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Lot 49
A large commemorative glass goblet and cover c.1760, the cup-shaped bowl engraved with a profile portrait of Britannia within a banner inscribed 'O Fair Britannia Hail' within an oak leaf garland and sprays of hops, barley and grapevine, raised on a facet cut stem, the foot engraved with a bee around rose, carnation and passion flower, the domed cover facet cut and engraved with continuous flowers, 36cm. (2)
Lot 69
A privateer wine glass c.1760, the bucket bowl engraved with a two masted ship at sail beneath the inscription 'Success to the HORNET Privateer', raised on an opaque twist stem, 15.5cm. The National Archives record letters of marque in August 1758 for a ship called The Hornet, owned by Richard Earnshaw and the Company of London; and also in October of the same year owned by the Company of Bristol.
Lot 441
A Scottish silver thistle-shape posy, maker's mark rubbed, Edinburgh 1895, a small circular bowl, Fenton Brothers (Samuel Fenton & William Staniforth), Sheffield 1894, spiral scroll design on deep body, culminating in a wave effect ten point rim, a pair of French plated salts with blue glass liners, and a plated cigarette box, total weighable 2.9oz. (Qty: 5)
Lot 695
A VICTORIAN PAPIER MACHE TEA CADDY, of rectangular form, the hinged cover with painted and mother of pearl inlaid church decoration, the sides decorated with flowers, two compartments with one lacking knop, on a shaped base, width 21cm x depth 15cm x 12.5cm, in need of restoration, together with a Victorian papier mache writing slope with mother of pearl inlay, gilt decoration to interior, some repairs, width 36.5cm x depth 27cm and a George III rosewood tea caddy of plain rectangular form, the interior fitted with two compartments and central clear glass mixing bowl, width 30cm x depth 15cm x height 15cm (3) (condition: papier mache caddy has a hinge missing and ivory knop finial missing, some wear and chips, the papier mache writing slope has some restorations, the rosewood caddy is not closing flush and the upper edge is warped, some splits in outer case)
Lot 750
JOHN WALSH WALSH, an early 20th Century part table suite comprising a low shouldered decanter with wheel cut decoration between mitre cut panels, silver mounted collar dated 1935/36, with matching pattern glasses, together with silver collar barrel shaped decanter dated 1903/1904, a pair of champagne glasses, a red wine glass, three atomiser bottles and a powder bowl with silver engine turned lid dated 1938/39 and an Eric Roberts John Walsh Walsh book glass purchased from the Eric Roberts Estate Sale at Fieldings, August 2018 (21)
Lot 12
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)
Lot 26
David Woodward (UK) burr oak bowl 13x45cm. Signed I first came across the work of Ray at the Collector’s gallery in Ledbury. This was about the mid 1975-80s. I had work there at the same time. There were several different turners at that time, doing work that I admired and was different. It was around 1985-6 that I first me Ray and talked. Ray’s passion for turning showed through straight away. Over the next ten or more years, we had work in the same fairs and exhibitions. Chelsea craft fair, Creative eye and other galleries throughout the country. I opened “From the wood” in Hay on Wye in 1983. Ray was very keen when I approached him at the seminar in Loughborough about having the first public exhibition of the AWGB members exhibition. Ray along with Bert Marsh and Don White came to Hay on Wye and selected work to be exhibited. Always willing to give his time in the promotion of the turners art. Ray worked tirelessly in this and always was there with a word or two of advice. In 1990 Ray was selected to show in LA with the crafts council. I too was selected. I had never flown on an aircraft. I was very nervous to say the least. I met Ray at Gatwick airport and he was so good, helping me with everything to put my mind at ease. I learnt a lot from Ray, he was there and willing to pass on advice. On the phone it was an hour call each time. I always told him he could talk a glass eye to sleep! Always full of fun. One exhibition we had in Hay was the work of the late Bert Marsh. Ray turned up to the private view with a pair of oven mitts. When Bert asked what for, Ray replied “I don’t want to get any splinters in my hands!” Bert laughed. We had many good nights out in London with Alan Mitchell. I have some very fond memories of the man that put woodturning up there with all the top arts and crafts. Ray Key, thank you! When I received the package containing Rays roughed out blank, I knew it was oak just by the weight. I took some time looking at the large rounded out bowl. The writing on it, a name, dates and weight. The name – Wally Gilbert? Was this a commission? Was this the person Ray had obtained the timber from? Many more questions came to mind. I remembered that I had done some work for Wally Gilbert, a well respected silversmith from Hereford. I got back in touch with him and he told me that Ray had turned a piece for him some years before and he had asked for another, when and if Ray found the right bit of wood. Wally hadn’t heard any more from Ray so he thought he didn’t have time to do anything for him. Once I started work on this blank, my intention was to keep it as close to how I believe Ray would have wanted it. I knew Ray’s work, having seen it over many years. Keeping it heavy and open being able to show the beautiful figure in the oak, that beautiful specks of dark brown and swirling patterns. Finishing with sunflower oil, several coats, allowing this to soak into the wood and dry. Then a pure beeswax polish, buffing this to a satin sheen. It was a privilege to do this work in honour of Ray. A very touching tribute to a man admired and liked by many people throughout the world. The Ray Key Collaboration Auction
Lot 365
19th century part suite of Bohemian red flash cut glass wares to include a pair of Globe and Shaft decanters with stoppers, four others, a pair of water jugs, five beakers, a pedestal bowl and six finger bowls, a set of four tumblers, twelve wine glasses, five smaller, nine sherry glasses and nine ale glasses, a fruit bowl and a small comport, all decorated with wheel cut birds, deer and landscapes pattern, (a lot, some a/f)
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87294 item(s)/page