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Lot 653
An early 20th century Chippendale style display cabinet on stand, the pierced broken pediment over an ogee moulded cornice over dental moulding and a blind fretwork frieze, the astragal glazed cupboard door with a blind fretwork surround, the base with a bow front top over a pierced fretwork frieze on square tapering legs with further blind fretwork, and pierced spandrel angles joined by a shelf and terminating in spade feet, 62cm wide, 41cm deep and 190cm high
Lot 18
Colwin Way (UK) burr elm hollow form 19x13cm. Signed My earliest recollection of Ray was way back in the mid 80’s when I was an apprentice turner and the first woodworking show I ever went to at Alexandra palace, London. Ray was demonstrating next to another great turner and one of his closest friends Bert Marsh. At that time I didn't personally know either of them but was captivated by their banter and obvious skill and dexterity they had of the craft. It was a show and they were entertaining people including me, from that day I remembered the names of these two entertainers and both became a source of constant inspiration however it was Rays book, The woodturners workbook that I bought back around 1993-4. It was this book that later helped me with the choice of collaboration piece I’ve been lucky enough to work on. Since then I found myself almost being thrown into the mix, working alongside Ray on many occasions and enjoying many of his stories and words of advice. Ray had a way of making the hardest of tasks sound so simple in fact the phrase “keep it simple stupid” is something many people now associate with Ray’s voice and a lesson I learnt fairly early on. I like to think that it might of been an exchange of insults between Ray and Bert at one of those early shows that gave birth to the saying, but others may know different. If you knew Ray then you will know that he always had time to speak, even if he was busy, he always wanted to give advice in the kindest but most honest way. I’m very proud to of been asked to take part in a tribute to Ray and collaborate of a piece of his work. I chose the piece for its shape initially, as a classic Ray Key shape, when I received it through the post I will admit to be slightly concerned just how much live woodworm was in it but this was it, this was the piece and like many of the other turners who took part in this collaboration there was no turning back now! I stood the piece in the workshop for about six weeks, high on a shelf in plane view hoping to get some inspiration. Nothing was coming to me, then I started seeing people submit these wonderful creations and thought, how am I going to compete and do Ray justice. it started to become a bit of a worry if Im honest, until one day I looked at The Woodturners workbook and on the front cover Ray had a picture of a beetle ridden piece of white Ash made by Dale Nish. Almost at the same time I heard Rays words “keep it simple stupid”, of course, stop over thinking, let the wood talk. So.. I kept Rays form true to Ray, purely hollowed out the vessel and textured it with a wire brush then cleaned out the woodworm holes before Microwaving the piece to dispatch any critters that may of been left alive. So this is how I came to turn this piece and another valuable lesson from Ray to me,Keep it simple stupid!!! The Ray Key Collaboration Auction
Lot 3626
Mouseman: A Robert Thompson of Kilburn English Oak Prayer Desk, the sloping top above a panel with a carved Yorkshire rose, enclosing a shelf, on two supports and sledge feet joined by a floor stretcher, with carved mouse signature, 39cm wide, 32cm deep, 72.5cm high Provenance: From St.Hilda's Priory, Whitby, North Yorkshire.
Lot 803
An Edwardian inlaid mahogany low seat open armchair, with a padded back above slender arms and square spindles, raised upon legs of tapering square section and castors, 84cm high, also an Edwardian mahogany drop leaf occasional table with a single shelf and frieze drawer, 72cm H x 48cm W x 46cm H (2)
Lot 820
A reproduction walnut and burr yew lamp table, 20th century, the circular tray top centred with a burr yew panel, above three drawers raised on slender curvi-linear legs with a shaped under shelf, 71cm H x 31 cm D, with a reproduction mahogany side table on slender legs of tapering square section, 73cm H x 65cm W x 25 cm D (2)
Lot 2422
OAK COURT CUPBOARD, the canopy above an inlaid panel inscribed Ye XXV Daye Januarie 1640 between carved panels and the initials CE and above a carved crest of the Cavendish family and other panels, a shelf inlaid with the motto Unto Us A Child Is Borne, two cupboards flanking an inside panel, the base with a pair of carved doors and geometric inlay, height 218cm, width 150cm, depth 53cm Ref: MacQuoid (P), A History of English Furniture: The Age of Oak, p154 (opposite) for an illustration of this court cupboard and pp 156-157 for a description.
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