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Click here to subscribeA Georgian style Bracket clock of substantial proportions, mahogany case with ormolu mounts and pineapple finial, raised upon ormolu scroll supports, the arched brass and gilt metal dial with silvered Roman numeral chapter ring and Arabic numeral outer minutes below three subsidiary silvered dials including Westminster chimes/chime on eight bells, chime /silent. height 71cm x width 43cm x depth 28.5cm.
A mid 19th century Dutch silver octagonal pill box, hallmarked 1864 for .833 silver, together with a white metal twin handled pin tray, a silver London Rifle Brigade finial teaspoon, assayed Sheffield 1930, a Chinese carved ivory needle case and a letter opener, with white metal handle fashioned as a horses head and ivorine blade. (5)
A small collection of silverware, to include; two silver napkin rings, a silver handled magnifying glass, a sterling silver swizzle stick, six assorted silver tea and coffee spoons and a small sterling silver leaf form dish, (weighable silver 131.1g), together with large quantity of silver plated table ware, to include; a pair of wine coasters, with grape and vine rim and mahogany bases, a three piece egg form cruet set on pierced triangular stand with central handle, an oval biscuit barrel with twin lions mask handles and hinged cover with cherub finial, a Collis & Co. entree dish and cover, two ewers, two circular trays, a sauce boat and saucer, a circular pierced bowl with lobed rim, a toast rack, ivorine handled fish servers and set of six fish knives and forks and other items. (qty)
An Edwardian silver sugar caster, by assayed London 1903, having domed bayonet fitting pierced cover with engraved decoration and gadrooned rim with cut-card work radiating from knop finial, the base with ribbed girdle and gadrooned circular foot, height approx. 20cm. (336.9g)Condition; Bas and cover with corresponding hallmarks, marks to base more rubbed than to cover.
A Victorian silver mounted cut glass claret jug, by Horace Woodward, assayed Birmingham 1873, having rounded cut glass body with silver mounted elongated neck, the mount fashioned as fruiting vines, with textured branch loop handle and hinged cover with fruiting grape finial, shield reserve engraved dove crest and moto "Cor Unum Via Una", lower section of silver mount loose, height 30cm.Condition; Hobnail cut glass with small chips to high points/edges in places.
An Edwardian matched batchelors silver three piece tea service, comprising a silver teapot of diminutive form, by Wliiam Hutton & Sons Ltd, assayed London 1907, with swan neck spout, ebony handle and ebony finial to domed hinged cover, a circular sugar bowl, by Barker Brothers, assayed Chester 1906, with twin flying scroll handles and a silver cream jug, by Barker Brothers, assayed Birmingham 1905, with flying scroll handle, (total gross weight 679.9gg), together with an Edwardian silver mounted oil and vinegar cruet, by William Hutton & Sons Ltd, assayed Birmingham 1902, fashioned as conjoined bottles, (lacking stoppers, a silver Armarda dis, napkin ring and others. (qty)
A Victorian silver and hobnail cut glass scent bottle, by John Grinsell & Sons, assayed London 1896, the lattice embossed hinged cap with scroll rim and applied family crest finial, with gilt washed interior and stopper, together with an Edwardian silver mounted glass scent bottle, also by John Grinsell & Sons, assayed London 1920, the bottle of trefoil section with star cut base, with stopper, height 12.5cm. (2)
Carlyn Lindsay (UK) Ash box with laminted finial and foot 11x7cm. Signed Small is beautiful! I love the shape, proportion and the size of Ray's blank, so I aimed to retain all of that. This piece was just the right size to be complimented with a little bit of my laminated wood. I added a lid also from ash and my own touches, black dye, a laminated foot and a simple laminated finial for the lid. I really enjoyed making this, partly because I enjoy working to constraints and also because it is part of Ray's work, so we made it together. Happy memories of Ray that really stick with me?.... Ray and Bert Marsh. Their laughter was infectious, they shared the love of what they did with us all, which brought people together. To be with them at exhibitions was always fun. I have so much respect for him, he was a very interesting man, with so much knowledge and love for the history of arts and crafts and its influences. He loved publications relating to aspects of wood and crafts, there were books we talked about which I sought and took inspiration from. To watch Ray turning was a joy. What a truly passionate talented artist and craftsman. He was so proficient at his craft producing beautiful work for the top end of the market. Anyone who owns a piece he made is very fortunate. The Ray Key Collaboration Auction
Cindy Drozda (USA) Coloured rippled ash hollow form 28x8cm. Signed I first “met” Ray through his VHS videos, in the mid-90s. I was learning to make boxes by watching Ray’s video. I’d watch the video, go to the lathe, and then watch some more. In this way, Ray taught me to make boxes. I still use his signature spindle gouge on my boxes today. When I attended my first Symposium, 2001 in Utah, Ray was one of the demonstrators. I was pleasantly surprised to find that Ray was open and friendly, and that I could actually talk to my woodturning hero! Since then, I have met Ray at numerous Symposiums. He was a skillful demonstrator and teacher, and always friendly. I consider myself very fortunate to have known Ray. He is one of the giants of woodturning, and our field would not be as rich without his contributions. It is a great honour to have been chosen as one of the participants in this collaborative tribute. My contribution is a vessel that Ray rough hollowed from curly Ash. I have left the shape as Ray formed it, only smoothing it out and turning away the chucking tenon. The finish is my style of colouring technique, and the finial and pedestal are my signature elements. The vessel is all Ray’s. Hopefully he is as proud of this piece as I am! The Ray Key Collaboration Auction
Jason Breach (UK) spalted beech box 8x7cm. Signed I first met Ray when I was 14 in 1986. He always attended and demonstrated at the Woodworker show at Wembley, I can remember his encouragement and treasure his book that I have from that time. On leaving college in High Wycombe we did a show at Art in Action, I was demonstrating for the college, on setting up I suddenly realized that Ray was demonstrating and selling items on the next stand, right next to me, I can remember having to reprice my work. When I started working for APTC we had visiting tutors, Ray being one, he was great to watch and talk with, as when we held the APTC shows, always there to demo and talk with, his simple lines and shapes have rubbed off on me. The spalted beech box shows a Ray key lid with the added bead finial, a very simple shape in a difficult timber to work with. When I selected the timber for this I knew I wanted to make a box, as most turners will be making a bowl, boxes were a major part of Ray’s artistic flare, one of the reasons that I make a lot of boxes was Rays encouragement over those years. Ray has been a major influence to so many, in so many ways. There is one line I can remember that he said - keep it simple. The Ray Key Collaboration Auction
Rosemary Wright (UK) burr elm lidded vessel 14x14cm. Signed I was always a bit in awe of Ray as one of the “top guys” but his humour and down to earth approach put everyone at ease. The highlight for me was the 20th Anniversary AWGB seminar of 2007 when I was chosen for the Tony Boase award. He couldn’t have been more generous with his encouragement and I learnt a lot from his critiques as we shared the same love of form and preference for a simple aesthetic, famously verbalised as “keep it simple stupid”! It is impossible to overestimate his contribution the world of woodturning in this country. I chose what I thought would be the easiest piece to work on from his collection, as, although thrilled and honoured to be invited to the collaboration, coward that I am, I was terrified of making a mess of it! It sat untouched in my workshop for weeks and weeks while I wracked my brains for some ideas. Ray’s form was very pleasing to me and I didn’t want to change it and I didn’t see how I could develop it “in my own style”. I have been doing some colouring and texturing recently but didn’t want to detract from the natural beauty of the wood but I thought the more defined tool marks Ray had left towards the rim could be highlighted with colour and it would be lovely to keep that original input from him. So, I decided to hollow the bowl, highlight a band of Ray’s tool marks with white milk paint and gilt wax, and make additions that I could be freer with. I made a lid from burr elm and created an ebony and holly “leaf” finial that referenced my “leaf” series. The lidded bowl needed elevating, so I made a grooved rectangular platform and a beaded round plinth, both in Asian striped ebony, that referenced earlier work. I think the collaboration worked well in the end. The Ray Key Collaboration Auctionn
Seamus Cassidy (Ireland) burr elm lidded vessel 19x18cm. Signed For me, it was an honour to be asked to participate in this tribute to Ray Key. I placed Ray’s unfinished piece in my workshop where I could glance at it from time to time while going about my normal working day. This action triggered memories of Ray, his work and the times I spent with him. I remembered being asked to judge a woodturning seminar competition with Ray and how he favoured well executed simple style. Ray was well known for his boxes and vases and when I reviewed some of his work on the internet, it was clear to me how I should finish Ray’s work - Keep it simple! Ray’s piece did not need to be changed much. I decided all that was needed was to finish his original shape and make a bleached Ash lid and Blackwood finial to do justice to his work and style. Any other embellishment or complication would not be true to Ray’s style. I hope you agree that the finished piece reflects Rays unique style and honours his memory. The Ray Key Collaboration Auction
Stuart King (UK) masur birch box with poem and St Paul's cathedral wood bell 12x6cm. Signed A challenge and a tribute, to complete a partially completed small vessel/box. One of many that Ray was not long enough on earth to finish was certainly a challenge. My small half turned masur birch blank duly arrived, exhibiting a gently curved exterior line and a solid, unturned interior, this just had to be completed to form a small lidded box. The remit was to retain the essence of Ray’s work whilst imparting one’s own style to the piece, an unusual posthumous collaboration to say the least. You will see that I decided to create a lidded box with an ebony finial, nothing outrageous but a contrasting feature to provide an interesting elevation. I also wanted to include something a little ostentatious that would slightly push the boundary of pure form that Ray was so noted for. Whilst working at the lathe I could imagine Ray’s presence looking over my shoulder and so I decided to include a gilded ebony paterae on the inside of the lid, just out of view, but a surprise revealed if the lid was lifted. I do not like empty boxes, so to this end I have printed a miniature of my “ode to Ray” to be placed within the box, accompanied by a miniature bell turned from St Paul’s heritage wood removed from the cathedral in 2018. Ode to Ray; Stuart King A master in turning was my friend Ray Whose life revolved around wood until his dying day A true craftsman at heart, a proud man was he With a reverence for his lifeblood, Gods humble tree Ash bowls for the table, platters for our daily bread Good honest treen, that’s what woodturner Ray said Whilst handling some work so beautifully turned Created for those whom plastic they’d spurned From hedgerow and woodland Ray sought out the best Ripple grain and olive heart were all put to the test Revealing the inner beauty that nature endowed To the tree that grew slowly beneath England’s warm cloud Although Ray has gone his work erelong endures And continues to provide pleasure, his legacy assured The woodturning nymphs will be sofly sighing Because his workshop is silent, no more shavings are flying The Ray Key Collaboration Auction
Tom Gall & Bud Hohlfeld (USA) coloured and textured hollow form 16x10cm. Signed After receiving Ray’s rough turned piece we realized that we should try to maintain the basic shape of the hollow form and do what we could to embellish it. We thought that Ray’s pagoda box form would add a nice base for a finial so we drew on that shape as well. Of course we wanted to add a bit of our own style so we hope the finished finial, texturing and colouring complete the work. Bud did the finish turning of the form and the finial, made from hard maple & African blackwood. Tom used modelling paste to add texture to the body of the form with a sponge texture near the top and bottom and a toothbrush swirl to the main body of the vessel. Tom airbrushed the body in two opposing directions with purple, aqua and white acrylic paints to high points and then airbrushed a thinned metallic bronze acrylic around the top and bottom of the vessel. Then dry brushing a little added bronze to some of the high ridges for additional accents. Finally the cap and finial were assembled. We are honoured to be included in this tribute to Ray. The Ray Key Collaboration Auctionn
Large Edwardian Adam style mahogany chimney-piece, fire-surround with swan neck pediment and urn finial above circular bevelled mirror plate with two candle branches, enclosed by concave corner cupboards with moulded cornice, blind fret frieze and astragal glazed doors above a quarter veneered panel doors on a skirted base, H340cm, W269cm, D70cm, aperture 107cm x 102cm
A George III silver seal top spoon, probably William Collings, London 1776, planishing to the exterior of the polished bowl, the moulded finial with a blind seal top, 17.5cm long, with a silver apostle spoon, Birmingham 1976, a silver napkin ring, a silver sauce spoon and a white metal button hook, gross weight 4.8gms (5)
An early 20th century propelling pencil, decorated with seven collet set turquoise and a blood stone finial, all set in yellow metal engraved with foliate designs, with a 9ct gold stone set bar brooch, an 9ct gold 'M' shaped pendant, with a yellow metal circular brooch stamped '9ct', a yellow metal safety chain and cross pendant, with a silver ring, gross weight 14.9gms (7)
Silver flatware, comprising; a sardine fork, a butter knife, a shooting spoon, five teaspoons and six coffee spoons, combined gross weight 167 gms, foreign wares, comprising; a set of six filigree teaspoons, a set of six teaspoons, having figure terminals and a spoon with an elephant finial, also a set of twelve pairs of plated dessert or fruit knives and forks, having mother-of-pearl handles, with an oak case and a set of six steel bladed tea knives, having mother-of-pearl handles, cased, (qty).
A George II silver coffee pot, of tapered cylindrical form, with later floral, foliate and scroll embossed decoration, the hinged cover with a bud finial, raised on a circular foot, later crest engraved, maker Richard Gurney & Co, (Richard Gurney & Thomas Cook) London 1743, with a later wooden handle, gross weight 1033 gms.
A gold cased propelling pencil, presentation inscribed, detailed 9 CT, a Victorian slide action dip pen/cum pencil, of hexagonal form with engraved decoration and with a monogram engraved agate finial, a Victorian slide action small pencil and a gold cased propelling pencil, with engine turned decoration, presentation inscribed, detailed 9 CT, (4).
A silver plated metal mounted horn cornucopia, the detachable cover with a finial formed as Mercury and another silver plated metal mounted horn cornucopia, the detachable cover with a finial formed as a lion holding a cartouche, length of the largest 58.5cm, both second half of the 19th century, (2).
THE JIMMY JOHNSTONE FABERGE EGG BY SARAH FABERGE, number 14 of a limited edition of 19. The lion is presented as a finial in sterling silver and 24 carat gold-symbol of Celtic`s triumph in winning the European Cup in Lisbon in 1967. The lion presides over the badges of Celtic`s winners medals-the European Cup medal to the front; to the reverse the Scottish League Championship medal; and flanking them, to the left the Scottish Football Association Cup and to the right the Scottish Football League Cup Medals. Struck in the original dies, gilded and hand-enamelled, the sterling medals intersperse a reminder of Jimmy Johnstone`s origins with the coal pithead-four winding-shaft supports, fashioned in silver and black gold. The top of the Egg itself is hand engine-turned on sterling silver and precious rhodium. The lower half of the creation is adorned with Celtic Football Club`s badge proclaiming its 1888 origin and produced here with specific authority from the Club. The badge is counterbalanced by the motif from `The Lord of the Wing` motion picture, which celebrates Jimmy Johnstone`s career and achievement. To the sides, seven magic Celtic rings, also in hand-enamelled silver. The bezel is an echo of the `Jungle`, whose corrugated roof it commemorates. Open the Egg and view the surprise. On a field of gold and hallmarked silver, Jimmy Johnstone himself, poised aslant as he presses forward: Celtic`s legendary player, triumphantly modelled in silver and fine gold, at his feet a sterling silver and black gold diamond-studded football. Jimmy`s signature authenticates the creation. Sarah Faberge places her Jimmy Johnstone Egg on a foot with seven steps in final witness of Jinky`s number and of the `Jungle` terraces from which he would have happily stood watching his heroes had it not been for his own amazing God-given talents. Sarah adds her signature beneath, engraved and attesting the edition issue. Limited edition 19 for the World Market. This is number 14, 17.5cm high, contained in a leather display case, together with box and certificate of authenticity, signed by Sarah Faberge and dated March 2006
A Circa 1880's Black Silk Fan, mounted on black wood sticks, painted with delicate lilac flowers and green leaves. Probably the first fan used when emerging from formal mourning, given the colours. Together with a long cord with tassel, for use as a belt around the waist to retain the fan, being attached to the fan loop by a clip. The verso is plain black cotton. Guard length 11.5 inches or 29cm; A Large Circa 1890's Wood Fan, pierced and gilded, the guards in tan with gold highlights, the gorge sticks fully gilded. The double black silk leaf is embroidered with gold sequins and spangles, a large floral spray with a scalloped upper and side border. A gold metal loop holds a knotted and fringed tassel with an element of gold thread. Guard length 12.75 inches or 32.5cm; Together with A 19th Century Brown Moiré Silk Folding Parasol, with bone finial and turned wood folding handle, and brass stay. The parasol is fitted with a loop for holding closed when not in use, and the brown silk cover is fringed with black silk. Not lined. Contained in a sturdy card box, the exterior ruby in colour., and labelled on one end C B NEWMARKET Corsets sans Couture, Sewn Corsets, with a drawing of a long corset within a star. Length when erected 29.25 inches or 74cm (3). Fan 1 - Very good, clean and crisp. Fan 2 - The leaf is in good order; the verso fabric is splitting slightly. The upper guard has broken. Fan 3 - In good order, no damage noted. Strong, shiny silk cover. All spokes present and working. No fabric remnants to suggest it had ever been lined. The box lid is scuffed and defective at one end.
17TH CENTURY AND LATER LANTERN CLOCK BY JEFFREY BAYLEY, with 19th century double fusee, two-train eight-day movement, the chapter ring with Roman numerals, subsidiary calendar dial, the face inscribed 'Jeffrey Bayley, Neare Turne Stile in Hie Holborne Fecit', pierced double dolphin cresting, urn finial, on four bobbin feet, raised on a square-form base, 42cm high
FRENCH LOUIS XV STYLE BOULLE MANTEL CLOCK, the 5 1/2" gilt dial with blue and white enamelled Roman numerals on a brass, eight day movement striking half hourly to a bell and stamped R & C Paris & London 946, the tortoiseshell and brass rococo case with flaming urn finial, with key and pendulum, height 42cmFurther images and video (where applicable) available here
18TH CENTURY STYLE CHINOISERIE LACQUER CABINET ON OPENWORK STAND, the cabinet with a pair of doors decorated with figural landscape scenes and enclosing two drawers on a carved, painted and gilt wood rococo style base with scrolling foliage and swags, the stretcher with a cherub finial, total height 175cm, width87cm, depth 47cm
FRENCH LOUIS XVI STYLE 'BOULLE' MANTEL CLOCK, 19th century, the brass dial with blue enamelled numerals on a brass, eight day movement by H & F Paris, half hourly striking to a bell, the case with flaming urn finial, with pendulum, height 39cmFurther images and video (where applicable) available here
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