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628707 Los(e)/Seite
Los 127
A vintage retro large 20th Century ceramic lustreware model of a Brown Trout (No 343) figure by Jema (Holland), together with a pair of smaller matching Brown Trout, impressed maker's marks and model number to base. Measures 25cm high x 29 cm wide, also with two vintage retro 20th Century ceramic lustreware models of freshwater fish figures by Jema (Holland), impressed maker's marks and model number to base. Measures 34 cm long (longest).
Los 511
An original vintage 1950's Dinky Toys made diecast model car 138 Hillman Imp Saloon in original box. Red paint finish with blue plastic interior and white steering wheel having jewelled headlights to front with chrome hub caps. Box is AF with most end flaps missing. Car is good to good+ with minor chips throughout. Suitcase not present.
Los 533
A collection of boxed or carded diecast and trains to include Corgi 2014 Car Transporter, Matchbox K-74 Volvo Estate, Corgi 8 Rover 3.500, Siku Mclaren and 1318 Police Car, Hornby Railways OO Gauge model railway train set locomotive R.256 and two GMR boxed rolling stock wagons. All appearing mint in original boxes / blister packs the car transporter being unpunched.
Los 552
A collection of original vintage diecast model empty boxes to include Dinky Toys 324 Hay Rake, Corgi 393 Mercedes Benz 350SL, Dinky Toys 114 Triumph Spitfire, Corgi Toys 309 Aston Martin Competition Model, Corgi Toys 264 Oldsmobile Toronado, and various Matchbox examples. Along with a boxed Corgi Kits 609 Shell Filling Station Forecourt Accessories and three diecast catalogues.
Los 826
Longines, Flagship, Bi-colour bracelet watch, no. 28163672, current model Movement L5 651 3. Stainless steel case, gold plated bezel, snap display case back Bracelet/Strap: Longines stainless steel and gold plated brick link bracelet with concealed clasp. Retaining original retailers presentation box and paper work.
Los 253
Collection of Seven (7) Franklin Mint Die-Cast Model Cars. Each titled and dated on bottom side, a few with original labels and COA's. Largest measures 9-1/2" L, smallest measures 6-1/4" L. Condition: Wear, a few with some losses or broken parts Estimate: $50.00 - $150.00 Domestic Shipping: $82.00
Los 44
Gerald Leslie Brockhurst (1890-1978)Portrait of Florence Forsyth Oil on panel, 60.7 x 47.4cm (23¾ x 18¾'')Signed Provenance: Acquired directly from the artist by the sitter's family, prior to 1931; thence by descent. A fine example of a vivacious portrait of a young woman, Florence Forsyth, holding a sprig of snowdrops, against a stylised mountain backdrop by Gerald Leslie Brockhurst. Thought to date from the late 1920s, when Florence was a singer in London, it was commissioned by her father.Celebrated as a society portrait painter from the early 1920s through several decades, Brockhurst was also recognised as a printmaker of rare ability. Born in Edgebaston, Birmingham in 1890, he suffered from recurrent ear infections as a child and wrote poorly, but was precociously good at drawing. So much so that he was accepted in art school aged 12, first in Birmingham, then London. His self-portrait aged 15 is in the Scottish National Portrait Gallery. A travel scholarship brought him to France and Italy, where he was particularly impressed by the work of Piero della Francesca, Botticelli and da Vinci. His beautiful, Renaissance-style portrait of an unnamed woman, titled Ranunculus, (in Sheffield City Galleries), like Florence clutching a sprig of flowers, is judged an important work in pre-war British art by Kenneth McConkey in ‘The British Portrait.’ He also met, and in 1914 married, Anaïs Melisande Folin. They spent the war years mostly in Ireland, and visited Connemara. Besides painting some landscapes, Brockhurst painted Folin as the personification of Ireland against a mountainous Connemara setting (now in the Hunterian Gallery in Glasgow), and several portraits including those of Co Clare-born poet Francis McNamara (like Brockhurst part of Augustus John’s social circle) and Thomas Bodkin’s fiancée Aileen Cox (now in the National Gallery of Ireland collection, with several of Brockhurst’s Irish graphic works). Back in London from 1919, Brockhurst quickly became known as a printmaker and portrait painter. Although he was a slow, meticulous worker and demanding of his sitters, he became the portraitist of choice. Subjects included Margaret, Duchess of Argyll (now in Tate Britain), Wallis Simpson, the Duchess of Windsor and the society beauty Florence Lambert, wife of composer Constant Lambert.Brockhurst’s portraits are brilliantly lit. He had the instincts of a skilled Hollywood lighting-cameraman and his ability to lend his sitters a film star gloss was often noted. In the 1930s he could demand 1000 guineas per commission. But when his relationship with his model Kathleen ‘Dorette’ Woodward became public his marriage ended acrimoniously and he and Woodward moved to the United States, settling in New Jersey (they married in 1947). His services were as much in demand as ever and his subjects included Merle Oberon, Marlene Dietrich, J Paul Getty, several of the Rothschilds and many more. But by the time of his death, in 1978 (Woodward lived until 1995), he was a relatively neglected figure. Since the turn of the century, however, there has been renewed interest in his work, with several exhibitions in the US, and he is increasingly recognised as a significant 20th century printmaker and portrait painter.
Los 59
Jack Butler Yeats RHA (1871-1957)Winning the Race (c.1894-1896)Pencil, pen, ink and colour wash, 12 x 30cm (4¾ x 11¾'')Stamped with monogramProvenance: With Theo Waddington; Private CollectionExhibited: 'The Life and Time of Ireland by Jack B. Yeats', Dublin, September 2008; 'Father and Son - Paintings, Watercolours and Drawings by John Butler and Jack B. Yeats', Waddington Gallery, London May 2009, Catalogue No.10.This early watercolour juxtaposes two different aspects of equestrian sport, separated by an emblem of interlocking horseshoes, whips, crops and a correct and fixtures card. On the left two horses and their jockeys battle it out to cross the finish line first. A mesmerised crowd stands transfixed behind them. To the right in a more delicate scene, an elegantly attired horsewoman exchanges pleasantries with a red-coated companion at the balustrade of a country house. The two appear to be discussing the forthcoming hunt. The contrasting pace of each scene is humorously conveyed through the little dog which appears in both. The model for this hound is Yeats's much loved pet, Hooligan, who appears in many of his sketchbooks and drawings of the 1890s and whom the artist acquired in 1894 shortly after his marriage to Cottie. Both illustrations reveal the artist's remarkable ability to observe and to convey through line the physical attributes of tension and poise in people, horses and dogs. It also transmits an insightful and humorous view of late 19th century English society and its attitude to the horse. While the work was never published, its origins lie in Yeats's work as a cartoonist for London based periodicals, such as Paddock Life, to which he contributed equestrian based illustrations from 1891. Winning the Race, dated to the mid 1890s, belongs to a period when Yeats was developing his interest in watercolour and beginning to focus on his career as a fine artist. Its subtlety of finish and of mood distinguishes it from his black and white contributions to graphic journals. Dr. Roisin Kennedy
Los 109
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898) Hymen, the goddess of marriage holding a harp; A Married couple being blessed the first inscribed and dated upper right with initials "AG / 1876" (a dedication to Agnes Graham), the second signed upper right "From EBJ" pencil on card, two framed together, 33 x 16.5 cm (13 x 6.5in) each, overall 51 x 56cm (20 x 22in) Provenance: Agnes Graham (1861-1937) and by direct descent Exhibited: Midland Counties Art Museum, Nottingham Castle, Selected pictures by living and deceased artists. Works by Italian masters of the 13th, 14th, 15th and 16th centuries and pictures by Dante G. Rossetti, Ford Maddox Brown, E. Burne Jones A.R.A. and R. Spencer Stanhope, etc., February 1892, no. 75, as "Orpheus (pencil studies)", Lent by Major Jekyll, R.E. (1846-1932) Other Notes: The present drawings are dedicated to the artist and writer, Agnes Graham (1861-1937, later Dame Agnes Jekyll, m. 1881), with whom Burne-Jones had a long and affectionate correspondence. Agnes was the daughter of one of the artist's most devoted patrons - William Graham (1817-1885), the affluent Scottish merchant, Liberal MP for Glasgow (1865-1874) and patron of the Pre-Raphaelite Brotherhood. Having first encountered Burne-Jones' works in 1864, Graham became close friends with the artist and started collecting his works, amassing the biggest collection at the time. Graham often invited him to his country house in Stobhall, Perthshire, and Burne-Jones thus became closely acquainted with Graham's daughters - both Agnes and her elder sister, Frances (1854-1940, later Lady Horner). A voluminous correspondent, Burne-Jones exchanged numerous letters with the family over a period of thirty years. The letters, in which he casts himself as a mentor to both sisters, give a fascinating insight into their relationship and show the affinity that he felt for the Graham daughters. Frances became one of his most intimate friends and his muse, often being asked to model for his works. His fondness for Agnes is expressed in his correspondence to her, which commenced in 1876 when she and her family were making a tour of Italy. In his letters - which he often illustrated for Agnes' pleasure - he adopts a playful yet informative tone and offers advice, seeking to instil in her the aesthetic tastes that he shared with her father. Agnes' affection for him was shown when she made him godfather to her daughter, Pamela Jekyll. Although Burne-Jones played a lesser part in Agnes' life, the present drawings and the surviving correspondence in the following lot, attest to the artist's high regard for his greatest patron's younger daughter. We are grateful to The Burne-Jones Catalogue Raisonné who have confirmed that these drawings are by Sir Edward Burne-Jones Bt and will be included in the forthcoming catalogue of the drawings of the artist. They have also helpfully pointed out that these are preparatory studies for the painting Hymenaeus, now in the Delaware Art Museum, which the painter gave to Luke Ionides upon his marriage in 1869. The date and inscription on the present drawings are from when Burne-Jones later gave them to Agnes Graham. Each stuck down to card. Two mounted together. Some staining under the mount. Little foxing throughout both drawings.
Los 110
Sir Edward Coley Burne-Jones (British, 1833-1898) An album of 83 letters written by Sir Edward Burne-Jones to Agnes Graham (1861-1937) between 1876 and 1894, including 20 of which with amusing illustrations or doodles by Burne-Jones, and 3 extra leaves of single figure pencil sketches. The album also includes one letter to William Graham, his patron, and one to Herbert Jekyll, Agnes' husband. Agnes Graham was the younger daughter of Burne-Jones' patron, William Graham, and the letters are written in an intimate and caring, emotional and often effusive manner, clearly showing the depth of fatherly feeling he felt for Agnes - both well before and after her marriage to Herbert Jekyll. The majority of the letters have Agnes' pencil dates added, as none are dated by their author. Burne-Jones usually addresses her 'Dear Aggie' or 'Dear little Aggie' and signs himself 'EBJ' until 1892 - whereafter he tends to use the name 'Angelo' or just 'A'. The letters sometimes mention her sister, Frances, who had been a model for the artist, and with whom he had had an infatuation. He occasionally talks of pictures he is working on, colleagues or friends including Ruskin, his and his family's health and trips, but above all, he writes to Agnes in a conversational way - either in answer to a letter from her, or, more often, craving her news whether about her travels, her family and her own young children, or her views on some subject he raises. Burne-Jones portrays himself as a hard-working artist often beset by ailments, and in need of emotional support through Agnes' friendship and letters. From the many letters, the following are just a few of the noteworthy passages or excerpts that reveal something of Burne-Jones' character or mindset: July 1876, writing to Agnes in Italy '... I ought to have given you some lessons how to control and frustrate the imperious and rash will of that imperial lady your sister...' August 1876 'Rain letters upon me, because I am going to be very dull and have nothing to do but think of my sins...' September 1876, referring to artistic matters, 'Tomorrow I speak in Hyde Park to a deputation of the Clerkenwell Commune on the Eastern Question, and on Monday on the same matter at Whitechapel... and my mornings are spent designing banners. The School of Art Needlework people have refused to work them, and I only want you and Frances to cart them out.' Provenance: Agnes Graham (1861-1937) and by direct descent Some of the letters are partly stuck to album leaves, whilst others are loose. A few have been trimmed.
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628707 Los(e)/Seite