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Lot 130
A group of coloured glass scent bottles 19th century and later, comprising to cased and cut example, with blue over clear glass, one with an atomiser fitting, 7.6 and 9.2cm high, a similar cranberry cased example, 8.7cm high, a similar facet cut example, the silver mounts marked for C C May & Sons, 8.8cm high, French scent bottle, mid-19th century, in the manner of Clichy, with spiral cane decoration, 5.1cm high, and a similar Italian example, with zanfirico decoration, 8.9cm high (6)Condition ReportTaller blue cased example with nibbles to the edge of the aperture. Small blue cased example with wear and losses to the atomiser fitting which does not appear to function. Cranberry cased example with minor nibbles to the cutting. In addition, splits, dents and knocks to the mounts.Nibbles to the edges of the small French example.Minor surface wear and rubbing throughout
Lot 275
An Italian Murano glass vase, c.2002, designed by Cenedese for Burberry, the red ovoid glass with banded detailing in the Burberry chequered pattern, incised to the base 'BURBERRY by Cenedese', 18cm diameter41cm highCondition ReportNo apparent chips or imperfections. Please see the additional images.
Lot 75
Italian Table Lamp in the Style of Targetti Sankey Circa 1970s, with spherical green glass shade on aluminium column to weighted circular base, unmarked.44cm highPrivate collection of lighting, North-West of England.Not tested, will need to be rewired or PAT tested prior to use; some very light wear to shade, some additional marks and scratches to base as per age and use.
Lot 34
A large glass abstract Omaggio a Picasso sculpture designed by Italian artist, Walter Furlan (1931). A woman in a wide brim hat looking at her painted red nails. Applied logo and artist signature on the side. Includes certificate of commercial value declaration from New Murano Gallery S.R.L. Artist: Walter FurlanDimensions: 18"L x 15"W x 20"HManufacturer: Murano GlassCountry of Origin: ItalyCondition: Good.
Lot 299
An Italian gold photo frame, the glazed rectangular polished frame with a wooden backing and hinged wooden stand, to fit an 18cm x 24cm picture, frame 21.5cm x 27.5cm, Italian control mark 750, tested as approximately 18ct gold, 731.90gCondition ReportHinge requires repair and a new pin before being used as a frame. Two base metal wires currently in hinge to secure stand to frame.One dent to frame front.Glass panel with small chips to edges. Only visible when removed from frame. Does not affect integrity of material.Crazing to wooden varnished surfaces.Polishing lines and marks and scratches to surfaces.
Lot 218
Collection of corkscrews and bottle openers including a late 19th/early 20th century turned wooden handle example, a bottle opener with Royal Crown Derby imari-style porcelain handle, a white metal-mounted koala bottle stopper, an Italian nickel-plated double-lever corkscrew, assorted cut glass decanter stoppers and other items
Lot 475
A QUANTITY OF VASES, PLANTERS AND OTHER LARGE CERAMICS AND GLASS WARE, to include mid twentieth century ceramics: a Bay Keramik vase marked 595-35, with foil sticker, a similar vase marked 'Austria 1215-25', three Gmundner Keramik floral painted planters, and an Italian mid twentieth century planter, together with various salt glazed stoneware pots, art glass vases, etc (qty) (Condition Report: most pieces appear ok, sd)
Lot 74
*Local Interest - After Mario Ottonello (1929-2012, Italian), coloured print, 'Morning Sunshine', a colourful illustration featuring the Ashton Memorial in the distance, signed in pencil to the lower right, limited edition 36/500, well presented, framed, mounted, and under glass, measuring 30cm x 45cm, & 48cm x 64cm overall
Lot 127
*Local Interest - After Mario Ottonello (1929-2012, Italian), coloured prints, Two illustrations of Lancaster - 'St George's Quay' & 'The Old Cottages', both signed in pencil to the lower right, limited editions 70/500, well presented, framed, mounted, and under glass, measuring 29cm x 35cm, & 49cm x 52cm overall (2)
Lot 344
A Venetian Palazzo Italian inspired etched glass wall hanging mirror presented by Museo dell'Arte Vetraria by The Franklin Mint. The mirror having a shaped pediment atop etched with courting couple under tree. Etched glass mirror framed with central mirror plate. All decorated with flower glass embellishments. Measures approx. 74cm x 51cm.
Lot 348
A small group of silver, including a serving spoon with embossed and engraved decoration, Sheffield 1900, length 22.2cm, and a pair of decanter labels, inscribed 'Scotch' and 'Sherry', Birmingham 1967, weighable items 161.8g, a set of sixteen sterling and cut glass pepper casters, a set of eight sterling pepper casters, a small group of other sterling pepper casters and a small group of sterling cutlery, total weight excluding glass 129.4g, a .830 silver dish and a set of six Italian .800 silver souvenir spoons, total weight 101.2g, together with a group of plated items, including an asparagus dish and cradle and a pair of tongs.
Lot 291
A pair of Italian .800 silver and blue glass salt and pepper shakers and other itemsfirst stamped 800, of blue glass urn form, fitted with domed covers, the bases embossed with stiff leaf decoration on spreading circular foot, together with a George V silver cigarette case of curbed rectangular form with linear engine turned decoration, initialled W.W. London, 1917, Goldsmiths & Silversmiths Co Ltd, and a snuff box, Chester, 1909, Samson Mordan & Co Ltd, of plain rectangular form, the hinged lid with raised reserve, initialled, interior gilt, (4)first height 13cm., weight approx. 66.66ozt Condition: The shakers are in good condition, however the lid of the salt cannot be removed. Salt corrosion around holes on lid. Engraved decoration of cigarette case rubbed. Surface scratches to snuff box
Lot 287
An Elizabeth II silver sugar cased and other silverfirst Sheffield, 1984, Mappin & Webb, of tapering form with pull off pierced domed cover, a cased set of twelve Italian .800 coffee spoons, a Victorian cauldron salt with blue glass liner, a small Indian cutch cauldron salt, a pepper pot, a sifter spoon, a pair of sugar tongs with claw terminals, etc., (qty)first height 18cm., weight approx. 14.45oztCondition: Condition commensurate with age. Ding to pepper pot
Lot 207
19th century Italian school. A miniature painting 'Adoration of the the Christ Child', watercolour on ivory under convex glass, gilt gesso frame overall 15.9 x 18.7cmCondition: Good condition. Some minor rubbing to frame and losses to gessoIMPORTANT NOTEThis item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission number reference: WS3N8V9Q
Lot 145
Mid 20th century Italian Murano Art glass large sommerso centrepiece bowl, a vase and a cockerel sculpturefirst of moulded sculptural form in red, orange and green, the vase of twisted design in red, yellow and blue, (3)first length 56cm., second height 29cm., Condition: The centrepiece in good condition without chips. the vase without chips but with surface scratches to interior. The cockerel has a chip with loss to rear of comb
Lot 124
Beautiful hand blown white, silver flecks, copper aventurine, millefiori flower murrines, and twisted ribbons Italian art glass bowl/ashtray. Documented to the A.Ve.M. (Arte Vetraria Muranese) company. The pattern is published in the company book. The bowl has a squared shape with tall sides. There is an indent on one of the corners for a cigarette. Made in Murano, Italy Avem factory label to bottom base. Issued: 1950sDimensions: 9"L x 7.25"W x 2.5"HManufacturer: Avem - Arte Vetraria MuraneseAge related wear.
Lot 289
λ AN ITALIAN SILVERED PELICAN BY GABRIELLA CRESPI CIRCA 1970-1974 With a hand blown glass egg body, signed to plaque attached to the underside, possibly by Barvier and Tosso 10.5cm high Gabriella Crespi (1922-2017) was an Italian artist who worked with furniture, sculpture and jewellery. She began designing in the 1950s with her first objects being steel moon sculptures titled the 'Small Lune Collection'. In the 1960s Maison Dior commissioned Crespi to design for their gifts, home decor and dining departments. During the 70s and 80s, Crespi started her 'Plurimi' furniture series and also created the 'Animali collections', sculptures of animals using the lost wax process and mixing fantasy and the natural world.
Lot 104
The chairman of Jaguar at the time 'Lofty' England declared that the new V12 luxury saloon was to be baptised the Daimler Double-Six and a legend was born. The Series III, the final derivative of the Daimler Double-Six, arrived in 1979 and like its predecessors benefited from the clean cut, new body designed by famed Italian design house, Pininfarina. The new design featured more glass, slightly squarer lines around the roof area and up to date front and rear styling, the Series III 4.2 litre soldiered on until the late 1980s. The Daimler Double-Six was the flagship car in the Jaguar/Daimler line and was produced until the end of 1992. It would be hard to imagine news footage of the 1980s and early 1990s without a member of the cabinet or the House of Windsor ascending elegantly out of a Double-Six. No other car of that period epitomised brisk luxury travel like a Daimler and in such a truly understated British fashion. This car was not concerned with the pomp and showmanship of a Rolls-Royce, it was a Daimler and it meant business. The export market adored it.This Daimler has been dry stored for the last 30 years. However, the vendor has started the car regularly, with the last MoT expiring on 13th May 2010. Finished in Regency Red with Magnolia interior piped in red, with matching carpets, the interior of this Double-Six is very clean, particularly taking into account the age and mileage. A Panasonic analogue car phone is fitted in the centre armrest. Requiring a level of recommissioning, this Daimler is late in the production run of Series III’s and is therefore well worth the time and investment. Supplied with a V5C registration document, together with the owner’s handbook and service history up to 111,000 miles. Quintessentially British, a Daimler Double-Six epitomises class and luxury. Consigned by Stewart Banks THIS CAR HAS BEEN DRY STORED FOR AROUND 30 TEARSTHROUGHOUT THE STORAGE PERIOD IT WAS RUN AND MOVED REGULARYIT WILL REQUIRE A LEVEL OF RECOMMISSIONING
Lot 23
* FRANCIS BOAG (SCOTTISH b. 1948), UNTITLED mixed media on board, signedmounted, framed and under glassimage size 20cm x 49cm, overall size 43cm x 72cm Note: Born in Dundee in 1948, Francis Boag is a leading figure amongst a group of painters often labelled the ‘New Scottish Colourists’. In a career spanning more than 50 years, he has taught in schools in Dundee, Perth and Aberdeen. His vivid, and instantly recognizable, paintings have found their way into a host of public buildings such as airports and hospitals and are sought after by large corporate collectors including John Lewis plc, Baxters Food Group and the Royal Bank of Scotland. In 1964, at barely 17 years of age, he won a place at Duncan of Jordanstone College of Art and Design in Dundee and studied under the then Head of Painting, the larger than life, Scottish-Italian painter Alberto Morrocco and his Deputy David McClure. Upon graduation, Francis’ professional career was dictated by the rhythm of school life. After completing an MA at Gray’s School of Art in Aberdeen and nearly 30 years teaching, Francis decided to challenge the maxim, ‘those who can, do and those who can’t, teach’ and in 2001 went on to achieve a life-long ambition of making a career as an artist. His paintings are less about copying a scene, than creating a representation of it, a representation which has to be on the one hand a recognisable place or space but also a world where the imagination is unleashed. Polls published in the press in Scotland and Ireland have both placed him in their lists of top 50 best-selling artists, and he is one of only a few artists who has work in the National Collections of both countries. For many years he has donated images of his work to the children’s charity, UNICEF who have recently published a Box set of his Scottish landscapes and in 2015 his Christmas card design was UNICEF’s top seller, raising more than £35,000 for the Charity.
Lot 147
* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), HOUSES THROUGH A FIELD oil on board, signed and dated '72 framed and under glassimage size 48cm x 59cm, overall size 71cm x 82cm Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. Condition of the picture is good overall, with no visible or known issues.
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