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A Novelty Lighter In the Form of a Bronze Effect Trotting Horse and Sulky, One Wheel AF (We are Unable to Post this Lot), 14cm Long

A Novelty Bronze Effect Lighter In the Form of an American Covered Wagon Pulled by Four Horses, 18cm Long (We are Unable to Post this Lot)

Two Silver vestas and a Veitnam lighter

A Dunhill lighter

A Silver DuPont lighter

A Silver and enamel DuPont lighter

WATERMAN SILVER PLATED LIGHTER

Vintage Colibri lighter, Molectric model, engine turned design. Original case and paperwork.

Vintage rare Win lighter chased engraving of ladies carrying harvest. White metal.

Vintage silver plated Ronson table lighter. Queen Anne model. Covintlian design.

Zippo Harley Davidson lighter. Rare model with raised detail.

Cartier brushed silver style with two coloured gold trim lighter, full working order.

A Seiko manual wind gentleman's stainless steel wristwatch, a 1936 Berlin olympics souvenir cigarette lighter and metal tiepin

A Russian military cap, opera glasses, coin holder, penknife, lighter, LNER buttons and box

A vintage Dunhill lighter, adorned with engine turned decoration, pat no 288806, 5 cm high

Two trench art lighters together with a brass shell case, the first lighter of circular form applied with a George V coin, the shell stamped Cart. Elec. Eng. Start. K. 1955, 13 cm high

A Ronson 'Newport' silver-plated table lighter, mid-20th century, stamped to underside of waisted vase shape, cast with berried flowers, on domed base, 8 cm high

A silver Witchball table cigarette lighter by Comyns, London

A white basket of children's books including The Magic Lamp Lighter, 365 Bedtime stories, Little songs of Long ago, etc.

S. T. Dupont, Paris, 'Laque De Chine' gold plated and green/gold lacquer inlay lighter.

A mixed quantity of silver Items, including a small travelling silver cased watch, hallmarked Birmingham, 1937, a pair of Victorian circular open salts, Sheffield, 1889, a small cigarette case, a small Continental silver cased lighter, a retractable pencil, two Dutch silver novelty 'Apostle' spoons, etc., (a lot)

A George V silver 'Aladdin Lamp' Table Lighter, by Joseph Braham, hallmarked London, 1914, a/f, serpent handle mis-shapen and wick holder no longer unscrews, together with an Edwardian silver goblet with foliate decoration, stem creased, 3.75ozt, and two silver topped cut glass scent bottles, one with replacement silver cover (4)

A quantity of miscellanea including a small prayer mat decorated with the 'tree of life', wooden fruit bowl (10'' diameter), miscellaneous letter openers, one having a matching magnifying glass, pen stand, lighter, tortoise clock etc.

A group of assorted collectables, to include small oval purple guilloche enamel frame, WWII matchbox holder depicting Winston Churchill, Halcyon Days enamel box, Ronson table lighter, ebonised glove stretchers, ivory napkin ring, mother of pearl handled button hook, engine turned cigarette case, etc.

THREE VARIOUS POCKET WATCHES AND VINTAGE LIGHTER. INCLUDES MAKES INGERSOL LTD TRIUMPH, JAMES WALKER RELIANT, BULERM17 JEWELS POCKET WATCHES.

A vintage boxed Colibri of London duo-flame gold plated lighter together with a Ronson West German made lighter [WILL NOT SHIP]

An ornate Thailand Sterling silver lighter/ candle holder [11.5cm in height] [170grams]

An unusual mid 20th century petrol lighter in the form of an 18th century Blomefield cannon, with a bronze barrel 11cms (4.25ins) long, mounted on a wooden carriage with bronze wheels. The wick is located at the rear of the barrel with the reservoir behind a screw cap on the end of the barrel and the flint wheel below this in the rear of the carriage. Impressed to the underside of the carriage REG.No. 846025

A flintlock pistol tinder table top lighter.

A collection of miscellaneous items relating to various British and World Exhibitions to include New York World's Fair Pictures Official Souvenir Flash Set, Crystal Palace paper weight, Pan-American Souvenir playing cards, Glasgow Empire Exhibition 1938 moulded glass bowl, New York World's Fair 1939 silent flame table lighter, 1908 Franco-British crested china model of a suitcase and The Great Exhibition of 1851 Commemorative Album etc.

An Edwardian silver table cigar lighter, in the form of a flaming grenade, maker Stokes and Ireland Ltd (William Henry Stokes and Arthur George Ireland), Chester, 1902, h.10cm.Condition report: Four thumb dents to the underside, which can only be seen when picked up.

A Dunhill tinder pistol novelty table lighter, gilt brass with walnut handle, having flintlock hinged action, raised marks and patent number 592139 verso, 15cm.

A HALLMARKED SILVER OPEN FACE POCKET WATCH, together with a Roamer Anfibio wrist watch, cigarette lighter etc

A PACKET OF W.D. & H.O. WILLS GOLD FLAKE HONEY DEW CIGARETTES containing 18 of the original cigarettes together with a boxed Cartex electronic gas lighter and a copper Worthington ashtray (3)

Wedgwood Dip Blue Jasper Ware Jug: together with lighter Vase & black Urn, height of tallest 18.5cm(3)

Dunhill Silver Plated Standard Table Cigarette Lighter:

Two fur shrugs: Slight rip in the back of the lighter one. (2)

Tray lot of 8 Wedgwood Jasperware pieces: Largest vase 19.5cm high, 7 pieces light blue & a black Wedgwood lighter (8)

VICTORIAN OAK & MAHOGANY LINEN PRESS, ogee cornice and plain frieze above arched panelled doors, on a chest base of four drawers, shaped apron, bracket feet, 135cms wide Condition Report: old damage to shaped apron, lock lacks key, doors slightly shrunk with cracked upright, frieze veneers lifting, both sides with warped and separated back timbers, chest base loose panel to back.The press has been converted into hanging.There are no keys and the locks look seized.The back does look replaced, it looks like a lighter different kind of wood to the rest. There are splits down both sides.

A pair of carved panels, together with other, truncheons, a book slide and bagatelle boardlargest panel 29w x 41h cmCondition report: Truncheons are all solid, but dirty and quite marked. The lighter coloured example has quite a few losses from the base of the handle.

A silver shoe horn, a boxed Ronson lighter plus ladies compacts, shoe horn approx 60g

Assorted silver plated items including spoons, a brush, mirror and comb set, three plated dress watches, cut glass salt and pepper pots, a chain plus coins and a lighter

JAPANESE 950 STANDARD STERLING SILVER LIGHTER

DUNHILL LIGHTER IN CASE, along with a MaruMan lighter and a Zippo lighter (3)

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) DUTCH COFFEE Signed, pastel on buff paper(51cm x 41cm (20in x 16in))Footnote: Exhibited: Royal Academy of Arts, London 1939, Exhibition of Scottish Art Note: In his painting Robert Gemmel Hutchison strove for an essential truth: to capture a common humanity in his subjects. His charming compositions provide an insight into the late nineteenth and early twentieth-century taste for scenes of Scottish rural and domestic life. Dissatisfied with his apprenticeship as a seal engraver, the seventeen-year-old Hutchison secured a place at the Manufacturer’s School of Art in Edinburgh, where he studied under William McTaggart. Here, Hutchison cultivated an admiration for McTaggart that would endure for the rest of his life, and which in part inspired Hutchison’s loose painterly technique and interest in everyday rural life. Hutchison developed a successful artistic career – he exhibited regularly at the R.A. and R.S.A., and was elected to a number of prestigious institutions throughout the UK. He is remembered today as an important Scottish painter of the early twentieth century. Hutchison’s painting is distinguished by its considered deployment of colour: while in certain areas paint is applied in a more meditative, studied and precise manner, in other areas the application comprises of dynamic and frenetic flicks of vibrant colour. His connections with British Impressionism are clear, particularly when his figures are situated outdoors, where he demonstrates a remarkable ability to convey an immersive atmosphere through his varied brushwork. Look, for example, to the warm rays that dapple the smock of The Young Gardener, which Hutchison has conjured with careful, spare touches of pale yellow paint. Despite being composed of yellow, green and blue strokes, the surrounding foliage appears fully-realised, and seems almost to rustle with life. In On the Dunes, Holland and Dutch Coffee, Hutchison’s distinctive vision is applied to scenes of Dutch life. These are of particular interest given Hutchison’s enduring fascination with the Hague School. Hutchison visited Holland in 1905, and was profoundly inspired by the paintings he encountered there, which he felt captured the reality of daily rural life without idealisation or romanticisation. He was particularly struck by the work of Jozef Israëls (1824-1911), who painted scenes from the lives of fishermen, peasants or children. Upon his return to Scotland, he committed to painting en plein air with a looser, lighter, more painterly approach. He eschewed the sorrow that permeated Israëls’ painting in favour of more optimistic compositions rendered in lighter, softer tones. The selection of Hutchison paintings on offer demonstrate his innate ability to compose impressionistic strokes of colour into scenes that feel at once intimate and poignant.

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SAILING THE SABOTS Signed, oil on canvas(46cm x 61cm (18in x 24in))Footnote: Note: In his painting Robert Gemmel Hutchison strove for an essential truth: to capture a common humanity in his subjects. His charming compositions provide an insight into the late nineteenth and early twentieth-century taste for scenes of Scottish rural and domestic life. Dissatisfied with his apprenticeship as a seal engraver, the seventeen-year-old Hutchison secured a place at the Manufacturer’s School of Art in Edinburgh, where he studied under William McTaggart. Here, Hutchison cultivated an admiration for McTaggart that would endure for the rest of his life, and which in part inspired Hutchison’s loose painterly technique and interest in everyday rural life. Hutchison developed a successful artistic career – he exhibited regularly at the R.A. and R.S.A., and was elected to a number of prestigious institutions throughout the UK. He is remembered today as an important Scottish painter of the early twentieth century. Hutchison’s painting is distinguished by its considered deployment of colour: while in certain areas paint is applied in a more meditative, studied and precise manner, in other areas the application comprises of dynamic and frenetic flicks of vibrant colour. His connections with British Impressionism are clear, particularly when his figures are situated outdoors, where he demonstrates a remarkable ability to convey an immersive atmosphere through his varied brushwork. Look, for example, to the warm rays that dapple the smock of The Young Gardener, which Hutchison has conjured with careful, spare touches of pale yellow paint. Despite being composed of yellow, green and blue strokes, the surrounding foliage appears fully-realised, and seems almost to rustle with life. In On the Dunes, Holland and Dutch Coffee, Hutchison’s distinctive vision is applied to scenes of Dutch life. These are of particular interest given Hutchison’s enduring fascination with the Hague School. Hutchison visited Holland in 1905, and was profoundly inspired by the paintings he encountered there, which he felt captured the reality of daily rural life without idealisation or romanticisation. He was particularly struck by the work of Jozef Israëls (1824-1911), who painted scenes from the lives of fishermen, peasants or children. Upon his return to Scotland, he committed to painting en plein air with a looser, lighter, more painterly approach. He eschewed the sorrow that permeated Israëls’ painting in favour of more optimistic compositions rendered in lighter, softer tones. The selection of Hutchison paintings on offer demonstrate his innate ability to compose impressionistic strokes of colour into scenes that feel at once intimate and poignant.

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE YOUNG GARDENER Signed, oil on canvas(46cm x 36cm (18in x 14in))Footnote: Note: In his painting Robert Gemmel Hutchison strove for an essential truth: to capture a common humanity in his subjects. His charming compositions provide an insight into the late nineteenth and early twentieth-century taste for scenes of Scottish rural and domestic life. Dissatisfied with his apprenticeship as a seal engraver, the seventeen-year-old Hutchison secured a place at the Manufacturer’s School of Art in Edinburgh, where he studied under William McTaggart. Here, Hutchison cultivated an admiration for McTaggart that would endure for the rest of his life, and which in part inspired Hutchison’s loose painterly technique and interest in everyday rural life. Hutchison developed a successful artistic career – he exhibited regularly at the R.A. and R.S.A., and was elected to a number of prestigious institutions throughout the UK. He is remembered today as an important Scottish painter of the early twentieth century. Hutchison’s painting is distinguished by its considered deployment of colour: while in certain areas paint is applied in a more meditative, studied and precise manner, in other areas the application comprises of dynamic and frenetic flicks of vibrant colour. His connections with British Impressionism are clear, particularly when his figures are situated outdoors, where he demonstrates a remarkable ability to convey an immersive atmosphere through his varied brushwork. Look, for example, to the warm rays that dapple the smock of The Young Gardener, which Hutchison has conjured with careful, spare touches of pale yellow paint. Despite being composed of yellow, green and blue strokes, the surrounding foliage appears fully-realised, and seems almost to rustle with life. In On the Dunes, Holland and Dutch Coffee, Hutchison’s distinctive vision is applied to scenes of Dutch life. These are of particular interest given Hutchison’s enduring fascination with the Hague School. Hutchison visited Holland in 1905, and was profoundly inspired by the paintings he encountered there, which he felt captured the reality of daily rural life without idealisation or romanticisation. He was particularly struck by the work of Jozef Israëls (1824-1911), who painted scenes from the lives of fishermen, peasants or children. Upon his return to Scotland, he committed to painting en plein air with a looser, lighter, more painterly approach. He eschewed the sorrow that permeated Israëls’ painting in favour of more optimistic compositions rendered in lighter, softer tones. The selection of Hutchison paintings on offer demonstrate his innate ability to compose impressionistic strokes of colour into scenes that feel at once intimate and poignant.

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) ON THE DUNES HOLLAND Signed and inscribed 'Volendam' oil on canvas(46cm x 41cm (18in x 16in))Footnote: Note: In his painting Robert Gemmel Hutchison strove for an essential truth: to capture a common humanity in his subjects. His charming compositions provide an insight into the late nineteenth and early twentieth-century taste for scenes of Scottish rural and domestic life. Dissatisfied with his apprenticeship as a seal engraver, the seventeen-year-old Hutchison secured a place at the Manufacturer’s School of Art in Edinburgh, where he studied under William McTaggart. Here, Hutchison cultivated an admiration for McTaggart that would endure for the rest of his life, and which in part inspired Hutchison’s loose painterly technique and interest in everyday rural life. Hutchison developed a successful artistic career – he exhibited regularly at the R.A. and R.S.A., and was elected to a number of prestigious institutions throughout the UK. He is remembered today as an important Scottish painter of the early twentieth century. Hutchison’s painting is distinguished by its considered deployment of colour: while in certain areas paint is applied in a more meditative, studied and precise manner, in other areas the application comprises of dynamic and frenetic flicks of vibrant colour. His connections with British Impressionism are clear, particularly when his figures are situated outdoors, where he demonstrates a remarkable ability to convey an immersive atmosphere through his varied brushwork. Look, for example, to the warm rays that dapple the smock of The Young Gardener, which Hutchison has conjured with careful, spare touches of pale yellow paint. Despite being composed of yellow, green and blue strokes, the surrounding foliage appears fully-realised, and seems almost to rustle with life. In On the Dunes, Holland and Dutch Coffee, Hutchison’s distinctive vision is applied to scenes of Dutch life. These are of particular interest given Hutchison’s enduring fascination with the Hague School. Hutchison visited Holland in 1905, and was profoundly inspired by the paintings he encountered there, which he felt captured the reality of daily rural life without idealisation or romanticisation. He was particularly struck by the work of Jozef Israëls (1824-1911), who painted scenes from the lives of fishermen, peasants or children. Upon his return to Scotland, he committed to painting en plein air with a looser, lighter, more painterly approach. He eschewed the sorrow that permeated Israëls’ painting in favour of more optimistic compositions rendered in lighter, softer tones. The selection of Hutchison paintings on offer demonstrate his innate ability to compose impressionistic strokes of colour into scenes that feel at once intimate and poignant.

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) AMONGST THE BENTS, Signed, watercolour(46cm x 36cm (18in x 14in))Footnote: Note: In his painting Robert Gemmel Hutchison strove for an essential truth: to capture a common humanity in his subjects. His charming compositions provide an insight into the late nineteenth and early twentieth-century taste for scenes of Scottish rural and domestic life. Dissatisfied with his apprenticeship as a seal engraver, the seventeen-year-old Hutchison secured a place at the Manufacturer’s School of Art in Edinburgh, where he studied under William McTaggart. Here, Hutchison cultivated an admiration for McTaggart that would endure for the rest of his life, and which in part inspired Hutchison’s loose painterly technique and interest in everyday rural life. Hutchison developed a successful artistic career – he exhibited regularly at the R.A. and R.S.A., and was elected to a number of prestigious institutions throughout the UK. He is remembered today as an important Scottish painter of the early twentieth century. Hutchison’s painting is distinguished by its considered deployment of colour: while in certain areas paint is applied in a more meditative, studied and precise manner, in other areas the application comprises of dynamic and frenetic flicks of vibrant colour. His connections with British Impressionism are clear, particularly when his figures are situated outdoors, where he demonstrates a remarkable ability to convey an immersive atmosphere through his varied brushwork. Look, for example, to the warm rays that dapple the smock of The Young Gardener, which Hutchison has conjured with careful, spare touches of pale yellow paint. Despite being composed of yellow, green and blue strokes, the surrounding foliage appears fully-realised, and seems almost to rustle with life. In On the Dunes, Holland and Dutch Coffee, Hutchison’s distinctive vision is applied to scenes of Dutch life. These are of particular interest given Hutchison’s enduring fascination with the Hague School. Hutchison visited Holland in 1905, and was profoundly inspired by the paintings he encountered there, which he felt captured the reality of daily rural life without idealisation or romanticisation. He was particularly struck by the work of Jozef Israëls (1824-1911), who painted scenes from the lives of fishermen, peasants or children. Upon his return to Scotland, he committed to painting en plein air with a looser, lighter, more painterly approach. He eschewed the sorrow that permeated Israëls’ painting in favour of more optimistic compositions rendered in lighter, softer tones. The selection of Hutchison paintings on offer demonstrate his innate ability to compose impressionistic strokes of colour into scenes that feel at once intimate and poignant.

An oversize vintage cigarette lighter, The Classic Jumbo, 11cm high

Machirology - Smoking and Tobacciana - an early 20th century combination pocket knife and cigarette lighter, the side embossed in the Art Nouveau taste with with a scantily clad dancer and lilies on flowing stems, two folding blades, 9.5cm long; another pocket knife, incoroprating a cigar cutter; another, as a pipe, tamper to end; others (7)

A Must de Cartier Lapis cigarette lighter, numbered 56498V, 7cm long, carrying pouch, cased en suite

A pair of chainmail epaulets, 20cm long; a police whistle, The Metropolitan Patent, Isle of Man Constabulary, by J Hudson & Co, 131 Barr Street, Birmingham, 8.5cm long; others; a novelty cigarette lighter, as a flintlock pistol; a George III cylindrical ruler (7)

A TABLE TOP CIGARETTE LIGHTER FROM THE KENT HEADQUARTERS OF THE BRITISH RACING AND SPORTS CAR CLUB c.1960's, chrome plated with enamel badge, with original box and paper work, 6cm high

Collection of Wedgwood Blue Jasper, comprising a footed dish, a table lighter, a candle holder, bell, specimen vases, pots, etc. All in good condition.

Dunhill refillable S shaped lighter in original box and papers

Mixed lot includes tapestry backed dressing table set, wooden truncheon, silver plated table lighter etc

Dunhill - Swiss Made Silver Plated Roll-a-gas Lighter with Original Box and Paper. c.1960's. Height 2.5 Inches - 6.25 cms. Complete with Dunhill Red Leather Lighter Case and Booklet with Instructions. Excellent Condition.

S.J.Dupont - Paris - Deluxe 1960's Gold Plated Lighter with 20 Microns of Gold Plate. No R5KF95. Excellent Design / Finish. Lovely Condition. 2.25 Inches - 5.25 cms High.

An Art Deco Period Chrome Cigarette Lighter, depicting a naked dancing girl. 9" tall.