing in New York City. American and half Turkish, she grew up in Boston, studied classical painting in Florence then attended the New York Academy of Art and worked as a painting assistant to Jeff Koons. Her work draws from memories and emotions uncovering impressions of youth, innocence and the timeless space we occupy when young. She is interested in expressing the uneasy transition to adulthood, the borders of relationships, the delineation of worlds, and the edges where innocence and experience intersect. Education Wellesley College - BA, New York Academy of Art-MFA, Southern Connecticut State - MA, Art Education   Select Exhibitions/Awards New York Academy of Art, Scholarship   Gallery Representation Geary Contemporary New York, PG Gallery, Istanbul, Amy Simon Fine Art, Connecticut   Statement about AOAP Submitted Artwork Ayse Wilson's latest series employs toile wallpaper samples as a backdrop for her ambiguous and complicated feelings toward quarantine and domestic confinement. Hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contribute to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represents a nod to the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. The colorful inscriptions, some original, some appropriated, remind us of our contemporary connectivity allowing awareness and mindfulness as well as the occasional glossily veiled hostility expressed in certain so-called "love" declarations.

Ayse Wilson I Only Had 5 Pints Acrylic on Painted Wallpaper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ayse Wilson is a visual artist currently residing in New York City. American and half Turkish, she grew up in Boston, studied classical painting in Florence then attended the New York Academy of Art and worked as a painting assistant to Jeff Koons. Her work draws from memories and emotions uncovering impressions of youth, innocence and the timeless space we occupy when young. She is interested in expressing the uneasy transition to adulthood, the borders of relationships, the delineation of worlds, and the edges where innocence and experience intersect. Education Wellesley College - BA, New York Academy of Art-MFA, Southern Connecticut State - MA, Art Education   Select Exhibitions/Awards New York Academy of Art, Scholarship   Gallery Representation Geary Contemporary New York, PG Gallery, Istanbul, Amy Simon Fine Art, Connecticut   Statement about AOAP Submitted Artwork Ayse Wilson's latest series employs toile wallpaper samples as a backdrop for her ambiguous and complicated feelings toward quarantine and domestic confinement. Hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contribute to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represents a nod to the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. The colorful inscriptions, some original, some appropriated, remind us of our contemporary connectivity allowing awareness and mindfulness as well as the occasional glossily veiled hostility expressed in certain so-called "love" declarations.

Ayse Wilson I Love My Hair Acrylic on Painted Wallpaper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ayse Wilson is a visual artist currently residing in New York City. American and half Turkish, she grew up in Boston, studied classical painting in Florence then attended the New York Academy of Art and worked as a painting assistant to Jeff Koons. Her work draws from memories and emotions uncovering impressions of youth, innocence and the timeless space we occupy when young. She is interested in expressing the uneasy transition to adulthood, the borders of relationships, the delineation of worlds, and the edges where innocence and experience intersect. Education Wellesley College - BA, New York Academy of Art-MFA, Southern Connecticut State - MA, Art Education   Select Exhibitions/Awards New York Academy of Art, Scholarship   Gallery Representation Geary Contemporary New York, PG Gallery, Istanbul, Amy Simon Fine Art, Connecticut   Statement about AOAP Submitted Artwork Ayse Wilson's latest series employs toile wallpaper samples as a backdrop for her ambiguous and complicated feelings toward quarantine and domestic confinement. Hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contribute to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represents a nod to the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. The colorful inscriptions, some original, some appropriated, remind us of our contemporary connectivity allowing awareness and mindfulness as well as the occasional glossily veiled hostility expressed in certain so-called "love" declarations.