oil on canvas, signed, titled verso framed and under glass image size 46cm x 61cm, overall size 59cm x 74cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
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A "French-style" officer's jacket of the Latvian Army from the interwar period. The jacket features one epaulette on the collar, with the other missing. The overall condition is good with signs of wear, as shown in the photos. There is a mark where a barrette was attached, and the shoulder boards are missing.
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.The steel catch with a spiral spring is non-functional. The steel scabbard ends in a round pommel.Marking on the ricasso of the front blade: stamped manufacturer's name Fabryka. Zbr 4 - Zbrojownia 4 Kraków and the number 97727. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.) representing Wojsko Polskie (Polish Army).The scabbard is fitted with a leather frog, dedicated to the Polish bayonet with a characteristic round knob at the end.Overall condition as shown in the pictures.
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.The steel catch with a spiral spring is non-functional. The steel scabbard ends in a round pommel.Marking on the ricasso of the front blade: stamped manufacturer's name Fabryka. Zbr 4 - Zbrojownia 4 Kraków and the number 68462. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.) representing Wojsko Polskie (Polish Army).The scabbard is from a German Mauser bayonet, marked.Overall condition as shown in the pictures.
The blade of the sabre is steel, with visible grooves and double fullers on both sides. The spine of the blade shows a deep temper line. The blade is double-edged. The grip is made of beech wood, with a brass crossguard and an oval hole for the sling. The quillons are trapezoidal in shape with visible joins. The guard is made at a right angle, connecting to the pommel. The pommel has a brass cap with a screw fastening the tang of the blade.On the spine of the blade, there are visible markings, most likely from the civilian expert Tadeusz Książnicki, stamped with "k/2" inside an oval, and the sabre's number A5201. On the outside of the blade, there is the model designation "S.wz.34." and on the opposite side, the manufacturer's mark "H. LUDWIKÓW/KIELCE". The sabre comes with its original scabbard, also numbered A5201.The wz.34 sabre is the most recognizable sabre of the Polish Army from the interwar period.The overall condition of the blade and grip is as shown in the pictures. The sabre was broken in the scabbard and has been repaired. The leather sling and frog are later additions.
Single-piece badge made of tombac, attached with a nut. The badge is shield-shaped, with the Warsaw mermaid at the top, symbolizing the 2nd Polish Corps (2KP), and at the bottom, the identification badge of the 8th Army, surrounded by the inscription "2 Korpus Polski" with laurel branches above the text.The reverse is smooth with the stamped number, and a repaired attachment post in the center. The nut is not signed.The badge has a low number, 1023, which is becoming increasingly rare on the collectors' market.Dimensions: 36.5 x 20 mm.Overall condition as shown in the pictures.
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.The steel catch with a spiral spring is non-functional. The steel scabbard ends in a round pommel.Marking on the ricasso of the front blade: stamped manufacturer's name Fabryka. Zbr 4 - Zbrojownia 4 Kraków and the number 92935. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.) representing Wojsko Polskie (Polish Army).The scabbard is dedicated to the Polish bayonet, with the characteristic round knob at its end.Overall condition as shown in the pictures.
Two propaganda brochures published for the Polish Army in the East by the Foreign Language Literature Publishing House, Moscow 1944, and the Propaganda Department of the Political-Educational Directorate of the Polish Army, 1945. Soft covers, 46 and 32 pages.The overall condition is visible in the photos.Dimensions: 16.2 cm x 11 cm, 14.7 cm x 10.7 cm
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.Steel catch with a spiral spring. The steel scabbard ends in a round pommel. The scabbard's latch is soldered with an oval backing plate. The latch has a beveled top section to facilitate the removal of the frog.The scabbard throat consists of two flat springs, secured to the scabbard body with two rivets.Marking on the ricasso of the front blade: stamped manufacturer's name Perkun and an elliptical military acceptance mark (D2). On the crossguard, the serial number 42.P is visible. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.), representing Wojsko Polskie (Polish Army).Overall condition as shown in the pictures.
Vinyl - 53 Rock & Pop LPs including recent / reissues to include Led Zeppelin (IV reissue), Black Sabbath, Soft Machine (textured cover), Stevie Wonder x 2 (including 180gm reissue), Tom Waits (2017 reissue), Peter Tosh, Tom Petty (Greatest Hits 1993 pressing), Japanx 2 (inc German pressing), Lou Reed x 2, David Bowie, Talking Heads, Patti Smith x 2 (inc 2019 pressing on We Are Vinyl), Gary Numan & Tubeway Army 2015 reissue), Jethro Tull, Roxy Music x 3, Rolling Stones x 3, Al Green, U2, The Who, Mica Paris, Santana, Paul Simon and more. Vg+ overall
EDWARD FRANK SOUTHGATE RBA (BRITISH 1872 - 1916), SNIPE watercolour on paper, signed mounted, framed and under glass image size 30cm x 20cm, overall size 51cm x 40cm Note: Edward Frank Southgate RBA (1 August 1872 – 23 February 1916) was a British painter. He spent most of his life in Norfolk and concentrated on painting birds, especially waterfowl, and hunting scenes. He was a student at Bideford Art School and Cambridge School of Art. He was a member of the Royal Society of British Artists. Southgate painted mainly birds and sporting scenes. His paintings of ducks and other birds in Patterson 1904 (for instance "The Stricken Mallard") were internationally renowned. Frank Southgate died in 1916, whilst serving in the Army during the First World War in France, aged 43 years.
* CHARLES MURRAY (SCOTTISH 1894 - 1954), RAIN, PORT BANNATYNE, BUTE drypoint etching on paper, signedmounted, framed and under glassimage size 17cm x 25cm, overall size 38cm x 45cm Provenance: The Scottish National Gallery of Modern Art hold a copy of "Rain, Port Bannatyne, Bute" (purchased in 1964). Their website suggests a date of 1930.Note: Charles Murray was born in Aberdeen and studied at the Glasgow School of Art for three years. He served with the ‘White Army’ in Russia from 1918-20, joining a diverse group of counter-revolutionary forces who fought against the Bolsheviks. On his return to Glasgow, Murray won the highly coveted "Prix de Rome" for etching and studied at the British School in Rome from 1922-25. He travelled extensively in Europe but came back to Scotland in 1926 to teach engraving at the Glasgow School of Art (where he taught and inspired Ian Fleming RSA RSW RGI), and later lived in Leeds and Middlesex. He produced paintings and etchings in a style influenced by Mannerism. Murray had his first major one-man show at The Leicester Galleries (London) in 1946 and another at Batley Art Gallery in 1950. There was a Memorial exhibition at Temple Newsam House (Leeds Museum & Art Galleries) in 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Murray's paintings have always attracted academic acclaim and the Tate bought one of his paintings in 1940. His work is held in UK Public collections including at Glasgow Museums & Art Galleries, the Arts Council Collection (Southbank Centre), Bradford Museum & Galleries, the Ferens Art Gallery, The Hepworth, Leeds Art Gallery and Museums, Kirklees Museum & Galleries, Sheffield Museums, Aberdeen Art Gallery & Museums and Tate (London).
* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 161mounted, framed and under glass image size 37cm x 50cm, overall size 52cm x 62cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 171mounted, framed and under glass image size 37cm x 50cm, overall size 61cm x 77cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
Britains - A Group of Boxed Sets. Comprising: Limited Edition Set No. 5391 'The United States Army Band of Washington D.C.' (#4020/5000); 43016 'Private, 1st Foot Guards Light Infantry, 1795' & 40343 'Henry V'. Conditions generally appear Near Mint overall, contained in Excellent to Near Mint set boxes (5391 includes outer shipping carton). See Photo.
New Model Army - A Pair of Boxed WWII Vehicles. Comprising: SS6 'Sturmtiger, Winter Version' & GFJ4 'German Schwimwagen, Winter'. Both appear complete although unchecked. Conditions generally appear Excellent to Near Mint overall, contained in generally Excellent plain white boxes. See photo.
Britains - 'Delhi Durbar Collection' & Others - A Group of Boxed Sets. Comprising Set Nos: 40180 'The Viceroy's Bodyguard'; 40182 '24th... Baluchistan Infantry' plus sets 8951 'The British Army in India - 38th Central India Horse' & 8854 'American Civil War - Union Cavalry'. Conditions generally appear Near Mint overall, contained in generally Near Mint set boxes. See Photo.
Royal Hampshire Art Foundry - A Group of Boxed Military Figures. Depicting various British Army regiments including 'Scots Guards' & others. 90mm scale, made of 'antiqued' silver-plated pewter, mounted on wooden plinths. Conditions generally appear Excellent overall (some are detached from plinths), contained in generally Good Plus to Excellent set boxes. See Photo.
Tudor Rose Plastic Products - VERY RARE Army Lorry and Towed Howitzer, Unboxed. Approximate dimensions: lorry - 24 x 10 x 12cm & gun 25 x 12 x 11cm. Condition generally appears Good Plus to Excellent overall (lorry), Excellent overall (gun) and includes 3 x plastic shells for gun. See Photo.
Britains - Set No. 160 'Our Territorial Army Infantry (Service Dress)', Boxed. 1916 version but later issue (officer on foot). Conditions generally appear Fair to Excellent overall (Officer has been repaired at the knee & may include paint re-touches), contained in a generally Good "Fred Whisstock" set box. See photo.
Unknown Maker - Model of "St Elisabeths Gastruis" - Former Hospital in Arnhem, Netherlands. Originally built as a hospital in 1893, it was used as a casualty clearing station by British army medics in the early stages of the battle of the Arnhem Bridge, before being taken over by the Germans. Today it is an apartment complex. Model appears to be mostly plastic/resin and measures: L51 x W26 x H33cm, weight 1.5kg. Conditions generally appears Excellent overall. See photo.
The Sentry Box - A Group of Military Figures on Plinths. 120mm scale, all boxed. Comprising: 'Officer of the Royal Navy'; plus officers from Army Air Corps, R.A.F. & S.A.S. Regiment. Conditions generally appear Excellent to Near Mint overall, contained in generally Excellent boxes. See photo.
Royal Hampshire Art Foundry - A Group of Boxed Military Figures. Depicting various British Army regiments including limited edition 'The Blues & Royals' officer (#363/5000 - certificate enclosed) & others. 90mm scale, made of 'antiqued' silver-plated pewter, mounted on wooden plinths. Also includes three unboxed figures, pewter models of a Boeing 747 & Concorde (both missing stands) & supporting paperwork. Conditions generally appear Excellent overall (some are detached from plinths, mounted figure has detached sword), contained in generally Good to Excellent set boxes, where applicable. See Photo.
WW1 Imperial / Weimar era German Army Officers Desk Ornament of an Infantry Soldier with Rifle. Spelter with a bronze finish. Mounted on a Marble base. Height of figure 160mm. Overall height including base 200mm. Label to underside regarding it being a war trophy of a British Soldier in WW2. Note the rifle has been broken and restored.
A CONGREVE ROLLING BALL CLOCKBy Andrew Fell, 1974The substantial brass frame with turned uprights and finials, three silvered dial rings, fusée movement with maintaining power, high-leaf pinion count to the train, signed to the reverse ANDREW FELL DEL. 1974 / SER. No. 002, on a stepped brass base, with glazed brass frame cover, mahogany base and marble plinth, with its original key and steel ball bearing48cm wide; 36.5cm deep; 43.5cm high overallProduced in a limited edition of 150, this is No.002 and was made in 1974. This form of clock was invented by Sir William Congreve in 1808. Congreve was an inventor best known for the Congreve rocket and the rolling ball clock. He was the Comptroller of the Royal Laboratory at Woolwich and was. also an MP. Andrew Fell was born in 1919 and joined the army in 1939 as a specialist in communications and radar. Fell was the first Principal of the National College of Horology founded in 1947 and had a long and varied career within horology. He died in 1988.CONDITION REPORTIn good original condition. With a service the clock is capable of functioning.
XII ROYAL LANCERS - A SILVER AND SILVER PLATE PRESENTATION MANTEL TIMEPIECE TO MAJOR HOWARD CLIFTON BROWNBy Goldsmiths Company, 112 Regent Street, London, Hallmarked 1902Designed with a silver plated equestrian figure of a XII Lancer, on a silver stepped base, above a rectangular silver-clad case, the front with a glazed 3in silvered dial, engraved ROYAL LANCER XII and signed by the makers, with gilt hands, within the motto HONI SOIT QUI MAL Y PENSE, within foliate spandrels and a berried laurel military trophy below, the chain fusée movement with platform lever escapement, the right side panel engraved with the donors and their rank, the left with Prince of Wales feathers and motto ICH DIEN on a ribbon, the silver-clad back door with lock, on an ebonised chamfered base, the front with a berried laurel silver escutcheon engraved PRESENTED TO / Major. H. Clifton Brown /XII ROYAL LANCERS / BY HIS BROTHER OFFICERS, / ON THE OCCASION OF HIS MARRIAGE 46cm highBrigadier-General Howard Clifton Brown (3 April 1868 - 11 September 1946 was a British army officer and Conservative party politician who served as an MP for Newbury. In 1903 he married Mary Eirene Hodges, daughter of Sir Henry Hodges.SALEROOM NOTICE30.12. Please note the equestrian figure is silver plate.CONDITION REPORT The clock is in good original condition. A small level of tarnishing overall to the silver. The clock is ticking and functions, it may benefit from a service. With a winding key and key for rear door.
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), NIGHT TIME COAST WITH GULLS watercolour on paper, signedmounted, framed and under glassimage size 30cm x 42cm, overall size 54cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* DOUGLAS PHILLIPS (SCOTTISH 1926 - 2012), SAN MOISE CANAL - VENICE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 18cm x 27cm, overall size 34cm x 44cm Note: Douglas Phillips was born and brought up in Dundee. He studied at the former Dundee Art College in Bell Street before being called up to the army towards the end of the Second World War for service in India and Ceylon. On returning to Dundee he began work in the art department of DC Thomson where he illustrated for The Rover and The Victor, amongst others. After leaving D C Thomson’s went on to illustrate over 100 books but also continued to maintain a connection with the company, featuring in more than one thousand issues of The People’s Friend as the pen and brush of J Campbell Kerr. He also documented old Dundee with his lively pen and ink drawings and book collaborations with the late journalist, broadcaster and Courier columnist Ron Thompson. Latterly he followed in the footsteps of two artists he greatly admired, Joan Eardley and his good friend Lil Neilson, producing vibrant, expressive paintings of Catterline and the East Coast of Scotland which he loved so much. His work is held in public and private collections worldwide.
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