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Lot 225
A quantity of German, British, and Japanese made tin plate clockwork toys, including a Japanese `Electric Train`, Technofix and other motorbike riders, fire engine etc. and assorted Dinky, Triang Mimic, Crescent and other die cast vehicles, to include a Dinky Guy Weetabix lorry and a box of keys
Lot 131
Hornby Series Accessories a boxed set of Dinky Toys No.1 Station Staff box complete with inner platform together with a set of five unboxed Hotel Staff, Pullman Car conductor, Waiters, Hotel Porter in red and cream, three figures from the No.4 Engineering Staff set, a second set of Station Staff (unboxed)
Lot 133
A group of Hornby Accessories to include a Dinky Toys Goods Yard Crane (unboxed), a pre-War Post Box and Airmail Pillar Box, some replica trees and hedges, an original box of Dinky Toys Pavement Sections, a quantity of replica Pavement Sections, a group of pre-War Passengers and replica figures (re-painted) an unboxed Watchman`s Hunt complete with brazier and tools, a Dinky Toys yellow type box containing a Railway Signal Dinky Toys No.15
Lot 1055
* Noddy - Harmsen van der Beek, 1897-1953. ÒYou should just have seen Noddy and Little Tubby dancing togetherÓ, original illustration for Noddy Goes to School, 1952, pen, ink and watercolour, signed by Beek in lower left-hand corner, on card mounted on board, image size 173 x 125mm (6.75 x 5ins) “Noddy Goes to School” is the sixth title in the Noddy series. It is for Enid Blyton’s Noddy characters that Beek is most remembered. Noddy came into being when David White, the managing director of Sampson Low and Company, suggested beginning a new series of books with Enid Blyton. He wanted to create a popular character for younger children with bright and colourful illustrations. Enid selected the Dutch artist Harmsen van der Beek from a number of illustrators, insisting on meeting the artist before considering ideas for the new series. Beek travelled from Amsterdam for the arranged meeting with Enid and within two hours they had imagined Noddy goes to Toyland through words and sketches. Within four days Enid had sent off her first two Noddy book manuscripts to David White with the accompanying note: “I have finished the first two little Noddy books and here they are. I have written them with a view to give van der Beek all the scope possible for his particular genius - toys - pixies, goblins, Toyland, brick-houses, dolls houses, toadstool houses, market-places - he”ll really enjoy himself! I don”t want to tell him how to interpret anything because he”ll do it much better if he has a perfectly free hand...”. When Enid Blyton saw Beek’s work she was delighted, saying that the artist had created Noddy and his environment exactly as she had visualised. Unlike Blyton, whose prolific output is an indicator of how quickly she wrote, Beek often struggled to meet his deadlines, and must have spent many hours on the pictures of each book. He confessed that at times, working late into the night, he saw little Noddys crawling all over his desk. (1)
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