We found 82038 price guide item(s) matching your search

Tools to include a metal trimmer, Minicraft Precision Drill and stand and similar. [W]

Tools including a garden sprayer. Not available for in-house P&P

Mixed vintage tools and a drill press. Not available for in-house P&P

Collection of garden and other tools including rakes, shovel, hoes, shears, trowel, saws, wood turning chisels, an aluminium stepladder, etc. and a Black and Decker Workmate ( 2 boxes, a bucket and loose)

A miscellaneous selection of items including a set of interior car tools in a soft case, a BMW bag, a golf related wall hanging, a blue and white bowl and a desk lamp etc.

Artist's equipment and artist books From the artist, Hilda BURFORD Including tools, nibs pastel, quills and other miscellany.

A large collection of penknives to include advertising examples together with multi-tools.

A vintage pine toolbox full of tools. 95cm w x 37cm d x 38cm h.

A quantity of vintage tools to include chisels, planes, saws, shoe lasts etc.

Collection of Vintage wood working tools

Triumph Service Manual Trophy Daytona Trident and assorted Tools inc. Portable Wynch, Air Tolls SDS Masonry drills & Chisels etc

A cast iron cauldron, a tin trunk, tools, etc.

A collection of watch parts including dials, movements, watchmaker's tools, watches and a Swiza 8-day clock

1936 Rolls-Royce 20/25 Sportsman Coupé by H. J. Mulliner Transmission: manualMileage:36292The introduction of a smaller Rolls-Royce, the 20hp, in 1922 enabled the company to cater for the increasingly important 'owner driver' market. Its successor, the 20/25, introduced in 1929, up-dated the concept with significant improvements, featuring an enlarged (from 3.1 to 3.7 litres) and more-powerful version of the Twenty's six-cylinder overhead-valve engine. Produced contemporaneously with the Phantom II, the 20/25 benefited from many of the features, such as synchromesh gears and centralised chassis lubrication, developed for the larger model, and would become the best-selling Rolls-Royce of the inter-war period. The Rolls-Royce 20/25 was, of course, an exclusively coachbuilt car, and most of the great British coachbuilding firms offered designs, many of them unique, on the 20/25 chassis.This lovely, unique Rolls-Royce 20/25 two-door, two seat fixedhead coupé was specially built by H. J. Mulliner along the lines of the American style sportsman coupé for R Allen Esq. and delivered to Sutton Brailes Hall near Banbury, Oxfordshire in March 1936. The next owner, D.S. Astbury acquired it in 1959 after which it entered the collection of Dr Huw D. Walters in Llangadog, Carmarthenshire. The current owners father purchased the 20/25 from Dr Walters in the late 1980's. The vendor believes that the mileage of 36,292 to be genuine. This coupé has some unusual features including a very large boot, door in the side behind the passenger door to give easy access to get your golf clubs and a special compartment on the passenger side that contains the hand tools. When new the coachwork was black but shortly after being purchased in the late 1980's the colour was changed to the striking combination of maroon with brown above the swage line and brown wings and running boards but retaining the original beige cloth interior. This unique Rolls-Royce 20/25 is supplied with a V5C registration document, the original handbook and copies of the original specification sheets and chassis cards supplied by the Rolls-Royce Enthusiasts Club. We are informed that the car runs and drives very well having been fully maintained and well looked after.

1957 Mercedes-Benz 300SL Roadster Transmission: manualMileage:52684The 1957 Mercedes-Benz 300SL is an iconic classic car that has left an indelible mark on the world of automotive history. This masterpiece of engineering and design epitomises the golden age of automotive elegance and is instantly recognisable. Under the bonnet, the 1957 300SL boasts a 3.0 litre inline-six-cylinder engine with fuel injection, a revolutionary feature for its time. This engine produced an impressive 240 horsepower, more than the Gulling propelling the car to a top speed of around 160 miles per hour, making it one of the fastest production cars of its era. Its agile handling and superb performance on both road and track have solidified its status as a racing legend. The 300SL's elegant lines and iconic grille, along with its subtly curvaceous body, define the epitome of automotive design from the 1950s. The car's interior exudes luxury, featuring sumptuous leather seats, and a timeless instrument panel. Today, the 1957 Mercedes-Benz 300SL Roadster is highly sought-after by collectors and enthusiasts, a testament to its enduring appeal and its place as a timeless symbol of automotive excellence and style.This stunning 300SL is finished in the superb colour combination of Fantasy Yellow with a Pine Green leather interior, matching top roll and weaved carpets. The sumptuous interior is enhanced by the colour co-ordinated dashboard, ivory steering wheel and gear stick. This is the highly desirable closed in headlamps model and also benefits from a lower rear axle ratio of 1;3.89 for increased acceleration.Owned by its former owner since 1974, this magnificent 300SL has been totally nut and bolt restored by the renowned restorer Rudi & Co in Canada, respected for carrying out some of the finest restorations in the world. No stone was left unturned during the restoration, the paintwork is of excellent quality, the chromework is unblemished, the interior is an area of beauty and mechanically this car is as good as you could ever expect. The panel gaps look like they could have been set with a Vernier gauge they are so precise. The restoration was carried out circa 20 years ago which gives an indication of the outstanding quality of workmanship that Rudi Koniczek & Co in Vancouver, Canada are capable of. Supplied with a Mercedes-Benz Classic Certificate, this 300SL Roadster is accompanied by a Becker Mexico radio, tools, manuals and spare keys. This is a fabulous opportunity to purchase a Mercedes-Benz 300SL Roadster of the highest quality.Interested parties should note that this car will be subject to 5% import duty.  

A Suretile tiling aid plus tiling tools etc COLLECT ONLY

A quantity of new tools including Workzone storage hooks set x 2, cordless multi grinder etc

A good lot of mainly unused tools COLLECT ONLY

English painted porcelain necessaire with tools and gold setting. The case of whimsical forms is made in the spirit of Rococo and is decorated with allegorical scenes of love themes. England, circa 1770 Height: 11 cm. Weight: 87.2 gr. Width: 4.5cm, Height: 11cm, Depth: 2cm, Weight: 0.090kg, Condition: Good, Material: Mirror

Assortment of Miscellaneous items to include White's London 19th Century Romantic Dagger, AA Badge, Various Tools, Magnifying Glasses, Clock Keys, and others.

Collection of Lighters to include Dupont, Zippo, along with Antique Measure Tools, and other.

Carving Chisels, Taskmaster, square, drive set, screwdrivers, other tools, etc:- One Box

A 'battery powered bartender with revolving eyes' complete with original box together with a suitcase holding a vintage wooden truncheon and various tools to include hand drill etc. (2)

Various watchmaker's tools and parts, including pliers, Precista tweezers, Pioneer movement holder etcLot sold as seen unless specific item(s) requested

Military ammunition tin box for 120mm shell, and assorted clamps and other tools, etc.

A selection of assorted tools and accessories, shipping unavailable

Jack Jubb Fish, 2023 Airbrush, acrylic on postcard Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About Jack Jubb is an Artist whose practice is grounded in a critical engagement with the politics of the image, having access to one of the earliest iterations of Photoshop's suite of airbrushing and liquify tools as a child through his father's job as a graphic designer, Jack developed an acute interest in the power of editing tools to transform and recontextualise media. Jack's airbrush paintings derive from the historical context of the airbrush as one of the earliest tools used for the editing of photographs. Even as the practice has been long been superseded by advancements in digital photo editing, the "airbrushed" photograph remains in the popular vernacular, denoting a dawning paranoia associated with the truth or falsehood of the images that one is confronted with in every sphere of life, employing an airbrush as a lens-based tool of image reproduction and doctoring. Jack's painting practice is an editorial process in which elements of source material, gathered from personal photographs and vast tracts of online data, may be destroyed, or embellished to craft affecting narratives concerning memory, alienation, and countercultural anxieties. Education Goldsmiths University (Graduated 2015) Select Exhibitions/Awards 2023 VEGAN / House of Spouse / Vienna AUS Half-Life / Stems Gallery / Brussels, BE 2022 The Empath / Carl Kostyál / Milan, IT Viscous Cycle / The Residence Gallery / London, UK 2021 Feeling Sentimental / DJ / Berlin, DE Statement about AOAP submitted work The Painting of a Betta Fish is derived from a fragmentary low-resolution video still     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Julia Abele Ranunculus, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I am a self-taught figurative painter with a passion for bright colours, abandoned city spaces and still lifes. My paintings are my diary. I paint memories, snap shots from my trips and travels as well as family snap shots. Education I have a masters in literature in London and Heidelberg. With regards to painting l am self-taught. I had a good art teacher in school, but after that it was learning by doing and trying to find out which tools and media were best suited to achieve the colours and textures I had in my head. Select Exhibitions/Awards I had two solo exhibitions and a number of group exhibitions in my home town. From 2011 on I participated in smaller art fairs around the world. In March 2023 I exhibited at The Other Art Fair in London. In 2018 and 2023 works of mine were selected for the Royal Academy Summer Exhibition. In 2024 I have another Solo show coming up in Klingenberg am Main/Germany. Gallery Representation Saatchiart Singulart Statement about AOAP Submitted Artwork I submitted 4 still lifes of my favourite subjects to the upcoming auction. For me still lifes are a bridge between the past and present - life and death. By looking at simple everyday objects that are painted in a specific moment in time you can time travel back to that moment that is gone forever. The objects may have gone or broken too and remind us that life is swift and precious. I particularly like to paint porcelain and ceramic objects as they are delicate by default. I also love painting flowers, fish and seafood, as all those classic still life objects have their own story of mortality.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Isabella Lolita Amram Anti-Matter Field Oil and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Isabella Lolita Amram is a Turkish and Venezuelan artist living in London. Isabella ritualistically combines astrological chart analysis and tarot card divination in relation to the places, people, and events that inspire her, with paint. Her paintings can best be described as cosmological landscapes and portraits that capture the world through a lens of occult knowledge. Further to that, she not only conceptually and experientially investigates, but also "processually" embodies and performs her research on tarot- and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of layering paint, using the materials as an extension her body. On the one hand Isabella's practice is built on a foundation of conceptual research on esoteric meaning-creating symbols based on astrology and tarot. On the other, it emphasises approaching the occult by dropping out of analysis and storytelling into "mystery," which she does through practices like automatic drawing and using her body as a vessel rather than a tool of conscious material manipulation. The intention behind this seemingly dualistic foundation is to bridge the gap between body and cosmos, material and meaning, the unknown and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Furthermore, through her work, Isabella aims to open the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on mysticism, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history. The crux of Isabella's oeuvre is the fleeting and transformative process that goes on in her studio, while the works displayed are heirlooms from these voyages throughout space and time. Education BA from Brown University Foundation Degree in Fine Art from UAL Graduate Diploma in Fine Art from UAL (ongoing) Select Exhibitions/Awards 'There, Yet' group exhibition at The Department Store Brixton, London, UK Pop-up group exhibition at Standpoint Gallery, London, UK 'Intuition Goes Before You' group show, 13 Soho Square, London, UK 'ONE Akaretler' group show by Bilgili Holding and shopigo art platform, Istanbul, Turkey Statement about AOAP Submitted Artwork Isabella Lolita Amram's practice is built on a foundation of radical processual embodiment - a durational way of painting as felt and experienced by the body, on the one hand, and research on ancient and esoteric meaning-creating symbols based on astrology and tarot, on the other. The intention behind this foundation is to bridge the gap between body and cosmos, material and meaning, mystery and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Isabella not only conceptually investigates, but also "processually" embodies and performs her research on tarot and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of weaving materials. Ritualistically combining astrological charts and tarot divination with paint, her works can best be described as cosmological landscapes and portraits of events and people informed by divination. Analysing moments of significance through the lens of such occult tools and transcribing them onto surfaces opens the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on the esoteric, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Emily Tracy Disaster 1. 2023 Collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Emily Tracy makes site-specific socially engaged installation and projects in public spaces, which encourage the exploration of a place, through asking question, exploring an archive or through collecting story and histories. Alongside projects she creates studio-based work which includes collage and works on paper.   As a young artist Emily worked for 10 years at The Natural History Museum, London, with access to 'behind the scenes' storerooms filled with defunct cases, specimen storage and a labyrinth of scientific offices. This experience seeps into her current practice which explores the concept of archive, collections and the human desire to amass objects, image and knowledge to order and placate our sense of place within a chaotic world. She plays with the tools of archive; data containers such as CD and Vinyl sleeves, slide projector cases, encyclopaedias and photography using the medium of collage and sculptural books. She reworks the processes institutions use to house this knowledge: sorting, filing and classifying. Her current studio practice is focused on collage, artist books and small sculptural collage. She has undertaken many collaborative projects, most recently incorporating sound into artworks. Education Slade School of Art. Post graduate (Painting), Brighton Polytechnic Fine Art Painting. Select Exhibitions/Awards Emily has invited audiences to collect and sort clutter, help reunite lost property, create collage to reflect lives of older people, and ask the question 'What do we hold dear?' Current projects combine sound and image to explore an archive of dialect house at The University of Leeds, and include an artist residency at Portland Bird Observatory in Dorset. Emily has created projects for The Arts Council, B-Side, Metal (Peterborough), The Museum of London (Docklands), The British Museum, The Bloomsbury Festival and Up Projects. She has presented her work with B-Side Festival, That House On Mare Street, Unit 1 Gallery, LCN (SPACE), Nunnery Gallery, Akkigalleria, Finland, and Shunt Lounge. Statement about AOAP Submitted Artwork Disaster 1' uses a record sleeve to hold and frame an extracted scene from a hurricane. It places 'Disaster 1' as an entry for an imaginary database. The work draws on the shifting meaning and significance of an image, how this changes over time, and the possibilities for offering up new information or understanding, particularly in reference to our relationship to the environment and climate change.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Isabella Lolita Amram Bad Hologram Oil and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Isabella Lolita Amram is a Turkish and Venezuelan artist living in London. Isabella ritualistically combines astrological chart analysis and tarot card divination in relation to the places, people, and events that inspire her, with paint. Her paintings can best be described as cosmological landscapes and portraits that capture the world through a lens of occult knowledge. Further to that, she not only conceptually and experientially investigates, but also "processually" embodies and performs her research on tarot- and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of layering paint, using the materials as an extension her body. On the one hand Isabella's practice is built on a foundation of conceptual research on esoteric meaning-creating symbols based on astrology and tarot. On the other, it emphasises approaching the occult by dropping out of analysis and storytelling into "mystery," which she does through practices like automatic drawing and using her body as a vessel rather than a tool of conscious material manipulation. The intention behind this seemingly dualistic foundation is to bridge the gap between body and cosmos, material and meaning, the unknown and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Furthermore, through her work, Isabella aims to open the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on mysticism, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history. The crux of Isabella's oeuvre is the fleeting and transformative process that goes on in her studio, while the works displayed are heirlooms from these voyages throughout space and time. Education BA from Brown University Foundation Degree in Fine Art from UAL Graduate Diploma in Fine Art from UAL (ongoing) Select Exhibitions/Awards 'There, Yet' group exhibition at The Department Store Brixton, London, UK Pop-up group exhibition at Standpoint Gallery, London, UK 'Intuition Goes Before You' group show, 13 Soho Square, London, UK 'ONE Akaretler' group show by Bilgili Holding and shopigo art platform, Istanbul, Turkey Statement about AOAP Submitted Artwork Isabella Lolita Amram's practice is built on a foundation of radical processual embodiment - a durational way of painting as felt and experienced by the body, on the one hand, and research on ancient and esoteric meaning-creating symbols based on astrology and tarot, on the other. The intention behind this foundation is to bridge the gap between body and cosmos, material and meaning, mystery and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Isabella not only conceptually investigates, but also "processually" embodies and performs her research on tarot and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of weaving materials. Ritualistically combining astrological charts and tarot divination with paint, her works can best be described as cosmological landscapes and portraits of events and people informed by divination. Analysing moments of significance through the lens of such occult tools and transcribing them onto surfaces opens the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on the esoteric, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Julia Abele Shrimp, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I am a self-taught figurative painter with a passion for bright colours, abandoned city spaces and still lifes. My paintings are my diary. I paint memories, snap shots from my trips and travels as well as family snap shots. Education I have a masters in literature in London and Heidelberg. With regards to painting l am self-taught. I had a good art teacher in school, but after that it was learning by doing and trying to find out which tools and media were best suited to achieve the colours and textures I had in my head. Select Exhibitions/Awards I had two solo exhibitions and a number of group exhibitions in my home town. From 2011 on I participated in smaller art fairs around the world. In March 2023 I exhibited at The Other Art Fair in London. In 2018 and 2023 works of mine were selected for the Royal Academy Summer Exhibition. In 2024 I have another Solo show coming up in Klingenberg am Main/Germany. Gallery Representation Saatchiart Singulart Statement about AOAP Submitted Artwork I submitted 4 still lifes of my favourite subjects to the upcoming auction. For me still lifes are a bridge between the past and present - life and death. By looking at simple everyday objects that are painted in a specific moment in time you can time travel back to that moment that is gone forever. The objects may have gone or broken too and remind us that life is swift and precious. I particularly like to paint porcelain and ceramic objects as they are delicate by default. I also love painting flowers, fish and seafood, as all those classic still life objects have their own story of mortality.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Isabella Lolita Amram Forgotten Shadows Oil and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Isabella Lolita Amram is a Turkish and Venezuelan artist living in London. Isabella ritualistically combines astrological chart analysis and tarot card divination in relation to the places, people, and events that inspire her, with paint. Her paintings can best be described as cosmological landscapes and portraits that capture the world through a lens of occult knowledge. Further to that, she not only conceptually and experientially investigates, but also "processually" embodies and performs her research on tarot- and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of layering paint, using the materials as an extension her body. On the one hand Isabella's practice is built on a foundation of conceptual research on esoteric meaning-creating symbols based on astrology and tarot. On the other, it emphasises approaching the occult by dropping out of analysis and storytelling into "mystery," which she does through practices like automatic drawing and using her body as a vessel rather than a tool of conscious material manipulation. The intention behind this seemingly dualistic foundation is to bridge the gap between body and cosmos, material and meaning, the unknown and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Furthermore, through her work, Isabella aims to open the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on mysticism, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history. The crux of Isabella's oeuvre is the fleeting and transformative process that goes on in her studio, while the works displayed are heirlooms from these voyages throughout space and time. Education BA from Brown University Foundation Degree in Fine Art from UAL Graduate Diploma in Fine Art from UAL (ongoing) Select Exhibitions/Awards 'There, Yet' group exhibition at The Department Store Brixton, London, UK Pop-up group exhibition at Standpoint Gallery, London, UK 'Intuition Goes Before You' group show, 13 Soho Square, London, UK 'ONE Akaretler' group show by Bilgili Holding and shopigo art platform, Istanbul, Turkey Statement about AOAP Submitted Artwork Isabella Lolita Amram's practice is built on a foundation of radical processual embodiment - a durational way of painting as felt and experienced by the body, on the one hand, and research on ancient and esoteric meaning-creating symbols based on astrology and tarot, on the other. The intention behind this foundation is to bridge the gap between body and cosmos, material and meaning, mystery and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Isabella not only conceptually investigates, but also "processually" embodies and performs her research on tarot and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of weaving materials. Ritualistically combining astrological charts and tarot divination with paint, her works can best be described as cosmological landscapes and portraits of events and people informed by divination. Analysing moments of significance through the lens of such occult tools and transcribing them onto surfaces opens the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on the esoteric, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Julia Abele Vase, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I am a self-taught figurative painter with a passion for bright colours, abandoned city spaces and still lifes. My paintings are my diary. I paint memories, snap shots from my trips and travels as well as family snap shots. Education I have a masters in literature in London and Heidelberg. With regards to painting l am self-taught. I had a good art teacher in school, but after that it was learning by doing and trying to find out which tools and media were best suited to achieve the colours and textures I had in my head. Select Exhibitions/Awards I had two solo exhibitions and a number of group exhibitions in my home town. From 2011 on I participated in smaller art fairs around the world. In March 2023 I exhibited at The Other Art Fair in London. In 2018 and 2023 works of mine were selected for the Royal Academy Summer Exhibition. In 2024 I have another Solo show coming up in Klingenberg am Main/Germany. Gallery Representation Saatchiart Singulart Statement about AOAP Submitted Artwork I submitted 4 still lifes of my favourite subjects to the upcoming auction. For me still lifes are a bridge between the past and present - life and death. By looking at simple everyday objects that are painted in a specific moment in time you can time travel back to that moment that is gone forever. The objects may have gone or broken too and remind us that life is swift and precious. I particularly like to paint porcelain and ceramic objects as they are delicate by default. I also love painting flowers, fish and seafood, as all those classic still life objects have their own story of mortality.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Julia Abele Minton Tea Cup, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I am a self-taught figurative painter with a passion for bright colours, abandoned city spaces and still lifes. My paintings are my diary. I paint memories, snap shots from my trips and travels as well as family snap shots. Education I have a masters in literature in London and Heidelberg. With regards to painting l am self-taught. I had a good art teacher in school, but after that it was learning by doing and trying to find out which tools and media were best suited to achieve the colours and textures I had in my head. Select Exhibitions/Awards I had two solo exhibitions and a number of group exhibitions in my home town. From 2011 on I participated in smaller art fairs around the world. In March 2023 I exhibited at The Other Art Fair in London. In 2018 and 2023 works of mine were selected for the Royal Academy Summer Exhibition. In 2024 I have another Solo show coming up in Klingenberg am Main/Germany. Gallery Representation Saatchiart Singulart Statement about AOAP Submitted Artwork I submitted 4 still lifes of my favourite subjects to the upcoming auction. For me still lifes are a bridge between the past and present - life and death. By looking at simple everyday objects that are painted in a specific moment in time you can time travel back to that moment that is gone forever. The objects may have gone or broken too and remind us that life is swift and precious. I particularly like to paint porcelain and ceramic objects as they are delicate by default. I also love painting flowers, fish and seafood, as all those classic still life objects have their own story of mortality.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Isabella Lolita Amram We Both Stood Up a Little too Fast Oil and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Isabella Lolita Amram is a Turkish and Venezuelan artist living in London. Isabella ritualistically combines astrological chart analysis and tarot card divination in relation to the places, people, and events that inspire her, with paint. Her paintings can best be described as cosmological landscapes and portraits that capture the world through a lens of occult knowledge. Further to that, she not only conceptually and experientially investigates, but also "processually" embodies and performs her research on tarot- and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of layering paint, using the materials as an extension her body. On the one hand Isabella's practice is built on a foundation of conceptual research on esoteric meaning-creating symbols based on astrology and tarot. On the other, it emphasises approaching the occult by dropping out of analysis and storytelling into "mystery," which she does through practices like automatic drawing and using her body as a vessel rather than a tool of conscious material manipulation. The intention behind this seemingly dualistic foundation is to bridge the gap between body and cosmos, material and meaning, the unknown and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Furthermore, through her work, Isabella aims to open the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on mysticism, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history. The crux of Isabella's oeuvre is the fleeting and transformative process that goes on in her studio, while the works displayed are heirlooms from these voyages throughout space and time. Education BA from Brown University Foundation Degree in Fine Art from UAL Graduate Diploma in Fine Art from UAL (ongoing) Select Exhibitions/Awards 'There, Yet' group exhibition at The Department Store Brixton, London, UK Pop-up group exhibition at Standpoint Gallery, London, UK 'Intuition Goes Before You' group show, 13 Soho Square, London, UK 'ONE Akaretler' group show by Bilgili Holding and shopigo art platform, Istanbul, Turkey Statement about AOAP Submitted Artwork Isabella Lolita Amram's practice is built on a foundation of radical processual embodiment - a durational way of painting as felt and experienced by the body, on the one hand, and research on ancient and esoteric meaning-creating symbols based on astrology and tarot, on the other. The intention behind this foundation is to bridge the gap between body and cosmos, material and meaning, mystery and knowledge, something and no-thing, and the observed and imagined, through the use of the physical and tactile properties of paint, surface and colour. As such, Isabella touches upon moments of individuation and transformation - both personally and collectively. Isabella not only conceptually investigates, but also "processually" embodies and performs her research on tarot and astrology-centric symbolic and archetypal storytelling through a gestural, circular, and textured manner of weaving materials. Ritualistically combining astrological charts and tarot divination with paint, her works can best be described as cosmological landscapes and portraits of events and people informed by divination. Analysing moments of significance through the lens of such occult tools and transcribing them onto surfaces opens the door to conversations about the relationship between space and time, the unknown that exists beyond storytelling, contemporary attitudes on the esoteric, as well as age-old discussions on consciousness, free will, and the cyclically patterned nature of history.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

A Group Of Accessories Relating To Antique And Vintage FirearmsMostly 19th CenturyComprising fourteen steel bullet moulds, the first for casting a conical bullet and stamped '45-75', the others each made for casting a spherical bullet and with integral sprue-cutter, one stamped 'IMPROVED No.12' and 'WD' (for William Davies), another stamped 'B. RODDA & CO. CALCUTTA' and '13', two others each stamped '15', and four others stamped respectively '16', '18', '34' and '130'; three combination tools for Enfield percussion service rifles; four various powder-measures, each with turned wooden handle; a nipple-key and turnscrew, each with turned wooden handle; a combined mallet and ramrod; three all-steel nipple-keys, one also forming a barrel-wrench; a patch-cutter; a brass K. Steggles bore-gauge; fifteen various ramrods and cleaning rods for longarms and pistols; a red leather flint wallet; a red woollen 'shoddie' for a flintlock pistol; various detached cocks, top jaws and screws; sling mounts; a tin of large percussion nipples; and two wooden compartment lids, each with turned bone knob (a lot)For further information on this lot please visit Bonhams.com

FIVE TRAYS OF TOOLS ETC - TRAYS NOT INCLUDED

A LARGE SELECTION OF TOOLS AND CONSUMABLES - TRAYS NOT INCLUDED

A SELECTION OF HAND POWER TOOLS

A SELECTION OF BOXED TOOLS AND CONSUMABLES

FIVE TRAYS OF TOOLS TOGETHER WITH TOW VINTAGE LIGHTS - TRAYS NOT INCLUDED

FOUR TRAYS OF ASSORTED TOOLS - TRAYS NOT INCLUDED

THREE TRAYS OF ASSORTED TOOLS - TRAYS NOT INCLUDED

SIX TRAYS OF ASSORTED TOOLS - TRAYS NOT INCLUDED

FOUR TRAYS OF ASSORTED TOOLS - TRAYS NOT INCLUDED

Hornby (China) R1041 Mallard (Live Steam) Train Set containing 4-6-2 LNER blue A4 Class No.4468 "Mallard" along with oval of track, operators manual, relevant tools, pair of gloves, controller and transformer units along with connecting wires, all appears unused in Near Mint overall condition in Excellent boxes with outer mailer.

Tools & Accessories mixed group. To include Tap & Dyes, various home made clamps, packs of solder, Carr's 188 solder paint, 50mm x 50mm slide glasses 50x per box + some loose plus other items. Conditions: Good to Mint Good to Excellent boxes & packaging. (Qty)

Vintage brass goat bell with leather strap, & a cow bell, t/w some vintage tools, band saw Buck 242 Tottenham Court Road, F Hardy, Onion hoe, herb chopper, meat cleaver etc.

Qty of quartz / mechanical watches (inc boxed Rotary) & watch parts & watch tools in black pouch & carriage clock empty box etc

Guy Royle - A pair of 18ct gold cornelian ear pendants, hammered triangular drop, each with three drilled cornelian beads, diameter from approximately 6.5 to 7.5mm, hook fitting, length including fitting 5.2cm, hallmarked London, 18ct gold, maker's mark 'GR', weight 5.7g, casedGuy Royle was born in Devon and was the assisitant to Breon O'Casey for 25 years. His jewellery inhabits a space between the definitions of Art and Craft; mingling influences from both. He uses the simplest of tools and methods and works mainly with sheet silver which is cut, bent, beaten and formed. This metal work compliments his use of natural pebbles and gemstones which are ground, shaped and drilled into beads.

Collection of ( 3 ) Large Boxes of Tools, Includes Black and Decker Sander, Circular Sword, Electric Saw, Lots of Tools etc - Please See Photo. .

with many tools, to include a collection of chisels, planes, drills, vices, etc etc. (large quantity)

A mixed lot to include a cased Singer sewing machine with instructional handbook, with original oil can and tools in original box within compartment. (No key to case). Appears to be in working order.  Along with a small leather suitcase with various Basket making and Cane work books, pamphlets, and tools including diagonal cutting nippers and others.  Further details: Wear commensurate to age to all, case of sewing machine has wear and loss, etc.

A collection of wooden vintage tools to include plains, gauges, squares and more.

A collection of silver items to include; a Victorian silver cased fabric circular pin cushion, hallmarked by Hamilton & inches, Edinburgh, 1889, a silver hand mirror with elaborate floral and foliage design, a small Birmingham silver stylised pin dish, a Birmingham silver small oval embossed pin dish, a Levi & Salaman silver hallmarked topped cut glass ring box of rectangular form, two silver thimbles, various silver handled tools including button hooks, shoe horn and glove stretchers etc, along with a circular footed trinket box (no cover and damaged fabric areas), etc. (1 bag) Weighable Silver: Approx. 73.2 grams (2.3ozt) Further Details: Some slight denting and signs of misshaping to some areas, general wear and tarnishing.  

A collection of ninety-four Ancient Roman/Medieval bronze/copper/soapstone pieces, including plaques in vary designs, earrings, hairpins, pendants, buckles and small tools. Measures approx. 1.5-10cm long. All lots in this auction are part of a private collection of antiquities and later effects, mainly collecting Roman, Viking, Egyptian and Asian antiques. The collection having been amassed over a 30-40 year period. The items in the auction has been purchased at various auction, private collections and museums over the years.

Bell & Ross. A black ceramic automatic calendar wristwatchReference: BR 03-92Date: Circa 2010Movement: Jewelled automaticDial: Slate grey, applied black hour markers with Arabic numeral quarters, black outer minute divisions, date aperture between 4 and 5, grey pointed baton hands with black tips, centre secondsCase: Brushed square form with matte black finish, back secured by 4 screwsStrap/Bracelet: Grey Bell & Ross rubberBuckle/Clasp: Signed Matte black buckleSigned: Case, dial & movementSize: 42mm Accompaniments: Bell and Boss box, outer card, setting tools, spare fabric strap, brochureFor further information on this lot please visit Bonhams.com

AN 'AQUARIUM' LIGHTER, ALFRED DUNHILL LTD., LONDON, 1950s shaped oblong, the four lucite panels reverse intaglio carved and painted with silver fish swimming above rocks and below plants against a green shaded ground painted with further frondy plants, gilt-metal hardware, the snuffer arm with 'Dunhill' panel, underside stamped MADE IN ENGLAND, 7 x 5.8cmDunhill launced the Aquarium range of lighters in 1949, using stocks of lucite left over from the war, production ceasing in 1959. Each lighter was unique, painted to the back of the intaglios, carved using dental tools and drills, all initially by Ben Shillingford (1904-2000) who was then joined by the husband and wife team, Allan and Margaret Bennett.

A Cased 13-Bore Pin-Fire D.B. Sporting GunBy Burnard, Pilgrim St., Newcastle-On-Tyne, Circa 1860With rebrowned finely damascus twist sighted barrels signed in full in capitals along the rib, long tapering slender tang engraved with symmetrical scrolling foliage, case-hardened border engraved rounded action, back-action locks, hammers, rotary under-lever with chequered terminal, and mounts all decorated en suite, the locks each signed in capitals on a scroll and engraved 'Brazier' on the inside, the mounts comprising butt-plate and trigger-guard retaining some original blueing, lightly figured butt with chequered grip, chequered detachable fore-end (old bruising) with engraved steel mounts, gold escutcheon engraved with owner's crest, and some original finish: in original brass-mounted mahogany case fitted and lined in blue baize with some accessories including reloading tools, the interior of the lid with maker's trade label tooled in gilt letters within a foliate border, the exterior with circular brass escutcheon engraved 'H.P' and centred on a flush-fitting brass carrying handle engraved 'J.T. ROLANDSON', London proof marks 76.5 cm. barrels Footnotes:Richard Burnard is recorded at 111 Pilgrim Street, Newcastle-On-Tyne, Northumberland between 1843 and 1865For further information on this lot please visit Bonhams.com