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Click here to subscribeA.M 390 bisque head doll, German circa 1910, with weighted brown glass eyes, open mouth, upper teeth and original brown wig, on a fully jointed wood and composition body and wearing a later maroon silk and velvet dress with large sleeves, gold braiding and lace, bonnet with feathers, undergarments, socks and shoes, 24” (61cm) tall.
Bahr & Proschild 604 bisque head character doll, German circa 1910, pale bisque head with weighted brown glass eyes, painted lashes and eyebrows and open/closed mouth with two moulded upper teeth, original blonde wig and on a fully jointed wood and composition toddler body, wearing a later pink cotton dress, underclothes and bonnet, 20 ½” (52cm) tall.
Madame Rohmer glazed china fashion doll, French circa 1870, with fixed blue glass eyes, painted lashes and brows, closed mouth and nostrils, kid leather pate and fixed neck to kid leather body with individually stitched fingers, wearing an original brown dress with blue trim, (tear to left ankle), 15” (38cm) tall.
J.D Kestner 192 bisque head doll, German circa 1890, pale bisque head with fixed blue glass eyes, painted lashes and feathered brows, closed mouth with hint of tongue, pierced ears, blonde wig and pate, on a fully jointed wood and composition fixed wrist body, wearing all original pink and lace silk dress, bonnet, petticoats and bloomers with pink ribbons, pink socks and leather shoes, 12 1/2” (32cm) tall.
Kammer & Reinhardt 101 bisque head character doll, German circa 1910, with painted light blue eyes, single stroke eyebrows, closed mouth and blonde wig in plaits, on a fully jointed wood and composition body and wearing a white lace dress, underclothes, socks and later shoes, 12 ¼” (32cm) tall.
Large Heinrich Handwerck/S&H bisque head doll, German circa 1910, with weighted brown glass eyes, real lashes, and raised brows, open mouth with upper teeth, brown wig and pierced ears, on a fully jointed wood and composition body, wearing a later cream and yellow striped dress, underclothes, shoes and socks, 30” (76cm) tall.
A.M 390 bisque head Fairy doll, German circa 1910, with brown glass eyes, open mouth and upper teeth, brown wig and on a fully jointed composition body and wearing a white fairy dress with wings, decorated with gold tinsel, 11” (28cm) tall, together with eight glass Christmas tree light bulbs depicting Father Christmas, Rabbit, Hippo, Bird in cage, Shell and three fruit, (9 items).
A.M 390 bisque head doll, German circa 1910, with weighted blue glass eyes, painted lashes and raised brows, brown wig and on a fully jointed composition body, wearing a cream patterned dress, (needs stringing, A/F), 14” (36cm) tall, together with an S.F.B.J bisque head doll and another in red dress, (3 items).
‘Charlotte’ a poured wax shoulder head doll, probably by H.J Meech, English circa 1870, the finely moulded face with inserted grey/blue glass eyes, moulded lids and finely painted brows, having painted slightly smiling mouth and nostrils, moulded ears and inserted auburn hair with unusual widows peak, and plait, wax shoulder-plate to cloth body with wax lower arms having creases at wrists and elbows and lower legs with moulded toes, wearing a white cotton dress with brown silk sash, ribbons, pearl necklace and underclothes, (good overall condition) 22” (56cm) tall.
Simon & Halbig mulatto bisque head doll, German circa 1910, with weighted brown glass eyes, painted lashes, and brows, open mouth with upper teeth, pierced ears and black wig, on a fully jointed wood and composition body and wearing a red gingham dress, 14” (35cm) tall, together with two Heubach Koppelsdorf 399 black baby dolls, (3 items).
East Coast African Expedition 1873-74 & Livingstone Exploration interest- a Victorian Royal Engineers Officer's dress sword, formerly the property of Major Cecil William Esmonde Murphy, Royal Engineers:, the straight single edge blade with acid etched decoration, armorial and initials 'CWEM' retailer mark to ricasso for J B Johnstone, London & Dublin,scroll decorated one piece hilt and guard, single quillon, wire bound fish skin grip, in a polished scabbard with double suspension loop, blade length 82cm long, together with copies of family research and documentation.*Biography - Major Murphy was born in India in 1842 and commissioned into the Royal Engineers in 1862. He was acting as Commissary of Ordnance at Aden when he was asked to join a relief search party sponsored by the Royal Geographic Society. The society were concerned about Doctor Livingstone after losing contact since the infamous meeting with Henry Morton Stanley and a relief party was formed under the command of Lieutenant Verney Lovett Cameron. The expedition was beset by tragedy from the outset, as Robert Moffat (a nephew of Livingstone) was struck down by fever and died. The expedition's progress was hindered by the mass desertion of carriers who were scared of being caught in the middle of a war between natives and Arab slave traders. All three men leading the party were struck by illness, Cameron was struck by fever that caused weeks of blindness and Dr William Dillon was delirious and suffering from internal inflammation. Upon meeting some of Livingstone's carriers in Unyanyembe they learned of the death of Livingstone but Cameron decided to press on with the expedition and became the first man to cross Central Africa coast to coast, while Murphy believing the expedition to have finished resigned and decided to escort Livingstone's body back to Bagamoyo. *Provenance. By direct family descent.
A George VI Infantry Officer's dress sword:, the acid etched blade with crown and 'GR' cypher, over a plated hilt decorated en suite, wire bound fish skin grip and chequered backstrap, brown leather bullion loop, in a brown pig skin leather scabbard, blade length 80.5cm long. infantry sword.
A Victorian Royal Engineer Volunteer's dress sword by Pillin, London:, number 5215, the acid etched blade with crown and 'VR' cyhper, with gilt brass one piece oak leaf decorated pierced hilt and guard, single quillon, wire bound fish skin grip and brass backstrap, in a brass scabbard with double suspension loop, blade length 82.5cm
A George V Royal Engineers Officer's dress sword by S J Pillen , London:, number 100334:, the straight blade with acid etched decoration over hilt with crown and 'GRV' cypher, wire bound fish skin grip and chequered backstrap, in a brown leather scabbard with plated chape and throat, blade length 82cm.
A group of twelve autochrome slides of an English family in their house and garden:, interior and exterior scenes including one of a group of figures in fancy dress 11 x 8cm and one smaller 8 x 8cm. together with an autochrome of a group of butterfly specimens and a small group of miscellaneous diapositive lantern slides (a lot)
A late Victorian/early Edwardian lady's silk and lace dress:, the silk undergarment covered by two layers of lace, the upper layer embroidered with stylized flowers, the V-neckline trimmed with pink and blue silk ribbon embroidered with flowers, over a pink and blue silk ribbon waistband, with a silk entwined pattern to front.
An Edwardian cream silk and lace wedding or evening dress:, having triple layered sleeves with floral embroidery and sequins, the pleated panel neckline with central floral embroidered panel extending down the front of the dress, bodice lined interior with label for 'Miss Antoine, Duke Street, Manchester Square'.
A German bisque shoulder headed doll by Cuno & Otto Dressel:, remains of brown wig over blue glass paperweight sleeping eyes, open mouth with teeth and painted face, impressed factory marks to back of head on a leather body with composite forearms and calves, dressed in a later silk and embroidered dress and bonnet, 35cm high.
Ives (USA) mechanical 'Juba Dancers', circa 1890:, two articulated wooden dancers, one in a red polka dot dress, the other in a white skirt, on poles operated by a counterbalanced clockwork mechanism within a mahogany case, 26cm high.*Notes- believed to be an example of one of the earliest American manufactured clockwork toys.
A late 19th century wooden lacquer doll, box and cover:, with painted face and gilt decorated dress, together with a plush rabbit and dog under a glass dome, 20cm high, and a Continental wooden doll with painted face and pink and lace dress under a glass dome, under an associated glass dome and wooden base, 18cm high (2)
MANNER OF RICHARD CROSSEPORTRAIT MINIATURE OF A GIRL, 18TH/ EARLY 19TH CENTURY watercolour on ivory, the sitter wearing a pink dress with flowers in her hair, in a gilt bracelet case frame3.3cm long approx.Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
JOHN RILEY (BRITISH 1646-1691)PORTRAIT OF A LADY WITH PEARLS Oil on canvas, oval74cm x 63.5cm (29in x 25in)Note: John Riley was an eminent portrait painter of courtly life in the 17th century. Second only to Sir Peter Lely and with a lone rival in Sir Godfrey Kneller, his quieter reputation in the annals of art history has been attributed to his modesty of character. This extended to characterise his work which has been described as possessing an "unassuming sincerity". Today, as modern viewers looking back on a past era, his accurate and unexaggerated rendering of his sitters brings us fascinatingly and pleasurably close to understanding his subjects as real individuals. His work, understated and quietly sophisticated, is also cited as typifying a distinctly English approach within the genre of portraiture. In 1681 Charles II appointed him 'painter and picture drawer in ordinary', the highest accolade a portrait artist could attain. He is said to have produced a portrait of Charles, now believed lost, that prompted the response: 'Is this like me? Then, odd's fish, I'm an ugly fellow." Unfortunately then for Charles, Riley was considered a master of depicting the face, and, by extension, character.The portrait offered here for sale is no exception. Though unidentified, we can glean much of our sitter through observation alone. Though her fine dress and fashionable adornment of strings of pearls obviously denote her as a high born, courtly lady, we can also potentially infer a gentle demeanour from the muted palette and the extraordinarily soft and delicate handling of her facial features and face framing curls. Riley makes much of her large, dark eyes which hold the viewer arrestingly in their gaze; the overall effect being that of an unostentatious but nonetheless striking young woman.
JAMES SCOVELL (fl.1815-1840)Portrait miniature of Lt. Colonel Booth, Royal Engineers, quarter-length, wearing uniform; and Portrait of Mrs Colonel Booth, wearing a blue lace-trimmed dress with inscriptions as titles on labels on the reverse on ivory3 1/2 x 3 in (8.9 x 7.7cm); a pair (2)James Scovell, was the son of an umbrella maker of Wade Passage Bath. He was self taught and worked from Paragon Buildings Bath, where he is said to have taken over the practice of the miniaturist Charles Jagger (c.1770-1827)
‡JACOB KRAMER LG (1892-1962)Portrait of Annie Robertsonquarter-length, wearing a brown dresssigned 'Kramer' (lower left)oil on canvas26 1/2 x 22 1/2 in (67.3 x 57.3cm)Provenance: the Robertson Family, by descentThe sitter Annie Robertson, was the wife of Bernard Robertson, a well known solicitor in Tunstall, Stoke on Trent.This portrait is believed to have been painted shortly after their marriage in 1927, and was very probably commissioned direct from the artist by Bernard Robertson. He may well have been introduced to the artist by his friend and business partner Sir Barnett Stross, a well known political figure and patron of the Arts.Kramer studied at the Leeds School of Art before receiving a scholarship from the Jewish Aid Society to study full time at the Slade School of Art 1913-1914. After the War he returned to Leeds where he became an established portrait painter, building up a large clientele in the area. For a portrait of comparable date to that of Annie Robertson, see a depiction of Dorothy Parker painted by Kramer in 1928.
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