We found 27246 price guide item(s) matching your search

A Victorian collector's cabinet of eight drawers containing butterflies, shells, beetles, etc.

A late Victorian mosaic craftware framed wall mirror with central bevelled circular plate within a wide border featuring shells, pottery and glass shards, set on a tin mount

A Newlyn copper tray of rectangular form. Repousse decorated with red gurnards, seaweed and shells. 22cm x 53cm.This tray is presented in good order, with some slight wear, apparently unmarked.

AN EXCEPTIONAL GOTHIC WALNUT TRACERY CARVED DOCUMENTS BOX, SPANISH, CIRCA 1470-1500. Rare Gothic Walnut documents box, having a mitre framed single plank lid with multiple recessed bronze shell shaped hinge and hasp studs, above a dovetail constructed box carved with intricate perpendicular gothic vaulting and lancet tracery The front panel carved with twin tracery Fleur De Lys flanking the original ornate bronze lock plate also with matching tracery designs and featuring a dragon headed hasp. Beneath is a full width drawer further carved with an oriel tracery interlace centred by original buttressed bronze lock with handle. The ends with matching lancet tracery centred by a Fleur De Lys, original ornate bronze handles all above an oriel tracery frieze and multiple base moulding. The plain back with further matching mouldings, visible dovetail joints and recessed bronze shell rivet studs for the interior fitted hinges. The interior opening to reveal a twin compartment, with exposed inset decorated bronze hinges. The quality of the carving and bronze metalware throughout, with the shells of St James of Compostella, used here as the motif on the hinges suggests a high status workshop, 33cm deep, 46cm wide and 28cm high. *CR No remarks.

GEORGE WEISSBORT (1928 - 2013) A STILL LIFE fruit, sea shells and glass on a blue cloth. Oil on canvas on board, unframed. 33cm x 50cm

Chinese carved mother of pearl table screen, late 19th Century, the shell carved profusely with figures, peony and fish, 22.5cm, supported on a carved wooden prunus blossom stand, height 30cm; also a Jesuit carved mother of pearl shell, 15cm diameter; and two carved shells, one inscribed 'Mother', the largest, uninscribed, 15.5cm (4) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).

An Art Nouveau silver square trinket box, the slight domed hinged lid with embossed detail decoration, the four sides with grills decorated with buds, shells and scrolls, opening to a gilt and velvet lined interior, supported on four bracket feet, hallmarked London 1904, makers mark for Robert Pringle & Sons, 6.5 x 6.5 x.5cm tall

Britains - Set 211 - Heavy Howitzer Team [1920 version], comprising: of 10 x Horse Team at the Walk in Light Harness, 5 x Drivers with Whips [one old repair at neck], Wire Traces, Limber with Lift Up Seat & Extended Towing Hook, 2 x Seated Gunners [additions], 18" Howitzer with Wheels for Field Operations [Khaki Finish] & 3 x Shell Chargers / Shells. Some minor paint chipping otherwise generally Excellent overall. [10 pieces]

Victorian silver coffee pot, the domed hinged cover over a baluster body and shaped ebonized handle on a round foot, repousse decorated with scrolls, shells and foliate designs, Lambert and Co. London 1893, 793g, H25cm.

A pair of Art Deco glass and chrome Plafonnier, in the form of clam shells, 32cm dia. 

A Sepik River (New Guinea) stool, of crocodile form, the head inlaid with cowrie shells as eyes, carved masks to the side with cowrie shell eyes, 87cm wide painted with pigment

Tribal Art - a Songye figure, the stylised triform physiognomy with pronounced features, 34cm high, Democratic Republic of Congo; another, Agni/Baule, 56.5cm high; another, decorated in polychrome and adorned with cowrie shells; another (5)

A sycamore panel carved with three shells, possibly 19th century Italian, width 77cm

A QUANTITY OF SHELLS TO INCLUDE A LARGE CONCH, A WOODEN MODEL OF A SEVERN TROW OR BARQUE LABELLED "SMACK," MODEL SHIP IN A BOTTLE, ETC.,

An Edward VII silver dish, of shaped form embossed with shells, leaves, flower heads, pineapples, etc., and pierced roundel decoration, Chester 1908, 3.02oz, 16cm diameter.

Two boxes containing sea shells various.

Cotton summer dress with daffodils and primroses printed on a blue ground, labelled 'Thomas and Jonathan of Canterbury  - Liberty' size 12, a navy polkadot dress with pleated skirt, shirt front, labelled 'Aquascutum', another navy polkadot shirt dress, a turquoise and yellow crimplene skirt suit with five lime green button fastening, a cotton dress with pleated skirt and matching sleeveless top, drawstring waist labelled 'Darea', a bright yellow crepe sleeveless top and short skirt and a navy blue sleeveless top and matching skirt printed with white conch shells (7)

A pair of mid-century French Vallauris table lamps. In the Palissy majolica style, modelled in the form of large mussel shells with fish swimming inside, H23cm Condition Report: Both appear in an excellant condition for their age, no chips, cracks or restoration. Cable hole to the bottom half of one and to the base of the other, only one with cable, sold as parts. Please see photos for more details

Watercolour, still life of an artists pallet and shells, 24 x 35cm, together with a pastel still life , flowers before a window, monogrammed A.J.C., 49 x 36cm

Two framed oils, still life with abalone shells, signed Idris Thomas, 1907, and study of wallflowers, monogrammed V.W. (Vernon Ward?), largest 24 x 30cm

Large African Pakuba bwoom mask mounted with various beads and shells, overall height 78cm

A group of sea shells and coral specimens.

British WWI Press Photograph of waggon train of 9" or larger Howitzer rounds, passed by censor titled "Canadians on the Western Front - 0. 978. Shells for our big guns.". Stamped 'passed for transmission abroad' and 'Acknowledge:- Canadian War Records.

▲ Nora De Rudder (Belgian, contemporary), a mussel shell chandelier, of recent manufacture, of tent and bag form, 80cm diameter40cm highCondition ReportFew small losses and chips to the shells. A few of the strands are damaged and hanging down. See additional images.

A majolica part tea service formed as conch shells to include tea pots, milk jug and single tea cup. One tea pot lid bearing label for Kate Kearney's Cottage, Killarney.

A collection of various sea shells and four Studio Pottery figures

Britains Ltd boxed diecast artillery models include an 18†Heavy Howitzer with automatic shellcase ejection and a 4.7†Naval Gun with shells. Includes soldier figurines with original packaging.

A pair of Chinese mother of pearl vases overlaid with shells, on hardwood bases, 25cm. Condition - fair to good

A GROUP OF SHELLS AND STARFISH SPECIMENS Comprising of fours starfish and shells from various species 22cm long Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

ZDENEK JANDA (CZECH, B.1953) - UNTITLED (SHELLS AND FRUIT) Mixed media on board, signed and with thumbprint lower left, in artist's bespoke frame Notes: Zdeněk Janda, born in 1953 in Czechoslovakia, is a renowned Czech painter and graphic artist. He studied under Vlastimil Květenský and Zdeněk Sýkora, developing a unique style combining fantastic realism with traditional medieval painting techniques. Janda's works have been displayed internationally, including in Prague, Munich, Taipei, and Paris, with a notable exhibition at the Grand Palais in 2004. His art is known for intricate compositions and self-crafted frames. A work by Janda was gifted to French President Emmanuel Macron by Czech Prime Minister Andrej Babis in 2018. 50x 60cm; 85 x 95cm including frame Provenance: Dimensions Gallery Taipei, Taiwan Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

18th century design oak lambing chair, flower head and foliate carved cresting inscribed '1715' over panelled back carved with scrolling leafy branches, enclosed by shaped wingbacks over arms and panelled sides, the side panels carved with shells and scrolled leafage, upholstered seat over single drawer with matching carved decoration, on stile supports Dimensions: Height: 124cm  Length/Width: 66cm  Depth/Diameter: 58cm

Late 19th to early 20th century gilt wood and gesso chaise longue, the shaped and moulded frame decorated with shell pediment and acanthus leaf motifs, upholstered in light pink striped fabric, serpentine seat on cabriole feet decorated with flower heads and shells Dimensions: Height: 92cm  Length/Width: 156cm  Depth/Diameter: 70cmCondition Report:Some losses to the gesso. General signs of age and use: scratching, scuffs, dents etc.

Late 19th to early 20th century giltwood and gesso console table with marble top, shaped white marble top, the base with pierced front decorated with shells and trailing leafy branches with flower heads, on cabriole supports with shell decorated knees, scrolled feet with acanthus leaf terminals Dimensions: Height: 88cm  Length/Width: 85cm  Depth/Diameter: 40cm

18th century Derby porcelain figure, circa 1765, modelled as Neptune stood beside a dolphin upon a rocky base encrusted with sea shells, H26cm

Set of eight (6+2) early 20th century Chippendale design mahogany dining chairs, waved and pierced ladder back carved with shells and curled leaves, moulded upright rails, dished seats with upholstered drop-in seat cushions, on square moulded supports united by plain stretchers

Collection of blue and white china to include; smaller platters, Wedgewood Chinese landscape 27 x 36 cm, cornucopia and sea shells, river scene stamped Brameld, (8) The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso 

An Edward VII Silver-Gilt Caster, by Elkington and Co., Birmingham, 1905 in the Paul de Lamerie rococo style, baluster and cast with foliage scrolls and shells21cm high, 16oz 3dwt, 502grProvenance: The Lion Collection.The present silver-gilt caster is inspired by the casters which form part of a centrpiece made by Paul de Lamerie in 1734 for Count Brobinsky. The original is now in the collection of the State Historical Museum, Moscow and an Elkington electrotype copy is in the collection of the Victoria and Albert Museum, London.Fully marked near rim and on cover bezel. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the gilding.

A three piece dressing table set, onyx angel fish, Cloisonne bowl and three medium size sea shells.

A collection of large natural sea shells comprising, conch shells, coral etc (6)

A large collection of mixed shells comprising, conch shells, tiger cowries, bullmouth red helmet shell (l. 14cm), spider conch, carved tibia shell etc (a lot)

Sarah McLaren (Scottish School), Shells in a bowl, watercolour, signed bottom right, paper label verso, in a glazed gilt frame. (21cmx26cm)

An assortment of ceramics and decorative homewares, to include, a ceramic planter, a model of a ship with sails crafted shells, and other wares, housed in two boxes. (2 boxes)

Oval Bevelled Wall Mirror, circa early XX Century with pierced oak surround, carved with scrolls and shells, 91cm wide, another with wavy oak frame (2).

Pair of Victorian silver hallmarked table salts in the form of scallop shells with matching spoon. Hallmarked Birmingham 1893 and 1894. Measures 5.5cm wide.

Eighteen vintage tourist dolls, 1950s-70s - including examples from Austria, Spain, India and Thailand, materials including painted celluloid, hard plastic, composition, stuffed fabric and straw, one example with a dress covered with coral and shells, size from 10cm to 42cm high.

A studio pottery figure of an Angler Fish by Collin Andrews - inscribed in paint to base, 26cm long (chip to tail and two teeth); together with two large sea shells. * Provenance: Bigwood & Halls, The Felix Dennis Collection, 30th September 2015, Lot 1431

A collection of five handcrafted vessels made entirely from coconut shells, showcasing traditional craftsmanship and natural textures. This set includes a variety of forms such as a handled mug, a decorative jug with incised geometric patterns, and intricately wrapped containers with woven fiber accents. Each piece highlights the organic beauty of coconut shell material with unique designs and earthy tones. The largest piece measures 8.5"H. Ideal for decorative use or for collectors of natural material crafts.Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.

Fleur Yearsley To Hold the World in a Lava Lamp, 2024 Soft pastel, graphite, and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Fleur Yearsley is a visual artist based in Manchester, UK. Her work explores themes of memory, humour, gender, and unfolding narratives, often drawing on pop culture to create a relatable connection with the viewer. Offering a fresh, immersive perspective, Yearsley reclaims the tradition of 'the gaze', which has historically objectified women in the Western canon of art, shifting the power dynamic. She engages viewers, inviting them into her approachable paintings to reflect on how they perceive the subjects and their own role in the act of looking. Her process is characterised by immediacy and openness, balanced with playful refinement and a colourful sensibility. Through a diverse range of gestural actions, hard edges, and flat colours, she infuses her work with energy and a sense of vibration. Yearsley's paintings resonate like a generational anthem, addressing concepts of high and low brow culture, everyday life, urban environments and social norms. Education 2015-2017 MFA in Fine Art, Slade School of Fine Art, UCL, London, UK 2010-2013 BA (Hons) Fine Art, Manchester School of Art, MMU, Manchester, UK Solo Exhibitions 2023 Breathing is Free, The Edge Gallery, UK 2022 ONE MORE TUNE, The Manchester Contemporary, UK Coming Up, Ruslan Faraev Institute of Art, UK 2021 When The Lights Go Up (Curated by Julia Lucero), Sapling Gallery, UK Group Exhibitions 2025 A Day In The Life, School Gallery, UK 2024 Input/Output, Paradise Works, UK Shifting Sands, Saan1, UK Manchester Open, HOME, UK 2023 In The Membrane, Paradise Works, UK OPEN, Bury Art Museum & Sculpture Centre, UK NSFW, Smolensky Gallery, UK Unity, Smolensky Gallery, UK 2022 Things Fall Apart, Paradise Works, UK Bankley Open, Bankley Gallery, UK 2021 SLAP-BANG, Warrington Contemporary Arts Festival (Curated by Short Supply), Castlefield Gallery's New Art Space, UK Anything Goes, Aatma, UK 2020 John Moores Painting Prize, Walker Art Gallery, UK 2019 GIFC & Velvet Ropes, House of Vans, UK Bow Open Show, Nunnery Gallery, UK Isolation Association, Art In The Docks, UK 2018 Desires, GNYP Gallery, Germany Original London Print Fair, Royal Academy of Arts, UK 2017 Paper Cuts, Tripp Gallery, UK BUFF, Slade Summer Residency, UK Slade Graduate Degree Show, Slade School of Fine Art, UK 2015 The Windshow Drawing, Camden People's Theatre, UK 2014 OBSESSION: Love, Ritual, Collection, Embassy Tea Gallery, UK 2013 We Are All Explorers, Manchester School of Art, UK Awards 2024 Shortlisted 'Macfarlanes Art Prize' Shortlisted 'Clyde & Co Art Prize' 2022 Shortlisted 'BEEP Painting Prize' 2021 Winner 'Repaint History Prize for Womxn Artists' 2016 Shortlisted 'Blooom Award, by Warsteiner' 2016 Shortlisted 'Taking Shape Prize' 2014 Shortlisted 'Young Masters Art Prize' 2014 Shortlisted 'The Signature Art Prize' Gallery Representation Seventeen (London, UK) Public Collections V&A Museum Collection (London, UK) Statement about AOAP Submitted Artwork 'Queen' is a hopeful bid for equality in light of International Women's Day, as Queen Conch shells are seen as lucky. They are a motif that I return to regularly in my work as they are also evocative of the female form. 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.

Kamila Sipika The Garden, 2025 Aquarelle on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist currently working in The Netherlands and Poland. Nature is rooted at the core of Kamila's creative inspiration as she works with subjects such as ephemerality, decay, tranquillity, folk traditions and timeless plants' symbolism. Her materials of choice are linens and cotton that serve perfectly the natural pigments, oil paints and dying the textiles. Her work encourages viewers to re-consider the relationship between nature and the painting medium. Her practice is founded on the curiosity in the surroundings. She collects a range of objects, primarily from nature, such as stones, seeds, shells, plants, and flowers to dry as a starting point of the creative process. Kamila strongly believes epiphanies can appear hidden in the most ordinary moments, textures, colours, and fragrances. Education Royal Academy of Art, The Hague, Netherlands, 2019 - 2021 Academy of Fine Arts, Warsaw, Poland, 2015-2019, 2021-2022 Group Exhibitions 2024 On Physiognomy of Nature, de Bouwput, Amsterdam (NL), duo show Sidewalk Hussle, collaboration, exhibition event of Orisun Studio, Den Haag (NL) Art Rotterdam Fair (with Rademakers Gallery) (NL) Wandler x Hotel l'Europe, Amsterdam (NL) 2023 Homebound exhibition, Den Haag (NL) Enter Art Fair (with Rademakers Gallery), Copenhagen (DK) Popłyniemy napięci w prąd radosnej energii, Galeria Nanazenit, Warsaw (PL) Springboard Art Fair, Utrecht (NL) Tiny Gallery x Fig, Sofia, Bulgaria 2022 Image Desires, Mysia 3, Warsaw (PL), solo show DAGLICHT, The Grey Space in The Middle, The Hague (NL) 2021 Fata Morgana (digital exhibition, NL) ART The Hague (NL) Graduation Festival, Royal Academy of Art, The Hague (NL) Awards 2024 Mondriaan Artist Start Fund 2023 Piket Prijs Nominatie Stroom PRO Invest 2022 Nominatie Buning Brongers Prijzen Statement about AOAP Submitted Artwork Discovering hidden in the daylight flowers blooming in the soil full of treasures and life, calms the mind of the one who wondered this way. The tactility and the fragrance are easily recognisable and recalled. Each flower carries a different meaning and perhaps a treasure of one's own memories. 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.

Kamila Sipika Yellow Elder, 2025 Aquarelle on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist currently working in The Netherlands and Poland. Nature is rooted at the core of Kamila's creative inspiration as she works with subjects such as ephemerality, decay, tranquillity, folk traditions and timeless plants' symbolism. Her materials of choice are linens and cotton that serve perfectly the natural pigments, oil paints and dying the textiles. Her work encourages viewers to re-consider the relationship between nature and the painting medium. Her practice is founded on the curiosity in the surroundings. She collects a range of objects, primarily from nature, such as stones, seeds, shells, plants, and flowers to dry as a starting point of the creative process. Kamila strongly believes epiphanies can appear hidden in the most ordinary moments, textures, colours, and fragrances. Education Royal Academy of Art, The Hague, Netherlands, 2019 - 2021 Academy of Fine Arts, Warsaw, Poland, 2015-2019, 2021-2022 Group Exhibitions 2024 On Physiognomy of Nature, de Bouwput, Amsterdam (NL), duo show Sidewalk Hussle, collaboration, exhibition event of Orisun Studio, Den Haag (NL) Art Rotterdam Fair (with Rademakers Gallery) (NL) Wandler x Hotel l'Europe, Amsterdam (NL) 2023 Homebound exhibition, Den Haag (NL) Enter Art Fair (with Rademakers Gallery), Copenhagen (DK) Popłyniemy napięci w prąd radosnej energii, Galeria Nanazenit, Warsaw (PL) Springboard Art Fair, Utrecht (NL) Tiny Gallery x Fig, Sofia, Bulgaria 2022 Image Desires, Mysia 3, Warsaw (PL), solo show DAGLICHT, The Grey Space in The Middle, The Hague (NL) 2021 Fata Morgana (digital exhibition, NL) ART The Hague (NL) Graduation Festival, Royal Academy of Art, The Hague (NL) Awards 2024 Mondriaan Artist Start Fund 2023 Piket Prijs Nominatie Stroom PRO Invest 2022 Nominatie Buning Brongers Prijzen Statement about AOAP Submitted Artwork Discovering hidden in the daylight flowers blooming in the soil full of treasures and life, calms the mind of the one who wondered this way. The tactility and the fragrance are easily recognisable and recalled. Each flower carries a different meaning and perhaps a treasure of one's own memories. 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.

Bex Massey Queen, 2025 Watercolour and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bex Massey's work examines the role of painting and the language of display in the face of popular culture. She amalgamates simulacra and allegory to investigate notions of 'worth' via motifs and tones extracted from her childhood. Massey's previous works and exhibitions have engaged the codes and history of queer culture, along with markers of selfhood and Northern identity. Recent works have become visually softer, more sedate and uncomfortable as the unease and 'value' in this series is created via the relationships between the minimal conflations. The image pairings within these paintings encourage allusion to female bodies, building an underlying sexual tension imbued by the artist into quotidian objects. Compositionally the couplet mirror each other and their visceral epicentres form a visual echo. This is further extended by an implied auditory element as the scenes contain the potential of noise, whether it is the moment a cat yawns or fizzy drink explodes - force in one image is released in its partner. These climactically coupled, female laden, tension imbued depictions are a nod to societies persistently binary notions of gender and therein the habitual reminder that outside the male gaze, Female + Female = Incorrect. Masseys recent fertility journey with her partner has brought this into sharp focus, and this process is alluded to in the titles of canvas which are named after the sperm donors they have considered. This additional layer encourages the work to be viewed via a reproductive lens. Education 2012-2013: MA Fine Art. Merit. Chelsea School of Art, London. 2004-2007: Ba Hons Fine Art. 2:1. The School or Art, Architecture and Design, London. 2025: Just Desserts, Seventeen, London, UK Solo Exhibitions 2024 My deuce, My double, GERTRUDE x Seventeen, London, UK 2022 The truth is out there, Roman Road, London, UK 2020 We didn't start the fire, VOLT Eastbourne, UK 2018 ÀhhÁÀhhÁ, SLUGTOWN, Newcastle upon Tyne, UK 2017 ÀhhÁ, Arebyte LASER, London, UK Group Exhibitions 2024 Strange Days: Surrealist Gaze, Cross Lane Projects, Cumbria, UK Landscape of the Gods, Vestry street, London, UK 2023 Landscape of the Gods, Cross Lane Projects, Cumbria, UK Catastrophic, Unit G, London, UK 2022 Elephant, Art Gazette, London, UK QUEER ART(ists) NOW, Space Station Sixty Five, London, UK Art on a Postcard summer Auction, The Bomb Factory, London, UK Instagram Live, 19 Karen, Queensland, Australia Northern Deviants, Unit G, London, UK Kunst the clown and friends, Gallery 46, London, UK Hyper Contemporary, Hasbrook Galleries, Milwaukee, USA 2021 Play and the post peak, The Factory, London Still Journey, The Columbia, London. The Big Show, Good Mother Gallery, San Francisco. Everywoman, Superchief Gallery, New York. 2020 Pop Now, Gallery 46, London. Body Politic, Susan Boutwell Gallery, Munich. She Performs, The Glass Tank, Oxford. Viewing Room, Harlesden High St, London. Awards 2024 Shortlisted 'Macfarlanes Art Prize'. Shortlisted 'Clyde & Co Art Prize'. 2022 Shortlisted 'BEEP Painting Prize'. 2021 Winner 'Repaint History Prize for Womxn Artists'. 2016 Shortlisted 'Blooom Award, by Warsteiner'. 2016 Shortlisted 'Taking Shape Prize'. 2014 Shortlisted 'Young Masters Art Prize' 2014 Shortlisted 'The Signature Art Prize Gallery Representation Seventeen (London, UK) Statement about AOAP Submitted Artwork 'Queen' is a hopeful bid for equality in light of International Women's Day, as Queen Conch shells are seen as lucky. They are a motif that I return to regularly in my work as they are also evocative of the female form. 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.

Mid-18th century Bow white sweetmeat bowl, in the shape of a shell resting upon a triangular foot formed by three shells, applied with 'seaweed' and further smaller shells,15cm diameter

Two wooden carved table centre bowls and collection of shells

LARGE PAIR OF LOUIS XIV STYLE GILTWOOD WALL MIRRORS, heavily carved with scrolling acanthus, shells and masks, 205 x 116cms (2)Comments: viewing recommendedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

George III (1760-1820), gilt copper proof Farthing, 1806, Soho Mint Birmingham, early period, laureate and draped bust right, side whiskers rendered with incuse lines, incuse K on truncation for engraver Conrad Heinrich Kuchler, date below, Latin legend and beaded border surrounding, GEORGIUS III. D: G. REX. rev. inverted die axis, Britannia seated left on rock, holding olive branch and trident with shield, raised K to left on ground to left of shield, SOHO raised on rock to right, ship sailing right to left of Britannia, Latin legend and toothed border surrounding, BRITANNIA, edge grained, 4.74g (Peck 1387 KH13; S.3782). A few tiny marks, toned, practically as struck, with the original copper shells supplied from the Soho Mint, Birmingham.These special presentation proofs were struck in gilt copper at Matthew Boulton's Soho Mint Manufactory in Birmingham using the steam presses invented by James Watt. They were very proud of such pieces, and they were supplied from the factory with copper shells, so often discarded shortly after.Boulton and Watt appeared together on the reverse of the last paper £50 note.The Latin legend translates as "George III by the grace of God, King" and on the reverse "of Britain."

An 18th century Angarano maiolica dish, moulded and painted in green, yellow and blue with four cherubs with a goat besides a river and a tower in the distance, the rim with alternating cherubs and shells surmounted by masks and flanked by cornucopia, 30cm wide

* Folk Art. A wishbone penwipe doll, early-mid 19th century, modelled and painted as a negro woman, with white seed bead eyes, and wearing a green cape over a pink velvet dress, both with pinking shears edging embellished with polychrome seed beads, cream silk ribbon to neck a little frayed, contemporary paper label stitched to front annotated in sepia ink 'once I was a merry thought/growing on a hen/now I am a little slave/made to wipe a pen', length 9 cm QTY: (1)NOTE:A rare negro penwipe doll, judging by the condition never used for its intended purpose of soaking up ink. Long before repurposing became fashionable, it was a necessity, when household items and toys were much more difficult to come by, and in any case, only attainable by the well-off. In the 19th century, and before, it was common to give disposable objects such as bones, feathers, spools and nut shells a new life as functional or ornamental objects, for the home, or as gifts. As well as dolls, wishbones were also used to make dolls' furniture: see The National Museum of Toys and Miniatures for a spinster wishbone doll, and a set of furniture made of wishbones.Founder and director of The National Black Doll Museum, Debra Britt, says that the earliest black dolls to appear in America were wishbone dolls made on slave ships. Although the Slavery Act of 1807 had probably been passed by the time this doll was made, slaves in the colonies were not freed until 1838, and so the debate around slavery was probably still a hot topic when this doll was made; despite this, its creation would not have been controversial as it would be today.

A striking handcrafted wooden sculpture from Ghana, featuring a unique raised fist design integrated into an elongated form with geometric carvings. The base is decorated with inlaid metal and cowrie shells, adding cultural significance and artistic detail. The sculpture is marked with a "Handcrafted in Ghana" sticker on the underside.Issued: 20th centuryDimensions: 15"HCountry of Origin: West AfricaCondition: Age related wear.

Originally designed by Rateau for George and Florence Blumenthal in 1919The crest with repeating shells above a back and seat of chain link fish. Height of back 42 inches, height of seat 13 inches, width 31 inches, depth 22 inches. No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

CATHERINE HENRIETTE DE BALZAC D'ENTRAGUES MARQUISE DE VERNEVIL MAITRESSE DE HENRI IVShells on silk damask multiple with medallion, 1978, framed.31 1/2 x 27 inches; 800 x 686 mm.Frame 36 3/4 x 32 3/8 inches; 933 x 822 mm.Provenance:Arras Gallery, New YorkNo condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report