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Click here to subscribeA Derby 'Africa' porcelain figure, circa 1760, shown wearing a shell hat and holding a cornucopia beside a dog, patch marks to the underside, h.13.5cmSeveral small losses to cornucopia of flowers.Tusk loss to elephant headdress.UV lamp shows extensive very good restoration to lower body and both arms.Glaze and enamel good and bright.
A South Staffordshire enamel patch box, late 18th century, inscribed This and the giver are thine forever, w.4cm, together with four others similar inscribed with similar mottos (5)Communion – several hairlines, small chips, grubby.Giver – two large chips to front and base, minor chips, handling wear and grubby.Safety depends – hairlines to tops and badly stained.Give or lend – cover with hairlines and staining, base with two large chips.Small circular – minor scratches to cover, some age wear.
Nottingham Panthers memorabilia; Paul Adey ice hockey stick, signed, programmes including Benson & Hedges Cup Final 1994, signed, Norwich Union Cup Final 1986, Panthers v Former Panthers, Ice Stadium, 1989, Wembley Finals 1994, Ice Hockey Review Magazine Dec 1994, Benson & Hedges Cup Final 1996 and ticket stub, two programmes for last game at old Ice Stadium March 2000, two souvenir pucks from last game at old Ice Stadium, team photograph, a selection of pin badges and patch, various newspaper cuttings, knitted Panthers "Mascot" plus Motor Cycle News, Barry Sheene Special and signed separate page
G. Price (British, late 19th century) Portrait of a Jack Russell terrier oil on board, signed and dated (18)87 lower right 8¾ x 12 in (22.2 x 30.5 cm), oak frame with gilt slip (31.5 x 39.5 cm) * Surface dirt and nicotine staining to the paint surface - will respond well to cleaning. The board has warped a little, creating a slight bulge to the lower centre below the dog. A few small scattered retouches visible under UV and a small retouched patch below the signature.
W. V. Long (British, late 19th century) Portrait of a red setter in a landscape oil on board, signed and dated 1891 lower right 8¾ x 12½ in (22.2 x 31.75 cm), bird's eye maple frame (30.5 x 39.5 cm) * Surface dirt across surface and discolouration to varnish. Retouched paint flake to upper right margin, another just behind the dog's head (which has a paler patch to the varnish surrounding it, from cleaning before the retouch was carried out), and a smaller paint flake to lower right margin. Evidence of old cleaning and restoration under UV, with scattered retouches. Some 'pooling' of varnish visible under UV and to the naked eye above the dog's back, where it was heavily applied.
Ten 19th century English porcelain tea cups and coffee cans in the Imari palette - each with its matching saucer, including examples by Spode, Derby and Derby, Stevenson & Hancock, plus a single Spode 1409 pattern Bute coffee can.* The Spode 2693 coffee cup has a tiny rim chip. The small Derby, Stevenson & Hancock teacup has a glued break to the rim, with a small piece missing. The Derby coffee can and saucer has glaze crazing throughout, with a consequent patch of glaze discolouration to the underside of the saucer. The other pieces in good condition, with no chips or cracks, a little gilt wear.
Persian Heriz red ground carpet, large stylised pole medallion surrounded by Pitrak motifs, indigo ground border decorated with stylised flower heads and trailing leafy branches, within floral pattern guard stripesDimensions: Length/Width: 414cm Depth/Diameter: 320cmCondition Report:Patch of wear to one corner.
TWO 20TH CENTURY CHINESE EMBROIDERED SILK SKIRTS AND A JACKET. The first skirt in black silk embroidered with pheasants perched on rockwork above waves and flowers, with pink cotton waistband, a red skirt embroidered in silver thread with birds and flowers, with silvered tassels at hem, the black silk jacket embroidered in silver thread with birds perched on flowering branches, edged in scrollwork, with red silk toggles and pink lining (3) The black jacket with some tearing to pink lining and small area of tearing to red seam at back of hem, some small area of pulled threads, with a more noticeable patch of losses and pulling to one shoulder. The red skirt with wear, holes and tearing to white waistband and further holes, probably moth damage to red silk, including several tears, some separating at the seam.The black skirt with pink waistband with some minor loose threads, minor wear.
A collection of miscellaneous German / Occupation items to include two crossguards for daggers (probably fantasy), a Totenkopf bronze skull paperweight, a bronze alloy tablet as removed from a picture, Sicherheitsdienst SD black diamond cloth patch, a de-nazified Social Welfare award, a Heer Obergefreiter rank chevron, British cap badges and W.J. Sutton, (British 20th century), HMS Cairo, watercolour, signed lower right, 8.5 x 13.5cm.The vendor states that some of these items were accquired by the journalist and biographer Stella King who was detailed to escort foreign journalists to Germany after the war where she visited Hitler's Office at the Chancellery although we cannot confirm this.
A GRADUATED SET OF FOUR SILVER AND ENAMEL MALLARD DUCKS possibly Italian, with London import marks, with etched retailers mark for Mappin & Webb, 9.5, 5, 4 & 3cm, 198gms / 6.36oz (4) Condition Report:The large duck has a casting fault to one foot, the smallest has a patch of dark tarnish to chest. Blue tarnish spots to the htree smaller ducks tail feathers / below neck, otherwise good condition
A SUBSTANTIAL DIAMOND RING the diamond is estimated approx at 4cts, mounted in platinum, with a pretty galleried mount with eight claw setting and further old cut diamonds to the shoulders, the large old cut diamond measures approximately 10.17mm x 10.22mm x 6.14mm. Finger size N, weight 3.9gms Condition Report:"I cannot give you a full diamond appraisal, i.e the four C's as I am not qualified to do so. I can tell you what I can see.The diamond is a very nice colour there is no hint of yellow. Its well cut with a thin girdle so there are some miniscule flea bit chips and one almost hidden behind a claw. There is a tiny patch of carbon dots to one side of the table and a tiny carbon feather. Only just eye visible if you know its there, please see the condition report images. The mount is generally good apart from having half a bar and a full pair of bars missing from the shoulder, the last remaining could be cut out ...it wouldn't be missed! The white dusty looking bits are just dirt on the back of the diamond, I clean them as best I can with a toothbrush, but some dirt might remain."
A 19th century amethyst glass scent bottle, 7cm, smaller clear glass scent bottle,Chinese hardstone snuff bottle, interior painted snuff bottle and an amber carving, mixed lot of coins, treen patch box, bone lorgnette, autograph book, Desert Rat ( 7 Armored Division) inter unit rugby medal and a lacquer egg. (qty)Condition Report: The internally decorated example has no stopper.The amethyst example has a broken hinge to the lid and the decoration is worn in places.The smaller clear bottle is sealed up.The green hardstone bottle has a lid which cannot be removed.
A group of small collectables including ; a 19th century silver vinaigrette, a silver bladed mother of pearl folding fruit knife, an 18th century tortoise shell and silver inlaid toothpick box, 8cm wide, a gilt metal miniature chain link purse, a miniature silver patch box with painted portrait to the circular lid and related collectable items. (qty)
A George III Bilston enamel patch box of Admiral Lord Nelson interest, of rectangular form, the cover with a naval cannon and the legend 'Like Nelson may each Briton be a friend to King and Country'. a smaller round patch box "Virtue Prize and Vice Dispise" and another heavily restored patch box (3)Condition Report: The 'Nelson' patch box is in overall good condition with minor age related wear.The small yellow box has cracks through the lid and the oval box has a partially restored lid.
CORUM REF. 082.310.98/0376 PIRA, BUBBLE 47, PIRATEA black PVD stainless steel, self-winding centre-second wristwatch with dateYear : 2020 Dial : applied jet black dial with silvery skull motif with crossed cutlasses, complete with red bandana and black eye patch. Stout steel hands filled with red Super-LumiNova. Date aperture at 6 o’clock. Calibre : CO 082 movement, signed Corum. Display movement Case : 2346154 Bracelet : red Corum rubber strap with black pad forum pin buckle. Dimensions : Ø 47 mm. 20mm thick Signature : Dial, case and movement Accessories : Box (damaged), papers Condition Report: General remarks : Very Good general conditionCase : Good general conditionDial : Very GoodHands : Very Good general condition, original handsRunning at the time of cataloguing, overhaul recommended at buyer’s expense
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FISHING BOATS Pastel on brown paper 14cm x 14cm (5.5in x 5.5in) The Artist's studioExhibited: The Scottish Gallery, Edinburgh, Joan Eardley R.S.A. - Paintings and Drawings, 2007 Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
JOAN EARDLEY R.S.A. R.S.W. (SCOTTISH 1921-1963) THE STRIPED SKIRT Pastel on glass paper 28cm x 23cm (11in x 9in) St. Andrews Fine Art, July 1998. Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1964, no. 79.Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) LITTLE GIRL Signed, pastel 30.5cm x 18cm (12in x 7in) The Scottish Gallery, Edinburgh, no.9871 Dated 1956 on gallery label verso.Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY IN BLUE JERSEY Oil on board 36.5cm x 16cm (14.25in x 6.25in) Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1967, no.50 Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GIRL IN STRIPED JERSEY Inscribed with inventory number ‘ED877’, pastel 25.5cm x 20cm (10in x 8in) Roland Browse & Delbanco, London Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOYS PLAYING CARDS Oil on board 23cm x 23cm (9in x 9in) The Scottish Gallery, Edinburgh, Joan Eardley - Paintings and Drawings, 1996, no.13 Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) SALMON FISHING NETS - STUDY Pastel on three conjoined sheets 17.5cm x 46cm (7in x 18in) Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley - The Artist's Studio, 1958, no.2 This work dates from c.1958.Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her. Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants. In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.
Robinson (William Heath).- Carse (Roland) All the Monarchs of Merry England (William I to Edward VII), 40 colour plates and black and white illustrations by W. Heath Robinson, ink gift inscription to front endpaper, light foxing at beginning and end, pictorial endpapers lightly browned, original decorative crimson morocco, gilt, wear to spine ends and corners, very lightly rubbed elsewhere, lower joint starting, [c.1907] § Shakespeare (William) A Midsummer-Night's Dream, first trade edition, 12 tipped-in colour plates and black and white illustrations by W. Heath Robinson, ink gift inscription to pastedown, front endpaper with later school prize bookplate and inscription, occasional cracking at gutter, one plate with creasing to lower margin, the odd patch of soiling, endpapers toned, original pictorial cloth, gilt, a few marks, spine slightly faded and with small residue-mark to foot, spine ends and corners rubbed and a little bumped, some light rubbing to covers, 1914; and 3 others illustrated by the same, 8vo & 4to (5)*** The first a scarce, single-volume alternative to Carse's four volume "Monarchs of Merry England", each published with 10 plates by Heath-Robinson. Not recorded in WorldCat.
Clarke (Arthur C.) 2001: A Space Odyssey, first edition, patch of browning to half-title and title, original boards, slight toning to head, dust-jacket, price-clipped, spine tips and corners a little chipped, vertical crease to spine, a few short nicks or tears to head and foot with neat tape repairs to verso, an excellent example overall, 8vo, New York, 1968.
Kosmetiktasche, Yves Saint Laurent. Schwarzes, gestepptes Lammleder. Bronzefarbene Hardware, gem. "Saint Laurent Paris", Reißverschluss. Innenmaterial schwarzer Baumwollcanvas. Innen je ein Haupt- bzw. seitliches Einsteckfach mit Leder-Patch, gem."SAINT LAURENT PARIS MADE IN ITALY". Neuwertig. Ca. 13x 26x 7 cm.
HO Gauge model railways, Noch of Germany diorama accessories to include 16046 Bei der Arbeit (At Work) 30 piece miniature track side figures set x2, 16040 Auf dem Bahnof (At The Station) 30 piece miniature figure set, 13216 cauliflower x2, 13217 White Cabbage, 13218 Red Cabbage x2, 13219 Pumpkin Patch, 31215 Tomato Plant, 13641 Track Work Set x2, 14104 Water Knotgrass, 14214 Piles of Plants, 14107 Vegetable Garden Set, 14109 Orchard Set, 14140 Water Lilies, 25203 Reed, 13640 Rail Works Set, 14398 Stand, and 14399 Football Goals and Corner Flags, each boxed but not checked for completeness. (21)
WWII Nazi German Third Reich uniform Wehrmacht jacket having interior pocket label 'M Traonouez Costumier Paris', bullion wire epaulettes and collar badges, with WWI 1914 first class iron cross, Spanish wound badge, and Wehrmachtsadler breast patch. We do not guarantee German WWII listed items to be genuine period examples. Buyers should view the items in person to decide for themselves. No returns will be accepted for these items.
HO gauge and other model railway, Woodland Scenics of Missouri, model diorama accessories to include A2738 Deer, AS5533 Suds & Shine, AS5537 Cop'n A Kiss x2, AS5546 Pit Stop, FS637 Briar Patch Dry Brown x2, TK25 Three Hardwood Trees, TK26 Two Big Old Trees x2, FS647 Static Grass Starter Kit, C1199, C1201, C1257 Tunnel Portal, 1256 Tunnel Portal, C1266 Tunnel Portal, etc. each in original packaging. (~50)
HO Gauge model railways, Woodland Scenics Field System by Woodland of Missouri, diorama accessories to include FS637 Briar Patch Dry Brown x3, FS638 Briar Patch Medium Green x3, FS647 Static Grass Starter Kit x3, FS640 Model-Vac x4, FS14411 Power Supply x2, FS646 Accent Shakers x3, FS644 Static-Tac x5, ST1444 Foam Tack Glue x2, LK952 Learning Kit Road System, A198 Scenic Accents Glue x6, A200 Gentle Grips x2, C1194 Plaster Cloth Modelling Tray, ST1474 Track-Bed Continuous Roll x2 etc.
Pair: Lance-Corporal C. R. J. Avison, Royal Signals Operational Service Medal 2000, for Afghanistan, 1 clasp, Afghanistan (25216417 Sig C R J Avison R Signals) in case of issue; Jubilee 2012, unnamed as issued, in card box of issue; together with a Signal Officer in Chief (Army) Commendation Medallion, silver, hallmarks for London 2011, the reverse engraved ‘LCpl C Avison 2011’, in Bigbury Mint case, the lid embossed ‘Royal Corps of Signals’, extremely fine (3) £200-£240 --- Sold with a British Army cloth identification patch ‘AV6417 O+’; and three photographic images.
An outstanding Second War Coastal Command Immediate D.F.M. group of four awarded to Flight Sergeant J. S. ‘Jack’ Garnett, Royal Air Force Volunteer Reserve As Second Pilot to Flying Officer J. A. Cruickshank in a Catalina of 210 Squadron on 17 July 1944, Garnett’s name is indelibly linked to one of the finest Victoria Cross actions of the war: but for his own stoicism in facing off his wounds and taking over the controls, none of his crew would have reached safety Distinguished Flying Medal, G.VI.R. (1390283 F/Sgt. J. S. Garnett. R.A.F.); 1939-45 Star; Atlantic Star; War Medal 1939-45, mounted for wearing, nearly extremely fine (4) £14,000-£18,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.F.M. London Gazette 29 September 1944. The original recommendation states: ‘This N.C.O. was the Second Pilot of a Catalina aircraft which sighted and attacked a fully surfaced U-boat on the 19 July 1944. The attack was pressed home at a very low altitude by the Captain in the face of heavy and intense flak which killed the navigator/bomb aimer outright, severely wounded the Captain and front gunner as well as slightly wounding Flight Sergeant Garnett. Immediately after the attack the Captain collapsed in his seat. Flight Sergeant Garnett, promptly took over the controls, righted the aircraft and climbed into a fog patch ahead of him. From then on Flight Sergeant Garnett assumed the captaincy of the damaged aircraft and organised the crew for the homeward journey of five hours. Although not qualified as a First Pilot on Catalinas he brought the damaged aircraft safely back to base and successfully landed it in difficult water conditions (glassy calm) in the half light of early morning. Owing to the damage sustained to the hull, it was necessary to effect an immediate beaching, which operation he conducted with conspicuous success and beach it finally in an extremely well chosen spot. From the moment he took charge he handled the situation in the manner of an experienced First Pilot. By his prompt action immediately after the attack, his skill in flying the aircraft back to base without a navigator, his successful landing and well-judged beaching he undoubtedly saved the lives of his crew and was responsible for the safe return of his aircraft.’ John Stanley Garnett was born in Barnet, Hertfordshire on 4 November 1911. Joining the Royal Air Force Volunteer Reserve, he was selected for pilot training and qualified for his ‘Wings’ in Canada, in addition to attending a navigation course at Pensacola, Florida. He subsequently joined the strength of Coastal Command’s 210 Squadron in early 1944 and, by the time of the above related action, had completed about 100 hours of operational flying. And that action is best summarised in Chaz Bowyer’s For Valour – The Air VCs: ‘ … At 1.45 p.m. Cruickshank got airborne from the Sollom Voe base to start a patrol calculated to last at least 14 hours. For the next eight hours the Catalina swept its patrol area, seeing little of importance, and its crew were reaching the point of thinking ahead to the return to base at the end of yet another monotonous sortie. Then, at 9.45 p.m. the radar showed a contact at 6821N, 0556E, - a surface vessel some 43 miles ahead. The flying boat at that moment was flying at 2000 feet above the ocean and Cruickshank’s immediate reaction to the sighting report was to approach the unidentified ‘contact’. Further on he suddenly saw the vessel - a submarine, doing approximately 14 knots on the surface. At first the crew thought it must be a ‘friendly’ sub, but Cruickshank ordered a recognition cartridge to be fired and the code letter of the day to be flashed to the submarine to ensure identification. His answer was an immediate heavy box barrage of flak - it was a German U-boat. Cruickshank’s response was to pull the Catalina into a complete circuit around the U-boat and begin his first run-in, descending from 1,000 feet to 50 feet as he nosed towards his target. At 1,000 yards’ range the Catalina’s front gunner commenced firing to make the German gunners take cover, and his tracers splashed around the submarine’s conning tower and ricocheted away in crazy parabolas; then the waist blister guns joined in the attack. Roaring over the U-boat the Catalina’s depth charges failed to release, so Cruickshank turned to port, climbing to 800 feet and continuing his turn to begin a second attack. Shouting to his crew “Everybody ready?” Cruickshank paused to hear the responses and then yelled, “In we go again.” The U-boat was now nearly stationary, giving its gunners a more stable platform as they prepared for the Catalina’s second attack. Flak shells began to slash along the flanks of the flying boat as it bore in; then as the U-boat came directly under Cruickshank’s vision, one shell exploded inside the Catalina, creating havoc. The navigator, Dickson, was killed instantly, Appleton [an Air Guner] was hit in the head by shrapnel, and Harbison [the Flight Engineer] wounded in both legs. In front of Garnett’s second pilot seat the windscreen shattered, and further inside a fire broke out. Cruickshank received wounds in both legs and his chest, but gave no indication of his injuries, intent as he was on completing his attack. From 50 feet above the U-boat Cruickshank personally released a stick of six depth charges in a perfect straddle of the submarine, then pulled up into the clouds of sea fog ahead of him. The aircraft crew saw no more of their target, but behind them the U-347, commanded by Oberleutnant zur See Johnann de Bugr, was rapidly sinking - Cruickshank’s aim had been true. U-347 had been one of an Arctic flotilla, and this was only her second patrol. In the Catalina, the crew took stock of the damage and crew injuries. The hull was riddled with flak damage, with a foot-long gash along the waterline. The aircraft radar set was out of commission, and one of the main petrol lines was leaking fuel steadily. The latter was particularly worrying; in their immediate location, 190-degrees west of the Lofoten Isles, north-west of Norway, the crew realised that it was at least five hours’ flying back to base at Sullum Voe. The various holes in the main hull were stuffed with various canvas engine covers and ‘Mae West’ preserver life jackets by various crew members; while up front Garnett took over the controls from Cruickshank and told Appleton to come and tend to the skipper’s wounds. Appleton began to cut away the legs of Cruickshank’s uniform trousers to staunch the obvious flow of blood, and then Cruickshank’s face went white and he fainted. Garnett and Appleton managed to lower the unconscious pilot from his seat and carried him aft to the only remaining unburned rest bunk; then Garnett returned to his forward seat. Appleton began to dress Cruickshank’s leg wounds and only then discovered the several chest wounds suffered by his captain - Cruickshank had not said anything about these. As the pilot regained consciousness soon after, he immediately made a move to go forward to his seat at the controls, being anxious about the fuel state, but Appleton restrained him gently, explaining that Garnett had everything under control there. Cruickshank’s next thought was for his navigator, but from the look on Appleton’s face, realised that Dickson must be dead already; indeed, he must have unconsciously known this after the explosion in the aircraft during the second ...
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