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Lot 21
SIR HENRY RAEBURN AND STUDIO (SCOTTISH 1756 - 1823), PORTRAIT OF THE FIDDLER NEIL GOW oil on canvas framed image size 123cm x 98cm, overall size 141cm x 115cm Provenance: Private Collection Canada till November 2021; Christies, 7th October 1949 Lot 171 as “Raeburn, Portrait of Neil Gow” (Christies Stencil Verso). Note 1: According to Raeburn expert David Mackie in his thesis on Henry Raeburn, the artist executed several versions of the painting of Neil Gow: 'The first listing of the versions Raeburn executed of this portrait was given by “Andrew, William Raeburn “Life of Sir Henry Raeburn, R.A” in 1886 (p. 124): One for the County Hall, Perth, which is now in Perth Art Gallery and Museum; one with the Duke of Atholl, which is still with that family; one with Lord Gray, (this may be the version which was recorded by the Photographic Survey as with the Honourable Mr Gray at Kinfauns, alternatively, it may be the version sold by the Earl of Moray at the Moray Sale, Sotheby's, 9 June 1932; to Hepburn); and one for William Maule, afterwards Lord Panmure, the present whereabouts of which is unknown. In addition to these versions Caw (Armstrong, p. 103) stated that one was in the collection of a Mrs Mackenzie; according to Caw, it was presented by the artist to the sitter; it was with the Erich Gallery, New York, in 1908; George G. Benjamin; his sale, American Art Association, 18 March 1913 (64); to Stuart Duncan; its present whereabouts is not known; a note in the Frick Art Reference Library (221 -10f) states that it had been cut down and that it was "repainted". Caw also listed a version in the collection of the Earl' Note 2: Neil Gow was the most famous Scottish fiddler of the eighteenth century. Gow received patronage from the Duke of Atholl, and it is believed that this was the result of Gow's performance in a musical competition, judged by John McCraw, a blind musician, who awarded Gow first prize, and stated that he "would ken his bow hand amoung a hunder(d) players". This patronage meant Gow secured performances for balls and dance parties put on by the local nobility, which would go on to make him a renowned musician and composer. Raeburn’s portrait of the same dimensions, of Neil Gow is currently on display at the Scottish National Portrait Gallery, which is believed to be the autograph version of this work.
Lot 19
* SIR MUIRHEAD BONE HRSA (SCOTTISH 1876 - 1953), MOUNTAIN LANDSCAPE oil on board, signedframed image size 17cm x 22cm, overall size 29cm x 32cm Note: Bone was a Painter, draughtsman and etcher. Born in Glasgow to a family which produced a number of artists, writers and critics, his son was Stephen Bone, 1904-58 (q.v.). Initially he was apprenticed to an architect 1890-94 and attended Glasgow School of Art, studying printmaking, 1898. Moved to London 1901, having his first solo exhibition at the Carfax Gallery in 1903 and was a founder member of the Society of Twelve. Member of the New English Art Club and the Glasgow Art Club. He was appointed the first Official War Artist in 1916 (and subsequently appointed by the Admiralty in 1940 during WWII). He was a trustee of the Tate Gallery, National Gallery and Imperial War Museum. Knighted 1937. Close friend of Campbell Dodgson, keeper of Prints and Drawings, British Museum. He died in Oxford in 1953. Memorial exhibitions held in Manchester and organised by the Arts Council, 1955. His work is held by the Tate Gallery., Imperial War Museum as well as the British Museum.
Lot 39
* ANNE REDPATH OBE RSA ARA (SCOTTISH 1895 - 1965), STILL LIFE WITH ASPIDISTRA oil on board, signedframedimage size 62cm x 52cm, overall size 80cm x 69cm Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled: “When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since. “Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944. Admiration for her still life’s soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still life’s stand out like patches of blue sky on a grey day.’ The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work.
Lot 29
GEORGE SMITH RSA (SCOTTISH 1870 - 1934), HORSES AT THE SEA oil on canvas, signedframedimage size 137cm x 198cm, overall size 143cm x 205cmNote: So far as we can ascertain, "Horses at the Sea" is the equal largest example of George Smith's work ever to be offered at auction. The dimensions of 137 x 198cm (approximately 54 x 78 inches) suggest that this picture was painted for a major exhibition. The only other example of these dimensions which we can identify was "Where Might is Right" Christie's 25.05.2007 lot 38 which sold for £6,600 (premium).Note 2: George Smith was born on 2nd February 1870 in Mid Calder, a village formerly in the county of Midlothian. He attended George Watson's Boys College in Edinburgh from October 1882 and his formal training as an artist commenced at The Trustees Academy (Edinburgh) in 1885. At the age of nineteen Smith travelled to Antwerp to train under Verlat at Academie Royale des Beaux-Arts d'Anvers. After returning to Edinburgh he enrolled at the Royal Scottish Academy Life School where his fellow students included Samuel J Peploe and Robert Brough. Smith won the Keith Prize (1894) for the best painting by a student of the Life School at the RSA Annual Exhibition. George Smith had his first painting accepted for the RSA Annual Exhibition in 1888 when he was only eighteen years of age and probably uniquely had at least one painting accepted every year for the rest of his life. A total of 122 entries were accepted at the Royal Scottish Academy (RSA) until his death on 26th November 1934 and in 1935 a further five were exhibited. He also exhibited 87 paintings at the Royal Glasgow Institute (RGI) between 1892 and 1935. His work was also exhibited at Royal Academy (London), in Liverpool at The Walker Art Gallery, at Manchester and at the Royal Hibernian Academy in Dublin. He also exhibited abroad including at Rome (1911) and at The Munich International Exhibition in 1912. In an issue of "The Studio" in 1908 it stated "in every important art centre from St Petersburg to Paris his work is favourably known". George Smith's considerable commercial success was probably why his style and subject matter of horses or cattle in association with man in a rural environment changed little during his career.
Lot 3
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), JEAN oil on canvas, signed, titled and dated '33 versoframed (frame loose)image size 111cm x 76cm, overall size 114cm x 79cmNote: Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale. In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King's cottages, and became a key figure in the town's art circles. Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as 'two brilliant daughters of Scotland'. However, Johnstone's wedding to her ECA colleague David M Sutherland that year meant she had to resign her from her job, as the 'Marriage Bar' legislation prevented married women from holding full-time teaching positions. With the birth of her children and her husband's appointment as Head of Gray's School of Art in Aberdeen, Johnstone's career lost momentum. She continued to paint as domestic responsibilites permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.
Lot 6
* FRANCIS PATRICK MARTIN (SCOTTISH 1883 - 1966), NOVEMBER MORNING - MORAR oil on canvas, signed, titled label versoframedimage size 51cm x 61cm, overall size 58cm x 68cmHandwritten artist's label verso.Note: Born in Anstruther, Franc P Martin studied at the Glasgow School of Art under David Forrester Wilson, 1919 -20. A painter of landscapes, genre subjects and still life in oil and watercolour, he frequently exhibited at the Royal Glasgow Institute, Royal Scottish Academy and Walker Art Gallery, Liverpool. He was also commissioned to produce a number of celebrated posters for the Post Office. He was elected President of The Glasgow Art Club and Secretary of the Royal Glasgow Institute.
Lot 12
EDWARD ATKINSON HORNEL (SCOTTISH 1864 - 1933), THE LITTLE SHEPHERDESS oil on canvas, signed and dated 1919framedimage size 41cm x 51cm, overall size 58cm x 68cm Note: Born in Bacchus Marsh, Victoria Australia, on 17 July 1864 of Scottish parents, and he was brought up and lived practically all his life in Scotland after his family moved back to Kirkcudbright in 1866. He studied for three years at the art school at Edinburgh, and for two years at Antwerp under Professor Verlat with his friend William Stewart MacGeorge. Returning from Antwerp in 1885, he met George Henry and associated himself with the Glasgow Boys. Hornel and Henry collaborated upon "The Druids Bringing in the Mistletoe" (1890), a procession of druidic priests bringing in the sacred mistletoe, gorgeous with polychrome and gold. The two worked side by side to achieve decorative splendour of colour, Hornel boldly and freely employing texture effects produced by loading and scraping, roughening, smoothing, and staining. In 1893-94 the two artists spent a year and a half in Japan, where Hornel learned much about decorative design and spacing. Towards the close of the nineties his colours, while preserving their glow and richness, became more refined and more atmospheric, and his drawing more naturalistic, combining sensuous appeal with emotional and poetic significance. In 1901 he declined election to the Royal Scottish Academy. A member of Glasgow Art Club, Hornel exhibited in the club's annual exhibitions. In 1901 he acquired Broughton House, a townhouse and garden in Kirkcudbright, which was his main residence for the rest of his life with his sister Elizabeth. There he made several modifications to the house and designed a garden taking inspiration from his travels in Japan. He also made an addition of a gallery for his paintings. On his death the house and library were gifted to the town "for the benefit of the citizens of Kirkcudbright" and Broughton House (the Hornel Museum) is now administered by the National Trust for Scotland. There are examples of his works in the museums of Aberdeen, Buffalo, Bradford, St. Louis, Toronto, Montreal, Glasgow, Edinburgh, London, Leeds, Manchester, Hull, Bath, and Liverpool. In UK public collections alone there are 186 documented examples of Hornel's work.
Lot 16
ROBERT MCGOWAN COVENTRY RSW ARSA (SCOTTISH 1855 - 1914), THE RIVER SEINE AT NOTRE DAME, PARIS oil on board, signedframed image size 40cm x 50cm, overall size 91cm x 72cm Note 1: The Scottish artist Robert McGown (McGowan) Coventry (1855–1914) was born in Glasgow and trained at the Glasgow School of Art under Robert Greenlees and in Paris. He travelled on the Continent and to the Middle East but found most of his subject matter in the fishing communities of Scotland and in the Scottish Highlands. He was not closely associated with the group of young painters known as the Glasgow Boys, but shared their interest in rustic realism, in painting in the open air, and in French-inspired tonal and compositional technique. He was based in Glasgow throughout his professional life. In 1889 he became a member of the Royal Scottish Society of Painters in Watercolour and in 1906 was elected associate of the Royal Scottish Academy, exhibiting regularly with both organisations and with the Glasgow Institute of the Fine Arts.Note 2: The work on offer is a rare Paris scene depicting the activities of everyday life on the river Seine in the late nineteenth century, which demonstrates the influences of the French masters in the freedom of the brushwork and strong use of colour.
Lot 18
DAVID GAULD RSA (SCOTTISH 1865 - 1936), AYRSHIRE CATTLE LOOKING OUT TO SEA oil on canvas, signedframed image size 50cm x 60cm, overall size 65cm x 75cm Label verso: James McClure & Son, GlasgowProvenance: Private Scottish (Glasgow) collection.Note: David Gauld (7 November 1865 - 18 June 1936) was an important Scottish artist who worked in both oils and stained glass and was regarded as being one of the innovators within the Glasgow Boys group. Some of his works, such as St Agnes and Music are seen as precursors of the Art Nouveau movement. His works were seen as having both a Japanese and Pre-Raphaelite influence. Gauld was born in Glasgow and served an apprenticeship as a lithographer and then attended Glasgow School of Art from 1882 to 1885. He came to public notice in the 1880s when he supplied a series of Japanese-influenced pen and ink drawings for the Glasgow Weekly Citizen. Gauld shared the Castlemains Studio in Kirkcudbright with William Stewart MacGeorge and then in later life shared a studio with Harrington Mann at 31 St Vincent Street in Glasgow from 1891 to 1894. During this time he designed stained glass windows for Guthrie and Wells. Gauld then took new premises at 138 West George Street in Glasgow. He also lived at various locations in Kirkcudbright, Glasgow and North Berwick. In 1889 he returned to the Glasgow School of Art and also studied in Paris for a period that year. Like other artists from Glasgow, Gauld spent time at the artist's colony at Grez-sur-Loing in France. Forty-three examples of David Gauld's work are held in the collections of various UK public galleries including Glasgow Museums, The Hunterian, The Scottish National Gallery, Kelvingrove, Gracefield, Paisley, Kirkcaldy and The Fleming Collection (London).
Lot 38
STUDIO OF ALLAN RAMSAY (SCOTTISH 1713 - 1784), PORTRAIT OF JEAN ABERCROMBY (MRS MORRISON OF HADDO) oil on canvasframed image size 76cm x 63cm, overall size 99cm x 86cm Note 1: The sitter was the daughter of General James Abercromby and the sister of Anne Abercromby. In 1767 she married Captain James Morison of Haddo. He died in 1777 and she married secondly Admiral Robert Duff of Loggie. The composition of the present work recurs in three other portraits of circa 1758-60, Mrs Margaret Ramsay, Mary, Countess of Sutherland, and a portrait of an unidentified lady. Note 2: This portrait is believed to be the one catalogued in Smart’s catalogue of Ramsay’s work as; 379a “whereabouts unknown”. According to Smart 379, Illustrated on page 19 of the catalogue there are two versions of the painting of Jean Abercromby (379 and 379a). The autograph version is held by York Art Gallery having purchased the painting from Sotheby’s in 2002 for £420,000 (Hammer). The second version, or presumably studio work, was owned by Princess Louise, Dutchess of Argyll, and Daughter of Queen Victoria. It was sold in her sale in 1924 by Christies, as by Zoffany. This appears to be where the provenance of the work was lost until the painting presumably re-appears at Christies in 2004 as the Property of Prince Galitzine. Prince Vladimir Emanuelovich Galitzine (17 June 1884 – 15 July 1954) was a Russian émigré who lived in England. He was the Chairman of the Russian Society of Support to Russian Emigrants in England.Provenance: Sotheby's London, March 26, 2004, lot 20 as after Allan Ramsay, Property of Prince Galitzine (Died December 2002), Doyle New York, Lot 54, 10th November 2021, as after Allan Ramsay, Possibly, by family descent to the 1st Duke of Fife (1912); his widow, Louise, The Princess Royal; her sale Christies, 18th July 1924 (Lot 138, as Zoffany)
Lot 4
ANNIE ROSE LAING (SCOTTISH 1869 - 1946), A QUIET READ oil on canvas, signedframedimage size 49cm x 74cm, overall size 69cm x 94cmNote: Annie Rose Laing was a figure painter who lived variously in Glasgow, Frascati in Italy and in London, married to the artist James Garden Laing, who predeceased her by 31 years. Laing, who worked for a time under her maiden name Annie Rose Low, was born in Glasgow, where she studied at the School of Art, 1888–94, in the latter year winning the Haldane Travelling Scholarship. She studied under Jean-Paul Laurens in Paris. In the year she was married, 1908, she joined the Glasgow Society of Lady Artists. Exhibited in Munich, Germany, and in Rome International Exhibition, both 1911. Showed extensively at Royal Glasgow Institute of the Fine Arts, also at RSA, RA (London) and Walker Art Gallery in Liverpool. The Kelvingrove Art Gallery in Glasgow holds her oils "The Mirror" and "After Rehearsal". Died in Uckfield, Sussex.
Lot 37
ROBERT HOUSTON RSW (SCOTTISH 1891 - 1942), LOCH LOMOND oil on canvas, signed, titled label versoframed image size 61cm x 92cm, overall size 75cm x 106cm Label verso: W. B. Simpson, Glasgow. Note: Robert Houston was a printmaker and painter of landscapes and figurative subjects. Born in Kilbirnie, Ayrshire and studied at Glasgow School of Art. Noted for his aquatints. He designed and printed railway posters along with many other prominent artists of the time. Elected to the Royal Scottish Society of Painters in Watercolours in 1936 and exhibited with them and elsewhere extensively, including the Royal Academy, the Royal Scottish Academy, Royal Glasgow Institute of the Fine Arts.
Lot 34
ALEXANDER NASMYTH (SCOTTISH 1758 - 1840), ITALIAN LANDSCAPE AT DUSK oil on canvas, signedframedimage size 68cm x 96cm, overall size 92cm x 119cm Provenance: Private German Country House Collection. Christies, Glasgow stencil mark and label versoNote: By the 1800s Alexander Nasmyth's skill as a landscape painter was such that he was confident working on an ambitious scale, yet due to the numerous demands on his time relatively few pictures survive from this period. Between 1790 and 1810 he was remarkably industrious: in addition to supporting his large young family, he was setting up an art school where he taught classes and was also working on an ever-expanding portfolio of theatrical, engineering and landscape design projects. Nasmyth came from a line of architect-builders, and as a youth had been trained to take over the family business by his father but opted to pursue painting instead. It was not until later in life that he began to take on architectural and landscape-design commissions, embodying the Italian ideal of the architetto-pittore. James Nasmyth wrote: ‘My father was much employed in assisting the noblemen and landed gentry in improving the landscape appearance of their estates, especially when seen from their mansion windows. His fine taste, and his love of natural scenery gave him great advantages in this respect… he designed alterations of the old buildings so as to preserve their romantic features, and at the same time to fit them for all the requirements of modern domestic life.’ (ed. S. Smiles James Nasmyth, Engineer: An Autobiography,London, 1883, pp.36-37)
Lot 27
ROBERT MCGOWN COVENTRY RSW ARSA (SCOTTISH 1855 - 1914), THE WOODCUTTERS oil on canvas, signedframedimage 89cm x 130cm, overall 109cm x 150cmNote: Coventry was born in Glasgow and studied at the Glasgow School of Art under Robert Greenlees and in Paris. Although he travelled much to the continent and the Middle East, many of his paintings depict quayside and highland scenes from eastern Scotland. When visiting and painting in Belgium and Holland, he was influenced by the work of Mesdag and Maris. He used the signature "R M G COVENTRY". In 1889 Coventry was elected as a member of the Royal Scottish Society of Painters in Watercolour (RSW) and in 1906 he was elected an associate of the Royal Scottish Academy (RSA). He exhibited his marine and landscape paintings mainly at the RSA from 1875 until the year of his death (1914). Although "The Woodcutters" is undated, he painted several works of similar subject matter in the early 1900s including "The Forest Mill" which is held in the collection of The Royal Scottish Academy.
Lot 14
JAMES WHITELAW HAMILTON RSA RSW (SCOTTISH 1860 - 1932), WESTMORLAND oil on canvas, signed, titled label versoframedimage size 56cm x 69cm, overall size 78cm x 92cm Labels verso: T. &. R. Annan & Sons, Ltd., Glasgow.Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture. Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life. Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery. James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.
Lot 44
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), BEN CRUACHAN AND LOCH AWE oil on canvas, signed, titled label versoframed image size 46cm x 61cm, overall size 60cm x 76cm Labels verso: James McClure & Son, Glasgow; Bourne Fine Art, Edinburgh.Note: George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
Lot 7558
Franklin Mint Heirloom John Wayne Limited edition Collectors Plates x four, all Mint, within Excellent opened packaging. Bronze Art Gallery Bronze Screen Legend Cowboy Head 70118, Mint, within Excellent opened packaging. The Franklin Mint Limited Edition Porcelain Framed John Wayne The Oregon Trail Movie Poster, no 236, Near Mint. (6)
Lot 7415
A selection of DC & Marvel collectables including Corgi Chassis Art Collection 1:43rd 2000 Batmobile & Hand Painted Statuette, Mint, within Excellent box, Marvel Official .999 Silver Commemorative Collection Coin set, within Near Mint collectors tin, Marvel 80th Anniversary Pin Badge set, within Near Mint display case, a selection of collectors Mugs and other items, all generally Near Mint, some within Excellent to Near Mint packaging. (qty)
Lot 6288
Folk Art - an early 20th century Grödnertal or 'Dutch' peg doll, the carved and painted head with painted features including black hair, black eyes, red lips and blush red cheeks, jointed peg construction body, 16.5cm high; another Grödnertal or 'Dutch' miniature peg doll, 5cm high; other dolls including Norah Wellings etc (quantity)
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