There are 116689 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeGrouping of British Army Anodised Aluminium Cap Badges, including 23rd London, East Anglia brigade, Middlesex regiment, Suffolk & Norfolk Yeomanry, London Scottish, HAC Artillery, War Department Fire Service, non-voided Royal Artillery, Rifle Brigade, Bedfordshire regiment, plus others. Also accompanied by some modern (reproduction) enamel fire brigade cap badges.
British 1950 Pattern Bush Jacket, fine worn example of the early post war jungle / bush jacket with printed formation signs to the arms for the RASC Air Dispatch. Complete with 1952 dated size label to the interior. Accompanied by a 1949 pattern battle dress blouse with full insignia for the Suffolk & Cambridgeshire Army Cadet Force. (2 items)
Sammlung (41 Stück) VIETNAM ZIPPO Lighters - authentische Feuerzeuge des US Herstellers ZIPPO mit Vielerlei Aufschriften, Gravuren, Plaketten und Emailleschildern aus der Zeit des Vietnam Krieges (1955-75), im Schaukasten, dazu 1 Plakette des Landes Vietnam, 1 US Army Taschenmesser und 4 Bücher/Hefte zum Sammelgebiet ¨Vietnam Zippos¨, einige Feuerzeuge mit stärkeren Gebrauchsspuren, Sammlungsauflösung, altersbedingter Zustand, Funktion der Feuerzeuge ungeprüft und ohne Gewähr
A Selection of medals, coins and medallions. Includes St. Christopher plaque, 1897 Victoria Jubilee bronze medal, Two Triennial medals of the R. Toxophilite Society, Bronze life saving medallion, Silver A.R.P Badge, Ambulance and Land army badges, Archery Society enamelled medal and various others
A quantity of War Memorabilia in a presentation box belonging to Sergeant Thomas Moffatt Donaghy of The North Irish Horse Reg Armoured Corp. reg number 7903014. To include his medals, the Defence Medal 1939-1945, War Medal 1939-1945, African Star with 1st Army Bar, Italy Star, The 1939-1945 Star and the Military Medal, received for recovering his tank and crew under heavy enemy fire even though the tank was hit by mines and himself wounded. Sgt Donaghy was mentioned in dispatches issued 3rd August 1945 in Italy for consistent courage displayed in face of the enemy and devotion to duty, all with corresponding miniatures. Also included are his soldiers release book, permanent pass for officers stationed in Naples, soldiers service and pay book, certificate of service, a Hospital discharge certificate, Maple leaves off his uniform and a framed photograph, etc.,
LL 200mm, TL 350mm, Stainless-Steel-Waffe, offener Rahmen, SA-Abzug, Rundlauf, Neusilberkorn. Geflutete Trommel mit 6 Kammern. Abzugbügel aus Messing, glatte geölte Holzgriffschalen. Lauf beschriftet "1960 New Model Army", links am Rahmen das Firmenzeichen "Centaur" (Mischwesen aus der griechischen Sage, halb Pferd, halb Mensch). Die Firma Centaur Belgien war der einzige Hersteller, der jemals von Colt eine Lizenz zur Produktion ihrer Perkussionsmodell-Linie bekommen hat. In der Zeit wurde diese Lizenz nicht ausgenützt. In den 60er-Jahren erinnerte man sich an diese Lizenznahme und produzierte, sehr zum Missfallen von Colt, sogenannte Originale-Perkussion-Revolver. Gurttragholster von Mercantile. #14064 WES Zustand 1
Hand Ejector M&P Model 1905 4th change. Ursprünglich brünierte Ganzstahlwaffe mit 5"-Lauf, starre Visierung und glatten Nussholzgriffschalen, Riemenbügel fehlt. Dieses Modell wurde an die US-Army wie auch an Grossbritannien geliefert. Rechts am Griffstück Inventarnummer 53 und "FTR". #V640884 WES Zustand 2
Gustav Wittje. Die Bedeutung der Düppeler Höhen im Sundewitt mit Plänen und Zeichnungen. Bearbeitet von G. Wittje Hauptmann und Comp. Chef in der 3. Artillerie Brigade, Commandeur der daselbst gewesenen preuss. Artillerie. Manuskript in deutscher Sprache mit 15 handgezeichneten und aquarellierten Plänen. Magdeburg, Januar 1850. 2 Bll., 229 hs. num. S. 4°. Prächtiger roter Samteinband d. Zt. mit goldgepr. Filete, goldgepr. Eckstücke im Rocaille-Stil, goldgepr. Wappen des Königshauses Hannover auf VDeckel, dreis. Goldschnitt, Vorsätze aus Glanzpapier (HDeckel mit Kratzspur). Titelblatt rückseitig mit dem Stempel Ernst Augusts von Hannover (1771-1851). - Bemerkenswerte und sehr gut erhaltene Handschrift mit präzisen Informationen über ein historisch bedeutendes militärisches Ingenieurbauwerk, aufwendig gebunden in einem reich vergoldeten zeitgenössischen roten Samteinband mit königlicher Provenienz. Es handelt von einem umfangreichen, aber auch kurzlebigen militärtechnischen Projekt während des dänisch-preußischen Krieges 1848-1851, der infolge der gegensätzlichen Ziele dänischer und deutscher Nationalisten ausbrach und zum sogenannten Ersten Schleswigschen Krieg führte. Die Festung Dybbøl liegt auf einer kurzen stumpfen Halbinsel, die den Zugang zur Festung auf dem Landweg verhindert, und verfügte über eine geschlossene Anlegestelle für die Fähre über den Alssund nach Sønderborg auf der Insel Als. Unser Manuskript beschreibt sehr detailliert die geographische Lage, die Dimensionen und die Strukturen der Schanzen, die von Ingenieuren der preußischen Armee gebaut wurden, die mit Transportproblemen und Problemen durch das umgebende Meer zu kämpfen hatten, was zu vielen wasserbaulichen Herausforderungen führte. Bereits im Februar 1849 wurden die massiven Schanzen von preußischen Pionieren abgetragen und wenige Monate später, im September 1849, nach der Niederlage der dänischen Armee, gesprengt. Das Manuskript ist aus dem Besitz des Königshauses Hannover und trägt dessen vergoldetes Wappen auf dem Vorderdeckel. Außer dem hier vorliegenden, nie veröffentlichten Manuskript, konnten zwei weitere Manuskripte ausfindig gemacht werden, von denen eines heute verloren ist (nach Stuhlmann, Die königl. Sächs. Brigade im Deutsch-Dänischen Feldzug 1849); das andere Manuskript befindet sich heute im Bestand der Hofbibliothek Sigmaringen (Kat.-Nr. 213). Manuscript in German with 15 hand-drawn and watercoloured plans. Magdeburg, January 1850. Splendid red velvet binding of the time with gilt fillet, gilt corner pieces in rocaille style, gilt coat of arms of the Royal House of Hanover on front cover, triple gilt edges, endpapers in white glazed paper (backcover with scratch). - Title page with the stamp of Ernst August of Hanover (1771-1851) on verso. - Remarkable and very well preserved manuscript with precise information about a historically important military engineering structure, lavishly bound in a richly gilt contemporary red velvet binding with royal provenance. It deals with an extensive but short-lived military engineering project during the Danish-Prussian War of 1848-1851, which broke out as a result of the opposing aims of Danish and German nationalists and led to the so-called First Schleswig War. Dybbøl Fortress is situated on a short blunt peninsula preventing access to the fortress by land, and had an enclosed landing stage for the ferry across the Alssund to Sønderborg on the island of Als. Our manuscript describes in great detail the geographical location, dimensions and structures of the redoubts, which were built by engineers from the Prussian army who had to deal with transport problems and problems caused by the surrounding sea, resulting in many hydraulic engineering challenges. As early as February 1849, the massive redoubts were demolished by Prussian sappers and blown up a few months later in September 1849, after the defeat of the Danish army. The manuscript is addressed to the Royal House of Hanover and bears its gilded coat of arms on the front cover. Apart from the manuscript never published here, two other manuscripts could be located, one of which is lost today (according to Stuhlmann, Die königl. Sächs. Brigade im Deutsch-Dänischen Feldzug 1849); the other manuscript is now in the holdings of the Sigmaringen Court Library (cat. 213).
Berlin - - Sammlung von über 100 Original-Photographien mit Szenen des Berliner Lebens. Um 1900-1920. Vintages, überwiegend Silbergelatine. Maße von ca. 12 x 8 cm bis 13 x 18 cm. 4°. Gesteckt in mod. Pp.-Album. Hochinteressantes zeitgeschichtliches Zeugnis. - Enthält u.a. Aufnahmen von Straßenhändlern, Unfällen, Festtagszügen (Regierungsjubiläum 1913, Paraden auf dem Tempelhoder Feld und Friedrichstraße), Jahn-Turnfeier 1911, Grunewald-Rennbahn, Militär (Wachablösung Unter den Linden, Einzug Kavallerie Brandenburger Tor, Armee-Gepäckmarsch, Manöver), Einzug erster Kriegstrophäen 1914 am Brandenburger Tor, Kaiser Wilhelm, Hindenburg, Eröffnung des Familienbades Wannsee, schwimmende Schifferkirche. - Wohlerhalten. Collection of over 100 original photographs with scenes of Berlin life. Vintages, mostly silver gelatin. Mounted in mod. paperback album. - Highly interesting testimony of contemporary history. - Contains, among others, shots of street vendors, accidents, festive processions (government anniversary 1913, parades on Tempelhoder Feld and Friedrichstraße), Jahn gymnastics celebration 1911, Grunewald racecourse, military (changing of the guard Unter den Linden, cavalry marching in at Brandenburg Gate, army baggage march, manoeuvres), entry of first war trophies 1914 at Brandenburg Gate, Kaiser Wilhelm, Hindenburg. - Well preserved.
Pressephotographie - DDR - - Sammlung von ca. 1800 vorwiegend großformatigen Pressephotos mit Aufnahmen aus der DDR. Silbergelatineabzüge, einige Farbphotos. 1950er-1980er Jahre. Versch. Formate bis vorwiegend ca. 20,5 x 25 cm. Gezeigt werden vorwiegend Berlin, außerdem Leipzig, Dresden, Erfurt, Jena, Magdeburg, Rostock, Stralsund u.v.m. mit Aufnahmen von politischen Ereignissen und Verhandlungen (Besuchen von Molotow, Chruschtschow, Tschou Eu-lai u.a., Empfänge bei Pieck, SED Parteitage etc.), versch. internat. Regierungsdelegationen, Sport-, kulturelle u. gesellschaftliche Veranstaltungen (Messen, Festspiele u.a.), Industrie, Berufe u. Handwerk, Schule u. Ausbildung, Demonstrationen, Nationale Volksarmee, sowjet. Armee u. Panzer, Ansichten u.v.m. - Verso meist mit Copyrightstempel, hs. Bezeichnung, typogr. Beschreibung oder Etikett (Keystone, Associated Press, ADN Zentralbild, Klaus Rose, Joachim G. Jung etc.) versehen. - Insgesamt wohlerhaltene Sammlung. Collection of approx. 1800 mainly large-format press photos with images from the GDR. Silver gelatin prints, some colour photos. 1950s-1980s. - Mainly Berlin, but also Leipzig, Dresden, Erfurt, Jena, Magdeburg, Rostock, Stralsund etc. with photos of political events and negotiations (visits of Molotov, Khrushchev, Tschou Eu-lai etc., receptions at Pieck's, SED party congresses etc.), various international government delegations, sports, cultural and social events (fairs, festivals, etc.), industry, professions and crafts, schools and education, demonstrations, National People's Army, Soviet army and tanks, views, etc. - Mostly with copyright stamp, handwritten inscription, typographical description or label (Keystone, Associated Press, ADN Zentralbild, Klaus Rose, Joachim G. Jung etc.) on verso. - Altogether well-preserved collection.
2. Weltkrieg - Russland - Artillerie - - Rußland-Feldzug. Sammlung von ca. 330 Photographien aus dem Nachlass eines Panzerjägers. Silbergelatineabzüge. Um 1942. Versch. Formate von ca. 5,5 x 4,2 cm bis 8 x 5 cm. Mont. in 2 spät. Spiralalben. Eindrucksvolles und durchgehend (später) beschriftetes Album mit zahlreichen Amateuraufnahmen des Krieges mit zahlreichen ethnographischen Seitenblicken. Zeigt Photos von der Bereitstellung zum Ostfeldzug in Saalfeld, Krs. Mohrungen Ostpreußen, viele Photos einer PK Abt. von Christburg Westpreußen, Reimerswalde, Marienburg, Angriff der Abteilung auf Wirkiliskus Litauen, Vormarsch auf Memel, Kampf um Dünaburg, Rollbahn Pleskau Riga, Bilder von Riga, Panzerschlacht bei Novorochew, Kampf um Opotschka, Einmarsch in Staraja Russa, Einsatzfotos am Lovat, Bilder vom Kampf um Wjasma Rosslawl, Bilder vom besetzten Smolensk, Fronttheater mit Lala Anders und Willi Steiner, Kampf um Gshatsk, Südabschnitt der Ostfront Raum Kiew, Boromlya, Saporoshe, Poros, Tomarowka, Borisowka, Charkow, Pustomyty, Konstantinoff, Saslaw, Rückzug nach Rumänien Duclapass Karpathen, Ungarn 1944 Nagylapos, Weichselbogen, viele Photos mit Panzer, Sturmgeschütz, LKW, Kübelwagen, Halbkette, Krad u.v.a. - Dokumentiert den Rückzug der Ostarmee im Südabschnitt, ein extrem seltenes Foto der Sturmhaubitze Typ Bison Ausführung H, Architekturaufnahmen moderne sozialistischer Architektur in Charkow, sowie zahlreiche Aufnahmen lokaler Bevölkerung. - Agfa Lupex Photopapier. - Bedeutende Dokumentation mit zahlreichen Gesichtern des Krieges. (World War II) WW2 - Artillery - Russia. - Collection of approx. 330 orig. photographs from the estate of a tank fighter. Mounted in 2 later spiral albums. - Amateur footage of the war with numerous ethnographic side views. - Shows photos of the deployment to the eastern campaign in Saalfeld, Krs. Mohrungen East Prussia, many photos of a PK Abt. Of Christburg West Prussia, Reimerswalde, Marienburg, attack of the department on Wirkiliskus Lithuania, advance on Memel, fight for Dünaburg, runway Pleskau Riga, pictures of Riga, tank battle near Novorochew, fight for Opochka, invasion of Staraya Russa, mission photos on Lovat, pictures of the battle for Vyazma Rosslavl, pictures of occupied Smolensk, front theater with Lala Anders and Willi Steiner, fight for Gshatsk, southern section of the Eastern Front, Kiev area, Boromlya, Zaporozhe, Poros, Tomarowka, Borisovka, Kharkov, Pustomyty, Konstantinov, Saslav, retreat to Romania Duclapass Carpathians, Hungary 1944 Nagylapos, Vistula bow, In the album many photos with tanks, assault gun, truck, Kübelwagen, half chain, Krad, etc., the album documents the retreat of the eastern army in the south section, an extremely rare photo of the Sturmhaubitze type Bison execution H, architectural images of modern socialist architecture in Kharkov, as well as numerous photographs of local population.
WW2 British army folding jack/clasp knife with blade and can opener marked with broad arrow and date 1944; a similar unmarked British army folding three-blade knife; and another later similar British Army knife marked Wade & Butcher Sheffield England (3)Condition Report:Older knives showing signs of wear consistent with age and use.Later knife in good condition.
Frank Williams signed Dads Army 10x8 black and white photo. Frank Williams (born 2 July 1931] is an English actor. He is best known for playing vicars and other members of the clergy, most notably Timothy Farthing, the vicar in the BBC comedy Dad's Army. Williams also appeared in similar roles in You Rang, M'Lord? Hi-de-Hi!, What's Up Nurse, The Worker, and Vanity Fair. Good condition Est.
Frank Williams signed 6x4 white card. Frank Williams (born 2 July 1931) is an English actor. He is best known for playing vicars and other members of the clergy, most notably Timothy Farthing, the vicar in the BBC comedy Dad's Army. Williams also appeared in similar roles in You Rang, M'Lord? Hi-de-Hi!, What's Up Nurse, The Worker, and Vanity Fair. Good condition Est.
§ Dame Elisabeth Frink (British 1930-1993) Fallen Man, 1960 1/6, signed and numbered, bronze with dark brown patina(16cm high, 60cm long (6.25in high, 23.6in long))Provenance: Private Collection, London.Footnote: Literature: Ratuszniak, A. (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.71, cat. no. FCR79 (another cast illustrated). 'The very fact of someone falling in space makes me feel nervous. I very often dream of falling through space myself. It becomes a nightmare and is very frightening. So it is always with me, this particular fear, which I think is a good thing because it starts off sculpture; it gives a sense of urgency which is important to me.’ (Elisabeth Frink quoted by Huw Wheldon, Monitor: An Anthology, Macdonald, London, 1962. p. 28.) Elisabeth Frink’s Fallen Man is part of a highly-important theme in her practice, in which her childhood experience of World War Two, fascination with the nude male figure and existential concerns about mankind are brought together. Frink was nine years old when war was declared. Her father was a cavalry officer in the British Army and served abroad for most of the conflict. Much has been made of Frink’s time in Suffolk near to Bomber Command air-bases during this period. As she explained: ‘there was a whole bunch of very jolly Polish airmen. They’d go off in their flying machines – and sometimes they got killed. We were right next door to an operational aerodrome and sometimes we’d see the planes coming home on fire.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, Frink: A Portrait, Bloomsbury, London, 1994, p.15). Many works of the early 1960s explored the themes of men in flight, men in space, spinning, falling and fallen men and eventually bird men, through which Frink explored the concept of men at war. Reviewing them later in her career, Frink declared: 'These sculptures were the nearest I got at that time to subjective ideas of the concept of a man involved in some kind of activity other than just being. So my earlier figures were not at all sensuous; they were too much involved with fractured wings or the debris of war and heroics. By this last phrase I mean individual courage.’ (as quoted in Ratuszniak, A. (ed.), op.cit., p. 72). In Fallen Man, the anonymous figure is depicted without stand or plinth. The point of direct contact between the work and the surface on which it is placed is key to conveying its concept. Facial features are suggested in the outsized head, atop the splayed and disfigured body. A sense of trauma, pathos and vulnerability is enhanced by the rough handling of the plaster from which it was cast. Edward Mullins has written about further sources of inspiration for this area of exploration: ‘The original impulse, in fact, was to make sculpture of a figure falling from space. The source here is dual. Since a child she has experienced dreams of herself falling and the sensation remains a powerful one in her imagination. More specifically, during the late 50’s she came across photographs of the French bird-man, Valentin, depicting him before he jumped (eventually he jumped to his death) helmeted and goggled and decked out in his special flying-suit with voluminous wings. This is the principal visual source of the various Bird-Men.’ (Edward Mullions, ‘Introduction’, The Art of Elisabeth Frink, Lund Humphries, London, 1972, unpaginated). Frink’s work defies precise interpretation. She declared: ‘what I’m doing is trying to set up a kind of encounter with the spectator, a dialogue between my sculptures and the public. People have to add part of themselves to make it work; they have to look into it as well as at it.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, op.cit., p. 64).
Ernest Procter A.R.A. (British 1885-1935) The Long Range Bombardment of Dunkirk, circa 1918 signed, indisctinctly dated and inscribed 'FRANCE' (lower right), oil on canvas(49cm x 59.5cm (19.3in x 23.4in))Footnote: Literature: TIS, 'About Dod & Ernest Procter', Colour, April 1919, vol. 10, no.3, p. 51 (illustrated) This major work is the long-lost The Long Range Bombardment of Dunkirk which has recently come to light in a private collection. As Elizabeth Knowles has explained ‘Ernest [Procter] made relatively few major oil paintings of war subjects, perhaps the most notable being The Long Range Bombardment of Dunkirk from sketches and notes made on the spot. (Elizabeth Knowles, ‘Ernest Procter ARA 1886-1935’, Dod Procter RA 1892-1982 and Ernest Procter ARA 1886-1935, Laing Art Gallery, Newcastle-upon-Tyne, 1990, p. 32). Ernest Procter was born in Tynemouth, Northumberland into a Quaker family. He trained at Leeds Art School and then under Stanhope Forbes in Newlyn, where he met the artist Doris ‘Dod’ Shaw (1890-1972). They furthered their studies at the Académie Colarossi in Paris and married in 1912; Dod was thereafter known by her married name and their son Bill was born the following year. The couple worked and exhibited together, most significantly on the decoration of the Kokine Palace, Rangoon, Burma in 1919-20 and in joint exhibitions held at The Fine Art Society and the Leicester Galleries in 1913 and 1926 respectively. Following the Procters’ return from Burma, Ernest established an art school in Newlyn with Harold Harvey (1874-1971), which they ran until the mid-1920s. Procter played a leading role in the Cornish art world, whilst maintaining a high profile in London. He was a member of the St Ives Society of Arts and Newlyn Society of Artists, joined the New English Art Club in 1929 and was elected an Associate Member of the Royal Academy three years later. He was best known for the allegorical figure compositions and landscapes which were regularly shown in group exhibitions such as those at the Royal Glasgow Institute, Royal Hibernian Academy and the International Society of Sculptors, Painters & Gravers. In 1934, Procter was appointed Director of Studies in Design and Craft at Glasgow School of Art, but he died the following year. Memorial exhibitions were mounted at the Leicester Galleries and Laing Art Gallery, Newcastle. In line with his religious beliefs, Procter declared himself a conscientious objector on the outbreak of World War One. The Friends' Ambulance Unit was established soon afterwards by a group of young Quakers, as a means for civilian volunteers to contribute to the war effort in a non-violent way. The Unit travelled to Dunkirk in October 1914 under the auspices of the British Red Cross Society and the Order of St John of Jerusalem. Procter’s personnel records reveal that he joined it on 11 April 1916, arrived in Dunkirk on 12 June 1916 and served until his demobilisation on 2 February 1919. His duties included care of the wounded, ambulance maintenance and quartermaster tasks. He also designed and decorated Red Cross huts and camp entertainment, whilst recording his experiences in sketches, drawings and paintings as circumstances permitted. Towards the end of the war, Procter applied to the Ministry of Information for a permit to depict the work of the Red Cross on the Western Front. He was engaged under Scheme 3 of the British War Memorials Committee, whereby in return for facilities, Procter was to offer the first option on all the work he made to the committee, with no salary or expenses. His permit was granted in November 1918. This gave him just a few months before demobilisation to produce the work he carried out for the Royal Army Medical Corps section and was presented for approval in February 1919; six watercolours were acquired and are now in the collection of the Imperial War Museum. They are held alongside a significant number of Procter’s World War One drawings and one of his sketchbooks from the period (see https://www.iwm.org.uk/collections/search?query=ernest+procter&pageSize=30&media-records=all-records&style=list accessed 1 April 2022). Long Range Bombardment of Dunkirk is thought to be an extraordinarily personal and direct account of the major German offensive against the French city which took place over 20 to 23 March 1918, culminating in the use of a German long-range gun situated twenty miles away. Indeed, the painting could act as an illustration of the diary entry for 24 March 1918 written by Procter’s friend Molly Evans (1890-1974), who served as a Voluntary Aid Detachment nurse with the Friends’ Ambulance Unit based in the local Queen Alexandra Hospital. This concludes ‘unending stream of sorting people, carrying bedsteads, personal belongings, mixed up. Glorious sunny day. Queer scene. Frenchmen, lunatics, Chinese carrying things on bamboo sticks, nuns, English sisters, patients, officers, orderlies, all collecting ‘goods’, a procession of Chinese carrying 7 coffins through it all. Crashing shells at intervals. A weary & never-to-be-forgotten day.’ (see https://www.morganfourman.com/articles/hospital-evacuation-under-fire-dunkirk-20-23-mar-1918/ accessed 26 March 2022). Seen from the point of view of the fleeing civilians whom Procter was in the region to aid, he depicts the nearby dunes strewn with refugees and members of the military, streaming away from the city which burns in the background. The towers of the church of Saint Éloi and the town hall are visible in the skyline – of which an annotated sketch is in the Imperial War Museum’s archive (War Artist Archive: Ernest Procter, ART/WA1/298, 'Belgium misc’ portfolio). The image is full of sensitively observed human relationships, between adults and children of all ages, interspersed with animals. Children play whilst grown-ups survey the scene before them, overlooked by a cross on a dune to the upper left, which may refer to Christ’s crucifixion at Calvary. Sunshine and shadow are captured over the flow of the dunes, whilst a use of bold colour, including red, green, pink and orange, attracts the eye throughout the complex composition. The importance of Long Range Bombardment of Dunkirk was recognised immediately. It was reproduced in colour and singled out for extensive praise in an article about Ernest and Dod Procter in Colour of April 1919, in which its author wrote that, despite the tragedy of its subject matter: ‘I…consider his “Long Range Bombardment of Dunkirk” a really remarkable picture…To begin with, it is extraordinarily attractive at the first glance. The eye taking in the whole picture at once is fascinated by its arrangement of colour patterns: there is something Japanese in its composition and even in its colour. Once attracted the eye begins to inform the mind and the mind browses over every square inch, taking in every anecdote, every pictorial detail, wondering how it was possible to combine so much pure art with so much pure story – and every artist must be delighted with the ingenious manner in which he has contrived to make the many-figured whole hang together as one thing. He comes near to Peter Brueghel in his incidents, but Peter Brueghel could not have reached him in composition. This Bombardment I say again is a remarkable picture.’ (“TIS”, 'About Dod & Ernest Procter', Colour, April 1919, vol. 10, no.3, p. 51 (illustrated) & p.52). Procter was to develop the narrative richness, orchestration of complex figure groups and skilful use of colour seen in this work in further major paintings created after his return to Cornwall, including On the Beach at Newlyn, 1919 and Cornish Beach Scene, c.1922, both in private collections. His work is held in numerous public collections.Provenance:Private Collection, Scotland.Believed to have been purchased in 1948, and by descent in the same family to the current owner.
A collection of boxed Corgi and Dinky Toys models to include, Corgi Toys gift set 13 Fordson Major Tractor and Plough, 2x No. 1127 Simon Snorkel Fire Engine, No. 1118 International 6x6 Army Truck, a Dinky Toys No. 204 Ferrari 312P, No. 666 Missile Erector Vehicle and a Benbros army truck mounted aerial
A Britains collection to include, No. 4714 Model Riding School to include layout, buildings together with horses and rider figures - the set is not checked for completeness, also sold with the lot is a quantity of Deetail model soldier figures including Paratroopers, American and German Army as well as a Kubelwagen
CWC Quartz British Military Army issue stainless steel gentleman's wristwatch, black enamel dial, with broad arrow, circled 'T' for Tritium and date aperture, back case stamped W10/6645-99 5415317 31362 84, on fabric strapCondition Report:Movement currently functioning (may need new battery), dial good, some scratches to glass
Remington 1858 New model army .44 percussion revolver, 8 inch octagonal barrel fitted with later front sight and with remnants of original maker's roll stamp, six shot cylinder, brass trigger guard with inspectors stamp, serial number 114370, refinished overall.Section 58(2) antique / obsolete calibre, can be owned without a licence. Buyer must be over the age of 18, age verification ID will be required if the lot it to be posted out.34cm long Condition report: The revolver has been completely refinished. Most of the factory makers roll marks have been lost from the barrel but the serial number and army inspectors letters still exist. In our opinion the revolver has probably been refinished and overhauled to allow it to be used by a modern target shooter. The reasoning for this is that the action is very positive with correct indexing, the mainspring is very strong. The front sight has been replaced with a dove-tailed sight to allow it to shoot accurately as original Remington front sights can be problematic to get to shoot to the correct aim point. The bore and inside of the cylinders have some pitting patches throughout which are too deep to polish out. A strong rifling pattern remains.
Smith and Wesson .32 rimfire No.2 Army revolver, with a good amount of blue remaining, the tip-up 6 inch barrel roll marked Smith and Wesson Springfield Mass. six shot cylinder with 1856, 1859 and 1863 patent stamps, serial number 59460, owners initials AB to base of grip. Section 58(2) antique / obsolete calibre, can be owned without a licence. Buyer must be over the age of 18, age verification ID will be required if the lot it to be posted out.26cm long Condition report: Generally good overall condition. The action works correctly with good indexing and lock up. The bore and internals of the cylinder have scallered light pitting throughout but a strong rifling pattern remain. The finish has some wear but a good amount of original blue remains. The grips have some light dents and scratches but no repairs or damages.
Army and Navy rook rifle stock and action only, no barrel or forend present, serial number 50750, with silver pistol grip boss engraved 'Presented to T.M.Lovett Esq. by the tenants on Henlle Hall Estate on his coming of age May 29th 1914. Section 58 (2) antique / obsolete calibre, can be owned without a licence. Buyer must be over the age of 18 and age verification will be required if the lot is to be posted out.
1897 pattern Wilkinson Royal Army of Oman Officers sword and scabbard, the etched blade with Oman crests either side, stamped with issue number 103024, the Oman crest repeated on the pierced guard, with wire bound fish skin grip in original leather covered scabbard.According to the Wilkinson ledger at the Royal Armouries, this sword was purchased 23rd July 1974 as part of a batch of 25 sold to the Muscat Infantry.Buyer must be over the age of 18. Age verification ID will be required if this lot is to be posted out. 100cm long
Loading...
![Frank Williams signed Dads Army 10x8 black and white photo. Frank Williams (born 2 July 1931] is an English actor. He is best](https://cdn.globalauctionplatform.com/1423248a-351c-4029-a4dd-ae680093404e/a150c4a7-373b-4b5c-aa0b-ae7a00d345b3/468x382.jpg)
