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Lot 217
A Lego 810 1960s Town Plan Construction Set, comprising Town Plan, VW Cars (3), other Lego vehicles (5), Street Lamps, Bicycles/Scooters (4), Petrol Pumps, various red, white and clear bricks, Garage door, (lacks windows and doors), with instructions, in original box, VG, box G togetheer with approx 20 Hong Kong plastic small scale Cars and road signs and Matchbox Nestle's Van, F (qty)
Lot 658
Eight Minichamp and similar 1:48 scale diecast motor racing cars, Renault F1 team R26 2006, Williams Ford FW07B 1980, Lotus 33 Climax no1 1965, Brawn GP BGP 001 2009, Vodafone Mclaren Mercedes MP4-23 2008, Williams Honda FW11 1987, Brabham BT19 1966 & Lotus 72D 1972, six in window display cases
Lot 722
A Norman Hill 1:100th scale model, 28,000 ton D.W Bulk Carrier, Capulet, built by Swan Hunter Shipbuilders LTD, Haverton Hill, Teeside, on wooden display plinth in glass displat case along with original plan and safety booketSize of case, Lenght 43", Height 14.5", Depth 11"Splits to deck in numerous places as images showCase been restored
Lot 401
QUANTITY OF SMALL ELECTRICAL APPLIANCES AND HOUSEHOLD ITEMS, ETC., INCLUDING 'MOUNTAIN BREEZE' AIR CLEANER; SCOTTS OF STOW KITCHEN SCALES' TWO BATTERY OPERATED 'INSECT KILLERS'; SALTER 'HANGING KITCHEN SCALE AND CLOCK', BOXED; SMALL CORDED ELECTRIC LEAF BLOWER; GENIUS STEAM VACUUM CLEANER; HOME-TEK STEAM CLEANING SYSTEM; TOBI PLATINUM MODEL EC1710 STEAM IRON GARMET STEAMER; ETC., ETC., (CONTENTS OF 3 BOXES)
Lot 538
An assortment of late 18th / early 19th century tea cups to include a Spode Imari colour cup and saucer, a Spode fish scale ground floral cup and saucer, an unmarked blue and gilt cup and saucer, a gilt and pale tan floral cup and saucer, 4203 numbered, a miniature Meissen style cup and saucer, plus seven more coffee cups lacking saucers to include imari colours, black and white printed classical woman, man and cherub, one Chinese coffee cup with six figure mark to base and a Japanese sugar bowl with hand painted landscape, 9.3 by 5.2cm. (18)
Lot 169
A J Lancaster & Son, Birmingham pocket combination mercurial barometer, compass and altimeter scale, late 19th century, having pocket watch type case with suspension ring, one side with inset silvered barometic pressure dial with attached curved mercury vile and raised compass to centre, the other side with silvered barometric pressure dial within rotating altimeter scale, diameter 4.8cm x depth 2.2cm, in fitted leather case, together with Victorian Pillischer pocket gauge instrument, also having pocket watch type case with suspension ring, in fitted case. (2)
Lot 24
OF DYLAN THOMAS INTEREST - A PLAN OF MAJODA BUNGALOW WITH POLICEMAN'S NOTES relating to an infamous incident in New Quay, Ceredigion, of March 6th 1945; Captain Killick, a drinking pal of Dylan Thomas and a former Commando Officer on leave, shot his machine gun at the bungalow in which his friend and the poet's family were residing. The incident resulted in a court-case in Lampeter and was covered by National newspapers. It was characterised in the biographical film 'Edge of Love' (2008). According to 'The Dylan Thomas Trail' by David Thomas (Y Lolfa) '...at about 10.40pm Dylan was standing in front of the fire place in the living room at Majoda, telling Caitlin and friends about his scuffle in the Black Lion with William Killick. In Ffynonnfeddyg next door, Killick had also returned from the pub and was retrieving a Sten gun and hand grenade from his store of weapons, intent on giving Dylan and his party a taste of war'. It is believed that Captain Killick was seeking revenge for a complicated relationship that was ensuing with Dylan Thomas and the Captain's wife Vera Killick. He had just returned from 18 months' service behind enemy lines in Greece with the Special Operations Executive to find tongues wagging about an affair between his wife, Vera, and Thomas, with whom Thomas had grown up. To add insult to injury, the Captain's bank account was empty - plundered to support the Thomas' rackety lifestyle. The plan of the bungalow was commissioned by PC 21 Arthur Islwyn Williams, who was the local 'Bobby' and whom investigated the incident. On the reverse of the plan are PC Williams' notes in pencil with his observations at the scene noting the bullet-holes and the final location of the bullets '2 holes in glass pane outside scullery window 4-9 above ground level, 2 B/Holes in asbestos partition.....In transom of same door......asbestos partition nr. rt of same door......on the door of bedroom No 2....lodged in the right jamb of same door.....about 29in from wall of bedroom No 2...ceiling of living room facing the sea I found an embedded bullet...In the ceiling directly in line with the front door I noticed 6 bullet holes in the shape of a horse shoe....' The plan is in good condition with a scale of 4 feet to one inch, measuring 48 x 42cms and is attributed bottom right to J Lewis-Evans FIAA Architecture and Surveyor, Aberystwyth, March 1945', it has been folded into eight sections with two sections on the back inscribed with PC Williams' notes. Fortunately for Captain Killick he was acquitted of attempted murder at the subsequent trial. It is said that there was some sympathy in the local community for the former soldier who had seen active combat. To his friend and poet Vernon Watkins, Dylan Thomas wrote, 'Caitlin and I go to bed under the bed' Provenance: directly from the son of PC Williams now ironically living in the old police house in New Quay
Lot 694
Edward Atkinson Hornel (Scottish, 1864-1933) Rhythmic study of two girls and a rose-coloured ribbon, to the fore an auburn-haired girl crouches, her gaze tilted upwards towards her dancing companion, the latter captured contrapposto with both arms aloft, her body entwined with the streamer, the scene foiled by the cool azure of a stream partially glimpsed through kaleidoscopic trees, oil on canvas, signed and dated 1917, framed under glass, 50 x 39 cm Born in Victoria, Australia, Hornel was raised and lived almost all of his adult life in Scotland after his family moved to Kirkcudbright in 1866. He studied for three years at the Edinburgh School of Art, and for two further years at Antwerp under the direction of Professor Verlat. Upon his return to Edinburgh in 1885 Hornel met fellow artist George Henry RA (1858-1943) and through this connection began his association with The Glasgow Boys. Combining their interest in the depiction of light with his own experiments in colour and paint application, it was during this period that Hornel developed his distinctive impasto technique of loading and scraping the canvas with the use of a palette knife. This approach is visible in this work, where Hornel has exposed the rough texture of the canvas, and incorporated it into the finished surface. Inspired by the rise in 'Japonisme', the Western take on Japanese art and culture, so prevalent in the avant-garde art scene of the day; in 1893 Hornel travelled to Japan with Henry. They spent eighteen months in the country in order to see and study the environment and become personally in touch with the people, to live their life, and discover the source of their inspiration. This period would prove formative to Hornel's oeuvre, and he became fascinated by the gestures and movement of Japanese dance. Hornel was an avid photographer, and he gleaned a great deal from his associations with Japanese photographers catering to the Western market and producing compositions known locally as 'shashin'. These studies focused on Japanese tradition, costume and feudal customs, and were highly valued for their colours and design. After his return to Scotland in 1894, Hornel honed his approach to painting, using photography as his starting point; taking the twists and turns of the female form found in traditional Japanese poses and translating them into paint. His first exhibition of Japanese paintings was enormously successful, and from the proceeds he purchased Broughton House at Kirkcudbright in 1901. The house came with a studio and he began using photography on a grand scale, utilising local children to move and stand in ways that reflected the specific poses of his Japanese dancers. This influence can be especially seen in this work in the pose adopted by the red-headed girl to the fore in the way she cranes her head and raises her hand towards her neck. The subject of children submerged within a landscape or beside a body of luminous water, such as with this work, is a theme that Hornel would return to frequently. This lack of reality is further endorsed by the equal prominence with which Hornel depicts subject and context, the two interwoven to form a rich tapestry of light and texture. Something the artist would continue to explore right up until his death in 1933.
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