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Lot 434
Five Corgi 1:50 scale Limited Edition die-casts, 74901 Rugby Cement, mirrors unattached and present, CC13712 Shirleys Transport, mirrors missing, CC13608 M Kettlewell, mirrors unattached and present, CC13206 Reid's Transport, mirrors unattached and present, CC12921 JG McWilliam, mirrors unattached and present, four certificates presents, McWilliams certificate missing, all in original boxes
Lot 114
A collection of various military miniature figurine and accessory sets, makes by Metal Models, Super Scale Verlinden Production, Pegaso Models, etc, to include Lancer Rouge de la Garde 1813, General Baron Edouard De Colbert, Farmers Cart c.1800, Cantinera de Lanskenetes, etc. thirty-two in total, boxed.
Lot 119
A collection of various military miniature figurine, accessory sets and other military related objects, to include a set of eleven packs of postcards, miniature greyhound figurine set, two metal military badges, 1/35 scale famous generals set, etc. figurines are boxed or encased in plastic and are thirty-five in total.
Lot 1238
J Hicks - Hatton Garden London, - late 19th century carved oak cased Fitzroy barometer in a richly carved case with a carved crested pediment and square cistern cover, inverted opaline register reflecting FitzRoy's predictions and a scale from 27 to 31 inches of barometric pressure, with a thick bore cistern tube and adjustable rack and pinion twin vernier, fitted with a glazed snail bulb mercury thermometer recording the air temperature in both Fahrenheit and Celsius. Mercury clean and present.James Joseph Hicks was born in Ireland, however, early in his life he moved to London where he was apprenticed to the instrument maker Louis P Casella. In 1860 he went into business in his own right as a scientific instrument maker at 8 Hatton Gardens. In 1864 he was granted membership to the British Meteorological Society and exhibited instruments at the Royal Society Exhibitions between 1876 and 1913. Hicks was one of London's most prolific and eminent barometer makers. Dimensions: Height: 110cm Condition Report: The two vernier adjustment buttons are missing.
Lot 1010
Three 18th century Worcester desert dishes, the first example decorated in the Scarlet Japan pattern, circa 1790, painted with alternating panels of Kakiemon style prunus blossom and chrysanthemum, and orange ground panels with gilt fret detail, D19cm, the second example, circa 1770, decorated with Kakiemon style chrysanthemums and foliage within shaped reserves upon a blue scale ground, with fretted square pseudo mark beneath, D19cm, and the third, circa 1770, painted with polychrome floral sprays and sprigs, D20cmCondition Report: General wear commensurate with age and use, predominantly in the form of some surface scratches and some slight wear to decoration in places.Blue scale example has small loss to foot rim.
Lot 1335
A 19th century French yellow metal repeating pocket watch, having an unsigned white enamel Roman dial with fine Arabic outer scale and subsidiary seconds dial, keywind lever movement, unsigned backplate, gilt metal inner cover, marks worn but case tests as approx 18ct gold, 116g, dia.5.8cm In running order but repeating mechanism is not currently working. Chip and staining to centre of subsidiary seconds dial.Dial with fine hairline between 3 and 6 o'clock.Back cover with some very small dents and light wear to extremities. Otherwise good.
Lot 1320
Alexander MacFarlane of Perth - a George III silver pair cased gent's open face pocket watch, having a convex white enamel Roman dial with Arabic outer scale, chain driven verge fusee movement with pierced balance cock, signed backplate and numbered 1218, both cases assayed London 1792, 126.7g, dia.5.5cmIn running order.Both cases good with modest age wear only.Dial good.Movement good.Glass good.Appears little worn.Silver would benefit from a polish.
Lot 1506
A Victorian oak Admiral Fitzroy's storm barometer by Negretti & Zambra, instrument makers to Her Majesty, circa 1870, having arched bevel glazed double ceramic vernier scales flanking the large bore mercury tube, each calibrated in barometric inches and with the usual observations, No. 1493, the trunk with vernier setting squares and applied glass mercury tube with Fahrenheit scale thermometer, further signed Negretti & Zambra London, h.102cmAll mercury intact and working.Left setting square is not moving, and the right side is lacking knob.Case with some age/handling wear, but otherwise good.Upper right scale with two cracks.Otherwise no apparent faults.
Lot 1354
A gent's Rolex Oyster Royal shock-resisting steel cased manual wind wristwatch, circa 1950s, having a signed silvered Arabic dial with fine outer scale, centre seconds, manual wind movement with screw-down crown, case dia.32mm, no bracelet. Model Ref 6246. Serial Number 234289.In working order.We have been unable to remove the back to inspect movement.Some minor spotting and marks to dial, noticeably around 4 o'clock.Case with some minor surface scratches and modest age wear, but generally good. Winding crown is stiff.
Lot 221
A pair of Victorian Staffordshire pottery models of seated spaniels, 25cm high, together with various 129th century decorative china, to include an 18th century Worcester scale blue cup, 19th century Royal Worcester coffee cans and a pair of Minton plates, with printed borders, 26cm diameter
Lot 84
A Chelsea Porcelain Ecuelle, Cover and Stand, circa 1765, of circular form with scroll handles, painted with exotic birds in branches and with scattered insects on a moulded scale ground within brown line borders, anchor mark in brownecuelle 14cm widesaucer 18.5cm diameterSaucer broken and restored with over spray. Ecuelle with small rim chips and hairline cracks. Cover free from chips, cracks and repair. Some wear to enamels, particularly on brown line borders.
Lot 1073
William Woodhouse (1857-1939) Sportsman and dog walking up grouse Signed, oil on canvas, 33cm by 45.5cm Good tension, all keys present. There is a fairly large scale brittle age craquelure and impact cracquelure throughout, with fewer cracks over the stretcher bars. Some cracks associated with the stretcher bars. The cracks are elevated in places but appear secure at present. There has been some minor wear over the elevated edges of the cracks, particularly in the sky (see images). There is a tighter diagonal pattern of cracking in the hills, and these and the cracks in the birds and foreground appear slightly dark. There has been some minor wear/abrasion in the sky and to the opaque scumbled glazes in the fathers. There is a tiny retouched losses in the sky top right. There is a passage of grey overpaint in the sky visible under ultraviolet light, leaving this area with a slightly uneven surface gloss.There is a layer of dirt and debris, wipe marks to bottom edge, and minor orange loss above signature.Examined in Frame
Lot 1168
Frederick Richard Say (c.1827-1860) Lady Elizabeth Buteel, half length seated before a landscapeBears later inscription to the reverse, oil on canvas, 75cm by 62cm Provenance: Sothebys "Royal and Noble", January 20th, 2002, Lot 27 (Property Removed from Fenton House to be sold on behalf of the 7th Earl of Durham) A fairly old lining with asociated stretcher, fair tension with two keys missing. Original tacking margins removed which are visible at the top of the picture from the front. A fine network of brittle age cracquelure most noticable in between the stretcher bars, and a series of diagonal cracks in top right corner and associated with the stretcher bars. Larger scale brittle age craquelureand impack cracks more visible in the thicker, paler paint. Mostly currently stable and not elevated, with only a couple of minor slightly raised areas. Scattered tiny pinpoint losses associated with the cracking, mostly unfilled and unretouched. Fairly wide drying cracks are also evident, most prominently in the dark background and red drapery, mostly suppressed by retouching. Resulting in a slightly lumpy surface. There is what appears to be an old lumpy filling and retouching to the top of the sitter's forearm 2 inches long, and a wider passage of restoration above the back of the chair but this is difficult to see the extent of. Further small scattered unretouched and retouched minor losses, with slightly bigger filled and retouched losses at the bottom of the landscape and in the hand. There has been some minor flaking of the upper paintlayers in the red passages, particularly the flowers. There is a brown patch of overpaint here too. It is likely that there are several campaigns of restoration (although it is difficult to see i nthe darker areas), with the retouchings in the paler areas now noticably lightened in the flesh and sky. There has been some abrasion to the thinner paint layers, for example the hair, which has been reinforced, along with the sky. There is old dirt and varnish ingrained in the canvas weave and brushstrokes, and remnents of old discoloured varnish. One more recent white loss to arm, 1.5mm long, and a layer of dust and surface debris. Mostly stable condition, with visible discoloured retouching.Examined in frame, not examined under ultraviolet light.
Lot 1076
Benjamin Cam Norton (1835-1900) Adam and Amy Agnes Dugdale in Griffin Park, Blackburn, Lancashire, with St. Philip's church in the background Signed and dated 1874, oil on canvas, 82.5cm by 110cmProvenance: Dutton Manor, Lancashire Unlined canvas, with minor damage to the tacking margins at the reverse. Two keys missing, and rather lacking in tension. There are distortions/draws at all corners, most notably the top, extending towards the centre of the painting and further smaller scale undulations to the canvas (see images in reflected light).There is brittle age craquelure throughout, with the larger scale cracking only very slightly raised and all appears stable. There is also finer scale craquelure in small passages, which is slightly tighter and sharper and in places the varnish has cracked an whitened. These too, appear to be largely stable. There are some slightly wider cracks, some of which have been suppressed by a little retouching, most notably in the top left corner (see images). The are less visable. Some impact cracks in places, which have slightly whitened varnish.Scattered small white losses, including some minor losses associated with the frame rebate. There has been some paint from paint flaking in the red jacket of the groom at the right (see image). The faces of the lady and gent have small dark dots, it is unclear of their origins.There are dark, spotty small matt acretions throughout, two white splashes to the sky at the left and possibly larger drip mark under the gentleman (see image)Overall a fairly dark tonality, with old dirt and discoloured varnish which has a slighly uneven surface gloss in reflected light. The slip is loose in the frame, with a gap to the right.Examined in frame.
Lot 1166
Reginald Grange Brundrit RA, ROI (1883-1960) Portrait of Harold Dewhurst Esq of Aireville, Skipton, head and shoulders, in hunt attire Signed and indistinctly dated 1931?, with partial original artist's label verso, oil on canvas, 58cm by 47cm Exhibited: Likely at Cratwright Hall, Bradford, unknown date, based on a label of the aforementioned to the reverse Unlined, one key missing, thick dust and debris between stretcher bar and canvas. Canvas fairly slack, and quilting evident from the reverse associated with the thicker paint of the drapery and head pulling the canvas. This has resulted in slight undulations to the canvas visible from the face.There is an uneven network of brittle age craquelure; very little cracking in the face, patchy cracking in the background with more to the left side than the right, and more and larger scale cracking in the red drapery. Patches of the cracks in the background and most of the cracks in the drapery are lifting and actively flaking leaving scattered unrestored losses of paint and ground (see images). Most of the losses are in the drapery, with smaller losses along the left edge of the background. No apparent losses from the face. There are a few flakes adhered to the reverse of the glass along with a quantity of dirt and debris.The signature appears to have been wiped over or been varnished differently to the rest of the picture - it is glossier than the surrounding slightly matte and a little opaque varnish, which is not significantly discoloured.There is a layer of surface dirt and scattered minor accretions.Examined in frame.
Lot 1072
Attributed to John Samuel Raven (1775-1847) "A Scurry" Oil on panel, 18.5cm by 91cm Provenance: Arthur Ackermann & Son, Ltd. London One panel, chamfered on all sides, and with one hole in centre of panel (see images). The panel is loose in the frame which has caused minor abrasion of the surface layers at the edges. No splits visible, and a flat even profile.There is a fine scale craquelure to the thicker passages of the sky largely in the central portion of the painting and above the trees. All flat and secure with no apparent history of flaking.There are several scattered losses 0.5 to 1cm in the sky, filled with a slighly yellow material and then retouched (retouching slighly discoloured).There has been a history of abrasion/wear to upper paint layers throughout, with associated retouching and reinforcing (see images). The retouching is slighly opaque and discoloured in places. For example in the sky, the dark underlayers are showing through, which have been partially supressed with small brushstrokes. See also the bay horse which has been reinforced, and around the head of the largest grey horse (see images). The darker areas have had the upper layers worn too, leaving a slighly mottled appearance. There are bands of retouching at each side of the panel.There is are tiny scattered matt drips, but largely a good even varnish. The trees on the left look slightly milky, possibly residue of an earlier varnish.Examined in frame
Lot 1156
British School (18th century) Portrait of a lady, half length, wearing a white satin dress, in a feigned oval Oil on canvas, 74.5cm by 62.5cmA lining from the second half of the 20th century, with stretcher dating from the same time with all keys present. The canvas visible at the back of the painting is loose, and does not appear to have been impregnated with adhesive. A possible secondary / half lining? The original tacking margins present on all sides, and the canvas is fairly rigid but undulating and not taught/supported.There is a widespread large scale brittle age craquelure and impact craquelure throughout, along with linear cracking associated with the stretcher bar. Much of this is slightly raised, especially in the face and left background. A few scattered lifting corners but the vast majority appears secure. A few tiny pinpoint losses associated with the cracking.There is a campaign of slighly matt, murky retouching to the top edge where the original ground is exposed, to minor looses along the edges and scattered minor losses across the painting. Some retouching, too, to gold paint/leaf on the surface. There is the same matt retouching in long brushstrokes to the hair and long curls.There has been some abrasion to the mid-tones and glazes to the face and hair.Old ingrained dirt and varnish is visible in the troughs of the brushstrokes apparent in the lighter passages, and remnants of old varnish has been left on in the background which obscures enough to not be able to see if there is an older campaign of retouching here.There is a thick layer of surface dirt and debris over a fairly glossy varnish, with some more recent abrasions to the varnish from movement in the frame at the edgesExamined in frame
Lot 1070
Follower of Melchior de Hondecoeter (1636–1695) Dutch Cocks Fighting With extensively inscribed, indistinct label verso, oil on panel, 85cm by 117.5cm The panel, which has dropped in the frame to leave a gap at the top, comprises pieces of wood; three roughly equal sized boards, the outer two chamfered top and bottom, with a later 1.5inch batten along the bottom edge and a 3 inch piece of wood at the top possibly a later addition. Both the top and bottom pieces of wood have a square insert/peg, with the one on the top protruding through cracked paint at the face. Evidence of old instability and splitting. All joins likely to have been opened and reglued, and there is a split running 1/4 of the width of the panel from the left edge when looking from the reverse, repaired with a canvas strip but slightly open at the end and likely mobile. Seven old fixed battens at the reverse, both with and across the grain, with the panel thinned in places to accommodate them (see image). No other splits noticable with panel in frame. The plane of the panel is distorted and undulates with the splits/joins (see images). From the face, the top join is filled and retouched but has opened slightly across the whole length with tiny pinpoint losses to the restoration. The second join has been opened 2/3rds of the ledge, filled and retouched and now slightly open. Bottom join has been filled and retouched across whole length with some minor cracking to the filling. The split has cracked through the restoration, and appears raised but stable.The narrow board at the top has some larger scale stable cracking to paint and ground, but the rest of the painting largely has minor cracking associated with the panel grain - some slighly opened through cleaning in the past but all stable and not elevated. Minor losses to joins likely, now covered in filling and retouching. Scattered minor losses from past flaking, all stable. There are likely successive campaigns of restoration, with more extensive overpainting in the sky and foliage in the tres, as well as to joins/split and the scattered losses. There has been abrasion to the sky, and to the trees/landscape as well as the more delicate glazes of the birds - for example see image of bird's head. Large patches of reinforcing and thin overpaint to the ground, for example the reddish patch below the hen on the right. The bottom batten has a thick line of overpaint across the width of the painting. There is less retouching on the birds themselves. Most of the retouching/overpaint is under a thick old varnish layer, with remnants of a thick yellowed varnish left on which gives the painting a mottled appearance and is slightly shiny in reflected light. A light layer of dust and debris.Not examined in UV. Examined in frame.
Lot 1087
Charles Hodge Mackie RSA, RSW, PSSA (1862-1920) Scottish "Pastures..." (In the Esk Valley) Signed, signed and inscribed to stretcher verso, oil on canvas, 48cm by 55cmProvenance: Phillips and Sons Fine Art, Marlow All keys present, and canvas has good tension.The very coarse canvas and thick paint and ground have cracked at the turnover edges, which are visible from the face all around. There are a few scattered small losses associated with this, particularly to the top right corner, middle left top edge, bottom left edge some of which have been retouched. Mostly secure. There is a larger patch of retouching to the top right corner, which is matt in reflected light. There is some further minor, secure cracking to the bottom right corner associated with the coarse canvas.There are some larger scale cracks in the thick paint of the sky, the bottom of the sea, and in the far land on the right hand side. These are very slightly raised with some sharp edges but mostly secure and no flaking evident. There is a diagonal scratch top right, possibly retouched or likely done during the painting process?.Some old ingrained dirt, and a good fairly even surface gloss.Examined in frame.
Lot 1176
Follower of Pieter Hardimé (1677-1748) Belgian Still life of Convolvulous, Roses and Sweet Peas, arranged in a vase Oil on panel, 30cm by 24cmOne panel, edges covered with paper at reverse but no splits apparent from the face. Good, even plane with no warping.Fine scale brittle age craquelure to the paint and ground in places and a more apparent very fine network of cracks which appear to be in the thick varnish layer. This makes the surface slighly crizzled rather than glossy.No major losses to paint and ground apparent, all paint layers stable with no history of flaking.There has been some abrasion to the upper paint layers, most apparent in the left hand side, where the orangy ground shows through the upper paint layers. The whole top left corner has been overpainted in a murky brown. There is also a splattered brown encroaching into the flowers in this area (see images). There is some abrasion to the bottom left flowers, and to the butterfly on the right, and rose leaves bottom right. Some possible small reinforcing retouchings scattered.The cracked varnish layer/s are thick and yellowed.Examined in frame.
Lot 2192
Breitling: A Stainless Steel Chronograph "Panda Dial" Wristwatch, signed Breitling, Geneve, model: Sprint, ref: 2214, circa 1968, (calibre Valjoux 7730) manual wound lever movement signed Breitling Watch Ltd, black and white "panda dial" with baton markers, white chapter with two sub dials for seconds and 45 minute register, centre orange chronograph hand, outer tachymeter/pulsations scale, tonneau shaped case with buttons in the band to operate chronograph, sliding 12 hour scale black bezel, screw back signed and numbered 2214 1242602, inside back cover signed Breitling Watch Ltd Swiss, with Breitling box 38mm wide Case with surface scratches, bezel with small dents and scratches, later bracelet not by Breitling, case back is dirty in parts, glass with scratches, hand setting correctly and winding smoothly, chronograph is working, movement in going order.
Lot 2205
Rolex: A Fine Stainless Steel and Black Ceramic Bezel Automatic Chronograph Wristwatch, signed Rolex, Oyster Perpetual, Superlative Chronometer Officially Certified, model: Cosmograph Daytona, ref: 116500LN, 2016, (calibre 4130) lever movement signed and numbered 240938Z1, column wheel chronograph movement, adjusted to five positions and temperature, black dial with luminous baton markers, three silvered chapter ring sub dials for seconds, 30 minute and 12 hour registers, outer fifth of seconds track, case with protected screw down crown, screw down buttons in the band to operate chronograph, black ceramic tachymeter scale bezel, screw back stamped inside Rolex Geneva Switzerland and numbered 2100, case serial number 872Q22R7, Rolex stainless steel oyster bracelet with a fliplock deployant clasp numbered 030, end links numbered 78590 030, with Rolex boxes, International guarantee card, Rolex International service guarantee card dated 20/Sep/2017, booklets, two swing tags and card holder40mm wideCase and bracelet with surface scratches, case sides with minor dents in parts visible under an eyeglass, crown and chronograph buttons are all screwing down correctly on the threaded tubes, bezel is clean, glass is clean, dial with scratches to the inner section of the 30 minute register sub dial, the other parts of the dial are clean, hand setting correctly, chronograph is working correctly, movement in going order. Bracelet length including the watch case is 23cm approximately.
Lot 677
A collection of Hornby Trains to include boxed Bachmann Branch-Line 1:76 scale BR MK1 BSK Coaches Maroon Weathered (3) boxed BR Centenary Composite and Break Class Coaches (6) Dapol Motorised Track Cleaner and large quantity of coaches by Bachmann that are unboxed. (2 Trays) In good NOS condition with unboxed items being in good - above average condition.
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