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TWO 19TH CENTURY COW HOOF SNUFF MULLS,each with hammered cow shoe, hinged cover, the larger 7.5cm wide, along with another snuff mull (3)

A Hallmarked Silver Toothbrush Holder, Birmingham 1905, of plain cylindrical form with pierced detail and pull off cover, 16.8cm long (34grams); A Pair of Hallmarked Silver Salts, HW&Co, Birmingham 1882; A Hallmarked Silver Shallow Cylindrical Lided Pot, HW&CoLd, Birmingham 1917, with engine turned decoration; a hallmarked silver handled shoe horn etc.

Group of assorted miniatures, comprising an Indian School watercolour on paper of a cobbler with shoe lasts, 12.5cm x 10.5cm, an erotic Kama Sutra style scene, a gilt relief medallion of Queen Victoria, and a composition relief of the young John the Baptist with Lamb, all framed, (4)

A pair of vintage cavalry boots with attached spurs and a pair of "Vic-Tree" shoe trees. Also 3 other pairs of spurs. No size apparent, approx size 9 modern.

3 vintage silver handled items. A boxed mid century butter knife with Queens pattern embossed handle, hallmarked Sheffield 1966, with engraved stainless steel blade. Together with a shoe horn and matching button hook with embossed lily flower spray to handles, hallmarked London 1910. Longest approx. 8" long.

Sterling silver buckle, A and J Zimmerman Ltd, Birmingham, 23g, pair of silver shoe buckles, silver vesta and other shoe buckles nd a silver plated trinket box.

Sterling silver shoe horn/button hook, Hamilton and Inches, Edinburgh, 1898, 121 grams.

HMS ASSOCIATION INTEREST: A copper spike and a brass example, together with a leather sailor’s shoe sole recovered from HMS Association, 90 gun 2nd rate Man O’ War.

EDGAR DEGAS (1834-1917)Danseuse signed 'Degas' (lower right)pastel, wash and charcoal on paper laid on card52 x 31cm (20 1/2 x 12 3/16in).Executed circa 1906-1908Footnotes:We are grateful to Professor Theodore Reff for his assistance in cataloguing this work.ProvenanceAnon. sale, Hôtel Drouot, Paris, 22 March 1920, lot 10.Anon. sale, Hôtel Drouot, Paris, 3 June 1927, lot 15.The Hon. H. Marks Collection, London.Thence by descent to the present owner.'The sheer labour of drawing had become a passion and a discipline to [Degas], the object of a mystique... a supreme preoccupation which abolished all other matters, a source of endless problems in precision which released him from any other form of inquiry. He was and wishes to be a specialist, of a kind that can rise to a sort of universality.'-Paul ValéryAs Edgar Degas' life drew to its close, his drawing practice reached its ascendency. Increasingly reclusive, suffering the decline of his vision due to a progressive retinal disease, he toiled in his four-floor studio at rue Victor Massé, thick with clouds of pastel dust and stacks of unfinished sketches. There he drew with monkish devotion, altering, colouring and reworking his compositions, tracing them on top of one another, transferring the loose media of their ever-changing forms from sheet to sheet. Pastel and charcoal at this time truly liberated Degas' approaches to colour, light and form, leading him to create his most poignant and truthful works, of which Danseuse is a quintessential example.In a fleeting glimpse, a ballerina adjusts her shoe between performances. Although she is not dancing, her entire presence is animated with motion, as her bold, vigorously applied contours are accented with the lively, flurried strokes of her arms, legs and tutu. At the same time, the delicate pattern of her spine traversing upward into her carefree coiffure evokes a certain intimacy. Heavy zigzags of charcoal at the base of the scene – some of which have been smudged into shadows – evoke the dark recesses of the backstage, access to which was a sought-after privilege for the cultural elite. The solid pink colour field of the door – its foundations rendered sensitively with Degas' trademark pastel wash – seems to underscore the ballerina's femininity, as its heavy vertical lines of charcoal generate a visual caesura. The light streaming in from the stage beyond, conjured up by the blank space of the sheet, gently hints at a narrative – one that Degas hides just out of reach, preferring the viewer to instead meditate upon this simple, personal and poignant vignette.Degas presents to the viewer a series of visual paradoxes: boldness and fragility, balance and spontaneity, intimacy and detachment. The resulting sense of transience, the stoking of the imagination, the leaving of questions unanswered are all central to Degas' dogma. At this time, he was drawing more from memory than from observation, making the splendour and mastery of his late technique all the more extraordinary. His compositions became simpler and bolder, depicting single figures or small groups within ever more abstract interiors. Anatomical accuracy gave way to the poetic, as Degas fused his imagination with the real world, creating a pictorial mythos that rests upon subjectivity rather than objectivity.In carrying out these aims, pastel was Degas' ambrosia. In its opacity, it allowed him to layer colours and fully rework compositions, working rapidly from sketch to sketch. At the same time, its powdery constitution allowed him to mix it with water and solvents to create pastes and washes. Degas' mastery of this versatile medium thereby engendered expressive compositions that possess a kind of magical, shimmering iridescence. While pastel allowed him to draw with colour, charcoal's friability enabled diverse delineations of form and space, granting his compositions a sculptural force. The harmony of these media led drawing to rival oil painting in Degas' late work, evidenced by the striking stylistic affinities between his artworks of these types. Indeed, as the ballerina of the present work makes a cameo in the circa 1889 painting Danseuses au foyer (Foundation E.G. Bührle, Zurich), she retains her startling vitality, as Degas renders her in oil with the rapid manner of a pastellist. This stylistic evolution within Degas' drawings coincided with a transformation in his methods of production, beginning at the close of the nineteenth century. His process began with a charcoal sketch on thin tracing paper, comprising bold, bassline contours followed by short staccato strokes. Then, he would apply a vaporous fixative by boiling it and directing the steam toward different aspects of that composition. Once the medium was secured, the mounters of his studio would apply the sheet to a lightweight piece of card, granting the artwork the required opacity and solidity for the ensuing stages. Next, Degas would apply coloured pastel, sometimes separating those tonal layers between further layers of fixative, preventing their pigments from intermixing. This sustained the chromatic intensities of the different colour fields, flattening their textures and allowing Degas to revisit his sketches across months and even years. Degas' mounting and fixing method therefore held key importance in his creative process, being reserved for charcoal drawings that he wished to develop further – and for which he often had a buyer in mind. This complexity of material and method has led Christopher Lloyd to liken Degas' studio to 'Prospero's cell – or, less poetically, the laboratory of a forensic scientist' (C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 273). The highly physical nature of Degas' late practice imbues his drawings with a kinetic force – one that resounds in the physical statures and poses of his subjects. Indeed, Degas held a lifelong fascination with ballerinas. Embodying his passion for music, they also provided a vehicle by which Degas could explore the human form and the poetic qualities of Modern Parisian urban life. As such, Degas followed Charles Baudelaire's edict to extract the beauty from the everyday, and depict the fragmented, Modern existence - in other words, to be both a man of the world and a man of the crowd. In his late oeuvre, Degas' dancers inhabit moments of rest and repose between performances, yawning, stretching and tending to their shoes. This banal shade of beauty brings with it a tinge of irony, as the viewer's experience is far from that of the Parisian theatregoers', who would instead observe the dancers' refined talents, alluring costumes and flawless physiques. Access to the backstage – a privilege that Degas keenly persuaded the ballet companies for – thus opened a vibrant world from which he could evoke fleeting glimpses of reality that were transformed by his own imagination.Paul Valéry described Degas' overall goal as trying 'to combine the snapshot with the endless labour of the studio, enshrining his impression of it in prolonged study – the instantaneous given enduring quality by the patience of intense meditation' (Valéry quoted in C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 285). Degas assumed this goal from his superiors, Gustave Courbet and Honoré Daumier, as well as his contemporaries, Édouard Manet and James Abbott McNeill Whistler. At the same time, Degas fiercely defended his individualism as an artist, taking cues from the many turning points of nineteenth and twentieth century art, yet refusing to subscribe to a movement. Unlike his avant-garde peers, he extracted the pursuit of ideal beauty from French academic and Romantic painters, employing the expressiveness of Je... For further information on this lot please visit Bonhams.com

AN EARLY 20TH CENTURY 9 CARAT GOLD ALBERT CHAIN BIRMINGHAM 1924 The fancy belcher link chain with a button slide terminal, with horse shoe fob, stamped Made in England 9 375, and etched George Sally Size/dimensions: 50cm long Gross weight: 11.8 grams Condition Report: There is some wear commensurate with age and use, there is a belcher link section to the end of the chain suspending the horse shoe, this is later added Condition Report Disclaimer

A GOLD COLOURED CHAIN SUSPENDING VARIOUS PENDANTS The squared links to a ring bolt clasp, stamped 750, suspending various charms including an enamelled pansy flower head, stamped 14k, a horse shoe pendant stamped 585, three diamond accented initial charms, and two further small charms Size/dimensions: chain 60cm long Gross weight: 16.4 grams Condition Report: The chain has some wear. The pansy pendnat has chips to the enamel and a lot of glue to the centre holding a pearl. The other charms have wear Condition Report Disclaimer

A modern pine shoe cabinet in the form of a chest of four drawers 86cm h x 80cm w Location:

A Voigtlander Ultramatic 35mm SLR Camera, chrome, body G, shutter working, shutter mirror with some light separation to edges, together with a Voigtlander Septon f/2 50mm lens, optics G-VG, some light dust present, with lens cap, also with UV filter & cold shoe adapterNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.

A Minolta XM 35mm SLR Camera black, 1973, serial no. 2117501, with a Minolta MC W.Rokkor-HH f/1.8 35mm lens, black, serial no. 1504559, shutter working on X, otherwise untested, body F-G, brassing to bottom plate edges, lens G, with accessory hot shoe Note: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.

An Olympus OM-2n SLR Body black, serial no. 957018, body VG, shutter untested, with Shoe 2, Shoe 4, instruction manual, original box, a Zuiko Auto-T f/3.5 135mm lens, serial no. 395682, VG in maker's box and various Olympus manuals and boxes

An Olympus OM-1n SLR Camera chrome, serial no. 1780511, with F.Zuiko Auto-S f/1.8 50mm lens, serial no. 1532464, body G, shutter working, lens G, mild fungus, complete with Shoe 4, manuals, maker's ERC, maker's boxes and an Olympus messenger bag

Classic Vintage Baker Microscope, English, c.1930, signed to the body tube C. BAKER, LONDON 0918, on large horse shoe base with mechanical substage, focusing stage, in large case with some accessories, and vintage microscope lamp by Baker (2)

ROYAL DOULTON; a collection of ten Bunnykins figures including 'Mother and Baby Bunnykins', 'Billie & Buntie Bunnykins', 'Angel Bunnykins', 'Rainy Day Bunnykins', also two Beswick Beatrix Potter figures 'Mrs Tiggwinkle Takes Tea' and 'Hunca Munca', and two Border Fine Arts Beatrix Potter figures 'Timmy Willie in a Pea Pod' and 'The Old Woman in a Shoe' (15).Additional InformationLight wear throughout, otherwise good.

SUSIE COOPER; an Art Deco hand-painted vase of bulbous form, decorated with stylised motifs in shades of green brown and yellow, signed and dated 1932, height 16cmAdditional InformationLight scratches to the glaze, dirty interior, blemish (chip/horse shoe crack to the top rim) otherwise good. 

Vintage bone handled riding boot pulls and 2 shoe horns

WW2 3 colour signal torch, shoe last, mirrored tray etc

A clothes rail with shoe racks

3 pairs of ladies shoes and sandals. A pair of canvas flat shoes in camouflage canvas by JustFab (size 8), a pair of rose gold crossover sandals by Dune (size 6) and a pair of gold leather kitten heel shoes by The Shoe Taylor (size 6).

A small collection of empty designer cardboard bags and shoe boxes. To include: Tanner Krolle London, Hermes, Ted Baker, Ralph Lauren, Karen Millen, Versace and Marc Jacobs. In varying conditions.

A pair of Cuban heeled pale tan soft suede pull on style cowboy boots with fringe wrap tassels by The Shoe Tailor, size 6.

Two pewter embossed cigar boxes decorated with figures and butterflies, together with a Britannia metal 'Pear's' soap box, London, mid 19th century together with a pewter pin cushion in the form of a shoe. (4) (B.P. 21% + VAT)

Shoe box comprising selection of hatpins, Victorian and later, together with hatpin holders, brass pot hatpin, pin cushions in the form of shoes and a hedgehog etc. (B.P. 21% + VAT)

A COLLECTION OF 'JUST THE RIGHT SHOE' COLLECTABLE MINIATURE SHOES

AN ASSORTMENT OF ITEMS TO INCLUDE A PICNIC HAMPER, SHOE SHINING BOX AND A VINTAGE HOLY BIBLE ETC

A BEECH SHOE STAND, 29" WIDE, SMALL CHILDS CHAIR, OAK BOOK STAND AND PAINTED TABLE

A SHOE BOX FULL OF GB PP’S . FACE VALUE IS £220.06

Four cast iron cobblers shoe lasts and two wooden examples. Not available for in-house P&P

Two cast iron cobblers shoe lasts. Not available for in-house P&P

SILVER HANDLE SHOE HORN AND SMALL DOULTON

A silver novelty pin cushion,marks for Berthold Muller & Son, Chester 1901, in the form of a shoe, with repousse decoration,19cm wide5.7oztCondition ReportKnocks, scuffs and surface wear. Tarnishing throughout. Missing pin cushion.

A MIXED LOT:-. a letter opener (loaded handle and later base-metal blade), crested, a George V shoe horn, crested and initialled, by Pairpoint Brothers, London 1924, a George V cannister with a cover, inscribed and monogrammed, by George Neal & George Neal, London 1920 and a George IV travelling shaving brush, crested and initialled, by John & Archibald Douglas, London 1823; the letter opener 11.25" (28.5cm) long; 10.1oz weighable silver (4). **BP: 22.5% (inc VAT) + Lot Fee of £8

A VICTORIAN MOUNTED PRESENTATION "HOOF" CONDIMENT CENTREPIECE. with two hinged covers, one engraved with a tiger amongst foliage and with an inscription on the inside "Presented to COLONEL W.PEYTON by H.E.M.J. Dandilli . 21 . April ,1877", opening to reveal salt and mustard pots, with hinged covers and gilt interiors and a pull-out condiment spoon, the other hinged cover engraved with a bull amongst foliage, the inside engraved with a Latin inscription "Sternitur Exanimisque tremens procumbit humi Bos." and opening to reveal black and red pepper pots, with hinged covers, the body of the hoof with texturing to simulate hair and the base with a shoe, the hoof probably from a Water Buffalo, by Edward Charles Brown, London 1877; 2.75" (7cm) high. **BP: 22.5% (inc VAT) + Lot Fee of £8

A pair of cold painted bronze paperweights in the form of birds: a snipe and a partridge mounted on stepped onyx bases, each 13.5cm high, together with a bronze novelty shoe, 10cm long. (3)

A VICTORIAN SILVER-MOUNTED TAXIDERMY HORSE HOOF INKWELL AND MATCHING BOX (for seal wafers?) with naturalistic 'hair' mounts and gilt interiors, probably Charles Rawlings and William Summers, (CRWS) London 1847 (note; the inkwell has an iron shoe, the other is silver, no glass liner, dents to box)

Cased silver hairbrushes, silver handled shoe horn, Frances Howard 1968 horse shoe, William Gallimore &Sons 1951 spoon,  Martin Hall 1923 napkin ring

White metal hairbrush with Kali design, silver backed clothes brush, silver handled boot hooks and shoe horn

Complete Colour Ltd High Heels prints - Wild Passion, Coolness (no glass) approx. 71cm x 71cm and red shoe print with matador approx. 63cm x 63cm

A silver handled long button hook; a smaller similar; a similar shoe horn and a silver condiment spoon

A R-BI KINETIC WATER RAM drain/blockage cleaner along with a wooden hinged box containing miscellaneous to include rubber gloves, garden gloves, mophead, brushes, and shoe polishing items etc

TEN BESWICK BEATRIX POTTER CHARACTER FIGURES, comprising 'Squirrel Nutkin' with BP-3b backstamp (firing crack under base), 'Jemima Puddleduck Made a Feather Nest' BP-3b, 'Thomasina Tittlemouse'BP-3b, 'The Old Woman who Lived in a Shoe' BP-3c (long firing crack around neck), 'Pigling Bland' BP-3b, 'Rebeccah Puddle-Duck' BP-3b, 'Benjamin Bunny' BP-3b, 'Mrs. Rabbit' BP-3c, 'Cottontail' BP-3c and 'Little Pig Robinson' BP-3b, (10) (Condition report: any specific damage mentioned within the description, otherwise good condition)

NINE ROYAL ALBERT BEATRIX POTTER CHARACTER FIGURES, comprising 'Jeremy Fisher' (tiny glaze chip to corner of basket), 'Johnny Town-Mouse', 'Hunca Munca Sweeping' (glaze fault on apron), 'Timmy Willie from Johnny Town-Mouse', 'The Old Woman who Lived in a Shoe Knitting', 'Mrs Tittlemouse', 'Fierce Bad Rabbit', 'Mr Alderman Ptolemy' and 'Lady Mouse' (9) (Condition report: good condition, no obvious damage, a couple of faults mentioned within the description)

SHOE RACK, 83cm W x 53.5cm H x 34cm D, 1950s Italian style, gilt metal with black painted rods.

Metal horse shoe rack

A mahogany shoe shine box. 40 cm wide.

Allen Jones (British 1937-): Shoe Box, The complete portfolio, comprising seven lithographs on BFK Rives, one screenprint in colours printed on the interior of the box lid and an aluminium multiple, 1968, each signed and dated in pencil, the multiple with incised signature, number 161/200, contained within the original shoebox with printed title on the lid, published by Petersburg Press, London 33cm x 40cmCondition Report:Box in need of repair with most sides taped together, losses and scratches throughout.. Some scratches to the aluminium sculpture. Blue Perspex tray has some signs of wear including scuffs and some scratches. The front page is not contained in a sleeve and has some fingerprint marks, small tear to the edge and minor creases. All seven of the lithographs are contained in plastic sleeves which have some marks to the inside, the lithographs are fine. General wear throughout.

Medals: two silver gilt and enamel Masonic badges; together with a green enamel shoe buckle; Danish enamel badges and others. (8)

Large job lot of assorted costume jewellery & watches, in a shoe box.

SELECTION OF FOUR BEATRIX POTTER FIGUREScomprising a Royal Albert Foxy Whiskered Gentleman; a Beswick Ware Jemima Puddle-Duck; Border Fine Arts Tailor of Gloucester (A2439), and Border Fine Arts Old Woman in a Shoe (A2440); together with a Royal Doulton Flax Weaver from the Brambley Hedge Gift Collection (5)

A Collection of Assorted Silver, comprising: a cased set of six silver teaspoons, with pierced terminals; a cased pair of salt-cellars and spoons; cased set of four teaspoons; a pair of Old English pattern sauce-ladles; a christening-mug, a caster; a photograph-frame, two button hooks, shoe horn and glove stretchers and other items (qty)Pierced terminal spoons - good conditionCastor - rim of the cover slightly misshapen, no other issuesWeighted vase - deep dent to the underside of the rimPierced bowl - light wear and scratchesCard suite spoons - terminals slightly twistedPhotograph frame - top left corner badly folded, wear to the backingCigarette case - split and dentedCased salts with spoons - good conditionSmall mug - numerous dents, wear and scratchesPair of sauce ladles - wear and scratchesVesta case - dent to the outer corner of the lid, some play in the hingePowder compact - dent to the undersideGlass jar with porcelain and silver lid - silver badly folded, glass with chipsStamp case - some dentsThimble - goodGlass scent bottle - hinge broken, dents to the silver, glass with minimal chipsCruet set - the bottles associatedSmall chain purse - clasp not tightly fixingSugar tongs - goodSilver handled shoe horn, button hook x 2 and glove stretchers - slight dents and splits to silver

Decorative Ceramics Including Royal Worcester Paneled Vase and Cover (boxed), Royal Crown Derby cup and cover, Waterford vase (boxed), Swarovski, pair of brass 'shoe' fire ornaments etc

An early 20th Century small silver pin cushion modelled as a chick, hallmarked Chester, circa 1910 (marks rubbed) together with an Edwardian silver pin cushion holder modelled as a shoe by Adie & Lovekin, Birmingham, 1904 and a plated pin cushion modelled as a seated pig (3) af

SILVER MOUNTED SHOE HORN, along with a button hook, nail file and glove stretchers, each of Rococo design (4)

A VINTAGE / WOODEN HORSE SHOE RACK / STAND L-76 CM

Box of brassware, candlesticks, shoe ornament, blue and white tiles, pans etc

A horn, bamboo and gilt metal shoe horn the terminal in the form of a horse's head with jockey's cap, 53cmL