Three: Acting Warrant Officer Class II T. Hollies, York and Lancaster Regiment, who was captured and taken Prisoner of War at Lagnicourt on the first day of the German Spring Offensive, 21 March 1918 1914 Star (10426 Pte. T. Hollies. 2/York: & Lanc: R.); British War and Victory Medals (10426 A.W.O. Cl. 2 T. Hollies. Y. & L.R.) contact marks, nearly very fine (3) £100-£140 --- Thomas Hollies was born in Worcestershire on 9 April 1893 and attested for the York and Lancaster Regiment. He served with the 2nd Battalion during the Great War on the Western Front from 9 September 1914, and is recorded as having suffered from Dysentery in October 1916, when admitted to No. 39 Casualty Clearing Station. Advanced Acting Warrant Officer Class II, he was captured and taken prisoner of war at Lagnicourt on 21 March 1918, the first day of the German Spring Offensive: he was recorded as having been wounded in the right hip at the time of his capture.
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Three: Driver A. Young, British Red Cross Society and Order of St. John of Jerusalem 1914 Star (A. Young. B.R.C.S. & O. St. J.J.); British War and Victory Medals (A. Young. B.R.C. & St. J.J.) nearly extremely fine, the first scarce to unit (3) £160-£200 --- Arthur Young served as a Driver with the British Red Cross Society and Order of St. John of Jerusalem during the Great War on the Western Front from 19 November 1914.
Family Group: Three: Stoker First Class J. Wood, Royal Navy, who was killed in action when H.M.S. Hampshire was sunk on 5 June 1916 1914-15 Star (SS.115800 J. Wood, Sto.1, R.N.); British War and Victory Medals (SS.115800 J. Wood. Sto.1 R.N.); Memorial Plaque (James Wood) very fine Three: Stoker First Class W. R. Wood, Royal Navy 1914-15 Star (SS.115928 W. R. Wood, Sto.1, R.N.); British War and Victory Medals (SS.115928 W. R. Wood. Sto.1 R.N.) very fine (7) £400-£500 --- James Wood was born in Liverpool on 12 January 1896 and joined the Royal Navy as a Stoker Second Class on 11 June 1914. Posted to H.M.S. Hampshire on 6 February 1915, he was promoted Stoker First Class on 1 July 1915, and was killed in action when the Hampshire, conveying Field Marshal Lord Kitchener on a diplomatic mission to Russia, struck a German-mine off Orkney on 5 June 1916 and sank within 15 minutes with the loss of 737 lives. There were only 12 survivors. Wood is commemorated on the Portsmouth Naval Memorial. William Robert Wood was born in Liverpool on 13 May 1895 and joined the Royal Navy as a Stoker Second Class on 22 July 1914. Posted to H.M.S. Achilles on 10 December 1914, he was promoted Stoker First Class on 1 May 1915, and remained in her for virtually the entire War. He was shore demobilised on 15 January 1920, and joined the Royal Fleet Reserve the following day. Sold with copied records of service, medal roll extracts, and other research.
Family Group: Three: Corporal A. J. Else, Berkshire Yeomanry 1914-15 Star (1484. Cpl. A. J. Else. Berks. Yeo.); British War and Victory Medals (1484 Cpl. A. J. Else. Berks. Yeo.) in flattened named card boxes of issue, with named Record Office enclosures in outer OHMS transmission envelopes addressed to ‘Mrs. Mabel P. Else, 9 Martin Road, Slough, Bucks’, extremely fine Four: Lieutenant D. J. Else, Royal Naval Volunteer Reserve, Commanding Officer of Motor Mine Sweeper 266 1939-45 Star; Atlantic Star, 1 clasp, France and Germany; War Medal 1939-45, with Admiralty enclosure, in named card box of issue, addressed to ‘Mr. D. J. Else, 12 Everald Avenue, Slough, Bucks’; Royal Naval Volunteer Reserve L.S. & G.C., G.VI.R., 1st issue (Lieut. D. J. Else. R.N.V.R.) in named card box of issue, and outer OHMS transmission envelope similarly addressed, extremely fine (7) £240-£280 --- Arthur J. Else attested for the Berkshire Yeomanry and served with them during the Great War in the Egyptian theatre of War from 21 April 1915. His medals were sent to his widow, Mabel Pinkard Else. Sold together with two small silver medals, the first a Great Western Railway (London) Athletic Association Prize Medal, the reverse engraved ‘Wilkinson C.C. A. J. Else 1907’; the second shield shaped, the obverse engraved ‘H. G. C. 1st in Gymnastics 1900’, both in fitted cases. Donald James Else, the son of the above, was born in Slough, Buckinghamshire, on 20 November 1912, and enlisted in the Royal Naval Volunteer Reserve as an Ordinary Signalman on 15 February 1939. Posted to Minesweepers, he operated out of Dover and helped clear the Channel to enable the little ships to rescue the British Expeditionary Force from Dunkirk. He was granted a temporary commission as a Sub Lieutenant on 26 September 1941, and a year later was promoted Lieutenant. He served for the rest of the War as Commanding Officer of Motor Mine Sweeper 266. On the night of 2-3 September 1944, M.M.S .266 went to the rescue of the stricken H.M.S. Glenavon, and rescued 45 of the crew from the water. Else was released from active service on 21 January 1946, and was awarded his Long Service and Good Conduct Medal in May 1947. Sold together with the recipient’s Royal Naval Volunteer Reserve Certificate of Service and Signal History Sheet; various letters; and other ephemera.
Sweden used Stamps on 33 Leaves containing approx 300 Stamps from 1938 to 1976 including 1938 80th Birthday of King Gustav V, 1941 First authorised version of the Bible in Swedish, 1946 Lund Cathedral 800th Anniversary, 1946 Alfred Nobel, 1947 Coronation of Gustav V 40th Anniversary, 1973 Swedish Landscapes, 1974 Nobel Prize Winners, 1976 Telephone Centenary. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
A group of motor bike and TT related ephemera, comprising G S Davison The Story of TT, National Motorcycle Races first race programme Sunday 17th April 1960, Motorcycle News, Bike Sport month guide, TT Races 1944 official guide and programme, Cadwell Park International Road Race programme Monday 5th May 1980, The Modern Motor Car by Morris Beck, Classic Bike Magazine and a Grand Prix programme with Castrol advertising 1975. (a quantity)
Bachmann Branchline OO gauge coaches, comprising 34-401, 59ft 6 inch Thompson composite coach maroon British Rail 34426 63ft Thompson composite brake maroon, 34-130 colette 60ft 1st and 2nd British Rail in crimson and cream and 34475 63ft Thompson first corridor in crimson and cream, British Rail, boxed. (4)
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
Major General James Pattison Cockburn (British, 1779-1847)View of Norwich Cathedral from the riverwatercolour on paper43.5 x 69cmProvenance: Thomas Agnew & Sons, London;Guy Peppiatt Fine Art, LondonFootnote:Major-General James Pattison Cockburn (1779-1847) was born in New York City to a family of soldiers and entered the Royal Military Academy in Woolwich, England, in 1793. It was here, while studying topography, that Cockburn first learnt to draw under the tutelage of the Academy’s Chief Drawing Master, Paul Sandby (1731-1809). The precise nature of drawing - required by military draftsman - that was taught at the Academy allowed Cockburn to develop the strong sense of perspective which came to characterise his drawing style. Between 1793 and his retirement in 1846, Cockburn travelled extensively and produced several travel books which he illustrated himself. They include A Voyage to Cadiz and Gibraltar, with 30 coloured plates, published in 1815; Swiss Scenery, with 62 plates, in 1820; The Route of the Simplon, in 1822; The Valley of Aosta, in 1823 and Pompeii Illustrated, in folio, in 1827. From 1809 onwards, as an honorary member, Cockburn exhibited numerous watercolours at the Norwich Society of Artists and developed friendships with some of the leading figures of the Norwich School. In 1860, nine of his works were exhibited by the Norfolk and Norwich Fine Art Association in a posthumous show to honour local artists. In a review for the Norwich Mercury, his name appeared alongside the key players of the Norwich School and he was described as an “excellent artist”.
* Francis Wheatley, RA (British, 1747-1801) Adelaide and Fonroseoil on canvas, oval86 x 67.5cmProvenance:P & D Colnaghi & Co Ltd;D C Paterson Esq. by 1970;Alexander Hume Esq.,His Sale, Sotheby's, London, 21st November 1979, lot 52,The Asbjorn Lunde Foundation, Inc.Exhibited:Aldeburgh Festival of Music and the Arts, and Leeds, City Art Gallery, Francis Wheatley RA, 1747-1801: Paintings, drawings and engravings, 15th-25th June, and 8th July-8th August 1965, no. 10 Literature:Mary Webster, Francis Wheatley, 1970, p. 133, no. 48Footnote: This painting most likely illustrates a scene from Jean-François Marmontel's romantic play The Shepherdess of the Alps. The play, first published in 1766 as part of Marmontel's Moral Tales, became the rage in both England and France and inspired many paintings and prints. The story is the tragic tale of Adelaide and her lover, the Count D'Orestan, two young French aristocrats, who, despite their families' objections, run away together. Their happiness is short-lived as the Count dies suddenly. A grief-stricken Adelaide digs her lover's grave with her bare hands, renounces the world and her family, and becomes a shepherdess. She at last finds happiness after she reveals her true identity to a French nobleman, Fonrose.A watercolour of the present composition with slight differences, signed and dated 1786 by Wheatley, is in the British Museum (inv. no. 1866,1013.545) (see Webster, p.62, fig.72). All proceeds from the sale of this and another eleven paintings (lots 57-68) will benefit the activities of the Asbjorn Lunde Foundation, Inc., which continues its founder’s support of research, publishing, presentation, and practice in museums and music. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old master painting and Asian decorative arts.Condition report: Framed 108 x 90cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The edges of the lining canvas are degraded and tears are starting to form. The thin paint layers have suffered from wear and abrasion, notable in the background of the picture. Old damages have been repaired and retouched. There is overpaint covering areas of wear as well as reinforcing elements of the composition including the sitter’s faces. The varnish is clear, even and semi-glossy.
* William Williams of Norwich (British, 1727-1797) Amelia struck by lightningsigned and dated ‘WWilliams 1763’ (lower centre)oil on canvas, in a carved and giltwood Rococo style frame62 x 74.5cm Provenance:New York, 4th June 1980, as 'Couple in a Forest in a Storm (1763, oil on canvas, 61 × 73.5 cm)', for $2,000;The Asbjorn Lunde Foundation, Inc.Footnote: This landscape illustrates a passage from Summer in James Thomson’s cycle of poems The Seasons, first published in 1730. The latter years of the eighteenth century saw the popularity of Thomson’s series soar. Publishers and booksellers reacting to this created and sold the poems in numerous forms, from duodecimo to folio. Often the latest editions included essays on Thomson’s work and artists were commissioned to create illustrations and frontispieces. This burgeoning market for Thomson’s work and the proliferation of associated visual material meant that The Seasons became an easily recognisable classic - one that was identified by the British public through the high points of its poetic narrative. The scene shown by Williams in the present lot, set in Caernarvonshire, Wales, describes a popular passage from Summer involving the two lovers Amelia and Celadon. The moment was inspired by an account given by Alexander Pope in 1718. Pope tells of two young lovers, John Hewet and Sarah Drew, who were caught in a thunderstorm and when the pair attempted to take shelter, Sarah was killed by a lightning strike. In Thomson’s Summer, Amelia shares the same fate. Williams, originally from Norfolk, spent his formative years working as a scenery painter for the theatre. It is likely that this background influenced his predilection for dramatic subject matter and powerful atmospheric effects. In the present scene, Williams frames the moment of action as if it were taking place on stage. He employs the eighteenth-century language of the sublime to skilfully describe the high drama of this popular story in such evocative terms. The same subject, but of different composition, was sold at Christie’s on 18th November 1966, lot 21 (see Ellis Waterhouse, The Dictionary of British 18th Century Painters, 1981, p. 413 - where it is suggested that composition was exhibited at the RA in 1778, no. 346). A smaller version of that painting dated 1784, titled Thunderstorm with the Death of Amelia, is in Tate Britain. All proceeds from the sale of this and another eleven paintings (lots 57-68) will benefit the activities of the Asbjorn Lunde Foundation, Inc., which continues its founder’s support of research, publishing, presentation, and practice in museums and music. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States, and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old master painting, and Asian decorative arts. Condition report: Framed 81.5 x 94.5cmThe painting is executed in oil on a canvas support which has been lined. The canvas has good tension and the picture is in plane. The paint layer is stable overall. Scattered areas of wear and some drying cracks have been retouched, the overpaint is well matched to the original. The varnish is thick, glossy and slightly yellowed but acceptable. There is a light layer of dust across the surface.
An Art Nouveau Doll's House with unusual triple gable roof, the front opening in two sections to reveal the six rooms all having original chimney pieces and overmantels and all furnished with art nouveau pieces.The Kitchen with green metal cooker, sink and cupboards and adjoining pantry and china pantry with crockery. The first floor Drawing Room with German made art nouveau writing desk, horn gramophone, a bust of Edward VII, a stick telephone etc.The Dining Room with German green velour upholstered sofa, art nouveau dining suite, gong etc.The First Bedroom with fine wall unit set behind the bed, and a green painted washstand set.The Second Bedroom includes an art nouveau dressing stand, metal wash stand and a fretwork screen. Circa 1900Provenance the Constance King dolls house collection
Books - Pullman (Philip): His Dark Materials, three-volume set, comprising: Northern Lights, first edition, eleventh impression, 1995; The Subtle Knife, first edition, ninth impression, 1997; The Amber Spyglass, first edition, fifth impression, 2000, all Scholastic Press, pictorial dustjackets illustrated by David Scutt, cloth bindings, 8vo, (3); Lawrence (John, illustrator), Lyra's Oxford, first edition, 2003, red cloth, 8vo, (1), [4]
Cartography - Nottinghamshire - Ordnance Survey - a map of Mansfield Town Centre, supplied by Edward Stanford, Longacre, London, Cartographer to the King, sheet XXIII, published 1912, paper laid on cloth; others, Shirebrook Planning for Railway, first edition, 1875; Annesley Woodhouse; Mansfield/Woodhouse/Sutton/Skegby; Pleaseley, 1875; etc (27)
Books - Heraldry - Gayre (Robert, of Gayre and Nigg), Heraldic Cadency: The Development of Differencing of Coats of Arms for Kinsmen and Other Purposes, first edition, London: Faber and Faber, 1961, pictorial dustjacket over grey cloth, 8vo, (1); Harvey Johnston (G.), The Heraldry of the Campbells [...], Inveraray: Beinn Bhuidhe Holdings Limited, 1977, original tow-tone cloth, 8vo, (1); further Scottish interest; Huxford (J.F.), Honour and Arms: The Story of Some Augmentations of Honour, Buckland Publications, 1984, d/j over cloth, 4to, (1); Endeam Ivall (D.), Cornish Heraldry and Symbolism, one of 1000 copies, pictorial dustjacket over green cloth, 4to, (1); Heim (Bruno B.), Armorial, first edition, Van Duren, 1981, d/j, h/b, 8vo, (1); further ecclesiastical heraldry; Robinson (John Martin) & Woodcock (Thomas), Heraldry in National Trust Houses, signed and dedicated by one of the authors (JMR), National Trust, 2000, h/b, d/j, 4to, (1); European Armorial, 1971; Royal Arms; Sir Anthony Wagner, various; exhibition catalogues; etc., mostly h/b, various sizes, (approx. 40); The College of Arms, two b/w photograph portraits of the College, at the House of Lords for the State Opening of Parliament, 1965, presentation inscriptions, 20cm x 24cm, (2), [qty]
Books - Medals & Militaria Reference - Signed Copies, Williamson (Howard), The Collector and Researcher's Guide to the Great War, signed and dedicated by the author, copy no. 940, two-volume set, first and only edition, Privately Published, London: Printed by Chameleon Press Ltd, 2003, illustrated, pictorial boards, 4to, (2); Cox (Reginald H.W.), Military Badges of the British Empire, 1914-1918, first edition, London: 1982, h/b, d/j, 4to, (1); Spink's British Battles & Medals, 1988, h/b, d/j, 4to, (1); etc., [6]
Books - Numismatics - North (J.J.), English Hammered Coinage, c. 600-1662, two-volume set, London: Spink & Son, 1980 & 1975, illustrated, brown cloth, 4to, (2); Ireland - [Snelling (Thomas)], A Supplement To Mr Simon's Essay on Irish Coins, first edition, [?Dublin: 1810], 8pp, illustrated with one full-page engraving, stitched sheets, 4to, (1); Mossop (H.R.), The Lincoln Mint, c. 890-1279, Newcastle upon Tyne: Corbitt & Hunter Limited, 1970, illustrated, blue cloth, 4to, (1); Fearon's Catalogue of British Commemorative Medals, (1); CBG of Paris catalogues, including jetons, (3); ancient Greek and Roman coinage; etc., [14]
![Antiquarian Books - Miscellaneous - Civil Engineering, Clark (Edwin), The Britannia and Conway Tubular Bridges [...], two vol](https://cdn.globalauctionplatform.com/489c0a97-6a44-49da-b1ed-ae51007500b7/3da15ef4-bfc3-4d98-b273-ae5c0102354c/468x382.jpg)
Antiquarian Books - Miscellaneous - Civil Engineering, Clark (Edwin), The Britannia and Conway Tubular Bridges [...], two volumes (lacking plate folio), first edition, London: Published for the Author, by Day and Son [...], 1850, original cloth (volume I split at recto gutter), neat ex-lib, 8vo, (2); Leighton (Clare), [...] Wood-Engraving and Woodcuts, London: The Studio, 1932, tipped-in plates and 38 mixed media plates, original cloth over pictorial boars, 4to, (1); Gay's Fables, Illustrated, [London: Tonson & Watts, 1738], lacking title-page, engraved plates, contemporary calf over marbled boards, ex-lib markings to endpapers, 4to, (1); The Illustrated Carpenter Builder, volume V, 1879, disbound, 4to, (1); Yeatman (Pym, editor), Records of the Borough of Chesterfield, Chesterfield: Wilfred Edmunds, 1884, disbound quarter-calf, 8vo, (1); a quantity of 18th century law reports and precedents, contemporary calf bindings (faults), 8vo; etc., [4 boxes, mixed sizes]
![Books - Natural History, including John Allen's Our Country Flowers, [n.d., c. 1900], colour plates, cloth, 8vo, (1); further](https://cdn.globalauctionplatform.com/489c0a97-6a44-49da-b1ed-ae51007500b7/2fe73033-a5e3-4e5d-bb94-ae5c01023f60/468x382.jpg)
Books - Natural History, including John Allen's Our Country Flowers, [n.d., c. 1900], colour plates, cloth, 8vo, (1); further botany; New Naturalist studies, pictorial dustjackets, (5); mid-late 20th century hardback literature, some of which are first editions, some with vintage dustjackets, including Iris Murdoch, Graham Greene, Peter Ackroyd, P.G. Wodehouse (no d/j); Quaker interest, (2); Bible; etc., [3 boxes]
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596780 item(s)/page