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Click here to subscribeA collection of toys to include cars and Meccano. Meccano to include three instruction manuals parts 1 through to 6 along with loose Meccano pieces. Toy cars to include eight cars and trailers from Corgi toys, four trucks and trailers from Lesney, two Ferrari's from Maisto, one Welly melody beetle, two boxed best of British police cars and two boxed Burago cars etc.
A collection Dinky diecast toys to include 964 Elevator Loader, 973 Goods Yard Crane, Coventry Climax Forklift Truck, 562 Muir-Hill Dumper, Heavy Tractor, Trojan, 261 Telephone Service Van, 410 Beford, 411 Bedford, 443 National Benzole Mixture, 419 Leyland Comet Cement Mixer, 340 Land Rover, 341 Land Rover Trailer, Foden Truck, 905 Foden, 781 Esso, 501 Foden, 417 Leyland Comet, 965 Euclid Rear Dump Truck, 30J Austin, 320 Trailer, 551 Trailer, 321 Massey Harris Manure Spreader and Massey Harris Tractor, 27 K Hay Rake and a 323 Triple Gang Mower.
Diecast toys to include Corgi, 153 Proteus Campbell Bluebird, Boxed 1100 Carrimore Low-Loader, Land Rover 109'' W.B., Land Rover 109'' W.B. Breakdown Service, Rice Pony Trailer, Massey Ferguson 65, Massey Ferguson, 30 CWT Trailer, Massey Ferguson 780 Combine and a Matchbox Farm Trailer and other Farm Machinery by Britains, Lesley etc including a Meccano No.1 Clockwork Motor (Reversing).
A large collection of Star Wars Episode I toys to include Customized Card Game, Darth Maul Bank, Jabba Glob, Darth Vader Mug, Darth Maul and Jar Jar Binks mugs, Darth Maul Lightsabre toy, Mace Windu Sneak Preview, Jar Jar Binks toothbrush holder, Data File, Dated Student Planner, Underwater Accessory Set, Naboo Accessory Set, Darth Vader Stamper, Jar Jar Sticky Tongue Toy, bubble bath toys unboxed, some with contents, key chains and Star Trek Deep Space None Talking Sound Badge and South Park 'Talkie' Air Freshener etc.
A collection of toys to include Corgi Fawlty Towers 00802 Austin 1300 Estate & Basil Fawlty, Corgi 434 Charlie's Angels Custom Van, Corgi 96758 Some Mothers Do 'Ave 'Em, Corgi CC82304 Routemaster - London Transport, Corgi C572 Routemaster, 2 x Atlas Collections, Matchbox Superkings Security Truck K-19, Matchbox Car Transporter K-5 and others.
A collection of toys and games mainly board games to include Waddington's table soccer, Monopoly, Careers, league championship, Spirograph, Waddington's formula 1, Cleudo, Tri-ominos spill and spell, Merit casino roulette, stickle bricks, a mixture of Meccano: Super Junior and 4 with loose pieces and a Bayko building set number 4 etc.
The London Game. The famous family game. Distributed by Bambola toys Ltd. A game that captures all the excitement of London. All contents in box open and in used condition. The box is slightly worn on outside. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ANNABEL MANN Signed and stamped, inscribed and dated 1931 verso, oil on canvas boardDimensions:49cm x 17.75cm (19.25in x 7in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 192 (as 'Miss Anabel Mann')Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932Note: One of the three daughters of the Scots portrait-painter, Harrington Mann, and his wife, Florence Sabine-Pasley, the interior designer, known as ‘Dolly Mann’. Annabel as a baby was painted by her father c.1910 (City Art Centre, Edinburgh), while Annabel and her Toys (Russell-Cotes Art Gallery and Museum, Bournemouth), shows her as an infant in 1912. Other portraits followed, and by the late 1920s Annabel Mann was being photographed in the press as an attendee at fancy dress balls, along with other ‘bright young things’.We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
§ ◆ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE YELLOW JUMPER Oil and collage on boardDimensions:57cm x 56.5cm (22.5in x 22.25in)Provenance:Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1964, no.27 Glasgow Art Gallery & Museum, Glasgow Art Galleries and Museums Association Show, no.242 Note: Joan Eardley’s reputation as one of the leading British artists of the twentieth century is based on her portrayal of the Townhead district of Glasgow – in particular of its children – and of Catterline, a fishing village on the Scottish north-east coast.Having trained at Glasgow School of Art (GSA) and Hospitalfield College of Art, Arbroath, Eardley was awarded scholarships by GSA and the Royal Scottish Academy which allowed her to travel in France and Italy. She began to draw and paint children on her return to Glasgow in 1949. Three years later she moved to a studio at 204 St James Road in Townhead in the city centre, which she was to maintain until her premature death in 1963. It was on the second floor, wedge-shaped with large windows and a glazed roof and was described as being ‘filled with pictures, sketches and drawings of the neighbourhood and its occupants.’[1]The area, of mixed residential and light industrial use, was overcrowded and dilapidated. However, Eardley was drawn to its vibrancy and closeknit community. She explained ‘I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with.’[2] Eardley was able to champion and memorialise the neighbourhood in its post-war guise even as the wide-scale demolition of the Clyde Valley Regional Plan began in the early 1960s.Eardley became a regular sight in the streets, sketching buildings, people and scenes of daily life in chalks and pastels, which she then worked up into paintings in the studio. She was also rarely without a camera, which provided a way in which to capture, for example, the games, squabbles and other interactions between the local youngsters who spent much of their time outside.The Yellow Jumper of 1963 is an outstanding example of Eardley’s paintings of the children of Townhead. As Patrick Elliott has pointed out, it was in the mid-1950s that Eardley’s interest in depicting children gathered momentum.[3] She explained ‘I have a studio in Glasgow off Parliamentary Road and some of the children living in the district used to watch me at work. I thought it would be a good idea to paint them. There was only one difficulty – if they didn’t sit still I couldn’t paint them.’[4]This difficulty was overcome by the willingness of the twelve children of the Samson family - who lived nearby - to model for her. Ann Samson remembered: ‘To get to her studio you went up a spiral stair…She gave us paper to draw and toys to keep us quiet. ”Sit in peace” she’d say as she was drawing us…We used to get 3d off Joan for posing for her and went to Miss Bickett’s to buy sweets…She was really serious…She was never cheeky or angry.’[5]Two of Ann’s Samson siblings are the sitters in The Yellow Jumper. It comes from a celebrated series that Eardley began in the early 1960s, depicting two children positioned in front of a wall. This was often, as can be seen here, the red wall of the scrap-metal business on the ground-floor beneath her studio. The word ‘METAL’ in The Yellow Jumper is a direct quotation from the graffiti-surrounded advertising upon it and was applied using an old set of stencils.Indeed, The Yellow Jumper contains all the elements which have been described as the key themes in Eardley’s figurative work: ‘The bright…ground…studded with a collage of sweet-paper wrappers, foil from cigarette packets and newspaper scraps. The worn letters of the…shop-fronts has been stencilled on. The oddly patterned clothes speak of the hand-me-down items we see in Eardley’s own photographs and sketches of the children and create an intense visual texture.’[6] The flotsam and jetsam of Glasgow street life have been collected and used in the creation of the work and she even pressed into the support, applying literal graffiti to the painting rather than simply depicting it. Film footage of Eardley painting a closely related work shows the speed, energy and physicality with which she worked.[7] She often re-used canvases and there is a painting of Glasgow tenements on the reverse of The Yellow Jumper.The painting’s square format focusses attention on the half-length children, who gazed directly at the artist and now at the viewer. Their ease and intimacy is clear in a pose in which they wrap their arms around each other and press themselves together. Eardley’s use of paint and colour to layer up, for example, facial features and to describe clothing, as well as to re-create the surfaces and atmosphere of the outdoor world, is extraordinary. Her expressiveness borders on the abstract in some passages of this vibrant and masterful image.The Yellow Jumper is closely related to Two Children, c.1962 and Two Children before Lettered Wall, 1963 (both Private Collection), which were shown in the National Galleries of Scotland 2016 exhibition Joan Eardley: A Sense of Place, and to Brian and Pat Samson, on long-loan to Gracefield Arts Centre, Dumfries from the Walker Family.We are grateful to Ann Samson and Jan Patience for their help in researching this work.Endnotes can be viewed on our website. [1]As recalled by Robert Henriques in 1955, see Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, Edinburgh 2016, p. 15 and p.127, n.15.[2] As quoted in 1959, see Elliott and Galastro, op.cit., p.14 and p.127, n.8.[3] See Elliott and Galastro, ibid., p.17.[4] See Elliott and Galastro, ibid., p.17.[5] See Elliott and Galastro, ibid., p.19.[6] Fiona Pearson and Sara Stevenson, Joan Eardley, Edinburgh 2007, p.73.[7] See Laurence Henson (Director), Three Scottish Painters, Templar Film Studios sponsored by The Scottish Committee of the Arts Council, The British Council and the Films of Scotland Committee, 1963, from approximately 6:04, see https://movingimage.nls.uk/film/2263 (accessed 7 November 2022).
An Egyptian black stone fragmentary pectoral with central scarab element New Kingdom, 20th Dynasty, circa 1186-1069 B.C.The scarab carved in high relief, the wing-case recessed for inlay, now missing, flanked by a small female adorant, her arms raised in supplication, a partial column of text behind her, the remains of text covered in gold foil, possibly reading, 'May my name be victorious: protection..' on the back, the upper body of a male figure facing right with both arms raised towards offerings(?) set above partially preserved engraved text reading, 'Osiris Lord of Eternity forever..', 7cm longFootnotes:Provenance:Eric Pascoe (d.2019), Calenick House, Truro, Cornwall.Lodge & Thomas, Truro, Antiques & Fine Art Two Day Auction-Including the Ron Clifford Collection of Dinky & Britains toys; , 26-27 September 2019, lot 684.Acquired by the present owner at the above sale.For further information on this lot please visit Bonhams.com
Farnell Pip Squeak and Wilfred soft toys 1920s, Pip the dog with black mohair, white mohair head, hands and feet, black stitched nose and mouth, swivel head and jointed limbs —9in. (23cm.) high; Squeak the penguin and Wilfred Rabbit with clear and black glass eyes with brown painted backs and jointed arms (wear and some damage, two with replaced eyes, Squeak with recovered beak)
Teddy Briggs and Little Briggs - a German Teddy Bear 1920s, with short golden mohair, clear and black glass eyes with brown painted backs, pronounced muzzle, remains of black stitched nose and claws, slotted in ears, swivel head, jointed limbs, hump and inoperative squeaker —22in. (56cm.) high (very worn and replaced pads); a post-war Eastern European cotton plush bears, a Tootsie Toy aeroplane, a pair of metal framed spectacles in case, two photographs of Mr Briggs as a child and adult and few other items - No.2196 and 2197 purchased from Serrells Auctions 22nd November 2007 with a hand written not that these are the childhood toys of the Briggs family who ran a chemist shop in Ledbury
Five Teddy Bears and Soft Toys the childhood toys of the Honourable Elizabeth Somers Cocks 1920-30s, comprising Bathurst, a walking wool plush polar bear, probably artisan made —14 1/2in. (37cm.) long (bald strips); Hollybushm a white wool plush Koala; a 1930s Merrythought unusual white curly plush terrier, possibly a Sealyham with woven label; Somers, a British blue mohair Teddy Bear (head and arms mainly missing, probably a dog attack); and another dog (damage and wear to all) - Elizabeth was the only child of Arthur Herbert Tennyson, 6th Baron Somers and his wife Daisy Finola. These toys were found in the cellars of Eastnor Castle in 2004 during a general clearance.
Teddy Miller and his friends including a Einco Tubby dog 1920s and 30s, Teddy Miller an early British Teddy Bear, possibly Omega with golden mohair, black boot baton eyes, pronounced muzzle, swivel head, jointed elongated limbs, hump and scarf with D.W. Miller name tag —13in. (33cm.) high (very bald and arms tied in place with string); an outfit, presumably for Miller; a rare Einco Tubby dog with white, brown and black opaque glass googly eyes —5 1/2in. (14cm.) high (thinning and wear); a Chad Valley penguin with red and white woven label; two dogs and a rabbit (some eyes missing and wear) - No.2998 purchased Fromm Goodwins Auctions 7th December 2011, this group of toys have always been together and wish to remain together; with this group
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