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An uncommon Bing 0 Gauge lithographed City Station building, catalogue reference 10148 of circa 1912, the main entrance hall flanked by side 'wings' originally fitted for candle-lighting, lithographed in pale cream with light blue detailing and tan fenestration and doors, a double-sided clock (showing 6.57) attached to the roof parapet, F, general deterioration to lithography, surface rusting under base, decorative globes and telegraph frame missing from roof, modern electric lighting fitted

Ace 0 Gauge modern issue C/3 group of Kit built LMS Passenger coaches (5), 1st /3rd, All 1st No.4183, All 3rd brake end with lighting accessory, Restaurant car No.4799 all with unpainted roofs and an All 3rd No. 4195 with black Roof, VG-E, boxes VG, (5)

Bachmann 00 Gauge boxed chocolate and cream Pullman Coaches with lighting (8), 39-280 Kitchen Car 'Eagle', 39-280A Kitchen First 'Car No333', 39-290 'Emerald', 39-290A 'Amber', 39-300 'Car No 332', 39-310 'Car No 347', 39-310A 'Car No 348' and 39-320 'The Hadrian Bar', all in original boxes, E, all appear very lightly run, boxes VG-E (8)

Modern Accessories for 0 Gauge by Lionel and MTH, a boxed 6-24135 Lionel Lighthouse, standing 18" high overall, fitted with lighting and foghorn sound effect, set includes UK power adapter, VG-E, together with a 'Tinplate Traditions' (MTH) No. 436 Power House in 'terracotta and cream', VG-E, boxes both VG-E (2)

A large JEP 0 Gauge Station with Signal Box and Signals (6), the station building in lithographed buff finish with Art Deco doors and illuminated clock (showing 2.38) to both sides, detailed red-tiled roofs to main building and side wings, overall G-VG, chimney appears to be a replacement, lighting appears modified, slight rusting around base of one side wing, together with a JEP illuminated signal-box (Poste No. 4, 15km from Paris) VG, and four boxed 'fixed' signals, 66L, 66V2, 6335-2 and 6335-3, all VG-E, boxes G-VG (6)

Bachmann 00 Gauge boxed chocolate and cream Pullman Cars and GWR Coaches (6) Pullman, 39-290 'Eagle', 39-280 Kitchen Car 'Emerald', 39-300 Kitchen 2nd No 332 and 39-320 Bar 2nd 'The Hadrian's Bar', all with lighting, GWR, 34-076 Collett 1st/3rd and 34-127 Collett 1st/3rd, all in original boxes, E, boxes VG (6)

Ace 0 Gauge modern issue C/10 LNER Tourist coach sets, consisting of Set A with Brake 3rd No.31856, Buffet car No.31108, Set B with articulated D and E coach No.32774 and No.32775 and Set C coaches B and C No.32772 and No. 32773, all with lighting, E, box VG-E in F outer mailer

Hornby 0 Gauge E220 Special Loco & Tender GWR green 'County of Bedford', No.3821, 3-rail electric, repainting and over-varnishing to the cab sides and roof, replacement and overpainted smoke box door and without lighting socket, overall F

Kibri Large scale wooden Continental outline Station, measuring 16*7*9 inches (41*18*23 cm) approx with a 2/3 story buildings with a Barrier to the right hand side, single door and a Buffet window to the left hand side, finished in yellow with grey base and red roof, includes internal lighting, some general wear, F-G

Kibri Large scale Tinplate Continental outline Station, mounted on a grey base measuring 19*7*11 inches (49*18*28 cm) approx, single story full length building, centre barrier, single door to the left and double doors to the right hand side, Baggage and Newspaper windows lift off roof with dummy clock detachable top section with a clockwork clock mounted on the upper parts, internal lighting all finished in white with red/ blue and green roofs, G-VG

Marklin station Cat Ref: 2012B 0 Scale Bahnhof Station, measuring 19*8*11 inches tall (48*20*28 cm) approx. with two story building, two doors to the front, business and baggage windows, detachable electric clock tower, internal lighting, finished in cream, light brown and red roof, VG

Ace 0 Gauge modern issue C/1 group of LNER Passenger coaches (4), Brake 3rd No.21508 *2 both with rear lighting, All 1st No.21397 and All 3rd No.1948 all with clerestory roofs, E, boxes VG, (4)

A Projector patented safety lamp, produced by the Projector Lamp & Lighting Co Ltd, Eccles.

A Dolls House Interior Cabinet with Contents and Lighting, Working

UNATTRIBUTED; a black and white etching, bearded elderly gentleman lighting a pipe, unsigned, 22.5 x 16.5cm, framed and glazed.

An Eccles Type GR6S miners safety lamp by the Protector Lamp and Lighting Co. Ltd. Stamped number 182 to nameplate and "Our Kid" to base.

Mixed lighting and lighting spares, electric converted oil lamp and others. Not available for in-house P&P

Bespoke, high-height, twin-axle car transporter from PRG Trailers in Cheshire. 2013 PRG ProSporter Monza twin-axle car trailer.3,500kg Gross weight ,1,250kg unladen so approximately 2,250kg payloadCustom made with 7ft height ideal for Land Rovers, VW Campers etc.Complete with a Superwinch electric planetary winch, internal lighting, and two spare wheelsWill be serviced and valeted prior to saleExternal length, back edge to tow bar 6,700mm. Back to front with out the tow bar 6,200mm. The opening width is 2,180mm. Door height is 2,200mm and internal length is 5,530mm max and 5,171mm at the narrow end Specification Make: PRG Model: PROSPORTER Year: 2013 Chassis Number: SA93500PR13198095 Registration Number: N/A Transmission: Manual Drive Side: Right-hand DriveClick here for more details and images

Carl Spitzweg 1808 München - 1885 München Fischende Kinder. 1865-1870. Öl auf Malpappe. Links unten mit der Signaturparaphe. Verso mit aufgeklebter Echtheitsbestätigung Eugen Spitzwegs vom 10. Februar 1913, Besitzeretikett sowie weiteren nummerierten und bezeichneten Etiketten, zudem mehrfach handschriftlich nummeriert und bezeichnet. 30 x 37,5 cm (11,8 x 14,7 in). • Traumhafte kleine Idylle von präimpressionistischer Lockerheit. • Besonders gelungene, koloristisch tiefgründige Landschaft, in der sich Spitzwegs Kenntnis der 'paysage intime' der französischen Schule von Barbizon zeigt. • Spitzwegs Liebe zu Theater und Oper verrät sich im bühnenhaften Einblick und die kunstvolle Lichtregie all seiner Werke. • Gemälde Spitzwegs befinden sich in den wichtigsten deutschen Sammlungen des 19. Jahrhunderts, darunter die Neue Pinakothek, München ('Der arme Poet', 1839), die Alte Nationalgalerie, Berlin, sowie die Staatlichen Kunstsammlungen, Dresden. Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. PROVENIENZ: Nachlass des Künstlers. Eugen Spitzweg, München. Sammlung Wilhelm Rudolf Molenaar, Krefeld (bis mindestens 1913: Angebot bei Helbing). Sammlung der Familie Krupp, Villa Hügel, Essen (wohl vor 1920 erworben). Sammlung Harald von Bohlen und Halbach, Villa Hügel, Essen (ab 1980/81 durch Erbverteilung der Krupp`schen Familiensammlung, bis ca. 1999). Kunsthandlung J.P. Schneider, Frankfurt a.M. Privatsammlung Bayern (2000 vom Vorgenannten erworben). AUSSTELLUNG: Villa Hügel, Essen, 10.5.-30.9.1953, Nr. 31c (mit dem Titel 'Landschaft mit Fischern'). Museum Folkwang, Essen (als Dauerleihgabe der Familie von Bohlen und Halbach, 1998/99). LITERATUR: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, Nr. 761 (m. Abb.). Günther Roennefahrt, Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, WVZ-Nr. 509 (m. Abb.). - - Hugo Helbing, München, 28.4.1913, Nr. 191 (Taf. 27). Hermann Uhde-Bernays, Carl Spitzweg. Des Meisters Leben und Werk, 5. Auflage, München 1919, Nr. 100. Auktionshaus Neumeister, München, Auktion 25.9.2000, Nr. 802 (m. Abb.). Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Spitzweg 1808 München - 1885 München Fischende Kinder. 1865-1870. Oil on cardboard. Signed with initials lower left. With a confirmation of authenticity by Eugen Spitzweg dated February 10, 1913, pasted on the reverse, as well as with a label indicating ownership and other numbered and inscribed labels. 30 x 37.5 cm (11.8 x 14.7 in). • A gorgeous little idyll of pre-impressionist airiness. • A coloristically profound landscape that reveals Spitzweg's knowledge of the “paysage intime” of the French School of Barbizon. • Spitzweg's love of theater and opera becomes evident in the stage-like view and the artful lighting typical of all his works. • Spitzweg's paintings are part of the most important German collections of 19th Century Art, including the Neue Pinakothek, Munich (“The Poor Poet”, 1839), the Alte Nationalgalerie, Berlin, and the Staatliche Kunstsammlungen, Dresden. We are grateful to Mr. Detlef Rosenberger, who examined the original work, for his kind support in cataloging this lot. PROVENANCE: From the artist's estate. Eugen Spitzweg, Munich. Wilhelm Rudolf Molenaar Collection, Krefeld (until at least 1913: offered at Helbing). Krupp Family collection, Villa Hügel, Essen (presumably acquired before 1920). Harald von Bohlen und Halbach Collection, Villa Hügel, Essen (from 1980/81, as a result of the distribution of the Krupp Family collection among the heirs, until about 1999). J.P. Schneider art dealership, Frankfurt a.M. Private collection, Bavaria (acquired from the above in 2000). EXHIBITION: Villa Hügel, Essen, May 10 - September 30, 1953, no. 31c (titled 'Landschaft mit Fischern'). Museum Folkwang, Essen (on permanent loan from the von Bohlen und Halbach family, 1998/99). LITERATURE: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, no. 761 (illustrated). Günther Roennefahrt, Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, cat. no. 509 (illustrated). - - Hugo Helbing, Munich, April 28, 1913, no. 191 (plate 27). Hermann Uhde-Bernays, Carl Spitzweg. Des Meisters Leben und Werk, 5th edition, Munich 1919, no. 100. Auction house Neumeister, Munich, auction September 25, 2000, no. 802 (illustrated). This lot can be purchased subject to differential or regular taxation.

Rudolf Bauer. (1889 Lindenwald, Posen - 1953 Deal, New Jersey). o.T. (Frau am Spiegel). Um 1910. Kohle und farbige Kreide auf Ingres J.C.A Bütten (mit Wz.). 43,5 x 56 cm. Signiert. In Punkten freistehend auf Passepartout montiert sowie unter Glas gerahmt. - Im Blattrand leicht knickspurig, vereinzelt technikbedingt leicht fleckig. Insgesamt sehr gut. Ausgewogene, fein ausgearbeitete Komposition mit raffinierter Lichtführung. Frühe Arbeit Bauers, entstanden vermutlich vor 1912, als sich sein Stil hin zur Abstraktion wandelte. Vor seiner Emigration in die USA 1939 arbeitete er eng mit der Galerie "Der Sturm" in Berlin zusammen. Bereits zuvor knüpfte Bauer u.a. über Hilla von Rebay erste Kontakte in die USA. - Die Beziehung zwischen Rudolf Bauer und Hilla von Rebay war komplex und von tiefer persönlicher sowie beruflicher Verbundenheit geprägt. Rebay, selbst Künstlerin und eine bedeutende Förderin der abstrakten Kunst, entdeckte Bauers Werk in den 1920er Jahren und wurde zu seiner engen Vertrauten und Unterstützerin. Sie spielte eine zentrale Rolle in seiner Karriere, indem sie seine Werke förderte und ihm half, in der Kunstwelt Anerkennung sowie unter anderem den Weg in solch wichtige Sammlungen wie zum Beispiel der Sammlung Solomon R. Guggenheims zu finden. Charcoal and colored chalk on Ingres J.C.A laid paper (with watermark). Signed. Mounted freestanding in dots on mat and framed under glass. - Slight creased in sheet margins, occasional light staining due to technique. Overall very good. Balanced, finely worked composition with elaborate lighting. - Early work by Bauer, probably created before 1912, when his style changed towards abstraction. Before emigrating to the USA in 1939, he worked closely with the "Der Sturm" gallery in Berlin. Previously, Bauer had already made his first contacts in the USA through Hilla von Rebay, among others. - The relationship between Rudolf Bauer and Hilla von Rebay was complex and characterized by deep personal and professional ties. Rebay, herself an artist and an important promoter of abstract art, discovered Bauer's work in the 1920s and became his close confidante and supporter. She played a central role in his career, promoting his work and helping him to gain recognition in the art world, including finding his way into such important collections as the Solomon R. Guggenheim Collection.

Otmar Engelhard. (1912 Nürnberg - 1994 ebenda). Stillleben mit Agaven. 1937. Aquarell auf Velin. Sichtmaße 52 x 68,5 cm. Signiert und datiert. Fest unter Passepartout montiert sowie unter Glas gerahmt. - Augenscheinlich insgesamt sehr gut erhalten. Harmonische Komposition, die Farben frisch. Das Werk des Nürnberger Malers war stark von seiner Tatigkeit als Entwurfszeichner für Glasmalerei geprägt. So zeichnet sich sein malerisches Werk vor allem durch sorgsam ausgestaltete, teilweise nahezu durchscheinende Blumenstilleben in Stil der neuen Sachlichkeit aus, welche die subtile Lichtführung sowie die fragile Ästhetik der Glasmalerei aufgreifen. - Besonderheit erhalten die Werke Engelhards, da ein Großteil seines Gesamtwerkes bei einem Brand während des Zweiten Weltkrieges 1939 vernichtet wurde. Watercolour on wove paper. Signed and dated. Firmly mounted under mat, framed under glass. Apparently in very good overall condition. Harmonious composition, the colours fresh. The work of the Nuremberg painter was strongly characterised by his work as a draftsman for stained glass. His painterly work is mainly characterised by carefully composed, sometimes almost translucent floral still lifes, which take up the subtle lighting and fragile aesthetics of stained glass.

A Protector Lamp & Lighting Co. Ltd. Eccles Type 6 miners lamp

A Protector Lamp & Lighting Co. Ltd. Eccles Type 6 miners lamp

Seven boxed and unused Bell Lighting Ultra LED Integrated Batten strip lights - comprising 4 x ref. 10212 30W 1500mm 4000K lights; and 3 x ref. 10200 20W 1200mm 4000K lights, all sealed in original boxes, unused.

Trumpeter RMS Titanic 'The Queen of the ocean' - 03719 - 1/200 Scale & Accessories. (5000g) (4).The kit is unused with LED lighting components. I Love Kit - 1/200 Detail Up Set.Tori Factory Titanic Animal SetTori Factory Titanic Crew & Passengers Set.Unbuilt. Box dimensions - 139x39x16cm. Condition Report - Very Good

A 20TH CENTURY OAK AFTER CHARLES RENNIE MACKINTOSH DINING TABLE AND EIGHT CHAIRS  dining table with narrow rectangular top on square supports joined by pierced shaped aprons either side 74cm high x 220cm long x 103cm deep and eight high backed dining chairs with pierced slatted backs over upholstered seats on square tapering supports joined by stretchers, 152cm high x 48cm wide x 46cm deep (9) Condition Report:"Dining suite is in a good overall condition with dining table exhibiting minor surface wear to top and supportsChairs are in a similar such condition with some tiredness to upholstered drop in seatsChairs show some slight variation in darkness of stain which is exasperated by lighting used in photography"

A collection of eight boxed Revell plastic model kits in the form of military planes, jets and helicopter, including two Tornado ECR's, Tornado IDS, Tornado ECR Tigermeet 98, F-15 A "Tigermeet", Puma Tigermeet Eurocopter SA 330 (all 1:144 scale), Tempest Hawker Mk V & BAC Lighting F.6 (both 1:72 scale) - all contents unchecked

A Zero 88 Jester 24/48 lighting desk with power cable, adaptor and manual

Model railways, Woodland Scenics of Missouri Just Plug Lighting System accessories to include JP5716 Light Block Kit x4, JP5715 Light Diffusing Window Film x2, JP5772 Power Supply x3, JP5702 Expansion Hub, JP5717 Tidy Wire Kit x4, JP5701 Light Hub, JP5725 Auxiliary Switch x2, JP5646 Wooden Pole Street Lights, JP5647 Arched Cast Iron Street Lights x2, JP5648 Double Lamp Post Street Lights x4, JP5649 Lamp Post Street Lights x4, JP5630 Wooden Pole Street Lights x4, JP5631 Arched Cast Iron Street Lights, JP55632 Double Lamp Post Street Lights x2, JP5633 Lamp Post Street Lights x3, JP5638 x3, JP5639, JP5640 x2, JP5641 x3, LED stick on lights, Wall Mount Lights etc. each in original packaging. (~75)

G PLAN TEAK 1970s BOOKCASE/DISPLAY CABINETwith glazed doors to top cupboard and lighting, above a central open shelf with two door cupboard below, 81 x 198 x 46cm

The Protector Lamp & Lighting Co., Ltd., Eccles miner's safety lamp, No. 29, H25cm and three others

A collection of vintage advertising 'Kleenff' mop (The Cooker Cleaner) applicators, 'Eureka' knitting pins, 'Fields' lighting tapers and other similar examples. (Qty)

Aloysius O'Kelly RHA (1853 - 1936) The Christening Party (1908) Oil on canvas, 68.6 x 91.4cm (27 x 36'') Signed and dated 1908 (lower right)Provenance: The Artist's family; With Gorry Gallery, Dublin 1981; Collection of the Hon. Francis D. Murnaghan Jr., thence by descentExhibition: Dublin, Gorry Gallery, February 1981, No. 13; Dublin, National Gallery of Ireland, The Irish Impressionists, 1984, No. 25.Literature: Niamh O’Sullivan, Gorry Gallery, An Exhibition and Sale of 18th - 21st Century Irish Paintings, 2024; O’Sullivan, Gorry Gallery, An Exhibition of 18th - 21st Century Irish Paintings & Sculpture, 2011; O’Sullivan, Aloysius O’Kelly: Art, Nation, Empire, Field Day, 2010; O’Sullivan Re-orientations: Aloysius O'Kelly: painting politics and popular culture, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1999; Julian Campbell, The Irish Impressionists, National Gallery of Ireland,1984.In 1874, O’Kelly became one of the first Irish artists to study at the École des Beaux-Arts in Paris where he was admitted to the prestigious studio of Jean-Léon Gérome; separately he studied portraiture with Léon Bonnat; in addition, his early experiments in plein-air painting in Brittany were the foundations on which his work evolved.There is a striking stylistic cohesion between O’Kelly’s paintings set in Brittany in two phases, the late nineteenth century and the early decades of the twentieth century, but these converge in two almost identical paintings dated 1908 and 1909 called The Christening Party and L’auberge. By coincidence, both have come up for sale within a few months of each other. O’Kelly tended to date paintings destined for major exhibition venues such as the Royal Academy, the Royal Hibernian Academy and the Paris Salon. And indeed he did exhibit a painting in the Salon in 1909 called L’auberge. The Christening Party thus predates the all-but-identical L’auberge. One surmises that he intended this painting for the Salon, but found an early buyer, and so painted a second version for Paris the following year.The painting features a group of adults joyously holding their glasses of cider aloft. This version was given the title The Christening Party when it was exhibited in the Irish Impressionists exhibition in the National Gallery in 1984, although it not clear that it is indeed a christening, as the child must be about two-years of age, and the focus is more widely dispersed: the oval disposition is designed to lead the eye around the painting in an inclusive way.O’Kelly was the first Irish artist to discover Brittany in the 1870s and was influential in drawing other Irish artists such as Thomas Hovenden and Augustus Burke there. Moreover, in recognizing the historical, cultural and ethnic connections between Ireland and Brittany, O’Kelly was at pains to counter the negative stereotyping of marginalized people. The American critic, E.L. Wakeman noted that '[t]hrough the grime and slime of their hard cold lives a few things must stand luminously revealed …. the people of Ireland and those of Brittany are the closest of kin and from one common Celtic stock, the affection and family ties, and to neighbourhood and communal yearnings, find here universal expression to a degree that almost approaches pathos'. (Wakeman's Wanderings, Weekly Inter Ocean, 7 January 1890). Wakeman went on to cite their respective ‘love of and reverence for babies’, as shines through here. O’Kelly’s paintings of both Irish and Breton people insistently reflect a hard-working, healthy and dignified people, as projected here.O’Kelly moved around Brittany over more than a fifty-year period. From the distinctive clothes, the setting in this painting can be identified as the pays de Rosporden (around Concarneau and the Fôret de Fouesnant): the women wear white linen coiffes and wide collars, dark skirts, fitted bodices, embroidered waistcoats, and heavy wooden sabots; the men woollen jackets, waistcoats, bragoù-bras, black gaiters and felt broad-rimmed hats.The table and the rush-woven Breton chairs are timeless, but other aspects identify the painting as early twentieth century, notably the visible hair of the women (previously, no self-respecting girl would have herself painted with her hair even partially uncovered). Over time, O’Kelly’s Breton landscapes and seascapes became increasingly and iridescently impressionistic, while his interior scenes retained their structure and hark back to Dutch seventeenth-century interiors and, more contemporaneously, the work of American artist, Robert Wylie. Executed towards the end of the first decade of the twentieth century, the dark interior of The Christening Party, connects these paintings to a considerably earlier form of genre painting, characterized by academic draughtsmanship and conventional painting skills. Notwithstanding their archaism, the compression of so many figures in The Christening Party into such a confined space demanded considerable skill, in addition to which he countered the apparent informality of the figures by granting to each an individualised physiognomy. The loose yet controlled brushwork, broad values, and strong contrasts evident in the portraits are a testament to Bonnat's realist teaching.The treatment of the still life on the upper shelf verges on the semi abstract and contrast with the narrative details that include the man pouring the drink with his left hand on his companion's shoulder, the young girl wiping the bowl, the man lighting his pipe, the shadowy figure in the background squatting low to tap the cider.The painting is full of gesture and expression. Notwithstanding the dark interior, the play of light on form, on the bottles and glasses, on the rugged furniture, on the animated faces of the figures, is typical of O'Kelly, an artist who painted sometimes separately, sometimes coterminously tightly and precisely, and loosely and freely.Prof. Niamh O'Sullivan, October 2024 Condition Report: Very good overall condition Under UV inspection very minor florescence appears particularly in the figure, see images The frame with loss to the mid right as indicated in the catalogue image, other areas of the frame with cracking, splitting, evidence of old glue repairs and one section missing from the back of a piece of relief carving on the left hand side of the frame, see all images for further details

Wolff, Dr. Paul -- Rome. 1940s. Vintage ferrotyped gelatin silver print on doubleweight paper. 23,7 x 17,2 cm. Photographer's Frankfurt am Main stamp, annotated in pencil and subject and agency label on the verso.The German photographer Dr. Paul Wolff is best known for his pioneering work in portraiture and modern photographic techniques. His innovative approach to lighting and composition continues to influence the medium's evolution and secures his enduring legacy in the history of photography. – Corners bumped with some chipping to emulsion, some light surface scuff marks, otherwise in very good condition.

Jacobi, Lotte -- Ballettschule Eduardowa. 1930. Vintage gelatin silver print. 16,7 x 16,2 cm. Signed in lower right corner of recto; photographer's copyright stamp and annotated in pencil on verso.Lotte Jacobi is renowned for her intimate and engaging portraits, utilizing dramatic lighting and composition to capture the true essence of her subjects. Her portfolio includes striking photographs of ballet dancers, in this case those from the Ballet School Eduardowa in early 1930s Berlin, which highlight the elegance and energy of their performances. Jacobi's fusion of artistic vision and technical prowess has established her as a significant and celebrated figure in the history of photography. – Corners slightly bumped, some scuff and pressure marks, otherwise in good condition.

Dennis Creffield (1931-2018)Lighting Up, Aldersgate, 1999signed and dated (lower right)oil stick on paper56 x 76cm. Generally good condition with some light toning.

CHANGE TO WEIGHT; ROBERT & WILLIAM SORLEY JEWELLERS & SILVERSMITHS; a one hundred and thirty-two piece hallmarked silver Victorian Kings and Queens pattern canteen of cutlery, belonging to Sir James Bell, 1st Baronet, Marlborough Terrace Glasgow, Lord Provost, each piece with coat of arms, stamped Glasgow 1895, comprising twelve tablespoons, twenty-four table forks, twelve dessert forks, twelve dessert spoons, twelve table knives with stainless steel blades, twelve small table knives with stainless steel blades, twelve fish forks, twelve fish knives, twelve fruit forks and twelve fruit knives, combined approx 268ozt/8335g, cased in travelling box with iron handles and iron corners. PLEASE NOTE CORRECT WEIGHT IS 268OZT/8335G. Provenance: A magnificent full set of one hundred and thirty-two items of solid silver 1895 in Kings and Queens pattern, made by Robert and William Sorley, Glasgow. This cutlery is in its original travelling box/case and is lined in green. There are three trays which lift out independently. The cutlery is in excellent order, a truly magnificent unique set and rare find. The one hundred and thirty-two pieces are all marked with the Bell crest on the front and the crest of Sir James Bell Baronet on the reverse. Both engravings were commissioned for Sir James Bell Baronet and Lord Provost of Glasgow 1892-1896. Bell was made Baronet by Queen Victoria for his hard work in social housing affairs and for bringing electric lighting to the streets of Glasgow. Sir James was an extremely keen yachtsman and in 1886/7 completed in the America's Cup against America in his ship 'Thistle'. Unsuccessful in the race, he returned to Europe and sold the vessel to Kaiser Wilhelm II German Emperor, and the yacht 'Thistle' was renamed 'Meteor'. Sir James was Vice Commodore of Royal Clyde Yacht Club, Glasgow. The cutlery is in an unassuming and insignificant travelling box with substantial iron carrying handles and reinforced iron corner brackets. It is likely to have been used aboard his yachts. Condition Report: PLEASE NOTE THE CORRECT WEIGHT SHOULD BE 268.9ozt/8335g Fish knifes and forks have hollow stems and are solid so have been weighted. The larger knifes with steel blades have not been weighed as handles are filled. Fish knife handles have different decoration but years match. Each piece engraved with family crest/motto, tarnishing, light scratches and scuffs, especially to knifes and fork tips, but generally good condition.

A dolls' house modelled as a General Store, with three interior floors, containing figures, furniture, shop fittings and stock, with wiring for battery powered lighting, 69 x 40 x 32cm. Condition Report: This lot is sold for decorative purposes only, and you must ensure that testing is completed by a qualified electrician before use.mid 20th century

A Tudor-style dolls' house, double front door with rooms to the interior, with furniture and figures, fitted for battery powered lighting, 64 x 64 x 40cm.Condition Report: - This lot is sold for decorative purposes only, and you must ensure that testing is completed by a qualified electrician before use.

A small pair of spelter Marly horses, on later wooden bases, a pierced brass trivet, a pair of brass candlesticks, a Protector safety lamp from the Protector Lamp & Lighting Co Ltd, Eccles, Manchester, Type 6, a pair of boot spill vases, a further brass stand in the form of Wilberforce House, Hull, a brass lidded coal bin, also two green onyx soap dishes and a lidded casket.

Powder blue glazed lamp by E F Caldwell & Co Inc, New York, of baluster form with finely cast gilt metal mounts and flamiform, dating to first quarter of 20th century.86cm high including fittingsProvenance:Private collection, 58 Melton Court, London, SW7The base of this lamp is marked E F Caldwell & Co, Inc, New York. Edward Caldwell & Co Ltd were premium quality manufacturers of Lighting, Chandeliers, Clocks, and other decorative items. With a foundry, drawing office and shop on West 15th Street, the company existed between 1895 and 1959, producing items for the wealthy of New York.The lamp has gilt brass cap and base to the vase, with gadrooned details. Wired for 5amp (untested), gilt silk flex and black torpedo switch, twin bulb bayonet fitting with adjustable brass finial surmounted by a flamiform knop. The vase in very good condition with only minor surface dirt and no apparent damage, the ormolu mounts showing a few scratches particularly to the base.Supplied with a box pleated silk shade (the plastic coating to the wire frame of the shade is peeling in places but otherwise in good condition)

Manuscript Minutes of meetings of the committee of The Commissioners for Lighting, Cleansing, and Watching for the Town of Tralee (involving Gas Works for Tralee) Over 400 pages of detailed minutes . First entry September 1946 (Famine Years). Members of the committee included Henry Blennerhassett, Chairman and Cornelius McGillicuddy. Unique

GLEN GRANT 1969 33 YEAR OLD HART BROTHERS SPEYSIDE SINGLE MALT Distilled: 10/1969Bottled: 01/2003Matured in Sherry Wood51.5% ABV / 70cl Glen Grant was the first distillery in Scotland to have electric lighting installed, thanks to its forward-thinking owner, and all-round colourful character, Major James Grant. Grant was an innovator who was one of the first people to realise the potential of exporting whisky abroad. Initially, this paid dividends, and in 1897 The Major began construction of a second distillery across the road. However, as was the case with so many distilleries built around this time, Glen Grant 2 was mothballed after just a few years. Although, it did re-open in 1965 under the name Caperdonich.While it might not be a household name in the UK, Glen Grant is consistently one of the top selling single malts in Italy due to the groundwork laid by legendary importer Armando Giovinetti in the 1960s. It, therefore, seems appropriate that the distillery is now owned by Campari, an Italian company. Fill level is in mid neck. There is some rusting to the tube lid. Please see additional photos.

A model tavern/dolls house with electric lighting and furniture.Dimensions:- Approx. 46cm x 40cm x 82cm height.

A VINTAGE BRASS PROTECTOR LAMP & LIGHTING ECCLESSAFETY LAMP

A LARGE QUANTITY OF VINTAGE SUBBUTEO ITEMS TO INCLUDE TEAMS (SOME INCOMPLETE), THE WORLD CUP, FLOOD LIGHTING, SCOREBOARD, FLAGS, A STADIUM AND VARIOUS OTHER ACCESSORIES

TWO BRASS LAMPS TO INCLUDE A VICTORIAN MINIATURE PARAFFIN LAMP WITH GLASS FUNNEL AND A PROJECTOR LAMP AND LIGHTING CO TYPE 6 MINERS LAMP

Mixed lighting accessories including LED strips, motion sensor. Not available for in-house P&P

A LARGE PAIR OF RED AND GILT LACQUERED PAPIER-MÂCHÉ BALUSTER VASE LAMP BASES 20TH CENTURY With foliate waisted necks, the bodies with figures by buildings in river landscapes within key-pattern borders, on giltwood bases, adapted as table lamps with shades 71cm high, 109cm high overall including shades Provenance: Polly Peck International PLC., Phillips, 19th February 1991, Lot 251 The Guy Reed Will Trust, Copgrove Hall, Yorkshire Condition Report: ELECTRICAL GOODS. These are sold with a 2024 portable appliance test (PAT) certificate With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The lighting fitments are actually on an adjustable internal rod allowing the whole fitment to be raised- at full extension the overall height including current shades is 128cm With some mild rubbing and wear to gilding as per handling, dusting. One with a small dent and area of loss to shoulder and with small radiating cracks visible to the other side of shoulder. Shades- these have suffered from heat and have been scorched Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

AN EDWARDIAN MAHOGANY DISPLAY CABINETwith serpentine shaped front, on square tapering legs and with fluted frieze 71cm wide, wired for lighting (locked open; no key)

AN EDWARDIAN EBONISED DISPLAY CABINETwith an arrangement of glazed doors, the two taller doors canted, and with wide overhanging cornice, on square tapering legs, with Art Nouveau details 152cm high x 120cm wide (wired for LED lighting)

ASSORTED CERAMIC BASED LIGHTING including Chinese blue and white table lamp, 79cms (h) (5)Provenance: private collection Conwy

VINTAGE BRASS LIGHTING including set of eight two-branch wall lightsProvenance: private collection Conwy

VINTAGE METALWARE to include lighting, 'Cambridge' pole thermometer, 177cms (h), etc.Provenance: private collection Conwy

GOOD VINTAGE LIGHTING including square based brass and leaded glass hanging lantern and an elaborate twin-shade pendant table lamp etcProvenance: private collection Conwy

10x bottles of BBQ Lighting fluid and a home made BBQ built from an oil drum

ITEM: Oil lamp depicting a lion, Type Bussière E IX 31 - Atlante X A1 aMATERIAL: PotteryCULTURE: Late Roman, ChristianPERIOD: 5th - 7th Century A.DDIMENSIONS: 50 mm x 70 mm x 115 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Christian oil lamps, primarily dating from the late Roman period into the Byzantine era, played a dual role in both practical illumination and religious symbolism. These lamps were often simple in design, reflecting the modest roots of early Christianity. Made typically of clay or metal, they had small, flat bodies with one or two nozzles where wicks could be inserted, and they were fueled by olive oil. As Christianity spread throughout the Roman Empire, Christian iconography began to appear on these lamps, with motifs like crosses, fish, doves, and other symbols representing faith and the promise of salvation. These lamps were used in Christian households, places of worship, and even catacombs, where they provided light and carried symbolic meaning, illuminating spaces as well as representing spiritual enlightenment.The decoration of Christian oil lamps varied widely depending on the time and region. Early examples often used simpler motifs, but as Christianity became more widely accepted, the symbols on these lamps grew more elaborate and distinctively Christian. In the Byzantine period, for instance, lamps might display scenes from biblical stories, the Chi-Rho (a symbol for Christ), or other sacred imagery. Archaeological finds of these lamps in churches and graves underscore their spiritual role, often being placed with the deceased as symbols of hope and eternal life. These lamps helped Christians subtly express their faith, especially in the pre-Constantinian period when they faced persecution.Christian oil lamps also reflected the evolving role of religious art and worship in Christian communities. Beyond functional lighting, these lamps served as teaching tools for the illiterate, using symbols to communicate complex theological concepts.

ITEM: Lidded boxMATERIAL: PotteryCULTURE: Chinese, Hoi An shipwreckPERIOD: 15th Century A.DDIMENSIONS: 33 mm x 55 mm diameterCONDITION: Good conditionPROVENANCE: Ex Butterfield & Butterfiel auction with oficial Hoy An Hoard labels.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Byzantine oil lamps, used widely from the early Byzantine period (circa 4th century CE) to the fall of the empire, were essential items for daily life, religious practices, and symbolic rituals. These lamps were typically made of clay, bronze, or occasionally glass, and fueled by olive oil, which was readily available in the Mediterranean. Byzantine lamps generally featured a closed, often circular body with a nozzle for the wick and a handle for easy transport. Many were decorated with Christian symbols, such as crosses, fish, and chi-rho monograms, reflecting the profound influence of Christianity in Byzantine culture. These lamps provided light in homes, churches, monasteries, and public buildings, illuminating both daily and sacred spaces within Byzantine society.The design and decoration of Byzantine oil lamps evolved over time, showing the influences of earlier Roman models as well as the rise of new artistic styles. Early Byzantine lamps retained Roman features, such as the use of terracotta and simple, functional forms. However, as Christianity became more established, the iconography shifted to incorporate Christian symbols, saints, and religious scenes. Some lamps were inscribed with prayers or invocations, which were thought to provide spiritual protection or blessings. Additionally, Byzantine lamps often bore intricate floral or geometric patterns that showcased the empire’s skilled craftsmanship. This decorative approach made Byzantine lamps not only functional lighting devices but also aesthetic objects that conveyed religious and cultural identity.Beyond their use as practical tools, Byzantine oil lamps had religious and symbolic significance. Oil lamps were used in churches to symbolize the presence of divine light and as offerings in Christian rituals, reflecting themes of enlightenment and spiritual guidance. They were also placed in tombs as part of burial rites, possibly to light the way for the deceased in the afterlife.

ITEM: Oil lampMATERIAL: PotteryCULTURE: ByzantinePERIOD: 6th - 7th Century A.DDIMENSIONS: 50 mm x 80 mm x 100 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Byzantine oil lamps, commonly used between the 4th and 15th centuries AD, played a crucial role in illuminating homes, churches, and public spaces across the Byzantine Empire. Typically made from clay or metal, these lamps were designed with a shallow bowl to hold oil, and a spout for the wick, allowing for a controlled flame that provided steady light. Clay lamps were the most affordable and widely available, often made in simple molds for easy production, while wealthier individuals used bronze or brass lamps that could be highly decorative. The use of these lamps reflects the importance of artificial lighting in Byzantine daily life and religious practices, especially given the early Christian emphasis on light as a symbol of divine presence.Byzantine oil lamps often featured Christian iconography, reflecting the deeply religious character of Byzantine society. Designs included symbols such as crosses, fish, doves, and Chi-Rho monograms, each serving as a visual expression of faith. The lamps were sometimes inscribed with biblical phrases or prayers, believed to bring protection and blessings to the household. In religious settings, lamps were used in churches and monasteries to illuminate icons and altars, creating a sacred atmosphere that enhanced worship. For the Byzantines, light was not only practical but also imbued with spiritual significance, representing Christ as the “light of the world.” The religious motifs and inscriptions on these lamps were thus intended to remind users of their faith in everyday life.Archaeologically, Byzantine oil lamps have been found throughout the Mediterranean and Near East, highlighting the extensive reach and influence of Byzantine culture. Lamps were traded widely, with distinct regional styles reflecting local materials and artistic preferences, while still adhering to the overarching Byzantine aesthetic. Some lamps were produced in major centers such as Constantinople, while others were made in smaller workshops across the empire.

A captivating elegy about spring realism, the last quarter of the 19th century. An exquisite still life that immerses the viewer in the world of spring realism. The canvas skillfully focuses attention on the colors of spring, playing in the embrace of light and shadow. Particular attention is paid to lighting effects, which allows one to reveal a subtle and multifaceted chord of lilac-blue, azure and yellow-brown tones. The artist demonstrates courage in choosing complex angles, organically fitting them into the picturesque depth of the light-air environment. This tremulous and flaming world lives the gentle life of lilac, creating a unique atmosphere on canvas. Artist`s signature: bottom right Leonine MATHA. Materials: Canvas, oil. Dimensions: 46 x 38 cm Width: 63cm, Height: 55cm, Depth: 10cm, Weight: 6kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11181