We found 48040 price guide item(s) matching your search

Collection of jewellery to include: various dress rings, Dagmar wristwatch, silver coin bracelet, necklaces, gold plated gate bracelet etc. (B.P. 21% + VAT)

J M Pickering (early 20th century), a garden wall with gate and Lupins, signed, with additional signature and date verso ,1945. Watercolours. 14.5x29cm approx. Framed and glazed. (B.P. 21% + VAT) Good original condition.

Tissot Stylist 9ct gold ladies wristwatch, with 9ct gold gate bracelet, having satin face, with Baton numerals. With original watch box and receipt. 21.5g overall approx. (B.P. 21% + VAT).

18th century style oak gate-leg barley twist table. (B.P. 21% + VAT)

Gwilym C Price, reproduction oak fold-over writing desk, the pullout drawer standing on bobbin and baluster turned legs, with gate action. 84x33x76cm approx. (B.P. 21% + VAT)

Collection of mainly silver items to include: buckle, bracelet, ten bar gate bracelet with heart shaped padlock, chains, one with 1922 USA 1 dollar coin. (B.P. 21% + VAT)

LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel  43.2cm x 53.4 cm (17in x 21in) Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner. Exhibited:On long-term loan to Pallant House Gallery, Chichester, 2013-2024L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of  the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his  visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated ‘painters of modern life’. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’   The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the ‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who – intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did. 

Victorian mahogany twin drop flap gate leg table

JR - Giants, Brandenburg Gate, September 27, 2018, 18h55Lithographie 14 couleurs sur papier BFK Rives blanc 300 grammesSignée par JR en bas à droite (tampon et mine de crayon) et numérotée en bas à gaucheEdition limitée à 180 ex, 2020Très bon état50 x 75 cm14 colors lithograph printed on white paper BFK Rives - 300 grammesSigned by JR on the right side corner (stamp and lead) & numbered on the left side cornerLimited edition of 180 ex, 2020Very good condition50 x 75 cm

Registration: G661AOO VIN: WF0FXXGBBFKE73945 Mileage Showing: 72,000 Transmission: Manual MOT: No Number of Keys: 2 V5 on Site: YesLong term current keeperGood sized history fileSought after 2 wheel driveFirst registered March 1990 this 2 wheel drive model finished in Flint Grey with grey Recaro cloth interior shows only 5 former keepers and 72,000 miles. Owned by the current keeper for 17 years. The car has been dry stored during his ownership and has been kept tuck away since the end of 2010. Brought out occasionally and ran up to temperature. Upgraded in period by the previous owner including 803 green injectors, 3 bar map sensor, Ahmed Bayjoo stage 3 chip, uprated waste gate actuator, RS500 intercooler and Mongoose stainless steel exhaust system for a mildy tuned by reliable engine spec.Other upgrades include Eibach lowering springs, koni adjustable shock absorbers and 6 paddle clutch.Sold with a large history file including receipts for upgrades, details of previous ownership and details of other servicing and maintenance.Please see our walk around video for more information and engine start upGUIDE PRICE £14,000 - £18,000

9ct gold gate bracelet with heart clasp, hallmarkedCondition Report:Approx 8.3 grams

Silver jewellery, including stone set bracelet, gate bracelet and pendant necklace, continental silver cigarette case, together with a large collection of costume jewellery including clip on earrings, beaded necklaces, brooches etcCondition Report:Weighable silver approx 30 grams, continental silver approx 100 grams tests 84

Silver jewellery including locket, ingot, watch chain, cross pendant necklace, hinged bracelet, gate bracelet, abalone butterfly necklaceCondition Report:Weighable silver 102 grams

9ct gold identity bracelet and a 9ct gold gate bracelet with heart padlock clasp, hallmarked Condition Report:Approx 7.5 grams

Four 925 silver gate panel bracelets with heart shaped padlock clasps, 76g

Two 925 silver gate panel bracelets with heart shaped padlock clasps, together with two 925 silver curb link bracelets with heart shaped padlock clasps, 112g

A Modern Collarette Style Necklace, comprising graduated panels of brushed finish with pierced decoration, to push clasp with safety clip, stamped "925", together with a hallmarked silver gate link bracelet with heartshape padlock clasp, a pair of foliage style earstuds, a pair of single stone set drop earrings.

A Vintage Gate Link Bracelet, to heartshape padlock clasp and safety chain, stamped "9ct", 18cm long (15grams).

Sold by Order of a Direct DescendantThe unique and superbly well-documented 'Far East Communication Squadron 1950' A.F.M. group of seven awarded to Master Signaller J. B. C. Browne, Royal Air Force, who was awarded his Nuclear Test Medal for the 'Christmas Airways' flights to Christmas Island during Operation GrappleBrowne's remarkable career saw him flying during the Second World War, earning his A.F.M. in the east for flights which included missions to China redacted from his service papers and flying the Royal Couple during their 1961 Royal Tour of NepalAir Force Medal, G.VI.R. (571907 Sig. I. J. B. C. Browne. R.A.F.); 1939-45 Star; Defence and War Medals 1939-45; General Service 1918-62, 2 clasps, Malaya, Arabian Peninsula (571907 Sig. I.A. J. B. C. Browne. R.A.F.), the second detached in its named box of issue; Royal Air Force L.S. & G.C., E.II.R. (M. Sig. J. B.C. Browne. (571907) R.A.F.); Nuclear Test Medal, unnamed as issued, the first six mounted as worn, the last in its named box of issue, sold together with a large archive including the recipient's flying log books, minor contact wear to sixth, overall good very fine (7)A.F.M. London Gazette 8 June 1950, the original recommendation states:'Signaller I Browne joined the Squadron in October, 1948, having been in Japan from October, 1947, and has been employed as a V.I.P. Signaller. He is a first class non-commissioned officer with exceptional technical ability, having consistently held an 'A' category since August, 1946. During the last six months he has completed 300 flying hours on some of the most important flights assigned to this Squadron, and he has also extended his 'A' category to cover York aircraft as well as the Dakota, the type in which he is primarily signaller and, on numerous long distance flights during his tour of duty in the Far East Communication Squadron, he has carried out his duties in an exemplary manner. He has shown ability, coolness and enthusiasm and is an outstanding non-commissioned officer.'Note the Recipient's Flying Log Book for the period of 1947-1952 is missing, it is believed to have been recalled owning to a redacted mission in China rather than misplaced or lost.John Blake Cameron Browne (who later changed his surname to Howard) was born in Kensington, London on 19 February 1922, the son of Andrew and Wilhelmina 'Billy' Browne. His father was a former professional soldier who served as a Sergeant-Major with the Essex Regiment and was seriously wounded in the leg at Gallipoli. He appears to have suffered from post-traumatic stress disorder and left the family in 1929 leaving his wife to raise the children herself. The young Browne received only a basic education however this was enough for him to pass the entrance tests for an apprenticeship at R.A.F. Halton on 24 August 1937.He was initially posted to the Electrical and Wireless School before transferring to No. 2 Wireless School on 26 March 1938. He must have proven himself a quick learner as he was soon selected to leave Halton for Cranwell, where he specialised as a Signaller. He was still there on the outbreak of the Second World War on 3 September 1940, they spent the day dispersing the aircraft around the perimeter of the airfield in case of air raids.The Second World WarQualifying as Wireless Electrical Mechanic on 29 January 1940, Browne reached his majority the next month on 19 February and was appointed Aircraftman Class I the same day. Posted first to No. 29 Squadron and advanced Leading Aircraftman on 1 April 1940 he served with them at R.A.F. Digby. Here he was on the receiving end of several bombing raids, being promoted Corporal on 31 December 1940. The Squadron re-equipped with Bristol Beaufighters to replace their old Blenheims not long later.Transferring to R.A.F. Pembury he undertook an air gunner's course, becoming qualified on 6 January 1943 and advanced Sergeant on 7 January. Joining No. 10 Radio School Carew Cheriton, he served there until 17 February 1943 when he was posted to Coastal Command's 131 Operational Training Unit which was located on Loch Erne in Northern Ireland. There he had his first flight on a Catalina flying boat on 18 February.Having qualified, Browne was posted to the newly formed 265 Squadron based in Northern Madagascar. After a gruelling journey across Africa, he finally reached the posting in early June and began to undertake fleet escort and search and rescue missions as Wireless Operator/Air Gunner. Racking up increasing Operational flying time in December he had 250 hours and was advanced Flight Sergeant on 6 January 1944.Over the next year he was to continue in this role, adding Meteorological Flights to his duties. The last of Browne's wartime flying was with 265 Squadron having undertaken 562 hours of Operational flight with them and an impressive 1076 hours in total. Posted to R.A.F. Wymeswold on 5 May 1945, he arrived on 8 May - V.E. Day - to discover the station all but deserted, the guard on the front gate informed him that everyone was celebrating in the pub.V.I.P. Flying, a Redacted Mission and a Crash LandingBrowne retrained with Douglas Dakotas and was soon posted to 147 Squadron, flying for Transport Command. This Squadron flew from Britain to Europe allowing Browne to assemble a collection of European banknotes which he stuck into his log books.Joining 24 Squadron for V.I.P. transport flights in October 1946 he was posted to the British Commonwealth Air Force in Japan the following year. The next year Browne again moved, this time to the Far East Communications Squadron. Two months after he joined them a period of one week on his service records is redacted, this combined with his missing log book covering this period is suggestive of a clandestine mission. The cataloguer must leave it to the reader to imagine the nature of this work however it occurred at a time that Browne was known to have been flying to China, then embroiled in the Civil War.Returning to Britain in April 1950 he was awarded the Air Force Medal at R.A.F. North Luffenham for his work with the Far East Communication Squadron. His work there had also entitled him to the Malaya bar for his General Service Medal however this would not be issued at the time and Browne was to receive the G.S.M. for a separate campaign. Joining 242 Operational Conversion Unit as a Trainer and he was recommended a Commission at that point however he rejected the offer, feeling that he preferred his role as a Warrant Officer.Returning to No. 24 Squadron on 6 December 1953 he rang in the new year with a promotion to Master Signaller on 31 December. One of his early flights here on 22 May 1954 was transporting Anthony Eden (then Foreign Secretary) and Lord Ismay (then Secretary General of Nato) from Geneva to Paris and thence to Britain. A further flight in July almost led to disaster as the crew lost their way between Suffield, Alberta and Britain. An S.O.S. signal was sent out and after a tense period of waiting were picked up by a passing liner which was able to give them their co-ordinates, with their available fuel they were just able to make an emergency stop at the Azores Islands.That same year he performed trips to Australia which included the transport of material and personnel involved in the developing Nuclear programme. During one routine training mission the next year out of R.A.F. Abingdon the Hastings aircraft Browne was flying in crashed on landing. Fortunately the crew were all unharmed although the aircraft itself lost a wing. The next year he transferred to No. 47 Squadron flying mostly to the Middle East, Cyprus and Malta.Christmas Island Airways and Operation GrappleBrowne had alr…

A 9ct gold gate link bracelet with 9ct gold padlock clasp (5.5g)

A 9ct gold gate-link necklace (7.8g)

A Japanese ebonised shrine torii gate figure with brass central mount 11" high

George III mahogany dining table, oval drop-leaf top on gate-leg action base, on cabriole supports with pointed pad feetDimensions: Height: 71cm  Length/Width: 102cm  Depth/Diameter: 108cm

A group of silver bracelets, comprising a five row gate link bracelet, clasp deficient, Sheffield 1973, a filed curb link bracelet with heart shaped padlock, Birmingham 1964, a curb link bracelet with Birmingham 1971, a fancy link bracelet, London 1973, a curb link bracelet with heart shaped padlock, Birmingham 1971, and a charm bracelet, suspending 15 charms, all tested as silver, Birmingham 1977, and a rope twist link bracelet, tested as silver, 158.82g total (7)Condition ReportClasp deficient to five row gate bracelet.Marks and scratches to surfaces.Tarnish.

A 9ct gold gate bracelet, with seven rows of plain and crimped links, to a heart shaped padlock and safety chain, 22mm wide, approximately 160mm long, London 1979, 14.22g

A gate link bracelet, on a lobster claw clasp, yellow metal, stamped 375, 14.5g.

1.75inch fluted barrels with traces of original blued finish, border and scroll engraved frame stamped with a crowned DM to the right side, loading gate on the right side, folding trigger, bag-shaped chequered wooden grips, the butt with integral threaded ejector rod. Probably by Webley.

A Victorian wrought iron gate

An 18ct gold gate bracelet with fancy rope design links and padlock clasp, 18.3g, 9mm link width

The London Mint Office, We Will Remember Them - In Flanders Fields Museum coin set. The London Mint Office, We Will Remember Them - In Flanders Fields Museum, an eight-coin commemorative set to include The Official In Flanders Fields Museum Menin Gate - In Memory of the Fallen Gold Proof Coin, struck in 9 carat gold, diameter 26mm, weight 8.0g, together with gold and silver-plated tombac commemorative coins, all encapsulated, with certificates of authenticity, all mounted in a presentation cardboard pack.

A hallmarked 9ct gold gate bracelet, together with seven rings assessed as 9ct gold, six pairs of ear studs assessed as 9ct gold and a brooch stamped 375, gross weight 37.1g

Oak twin drop flap gate leg table

THOMAS KINKADE, THREE PRINTS including Beyond Spring Gate, Beside Still Waters and Stairway to Paradiseall framedBeyond Sprint Gate 46cm x 56cm overall Qty: 3

Prince's Gate ""The back door"" print. After the embassy siege a painting was done by John Tidwell showing the back door entry. There were a hundred prints made. These were going to be given to those who took part. However as there was no former agreement Msold-everything both the painting and the 100 prints to H&K the German company who made the MP5 submachine gun. However B Squadron broke all rules and had a second print made. This second edition was only gives to members of B Squadron. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

1 Large early 20th century silvered brass realistic example. This charming example of a Kate Greenaway design shows a boy carrying flowers at the fence and a rooster at the fence gate and archway. Nice detail and great example from the collection of the late Shirley Case who loved not only her pearl buttons but he children buttons as well. Please note that because of the shape of this button it would hang for large in two measures but go through one for medium size. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Note: Antique buttons may show wear. Significant issues are noted, but shanks and backs on multi-button cards are not guaranteed. Contact us for details.

1 Medium size 20th century enamel back example pictorial button. This button was imported by the late Lucille Weingarten of California and the late Jean Young of California purchased many examples from Lucille. The backs on these are truly nice as well as the designs, The backs are enameled and all in fine condition. This example depicts in reverse painting on glass a scene of the Golden Gate Bridge in San Francisco California, and is signed. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Note: Antique buttons may show wear. Significant issues are noted, but shanks and backs on multi-button cards are not guaranteed. Contact us for details.

TWO BRACELETS, NINE CARAT GOLD the gate bracelet in rose gold with padlock clasp, the other in yellow gold Qty: 13.49g gross

A 9 carat two-colour gate bracelet. Approx. 22.5 grams. Est. £580 - £620.

A 9 carat gate bracelet. Approx. 33 grams. Est. £870 - £900.

Mixed costume jewellery to include simulated pearl necklaces A/F, an 'OR' heavy gold tone chain 109g, a silver tourist charm bracelet with European shield shaped charms of countries and cities, a silver gate-link bracelet, a silver ingot pendant 31g, a silver charm bracelet with silver and white metal charms 79g, a Siam silver and blue Niello bracelet and clip on earringsLocation:If there is no condition report, please request

A MAHOGANY SUPPER TABLE 19th century, the drop-flap oval ends on tapered block gate legs terminating in brass toes and castors, 71cm high x 106cm wide x 54cm long (closed) and 157cm long (open)Provenance: Chalkway House, Ebbesbourne Wake.

A Selection of Silver and Unmarked White Metal Jewellery;the silver jewellery includes a gate bracelet, a belcher chain, a Caithness Millefiori glass brooch and pairs of earrings,the unmarked white metal jewellery includes a butterfly brooch, a bracelet and a slipper charm,total gross weight of the jewellery is approx. 94 grams

A Selection of 9ct and 18ct Gold Jewellery; the 9ct gold jewellery includes a gate bracelet, a tri-coloured gold rope chain (silver clasp), a pair of orange glass bead earrings and a broken watch bracelet,there is also a pair of "750" stamped sleeper hoop earrings, total gross weight of the 9ct gold jewellery is approx. 17 gramstotal gross weight of the 18ct gold jewellery is approx. 0.5 of a gram

A Ladies 9ct Gold Gate Bracelet; stamped "375" on the fastening link and stamped "375" on the heart shaped padlock,max width of bracelet is approx. 7mm, will fit an approx. 7 inch wrist, total gross weight approx. 14 grams

A small group of Kernow Model Rail Centre OO gauge items, comprising K2103 Adams 02 tank locomotive 30182, K2104 Adams 02 tank locomotive 30225, K2106 Adams 02 tank locomotive, K1004 Gate Stock Set 373 in BR green and K1003 LSWR Gate Stock Set 373 in BR crimson, all boxed.

A gold bar and decorated bar link gate bracelet, detailed ‘9c’, on a gold heart shaped padlock clasp, detailed ‘9ct’, weight 14.2g, length 18.5cm.

A 9ct gold oval hinged bangle, inside width 6cm, and a 9ct gold gate link bracelet on a heart shaped padlock clasp, length 18.5cm, total weight 18.6g.

A rosewood cased drop dial wall clock, the octagonal upper casing enclosing a painted dial and eight day movement with Roman numerals, inscribed "Jaguar Motor Co. Gate 4", over a glazed view panel, 43 cm wide x 79 cm high

A 19th Century oak tea table in the 17th Century manner, the oval drop-leaf top on a turned gate-leg base, 71 cm wide x 80 cm deep x 64 cm high, together with a 20th Century oak nest of three graduated occasional tables, 51 cm wide x 34 cm deep x 47 cm high

ATTRIBUTED TO SIR EDWIN LUTYENS (1869-1944) SET OF TEN ARMCHAIRS, CIRCA 1905 ebonised birch, with horsehair-upholstery, one chair stamped to underside A.M (10) Provenance: Commissioned for the Boardroom of Country Life magazine, circa 1905 Property of Future PLC, removed from the offices of Country Life magazine Roseberys, Traditional Home, 18th August 2022, lot 1 Private collectionLiterature:See drawing No. 73, E. L. Lutyens, 17 Queen Anne's Gate, S. W.1 May 1931, for a similar chair designV&A; Accession no W.6-1944 Illustrated in a 1931 design, these armchairs were originally part of a set of 21 and installed by Sir Edwin Lutyens for the Board Room of Country Life magazine headquarters. He also designed the building, at Tavistock Street, Covent Garden in 1905. The design of the back references shield-shaped chair back designs by the 18th century cabinet-maker George Heppelwhite. Lutyens’ furniture is noted for its eclecticism and draws inspiration from historical styles, adapting and subtly altering proportions and details to suit his own vision. The chairs in the current lot retain their original horsehair upholstery and ebonised finish.The editor of Country Life, Edward Hudson was a champion and patron of Lutyens. In 1901, Hudson acquired Lindisfarne castle and commissioned Lutyens to transform it into a private residence, he designed and built Hudson's home in Berkshire, Deanery Garden, between 1897 and 1902, before taking the commission for the Country Life headquarters. 

JESSIE MARION KING (1875-1949) COLLECTION OF ORIGINAL PRINTING BLOCKS, CIRCA 1910 AND LATER comprising a GROUP OF ZINC BLOCKS, to include Kirkcudbright, a Royal Burgh, in three parts, 22cm x 12cm, with spine title, along with an original copy of Kirkcudbright, a Royal Burgh; Good Greeting 1949, in five parts, 3 at 14cm x 10cm and two smaller (for the card interior) From the Green Gate (symbol) Kirkcudbright; Ernest A Taylor: NeuGaelTach bookplate, 14cm x 6cm; Horseman at the Gate, in two parts, 7.8cm x 8cm; Ex Libris: Mary Elizabeth Reid bookplate, 10.4cm x 5.2cm; and Dandelions, from Budding Life, along with an original copy of Budding Life; a GROUP OF COPPER BLOCKS, to include an illustration of Spenser’s ‘The Faerie Queen’ And in the midst thereof a pillar placed…etc., 13.5cm x 8.5cm;  and illustration of Shelley’s ‘The Wild West Wind’, Sister of the Spring, 13cm x 8cm; an illustration of Morris’s ‘King Arthur’s Tomb’ For Lancelot’s red-golden hair would play, 14.3cm x 9.5cm; a GROUP OF ELECTROTYPE BLOCKS, to include Dead Babe, 19.5cm x 9cm; Sam Mavor bookplate, 7.4cm x 7.4cm; Spirit of the Woods, 11cm x 9cm; Couple by the Rocks, 14cm x 13.5cm; and three further electrotype blocks, one showing an image by Charles Rennie Mackintosh, two unidentified; a GROUP OF CARVED WOOD BLOCKS, to include Jessie M King/ The (with Green Gate symbol), 11cm x 3.7cm; a seal with carved symbol of a rose, 6cm long; Cottages in a Landscape, 8.2cm x 9cm; a crow, 7cm x 6cm; and an image of an agricultural roller, 6cm x 11cm; and a group of LINOCUTS, by Merle Taylor, E.A. Taylor and Jessie M. King, largest 15.5cm x 10.5cm (35) Provenance: Jessie Marion King and Ernest Archibald TaylorBy descent to their daughter Merle TaylorEstate of Merle Taylor

Small wooden box comprising assorted gold plated/rolled gold/yellow metal and other jewellery to include: gate bracelets, seal fob pendant, heart shaped padlock, stock pin etc. (B.P. 21% + VAT)

A 9ct five bar gate bracelet

A seven bar 9ct gate bracelet. A combination of patterned and straight bars. 34.8gm

THREE SILVER ITEMS TO INCLUDE AN ANKLET, A THREE BAR GATE BRACELET AND A FURTHER BRACELET

AN OVAL OAK OLD CHARM GATE LEG TABLE ON TURNED LEGS, 60.5" X 45" OPENED

AN EARLY 20TH CENTURY OVAL OAK GATE LEG TABLE ON BARLEY TWIST LEGS, 42" X 29" OPENED

AN EARLY 20TH CENTURY OAK GATE LEG TABLE ON BARLEY TWIST LEGS, 41" X 29" OPENED

AN OAK GATE LEG TABLE ON TURNED LEGS, 56" X 42" OPENED

Two silver gate bracelets, each with a heart-shaped padlock clasp, together with a 10oz silver ingot on a metal chain, weighable silver 92.3g. (3)