A large silver-plated kettle and spirit stand 19th century, of pear form, the handle with ivory insulators, over a body with chased and two central blind cartouches, on similar decorated stand, 48cm high, together with a further kettle with spirit stand, with chased and engraved body, 24cm high (2)IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018. Condition ReportKnocks, scuffs and surface scratches to both commensurate with age and use. Smaller kettle with solder repair to the handle.
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An Art Deco silver-plated cocktail shaker by Hukin & Heath, with a stopper and removable conical section, stamped marks,20cm highA Danish Sterling silver and enamel 'Christmas Begonia' spoon,by Anton Michelsen, July 195616cm longTwo silver spirit labels,port and sherry Francis Howard Ltd, each with an acanthus and scallop border,5.7cm wideweighable 0.90ozt (4)Condition ReportCocktail shaker) Tarnished. the inner dented. Spoon) originally in silver gilt. With tarnished marks and wear. spirit labels) With surface scratches and tarnishing.
A GROUP OF VINTAGE DECORATIVE ITEMS, comprising a selection of sculptures carved from wood and brightly painted in red, yellow and green, including an elephant, a warrior bust, and two horse heads, a wall hanging, three wooden carved figurines one in a light wood lying down, two traditional wooden Yali brackets for home decor, two stone sculptures, model of a spirit house, (needs repair on the front the pieces are present), four antique prayer wheels various metals, (sd), antique bronze Indian temple toys chariots pulled by elephants/ horses on wheels etc. (qty), (Condition Report: all items are in age worn condition, and sd to items but overall fair condition)
A delightful set of four coffee cups with matching saucers from the Royal Doulton Christmas collection, dated 1999. Each piece features a festive design, evoking the holiday spirit with intricate seasonal motifs and vibrant colors. Perfect for serving coffee during the holiday season or as a cherished collectible item. The set is in excellent condition, ideal for adding a touch of elegance to your festive gatherings or as a thoughtful gift for a Royal Doulton enthusiast.
Magnificent Swarovski The Foals, model number 627637, part of the Peaceful Countryside series, designed by Martin Zendron. This elegant crystal figurine features two young foals in clear faceted crystal, capturing their lively and playful spirit. Their eyes are accented with black crystal, adding depth and realism to the design. Included with this lot is the commemorative 25th Anniversary etched crystal plaque, celebrating Swarovski's milestone in artistic craftsmanship. The set comes complete with its original packaging and certificate. Artist: Martin ZendronIssued: 2003 - 2011Dimensions: 4"HCountry of Origin: AustriaCondition: Age related wear.
Swarovski SCS 2014 Annual Edition Horse Esperanza, designed by Anton Hirzinger. This elegant crystal sculpture captures the grace and power of a galloping horse, embodying the spirit of freedom and movement. Crafted in precision-cut clear crystal, the figurine features finely detailed facets that reflect light beautifully. Included is the original Swarovski blue box, certificate, and an accompanying crystal horseshoe plaque engraved with Esperanza SCS 2014. Released exclusively for Swarovski Crystal Society (SCS) members, this piece was a limited edition for the year 2014 and has since been retired, making it a coveted collectible. 5004728. Artist: Anton HirzingerIssued: 2014Dimensions: 5"HCountry of Origin: AustriaCondition: Age related wear.
Chadburn of Sheffield - Late 19th century rosewood four glass mercury barometer inlaid with mother of pearl, comprising a decorative gable top and square base, hygrometer, boxed mercury thermometer, spirit bubble and 8" silvered register with a steel indicating hand and brass recording hand, recording barometric air pressure from 28 to 31 inches with predictions, syphon tube with pulleys and floats.Mercury clean and present.Condition Report: Recording button missing.
Comitti-20th century mercury stick barometer in an 18th century style mahogany case with satinwood stringing, with a broken pediment, brass finial and round base, silvered register with recording vernier, weather predictions and a centigrade/Fahrenheit spirit thermometer enclosed within a glazed door, visible tube with a bulb cistern and turned mahogany cover.Mercury clean and present with no air locks.
Rhondda & Swansea Bay Railway silverplate items x2 consisting of a small spirit measure hand engraved RHONDDA & SWANSEA BAY RAILWAY in garter measures 1.75in dia x 17.75in tall and a mustard spoon hand engraved RHONDDA & SWANSEA BAY RAILWAY in garter measures 5.25in long. A lovely pair of items from this small Welsh company. (2 items)
A GROUP OF CHINESE POTTERY FIGURES, MODELS AND ASSOCIATED FRAGMENTS, PREDOMINATELY TANG DYNASTY (618-906). Comprising: a guardian earth spirit, enriched in red and white pigment approx. 56cm high, two models of terracotta horses, a large painted model of a court lady, probably Han Dynasty, approx. 52cm high, a straw-glazed model of a guardian spirit 36.5cm high, a rectangular section warmer, a small painted model of a standing court lady 24.5cm high, a Neolithic two-handled oviform vase painted in dark brown pigment with linear bands and scrolls, a Tang amber-glazed cylindrical jar incised with reeded bands, on scroll feet For the most part, the majority of items are extensively damaged and with losses, some of the associated fragments are present, but all require restoration. The neolithic vase is extensively broken and repaired, the amber glazed jar is lacking a foot, The small standing Tang court lady is in good order, other than the usual surface losses to pigment.
A collection of hand tools to include spirit levels, wood plane, hand saws, mallets, hammers, stilson wrench, knives, screwdrivers, chisels, pliers, grips and a small bench vice, a Delta 240v 230w -50hz battery charger, also a leather holdall containing a selection of brick layers hand tools, also a set of four Thomas Taylor flat green bowls size 2 and a second set of four Thomas Taylor flat green bowls size 0.
A large collection of pre-war postcards - mostly topographical (UK and Continental), but also including some humorous cards, some motor spirit advertising cards (British Petroleum, Shell and Crown), transport, military (inc. Tuck's Red Cross Series), a portrait card of Amy Johnson, real photographic cards etc., contained in a vintage pine wood box.
This lot includes eight issues of Avant Garde magazine, an influential and visually striking publication from the late 1960s and early 1970s. Known for its provocative artwork, bold typography, and cutting-edge photography, Avant Garde pushed boundaries in art, design, and social commentary. Issues in this lot feature iconic covers, including The Avant Garde Sit-In, Portraits of the American People, and Wedded Bliss. These magazines capture the experimental spirit of the era, making them highly collectible for fans of graphic design, counterculture movements, and vintage print media. The lot measures 11"L x 2"W x 11.25"H.Dimensions: See DescriptionCondition: Age related wear.
Faye Eleanor Woods Lady II, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! 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.
Faye Eleanor Woods Kiss me quick!, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! 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.
Zena Blackwell Major, 2025 Oil on linen Signed on Verso 10 x 15cm (3¾ x 5¾ in.)About Zena Blackwell is an award-winning contemporary painter whose work explores themes pertaining to childhood, parenthood and family life. Working primarily in oils, Zena allows the story on the canvas to unfold organically, with her source material ranging from her personal archive of family photos to specifically sought out found images. Education 2021-2022 TURPS Correspondence Course 2010-2011 MFA In Fine Art, Central Saint Martins 1996 - 1999 BFA in Fine Art, Wimbledon College of Art Solo Exhibitions 2022 A Delicate Balance: Solo show at Canfas, Cardigan, Wales 2018 Seen Not Heard: Solo Exhibition at Cardiff MADE, Cardiff, Wales Group Exhibitions 2025 A Dream Within A Dream, Liminal Gallery, Margate, England Intersum, Oriel Canfas, Cardiff, Wales BEEP Painting Biennial, Aberystwyth School of Art gallery, Aberystwyth, Wales 2024 The Walls Between Us, Saatchi Gallery, London, England BEEP Painting Biennial, Elysium Gallery, Swansea, Wales (Winner of the Friends of the Glynn Vivian Award) Rejects, Art Friend @ Stokey Pop Up, London, Englan Y Lle Celf, National Eisteddfod, Rhondda Cynon Taf, Wales Among Women, Vol 1 curated by Occupata, Art Market, Cardiff, Wales Primal: Tribal: Beats, Studio Cennen, Llandeilo, Wales Made in Roath Open, g39, Cardiff, Wales Arcade Campfa Studio Show, Art Market, Cardiff, Wales Breath: Inspire: Spirit at Studio Cennen, Llandeilo, Wales Cardiff MADE Winter Exhibition, Cardiff, Wales 2023 Latent Dreaming: AucArt x SeeFood Room at SeeFood Room, Hong Kong Through the Looking Glass (Aucart Group Show), Fitzrovia Gallery, London, England New Wave, Spitalfields Studios, London, England SOTA Marketplace: Accessible Art Fair, The Lab, London, England Resilience, Cardiff MADE, Cardiff, Wales Human: Nature, Studio Cennen, Llandeilo, Wales Best of the Solo Art Prize winner's exhibition, Cardiff MADE, Cardiff, Wales Awards 2024 Friends of the Glynn Vivian Award, BEEP Painting Biennial 2022 Shortlisted for BEEP Painting Biennial, BEEP 2021 Shortlisted for Summer Exhibition, Royal Academy 2019 3rd Prize at PAINT, PS MIrabel 2017 1st Prize Summer Exhibition, Cardiff MADE Statement About AOAP Submitted Artwork 'Major' is based on a found photograph of a lion by the same name that used to be an attraction at Magic Mountain theme park in California in the 1970s. He was heavily sedated and children would have their pictures taken with him. Generally, my work explores parental anxiety. Lions first started appearing in my work a few years ago, becoming a symbol of danger but also of protection. I also think a lot about the natural world and Man's destruction of it and what the future will look like for our children. 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.
Ann Carrington Tiddarren, 2024 Beads, brooches, and necklaces on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ann Carrington is part magpie, part alchemist; working in the folk tradition, she creates pieces that take extraordinary amounts of time to complete. Some of the most collectable pieces she has created are part of her Pearly Queens series with coloured buttons sewn onto a crimson, or black background to emulate the 1st Class Royal Mail stamp. Carrington holds an official license from Royal Mail to produce stamp artworks featuring the Queen. Carrington was commissioned to make 'The Royal Jubilee Banner' for the Queen in celebration of her Diamond Jubilee. The banner hung from the stern of the Royal Barge 'The Spirit of Chartwell' as it made its journey up the River Thames on the Diamond Jubilee procession in the summer of 2012. Jacob Rothschild purchased the first Pearly Queen which now forms part of the Rothschild collection and was recently shown alongside Lucien Freud's famous portrait of the Queen at his exhibition 'Power and Portraiture'. The Queen also commissioned one (in red and gold) to accompany the banner made for her Diamond Jubilee. Collectors of Carrington's work include Elton John, Paul Smith and Lulu Guinness. The United Nations invited Carrington to help raise awareness of current issues through her artwork in 2010, her first piece for The UN was presented at their Human Trafficking conference in Luxor, Egypt. August 2016 saw a large retrospective exhibition of Carrington's work open at the Royal College of Art, London. The centrepiece of the exhibition, Devil's Trumpet, a floral sculpture crafted from cutlery, was acquired by the V&A for their collection and is on permanent display in the Silver Gallery. 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.
Lucy Smallbone Courtyard, 2025 Watercolour pastel and acrylic on carved wood Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy Smallbone is a graduate from the Slade School of Fine Art Master's program who specialises in modern landscape painting. Her work looks at the merging of fictional and real space and questions the part that memory and the mind can play in altering a view of a place. Education The Slade Masters in Fine Art City and Guilds Painting Bachelors Degree Falmouth and Exeter University Art and Design diploma Solo Exhibitions 2021 Fiumano Clase, London 2018 Fiumano Clase, London HSBC, London 2017 The space station gallery, London Group Exhibitions 2024 The British Art Fair, Cynthia Corbett Gallery The spirit of Boudicca, Norwich Elsewhere, cromwell place 2023 Young Master's Art Prize, London Works on Paper, London, 324 kings Road Wish you were here, Tag Fine Art A Slash of Blue, Gerald Moore Gallery Works on Paper 2023, 340 kings road 2022 Lucy Smallbone and Elizabeth Power at 99 Projects Art for Charity Exhibition at Unit 1 Gallery Weary Harold ASC Gallery 2021 Wish You Were Here at Fiumano Clase, London 2019 Still Here, Newington Gallery, London Recent Graduate's revisited, AAF Battersea, London One of One, Seen Fifteen Gallery, London Artist Sketchbooks, Marlborough Fine Art Gallery London Art Fair with Fiumano Clase Awards The Haworth Trust Award for Painting 2010 The David Ballardie Travel Award 2009 Statement about AOAP Submitted Artwork Courtyard is a painted woodcarving in a series of works looking at craft work, most have been inspired by tapestries. Craft based art pieces are often devalued by their connotations with female and unskilled work. Although they are time and labour intensive. 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.
Poppy Lennox Echoes of the Land - Study, 2025 Liquid rust, crystallised salt, and pure silk thread on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About By looking to both the structures within the cosmos and nature's intricate systems and patterns, contemporary British artist Poppy Lennox explores the human desire to seek pattern as a way of understanding the vastness and complexities of existence. Using materials such as wood, plaster, paint, earth, metal powders, wax, raw silk and thread, Poppy's dynamic works capture the delicate yet powerful systems that underpin life itself. The Transcendentalist belief in the divinity of nature and the importance of our connection to it informs much of Poppy's subject matter. 'Energy Lines', Poppy's most recent body of work reveals pattern that is reminiscent of both mycelium and cosmic networks. Tethered forms of thread go beyond the woven mark to connect the microcosm and macrocosm and reflect on the energetic and vibrational forces that surround every aspect of life. The process of layering and revealing plaster and paint with the incisive, repetitive, often geometric stitched marks of thread creates traces and memories-echoes of both our presence and that which has forever existed. Education 1999-2003 BA (Hons) Fine Art, Newcastle University 1998-1999 BTEC Diploma in Foundation Studies, Cheltenham & Gloucester College Group Exhibitions 2025 Today for You, Tomorrow for Me, London Art Fair, curated by Becca Pelly-Fry International Women's Day Auction, Art on a Postcard OPEN05, Park Royal Gallery The Art Studio Pop-Up, London You are the Circle, Excelsior Studios, London Design Festival Just Playing, Gorst Road Studios, London Design Festival OPEN24, Tarpey Gallery, Castle Donington Dark Materials Tell Stories, J/M Gallery, London The Spirit of Boudica, Norwich Cathedral 2023 Re-Block, pop-up as part of the 'LONDON re made' programme OPEN04, Excelsior Studios, London Design Festival Synergism, Gorst Road Studios, London Design Festival Art For Charity Collective Summer Exhibition International Women's Day Auction, Art on a Postcard, curated by Lee Sharrock International Women's Day Auction, Art For Charity Collective 2022 Arms Around the Child, charity art auction, Christie's Auction House Poppy Lennox + Dawn Beckles: Life Still', 99 Projects, London Home House, London Expressions of Abstraction, The Savoy, London Rebirth, 99 Projects, London, group exhibition curated by Lee Sharrock Supernature, Paxton + Glew Gallery, Brighton SHE/HER/HERS, Oakland Gallery, New Brighton Gallery Representation 99 Projects, London, UK Statement About AOAP Artwork Echoes of the Land Study is part of Poppy's ongoing 'Energy Lines' series, in which she explores the intricate systems and patterns of nature's landscapes, our deep connection to the land, and the unseen energy that moves through and between us. In this latest exploration, she layers crystallised salt and liquid rust-textures evocative of eroded landscapes, salt plains, or even an otherworldly terrain-blending the raw and the ethereal. Silk threads, hand-stitched to represent energy lines, weave through the space, symbolising connection, purity, femininity, and the transcendental. 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.
ANCIENT EGYPTIAN USHABTI FIGURE EGYPT, THIRD INTERMEDIATE PERIOD, C. EARLY 1ST MILLENNIUM B.C. faience, depicted in typical fashion, holding the hoe, pick, and seed-sack over the shoulder, wearing the tripartite wig, with a central vertical line of hieroglyphic inscription, raised on a stone mount 11.1cm tall Private collection, Warwickshire, United Kingdom, established 1950s Shabtis, known also as “answerer figures”, were placed in a tomb so the owner's spirit would not have to perform manual labour in the afterlife. They were often inscribed with chapter 6 of the Book of the Dead, the shabti text, a spell that compels the shabti to substitute itself if the owner is asked to till the fields, irrigate the land, or transport sand from east to west.
COLLECTION OF FOUR MINIATURE DOGON LADDERS MALI carved wood, each carved from a single piece of wood, displaying a slender form adorned with spaced rectangular rungs and dual short protrusions above, raised on bespoke wooden mounts (4) tallest 33.2cm Private collection, London, United Kingdom Dogon ladders, once purely functional, provided access to the flat rooftops of homes, which served as spaces for storage, living, and seasonal sleeping. Miniature versions, though closely resembling their full-sized counterparts, were solely spiritual in purpose. Placed on domestic altars, these shrine or spirit ladders symbolised the soul’s ascent to the afterlife, allowing the deceased to join their ancestors.
India.- Daniell (Thomas) Follower of. The Sacred Tree of the Hindoos at Gyah, Bahar, watercolour, brush and ink, with grey wash border with title and artist's name 'f. de Moser 1803' in the lower right corner, sheet 485 x 650 mm (19 x 25 1/2 in), under glass, framed, [circa 1800]*** One of the most important pilgrimage sites in India, with the Akshaya Vata or Undying Banyan Tree, where pilgrims make offerings to the spirit of their ancestors. The Daniell's were there in March 1790, with Thomas Daniell noting "Gyah is a place of great antiquity, much resorted to by the Hindoos...[with] fragments of mutilated idols, the work of Mahomeddan intolerance... still regarded with veneration." The present work appears to be a contemporary copy of the Daniell's aquatint [cf. Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 15.]
Levant.- Frankland (Charles) Travels to and from Constantinople, 2 vol. bound as 1, second edition, half-titles, hand-coloured aquatint frontispieces, 3 folding engraved maps, one with short split to fold and neat tape repair verso, one engraved plan, 14 aquatint plates, of which 3 folding, one with short split to foldline, 11 wood-engraved plates, bound without advertisements, modern calf, [Abbey, Travel, 26; cf. Blackmer 628], 1830 § Urquhart (D.) The Spirit of the East, 2 vol., first edition, half-titles, previous owner's ink inscription to half-titles, ex-library with occasional blind-stamps, scattered faint spotting, modern morocco backed boards, 1838 § Busbecq (A. G.) Travels into Turkey, third edition, scattered faint spotting, occasional small marginal worming, contemporary calf, a little rubbed, Glasgow, 1761; and others similar, v.s. (c.40).
A STYLISH AND IMPRESSIVE HALLMARKED SILVER SIX PIECE TEA AND COFFEE SERVICE, consisting of a spirit kettle, teapot, coffee pot, cream jug, sugar bowl and a twin handled serving tray, all have same design but it is a matched set the spirit kettle, coffee pot and tray are by Bert Gordon - Birmingham 1932 and the teapot, cream jug and sugar bowl are stamped K&L - Birmingham 1931, combined overall weight 5220g
* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.), CIRCA 1968 bronzed resin 101cm wide Note 1: A bronze of this sculpture is in the collection of Celtic F.C. Note 2: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. Note 3: John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club. Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece. Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal. Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history. 40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village.
* PETER QUINN RWS RSW OLD HOUSE, VEDADO, HAVANA watercolour on paper, signed, titled and dated 2004 label versomounted, framed and under glass image size 50cm x 69cm, overall size 71cm x 87cm Label verso: The Gatehouse Gallery, Glasgow. Note: Peter Quinn RWS, RSW is an artist who seeks subject matter both in the everyday of his own locality and in more exotic locations. He is well known for brightly coloured, unique watercolours of interesting buildings; demonstrating perfectly a confident draughtsmanship and an eye for the details that capture the spirit of places so completely. Peter graduated from Glasgow School of Art in 1986. He has shown at the Bankside Gallery with the Royal Watercolour Society since 1999, when he was an award winner; and in 1995 won the Armour Award for an outstanding watercolour at the Royal Glasgow Institute. He exhibits in Newcastle, Glasgow, Malta and London.
* JAN NELSON, RACING ACROSS THE BAY acrylic on canvas, signed and titled versoframedimage size 41cm x 77cm, overall size 57cm x 92cmNote: Jan has been painting for over 25 years. Although largely self-taught, she completed 3 years with the Open College of Arts to hone her skills. Never far from the sea that provides her inspiration, Jan works full time from her studio in the East Neuk of Fife (Scotland). A keen sailor, she takes every chance she can to get out on the ocean and race. It’s little wonder that her work so brilliantly captures the spirit and excitement of racing a yacht at sea. Jan works mainly in acrylic, painting with speed and intent. A striking palette combined with a fluid, energetic technique creates unique work. Every painting is instantly recognisable as Jan’s signature style. Jan Nelson's original paintings are sold through numerous galleries around the UK.
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