There are 66941 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Large Hallmarked Silver Cigarette Box, H.Bros, Birmingham 1976, of rectangular form allover engine turned, inscribed to the front "Presented to A.C. Walker in grateful appreciation of 40 years loyal service by the Directors of Lucas Industries 1976", the hinged lid with foliate border, ply lined with removable plush lining, raised on four pad feet, 20.5cm wide, boxed.
A Royal Crown Derby paperweight, Royal Antoinette Butterfly, modelled by Hilary Walker, gold stopper, 10cm high, printed mark in grey, boxed, Royal Crown Derby 'Imari Frog" silver stopper, a Royal Crown Derby "Badger" gold stopper together with a Royal Crown Derby "Chipmunk" gold stopper. (4)All in excellent condition with no damage.
EDWARDIAN INLAID MAHOGANY MANTEL CLOCK, WALKER & HALL Art Nouveau style, the dial with Arabic numerals, the mahogany case with boxwood and mother of pearl inlay, raised on a plinth on four brass ball feet22cm highThe case is in good overall condition, the movement is not currently working, appears to have been overwound.
ROCK & POP; over seventy albums including The Four Pennies '2 Sides of the 4 Pennies', The Spencer Davis Group 'Their First LP', Gary Puckett & the Union Gap self-titled, The Monkees 'Pisces, Aquarius Capricorn, and Jones Ltd', Marmalade 'Reflections of the Marmalade', 'No One's Gonna to Change Our World' on Regal Starline featuring The Beatles 'Across the Universe', George Martin 'Off The Beatle Track', 'Take It Easy with the Walker Brothers', etc.
WALKER & HALL; a hallmarked silver chalice/goblet, with beaded foot rim and knopped stem, height 17.6cm, Sheffield 1918, together with a cut glass scent bottle with hallmarked silver lid (af), combined weighable silver approx. 7.9ozt (2).Condition Report: - The scent bottle lid is dented and misshapen.
A group of silver to include; a Victorian oval shaped silver twin handled sugar bowl with gadrooned body, hallmarked by Martin, Hall & Co, London, 1881, a George V silver circular shaped sugar bowl, with scrolled cast border and hallmarked by Walker & Hall, Sheffield, 1911, a Victorian silver pin tray, of flower like shape with ribbed edging, hallmarked by William Moon, Edinburgh, 1870, approx. 13.5cm diameter, and a broken piece of silver designed as a heart with scrolled and cherub detail, for weight only and broken / damaged. (4) Weight approx. 534.6 grams (17.16ozt) Further details: small sugar bowl dented and misshapen slightly; larger sugar bowl heavily tarnished and some scratches; pin tray with surface scratches and wear, all tarnished, piece on its own broken as mentioned etc.
Kathleen Emily Temple-Bird (British 1879 - 1962) Lake Louise, Alberta, Canada signed K.E. Temple-Bird (lower left) watercolour 20 x 26 cm, framed 46 x 52 cmand eight other Canadian landscapes, watercolours, (two framed) Qty: 9 Provenance: By family descentExhibited: 1931 - Walker Art Gallery 1936 - Forum Club 1953 - Ridley Art Club 1954 - The Forum Club 1954 - Artists Exhibition Bureau, 'Commonwealth Landscapes' Tour 1960 - The Forum ClubFootnote: In 1908 Kathleen Temple-Bird was appointed Head of Art at the Havergal College in Toronto for two years. Click the following link for further details on this lot - Canadian Landscape Briefing Notes.pdf. With thanks to the artist's family for providing theses notes.Biography:Kathleen Temple-Bird was an artist, teacher and believer in Women’s suffrage. Having been brought up in Ipswich, she trained at the Slade School of Art before travelling to France and Italy. She later travelled alone across Canada, becoming Head of Art at Havergal College, Toronto. She married in 1911 and settled in London, where she exhibited the majority of her paintings, but moved to St Ives for the duration of the Second World War. Further details on the artist are available at the following website - Kathleen Temple-Bird Artist
Golf 1995 Walker Cup Great Britain v USA vintage programme. Known as the year that one Eldrick Tiger Woods represented the USA. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Louis le Brocquy HRHA (1916-2012) Cavanagh (1974) Aubusson wool tapestry, 382 x 386cm (150½ x 152'') Signed and dated (19)'74 UniqueProduced by Tabard Freres & Soeurs, France No:2031 (label verso)Provenance: Privately commissioned from the artist for Setanta House, DublinTapestry art was having somewhat of a renaissance in the twentieth century, becoming a medium, which was increasingly attractive to progressive modernist artists. French artist Jean Lucrat had pioneered this approach in tapestry design some years earlier, developing a technique, which prioritised the material as the guiding principle for the design rather than an attempt to make the tapestry conform to the characteristics of the painted image. Le Brocquy was drawn to Lucrat's example, whereby he could create very detailed and colour coded templates that the weavers would follow with exact precision. He rejected the painted cartoon in favour of a full-scale linear design. This allowed him to directly indicate each transition of colour and tone in the woven fabric.He had already collaborated on numerous occasions with the workshop of Tabard Frères et Soeurs in the Aubusson region. In 1973 he resumed working on a new series based on the themes and imagery of The Táin. This resulted in the Cúchulainn tapestries, which emerged in various iterations over the following decades. The Milles Tetes (Thousand Heads) series is a distinctive example of both Le Brocquy's sustained interest in representing the human head and the visual effect of inverting colour and tone. This work is a unique piece, commissioned for a private client, which draws on the similar design tropes of the series.The stylized heads arranged in rows, suggestive of some massing force, are distinctive, drawn with their own features and characteristics. Yet through their repeated presence across the woven surface, they blend into one another to create 'a mass of human presence' (Dorothy Walker, Louis Le Brocquy, Dublin, 1981, p.51). The dark austerity of the Tain's illustrations are replaced here by vibrant colours. The shift in tone from bold primary colours in the centre to paler hues creates a dramatic effect.In this work, Le Brocquy was able to explore the interdependence of form, colour and narrative content on a monumental scale. It is an extremely expressive work in which he has layered the colours, to exemplify the full spectrum. The background shifts from black to varying degrees of grey and white, which is then layered with primary colour tones. These move across the tapestry from paler hues in arrangement of blue, green, yellow and red. The longer you observe it, the more visually receptive it becomes. As Le Brocquy remarked on this effect on the human eye, "Further to the emotional character of single and interrelated colour, lies the magic of colour inversion. Staring fixedly at a colour or colours, the saturated eye - shifting to a white surface - precisely inverts those colours both in hue and tonally. A retinal 'memory' emerges inverted, an entirely new perception as contrary as night from day". (Le Brocquy, 'Artist 's Note', exhibition catalogue Louis le Brocquy, Seven Tapestries 1948-1955Dublin: Dawson Gallery; Belfast: Ulster Museum 1967)Niamh Corcoran
Tressa Grandma Prisbrey (1896-1988). Black and white photograph of Bottle Village in the Simi Valley of California. This photograph came out of the traveling exhibition "Naives and Visionaries" from the Walker Art Center in 1974-1975.Height: 40 in x width: 50 in x depth: 2 in.Condition: The photograph is in good condition in general. The surface is stable. Along the four margins, there is wear and losses. To the upper right corner, there is an area with losses that are colored black. To the upper left corner, there is an area that appears to be rubbed against. To the center of the left margin, there is a white spot that appears to be a minute loss to the surface. Wear to the frame; not inspected out of frame.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Acrylic on canvas-laid board painting titled "On the Beach (Red Rock Variation: Lake Superior Landscape)," part of the horizon series, 1985. Signed, titled, and dated along the verso. Housed in an original frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 6 1/2 in x width: 16 in. Framed; height: 8 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no major visible losses or signs of restoration. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape," 1990-1996. Printed and published by Akasha Studio, Minneapolis. Pencil signed and dated along the lower right; titled along the lower left; numbered 10/43 along the lower center.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 19 3/4 in x width: 16 in. Framed; height: 28 in x width: 24 in x depth: 1 in.Condition: The colors are bold and bright. The sheet is slightly toned. There are no major visible tears, losses, or signs of restoration. Extremely light soiling and areas of foxing along the margins. There is a slight undulation to the sheet. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Minouk Lim (South Korea, b. 1968). Pastel on paper drawing titled "Serendipity" depicting an amorphous yellow form, 2011.Provenance: Walker Art Center: Avant Garden Benefit Auction 2022, Lot 16; Private Minnesota Collection.Unframed; height: 47 in x width: 31 1/4 in. Framed; height: 54 in x width: 38 in x depth: 2 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations when viewed under UV light. There is a faint handling mark or crease along the lower left corner of the sheet. Slight undulation to the sheet. Floated in frame. Framed under glass; light wear to the frame including a minute accretion along the upper left. Not inspected out of frame.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Ink and color pencil on paper drawing titled "Enigma, Water's Edge, Surrealist Landscape," 1986-1993. The original drawing, executed in Batchawana Bay, Ontario, on March 4, 1986 did not include color. It is part of the artist's "Automatic" series. The color was added later on November 16, 1993. This information, along with the title, is provided on labels affixed to the verso.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 4 in x width: 7 in. Framed; height: 11 in x width: 14 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Lithograph on paper depicting an intricately drawn landscape of undulating lines which meet at a horizon in the upper quarter of the sheet, 1976. Printed by Steven M. Andersen. Pencil signed and dated along the lower right; editioned Artists Proof 10/10 along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 24 in x width: 23 1/4 in. Framed; height: 30 in x width: 29 1/4 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. Light undulation to the sheet. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Vale Press.- Marlowe (Christopher) & George Chapman. Hero and Leander, one of 220 copies, Caslon type, wood-engraved illustrations and decorative initials by Charles Ricketts and Charles Shannon, some light spotting, bookplates of Minnie Caroline Bell and Rainforth Armitage Walker, original decorated vellum, gilt, with 'Pearl and Thread' design by Ricketts, uncut, preserved in cloth chemise and slip-case (a little rubbed), [Watry A7], 8vo, [The Vale for Elkin Mathews and John Lane], 1894.*** Again, not strictly a Vale Press item, but it contains the Vale Press device at end and at foot of the spine.
Johnnie Walker Blue Label Blended Scotch Whisky, embodies exclusivity in a premium quality product. Impressive whiskey most famous in the world, is the leader of the Johnnie Walker family. Only one in 10,000 barrels, including some of the old “ghost” distilleries that ceased to exist long ago, is hand-selected to produce this exceptionally smooth whiskey.Alcohol content : 43% vol.Size : 700 mlSize: 28 cm.
A collection of 22 thimbles, 12 silver, the earliest London 1892, one with inscribed band ‘James Walker, the London jeweller’, the remainder Birmingham or Chester assay office, with one stamped ‘sterling’; and 10 electro-plated or yellow metal examples. (22) £60-£80 --- Condition Report Condition commensurate with moderate use, with some hallmarks a little rubbed. Weight of silver thimbles: 1.8 troy oz.
Late Victorian silver mounted six piece dressing table set, comprising hand mirror, two hair brushes, two clothes brushes and a comb, all with embossed floral and scrolling decoration and engraved with monogram, hallmarked Walker & Hall, Sheffield 1900 & 1901, contained within a red tooled leather case with purple silk and velvet lined fitted case
Pair of Edwardian silver open salts, of circular form embossed with floral and foliate decoration, upon a circular foot, hallmarked Henry Matthews, Chester 1903, with two silver spoons, together with a 1930s silver three piece cruet set, hallmarked Walker & Hall, Birmingham 1933, with two matching silver spoons, both contained within tooled leather fitted cases, Condition Report:Weighable silver approx 6.29 ozt (195.6 grams)
A Walker and Hall Victorian silver cigarette case with all over cut leaf decoration, shield shaped cartouche having engraved crest depicting a rampant goat, ribbon with motto underneath reading 'exitus acta probat' gilt interior Sheffield 1898, weight 83.1Location: UPSTAIRSIf there is no condition report, please request.
An Edwardian Walker & Hall silver Centrepiece/Epergne, designed with three plain formed trumpet vases with tapering stems and pierced scroll borders, interspersed with three shallow dishes, the large central trumpet on a loaded column and decorative pierced circular base, 38cm tall, Sheffield 1909
Of Military Interest - A George V silver presentation twin handle trophy, engraved "The 2nd City of London Regiment, (Royal Fusiliers) Rifle Club Championship 1923. Captain. A G Shackleton OBE, 1924. SERG T. A E Blacktop", hallmarked Sheffield 1923, makers mark Walker & Hall, 12.5cm tall, 240gms
An Edwardian silver twin handled trophy, Walker and Hall, Sheffield 1909, the angular handles above engraving 'Presented to Mrs JH Marshall, by the parishioners of St Johns Church, West Vale, as a tribute of their high regard for her zealous work, to the Parish for over ten years, December 2nd 1911' 17cm high, 27ozt
A pair of silver mounted 'Dragon of Wantley' table lighters. Walker & Hall, Sheffield, 1932. Realistically modelled as dragons with twisted antelope horn bodies, each embossed to the chest with the words 'Ye Dragon of Wantley' and designed with wicks protruding from mouths and snuffers on chains, an arrow form lighting rod to the chest of one dragon, approx. 53.2cm long, 15cm high (2)Note: Please note that this lot is subject to CITES regulations (Appendix III). Please check your country's import regulations before bidding. It is the buyer's responsibility to obtain any relevant export licences. Footnotes: The Dragon of Wantley is a legend about a huge and terrible bat-winged dragon that was said to inhabit Wharncliffe Crags, near Sheffield in South Yorkshire. The legend was recounted in a comic ballad in 1685 and later made into an opera by Henry Carey in 1787. It tells the story of a dragon which terrorised villages, devouring trees, buildings and people before being slayed by a comic, inebriated knight in a bespoke suit of Sheffield armour. The knight, More of More Hall, kills the dragon by delivering a kick up its ‘arse gut’; the only vulnerable spot on its scaly body.Some consider the ballad to be nothing more than a flippant twist on the standard ‘George & the Dragon’ tale, intended to satirise medieval romance. However, the South Yorkshire historian, David Hey has argued that the ballad probably had its origins in the 1590s, in litigation between local people and their landlord Sir Richard Wortley. The litigation concerned tithes and enclosures –common sources of conflict in Elizabethan times – and he believed Sir Richard Wortley (d.1603) to be the prototype for the allegorical dragon. In real life, he argued, it was deer, rather than dragons, which ‘ate up men’.These table lighters are thought to have military associations (each dragon rests a front foot on a grenade) and may have been used in officers’ mess halls.Condition Report: The lighters are in good overall condition. Heavy tarnish to the silver mounts. Some general scratching and nicking commensurate with age. Hallmarks clear. One dragon is missing the arrow-shaped lighting rod to its chest. Antelope horns in good condition with only some small scratches, minor losses and marks noted. Rear legs to one dragon slightly wobbly - screws possibly a little loose. The other dragon is steady on feet. Some discolouration and solder noted to silver in places (difficult to assess due to heavy tarnish). Some small flecks of gilt paint noted to one dragon. Both heads unscrew to reveal cavities for wicks. Overall a very nice pair of table lighters. Further images available to download via this link: https://we.tl/t-ns33FYfZbm
A pair of Victorian silver knife rests. Thomas Parker, Birmingham, 1852. With scrolling supports and engraved with the letter 'R' to central bars, 7.7cm wide; together with a boxed set of silver golf-themed teaspoons by Walker & Hall, Sheffield, 1933; an American silver bonbon dish with foliate scroll border and engraved initial to base, stamped sterling, 15.2cm wide; a cased set of four Victorian silver napkin rings, Birmingham, 1895, Spurrier & Co., and a salt cellar with associated liner, total weighable silver approx. 8.3ozt (a lot)
A group of silver including a novelty 'jockey cap' caddy spoon. William Neale, Birmingham, 1909. With reeded banding to domed cap and peak, 5.5cm long, together with: a William IV Irish silver sugar shovel, Dublin, 1831, William Cummins, the Fiddle pattern shovel with engraved crest to terminal, 16.5cm long; a set of eight coffee spoons, of golfing interest, with crossed golf stick motifs to handle, Sheffield, 1933, Walker & Hall, 11cm long; a William IV silver salt spoon; a set of six Art Nouveau silver coffee spoons. Birmingham, 1902, William Neale; and four further Georgian and later teaspoons including an Irish example with bright cut decoration to handle, total weight approx. 8.2ozt (a lot)
A group of silver including a Victorian silver tazza. Mappin & Webb, Sheffield, 1891. The pierced dish with scrolling floral decoration around the rim and raised on a circular foot, 17.5cm dia., 7.8cm high; together with: a George V tazza, Sheffield, 1913, Walker & Hall, with bifurcated scrolling handles, the body raised on a knopped stem to circular foot, 24.5cm dia., 16.7cm high (inc. handles); a pair of pedestal bowls, Birmingham, 1915, Mappin & Webb, pierced around the flared rims and raised on knopped stems to spreading, circular feet, 9.6cm high; a champagne coupe, London, 1927, no maker's mark, 12.2cm high; a twin-handled sugar bowl, Chester, 1927, Charles Perry & Co., the oval body engraved with bright-cut decoration to rim, 15.5cm wide (inc. handles); and a small group of cruets, total weight approx. 48.4ozt (a lot)
Loading...
