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Lot 275
DONNER HUSH-I HEADLESS HUSH GUITAR KITThe ultra-compact and lightweight guitar is the perfect axe for travel and practice. Although being a full-scale guitar, it features a headless and detachable bar-frame design for extreme compaction and quietness with the least amount of wood. The onboard Donner custom-designed piezo pickup and preamp deliver you the ideal tone over the unplugged quietness via headphones and traditional cable output; in maple.
Lot 570
A collection of gilt metal mounted scent and snuff bottles, including a Chinese snuff bottle with fish-scale cloisonné enamel, approx 6cm; two glass examples with faceted stones set to lids, approx 8cm and 6.5cm; a gilt metal large scent bottle with filigree design, approx 14cm; etc (6) Snuff bottle good; the larger glass example is restored, the other one has evidence of restoration; the large filigree bottle is good, wear to gilding; the one set with red stones is cracked; the circular one with chain, good with wear and tear commensurate with age
Lot 442
A Chinese Export style famille rose bowl together with five matched tea bowls, all with scale interior borders and decorated with floral sprigs 5.5cm vertical hairline crack to large bowl 1cm chip to interior of one tea bowltwo tea bowls with vertical hairline cracks one bowl with chips and nibbles to border (af)
Lot 158
Ten large scale diecast 1:18 scale car models by Maisto and Burago, all boxed to include: MAISTRO - Jaquar S-Type (1999), Mustang Mach III (Silver Edition), Dodge Viper GTS (1996), Jaguar Mark II (1959), Ferrari F50 1995 (special edition /yellow)BURAGO - Lamborghini Murcielago, Jaguar E Coupe 1961, Maserati 3200 GT 1998 (Gold Collection), Mini Cooper 2000 (Gold collection) together with a HOTWHEELS - Ferrari and Road Signature Jaguar XJS 1975 (11) all boxes are worn and in used condition
Lot 688
A Victorian oak framed aneroid barometer, the carved case with pediment above column supports, the lower cream enamel dial with scale from 26 to 31 with brass bezel, mercury thermometer to the white enamel scale, circa 1890, approx 85cm long red numbers on thermometer faded, lettering to lead backing in pencil reads: Sept 1890
Lot 24
Third Reich SA (Sturmabteilung) Dress Dagger by Very Rare Maker Heinrich Krom, München, good untouched as found example of an early model SA dress dagger with dark brown wooden grip having nickel eagle and enamel SA device. Lower cross guard mount stamped with original owners membership number ‘19676’. Housed in early anodised scabbard with the lower scabbard mount showing heavy wear and denting to the ball tip. Double edged blade with the remains of the blackened finish to the standard motto ‘Alles fur Deutschland’. Makers trademark to the reverse of the blade. The blade shows some staining and wear. The blade measures 22cms, overall 37cms. It is believed that this maker only produced about 1,000 SA dress daggers and is rated as a 10 on rarity scale (the highest number achievable)
Lot 45
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF LIEUTENANT JOHN CLIVE DARLING, XX HUSSARS Oil on canvas Signed (centre right); further signed, titled and dated 1910 (transcribed verso, not in artist's hand) 38 x 33cm (14¾ x 12 in.)Provenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present ownerSuave and stylish, the portrait of the dashing young Lieutenant John Clive Darling is almost unique in Lavery's oeuvre. Although small in scale, in its precision, it cannot be regarded as a sketch of the type preferred by the sitter's father, Sir Charles Darling, then serving as a judge on the Oxford circuit. In 1904 the judge had written to Lavery requesting a small sketch of his daughter, Diana Janet Darling, making his specification clear: What I should like would be an impression, or sketch - such as Vandyke (sic) and others sometimes made as preliminary to a portrait and I should like it small ... I don't want a highly finished work but should prefer a study. Darling may well have also been thinking back to the swagger of his son's first portrait, painted by William James Yule in 1896, when the present sitter was aged nine. It had been one of the most admired portraits of its day. Educated at Eton and Sandhurst, John Clive Darling (1887-1933) joined the 20th Hussars in 1906, rose to the rank of captain in 1913 and retired as Major in 1923, publishing an account of his regiment's actions in the Great War. Following the retreat from Mons in 1914 where the Hussars participated in the first (and last) cavalry charge, he and his brigade were consigned to the trenches where, in 1916, he was wounded in action. Mentioned in dispatches he was awarded the Distinguished Service Order. In recovery at Hill House Red Cross Hospital, Lyndhurst, Hampshire, he met, and in 1918, married Eleanor Joan Powell. In retirement, Darling raised and exhibited New Forest ponies and contributed to local causes. Condition Report: Relined. Very fine craquelure throughout. A couple of very small losses to the left edge with some associated rubbing. Inspection under UV reveals a thick green masking varnish which may be concealing any restoration. There is one area of retouching visible to the right of the sitter's shoulder which is also visible in natural light circa. 1cm. Condition Report Disclaimer
Lot 43
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF MINNIE PLOWDEN AND HER SON HUMPHREY, STUDY FOR A FULL LENGTH PORTRAIT Oil on canvas Signed (lower left) 35.5 x 25cm (13¾ x 9¾ in.)Provenance: Minnie Plowden, thence by descent to the present owner Literature: Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), p. 71 In 1898 Lavery, with the help of fellow Glasgow Boys and under the Presidency of James McNeill Whistler, established the International Society of Sculptors, Painters and Gravers, with the idea of staging annual exhibitions or 'art congresses' in London. As Vice-President, Lavery's three contributions to this radical departure were Portrait Group (Père et Fille), 1897, (Musée d'Orsay, Paris), A Garden in France, 1897 (National Gallery of Ireland, Dublin) and Mrs Roger Plowden and Humphrey for which the present canvas is the oil sketch. It is not entirely clear where and when the painter met the Plowdens. A member of an old Catholic legal and clerical family that hailed at the time of the Crusades from Shropshire, Roger Herbert Plowden was the son of a banker in Rome where, in his early years he led the life of a country gentleman. After his marriage to the daughter of Henry Jump of Woolton, near Liverpool in August 1883, he and his wife led a peripatetic existence between Rome, the south of France, their house at 32 Portman Square, London and Scottish estates, leased for the hunting and shooting seasons. They had been living in Rome before returning recently to Scotland where in 1897 Plowden rented and then purchased the Strachur estate on Loch Fyne from the Duke of Argyll. As with most large portrait commissions (fig. 1) Lavery planned his composition with a swift sketch as shown in Lot 43. In comparing the two it is instantly apparent that the composition has been reversed and the boy's leg positions changed. His silver suit has also been replaced by a black tabard. Sittings cannot have been easy since Minnie Plowden was unwell and increasingly immobile. As a 'mother and son' subject, the finished work is nevertheless a fine complement in tone, colour, handling and scale to the Orsay 'father and daughter'. For its part, the sketch is also more than a snapshot, making play with the flash of red in the sitter's cape and creating, in its soft greys, its own fine harmonies. Kenneth McConkey Condition Report: Light surface dirt throughout. A very minor loss to the centre of the lower edge. There is an area of slight undulation to the canvas visible to the upper right corner. Some very fine craquelure to the black pigment of Minnie's dress. Very small loss and surface scratch visible just above the signature, hardly noticeable. Inspection under UV reveals no obvious evidence of restoration or repair. In overall good original condition. Condition Report Disclaimer
Lot 456
The extremely well-documented and scarce G.S.M. 1918-62 with Northern Kurdistan clasp awarded to Leading Aircraftman T. F. Smith, 31 Squadron, Royal Air Force, who was killed as a result of the Quetta Earthquake, 31 May 1935 General Service 1918-62, 1 clasp, Northern Kurdistan (511473. A.C.2. T. F. Smith. R.A.F.) mounted for display purposes, good very fine (lot) £1,200-£1,600 --- Approximately 65 officers and 280 airmen were awarded the ‘Northern Kurdistan’ clasp. Thomas Frederick Smith was born in Bawtry, Yorkshire, in December 1908. His parents died in 1926 and 1932 respectively, and henceforth he resided with his brother and an aunt at 10 The Square, Halifax. Smith joined the Royal Air Force as an Aircrafthand in October 1929, and after training at Uxbridge and Henlow was posted to Iraq where he was allocated to 70 Squadron at Hinaidi in November 1930. The R.A.F. policy at that time was to serve five years overseas by splitting the time between Iraq and India, and on 20 March 1934 Smith found himself serving with 31 Squadron at Quetta. At this station he remustered to the trade of Armourer and passed a trade test board leading to him being reclassified as Leading Aircraftman. The posting to Quetta was to prove fatal when, on 31 May 1935, the city was completely destroyed by one of the world’s worst ever earthquakes, a disaster which resulted in some 35,000 casualties. The nearby R.A.F. Station was not spared - and L.A.C. Smith was one of 52 British N.C.O.s and airmen killed in the disaster; 126 men were also injured. Smith’s Squadron suffered 23 killed, and the Commanding Officer of No. 3 Indian Wing in his official report stated that parts of the station - especially the airmen’s accommodation - were completely wiped out. Only 3 of the 25 aircraft on the station (5 and 31 Squadrons) were serviceable. It was the worst disaster in the peacetime history of the Service. Leading Aircraftman Smith, due to the sheer scale of the disaster, was not afforded a burial in a coffin but instead had to buried in a shroud provided by the British Military Hospital. He is buried in the British Cemetery at Quetta, and commemorated on the Memorial Tablet for the R.A.F. victims of the Quetta Earthquake at R.A.F. Halton. Smith’s G.S.M. (only issued in February 1935) and his sports medals were recovered from the wreckage of the barracks and forwarded to his next of kin. Sold with the following impressive archive of related and original material: 18 Sport Prize Medals, all named to recipient, for Athletics, Boxing, Hockey and Shooting from various postings in India and Iraq; Certificate of Service; telegram to recipient’s brother informing him of his death as a consequence of the Quetta Earthquake; letter of condolence written to recipient’s brother by the Commanding Officer of 31 Squadron, dated 3 July 1935; correspondence from the R.A.F. Record Office confirming the recipient’s death, and relaying details about his burial arrangements; letter from Wing Commander J. Slessor (later Knighted and Marshal of the Royal Air Force) to recipient’s aunt regarding financial contributions for a Memorial Tablet for the R.A.F. victims of the Quetta Earthquake, dated 6 March 1936; letter from the Reverend G. H. Collier, R.A.F. Halton, informing relatives of the unveiling of the memorial tablet for R.A.F. victims of the Quetta Earthquake at Halton; photograph of recipient in gym kit standing behind his various sporting medals; other ephemera and copied research.
Lot 221
Eleven: Petty Officer C. F. Wakeham, Royal Navy, who served in H.M.S. Exeter during her epic encounter with the Admiral Graf Spee at the Battle of the River Plate on 13 December 1939 1939-45 Star; Atlantic Star, 1 clasp, France and Germany; Africa Star, 1 clasp, North Africa 1942-43; Italy Star; War Medal 1939-45; Naval General Service 1915-62, 1 clasp, Malaya, E.II.R. (P/JX. 135923 G. F. Wakeham. P.O. R.N.); Korea 1950-53, 1st issue (P/JX. 135923 G. F. Wakeham. P.O. R.N.) officially re-impressed naming; U.N. Korea 1950-54, unnamed as issued; Coronation 1953, unnamed as issued; Royal Navy L.S. & G.C., G.V.R., 3rd issue, coinage head (JX 135923 G. F. Wakeham. P.O. H.M.S. Mull of Kintyre.) mounted as worn; together with the recipient’s H.M.S. Ajax and H.M.S. Exeter Chilean Medal of Gratitude 1939, presented by the Chilean Municipality of Concepción for the Earthquake of 24 January 1939, bronze, an officially named later issue, the obverse featuring the Eagle coat of arms of Concepción, ‘Municipalidad de Concepción Chile’ around, the reverse inscribed ‘Gratitud a Marinos “Exeter” y “Ajax” Terremoto del 24-1-39.’, and named ‘C. F. Wakeham HMS Exeter’, light contact marks, good very fine (11) £800-£1,000 --- Charles Frederick Wakeham, a shop assistant from Brentford, Middlesex, was born on 4 February 1916. He attested into the Royal Navy as a Boy on 23 June 1931 and served in H.M.S. Exeter from 31 October 1936. Whilst serving in the 8th Cruiser Squadron on the South America Squadron, Exeter assisted with the humanitarian mission following the devastating earthquake at Concepción, Chile, on 24 January 1939. The earthquake, the deadliest in Chile’s history, measured 8.3 on the Richter scale and led to a death toll of approximately 28,000, and around 95% of the town’s buildings were completely destroyed. A medal was struck to be awarded to the crews of H.M.S. Exeter and H.M.S. Ajax, but owing to the outbreak of the Second World War, the majority of the unnamed medals were never issued. However, in March 2017, a second named issue was awarded to surviving crew members who had not received the earlier award. ‘Upon the outbreak of the Second World War, H.M.S. Exeter, still on the South America Squadron, under Rear-Admiral Henry Harwood, was heavily engaged against the Graf Spee on 13 December 1939. Just five minutes after the start of the action, an 11-inch shell burst alongside the British ship, killing torpedo tubes crews. A minute later she received a direct hit on “B” turret which put its two 8-inch guns out of action. Splinters swept the bridge, killing or wounding all but three of the officers and ratings standing there. The Captain escaped and, finding the bridge out of action and the wheel-house communications wrecked, he made his way aft to the fight the ship from there. As he did so, Exeter received two more direct hits from 11-inch shells forward ... The Exeter was still receiving punishment, although it was at this stage of the battle that the light cruisers were taken in and out with such skill, striking the enemy with their full weight whenever he turned to tackle the largest of the British cruisers. Two more 11-inch shells hit the Exeter, causing further casualties and extensive damage. One entered the hull and started a fierce fire between the decks. The other put the foremost turret and its two 8-inch guns out of action. It was on the occasion of these hits that the spotting aircraft reported she had completely disappeared in smoke and flame, and it was feared that she had gone. However, she emerged and re-entered the action. In doing so the men of the Exeter proved again the indomitable spirit of the Royal Navy. Their ship was badly stricken. Two of the three turrets were out of action, leaving no guns forward. She had a 7 degrees list and was down by the head. All her compasses had been smashed, and the Captain was handling his ship with the aid of a small boat’s compass. In these circumstances she altered course towards the enemy and fired her torpedoes ... The Exeter, gradually dropping astern, fought on until she had nothing left to fight with. At about 7.30 a.m. her sole remaining turret was flooded. Ten minutes later she turned to the south-east and slowly limped away, making necessary running repairs as she went ... Exeter made her way to the Falkland Islands, where she underwent repairs until January 1940, before she could undertake the return voyage to the U.K. Meanwhile, her casualty return spoke volumes: five officers and 56 ratings killed, three ratings died of wounds, and three officers and 17 ratings otherwise wounded. So, too, the resultant awards to her gallant ship’s company: a C.B., two D.S.Os, seven D.S.Cs, three C.G.Ms, 17 D.S.Ms and 18 “mentions”.’ (The King’s Cruisers, by Norman Holman, refers). Appointed Petty Officer on 6 November 1942, Wakeham saw later Second World War service in H.M.S. Glenarn, H.M.S. Grebe, H.M.S. Cleopatra, H.M.S. St. Angelo, H.M.S. Effingham, H.M.S. Druid and H.M.S. Caroline, as well as other shore establishments. He was awarded his Long Service and Good Conduct Medal on 3 February 1949, after having re-enlisted to complete his pension on 14 May 1946. Post-War, he served in Malaya and Korea and was awarded the 1953 Coronation medal. Pensioned to shore on 8 March 1956, he died in Plymouth, aged 77, on 6 February 1993. Sold with copied service papers; a quantity of original related photographs, including several of the recipient in uniform and in later life wearing his medals; the original menu card for the Corporation of London’s Guildhall luncheon held in honour of the officers and men of H.M.S. Exeter on 23 February 1940; original newspaper cuttings relating to the battle; the 50th anniversary edition of Memories of the Battle of the River Plate containing contributions from the recipient; his named ‘Crossing the Equator’ parchment whilst serving in H.M.S. Exeter, dated 1937; original programme for the Coronation 1953 review of the fleet at Spithead; original medal ribbon bar; rank badges; and newspapers cuttings relating to the late issue of the Chilean award.
Lot 354
AR * Plummer (Francis, 1930 - 2019). Sleeping Figures, circa 1970s, egg tempura on board, a highly detailed study of two nude male figures lying supine, with limbs and heads in various positions, on a mottled background, old frame maker's label to verso, image size 121 x 59.5 cm (47 1/2 x 23 1/2 ins), framed (135.5 x 74 cm)QTY: (1)NOTE:Reeman Dansie Auctioneers, East Anglian Fine Art & Antiques, 1 July 2020, lot 1187.Francis Plummer trained at the Royal Academy Schools in the early 1950s, championed by Stanley Spencer and Sir Herbert Read, he was the recipient of the coveted Leverhulme Scholarship. In a mixed career which included anatomical illustration for Guys Hospital and teaching, painting ran side-by-side with his commercial work. Specialising in the medium of egg tempera (a technique little used since the Renaissance) Plummer often worked on a large scale, but in tremendous detail, combining Classical iconography and formal composition with his principal focus being the human form. He exhibited widely at venues including The Leicester Galleries, Leighton House Galleries and London House Galleries.
Lot 60
* Jegher (Christoffel, 1596-1652/53). The Garden of Love, after Rubens, circa 1633-36, pair of large-scale conjoined wood blocks, printed in dark brown, white and black, signed Christoffel fec to extreme lower right corner, trimmed to image, overall sheet size 45.5 x 119 cm (17 7/8 x 46 7/8 ins), mounted on card, 20th century gilt frame, glazed (69 x 141 cm)QTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Wurzbach 14; Hollstein 17a and b.The rare complete set of two large-scale woodcuts by Christoffel Jegher after Ruben's famous painting entitled The Garden of Love, now in the Prado Museum, Madrid. an important forerunner of the fête champêtre genre which became widespread in French painting of the 18th century, and which is generally thought to be a celebration of the artist's second wife Hélène Fourment. The couple are depicted together on the right hand side of the composition.In the early 1630s Rubens, who had a keen interest in the dissemination of his art through prints, began a close collaboration with the printmaker Christoffel Jegher. The original design (in reverse) for the right-hand portion of this panoramic woodcut scene, prepared by Rubens at his studio, is held by the Metropolitan Museum of Art, New York (accession number 58.96.1)
Lot 245
* Chinese Landscape Scroll. Garden Scene at a Summer Palace, thought to be by Yao Yun Tsai, probably late 19th or early 20th century, large scale landscape in black ink, watercolour and gouache on silk, captionned in black ink and two red seals to upper left, some horizontal creases and minor surface marks, closed tear (15cm) to top margin, mounted on paper scroll with silk outer borders, image size 197 x 105 cm (77 1/2 x 41 3/8 ins), with wooden baton attached to lower edge and smaller baton to top edge (detached) with an attached oval hand written label in ink (probably early 20th century) '#2372 Garden Scene of Summer Palace', and to reverse 'Yao Yun Tsai dated 1583', scroll size 321 x 131.5 cm (126 3/8 x 51 3/4 ins), larger losses and several long tears to upper blank area of the scroll, restrengthened with archival tapeQTY: (1)
Lot 210
* Lear (Edward, 1812-1888). The Quarries of Assouan, Egypt, 1867, pen and brown ink over pencil, heightened with watercolour and bodycolour, inscribed by the artist 'Quarries of Assouan AM-11.30-1.pm, January 27. 1867' lower left, additional colour note in ink to centre of lower margin, and number (242) to lower right corner, 29 cm x 53 cm (11 3/4 x 20 3/4 ins), framed and glazed (54.7 x 77.5 cm)QTY: (1)NOTE:Provenance: Mrs R. K. Judges, The Fine Art Society, London by 1933; Estate of Martin R. Davies, Bristol.This large-scale on the spot drawing dates from Lear's second and final trip of 1867. Lear had arrived in Cairo at the beginning of the year. He quickly moved to Luxor, where he met up with cousin Archie Jones. The pair travelled down the Nile where they reached their most southern point, the second cataract, on 4 February. They stopped at Aswan for two days and Lear made a series of drawings, including the present work which shows the ancient granite quarries. The drawing is topographically very accurate, its most important feature being the unfinished obelisk shown in the background.
Lot 36
* Van der Schley (Jakob, 1715-1779). The Procession on the Ice, 1751, fine small-scale pen, black ink and grey wash drawing on laid paper, signed J. v. Schleij and dated 1751 lower left, image size 19.5 x 15 cm, sheet size cm, glued at upper corners only to later backing paperQTY: (1)NOTE:Provenance: Private Collection, Kent, UK.Jakob van der Schley was a Dutch engraver and draughtsman about whom there is little biographical information. He was born in Amsterdam in 1715, died in the same city in 1779, and was a student of Bernard Picart (1673-1733), whose style he imitated. According to Bénézit, van der Schley engraved portraits as well as illustrations for La Vie de Marianne by Pierre Carlet de Chamblain de Marivaux (1688-1763) which was published in The Hague from 1735 to 1747. Van der Schley also engraved the frontispieces for a 15-volume edition of the complete works of Pierre de Brantôme (1540-1614), Oeuvres du seigneur de Brantôme, published in The Hague in 1740. Most of the plates in the Hague edition of Prévost's Histoire générale des voyages (P. de Hondt, 1747-1780) carry van der Schley's signature: his engravings and etchings for this publication are certainly a major part of his oeuvre.
Lot 289
AR * Hepworth (Dorothy, 1894-1978). Seated Girl, circa late 1930s, oil on canvas laid down on board, unsigned, a partially nude woman sits in a low-backed armchair with her left hand resting against the side of her face, artist's name in pencil to verso of board, a few surface scratches, board size 51 x 40.5 (20 x 16 ins), framed (57 x 47 cm) QTY: (1)NOTE:For a similar work see Girl Reading Letter (c.1937) by Patricia Preece (1894–1966) or Dorothy Hepworth, in the collection of Bangor University (Accession number OP0014).Dorothy Hepworth was a Slade graduate who made prolific work as an artist for most of her life. She showed her work at a couple of small-scale exhibitions during her early years studying at the Slade, where she garnered a Distinction and considerable admiration for her skills but didn’t exhibit under her own name after 1921. Hepworth signed her life-partner Patricia Preece’s name in her paintings from then on, even after Preece’s death. The women lived and worked together for nearly 50 years and are buried together in Cookham Churchyard (from charleston.org.uk).Dorothy Hepworth and Patricia Preece: An Untold Story, a new exhibition of Hepworth's work is due to take place at Charleston in Lewes from March to September, 2024."Hepworth's skill was in picturing quiet figures at rest, with warm muted tones in elegant simplicity. The power of the paintings comes from their stillness", Jade King, Lead Editor, Art UK.
Lot 484
Bachmann Branch-Line 00-gauge model railway, comprising 32-729 Class 66 Diesel 66405 Blue Malcolm Logistics Services, 39-004 Mk1 Coach Pack BR Blue & Grey Scotrail Branding (weathered & with fitted passenger figures) twin pack, 44-126 Single Road Servicing Shed, a small assortment of Scenecraft 1:76-scale model vehicles, two Hornby Intercity coaches, a Scotrail West Highland example by Lima, a Lima 0-gauge diesel locomotive etc. Condition Report:Available upon request
Lot 489
Boxed Corgi 1:50-scale JCB sets, comprising CC13425 Man TGA Nooteboom Low Loader with JCB Backhoe Loader 3CX, CC11914 ERF EC Nooteboom Step Frame Trailer & JS220 Excavator and CC13237 DAF XF Space Cab Exhibition Unit, together with a JCB Worldwide Events truck and two further large-scale sets by Corgi (2 boxes) Condition Report:Available upon request
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