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Lot 67
A Midwinter "Toadstool" part combination service, designed by Jessie Tait, thirty-five pieces approx, and four "Salad Ware" side plates, designed by Terence ConranCondition: Taureen: no chips or faults to lid, small scratch, firing fault to base of ware dish. Tea cup: discolouration to rim and handle, handle has been off and re-attacthed. 7x 6" saucers: significant crazing to one, firing faults on base of all and small chip to one. 10x 6" plates: crazing to three, no chips, firing faults to bases. 6x 8" plates: scratches to one going through design (red toadstool) one large chip underside of rim, light surface scratches on all, crazing to one. 6x 9" plates: surface scratches, firing faults underneath four. no crazing. 6x 10" plates firing faults to base, 1 rim chip underneath, 2 firing faults on surface, not effecting design, light crazing, surface scratches on all, one effecting design. 4x 10"salad ware plates: one with wear to outside.
Lot 301
A LATE VICTORIAN OR EDWARDIAN HOLD-TO-LIGHT BIRTHDAY CARD with three cherubs around a cradle, 14cm h, a Victorian mechanical birthday card with two children at a garden gate, a mechanical aeroplane novelty valentine card dated 1932 and a 1930s embossed doub leaf birthday card painted with a pansy (4), A VICTORIAN OR EARLY 20TH C EMBOSSED PULL DOWN BIRTHDAY CARD with roses and a seated lady before an alpine landscape, 16.5cm h, and FOUR GERMAN MECHANICAL BIRTHDAY CARDS, one dated 1882 comprising a pull-down card with flowers and a child with a card and cornucopia, another with two children pulling a barrow of flowers, the third with a child popping out of a flower spray, the fourth of slightly later date of larger pull-down design of bird and flowers, largest 17cm h (9)
Lot 303
A VICTORIAN MECHANICAL ALLY SLOPER CHRISTMAS CARD BY RAPHAEL TUCK & SONS 15cm h and a contemporary Victorian Santa and friends in a hot air balloon Christmas card by Misch & Stock and A VICTORIAN MECHANICAL HOLD-TO-LIGHT LIGHTHOUSE CHRISTMAS CARD, DATED 1898 12cm h, with printed oval label PATENT ... Manufactured in Germany and another hold to light Christmas card, double sided with angels appearing to the shepherds, in embossed frame (4)
Lot 458
WILLIAM LEE HANKEY, FEMALE NUDE, SIGNED WITH INITIALS, CHARCOAL, 31 X 37CM, ANN ENFIELD, STUDIES AT ANTWERP, DATED JULY 3D AND INSCRIBED ANTWERP MARKET, WATERCOLOUR, 13 X 23CM, VERNON WETHERED, SOUTH WOODS ARUNDEL, SIGNED WITH INITIALS, PEN, INK, BISTRE WASH AND WHITE ON LIGHT BLUE PAPER, 21.5 X 29CM AND TWO WATERCOLOURS BY OTHER HANDS (3)
Lot 85
A SHELL CAMEO BROOCH PENDANT IN GOLD, MARKED 9CT, 54 X 45 MM, 16G++A fine quality 19th century shell cameo in good condition although please note under strong transmitted light there is a faint hairline of only a few mms length at 7 o’clock (across the snake beneath the head) this is not noticeable from the front with the naked eye and only very faintly when held at an oblique angle on the reverse, the mount appears to be contemporary and is marked on an oval pad 9ct
Lot 216
A charming Steiff light brown mohair Teddy Bear, circa 1909, straw stuffed with black button eyes, black stitched nose, mouth and claws, swivel head and jointed at shoulders and hips, with elongated limbs, felt pads and hump to back, button to left ear, (generally good condition, few minor sparse areas, some mohair loss to back of legs and right arm, couple small holes to feet pads), 13” (33cm) tall.
Lot 27
Wax over composition shoulder head lady doll, German circa 1860, with fixed blue glass eyes, painted mouth and shoulder length light brown wig, on a cloth body with wax over lower arms and composition legs with moulded boots, wearing a blue dress with lace decoratin to rear, underclothes and bustle, 12” (30 cm) tall.
Lot 33
A Rare Albert Marque bisque head Art- Character doll, French circa 1916, the highly sculptured head with beautiful fixed blue glass paper-weight eyes, finely painted lashes and feathered eyes-brows, closed mouth with protruding upper lip, moulded pierced ears, plump rounded cheeks and elongated sloping nose with shaded nostrils, original light brown wig with card pate and on a uniquely modelled fully jointed composition body with elongated torso, wide hips and bisque lower arms with attached ball-joints at elbows and finely sculptured fingers, the shaped legs with elongated narrow feet, wearing Russian style black velvet trouser suit with gold silk lining, fine black bead trim to jacket and decorative mirrored metal buttons, with a cream silk blouse decorated with sequins and metallic beads, thick red sash, floppy black beret, underclothes, white socks and brown leather shoes with ‘Au Bon Marche Layettes’ label, incised A. Marque to back of head and with pencil mark to sole of right foot, reading ’32, P??miela’ , indecipherable, 22” (56cm) tall. (professional restoration to head and left hand). Albert Marque was a sculptor at the Ecole Francaise and from the end of the 19th century regularly exhibited at many prestigious Paris salons, in around 1915 there was a deliberate movement in Paris away from the traditional pretty Bebe dolls so famously made there. A group of well- known artists, including sculptors, porcelain manufacturers and fashion designers, became involved in creating a more realistic doll, reflecting a more expressive character. The artist doll by A. Marque was first presented at an exhibition by Margaine Lacroix, it is thought that no more than 100 of these dolls where made, most being inscribed by a number, this doll has number 32 in pencil to foot. A rare and important opportunity to acquire one of the world’s rarest dolls that seldom come up for sale at auction.
Lot 11
‘Molly’ a poured wax shoulder head doll by Pierotti, English circa 1870, the beautifully moulded face with unusual hazel coloured inserted glass eyes, moulded lids and finely painted brows, having painted slightly down- turned mouth, moulded ears and inserted light brown hair, wax shoulder-plate to cloth body with wax lower arms and legs, wearing a white cotton dress with broderie anglaise bodice and bonnet, (good condition), 18” (46cm) tall.
Lot 65
Large Kammer & Reinhardt/Simon & Halbig 117 bisque head character doll, German circa 1910, with weighted blue glass eyes, painted lashes and brows, closed mouth and original long light brown wig with ringlets, on a fully jointed wood and composition body, wearing a white cotton dress, bonnet, underclothes, socks and white leather shoes, incised K star R, Simon & Halbig, 70, 27 3/4” (70cm) tall.
Lot 219
Miniature WW1 Mascot pocket Teddy bear, the little light brown mohair bear with remains of ears, swivel head and jointed at shoulders and hips, wearing a red neck ribbon, (lacks eyes and stitched nose, 9” (3.5 cm) tall, Mascot bears where typically given to soldiers in WW1 from loved ones, this bear comes with a short note of provenance,
Lot 29
Emile Jumeau Depose bisque head Bebe, French circa 1890, good quality pale bisque head with fixed brown glass paper-weight eyes, painted lashes and feathered brows, closed mouth, pierced ears and later auburn wig, on a good fully jointed wood and composition fixed wrist body with ‘Jumeau, Medaille D’Or’ stamped in blue to rear, wearing a light blue cotton dress with embroidered red pattern, underclothes, socks, leather shoes and straw hat, incised DEPOSE, E 12 J, 26” (66cm) tall.
Lot 9
‘Joy’ a poured wax shoulder head doll by Pierotti, English circa 1870, the well moulded face with inserted light blue glass eyes, moulded lids and finely painted brows, having painted mouth and moulded ears with inserted short blonde hair, wax shoulder-plate to cloth body with wax lower arms and legs, wearing a long white cotton gown with pink bonnet, 17” (43cm) tall.
Lot 63
Limoges bisque head doll, French circa 1910, with fixed blue glass eyes, painted lashes and feather brows, light brown wig and on a fully jointed wood and composition body, wearing a white dress, (repairs/repaint to body) 19” (48cm) tall, together with an S.F.B.J in red dress, another (lacks legs), a Gebruder Kuhnlenz bisque head and another, (5 items).
Lot 1
‘Lilia’ a poured wax shoulder head doll by Montanari, English circa 1860, the beautifully moulded face with inserted blue glass eyes, moulded lids and fine brows, having painted slightly down- turned mouth and nostrils, moulded ears and inserted shoulder-length light brown hair, wax shoulder-plate to cloth body with faded ink stamp, wax lower arms with creases at wrists and elbows and lower legs with moulded toes, wearing a long white cotton gown with two petticoats and a lacy bonnet, (condition excellent), 25” (61cm) tall.
Lot 215
A large Steiff light brown mohair Teddy Bear, circa 1909, straw stuffed with black button eyes, black stitched nose, mouth and claws, swivel head and jointed at shoulders and hips, with elongated limbs, felt pads and hump to back, lacks button to left ear, wearing a navy blue sailor-style knitted suit, mohair very worn in places, sparse areas mainly to head, and body, some repairs to muzzle, some repair to pads, claws and nose, 25” (61cm) tall.
Lot 168
Kammer & Reinhardt/S & H bisque head doll, German circa 1910, with weighted blue glass ‘flirty’ eyes, painted lashes and raised feathered brows, open mouth with upper teeth, and pierced ears, long light brown wig with cardboard pate, on a fully jointed wood and composition body and wearing a white cotton dress with lace, underclothes, socks and leather shoes.
Lot 149
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.
Lot 148
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).
Lot 10
Of golfing interest a Continental oval silver gilt and enamel presentation box:, the cover with an oval portrait of a gentleman golfer and caddy in the 18th century style, light green enamel body with milled decoration to base, import marks and personalised inscriptions to interior dated 1913-1925, 105cm long
Lot 355
A collection of WWI British Officer's mess kit:, including a leather housewife, a leather cased travel clock, two pairs of spurs, a leather pouch, also a small group of Devonshire Light Infantry cap badges, a copy of the Times dated Monday December 28 1914, a reproduction vernier compass and related ephemera.
![Lt Col. Thomas Strong Seccombe [c.1865-1885]-The Charge Of The Light Brigade,:-signed bottom left oil on board32.5 x 59.5cm](https://cdn.globalauctionplatform.com/74fe1b60-b134-45fc-9980-a98c00d87afb/2f53f2e7-3d99-484c-a6b8-a98f0101901f/468x382.jpg)
Lot 107
18TH CENTURY ENGLISH SCHOOLTHE OLD CHAIN PIER, BRIGHTON Oil on canvas45cm x 66cm (17.75in x 26in)Note: The Brighton Chain Pier was built between 1822 and 1823. It measured 350 yards long and thirteen feet wide, and acted as a bridge between the cliff wall and four towers, being used as an embarkation point for cross-channel ships. Its position was, however, exposed to the elements and the coming of the railways and the more sheltered aspect of Newhaven port, spelt its demise in use. Neglect weakened the pier and it was declared unsafe in October 1896.On 4 December 1896, a 'terrific storm of wind, with some rain' blew all day. At about 10.30pm, 'suddenly, amid the roaring waves and the howling of the wind, the pier shivered convulsively from end to end; and in a few moments the entire structure had collapsed. Nothing remained standing but the vestiges of the first piles of timbers'. An eye-witness said that 'the light at the pier-head remained until the last'. The next morning, all that remained was the broken first tower and some jagged piles jutting out of the sea. The chains had sunk right down onto the beach and sea bed.
Lot 201
GEORGE IV MAHOGANY BOOKCASE, AFTER A DESIGN BY GEORGE SMITHEARLY 19TH CENTURY the inverted breakfront top above an egg and dart frieze and a central drawer flanked by bow front drawers, over a single shelf, flanked by silk panelled cupboard doors enclosing single drawers, over a foliate moulded apron, raised on scrolling feet188cm wide, 95cm high, 54cm deepNote: George Smith (1786-1826) published three influential books on design in the first quarter of the 19th century. Smith's A Collection of Designs for Household Furniture and Interior Decoration, published in 1808, was itself influenced by the work of Thomas Hope. Smith's goal was to make Hope's designs accessible to the middle classes, so that 'the beauty and elegance displayed in the fittings-up of modern houses may not be confined to the stately mansion of our Nobility'. He adapted classical motifs borrowed from Egyptian, Greek and Roman sources, but was not averse to adopting Gothic and Chinese elements as well. He followed his first book with A Collection of Ornamental Designs, after the Manner of the Antique, in 1812, and was a regular contributor to Ackermann's Repository. His final publication in 1826, The Cabinet-Maker's and Upholsterer's Guide, included a design for a 'Drawing Room Commode', Plate VI, from which the present lot derives.Smith recommended the open-shelved commode for use in the drawing room, although they could be used in 'almost every apartment of a house… for such books are in constant use'. The height of the design was kept deliberately low to allow the wall above to be kept free for paintings or pier mirrors. Although Smith stated he had the patronage of George IV and promoted himself as 'Upholsterer and Drawing Master to His Majesty', no substantive evidence has been found to corroborate these claims. In the introduction to the Guide, Smith mentions his forty years of experience in the theory and practice of cabinet-making, but interestingly no firm evidence of a cabinet-making business carrying his name has come to light. Regardless, he is considered one of the key designers of the Regency period, yet despite his prolificacy, actual pieces that relate directly to his designs are rare.
Lot 257
ELIOTH GRUNER (AUSTRALIAN 1882-1939)THE SILVER LIGHT OF SUMMER MORN Signed, oil on canvas41cm x 46cm (16in x 18in)Provenance: A gift to the current owner from Dr. Patricia Mackay who brought it back to Scotland from Australia c.1934/35. When in Australia Patricia Mackay spent time with her first cousin Angus MacIntyre who acquired, re-built and lived in Fairlight House, Manly from 1910-1939. Although there is no record of MacIntyre's collection, Gruner was a regular visitor to Fairlight House.Note: One of the later figureheads pertaining to the Australian Impressionist movement, New Zealand-born artist Elioth Gruner (1882-1939) is distinguished as one of the country's most innovative and poetic painters of light, whose work captured the imagination of many throughout the early 20th century. We are delighted to offer The Silver Light of Summer Morn, an assertion of Gruner's artistic prominence, and a landmark of his evolving career.Gruner moved to Australia at a young age, and in 1901 began selling paintings to Sydney's Society of Artists, where his work gradually gained traction. It was not until 1923, however, that Gruner garnered much of his inspiration from his travels across Europe, where pioneers of European Modernism conjured a rethinking of his artistic technique. The paintings of Cézanne introduced him to a high-key palette, whilst those of Gauguin revealed the beauty of expressive brushstrokes and simplified forms. Upon his return to Australia, Gruner's repertoire developed in accordance with his European counterparts - a simplification of subject matter, an increased attention to pattern, and a freer, wider sweep of the brush set him apart from his Australian equals.The Silver Light of Summer Morn is a fine example of Gruner's dedication to plein-air painting, in which we're presented with his new, excited and liberal working of the brush. A vast turquoise sky extends across most of the composition, subsuming a mellow swathe of sand, and a delicate slither of seawater disappears into the bright horizon. Rougher topology in the distance smoothly tapers down to a low vanishing point, convening with the lighter tones of the water's surface. We are not, however, the only admirers of this placid view. To the bottom right two women regard the calm waters with their backs to the viewer, one leisurely reclining beneath a pink parasol, the other standing. A deckchair endorses this site as one frequently revered by visitors, accentuated by more distant figures merrily testing the waters of the calm Pacific Ocean. Nonetheless, we're still drawn to the sprawling sky that dwarfs all the participants in this blissful scene - Gruner's affirmation of the landscape as the most important facet of this masterful work. The atmosphere is palpable; long shadows allude to the early time of day - a raw light often favoured by Gruner. The painting evokes a certain ephemerality, as if the tide will soon rise, consuming the lowly swathe of sand; the seated woman will surely raise and fold her parasol, continuing with the nearby figure for an amble along the beach. The solitary deckchair will not remain on the sand forever, and the light will change as the day progresses. It is this refreshing simplicity of elements - an impression of a calm Pacific morning - which marked Elioth Gruner as an artist of distinguished skill, worthy of receiving the Wynne Prize seven times across three decades of painting. The Silver Light of Summer Morn is a demonstration of nostalgia, and a celebration of local beauty. It references the theory of artist Max Meldrum who proposed tone as the most important element of any painting. Most importantly, however, is that Gruner painted the unpaintable: the element of light itself.
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