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Lot 1635
AN EARLY VICTORIAN ROSEWOOD OCCASIONAL TABLE, of rectangular form, on a slender tapered cylindrical column with a moulded base, with an X shaped plinth and four foliate carved feet, height 73cm x width 51cm x depth 37.5cm (condition: top slightly sloped and with some splits and surface scratches commensurate with age and use, the petals of the foliate feet have suffered losses over time)
Lot 1637
A GEORGE III OAK THIRTY HOUR LONGCASE CLOCK, broken swan neck pediment with pierced brass rosettes fluted frieze above brass capped fluted columns, the 12'' (30.5cm) silvered dial with brass spandrels, Roman and Arabic numerals, subsidiary seconds dial, painted lunar phase/date aperture, inscribed Willm Lister Halifax, shaped trunk door flanked by quarter columns, plinth base with bracket feet, height 220.5cm (pendulum and one weight)
Lot 813
TEN ROYAL DOULTON LIMITED EDITION BUNNYKINS FIGURES, 'Bath Night' DB241, No3814/5000, on plinth, 'Mermaid' DB263, No1594/3000, 'Deep Sea Diver' DB273, No2227/3000, 'Britannia' DB219, No387/2500, 'Cowboy' DB201, No1254/2500, 'Indian' DB202, No539/2500, 'Judy' DB235, No1754/2500, 'Mr Punch' DB234, No682/2500, 'Minstrel' DB211, No1146/2500 and 'Businessman' DB203, No3366/5000 (10)
Lot 1675
A GEORGE III OAK LONGCASE CLOCK, moulded pediment above the hood door flanked by half doric columns, brass dial with pierced brass spandrels, chapter ring with Arabic and Roman numerals, subsidiary seconds dial and date aperture, eight day movement, 11 inch/28cm dial named S. Moore, Tewkesbury, plain rectangular trunk door and plinth base, overall height 207cm, with pendulum and weights (condition: overall good condition, some minor chips to case, case needs to sit on a block to keep it standing straight, not seen working)
Lot 848
FOURTEEN BOXED LILLIPUT LANE SCULPTURES FROM THE COLLECTORS CLUB, 'Forget-Me-Not' 1992/3, 'Heaven Lea Cottage' 1993/4, 'Woodman's Retreat' 1994/95, 'Porlock Down' 1995/96, 'Meadowsweet Cottage' 1996/97, 'Hampton Manor' 1997/98, 'The Pottery' 1998/99, 'The Good Life' 1999/00, 'Beekeepers Cottage' 2000, 'Old Scumpy Farm' 2001/02, 'Two Pints Please', 2002/03, 'The Chocolate Factory' 2003/04 (chimney loose), 'The Enchanted Garden' 15th Anniversary, with plinth and badge and 'Happy 21st Birthday' (21st Birthday Collectors Club) with plinth (no deeds), all with deeds except where mentioned
Lot 1672
A GEORGE III OAK LONGCASE CLOCK, the broken swan neck pediment with brass rosette mounted scrolls centred by a brass eagle on an orb, with brass capped doric columns flanking the hood door, brass dial with pierced gilt spandrels, chapter ring with Arabic and Roman numerals, subsidiary seconds dial, painted lunar phase mechanism, 12''/31cm dial named J. Batty, Halifax, the trunk door flanked by quarter columns, on a plinth base, overall height 223cm, with pendulum and weights (condition: split right hand side of plinth and missing kick board, dial has patches of tarnish, other areas of general wear, not seen working)
Lot 1674
A GEORGE III OAK LONGCASE CLOCK, moulded cornice on brass capped doric columns flanking the hood door, brass dial with silvered pierced spandrels, chapter ring with Arabic and Roman numerals, subsidiary seconds dial, eight day movement, 11 1/4''/28.5cm dial with brass name plaque 'N. Baker, Hull', plain trunk door and plinth base, overall height 194.5cm, with pendulum, weights and winding key (condition: some pieces of wood missing to pediment and trunk door, hand missing to seconds dial, name plaque over engraving, not seen working)
Lot 692
An Edwardian mahogany, satinwood crossbanded and marquetry inlaid longcase clock , the silvered chapter ring set with Roman numerals and subsidiary seconds dial, the movement striking on eight bells and a flat coil wire, housed within a hood set with a swan neck pediment, brass finials and columns, above a shaped long door and plinth base, 46cm wide, 28cm deep, 246cm high
Lot 363
A dramatic bronzed spelter group, of a Franco Prussian War period French dismounted dragoon officer holding a sword and carrying a battered standard with bullet hole, and a colonial Zouave holding a Chassepot rifle with fixed bayonet, the base signed "Louis Moreau", mounted on a circular plinth with superimposed foliate panel embossed "Vaincre ou Mourin". Overall height 25½". GC
Lot 1232
A rare Sutcliffe clockwork tinplate single hull Bluebird boat. In white and light blue with gold painted detailing, with Union flag/Jack and Sutcliffe decals, complete with propeller and rudder. Together with an original card display plinth and its plain Sutcliffe dispatch box GC-VGC minor age wear for both. Plate 2 £100-150
Lot 27
A large French 19th century gilt metal Gothic style Cathedral mantle clock, bell strike, having pierced dial with Roman numeral chapter ring backed by red enamel, movement plate stamped "St.Nicolas" and "Medalle da R'Gent, Paris 1823", height 61cm, in working order, raised upon plinth base within original glass dome.
Lot 76
Cricket Interest: An Edwardian silver and light oak "cricket trophy" inkstand, by Fattorini & Sons Ltd, assayed Birmingham 1911-12, having central 'cricket ball' inkwell with engraved seam detail and glass liner, with silver stumps to either end and pen holder to front, all on light oak plinth base raised upon four silver ball supports and with applied silver presentation plaque "Presented to Mr. Henry Taylor by The Vice-Presidents & Members of the Rusthall C.C in recognition of his services", length 26.3cm.
Lot 155
A Louis XVI style white marble and gilt-bronze garniture de cheminee, the portico-style clock with drum movement, painted enamel Arabic dial and urn surmount, the pair of candelabra of urn form with twin acanthus-wrapped branches on tapered pedestals and square plinth bases, H 26cm W 17.5cm (clock)
Lot 101
Rosemary Wright (UK) burr elm lidded vessel 14x14cm. Signed I was always a bit in awe of Ray as one of the “top guys” but his humour and down to earth approach put everyone at ease. The highlight for me was the 20th Anniversary AWGB seminar of 2007 when I was chosen for the Tony Boase award. He couldn’t have been more generous with his encouragement and I learnt a lot from his critiques as we shared the same love of form and preference for a simple aesthetic, famously verbalised as “keep it simple stupid”! It is impossible to overestimate his contribution the world of woodturning in this country. I chose what I thought would be the easiest piece to work on from his collection, as, although thrilled and honoured to be invited to the collaboration, coward that I am, I was terrified of making a mess of it! It sat untouched in my workshop for weeks and weeks while I wracked my brains for some ideas. Ray’s form was very pleasing to me and I didn’t want to change it and I didn’t see how I could develop it “in my own style”. I have been doing some colouring and texturing recently but didn’t want to detract from the natural beauty of the wood but I thought the more defined tool marks Ray had left towards the rim could be highlighted with colour and it would be lovely to keep that original input from him. So, I decided to hollow the bowl, highlight a band of Ray’s tool marks with white milk paint and gilt wax, and make additions that I could be freer with. I made a lid from burr elm and created an ebony and holly “leaf” finial that referenced my “leaf” series. The lidded bowl needed elevating, so I made a grooved rectangular platform and a beaded round plinth, both in Asian striped ebony, that referenced earlier work. I think the collaboration worked well in the end. The Ray Key Collaboration Auctionn
Lot 11
Betty Scarpino (USA) Spalted beech carved egg on plinth 13x10cm. Signed It seemed that Ray Key was a bigger-than-life woodturner, so I was quite excited when he traveled to Indianapolis many, many years ago, to demonstrate for our local woodturning club. I looked forward to his visit, to learn new skills from his demonstration. I was not disappointed! He was an excellent craftsman, maker, and demonstrator. Throughout the years when I also began demonstrating, our paths would cross, always an enjoyable encounter. At one point, with mutual admiration for each other’s work, we traded pieces. I still enjoy looking at his exquisite little box. My woodturning has evolved to include carving and painting, so when I thought about what to make out of the little piece of spalted beech, I wanted to honor Ray’s craftsmanship and style, yet add my own influence. An egg shape with a carved ribbon seemed to encompass both Ray’s aesthetic, as well as my approach to artmaking. The pedestal presents the egg in a way that I think Ray would appreciate. I would definitely put Ray on a pedestal for all that he’s shared with woodturners worldwide. The Ray Key Collaboration Auction
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173487 item(s)/page