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Glass Bowl with Collection of Shells

Mother of Pearl Shells etc

Palissy style majolica crab plate, decorated with moulded sea shells to the border and sand textured centre, 13" diameter

Interesting 18th century polychrome-painted lozenge-shaped hatchment, decorated with an angel's head over a banner with geometric forms and scallop shells, oil on board, 42" square, within an ebonised frame ** provenance - Abbey House, Malmesbury, Wiltshire

Magpie lot of toilet mirror, binoculars, First Aid box and contents together with tin of sea shells, hand magnifying glass, revolving musical biscuit tin, wire bird cage etc ( 2 boxes)

Half shelf to include picture frames, shells, brass items, school hat etc condition requests and additional images will not be given for lots in this sale.

A VICTORIAN SILVER SIX DIVISION TOAST RACK BY JOHN GILBERTBIRMINGHAM 1856With a central loop handle, six scroll bars, pierced and engraved with shells and foliate scrolls, engraved with crest in a shield shaped reserve and on four shell feet, 20cm (8in) long, 601 grams (19.3 oz)Condition Report: Marks clearBowedWobblesEngraving crispNo apparent repairs to the barsLight scratches and wear commensurate with age and use.Condition Report Disclaimer

AN EDWARDIAN SILVER ROSE BOWL, WALKER & HALL, SHEFFIELD, 1903 the circular bowl chased below the beaded rim with a broad band of shells and acanthus, the short pedestal foot with similarly chased border, underside with stamped trademarks and numbered 52262 30.5cm diameter, 1478gr (47oz)

A BRONZE-GILT MOUNT, ITALIAN, 16TH / 17TH CENTURY quatrefoil, openworked with a bust of St Catherine in a roundel surrounded by the foliate foils with shells between 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*

A VICTORIAN SILVER SALVER, EDWARD BARNARD & SONS, LONDON, 1857 with a scroll moulded rim interrupted by shells, engraved with the initials JCS and surrounding band of flower-filled scroll foliate panels, on three splayed scroll panel feet, retailer"s stamp to underside "A.B.SAVORY&SONS / CORNHILL / LONDON" 21cm diameter, 329gr (10oz)

A PARIS PORCELAIN "NATURALISTIC" PART TEA SET, FLAMEN-FLEURY, SECOND QUARTER 19TH CENTURY shell moulded and with red coral handles, realistically painted, with gilt rims, comprising a teapot and cover, a milk jug with pink and gilt bubbled interior, a sugar bowl and three cups all with gilt interiors, and three saucers and a pair of dishes of scallop form, red stencil marks "Flamen / Fleury / à Paris" teapot 22cm long (12) Flamen-Fleury of 169 Rue du Faubourg-Saint-Denis, were well-known for their novel and naturalistic wares. At the 1827 "Exposition des produits de l"industrie française" the firm were praised for displaying a dessert service where the "plates, coupes, bowls imitate shells with a perfect illusion" (Adolphe Blanqui, "Historie de l"Exposition des produits de l"industrie française en 1827", Paris, p.166).

An English Silver-Hilted Hunting SwordLondon Silver Hallmarks For 1749, Maker's Mark, Probably Of John RoweWith curved fullered blade double-edged towards the point and retaining traces of etched decoration on both sides of the forte, hilt cast and chased in relief with shells and foliage against finely punched grounds, centred on a 'Green Man's' mask on the downbent shell-guard, at the centre of the knuckle-guard and on the back of the pommel, the latter with button and extending down the back of the grip, quillon-block with a lion-mask on each side, rear quillon formed as a human head, and natural buckhorn grip 60 cm. bladeFor further information on this lot please visit Bonhams.com

A Continental 'Transitional' Rapier Mid-Late 17th Century, Probably French Or GermanWith tapering double-edge blade of flattened diamond section with central fuller on each side of the forte stamped 'Vdeus', hilt comprising small shell-guard pierced with scrollwork centred on a fleur-de-lys on the outside, and with three scallop-shells on the inside, straight slender writhen quillons with fluted knop terminals, side-ring with double central feature en suite, fluted compressed globular pommel with foliate button finial, and grip bound with twisted iron and brass wire 83.5 cm. bladeFootnotes:ProvenanceSold in these Rooms, Antique Arms and Armour, 4 April 2007, lot 227For further information on this lot please visit Bonhams.com

An Irish Brass-Barrelled Flintlock BlunderbussBy F. Lord, Dublin, Circa 1760With heavy two-stage barrel turned and flared at the muzzle, engraved 'DUBLIN' at the breech and decorated with a band of foliage at the rear, engraved tang, signed border engraved rounded lock (cock retaining screw replaced), figured full stock (some old bruising, fore-stock with old split along both sides), border engraved brass mounts decorated with foliage and scallop shells, comprising side-plate, butt-plate, trigger-guard, and shaped escutcheon engraved with owner's crest, a Baron's coronet above, plain turned ramrod-pipes, and later wooden ramrod (tang and lock with some old pitting), Irish proof marks and Lord's barrelsmith's mark 43.5 cm. barrel Footnotes:The crest is that of Robert King (1724-1755), 1st Baron Kingsborough of Co. Sligo, or his brother Sir Edward King (1726-1797), 5th Baronet who in 1764 was created 1st Baron of Kingston of Kingsborough, in 1766 1st Viscount Kingston, and in 1768 1st Earl Kingston Francis Lord is recorded working in Dame Street, Dublin in 1745, 1752 and from 1760 until the year of his death in 1774. He also worked for the Irish Board of OrdnanceCf. a pair of flintlock pistols by the same maker and sold in these Rooms, Antique Arms & Armour..., 24 April 2013, lot 461For further information on this lot please visit Bonhams.com

A Fine Austrian 22-Bore Percussion Silver-Mounted Sporting GunMid-18th Century, Rebuilt From Flintlock In The Mid-19th Century, Probably VienneseWith barrel retaining some blueing and with raised sighting rib over most of its length, silver fore-sight centred on chiselled symmetrical foliage involving a shell on each side and against finely punched gilt grounds, the breech section chiselled in relief with a landscape scene involving Meleager armed with a quiver and presenting the boar's head to the seated figure of Atalanta, a female profile bust within a crowned palm wreath above surmounted by drapery issuing from a satyr's mask, all within symmetrical arrangements of strapwork and foliage against finely punched gilt grounds, breech and bolster, tang and dolphin hammer all decorated en suite, rounded lock chiselled with a sportsman shooting a hare in a landscape inhabited by wildfowl on a lake, all within a scalloped border and against finely punched gilt grounds, moulded figured full stock (replaced at the muzzle) carved in relief with foliage and involving a grotesque mask behind the barrel tang, full mounts cast and chased in low relief against finely punched gilt grounds and comprising shaped side-plate with gundogs and game in a wooded landscape, crowned escutcheon with a bust of Diana framed by strapwork and crossed palms, butt-plate with the figure of Diana in a landscape surmounted by a hound's mask, a female mask, a female portrait bust against a crossed bow and quiver, and a grotesque mask against a shell, drapery issuing from its mouth, all along the heel tang within foliate borders, the plate with a panel of symmetrical foliage and shells en suite, crowned owner's coat-of-arms above probably engraved at the time of conversion, and old armoury number 'No. 274' below, trigger-guard and rear ramrod-terminal en suite, the former with a hound and fallen boar in a wooden landscape on the bow, baluster ramrod-pipes, replacement dark horn fore-end cap, and contemporary ramrod with horn tip 96 cm. barrelFor further information on this lot please visit Bonhams.com

A rare set of three Georgian silver butter shells with crested armorials. London 1770. By William Abdy. Approx. 221 grams. Est. £700 - £800.

A collection of rocks, fossils and shells.

A PAIR OF CANNON SHELLS

Two natural shell pin cushions and a similar needle case, comprising a swirling pearl shell with pin stuck edge and velvet base, 5cms, a pair of shells with gold foil edges and green cloth infill, 3.5cms, and a pair of scallop shells pierced and laced with green ribbon opening to reveal two needle flannels, 8cms. (3) A Connoisseur's Collection

Four natural shell pin cushions, comprising two pairs of open shells one with velvet infill the other silk, 3cms and 2cms, another with red velvet ribbon and infill, 4.5cms, and a pair of ribbon tied mussel shells opening to reveal a silk pin cushion and a pair of needle flannels, latter mothed, 8cms. (4) A Connoisseur's Collection

A velvet painted emery and a pin cushion, the emery in brown and ivory velvet segments the latter painted with an amusing face, 4cms, and a pin cushion formed from a pair of open natural shells edged in gold foil, the painted velvet infill inscribed 'Matilda', 3.5cms. A Connoisseur's Collection

A fine late 18th Century French Palais Royal sewing case of shell form, the mother of pearl lid engraved with leaves and scrolls, quiver and bow with two raised and carved shells. The hinged silver frame retaining traces of original gilding and engraved with leaves and flowers, ribbands, torcheres and griffins, on two bun feet to angle the box. The interior of the lid lined with silk and complete with squab, the flush fitted velvet base with a full complement of mother of pearl tools comprising mother of pearl thimble with gold shield, two gold mounted reels, a quiver of arrows needle case with blue enamel and gilt pansy motif, a reversible crochet hook, a similar stiletto, a pair of steel bladed scissors, the arms carved as jugs (one lacking handle) and mounted over a snowflake winder, a cut glass cornucopia scent bottle with gold chain and cover, a bodkin, and a miniature gold mounted 'purse' with coral drops, the box 13 x 11 x 4.4cms.

A 19th Century hair embellished purse, formed from scallop shells, each side pierced and embellished with hair and gilt faceted pins, the knitted drawstring purse in stripes of bright and dull gold, with ball terminals to the drawstrings, some small elements of hair lacking, 7.5cms. A Connoisseur's Collection

A pale blue painted three drawer counter chest, the top with Dewhurst's Three Shells Sylko Machine 50 Twist' label, 30.5 x 23 x 14cms. From the collectionof Susan Franklin Part 1

Selection of Large Calibre Inert Shells including 3 x WW2, 20mm cases and heads ... Russian 23x152 case and head ... 2 x 37mm L60A1 rubber bullets ... 40x46mm practise L8A1 round.  14 items.

Three Various Inert Artillery Shells and Heads consisting 1917 dated, 20 cwt., 3 inch brass shell with steel head ... Similar example, dated 1939 ... 1942 dated, 2 pounder, CF brass shell with steel head.  3 items.

A box of sea shells

A box of shells.

Four boxes of assorted items including wooden breakfast trays, Peacock and other bird feathers,sea shells, place mats, sauce pans etc

A Regency toleware log/coal bin, the domed cover applied with two painted panels depicting rural landscapes, below the gilt painted button handle, the oval bin with reeded side handles and embellished with painted gilt shells and scrolled foliage, raised upon four cast paw feet, 50cm H x 53cm W x 35cm DCondition reportOverall light corrosion, scratches and tarnishing marks including on the two painted panels, with rubbing to the gilt on the handles and decoration, with some paint drip marks indicating some light restoration, top doesn't sit quite flush creating a slight overlap, see image. Wear commensurate with age and use 

A Victorian tortoiseshell and ivory needle case, of knife box pattern, the sloping lid opening to reveal ivory divisions, 5cm high, together with a 19th century vesta case, created from a seed pod with silver coloured mounts, 4.5cm high, a shell pill box, 5.5cm wide, another shell pill box, 8.2cm wide, a 19th century purse decorated with shells, 8.3cm wide, three Victorian and later ivory coloured purses, and a further selection of Victorian and later objects of virtue (Qty) Trevanion Auctioneers & Valuers do not ship items containing ivory outside the UK. Trevanion recommends that buyers check with their own government regarding any importation requirements prior to placing a bid. A buyer's inability to import these lots cannot justify a delay in payment or sale cancellation.The government have proposed legislation to create a UK law to ban the sale of all ivory. Please note this means that this lot is legal to sell now but may not be in the future. 

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A BRONZE BUST OF A YOUNG GIRL WITH SHELLSVietnam, Bien Hoa School of Applied Arts, Second half of 20th centuryDark patina. A Bien Hoa 边和 mark to the back of her neck. Affixed to a wooden stand.H (stand incl.): 19 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE

A Pearlware Box Containing Six 1950s Napkin Rings, Made From Shells

A Collection of Vintage Sea Shells etc

Three glass storage jars containing shells, sea coral and sea glass

An early 19th century wheel barometer, in mahogany case, by Dring & Fage, No. 20 Tooley St., Borough, with inlaid shells and flower heads. 8inch (20cm) silvered dial. 100cm highCondition report: Restored sometime ago, mercury tube appears intact, dial has some wear to left edge

A Copeland Florentine ware chalice, c1894, crisply moulded in relief with dancing girls and flowering plants, the bowl supported by shells, 25.5cm h, printed mark, a Copeland bone china blue and white turret shaped pastille burner, a turquoise leaf shaped dish and a later Staffordshire earthenware figure of a saggar maker (4) Florentine chalice - top of stem restored. Leaf dish - slightly stained and wear to gilding

Two Italian cameo carved bull's mouth shells, 19th c, one with the Three Graces, the other with Hebe, 18 and 20cm Good condition with some peripheral chipping that is not too noticeable. The cameo carved of accomplished quality

A circular Florentine  giltwood mirror, early 20th c, the frame of scrolling foliage with double shells at intervals, 72cm diam Glass with small black spot, the frame in good condition with original discoloured gilding

Six Royal Worcester pearlware sweetmeat dishes in the form of a shell with dolphin supports, 11.5cm high and four Royal Worcester cornucopia shells, 7cm high CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com

Six late 19th Century French salon chairs with upholstered seats and padded backs, the frames applied shells, arabesques, drapes etc./Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com

A PAIR OF EARLY GEORGE III SILVER BOMBÉ TEA CADDIES BY EMICK ROMERLONDON 1762With flower finials to the quartered slightly domed covers with gadrooned rims, chased with shells, cartouches in rocaille frames and pendant flowers to the angles, gadroon and shell lower rims, each on four bead and scroll foliate feet, engraved with an armorial and a crest, 14cm (5 1/2in) high, 563g (18.1 oz)The arms are for Richard CHAPMAN (1742-1803) of St Michael Cornhill, London who in 1763 married Jane COTTIN (born 1745) the daughter of Josiah and Jane COTTIN a Huguenot family originally of Fontaine, France. From the assay of 1762 it might be expected that this item was created for their marriage. Richard CHAPMAN was the second son of Richard CHAPMAN (born 1710) and Anne WALBURGHE (born 1710) sometimes WHALESBURY or WHALISWORTH of Whalisborough, Cornwall the daughter and heir of Simon WALBURGHE (1666-1727) and Hannah ANTHONY (1670-1746).Condition Report: One cover a bit loose. Light scratches and nicks commensurate with age and use, clear marks beneath, standard & makers to covers clear, arms good, one crest good the other worn, both stand wellCondition Report Disclaimer

Y A PAIR OF CHINESE EXPORT SILVER MOUNTED MOTHER OF PEARL POSY VASESMAKER'S MARK WA (UNKNOWN) CANTON, CIRCA 1850-85The shells within wirework leafy tendrils, each on three simulated bamboo supports, 9.5cm (3 3/4in) high; and a gilt metal mounted mother of pearl snuff box, the cover carved with figures and pavilions, 7.5cm (32in) long (3)Condition Report: Light scratches and wear commensurate with age and use. Vase 1: a leaf missing from the end of two tendrils, others have worked loose from the shell but all ok. Vase 2: all leaves worked loose but OK. Box fineCondition Report Disclaimer

AN ITALIAN SILVER SHAPED OVAL WINE OR CHAMPAGNE COOLER BY CARLO VALLÉ SNCMILAN POST 1968, .925 STANDARD, POST 2000With twin bold acanthus scrolling handles, the scroll foliate rim with shells, the lobed bowl centred by two central vacant cartouches on scroll, foliate, flower and rocaillework reserves, with pendant flowers and further foliage, the lobed oval pedestal with complementary chasing, 46cm (18in) long, 2998g (96.4 oz)Condition Report: In good condition, no splits or dents, no wear to decoration, sits well, clear mark on foot and beneathCondition Report Disclaimer

AN ITALIAN SILVER SHAPED OVAL WINE OR CHAMPAGNE COOLER BY CARLO VALLÉ SNCMILAN POST 1968, .925 STANDARD, POST 2000With twin bold acanthus scrolling handles, the scroll foliate rim with shells, the lobed bowl centred by two central vacant cartouches on scroll, foliate, flower and rocaillework reserves, with pendant flowers and further foliage, the lobed oval pedestal with complementary chasing, 57cm (22 1/2in) long, 4577g (147 oz)Founded by Mario Vallé, sculptor and engraver, who in 1931 he opened his first workshop in the Navigli area of Milan, a district always in much favour among artists and artisans. As a skilful master craftsman, he was deeply engaged in engraving, embossing and hammering. His sons, Carlo and Alberto, continue to this today.Condition Report: 29cm (11 1/2in) high, no faults, clear marksCondition Report Disclaimer

A LATE GEORGE III SILVER 10 INCH SHAPED CIRCULAR SALVER BY PAUL STORRLONDON 1811The raised gadrooned rim with anthemion on shells and with anthemion at intervals, on four foliate bracket feet, engraved with a crest and motto, later presentation engraved beneath, 26cm (10in) diameter, 693g (22.3 oz)Condition Report: 'Knife' marks as usual, nicks and scratches commensurate with age and use, marks clear, sits well, small dent at 4 o'clockEngraved beneath 'Charlotte J. Parke from C. J. Parke, March 1893'Condition Report Disclaimer

A SILVER CIRCULAR SALVERCANCELLED MARKS, LONDON ASSAY OFFICE HALLMARKS 2021The border cast in relief with female heads, half eagles, vacant asymmetric shields, lionesses and lion cubs all divided by fruiting vines and bordered by scrolls, leaves and shells, the centre engraved with a shield and crest within a band of the National Flowers, on four bold shell and lion head bracket feet, 53cm (20 3/4in) diameter, 3694g (118.75 oz)The arms of John RIDLEY (1781-1842) of Northumberland. The blazon: gules, on a chevron between three falcons close argent as many pellets (RIDLEY) - impaling - quarterly 1,4: argent, a lion passant gules, on a chief of the 2nd three acorns leaved and slipped or (JOHNSON). 2,3: or, a chevron gules between three martlets sable (MOORE); crest: a bull passant gules, the tail turned over the back (RIDLEY) John Ridley (1781-1842) was born in Northumberland the son of John Ridley (1754-1839) who was born at Hexham, Northumberland, by Mary MUSGRAVE (1754-1842). He married, in 1804, Elizabeth JOHNSON (1781-1842) and it is likely to be this event that the salver was commissioned for. This particular branch of the Ridley family shares the arms of Baron Wensleydale (created 1756) and the later Viscounts Ridley (created 1900) and it is this noble branch of the Ridley family that I would suspect are the benefactors of the salver. The family John and Elizabeth are otherwise poorly documented and we note that there is lack of any noble augmentations as part of the engraving. Condition Report: Full marks under salver, border with standard and duty marksEngraving is crispLight scratches and wear commensurate with age and useCancelled marks were transposedCondition Report Disclaimer

[BATTLE OF SAN DOMINGO INTEREST] A GEORGE III SILVER SHAPED OBLONG TWIN HANDLED TRAY BY WILLIAM BENNETT LONDON 1810 With fruiting vine chased handles, the gadrooned rim with anthemion, shells and fruiting vine at intervals, similar motifs to the incurve, on four fruiting vine and flower openwork bracket feet, engraved with a coat-of-arms and a presentation inscription, 74.5cm (29 1/4in) long, 6669g (214.4 oz)The inscription reads 'This plate was presented to The Honble. Vice Admiral Sir Alexander Cochrane, Knight of the Honourable Order of the Bath, by The Insurance Association of Barbadoes, In testimony of their esteem & as an acknowledgement as well of his many & meritorious Services during his Command on the West India Station as of their sense of his Gallant Conduct in the Naval Engagement off St Domingo when in the Northumberland of 74 Guns he laid himself along side of the French Ship Imperial of 120 Guns & after an Action long & bravely maintained on both sides forced the Imperial to retire from the fire of the Northumberland upon the adjacent Rocks of St Domingo where she was totally destroyed'.The coat-of-arms of Admiral of the Blue Sir Alexander Inglis Cochrane, GCB (born Alexander Forrester Cochrane; 1758-1832). He was a senior Royal Navy commander during the Napoleonic Wars and achieved the rank of admiral. He conducted operations against the French and Spanish on 6th February 1806 at the Battle of San Domingo during the Napoleonic Wars. A cannonball blew his hat off his head while he was on the deck of his flagship, HMS Northumberland. He was appointed Knight Commander of the Order of the Bath on 29th March 1806 in recognition of his service. Other rewards included thanks from both Houses of Parliament, freedom of the city of London, a sword valued at 100 guineas as well as the present lot. Condition Report: Nicks and scratches commensurate with age and use small shallow dent to left of left hand supporter. Marks, decoration and engraving crisp. Sits wellCondition Report Disclaimer

A LATE GEORGE III SILVER SHAPED RECTANGULAR INKSTAND BY REBECCA EMES AND EDWARD BARNARD ILONDON 1814The square taperstick with a chained extinguisher and a gadrooned rim, sitting on a central box, flanked by the cut glass cube wells with silver covers, the stands with two pen wells, the gadrooned rim with shells and foliage at the quarters, on four winged flower and paw feet, 25cm (9 3/4in) long, 642g (20.65 oz) weighableCondition Report: Well collars- maker, standard, date, duty; covers- maker, standard, dateGlass- both with minor nibbles overall, one with chip inside collar, the other with two angle chips to side both approx 0.5cm x 0.5cm and one corner base chipTaperstick-maker, standard, date, duty; extinguisher- unmarked (bruise to one side); sconce- duty, standard, date; holders- maker, duty, standardBase- full marks (all well struck)In most cases the makers marks poorly struck. Generally in good condition, no dents or splits, sits well.Presentation engraved to box and a later In Memoriam dated 1869 to a pen wellCondition Report Disclaimer

A GEORGE IV SILVER ROUNDED SQUARE FOUR BOTTLE DECANTER STAND BY WILLIAM BATEMAN ILONDON 1823With a central rectangular handle with incurved angles, leaf-capped shell and scroll supports, threaded canted-square decanter and circular stopper holders, on rose, shell and scroll supports, the base with a gadrooned rim with shells at the angles, on anthemion, acanthus and paw feet, engraved with a crest, 31cm (12 1/4in) high, 1327g (42.6 oz)The crest for BEREEL, BOREEL, BURELL, BURRELL and REICHENBERG. 

A pair of 19th Century papier-mâché shell dolls, a man and a women with painted black hair, blue eyes, jointed wooden arms, him with rigid legs and hat, her with jointed legs, headdress and colourful apron, covered in shells with a crab and a shell of shells in each hand, on wooden bases, under glass domes --10¼in. (26cm.) height with dome (one dome damaged at base)

A basket extensively decorated with seaweed and shells under a glass dome, 27cm highCondition report: Glass dome with chips to base, some seaweed and shells are detached, chips to wooden base

An East African pouring vessel, Turkana, carved wood together with an old east African basket with lidded cover decorated with cowrie shells and another Turkana container made from animal skin (3)Provenance: Tomi van Duuren collection

A Pair of Victorian Silver Shells, 10cm, Birmingham 1897, Deakin & Francis Ltd., 89g

Three Trench Art style brass shells

A pair of late 17th century French tapestry panels of cherubs, with flowers, fruit and parrots, standing above scallop shells, later framed, 152 x 41cm, overall 161 x 50cm

14 various Parker fountain pens and 12 Parker propelling pencils and roller balls, together with leads and 3 pen shells

A Boxed Britain's 155 mm. Gunn. 3 Shells are Missing legs do not close.

Six mixed tank shells