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Click here to subscribeA Kit Built TAMIYA 56002 1/16 Scale Remote Control A4 Leopard Main Battle Tank - Metal Hull with plastic top and Turret - Professsional construction and finish - New ATTACK 2ER Radio Control System, Receiver and two new servos - Charger - some track spares - a sought after first version Model in Excellent working order.
8 x Ship Kits - WHITE ENSIGN MODELS 1:700 scale resin/etched Brass Kit nos K702, 706, 715, 716 & 717 - DELPHIS Models 1:700 resin Kit nos DM001 & 008 - REVELL 1:1200 Miniships Kit 06806. All appear complete but this cannot be guaranteed as all have been opened. 16 White Ensign Paints A Fleetscale Catalogue and several White Ensign sponsored information sheets.
A LATE 19TH-CENTURY POCKET COMPASS SUNDIAL BY STEWARD, LONDON, with 1½in. silvered compass dial signed as per title, steel hand with clamp, lacquered-brass bowl with hinged sundial over with dual divisions inscribed INNER CIRCLE OF LETTER & FIGURES USED IN SOUTHERN LATITUDES, oxidised-brass gnomon and folding latitude scale, contained in original plush-lined leather case with securing hooks -- 3in. (7.5cm.) overall
AN 18TH-CENTURY MAHOGANY AND BRASS SURVEYOR’S LEVEL BY COTTAM & HALLEN, LONDON, comprising a lacquered-brass quadrant, signed and inscribed Cottam & Hallen Winsley Strt, London No 180, the scale divided 12-0-12 and inscribed to left Inches Full In 3 Feet, and to the right Inches Rise In 3 Feet, thumb-screw retention, the crossbar with folding pin-hole and cross-hair sights, shaft terminating in a sharp point with foot plate; accompanied with matching surveyor’s staff -- dimensions overall 56½ x 54in. (143.5 x 137cm.), (2)
A RARE EARLY 20th-CENTURY CYCLONOMETER BY HUGHES & SON, LONDON, with 6in. silvered aneroid barometer inscribed COMPENSATED / THE CYCLONOMETER / No.531, with rotating bevelled glass scale divided for different dates, latitude settings and storm distances, blued-steel indicator with gold marker, set in an oxidised-brass bed plate contained within mahogany box with ivorine maker’s label inscribed Hughes & Son, Opticians, 59 Fenchurch Street, London., the hinged lid containing an ivorine-backed thermometer and an adjustable cyclonometer indicator -- 4½ x 8½in. (11.5 x 21.5cm.), Designed to give sailors early warning of typhoons and cyclones, this instrument seems to have been developed around 1912 with Hughes & Son issuing this version from the mid-1920s. Alternate names are the ‘barocyclonometer’ or ‘typhoon barometer’.
‘SLIDING SCALE FOR CORRECTING LONGITUDE AT NOON, FOR AN ERROR IN THE LATITUDE USED IN THE COMPUTATION AT TIME OF SIGHTS, BY GILBERT, T. KEY, LIEUT. R.N.’ J.D. POTTER, LONDON, C.1865, signed on the top plate J.D. Potter / 31, Poultry, London and comprising three card discs inscribed True 45º Bearing; Latitude 0º and Error in Latitude conjoined by a central brass stud, instructions and examples printed on the top plate, the reverse with manuscript inscription reading Rec Feb 7th 1865 at [?] Fort Menrue. -- 6¼in. (16cm.) diameter, John Dennett Potter worked between 1851 and 1880 from this address with a second establishment running from King St. from 1884.
A FINE 12IN. RADIUS DOUBLE-FRAMED VERNIER SEXTANT BY TROUGHTON, LONDON, CIRCA 1800, the oxidised-brass frame with polished-brass arc signed as per title and divided to 140º, Vernier scale with magnifier, sighting tubes, mirrors, four shades, contained within original wooden fitted keystone case, together with counter-weighted pillar support and accessories, the lid with trade label for John Bruce of Liverpool -- case 17in. (43cm.) square
AN EARLY 19TH-CENTURY 5IN. VERNIER REFLECTING CIRCLE BY LISTOR & MARTINS, BERLIN, with oxidised-brass frame, polished-brass meridian signed as per title, with inset silvered scale, lacquered-brass index arms, vernier magnifier, five shades, two mirrors and sighting tube, double rosewood handle, contained within original fitted wooden box, with accessories. Case -- 12¼ x 12¾in. (31 x 32.5cm.)
AN EARLY 19TH-CENTURY 11½IN. RADIUS VERNIER OCTANT BY B. WALTER, LONDON, with maker’s plate inscribed WALTER : LONDON, the ebony frame with ivory scale divided to 95° and Ramsden’s foul-anchor dividing mark to centre, braced lacquered-brass index arm and fittings including pin-hole sight, interchangeable shades and mirrors, turned pencil head in ‘T’ bar, note plaque to reverse and pin feet, contained within stepped keystone case with trade label for J. W. Norie & Co., lock and brass escutcheon -- 15in. (38cm.) wide
AN EARLY 19TH-CENTURY 11½IN. RADIUS VERNIER EBONY AND IVORY OCTANT BY SYEDS, ROTHERHITHE, with -shaped ebony frame, inset ivory scale divided to 105º, signed on the crossbar SYEDS 379 ROTHERHITHE , pin-hole/telescope sight, index mirror, seven shades, rosewood handle, contained in fitted wooden keystone case; together with letter of provenance from Port of London Authority dated 1933 -- 14 x 13in. (35.5 x 33cm.); together with a similar, but incomplete, example by Norie, London, contained within a distressed wooden stepped keystone case, (2), Agnes Syeds worked from 1834-1853 from this address, having taken over the business from her late husband in 1834.
A LATE 19TH-CENTURY 7½IN. RADIUS VERNIER OCTANT BY LARMOUR, BELFAST, with black-painted tulip frame, the polished-brass arc signed as per title, inset scale divided to 130º, silver magnifier, shades, mirrors, sighting tubes, contained within a fitted wooden box with trade label for Hayes Brothers, Cardiff -- 10¾in. (27.4cm.)
A REMARKABLE 1:96 SCALE MODEL DIORAMA OF THE VICTORY PREPARING TO SAIL, ANCHORED OFF AGINCOURT SOUND, SARDINIA, AT 3.45PM ON THE 19TH JANUARY 1805 WITH THE CAPTAINS OF THE ACTIVE AND SEAHORSE APPROACHING TO REPORT, modelled and presented from his own exhaustive researches by T. Davies; the Victory fully modelled in fruit and box woods with planked hull copper sheathed below the waterline, contrasting black and yellow hull with open gun ports on upper two decks with guns fitted with red tompions run out forward, the latter ports glazed, finely carved head-piece, glazed stern and quarter galleries with internal fittings visible, planked decks and bound masts with standing and running rigging of correct weight, yards and stun’s’l booms, flying the signal to ‘unmoor’ from the mizzen mast, the decks crowded with numerous crew and officers undertaking tasks including furling sails, stowing anchor ropes, preparing to raise an approaching pinnace, with a company of marines being drilled, the poop deck with Nelson pointing and Hardy watching as Pascoe stows signal flags, the whole mounted in a 6in. deep rippled green glass sea with painted white flecking, a pinnace with ten oarsmen, two officers and a marine approaching, contained in a bespoke glazed case with backdrop and stern views painted by Geoff Hunt showing the headland and rest of squadron, internal electric lighting, dust trap and legend to front, mounted on tapering legs. Measurements overall -- 75 x 53½ x 26in. (190.5 x 136 x 66cm.); framed charts of location and description of activities; service table, (5). Born of a frustration with the inadequacies of some models to show the Victory accurately enough and to put it into an interesting moment of history, this model evolved into what is possibly the most complex and detailed presentation of this famous ship yet undertaken. Log books and site visits were used to determine Victory’s precise anchorage at this date, from which photographs and period pictures were used by renowned marine artist Geoff Hunt to provide the backdrop canvases; detailed discussions with historians and the curator of H.M.S. Victory were undertaken to extraordinary degrees to establish precisely the arrangement of the vessel at this date - there was a small refit before the Battle of Trafalgar which provided additional challenges. Three years of trials were taken with the sea to get it realistic. It is uniquely poured around the hull to conform to the modeller’s wishes to create the correct light refraction, so the hull and anchor cable look as they did when Nelson gave the order to set sail. The success of the vignettes on the deck, in the rigging and the pinnace is a rare achievement with very few models so successfully employing this detail. To preserve the model for posterity, the modeller designed an airtight case with temperature-controlled climate and a dust trap on top, however should anything ever come astray, full instructions on how to access it are provided along with a table of the right height to slide the model on.
A WELL-PRESENTED 1:24 SCALE HALF-BLOCK MODEL FOR THE G.L. WATSON-DESIGNED RACING YACHT MADGE (1879), modelled by Peter Ward, carved from laminated mahogany with black-painted top sides brass fittings, cutaway mast, bow sprit and boom, mounted on wooden display board with details -- overall measurements 10 x 38½in. (25.5 x 98cm.)
A WELL-PRESENTED ¼IN. TO THE FOOT SCALE HALF-MODEL OF THE 23 METRE CLASS RACING YACHT CAMBRIA (1928), modelled by Peter Ward, with carved hull finished in red, green and white, cutaway mast with boom and bow sprit, mounted on a polished wood display board with details -- overall measurements 9 x 37½in. (23 x 95.3cm.)
A FINE AND WELL-PRESENTED 1:48 SCALE STATIC DISPLAY MODEL OF THE WORLD’S FIRST TURBINE-POWERED CRAFT TURBINIA DESIGNED BY SIR CHARLES PARSONS IN 1894, modelled by John R. Haynes with bespoke pre-formed hull, painted deck with superstructure and fittings as appropriate and including anchor, winch, glazed wheel house with steering wires to aft rudder shoe, deck rails with named life buoys, raked buff-coloured funnel, engine room companionway and observation post, fitted dinghy with gratings, oars etc, the two-tone hull fitted with three propeller shafts each supported three brass propellers, mounted on brass columns within wooden glazed case with maker’s plate. Cased measurements -- 9¾ x 31 x 6in. (25 x 79 x 15cm.) Turbinia was designed by Sir Charles Parsons, inventor and builder of Parsons turbines. She was built by him in 1894 to test Parsons turbines in service and to demonstrate the advantages of turbine vs reciprocating engine propulsion. Naturally, the fastest type of craft should be used for such demonstrations. It was a sad blow when, powered by one radial flow turbine, Turbinia made less than 20 knots due to cavitation at the high turbine speeds of 1800-2000 RPM. Parsons made many studies of cavitation. The single turbine was removed and replaced by three Parsons parallel-flow turbines, each driving a shaft with three propellers on each shaft as clearly seen in this model., The Royal Naval Review for Queen Victoria’s Jubilee took place at the Spithead in 1897. With all the ships of the Navy, guest vessels, and huge crowds looking on, the tiny (comparatively) Turbinia ripped through the rows of cumbersome naval vessels at an astonishing 35 knots. This bravado display effectively demonstrated beyond question the superiority of steam turbines, and in a very short time successful turbine installations had been made and put in service on coastal steamers. The Cunard Line experimented with turbines in the 20,000 ton Carmania, and then entrusted turbines to their Mauretania and Lusitania. Both ships became world famous, the former holding the transatlantic speed record from 1910 to 1929., Turbinia was solely a demonstration vessel to show, as she certainly did, the advantages of turbine drive. Her weight of 44½ tons divided by her horsepower gave a very low 49 pounds per horsepower, only to be surpassed five years later by the American Arrow which, even with reciprocating engines, achieved a figure of 36 pounds per horsepower., Shortly after being photographed alongside the Mauretania, the first large, fast, turbine powered ocean liner, she was laid up on the Tyne. Her after part was retired to exhibition in 1927 in the Imperial Science Museum in London. In 1961 both halves were re-joined in Newcastle on Tyne where she can now be seen.
Sold on behalf of the The Wellesley Nautical School Charity, A FINE 1:48 SCALE BUILDER’S DISPLAY MODEL OF THE ROYAL NAVY ‘LIGHTFOOT’ CLASS FLOTILLA LEADER TORPEDO BOAT DESTROYER H.M.S MARKSMAN, BUILT BY R. & W. HAWTHORN, LESLIE & CO. LTD, NEWCASTLE-ON-TYNE, 1915, with laminated and carved hull finished in light grey with pink underside, the cream-coloured deck complete with silvered fittings and armament as appropriate, four stayed raked funnels, three fitted wooden boats in davits, and much other fine detailing, mounted on sliding base with builder’s plate within original mahogany glazed display case with lockable end panels. Measurements overall -- 36½ x 95 x 19in. (92.7 x 241.3 x 48.3cm.), Provenance: H.M. Training Ship Wellesley and thence to the Wellesley Nautical School Charity. One of originally two flotilla leaders laid down as a result of the emergency 1914/15 naval estimates, the ‘Lightfoot’ class ultimately totalled seven. Each was named beginning with the designation letter of each flotilla it was to lead. Displacing 1,440 tons (significantly larger than ordinary destroyers), her three-shaft Browne-Curtis turbines developed a very respectable 34½ knots. Armed with four 4in. quick-firing and other smaller guns, and four 12in. deck-mounted torpedo tubes, she was manned by 104 crew and, with her enlarged administration space below deck, proved to be a great success. Commissioned on the 18th November 1915, by when she was urgently needed for the War effort, she saw service at Jutland where she was commanded by Commander Norton Sulivan as part of the 12th Destroyer Flotilla. She was broken up in November 1921.
A Meissen porcelain teapot and cover of quadrilobed form with wishbone handle, the body reserved with two landscape panels, one with figures seated by a stream with a monument beyond, the other with a man pushing a lady on a chair/sledge across a frozen lake, the turquoise ground painted with floral sprays all within gilt scale and foliate borders, purple 44 mark, 12.5 cm. high, later metal spout and chain attachments, damage to finial. * Provenance Probably acquired from Hugo Helbing (1863-1938) of Munich, a prominent art dealer in the early 20th Century. Helbing was arrested in the Kristallnacht and beaten and died of his injuries on the 30th November 1938.
A good Coalport blue ground porcelain dessert set, circa 1910, enamelled in 18th century Worcester style, painted with trefoil vignettes of fanciful birds before scale blue and gilt scrolling ground, fluted gilt rim, printed Coalport mark, comprising four square serving dishes and twelve dessert plates, printed T Goode and Co London retail mark, and pattern number X6042, dessert plates 24cm d (16)
EUGENE HENRI CAUCHOIS (FRENCH 1850-1911) FLORAL STILL LIFE oil on canvas, signed 54cm x 73cm note : Like many painters of his generation, Eugène-Henri Cauchois found a compromise between the techniques of the Academy and modern, Impressionist tendencies in his creation of genre and still-life paintings. Born in Rouen in 1850, Cauchois became a student of Ferdinand Duboc and of Alexandre Cabanel. Although he debuted at the Salon in 1874, it seems that his greatest success as a painter came during the 1890s: Cauchois became a Sociétaire of the Société des Artistes Français in 1890, was awarded a third-class medal at the Salon of 1898, a bronze medal in 1900, and a second-class medal in 1904. Late in his career, Cauchois turned to decorative painting, accepting many commissions for large-scale works, including a suite of the four seasons for The School of the Seventh Arrondisement of Paris. He continued to work on such decorative commissions until his death in 1911. His work is in numerous public collectionss and museums including : Angers; Louviers; Galerie Roussel; Montauban, Musée Ingres; Perpignan; Rouen.
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