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Preisdatenbank abonnierenA collection of vintage motoring parts, to include a brass horn with rubber bulb and bracket, stamped B2281, a brass cased S Smith & Son speedometer and mile indicator dial, a Smiths electric car clock, a brass cased 8 day car clock, a Wales car badge, a Lucas Condenser unit, various switches, bulbs, plugs etc
[TRANSPORT]. MOTORING Hasluck, Paul. The Automobile. A Practical Treatise on the Construction of Modern Motor Cars, Steam, Petrol, Electric and Petrol-Electric, new edition, two volumes, Cassell, London, no date [circa 1905], green cloth gilt, plate illustrations and vignette text diagrams, octavo; Nockolds, Harold. Lucas: The First Hundred Years, reprint, two volumes, David & Charles, Newton Abbot, 1977, green cloth, dustjacket, illustrations, octavo; Pugh, Peter. The Magic of a Name. The Rolls-Royce Story, three volumes, Icon Books, Duxford, 2000-2002, boards, dustjacket, illustrations, octavo, in slip-case; and a further thirteen assorted works, (16).
Star Wars (1977) original British Quad style C film poster linen backed with art by Tom Chantrell from George Lucas classic sci fi film franchise starring Mark Hamill as Luke Skywalker, Harrison Ford as Han Solo and Carrie Fisher as Princess Leia. measures 29 1/2 inch by 40 inch, with printed Academy awards below title and trimmed off printers name at the bottom right of poster, linen backed previously unfolded with areas of restoration in the corners. (1)
Star Wars Revenge of the Jedi dated teaser US one sheet film poster with the text ''Coming May 25, 1983 to your galaxy.'' beneath the atmospheric Drew Sturzan artwork featuring Darth Vader battling Luke Skywalker in a Lightsaber fight. Previously folded and now line backed measuring 27 x 41 inch in excellent condition. This teaser poster was printed before the title change to Return of the Jedi as George Lucas decided that a Jedi should not seek revenge. (1)
Two non-matching vintage Lucas car head lamps, a Royal Automobile Club Association badge no.CA37545, a Rolls Royce 'Spirit of Ecstasy' car mascot, an early 20th century pair of motorbike/car goggles and two brass ducks. CONDITION REPORT Some pitting to the chrome on the head lamps, more significant to the inspection lamp which probably wants re-chroming.
WORLD WAR II: Selection of A.Ls.S. (1), T.Ls.S. (4) and signed First Day Covers (4) by various allied military and naval leaders etc. of World War II including Harold Alexander (to the painter Frank O. Salisbury regarding a portrait of Mrs. Jack McConnell), Louis Mountbatten (regarding a form which he has completed for the Social Science Research Council, stating that his Far East tour has been planned and adding that he is to have a hernia operation at the Royal Naval Hospital at Gosport), Laddie Lucas, Brian Horrocks, John Hackett, Michael Carver, Johnnie Johnson, Ira Eaker etc. A few with minor faults, G to generally VG, 9
BATTLE OF BRITAIN: Selection of A.Ls.S. (8) and T.Ls.S. (2) by various pilots, most of whom participated in the Battle of Britain, comprising Richard Jones, Ray Sellers, Reginald Gretton (2; one with the signature neatly excised), Mike Croskell (final two pages only, with signature), Laddie Lucas, Lewis Hodges, Ivor Broom, Peter Parrott and Les Smith. Most of the letters were written to Ken Wynn, author of Men of the Battle of Britain, and contain interesting biographical details etc. G to generally VG, 10
LITERATURE: A good selection of signed cards, A.Ls.S. etc., by various writers and novelists etc., of various nationalities (British, American, Canadian, Australian etc., many of them female writers) including Charles Major, Maarten Maartens, Gilbert Parker, Robert Herrick, Henry Sydnor Harrison, Paul Verola, Cynthia Stockley, Ida A. R. Wylie, Elizabeth Paschal O'Connor, Susan Glaspell, Mary Gaunt (2, written from Liberia and Sierra Leone whilst travelling in West Africa researching for her next work), Jeannette Augustus Marks (A.Q.S.), Margaret Deland, Louise Mack, Annie Swan, Mary E. Mann, Jane Findlater, Marjorie Bowen, Theodora Combe (2; one a lengthy letter praising a review written by her correspondent, in part, 'The pithiness….was remarked on at the time by those who read it as being really an intellectual review! So many are such nonsense, & so terribly badly expressed.'), Melesina Mary Blount (2), Arabella Kennedy, Beatrice Harraden, Priscilla Craven, D. K. Broster, G. W. Taylor, Georgette Agnew, Mary Crawford Fraser, Maud Driver (discussing her work Lilamani - A Study in Possibilities and stating, in part, 'To say whether one considers such marriages 'a mistake' is always difficult. Broadly speaking they make for unhappiness'), Curtis Yorke, Annie E. Holdsworth, Alice Perrin, Florence Barclay, Peggy Webling (2; wrote an adaptation of Mary Shelley's Frankenstein for the stage in 1927, notable for being the first time in which Frankenstein's monster was named after its creator), Margaret Legge, Maude Annesley (forwarding some autographs for her correspondent's collection and commenting 'I could let you have Ouida's if you like, but, as these are now very valuable, I am selling them for 10/- each for a charity') Gertrude Baillie Reynolds, Ellen Thorneycroft Fowler, Mary Elizabeth Braddon, Lucas Malet, Helen Mathers, Effie Maria Albanesi, Elizabeth Robins, Maud Stepney Rawson (in full 'Why is it that pens - when one wishes to comply with a flattering request such as yours - always jib (or is it 'Gib' - but surely not 'jibe' or gibe? I can never spell the word'), Violet A. Simpson, Elizabeth Ellis, Agnes Grozier Herbertson, Marie Belloc Lowndes, Muriel Hine, Alice Muriel Williamson (also signed by her husband Charles Norris Williamson), Ruby Ayres, Miriam Alexander, Amy Dora Reynolds, Caroline Grosvenor, Elinor Glyn, Florence Henniker, Emma Brooke, Isobel Osbourne etc. Some of the letters make brief references to the subject's works. Some light age wear, generally about VG, 74
Attributed to Cornelius Janssens van Ceulen (Johnson) (1593-1666) Oil on Board. The Jacobean portrait of a gentleman believed to depict Charles Lord Effingham Lord Admiral and Lord Chamberlain of Queen Elizabeth I Royal Household. The portrait was originally purchased from the Royal United Service Institute Sale of Military and Naval Paintings,where it had been on display in the boardroom.The portrait was subject to restoration by Arthur Lucas Restorer and Keeper of Conservation at the National Gallery circa 1974.
A CARVED WOODEN MODEL OF THE 'LION OF LUCERNE' AFTER THORVALDSON. 19cm wide x 10.5cm high x 8cm deepThe Lion of Lucerne is a sorrowful monument of a dying lion, carved beautifully into the rock wall of an old sandstone quarry in Lucerne, Switzerland. Measuring ten metres long and six metres high, the animal proudly commemorates the Swiss Guards who died in 1792 defending the French Royal Family at the Tuileries Palace in Paris.Swiss Guards had been used by the French monarchy since the 17th century and were highly prized for their loyalty and unfailing dedication to their service. On 10th August 1792 over seven hundred guards were killed, with further deaths taking place during the September Massacres a month later. Karl Pfyffer von Altishofen, an Officer of the Guards who happened to be on leave in Lucerne during the atrocities, took it upon himself to erect a monument in honour of his fallen comrades. In 1818, he began to raise the money and Bertel Thorvaldsen was granted the commission. Thorvaldsen was a Danish sculptor who was working in Rome at the time. Inspired by the grand classical works around him, he drew on the figure of the lion to represent the strength and nobility of the Guards. With its head resting on a shield bearing the Fleur-de-Lis, an unmistakeable representation of the French Crown, even in death the lion protects the monarchy. The lion was hewn into the rock by Lucas Ahorn, a German stone Mason, between 1820 and 1821 and lies there to this day, the solitude of his eternal slumber a stark reminder of the sacrifice made.
A pair of Derby (Rbt. Bloor) blue-ground and gilt two-handled urns painted with titled landscape views, circa 1825, each painted with a titled landscape view in the manner of Daniel Lucas Snr. with British views, 22cm high, iron-red printed 'Bloor' marks and inscribed in iron-red View in Wales. and View in Derbyshire., 22.5cm high
* Atlas Titlepages. Jansson (Jan), Novus Atlas sive Theatrum orbis terrarum..., Amsterdam 1646, engraved title page with contemporary hand colouring, some marginal repaired closed tears, 415 x 250 mm, mounted, together with Speed (John). England, Wales, Scotland and Ireland described..., published George Humble, 1627, uncoloured engraved title page, several marginal tears with slight loss, 90 x 130 mm, mounted, together with Porter (Robert Ker), Europa and Zeus disguised as a bull, circa 1820, sipple engraving with contemporary hand colouring, with six lines of verse below image, 295 x 210 mm, mounted, and Cranach (Lucas), Three studies of wrestling, circa 1540 but early to mid 18th century impressions, three hand coloured woodcuts of two men wrestling, German text above each image, each approximately 255 x 190 mm, mounted, plus three uncoloured classical engravings, an almanac after Kate Greenaway, two watercolours attributed to De Wilde and a folder of ten reproduction prints after Martin Rawson all mounted (Qty: 22)
Antique book; John Lucas Portrait Painter by his son Arthur Lucas, limited to 500 copies, 1910. With hand written dedication inside from Arthur Lucas to Stanley Hayward and with original newspaper article about the book publication from Oct 1910. The book is 'A Memoir of his life mainly deduced from the correspondence of his sitters' and was arranged and connected by his son. It contains 94 tissue guarded full page illustrations.
NO RESERVE Heraldry.- Brooke (John Charles, herald and antiquary, 1748-94) Autograph Letter signed to George Townshend, Earl of Leicester, sm. 4to, 2½pp., [London], Herald's College, 5th August 1791, promising to visit him at Balls Park in Hertfordshire as soon as he may, thanking him for his explanation "of the badge at Chartley... the Ball in chief, & the singular manner of tying up the upper part of the mantle, gives it so much the appearance of what we call an ancient Barons Cap", and some other antiquarian news, "...Lord Howard... tells me he is erecting a magnificent monument in the church of St John Madder Market, Norwich, for Margt. Audley, Dutchess of Norfolk, who was burd. 1563... he is also engraving the Portrait of her, painted by Lucas de Heare, mention'd by Walpole, wch. the late Lord Sackville gave him from Drayton", folds, browned.⁂ George Townshend, second Marquess Townshend (1753-1811), known as The Lord Ferrers of Chartley from 1770 to 1784 and as The Earl of Leicester from 1784 to 1807; peer and politician.
SIR ALFRED GILBERT (1854-1934) 'VICTORY' silvered bronze, raised above an onyx sphere spacer on patinated bronze plinth base 18cm high Provenance: The Fine Art Society, London Literature: Dorment, Richard 'Alfred Gilbert: Sculptor and Goldsmith', Royal Academy of Arts, London, 1986, p.129 Note: After joining the Royal Academy in 1873 and studying at the École des Beaux-Arts in Paris, Alfred Gilbert went on to become one of the most influential sculptors of his generation and a leading figure in the New English Sculpture movement. 'Victory' was cast in 1887 and her dramatic pose, carefully balancing above an orb, encapsulates the New Sculpture preference to convey narrative through dynamic compositions. Whilst originally produced to surmount the orb held by the monarch in his 'Jubilee Memorial to Queen Victoria' at Winchester (1887), many reductions of this figure were subsequently made and Gilbert presented them to many of his friends, including John Singer Sargent and Seymour Lucas. Once described as "the Benvenuto Cellini of this age" by President of the Royal Academy Frederic, Lord Leighton, Gilbert's continual acclaim is a testament to his virtuoso skill as a bronze founder and goldsmith.
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