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Four items of vintage furniture or woodenware to inc a green painted industrial style stool, a Lloyd Loom style low chair and two wooden framed washboards, one with advertising, the stool 100cm tall [4]

Loom style gold coloured chair and matching bedside cupboard

Lloyd Loom armchair with cushion seat

Lloyd Loom armchair

Lloyd Loom armchair

Lloyd Loom style upholstered ottoman

A dark oak lamp table, towel horse and LLoyd Loom corner linen basket (3)

A set of four black and white photographs, Orientalist scenes to include pottery painting and a woman at a loom,, 29 x 19cm, together with another

A Lloyd Loom tub chair

A traditional Lloyd loom tub chair having upholstered seat

A vintage Lloyd Loom tub chair in green

A vintage metal framed Lloyd Loom chair

A Pink Rattan Arm Chair, another painted conservetory chair, and a Lloyd Loom style chair

Eight various boxed Revell Monogram 1/24 scale plastic Funny Car and Prostock racing car kits, to include Fruit of the Loom Funny Car, Mcdonald Fire Bird Funny Car, Chad Little John Deere Grand Prix, together with others, all appear as issued

Seven mixed scale Esci Hasegawa Dragon and similar racing plastic kits to include a Gunsei Sanyo Skyline 4 valve Turbo G5, an Esci BMW 320 Fruit of the Loom, a Protar Ferrari 250 GTO and others

A pair of Chinese woodblock prints, weaver on loom and spinning silk. 9½" x 15"

A vintage Lloyd Loom demi-lune laundry basket with white painted finish - sold with a similar tub chair

A collection of furniture comprising a Victorian walnut fold over card table, 91 cm wide x 45 cm deep x 73 cm high, a pair of painted Lloyd Loom tub chairs, a games table with folding legs, a modern mahogany wall cabinet and three various mirrors (8)

A Loom style linen basket, a bevelled frameless mirror, baskets, advertising mirror and other items

A pair of Lloyd Loom tub chairs

Two vintage Lloyd Loom chairs

A pair of painted pine bedside chests fitted with three drawers, a loom chair, wicker basket and two waste bins

A Lloyd Loom style side table

A Loom style chair.

A 1962 Austin Healey 3000 Mk2 BT7.Reg No. USY902Chassis No. HBT7L-15550Engine No. BTJ/4142Red over OE White, Red leather Interior, matching factory style hard-top, with hood and tonneau cover included. Overdrive gearbox.This stunning Austin Healey 3000 2+2 seater was originally manufactured for the USA market with LHD. A previous owner purchased the car from California and imported it to Guernsey in 1993. Our vendor has known this car for many years, a friend acquired it in 1998, from whom our vendor subsequently purchased it in 2009. Much work has been undertaken to keep this car in tip top condition; a brief summary is as follows.UK restoration by Sherwood Restorations in Nottingham whom we understand converted car to RHD2006 New Radiator2010 Electronic ignition and alternator conversion2011 Bell Classics – Rally style steering box2017 New outer and inner cills plus respray2018 Seat belts fitted2019 Full engine rebuild. Block honed and skimmed. Engine compartment resprayed. New shells, bearings and rally camshaft. Crankshaft polished, Flywheel and clutch balanced. Brake servo installed. Carburettors rebuilt. New seat belts. Wiring loom wrapped.2020 LED bulb upgrade. Electric radiator fan. Four new tyres.2023 New exhaust system. New clutch master cylinder. New battery.We also understand that the gearbox was exchanged for a later version which has a central gear lever.Comprehensive records and receipts have been kept by our vendor and will be available for inspection. Generally in very good running order.Bodywork very good overall, with small paint loss to rear quarter panels and chip to back of driver’s door.Hardtop is repainted, very light pimpling to finish (slightly lower standard than the rest of the car).Small blemish to chrome bumper.Small pain loss to underside of front offside wing.Panel gaps all good.Interior very good, instruments all refurbished.

A Sirrom Lloyd Loom style chair with matching ottoman

American Revolutionary War.- [Cartwright (Edmund)] The Prince of Peace; and other Poems, first edition, half-title, title with large oval engraved vignette by C. Grignion after William Hamilton depicting two Native Americans attacking a man and woman, spotted, some staining or soiling, lightly browned, disbound, 4to, Printed for J. Murray, 1779.  *** Rare in commerce. The poem 'The Prince of Peace' (pp.7-16) deplores the War of Independence and the employment of Native Americans by the British forces. Cartwright (1743-1823) was an English inventor (the power loom), who was brother of the political reformer and radical Major John Cartwright and George Cartwright, trader and explorer in Newfoundland. 

Loom style chair and bedside cupboard

A Rare 1920's Lusty & Co Lloyd Loom Model No 32 Airship Chair, designed specifically for Airships and dates from 1922/9, in it's original Cinnabar Red colour, with a wider seat than normal so as to accommodate the thick furs worn at altitude for which reason it had no cushion. The celluloid part-label to the rear is stamped "Pat No 113608" the very earliest Lusty patent which dates from C.1922, together with a Postcard of the period showing two such Chairs against the outer hull of the Airship R100.

Lloyd Loom glassed top table 

A LLOYD LOOM LINEN BOX WITH SILKWORK TOP DEPICTING GARDEN SCENE

A LLOYD LOOM LINEN BOX

A LLOYD LOOM OTTOMAN

TWO LLOYD LOOM STYLE LINEN BOXES

A NEST OF TWO OAK TABLES, BOBBIN TURNED STOOL AND LLOYD LOOM LINEN BOX AND CONTENTS

Childs Lloyd Loom chair. Not available for in-house P&P

A group of Lloyd Loom furniture, comprising a turquoise painted tub chair with stool, together with a cream tub chair. (3)

Dine Navajo Native American Germantown wool loom model sampler weaving, late 19th to early 20th century. The central field with serrated diamond motif, radiating toward the edges in vibrant hues of purple, red, green, and yellow.(Including tassels and dowels) length: 1 ft 6 in x width: 1 ft 8 in Condition: The colors are bright. There are small holes and evidence of mothing throughout. The tassels have been tied to dowels. No major stains or odors.

A Small Mid 20th Century Table Top Weaving Loom Showing the Work of Gillian H Celik, 30cms Wide and 34cms High

Three late 19th Century and early 20th Century occasional armchairs in green draylon, and Lloyd Loom bedroom chair and linen bin.

Lloyd Loom Conservatory Chair and a Rustic Coffee Table

A loom upholstered ottoman

A loom blanket box and a brass standard lamp

A set of four oak slat back dining chairs, two stools and a loom armchair

A blue loom tub shaped chair

Two Lloyd loom linen baskets

A 19th Century carved oak hall chair, two walnut cane seated bedroom chairs and a loom corner linen basket

A Lloyd loom armchair 

A large pair and one smaller panel of late 18th century Italian silk floss hand embroidered panels, possibly from Florence or Venice, both known for floss embroidery. Thought to be originally sacristy hangings. Elaborately embroidered in polychrome silk floss threads into flower heads, grapes and intricate scrolling foliage. These types of hangings often adorned sacristies, monasteries, palaces and grand houses, for nobility and the church. Embroidered on narrow hand loom linen panels (the longer panels being two lengths sewn together), then edged with a coarser plain linen border, with a much later red lining. The shorter panel, having a later 19th century wide embroidered linen border, the main border showing more detail of the original colouring of the silk floss embroidery.Long panel 160cm wide x 336cm long. Other long panel 160cm wide x 343cm long. Smaller panel 123cm wide x 204cm high.Condition - the linen on the longer panels has become thin in places with minor marks and holes, the floss silk embroidery has faded to a muted pastel palette near the top, but towards the bottom of one, the floss silk embroidery is stronger in colour. The smaller panel has a few fine darns, wear and light stains. But the embroidery has not faded to the same degree as the other two panels, all three are in good condition for their age.

A boxed Vulcan Minor Child's sewing machine, with Sylko thread and a wooden peg doll. A boxed wool weaving loom with a part wool project attached. A metal toy cooker with solid fuel accessory. (This does not constitute a guarantee) [L]

LLOYD LOOM CHAIRS, A SET OF 4. 94cm H approx. (4).

A Lloyd Loom chair and another similar. The former 66 cm wide.

A Lloyd Loom wicker tub chair and laundry basket in gold painted finish (2)

Three Cameras, weaving loom, etc, in case, singer sewing machine.

Lloyd Loom Cream Wicker Chair. Tasco 30 x 90 x 60mm telescope. Race and Country shooting stick (3).

A Lloyd Loom linen basket, Ottoman and a bedroom chair.

A Lloyd Loom chair.

Two Lloyd Loom style chairs and two stools.

A Lloyd loom style chair and an old Philips wireless.

GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) LADY WITH GREEN SCARF Signed and dated 1917, oil on canvas 107cm x 81cm (42in x 32in) Mrs Fergus Morton and Mrs J. W. H. GowPresented to Paisley Art Institute by the above in 1937 in memory of their father, James Begg, a former President of the Institute Of all The Glasgow Boys, George Henry is one of the most notable for the diversity and innovation of his artistic output. From realist works inspired by the French naturalist school, through avant-garde forays into folkloric subject matter that demonstrated an engagement with Symbolism and Post-Impressionism, Henry’s abundant skill encompassed the fast-moving developments in European art at the end of the nineteenth century. A further genre mastered by Henry, though more quietly celebrated by art history books, was his success within the area of society portraiture. Following in the footsteps of Walton, Guthrie and Lavery before him, Henry knew that a reliable income - and indeed public acceptance - lay the way of the society portrait. Initially deployed as a method to raise funds to repay creditors in Glasgow, Henry would ultimately lean into portraiture as the predominant means of supporting his career, trailing his peers to London and establishing a studio there. From 1890 onwards, The Glasgow Boys saw their work gradually absorbed into the Royal Scottish Academy, as well as shown in London’s Royal Academy, New English Art Club and the Grosvenor Gallery with increasing regularity. This was accompanied by press attention and positive critical regard. Success in Europe and America towards the end of the decade lifted their reputations even further and, as their stock rose, so too did the volume of their portrait commissions. The Edwardian era was a popular time for portraiture. In the period immediately preceding the First World War it was undergoing a revival, a ‘luxurious finale’ to a gilded age in Britain. At a time that saw the popularisation of the photographic portrait, a likeness in paint became a more rarified signifier of status. Likewise, an expanding middle class viewed portraiture as a means by which to cultivate their aspirations. Portrait artists held a lot of social cachet in this period. Indeed, it could be said that no respectable dinner party was complete without one. Many, including Whistler, Sargent and Lavery, attained celebrity within society circles. It was felt that a portrait by the right artist had the power to ‘make’ a reputation. Lyon & Turnbull are delighted to present to market two exceptionally fine portraits by George Henry: Beauty and the Beast and Lady with a Green Scarf.Portraiture at the time contained subsets of trends, led in the main by the two greatest figures of influence, Whistler and Sargent. The Glasgow Boys were famously devotees of the Whistlerian aesthetic, and this is most clearly borne out in Beauty and the Beast. This is manifest in the drama of simple shapes against a minimalistic background, the balanced pre-occupations of aestheticism with factual likeness, and above all, the restrained palette of harmonious tones. It is an unusually arresting portrait of a young girl on the cusp of womanhood, in which the artist is playfully overt about the subtext connoted by the painting’s title. The strong, glancing light is nothing short of dramatic, and in impactful contrast with the childlike ‘prettiness’ of the pink bows and white lace of her hair ribbon and dress. The shadows which portentously loom behind the sitter serve to enhance the allegory at the portrait’s heart. Her expression is hard to place – simultaneously direct and reticent, the overall effect being subtly enigmatic. Lady with a Green Scarf, dated 1917, is perhaps more in the manner of Sargent. There is a stronger feeling of Henry’s naturalist roots in the sense of movement in the pose; the figure turning, lost in reverie perhaps, toying with her fan. The space she occupies is not descriptive; instead, the focus is given to the bravura brushwork of the fabulous scarf the sitter wears. This portrait feels less a psychological study of the subject than an artist revelling in his powers as a painter, the former sacrificed to the latter to extremely decorative, rather than detrimental, effect. This brushwork could be seen as a move towards a more modern simplicity in style, all ‘wriggle and chiffon’, as Walter Sickert so superbly summarised the trend at the time.