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Lot 84
AN ASSORTMENT OF JEWELLERY, to include a beaded coral necklace, fitted with a yellow metal spring clasp, approximate length 450mm, a cultured fresh water pearl necklace, fitted with a pearl clasp, approximate length 480mm, a small white metal purse, stamped 925, together with an assortment of necklaces, bracelets, pendants, earrings and medals, most stamped 925, approximate gross weight 139.9 grams (condition report: general moderate wear, some items broken, chains tangled, overall condition good)
Lot 115
A JEWELLERY BOX WITH CONTENTS, a multi storage jewellery box with contents to include a variety of semi-precious gemstone set jewellery, mostly white metal pieces stamped 925, to include a mystic topaz bracelet, a pair of mystic topaz drop earrings, a pair of lapis lazuli drop earrings, a coated paste line bracelet, a coated paste pendant with snake chain, a large abstract green paste necklace, a pair of rainbow fluorite drop earrings, amethyst drop earrings, white metal chains, two white metal marcasite brooches each stamped 925, a white metal paste set leaf brooch stamped 925, approximate gross weight 350 grams, together with other costume necklaces, brooches, earrings, cufflinks, rings, a pink head piece, purse, stainless steel band rings, a small box with loose rose quartz beads, charms and earrings, and a tine of Old British coinage including a 1933 One Florin coin, world coinage, a boxed 'Victorinox Ball' pocket knife, a 'Bucherer Swiss' plated pocket watch, a pair of 9ct gold horse shoe stud earrings and a pair of yellow metal cultured pearl stud earrings, unmarked
Lot 94
A VICTORIAN SILVER PRESENTATION SALVER, circular form salver with scrolling detail to the rim, engraved 'Presented to the Revd Thos Scott Bonnin (curate of the parish church Sculcoats with a purse of twenty five pounds by a few of his parishioners and friends as a memorial of their regard and esteem for his private character and as an acknowledgement for the very arduous duties performed by him in his parish during the visitation of the cholera 1849' approximate width 260mm, hallmarked 'Henry Wilkinson & Co' Sheffield 1846, approximate gross weight 443.5 grams, 14.26 ozt (condition report: general moderate wear, slight indenting, some rubbing to hallmark, overall condition good)
Lot 291
Lovely purse mirrors with decorative metal designs. Lot includes round with relief of street scene on silver plated mirror (4.5"L); oval silver-plated hanging mirror with ridged edge (4.25"L); and large round silver plated with raised design (4" dia.). Largest piece: 4.25"L x 3.5"W x 0.50"H. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
Lot 2603
A GORDON HIGHLANDERS HORSEHAIR SPORRAN BY LECKIE GRAHAM & Co., GLASGOW The brass cantle with silvered regimental badge, suspending two black tassels over a white body, the tan leather purse stamped "Leckie Graham's, Glasgow, 1924" and inscribed in ink "Martin Davidson" Condition Report:Available upon request
Lot 2465
CHINESE EXPORT SILVER Comprising; A pair of hexagonal condiment vases, 8cm high, watering can caster, 4cm high, quatrefoil caster, 5cm high,pair of white metal Burmese salt cellars,5.5cm diameter and a white metal purse,cast with chrysanthemum 7 x 10cm (7) Condition Report:one condiment vase lacks cover, the other is off, the salts are badly tarnished / eroided, holes to the body. Some tarnish to the watering can (marked on handle) also tarnish to the body of the capped salt.
Lot 2191
A group of small collectables including ; a 19th century silver vinaigrette, a silver bladed mother of pearl folding fruit knife, an 18th century tortoise shell and silver inlaid toothpick box, 8cm wide, a gilt metal miniature chain link purse, a miniature silver patch box with painted portrait to the circular lid and related collectable items. (qty)
Lot 2071
A 19th century tortoiseshell and mother of pearl inlaid cigar case with foil lining, 12.5cm long, together with a tortoiseshell and white metal mounted spectacle case with spectacles,13cm long, a late 18th/early 19th century tortoiseshell and gold metal mounted toothpick box, the cover inlaid with white metal swags and a central hardstone cameo, 8cm, cover detached, a tortoiseshell and white metal inlaid purse, 6.5cm wide and a tortoise shell and ivory card case, 19th Century, with ivory divisions, cover detached (5)Ivory exemption certificates: S4Q8XL3V and EYXRHE7RCondition Report: Cameo top toothpick case with lid detached and damage
Lot 135
BOUCHERON: DIAMOND-SET 'MARGUERITE' EVENING PURSE, CIRCA 1960Of textured finish with a repeating marguerite daisy motif, the scalloped clasp set with a graduation of brilliant and single-cut diamonds, accented by two baguette-cut diamonds, opening to reveal a bevel-edged mirror and bakelite comb, signed Boucheron Paris, maker's mark for Raymond Soubrenie, French assay mark, diamonds approximately 3.95 carats total, length 16.0cm, suedette pouchFor further information on this lot please visit Bonhams.com
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 299
A group of silver items comprising a Victorian spectacles case with chatalaine belt clip and fob, a hinged silver purse, an Art Nouveau prayer book miniature with silver cover, with cherub detail, a pair of pin dishes, two small glove button hooks and a child's silver cased comb with engine turned decoration, 5.90toz total weight.
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 1904
CHANEL; a green distressed leather quilted classic flat wallet, unused, with front gold tone CC logo, internal coin purse and card slots, with authenticity card, bag and original box, 18 x 11 x 2cm. Condition Report: The purse is in a good unused condition, the interior is a lighter green than the exterior.
Lot 250
D BROS; a George V hallmarked silver matchbox holder with engine turned decoration, Birmingham 1929, a hallmarked silver vesta case, a Siam sterling silver beaker, an Indian silver napkin ring, hallmarked silver thimbles, curb link bracelet, combined approx 4.8ozt/150g, also a hallmarked silver and glass hat pin holder, assorted hat pins including hallmarked silver example by Charles Horner, a Scottish hardstone mounted brooch modelled as a dagger, and a Continental silver plated purse mount, etc (qty).
Lot 83
ALTRINCHAM AGRICULTURAL SOCIETY; a white metal fob medal inscribed 'Altrincham Agricultural Society' awarded to Walton & Beard 1899, a hallmarked silver mounted and crocodile skin effect purse, two cheroot holders with 9ct gold tips, one fitted in hallmarked silver case, and a cased hallmarked silver napkin ring (5).
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