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Los 11
Italian school. 18th century"Our Lady of Holy Hope"Oil on copper.35 x 25 cm. Size with frame 103 x 71 cm.Accompanied by an imposing cornucopia period frame, in carved wood, gilded and inlaid with mirrors.Exquisite and refined portrait of Our Lady of Holy Hope. The historical information about the origin of this image dates back to 1750, when a pious Christian had a painting of Mary with Child painted, which he donated to Fr. Tommaso del Costato di Gesù (later Monsignor Struzzieri, Bishop of Todi and first Bishop of the Passionist congregation), who always carried it with him in his SS. Missions. This image had from the beginning the title of "Mater Sanctae Spei".The entire composition, including its carved and gilded cornucopia frame, recalls the works of the Flemish baroque in which the Virgin Mary always appears surrounded by a garland of flowers. Here, in parallel, the garland is represented by the carving of the frame with acanthus leaves and flowers and a small canopy in the manner of Bernini. We contemplate the simple, serene and detailed perfection of the internal painting, framed by this "garland frame" as a tribute, veneration and prayer to this Madonna.The image has been perfected with miniscule brushstrokes.Based on the engraving by Hyeronimus Wierix, Flemish engraver of the 16th century, "Mater Sanctae Spei", the painting represents the Blessed Virgin Mary with the Child Jesus in her arms. She holds Him with her right arm and with her left arm she points to Him as the source of divine graces (iconography called Hodegetria: "she who shows the way", the Hodegetria Virgin Mary points to the Child as the way of salvation. And that Child, holding a cross with his left hand, with his right hand raised, is in the attitude of a king giving permission to approach Him. With a smile Mary and Jesus tell you that they are there to help you to have hope in them.The original image of "Our Lady of Holy Hope" is a canvas painted by Agustin Marqui in 1750, on the occasion of a Passionist mission preached by Father Tomas Stuzzieri, which he offered to St. Paul of the Cross suggesting that "every clergyman should have it in his cell". This image had devotees that included St. Vincent Maria Strambi and the second superior general of the Passionists (from 1755 to 1790), Father John Baptist of St. Vincent Ferrer. In fact, it cured Father John Baptist, who was dying, of an incurable illness, and it was he himself who decreed that the image be greeted three times a day. Devotion to the Blessed Virgin, under this invocation, developed in the Passionist Congregation from its origins.Its main promoter was the great missionary Fr. Thomas Struzzieri, who was later made bishop. In the holy missions he always carried an image of the invocation with him. Later, that image was reproduced in series and began to be placed in the rooms of the Passionist clergy so that they could direct their gaze to her, invoking her in their spiritual needs. The Virgin Mary, Mother of Holy Hope, thus became a singular model and a firm support for our own hope. The hope that Our Lady presents and to which she calls is the Cross that the Child Jesus holds in his hand, as a sign of his love without measure, manifested to us even unto death and a death on a cross.
Los 27
Bernardo Rodríguez (active in Quito, Ecuador, circa 1770)"Marriage of Mary and Joseph"Oil on canvas. Relined.99 x 120 cm.Beautiful and delicate canvas by the Ecuadorian painter and muralist Bernardo Rodríguez, a prominent figure amongst those who depicted religious motifs in colonial Quito. In this painting, he illustrates the real and mystical union of God and humans, of Mary and Him, as divine flesh, and the whole of humanity, symbolised by the putative father, Joseph. The Child holds a shackle with His mother and it seems that, symbolically, He is going to place it on her (pinching her wrist): "what God has joined together…", thus uniting the Divine (Mary and God) with the human (Joseph). The entire scene takes place under the protection of the Holy Trinity, the celestial witness, blessing the moment with a choir of angels who “grace the wedding” with songs, violins, drums, flutes, trumpets, triangle, and tambourine, all joyful, as befits the occasion. Watching the moment with devotion and humility are the maternal grandparents, Saint Joachim and Saint Anne, and Saint Elizabeth and Zechariah, Mary’s cousins and the parents of Saint John the Baptist, Jesus’ cousin, who is also present. Thus, we see tenderness and delicacy very well reflected by this painter, who enjoyed unparalleled ecclesiastical support, with many privileges such as creating canvases for the Cathedral of Quito or those in the Museum of Colonial Art, as well as those we can currently admire in the Casa de Cultura Ecuatoriana.Rodríguez is, in fact, along with Manuel de Samaniego y Jaramillo, the most important painter of the late colonial period in Quito.Regardless of his continued and esteemed interest in the Virgin Mary as a subject—a theme that earned him great reputation for the quality of his achievements—Rodríguez's work is related to the technique and stylistic treatment common in artists like Manuel Samaniego. The commissions he received from various religious institutions constitute the majority of his production, characterised by an interesting use of chiaroscuro.As we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands.Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.”As we continue reading in Cruz Medina's article, “the idea of the Church was, then, to create nuclear families based on the models of the Holy Family contained in the images, which would serve as the cells forming society. The image thus became an instrument of social and individual configuration. The discourse of the Holy Family, like that of other iconographic representations of the colonial period, then implied 'a new arrangement of individual and social bodies', directed under a pattern of submission of subjects.” Reference bibliography:- Cruz Medina, Juan Pablo. «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII». Memoria y sociedad 18, n.° 36 (2014): 100-117. https://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm
Los 42
1995 Lotus Elan S2Registration number M960 MPDChassis number SCC100ZT1SHA26563Engine number 0238672Yellow with a black interiorLimited Edition model, with only 800 made, this model being number 563/800Approx. 52,000 recorded milesTwo owners from newOnly for sale due to advancing years and lack of useWith V5C, owner's manual, MOT exp. May 2025All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsThis lot must be collected by 12.30pm on Friday 28th June. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £80 + VAT, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
Los 10
2004 LCD HawkeRegistration number K319 SWPChassis number LCDHA 5P200S 120003Engine number K061603PGreen with a black interiorFitted a Chevy 5-litre small-block V8 with an automatic gearboxA Morgan 'look-alike', the car consists of a one-piece GRP bodyshell with an integral floor designed to fit on a ladder frame chassisLC Developments (LCD) was founded in South Wales in 2003 and their only model was the HawkeSadly from a deceased estateWith V5CWednesday 26th June, the car was put in for an MOT, but failed, this is the copy from DVLA:Do not drive until repaired (dangerous defects):Nearside Parking (secondary brake) on a single line braking system has no recorded effort at a wheel (1.3.1 (a) (ii))Repair immediately (major defects):Nearside Headlamp not working on dipped beam (4.1.1 (a) (ii))Offside Headlamp not working on dipped beam (4.1.1 (a) (ii))All direction indicators not working (4.4.1 (a) (ii))Hazard warning lamps inoperative (4.4.1 (e))Nearside Headlamp aim unable to be tested (4.1.2 (b))Offside Headlamp aim unable to be tested (4.1.2 (b))Nearside Front Service brake excessively binding (1.2.1 (f))Nearside Rear Service brake excessively binding (1.2.1 (f))Nearside Front Upper Suspension arm pin or bush excessively worn (5.3.4 (a) (i))All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsThis lot must be collected by 12.30pm on Friday 28th June. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £80 + VAT, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
Los 1025
‡  A STAFFORDSHIRE WHITE SALT-GLAZED STONEWARE MODEL OF A HAWK CIRCA 1755 Modelled perched on a rockwork base, collection number inscribed in red to the interior of the base 'L.3244.1' 18.8cm high Note: For an owl of similar type and date see The Rous Lench Collection, Christie's London, 29 May 1990, lot 177. Condition Report: Some extended firing cracks between the bird's tail and the base and to the underside of the beak.Please see additional images available from the Dept. upon request.Condition Report Disclaimer
Los 1113
‡  A PAIR OF FRENCH EARTHENWARE FIGURES OF 'LA NOURRICE' FIRST HALF 17TH CENTURY, PROBABLY FONTAINEBLEAU, ATELIER OF CLAUDE BERTHELEMY, OR AVON After a model by Guillaume Dupré 21.5 and 22cm high respectively Condition Report: Minor chip to the collar of the taller figure, large section of chipping to left corner of base, further small areas of shallow chipping to her apron and other high points. The other with shallow chipping to edge of apron on her left and circular firing crack to base. Both with some firing cracks, and to the back of her headdress. Condition Report Disclaimer
Los 1010
‡  A CHELSEA PORCELAIN CRAYFISH SALT CIRCA 1750-1752 After a silver model by Nicholas Sprimont, modelled as an iron-red crayfish before an upturned shell, its interior painted with scallop shells 12cm long Condition Report: Fine hairline/firing crack to base. Some manufacturing blemishes/frits etc.Please see additional images available from the Dept. upon request. Condition Report Disclaimer
Los 1006
‡ A GOLD-MOUNTED 'GIRL IN THE SWING' PORCELAIN SCENT-BOTTLE MODELLED AS A SQUIRREL CIRCA 1755, CHARLES GOUYN'S FACTORY, ST JAMES'S, LONDON, THE LOWER MOUNT PROBABLY 19TH CENTURY Modelled seated on its haunches, with a nut in its forepaws, the underside painted with a spray of flowers 6.3cm highNote: This example is close to the Chelsea red anchor model, an example of which is in The Metropolitan Museum of Art (64.101.545a, b).Provenance: Sotheby's, 11th October 1995 The property of Otto and Magdalena Blohm, sold at Sotheby's London 9th October, 1961, lot 518 The collection of Stewart Granger, sold at Christie's London, 20th May 1963, lot 88 Steppes Hill Farm Antiques, Stockbury, Sittingbourne, Kent. Condition Report: Slight wear to enamels, occasional surface scratch. Chipping to the tip of the squirrel's right ear. The hinge of the lower mount with a small repair. Condition Report Disclaimer
Los 1077
‡  A WEDGWOOD CANEWARE HARE'S HEAD STIRRUP-CUP LATE 18TH OR EARLY 19TH CENTURY Modelled with ears erect, protruding eyes and finally delineated fur, and with metal mount around the neck, remnants of Wedgwood & Bentley mark to one ear, 16.5cm high Provenance: Rathbone Collection, South Kensington Christie's East, New York, 6 May 1986, lot 256 Cf. Sotheby's New York, 23 October 2019, lot 78, for another example of this model in caneware. Condition Report: minor chip to the back of the left ear Please see additional images available from the Dept. upon request. Condition Report Disclaimer
Los 1017
‡  A LONGTON HALL OR DERBY PORCELAIN FIGURE OF GUANYIN CIRCA 1750-55 Modelled after a blanc-de-chine original of the goddess of Mercy 10cm high Provenance: Sotheby's, London, 16 July 1991, lot 233. Sotheby's, London, 2 June 2005, lot 83. Note: The present model closely follows both the blanc-de-chine original and the Chelsea example (an example of which is offered in this sale). See E&H Manners, Early English White Sculptural Porcelain: The Paul and Bunny Davies Collection, November 2020, for a discussion of the reattribution of many of these figures to Derby. The Derby examples appear to have raised areas where the cast has been taken of the Chelsea raised anchor. The present example does not have this feature, and is also 1.4 cm. smaller than the Chelsea figure. Condition Report: No damage or restoration detected.Please see additional images available from the Dept. upon request. Condition Report Disclaimer
Los 1083
‡ A WEDGWOOD BLACK JASPER TRIAL 'FIRST EDITION' MODEL OF THE PORTLAND VASE CIRCA 1789 The twin-handled black basalt urn sprigged in white relief with the typical frieze of draped classical figures and the base with Paris in the Phrygian cap 25cm high Note: The Portland Vase, now in the British Museum, is believed to have been made around 27 BC. The superb example of cameo glass-cutting inspired Josiah Wedgwood to try to match the skill of the ancient craftsmen but using black jasperware, the unique clay material developed by Josiah Wedgwood himself. He persuaded the third Duke of Portland to lend the glass original to him for modelling and began five years of trials to perfect his version. The vase was thrown on a potter's wheel with the handles and hand-formed figures and architecture were added in white before firing. The 'oven book', of the factory details the many challenges he experienced; the first attempts show air bubbles had formed on the surface where gases from inside the clay expanded in the heat. Later attempts show the reliefs failing to adhere correctly to the base vase. Both of these features can be seen on the present lot, along with slight warping of the vase in the firing. The asymmetry of the handles, however, is deliberate and emulates the ancient original. Only forty-five copies of the perfected first edition vase were believed to have been made. This vase shows the distinctive features of the first edition but is unnumbered and it is probably an early trial. The portrait of Paris faithfully copies the glass original, with the tip of his elbow being cut off by the edge of the base. The tiny pin pricks visible around the edge of the base suggest that the vases were fired in the upright position, perhaps on a support dusted with sand to prevent sticking. See the trial of the Portland Vase in the collection of the Wedgwood Museum, dated circa 1787, which shows similar blistering to the surface, but also a lack of shading and undercutting which is more evident on the present vase, Robin Reilly, Wedgwood, Vol. I, London, 1989, p. 670, fig. 1,031. Condition Report: As per the description and catalogue notes there are idiosyncrasies indicating this is from the early trial period including bubbling, cracking, uneven handles. No later damage or restoration notedPlease see additional images for visual reference to condition and appearance Condition Report Disclaimer
Los 1001
‡ A CHELSEA PORCELAIN RAISED ANCHOR MODEL OF A FINCH CIRCA 1750-52 Modelled perched on a tree-stump, his head turned to one side Anchor pad mark 10cm highNote: A similar model is held in The Metropolitan Museum of Art, New York (1977.22.1). See also Reginald Blunt (Ed.), The Cheyne Book of Chelsea China and Pottery, Wakefield, 1973 (reprint of 1924 catalogue), pl.5, nos. 7 for a pair of finches. Condition Report: Chipping and losses to applied leaves and flowers. The beak restored and possibly slightly reduced in size.Please see additional images available from the Department upon request.Condition Report Disclaimer
Los 1099
‡  A WEDGWOOD BLACK BASALT BUST OF 'GROTIUS' LATE 18TH CENTURY, AFTER THE MODEL BY MICHIEL JANSZOON VAN MIEREVELT (1566-1641) Titled GROTIUS verso Small impressed Wedgwood & Bentley mark to the rear 50.5cm high Condition Report: At some point, two slits have been cut verso probably to allow wall mounting without a bracket, these are 6cm in length north to south. Some sizeable historic chips to the base of the bust where it meets the socle. A sizeable firing crack to the ruff verso and a possible filled repair to one firing fault verso.Please ask for the additional images available from the Dept. upon request.Condition Report Disclaimer
Los 1088
‡  A WEDGWOOD BLUE JASPER MODEL OF THE PORTLAND VASE CIRCA 1791 The twin-handled blue urn sprigged in white relief with the typical frieze of draped classical figures and the base with Paris in the Phrygian cap 25cm highNote: The Portland Vase, now in the British Museum, is believed to have been made around 27 BC. The superb example of cameo glass-cutting inspired Josiah Wedgwood to try to match the skill of the ancient craftsmen but using black jasperware, the unique clay material developed by Josiah Wedgwood himself. According to Robin Reilly, Wedgwood: The New Illustrated Dictionary, p. 340, when supplies of the black clay ran out in 1791 some fine blue Portland vases, were produced. There is no record of any solid blue vases produced during the previous ten years and this vase was probably one of those made during the shortage of black clay. See the sold blue jasperware example of circa 1791 in the British Museum (1802,0312.1).This vase shows the distinctive features of the early Wedgwood Portland vases, but is unnumbered. The portrait of Paris faithfully copies the glass original, with the tip of his elbow being cut off by the edge of the base. The tiny pin pricks visible around the edge of the base suggest that the vases were fired in the upright position, perhaps on a support dusted with sand to prevent sticking. Condition Report: Several small and sizeable foot rim chips. Firing cracks to the sprigging generally.Please ask for the additional images available from the Dept. upon request.Condition Report Disclaimer
Los 1011
‡ A CHELSEA PORCELAIN CRAYFISH SALT CIRCA 1750-1752 After a silver model by Nicholas Spirmont, modelled a grey crayfish before an upturned shell 12cm long Provenance: Bonhams, 18 April 2012, lot 171 Condition Report: Chips and losses to shell rim and hair crack to the base Condition Report Disclaimer
Los 1037
‡  A STAFFORDSHIRE CREAMWARE MODEL OF A DOVECOTE CIRCA 1755 The octagonal brick house with slate roof, 'A NEW PAVILION' inscribed above the doorway, birds perched on the roof and in the windows, the silver-shaped stand raised on a conical foot, the whole splashed in manganese, green, grey and yellow glazes 21.5cm high See R.L. Hobson, Catalogue of English Pottery, 1903, pl. XXVI, no H2 for an example in the British Museum; Frank Partridge's Collection, p. 61, no. 134, for a pair in the Metropolitan Museum; Jonathan Horne, A Collection of Early English Pottery; Exhibition Catalogue, London, 1990, part X, no. 275; Leslie B. Grigsby, English Pottery, 1650-1800, Grigsby, English Pottery, 1650-1800. The Henry H. Weldon Collection, p. 405, pl. 248; and Anon. sale; Sotheby's London, 25 February 1986, lot 87 for other examples. Condition Report: restoration to the finial and some but not all the birds but does not appear to have dropped, smashed and put back together.Please see additional images available from the Dept. upon request.Condition Report Disclaimer
Los 1024
‡  A STAFFORDSHIRE POLYCHROME SALT-GLAZED STONEWARE MODEL OF A HAWK CIRCA 1755 Modelled standing on a manganese rockwork base, its feathers enamelled in strong colours 19cm highProvenance: The A.C.J. Wall Collection, according to paper label. With Oliver-Sutton Antiques, according to paper label. Note: The model for the present lot is based on a Japanese original. Staffordshire salt-glazed hawks were made in several different sizes and in different colours. A pair of enamelled hawks are in the Metropolitan Museum of Art, New York (34.165.11, .12). Condition Report: Chipping to tip of beak, some glaze cracks to underside of base. Hairline crack to underside of tail. Very slight wear and occasional small flake or abrasion to enamels.Please see additional images available from the Dept. upon request. Condition Report Disclaimer
Los 1021
‡  A STAFFORDSHIRE SALT-GLAZED STONEWARE MODEL OF A SWAN CIRCA 1755 Naturalistically moulded, splashed in cobalt blue, the beak, eyes and feet in manganese 20cm high Provenance: with D.M. & P. Manheim, New York Note: The present model may have been inspired by figures made as part of the 'Swan Service' table equipage produced in hard-paste porcelain by the Meissen factory from 1737 until 1741, after models by J.J. Kandler and J.F. Eberlein.) (For a similar example see the Rous Lench Collection; Sotheby's London, 1 July 1986, lot 131 (a pair of similar swans) and Christie's London, 2 June 1986, lot 25 (a pair of enamelled salt-glaze swans.) Condition Report: the neck re-stuck. Please see additional images available from the Dept. upon request.Condition Report Disclaimer
Los 1012
‡  A CHELSEA PORCELAIN BUST OF WILLIAM AUGUSTUS, DUKE OF CUMBERLAND CIRCA 1750-1752 On a wooden stand Modelled with head turned slightly, his periwig tied in a bow, his scaled breast-plate moulded with a mask of Medusa, on a later turned wooden socle The porcelain approximately 14.5cm high Note: William Augustus, Duke of Cumberland (1721-1765), was the second son of George II and younger brother to Frederick, Prince of Wales. The Duke was a wealthy and important patron of the Chelsea factory, and may have had involvement in the beginnings of the factory itself (see William Chaffers, Marks and Monograms, 1947, p.937, where Chaffers transcribes an account from a factory worker mentioning the Duke of Cumberland). The Duke of Cumberland's secretary, Sir Everard Fawkener, was also associated with the Chelsea factory at the time the bust was made. An example of this model was sold Bonhams, London 3 October 2012, lot 53. Other models are held in the Metropolitan Museum of Art, New York (1974.28.140), in the Schreiber collection in The Victoria and Albert Museum, London (2917-1901), in The Colonial Williamsburg Collection (1962-92) and in The British Museum, London (1887,0307,II.1). A further example is illustrated in Severne Mackenna, Chelsea Porcelain: The Triangle and Raised Anchor Wares, 1948, pl.14, fig. 35. Condition Report: No damage or restoration detected (please see terms of sale). Please see additional images available from the Dept. upon request. Condition Report Disclaimer
Los 1002
‡  A CHELSEA PORCELAIN MODEL OF A BEGGING POODLE CIRCA 1765 Modelled on its hind legs, and with an iron-red collar and gilt bell around his neck Gold anchor mark 9.5cm high Provenance: Purchased from Peter Williams, Early British & Continental Pottery & Porcelain, June 2000 Condition Report: Minor chips around the base Please see additional images available from the Dept. upon requestCondition Report Disclaimer
Los 1111
‡  A WEDGWOOD BLUE JASPER MODEL OF A RENAISSANCE PRINCESS LATE 19TH CENTURY The Princess modelled in white wearing a wimple and kneeling in prayer upon a cushion, with two small bowing attendants holding the train of her dress Impressed uppercase mark and 'T' to underside 13.5cm high, 21cm long Provenance: Sotheby's, no. 4399, lot 250 Spak Collection, no. 205 This form is also known in majolica. Condition Report: Firing fault to one attendant's cloak.Small nibbles to the leading edge of the base rim.Please see additional images available from the Dept. upon request.Condition Report Disclaimer
Los 1014
‡  A CHELSEA PORCELAIN MODEL OF 'LA NOURRICE' EMBLEMATIC OF CHARITY CIRCA 1755 Modelled by Joseph Willems, the mother portrayed seated, her swaddled infant at one breast Iron-red anchor mark 19cm high Exhibited:Melbourne, National Gallery of Victoria, Flowers and Fables, A Survey of Chelsea Porcelain, 1984-1985, no. 56. Note: The prototype for this model was a French pottery group made at Avon by Berthèlèmy de Blénod in the 17th century. Condition Report: some hairlines to her skirt/basePlease see additional images available from the Dept. upon request.Condition Report Disclaimer
Los 31
SHANGHAI: GREEN (O M): 'Shanghai of To-Day...a souvenir album of thirty-eight Van Dyke prints of 'The Model Settlement': A S Watson & Company (Shanghai Pharmacy Ltd), 1927: FIRST EDITION: tipped-in photogravure plates within printed borders, original printed card covers, cloth backed, 4to. (1)
Los 493
LMC, Ian Kirk & others. Group of O Gauge Coach Kits. Leeds Model Co. Bakelite LMS Open 3rd Class, Gresley Coronation Set Observation Coach, 2x Pullman, 1st Parlour & Kitchen Parlour, contents are unchecked for correct qty, plus others. Conditions: Good to Mint in Good to Excellent boxes. (6)
Los 181
Lima OO Group of 4x BR Blue Class 47 Diesel Loco's. Comprising 204734 - 47555 The Commonwealth Spirit, 204774 Ltd Edition 47564 Colossus - Model Railway & Miniature Engineering Cert No.481 of 550, L204923 - 47517 Andrew Carnegie - with large numbers & BR logo, L205032 - 47712 Lady Diana Spencer - with large numbers & BR logo. Conditions: Near Mint to Mint in Good to Excellent boxes. (4)
Los 481
Leeds Model Co. & Similar O Gauge Wooden Wagons. To Include "B & C" open wagon, "Warrens" open wagon, LMS Grey twin bogie wagon, wood & tinplate brake van, LMS Grey brake van, also a number of wagon bodies, some have parts missing & have been modified, see photo. Conditions: Fair to Good Plus. (20)
Los 29
Hornby (China) pair of Class 156 DMU's comprising of R2513 Class 156 Northwest Regional Railways DMU and R2694 Class 156 Northwest Regional Railways DMU "Settle & Carlisle". Contents assumed Mint (one model still manufacture sealed and other model still factory tissue wrapped) in generally Good Plus to Excellent boxes.
Los 165
Lima OO Group of 4x Ltd Edition BR Class 37 Diesel Loco's. L20644 Green D6700 Model Rail cert No.350 of 500, L204655 Blue 37425 Concrete Bob - Rails of Sheffield Cert No.257 of 550, L204938 Blue 37308 - Much Ado About Toys Cert No.346 of 500, L205027 Blue 37418 An Comunn Gaidhealach - Harburn Hobbies Cert No.286 of 550 comes with additional nameplates. (4)
Los 164
Lima OO Group of 4x BR Blue Ltd Edition Class 37 Diesel Loco's. Comprising L204641 - 37420 The Scottish Hosteller - Model Railway & Miniature Engineering Cert No.82 of 550, L204675 - 37409 Loch Awe - Harburn Hobbies Cert No.306 of 550, L204693 - 37027 Loch Eil - Geoffrey Allison Cert No.418 of 550 comes with additional nameplates, L204948 - 37188 Jimmy Shand - Harburn Hobbies Cert No.148 of 500 comes with additional nameplates. Conditions: Near Mint to Mint in Good to Excellent boxes. (4)
Los 162
Lima OO Group of Ltd Edition Class 37 Diesel Loco's. Comprising L204605 - 37610 DRS Rail Express Magazine Cert No.320 of 550, L204697 - 37420 Regional Railways - The Scottish Hosteller - Moray's Model Centre Cert No.527 comes with additional nameplates (box has severe damp damage), 204714 - 37116 Transrail Blue - Rail Express Magazine Cert No.63 of 500. Conditions: Near Mint to Mint in Poor to Excellent boxes. (3)
Los 344
Model Power, Rivarossi, Trix HO Mixed Rolling Stock. To include 5x Model Power & 1x CON-COR coach repainted two tone green livery, Rivarossi 2358/0 United States Marine Corps 90001 Ambulance Coach, Trix Express DB Cream / Maroon 1st, Trix 23542 Esso Tank Wagon plus others. Conditions: Fair to Excellent in Poor to Good boxes & rigid cases. (19)
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628738 Los(e)/Seite