There are 186094 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeJohn Hill & Co - Small Scale Coronation Series, circa, 1953: From Box D [Procession], now comprising: Gilt Coronation Coach with plain panels & Royal Couple figures, 8 x Windsor Grey Team with 4 x Drivers, 4 x Marching Beefeaters, 9 x Attendants, 5 x Royal Footmen, 10 x Foot-guards, 6 x Mounted Royal Horse Guards & 4 x Mounted Lifeguards. Great unused condition figures still tied to inner box, Outer box has some wear
A Regency mahogany and brass mounted bracket clock, backplate signed William Brooke, Westminster the altered case with stepped pediment and recessed spandrels around the 8inch enamel dial, indistinctly signed `... Brooke..`, with Roman numerals and twin fusee movement, adjustable pendulum, rectangular brass scale side frets below lion mask ring handles, all upon disc feet, losses and damage to case, possibly a marriage, 44cm high
Bacon (George W., pub.). New Ordnance Atlas of the British Isles with large Scale Plans of Towns....., 1883, title page and index, thirty-three double page colour litho. regional and town plan maps (correct as list) including the two sheet map of London, all backed with linen, slight dust and finger soiling, f.e.p. with closed tear, hinges broken with text block near detached, contemp. half morocco gilt, frayed and worn with slight loss at foot of spine, folio (1).
Bowles (Carington, publisher). Bowles’s Pocket Atlas of the Counties of South Britain or England and Wales Drawn to one Scale....., c.1785, double page calligraphic oval title, double page index, fifty-seven uncoloured engraved maps (complete as list) on forty-eight sheets, including fourteen folding, contemp. qtr. calf with contrasting gilt morocco label to spine, bumped rubbed and worn, 8vo. Chubb CCLVI. Scarce. (1).
Cary (John). Cary’s Survey of the High Roads from London to Hampton Court, Ware, Bagshot...Richmond, On a Scale of one Inch to a Mile; wherein Every Gentleman’s Seat, situate on, or seen from the Road, (however distant) are laid down, with the name of the possessor; to which is added, the Number of Inns...also, The different Turnpike Gates..., 1st ed., 1st July, 1790, engraved title and explanation page, folding general map of London and environs, hand coloured plan of London depicting the turnpike gates, eighty hand coloured strip maps on forty pages (complete), contemp. marbled calf, upper board detached, 4to (1).
British Isles. De Wit (Frederick), Novissima prae caeteris aliis accuratissima Regnorum Angliae Scotiae Hiberniae, Amsterdam, c.1690, engraved reticulated map with contemp. hand colouring, inset map of the Faeroes, Shetlands and Orkneys, elaborate cartouche and mileage scale, slight oxidisation of early watercolour causing small splits, repaired and strengthened on verso, margins strengthened on verso, 590 x 495mm. R.W.Shirley. Printed Maps of the British Isles, 1650 - 1750. De Wit 6. state 1. (1).
Devon. Blaeu (Johannes), Devonia Vulgo Devon-Shire, [1659], uncoloured engraved map, decorative cartouche and mileage scale, slight overall toning, slight offsetting, 395 x 500mm, Spanish text on verso, together with Morden (Robert),Devonshire c.1730, uncoloured engraved map, slight toning to central fold, 370 x 420mm (2).
Dorset. Speed (John), Dorsetshyre with the Shyre-towne Dorchester described as also the Armes of such Noble Families as have bene Honored with the titles thereof since the Normans Conquest to this Present Anno. 1662, pub. Christophr. Browne, c.1686, hand coloured engraved map, inset town plan of Dorchester, strapwork cartouche and mileage scale, 385 x 510mm, no text on verso. An uncommon edition. (1).
Jansson (Jan). Scotiae Provintiae Inter Taum Fluvium et Septentrionales oras Angliae, Portugallia et Algarbia quae olim Lusitania, Totius Rheni abeius Capitibus ad Oceanusque Germani cum in quem Sexonerat Novisima Descriptio [and] Palatina tus ad Rhenum, c.1660, together four uncoloured engraved maps, some marginal closed tears, some staining and spotting, margins and central folds strengthened on verso, occ. trimming to margins with slight loss, each approx. 425 x 535mm, together with Speed (John),Caermarden Both Shyre and Towne Described, pub. Thomas Bassett & Richard Chiswell c.1676, hand coloured engraved map, inset town plan of Carmarthen, ornate strapwork cartouche, compass rose and mileage scale, slight worming to one margin, central fold crudely repaired on verso, repaired closed tear affecting image, 385 x 510mm, English text on verso (5).
*Leeds. Baines (John & Company, pubs.), Map of the Country extending Ten Miles round Leeds Including Wakefield, Bradford, Dewsbury, Otley, Harewood, Aberford & Castleford; Shewing all the Parish and Township Boundaries &c. from actual Admeasurements in the years 1819, 20 & 21 by Joshua Thorp and re-surveyed & corrected to January 1st. 1831 by S.D.Martin, Surveyor, Leeds, engraved map with bright contemp. hand colouring, sectionalised and laid on linen, calligraphic title, compass rose, table of explanation and vignette of Kirkstall Abbey, 1140 x 1220mm, framed and glazed. Brian Kentish, A Catalogue of County Atlases of England and Wales 1607-1868 and Large Scale county Maps, item 79. (1).
Maps. Allard (Hugo), Accuratissima Principatus Cataloniae et Comitatum Ruscinonis et Cerretaniae, pub. Amsterdam, c.1705, engraved map with bright contemp. hand colouring, closed tear affecting image, 505 x 590mm, together with Liebaux (Jean Baptiste),Le Duche de Mantoue avec ses Environs, pub. Paris, 1702, engraved map with bright contemp. hand colouring, lower margin extended, 425 x 595mm, with Jaillot (Alexis-Hubert),Le Duche de Luxembourg divise en Francois et Espagnol...., pub. Paris, 1705, engraved map with bright contemp. hand colouring, elaborate strapwork cartouche and mileage scale, 440 x 570mm, with Visscher (Nicolas), Leodiensis Episcopatus in omnes Subjacentes Provincias Distincte Divisus, pub. Amsterdam, c.1690, engraved map with contemp. hand colouring, decorative cartouche, 465 x 570mm (4).
Northamptonshire. Smith (William), Northamptoniae Comitatus Descriptio....., pub. J.Overton [1675 or later], hand coloured engraved map, elaborate strapwork cartouches and mileage scale, 365 x 485mm, together with Bowen (Emanuel),An Accurate Map of Nottingham Shire Describing its Wapontakes and Divisions Drawn from the best Authorities...., pub. J.Tinney, 1754, engraved map with contemp. outline colouring, decorative b & w cartouche, 705 x 545mm (2).
Rutland. Speed (John), Rutlandshire with Oukham and Stanford her Bordering Neighbour Newely Described, pub. Thomas Bassett & Richard Chiswell, c.1676, hand coloured engraved map, inset town plans of Oakham and Stamford, elaborate strapwork cartouche and mileage scale, 390 x 515mm, English text on verso (1).
Sussex. Gardner (W. & Yeakell T.), A Topographical Map of the County of Sussex, DIvided into Rapes, Deaneries and Hundreds, Planned from an Actual Survey by a Scale of one Inch to one Statute Mile, Begun by W.Gardner and the late T.Yeakell......, 2nd ed., pub. W.Faden, 1815, engraved map with contemp. hand colouring on four conjoined sheets, laid on linen, calligraphic title and dedication, heavily dust soiled, slight staining and toning, mounted on a spring roller with near detached batten to lower margin, 770 x 1970mm, contained in stained oak box. Brian Kentish. Large Scale County Maps of England and Wales, 1705 - 1832, item 59. (1).
*Yorkshire. Speed (John), The North and East Ridins of Yorkshire, pub. Thomas Bassett & Richard Chiswell, c.1676, hand coloured engraved map, inset town plans of Richmond and Hull, strapwork cartouche and mileage scale, small rust hole in cartouche, repaired on verso, 395 x 520mm, English text on verso, mounted, framed and double glazed (1).
A GEORGE V SILVER GILT REPLICA FONT CUP AND CHRISTENING SPOON in the form of the Tudor Holms Cup^ the font shaped bowl with engraved scale pattern beneath the inscription (in lombardic letters) BENEDICTUS DEUS IM DONA SUIS AME^ on pedestal foot^ the spoon in the form of the St Nicholas spoon of 1488^ the fig shaped bowl with rat tail on hexagonal stem with engraved inscription and apostle finial^ cup 10.5cm h^ by Nathan & Hayes^ Birmingham 1915 and 16^ scarlet morocco triptych case signed for Skinner & Co^ London W^ 13ozs 10dwts The original late gothic standing cup^ since 1958 in the Royal Scottish Museum^ was once in the celebrated collection of John Dunn-Gardner. When it was sold at Christie~s in 1901^ the cup realised £4100^ the then highest price paid for a silver object sold at auction. In the same sale the St Nicholas of Myra spoon dated 1488 was bought by Chrichton for £690. ++Both items in fine condition ; as new. One lid on the triptych case slightly cracked
SOPHIE FEDOROVITCH (1893-1953) DESIGNS AND MODELS FOR THE SETTING AND BACKCLOTH OF SYMPHONIC VARIATIONS Sadler~s Wells Ballet^ 1946^ pen^ pencil^ ink and lime green wash^ several sheets squared for transfer^ one inscribed and drawn to scale^ 38 x 69cm and various sizes^ with a cover sheet^ signed and inscribed Backcloth for Ballet ~Symphonic Variations 22 Bray Walk Chelsea SW 3~ (9)
FOUR FINE 1/8TH SCALE WOOD BRASS AND STEEL MODEL FIREARMS AND TWO FLASKS AND A BULLET MOULD BY JOHN MAXWELL BALL (1905-1956) including a long gun with working flintlock^ mounted on velvet in glazed and stained wood box frame^ 17 x 26cm^ 1937 ++In fine condition the joints of the glass lid require reglueing^ the glass loose
A VERY FINE MODEL OF A JOINER~S WORKSHOP AND 1/10TH SCALE TOOLS BY JOHN MAXWELL BALL (1905-1956) comprising a bench and steel vice^ treadle lathe^ turned copper glue pot and iron gas ring and a comprehensive group of boxwood and steel planes^ saws^ chisels^ axe^ hammer^ mallet^ pliers^ cramp^ gauge^ square and other tools^ the stained wood and glazed case 23cm h; 21 x 34cm^ 1937 ++In fine condition
ESCAPE MAP - A map printed in colours on silk, incorporating separate inset maps on recto of the German-Swiss Frontier, France (South West) Spain (North), and on the verso of France (South West), Belgium (West and Central), Holland (part of) and The Pyrenees (East & Central), numbered 43/B, printed in London by Waddingtons, [1943], 675 x 690mm. These "Escape Maps" were issued to Allied pilots of the US, RAF and RCAF, and were sewn into their uniforms. They are generally at a scale of 1:1,000,000, with larger scale inserts
Roderic O`Conor (1860-1940)NATURE MORTE, c.1909oil on canvassigned and dated upper left; signed, titled and dated on reverse; with original price [15.00 frs] and numbered [5] on reverseLandscaPortraite18 by 22in., 45 by 55cm.M. Zeitline, Paris;The Collection of Mervyn & Pat SolomonSalon d`Automne, Paris, 1909, no. 132; `Roderic O`Conor Room`, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1995-2000Johnston, Roy, Roderic O`Conor Vision and Expression, 1996, p.48-49This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)NU ALLONGÉ, c.1915oil on canvassigned lower right; with O`Conor Atelier stamp on reverse; inscribed verso on stretcher bar in blue chalk: `No. 4 Roderic O`Conor D??? No. 4`LandscaPortraite26 by 32in., 65 by 80cm.Paris, Hôtel Drouot, Etude Tajan, Tableaux Modernes, École de Paris (Succession de Mademoiselle Abadie), 21 November 1995, no. 130;The Collection of Mervyn & Pat SolomonAuthor Jonathan Benington notes that the model`s blue-painted eyes were added later by another hand, and that originally she was most probably depicted asleep, with eyes shut. The brightly coloured textile seen in the present work was used as a studio prop and features in other works by O`Conor. This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)CHRYSANTHEMUMS, 1896oil on canvassigned lower left; signed with initials and dated upper left; titled on original label on reverseLandscaPortraite21.25 by 25.5in., 53.125 by 63.75cm.The Collection of Mervyn & Pat SolomonThis group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)AVENUE OF TREESoil on paperwith Atelier O`Conor stamp lower right; also stamped on reversePortrait16 by 15in., 40 by 37.5cm.The Collection of Mervyn & Pat SolomonProbably painted at Montigny circa 1902. This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)SEATED MODEL, c.1923-1926oil on canvassigned upper rightPortrait21.5 by 18in., 53.75 by 45cm.The Collection of Mervyn & Pat SolomonSeated Model, c.1923-1926 pertains to a series of clothed, female models, painted by O`Conor at his Montparnasse Studio, Rue de Cherche-Midi, Paris.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)LA MAISON DU PENDU AU POULDU, BEACH WITH CLIFFS AND A YACHT, 1893 and DEUX FEMMES DE PROFIL DANS UN PAYSAGE (SET OF 3)etching; (2); lithograph; (1)the first, stamped within the image lower right; inscribed [1/30 / Tirage 81] in pencil in the margin lower right; the second, signed and dated in the plate; the third signed in the plate lower leftLandscaPortraite5.5 by 9in., 13.75 by 22.5cm.Deux Femmes de Profil dans un Paysage: Purchased by Mervyn & Pat Solomon, 1984La Maison du Pendu au Pouldu: Musée de Pont-Aven, 1984, catalogue no. 78 (another edition) (illustrated p.53)Deux Femmes de Profil dans un Paysage: L`École de Pont-Aven dans les Collections publiques et privées de Bretagne, Musée Des Beaux-Arts, Quimper, Rennes, Nantes, 1978-1979, catalogue no. 74 (illustrated); Musée de Pont-Aven, 1984, catalogue no. 84 (illustrated p.53); `Roderic O`Conor 1860-1940`, Barbican Art Gallery, London, Ulster Museum, Belfast, National Gallery of Ireland and Whitworth Art Gallery, Manchester, from September 1985 to May 1986 (all other editions)La Maison du Pendu au Pouldu:Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 102 (illustrated p.113); Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue no. 419, illustrated p.56Deux Femmes de Profil dans un Paysage:Jaworska, W., kregu Gauguina malarze szkoly Pont-Aven, Warsaw, 1969; English translation, Gauguin and the Pont-Aven School, Boston, 1972, p.224 (illustrated); Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 114 (illustrated p.113)The lithograph within this lot is one of only two examples known in this medium. It is thought to have been printed in 1898. Dimensions of Beach with Cliffs and a Yacht, 1893 and Deux Femmes de Profil dans un Paysage, 9.75 by 15.25 and 7.50 by 6.75ins., respectively.An edition of Deux Femmes de Profil dans un Paysage can be found in the collection of Musée Des Beaux-Arts, Quimper.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)MONTAGNE SAINTE-VICTOIRE, FRANCEoil on boardwith faint Atelier O`Conor stamp on reverseLandscaPortraite5.75 by 9in., 14.375 by 22.5cm.The Collection of Mervyn & Pat SolomonJonathan Benington, Roderic O`Conor: a Biography with a Catalogue of his Work, 1992, catalogue no.177, p. 211, as Mountain LandscapeThe subject of this picture has not been conclusively identified, although on grounds of topography it bears comparison with Le Cap Canail in Cassis, which was close to where O`Conor was based for much of 1913.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Roderic O`Conor (1860-1940)HOUSE ABOVE THE CLIFF, SUNLIGHT THROUGH THE CLOUDS and LE VERGER, c.1893 (SET OF 3)etching; (1) etching and drypoint; (2)the first with Barbican Art Gallery exhibition label on reverse; the second signed and dated in the plate lower right; inscribed [2/30/ Tirage 81] in pencil in the margin lower right; third signed in the plate lower leftLandscaPortraite10.5 by 13.25in., 26.25 by 33.125cm.(First) possibly, Hôtel Drouat Salle I, Paul Renard;The Collection of Mervyn & Pat Solomon(First) Pont Aven 1984 (another edition); London, 1985 (another edition)(Second) `L`estampe en Bretagne`, Musée des Beaux-Arts, Nantes, 1974, catalogue no. 145; Quimper, 1978, no. 72); Pont-Aven, 1984, no. 71; London, 1989, no. 0.7; Paris, 1989, no. 134 (other editions)Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue nos. 441 and 430, respectively (both illustrated p.55); Johnston Roy, Roderic O`Conor, catalogue de l`oeuvre grave, Musée de Pont-Aven, 1999, no. 15 (illustrated)Le Verger was conceived in 1893. The original plate for the present work was sold at Hôtel Drouot, 17 November 1975 (lot 172, no. 4). From that plate later re-strikes were made in 1981 by Paul Prouté S.A. in an edition of 100. Dimensions of second title: 10.50 by 13.25in.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
A group of boxed Hornby 00 gauge scale model engines, comprising; the B.R. Standard Class 9F 2-10-0 'Evening Star', the last steam locomotive built by British Railways, boxed with card showing the artists impression of the prototype, the 0-6-0 GWR 57xx Class pannier tank R.041, boxed and a GWR Class 2721 0-6-0 Pannier Tank engine. (3)
A group of boxed engines, comprising; a Hornby LMS 4-6-2 Princess Coronation Class, the 'Queen Elizabeth' 6221 locomotive and tender, a Hornby BR 4-6-2 West Country Class the 'City Of Wells' 34092 locomotive and tender, a Hornby R2085 GWR 'County of Worcester' locomotive '1029' and tender, a Hornby R2355 BR (early) 0-6-0 Class QI Locomotive '33037' with tender and a Bachmann Branch Line 00 scale model 43xx 2-6-0 GWR locomotive number 4318 with tender, all made in China. (5)
A collection of boxed Bachmann branch line scale 1:76, 00 gauge locomotives and rolling stock comprising; a Fowler 'Royal Scot' class 4-6-0, 461 'Manchester Regiment' BR Green (parallel), a Lord Nelson Class 30850, GWR the 'Lord Nelson' 31-408 BR Green early emblem, a 4-6-0 Manor Class 'Cookham Manor' 7808, a 4-6-0 Manor Class 'Broome Manor' number 7805, a 4-6-0 Manor Class, GWR 'Wraysbury Hall' 6969, a BR class4 4-6-0 double chimney, tender type BR 1B, no 75029, a class 45 1Co-Co Deisel, catalogue number 37-051, a 5700 class 0-6-0PT GWR 8700, a class 56xx tank 6676 in Great Western Green livery, a 45xx Tank 4550 GWR green, an 08 Diesel shunter BR Green, number D4192, a BR Mk 1 FK Pullman kitchen first class (with lighting), a BR MK1 SK Pullman kitchen second class (with lighting), a BR MK1 FP Pullman first class (with lighting), a BR MK1 SP Pullman parlour second class (with lighting) and two two Lima locomotive engines the 'Western Pioneer' D1003 and the 'Western Renown' D1071. (17)
Crown Devon Mattajade ewer decorated with the Coral Trees pattern, base with printed marks and pattern number 2342, 26cm high Extensive crazing across the entire visible turquoise area, the black interior remains very `black` with no apparent scale tide marks, gilding in very good order - General condition consistent with age **
Mid 19th Century Smith`s terrestrial globe, inscribed `Smith`s Terrestrial Globe containing the whole of The Latest Discoveries And Geographical Improvements, also The Tracks of The Most Celebrated Circumnavigators. C. Smith & Son, 172, Strand, London, 1862`, having an engraved brass meridian and standing on a circular mahogany base having turned supports united by conforming stretchers, overall height 46cm Wear to globe from rubbing, some through varnish only but some leaving completely bare areas, scale on stand has several areas of loss and wear (flakes allover), globe has stress around top fixing - General condition consistent with age **
Loading...![John Hill & Co - Small Scale Coronation Series, circa, 1953: From Box D [Procession], now comprising: Gilt Coronation Coa](http://lot-images.atgmedia.com/SR/3114/2874104/273-201328152954_468x382.jpg)
![Northamptonshire. Smith (William), Northamptoniae Comitatus Descriptio....., pub. J.Overton [1675 or later], hand coloured en](http://lot-images.atgmedia.com/SR/10729/2879604/166-2013225163946_468x382.jpg)
