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Ardizzone (Edward). Little Tim and the Brave Sea Captain, 1st ed., pub. OUP, 1936, coloured lithographed illustrations, one or two light spots, original pictorial boards, joints and edges rubbed, d.j., rubbed with marginal tears and losses, folio. With a photocopied letter from Adrian Cooper, confirming he was the model for 'Little Tim' in the red polo jersey, which was the school uniform for Arnold House School, London, and that his father was an artist friend of Ardizzone in the 1930's. (1)
Emett (Rowland). A model of a train, comprising an antiquated engine called Nellie, her driver, tender, and two carriages, each with a single occupant, c.1951, constructed of colour-printed card, approx. 150 x 340 mm (6 x 13.5 ins), contained in later cardboard box with clear plastic front. Frederick Rowland Emett, OBE (1906-1990), was an English cartoonist and constructor of whimsical kinetic sculpture, who studied at Birmingham School of Arts and Crafts. His first cartoons appeared in Punch in 1939 and it was here that his strange, spindly locomotives made their first appearance. In 1951, at the Festival of Britain, his most famous steam locomotive, Nellie, was made into a copper and mahogany kinetic sculpture and was one of the festivals most popular attractions. Presumably this model of Emett's sculpture was issued in kit form for assembling at home. In 1991 the original hand-drawn prototype for our version of Nellie was sold at Sotheby's. After the Festival of Britain Emett turned increasingly to designing, but not always building, what he called his 'things', always with silly names such as "The Featherstone-Kite Openwork Basketweave Mark Two Gentlemans Flying Machine". In the mid-1960s he was commissioned to create a mechanical computer, which he named the "The Forget-Me-Not Computer." In 1968 he designed the eponymous car and machines for the film 'Chitty Chitty Bang Bang'. In 1973 his water-powered musical clock, "The Aqua Horological Tintinnabulator", was installed on the lower floor of the Victoria Centre, Nottingham, where it can still be seen in full working order. His larger works went on extended tours, ending up in prestigious venues such as the Smithsonian Institution in Washington. The Ontario Science Centre in Toronto has a collection of about ten Rowland Emett creations and every December it displays the restored, working pieces, usually under the title "Dream Machines". (1)
Lesney Die-cast - Eleven models - Three Matchbox Major - Bedford Articulated Truck and Trailer `Walls Ice Cream` (M2) - Scammell Articulated Truck and Lowloader Trailer `Pickfords` (6) and Ruston Bucyrus Excavator (M4) together with eight other Lesney model vehicles and two Matchbox garages
AN OAK THEBES STOOL with a dished seat carved in low relief with stars and zodiac symbols, on three shaped legs, 10" wide. The Thebes stool was a popular model with artistic designers and retailers at the turn of the century. Based on an Egyptian original in the British Museum many slight variations on this theme were produced. Possibly the largest retailer of such stools was Liberty and Co of London who included them in the `Artistic Furniture` section of their Christmas catalogues between c1905 and 1912. Although conforming to the usual form this example has a most unusual seat with carved animals and stars. See Illustration
ALVAR AALTO: A PAIR OF PLYWOOD STOOLS MODEL No60 FOR FINMAR with circular seats on three moulded plywood legs, each with Finmar labels to the base (2). Originally designed for the Viipuri Library in 1927 this is one of the most successful moulded plywood designs. Its simplicity, stackability, sturdiness and visual appeal of this design have seen that it has remained in production until the present day. See Illustration
HANS WEGNER: A WISHBONE CHAIR MODEL CH24 with shaped back rest above a woven seat on turned legs and stretchers. First designed in 1950 for Carl Hansen and Son, this successful interpretation of a bentwood chair shows Danish Modernist designers interest in sourcing influences from around the globe, this chair showing a clear debt to Chinese furniture. Wegner showed this influence most clearly in his `Chinese Chair`. See Scandinavian Domestic Design, edited by Erik Zahle, p116. See Illustration on page 122
FINN JUHL: A DINING CHAIR, probably model number NV53, with an upholstered back and seat on turned and stained legs. Finn Juhl was a Danish architect who was appointed head of the school of House furnishing at the Fredriksberg Academy between 1945-55. Juhl designed many ranges of furniture for a number of makers during this period and his designs always show a clear division between the chair frame and the upholstered parts. See Illustration
POUL KJAERHOLM: A LOW CHAIR MODEL PK22, with leather upholstered back and seat on chrome legs. First designed in 1957 this design by the leading Danish designer Poul Kjaerholm shows his exacting standards in demanding the highest quality materials and standards of manufacture. A factor that limited his designs to the wealthiest of clients and to public buildings. See Scandinavian Domestic Design, edited by Erik Zahle, p100. See Illustration on page 124
SIDNEY BARNSLEY: A STAINED OAK KNEELING RAIL, with a rectangular top supported on four hexagonal uprights with through tennoned crossrails, above an open rail of five panels with chamfered edges, on sledge type feet with shaped toe, 34½" high, 60" wide. This rail is believed to be a prototype for the kneeling rails that were use in St Andrews Chapel in Westminster Cathedral. The Roman Catholic cathedral at Westminster was consecrated in 1910, and with numerous carvings by Eric Gill, mosaics by George Jack and work by many other leading designers of the time, the cathedral is one of the most spectacular buildings of the period. The chapel of St Andrew was designed by the leading Arts and Crafts architect Robert Weir Schultz who had been put forward for the commission by the Marquess of Bute. The Bute family had a well recorded love of the progressive arts, and it is not surprising that they were involved with the building of the new Cathedral. The choir stalls and clergy seats in the chapel were designed by Ernest Gimson and Weir Schultz, and like the kneeling rails, they were made in ebony inlaid in bone. A prototype for one of the clergy seats from the chapel is now in the collection at Cheltenham Museum and Art Gallery, having previously been in the collection of Weir Schultz (CAGM 1941.225.121). It is likely that this prototype was produced both to assess the design and as an aid to costing. The current lot may well be the prototype for the kneeling rails in the chapel. The examples in use are made of ebony and bone, and this might well explain why the cheaper alternative of stained oak was used for the working model. A drawing of this item by Sidney Barnsley is in the Cheltenham Museum collection, 1972.186:1. the design dated to c1923. See Illustration
A Royal Copenhagen porcelain model of a panda eating bamboo, 1930s, green printed factory mark, underglaze blue wave mark and painted numerals `662` to base, height approx 17.5cm, together with a Royal Copenhagen porcelain model of a sleeping baby panda, 1930s, green printed factory mark, blue wave mark and painted numerals `665` to base.

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