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Click here to subscribeBachmann 00 Gauge Pullman Coaches, Mk1 blue /grey Pullmans, 39-281 Kitchen First, 39-291 Parlour First (2), 39-301 Kitchen 2nd, Brake and 39-311 Parlour Second (2), chocolate/cream 39-280 Kitchen 'Eagle', 39-310 Parlour second 'Car No 347' and 39-290 Pullman First 'Emerald', all with lighting, in original boxes (two incorrect), VG-E, boxes VG (10)
Hornby 00 Gauge (China) Passenger Coaches, including R4252 The Talisman 3-Coach Pack, R4629 (1) and R4627 (3) BR MK1 maroon coaches, R4095 LMS 12-wheel Dining Car with Royal Scot coach board, R4283A Scotrail Caledonian Sleeper Coaches (2) and R4224A First Great Western Ist Class Coaches (5), all in original boxes, VG-E, boxes F-VG (15 Coaches)
Corgi Aviation Archive USAAF Commemorative Set and Others, a factory sealed set AA49502 including B17, Mustang and Thunderbolt in plastic case, together with a boxed First Gear 0142 Shell Historical Racing Series Bellanca Sky Rocket and ERTL Collectibles Army Flyers 1931 Stearman and Wings of Texaco 1929 Curtiss Robin coin banks, g-e, Boxes F-E, (4)
Diecast and Toy Reference Books, various volumes including, The Great Book of Dinky by M&S Richardson, Matchbox Diecast Toys The First Forty Years (1st edition with certificate), Dinky Toys and Modelled Miniatures vol 4 by M&S Richardson (2), Les Dinky Toys Francais by Jean-Michel Roulet and others, F-G, (22)
A Victorian gold bracelet, mounted with six rhomboid-shaped glazed panels, the two terminals each with two eye miniatures and the other four panels each with two portrait miniatures depicting members of the Nottidge family, the reverse of each panel is engraved with various names, each panel measures 1.9 x 3.9cm and connected with a pair of lobed quatrefoil links, total width 18cm, fitted case with paper trade sticker for Hamlet of Princes Street, Leicester Square, Royal Warrant to the Duke of Clarence and Royal Family In the mid 19th century the Nottidge family were involved in a scandal that inadvertently led to another. The joining of a religious cult in Somerset by some of the daughters of Josias Nottidge (1767 - 1844) resulted in the incarceration of Louisa Nottidge (1802 - 1858) in a 'lunatic asylum' whilst she was totally sane and against her will in 1846. Louisa grew up with her large family in Wixoe, Suffolk. They first met the Reverend Henry Prince, when he preached at a nearby village and quietly ingratiated himself within the family. He persuaded Louisa and her three other unmarried sisters to make substantial contributions from their recent inheritance from their departed father, to the founding of a religious 'community' in Somerset. This was to be called the Agapemone, or 'abode of love'. Events escalated rapidly in 1845 when three of the Nottidge girls travelled to Somerset to live in the Agapemone. En route, Harriet, Agnes and Clara were persuaded by Prince to marry three Agapemone clergymen in Swansea. Louisa was then persuaded by Prince to join her sisters in Somerset despite the attempts of Agnes to warn her off. Understandably, the girls' mother was becoming anxious as to her four daughters well being. By this time, the Agapemone was becoming scandalous and was reported in the national press as a den of iniquity. Their mother instructed her son Edmund, nephew Edward and son-in-law Frederick to rescue the unmarried Louisa which they did, against her will. Following her persistent claims that Prince was devout and good, Louisa was certified insane and incarcerated in to Moorcroft House lunatic asylum in Hillingdon under the mother's instructions. Louisa's condition and treatment were recorded in the lancet. There were a number of cases of women being placed into 'lunatic asylums' against their will and for the convenience of their family or guardians. Several sensational incidents were exposed by the national press and were covered vigorously. The public outcry surrounding these appalling stories inspired the author Wilkie Collins who wrote the novel 'The Woman in White' in 1860. Louisa escaped from the asylum on 6th January 1848, was caught and returned two days later then released after the intervention of her brother-in-law the Rev William Cobbe. In 1849 Louisa successfully sued part of her family for abduction and false imprisonment and was awarded damages and costs. She returned to the Agapemone, transferred her wealth to Prince and remained there to her death in 1858. Her brother Ralph then successfully sued Prince in 1860 for the return of Louisa's fortune.
The Property of a Connoisseur, London ANDRÉ MARE (FRENCH 1887–1932) Self-portrait as a gunnery officer Signed and. Mare (lower left); dated Sept 1915 and inscribed Ravin en dent de scie devant Massiges (lower right) Pen and black ink and watercolour 26 x 17cm (10 1/4 x 6 3/4in) André Mare participated in the Camouflage unit during the First World War, applying Cubist theory to create trompe-l’oeil effects when disguising weapons and military materials from the Germans. He worked on the Somme Offensive of 1916, and assisted the Italians camoufleurs in 1917. Mare's training in camouflage is evident in his cubist watercolours, with many reflecting his war experiences. A pioneering figure of the Art Deco movement, during the 1912 Salon d’Automne he exhibited his controversial Maison Cubist alongside sculptor Raymond Duchamp-Villon and other artists. Mare later joined forces with Louis Süe and established a design practise specialising in Art Deco furniture and interiors. He died in 1932 of tuberculosis caused by being subject to multiple mustard gas attacks during the war. Delouche, Danielle. “CUBISME ET CAMOUFLAGE.” Guerres Mondiales Et Conflits Contemporains, no. 171, 1993, pp. 123–137. JSTOR, www.jstor.org/stable/25730967. Daviet, Jean-Pierre. “Art Déco, Résonances De L'ancien Et Du Nouveau.” Vingtième Siècle. Revue D'histoire, no. 124, 2014, pp. 185–187., www.jstor.org/stable/24674853.
EDMUND GEORGE WARREN (BRITISH 1834-1909) In the New Forest Signed and dated 1861 (lower left) Watercolour and bodycolour heightened with gum arabic 25 x 33cm (9 3/4 x 13in) Warren was one of the first landscape artists of the time to be influenced by the Pre-Rapharelites ideas of truth to nature in his use of colour, meticulous observation of the subject, and attention to detail. His subjects were characterised by evocative and Idyllic depictions of the English countryside, woodlands and harvesting scenes. His work became very popular during the late 1850s to early 1860s.
EDWARD CLIFFORD (BRITISH 1844-1907) The Slave Signed and dated Edward Clifford 1877 (lower right) Tempera 64 x 52cm (25 1/4 x 20 1/2in) Clifford was born in Bristol, where he first studied, before moving to the Royal Academy Schools. He exhibited at the Royal Academy, Society of British Artists, and Institute of Painters in Watercolours, the Grosvenor Gallery, the New Gallery and elsewhere from 1877-1892. His Royal Academy paintings are conventional Victorian portraits but at the Grosvenor Gallery and elsewhere he showed Biblical and allegorical scenes. The Biblical paintings show the influence of Holman Hunt. He was also associated with the Aesthetic Movement.
THOMAS HARTLEY CROMEK (BRITISH 1809–1873) and other 19th Century hands An album of 52 watercolours and sketches belonging to Edward Law Durand An album of 52 drawings and watercolours by various hands compiled by Edward Law Durand (1st Barnonet 1845-1920). Including: three signed views by Thomas Hartley Cromek (1809-1873) depicting Rome., Athens, and Mycenae; three signed sketches by Arthur John Strutt (1819–1888); four sketches by William Swainson (1789-1855) of the Hutt Valley, New Zealand dated 1847-8 and other subjects including: views of Haddon Hall, Chatsworth and Hardwick Hall; Dresden, Avignon, Corfu. The earliest dated sheet is 1807 but the majority of the works appear to date around the 1840’s. Most of the unsigned works are inscribed in English. Album size: 37.5 x 27.5cm (14 3/4 x 10 3/4in) (52) The album appears to have belonged to Sir Edward Law Durand (1845-1920). He was one of three sons of Sir Henry Marion Durand (1812-1871) who had served with distinction in the First Afghan War and the Indian Mutiny. Edward was educated in Bath, Repton and Guildford. He entered the 96th Regiment of Foot in 1865 but transferred to the Indian Political Service in 1868 and in 1870 was selected as ADC and Private Secretary to the Lieutenant-Governor of the Punjab. From 1871-77 he filled various posts in Rajputana and Central India, before briefly serving as Acting Political Agent in Manipur in 1877. In 1878 he was appointed Acting Assistant Resident in Bushire. During this posting Captain Durand was sent by the Resident in Bushire, Colonel E.C. Ross (q.v.), to survey Bahrain. It was on this occasion that he became the first European writer to comment on the Bronze Age burial-mounds there, and had the fortune to discover a cuneiform inscription which he brought back to his family home in Scotland but which was later moved to London where it is believed to have been destroyed during the Blitz. Durand's report on the island was forwarded by Ross to A.C. Lyall, then Secretary of the Government of India's Foreign Department, and was later published in 1880 in the Journal of the Royal Asiatic Society (New Series) vol. XII (Part II), pp. 189-227, where it was entitled Extracts from Report on the Islands and Antiquities of Bahrain. In 1881 Durand was placed in charge of the former Amir of Kabul and from 1884-86 he was Assistant Commissioner for the Afghan Boundary Commission. In 1888 he was appointed Resident in Nepal , where he served from 1889 until his retirement in 1893. He was author of Cyrus the Great King (verse; London 1906), and Rifle, Rod, and Spear in the East (London 1911). He died in London in 1920. ·
SWEDISH SCHOOL (18TH CENTURY) Portrait miniature of Frederika Charlotta Insenstierna (1757-1811), wearing the sash and order of the Vadstena adliga Jungfrustift, column background with draped fabric, c.1761 The reverse indistinctly inscribed with sitter's details and collection lable Watercolour on vellum Shaped and gilded frame Rectangular, 74mm high Thanks to a faded and barely-legible inscription on the reverse of this miniature, its sitter has recently been identified as Fredrika Charlotta Insenstierna. Born in 1757, Fredrika was the daughter of Fredrik Ulrik Insenstierna, a senior official at the court of the Swedish king, Fredrik I (1676-1751). Fredrik Ulrik had begun his career by serving as the head of the household of the Crown Prince Adolf Fredrik, who later succeeded Fredrik I as king. From this, he ascended to positions of ever-increasing seniority in the administration of the royal court, before eventually attaining the illustrious role of Hofmarskalk, making him one of the highest-ranking figures within the court. His duties involved the organisation of the many spectacular court ceremonials and entertainments, including dances and banquets. It was a position of considerable stature and was one for which he must have been rewarded handsomely, as is attested by the stout double chin that can be seen on his portrait by Gustaf Lundberg in the Nationalmuseum, Stockholm, which was made at around the same time as the present miniature. Indeed, given that both portraits were executed around 1761 – the year in which Fredrik was made Hofmarskalk – it does not seem unlikely that they might have been commissioned to commemorate his appointment to the post. As well as his highly-coveted function at court, Fredrik also served as the governor of Västmanland Province. Fredrika Charlotta is shown in a grand and imposing setting that alludes to the prestigious nature of the role that her father performed at court. She stands in a vast, marmoreal architectural space from which a swathe of delicately damasked drapery falls behind her, which is echoed in the folds of the shawl that seems to be in the process of slipping off her right shoulder. Despite her young age – Fredrika was likely no older than five years old when the likeness was made – the sitter has a commanding demeanour. This is, however, mitigated by the delicacy of the palette such as can be seen in the blues of Fredrika’s dress; these are carefully echoed in the frills of her sleeve and neckline, in her bracelet and also in the ribbon that she wears in her hair. The prominence in the blues of the sitter’s dress is not likely to have been coincidental as light blue and white – the colours of the sash that Fredrika wears – were the colours of the newly-founded Vadstena adliga Jungfrustift, an order of which the young Fredrika seems to have been an early member, as is indicated by the sash and order that she wears. Founded in 1747, when it first began to accept members, it was a secular order of nuns that was intended to provide for unmarried female nobles. Patronage of the Jungfrustift by Princess Luisa Ulrika – the wife of future king Adolf Fredrik – and the injection of funds that it promised inspired the founders of the nunnery to noble dreams for its future. Teachers were acquired for the boarding school that was to be housed in the disused Vadstena Castle (also noted on the reverse of the miniature and possibly the setting for the portrait) and further ambitious plans were formulated. Disappointingly for Luisa Ulrika – by now queen – sufficient funds for an endowment were never raised and in 1758 she relinquished her patronage for the project. Nevertheless, the project continued in the guise of a fund to provide for unmarried daughters of nobles on the condition that they never married so long as they were receiving its support. Fredrika Charlotta never did marry and died aged fifty-four in 1811.
William Mackenzie Thomson (British, 19th/20th century)HMS Impérieuse, together with two further works by the same hand the first signed 'W.M.Thomson' (lower left); another signed 'Mackenzie Thomson' (lower left)watercolour and bodycolourthe first 29 x 47.5cm (11 7/16 x 18 11/16in); the second 29.5 x 44cm (11 5/8 x 17 5/16in); the third 29.5 x 44.5cm (11 5/8 x 17 1/2in). (3)
Brian J. Jones RSMA (British, born 1945)'Mariquita, Moonbeam, St Tropez'; 'The Lady Anne and Tuiga, Cowes', a pair both signed 'BrianJJones' (the first lower left, the second lower right), both signed and titled (on artist's label verso)oil on canvas 20.3 x 25.4cm (8 x 10in).(2)This lot is subject to the following lot symbols: AR
The 5th (Princess of Charlotte of Wales's) Victorian Officers Dragoon Guards Cavalry Field-Service Cap Badge (Bronze) two lugs, first type with QVC. K&K: 743.-The 5th (Princess of Charlotte of Wales's) Dragoon Guards Cavalry Field-Service WWI Cap Badge (Brass-economy) two lugs, second type with KC. K&K: 744-The 5th (Princess of Charlotte of Wales's) Dragoon Guards Cavalry Field-Service WWI Cap Badge (Bi-metal) two lugs, second type with KC. K&K: 744-The 5th (Princess of Charlotte of Wales's) Dragoon Guards Cavalry Field-Service Cap Badge (White-metal) two lugs, third type with KC. K&K: 745
Seaforth Highlanders (Ross-shire Buffs, The Duke Albany's) 5th (The Sutherland and Caithness Highland) Battalion WWI Territorial Cap Badge (White-metal), two lugs, first type. K&K: 1753-Seaforth Highlanders (Ross-shire Buffs, The Duke Albany's) 5th (The Sutherland and Caithness Highland) Battalion WWI Territorial Cap Badge (White-metal), two lugs, second type. K&K: 1754
First Aid Nursing Yeomanry Forage Cap Badge (Gilding-metal), two lugs, this in the First World War was a Women's Voluntary service to help in the War Effort by giving Nursing and Ambulance support so the men could fight on the front, the badge then issued by Army Order 94 of the 31st March 1927 as (F.A.N.Y.). K&K: 1064 K&K: 1064
The 12th (Prince of Wales's Royal) Lancers Victorian Cavalry Field-Service Cap Badge (Bi-metal), slider, first type. K&K: 767-The 12th (Prince of Wales's Royal) Lancers Cavalry Field-Service Cap Badge (Bi-metal), slider, second type. K&K: 768-The 12th (Prince of Wales's Royal) Lancers Cavalry Field-Service EIIR Cap Badge (Bi-metal), slider, second type. K&K: 1901.
1st Royal Dragoons Other Ranks WWI Arm Badge (White-metal), two lugs. -The Queen's Own Oxfordshire (Yeomanry) Hussars Victorian Cap Badge (Gilding-metal), two lugs. First type and made J.R. Gaunt, K&K: 1461-The Queen's Own Oxfordshire (Yeomanry) Hussars Victorian Cap Badge (White-metal), slider. First type, K&K: 1461
The 6th Dragoon Guards (Carabiniers) Cavalry Field-Service Cap Badge (Bi-metal) two lugs, first type with QVC. K&K: 746.-The 6th Dragoon Guards (Carabiniers) Cavalry Field-Service Cap Badge (Bi-metal), slider, second type with KC. K&K: 747.-The 6th Dragoon Guards (Carabiniers) Cavalry Field-Service Economy Cap Badge (Brass) slider, second type with KC. K&K: 747.
ROYAL WORCESTER SNUFFER and a Dutch girl bottle with cork stopper, the snuffer in the form of a witch with red cloak and black hat, 'Royal Worcester, Made in England' interior stamp in puce (chip to base of cloak), 9 and 8cms high respectively and five vintage and later glass scent bottles including a 1930's example with atomizer, two facet cut with stoppers and applied ruby decoration, a Bristol blue circular example with Mary Gregory style decoration and white metal hinged lid and interior glass stopper with a further blue glass example having screw-on top, stamped 'First Impressions, Made In England', the body with white metal overlay of leafy vines, various measurements
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