We found 186094 price guide item(s) matching your search
There are 186094 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
186094 item(s)/page
![Thomas Fairfax: 'The Complete Sportsman; Or, Country Gentleman's Recreation', London, J. Cooke, [1760], 1st edition, engraved](https://cdn.globalauctionplatform.com/db92bc8e-909d-46a5-84b8-ad320108d7a6/d0a1d55e-0b10-46b1-906d-ad32011653ad/468x382.jpg)
Lot 7165
Thomas Fairfax: 'The Complete Sportsman; Or, Country Gentleman's Recreation', London, J. Cooke, [1760], 1st edition, engraved frontis, 240pp, early sporting book covering hunting, shooting, racing, angling, cock-fighting and more, 12mo, old half calf gilt; [Sir Humphry Davy]: 'Salmonia: Or Days of Fly Fishing', London, John Murray, 1828, 1st edition, 3 plates of flies + ills. in text as called for, first edition of a book that "ranks high in the scale of angling literature" (Westwood & Satchell, p.77), 12mo, contemporary half calf gilt; George Hanger: 'Colonel George Hanger, To All Sportsmen, and particularly, to Farmers and Gamekeepers...', London, printed for the author, J.J. Stockdale, 1814, 1st edition, 226pp, lacks leaf between title page and dedication, dedication to Thomas Coke of Holkham Hall, Includes a passage on jack-lighting deer at night in South Carolina, comments on American rifles and riflemen and backwoods lore, and mention of Wild Turkey, and other material, gleaned from Hanger's service as second-in-command to Tarleton during service in the American Revolution, contemporary quarter cloth gilt (worn); Lieut. Col. P. Hawker: 'Instructions to Young Sportsmen in all that relates to Guns and Shooting', 1854, 10th edition, engraved frontis + 8 engraved plates and numerous ills. in text as called for, contemporary half calf gilt; Ian Alan, 8th Duke of Northumberland: 'The Shadow on the Moor', 1931, [2nd printing], original cloth gilt (5)
![Johannes Blaeu: 'Anglia Regnum [England & Wales]', engraved hand coloured map, Amsterdam, circa 1662, decorated with four](https://cdn.globalauctionplatform.com/db92bc8e-909d-46a5-84b8-ad320108d7a6/9d039bf8-5b51-47ca-a55a-ad3601178120/468x382.jpg)
Lot 7030
Johannes Blaeu: 'Anglia Regnum [England & Wales]', engraved hand coloured map, Amsterdam, circa 1662, decorated with four ships, a scale of miles flanked by sheep and a cherub, and two coats of arms of Great Britain and England surmounting the title cartouche, Spanish text verso, framed and double glazed, approx 38.5 x 50cm, whole approx 56 x 68cm
Lot 24
JOHN HENNING (1771-1851). Scottish school, seven plaster relief panels in one frame, classical figures and horses, each panel is signed, some damages, overall measurements 4.5 x 58 cm, framed and glazedNB: John Henry was known for creating one twentieth scale models of The Parthenon and Bassae friezes
Lot 502
A German surveyor's cross head, late 19th century, with silvered vernier scale and compass dial, slotted hairline sights and staff head attachment, later case, height 18cm.From the collection of the late Ron Hooper M.V.O., A.C.S.M, C.Eng., F.I.M.M., formerly Senior Lecturer in Surveying at Camborne School of Mines.
Lot 510
A rare Henderson's patent rapid traverser alidade, by E.T.Newton & Son Ltd Camborne, brass and lacquered, circa 1900, with silvered scale and lacquered sighting tube, mahogany cased, width 30cm.From the collection of the late Ron Hooper M.V.O., A.C.S.M, C.Eng., F.I.M.M. , formerly Senior Lecturer in Surveying at Camborne School of Mines.
Lot 527
A Townson & Mercer Calorimeter or fuel tester, contained in a fitted mahogany box and with glass cylinder, iron pestle and mortar, balance scale, instructions etc, length of box 61cm.From the collection of the late Ron Hooper M.V.O., A.C.S.M, C.Eng., F.I.M.M., formerly Senior Lecturer in Surveying at Camborne School of Mines.
Lot 577
A gilt metal cased pocket barometer and altimeter, with silvered dial, diameter 5cm, a late Victorian combined barometer, compass and thermometer and a pocket forecaster, cased (3).Condition report: Barometer unresponsive, compass lock works and it finds north, thermometer has no air gaps but scale badly worn.
Lot 60
Paul Henry RHA (1877 - 1958) Cottages in Achill Oil on canvas board, 35 x 45cm (13¾ x 17¾) Signed, inscribed in pencil verso Mountains can have that effect on a person. According to the artist's Irish Portrait (Henry 1951, p.50), prior to his first visit to Achill, Henry was a plains-dweller and the abruptness of the mountain contours now disturbed him. On Achill there is no getting away from Slievemore (An Sliabh Mór), its 671 meters dominates the landscape from virtually every direction and is instantly recognisable due to its conical form. From its summit there are magnificent views of Croaghan, the Inishkea islands and Belmullet peninsula, the Nephins and all the hills south to Mweelrea. Dr Brian Kennedy, the foremost authority on the artist, when inspecting this painting with the writer in 2002, dated it to 1925-30, at which point Henry had left the island after his prolonged sojourn that ended in 1919. Despite it being painted six to ten years after leaving Achill, the composition still reflects his sense of awe of the majesty of the mountain. As much as in real life, the mountain dominates the composition occupying a central position, the blue hues beautifully painted and modelled with the artist's signature fluid application of paint and glazes. The precision, even economy, of the brushwork throughout is another characteristic of Henry's work in general and is something he learnt from his early teacher, James Abbott McNeill Whistler. The foreground is simply made up of a shallow strip of vaguely arable land on which three thatched cottages anchor the composition, accompanied by small turf stacks. The scale of the tiny habitation nestled into the landscape is made all the more dramatic due to the layered backdrop of two ridges before ascending to Slievemore. The light and fluffy clouds which suggest one of those 'pet' days you get in the West, occupy half the composition, are beautifully modelled and brighten the scene, helping to create a sense of the majesty of nature as opposed to it being oppressive and overbearing. The impact of Henry's time in Achill cannot be overstated. It was to Dugort, on the north of the island and at the eastern foot of Slievemore, that Henry went when he first arrived on Achill in August 1910. But even then he found the village busy with tourists. 'Every second house seemed to be an hotel or boarding house', he later wrote, and so the morning after his arrival he set off for the much quieter village of Keel, itself positioned south of the mountain, where he subsequently established himself, taking rooms with John and Eliza Barrett who ran the post office in Keel.
Lot 14
Kadhim Hayder (Iraq, 1932-1985)How He Wandered with the Heart of a Martyr (From the Epic of the Martyr Series) oil on canvas, framedexecuted in 1963127 x 176cm (50 x 69 5/16in).Footnotes:Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the above Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Hiwar, Vol.3 No.3, Kadhim Hayder: Waddah Faris, 1965 (preparatory sketch)A MONUMENTAL 1963 MASTERPIECE FROM KADHIM HAYDER'S MARTYR'S EPIC: THE LARGEST COMPOSITION FROM THE SERIES EVER TO COME TO AUCTION'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiHow He Wandered with the Heart of a Martyr, by Saleem Al-Bahloly How He Wandered with the Heart of a Martyr belongs to a landmark series of paintings shown at the National Museum of Modern Art in Baghdad the last week of April 1965 under the title The Epic of the Martyr. The series drew immediate critical acclaim for the way that the artist, Kadhim Haidar, was able to derive from popular culture not simply visual motifs to tailor the styles of modernism to the local context of Iraq but a means of expression for articulating the human condition. The human condition preoccupied artists and thinkers across the world in the middle of the twentieth-century; but in Iraq the concept of the human took on a particular significance following the persecution of leftists in the aftermath of the Baʿath coup in 1963. The Epic of the Martyr was so important largely because it demonstrated how artists could represent modern experience by drawing upon their cultural history.Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family. In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.That moment when the martyr is transfigured into the symbol of the horse is in part dramatized in How He Wandered with the Heart of a Martyr. A white horse stands in the foreground carrying on its back a decapitated body. It groans violently into the helmeted warrior on the left who holds a sword triumphantly over his head; arrayed behind the white horse at centre are other horses in crimson and mustard-orange and warriors whose spears and shields resolve into simple shapes and strokes in the distance. The body of the headless corpse astride the white horse is unlike the other bodies in the paintings: it has volume and weight, it casts a shadow, and it gathers together the pinks, grays and browns in the picture. This painting was the sixth in the series; in another painting that comes near the end of the series, in the collection of the Barjeel Art Foundation, Fatigued, Ten Horses Converse with Nothing, the headless corpse morphs into the heads of two horses. The paintings in The Epic of the Martyr were different sizes, and this was one of the largest. Its size reflects Haidar's interest in the mourning processions as a kind of street theatre, his work in stage design, and the monumental scale of ancient Mesopotamian sculpture. But it also reflects, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions. This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics.For further information on this lot please visit Bonhams.com
Lot 17
Jewad Selim (Iraq, 1919-1961)Preparatory sketch for the Freedom Monument, Baghdad mixed media on paper, framedsigned and dated '3 March 1959', inscribed 'Commemorative relief sculpture for the 14th July', inscribed with note on scale, countersigned by Rifat Chadirji130 x 30cm (51 3/16 x 11 13/16in).Footnotes:AN EXTREMELY RARE AND SIGNIFICANT COMPLETE, SCALED PREPARATORY SKETCH FOR BAGHDAD'S FREEDOM MONUMENT (Nasb al-Hurriyah)Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly by the above from Rifat Chadirji, who collaborated on the Freedom Monument with SelimOriginally executed in Florence by Jewad Selim, circa 1959'The revolution and subsequent rise of Abdul Kerim Qassim marked a significant turning point in Iraq's history. A great atmosphere of hope and new beginnings filled the air. Early in 1959 the new government asked Jewad and the architect Rifat Chadirji to create a monument to celebrate the achievements of the 1958 revolution on its first anniversary. Rifat was to design the wall of the monument and Jewad the figures. Jewad and I had serious discussions about his health and the danger of undertaking such a huge venture. He said that he did not want to spend the rest of his life as an invalid but rarely did an artist get the opportunity to create work on that scale - it was not to be missed.He completed the maquette in one week and prepared to travel to Italy where he would produce the full-size clay reliefs that would be cast in bronze. At the time there were no facilities in Baghdad to such large-scale work. He had planned to go on his own but then there was serious political unrest in Mosul and he decided to take the children and me with him. We just locked the door and went expecting to stay away for three months but ended up spending a year and a half. What a wonderful time it was! We spent the first month in Rome, then went to Florence where Jewad rented a studio in the Via degli Artisti to work on the reliefs. Here he produced many of the wonderful preparatory sketches The large, powerful, final series he gave to Rifat Chadriji. Some others are in Baghdad and some in the British museumThe bronze casting was executed in the foundry in Pistoia and Jewad went there to oversee the work. The two-year involvement with the monument exhausted Jewad completely and took the final toll on his health and he never saw his great work in its final position on the wall. he died of a massive heart attack on 23 January 1961, aged only forty one. It was incredible shock for all of us'- Lorna Selim, the artist's wife'And you the labourer will make all the beautiful things with your strong hands, for us, and for our children and our inheritors; how magnificent is your will to establish a new civilisation? And how wonderful was Jewad who conveyed this to the world and to the generations to come?'-Iraqi Broadcast on the occasion of the unveiling of the Monument to FreedomJewad Selim culminated his artistic achievements in producing his masterpiece The Monument of Freedom, commemorating the 1958 revolution. This mural, composed of fourteen sculpted reliefs, put the artist under great stress that would ultimately lead to his untimely death in January 1961. In this monumental work, reminiscent both of ancient Assyrian murals and dynamic art-deco friezes, Jewad weaves together the symbolic figures which makeup the pride and dignity of the Iraqi nation. This extremely important preparatory sketch was most likely executed during the artists excursion to Florence where he was co-ordinating the casting of the panels for the monumentThe present sketch, the most complete preparatory drawing of its kind, depicts the major sculptural elements which would make up the eventual monument. Centrally, the political prisoner is freed from jail bars beneath a rising sun, while protestors are depicted on the right fighting for their freedom holding sheaf's of wheat representing their hope of future prosperity, with an emphasis on feminine figures representing the role of Iraqi women in the revolution. On the left-hand side of the composition two women bearing children represent the Tigris and Euphrates, next to which are bulls, farmers and agricultural labourers, the patriots that will rebuild the brave new Iraq. On 14 July 1958, a group that identified as the Free Officers, a secret military group led by Brigadier Abd al-Karim Qasim, overthrew the monarchy. This group was markedly Pan-Arab in character. King Faisal II, Prince Abd al-Ilah, and Nuri al-Said were all killed. The Free Officers were inspired by and modelled after the Egyptian Free Officers who overthrew the Egyptian Monarchy in 1952. They represented all parties and cut across political factions. Qasim was a member of the generation that had launched the revolution in Egypt, and had grown up in an era where radicalism and Pan-Arabism were circulating in schools, including high schools and military academies. As a group, most of the Free Officers were Sunni Arabs who came from a modern middle class. The Free Officers were inspired by a number of events in the Middle East the decade before 1952. The 1948 War against Israel was an experience that intensified the Egyptian Free Officers' sense of duty. They understood their mission as deposing the corrupt regimes that weakened a unified Arab nation and thrown their countries into distress. The success of the Free Officers in overthrowing the Egyptian monarchy and seizing power in 1952 made Nasser a source of inspiration too.Showing some stylistic variation from the final monument, the present work nevertheless captures the key motifs of the immense sculpture that would come to be one of the defining landmarks of Modern Iraq.For further information on this lot please visit Bonhams.com
Lot 108
Hornby 'Skaledale' 00 scale Buildings and Bartello's Circus, all unboxed, including Church and Clock Tower buildings, Circus tents (3) and side-stalls (3), together with two articulated Circus wagons (Camel truck and living van), booking office truck, Lion transporter and ballast towing truck, all on Bedford TK chassis by Oxford Diecast, and unopened Hornby smaller accessory packs R537 (2) - Fences, R560 City People, R562 (3) Townspeople, R565 farm Animals and R768 cows, mostly VG-E (qty)
Lot 141
Hornby-Dublo 00 gauge 2-rail Rolling Stock, super-detail 'scale' coaches BR crimson Full brake E81312, 3rd class M3716, and brake/3rds E35173 (2), BR (WR) brown/cream brake/3rds W34290 (2), 1st/3rd Compo's W15870 (2) and 3rd class W3984, all G-VG, some with minor scratches/playwear, together with three short SR suburbans all G-VG, and four crimson ones P-G, 3 other WR coaches, assorted wagons including four yellow 'starter' wagons and red brake van, horse box (missing one door), brick wagons (3), Fruit D, Brake Vans and others, varying F-VG, a quantity of O scale milk churns and platform trolley, four Tony Cooper repro H-D stock boxes, and two (believed to be BR) small enamelled plaques 'Drinking Water' and 'NOT Drinking Water', F (qty)
Lot 146
Lima HO gauge Trains, SNCF 2-8-2 no 141R 1097 in green, DB 2-8-2 no 39 243 in black/red and a repainted 0-4-0 tank in black, all P-F with 'Dymo' numbers attached, together with a set box containing HO scale BR class 33 loco, two Mk 1 coaches, two Wagons-Lits Pullman cars and 2 wagons, F-G, graffiti to boxes (4 boxes inc set)
Lot 177
Large collections of 00 Gauge Model Railway Building and Accessory Kits by Scalelink Ratio Slaters Coopercraft Tiny Signs Metcalfe Superquick and others, including Superquick Swan Inn, Heritage Tin Mine, Metcalfe Brick sheets, Stone Sheets, Signal Box, Platform Shelter, Lineside Hut, Picnic Tables, English Village designs, Ratio UQ/70 LMS Signal Kit, Windows, Platform Lamps, Lamp Tops, Chimneys, Coach Seat mouldings, Scale Link F7, F4 and F9 sheets, Tiny Signs Pub Signs, Advertising Signs (5), Southern Pride Pullman Dining Chairs, Coopercraft GWR Seats, Station Names, Pooley Rail Wagon Weighbridge, Platelayers Tools, Tool Kit, Slater's 3mm Alphabets, Station Awning, Microstrips, Cement Bags, Potato Sacks, Rodding, Heljan Barrels, Dart Castings Domestic Oil Lamps, Springside Head and Tail Lamps, Woodland Scenic Field Grass, Dee Ess Bushes, Modelcraft Trackside Features Kit, Faller A Frame House kit, various sets of Axles, loose Coach Roofs, building Roofs, most in original packets, G-E, not checked, packets G-VG (large qty)
Lot 192
Trix Twin Railway 00 gauge Trains and Accessories, boxed items including post-war LNER scale brake/3rd coach and Restaurant car, Pullman coach and LMS brake/3rd, with unboxed LMS 1st class coach, a LMS black 'compound' loco and tender, SR black 0-4-0T no 91 (decals barely visible), SR brake van and open wagon, boxed crane set, dump wagon and three others, other unboxed items including Manyways station canopy and other parts, 'double' transformer, two controllers and box of track, varying F-VG (qty in 2 boxes)
Lot 231
Very large quantity HO Gauge Catalogues Instruction Booklets and other books including American H0 and general Railway Books by various makers, Marklin 1962, 65, 67, 68, 83, 2004 and Z 1985, Books Das Gleisplanbuch and 0328 Bahn mit Pfiff, various Faller 1956-1980's including Track Plans, mini and large catalogues (22), Brawa 1981, 2000 and 2004,Trix 2004, Kibri 1979-1998 (12), Piko 1964, Pola 1972, Preiser 1975 and 1982, Rivarossi 1964, 65, 66, 68 and 69, Viessmann 2001, Fleischmann 1962-64, 1964, Track Plans (4, HO & N), Magic Train, Plan Book M4, New Items Leaflet 1984, Sommerfeldt 1963?, 1976, 1988, 1989, 1991,1998, Vero 1979, Herpa 1970, Heki, Wiad, Noch 1974, 1980, various Fulgarex leaflets N-Gauge 1 including Aster, Electrotren, Tenshodo, 0S (qty), Arnold Rapida Track Plans, Vollmer 1979, 80, 89, Busch 1970, 1992, Roco 2003 and 2004, LGB 2002, Balboa Scale Models, Pacific Fast Mail 1969, Piko 2001, Books, Lifetime in 0 by Ray, Big Book of Railroad Plans by Schleicher, 101 Track Plans by Westcott, Track Planning by Armstrong, Scenery for Railroads by McClanahan, Avon Valley Railway Track Layouts, Peco Track Plans Books (4) Hornby Cat 2005, MIBA 2002, Bernard Stein Modelling book, 1925 Copy of York, Newcastle and Berwick 1849 Railway Timetable and a few Magazines, F-VG (110+)
Lot 239
A Collection of Micromodel and other Card Model Kits, Micromodels including railway sets H1, HM, MIII, MIV, C1, LS1, PG1, PGII, PGVII, PGVIII, X2 and 'Series J' Stephenson's Rocket, with Architectural series XII, XV, XVII, XIX, XXII, XXIII, XXIV, Shipping sets S1, SIII, SV, SVI, SX, SXIII, Aviation AV.II and Motoring MC1, together with book 'Cardboard Engineering' (Deason, M.A.P. 1958), various packeted ship drawings by Hobbies of Dereham, other larger-scale drawings by 'Model Maker Plans Service', and 4 more recent card model vehicles, mostly G-VG, contents of packets not checked for completeness (qty as listed)
Lot 241
Bassett-Lowke Archive Catalogues and Original Lecture Notes by WJB-L, a 'Section C' catalogue 1906-7, full catalogue 1909, section A - 1928 and B - 1932, post-war Shipping & Engineering catalogue and two others with loose covers, booklets on 1.5" scale Royal Scot locomotive, Peco-way track (for B-L), and Twining's 'Pageant of English Naval History', mostly F-G, together with a serious of typed lecture notes prepared for Roland Fuller and WJB-L himself for various post-war lectures to Bournemouth MES 1948 (cancelled!), HMRS 1951, others more generically headed 'Model Railway Talk' or 'The Fascination of Models', with lists of lantern slides to display and other papers, F-G, some creasing/discolouration (qty)
Lot 368
Bing and repro Paya 0 gauge tinplate Coaching Stock, two Bing 'shortie' bogie coaches in LNER teak livery both as No 265, both F, roofs repainted, varnish to body sides with significant crazing, both fitted with original lead wheels and drop-link couplers, together with a boxed repro Paya Wagons-Lits baggage van in blue, F-G, scale wheels fitted, couplers modified, slight 'fatigue' to buffer beams and bogie side frames, box G-VG
Lot 371
An assortment of mostly 0 scale Figures platform machines and other lineside accessories, some metal (vintage lead and modern white-metal) and plastic figures of many different makers including Merten, Dinky, Johillco and others, (approx. 150 - 200), with lead chocolate and other machines, barrows, churns and other goods, various fences, hurdles, 00 gauge Crescent signal gantry, several wheels and other loco spares and other items, mostly G (qty)
Lot 372
A quantity of Coarse-scale 0 gauge track, some commercially-made with other parts from components, most with steel rails and cast chairs but with some brass rail pieces, including ten points a/f various types/radii, one long and one short double-track crossovers, a double-track RH turnout and a made-up 1-track to 4 section on plywood base, many other shorter sections (some appear to be Bassett-Lowke or similar), most with wide-spaced sleepers and some with longitudinal battens, and approx. one dozen longer sections of straight and curved rails, F, most requires repairs/refurbishment with some damp and other damages (qty in 2 boxes)
Lot 373
A quantity of Fine-scale 0 gauge track, most commercially-made including 40+ lengths Peco nickel-silver 'Streamline' flexi-track, numerous shorter lengths, three 'made-up' (from components) points of various radii on copper-clad sleepers and a made-up 1-track to 4-track section mostly F-G, ex-layout condition with various damages and generally grubby (qty)
Lot 389
Early Tinplate Signs Bachmann G scale caboose and 00 gauge Scenic Items, a wooden board with 14 tin-printed signs, mostly for gauge 1 including Zebra, BDV, Polytechnic Tours and Bassett-Lowke (based on the 1905 catalogue cover design), all F, slight rusting and spotting to lithography, with a Bachmann American caboose in Burlington Northern green livery, with smoking chimney and lights, G-VG, wheels need cleaning, together with boxed Bachmann 'Scenecraft' 00 scale sub-station, transformers, concrete lamp posts, Leyland truck and Hornby traffic lights, all VG (7)
Lot 8
Historical and Information books on the Southern Railway and British Railways Southern Region, OPC, Southern Coaches and Southern Push Pull both by King, Illustrated History of Southern Wagons Vols 1-4 by various authors, Branch Lines of the Southern Railway by Reeve, Ian Allan, Bullied Pacifics of the Southern by Allen, Bullied Locomotives by Haresnape, Locomotives in Detail Maunsell 4-6-0 King Arthur Class by Swift, Arthurs Nelsons and Schools by Townroe, David and Charles, Locomotives at the Grouping by Casserley, SR 150 by Thomas, 30 Years at Bricklayers Arms by Jackman, The Brighton Line by Eddolls, The Southern King Arthur Family by Nock, Drummond Greyhounds by Bradley, Oakwood Press, Service Stock of the Southern by Kidner, Maunsell's Steam Stock by Gould, London to Brighton by Gray, Southern Railway Passenger Vans, Bulleid's SR Steam Passenger Stock and Maunsell's SR Steam Carriage Stock, all three by Gould, RCTS Locomotives of the Southern Railway Part 1, Locomotives of the LB&SCR Part 3, Locomotives of the South East and Chatham Railway, The Locomotive History of the SECR and IOW both by Bradley, Jarrold Railway Series 1 Locomotives of the GWR and Series 2 of the SR, HMRS Livery Register No 3 LSWR and Southern, Southern Locoman by Hollands, The Brighton Terriers by Binnie (photocopy), Railway Stations Southern Region by Wikeley, Steam on the Brighton Line and When Steam was King at Brighton Line both by Perryman, Southern Locomotives to Scale by Beattrie, Southern Steam by Nock, all books generally VG (40)
Lot 392
A large quantity of Royal Naval and maritime related ships' plaques, mostly mounted on wooden boards, to include 'Zerstorer 3', various Royal Association plaques to include 'Welwyn Garden City Association', 'Oldham Branch', 'Llanelli' and many more, two copper measuring jugs, a Mermaid stainless steel measuring spoon, etc a quantity of Royal Navy and maritime collectibles, copy photographs to include images of the Northern end of Hill 170 Kangaw Burma 1945, where the Japanese army made a nighttime attack, III Commando Brigade 42 and 44 Royal Marine Commandos, 1 and 5 Army Commandos, a facsimile poster relating to Admiral Lord Viscount Nelson 'Britannia Triumphant' with lists of the English fleet ships of the time and the combined fleets of France and Spain, a Liverpool Naval banner, hand painted Naval badges and image of the Liver Bird to the centre, 77 x 95cm, a cased plated darts championship trophy, two hand knitted Naval dolls, a framed and glazed case containing eight Naval badges, 'Strike Hawker', 'Steady Hood', 'HMS Anson', 'Howe', 'Nelson' and 'Drake', with brass plaque to base inscribed '63rd (Royal Naval) Division' and a cased scale model of a HMS Eggesford, etc.
Lot 425
A scratch-built model of 'HMS Caprice D01 B Honours Arctic 1944', scale model 1:96 scale, the ship after her modernisation in 1958-59. The drawings were provided by Yarrow Ship Builders and photographs from the model maker while serving on board HMS Caprice from March 1962 to October 1963. In scratch-built carrying/display case and framed and glazed information sheet, length 116cm.
Lot 426
A scratch-built model, 1:96 scale, of 'HMS Zest F102 Battle Honours Arctic 1944', after modernisation, originally built by J. Thornycroft, ship scrapped at Dalmuir 1970, ship was converted to a Type 15 Frigate at Chatham in 1954-56, and a framed and glazed in-depth description of the ship and the model, approx length 120cm.
Lot 433
A model ship, 'Daphnella' built by The Doxford & Sunderland Ship Building and Engineering Co Ltd, J.L. Thompson Sunderland for Shell Tankers (UK Ltd) London 1966, held within an oak and glass display case, length 124cm, raised on custom built stand.'This ship was presented to Captain D. L. Smith as part of his retirement gift in 1996.Captain Smith worked for Shell all of his working life from 1955. Starting as an Officer Apprentice, he was top in his class of over 300 cadets in 1957. Captain Smith finished his career having worked in the New York office in the early 1980's, the London office and was President of Shell International Shipping.Captain Smith was the Captain of the Donacilla in the 1970s. The Daphnella is the scale model of the sister ship to the Donacilla. CONDITION REPORT The laminated plaque is the information about Daphnella, ie principal dimensions, builders details, machinery used, Held in a custom built display case, good condition appears untouched
Lot 353
19thC Chinese carved hardwood Jardinere Stand, a brown veined and shaped marble insert within a carved surround featuring dragons and flowers, above 4 carved legs decorated with scale-shaped mouldings, a mystical creature's carved mask at the leg tops and feet, stretcher shelf, 44cmW x 81cmH
Loading...-
186094 item(s)/page