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Lot 1038
The Honourable The Irish Society interest - Presentation silver tobacco / snuff box, Stokes & Ireland Ltd, Chester, 1905, of oval form, the hinged cover with raised crest to centre, above - 'THE HON THE IRISH SOCIETY - A.D 1613', beneath - inscribed 'Sir Newton Bart Governor 1906', 9.6cm. long, weight 3.43 tr.oz.
Lot 1433
A Victorian silver squeeze action tobacco box, Benjamin Barling, London, 1852, of rounded oval form, engine turned weave design, the hinged cover with central shield shaped foliate cartouche, inscribed 'I Leadbetter ~To~J W Baxter', opening to reveal gilt wash interior, stamped 'B.BARLING & SONS CLASS 29', 9cm. at widest, weight 3.09 tr.oz. * Laxey pipe factory collection.
Lot 117
A British 1916 dated 13 pdr 9 CWT shell case, with the ignitor removed, and a brass ring inserted to create a gong, bearing a nickel plated plate plaque, bearing the words Ypres Trooper NB Meek November 1916, together with another trench art 18 pdr shell from 1916, made into a gong, a pair of German 1917 dated 7.7cm shell cases, fluted into a goblet design, with engraved flowers, cut down 1917 18 pdr shell, engraved with thistles, a French 1915 dated 75mm shell case, turned into a tobacco jar, with matching tight fitting lid, and a small 1 pdr or 37mm shell case, cut down and with additions to create a trench art coal scuttle. (7)
Lot 388
A Queen Anne cedar and engraved-bone tobacco box, early 18th century, dated '1707', the boxwood-strung oval top inset with bone panels inscribed 'Too Good For You The Best Is Not', the underside imprinted 'The Gift of Edwd. Reppington of Ommington[?] 173[?]',10cm wide8cm deep3cm highFor a similar example, see Bonhams, 'The Oak Interior', 18 September 2019, lot 266. Literature: Three similar examples are illustrated in Owen Evan-Thomas, 'Domestic Utensils of Wood', Stobart Davies, 1992, pl.38.Condition ReportOverall the box is in moderate condition but structurally sound and ready for use. Wear, age and discoluration throughout. Some surface scratches and small nicks to horn. Some slight lifting to veneer and inlay to the top.
Lot 166
A scalloped plate, Chinese export porcelain, polychrome and gilt decoration «Tobacco Leaf» "Pheasants, squirrels, flowers and leaves", decorated back of the flap, Qianlong period (1736-1795), chips, faults on the edge glaze, wear on polychrome. Notes: similar copies vd. VARGAS, Jorge Getulio - "Chinese Export Porcelain in Private Brazilian Collections", London, 1989, pp. 260-261., Dim. - 23,6 cm
Lot 167
An octagonal platter, Chinese export porcelain, polychrome and gilt decoration «Tea Leaf», Qianlong period (1736-1795), small chips. Notes: similar copies vd. VEIGA, Jorge Getúlio - "Chinese Export Porcelain in Private Brasilian Collections". London: Han-Shan Tang, 1989, p. 326, nº 308; and DEBOMY, Pierre L. - "Tobacco Leaf and Pseudo/Feuille de Tabac et Pseudo - A Tentative Inventory/Tentative d'Inventaire". Sèvres: Société des Amis du Musée National de Céramique, 2013, pp. 220-221., Dim. - 32, 2 x 24,5 cm
Lot 230
A cigarette box, 875/1000 silver (84 zolotnicks), engraved decoration with inscriptions in Russian - No. 31 - MOSCOW SOCIETY OF TOBACCO PRODUCERS M. I. BOSTANGOGLO - CIGARETTES PRODUCED BY ORDER OF OLDENBU ROSHIAYA - 100 UNITS - 30 RUBLES [free translation], Russian, Moscow mark (1887), re-marked with Lisbon mark (1887-1937) and LEITÃO & IRMÃO maker's mark (Vidal - 82 and 635). Notes: according to family tradition, which could not be confirmed, this box was offered by Tzar Nicholas II of Russia (1868-1917) to Queen Dona Amélia of Portugal (1865-1951)., Dim. - 3,7 x 10,2 x 8,5 cm; Peso - 215 g.
Lot 109
Delft-style porcelain and wood tobacco pipe featuring a blue and white scenic transfer design. The porcelain bowl showcases a classic Dutch landscape, including a windmill and waterway, while the wooden stem is accented with a curved metal mouthpiece. The pipe is fitted with a perforated metal lid and is attached to a braided cord with a decorative tassel. A fine example of European craftsmanship, likely of Dutch or German origin.Issued: 20th centuryDimensions: 11.25"LCondition: Age related wear.
Lot 209
A pair of Chinese snuff bottles featuring intricate metal overlay designs. One bottle is pink with a jadeite-colored stopper, detailed with applied metalwork of dragons and other symbolic motifs. The second bottle is green with a guardian lion finial, also adorned with ornate metal overlays. Both pieces showcase craftsmanship characteristic of antique Chinese snuff bottles, often used for storing powdered tobacco. The bases of both bottles bear markings.Issued: 20th centuryDimensions: 3"HCondition: Age related wear.
Lot 295
A Royal Doulton stoneware vase and tobacco jar, the former of lobed oviform the shoulders incised with a band of fruiting vine on a marbled ground, impressed mark and incised monogram for Eliza Simance assisted by Catherine Francis, 25cm high. the jar with embossed Art Nouveau motifs, 15cm high, [cover chipped].
Lot 194
Sold directly from Land Rover to our vendor in 1994 after it completed the 1993 Camel Trophy in Sabah, Malaysia. A genuine factory-prepared expedition vehicle that is essentially original but is now in need of some TLC. The 'Camel Trophy' originated in 1980 with three Jeep-equipped German teams exploring the Amazon Basin. After that first event, the organisers turned to Land Rover for support and the tobacco company, Camel, for primary sponsorshipOver the course of the next 20 years, all of the Land Rover vehicle ranges were used - Range Rover, Land Rover Series III, Land Rover 90, Land Rover 110, Land Rover Defender, Land Rover Discovery and Freelander, with all vehicles appearing in the distinctive Camel 'Sandglow' colour scheme and were specially adapted for their roleSome competitors purchased their vehicles and many remained in the host country. Consequently, those vehicles that returned to the UK are highly sought after having covered 'Camel Trophy miles'A genuine Land Rover-prepared Defender utilised as a medical support vehicle to the lead Discovery vehicles on the 1993 Camel Trophy in Sabah, MalaysiaBought directly from Land Rover in 1994 by our vendor (original invoice confirms), who was an LR employee, then with just 2,000 miles and subsequently used as his family vehicle for the next 20-plus years, now with a mere 112,000 milesLots of original off-road equipment, including the unique Safety Devices internal/external roll-cage, snorkel and winch, but sadly not its Brownchurch roof-rackRegularly serviced by our engineer vendor and routinely garaged, but was 'parked-up' a few years ago - now in need of restoration but is a very worthy candidate – any inspection is very welcomehttps://sites.google.com/view/cameltrophyclub/history/vehiclesSpecification Make: LAND ROVER Model: DEFENDER 110 200TDI SW Year: 1992 Chassis Number: SALLDHMF7JA918754 Registration Number: K297 YKV Transmission: Manual Engine Number: 11L24148A Drive Side: Right-hand Drive Odometer Reading: 112075 Miles Make: RHDClick here for more details and images
Lot 144
Early production, manual gearbox SD1 in period Tobacco Brown. A rare survivor in need of a light refresh and offered without Reserve. Designed by David Bache with engineering input from Spen King, the 'Special Design 1' five-door hatchback was well received and won the European Car of The Year Award 1977Motivation was provided by a Buick-inspired 3,528cc V8 coupled to a Borg-Warner 3-speed automatic gearbox or, as here, a 5-speed Leyland LT77 manual gearboxOur vendor acquired this Tobacco Brown example around six years ago, with the intention of using the V8 engine to power another of his projectsThe car drove so well upon collection however that our vendor couldn't bring himself to break the carGenerally very tidy. The interior needs a light refreshIt's been with him for around six years, however lack of time and space dictate that he offers it to somebody else to complete a restorationSpecification Make: ROVER Model: SD1 MK1 3500 MANUAL Year: 1977 Chassis Number: RRWVF7AA021333 Registration Number: UHH 566S Transmission: Manual Engine Number: 10A20368A Drive Side: Right-hand Drive Odometer Reading: 110023 Miles Make: RHD Interior Colour: Beige VelourClick here for more details and images
Lot 2524
GIBSON J-200N c.1967 Maple back and sides and a spruce top in a tobacco sunburst finish, abalone crown inlays on 20-fret rosewood fretboard and a decorative floral tortoise pickguard. Made in Kalamazoo Michigan USA, serial no. 408219, 107cm across. Comes with premium Gibson hard case Condition Report:Overall good condition. The finish is excellent with only minor scratches and marks. the pickguard is lifting and might be a replacement. There is a drilled out section from a previously installed strap button on the heel of the guitar. Low action, very easy to play.
Lot 2530
GIBSON SJ-200 c.2003 Electro Acoustic guitar with maple back and sides and a spruce top in a tobacco sunburst finish, abalone crown inlays on 20-fret rosewood fretboard and a decorative floral tortoise pickguard. LR Baggs VTC pickups under saddle. Made in Boseman Montana USA, serial no. 20753037, 107cm across. Comes with premium Gibson hard case Condition Report:Overall good condition. Finish in good condition, with minor scratches and marks, most noticeable to the bottom of the sound hole and further around the scratch plate which itself is scratched. The neck is straight, it is showing signs of wear in from excessive rubbing in three placements as illustrated. Case comes with Humidipack and prepack checklist.
Lot 38
Gilbert & George (b.1943 & b.1942)A Message From The Sculptors Gilbert & GeorgeThe Postal Sculpture, 1970, comprising an embossed greeting card with collage containing elements of the artists' make up, tobacco and ash, hair, clothing and breakfast used in their performances, together with five small black and white photographs taken during the performances, numbered from the edition of 300 on the reverse, published by the artist’s under their imprint ART FOR ALL, on wove paper, the full sheet as issued, 202 x 126mm., 8 x 5 in.
Lot 171
An Edward VII silver tobacco twist tin, of oval form, Birmingham, 1908, Charles Boyton & Son Ltd, together with a silver vesta case, electroplated cigarette case embossed with three soldiers shaking hands, The Allies 1914 match case, a hip flask and a French/English dictionary weighable silver approximately 88 grams
Lot 237
Brass tobacco jar surmounted with a figure of Napoleon, early 19th Century, height 21cm (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).
Lot 43
A decorative lot comprising a white metal box with late 19th Century Chinese ceramic lid, an early 20th Century French fine bead purse, a collection of lace bobbins, mainly wooden, a vintage Sweet Briar navy cut tobacco tin, small pill boxes and a creme de menthe decanter label. Location:If there is no condition report, please request.
Lot 87
Aesthetic movement Oak, tobacco or cigar box, with applied metal mounts and handles, with fitted interior, the sloped front lifting up to extend a drawer, stamped 'Rd 371192', 31cm wide x 18cm high x 19cm deep approx overall, a smaller wooden box with carved decoration, 21cm wide x 9cm high x 15cm deep approx overall and one other mahogany cased box with fitted interior, with turned bone handles, 23.5cm wide x 11.5cm high x 16.5cm deep (3) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 6
MARTIN BROTHERS SERPENT TWIN-HANDLED VASE, 1906 incised MARTIN BRO LONDON & SOUTHALL / 2-1906, glazed stoneware 14.5cm high (5 ¾in high) Woolley & Wallis, 14 December 2017, lot 298 The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
Lot 9
MARTIN BROTHERS GOURD VASE, 1910 incised MARTIN BROS LONDON & SOUTHALL / 5-1910, glazed stoneware 16cm high (6 ¼in high) Woolley & Wallis, 27 November 2019, lot 150 The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
Lot 4
MARTIN BROTHERS PAIR OF VASES, 1909 each incised MARTIN BRO LONDON & SOUTHALL 3 - 1909 NO. 2, glazed stoneware (2) 16cm high (6 ½in high) The Daryl Fromm Collection of Martin Brothers, Woolley & Wallis, 27 November 2019, lot 28 Exhibited: Worthing Museum & Art Gallery, Gorgeously Grotesque, 2003, catalogue number 20.Literature: The Studio, 1907, p. 112, fig. 12 where a comparable vase is illustrated.The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
Lot 1
MARTIN BROTHERS THREE MINIATURE VASES, 1901-1906 tallest incised W.H.M. 1901 N5, bottle form incised MARTIN BROS LONDON & SOUTHALL 10-1904, gourd form incised MARTIN BROS LONDON & SOUTHALL 3-1906, glazed stoneware (3) 6.5cm high (2 ½in high), 5.5cm high (2 1⁄8in high), 4.5cm high (1 ¾in high) Woolley & Wallis, 30 November 2022, lot 41 The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
Lot 12
MARTIN BROTHERS GOURD VASE, CIRCA 1930 incised MARTINWARE SOUTHALL, glazed stoneware 25.5cm high (10in high) Woolley & Wallis, 14 December 2017, lot 293 Clement Martin, son of Robert Wallace Martin, revived the pottery in 1928 in partnership with H. Butterfield having originally worked alongside his father and uncles in the 1910s. The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
Lot 13
MARTIN BROTHERS FOUR DRAGONS VASE, 1889 incised R W MARTIN BROTHER LONDON & SOUTHALL / 3-1889, glazed stoneware 23cm high (9in high) The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
Lot 3
MARTIN BROTHERS VASE, 1902 incised MARTIN BRO LONDON & SOUTHALL / 3-1902, glazed stoneware 24.5cm high (9 ¾in high) The George Twyman Collection of Martin Ware, Woolley & Wallis, 27 November 2019, lot 158 Literature: The Studio, October 1907, p.11 where a comparable vase is illustrated (figure 9). The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
Lot 10
MARTIN BROTHERS VASE, CIRCA 1900 incised R W MARTIN BROS LONDON & SOUTHALL, glazed stoneware 27cm high (10 ½in high) Christie's South Kensington, 1st March 1996, lot 52The Martin Brothers Potters, Woolley and Wallis 31st October 2005, lot 24. The Martin Brothers, Robert Wallace, Charles, Walter, and Edwin, were pioneering British ceramicists known for their eccentric and highly collectible stoneware. Operating in London from the 1870s to the early 20th century, they created some of the most distinctive ceramics of the Arts and Crafts movement, blending elements of Gothic revival, medieval grotesques, and natural forms.At the heart of their production was Robert Wallace Martin (1843–1923), the eldest brother and creative force behind their whimsical and often macabre Wally Birds, sculptural tobacco jars with expressive, exaggerated features. These creatures, along with their salt-glazed vases, grotesque face jugs, and aquatic-inspired designs, set them apart from traditional Victorian ceramics.While Walter (1857–1912) and Edwin (1860–1915) Martin specialised in glazing and throwing, Charles Martin (1846–1910) was more involved in the business side of the workshop. Together, they developed a distinctive textured, earthy glaze, often in rich browns, greens, and blues, that gave their ceramics an organic, almost ancient quality.Despite their artistry, financial struggles plagued the brothers throughout their careers. However, their work gained a cult following among collectors, and today, Martinware is highly sought after, with pieces commanding significant prices at our auctions.
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