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Lot 568
*RAF/Fleet Air-Arm - Flying Helmet. An early post-war issue lightweight cotton flying-helmet, stores ref. 22C/1731, size 3 numbered KM/R/037/63, together with an `H` Pattern oxygen-mask, complete with tube & clamp, fully-fitted headset and wiring-loom & jack-plug for RT connection, inscribed in blue ink to inner earpiece Flt. Sgt. Broughton, stamped WSA (2)
Lot 571
*WWII RAF Flying Helmet. A Wartime C-Type pattern standard issue Helmet, c. 1940s, complete with integral earphones, wiring-loom and jack-plug, together with a later pattern Oxygen-mask stores ref: 6D/1485 with AM markings, and with a pair of later issue MKVIII-pattern flying goggles. This apparel was in regular use post-war by the vendor when flying his Tiger Moth aeroplane. (3)
Lot 605
Ford & Others. A quantity of pre-and early post war sales brochures and related literature 1930s-1950s, comprising handbook-spares lists etc., variously including Ford V-8, Popular, Anglia, Prefect, Thames Van and Semi-Forward Control, Ford V-8 Pilot Consul `Classic` 315, Capri, and others including Lincoln-Zephyr V-12 etc, some-large-fold-out artwork format, many duplicated old-stock (-)
Lot 28
Various pairs of ladies` earrings, comprising peridots on chain drop, blue foil back stone on bar drop, both with shepherd crook fittings, a pair of antique drops set with amethyst, shepherds crook fittings, pear shaped crystal drops with hook wire fittings, cultured pearl studs, approx. 8mm, post & butterfly fittings, all stampede, tested, h/m or tagged 9ct gold & a pair of cultured pearl studs, approx. 4mm, post & butterfly fittings, stamped & h/m 18ct gold (gross 6.4g) (6)
Lot 52
Pair of diamond solitaire stud earrings, comprising small brilliant cut stones, total weight approx. 0.15 carats, in four claw square settings, post & butterfly fittings, all in white gold & a pair of `Z` shaped studs with small diamond set in each tip, post & butterfly fittings, all in yellow gold, 18ct h/m (2.9g) (2)
Lot 283
Ladies` silver necklet, approx. 17", comprising ornate front piece set with seven oval cut garnets & twenty two white stones, complete with foxtail chain fitted with snake type fastener, pair of drop earrings to match, post & screw on butterfly fittings, ladies` bracelet, approx. 7", comprising eighteen marquise cut garnets, alternating with two small boat shaped links each set with a tiny pearl, ladies` large cluster ring, comprising oval garnet in centre of illusion style setting, surround of twelve oval garnets, size M or 6 US & a pair of large cluster earrings to match, comprising round cut garnet to centre with surround of eight oval garnets, post & holder fittings, stamped & tested (1.87oz) (5)
Lot 407
Matchbox Lesney No. 4 Stake Truck, No. 18 Field Car, No. 40 Hay Trailer, No. 70 Grit Spreader & No. 73 1968 Mercury, all boxed, No. 23 Trailer caravan, No. 32 Leyland Petrol Tanker & No. 45 Pony Trailer, un-boxed, small Liptons Tea horse drawn bus, Oxford Diecast Sunday Post van, un-boxed, Kerry Gold van, boxed & other model cars/vans (4) (15 in total)
Lot 47
Louis le Brocquy HRHA (1916-2012) THE TÁIN COLLECTION Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.50 by 110in. (184.15 by 279.40cm) Provenance: Agnew`s, London; Where purchased by the current owner Exhibited: `Louis le Brocquy Aubusson Tapestries`, Agnew`s, London, 3-29 May 2001, The Táin Tapestries Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist`s passing on 25 April 2012. Le Brocquy`s hand reaches out through them. Medb Ruane April 2012 (£202,510-£243,010 approx)
Lot 77
Paul Henry RHA (1876-1958) DOOGORT FROM SLIEVEMORE, ACHILL, 1919-1920 oil on canvas board with label of Reeves & Sons, Ltd, London sketching tablet on reverse 7.50 by 10.50in. (19.05 by 26.67cm) Provenance: The collection of Mrs. Barrett, Bervie Guest House, Achill Island; Christie`s, `Fine Irish Paintings and Drawings`, 26 May 1989, lot 281; Private collection; Adam`s, 26 February 1990, lot 87, as The Sandy Shore; Private collection Literature: Kennedy, S.B., Paul Henry Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.211, catalogue no. 538 (illustrated) When Paul Henry first arrived on Achill Island he lodged with John and Eliza Barrett, who ran the post office in the village of Keel. `To this day,` he wrote late in life, `I have a warm feeling of gratitude to John and Eliza Barrett,` who in due course gave him `infinite and ungrudging` hospitality (Henry, An Irish Portrait, London, 1951, p. 4). The Barrett`s granddaughter, who today with her husband runs The Bervie Guesthouse at Keel, later owned the picture. The strand in the foreground is the beach at Doogort and the road on the right hand side still winds its way through the tiny hamlet, which is little changed from Henry`s time. The distant mountains are on the mainland of Co. Mayo, just north of Mallaranny. The fluid handling of the paint, with moderate impasto, is characteristic of Henry`s later Achill period and thus suggests a date of execution of around 1919-20. Dr. S.B. Kennedy April 2012 (£4,860-£6,480 approx)
Lot 775
Book - More Adventures by Rupert, published by Daily Express in 1937 with original cardboard box with Daily Express post label Minor edge knocks to top and bottom. Previous owners name is written in book, Cardboard box in reasonable condition Further images and condition reports are available at www.reemandansie.com
Lot 62
London Transport & Green Line enamel Bus & Coach Stop - By Request and Compulsory. Double side, one side having three original route plates, not necessarily matching with the sign - 454A; 175; 712. Excellent condition with just minor chipping due to use. Note. 454A ran a few isolated Monday to Friday journeys between Tonbridge Station and Riverhead via Hildenborough, Riverhill, Sevenoaks Weald and Sevenoaks Station.175 ran daily between Ongar and Dagenham (New Road) 712 was introduced in 1946 as part of the post-war re-instatement of the coach services and ran from Dorking to Luton via Leatherhead, Epsom, North, Borehamwood, London Colney, St. Albans and Harpenden. In the early 60s the 712 was diverted between Radlett and St. Albans
Lot 74
GWR post-grouping Pocket Watch by Limit, Swiss Made. Enamel dial showing the company initials and the number 03148. The rear of the case is engraved with company initials and the same number as that on the dial. In excellent, working condition, no chips to the dial and retains the original bevelled glass.
Lot 100
London & North Western Railway gilded, hallmarked silver Casket presented to Sir Richard Moon, Baronet on the occasion of the giving of Queens Park to the people of Crewe and in return, the presentation to him of first Freeman of Crewe 4th July 1887. The casket has the enamelled Crewe Coat of Arms with motto `Never Behind` on one side and the L&NWR Britannia Coat of Arms on the other. Each side of the COAs is a hand painted image in full colour of locomotives, Webbs Compound & Stephensons Rocket and local images of Boating Lake and Horse-drawn Carriage. The ends have a single image of Old Shops & Offices 1843 and Euston Coffee Tavern 1885. The lid is topped with an impressive Phoenix and the inscription `vincit omnia veritas` with a circular, red enamel motif of the recipient`s initials. The side slopes of the lid have engravings of Euston Station 1858 and Britannia Bridge 1850. The rear slope is exquisitely engraved `Sir Richard Moon Baronet, Chairman Of The London & North Western Railway Company, The First Honorary Freeman Of The Borough Of Crewe, Admitted 4th July 1887, F.W. Webb, Mayor`. Inside the casket is a beautiful, colour Scroll with details of the presentation. Mounted on a plinth, the casket measures 8" high x 8¾" wide x 5" deep. The hallmark is clear being Birmingham 1886. It is housed in an original, purpose made, silk lined presentation box with brown leather covering and brass side handles. Accompanying is a large, ledger style book with several beautiful scrolls within including one signed by FW Webb. Additionally, an original portrait of Richard Moon, in oils with original gilded frame measuring 20" x 22" is with this. In all, one of the most magnificent and historic items ever to grace the Railwayana auction room. Note: Richard Moon (1814–1899) was elected as a Director of the L&NWR in 1847 and became Chairman in June 1861 remaining in that post until he retired in 1891. He was responsible for persuading FW Webb to return to Crewe where he became CME (and also Mayor of Crewe) under the chairmanship of Moon. Interestingly, Richard Moon had two L&NWR locomotives named after him.
Lot 107
Original framed Carriage Print 20"x10", ARCHBISHOP`S PALACE, BISHOPTHORPE, YORK from an original water colour by S.Agnew Mercer from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. An uncommon print in this condition, see the other prints in original frames from the same collection elsewhere in this auction.
Lot 136
Original framed Carriage Print 20"x10", THE RIVER NIDD, KNARESBOROUGH, YORKSHIRE from an original water colour by Jack Merriott from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. An uncommon print in this condition, see the other prints in original frames from the same collection elsewhere in this auction.
Lot 143
Original framed Carriage Print 20"x10", ROBIN HOOD`S BAY, YORKSHIRE from an original water colour by Frank Sherwin from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. A rare print in this condition, see the other prints in original frames from the same collection elsewhere in this auction.
Lot 179
Original framed Carriage Print 20"x10", THE RIVER OUSE, YORK from an original water colour by Gyrth Russell from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. An uncommon print in this condition, see the other prints in original frames from the same collection elsewhere in this auction.
Lot 184
GWR C/I Lamp Post complete with original GWR Lamp fitted to the top. The post is 95" high and is tastefully embossed `GWR Co., Hardy & Padmore, Worcester`. The lamp has a wonderful makers plate attached `W. Parkinson & Co., Incorporated in Parkinson & Cowan, London & Birmingham`. To be collected from the Vendor`s premises near Taunton. Note: Hardy & Padmore, the Worcester Foundry, was established in 1814 and famously manufactured the Foregate Street Railway Bridge in the heart of the City and also, surprisingly, the beautiful `Dolphin` Lamps on Westminster Embankment, London.
Lot 191
GWR post-grouping Pocket Watch by Limit, Swiss Made. Rear case engraved with company initials and the number 02650. The same number appears on the enamel dial as does the company initials. Comes with a hallmarked silver Albert. The dial has a very small area of touched-in white around 10 o`clock, otherwise extremely good and in working order.
Lot 206
Llynvi & Ogmore Railway Boundary Post complete with bottom `foot`. A rare boundary marker from this small company, originally the Duffryn, Llynvi and Porthcawl Railway which was formed by the merger on 1 July 1866 of the broad-gauge Llynvi Valley Railway and the standard-gauge Ogmore Valley Railway. It served Porthcawl, Bridgend, and Tondu in Glamorgan, Wales, along with various branches.
Lot 225
Tyers No 6 Single Line Tablet ROSE STREET - CLACHNAHARRY No 30 (configuration `special`). Ex Highland Railway between Inverness and the Far North of Scotland and Kyle of Lochalsh. The special configuration is probably the result of the original existence of an intermediate siding for the Muirton Basin Branch. This had an intermediate tablet instrument to enable trains to be `shut in` whilst at the same time , special locking existed for the Swing Bridge over the Caledonian Canal at Clachnaharry. The Clachnaharry Signal Box closed as part of block post on 21st August 1988. Steel and brass construction, excellent condition.
Lot 226
Worksplate Sharp Stewart & Co Atlas Works Glasgow no 4670 dated 1900. Ex South East and Chatham Railway Class R1 0-4-4T originally numbered 698 then 1698 by the Southern Railway and finally 31698 by British Railways. Post-1948 it could be found at Feltham and Faversham. Withdrawn from Tonbridge in October 1955. Oval brass 9¾" x 6", ex loco condition.
Lot 227
Original framed Carriage Print 20"x10", LASTINGHAM, YORKSHIRE from an original oil painting by Freda Marston from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. A rare print in this condition, see the other prints in original frames from the same collection elsewhere in this auction.
Lot 244
Original framed Carriage Print 20"x10", PICKERING, YORKSHIRE from an original water colour by Jack Merriott from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. See the other prints in original frames from the same collection elsewhere in this auction.
Lot 297
LB&SCR 10" mahogany cased chain driven fusee Clock by Grimshaw Baxter & Elliott Ltd of London. The cleaned and overhauled chain driven fusee movement is in excellent working order and the mahogany case is complete with its original cast bezel with the hinge stamped 796, the back of the box is stamped 796 B. The dial has been repainted post 1948 and now reads B.R. (S) John Walker, 1 South Molton Street 796.B. The SR clock records show that this clock was supplied new to the LB&SCR in 1889 and was originally in use at Tulse Hill, Knights Hill Signal box and later transferred to the Peckham Rye. A wonderful example in full working order and complete with pendulum and key.
Lot 312
Original framed Carriage Print 20"x10", STAITHES, YORKSHIRE from an original water colour by Gyrth Russell from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. An uncommon print in this condition, see the other prints in original frames from the same collection elsewhere in this auction.
Lot 354
Original framed Carriage Print 20"x10", RIEVAULX ABBEY, YORKSHIRE from an original water colour by Freda Marston from the LNER Post War series issued 1945-1957. This is in mint condition and is in an original frame complete with original safety glass. A rare print in this condition, see the other prints in original frames from the same collection elsewhere in this auction.
Lot 378
SECR 12" oak cased drop dial fusee Clock No 1443 SE. The chain driven fusee movement appears to be in working order but has not been tested. The movement backplate is stamped `G&B, SECRY`, the pendulum bob is stamped `1443`. The oak case is complete with its original cast bezel and the back of the box stamped `1443 SE` The original brass 1443 numberplate is present on the inside of the right hand door. The dial retains its post grouping lettering `S.R. John Walker 1 South Molton Street London 1443 SE`. It is certainly very rare to see clocks still lettered SR as most were repainted BR(S). The SR clock records show that it was originally supplied for use at Victoria station carriage sidings cabin and was then transferred to Waterloo `D` Section stores department. A wonderful example in totally ex railway condition, which would benefit from sympathetic restoration.
Lot 329
Frank Bramley RA (British, 1857-1915) `The Tulip Tree` oil on canvas, signed with monogram and dated `09 lower right 10¾ x 8½in. (27 x 21.5cm.) * Frank Bramley was an English Post-Impressionist painter and artist of the Newlyn School. He attended Lincoln School of Art from 1873 to 1878 and studied from 1879 to 1882 with Charles Verlat at the Koninklijke Academie voor Schone Kunsten in Antwerp, as did other future Newlyn school painters such as Fred Hall, Thomas Cooper Gotch and Norman Garstin. After a period in Venice, Bramley joined the artists` colony in Newlyn, Cornwall, where he stayed until 1895. A later work, The Tulip Tree typifies his interest in tonal harmonies and the surface qualities of brushwork, as well as displaying the influence of The Newlyn School`s plein-air approach. See Illustration.
Lot 1085
13 bagged items of Master Models including 64 wicker gate, WB4 wood blocks, 18 cable drums, 4 seated figures, 2 passengers, 23 track repair party, 24 police box, 28 ladders, 33 oil drums, 63 post boxes, CW6 construction workers, motor cycles, assorted cases and boxes, and a Subbuteo table cricket grounsdmen figures with roller (all G)
Lot 1973
Dinky, mixed lot 254 Police Range Rover (M,BVG), plus 243 Volvo police car police with man and sign (M,BVG), 410 Bedford van promotional `Danish Post`, this is a rare item (NM,BP), 283 single decker bus, red under discoloured (NM,BF), 321M.H manure spreader (M,BG), 150 Rolls Royce 2-tone grey mascot missing and small chip (G,BF), 340 farm Land Rover, green body and hubs needs cleaning inside (NM,BR), 297 Silver Jubilee bus National (M,BG), and 2 replica streamlined buses 29x and 31x with 280x delivery van `Dinky Toys` (these 3 M,BM)
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131341 item(s)/page