Gouache (Dimensions: 31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))(31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
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Screenprinted linen (Dimensions: 30cm x 43cm (11.75in x 17in), together with a corresponding linen in black and white, 28cm x 35.5cm (11in x 14in) (2))(30cm x 43cm (11.75in x 17in), together with a corresponding linen in black and white, 28cm x 35.5cm (11in x 14in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Signed in pen (lower right), collage (Dimensions: 31cm x 42cm (12.25in x 16.5in))(31cm x 42cm (12.25in x 16.5in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Including lobster, chicken and flower designs, gouache (Dimensions: Various sizes, the largest 31.5cm x 40cm (12.35in x 15.75in) (5))(Various sizes, the largest 31.5cm x 40cm (12.35in x 15.75in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Screenprint (Dimensions: 33cm x 45.5cm (13in x 18in))(33cm x 45.5cm (13in x 18in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
ROBBIE BURNS famed old blended Scotch whisky produced by R H Thomson and Co (Distillers) Litd, 26 2/3 Fl ozs, 70° proof, GRAND OLD PARR real antique and rare old de luxe Scotch whisky, distilled bottled and blended by MacDonald Greenlees Ltd 26 2/3 Fl ozs, no abv stated, and DRAMBUIE Isle of Skye whisky liqueur 75cl, 40% abv, (3) Condition Report:Grand Old Parr: seal is intact, shoulder label peeling and some stains on the label.Robbie Burns: seal is intact, small bruises to the edge of the lid. Fill level is in the neck.Drambuie: seal is intact, small tear to the ribbon on the neck.
Huntley & Palmers: A boxed, rare, Huntley & Palmers General Double Deck, clockwork motor bus, lithographed tinplate, red and cream livery with passsengers and driver pictured at windows, 1929, Huntley & Palmers advertisement, six wheels, lifting roof, Made by Huntley, Boorne & Stevens, approx. 25cm length. Box as found, vehicle good.
PATEK PHILIPPECalatrava. Men's watch.Switzerland, last quarter 20th century.Automatic. 750/- white gold, original strap, original clasp, dial guilloched, lacquered. total weight: 104.5g. L.ca. 20.9cm, D.ca. 3.4cm. Case-No: 2742072. Reference-No: 3563 3G. Movement-No.: 1186819. Rare men's watch with back hand position. Condition D: (M) 27-28 (D) 7,21 (C) 3-4Explanations to the CataloguePatek Philippe Switzerland Wrist & Pocket Watches 20th century White gold SwissPATEK PHILIPPECalatrava. Herrenuhr.Schweiz, letztes Quartal 20. Jh.Automatik. 750/- Weißgold, Orig.-Band, Orig.-Schließe, Zffbl. guillochiert, lackiert. Gesamtgewicht: 104,5g. L.ca. 20,9cm, D.ca. 3,4cm. Gehäuse-Nr.: 2742072. Referenz-Nr.: 3563 3G. Werk-Nr.: 1186819. Seltene Herrenuhr mit rückseitiger Zeigerstellung. Zustand D: (W) 27-28 (Z) 7,21 (G) 3-4Erläuterungen zum KatalogPatek Philippe Schweiz Armband- & Taschenuhren Herrenuhr Automatik 20. Jahrhundert Weißgold Schweiz- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium
POCKET WATCH. Switzerland, ca. 1900.Handwound. 585/- Red gold, enamel dial, hands blued. total weight: 89.0g. D.ca. 5.0 cm. Case-No: 66005. Movement-No.: 328926. Rare men's watch with full calendar. Condition C: (M) 4,27 (D) 4,14 (C) 4Explanations to the CatalogueWrist & Pocket Watches 19th century Red gold SwissTASCHENUHR. Schweiz, um 1900.Handaufzug. 585/- Rotgold, Zffbl. Email, Zeiger gebläut. Gesamtgewicht: 89,0g. D.ca. 5,0 cm. Gehäuse-Nr.: 66005. Werk-Nr.: 328926. Seltene Herrentaschenuhr mit Vollkalender. Zustand C: (W) 4,27 (Z) 4,14 (G) 4Erläuterungen zum KatalogArmband- & Taschenuhren Taschenuhr Handaufzug 19. Jahrhundert Rotgold Schweiz- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium
Rare 17thC English oyster veneered and marquetry inlaid chest of two short above three long drawers raised on later bracket supports 111 x 95 x 59 cm CONDITION REPORT: Some age related cracks to the top, possibly had previous handles on. No apparent losses or damage to veneer. We cannot guarantee whether or not the feet are original.
A collection of Eskenazi exhibition catalogues, dated 1972 to 2002, including: Early Chinese Ceramics and Works of Art, March 1972, Ancient Chinese bronze vessels and early ceramics, June - July 1973, Chinese ceramics from the Cottle collection November 1973, Early Chinese ceramics and Works of Art, June - July 1974, Ancient Chinese bronzes from the Stocklet and Wessén collections, June 1975, Chinese Jades from a private collection, June - July 1976, two volumes Ancient Chinese bronze vessels, gilt bronzes and sculptures; two private collections, one formerly part of the Minkenhof collection, June-July 1977, Ancient Chinese sculpture, June-July 1978, Ancient Chinese bronzes and gilt bronzes from the Wessén and other collections, July 1980, Ancient Chinese Sculpture, December 1981, Twenty five years , June 1985, Tang, June 1987, Chinese and Korean Art from the collections of Dr Franco Vannotti, Hans Popper, and others, June 1989, Chinese Art from the Reach Family collection, December 1989, Ancient Chinese sculpture, from the Alsdorf collection and others, June 1990, boxed, Inlaid bronze and related material from pre-Tang China , June 1991, Chinese Lacquer from the Jean-Pierre Dubosc collection, and others, December 1992, Early Chinese art from tombs and temples , June 1993, boxed, Yuan and early Ming blue and white porcelain, June 1994, boxed, Early Chinese Art: 8th century BC to 9th century AD , June 1995, boxed, Sculpture and ornament in early Chinese art, June 1996, two vol Ceramic sculpture from Han and Tang, China, New York, March 1997, Chinese Buddhist sculpture, June 1997, Chinese works of art and furniture, 1998, Animals and Animal designs in Chinese art, New York March 1998, Ancient Chinese bronze and ceramics, New York, March 1999, Ancient Chinese bronzes from an English private collection, November 1999, boxed, Masterpieces from Ancient China, Millennium exhibition, 1960 to 2000, New York, London, 2000, boxed, Tang ceramic sculpture, New York, 2001, Chinese ceramic vessels 500-1000AD, November 2001, Chinese Buddhist sculpture from Northern Wei to Ming, New York, March 2002, Two rare Chinese porcelain fish jars of the 14th and 16th centuries, November 2002, Song: Chinese ceramics, 10th to 13th century, November 2003 Chinese works of art from the collection of J M A J Dawson, Brochure, December, 1980 (36) Provenance: Gordon House
Three wood and composition dolls bodies, including a rare fully jointed wood and composition ladies body with slim build, bosom and fixed wrists, 19” (48cm) tall, together with a fully jointed Bebe Jumeau body with blue ‘Bebe Jumeau, S.G.D.G, Depose’ stamp to rear, 10 ¼” (26cm) tall, (unstrung), and a German fully jointed body, 12” (30cm) tall, (also unstrung), (3 items).
Extremely rare Zinner & Sohn Snow White and the seven dwarfs mechanical music automata, German circa 1900, the delightful scene with cork grotto, Snow white bisque shoulder head doll having painted features and moulded blonde hair with Alice band and wooden arms and torso, wearing a white silk dress with glass bead decoration, seated in a painted white wooden bed, with seven painted composition dwarfs seated on wooden chairs and playing various instruments, the table is laid with seven plates and spoons, on a wooden base with lithographed pattern and crank key to wind by hand, making the music play, Snow White to wake up/go to sleep and dwarfs to play instruments, condition: two dwarfs lack instruments and two arms, general wear to dwarfs,size:base 13" (33cm) x 10" (25.5cm)
Rare Steiff tipped mohair Teddy bear, German 1920’s, the straw filled bear with two tone tipped mohair, unusual blue glass eyes, pinkish stitched nose, mouth and claws, button to left ear, swivel head and jointed at shoulders and hips, small hump to back, elongated arms and large feet, tan felt paw pads and gold neck ribbon, condition: bald areas to most of body, two small repairs to head, some holes to paw pads, this bear has a very endearing expression and has some similarities to the famous ‘Petsy Bear’, 19 ” (48cm) tall.
Extremely rare eighteenth century English wooden dolls costume, the blue and cream silk brocade jacket with floral pattern, tightly fitted bodice with laced back and shaped edge with blue border, wonderful bell shaped long sleeves with engageantes, stitched holes for ribbon ties, and red lining, the long green silk skirt with floral design and pink ruched ribbons to hem and front with yellow ribbons to tie at waist, hessian lined, with heavy lined underskirt, with decorative yellow ribbon pattern and red brocade boarder and second under layer in bold red flower pattern, condition: generally good, some fading to pink ribbons, 16” (41cm) in length.
Rare poured wax portrait shoulder head doll of an elderly lady pedlar doll, probably Pierotti, nineteenth century, the finely moulded elongated face with fixed blue glass eyes, painted slightly smiling mouth with laughter lines, inserted real hair eyebrows and inserted grey hair in bun to back, on a cloth body with wax lower arms and legs, wearing all original cream and blue two piece gown, underclothes, socks leather shoes and straw bonnet, holding a basket of wares including two gilt candle sticks, tiny shoes, glass bottle, scrap book, blue bead necklace, fan, brush, cotton threads and more, together with a brown parasol, condition: right arm hand broken and in pieces but present, left arm loose and with piece missing from upper arm, lacks one shoe buckle, 22” (56cm) tall.
Rare Provost-Huret type 3 Art doll head, French circa 1914-18, the round pale bisque face with fixed blue glass eyes, painted lashes and auburn eyebrows, painted with single line and feathered effect, closed mouth and pronounced chin, incised Huret, 3, condition: a few shallow chips to base of neck.
Rare size 3 Schmidt Bebe in presentation box with clothes and accessories, French circa 1880, with beautiful pale bisque round face, fixed blue glass spiral eyes, finely painted lashes and brows, closed mouth and delicate shading to cheeks, pierced ears and original cork pate and brown wig, on a good fully jointed wooden body with hammer stamp to rear, wearing a pink cotton dress with pink rose pattern, silk collar, sash and lace trim to pleated skirt, bonnet, underclothes, socks and shoes, in her card sectioned box with picture of girl with flowers to lid, containing a cream winter dress with lace and pleated skirt, with cream silk bonnet, cream cotton jacket, nightdress, corset, petticoat, bloomers, pillow, hairbrush, binoculars, fan, hairclip, and watch, condition: head perfect, small professional repair to left hand, shoes a little large, incised B” S.G.D.G, 3/0, doll 11 ½” (29cm) tall.
Rare A.T Kestner bisque head Bebe doll, German circa 1885, the beautifully moulded pale bisque head with weighted blue glass paper-weight eyes, finely painted lashes and brows, delicate shading to cheeks and closed mouth, painted to appear slightly open, original plaster pate and brown wig, on a good fully jointed wood and composition body with fixed wrists, wearing a cream dress with floral pattern and lace detail to collar and sleeves, underclothes, socks, white leather shoes and brown felt hat, condition: head perfect, small repair to plaster pate, nice clean body, normal wear, incised 14, 21” (53cm) tall.
Rare Kammer & Reinhardt 109 ‘Elise’ bisque head character doll, German circa 1909, pale bisque head with painted blue eyes, single stroke eyebrows and closed mouth, shoulder length blonde wig, on a good fully jointed wood and composition body, wearing a pale blue dress with lace, bonnet, purse, socks and leather shoes, condition: a few minor wig pulls to back of head, one finger repaired, normal wear to hands, incised K&R, 109, 34, 13” (33cm) tall.
Rare small size Bruno Schmidt 2033 ‘Wendy’ bisque head character doll, German circa 1909, the fine pale bisque head with characteristic pointed chin, weighted blue glass eyes, finely painted lashes and brows, closed mouth and original brown wig with plaited buns to sides, card pate and label, on a good fully jointed wood and composition body, wearing a pink silk dress with lace tunic, underclothes, socks and shoes, condition: excellent, incised , 2033, BSW in heart, 537, 2/0, 10 ½” (27cm) tall.
Rare Simon & Halbig 1159 bisque head lady doll, German circa 1900, the elongated adult face with weighted brown glass eyes, real lashes and raised brows, pierced ears and open mouth with upper teeth, original long brown wig, on correct Jumeau fully jointed wood and composition lady body with bosom and waist, paper Bebe Jumeau label to back and wearing underclothes, socks and shoes, incised S&H, DEP, 1159, Germany, 10, condition: some repainting to hands, paint loss to palm on left hand, 25” (63cm) tall.
Rare A.M bisque head ‘Googly’ doll, German circa 1910, the sweet round face with dimples, painted blue side glancing eyes, single stroke brows and smiling water melon mouth, painted and moulded brown hair with top-knot, on a five piece composition baby body and wearing brown patterned dungarees with white shirt, socks and shoes, condition: head perfect, wear to right hand finger tips, 9 ½” (24cm) tall.
Rare Swaine & Co Lori Baby bisque head character baby doll, German circa 1910, the fine quality bisque head with weighted blue glass eyes, painted lashes and brows, open/closed mouth and painted moulded brown hair, on a five piece composition baby body and wearing a long white nightgown, incised D.V, 4, and green round stamp ‘S & Co’, Germany, condition: excellent, 14 ½” (37cm) tall.
Rare Simon and Halbig 1029 bisque head mulatto doll with pull string eye mechanism, circa 1896, with fixed brown glass eyes, brown painted metal eyelids with real lashes, open and close mechanism operated by two strings to back, open mouth with upper teeth, pierced ears, original cork pate and short dark brown wig, on a fully jointed wood and composition body and wearing original red dress with gold metallic thread, underclothes and gold beads to wrist and ankle, incised 1029 S H 7 1/2 , St, 16” (41cm) tall, condition: excellent, see page 282 in German Doll Encyclopedia by Jurgen and Marianne Cieslik.
Rare Gebruder Heubach Einco bisque head googly –eyed doll, size 1, German circa 1910, tinted bisque head with round glass blue eyes, shaded lids and lever to back of head to operate eye movement, single stroke eyebrows, closed mouth and original blonde wig, on a composition baby body and wearing all original white cotton nightdress and underclothes, condition: good, lacks left arm, 9” (23cm) tall.
Rare set of ornate Dolls House chairs and table by Paul Leonhardt, 1920s, cream painted settee 6” (15cm) high, and four chairs with turned legs, uprights and backs, nicely turned back rails, all with gold painted edging, all with pink silk upholstery, and a marble topped circular table with turned legs and shaped stretched, gold edging, condition: very good some wear to upholstery, (6 items).
Rare Doll House beds and wardrobe by Paul Leonhardt, 1920s, cream painted wooden beds and wardrobe with hinged mirror door all with turned feet, gold painted trim and applied gilt swag and tails decoration, wardrobe 8 ¾” (22cm) high, condition: good, one side panel to wardrobe loose, (3 items).
Rare glazed china Art-Deco style half-doll with outstretched arms, stunning figure head looking skyward with gold lined short bobbed hair and finely painted facial features, long outstretched arms with hands pointing up, wearing white jacket with pleated red and green sleeves with gold lining, black edged yellow collar, impressed 824, 3 ¾” (9.5cm) tall.
Rare larger size glazed china Classical Lady half-doll by Locre, head slightly tilted to the side with brown hair, finely painted features, wearing a low-cut white top with hand painted bright blue flower decoration, arms outstretched to her sides with cupped hands, (lacks tips to both small fingers, probably occurred when taken out of mould) with blue painted cross arrows mark, 5” (13cm) tall.
Rare Pierrot and Pierrette glazed china powder dish, 1920s, Pierrot gazing upwards in white and black outfit with large ruff, arms outstretched holding legs balancing on his knee, on an oval base, with painters mark, powder puff half-doll of Pierette playing guitar, impressed Germany 1526, 11” (28cm) high in total, (2 items).
Australia,HOPWOOD'S FERRY, MURRAY RIVER, £1, 1866, unissued note payable by William Nicholson & Co., 13 Flinders Street, Melbourne, signature of J.W.Mann under denomination block lower centre, detailed engraving on back of Hopwood's Ferry. Splits down top half of centre crease, very fine, rare. (1)
Kuwait, Currency Board,½ dinar, 1961-68, colour trial in blue-grey and blue, with serial number ½ 001600 and signature of Sheik Jaber al- Ahmad (Pick 2ct). Unusual for a colour trial to have a signature and serial numbers. Some tape residue on backs of corner tips, good extremely fine-about uncirculated, Rare. (1)This lot is subject to the following lot symbols: †
Rare Battle of Britain autograph of Wg Cdr Don Kingaby DSO DFC AFC signed on large Air Efficiency Award cover, also signed by AM Denis Crowley Milling, Air Cdr P Vanneck AFC, Grp Capt Davies, AVM Dodd DFC, AVM A Johnstone DFC, Wg Cdr H Stephen DSO DFC. Nice photo and information sheet inside. Donald Ernest Kingaby, DSO, AFC, DFM & Two Bars was a Royal Air Force aviator and flying ace of the Second World War. He was the only person to be awarded the Distinguished Flying Medal three times. During an operational career of some 300 operations, Kingaby scored 21 air victories against enemy aircraft, as well as two shared victories, six probables and 11 damaged during the war. 14 of his solo victories came against the Messerschmitt Bf 109. Military autograph. Good condition Est.
Rare Dambuster autograph of Flt Sgt Bill Townsend CGM DFM signed on large Conspicuous Gallantry Medal cover, also signed by Flt Sgt Allen, WO J Bettany, FO Dover, Flt Sgt Wheeler, FO Jones, WO Norris. Nice photo and information sheet inside. As part of 617 Squadron Bill Townsend flew Lancaster ED-886 codenamed AJ - O for Orange in the famous dambuster raid of May 1943. Flight Sergeant Townsend flew his bomber and crew in the third wave of the famous raid. After the first two dams ,Mohne and Eder, were breached, O for Orange was tasked to attack the Ennepe dam. With no anti-aircraft firing at them, they had time to do three trial runs before they released their bomb, but it failed to damage the dam. Forced to fly back at tree top level by enemy action, his Lancaster was the last to return. It limped home short of one engine. He was awarded the Conspicuous Gallantry Medal for his courageous actions in the raid. Bill Townsend was later promoted to Flight Lieutenant. Military autograph. Good condition Est.
WW2 Atomic bomber Brig Gen Paul Tibbetts signed 10 x 8 photo in cockpit of the Enola Gay. Rare inscription Paul Tibbets , pilot B29 Enola Gay Hiroshima Japan 6 Aug 1945, Dated 26/7/2003. He is best known as the pilot who flew the B-29 Superfortress known as the Enola Gay (named after his mother) when it dropped Little Boy, the first of two atomic bombs used in warfare, on the Japanese city of Hiroshima. Military autograph. Good condition Est.
B. PRABHA (1933-2001)Untitled (Two Boys)signed and dated 'B. Prabha, 1965' (upper right)oil on canvas56 x 38 inProvenance: Philip Richardson, Esq, Arundel, Sussex (by c.1990);Thence by descent Philip Richardson travelled to India and had a wide circle of Indian friends and contacts both there and in the UK. He met Prabha in person on at least one occasion, and may very possibly have acquired this painting direct from the artist. Badgelwar Prabha (better known as B. Prabha) began her career when there were few other leading women artists in India. Working in the 1950's and 1960's when post-independence India was in the throes of dynamic change and upheaval, Prabha utilised her unique position as one of the very few professional artists to become a medium for strong social commentary on poverty and inequality in Indian Society. She studied at the Nagpur School of Art and afterwards at the Sir J. J. School of Art, Mumbai. Soon after she married the artist and sculptor B. Vithal. Two years following that she exhibited at the Bombay Exhibition of 1958, where she won first prize. She followed that up with two solo shows at Delhi's Kumar Gallery in 1959 and 1961.Prabha had come to Bombay as a financially struggling artist, and is said to have initially sold pieces of family jewellery to raise funds. At that time she and her husband were living in a dilapidated house at Worli Naka. Their first month's rent and Prabha's paints allegedly being purchased from Vithal's first ever commission fee which he received for helping sculpt a statue of Vallabbhai Patel. Prabha's first break through came when three of her paintings were purchased by the eminent Indian scientist Homi J. Bhaba.Prabha embraced a bold, modern Indian aesthetic. She developed a style which became well known for her characteristic images of elongated pensive figures on canvases, executed in a single dominant colour. Over the years, her penchant for simplicity, perhaps to counter the myriad complexities of life, led her to develop a characteristic, elegant style that came to be instantly recognisable. Her refined aesthetic language, defined by elongated, graceful lines and figures, always guided and informed her works.The writer Shirin Bahadurji wrote of Prabha's paintings "Her figures have a haunting presence as if caught in a rare moment of stillness and silence- a single second stolen out of the bustle of daily living'' Prabha claimed that 'she was more at ease with the female form, painting men only in large murals where they blend into the backdrop'. The subject matter of her work often centred on the rural and urban poor. She was particularly concerned with the issues of hunger, homelessness and the subservient role of women in Indian life. In 1965 she executed a 'hunger' series of fourteen paintings that depicted the slums of Bombay and the 'shattered dreams of the hutments'. For three other figurative paintings by Prabha dateable to 1965, cf. Christies's, New York, March 8th 2008, Lot 22; Sotheby's, London June 16th 2009 lot 43; and Christies's London June 11th 2008, lot 76. The Brightwell's example with, unusually for Prabha, all nude sitters, has certain compositional similarities with a later 1982 work by the artist sold at Artiana Auctions, Dubai, 13th October 2016, Lot 5. That work also depicted a double portrait (of two Indian Girls wearing Saris) featured against a largely opaque background.
A rare Lowestoft porcelain Coffee Pot and Cover, c.1765-70, painted in blue with oriental flowering shrubs to each side and scattered insects and flower sprigs, the cover with flower sprig knop, footrim with painter's numeral '5' associated with painter, Robert Allen, 8in H, finial and spout chipped (2)
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