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Click here to subscribeTwo Tunbridge ware stamp boxes, comprising a rosewood rectangular example, the lid with applied 'Stamp' 'Receipt Stamps' within geometric mosaic border, 4.5 x 4 x 2cms, and another the sides in stick ware, the lid with 'Stamp', ''Postage Stamps', Queen Victoria young head, 4 x 3.5 x 1.8cms. (2) From the collection of Dr. Brian Austen
Three Tunbridge ware stamp boxes, comprising an unusual turned rosewood circular example, the lid in stick ware with 'penny black' postage stamp, 6cms dia., a large rectangular rosewood example with Queen Victoria young head 'penny red' stamp within panels of stick ware and mosaic, 9 x 3.7 x 2.2cms, and another similar in mahogany with green half penny stamp Queen Victoria within panels of cube work, and geometric mosaic border, 9 x 4 x 2cms. (3) From the collection of Dr. Brian Austen
A good Tunbridge ware ebony go to bed or sealing wax set, in ebony, probably by Thomas Barton, the turned ebony base with ring striker to underside, the octagonal body in alternate panels of floral and geometric mosaic below an ebony top with a circular panel of mosaic and stick ware centred by a stick ware candle holder and flanked by bone match stand, the interior with cylinder form compartment, the lid interior with split not visible through top, 8.6cms dia., 14cms high. From the collection of Dr. Brian Austen
A Tunbridge ware go to bed and a labelled barrel form vesta go to bed, the first with turned pale wood base incorporating striker, the octagonal body in geometric mosaic below a pale wood top with stick ware panel centred by a rosewood candle holder (probably replaced), and flanked by a bone match stand, three compartment interior, 5.5cms dia., 9.5cms high. The rosewood barrel form vesta with mosaic top and central bone match stand, segment re-stuck to top, with internal printed label 'From M. Fields, Chapel Place, Tunbridge Wells', 4.5cms high. (2) From the collection of Dr. Brian Austen
An Art Deco diamond and ruby set cockerel stick pin,with faceted rubies set to the comb and wattles. Lines of rose cut diamonds, milligrain set in white to form the feathers, to a plain yellow pin. Tested as platinum and 15ct gold. 13.00 x 10.40mm, 1.81gCondition ReportLight surface marks commensurate with its age - to the pin.Mnor marks to the table or crown facet edges under 10x magnification - to the rubies. Diamonds bright and lively.
An 18ct gold 'Somerset' ring, by Tiffany & Co., of solid mesh design. London 2008, maker's mark. 3.60mm wide, 4.61g, with box.Finger size N approximatelyCondition ReportTag to inside of shank with hallmark on precludes accurate measurement on a wheatsheaf stick. Finger size is approximate only.Minor surface marks/scratches.A little dirty.
A George IV gold, glass sulphide cameo ring, by Rundell, Bridge & Rundell, c.1815,the oval glass sulphide cameo depicting a laureate head of the Prince Regent signed to the neckline RB&R F., the outer edge inscribed 'GEORGIUS PRINCEPS WALLIAE PATRIAM PRO PATRE REGENS'. A closed back, classical style setting, to tapered shoulders and a 'D' section oval shank. Tested as approximately 18ct gold. Head 23.40 x 10.40mm, 11.60gBuying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportA chip to one edge of the glass sulphide, removing part of the inscription - only 'patr' of 'patrium' remains.Minor surface marks/scratches to mount.Shank is oval, as such we cannot measure the finger size on a wheatsheaf stick.
A gentlemen's 18ct gold Jaeger-LeCoultre mechanical strap watch,32mm diameter, with a gilt dial, raised baton hour markers and stick hands. Case numbered 4468 21 1 410 559. Case marked 18k 0.750, Swiss assay marks. 18 jewel movement signed LeCoultreCo, calibre no. P838, serial no. 1943734. With an after market leather strap. No box or papersBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportCurrently running. No guarantee as to timekeeping or continued running.Crown winds and hands adjust.Some very minor marks to dial/batons.Surface marks to case.Strap and buckle are generic after market replacements. Some wear.No box or papers.
A Victorian ebonised walking stick,with a gold crop handle, decorated with repousse scrolls and an acanthus leaf collar. Hand engraved with a presenation inscription in script 'H Dansie Dec 25th 1881' tested as approximately 15ct gold, together with an ebonised walking stick, with a crook handle and rolled gold decoration and a collar (2)
A West African tribal 'Venga' type processional stick or club, with a rounded bulbous head with central point on a tapering shaft, tropical hardwood, possibly ebony, with distinctive two colour timber, 57cm long. *CR: Slight knocks and scuffs. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.
A collection of eight black and white photographs, 8 x 11.5 cm with deckled edges, three images of U-Boats, three of tanks, one a dispatch rider , and one of a soldier with two stick grenades. *CR: Slight surface marks and discolouration. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.
An 1897 Pattern Infantry Officers Sword with an 83cm pointed blade with sharpened edge, with partial fuller and decorated for the 1st V.B.K.O. Royal Lancaster Regt and Edward VII Crown and cipher. Marked for Hobson and Sons, 1,3 & 5 Lexington Street Golden Square, London. The broad guard with turned down rim, shagreen wire wound grip and domed pommel, with leather sword knot. In service scabbard with frog, 100cm overall length. With a travelling cover and dress scabbard. Also a Masonic sword, leather covered swagger stick and a King's Own Swagger stick. This sword and other items were the property of Major Nicholas Edmund Barnes who was a 2nd Lieutenant with the Volunteers from 1903 and decorated as the best shot as a recruit in the same year. Captain from 4/8/14 and Major from 3/5/15. Following the War a senior partner with Barnes and Jackson Solicitors of Alverston. With a selection of documents relating to his work as a solicitor. *CR: Light marks and age related wear throughout, but generally a nice example in good order. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.
A regimental stick, white metal top embossed with the badge of the Wiltshire Regiment, 91 cm (36 in.); together with two swagger sticks, one bearing the badge of the 4th Battalion Wiltshire Regiment, the other with a plain silver top engraved 'Captn Harvey, the 99th Regt' and hallmarked for London 1876. [3]
FIVE BOXED MATCHBOX COLLECTABLE MODEL VEHICLES, to include a superfast Airport Coach no.65, in white and royal blue with yellow tinted windows, British Airways stickers to both sides, a Rola-matics Turbo Fury no.69, in metallic red with 69 arrow sticker to the bonnet, a Superfast Security Truck no.69 in red with cream roof, writing to each side of vehicle, a Didge Delivery Truck no.72, in white and red with Pepsi logo stick to both sides, rear doors do open but are quite stiff, a Model 'A' Ford no.73, in cream and green, loss of cream paint to edges
A diamond 14ct gold bar brooch, the central single cut diamond measuring 1.5mm diameter, claw set to a raised square border, continuing to a rectangular two-colour gold bar with engine turned detail, hinged pin and safety loop fastening, stamped '14K' and 'G' lozenge mark to loop, 5.2cm wide, together with a Victorian 'BABY' brooch, stamped 'AJC. 9ct' 34mm wide, a further 'BABY' brooch, stamped '9ct', 28mm wide, and a Victorian diamond set knot design stick pin, head stamped '15', 54mm long, gross weight 7.0gms (4)
A selection of silver and silver coloured accessories, to include a novelty silver rattle, Crisford & Norris Ltd, Birmingham 1976, modelled as an owl suspending two bells upon a mother of pearl handle and teething ring, 15.5cm long approx., a pair of novelty silver place card holders modelled as honeycombs, Clive & Clarissa Cooke, London 1987, each 29mm wide, a further novelty silver place card holder modelled as a fish, marks for WW, London 1998, 28mm high, a silver pickle fork with thistle finial, 12.2cm long, a late Victorian silver smoker's tool, G E Walton & Co Ltd, Birmingham 1899, 5cm long, a Victorian open silver salt, Thomas Smily, London 1872, 35mm high, a novelty EPNS rattle in the form of a penguin, 12cm long, a silver coloured pheasant bottle stopper, 6cm high, a stick pin modelled from a Victorian coin, 6cm long and three silver coloured miniature silver thimbles, each 6mm high (13)CR: Penguin Rattle is EPNS. Victoria pin, pheasant stopper are not marked. Thimbles are not marked and are not thought to be silver.Rattles: Both largely in good order. Owl example shows moderate denting, particularly to the bells. Both show moderate scratching and wear commensurate with age and use.Salt: Some misshaping to the border when viewed top down, some misshaping to the foot. Moderate loss to the engraved detail.Pickle fork shows misshaping to tines. Heavy scratching and chipping to the glass thistle.Miniature thimbles show very heavy scratching and wear.Stopper, card holders, multi-tool and pin appear largely in good order, showing general scratching and wear commensurate with age and use.
A 19th century diamond flower head stick pin, comprising two central rectangular cushion cut diamonds with a surround of eight cushion cut diamonds, all set to a silver coloured closed back setting, with a gold coloured floral border, head 16mm diameter, upon a gold coloured stick pin, 8.5cm long, weight 3.3gmsNote; It is the opinion of the valuer that the floral head may be earlier then the mount, pre-Victorian. The stick pin appears to be later, late-Victorian.
James Earley (British, B.1981)Kaud signed 'J.Earley' lower rightoil on canvas, framed99 x 69cm (39 x 27 3/16in).Footnotes:James is a self taught artist and uses his work to raise awareness of issues such as homelessness, war and mental health. He first came to prominence in 2013, when he was part of the acclaimed 'Seven Artists Exhibition' held at London's Strand Gallery. 'I was born in the UK, spent many years in France but I am now back living in the UK. I am a self taught artist and I paint those on the very edge of society. I want to use my art to help raise awareness of the issues in the world today, I want to help make the invisible visible and ultimately I want my art to scream. I am always looking to the long term as my ambition is to be a relevant and significant artist today and also in hundreds of years from now.I always had a passion for art, I knew this was my gift yet my career took me away from my passion. It was only in 2015 that I knew that I could no longer live a lie so I swapped a career in business for a profession as a full time artist, a job that in my heart I was always meant to do. My career as an artist has accelerated since 2015. In that time I was part of the prominent 'Seven Artists Exhibition' at The Strand Gallery London. I have also been nominated by The Royal Society of Oil Painters, The Royal Society of Portrait Painters and I received a nomination for the 2015, 2016, 2017 and 2020 BP award. I have had my work displayed in London, Madrid, Paris, New York and Amsterdam and I have been described as one the most relevant artists in the world today by the German Kunst Heute Art publication and the Contemporary Art Curator Magazine. In 2019 I was honoured to win the first prize at the prestigious London Biennale as well as the prestigious International Michelangelo prize for art. In 2020 I was awarded the Venice International Artist Of The Year and in 2021 I was honoured to win The International Confederation of Art Critics Award. I won the Velazquez International Painting award in 2022.' (James Earley, Saatchi Art)He has been the receipt of numerous awards, including the International Prize Giotto, and the International Prize Leonardo da Vinci in 2019 and the International Dante Eligheiri and Collector's Vision International Award,' in 2021. He has also featured on the front covers of International Art Magazine and Vanity Fair in 2017 and 2020.'In May of 2022 I was invited by the Social Purpose Organisation Friendship to visit Nakna village in the remote coastal region of Bangladesh. This area had been hit by cyclones and flooding and the situation was getting worse as climate change accelerated. Friendship and the community were doing a lot of work to protect the village from the impact of the floods and they had embarked on a huge project of planting mangrove trees to protect the coastal areas and strengthen the coastal edge.I wanted to learn how climate change had impacted over the years and I was introduced to one of the elders of the village Kaud Banq. I knew as soon as I saw Kaud that I wanted to paint her. Every wrinkle on her face told a story, her eyes showed her wisdom, her hands clutching tightly at the wooden stick that supported her showed her strength and her beautiful dress showed her pride and dignity. I wanted to create a back ground that would show a path way that instead of looking smaller in the distance as it disappeared in the horizon had the opposite affect, the pathway was getting narrower and narrower as it pushed its way into the foreground. This path that Kaud had taken for 85 years was wide and abundant in her childhood but as climate change gradually impacted the pathway got narrower and narrower as the water level increased. Kaud now stood near the end of this narrowing path surrounded by water.'For further information on this lot please visit Bonhams.com
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