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534297 Los(e)/Seite
Los 85
Matchbox Lesney 1-75 Series Scarce Variations, 27a Bedford Low Loader, pale blue cab, dark blue trailer, MW, 30a Ford Prefect, light blue body, GPW, 55b Ford Fairlane Police Car, dark blue body, BPW, 11a ERF Road Tanker, green body, MW, 31b Ford Fairlane Station Wagon, yellow body, crimson base, SPW, 15a Diamond T Prime Mover, yellow body, MW, P-G (6)
Los 88
Matchbox Lesney 1-75 Series Removals Vans, 17a Bedford Removals Van (2), first light blue body, MW, second green body, MW, 46b Pickford's Removals Van, green body, BPW, in original boxes, loose 17a (2), first maroon, MW, second dark green, GPW, 46b (3), first dark blue, GPW, second green, GPW, third tan body, 'Beales' decal, BPW, P-E, boxes F-VG (8)
Los 427
HotWheels Redlines, Custom Cougar, The Demon, Rocky-Bye -Baby, Custom Mustang, Special Delivery, Turbro, Classic Ford Woody, Custom Corvette, Custom Camaro, Silhouette, Hot Heap, Light-My-Firebird, all in spectraflame blue/light blue, F-G, some retouching, The Demon with pink pen on base (12)
Los 68
LESLIE GORDON DURBIN (1913 - 2005) A silver gilt seven light candelabrum sculpted in the form of fish weaving through seaweed, mounted on a naturalistic rough cut stone base, with a makers mark and further marks for London 1968, 29cm wide x 20cm high Leslie Durbin, CBE, MVO, began silversmithing having won a London County Council scholarship at the age of 13 and was an apprentice to Omar Ramsden.
Los 1057
Veteran, Vintage Motorcycle Brass Front Forks Security Anti-Theft Lock, by Gamage of Holborn, London, named to top area, 11cm diameter; and An Edwardian Motor Radiator Mascot for the little-known Stag Light Two-Seater, English, features a stag with antlers surrounded by a laurel wreath, 11.5cm high (2)
Los 1154
A Small Barn Owl Accessory Mascot with Featured Eyes, display base mounted, for the vintage light car; A Polished Brass Pre-War Vintage and Classic Vehicle Mechanics Maintenance and Repair Blow Lamp, by Monitor Tools and Accessories, England; A Letter Opener, an award for Contours Yorkshire Thoroughbred Car Club; and A Lotus Sports Car Accessory Upholstery Brush, from the late 1960s Lotus Jim Clark trading era (4)
Los 1236
1925 Austin Seven ''Chummy'' Registration number: DS 9892 Date of registration: 1925 VIN number: A25559 Engine Number: TBC Colour: Dark Blue over Black The Austin ''Seven'' was introduced in 1922 and remained in production until 1939. Almost 300,000 were built, of which 10,000 are known to survive worldwide. Built at Longbridge, Birmingham, it was intended to provide affordable four-wheel transport for the working man and his family. The earliest models had a 696cc engine and a three-speed crash gearbox, with a wheelbase of six feet three inches. It was available only as an open tourer with just enough room for two adults and two small children. This type of body was and is known as a ''Chummy''. The Chummy has long been a firm favourite with Bugatti and Bentley owners usually favouring them over their exotic stable. Eligible for VSCC and light car events they serve as a highly thought of entry to trials, hill climbs and driving tests. Or the perfect car for a summers evening ramble to the local pub. The car by Peter Maguire has undergone extensive restoration and she can only be described as wonderful. Recent paintwork, hood and upholstery, good tyres and correct dash-ware and lights, the Chummy was driven long distance to Leyburn by its long term owner and is in fine mechanical order. Prices have held up well for nice examples with 20k often being achieved in sales. One recently sold at auction for an astounding £36,000. Buyer's premium of 12% inclusive of VAT @ 20%
Los 116
MICHEL FRERE (BELGIAN 1961-1999) Untitled , 1996 oil on canvas 106 x 177 cm (41 3/4 x 69 3/4 in.) initialed and dated on verso PROVENANCE Collection of Richard Milazzo (label on stretcher) Sidney Janis Gallery, New York (label on stretcher)LOT NOTESMichel Frere was a Belgian abstract expressionist artist related to Informalist European postwar movements and groups, such as CoBrA, tachisme, and materialisme. Frere, with his rambunctious, large-scale canvases, viewed his work as a development of the ideas of artists such as Gustave Courbet (whom he loved for his landscapes), James Ensor and Eugène Leroy. Like other “materialist” artists - a term coined by art critic Michel Tapies to describe a certain kind of outsider art, or art brut, as it is known in Europe - including Jean Debuffet, Antoni Tapies and Lucio Fontana, Frere paid a great amount of attention to the surface qualities and presence of his works, often with the inclusion of unconventional painting materials. This piece, created in 1996, embodies both the artist’s love of landscape and his insistence upon a kind of literal substantiality. The pastose, weighty convergence of aubergine-browns, light greens, ochres, and a touch of cerulean, pays homage to the painterly outdoor scenes of the Barbizon school, and produces some of his most recognizable work.The following painting comes from the collection of art critic, publisher, poet and curator Richard Milazzo, author of a catalogue on Michel Frere and curator of several shows Sidney Janis Gallery, one of the most prominent platforms for avant-garde art in postwar New York. The Gallery, opened in 1948 and founded by eponymous art collector and entrepreneur Sidney Janis along with wife Harriet Janis, represented the likes of Lichtenstein, Warhol, Rosenquist and Oldenburg, and held exhibitions of Fauvist, Dada, Surrealist and De Stijl artists: Matisse, Mondrian, Giacometti, Arp, Leger. The Sidney Janis Gallery is perhaps best known for furthering the now-illustrious Abstract Expressionists, such as de Kooning and Pollock, and subsequently, the Pop Artists (the aforementioned Lichtenstein and Warhol) in its influential 1962 exhibition titled The New Realists."}" data-sheets-userformat="{"2":513,"3":{"1":0},"12":0}">LOT NOTES Michel Frere was a Belgian abstract expressionist artist related to Informalist European postwar movements and groups, such as CoBrA, tachisme, and materialisme. Frere, with his rambunctious, large-scale canvases, viewed his work as a development of the ideas of artists such as Gustave Courbet (whom he loved for his landscapes), James Ensor and Eugène Leroy. Like other “materialist” artists - a term coined by art critic Michel Tapies to describe a certain kind of outsider art, or art brut, as it is known in Europe - including Jean Debuffet, Antoni Tapies and Lucio Fontana, Frere paid a great amount of attention to the surface qualities and presence of his works, often with the inclusion of unconventional painting materials. This piece, created in 1996, embodies both the artist’s love of landscape and his insistence upon a kind of literal substantiality. The pastose, weighty convergence of aubergine-browns, light greens, ochres, and a touch of cerulean, pays homage to the painterly outdoor scenes of the Barbizon school, and produces some of his most recognizable work. The following painting comes from the collection of art critic, publisher, poet and curator Richard Milazzo, author of a catalogue on Michel Frere and curator of several shows Sidney Janis Gallery, one of the most prominent platforms for avant-garde art in postwar New York. The Gallery, opened in 1948 and founded by eponymous art collector and entrepreneur Sidney Janis along with wife Harriet Janis, represented the likes of Lichtenstein, Warhol, Rosenquist and Oldenburg, and held exhibitions of Fauvist, Dada, Surrealist and De Stijl artists: Matisse, Mondrian, Giacometti, Arp, Leger. The Sidney Janis Gallery is perhaps best known for furthering the now-illustrious Abstract Expressionists, such as de Kooning and Pollock, and subsequently, the Pop Artists (the aforementioned Lichtenstein and Warhol) in its influential 1962 exhibition titled The New Realists.
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534297 Los(e)/Seite