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Dominic Winter Auctions
Lot 178

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).

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Dominic Winter Auctions
Lot 181

*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).

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Dominic Winter Auctions
Lot 934

*Sealife. An early 20th-c. large-scale chromolithograph, c. 1900, depicting sea life with crabs, plaice, mullet, flatfish and other species, 55.5 x 75cm, framed and glazed. .

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Mellors & Kirk
Lot 257

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

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Mellors & Kirk
Lot 482

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)

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Mellors & Kirk
Lot 563

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

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Mellors & Kirk
Lot 564

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

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Maxwells
Lot 358

Swire & Hutchings: a large scale folding map of Cheshire, hand coloured in slipcase, 1828/9; a 19th century newspaper cuttings scrapbook

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Maxwells
Lot 818

A Wrago Jaguar 1961 E-type 1-18 scale model; other diecast cars; a Sooty glove puppet; etc.

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Golding Young & Mawer - Grantham
Lot 384A

A scale model of a Marshalls threshing machine and associated pieces, including a die-cast Marshall tractor, a Chad Valley tractor and a John Deere tractor.

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High Road Auctions
Lot 661

A mahogany small scale sofa table with drop flaps single drawer with brass swing handles on pierced lyre shaped supports with out swept legs terminating in brass claws 46x39x50

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Chiswick Auctions
Lot 100

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

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Whyte's
Lot 36

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"

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Whyte's
Lot 37

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"

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Whyte's
Lot 38

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"

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Whyte's
Lot 39

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"

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Whyte's
Lot 40

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"

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Whyte's
Lot 42

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"

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Whyte's
Lot 43

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"

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Whyte's
Lot 44

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"

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David Duggleby Scarborough
Lot 7

Royal Worcester pedestal urn scale blue ground and cover circa 1900 29cm

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W. & H. Peacock
Lot 634

A 9ct yellow gold curblink bracelet, some links with scale-type decoration and padlock catch, approx. 28 gms

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Batemans Auctioneers & Valuers
Lot 333

A quantity of Corgi Original Omnibus, 1:76 scale, limited editions, 150th Anniversary of the Penny Post, and Queen Mother's Century. (15)

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Batemans Auctioneers & Valuers
Lot 357

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)

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Batemans Auctioneers & Valuers
Lot 404

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)

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Batemans Auctioneers & Valuers
Lot 410

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)

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Richard Edmonds Auctions
Lot 465

A 1/12th scale model of a vintage W.O Bentley set within a perspex case.

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Peter Wilson
Lot 221

Twenty four boxed Oxford diecast 1:43 scale vans.

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Peter Wilson
Lot 222

Twenty seven boxed Oxford diecast 1:43 scale vans

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Peter Wilson
Lot 238

Four 1:18 scale diecast boxed models.

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Clevedon Salerooms
Lot 66

19th Century rosewood stick barometer by G.H. Prosser of Bristol having an engraved ivory scale and thermometer, 90cm high We do not guarantee the workings - please contact department for further details (see extra images) - General condition consistent with age **

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Clevedon Salerooms
Lot 166

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 **

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Clevedon Salerooms
Lot 199

Late 18th/early 19th Century Irish dip-moulded decanter by the Cork Glass Co, having a pinched target stopper and engraved with the Vesica pattern, marked to the base, 26cm high Some scale to inside base - General condition consistent with age **

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Clevedon Salerooms
Lot 296

Die-cast model of a delivery van, the decals reading Avery Scale Repair Service, 15cm long Rear driver side door is broken on the lower hinge, some light wear to paintwork on corners and bumpers, light wear to decals - General condition consistent with age **

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Clevedon Salerooms
Lot 346

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 **

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Addisons Auctioneers
Lot 224

A Joseph Sankey Art Nouveau copper pitcher decorated with a scale pattern

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Morgan Evans & Co.
Lot 235

A Scale Replica Model Of A Knights Helmet, Probably Late 19th Century

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Morgan Evans & Co.
Lot 337

A Brass Pocket Sovereign Scale

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Sworders
Lot 1111

A pair of late 18th century porcelain vases, possibly Derby, in the Rococo style with twin handles, painted with panels of exotic birds interspersed with pink scale panels, 26.5cm high, restored and damaged (2)

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Peter Francis
Lot 85

A Stanton of London Shop Keepers Scale Set with weights, marked model HD5 Stanton Instruments Limited London

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Peter Francis
Lot 129

Brass counter scale set with weights

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Peter Francis
Lot 140

Early 20c scale set with weights on wooden base

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Peter Francis
Lot 405

Box of assorted vintage games to include Party Pepys Games, Dan Dare Treasure Hunt, The Famous Five Party Game for Girls & Boys by Enid Blyton, Funny Families together with Titanic scale model etc.

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Lockdales
Lot 1000

John Kirby, unframed coloured map, `An Actual Survey of the County of Suffolk, taken from the original survey, published in the year 1736, but now contracted to half that scale by the author John Kirby according to act of Parliament 1737`, 73cm wide x 55cm high

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Lockdales
Lot 1122

Spencer & Co ebony octant, English, circa 1820, with ivory scale, vernier and name plate, brass peep-hole sight and two coloured filters, 31cm long

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Lockdales
Lot 1462

Quanity of Hornby Railways `OO` Guage scale models and other model railway trains and accessories, (qty)

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Cotswold Auction Company - Cheltenham
Lot 338

Painted metal Gem postal scale, vintage Universal Bullfinch holepunch and two metal flatirons

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Cotswold Auction Company - Cheltenham
Lot 367

J. Davis & Sons, Derby boxwood and brass inclinometer level, by J. Davis & Sons, with compass, protractor, protractor hinge, two levels and scale, with brass folding crosshairs viewer, circa 1873-1898, in leather case, together with another slide rule

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Gildings Auctioneers
Lot 228

HMS Victory A scale model in a bow fronted case, width 102cms, depth 31cms, height 101cms.

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Sworders
Lot 114

A modern scale model of HMS Victory, 78cm high, in glass case

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Sworders
Lot 115

A modern scale model of HMS Agamemnon, 107cm high, in glass case

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Special Auction Services
Lot 1141

A Lancaster Quarter-Plate Mahogany and Brass 1891 Instantograph Camera, with maroon bellows, Lancaster`s Patent See-saw Shutter and bulb, not tested, Lancaster and Son`s Patent f/10 5 in lens, with one dds, body G, lens F-G Unusually well preserved and attractive - the usual minor faults do not greatly detract. Maroon bellows in good condition, dovetailed construction. Wood retains attractive finish with minor marks and small chip above front name-plate. Brass intact with excellent finish, back works properly. Shutter finish in good condition, but not tested and with perished bulb. Lens lacquer in good condition, working iris with dual scale (Time / f-nos), glass has few tiny marks but mostly clear

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Special Auction Services
Lot 603

Telephone etc: A Gecophone `smoker`s cabinet` radio case; a pair of headphones; a French Thompson-Houston candlestick telephone with handset; another handset; an 80-cm scale rule in German silver by Gebr. Wichmann, Berlin, in case; and a wood paint box containing drawing instruments

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Special Auction Services
Lot 1484

A Leica If (red-scale) serial no.789919, chrome, with body cap, body G-VG, shutter working very slight scratching to base-plate, some degradation to vulcanite by flash socket

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Special Auction Services
Lot 1448

A Leica IIIa serial no. 183104, chrome, converted with IIIf black scale top plate, body P-F, shutter not working pitting to top plate, vulcanite not adhering in places, some rubbing to reverse

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Special Auction Services
Lot 1215

A Sanderson Quarter-plate Hand or Stand Camera, serial no. 10,632 (c.1905), with red bellows, Adams viewfinder, F-G with later focussing scale added, Meyer Trioplan f/4.5 13.5cm lens, G, in Ibsor shutter, working except on slowest speeds, and five mahogany dds Very smart outfit, better in overall impression than the F-G grade objectively given because of trivial paint loss and marks to leatherette here and there. Lens unusually nice, and shutter would probably work freely with external lubrication. Dark slides smart and polished.

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Special Auction Services
Lot 1454

A Leica IIIf red-scale serial no. 669011, chrome with Summaron f/2.8 35mm lens, serial no. 1783330, body F, shutter working, lens P some brassing/scratches to base and top plate, lens separation and surface scratches

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Special Auction Services
Lot 1453

A Leica IIf black-scale serial no. 451857, with Summitar f/2 50mm lens, serial no. 763057, body F, shutter working, lens F-G

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Special Auction Services
Lot 1481

A Leica IIf (black-scale) serial no.572798, chrome, with Elmar f/3.5 50mm lens, serial no.1164484, and lens cap, in maker`s erc, body G-VG, shutter working, lens G minor scuffing and marks, viewfinder clear and no signs of damage, lens some surface dust

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