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Lot 302
A series of 11 volumes by Sir W.M. Flinders Petrie, on various classes of objects from his excavations of ancient Egyptian sites, including "Tools and Weapons", "Shabtis", "Amulets", "Objects of Daily Use", etc, reprinted in the USA in the 1970s; "L'art de l'ancienne Egypte", by Michalowski, pub Paris 1968; also a quantity of miscellaneous books, including bound volumes 2 to 11 of "The Coat of Arms, An Heraldic Quarterly Magazine", pub by The Heraldry Society, 1950-1970. Generally GC
Lot 34
Gary Rance (UK) burr oak bowl 6x11cm. Signed On receiving the small bowl, I decided to keep it as close to Ray’s original design. I put myself in his shoes and asked myself what would Ray do if he was asked to do the same. By adding two small beads to the edge of the bowl, it gives the bowl added interest without detracting from the simple, clean design. I have many fond memories of Ray but if I had to choose one, it would be when we used to demonstrate at Shepton Mallet for Axminster Power Tools. I remember sitting around the table with some extremely well-known woodturners, spending the evening with a few glasses of wine just talking and listening to Ray’s many stories. He had a fantastic memory, he could remember everyone’s name, what year they first met and where. He was certainly a one off and someone I will never forget. The Ray Key Collaboration Auction
Lot 42
Jay Heryet (UK) ash lidded form 20x11cm. Signed “Where’s Ray?” I heard someone say. “He’s over there talking to someone”. Ah, I thought, that’s why he isn’t in his booth demonstrating. It took three more visits to his booth that day before I actually saw him demonstrate. Each previous visit, apparently he was chatting to folk. (No surprise there I hear you all cry, with laughter in our tears) That was back in the late’90s when Axminster Power Tools used to hold such fabulous shows at the Bath & West show ground. As I had never seen this great man turn, I was desperate to see him in action. It was of course worth the wait. He was so quick in achieving his shapes, so economical in producing a finish, second to none and always an anecdote thrown in for good measure. I was so thrilled to have met Ray Key. Thereafter, followed gentle unobtrusive support from Ray, for which I will be forever grateful. Thank you Sir. The Ray Key Collaboration Auction
Lot 47
John Boyne-Aitken (UK) decorated ash vessel 7x12cm. Signed The Ray Key collaboration It must be over 30 years ago since I first saw Ray demonstrating at one of the shows. It might have been the NEC but my memory lets me down these days. I remember standing and watching him turn with the ease and grace that only comes with years of experience and then standing and talking with him about tools and techniques, he was always willing to pass on his knowledge. Years later I joined the AWGB committee as an area rep and by this time Ray was the President and I enjoyed his company on many occasions. I had the need to call in on him one day to pick up some exhibition pieces and when I walked into his workshop I was staggered at the number of bowls he had stacked around drying and waiting for him to finish off, I had never seen a turner working so hard. We discussed AWGB business over a cup of tea, the conversation drifted towards pieces I was working on, Ray was always interested in other people’s work and offered advice on how my work was developing. Ray liked clean lines and natural timber and when I mentioned that I was playing with the application of paint he pointed out that I could not just go and put a painting on the side of a piece as it had to be properly framed and made to look as though it was meant to be there. When I became the Chairman of the Register of Professional Turners Ray was one of the first people to email me his congratulations and I could always rely on his wise counsel. The collaboration pieces are meant to be finished in our own style, I do not have a particular style, but remembering Ray’s comments from several years ago, I have applied a lozenge with which to frame the applied decoration. The Ray Key Collaboration Auction
Lot 63
Marcel Van Berkel (Netherlands) oak erosion vessel 19x12cm. Signed I remember in 2003 when I met Ray at the Axminster show. He remarked how some (me) butchered the wood for instance with arbortech tools. After I won gold at the same show with a triple piece “butchered and stained” I asked Ray how much I should ask for the piece as it was asked for sale. He said you get a fortune for it in the USA!! The piece is in the beautiful Daniel collection. Ray said how importanti it was to find your own style. Ray was a very kind person always time for a chat and advise. Thanks again Ray. Turned carved sandblasted.In the original outer form it was hollowed and arborteched. I left it plain oak with no finish as Ray finished his pieces clear. i.e. he did not colour his pieces whereas I often do. The Ray Key Collaboration Auction
Lot 90
Pascal Oudet (France) burr oak textured cone 8x10cm. Not signed I first met Ray in 2006 in Arc et Senans, France, a woodturning congress organized by AFTAB. He was well known for all the memory he had about the woodturning world stories. Once he had started, nothing could stop him. I then saw him again when I demonstrated at Loughborough AWGB seminar. When I received the piece, I loved the wrinkled look of the burl on the outside of the cone. I had no idea what Ray had in mind for the final piece he would do with this shape but I wanted to retain the original outside appearance, his turning and the wrinkled burl which I would have lost if I had returned it. So after thinking about it for a while I found a way to hold this piece on the lathe without touching the outside, and hollowed the inside to have thinner walls. Because the piece was oval from drying, I then worked a bit with rotating tools to refine the inside and follow the outside oval. Finally I sandblasted everything to emphasize the burl pattern. The Ray Key Collaboration Auctionn
Lot 97
Richard Raffan (Australia) burr oak bowl 4x11cm. Signed I met Ray when he came to my workshop in Topsham in Devon in 1973. We remained in regular contact as our careers developed, having long discussions on design, making, and marketing; this was long before the craft became the popular hobby it is today. Since 1982 I usually saw Ray and Liz when in Britain, relying on Ray to keep me up to date with all the woodturning gossip and the latest in woody fads and tools. And we met regularly at American and European woodturning symposiums. To the Ray Key I knew a split was a defect and not something to be glorified. So I suspect Ray wouldn’t have had the little oak bowl that came my way for completion back on his lathe: far too much messing about for a less-than-perfect result and not much money. I opted to mess about using epoxy mixed with African Blackwood dust to fill the splits, mostly because of the weak rim, but also because there weren’t quite enough splits to create a sieve. I do like bowls to be useable. RR Ray Key has been a ‘big name’ for so long that it’s easy to forget he was well known in the broader crafts community long before woodturning became the aspiring art form it is today. He is known particularly for his boxes and platters. Ray was in the vanguard that in the late 1970s and early 1980s took the craft of woodturning out of hobby sheds and production workshops into galleries, at the same time setting new benchmarks for the design and quality of turned domestic woodware — which was the foundation of his woodturning business. The mastery of his craft came from the solid days spent at the lathe making a living. Ray’s formidable body of work is firmly grounded in the traditions of creating functional bowls and platters and other items designed for daily use. His ability to churn out top quality work without compromising quality of either design or finish flowed on into his less functional pieces. In the late 1970s Ray was one of only four turners listed by the British Crafts Council as a Craftsman of Quality. Ray’s simple tall open vessels were amongst the first pieces of serious decorative art to come off a lathe and into prestigious craft galleries. After I met Ray in 1973 we maintained regular contact both face to face and by phone until I moved to Australia in 1982. Then it was snail mail until we had email. Usually we talked shop (marketing, techniques, teaching, marketing, more marketing) as we caught up with the latest craft and woodturning gossip. Always jovial, Ray was a fountain of knowledge regards turning techniques and the latest fads, and he was always willing to share what he knew, confident he’d always be a step ahead of plagiarists — as he always was, given his innate and particularly good eye for form. RR The Ray Key Collaboration Auctionn
Lot 99
Roger Bennett (Ireland) rippled ash bowl with coloured rim, decorated with gold inlay 5x15cm. Signed Long before I actually met Ray, I was a big admirer of his work. I loved his sophisticated, subtle designs, his less-is-more aesthetic, and I was in awe of his turning skills. I saw him demonstrate a couple of times: always totally in control of his tools and material, and a natural communicator. I got to know him when we both exhibited in the Crafts Council's Origin Fair at Somerset House in 2007 and 2008. I have very warm memories of his friendliness and kindness, his interest in what and how I was doing. It was marvellous too to have the opportunity to talk to him about his own work and career. Bert Marsh and himself were a wickedly entertaining double act whenever they both wandered over to my stand! I felt very honoured when I was invited to participate in this fantastic project. I chose a small ash bowl. Not wanting to interfere with Ray's lovely shape, I simply trued it and turned it down to an appropriate thinness. To finish it in my “own style”, I coloured the rim and inlaid seventy-six dots of 18-carat gold in celebration of the years of Ray's life. I was very sorry when I heard that Ray had passed away. He is greatly missed by the woodturning community. My condolences to Liz and his family on their sad loss. The Ray Key Collaboration Auctionn
Lot 2148
Commemorative Fans from the 20th Century, comprising: the Exhibition ''Imperial Fans from The Hermitage'' at the Fan Museum, Greenwich Oct.1997 to Feb 1998, the Artist Dorf dedicating his design to the children who perished in the siege of Leningrad In WWII; The Greenwich Fan, showing the River Thames and local buildings of importance such as the National Maritime Museum and the Naval College, produced by Fans Ltd for the fan Museum Trust; A fan relating to The Thimble Society of London, Grays Antique Market, London and designed with thimbles and scissors and needlework tools; a further Greenwich Fan, this time showing the 1869 Cutty Sark sailing ship berthed there, the design by Peter Kent; and finally a fan advertising Palais Galliera in Paris, housing The Musée de la Mode et du costume. All fans comprise a simple paper leaf and plain sticks (5). As new, unused. Three in plastic sleeves with Fan Museum labels.
Lot 2088
Vulcan: A Circa 1900 Fan, with pink mother-of-pearl monture, gilded and silvered on guards and gorge. Single paper leaf mounted à l'Anglaise and painted in pastels with Venus to the left and Vulcan to the right, handing a sword to a winged cherub, presumably part of the order for armour ordered by Venus for her son Aeneas. To the side and behind Vulcan, various tools from the forge, a helmet and other weaponry. Signed indistinctly to the bottom right of Vulcan, possibly Georges ?. The verso is plain. Guard length 9.5 inches or 24cm Unusual to find this subject on a 19th century fan. Upper leaf very slightly crumpled otherwise the fan is in good order.
Lot 2071
An Eclectic Mix Of 19th Century and Slightly Later Fans, requiring attention: To include a mid-19th century wood fan, the monture painted black and gilded, colourful flowers featuring on the guards and in the gorge. The double paper leaf shows a hand- coloured scene of a musical gathering near a county village, with bales of straw in the field and several buildings in the background. The reserves, in very dark blue, are very decoratively and vibrantly gilded. The verso shows several ladies in flamenco costume, one male partner in his finery, the ladies with folding fans. Vibrant reserves coloured in a similar fashion to the recto. Guard length 10.75 inches or 27.25cm; A small celluloid brisé fan for a young girl, likely 1920's, the cream sticks painted with floral swags and clusters. Guard length 6.25 inches or 16cm: A 20th century bone fan, the monture pierced, some small gold sequins added. Mounted with a double cream silk leaf, embroidered with a swagged border of gold spangles which support trailing spangles, a central more elaborate design. The remaining silk is embroidered with tiny floral spangles of four petals. Guard length 9.5 inches or 24cm; A pink Mother of Pearl fan, silvered, with the addition of a pearl cherub to the tip of the upper guard. The leaf, of Mixed Brussels bobbin and needle lace, has a central flower with raised petal; a cream celluloid fan with pierced and gilded monture, the double cream gauze leaf painted with two vignettes of maidens, one holding a fan, the reserves with highlights in a dull gold and showing garden tools. Guard length 8.5 inches or 21.5 cm; A Jenny Lind or Palmette fan, each paper leaf section a strong turquoise blue, with Art Nouveau designs in a bright gold, and stamped work, holes of two sizes. Each leaf panel is finished with cream marabou feather. Overall height without the feather 10.5 inches or 26.5cm (6). The First fan has good strong colour and is fairly sound, two gorge sticks having come away from the ribs, sellotape used as a temporary measure. The celluloid fan has had some decoration adhered to the stick tips which is no longer present. The bone fan has a repair to each guard at the shoulders which need attention, and two gorge sticks are detached at the head. The leaf of the lace fan has most likely been removed for washing and has not been replaced well. Three bone ribs need attention as does one gorge stick and the lower guard. The gauze fan has splits to the leaf. The upper guard is detached and in two parts. The Palmette fan needs attention. The panels need to be re-secured with the linking cotton. The upper guard is broken in the upper section. Two thirds of the lower guard is lacking.
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82067 item(s)/page