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Los 859
Aster Hobby Co, Fulgurex Models Gauge 1 'Live Steam' Locomotive 'King George V'. An exceptional example of these rare limited production models. This example was purchased new in December 1990 for £3495.00 (original receipt included). Its been stored in its own custom display case ensuring its wonderful present day finish remains. What makes this example extra special, its never been steamed or used, therefore presents an opportunity to own a pristine example. Comes complete with all ephemera, original box and coloured print. Custom display case, track and lid also included.
Los 211
After John Boultbee (British, 1753-1812),'The Durham Ox', Engraving on paper by John Whessell (circa 1760-circa 1840),Printed in colours with hand finished additions,Ppublished by John Day 1802,Printed inscription to lower margin reading 'To The Right Honorable Lord Somerville,This Print is with great respect humbly dedicated, by his Lordship's most obedt. humble Servant John Day. This wonderful Animal is now the property of Mr. John Day of Harmston, near Lincoln, and was March 20 1802, six years old. Subscriptions taken for this Print in the first Year, amounted to two thousand and upwards, from whence the Public opinion of this beautiful Animal may well be ascertained. This Ox is still in a grewing and improving state, and weighs according to the computation of the best judges 30 Score pr. Quarter, which is 300 Stone 14 lb to the Stone',54.5cm x 67.5cm,Framed and glazed (at fault) CONDITION REPORT:The print is framed under glass and has not been removed for inspection. The print surface shows discolouration all the way across the bottom edge. There is further staining, discolouration and darkening across the majority of the print surface, with a small paler area at the top edge. This pale area also shows wear to the paper. The print colours remain relatively strong, but may have faded somewhat over time. The frame shows losses to the moulding around the front edge, and losses to the beaded detail. The gilt finish is rubbed and somewhat discoloured throughout.
Los 221
English school (19th century),A half length portrait of Admiral Lord Nelson,Hand coloured reverse print on glass,Unsigned,11.5cm x 6.5cm,Gilt framed,With two further hand coloured reverse prints on glass, one depicting George III, the other Queen Charlotte, each 15cm x 10.5cm, framed (3) (at fault)
Los 224
After Rembrandt van Rijn (Dutch, 1606-1669),'The Stoning Of St Stephen',Pen and ink on paper,Initialled 'G.L 1828' lower left,9.5cm x 8.5cm,Framed and glazedWith a print after Adriaen van Ostade (Dutch, 1610-1685), depicting drinkers in a tavern, 13cm x 18cm, framed and glazed, and a print after Simone Martini (1284-1344), 'Guidoriccio da Fogliano at the Siege of Montemassi', 20.5cm x 58.5cm, framed and glazed (3) (at fault)
Los 235
After Francois Clouet (1510 - 1572),A pencil study and a print of gentlemen in 16th century dress,11.5cm x 9cm and 13.5cm x 10.5cm, mounted together, 78cm x 30.5cm overall,Framed and glazed,Together with a further eight 19th century and later portrait studies in pencil, watercolour and lithograph (9) (at fault)
Los 41
A selection of tortoiseshell and tortoiseshell coloured boxes, 19th century and later, comprising a portrait print mounted example depicting two ladies, 11.5cm diameter, an etui with hinged cover and vacant shield shaped cartouche (lacking contents), 8.2cm high, a spectacle case with marcasite monogrammed 'M', an oval trinket dish inset with silver coloured classical urn, 10.5cm wide, an octagonal pill box, 7cm wide, and a tortoiseshell mounted snuff box, 8cm wide, (all at fault) (6)CR; Circular box: crazing throughout. Possible signs of of over-painting. Scratching and some loss to the portrait. Portrait does not sit secure in the frame and moves around. Some denting and bending to the metal frame. Cracks to the cover, possible signs of repair. Crack to the inside rim of the base. General scratching, wear and tear to inside and outside.Etui: Heavy scratching and wear to the exterior. Several cracks and areas of loss to the exterior. Tearing to the fabric lining in the cover, and extensive glue repair. Moderate scratching and wear to the case interior, but no splitting.Spectacle case: Heavy scratching and wear to interior and exterior. Many stones from monogram are missing. One of the hinges is broken, showing loss to the case surround and signs of attempted repair. The catch is not in working order. The cover does not sit flush with the case and is slightly lopsided.All other pieces show moderate to heavy scratching and wear. The octagonal case has heavy losses to the cover, as well as chips and nibbles to the edges, and shows signs of glue repair in several places. The oval dish has a chip missing to the rim, and a large crack in the rim. There are some areas of loss on the inlaid border and central motif, as well as denting, scratching and wear. There is a later added mount to the reverse. The snuff box is in relatively good order, no signs of obvious damage or repair, however the cover does not sit flush to the box.
Los 75
Jim Anderson, "Thinking about cities", mixed media on handmade paper, 60 x 110cm, c. 2000. A satirical and surreal image of a puzzled urban man, who is finding that city life gets on top of him; made using various print techniques and watercolour on handmade paper. This work is presented on mounting card. UK delivery £10.
Los 91
NICK VEASEY (London, 1962)."Land Rover surfer. 2018.Digital print, copy 2/25.Signed and numbered in the lower right corner.Published by White Wall.Measurements: 62 x 119 cm.Artist and photographer initiated in the advertising field of photography, he is guided by an artistic pattern closely related to science, since he creates images and photographs from X-rays with the aim of reaching his artistic objective, the background and deepest detail of each subject. Objects, people, nature and animals have passed before his lens. The artist considers this collection to be a statement against superficiality and an invitation to rethink our perception of reality. As he states on his website: "We live in a world obsessed with images. What we look like, what our clothes, houses, cars... look like to us. I like to counter this obsession with superficial appearance by using X-rays to peel back the layers and show what it's like underneath the surface. We all make assumptions based on the external visual aspects of our surroundings and are attracted to people and shapes that are aesthetically pleasing. I like to challenge this automatic way we react to physical appearance only by bringing out the often surprising inner beauty. It also makes us reflect on how society is increasingly controlled by security and surveillance. Airport checkpoints or courthouse entrances are some examples of places that x-ray our belongings. For Veasey, being able to create art with equipment and technology designed to "limit our freedom" is a mode of transgression. In 2009 he began exhibiting for Maddox Fine Arts in London, and subsequently toured Europe, North America and Asia. He has won numerous photographic and design awards including the IPA Lucie Awards, AOP, Graphis, Communication Arts, Applied Arts, PX3 and D & AD awards and is also nominated for the IPA Lucie International Photographer of the Year 2008.
Los 6
MANOLO VALDÉS BLASCO (Valencia, 1942)."La Reina Mariana como pretexto (Klee)", 1984.Etching, copy 68/75.Signed and justified in pencil.Size: 42 x 30 cm (footprint); 70 x 56.5 cm (paper).The endless iconographic possibilities offered by Diego Velázquez's canvases are demonstrated in the work in question, painted by Manolo Valdés in 1984. As its name suggests, in the series "Queen Mariana as a pretext" Valdés uses the famous painting "Queen Mariana of Austria" (painted by the Sevillian painter between 1652 and 1653) to adapt it to works by avant-garde artists: Miró, Malevich, Klee and Braque, among others, make this series a true declaration of intent by the Valencian artist, vindicating the role of the great traditional and modern painters in the evolution of the history of art.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal at the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris and the International Festival of Sculpture in Paris, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Los 380
SILK & PAINTED PANEL with a quantity of pictures and prints, the panel titled 'Then came the Autumn all in yellow clad laden with fruit', 73 x 26cms, further pictures include an oak framed print After Thomas Prytherch dated 1905, plaque to the front titled 'Llewelyn Ap Gruffydd 1234 - 1282', (Ein Llyw Olaf), 30 x 19cms, 57 x 48cms overall
Los 391
MOTORING INTEREST, photographic and other prints including K PETRE photograph driving a S/C Austin with signature above, 26 x 30cms, 1997 ROBBIE MACGREGOR ink drawing of a 1939 Lagonda, 34.5 x 53.5cms, ALAN FEARNLEY limited edition print (39/500) titled 'A Booklands Lagonda Fete', published by The Lagonda Club, 44 x 58cms, two other Lagonda prints and a photographic image of The 8th Annual Dinner of Lloyds Golf Club February 25th 1902, 23.5 x 31cms
Los 327
C.F. WAGSTAFF Field Marshall, His Grace the Duke of Wellington, KG GCB, coloured engraving, published by W. Laver, London, another coloured print of 'The Red and Blue or Who's The? by G. Humphrey, Robert Wilson 'Giffords History of War' by W Lewis and another engravingProvenance: Captain of the Grenadier Guards, Anthony Chambers Military Collection.
Los 335
PETER WILLIAM DAGLISH (1939-2016) 'Masque' signed and dedicated to Peter Snow in pencil to the margin, Artist proof woodcut print, the image 30.5cm x 24cm; together with a collage study of a man wearing a headdress, 37cm x 28cm (2) together with Peter Docherty (1945-2020) Costume designs signed in pencil lower right
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