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534297 Los(e)/Seite
Los 56
Jack Butler Yeats RHA (1871-1957)On the Skibbereen Light Railway (1924/5)Oil on panel, 23 x 36cm (9 x 14'')Signed; also signed and inscribed versoProvenance: Sold to Victor Waddington as a present for Leo Smith in 1940; Michael Scott, Dublin; St. Mary's College, Emo; Private Collection.Exhibited: 1925 London, Catalogue No.19; 1925 Dublin, Catalogue No. 4; and 1927 Cork.Literature: Hilary Pyle, 'Jack. B. Yeats, A Catalogue Raisonné of the Oil Paintings', No.274.The narrow gauge Skibbereen Railway ran for over fifteen miles from Schull to Skibbereen. It closed in 1947. Jack Yeats visited the area and sketched there in 1919-20. Several of his sketchbooks dated 1915-20 record the people and landscape of the region. In one he noted the traditional shawls and long dresses that the women wore, rather like that of the female passenger in the centre of this painting. She takes on a ghostly, almost menacing demeanour, as she stares out across her crowded companions. The severity of her costume and the pallor of her complexion contrast with that of the corpulent and ruddy-faced gentleman seated beside her. He wears a flamboyant blue jacket and cravat, and appears to be dozing. To his right another passenger with hands clenched in front of him appears to be in deep conversation. In the background against the large window other passengers appear to settling themselves on to the train for the journey ahead. Their forms are silhouetted against a spectacular view of the sky and coastline of West Cork. Yeats painted many paintings of trains and trams, especially during the 1920s. The subject allowed him to explore the interaction between people, often of different social classes, ages and genders, in close physical proximity. It also enabled him to scrutinize the dynamism of modern life as extolled through the comparatively speedy transportation of the populace through the countryside or the city. The painting was exhibited along with other train scenes, such as Music on the Train, (1923, Private Collection) and Singing, Had I the Wings of a Swallow, (1925, Private Collection) at the Engineers’ Hall, Dublin in October 1925. The work was also included in another Yeats one-man exhibition at the Arthur Tooth Gallery in London in March 1925. Both shows were critically acclaimed, with one critic proclaiming Yeats as ‘the most truly national of all our painters … He depicts Life as he sees it, not as told by others’. Previous owners of On the Skibbereen Light Railway include Leo Smith, the founder of the Dawson Gallery and great champion of Yeats’s work, and the modernist architect, Michael Scott. The painting is a superb example of how Yeats used painting to depict the encroachment of modernity on the Irish landscape and in the social fabric of the country. Róisín Kennedy, August 2019
Los 26
Paul Henry RHA (1877-1958)A Connemara LandscapeOil on canvas, 35.5 x 40.5cm (14 x 16'')SignedProvenance: Wilhelm Mueller, by whom acquired in Dublin c.1940 and in 1996 by descent to his son, Robert Mueller.Dr. S. B. Kennedy authenticated this painting in 2002 and in private correspondence provided the owner with a provisional catalogue raisonne number 0400.A wonderfully elegant composition, which combines all the classic iconography associated with the artist at the height of his powers, this Connemara landscape benefits from a fluid application of paint and glazes. The foreground, made up of warm browns and deep yellows, is lit in patches by pale sunshine and highlights the tiny habitation, the isolated white-washed thatched cottages and dark turf reeks set off by the zig-zag of the bogland lake. The New York Times, speaking generally of Paul Henry’s 1930 show at the Hackett Gallery, thought that ‘in gentle fashion’ his landscapes ‘fulfil some of the promises made by Irish literature. They are both lonely and self-contained.’ This loneliness is exemplified in the present work but also generates feelings of serenity and contentment, the undulating mountains, in all their magisterial grandeur, create a secure and familiar backdrop while the light-filled cumulus clouds hover overhead, bearing no threat.
Los 117
Tony O'Malley HRHA (1913-2003)Orpheus, AutumnOil on board, 92 x 122cm (36 x 48)Signed with initials and dated 1984; Also signed and inscribed versoProvenance: The Shelbourne Hotel, DublinThe 1980s are generally regarded as being Tony O’Malley’s finest sustained period as a painter; he had developed a personal artistic language and was entirely comfortable with it, without for a moment becoming complacent or lazy. His lively, intense engagement is fully evident in this fine, supremely good-natured, lyrical composition from 1984. That year, a landmark survey exhibition, Tony O’Malley - Painter in Exile, with a catalogue by Brian Fallon, toured to Dublin, Cork and Belfast, consolidating his reputation in Ireland.At the time, he and his wife Jane (née Harris) were still based in St Ives in Cornwall, though they had bought a cottage in Callan, Co Kilkenny, with the intention of moving there at some point (they did so at the end of the decade). In the meantime, from 1974 they had been making annual, six-week winter visits to the Bahamas to visit Jane’s father. To his surprise, the Bahamas proved to be enormously stimulating for O’Malley’s painting, encouraging him to explore a lighter tonal range and a brighter palette. As Peter Murray succinctly put it in a Gandon profile in 2000: “Muted dark colours related to Cornwall and Ireland, warmer colours to the Bahamas or Lanzarote (their winter destination when they no longer visited the Bahamas).”The division is not quite as stark as that. The warm Bahamian influence is felt in paintings of Cornwall and Ireland, and earlier on a stay on St Martin’s in the Scilly Isles had provided a stimulating taste of subtropical light and vegetation. O’Malley borrowed Gerard Manley Hopkins’ term “inscape” to describe his approach to landscape. That is, he rarely makes a straightforward representational image. Instead he gathers a number of features of the landscape, together with small, detailed elements within it, including such related things as birdcalls and bird plumage, the darting movement of fish in water and much more, knitting everything into one multi-layered composition.Born in Callan in 1913 and regarded as one of the leading Irish painters of the 20th century, O’Malley was a modest, self-taught artist. He was 19 when he began to work in branches of the Munster & Leinster Bank. Diagnosed with TB around 1945, he began to paint in earnest during his long convalescence. A painting holiday in St Ives, Cornwall in 1955 introduced the idea of living and painting there and, after retiring prematurely on health grounds, he did so in the early 1960s, living and working in the thriving artists’ colony there until settling back in in Callan in 1990.Aidan Dunne
Los 19
Anne Madden (b.1932)Chemins Éclairs (1988)Triptych, Oil on canvas, 195 x 339cm (76¾ x 133½)Signed, inscribed and dated 1988 on versoExhibited: Galerie Jeanne Bucher, Paris 1989; Kerlin Gallery, Dublin 1990; RHA Gallagher Gallery, Dublin 1991; Limerick City Gallery of Art 1991; Anne Madden - A Retrospective ExhibitionProvenance: Collection of Noeleen and Vincent Ferguson; Private Collection, IrelandLiterature: Anne Madden - A Retrospective Exhibition with Introductory Essay by Aiden Dunne, Dublin 1991, Illustrated p. 63, Catalogue No. 50 The illuminated paths in Anne Madden’s triptych are, figuratively, paths of light, and they are depictions of an actual path, aglow amidst the enveloping shade of the garden: the path to her studio. The studio, which she shared with her partner Louis le Brocquy, was built in 1962 at their home, Les Combes, in the foothills of the Alps above Nice. Les Combes, and specifically the studio, was the centre of their daily life for close on three decades - they returned to settle in Ireland in 2000.In 1984, Madden was devastated by the sudden death of her younger, much loved brother, Jeremy Madden Simpson. Over the following years, she found herself adrift in mourning him. She likened it to being confined in a dark room, and eventually felt that she was in exile from the studio; painting held no appeal. Talking to Samuel Beckett in 1987, she explained her predicament. He later wrote to her saying that she must deal with the darkness, express it, rather than trying to elude it. She took his words to heart, compiling a volume of Jeremy’s writings - and trying to find her way back to the studio.This process engendered a number of paintings partly built around the metaphorical opposition of light and dark. Light was the possibility of life, hope, creativity, and darkness was the state of being cut off from all of those things. The studio is not just an atelier, a workshop, it is the centre of life, a generative space. The illuminated path is a way out of darkness, back to life in all its contingency and promise.Madden was born in Chile. Her father was Irish, her mother Anglo-Chilean, and they moved to England when she was about four. Ireland became important as she visited her father’s relations in Co. Clare with him, discovering and spending time in the Burren, thereafter a landscape of central imaginative importance to her. In 1950, she seriously injured her spine in a riding accident, necessitating serious surgery. When she and Louis le Brocquy (they married late in the decade) moved to France, it was largely because the climate was more amenable to healing her bones.From the 1950s onwards, Madden’s exceptionally ambitious paintings fuse elements of the extraordinary Burren environment, its vast skies, limestone pavement and stone monuments, with the techniques and scale of American abstraction. Gradually her range of reference diversified to encompass the city of Pompeii, some classical mythic narratives, Odyssean voyages and the Aurora borealis. If mortality and mourning have been consistent underlying concerns, so too is a sense of creative possibility and wonder, and a rapt appreciation of beauty.
Los 90
John Butler Yeats RHA (1839-1922)Portrait of Master Milo RyanOil on canvas, 66 x 51cm (26 x 20’’) UnframedExhibited: Dublin, Royal Hibernian Academy, 1903, No. 100Provenance: The sitter’s family, by descent.Yeats completed a number of intriguing portraits of children throughout his career. Beginning with his own offspring, he made multiple sketches of their early years, a particularly touching example is a drawing of the infant W.B Yeats asleep in the family home. Portraits of children are challenging for an artist, as they are faced with a subject whose personality is not yet fully defined. However, this is part of their charm.Though we do not know the exact age of the sitter, Master Milo Ryan looks to be around eight or nine when the portrait was completed. Yeats chooses to depict him standing, with an open book in hand as if he was just in the process of reading a passage out to us. Yeats has painted the young boy in a strong light, which throws up the details of his formal attire. Dressed in a suit jacket, with a shirt and tie, the clothes feel as if they are too big for him, the triangles of the shirt collars extending out over his narrow shoulders. The face is beautifully rendered especially the large brown eyes of his sitter, which express a sensitivity, a youthfulness behind the somewhat formal composition. Working from an almost black background, Yeats introduces colour through flashes of white, pink and blue highlights. The pages of the book appear as dabs of paint, which Yeats, using the end of a brush scrapes a line through to suggest the folds in the paper. Despite the dark colour tones, there is warmth to the boy’s features, the pink and orange highlights of his flushed cheeks. Milo Ryan, was born on June 7th, 1892 and educated at Trinity College, Dublin. He served with the Royal Army Medical Corps during the Great War, taking a permanent commission as Captain in 1919 and becoming a Major in 1927. He died at Lahore on December 4th, 1936 at the age of 44.We know that this work was included in the Royal Hibernian Academy annual exhibition in 1903, so presumably it was painted around this time. This was a busy year for Yeats; he had been commissioned by Hugh Lane to paint twenty portraits of figures from the Irish cultural milieu for his modern art gallery. Lane had also helped Yeats secure his old studio at no. 7 St Stephen’s Green in Dublin. John Quinn, an American lawyer turned art collector visited Ireland the year previously and purchased from Yeats his portrait of his son William, which is now part of the NGI collection. He also requested a further three portraits of John O’Leary, Douglas Hyde and George Russell. The portrait of AE was not finished until 1903 and he persuaded Quinn to let him enter it into the annual RHA exhibition.One would not consider Yeats to be a society portrait painter, in the traditional sense, in that he did not make significant money from the commissions. He painted people he knew, family friends and relatives, fellow artists and writers. As a result they feel familiar, more personal than traditional portraits of the period. There is a sense of kinship between the artist and his subjects, in which he is gently probing at a further understanding of their personality and Yeats once remarked ‘The best portraits will be painted where the relation of the sitter and the painter is one of friendship’. His portraits often have a sense of being unfinished, quick sketch like brushstrokes move across the canvas. It seems the artist did not want to produce static, conventional portraits in which the sitter is frozen in time, but rather allow them to act as enquiries into the personality and thoughts of his subjects who, as with all human beings, young and old, were ever evolving. Niamh Corcoran, September 2019
Los 16
Rowan Gillespie (b.1953)Peace IIBronze, 78cm high (30¾'')Signed, inscribed and dated 1999 underneath the baseFemale figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women. Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form. There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, L’Eta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope. While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Ireland’s Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, September 2019
Los 37
Nathaniel Hone RHA (1831-1917)Cattle resting on a headland with distant yachtsOil on canvas, 61 x 91 cm (24 x 36)Signed in initialsProvenance: The Artist's Family, By descent, Sale Adam's May 31, 2006; Private Collection Ireland Nathaniel Hone was the first native artist to introduce the influence of 19th century French Naturalism to Irish painting. He was born in Fitzwilliam Place, Dublin in 1831, the son of Brindley Hone, a merchant and director of the Midland Great Western Railway and was the great-grandnephew of the 18th century painter of the same name. Though a member of this very artistic family, his initial training was as an engineer at Trinity College Dublin followed by a brief period of work for the Irish Railway before going to Paris in 1853, at the age of twenty-one to study painting. When Hone returned to Ireland in 1872 it was almost twenty years since he had first gone to Paris to study at the studio of Yvon. On his return he married and settled at Seafield, Malahide, the family estate. While there he continued to paint and to farm and indeed many of his paintings from this period carry the influences of his Barbizon period and it can be difficult to distinguish untitled landscapes or coastal views as to whether they are French or Irish. The paintings which he completed in Ireland after his return from France maintain the mood and muted tonality characteristic of the Barbizon School. He chose similar subjects to those he had portrayed in France: woodlands, pastures and coastline; the major part of his output was of scenes around Dublin Bay although he also painted in Wicklow, Donegal, Mayo and Clare. The present work is undoubtedly painted on the coast, north of Malahide, on a headland overlooking the great expanse of the Irish Sea. The composition marries two of Hone’s favourite themes in his Irish paintings, the pastoral idyll, and the open sea with billowing cumulus clouds, both using rapid, flecked brushstrokes suggesting an awareness of Impressionism. The foreground is anchored by a group of resting cows and peaks with a border of yellow flowered gorse. A small seated figure at the land’s edge enjoys a panoramic view of the open sea where numerous yachts are enjoying the summer breeze. It displays Hone's great feeling for specific light and weather conditions. His concentration is on expansive skies, which echo, formally, the shape of the undulating countryside beneath. We are indebted to Dr Julian Campbell whose writings on this artist have informed this note.
Los 401
Norman Rossington signed album page approx 5 x 4 inches. Norman Rossington 24/12/1928 to 21/5/1999 was an English actor best known for appearing in The Army Game, Carry On Films, A Hard Days Night, The Longest Day , The Charge of the Light Brigade, Those Magnificent Men in Their Flying Machines. Good condition slightly creased.
Los 423
Norman Rossington signed album page approx 5 x 4 inches with Clonel Parker, Elvis's Manager on reverse . Norman Rossington 24/12/1928 to 21/5/1999 was an English actor best known for appearing in The Army Game, Carry On Films, A Hard Days Night, The Longest Day , The Charge of the Light Brigade, Those Magnificent Men In Their Flying Machines. Scruffy condition.
Los 193
Rolex Precision 9ct white gold lady's bracelet watch, London 1968, the square silvered dial with baton markers, cal. 1401 18 jewel movement, case no. 35535, integral bracelet, 33.2gm, 15mm - Condition Report: - Movement - currently functioning. Dial - light marks. Glass - surface marks present. Hands - matching. Case - light marks. Crown - non Rolex and later replacement, adjusting correctly. Bracelet - surface wear to the clasp, 7" long. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Los 196
Garrard 9ct automatic gentleman's wristwatch, silvered dial with Arabic twelve, baton markers, date aperture and sweep centre seconds, inscribed presentation back, black strap, 34mm - Condition Report: - Movement - functioning. Dial - light marks. Glass - surface scratch marks present. Hands - light marks. Case - typical light marks, inscribed back date 1983. Crown - winds and adjusts correctly. Strap - some wear and would benefit with replacement. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Los 192
Omega 9ct lady's bracelet watch, London 1966, silvered dial, with cal. 484 17 jewel movement, 23.5gm, 17.5mm - Condition Report: - Movement - functioning. Dial - some rim wear present. Glass - light marks. Hands - light marks. Case - typical light marks. Crown - later, adjusts correctly Bracelet - good, 7" long. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Los 278
Alex Katz (b.1927)From, Light as Air (Schröder 228)Aquatint, 1989, signed in pencil, from the total edition of 43, on a folded double-sheet of wove paper with text printed on the left page, printed at Atelier Aldo Crommelynck, Paris, co-published by Pace Editions Inc., and Aldo Crommelynck, New York, the full sheet, plate 216 x 216mm (8 1/2 x 8 1/2in) (unframed)
Los 279
Alex Katz (b.1927)From, Light as Air (Schröder 224)Aquatint, 1989, signed in pencil, from the total edition of 43, on a folded double-sheet of wove paper with text printed on the left page, printed at Atelier Aldo Crommelynck, Paris, co-published by Pace Editions Inc., and Aldo Crommelynck, New York, the full sheet, plate 216 x 216mm (8 1/2 x 8 1/2in) (unframed)
Los 8
Rembrandt van Rijn (1606-1669) The Return of the Prodigal SonEtching with light plate tone, circa 1636, a very good impression of New Hollstein's second state (of 3), an early impression of this state with burr on re-work in lower step, on laid paper without watermark, platemark 155 x 135mm (6 1/8 x 5 1/4in), sheet 252 x 193mm (9 7/8 x 7 5/8in), large margins (unframed)Literature:Hind 147; NH 159 ii/iii
Los 461
δ Banksy (b.1974)Napalm (Can't Beat the Feeling)Digital pigment print in colours, 2006, signed, inscribed and numbered from the edition of 50 in pencil, on wove paper, as included in 'In the Darkest Hour There May be Light', co-published by the Serpentine Gallery and Other Criteria, London, the full sheet, 420 x 295mm (16 1/2 x 11 7/10in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 276
Alex Katz (b.1927)From, Light as Air (Schröder 225)Aquatint, 1989, signed in pencil, from the total edition of 43, on a folded double-sheet of wove paper with text printed on the left page, printed at Atelier Aldo Crommelynck, Paris, co-published by Pace Editions Inc., and Aldo Crommelynck, New York, the full sheet, plate 216 x 216mm (8 1/2 x 8 1/2in) (unframed)
Los 275
Alex Katz (b.1927)From, Light as Air (Schröder 222)Aquatint, 1989, signed in pencil, from the total edition of 43, on a folded double-sheet of wove paper with text printed on the left page, printed at Atelier Aldo Crommelynck, Paris, co-published by Pace Editions Inc., and Aldo Crommelynck, New York, the full sheet, plate 216 x 216mm (8 1/2 x 8 1/2in) (unframed)
Los 280
Alex Katz (b.1927)From, Light as Air (Schröder 218)Aquatint, 1989, signed in pencil, from the total edition of 43, on a folded double-sheet of wove paper with text printed on the left page, printed at Atelier Aldo Crommelynck, Paris, co-published by Pace Editions Inc., and Aldo Crommelynck, New York, the full sheet, plate 216 x 216mm (8 1/2 x 8 1/2in) (unframed)
Los 277
Alex Katz (b.1927)From, Light as Air (Schröder 229)Aquatint, 1989, signed in pencil, from the total edition of 43, on a folded double-sheet of wove paper with text printed on the left page, printed at Atelier Aldo Crommelynck, Paris, co-published by Pace Editions Inc., and Aldo Crommelynck, New York, the full sheet, plate 216 x 216mm (8 1/2 x 8 1/2in) (unframed)
Los 805
PUGIN, A Welby, Gothic Furniture of the 15th Century, Ackermann, London, 1835. Slim 4to. engrd. Tp & ½ tp. 24 plts. With tissue guard. Light foxing to margins. Owners insc. To endpp. Cl bds. Tog.with SPIERS, Richard Phene, ed. Specimens of The Architecture of Normandy from XIth the XVI cent. Drawn by Augustus Pugin, Blackie, 1874. Fo. ½ bds. worn. Plus other Pugin interest. 6
Los 748
CAMDEN, William, Anglica, Normannica, Hibernica Cambrica, A Veteribus Scripta, title page with woodcut printer's device for Claude Marnius, Frankfurt 1603, marbled end papers, light brown calf with gilt tooled spine, splits, stains and bumps, small Fo. (355 x 225mm) Jolliffe and Eric Gerald Stanley b/ps
Los 522
DUGDALE, Sir William, Monasticon Anglicanum, A History of The Abbies and Other Monastries....in England and Wales. A New Edition enriched by John Caley, Sir Henry Ellis and The Rev. Bulkeley Bandinel (Former Keeper at the Bodleian Library), London 1846, James Bohn, 6 vols in 8, light brown cloth with red title. Fo. (385 x 265mm), Eric Gerald Stanley b/p
Los 308
A Late George III Light Cavalry Trooper's Sabre, in the style of a 1796 Pattern, with 83 cm, broad, slightly curved and fullered steel blade, retaining traces of gilt-highlighted etching including trophies of war, Royal Coat-of-Arms and possible date, ''178?'', the gilt brass stirrup hilt with ribbed marine ivory grip. Blade with significant pitting and a number of small nicks to edge. Gilding to hilt worn in places. Grip with small area of loss, numerous small natural cracks and two larger cracks.
Los 91
Wensleydale and Boer War Interest: A Silver-Cased Keywind Presentation Pocket Watch, internally inscribed to, ''Tr. M.J. Blades, Loch's Scouts, Boer War 1900-1, From Wensleydale'', the white enamel dial bearing retailer's name, W. Horne & Sons, Leyburn, the case hallmarked for Chester 1899 Trooper Matthew James Blades (Regimental No.196) served with Loch's Horse from 15/3/00 - to the regiment's disbandment in London on 11/4/01. He is mentioned in the London Gazette despatch of Earl Roberts, dated 2nd April 1901 and published 16th April (p.2611) and the confirmation of the award of his D.C.M. is published in the London Gazette on 27th September 1901 (p.6330). Watch in good condition overall, with only light wear and scratching to case commensurate with age and use. Movement running.
Los 366
PURCHASER MUST BE 18 YEARS OF AGE OR OVER A B.S.A. Lincoln Jeffries .177 Calibre Underlever Air Rifle, Serial No. 4665, tap-loading, the trigger with screw adjuster, the walnut stock with part-chequered pistol grip, steel butt plate, the stock stamped piled arms mark, circa 1906; a Diana Mark IV .177 Calibre Air Pistol; a Milbro G25 .22 calibre break barrel air rifle, fitted with a Nikko Stirling Mountie 4x20 telescopic sight; a 19th Century French M1866 Chassepot Yataghan Sword Bayonet, the bayonet and scabbard identically numbered D90513 (4). B.S.A. - Overall light rust to metal parts. Wear, scratches and bruises to stock. Action good. Rear sight damaged. Tap screw possibly a replacement. Other screws with slightly damaged heads. Diana - Action good. Overall good / fair. Milbro - Action good. Polished finish stripped from stock. Overall fair. Telescopic sight good with bright image. Bayonet - Scabbard and steel parts to hilt painted black. Otherwise good.
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534297 Los(e)/Seite