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Lot 274
Britains set 1470, State Coach of England FIFTH VERSION, blue panels (F, paint faded, front tow bar and one set of traces damaged) with four Outriders and three Footmen (F, footmen arms damaged), six mounted Life Guards musicians (G-F, some damage, horse tails bent), eleven Yeomen of the Guard FIRST VERSION hands on hips with Captain (G-F, one arm loose, some paint fading, set 113, East Yorkshire Regiment at attention THIRD VERSION, full trousers (G-F, some paint fading), Scots Guards, two colour bearers with flags and a Piper (G), and Courtenay, Sir Francis Drake and King Charles I (G) (49)
Lot 295
Britains Vehicles and Guns sets 1877 Beetle Lorry, khaki finish, FIRST VERSION, no hook, 2041, Clockwork Trailer, light green Farm finish, with key, 2026 25pdr Gun, khaki finish, Guns 1201, 1292 and 1263 (two, one in RARE light green finsh) and 9732 German PAK 38, all in original boxes (VG-G, boxes G-F) (9)
Lot 377
Timpo Wild West, RARE First Mounted Series in original boxes derived from metal figures, seven Cowboys, one Indian and 1 U.S. Cavalry: WW2000, 2001, 2003, 2005 (two), 2006, 2007, 2010, 2013 in individual original boxes (VG, some paint loss, possibly incorrect horses assigned, boxes VG-G a few flaps loose) (9)
Lot 6
Britains early figures Set 36, Sussex Regiment with mounted officer, FIRST VERSION, ‘Germanic’ fixed arm marching figure, with mounted officer (G-F, three men and one rifle missing), six mountain artillerymen with mounted officer and two damaged mules, five West India Regiment (F) 1896, and a FIRST VERSION 4.7inch Naval Gun, closed spring (G, towing loop damaged) (21)
Lot 7
Britains early figures two Royal Scots Greys, FIRST VERSION, tin swords with ‘Foot Guard’ heads (G-F) 1895, set 81, ‘Ulundi’ 17th Lancers with officer, FIRST VERSION, ‘Rocking Horses’ (one missing, riders repainted) 1897, three 21st Lancers in full dress (G, one lance head missing, riders retouched), two mounted Arabs (G-F, one jezail butt missing), 1st Life Guard officer (VG), Life Guard mounted musician with bass horn, ‘blue’ uniform, movable arms (VG, rider lacquered), and an Imperial Yeoman (G) 1906 (14)
Lot 1184
ARDBEG SERENDIPITY 12 YEAR OLD Blended Malt Whisky. 70 cl, 40% volume. ARDBEG BLASDA Single Islay Malt Whisky. 70 cl, 40% volume. In carton. ARDBEG 1993 CONNOISSEURS CHOICE Single Islay Malt Whisky distilled June 1993 and bottled December 2005 from first fill sherry butts by Gordon & MacPhail of Elgin. 70 cl, 43% volume. In carton. 3 bottles
Lot 1250
GLENMORANGIE CELLAR 13 Single Highland Malt Whisky from first fill casks. 1 L, 43% volume. In carton. GLENMORANGIE 18 YEAR OLD EXTREMELY RARE Single Highland Malt Whisky. 70 cl, 43% volume. In box. GLENMORANGIE 100° PROOF Single Highland Malt Whisky. UCF. 1 L, 57.2% volume. In box. 3 bottles
Lot 236
A George III History of England silkwork sampler, by Hannah Holbrook, worked with a small circular map of England, encircled by British monarchy family trees, beribboned in blue including the accession dates of kings and queens, commencing with Britain's first inhabitants and ending at 3 George 1760, polychrome silk on linen, 44 x 42cm, framed and glazed, 54 x 52.5cm approx.
Lot 284
A copper engraving plate, depicting the Third Station of the Cross, Jesus falls for the first time, dated 1730 and signed top right I.R. Gambier, foundry stamps of IRG under a crown, 37 x 27cm approx. * See 'Contested Objects: Material Memories of the Great War', by Nicholas J. Saunders & Paul Cornish, Routledge 2014, pg. 70, for similar example in Flanders Field Museum, Ypres.
Lot 498
Book - Christopher Wordsworth, 'Greece: Pictorial, Descriptive and Historical', green leather with gilt tooling, five raised bands to spine interspersed with gilt decoration and title, marbled endpapers and gilt detail to the turn in, the edges gilt, published by William S. Orr & Co., Amen Corner, Paternoster Row, first edition 1839, with bookplate from Carton Library, Carton House, seat of the Earls of Kildare and Dukes of Leinster, Kildare, Ireland
Lot 178
Four albums of postage stamps, one with approximately seventy-four first day covers mostly GB 1965-1970, the second with approximately four hundred and fifty Argentina - Finland, the third with approximately seven hundred France - Yugoslavia, and the fourth with approximately two thousand loose but in country order
Lot 1244
Josselin Bodley (1893-1974)oil on canvas,'Constantine' (Pont de Sidi Rached Bridge, Constantine, Algeria),signed, titled and dated 1928,18 x 15in.Exhibited Galerie Bernheim Jeune, Paris - 'Peintures de l'Afrique du Nord, du Pays Basque et de Venise' 5-16 November, 1928. Josselin Bodley (1893-1974)As much as any English artist in the first half of the twentieth century, Josselin Reginald Courtney Bodley's life and most resonant art were defined by his experiences in and near France. Though little has been written on his distinctive artistic contribution, it was moulded by a poetic appreciation of ancient architecture and its surrounds, by direct exposure to developments in painting in Europe refracted through a refined English sensibility - and by intense exposure to war. His most evocative and effective work synthesises tradition and stylistic modernity in magically realist visions of historical remnants and rural settings, rendered with exquisite care in a controlled and characteristic palette, and infused with a spectral, deeply atmospheric sense of the past. In the words of The Times art critic (4 November, 1933), his paintings offer a 'character that is very pleasing [and are] markedly linear in composition, sharply drawn, and executed in pale colours of great delicacy.' War and other sometimes dark histories leave their marks still, one feels, in the haunted presence of these buildings, in the absence of figures and the charged sense of place, in the typically bare trees and silent, unyielding skies. Yet there is a great tranquillity too - a secular equivalence to the calm rapture of early Flemish painting perhaps - an immanence opposing the ravages of time. Without the continual support of new books, articles and exhibitions, the cultural memory is surprisingly short and, perhaps because he was not prolific and his paintings surface only rarely, Bodley's achievements are now largely overlooked. However, in the inter-war period, he was considered amongst the most promising artists of his generation, a painter who bridged a gap between the still vibrant avant-garde approaches issuing from France and a typically guarded English insularity. Though standing apart from important artistic groups emerging in Britain in the 1930s, he was at this time represented by four of the most adventurous galleries in the Western world; by Bernheim Jeune in Paris who held five exhibitions of his work between 1928 and 1934; by Leicester Galleries in London with whom he exhibited first alongside Henry Moore in 1933, and then also in 1935 and 1937; by Marie Harriman Gallery in New York and by Alfred Flechtheim in Berlin. His paintings were purchased by museums across Europe and the USA. Unusually for an English painter shaped by French artistic modernity, he was also a decorated war hero. Enlisting first as a Second Lieutenant in The King's Royal Rifle Corps at the outbreak in 1914 he remained militarily active throughout much of WWI - despite being wounded at Ypres in 1915 - leaving the army in 1919 with a Military Cross and the rank of Captain. His earliest surviving paintings date from this period and their atmospheric subject matter of ruined buildings and blasted leafless trees on the frontline prefigure much of the still, melancholic resonance of his finest mature work (see 'Shelley Farm, St. Eloi' and 'Polygon Wood, Ypres' at BBC Your Paintings / Josselin Bodley). Later in life he also received one of France's highest civilian honours - for artistic achievements and cultural activities - becoming a Chevalier of the Legion d'Honneur. The artist was born into a patrician family, whose lineage included the sixteenth century founder of Oxford's Bodleain Library, Sir Thomas Bodley, and was the second son of John Edward Courtney Bodley. His father, a college and masonic friend of Oscar Wilde's at Balliol, worked first as secretary to the Liberal Minister Sir Charles Dilke but - after Dilke's political hopes were ruined in a famous divorce scandal - gradually emerged as the period's most important English historian of France. Through his father's wide circle of influential contacts and those of his brother Ronald and his sister Ava, Bodley was linked to some of the most important political and cultural figures of his generation. Ronald became a noted Arabist - recording his time amongst the tribesmen of North Africa in a life that reads somewhat like that of T. E. Lawrence in the Middle East - and Ava was married first to the diplomat Ralph Wigram and then to John Anderson, Churchill's Home Secretary and Chancellor of the Exchequer during WWII.Much of the artist's early life was spent in France with his father, visiting the great and the good and unconsciously absorbing the atmosphere of the architectural riches of the French countryside. School at Eton followed this privileged but nomadic boyhood, after which Bodley left England for a garret flat in Paris, intent on a career as an artist - though such hopes were postponed by the outbreak of WWI. He returned again afterwards, and paintings of the 1920s can be seen experimenting with and evolving through his direct exposure to the various competing styles of the period. Works in this phase manifest subtle shades of influence from post impressionism (Lot ??), decorative cubism, purism (Lot ??) and surrealism. As his work developed through the 1930s - when the artist was based in England - there is a strong sense of something equivalent to the New Objectivity in German painting (see in particular examples of Franz Radziwill's work such as 'Church in the Vendee' 1932). It was a clear and modern vision with technical and formal links to Edward Wadsworth's tranquil harbour paintings of the 1920s, to the contemporaneous landscape work of Harry Epworth Allen and particularly to the development of Tristram Hillier's less overtly surrealistic and architectural compositions of the 1930s. This small collection of eloquent and evocative works - depictions of the living past that still carry great pictorial and poetic charge - offers a long overdue insight into the oeuvre of an original, talented and noteworthy artist.
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