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A TRAY OF MOSTLY TREEN TO INCLUDE AN EMPTY CUTLERY CANTEEN, SPEAR HEAD, SHELLS ETC

Three boxes of reference and other books to include: George Borrows 'Wild Wales' (1955 edition), David Attenborough's 'The Life of Birds', 'A New Dictionary of Birds' edited by A. Lansborough Thompson (second impression 1965), 'World War II' by Ivor Matanle, 'The Impressionists' illustrated volume , 'The Encyclopedia of Shells' Kenneth R Wye, 'Audubon's Quadrupeds of North American', 'The Francis Jones Treasury of Historic Carmarthen', 'A Lost Garden in Time' by Penny David, First edition ex library copy of 'The Pictorial Encyclopedia of Birds' (1967) etc. (B.P. 21 + VAT)

George III (1760-1820), Pre-1816 issues, Proof Twopence, 1797 (late Soho), in bronzed-copper, edge plain, 4mm flan thickness, 46.15g/12h (BMC 1076 [KT 3]; Selig –; S 3776). Tiny carbon spot by nose, otherwise brilliant mint state, most attractive and very rare; in original metal shells [one incorrectly labelled ‘Peck 1079’] £1,000-£1,500 --- Provenance: Spink Auction 202, 25 March 2010, lot 193, recté BMC 1076

George III (1760-1820), Pre-1816 issues, Pattern Halfpenny, 1788 (late Soho), by J.-P. Droz, in brown-gilt copper, laureate bust right, rev. Britannia seated left on globe, leaf-and-berry pattern border to robe, edge render to cesar the things which are cesars :, 16.17g/12h (BMC 966 [DH 11]; Selig 1333). Brilliant and virtually as struck; in original felt-lined metal shells £500-£600 --- Provenance: Warwick & Warwick Auction 630 (Warwick), 11 February 2009, lot 189

Nuprol Sierra Storm series shotgun and 4 shells

René Lalique (French 1860-1945), 'Coquilles No2', No.3201, an opalescent glass shade with a glass halo and mounts attributed to the Breves Galleries, Designed 1924, engraved R. Lalique France, No.3201, Moulded as four overlapping shells, with brass mounts and chains, the opaque and frosted glass halo sits on the mounts and has three clips that hold it in place, Coquilles approximately 21 cm diameter, with halo 44.5 cm diameter Coquilles has been drilled to support the mounts and chains, as is typical for bowl shade.  Mounts have not been removed and condition appears to be alright. Brass mounts have aged and tarnished and natural wear.  The halo has some chips that have been frosted over on the inside rim and are not noticed when in place. Some dirt and marks.

A GEORGE III SILVERGILT RECTANGULAR VINAIGRETTE with a row of shells around the sides and vine leaves with grapes in low relief on the cover, by Samuel Pemberton, Birmingham 1816 (original morocco leather case); 2" (5 cms) long; 1.5 oz

A PAIR OF EDWARDIAN CUSHION-SHAPED ENTREE DISHES & COVERS rectangular with gadrooned borders, foliate shells in the corners and detachable handles, by Harrison Bros. & Howson, Sheffield 1905; 11.25" (28.5 cms) long; 116.95 oz (2)

A GEORGE V FOUR-PIECE TEA SERVICE with rounded rectangular bodies, winged paw feet and borders of gadrooning with foliate shells, the milk jug & sugar bowl with gilt interiors, by Edward Barnard & Son Ltd., London 1931; the hot water jug 9" (23 cms) high; 66.45 oz (4)

A GEORGE II WAISTED SNUFFERS TRAY with a shaped & moulded border, interspersed with shells, flat-chased decoration and four feet, crested, by John Cafe, London 1754; 8.25" (21 cms) long; 11.25 oz

Lot sea shells

Two boxes containing a quantity of sea shells

Selection of N Gauge body shells for locomotives, coach chassis, tender kit etc. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Tridacna and Lobatus Gigas, Shells, A collection of various sea shells, to include a Giant Clam, half shell, approx 36cm, a Queen Conch, a Spiny Conch, a Cowrie, half a Scallop shell and others

Aliger Gigas/ Strombus Gigas, Mollusca, a collection of Pink Conch shells, together with a small selection of others, plus a piece of coral and some minerals, including rose quartz (parcel)

Spares and repairs, a collection of telephon repair and spare equipment, to include receivers, dials, fuses, shells, speakers and more (parcel)

A pair of marquetry tea caddies. Decorative shells to hinged lids and flowers and stringing to front. Internal lids and silver paper liners. VGC. £40-60

A pair of George V silver butter shells, Atkin Bros. Sheffield, 1920, 12cm, 111 grams.

Cased Robins, a small glass terrerium plus a selection of large sea shells in wicker basket

A selection of headlamp shellsincluding Lucas and Wipac together with an acetylene lamp and generator, close inspection advised (Qty)Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Colin Reid (b.1953): Untitled, cast and polished optical glass, with blue shells, signed Colin Reid 2008 R1461, 34.5cm wide 15cm high See illustration Artists' Resale Rights/Droit de Suite may apply to this lot, please refer to Terms of Business .Tiny nicks to tips.Click HERE to view a video of this lot 

NEW ORDER PERFORMANCES 1998 TO 2001. An interesting mix of memorabilia following their first split and come back, to include letter and itinerary for Reading 1998, The Beach CD with mixes from 17/9/99 plus a bottled sand and shells gift to Peter and last but not least tickets, passes and the large guest list for their comeback gig at The Apollo, Manchester on 5th October 2001.Strange how these little things frame the night and are sometimes the best memory of them. ‘The Beach’ film by Alex Garland was our comeback as New Order with ‘Brutal’... the song didn’t appear well in the film as they never do, but I felt it was a great comeback. At the Manchester Apollo, we would set the record for the biggest guest list ever…..Over 1000 people... and also set the record for the least money ever earned from a ‘Sold Out’ gig, because of the said guest list!

An unusual lamp, composed of shells and coral48w x 25d x 60h

Imperial German and German Third Reich steel helmet shells

A Great War German drinking cup bearing an engraved inscription "Souvenir Ypres 297 POW, 1914 to 1918" with depictions of hearts and artillery shells

Three WW2 shells along with a White Star lamp

An Edwardian Art Nouveau cased miniature Grandfather Longcase clock having stencilled decoration with boxwood and stained green panels depicting scrolls & shells. Arched pediment top with barrel clock movement and stepped plinth base. Appears to work correctly. Measures 30 cm tall.

Two 19th century mother-of-pearl decorated shells with suspension. Holland, Scheveningen, Kurhaus + fisherman's wife in the dunes. Dimensions: 18 x 20 cm. In good condition.

A SHELL-WORK SAILOR'S DOUBLE VALENTINE, 'FOR MY MOTHER', BARBADIAN, 19TH CENTURY,the hinged octagonal mahogany cases mounted with geometric designs comprising white, pink, purple, green, and iridescent shells, one with love heart and rose motifs to the centre, the other reading 'FOR MY MOTHER', each with glazed top, 12in (30.5cm) wide when closedFor further information on this lot please visit Bonhams.com

A SMALL SHELL-WORK SAILOR'S DOUBLE VALENTINE, 'A PRESENT FROM ST LUCIA', ST LUCIA, 19TH CENTURY,the hinged octagonal mahogany cases mounted with geometric designs comprising white, pink, blue, and green shells, one with love heart and rose motifs to the centre, the other reading 'A PRESENT FROM ST LUCIA', each with glazed top, 9in (23cm) wide when closedFor further information on this lot please visit Bonhams.com

A SHELL-WORK SAILOR'S DOUBLE VALENTINE, BARBADIAN, 19TH CENTURY,the hinged octagonal mahogany cases mounted with geometric designs comprising white, pink, purple, and green shells, one with love heart motif to the centre, the other with rose motif to the centre, each with glazed top, 12 1/2in (32cm) wide when closedFor further information on this lot please visit Bonhams.com

A SHELL-WORK SAILOR'S VALENTINE, BARBADIAN, 19TH CENTURY,the octagonal mahogany case mounted with geometric designs comprising white, pink, purple, and green shells, with love heart motif to the centre, with glazed top, 14in (35.5cm) wideFor further information on this lot please visit Bonhams.com

A SMALL SHELL-WORK SAILOR'S DOUBLE VALENTINE 'FORGET ME NOT', BARBADIAN, 19TH CENTURY,the hinged octagonal cases mounted with geometric designs comprising white, pink, purple, and yellow shells, one with love heart motif to the centre, the other reading 'FORGET ME NOT', each with glazed top, 9in (23cm) wide when closedFor further information on this lot please visit Bonhams.com

Registration No: GVT 646Chassis No: Y254735MOT: ExemptPLEASE NOTE: This lot is now offered with No ReserveOne of just 5 Martin Ford Specials known to have survivedSubject to restoration finishing in c.2016 and offered in British Racing Green with contrasting black interiorOffered with a number of documents including communications with Martin Plastics surrounding the purchase of the bodyIn the immediate post-war years and for quite some time afterwards, mainstream sports cars were simply beyond the fiscal reach of most enthusiasts and most new cars were destined for export. Because of this, the Specials (or Kit Car) movement was born. Frederick E. Martin became Martin Plastics Maidstone LTD in 1953, and are thought to be one of the first to offer glass-fibre shells, second only to R.G.S. Still trading today under Martin Coachworks Ltd, the company built approximately 500 cars, but only 5 are thought to have survived to this day.GVT 646 was registered in 1962 with the body purchased in 1956 and utilises a 1939 Ford Prefect as the donor car with a Ford 100E 1172cc sidevalve engine paired with twin SU carbs. Subject to restoration finishing c.2016, GVT comes accompanied with a number of historic invoices, informative documents and the V5C. The vendor rates the condition of the engine, electrical equipment, paintwork, transmission and gearbox and interior trim as ‘Good’, with the bodywork ‘Very good’. Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762

Registration No: 430 XVKChassis No: BN1- L224662MOT: April 2022Supplied to the USA in left hand drive configurationFinished in desirable 'Ice Metallic Blue'Fitted with uprated '3000' front disk brakesDonald Healey's eponymous company built a prototype two-seater sports car for display at the 1952 London Motor Show. It was based on Austin A90 Atlantic mechanicals and sported a notably sleek body designed by Gerry Coker and built by Tickford. It was dubbed the 'Healey Hundred' (a moniker chosen to reflect the car's ability to reach the magic 100mph), and, subject to a suitably encouraging response, Healey planned to build production versions in-house at his factory in Warwick. As things transpired, not only did the Ice Blue prototype more than impress the public, but also so excited Austin's Managing Director, Leonard Lord, that he struck a deal to build the car in volume at Longbridge. The newcomer was renamed the Austin-Healey 100/4. The rest, as they say, is history.The 100/4's chassis was a departure from the company's previous backbone designs and comprised a pair of three-inch square box-section side members running the length of the car, some 17 inches apart. These were braced by parallel and cruciform cross-members to which the steel floor pressings were attached. After the first 25 cars had been constructed at Healey's own premises in Warwick, the production of the mainstream bodyshells was turned over to Jensen. Once complete, the shells were transported to Longbridge, where the Healeys were assembled alongside the A90.The early examples (code named BN1s) were equipped with the same 90bhp 2660cc engines and manual four-speed transmissions as the A90 though, in an unusual move, Austin modified the gearbox so it operated as a three-speed unit with overdrive on the top two ratios. The car had 11-inch drum brakes all round. The front suspension was independent by coil springs while the rear featured a traditional live axle supported by semi-elliptic leaf springs. Damping was by Girling lever arm units all round and the steering was by cam and lever. A 1953 BN1 tested by Motor magazine returned a top speed of 106mph and achieved the 0-60mph dash in 11.2 seconds. A total of 10,688 BN1s are believed to have been produced between January 1953 and 1955 (the vast majority of which went overseas), when the model was superseded by the BN2.This BN1 on offer is an original left-hand drive USA export market example and was the subject of must previous restoration work, reportedly carried out to an exceptional standard more than twenty years ago. The 'Big' Healey is now finished in Ice Blue (having been colour changed from the original Spruce Green) and is trimmed in complementing Navy Blue leather - The vendor states "it was a frame-off restoration that showcased a full respray (including the floor pans). You would not be able to tell the car was a different colour from factory unless you had been told previously. The car has just had a brand new soft top fitted as well as brand new side screens in case you were to get caught out in a storm. It’s also just had 5 new radial tyres and tubes. It also sports a new upgraded single 12V battery instead of the standard 2x6v batteries. All electronics work as they should including the well know troublesome self-cancelling indicator and horn switch. The seats are leather, carpets look well as do the door cards. Possibly the biggest highlight of this car is its California history — it is basically rust free from body to frame."The vendor states that the odemeter reads 12,213 and assures us that '430 XVK' "drives as well as it looks". A rare opportunity for the ever-growing army of early 'Big' Healey collectors to purchase a vehicle equally suited to a relaxing drive in the UK countryside, but with subtle upgrades and a left-hand driving position to make it a serious contender for continental and long-distance rallying. It comes complete with photographic evidence of the restoration and extensive service and MOT history, plus a current certificate valid into April 2022.For more information, please contact:Adam Sykesadam.sykes@handh.co.uk07429600332

RUTH STIVEN Shells, signed, gouache on card, 11 x 15cm and four others (5) Condition Report: Available upon request

A set of four silver hallmarked C W Fletcher & Son tea spoons having moulded shells to the terminals. Hallmarked Sheffield 1936. Total weight 51.9g. Measures 11.5cm. 

Baskets of Shells and Shell Ornaments etc.

Swarovski & similar Crystal - Bird Bath, Flamingo, Seal with ball, tall cats, Owl, Shells etc.

The ovoid body raised on three cabriole legs, with a chased border of shells and diaper work around the shoulder and cover, with a vacant cartouche (previously engraved), with later spirit lampHeight: 31cm, weight (all in): 52.9ozFootnote: Note: This newly discovered mid 18th century Edinburgh coffee urn adds to a small but important group of Scottish silver, arguably without compare. Bringing the survival to approximately seventeen (with eleven in institutions), this urn fits perfectly within the Golden Age of Edinburgh silver.With no parallel elsewhere in England or the rest of Europe, where the inspiration for this design emanates from is still the subject of debate, although the basic shape may derive something from the earlier practice of mounting ostrich eggs in silver.During the period of these urns manufacture (circa 1719 - 1767) and particularly within the height of their manufacture (circa 1730 -1750) the number of standard pouring coffee pots is minimal. This and a reference in the John Rollo, Goldsmith Edinburgh, account book 'To one Coffe poot 62 oz 2dr at 7sh 6pe per oz - £23 - 5 - 8' and the survival of this piece adds great weight to the theory of their use being for coffee, rather than as hot water or tea.Their functionality also is worthy of note, when it is considered that within contemporary accounts coffee is considered medicinal and should 'be drunk as hot as one can bear' the shape combined with the use of a burner (now lacking in most of extant examples) would have meant the contents could have been kept hot.The design of these urns seems to vary more by the period than maker, with the flair of the maker coming in the outline shape of the body; they can vary from elongated to more compressed squat forms. All but one of the surviving urns are of Edinburgh manufacture and by a small but highly regarded group of makers. The exception is a Dundee marked example by Alexander Johnston, which while marked by him and the body likely made by him, the cast elements (legs, handles etc.) appear to emanate from one of the Edinburgh makers, likely James Kerr. Research continues but it would appear that all seventeen urns could have these cast elements emanating from as few as three original workshops, although the number of makers marks struck to them is greater. While the marks to this example are now all but obliterated, it does seem possible to suggest a maker, comparing stylistic trends of shape, decoration and cast elements. The most likely candidate appears to be the highly regarded Edinburgh silversmith James Kerr, who would latterly go into partnership with William Dempster becoming Kerr & Dempster. On earlier examples Kerr’s mark is prolific and on later examples the partnerships maker's mark is also seen.Perhaps most telling is the delicately flat chased decoration and diaper work to the neck which is reminiscent of Kerr’s work on bullet teapots of the same period. The cast legs with their acanthus clasped tops, with plain rat tail rib and the raised hoof feet are also a mould recognised as coming from the Kerr workshop. Access to prepared moulds in the workshop must suggest a place of manufacture similar to the other urns featuring these patterns. The crossover of makers using the same moulds and patterns for handles, legs and spigot does add some confusion to these theories, but the majority of urns using these moulds can be tied to the Kerr (and latterly Kerr & Dempster) workshop.It is also worth noting that James Kerr was responsible for the creation of the Hopetoun tea and coffee service (originally commissioned with an ovoid coffee urn, now lost) and similarities can be seen with the light diaper work of the 18th century and hoof feet of the spirit kettle held in the collection of The National Museums of Scotland.This piece certainly pre-dates his partnership with William Dempster in 1751, so it seems safe to ascribe James Kerr’s name alone to this work. This urn is also rare in that it was made with an integral placement for the spirit lamp burner.Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

A collection of shells, together with a Ladybird book 'The Seashore'.

Various items of collectible pottery including a large terracotta mixing bowl with cream glazed interior, a large Bell Pottery blue and white transfer flower planter with two square carry handles, height 34cm, a Gaudy Welsh cider cup, a pink lustre cider cup, an Accrington commemorative pudding pot marked for the company 'W. T. Marriott Ltd Accrington', a large Spode fruit bowl with a naturalistic textured exterior, a The Friars of Aylesford studio pottery mug, a Noritake bowl of lobed form with painted and gilt interior, on three gilt feet, a Staffordshire figure of a boy with basket of shells, a hand painted Royal Worcester potpourri painted with white and red roses, unsigned (af), etc.

500m spool of flying sea tubing, 200 lure flash Devon minnow shells, 50 Kynoch lure shells and 200 rubber rod end butt caps.

A box containing 300 Devon minnow shells, 80 Kynoch and Wiggler shells, 50 Spoon blanks and 100 crank bait lures.

A quantity of textiles, including wall hangings from Myanmar, and a ethnic/tribal tunic, decorated all over with beading, cowrie shells and metal discs; and a similar headpiece

A ‘Tulip’ dinner table, designed by Maurice Burke for Arkana, rosewood veneered circular top with brushed aluminium pedestal base, circa 1975, underside of weighted base moulded 'Arkana 22', diam 121cm, height 65.5cm; together with six 'Tulip' chairs, on aluminium swivel bases with four-branch supports, the black fibreglass shells moulded mark to underside 'Arkana 116', cream upholstered seat pads, width 61cm, height 74cm.This lot is subject to CITES regulations and offered with a CITES Article 10 license ref: 594208/01

A pair of reconstituted stone circular garden pedestal urns:, decorated with shells and foliage, on circular wrythen fluted and foliate bases, 55cm (1ft 9 1/2in) diameter, 46cm (1ft 6in) high.

A carved walnut oval stool in the George II manner:, with a stuff over seat, upholstered in gros point floral foliate needlework, on cabriole legs, headed with scallop shells, foliage and husks, terminating in claw and ball feet.

A First Period Worcester blue and white junket/salad bowl: with shaped rim and moulded with shells, printed in 'The Pine Cone Group' with pine cones, fruit, floral sprays and butterflies, hatched crescent mark, circa 1775-80, 26cm.

A large collection of Victorian fossils, shells, crystals and rock specimens

A collection of vintage shells and corals, of various sizes

An African carved wood pot and cover, the triple-head finialled lid and bellied pot hung with cowrie shells and supported on an openwork base and a large Baga metal-mounted shoulder mask, 65cm high, (2).

A George IV silver-gilt inkstand casket, by Alexander J. Strachan, London 1829, the inkwells and instruments unmarked, rectangular form, on four cast and applied putto mask and foliate scroll feet, and with hinged domed cover with shell motifs, chased overall with shells and scrolls on a matted ground, the base applied with four with rosettes and with drawer lined with velvet and fitted with a combination propelling pencil and pen, a desk seal with blood stone matrix and a small knife with steel blade, the mounts each chased with flowers on a matted ground and inset with turquoise, the interior of the casket fitted with two engine-turned square inkwells with hinged covers, the interior of the cover with a mirror, length 17cm, approx. weight 34oz. Provenance: Christie's, King Street, Silver, 10 July 1996, lot 118.

Marc Stanes (b.1963) signed limited edition silver gelatin print - Two Shells, 1/5, 33cm x 42cm, in glazed frame Provenance: Jonathan Cooper, Park Walk Gallery

A collection of sea shells including some large conch. some chipped edges to some, predominantly good. Nominal natural chipping to the two largest shells,areas of edges and tips of a few points.

A collection of sea shells to include a Triton Trumpet, abalone etc.Condition ReportGood condition.

Ceramics to include dogs, Goebel fish, birds, vase and shells etc.Condition ReportChips to fish, vase and 1 dog.

An Edwardian silver inkstand, Josiah Williams & Co., London 1906, the square glass well (possibly associated) with silver-plated collar, the rectangular stand cast to the rim with Rococo shells and scrolls, on ball feet. Length 23cm

A Victorian silver salver, Joseph Angell II, London 1851, circular, the rim cast with scrolls and shells, enclosing a foliate scroll engraved well centred by a monogram, on shell-cast scroll feet. Diameter 31.5cm, 25 troy ounces

A George III silver scissor snuffer or wick trimmer, Robert Metham, London 1810, of characteristic form, cast with shells and a stylised flowerhead. Length 19.5cm, 4.5 troy ounces