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A Gilt Framed Collection of Three Mother of Pearl Carved and Pierced Shells Depicting Religious Nativity Scenes, 18cm Diameter

A Tray of Curios to Include Travelling Chess Set, Shells Ashtray, Napkin Ring, Coral, Eskimo Boot etc

A Victorian walnut box, marquetry decoration to lid and front, 11.5cm x 20cm, another with parquetry decoration to lid and front, a bakerlite coffee jar, sea urchin, conch shell, cowrie shells, abalon shell, quantity of small shells, small geodes etc.

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.Footnote: This lot is subject to CITES regulations and offered with a CITES Article 10 license ref: 594208/01

Four brass ammunition shells (Two in the form of candlesticks)

Zwei ryusa-manju. 19. Jh. a) Elfenbein. Molusken und Muscheln, die Rückseite mit Kiefer in Wolken. b) Walrosszahn. Zikade auf Mispelast mit Früchten, auf der Rückseite Bananenblatt und Palmenfarnart. In ovaler Reserve bez.: Mitsukazu. Chip. (2)D a) 4,3 cm; b) 3,7 cmDieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird. Two ryusa manju. 19th century a) Of ivory, carved with moluscs and shells, the reverse with a pine tree amidst clouds, and b) of walrus tusk, carved with a cicada on a biwa branch, the reverse with banana leaves and a type of palm tree. Inscribed Mitsukazu in an oval-shaped reserve. Chip. (2)Diameter a) 4.3 cm; b) 3.7 cmThis lot contains materials which require a CITES licence for export outside of the EU contract countries. We would like to inform you that such licenses are usually not granted.

Poole pottery dolphins, shells, Sylvac dog etc

A pair of trench art shells etc

A Edwardian mahogany barometer with inlaid shells .

A collection of sea shells and coral. (a lot) - NO RESERVE

PAIR OF WWI ARTILLERY SHELLS CONVERTED TO VASES, marked to base, Patroneen Fabrik Karlsruhe, November 1915, 23cm high, along with a biscuit barrel, a glass tea pot and other objects

A rustic pine framed mirror decorated with shells and rope

A BOX CONTAINING A NUMBER OF MILITARY FIELD GUN/ARTILLERY SHELLS, various calibres and dates, ie. 1943 6lb, 1943 25lb, 1942 37mm, 1943 40mm, 1917 WWI German etc

Assorted jewellery including a Victorian silver locket, three cameo shells etc and a gold plated Omega De Ville automatic wrist watch.

Painstakingly restored and finished in Bronze Green with a fresh Green interior.Imported from Australia where it had served its time with the Australian Post OfficeRestored over an 18 month period, with replacement floors, door skins and tailgate from Britpart, chassis refinished, painted and topped with a brand new canvas hoodFully rebuilt engine with new pistons, crank and shells along with a fully overhauled gearbox and drive trainSupplied with all the relevant invoices for the restoration parts to complete the packageThis matching numbers Series 1 is competitively guided to attract some serious interestYou can now book a one-to-one appointment (up to one hour) to view this lot at our central location of Stoneleigh Park (CV8 2LG) Monday to Friday, between Monday 7th December and Friday 11th December. Please contact Simon Langsdale on 07496 556 325 / simon@classiccarauctions.co.uk to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more information, condition report and additional photographsSpecification:Registration: 713 XVBYear: 1954Make: Land RoverModel: Series 1 86"RHD/LHD: RHDChassis Number: 47660207Odometer Reading: 30518 milesTransmission: ManualEngine Capacity: 1997ccEngine Number: 47101228Body Colour: GreenInterior Colour: Green

Quantity of Sea Shells, To include two wall mounting Ship Pictures, Mounted with Sea Shells, (13) 

A Mappin & Webb silver plated triple shell centrepiece, late 19th century, stamped marks W11578, with three conjoined scallop shells issuing a cut glass central vase, supported in a branch-cast well with shell and branch handle, 28cm wide

A 19th century Toleware oval tray, later decorated with decoupage work and shells, 51cm x 41.5cm

An early 19th century mahogany long case clock, the enamelled dial named for Roberts/Taunton, painted with vignettes of shells, the gilt metal hand cut as a thistle within a sphere, the glazed hood with broken pediment and giltwood sphere finials, flanked by columns, the case with reeded sides, door and base, inlaid with satinwood stringing, on stepped plinth base, with mechanism, pendulum and two weights

A large quantity of sea shells.

An 18th century style oak side table, with carved freeze decorated with shells, turned legs and floor level pot shelf, 43 by 106 by 85cm high.

A quantity of World sea shells including conche, starfish, cowrie etc, some housed within a glazed mahogany display case

A group of miscellaneous items including ceramics, a quantity of various shells, fur coat, etc

A 17th/18th century style (later) silver-framed wall-hanging looking glass, the corners modelled as scallop shells (frame size 86cm x 70cm)

A large late 18th century bow-fronted mahogany and boxwood-strung wall-hanging corner cabinet; the frieze decorated with marquetry conch-style shells above two bow-fronted drawers opening to reveal shaped shelves, single central true drawer below flanked by two further dummy drawers (74cm wide)

A pair of early 20th century fine silver-plated two-handled entrée dishes with the handle terminals cast as scallop shells (31.5cm wide, excluding handles)

African tribal Kuba dance mask, with geometric pigmentation to face, mounted with beads and shells, H34 x W22cm

A pair of late 19c gilt and patinated bronze candlesticks with putti columns supporting the socles and drip pans. Formed as shells with shell formed bases with turtles and reptiles. 29cms h.

A small collection of Sea Shells, including Tulip Shells, 'coffee bean' shells, white coral, Starfish, etc, together with a pair of Peruvian carved Gourds, twelve in total (a lot)

A COLLECTION OF EXOTIC SHELLS.

A collection of small Swarovski Crystal Boxed items to include: Name Plaques, mice, Shells, Birds etc 912)

Interesting West African twelve string kora harp, with hide covered gourd back and decorated with cowrie shells; together with an African bow harp (2)

A pair of WW I trench art shell cases with stippled decoration, h.9.5cm, together with two pairs of WW II spent shells, a brass pocket snuff box and a U.S. Army entrenching tool, dated 1943. (8)

A pair of WW I 12-pounder shells, each dated 1916, together with a pom pom artillery shell, various other shells, a brass and copper military plaque and a horn flask. (8)

Household furniture - Two Wooden dining chairs with green floral upholstered seats, a brass plant stand and a framed picture depicting a bunch of flowers made out of shells (4)

A quantity of Velocette tinwarecomprising headlamp shells; primary chaincase; oil tanks and toolbox, close inspection advised. (Qty)Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

An autojumblers lotincluding believed Matchless MX-type barrels and heads; a rear stand; believed Matchless/AJS parts; Smiths speedometer 80mph; headlamp shells; mudguard parts and other sundry parts, close inspection advised. (Qty)Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com

Stenvert Curt Die siebenundvierzigste menschliche Situation: Durch die Liebe den Tod überwinden können und wollen, 1977 Assemblage 78,4 x 53,8 x 59,5 cm Abgebildet in: Curt Stenvert. Neodadapop, hg. Von Agnes Husslein-Arco und Harald Krejci, Wien 2011, S. 159. Curt Stenvert nutzt die Kunst als soziales Medium und dient als „Existenzerhellung über das Auge“. Seine Ensembles strahlen trotz inhaltlichen Unbequemlichkeiten und Schärfe eine unterkühlte Sinnlichkeit aus. Er verwendet alltägliche Materialien und Gegenstände als Realitätsverweise, entfremdet diese und gibt ihnen eine neue Funktion. Die Muscheln, der Sand, die Blumen sind dem durch ein transparentes Tuch verhüllte, goldene Totenkopf sollen zeigen, dass die Liebe den Tod überwinden kann und will. Dieses Thema ist als eine Kritik an Krieg und Gewalt und als eine Bestärkung der Nächstenlieben zu verstehen. Stenverts Kunst beschäftigt sich vor allem mit Sozialkritik, Humanismus und zeigt eine ausgeprägte Ablehnung jeder Form von Krieg und Rassismus. Die letzte große Personale des österreichischen Künstlers wurde 2011/12 im Unteren Belvedere in Wien präsentiert. Stenvert Curt The Forty-Seventh Human Situation: Can and Want to Overcome Death Through Love, 1977 Assemblage 30,9 x 21,2 x 23,4 in Pictured in: Curt Stenvert. Neodadapop, ed. By Agnes Husslein-Arco and Harald Krejci, Vienna 2011, p. 159. Curt Stenvert uses art as a social medium and serves as a ``light of existence through eye``. His ensembles radiate an undercooled sensuality despite the inconvenience and sharpness of their content. He uses everyday materials and objects as references to reality, alienates them and gives them a new function. The shells, the sand, the flowers are the golden skull covered by a transparent cloth and show that love can and will overcome death. This topic is to be understood as a criticism of war and violence and as a reinforcement of charity. Stenvert`s art deals primarily with social criticism, humanism and shows a pronounced rejection of all forms of war and racism. The austrian artist`s last major exhibition was presented in 2011/12 in the Lower Belvedere in Vienna.

Cornish interest - George III mahogany-cased eight day brass dial longcase clock with rocking ship automaton, Roger Wearne, St. Earth (St. Erth, Cornwall), (1748-1820), the 12-inch dial with Roman hours and Arabic minutes framing seconds dial, engraved lighthouse and tall-masted sailing ship, and shells flanking terrestrial calendar crescent, the signed arch framing demi-lune seascape with rocking ship automaton, the knopped four pillar movement striking on a bell, the case with pagoda surmount over moulded dentil cornice and blind fret work, plain turned trunk columns with brass capitals, shaped throat moulding and broad break-arch trunk door with ebonised cock beading on conforming base, 235cm high Condition: Dial has brown spot between I & II. Signature strip to arch is a separate section, break through H of Earth. Some bubbling to seascape. Movement appears sound but is untested and sold as seen. Case has minor losses to dentil mounding, very slight crack to blind fret work, a couple of tight veneer cracks to hood door and some shrinkage to trunk door and surround but is otherwise sound. Sold with two iron weights, two crank winders, trunk door key, hood door key, and pendulum - **General condition consistent with age

Early 20th Century Portuguese pottery oval dish in the manner of Palissy, modelled in high relief with a crocodile, shells, fish, snake, frog, insects etc, unmarked, 43cm wide Condition: Typical minor losses including one foreleg of lizard, tail of same creature reattached and depleted, minor loss to wing of insect, otherwise generally sound. **General condition consistent with age

Y MARINE INTEREST COLLECTION OF SHELLS AND CORAL various specimens and sizesFootnote: Note: 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/

Y PAIR OF MOUNTED CONCH SHELLS MODERN each mounted on a brass column above turned ebonised stands(56cm and 60cm high)Footnote: Note: 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/

4 ROYAL DOULTON BRANDY SNIFTERS 2 DOULTON WHITE WINE GLASSES SCALLOP SHELLS AND SWAGS WITH 4 CZECH WHISKY GLASSES AND 3 MORE ENGRAVED FOR FREE MASONS AND PORSCHE

A George II Walnut Chest on Chest, the moulded cornice above three short and six long graduated drawers, the oval brass handles embossed with shells and with brass escutcheons, raised upon bracket feet, 102 cms wide, 55 cms deep, 171 cms high

A soda glass slender vase, 23cm tall and two cameo carved shells, 8.5cm long

Modern silver swing-handled basket, by C J Vander, Sheffield 1998, the bowl pierced and engraved with foliage, the rim with applied shells, the swing handle pierced with scrolls, with C.J. Vander retail box, 31 cm diam., 37.5 oz. (1166 gr.)

Portuguese D.João V style silverGadrooned body of profuse repousse and engraved decoration with shells, winglets, foliage and plain cartouchesFlower detail to handle and circular scalloped foot of identical decorationOporto hallmark, Eagle 833/1000 (1938-1985) and same date maker's markHeight: 27 cm1032 g

Portuguese silverRaised shells, flowers, winglets and medallions decorationOporto hallmark, Boar 833/1000 (1887-1938) and same date maker's markDiam.: 27 cm370 g

Portuguese silverPlain body of scalloped lip and raised and engraved decoration with shells, winglets and medallionsOporto hallmark, Eagle 833/1000 (1938-1985) and same date maker's mark "Ourivesaria da Guia"9x20 cm1260

Portuguese silverShafts and branches of profuse raised decoration with foliage, shells and volutesRaised scalloped stand of identical motifs and plain heart shaped and scroll cartouchesOn four sleeper feet, shells and volutesOporto hallmark, Boar 833/1000 (1887-1938) and same date maker's mark(loose cup)Height: 58 cm10144 g

GoldPlain band set with 3 white hardstone shells and 6 small 8/8 cut diamondsFrench assay marks 750/1000 20th centurySize: 10 (EU)4.9 g

Portuguese silverChiselled centre of foliage decoration borderScalloped and raised lip with shells, volutes, flowers and foliageOn 4 claw and ball feetOporto hallmark, Boar 833/1000 (1887-1938) and same date maker's markDiam.: 44 cm1300g

Nevill Johnson (1911-1999) Kilkeel (c.1946) Oil on canvas, 40 x 60cm (16 x 24'') Signed with monogram; inscribed verso Kilkeel was probably included in the first exhibition Nevill Johnson took part in with Victor Waddington in 1947, soon after he was taken on as a gallery artist. It belongs to a small group of paintings in which Johnson included the most appropriate of the driftwood, shells and stones he collected in the mid-1940s from the shores of Lough Neagh. Their arrangement suggests unease or struggle between these anthropomorphic forms into which human and animal life has been mutated by some apocalyptic event. Painted in response to the Second World War, this group of works also express a more profound consciousness of the fears and despair of the atomic age. This is the existential psychological landscape of the post-war world, at the edge of sea and land and illuminated in a mysterious, nocturnal glow, and there is an interesting comparison with Francis Bacon in the blurred, turning profile of the left-hand 'head' of the large driftwood form. S.B. Kennedy wrote of Johnson's paintings in this period that 'along with Jack B. Yeats' Tinker's Encampment: The Blood of Abel, 1940, Kenneth Hall's Après la Guerre and Middleton's Our Lady of Bikini [they] are amongst the most poignant images of war and its effects painted by any artist in Ireland in the modern period'. (S.B. Kennedy, 'Irish Art and Modernism 1880-1950', Irish Academic Press, Queen's University, Belfast, p.139) Dickon Hall

André Masson (French, 1896-1987)Visages dans la nuit des fleurs, 1959 signed André Masson (lower right); signed and dated André Masson 1959 (on the reverse)oil and sand on canvas40 x 79.8 cm.15 3/4 x 31 7/16 in.Footnotes:The authenticity of this work has kindly been confirmed by the Comité Masson.ProvenanceGalerie Louise Leiris, ParisPrivate Collection, EuropeSale: Kunsthaus Lempertz, Cologne, Moderne Kunst, 29 May 2003, lot 791Collection Armin Hundertmark, CologneSale: Artcurial, Paris, Art Moderne II, 8 June 2006, lot 175Acquired directly from the above by the present owner'[Masson] remained an unusual element, unclassifiable, a type of quiver which traversed through the entire painting... Masson's world is not a world of shapes, like that of the Cubists, but a world of forces.'- Daniel-Henry Kahnweiler(Typescript slipped into a letter from Daniel-Henry Kahnweiler to Curt Valentin, 10 December 1941, Paris, Archives Masson. Quoted in C. Morando, André Masson Biography 1896-1941, 2010, p. 39). André Masson was an artist who defied categorisation. His technical versatility, experimental spirit and lifelong preoccupation with metamorphosis engendered a long and storied career, spanning Cubism, Surrealism and Abstract Expressionism. By the age of 11, he was a student at the Académie Royale des Beaux-Arts et l'Ecole des Arts Décoratifs in Brussels. At 16, he was awarded the Grand Prix de l'Académie for painting, and commenced his training at the École Nationale Supérieure des Beaux-Arts in Paris. His experiments with automatic drawing – the process of freely moving materials without planning or conscious thought – attracted the attention of André Breton, Surrealism's principal theorist, in mid-1920s Paris. After he relocated to New York City in the early 1940s to escape the Nazi occupation of Paris, Masson's spontaneous and emotive approach to painting influenced Jackson Pollock's development of his quintessential action paintings. A hallucinatory vision of cosmic clusters and fantastical syllabary, Visages dans la nuit des fleurs, 1959, synthesises Masson's Surrealist roots and his later Abstract Expressionism. Using his characteristic colle ensable ('sandy glue') technique, Masson threw an admixture of sand and glue onto the stretched canvas, then formed his painterly composition around the resulting three-dimensional islands. Writing to his friend and art dealer Daniel-Henry Kahnweiler at this time, Masson exulted in this 'extreme spontaneity... having only rhythm and the fire of inspiration as my starting point.' (Letter from Masson to Kahnweiler, 15 July 1955, quoted in Donation Louise et Michel Leiris: Collection Kahnweiler-Leiris, exh. cat., Paris, 1984, p. 144). Incorporating natural phenomena into his work, in imagery and in technique, was a constant motive. During his time in the United States, Masson became fascinated with the indigenous Iroquois culture, for whom the natural world is sacred and the night sky is rich in stories and deities. In Visages dans la nuit des fleurs, abstracted, face-like symbols appear to dance across the celestial scenery like omnipotent beings. The ebb and flow of sandy rivulets forms a rhythmic backdrop, punctuated by short, staccato strokes resembling comets. The resulting effect is a transcendental crescendo, a frenzied ritual of light, colour and dance. Visages dans la nuit des fleurs was produced during Masson's 1950s période asiatique, within which he incorporated the philosophies and calligraphic forms of Zen Buddhism. Masson was first introduced to the school of thought by the Japanese writer Kino Matsuo in Paris in 1930. After studying the East Asian collections of the Museum of Modern Art and the Boston Museum of Fine Arts in the 1940s, he began experimenting with ideograms – characters encapsulating the idea of a thing, without indicating the sounds used to say it. In Visages dans la nuit des fleurs, Masson morphs these characters into a nebulous syllabary. As explained by Carolyn Lanchner, 'a great attraction of Zen for Masson was its emphasis on the immediate mystical experience as the way to ultimate truth... In practice, conjuring the void brought forth in his painting a spontaneous effusion of his own past art whose tides were stemmed or redirected by the formal concerns of the sophisticated European artist.' (Carolyn Lanchner, 'André Masson: Origins and Development,' in André Masson, exh. cat., New York, 1976, p. 186). The explosions of bold colour across a starry sky also allude to Masson's personal traumas, which ignited his long-running fixation with destiny and the ambiguity of the human condition. After suffering a grave chest wound as a French infantry soldier in World War I, Masson was confined to a series of hospitals and one psychiatric ward. Recalling the battle of Chemin des Dames in April of 1917, during which he was immobilised and left lying helpless throughout the tumult of battle, Masson recalled, 'The indescribable night of the battlefield, streaked in every direction by bright red and green rockets, striped by the wake and the flashes of the projectiles and rockets – all this fairytale-like enchantment was orchestrated by the explosions of shells which literally encircled me and sprinkled me with earth and shrapnel' (Masson, quoted in exh. cat., W. Rubin & C. Lanchner, André Masson, New York, 1976, p. 30).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Shells together with gold and silver leaf, camera, Creigiau pottery part coffee set, wine glasses, wall clock etc

A George II carved giltwood console table, circa 1740, in the manner of William Kent, the frieze carved with foliage and bellflowers, centred by a large baroque shell, the scrolled legs carved with fish-scales and headed by winged lions, raised on acanthus scrolled feet, the vacant rectangular top carved with a foliate edge, 82cm high, 130cm wide, 58cm deep overall The prominent carved shell at the centre of the frieze recalls the prominent carved central shells on the suite of seat furniture at Holkham Hall, designed by William Kent and carved by James Richards. (see Bowett, Early Georgian Furniture 1715-1740, page 193, fig 4:101).Scallop shell and fish-scale decorative motifs were frequently employed by William Kent and refer to the mythical birth of Venus and her emergence from the sea. Please note: This lot should be equally described as a cabinet stand. Condition Report: Please note: This lot should be equally described as a cabinet stand.  The condition report for this lot has not been completed. Condition Report Disclaimer

A DERBY FIGURE OF NEPTUNE, C1780, THE GOD SET ABOVE A DOLPHIN, THE WATERS OF THE OCEAN FLOWING FROM ITS MOUTH DOWN A HIGH MOSSY MOUND OF SEASHELLS, 23.5CM H, INCISED NO 299, STAR MARK OF THE REPAIRER ISAAC FARNSWORTH AND t c t Lacks metal trident but right hand and arm undamaged, slight chipping of the encrusted foliage and shells, but no substantial damage, save for typical factory filled firing cracks in base. Much accretion of household dust and polish over time. No restoration observed. Note firing crack at lower fold of pink drapery

Tribal Textiles - a Burmese coin mounted bag, Indian hats, with shells, coin, seed pods (3)

TWO DECORATIVE CARVED SHELLS, ONE BEING THE ADORATION OF THE MAGI

AN ECLECTIC ASSORTMENT TO INCLUDE CERAMIC ANIMAL FIGURES, FIVE HORNS AND SEA SHELLS ETC