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Lot 422
A Derby Patch Mark figure group, Children Playing Hazard, after a painting by Francois Boucher, modelled with two children standing by a fortune wheel, both in colourful dress, a dog by their feet, shaped base, 14.5cm high, incised N93, c.1770 Condition Report: (although this group normally has three children, this left the factory with only two)
Lot 397
NINETEEN BOXED SYMBOL OF MEMBERSHIP LILLIPUT LANE SCULPTURES, 1997/1998 through to 2015/2016, to include 'Hampton Moat', 'Kiln Cottage', 'Fresh Today', 'Little Bee', 'Little Scrumpy', 'Gold Top', 'The Chocolate Box', 'The Toy Box', 'Cabbage Patch Corner', 'Sugar Mouse', 'Afternoon Tea', 'Nutkin Cottage', 'Fruits of The Sea', 'The Pigsty', 'Arithmetic At The Old School House, Walney', 'Parsley Cottage', 'An Apple a Day', 'Alfresco Afternoons' and 'The Hop Pickers' (all with deeds) (19)
Lot 406
A WEDGWOOD BUTTERFLY LUSTRE PEDESTAL BOWL, pattern number Z4830, single butterfly to the interior, the exterior with a band of insects, lacks factory mark, approximate diameter 12cm (condition: Lacks Wedgwood backstamp, patch of bloom on exterior of the bowl below the top rim (see image)Wearing to the gilding on rim edges and just inside bowl, some light scratches to inside of bowl.)
Lot 129
Selection of Cloth Formation Signs and Other Cloth Insignia, consisting of printed Devon & Cornwall County Division / 73rd Independent Infantry Brigade formation sign, facing pair of printed 17th Infantry division formation signs, WW2 East Yorkshire regiment embroidered regimental formation / pagri badge, West Yorkshire regiment embroidered formation sign, embroidered 21st Indian Infantry Division / 268th Infantry Brigade formation sign, printed 17th Indian division formation sign, printed West Lancashire district cloth formation sign, embroidered 1st pattern Northern Ireland district cloth formation sign, British Red Cross Society & Order of St John Joint War Organisation cloth formation sign, printed Army Fire Service formation sign, printed Royal Fusiliers cloth shoulder title, CBI cloth patch with bullion sun and star, Corps of Commissionaires bullion rank badge, Duke of Yorks Royal Military School cloth shoulder title, pair of black on khaki AMPC (Auxiliary Military Pioneer Corps) slip on shoulder titles, EIIR RAF pilots wing and uniform medal ribbon bar. Various conditions. (19 items)
Lot 161
Selection of Cloth Insignia, consisting of British Military Mission Libya formation sign, WW2 Home Front Civil Nursing Reserve cloth badge, British made 1st Allied Airborne division patch, embroidered St Kitts-Nevis Defence Force formation sign and woven 2nd Netherlands Infantry Division Cloth formation sign. All remain in good condition. (5 items)
Lot 177
Scarce Post 1902 Army Veterinary Corps Officers Home Service Helmet, good example of the blue cloth covered cork home service pattern helmet with brass and enamel Kings crown helmet plate to the centre, leather backed linked chinstrap, gilt brass rosettes to the side and cross base with ball top. Leather and silk sweatband to the interior of the helmet. William Anderson & Sons makers leather patch to the top of the interior. Very good overall example of an unusual helmet.
Lot 256
Selection of Third Reich Cloth Insignia, including NSDAP Ortsgruppe single collar patch (damage to metal oak leaf), Police enlisted mans and officers shoulder boards, Customs officials collar patch, Luftwaffe collar patches, Fire Brigade officials collar patches, various Kriegsmarine uniform trade patches, plus other items. Various conditions. (15 items)
Lot 218
Royal Army Medical Corps Insignia. A card with officers' collar-badges pre-1904 (QVC), and cap-and-collars sets of the KC period (bimetal and OSD bronze), with some variants, KC post-1950 (with In Arduis Fidelis scroll), and QEC; ORs cap-and-collars sets of the same patterns, with a plastic badge of WW2 period and an anodised QEC set. Together with officers' and ORs' brass buttons of QVC, KC and QEC periods; and another card, with five assorted brass RAMC shoulder-titles; three khaki cloth slip-ons; four shoulder-titles in white embroidery on dark red cloth; WW2 shoulder-flashes of 1 and 2 Medical Commando; a Medical Orderly's circular sleeve-badge pre-1930 and a WW1 armlet-badge for RAMC personnel; a Southern Command formation-sign for RAMC units, a DZ patch for 23 Field Ambulance and a Gulf War arm-badge for 32 Field Hospital RAMC. (2 cards, 75 items)
Lot 442
Royal Flying Corps insignia, 1912-1918 Framed display of Officers' and Airmen's cap badges; officers' and Senior NCO's collar badges; pilots' and observers' flying brevets embroidered and silver-gilt; embroidered and gilding metal shoulder-titles including Hampshire (Farnborough) RFC Territorials; officers' and Other Ranks rank badges for Service and Full Dress uniforms; wound stripes, Staff Officer gorget patch and Semaphore Signaller's badge. (1 frame, 65 items)
Lot 367
Alexander Mortimer - British b1850-?, Oil on canvas, Waved breaking along a rock shore line, Signed Alex Mortimer and dated 1907, 49cm x 74cm, In later frame and glazed CONDITION REPORT: The canvas has a craquelure throughout and is quite grubby with some yellowing. There is a patch of sea to the bottom middle which may have been repainted. The frame with some chips and losses. Frame is not original.
Lot 79
A George III silver patch box, 'IT' Birmingham 1798, of oval form and with engraved floral and foliate border, 2.9cm x 2cm, weight 4.2gms CONDITION REPORT: Some general tarnishing to interior. General external surface blemishes. Visible seam mark. Hallmarks rubbed to a degree. Cover slightly loose.
Lot 695
RED RUM Very rare embroidered trainers Identification patch , black with "D McC " embroidered in red. High quality item taken from the blanket that Red Rum would wear when he came into the saddling area or after the race. The initials are those of Red Rums trainer unofficially known as Ginger McCain. Good
Lot 17
Roderic O'Conor 1860-1940NUDE SEATED ON A CHAISE LONGUEOil on board, 24" x 19 3/4" (61 x 50 cm), Atelier 'O'CONOR' stamp verso.Provenance: Private Collection, LondonRoderic O'Conor fascination with the female nude began in earnest after he left Brittany for good in 1904 and moved to Paris. The spacious studio he rented at 102 rue du Cherche-midi in Montparnassse became the setting for countless explorations of this time-honoured subject. The present example, with sumptuous,reds, pink, oranges and yellows recreates something of the effect of a boudoir, the model being captured as if she is just about to rise from nher couch in order to get dressed. The sense of immediacy is reinforced by the cropping of the figure's feet and hair from the top and bottom edges of this picture, with the result that her position in space is very close to the plane of the picture. The intimate setting and unselfconscious pose of this nude relate it closely to other interiors dating from O'Conors intimiste period, 1905-11. Inspiration for this body of work was provided by the late nudes of Renoir (compare for example the latter's Bather Sitting on a Rock (Baigneuse) of 1892; private collection, Paris), as well as Pierre Bonnards radiant and seemingly unposed depictions of his wife. O'Cono sought, like Bonnard, to create unpretentious pictures of women in intimate settings, engaged in everyday activities such as reading, resting, arranging their hair or fastening a stocking. An early example of 1905 entitled Repos, showing a clothed model asleep, was bought from O'Conor by the famous Russsian collector of modern European art, Ivan Morosov, and is now in the State Hermitage Museum, St. Petersburg.The features of the young woman seen here can be found in a number of O'Conor's paintings from this period. He would normally start work by making rapid drawings of the model in a range of different poses - an approach that allowed him to establish an understanding of her movements and proportions. I Nude seated on a chaise longue the model has been placed left of centre, seated on the edge od a divan (a favourite studio prop), with three Chinese vases located in the background to lend an air of cultured refinement. The model's expression, as so often in O'Conor's work, is contemplative and introspective, rather than overtly glamorous or sensual. The figure is lit by daylight entering the picture from the right, throwing the left side of her figure in shadow and thereby enhancing the illusion of rouned, three dimensional forms. By paving careful attention to the overall balance of the light and shade, O'Conor demonstrates his awareness of traditinal themes and approaches, simultaneously in this painting was one of his favourite colours, inevitably calling Renoir to mind once again.whereas the seated nude on the front of this picture is a highley considered statement that must have demanded frequent sittings of the model over a prolonged period, reclining nude on the reverse is a spontaneous and vibrant sketch, painted in one sitting. The two contrasting treatments show how the extent to which O'Conor was prepare to adapt his approach, working rapidly alla prima in order to d=seize a pose or light effect before it was lost foe ever, while at the the same time producing pictures with a much higher degree of 'finish', perhaps with a exhibition in mind. Even in more developed works, however, the artist still liked to retain a degree of spontaneity: compare foe example the bold patch of creamy paint on the seated nude's left shoulder, with the incredibly delicate, feathered brushstrokes used in her right cheek and neck.We are greatful to Jonathan Benington for kindly preparing this catalogue entry.
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24353 item(s)/page