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Lot 325
An Edwardian Hallmarked Silver Chatelaine Card Case, S.M & Co, Birmingham 1912, of allover planished finish, monogrammed circular cartouche to hinged top, on chain suspension, 9.5cm x 6.5cm; A Hallmarked Silver Coin Purse, (makers mark rubbed), London 1910, of rectangular form with scroll edge in relief, on chain suspension, 11.5cm x 4.5cm. (2)
Lot 215
The Genuine Gemstone Company; A Collection of "925" Stone Set Pendants, to include Jelly Opal foliage style, Tunduru Colour Change Sapphire floral cluster, Black Star Diopside drop, Black Spinel cluster, diamond set, etc, together with a Blue Swiss Topaz line bracelet and a Dulwich Designs jewellery roll purse, with original box.*Includes Certificates of Authenticity and Pouches.
Lot 214
The Genuine Gemstone Company; A Collection of "925" Stone Set Jewellery, to include Madagascan Ruby infinity panel bracelet, Itinga Petalite abstract drop pendant, Harlequin Tourmaline & White Topaz floral cluster, Pink Sapphire & White Topaz drop pendant, Fossil Coral & Sunset Sapphire large oval cluster pendant, etc, together with a Dulwich Designs jewellery roll purse, with original box.*Includes Certificates of Authenticity and Pouches.
Lot 46
LONGINES CONCEALED PURSE WATCH, 40S Case: n. 4881486, in silver and coated leather. Dial: signed, silvered, luminescent Arabic numerals, small seconds. Movement: signed, manual-winding caliber 10.26, n. 4881486. Accessories: – Measurements: 42 x 31 mm Note: running at the time of cataloguing.
Lot 23
FANCY WATCH IN SHAPE OF A PURSE IN GOLD AND ENAMEL, CIRCA 1800 Case: gold and polychrome enamels, translucent red guilloché enamel. Dial: white enamel, Arabic numerals. Movement: fusee winding, verge escapement. Accessories: gold chain; antique box. Dimensions: 45 x 33 mm Note: not working, to be serviced.
Lot 89
An early 20thC German lady's white metal chain mail evening purse; and a contemporary white metal moulded hair brush; and a lipstick holder, all etched with the initials EB (probably Eva Braun) (Please Note: this lot is subject to the statement made in the Auctioneers Glossary of Certain Terms under 'Militaria & Associated Items' in the Terms & Conditions of Sale)
Lot 154
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), NIGHT TIME COAST WITH GULLS watercolour on paper, signedmounted, framed and under glassimage size 30cm x 42cm, overall size 54cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 152
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), PEACEFUL DAY ACROSS FROM JURA watercolour on paper, signed, titled versomounted, framed and under glassimage size 30cm x 43cm, overall size 55cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 9
A small collection of silver, comprising; a set of six silver coffee spoons, Birmingham 1943, a pair of George III silver tablespoons, Samuel Godbehere & Edward Wigan, London 1795, a silver napkin ring, a pair of silver wishbone sugar tongs, three further pairs of sugar tongs, a white metal mesh purse stamped 'Sterling', a small silver trophy cup, two broken silver salt spoons and a plated candlestick, total weighable silver approx 10.2oz (a lot)
Lot 1255
Cased Victorian hallmarked silver ceremonial key, commemorating the organ opening at Mountain Ash, November 1897, Victorian 1844 coin converted to a brooch, cameo brooch, silver gilt Canada souvenir spoon, gold Mordan or similar propelling pencil, folding fruit knife, novelty Moet & Chandon vesta formed as a basket and a green leather purse with hallmarked silver fittings
Lot 177
A group of medals and papers of Lieutenant Roy Matthew Hadingham, "C" Coy, 2nd/4th (City of Bristol) Battalion, The Gloucestershire Regiment, missing, presumed killed in action 26 June 1916, aged 21 years, commemorated on the Loos Memorial, panel 60-64, comprising pair of WWI medals, named to Lieut R M Hadingham, the Great War Medal, and Victory Medal, his commission into the Territorial Force on the 1st September 1914, letter from the Territorial Force Record Office, informing S W Hadingham of the death of his son, letter of sympathy from the Privy Purse Office, on behalf of The King and Queen, closing account from the War Office of Army Funds due to the estate of Lieutenant RVM Hadingham, an In Memoriam detailing letters from former comrades, friends and officers, photographs, letters and postcards home, and letters from his brother Sub Lieut Edward Hadingham, Hawke Battalion, RNVR, who was interned at Scheveningen, including a typed diary from the 4th-10th October detailing the short, and desperate period, between his arrival at Dunkirk and ending at internment in the Netherlands, and a letter from the Hotel Frigge in Groningen detailing the same period, with a few illustrative drawings..
Lot 345
An antique 1910 French slate mantel clock garniture, in three pieces. The slate clock features an enamel chapter ring with Arabic numbering, two pillars on either side of the clock face with a figure centered on each one, and a rooftop with a gadrooned dome to the top. Brass detailing to the pillars and clock face, and plaque with the text 'Together with a purse of gold by the inhabitant of Brynce Thing Bryn Menyn & district in appreciation of his 22 years services as Postman and in other capacities Nov 4th 1910'. With two slate-pillared buildings to accompany, each with four pillars, a figure centered, and a rooftop with a gadrooned dome. Maker 'G. Williams'. Slate clock measuring approx. 38cm x 42cm. Sold AF.
Lot 90
An Edwardian novelty silver dog whistle, Chester 1904, the base of the whistle in the form of a spaniel's head, 5cm long including ring, a 19th century brass pipe tamper in the form of leg and boot and a leather lined chain mail purseCONDITION REPORTS & PAYMENT DETAILSIMPORTANT * Descriptions do not include condition reports. Please contact us to if you require further information or images. * Please consider shipping costs before bidding as this may affect your decision to bid * Please familiarise yourself with our payment methods. All payments MUST be electronic
Lot 131
A 1980s jacket, sz M in leather with voluminous sheared rabbit sleeves along with a Kenzo cardigan, a Christian Dior wallet in patent leather with a quilted effect and a Jimmy Choo handbag (4) Jacket and cardigan are in very good condition commensurate with age and use. The handbag is well used The purse shoes wear and has some white specks. The inside is clean and fresh looking.
Lot 45
1930s and later costume jewellery and accessories to include a sequined skull cap or cocktail hat, a beaded purse with chain handle, a pair of aviator sunglasses, a Swarovski brooch in the form of a bunch of grapes, two powder compacts, a gold tone cross on chain, a max factor “sunset rose” lipstick, a rouge compact, two gold tone pendants on chains, a button hook and a group of dress studs and cufflinks etc (qty, 1 bag)
Lot 32
Vintage Honora Pearl jewellery to include: three pairs of freshwater pearl studs on gold toned 925 posts: one natural, one grey and one mauve alongside a pair of burgundy pearl drop earrings on gold plate 925 fish hooks, a set of 7 neutral toned pearl studs with silver posts and butterfly backs, a set of three dyed pearl bracelets in green, brown, grey and beige, a silk purse with six pearl bracelets in brown, natural and gold tone, a pearl and carved polished tigers eye bracelet, two two brocade jewellery rolls to with pearl necklaces, a silk purse with long length of pearl necklace, a long length petrol blue pearl necklace and an unbranded string of clasped white pearls with matching studs on gold posts. All in very good, boxed and mostly brand new condition (14)
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29271 item(s)/page