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Lot 30
An early Victorian cream dress, the bodice with floral needlework decoration and net skirt with floral embroidered decoration, together with a Victorian black dress, assorted lace, a black bodice with stylised floral decoration, etc. CONDITION REPORTS Cream dress has staining and lots of holes all over, see images. Black dress has splits to seams, some pin size and larger holes especially around button loops, see images.
Lot 53
A Oriental coat, an early 20th century silk and lace wedding dress, a further dress, and a box containing assorted lace, blue garter and negligee CONDITION REPORTS Coat: has general wear and is dirty. There are a few pulls through out, some have been repaired. There is a hole on the bottom edge of one side seam, a section of collar has been together, a section of the back bottom edge has been sewn together into edging. See images. The two dress: both have heavy wear are, badly stained and very fragile. Veils etc: all badly stained and very fragile.
Lot 271
A Collection of Cigarette Card Sets and Part Sets by Wills and Players, Wills include Coronation Series, Transvaal Series, English Cricketers, Recruiting Posters, Seaside Resorts etc., Players include Life Onboard a Man O War, Military Head Dress, Motor Cars, Picturesque Bridges, Polar Exploration etc., in four albums
Lot 69
Seven Sets/Part Sets of Britains Hollowcast Lead British and Commonwealth Soldiers - No.114 Cameroon Highlanders (ten figures), No.1633 Princess Patricia`s Canadian Light Infantry (eight figures), No.1293 Durham Light Infantry in Tropical Dress (seven figures), No.77 Gordon Highlanders (eight figures), No.32/33N Highlanders in Khaki Service Dress (fourteen figures), No.96 York & Lancaster Regt (nine figures), No.17 Somerset Light Infantry (seven figures), all mounted on white card
Lot 70
Nine Sets/Part Sets of Britains Hollowcast Lead Overseas Soldiers - No.225 King`s African Rifles (two sets, one with nine figures, the other seven), No.202 Togo Land Warriors (seven figures), No.189 Belgian Infantry (six figures), No.2022 Papal State Swiss Guard (seven figures), No.2018 Danish Guards (four figures), No.2032 Red Army Figures in Summer Dress (eight figures), No.432 German Infantry (seven figures), No.1711 French Foreign Legion (twelve figures), all mounted on white card
Lot 73
Seven Boxed Sets of Repainted Britains Hollowcast Lead Figures - No.2112 Full Band of the United States Marine Corps Band in Summer Dress, No.2093 Band of the Royal Berkshire Regiment, No.2014 United States Marine Corps Band in Winter Dress, No.46 Egyptian Camel Corps, The Queens Bays (2nd Dragoon Guards), 17th Lancers and 11th Hussars, all in reproduction boxes
Lot 76
A Boxed Britains Post War Lead Mountain Artillery Set No.28, containing four mules, field gun, mounted figure and six standing figures, in a Regiments of all Nations box; Britains Pre-War Lead RAMC Horse Drawn Ambulance No.146a, with soldiers in first world war khaki service dress, no box (2)
Lot 569
A GERMAN NAVAL OFFICER`S DIRK, c.1940, 9 1/2" double edged blade with double fuller, and etched with leaves and anchor, inscribed "W.K.C." with helmet, gilt metal cross guard with anchor, wire wound composition grip and eagle pommel, original bullion dress knot, gilt metal scabbard with oak leaves in relief and two suspension rings, 16 1/2" overall
Lot 570
A GERMAN NAZI ARMY OFFICER`S DAGGER, c.1940, with 9 3/4" double edged blade, inscribed "TIGER SOLINGEN", cross guard with wreathed swastika and Nazi eagle insignia, composition grip, foliate pommel, original bullion dress knot, steel scabbard with oak leaf bands, two suspension rings and associated Luftwaffe straps
Lot 13
Derek Clarke RWS RSA (b.1912) Connemara Family Oil on canvas, 91.5 x 122cm (36 x 48") Signed and dated 1946 Exhibited: The Royal Hibernian Academy, London 1947, Cat. No. 335; The Royal Scottish Academy 1948; "Derek Clarke - Paintings and Drawings in Connemara 1938, 1939, 1946" Exhibition, The Frederick Gallery, September 2004, Cat. No. 41, where purchased by current owner Derek Clarke wrote for the Frederick Gallery about his time in Ireland and how this painting came about: "I am one of those artists who, having completed their Art School training by 1935, only had four years in which to establish themselves before war put an end to their careers - in many cases forever. In those days there were few travelling scholarships bursaries or prizes: those who could went off to Paris to further their development. My main influences were Cézanne and Van Gough, but I had no desire to be an adherent of any art movement. Instead I wished to find out whether I had a voice of my own. In 1937 I was in Ireland, carrying out commission portraits in Co. Tipperary and Co. Donegal. My patrons suggested that the place I was seeking might very well be Connemara, and a visit was arranged. The following year I set off on my bike across Ireland, travelling over the Burren to Galway, then along the coast road until I came across the village where the greatest number of red petticoats could be seen among the white or blue-washed houses, Rossaveel. Surely this must be the heart and centre of the Gaeltacht! The lodgings in which I settled provided a room in which to paint, but I was deprived of this facility on the arrival of a young man, Brian MacLochlainn, sent by the Irish Folklore Commission to discover whether there were any seanachaÃs (Gaelic storytellers) still in the district. He was a great help to me. I accompanied him on his evening sessions, equipped with his clockwork waxed drum recorder. Next day he would write the stories out in longhand, explaining obscure passages and obsolete words. He suggested that I would be considered very stand-offish if I went knocking on people's doors. So this set a pattern of my visiting. I would enter their houses, out would come The Chair and be dusted for me; I would decline and sit on the bench or stool. There ensued lengthy apologies that I regretted I had no Irish, and that they had no English. None of the children had any English, but usually some older person could speak it, having returned from America to get married or to claim some property. Then I would ask them whether I might make a drawing of them or their children. Apart from the women's paisley shawls, all clothes were made in the village; wool was carded and spun in the cottages, woven by the village weaver into all-purpose cloth, and made into clothes by the village tailor. All the young children wore the petticoat and had cropped heads with a small fringe or forelock. I was given to understand that the inability to tell the difference between the girls and the boys was to safeguard against losing the boys for changelings. When the children first went to school the mother was given 'the boot money', but the children continued to pad to school on their beautifully shaped feet. The older boys wore knickerbocker suits, and the older lads, like the men folk, wore the banÃn, a coat without lapels or buttons, made from white wool. After Christmas I moved to nearby Carraroe, where I was given a large white-washed bedroom and my own turf fire. So at last I had the facilities to do more painting. Unfortunately war was declared in September of that year. Having been wounded in Tunisia during the war, I was fortunate to be given a whole year's sick leave, which gave me the opportunity to do some painting based on my Connemara experience. In 1946 I returned to Carraroe with my wife, and was given the same large whitewashed room. To start painting again from scratch was like starting a new life. Post-impressionism was now history, American and International Art has not yet taken over. Some artists turned to abstraction, others to surrealism. Others, like me, felt the need to go back to nature and start learning again. One hot Sunday afternoon, I was painting a watercolour and ran out of water. I went into the nearest house to ask for more. The whole family stood around the fireplace, staring at me exactly as for the desired painting; the composition was already completely determined for the painting 'Connemara Family'. Father was at home dandling the baby. Mother was baking the daily loaf of soda bread in the pot oven. Best of all, they agreed to let me paint them in their house, and to pose for me whenever I wanted. I could not possibly have carried this out, if it had not been for the kindness of a young couple who lived a hundred yards down the road, and allowed me to leave the painting overnight, or contemplate it, or work on it on stormy days. My canvas and the sitters were lit by the window on the left, and the door open on the right. This interest in a double source of light is an important feature of this painting, and has stayed with me in all my paintings of people. When painting this picture, I usually started by asking two of them to pose together, before concentrating on one. I kept a strict record of the number of hours that each posed for me. The eldest girl (on the far right) worked in a knitting 'factory' which employed a few girls, learning to knit jerseys in imitation of the ingenious Aran Island patterns. Her sister wears a dress sent by her cousin in America. The little boy in the foreground wears the petticoat. Those worn by the two sisters in the centre had been improved by their mother, who added collars and dyed them blue. The elder of the two had the reddest hair that I have ever seen, yet as dark as the sooty fireplace behind her. The image of the Sacred Hear above the mantelpiece, which was a feature of every house, was the apex of the composition. Thanks to their co-operation I was able to complete this painting in circumstances which I doubt if another artist has experienced."
Lot 244
QUEEN VICTORIA ASHANTEE MEDAL, believed to be East & West Africa Medal with clasp for Gambia 1894, together with George V Coronation Medal June 1911, matching dress miniatures and ribbons together with various RAF and Navy buttons. Awarded to J Moore, Surgeon, Royal Navy, HMS Alecto. (Ashantee Medal awarded for the Gold Coast Campaign 1873-74 against King Kalklali, campaign which only lasted four weeks but was ferociously contested as a result of which four Victoria Crosses where awarded.There was a high instance of sickness and disease amongst troops notably amongst the naval contingent.)
Lot 747
Colonel The Hon Richard Legh 7th Cheshire Regiment. An officer`s red tunic, overcoat, jacket, a plumed bicorn hat, belt, a George VI dress sword, a pair of boots and stirrups, a pair of ivory backed hair brushes and shoe horn and a brass plaque inscribed `THIS HOUSE WAS BVILT BY SIR PETER LEGH ....1618 TO BE A SCHOOL HOUSE FOREVER...`. (A lot)
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228188 item(s)/page