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Lot 390

A mixed lot comprising a silver metal oval wall mirror, a reproduction tray depicting a scene of cricketers on Hambledon Cricket Ground in 1777, a blue and white Ironstone meat platter, a gentleman's wall hanging brush and mirror set, Location RWM

Lot 399

A five piece silver plated teaset, together with a silver plated condiment set with glass bottles, Location 5:1

Lot 401

A mixed lot comprising three Royal Copenhagen Christmas plates 1963, 1971 and 1985, glass napkin rings, a silver handled button hook, (Danish), three Beswick deers A/F and two continental coffee cans

Lot 402

Seven Rhodesian copper tankards, pewter and china tankards, Commemorative mugs, fish knives and forks, a set of six silver filled handled butter knives and two 19th century horn, Bakelite silver plated beakers, Location SR

Lot 405

A F. Deckel Compur Balda folding camera with Schneider - Kreuznach Radionar lens f 4.5 10-50m, in leather case, and a silver plated Hitler Youth belt buckle, stamped letters/numbers to versoLocation: C

Lot 410

Silver to include two Georgian teaspoons, Victorian tea strainer, Victorian fork, Victorian spoon and other items, 248g Location: Cab

Lot 419

A selection of costume jewellery to include an smoky quartz silver set rings, necklaces and earrings

Lot 420

A selection of costume jewellery to include amethyst silver set jewellery

Lot 425

A modern Debenhams Collection canteen of silver plated cutlery, six setting, Kings patternLocation: FrontRow

Lot 447

A quantity of silver plated flatware, together with magnifying glasses, Location: CF

Lot 461

Costume jewellery to include a gold chain stamped 585 with a gold cross pendant having white stones, mixed silver items, oriental style bangles, a ladies Limit watch and a compact, Location RWF

Lot 54

Links of London official Team GB bracelets, earrings, bracelets and branded boxes together with a pair of Mexican silver earrings with red bead decoration, 4 silver chains stamped 925, 20g, and other white metal chains.

Lot 56

A large quantity of pierced earrings to include silver, silver gilt and hardstone examples

Lot 57

Four Pandora silver necklaces with silver cabochon charms, all stamped 925, together with mixed costume jewellery to include mainly silver items together with a Butler and Wilson coloured stone necklace with teddy bear design and a small quantity of stone and glass cabochons

Lot 6

Twentieth Century costume jewellery to include a small quantity of 9ct and 14ct gold earrings, total weight=2.9g, a yellow metal engraved bangle (9.8g not tested for gold), a yellow metal bar brooch (total weight 1.3g not tested for gold) and yellow metal half hoop earrings ( 0.6g not tested for gold), two enamelled butterfly brooches, a Victorian black jet necklace, 2 copper bracelets, a silver filigree brooch in the form of a flat fish stamped 925, bone china flower brooches, early 20th Century costume jewellery, bead necklaces to include rough cut amber, small Mother-of-Pearl lighter, an Accurist watch A/F, a pair of mid 20th Century yellow metal half framed ladies spectacles and a 1937 Wedding Day good luck token Location: Porters

Lot 64

Fashion jewellery to include Butler & Wilson, modern enamelled brooches, key-rings and silver earrings.

Lot 68

A boxed Versace ladies silver tone watch with guarantee, new, together with a boxed Beverly Hills Polo Club ladies two-tone watch with guarantee, also new.

Lot 69

Lola Rose hardstone and glass costume jewellery, mostly new with original tags and branded boxes together with pearl and faux pearl bracelets and necklaces, mixed earrings to include silver and glass examples.

Lot 70

An Orla Keilly fashion watch, new in original packaging, together with a Links of London silver key ring with aeroplane design, two boxed Vivienne Westwood Accessories silver coloured necklaces with large contemporary pendants with branded boxes and other jewellery items in the style of well-known fashion houses.

Lot 85

A miscellaneous lot comprising a vintage Fairylite pin cushion with assorted hat pins, enamelled dressing table brushes, a 1914 empty Christmas box, Chinese silver coloured tokens, a small Peruvian silver vase- formed pot containing cocktail sticks, a small silver photo frame and a silk scarf commemorating the Queen's silver jubilee.

Lot 86

An early 1980's Benny Steinberg, Slovitt & Kaslo gold coloured brooch in the form of shafts of wheat at harvest time together with a Christian Dior gold tone open chain necklace and one other, 2 faux pearl necklaces, a Monet silver coloured brooch and bangle, a silver locket stamped with the makers initials T.W with the monogram AMD on an open white metal chain and a sterling silver tie clip in a Murray Ward box, together with 3 ladies watches to include Smiths, Rowley Knowle and Lorus all housed in a modern blue Chriatian Dior fabric jewellery box.

Lot 87

Two Victorian bog brooches, a sweetheart brooch and a silver brooch

Lot 98

Costume jewellery to include silver items, a yellow metal and agate brooch and seven bracelets.

Lot 118

A GROUP OF 5 925 MARKED SILVER COLOURED TURKISH GRADUATED CAMEL FIGURES, the larger with a more yellow hue and marked by hand "750" ( not tested ), the remaining 4 marked 925 ( un tested ), largest 6cm

Lot 153

A 19TH CENTURY PERSIAN QAJAR SILVER INLAID STEEL DAGGER with engraved watered steel blade, 35cm long.

Lot 177

A GOOD JEWISH SILVER TORAH CROWN, with embossed decoration of hanging flora with six curving floral motifs, the top finished with a floral display finial, 33cm high.

Lot 331

AN 18TH / 19TH CENTURY CHINESE CARVED GREEN JADE SNUFF BOTTLE, carved with twin handle and rings, with a jadeite stopper and silver spoon, the underside of the stopper with a mark, 7cm

Lot 381

A PAIR OF INDIAN BIDRI BOTTLES, the upper neck with silver inlay, each approx. 26.5cm.

Lot 393

AN 19TH CENTURY MOROCCAN KABIL ENAMELLED SILVER BRACELET, inset with coral beads, 7cm diameter.

Lot 398

A FINE IRAQI NIELLO SILVER CIGARETTE CASE, both sides engraved with boating scene, signed to the reverse, 10cm x 8cm.

Lot 406

A 19TH CENTURY NORTH INDIAN KOFTGARI SILVER AND GOLD INLAID STEEL PEN BOX, formed in the shape of a fish, 24cm long.

Lot 409

A FINE ISLAMIC SILVER INLAID BRASS BEAKER, 8.5cm high.

Lot 416

THREE 19TH CENTURY OTTOMAN BALKANS SILVER BANGLES, inset with turquoise stones, each approx. 6cm diameter.

Lot 491

A 19TH / 20TH CENTURY INDIAN SILVER & ENAMEL MODEL OF AN ELEPHANT AND FIGURES, the elephant carrying two figures, with floral decoration, the base marked for silver, 20cm high x 14cm wide.

Lot 537

A 19TH CENTURY OTTOMAN SMALL SILVER INLAID STEEL CHILDS DAGGER, 15cm.

Lot 707

TWO INDIAN DALLAH WHITE METAL COFFEE POTS & LADLE - The ladle possibly with a silver handle, 30cm , the coffee pots 28cm & 23cm (3)

Lot 757

A FINE JAPANESE MEIJI PERIOD CARVED AND LACQUER WOOD PANEL, the panel depicting a carved wooden and decorated vase upon a hardwood back with native floral spray, the flora picked out in polychrome decor, the vase with a silver ring and ivory handle, 47cm x 33cm.

Lot 90

A CHINESE SILVER BELT, circa 1900, marked 'WC', the overall belt measuring approx. 63cm long.

Lot 158

Great Britain 27 'better' FDC's inc Benham Silks, Champman & Mitchel types (2009 ICC Conference limited edition of 50) Masonic types, 1935 Silver Jubilee (plain) etc 

Lot 417

sterling silver, with gilded interior, stamped TIFFANY & CO./ MAKERS/ STERLING SILVER/ 925-10009.3cm high

Lot 355

pencil and watercolour, inscribed in pencil DESIGN FOR BROOCH IN TURQUOISE AND SILVER-/ OR PENDANT10cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M21Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.

Lot 184

silver and enamel, signed lower left VARLEY, stamped STERLING SILVER 5.3cm x 3.6cmFootnote: Note: Fleetwood Varley (1863-1942) worked at The Guild of Handicraft from 1899 and was a renowned artist and gifted enameller. He was a friend of C. R. Ashbee and collaborated on finely painted enamel works mounted in silver at Chipping Camden.

Lot 456

sterling silver, pattern number 34A, comprising a COFFEE POT, with ebonised handle, stamped GEORG JENSEN/ GJ/ 925/ S/ DESSIN GJ/ DENMARK/ STERLING/ 34A, 19cm high; and a SUGAR BOWL, pattern 34A, stamped GEORG JENSEN/ GJ/ 92*/ STERLING/ DENMARK, 5cm high; together with a TEAPOT, pattern number 34, stamped GEORG JENSEN/ GJ/ 925/ S/ 34, 12.5cm high; and a MILK JUG, with ebonised handle, stamped GEORG JENSEN/ 925 S/ 34, 7cm high, all with import hallmarks: milk jug 1924; sugar bowl 1928; teapot; 1925; coffee pot: 1931

Lot 257

silver, set with mother-of-pearl roundels, amethyst drop, with chain spacers, stamped W.H.H., hallmarked Birmingham 1905pendant 4.3cm longFootnote: 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/

Lot 269

silver and enamel, stamped L&CO/ SILVER 2.8cm wideFootnote: Literature: Martin, S. ‘Archibald Knox’ Second Edition 2001, p.265, where a brooch of matching pattern is illustrated Model No. 1186E

Lot 386

painted earthenware, three decorated with mermaids, one with a galleon in full sail, all painted JMK and rabbit, signed to each with monogram and rabbit cyphers, and three with Greengate mark each 16.5cm diameterFootnote: Note: Despite the disapproval of her parents Jessie Marion King pursued her early artistic promise and enrolled at the Glasgow School of Art in 1892. There she was encouraged by the inspirational, liberal Headmaster, Fra Newbery, to maintain her 'child-like vision' while developing her natural gift for linear expression. Primarily known for her book illustrations, King also designed an array of intricate silver and jewellery pieces for Liberty’s of London. After marrying the artist E. A. Taylor, the pair lived in Salford, following a stay in Paris, before eventually settling at her residence, ‘Greengate’, in Kirkcudbright in 1915. Here, they ran summer schools in Arran and befriended young emerging artists such as Cecile Walton, S.J. Peploe and Anne Redpath, all of whom became prominent figures in the town. By the 1920’s King established the ‘Green Gate Close Coterie’ a group of women artists who were King’s tenants in the cottages she renovated on Green Gate Close and this only further contributed to the close-knit community of artists living and working in an exciting hub of creativity. During this time, as well as continuing with her book illustrations, King turned her attention to ceramics and began painting on pottery blanks, which were sold exclusively through Paul Jones's Tea Rooms in Kirkcudbright. Her love for ‘green gate’ features on all of her pieces as she used this motif to sign her pottery. Throughout her varied professional career, King retained a distinctly individual style as she chose not to draw from life, but instead from ‘her own mind’, conjuring up fantasy-like scenes of fairies and pixies on enchanting adventures.

Lot 462

sterling silver, stamped initials GP, maker's marks and import hallmarks for 1929each 5.5cm high

Lot 429

silver gilt, each pair stamped WW and with Vienna poinçoneach 1.5cm diameterFootnote: Literature: Wiener Werkstätte Archive, MAK, Vienna, model number 1619, ref: WWF 94-108-11

Lot 272

silver and enamel, each with stamped marks and hallmarkseach 11cm long

Lot 383

painted earthenware, signed to each with Greengate and rabbit cyphers, 15.5cm diameter; together with TWO TEACUPS, painted earthenware, one similarly marked, the other indistinct, 7.5cm highFootnote: Note: Despite the disapproval of her parents, Jessie Marion King pursued her early artistic promise and enrolled at the Glasgow School of Art in 1892. There she was encouraged by the inspirational, liberal Headmaster, Fra Newbery, to maintain her 'child-like vision' while developing her natural gift for linear expression. Primarily known for her book illustrations, King also designed an array of intricate silver and jewellery pieces for Liberty’s of London. After marrying the artist E. A. Taylor, the pair lived in Salford, followed by a stay in Paris, before eventually settling at her residence, ‘Greengate’, in Kirkcudbright in 1915. Here, they ran summer schools in Arran and befriended young emerging artists such as Cecile Walton, S.J. Peploe and Anne Redpath, all of whom became prominent figures in the town. By the 1920’s King established the ‘Greengate Close Coterie’ a group of women artists who were King’s tenants in the cottages she renovated on Greengate Close and this helped foster a close-knit community of artists living and working in an exciting hub of creativity. During this time, as well as continuing with her book illustrations, King turned her attention to ceramics and began painting on pottery blanks, which were sold exclusively through Paul Jones's Tea Rooms in Kirkcudbright. Her love for ‘Greengate’ features on all of her pieces as she used this motif to sign her pottery. Throughout her varied professional career, King retained a distinctly individual style as she chose not to draw from life, but instead from ‘her own mind’, conjuring up fantasy-like scenes of fairies and pixies on enchanting adventures.

Lot 116

electroplated silver with ebonised handle, removable nozzle and vesta cover, stamped H&H/ 487613.5cm highFootnote: Literature: Durant, S. Christopher Dresser, Academy 1993, cover illustrationHalén, Widar Christopher Dresser: A Pioneer of Modern Design London 1990, p.178, pl. 201

Lot 416

sterling silver and mixed metals, stamped TIFFANY & CO./ 123/ 2194/ STERLING SILVER & OTHER METALS/ 30720.5cm long

Lot 415

silver, set with three citrines, stamped TF/ 935 4cm diameter

Lot 154

silver plate with enamel set openwork finial, bears an inscription to rim TO RUTH SPENCE GOWER 1912 D.D. T.H. & T.W. MINSHALL22cm diameterFootnote: Literature: See Crawford, A. C.R. Ashbee's English Silverwork, B. Weinreb, 1974, p. 345, pl. XIII where a similar dish in silver is illustrated.Provenance: Property from an Important Private Collection

Lot 351

enamel with foil in copper, within white metal mount5cm acrossFootnote: Literature: Cumming, E. Phoebe Anna Traquair 1852-1936 National Galleries of Scotland 1993, p. 85, no. 121, p. 82, no 101 Note: Traquair learned the craft of art enamelling from her friend Lady Carmichael in 1901, and over the coming decade her enamels would be set either as jewellery (notably pendants and necklaces) or ‘architectural’ formats such as triptychs in stands often designed by her architect son Ramsay. They were exhibited both in Scotland and in London with the Arts and Crafts Exhibition Society. Her fine enamels soon became the craft for which she was best known south of the Border, with The Studio critic commenting in 1906 that ‘the qualities which are attained in enamel by a worker with a sensitivity to colour make it peculiarly a medium which satisfies an artistic nature ... that enamelling is Mrs Traquair’s medium we do not doubt’. Her subjects, painted on copper or more occasionally silver or gold, were taken from classical or religious subjects, the latter often popularised as angels comforting or watching over female figures. A pendant, necklace or the occasional brooch, set to her design by John Maitland Talbot, Hamilton & Inches, Brook & Sons or (after 1909) Henry Tatton would sell for two or three guineas.Traquair the artist always gave her craft pieces titles, and The Dream copies the central plaque of a 1906 necklace of the same name. Enamels that were admired or which she herself found particularly satisfying were duplicated, with a number remaining unset in her studio. One such unmounted piece is The Dream, given to the V&A by her granddaughter and dated 1909. The enamel is from the same date: the setting may be by Brook. The dream concept was one that greatly appealed to her, and was introduced to her Mansfield Place Church mural where Joseph’s dream is central to the Old Testament narrative on the nave’s south wall (1900). A dream image was also present on the Lorimer piano painted for Frank Tennant as part of her illustrations of The Song of Solomon (National Museums Scotland).With thanks to Elizabeth Cumming for her footnote for this lot

Lot 611

silver plated, comprising a COFFEE POT, 21.5cm high; a TEAPOT, 13.5cm high; a MILK JUG, 11.5cm high; and a SUGAR BOWL, 7.5cm high; with a SERVING TRAY, 49.5cm across, each marked GALLIA and the teapot, milk jug and sugar bowl marked PROD. CHRISTOFLE

Lot 459

sterling silver, stamped marks GEORG JENSEN/ 181 and import hallmarks for London 192611.5cm diameter

Lot 463

sterling silver, stamped GEORG JENSEN/ DENMARK/ STERLING/ 2B, with import hallmarks for 193113cm across

Lot 353

pencil, watercolour and silver paint16.5cm x 12.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M19Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.

Lot 532

oak, with iron fittings106cm wide, 166cm high, 45.5cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 153Note: This model is the first time an arched apron was employed by the designer.Note: Ambrose Heal is widely considered a pioneer of modern furniture design. After studying at the Slade School of Art, Heal joined the family furniture business established by his great-grandfather John Harris Heal in 1893, where he initially worked in the bedding department. Not long after, he began designing furniture for the firm. These designs adopted simple lines, using unvarnished oak or chestnut and were far more robust in appearance, much to the disdain of his sales colleagues who were used to selling far more elaborate furniture that took inspiration from the early 18th century. Despite this, Heal was recognised in 1900 when he won a silver medal at the Paris Exhibition for a bedroom suite. He was soon appointed chairman of the company in 1913; he was the driving force behind their renewed marketing efforts and expanded the range of products produced in a bid to appeal to the emerging middle class. Heals' furniture embraced the Arts & Crafts ideals, and while he did accept some machinery into the production line, he was resolute in ensuring that the quality of craftsmanship never suffered as a result. As well as chairman of the family business, Heal was also a founding member of the Design & Industries Association, which campaigned to increase the standard of British Design under the slogan ‘Fitness for Purpose’. Early Heal’s designs clearly demonstrate an admiration for Arts & Crafts, but as tastes changed the company was able to innovate quickly and began to embrace stylistic influences from Art Deco and Modernism. Before his retirement from the family firm in 1959, Heal was knighted in 1933 and appointed a Royal designer for industry in 1939.

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