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Lot 573
A collection of assorted 7" singles mainly 1960's-80's to include Status Quo - The Anniversary Waltz, Paul McCartney And The Frog Chorus - We All Stand Together, Level 42 - It's Over, Lulu - I Could Never Miss You More, Brother Beyond - Be My Twin, Soft Cell - Torch, Petula Clark - My Heart, Mike Oldfield - Portsmouth, The Doobie Brothers - Take Me I Your Arms, Gene Pitney - Blue Angel, Elvis Presley - Mama Like The Roses, Freddie And The Dreamers - Don't Make Me Cry, David Bowie - Sorrow, Sting - Russians and Yoko Ono - Yes I'm Your Angel etc. (approx. 120)
Lot 549
A collection of assorted 12" vinyl mainly LPs but some singles, various dates and genres, to include David Bowie The Rise and Fall of Ziggy Stardust & The Spiders From Mars, Pink Floyd Relics, The Police Zenyatta Mondatta, Paul McCartney All The Best, Daryl Hall & John Oates Abandoned Luncheonette, Kim Wilde self-titled, Stevie Wonder Hotter than July, Prince and The Revolution Purple Rain, ABBA The Album, Barclay James Harvest XII, Whitney Houston Whitney, Level 42 Standing in a Light, Saturday Night Fever original movie soundtrack, Marvin Gaye Greatest Hits, Spandau Ballet True, The Isley Brothers Between the Sheets, Elton John Too Low for Zero, Phil Collins Face Value, Earth Wind & Fire I Am, and Bonnie Tyler Faster then the Speed of Night etc, together with a collection of 7" singles to include The Animals - The House Of The Rising Sun, The Dave Clark Five - I Know You, The Kinks - Dedicated Follower Of Fashion, Yardbirds - Got To Hurry and Don McClean - American Pie etc. (approx 85 12" and 60 7")
Lot 208
3 Bottles: Ch. Mouton Rothschild Pauillac: Centenary Year 1953 numbered to the reverse 060443, 060418 and 060497 respectively, one bottle with corroded cork and level below shoulder levels on other two bottles above shoulder with slight mildew to capsule (3)one with corroded cork and level belwo shoulder
Lot 13
Tri-ang Model Railways; Comprising 00 gauge boxed electric train sets, including R1X passenger train set and R3 Goods train set (lacking power packs) together with boxed and loose accessories including controller, signal box, level crossings, boxed Hornby Dublo island platform, footbridge and signal cabin.
Lot 83
Group of boxed & unboxed OO gauge model railway trackside buildings & accessoriess to include sealed Hornby R482 Rose Cottage, boxed Hornby Skaledale 236156 Modern Bus Shelter, boxed Lima 021 Level Crossing, plastic buildings, boxed H and M Duette Transformer Controller etc plus 2 x contemporary Batman metal signs
Lot 249
22 Boxed plastic model kits of varying scales to include 1/35 Academy Hobby Model Kits Bell 47D Mash HL, 1/48 Revell 03965 Level 4 Roland C.II, 1/48 Roden Bristol F.2B Fighter, 1/35 Tamiya Military Miniatures Willys MB 1/4-Ton 4x4 Truck, 1/144 Airfix 04172 Boeing Clipper, 1/35 Revell 03285 Level 4 Model T 1917 Ambulance, etc, all contents appearing complete and ex, boxes vg overall (2 Boxes)
Lot 204
Collection of O, G, OO & Hornby Dublo model railway to include 2 x Lionel O gauge locomotives, boxed Lionel No 2466WX Whistle Tender, 5 x Lehmann G scale items of rolling stock featuring 4040 crane, boxed Triang OO gauge RS1 electric train set, boxed Hornby O gauge Junction Signal No 2, boxed Hornby O gauge No 1 Level Crossing, various boxed Hornby Dublo track accessories etc
Lot 588
A pair of Russian Helios PNB-2 military observation binoculars. Mid 20th century, number 100540, with 80 degrees vertical elevation, 360 degrees rotation, with a spirit level to the top, each lens 12cm in diameter, on a tubular support, with a circular base and castors, height 162cm.Binoculars such as these were used by Russian border forces.This set has been used at the NCI coastwatch station on the island, St Ives.
Lot 2
Quantity of OO model railway. 9 locomotives by Hornby, Airfix, Tri-ang/Hornby, Lima, Mainline etc. Locos include SR Schools Class Stowe, BR Fowler, Black Five Class BR 4-6-0, GWR pannier, BR Class 55 diesel, BR Class 33 diesel. 43XX Mogul, BR black, etc. Plus an HO scale locomotive. Together with various passenger coaches and freight wagons by Hornby, Airfix and Lima. Plus a small quantity of Hornby Dublo including an EDL17 tank locomotive 69567, boxed. BR 2-6-4 tank 80033, 2 D3 corridor coaches, both boxed. Plus other coaches, wagons, 2 level crossings, one boxed and one loose, plus some points etc. QGC-GC some age wear overall. Some boxes worn/damaged. £80-130
Lot 137
A Collection of Hornby O gauge Railway. Includes,2x signal box, one with green roof, the other orange roof, Station with platform, missing end sections, level crossing No.E1E (electrical) fitted with electric lights, (untested), LMS crane wagon with cabin, Portland cement wagon, missing pair of wheels, Blue LMS open wagon, 2x Mc Alpine side tipping wagons, one in green, the other in beige, milk wagon and others. Level crossing is in an early green box in poor condition, some surface rusting to the station. All in playworn condition, with scratches, and some damage and possible repainting in places. GC £50-70
Lot 80
AN INCREDIBLY RARE TUDOR HENRY VII/HENRY VIII OAK ENCLOSED ARMCHAIR, ENGLISH, CIRCA 1500-1530. The partly enclosed armchair of tapering form having twin crocketed finials on gently tapered uprights with a silhouette and scroll carved, moulded top rail above a horizontal panel carved with recessed nulling, the twin panelled back extending to seat level flanked by plain panelled sides terminating in square uprights, heavily worn at the top, originally with similar crocketed finials, the multi plank seat above a further twin panelled partly enclosed base, with plain lower and rear stretchers, the rear with further moulded rails, having uprights being heavier at the base, up to seat level then stepping down in depth, 113cm high, 57cm wide and 46cm deep. Note - English Armchairs from the early Tudor period are very scarce items, rarely surviving in a complete form without extensive restorations. This unusual format chair remains in original form and retaining an untouched colour and surface patination. Provenance - Maurice Goldstone Private Collection, Goldstone Antiques, Bakewell Derbyshire. Purchased from Michael Goldstone in the mid 1980’s. Maurice Goldstone established his early furniture business in Bakewell in the 1950’s. In the 1960’s he purchased numbers of early pieces directly from Haddon Hall estate workers cottagers, it is thought this Armchair was one of such items: Credit, Michael Goldstone. *CR good early example.
Lot 660
A 19th Century French walnut farmhouse kitchen table, the plank top with cleated ends over a plain frieze on square tapered legs, 196.5 cm wide x 72 cm deep x 77 cm high CONDITION REPORTS The top is not quite level, there are two large splits running through it as well as a significant number of gouges. There is also a bit of filling and worm. There is a strange scratched/cross hatched effect to the centre panel. The measurement from the floor to the apron is 60 cm. Signs of old worm throughout, particularly noticeable to the apron and some losses to the legs throughout. See images for more details
Lot 185
A collection of 00 / Dublo gauge railwayana, mainly Hornby Triang, including an R2156A LNER 4-6-0 Class B 12/3 locomotive (8537), boxed, an R782 Smoky Joe locomotive Class OF, boxed, an R152 0-6-0 diesel shunter, green livery, with magnadhesion, boxed, an R2058 BR 0-4-0 industrial locomotive, boxed, a Great Western 3046 Lord of the Isles 4-2-2 locomotive (R354), with tender, a Wills 00 all metal super detailed locomotive body kit, Southern Railway P Class, boxed, a Peco loco body kit 009 gauge Jeanette 0-6-0 narrow gauge locomotive (not completely finished), together with a collection of various rolling stock including various carriages, crane, water tower, level crossing, various buildings, track, transformers, etc. (4 boxes)
Lot 81
Robert Williams (b.1942) for Pearl Dot Islington Chair, with dovetail joints, with pearl dot signature to the top of the chair, 113cm high Overall signs of age, wear and use. Marks and water stains. There are some splits and lifting of the wood in plaes. Slightly wobbly, the joints are sound but it does not appear to be level.
Lot 44
WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.
Lot 326
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STOCKING, 2020-21 oil on canvas 75cm x 62cm (29 ½in x 24 ½in) (unframed) Exhibited: Scottish National Portrait Gallery, Edinburgh, Alison Watt: A Portrait Without Likeness, 17 July 2021- 9 January 2022‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
Lot 325
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) FRANCES, 2022 signed, inscribed with title and dated ‘8th August 2022’ to stretcher verso, oil on canvas 76cm x 62cm (30in x 24 ½in) (unframed) Exhibited: Tristan Hoare Gallery, London, A Kind of Longing, 3 February - 10 March 2023‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
Lot 1319
4x sea fishing reels comprising Daiwa Sealine 600H, deep sea multiplier with saddle clamp, Abu Garcia Ambassadeur 9, with replacement handle, a Grice & Young Tatler 4/0 sea reel, Bakelite spool, star drag, free spool, and a Heddon Heritage 30 multiplier, hinged level wind, star drag and brake control. (4)
Lot 373
A CASED PERCUSSION RIFLE BY JAMES BEATTIE, LONDON with 30" octagonal barrel, front bead sight, rear groove sight, gilt pinstripe decoration at breech, foliate scroll etched barrel tang, foliate scroll etched action inscribed with maker's name, twin triggers, fine walnut stock with cheek swell, steel furniture with foliate scroll decoration throughout, wood ram and fitted mahogany case with brass campaign type fixtures, 46" long, cased, 35 3/4" x 7 1/4" (Illustrated) (Est. plus 24% premium inc. VAT)Condition Report: Nice overall condition, action holds in half and full cock, to then fire with strength. Second trigger when compressed does appear to make the main trigger lighter. Minor low level pitting.Stock- old but very good crack repair on forend, otherwise goodBarrel- Externally good, with very minor internal pitting.Bore- Size unknown, measured by eye at muzzle approx. 12mmAction- Appears to be in working order with half and full cock. Trigger feels lighter with holding of rear trigger.
Lot 24
Slot Car Racing group to include (1) TCR 3600-1 Lane Changers - Collision Course; (2) TCR 6980-7 Multi Level Raceway; (3) Tomy Aurora AFX Daredevil Rally Racing Set - generally Good, within Fair to Poor original packaging, all 3 sets are noted as complete by the Vendor, but not checked or tested by Vectis, also includes loose track and accessories and an incomplete Meccano Set - Fair - see photos. (Qty)
Lot 362
Lego System group including: #4539 Manual Level Crossing, #4531 Manual Points, #4546 Road & Rail Maintenance, #4515 Straight Rails x2, with instructions, unchecked for completeness or correctness, within Good packaging, Good to Good Plus (some discolouration, would benefit from cleaning); (5).
Lot 212
A pair of exquisite Doulton Lambeth stoneware vases featuring an elegant cobalt blue glaze and intricate floral relief detailing in earth tones. Each vase is adorned with decorative double handles and showcases the high level of craftsmanship characteristic of Doulton Lambeth's late 19th to early 20th-century production. The bases are stamped with the Doulton Lambeth hallmark and style numbers, indicating authenticity and heritage.Issued: 20th centuryDimensions: 6"HCountry of Origin: EnglandCondition: Age related wear.
Lot 102
A Distinguished Flying Cross Medal 1943, awarded to Flying Officer John Thomas Boundy,Supplement to London Gazette 23.11.1943 Page 5131 Flying Officer John Thomson BOUNDY No. 124789 RAFVR No. 225 Squadron “This officer has completed a very large number of sorties and has displayed great skill, courage & resolution. One morning in September 1943 he undertook a reconnaissance in the Selearea area. In spite of anti-aircraft fire which damaged his aircraft, Flying Officer Boundy reconnoitred the area from a low level. In the afternoon he undertook a similar sortie with good results. Although his aircraft was badly damaged by anti-aircraft fire, Flying Officer Boundy flew it to base. His determined efforts set a splendid example."
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