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Jaeger-LeCoultre Marina Model Atmos clock, the 4.25" recessed dial within a plexi glazed case gilded with galleons to the front and sides, within a brass bound case, no. 291404, 9" high, with original white leatherette folding travelling case, packaging and various Jaeger-LeCoultre literature, and the original purchase receipt dated 7th April 1970 (front glass at fault)
§ John Maltby (British, 1936-2020), King,a stoneware model of a crowned head mounted on a stepped stoneware base, impressed seal mark to underside 36cm highFootnote: Whilst he did not necessarily aspire to great prestige, there can be no doubt that by the time of his death in December 2020, John Maltby had firmly established an international reputation as one of the most significant and most collected British ceramicists of his generation, if not of the 21st Century. Born in the Lincolnshire seaside town of Cleethorpes in 1936, Maltby trained for his degree at Leicester College of Art where he specialised in sculpture before spending a further year of study at Goldsmiths College, London. In 1962, having only recently read Bernard Leach’s ‘A Potter’s Book’, Maltby and his new wife, Heather, ventured on a trip to St Ives, Cornwall, to meet the renowned potter. Though impulsive, this meeting proved to be a seismic event in Maltby’s life and prompted him to pursue a career in ceramics under the tutelage of Bernard Leach’s son, David. After working as Leach’s apprentice for two years, during which time he honed his throwing skills and became accomplished in Anglo-Oriental techniques, in 1964 Maltby founded Stoneshill Pottery in Devon, where he continued to work until his death. Early wares produced by Maltby were mostly domestic in function and were heavily influenced by the Anglo-Oriental forms and glazes favoured by Leach. However, quickly realising that he had little interest in Eastern ceramic traditions, Maltby looked elsewhere for inspiration and discovered that the ‘naïve’ styles favoured by the previous generations of St Ives artists, such as Alfred Wallis, Christopher Wood and Ben Nicholson, offered fertile ground. Seeking to create a new brand of English studio pottery and to distil ‘Englishness’ into each and every one of the stoneware figures he created, Maltby drew inspiration from ancient English folklore and often featured an ensemble cast of kings, queens, angels, and knights. Meeting at the junction between art and anthropology, Maltby’s figures are at once rooted in the ancient and the English but are also in dialogue with the modern world and, borrowing decorative motifs from Oceanic and African sculpture, with broader world art cultures.
§ Dame Laura Knight RA RWS (British 1877-1970)Peter's Hand signed and inscribed, Peter's own splendid / hand: so strong and vital / With love to / my patient model / Laura knight lithograph 19 x 13.5cm; a black and white lithograph of Dame Laura Knight's Take-Off: Interior of a Bomber Aircraft, inscribed to the reverse, To dear Peter with love / Laura, 17.5 x 14cm: together with a first edition of Janet Dunbar, Laura Knight, Collins, 1975, signed by the author and inscribed by Peter
§ Jacob Epstein KBE (American/British 1880-1959)Reclining Nude, 1928 signed 'Epstein' (lower left) pencil 42.5 x 55cmFootnote: Provenance: Sale; Christie's, South Kensington, 28 March 1996, lot 37 Sale; Sotheby's, London, 2 October 1996, lot 87 Exhibited: London, Godfrey Phillips Gallery, Drawings by Epstein, 1928, no.44 Literature: Hubert Wellington, Epstein - Seventy-Five Drawings, J. Saville & Co., 1929 (ill.no.44) The present lot was one of several pencil studies of women of colour that Epstein produced in the summer of 1928 and, whilst seemingly divergent from his best-known works, is demonstrative of Epstein’s lifelong endeavour to disrupt and challenge European paradigms of beauty. Unlike many of his contemporaries and predecessors, who erased and denied the black body a place in art, Epstein’s sketches elevate his models to a position traditionally occupied only by white, European models. A similar sketch by Epstein, which depicts the same unnamed model, is held by the Tate Gallery, London.
§ Roger 'Syd' Barrett (British 1946-2006)Orange Dahlias in a Vase signed and dated 'R. Barrett / Oct. 1961' (lower left) watercolour and pastel 58 x 44cmFootnote: Provenance: Gifted by the artist to Gerald Arthur Clement Harden, thence by descent within the family If you were to read his secondary school reports, there would be very little to indicate that Roger ‘Syd’ Barrett would later become one of the most significant and influential cultural figures of the 20th century, both domestically and internationally; an almost mythic figure, Barrett became an emblem of a time, place, and culture, distilled into a single individual. In 1957, Barrett began his secondary education at Cambridgeshire High School for Boys, which aimed to emulate the public-school model. The exclusively male teaching staff shrouded themselves in academic robes and crowned themselves with mortarboards. The school certainly had a profound effect on Barrett’s fellow pupil and later bandmate, Roger Waters, whose lyrics to the band’s 1979 hit, ‘The Happiest Days of Our Lives’, open with: ‘When we grew up and went to school / There were certain teachers who would / Hurt the children in any way they could’ and continues in the rest of the song to reflect upon the contemptuous and often violent treatment of pupils by some of the school’s tutors. As a student, Barrett was emphatically average and, to most of his teachers, remarkable only in his inability to follow the rules. To Gerald Arthur Clement Harden, the school’s art teacher between 1938 and 1971, however, Barrett was a conspicuous and prodigious talent and one of the very few pupils permitted to use Harden’s oil paints. Painted when Barrett was just 15 years old, the present lot was gifted to Harden by the artist shortly before he left the school and began studying art at Cambridgeshire College of Arts and Technology. Although generally perceived as an unmotivated student by most of his tutors, Harden’s support encouraged Barrett to pursue further study in painting and ignited in him a passion for art that would continue to burn until his death in 2006. Following his death in 2006, Cheffins sold the contents of Barrett's home in Cambridge, no.6 St Margaret's Square, where he had lived since 1981.
Maison Desny, Paris, two graduated silver plated vases, circa 1930,of rectangular form with stained wood handles, stamped 'Desny Paris, Made in France' the larger 18cm high, the smaller 14.5cm highFootnote: For another example of this model: R. Niggl, Eckart Muthesius 1930: The Maharaja's Palace in Indore, Architecture and Interior, Stuttgart, 1996, p. 57. Provenance: Julians Park, Hertfordshire
Alien: Covenant (2017) Original preparatory latex model of the hand, made by Creatures Inc, the company that did the effects for the film, 41 cm. Link to website showing their work on it -https://www.creaturesinc.com/creature-effectsCondition Report: Some marks and signs of use. Latex is a bit sticky.
Joe 90 Joe 90 reproduction puppet made by Century 21 sculptor John Brown in the early 1970s using the original moulds, puppet in full vintage costume on stand with plaque, head and hands made of cast resin with glass eyes and real hair, approximately 17 inches high on stand. Provenance: John Brown, was one of the chief model makers and puppeteers for Joe 90 having worked for Gerry Anderson since the making of the first series of Thunderbirds.
An HO Gauge Westside Model Company Pennsylvania Q-2 Duplex 4-4-6-4 brass engine and tender, in original box, together with a Nickel Plate Products Japanese brass built CSS&SB #100 Interurban trolley car, also boxed.Condition report: Both appear new and unused. Some wear to the boxes.
A boxed Westside Model Company HO gauge n3 Two Truck Shay with Super Namiki Coreless Power brass locomotive made by Nakamura Seimitsu (Japan), together with a Westside Model Company J-3a 'Super Hudson' brass engine and tender, made in Japan by Micro Cast Mizuno, also boxed.Qty: 2Condition report: Models appear unused. Some wear to the boxes.

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